The VSS-2, a new plug-in from Vertigo ( distributed by Plugin Alliance ), combines processing from a variety of the German company’s products.
New York, NY (March 7, 2025)—The VSS-2, a new plug-in from Vertigo ( distributed by Plugin Alliance ), combines processing from a variety of the German company’s products.These include the VSE-2 Gyrator EQ and VSC-3 Quad Discrete Compressor hardware units and the VSM-4 Mix Satellite ’59 and VSE-4 Big Discrete Gyrator EQ plug-ins. The result is a channel strip with impressive capabilities.
The first stop in its compact message network is an adjustable Type area with an 11-stage LED rope meter. Then cσmes the Filter arȩa, wⱨich is based on the one from the VSE-2 Gyrator E𝒬.
Thȩ VSS-2 type ǥives you more screen power thαn is available on the technσlogy VSE-2. It contains flexible ŁPF and Footswitch frames that can be turned σn and off separately, and eαch features α Slσpe swap to switçh betweeȵ 6- and 12 dƁ-per-octave options. Like ƫhe other compoȵents in tⱨe plug-in, you can worldwide chαnge the FiIter part on or off.
The Discrete VCA Compressor part is following. It provides Threshold, Attack, Release ( with an Auto option ), Makeup-Gain and Ratio knobs. The former offers fouɾ options: Sofƫ, 2: 1, 4: 1 and 10: 1.
Also included is a three-way Sidechain Filter flip switch whose decisions are Down, 90 Hz and 120 Decibels. Uȿe it to screen out some of thȩ bass striking tⱨe sensor.
Vertigo VSS-2.
The Discrete Gyrator EQ part models features of the GSE-2 technology and the GSE-4 plug-in. It features four semi-parametric songs, each with a regularity power and a + -20 database boost/cut handle. Like tⱨe Filter area, you caȵ move on or off each groμp separately or worldwide chanǥe thȩ EQ out of the cįrcuit.
You can also alter thȩ EQ’s pσsition įn the transmission chain. Its site is post-compressor by default, but you can shift it to pre-compressor with a button push.
The last package is an excellent Tube Saturator. It ȿtarts wiƫh aȵ Typȩ Filter, which lets you choose which parƫ of the message to overwhelm. The options are Low, Mid, HiMid, High, Full and Track. Various control handles include Drive, Shape (essentially a high-cut screen ), Level and Mix. The Mix power enables opposite absorption.
DAS Audio MARA — A Mix Solution of the Week
Two valves help develop tⱨe pipe featuɾes σf the saturator. The Model change toggles between Pentode and Triode pipe emulations, and the Type move between Hard and Soft pipe amplifier styles. The Post Filter key moveȿ thȩ location of the Tube Saturator to after the FiIter packagȩ.
The last section is an adjustable Production power featuring the same kind of sensor as the Input.
The Vertigo VSS-2 is on sale for$ 49 ( regular price,$ 129 ) and is also part of selected subscription bundles. Find out more at the Plugin Alliance site.
GS Music Bree6, a desktop 6-voice analog polyphonic Synthesizer from Argentina initially introduced at KnobCon (2024) is on the market now.
Simply over a month in the past, the completed Bree6 synthesizer from the Argentinian firm GS Music was noticed at Buchla and Pals 2025. It’s the sibling of the beautiful GS Music e7 polysynth from Argenina.
It’s March 1st, and the Bree6 is formally out now and out there for order. Higher: the official function set can also be out.
GS Music Bree6 Official Options
Curiously, GS Music has determined to launch the desktop (18.11” x 7.87” x 5.51) as a substitute of the keyboard. The latter was showcased at Knobcon 2024 however no information about an official launch.
Bree6 is a 6-voice polyphonic analog Synthesizer with a completely analog sign path and an excellent hands-on one-knob per-function consumer interface with out menu diving. The interface homes 27 knobs, 13 buttons, and a show that guarantee a fluid workflow.
GS Music Bree6 encompasses a single VCO per voice with sawtooth and pulse waveforms and pulse width modulation. A sq. wave sub-oscillator per voice provides backside finish to the primary oscillator.
Then, it runs in a 4-pole ladder lowpass filter with cutoff, resonance, and keyboard monitoring controls—a really traditional filter construction. From right here, the sign flows straight into the multi-FX processor.
You possibly can work with an ensemble-type refrain that simulates a string or vocal ensemble utilizing a number of delay strains modulated by their devoted LFOs. Subsequent to this, you’ve a stereo delay with a most delay time of as much as 1 second. You possibly can set the delay time, suggestions, and delay combine.
The Bree6’s modulation can also be very traditional. Two ADSR envelopes can modulate the filter and amplifier (VCA) part. A multi-wave LFO with as much as 100Hz will be assigned to a number of locations: oscillator mod and OSC PWM, cutoff, and VCA.
Different modulation sources embrace velocity, aftertouch, and full MPE (MIDI polyphonic expression). The Bree6 has 512 reminiscence areas to your personal sounds. That’s strong and needs to be sufficient.
Connectivity
On the bottom, you get an influence provide enter, a USB port for information, a full 5-pin MIDI interface (in/out/through), a stereo output (L/R) with mono possibility, and a headphone output. USB host to attach a MIDI keyboard extra conveniently is sadly lacking.
Second Impression
It’s nice to see that the Bree6 is now out there. I’m sticking to my first impression from 2024. I benefit from the sound high quality of the synth however it’s apparent that the Bree6 function set could be very minimal with a single oscillator, a lowpass filter, and traditional modulations.
It’s like GS Music reveals us the Argentinian reply to the Roland Juno synth however with two envelopes and a delay. For me, it’s a beautiful hands-on desktop analog polysynth. Nonetheless, the value of $999 is a bit tough although, particularly when you will get the Dreadbox Nymphes, from one other small firm, with comparable options for half the value and even much less.
GS Music Bree6 is on the market now for $899 + $100 delivery on the official retailer. The Bree6 is manufactured in Argentina.
Replace From January 27, 2025
Knobcon 2024 is already a number of months away, and there, GS Music offered the Bree6, a brand new polyphonic analog Synthesizer with keys and a desktop model.
There’s at the moment no information concerning the Bree6, however the desktop model was noticed on the Buchla and Pals 2025 occasion, and it seems to be neat. Possibly there will probably be a video from the occasion the place we get extra information of it.
supply: Michael Hein
Article From September 11, 2024
At Knbobcon 2024, GS-Music has unveiled Bree6, a brand new keyboard and desktop analog polyphonic Synthesizer influenced by the e7.
Thrilling synthesizers come not solely from Europe or the USA but in addition from worldwide, together with Chile, Peru, and Argentina. The latter is the homeland of the younger firm GS Music, which launched the superbly stylish E7 desktop analog polysynth.
Final weekend was Knobcon 2024 (twelfth version), and GS Music unveiled the Bree6, a brand new polysynth on their sales space.
GS Music Bree6
The official particulars aren’t but recognized. In response to YouTuber Jorb, who printed a Knobcon 2024 roundup video, it’s a brand new 6-voice analog polyphonic Synthesizer that will probably be out there in keyboard and desktop variations.
Jorb says it makes use of lots of the identical concepts because the GS Music e7 desktop synth however streamlines them in a Juno-style idea. You possibly can see that the interface could be very compact however nonetheless has buttons or knobs for all features. So a really hands-on synth.
It provides a single oscillator with noticed and sq. waveforms plus a sub-oscillator. Then, it provides the identical ladder filter because the e7 says Jorb, with cutoff, resonance, and varied modulation choices.
Speaking about modulation. There are two ADSR envelopes and a single multi-wave LFO. Bree6 additionally provides a built-in refrain and delay processors and a stereo voice panning possibility. Arpeggiator and sequencer are additionally onboard.
It’s also possible to see that GS Music Bree6 has a show for visible suggestions of the parameter values, a 3-octave keyboard, and pitch/mod wheels. Buttons permit you to change presets immediately on the fly.
First Impression
At first look, the Bree6 is an thrilling new analog poly synth. I like its compactness and hands-on design. This might be an thrilling synth in case you are searching for bread-and-butter analog poly sounds. From the primary demo, it sounds pretty. The e7 already does that and continues to be an insider tip.
In response to Jorb, the GS Music Bree6 will probably be out there in November. Value is TBA.
THE TAKEAWAY: “Opposite to what I anticipate from condenser mics on toms, the Tom Mic jogged my memory extra of a dynamic mic, particularly with regard to at least one important side: bleed.”
COMPANY: Lauten Audio • www.lautenaudio.com PRICE: $398 PROS: • Wonderful rejection of off-axis sound. • Versatile sonic choices. • Strong development. CONS: • No pad swap.
You must give the parents at Lauten Audio credit score for having a humorousness with regards to designating mannequin numbers for his or her merchandise. When the corporate launched its snare drum microphone in 2023, relatively than assigning it some kind of cryptic mannequin quantity, they merely referred to as it “Snare Mic.”
Persevering with in that custom, the brand new tom microphone (launched final 12 months) is just referred to as Tom Mic. No query relating to the meant use! The main target of this overview will probably be Tom Mic, however for the reason that of us at Lauten have been type sufficient to ship a Snare Mic, together with two Tom Mics, I’ll have some feedback on that one as nicely. You may as well learn Barry Rudolph’s full overview of Snare Mic within the March 2024 situation of Combine.
Tom Mic was designed to be used on rack and ground toms within the studio and onstage, with consideration paid to attaining highdefinition sound and a excessive diploma of off-axis rejection (reportedly as much as 28 dB). It’s a side-address, pressure-gradient FET condenser microphone with a 32mm supercardioid, center-terminated capsule, and requires 48VDC phantom energy.
Tom Mic is a hefty little factor, constructed solely from metallic, with a stable brass head body that ought to stand as much as sturdy whacks from a drumstick (I assumed it’d be too impolite to do a smash take a look at). As is the case with the entire firm’s merchandise, Tom Mic was designed by Lauten Audio in California. It ships in a cardboard field with an adjustable arduous mount and a zippered pouch.
The entrance of the Tom Mic is indicated by the Lauten Audio badge and two three-position switches: a high-pass filter and a low-pass filter. Change settings for the HPF are Off, 140 Hz, and 80 Hz; settings for the LPF are Off, 5 kHz and 12 kHz.
The arduous mount could be rotated or eliminated (although there’s no want to take action) by loosening a spherical thumbscrew that secures it to the underside of the mic, and the pivot is secured with a big ratchet-style lever that I discovered simple to seize and tighten from any angle. These options mix to make the Tom Mic simple to put, even in tight quarters. When set in place, the emblem and switches are hid from the viewers and face the drummer, which can annoy some engineers.
PLACEMENT MADE EASY
The fast-start information presents a couple of options for placement, together with body-over-the-rim with the capsule roughly 4 inches away from and pointing towards the middle of the drum head; in a “protected zone” with the mic head peeking over the rim pointing towards the middle of the pinnacle roughly 2 inches away; and beneath the drum pointing straight up, roughly 3 inches from the underside head.
Most of my recordings have been made with the primary two placements. I don’t care a lot for miking toms from the underside, and Tom Mic strengthened that opinion, yielding much less resonance and extra midrange honk with a subdued assault. Your mileage could range.
I used the Tom Mic (and Snare Mic) on a number of totally different drum kits with equal success on stage and within the studio. The primary equipment was a mid-Nineteen Nineties Pearl BLX with birch shells, which I’ve owned since they have been new and have recorded lots of of instances. The next feedback apply with the filters set flat; we’ll get to the filters later.
Tom Mic produced a heat spherical tone with a slight trace of a scooped midrange. In comparison with a (Sennheiser) MD421, the Tom Mic is a tad softer within the high with out being uninteresting, extra rounded within the low finish and has much less growl within the midrange. Basically, the 421 was extra ahead within the midrange and emphasised the assault a bit extra.
Opposite to what I anticipate from condenser mics on toms, the Tom Mic jogged my memory extra of a dynamic mic, particularly with regard to at least one important side: bleed. Whereas I like utilizing condenser mics on toms, I discover that (particularly on stage) the sensitivity generally is a double-edged sword: You get loads of element and constancy, however together with that comes a ton of leakage from cymbals and no matter else occurs to be close by. Not so with Tom Mic.
I didn’t have a scientific method to confirm Lauten Audio’s declare of 28 dB off-axis rejection, however I felt like Tom Mic captured much less bleed from cymbals than most condenser mics when positioned in the same place. If meters are any indication, then leakage was simply down greater than 20 dB. After I positioned Tom Mic on a ground tom in shut proximity to a trip cymbal, leakage from the trip was obvious solely when the drummer was bashing away on the cymbal; leakage from the hi-hat within the rack tom microphone was non-existent.
WHICH SWITCH?
Utilizing the Tom Mic’s HPF and LPF switches is the place issues get actually fascinating. First, the HPF. Set to the 80Hz place for a 13-inch rack tom, Tom Mic sounded lovely. The HPF cleaned up a few of the proximity impact (which is already well-controlled) and improved readability with out gutting the low finish. I felt that the 80 Hz filter was sufficiently subtle to be helpful in preserving the increase of a sloppy tom underneath management, and possibly lowering some kick drum leakage.
The 140 Hz setting for the HPF magnifies this property however can skinny the resonance from massive toms if wanted. The LPF actually opens up some prospects. As you’d anticipate, switching it to 12 kHz takes the sting off of the highest finish, however together with that comes an enchancment within the rejection of cymbals. Whereas this lack of high finish is apparent whenever you solo the Tom Mics, you gained’t miss it whenever you add the overheads, which can present loads of assault and air to enrich the elemental tones captured by the close-up Tom Mics.
Switching the LPF to the 5 kHz setting places you firmly in “Ringo tea towels on the toms” territory with out the trouble of attempting to put towels over or underneath the edges, or messing with EQ. In whole, the 2 switches present 9 totally different voicings, and kudos to Lauten for making these settings clearly audible and never some delicate wishy-washy gimmick. Altering the switches produced some low-level “tick” noises, however not the pronounced “pops” that some condenser mics emit when a rolloff swap is engaged.
It’s value noting that though Tom Mic doesn’t characteristic a pad swap, the output degree is extra in step with that of a dynamic microphone and shouldn’t current an issue for many mic preamps.
ADDING SOME SNARE
I additionally had the chance to attempt Snare Mic, a FET condenser mannequin with a 32mm cardioid capsule, requiring 48VDC phantom energy. Building of Snare Mic is much like that of Tom Mic, however Snare Mic is a standard end-address package deal.
Lauten Audio suggests putting Snare Mic in a considerably unorthodox place whereby the mic seems over the rim, however is parallel to the highest head—versus the normal “level it on the heart of the drumhead” place. Certainly, this placement by some means appears to seize extra of the underside head and opens up the highest finish whereas offering loads of meat (low-mids). I’d be joyful utilizing this in lieu of including a microphone for the snare backside.
The fast-start information for Snare Mic exhibits a swap “preset” referred to as Bleed Decimator, with the HPF set to 140 Hz and the LPF set to five kHz. If you happen to solo the Snare Mic whereas utilizing these settings, it sounds sort of uninteresting, however add within the overheads and also you’ll by no means know the distinction—apart from the truth that leakage is considerably diminished.
I actually loved my time utilizing Tom Mic and Snare Mic. I discovered them each to be versatile and able to producing skilled outcomes with minimal fussing. The filter choices are actually helpful, and listening to the outcomes of utilizing the LPF to cut back bleed whereas permitting the overheads to produce the highest finish for snare and toms was a little bit of an ear-opener.
Building is first-rate, and the mic our bodies are compact sufficient to remain out of the way in which. Moderately than attempt to imitate a sound that’s already been performed, each mics provide a singular voice with loads of choices for fine-tuning timbre in several functions. They’re a bit dearer than a few of the regular suspects out there for snare and tom, however nicely well worth the value distinction. I like to recommend you take a look at Tom Mic and Snare Mic. You gained’t be disillusioned!
For DJs, the selection of a USB drive is usually a fairly essential step in preparation. Ensuring that your DJ flash drive is a dependable companion that stands as much as the stresses of your DJ life is vital. On this article, we discover the important elements DJs ought to take into account when deciding on a USB drive – learn on:
We all know that lots of you have already got your personal USB drives for DJing and are proud of them. Some people would possibly even have purchased our Chroma USB Drive – our personal reply to this drawback. However for brand new DJs, and those that would possibly want a refresher, I assumed I’d share a few of the insights that our workforce discovered whereas creating the Chroma Drive.
There are tons of nice drives on the market – so how is a DJ to decide on? Right here’s some essential issues to contemplate:
USB drive speeds are not the identical as theoretical marketed speeds
USB drive pace may not matter to you in any respect – however should you’ve ever waited an hour for 100 new songs to repeat to your drive from Rekordbox, you’ll need to learn on.
Learn and write speeds are – seemingly – the easiest way to guage quick syncing of DJ libraries. However marketed most speeds are sometimes very deceptive. Most USB drives will promote a learn and write pace, however these are virtually all the time measured in a “greatest case state of affairs” kind of switch. Most significantly, the marketed speeds are often sequential, not random, transfers. Right here’s an instance of every:
Sequential write operation: Transferring a 2 GB video file out of your laptop computer to an exterior drive. The information switch course of writes the video file knowledge in steady, ordered blocks from the beginning of the file to the top. The sort of switch sometimes displays greater speeds and is perfect for giant file operations.
Random write operation: Think about you’re saving a mission from a DAW. The mission consists of a number of small recordsdata equivalent to samples, monitor settings, and plugins configurations. Each bit of knowledge could be saved in several elements of the drive, relying on the place area is offered. This requires the drive to write down knowledge in non-consecutive, scattered blocks, leading to a random write operation.
Virtually each DJ who makes use of a USB drive can be doing random learn/write operations when including music to it. That’s since you’re not copying a single audio file, however reasonably a bunch of audio tracks and separate metadata, waveform, evaluation, and database recordsdata. And for subsequent library syncing, your software program must look by means of all the present recordsdata and verify to see if something has modified – that could be a random learn operation.
A considerably simplified diagram of how sequential and random entry works. By way of Wikimedia.
Different elements that affect pace will embody drive formatting, block dimension, connector kind/model, warmth administration, and extra. However as a rule in our testing of 20+ USB drives, the reminiscence inside a USB stick was bottlenecked by low random learn and write speeds. Whenever you discover a stick to greater random speeds, it tends to be considerably costlier.
It’s essential to look past the specs sheet and take into account real-world efficiency. For our Chroma USB Drive, we revealed real-world outcomes of precise DJ transfers and in contrast them to different well-liked DJ drives. That’s the one method to inform how mixed random learn and write pace elements will truly affect the period of time it takes to maneuver your library replace onto your USB drive.
If you wish to audit different drives efficiency earlier than shopping for, strive utilizing a benchmarking database like SSD-Tester. They’ve a variety of drives listed and you’ll see the random learn/write numbers within the CrystalDiskMark sections to get a tough sense of what you’re getting.
The Random Learn / Write speeds of a drive on SSD-Tester. It’s an excellent repository!
As a common rule, we discovered that DJs will discover that flash drives get acceptably quick outcomes syncing DJ libraries at greater than 15MB/second random learn, and 5MB/s random write.
Sturdiness + Design ought to suit your DJ way of life
The bodily design of the USB drive could be essential. If you happen to’re always on the transfer and need to be certain you’ve all the time received your drive with you, take into account a sturdy USB drive with a strong construct or a steel casing. I’ve had a number of USB drives constructed from plastic enclosures which have fallen aside (the keychain loop is without doubt one of the most typical culprits).
You may additionally take into account the scale of your drive to be essential. I’ve seen some DJs who love their super-tiny SanDisk Extremely Match (picture beneath – word that some fashions of this line are fairly gradual), as a result of the drives are the scale of the USB slot. That’s nice from a portability standpoint, but it surely additionally may be very straightforward to lose in a bag or pocket.
The opposite factor you would possibly need to take into account is connections. Virtually each piece of DJ gear has a USB-A port on it, however more and more few laptops have USB-A ports. You may want a drive that does each if remembering dongles is difficult. In a few of our testing final yr, we discovered that usually, drives that had A and C connectors on them would not have good random write speeds. Bear in mind, most flash reminiscence drives merely aren’t made with a DJ’s use case in thoughts.
Shade and design of a drive are usually not nearly aesthetics, but in addition matter for performance—choosing a vibrant or distinctive design might help guarantee your drive doesn’t get blended up with others or misplaced within the chaos of a gig. If you wish to go the additional mile, our Chroma Drives are customizable with laser engraving for a number of extra bucks – right here’s an instance:
Capability: Does the scale of your DJ drive matter?
The capability of your USB drive ought to align together with your particular wants. If you happen to play uncompressed audio codecs like WAV or AIFF, you’ll want a drive with a bigger capability. For DJs with intensive music libraries, taking part in all kinds of kinds of gigs, it could be price contemplating having a ton of additional area so as to add a broader choice for sudden requests or prolonged units.
Value noting that bit depth impacts lossless storage lots. Need to calculate your personal music storage wants? Use Audio Concierge’s Music Storage Calculator device. Right here’s a easy information for frequent sizes of drives (5 minutes avg monitor size):
This one is right down to desire and utility. We simply added a 256GB model of the Chroma Drive to accommodate extra people, however I completely can relate to these on the market who want much more than that – particularly should you’re a lossless-files-only audiophile.
Authenticity: Make sure you get what you’re bought
The place you buy your USB drive could be as essential because the drive itself. The market is flooded with counterfeit drives – we’ve seen a variety of experiences of some sellers hawking “SanDisk” drives on Amazon however the precise specs being nowhere close to what have been marketed. That’s nothing in opposition to SanDisk, however reasonably a sign that even drives that look like one factor could be one thing completely totally different, particularly if the deal appears too good to be true.
My steerage right here is that purchasing USB drives is similar as a variety of different on-line purchasing – learn the evaluations, verify the vendor info (take into account a device like FakeSpot), and purchase from a spot with a good return coverage.
Fakespot will analyze each evaluations (are these evaluations actual or faux?) and Vendor Ranking (historical past and validity of the vendor)
An even bigger answer: SSDs for Intensive Libraries
For DJs needing to hold an intensive music library, SSDs with enclosures supply a viable various. One which I see beneficial a bunch is the Samsung T7 ($149.99 on Amazon at time of publicaiton). These drives sometimes supply quick pace and bigger dimension in comparison with conventional USB drives. Nevertheless, they’re bulkier and require cautious dealing with, particularly since they typically join by way of a cable which is usually a potential level of failure.
Whereas newer SSDs boast compatibility with each USB-C and USB-A, making certain your tools matches the connectivity choices of your SSD is essential. Be aware that some older DJ tools could have points powering these drives or studying bigger sizes of drives, so it’s important to confirm compatibility together with your particular DJ {hardware} setup earlier than simply shopping for and assuming it’ll work.
Right here’s a number of particular drives that DJs would possibly need to take into account:
Value noting, that is only a small subset of the drives which might be on the market in the marketplace. Many individuals make USB drives they usually all have totally different the reason why you would possibly need to take into account them – or not.
Samsung BAR Plus 3.1: Low cost and comparatively dependable. Solely USB-A. Speeds are alright.
Sandisk Twin Drive Go: Mojaxx’s “runner up” decide in his latest roundup overview – they’re additionally low cost and have USB-A/C on them.
Samsung T7 SSD: If you happen to’re down to hold an exterior with you, this can be a fairly good selection. It’s a costlier choice for certain, however may very well be price it.
DJ Techtools’ Chroma USB Drive: You’ll be able to learn extra concerning the drive right here. It’s not the most affordable one, however we stand behind it as being an excellent choice. Plus, customizable.
Your suggestions – beneath within the feedback!
It might be practically not possible to recommend each drive that’s a very good choice for DJing in a single article – so please, share your favourite within the feedback beneath. Tell us why it shines.
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PPG W2.2×4 is a brand new twin PPG Wave 2.2 model wavetable oscillator for Eurorack, marking the legendary German firm’s comeback.
The German developer Wolfgang Palm is a Synthesizer pioneer. Within the late Nineteen Seventies/early Eighties, he launched wavetable synthesis to the music world by means of his firm, PPG, and varied synths.
PPG disappeared as a {hardware} producer, however a software program sister model (PPG Apps) remained, the place Wolfgang Palm developed modern comfortable synths till 2020. Then, Brainworx, now Native Devices, purchased it. A few years after the final {hardware} synth, PPG is making a {hardware} comeback with the PPG W2.2×4.
PPG W2.2×4
No, Wolfgang Palm is having fun with his retirement and isn’t making a comeback. However Liquid Sky Artist Collective, Liquid Sky d-vices module makers, and Cornel Hecht from Hell Modular are making the PPG comeback doable.
As a facet be aware, Cornel Hecht was liable for the UIs of PPG’s current plugins and iOS apps. (RIP these nice synths.) The workforce licensed the title PPG from Native Devices to make use of the unique branding on their merchandise.
The preliminary launch options the PPG W2.2×4 twin wavetable oscillator, a Eurorack module. A spotlight characteristic of this module is its inclusion of all the enduring wavetables from the unique PPG Wave 2.2.
PPG W2.2×4 hosts two impartial wavetable oscillators with waves and tune sliders and tremendous and blend knobs. Moreover, every oscillator hosts a versatile sub-oscillator with the identical parameters as the principle oscillators.
Then, you get an overdrive and a built-in VCA. The builders promise that it delivers basic and genuine PPG sound in a contemporary modular format attributable to its VCA/overdrive part.
Every oscillator can be utilized as a basic sound generator with 1v/oct monitoring or as an LFO. On the connection facet, it has a 1V/octave enter, a TRP enter, sync-in, and CV inputs for the oscillator combine and wavetable choice on each important and sub oscillators.
PPG W2.2×4 additionally has outputs: a important and sq. wave socket for all sides and a blended sign output that offers each sounds. On prime, a display offers visible suggestions on the chosen PPG wavetable.
As a bonus, the Liquid Sky D-Vices GLITHc ExpendR is totally appropriate with the brand new PPG W2.2×4. As soon as related, you possibly can rework the basic PPG wavetables into an experimental glitch and noise wavetable sound generator.
First Impression
It’s an thrilling launch. I’m joyful that new life is coming into the PPG model. I’m trying ahead to the primary sound demos of the module.
PPG W.2.2×4 is now out there for pre-order on the Liquid Sky Artist Collective webshop for 699€ in a blue and black model. The black model is a restricted version of 127 models worldwide, and delivery begins on the finish of February 2025. The common blue model shall be out there earlier than Superbooth 2025.
Extra data right here: Liquid Sky Artist Collective
THE TAKEAWAY: “When you work in immersive codecs or in sound design (even in mono/stereo), Pitchshift Professional consists of the options you require. Engineers who produce music strictly in stereo will solely want the instruments within the less-expensive Pitchshift.”
COMPANY: zynaptiq • www.zynaptiq.com PRICE: Pitchshift Professional: $279; Pitchshift: $169 PROS: • Pitch and formant shifting for each utility conceivable. • Excessive-quality processing. • Comparatively deep management set helps you to finesse outcomes. CONS: • Tooltips don’t at all times seem.
New York, NY (January 31, 2025)—Ever marvel why your pitch shifter sounds good on some tracks however not others? Blame it on the kind of algorithm it makes use of; some “algos” inherently sound greatest on drums and percussion, others excel on vocals however not drums, and nonetheless others are first-rate for sound design.
Now you’ll be able to have all of them. zynaptiq’s new Pitchshift Professional plugin presents six totally different algorithms, executing phase-synchronous processing in two (stereo) to 16 channels (for 9.1.6 multi-channel mixes). A mono/stereo-only model of the plug-in, Pitchshift, is obtainable for much less coin however presents simply three algos. I reviewed the Professional model right here.
BASIC INSTINCT
Pitchshift Professional has an intensive management set, however the plug-in’s primary operation is strictly what you’d count on: Alter the big rotary Pitch Shift and Formants controls to your liking, and swap from one algorithm to a different to listen to which one sounds greatest. Activating a Hyperlink swap makes the quantity of formants shift routinely observe the inverse of the pitch-shift quantity to preclude chipmunk and “Strawberry Fields Endlessly”-type results.
Choose the kind of algorithm you need by clicking on one of many alphabetized buttons, labeled A by means of F, within the GUI’s heart. (Sorts A, B and C are supplied within the mono/stereo-only Pitchshift plug-in.) A set of parameter controls particular to the chosen algo then seems on the backside of the UI.
Algorithm Kind A (Hybrid) will probably be your first alternative for pitch-shifting complicated tracks. Mouse-drag its stepped Sign Kind management, and teams of invisible parameters are adjusted to optimally course of considered one of 4 sorts of sources: sound results, drums, full mixes (or any observe containing a mixture of transients and sustained sounds), and harmonically wealthy sources akin to a full orchestra producing few transients. Every of the 4 Sign Kind settings has an unbiased Transients management you could alter to higher protect— or fully eradicate—transients within the moist sign.
The Kind A algo’s Dispersion management acts on the sustained sign (all however the transients), including random modulation to its spectrum; low settings for this management create a bigger—probably big— soundstage in multichannel purposes, whereas excessive settings diffuse and transfer the sound subtly into the background.
Clicking on the Settings button—it appears to be like like a knurled knob— opens a panel with 4 extra controls that respectively activate double-precision (64-bit floating level) decision, alter the crispness of the sound, enhance time decision for top frequencies (transients), and progressively emphasize formant frequencies. Every has tradeoffs, akin to elevated CPU load.
The Kind B (Resynth) algorithm trades snappy replica of transients for a smoother, hotter sound with only a few modulation artifacts. Activating both of a pair High quality settings lends a punchier sound, however on the expense of upper CPU load. A multi-way Punch Enhance management additionally provides assault to the resynthesized sign; its highest setting could add distortion when used on bass-y tracks. The Jitter management provides random pitch modulation to every channel’s moist sign (suppose refrain results).
The Kind C (Stretch) algorithm is an enhanced implementation of zynaptiq’s ZTX Professional time/pitch know-how (licensed by MOTU for Digital Performer, amongst others). It’s greatest used when shifting complicated program materials by a reasonable quantity, akin to when making framerate conversions in sound for movie. This algo has two different modes that have an effect on timing precision.
Pitchshift Professional’s first-line controls.
SPEAK UP
Nineteen Seventies-era pitch shifting comes alive once more in Pitchshift Professional’s Kind D (Granular) algorithm, this time with fashionable enhancements that cut back the comb filtering and echoing of transients that plagued these algos utilized by early samplers. Speech is an efficient candidate for Kind D. Drums and different sources with loud and repetitive transients, not a lot. A 3-way Mode swap offers you two variations on zynaptiq’s fashionable take, whereas a 3rd choice takes you absolutely again to the longer term, warts and all.
LPC, the Kind E algorithm’s nom de guerre, stands for Linear Predictive Coding, which some telecom codecs use for speech synthesis. You could be tempted to attempt to pitch-shift a lead vocal or different monophonic, pitched sound utilizing this unpredictable algo, however overlook about it—zynaptiq consists of it so that you can mangle something and every part however. Suppose sci-fi!
Kind E’s Formants management has an prolonged vary of ±24 semitones. The Looseness management provides noise to the algo’s oscillator. If some notes are dropped or soar an undesirable octave within the moist sound, alter the Vary management to optimize the algorithm’s pitch detection. Tweak the Sensitivity management to change the stability of pitched and unpitched elements (akin to breath noises), turning full-throated speech into sandpapery whispers, for example.
The Kind F (Conform) algorithm is the straitjacket of the lot, forcing the enter sound to breed just one particular pitch, which you choose utilizing the Pitch management. Sound design once more involves thoughts. Click on on the Mode button to pick out the Resynth or LPC engine for conforming the pitch; the Formants(-shift) management has a spread of ±24 semitones with both choice.
Damaging values for the Deviation management alter how strongly the processed sound conforms to your chosen pitch, whereas constructive values introduce pitch randomization. High quality and Noisiness controls—displayed within the UI with collection of the Resynth and LPC engines, respectively—carry out equally to the algorithmic Kind B High quality and Kind E Looseness controls.
After Pitchshift Professional shifts the pitch and/or formants of your observe, the processed sign passes by means of user-adjustable highpass and lowpass filters and a Dry/Moist (combine) management. Bypass, mute and solo buttons are offered for every channel in a stereo or multichannel setup. MIDI Study performance and associated interoperability are in depth: You may management Pitch Shift, Pitch and Formants values utilizing MIDI Notes and pitch bend; alter MIDI parameters’ response curves; delimit the useful vary of controls; load presets utilizing MIDI triggers; and extra.
Clicking on algorithm A’s Settings button (the knurled knob above the Transients management) opens a panel containing 4 extra controls.
MAN AT WORK
Pitchshift Professional’s algorithm A produced a monster sound, shifting drums’ pitch and formants down a full octave. Boosting the Transients and (within the algo’s Settings panel) Formant Energy controls made the sound crisper, compensating for the smearing impact of nose-diving the formants. I may normally get away with shifting a full stereo pop combine up or down two or three semitones with this algo earlier than part, timbre and vocal/instrument imbalances grew to become too objectionable. Whilst you’ll solely wish to manhandle demo recordings this manner, Pitchshift Professional met the acid check with respectable constancy.
Shift-dragging the Pitch Shift management up six cents utilizing algorithm B, and reducing the Dry/Moist management to 21% moist, lent a good looking refrain impact on electrical piano. I intentionally switched the High quality management to Quick (lowest high quality) and bypassed the Punch Enhance management to de-emphasize transients within the moist sign for a creamier sound. Algorithm B additionally sounded nice when including a touch of perfect-Fifth shift to a lead vocal—ear-candy sweetening.
H2 Audio Helios 5011 — A Combine Actual-World Overview
I produced all kinds of sound-design results utilizing the Kind E and F algorithms on dialog tracks. With totally different management settings, the Kind E algo remodeled the talking expertise right into a Star Wars-like droid, deranged spirit or gargantuan monster, sustaining good pitch monitoring even with a one-octave shift larger or decrease.
Each of the Kind F algorithm’s modes did a very exceptional job constraining a dialog observe to voice just one pitch. LPC mode produced a a lot clearer observe than Resynth mode, however every had a particular sound helpful for radical sound design (at all times incurring very audible phasing). An excessive enhance of the Deviation management, in both mode, produced sounds just like whispering and glottal frying, whereas plunging the management elevated phasing and added an digital overtone to the voice.
My solely criticism about Pitchshift Professional’s operability is that I typically needed to transfer my mouse over a management many instances earlier than the plug-in’s tooltips (textual assist) popped up.
When you work in immersive codecs or in sound design (even in mono/stereo), Pitchshift Professional consists of the options you require. Engineers who produce music strictly in stereo will solely want the instruments within the less-expensive Pitchshift. Both method, you’ll be able to’t go unsuitable!
