PSI Audio has added the A125-M compact subwoofer to its loudspeaker portfolio

Aimed at reference monitoring for music recording and film postproduction, the A125-M is designed to complement PSI Audio’s A14-M, A17-M and A21-M full-range models, extending the frequency spectrum of both stereo and surround set-ups to cover material as low as 28Hz. With its efficient and transparent 150W class-G amplifier, the A125-M allows for high SPL while retaining the sound of the source material. The detailed, faithful reproduction qualifies this subwoofer for professional work environments, where precision is paramount.

Used with a set of A14-M, A17-M or A21-M speakers, the 90Hz bass roll-off filter gives a flat and linear frequency response over the whole spectrum. The subwoofer’s upper frequency limit corresponds to the monitors’ roll-off frequency, which turns 90Hz into a kind of crossover frequency. Set up like this, the A125-M is less of an individual speaker and more of an additional way enhancing the monitors.

PSI Audio subwoofers are popular in classical and acoustic music. In these genres, pinpoint accuracy in both frequency and phase is particularly important as the low frequency spectrum is paramount for instrument recognition. With its qualities, the A125-M gains appreciation even from subwoofer sceptics.

The PSI Audio A125-M is now available to bring existing stereo and surround set-ups to the next level. The MSRP including VAT is £2,300.

Reason Studios has released Reason 11 via the newly opened Reason Studios website and authorised resellers worldwide. Along with the release, Reason’s rack of synths, instruments and effects can now be used in any DAW with the Reason Rack Plugin.

Reason 11 also features six new devices, a host of workflow improvements, and a new Reason Suite offering. ‘We’re thrilled to release Reason 11 today,’ says Product Manager, Mattias Häggström Gerdt. ‘This release marks a new era for Reason. More musicians can explore the powerful Reason Rack than ever before – as a plug-in or a DAW – and I personally can’t wait to hear the music they’ll make.’

Reason devices can now be loaded into any DAW with the Reason Rack Plugin (VST/AU), complete with the free routing. Sounds can be crafted and polished sound new modulation effects and a trio of devices pulled from Reason’s mixing console. Creating music in Reason is now quicker that previously, with options to edit, draw, crossfade, curve and zoom.

Reason 11 is available in three options: Reason Intro, Reason and Reason Suite. Reason Suite is a vast collection of instruments, effects and other music making tools – more than 70 devices in total, including the newly released Scenic Hybrid Instrument along with Reason Studios devices including Complex-1 Modular Synth, Umpf Club Drums, Umpf Retro Beats, Reason Electric Bass, Reason Drum Kits, Processed Pianos, Layers Wave Edition, Layers, Parsec Spectral Synthesizer, Radical Keys, Polar Dual Pitch Shifter, Rotor Rotary Speaker, PolyStep Sequencer, Quad Note Generator, and Drum Sequencer.

New Reason 11 devices:

• Quartet Chorus Ensemble: chorus and ensemble effects from classic vintage to · granular ensemble.
• Sweeper Modulation Effect: phaser, flanger and filter unit with expansive dynamic modulation options.
• Master Bus Compressor: ready-for-radio bus compressor can be applied anywhere in the rack.
• Channel Dynamics: subtle compressor, expander and gate from Reason’s mixer anywhere in your signal chain.
• Channel EQ: model of vintage EQ featured in countless recordings.
• Scenic Hybrid Instrument: atmospheric sounds, textures and powerful performance controls.

More: www.reasonstudios.com/en/reason/new

Previously applicable primarily to high-quality digital download services, the official logo mark for Hi-Res Music will soon be available for adoption by music streaming services.

The announcement comes from the Recording Industry Association of America (RIAA) and its member companies Universal Music Group, Sony Music Entertainment and Warner Music Group, in cooperation with the American Association of Independent Music (A2IM), Recording Academy Producers & Engineers Wing and DEG: The Digital Entertainment Group.

The Hi-Res Music logo and accompanying definition, originally announced in June 2015 by the RIAA on behalf of its member labels, primarily focused on the various types of digital files and download services which met the definition’s requirements. This programme, which has been adopted by nearly a dozen download services offering high-resolution music is now being expanded to cover streaming services that utilize new technologies that meet the quality standards set out in the original Hi-Res Music definition. These technologies ensure that the listener hears music that preserves, without loss of information, recordings from sources that achieve a minimum of 48kHz, 20-bit resolution.

‘The expansion of the Hi-Res Music definition to encompass streaming technologies reflects the continued evolution of the marketplace to deliver high resolution music to fans,’ says RIAA Chief Technology Officer, David Hughes. ‘We are thrilled that the Hi-Res Music logo will allow streaming enthusiasts to easily identify higher quality versions of their favourite recordings via services that use these approved technologies. It’s the logical next step, one embraced by music labels large and small, that will provide an optimal listening experience to this growing consumer segment.’

A number of data packing technologies are being developed that can support the streaming of hi-res music files to consumers in a more efficient manner, including MQA (Master Quality Authenticated) and MPEG 4 Audio SLS. These and other approved technologies will enable licensed services to display the Hi-Res Music logo mark on their landing page or next to an individual album or track. If the resolution of a recording falls below the required minimum standards of the Hi-Res Music definition at any time, the user will be made aware of this change.

‘We are looking forward to the Hi-Res Music logo being associated with services that adopt MQA,’ says MQA Chairman, Bob Stuart. ‘MQA is a revolutionary new technology which enables the sound quality of hi-res music with the convenience of efficient streaming, something that wasn’t possible even a few short years ago.’

The expanded Hi-Res Music logo requirements for streaming will be available to interested parties on 1 June 2016.

More: www.riaa.com

Rupert Neve Designs has announced the 535 500-Series Diode Bridge Compressor.

Based on the dynamics circuit of the company’s Shelford Channel, the ‘punchy and versatile’ 535 captures the soul of Rupert Neve’s original 2254 compressor while providing modern updates including advanced timing control, significantly lower noise, fully stepped controls throughout, and internal parallel processing capabilities. The 535 also uses custom transformers and class-A output amplifiers, all tailor-made for the 500-Series format.

‘By understanding the limitations of the original 2254 topology, painstaking effort was taken to reproduce its unique tone while improving the noise floor, expanding inflexible time constants, adding full wave sidechain detection for improved dynamic response, widening the range of threshold and ratio controls, and raising the headroom of the diode bridge itself,’ the company says.

‘Almost 50 years after Mr Rupert Neve created the first diode bridge compressor designs, the 535 reimagines the larger-than-life personality of these classic circuits with new levels of precision and adaptability.’

The 535 is now shipping worldwide, with a manufacturer’s suggested retail price of US$1,095.

More: http://rupertneve.com

Building on a legacy that includes the world’s first multiport USB 2.0 audio interface, Roland has released the Rubix line of audio interfaces for Mac, PC and iPad.

Rubix is designed to offer a balanced combination of sound quality, build quality, size, affordability and features required by musicians and producers.

The new interface range comprises the Rubix22, 24 and 44. Each multi-platform interface is engineered to have extremely low noise from input to output, with low noise mic preamps and support for audio resolutions up to 192kHz, 24 bit digital audio. Highly visible indicators show the presence of a good signal or an overloading input, even from a distance. Extensive shielding and ground lifts help ensure clean, quiet operation in a variety of applications, and the compact metal construction provides studio-grade performance.

The Rubix22 is a 2-input/2-output model with dual mic preamps. When coupled with an iPad, it creates a highly portable recording or performance rig. Rubix24 adds two extra outputs and a hardware compressor/limiter for controlling highly dynamic sources. Rubix44 adds two additional mic preamps for four inputs and four outputs.

More: www.roland.com

Røde Microphones, has released its first audio interface, the AI-1.

Available as part of The Complete Studio Kit, the AI-1 comes with Røde’s NT1 large-diaphragm condenser microphone, SMR shock mount with popshield, 20ft XLR and USB C/A cables. It features high-quality Neutrik combo jack input and a discrete class-A preamp, suitable for recording from microphone, guitar or line level instrument, such as a synthesiser.

The AI-1 allows zero-latency playback by enabling the direct monitoring feature and playback via headphones/speakers with the discrete headphone amplifier. To ensure the AI-1 is truly versatile it features 48V Phantom Power and is class compliant – so there is no requirement for computer drivers.

‘The AI-1 offers professional studio quality at a home studio price point,’ says Røde CEO, Damien Wilson. ‘It’s simply the best in its class – and it’s also incredibly easy to use, thanks to thoughtful design and Australian Made quality. The perfect companion to any Røde microphone.’

More: www.rode.com/ai1

API has commissioned a 16-channel 1608-II mixing console at RPM Music Studio in Rancho Cordova, California.

‘API has a rich history with having recorded some of the greatest rock-n-roll and country albums and it’s American made,’ says studio co-founder Buzz Raley. ‘API consoles are a game changer compared to the competition.’

RPM Music Group was founded in 2017 by Raley and Jeff Matej, who have both been in the music industry in the Bay Area since the 1980s. With decades of music knowledge and experience, and shared passion for recording, Raley and Matej realized that they would make a fantastic team and became business partners. Hundreds of hours were spent on not only building the studio but also researching the best possible equipment. Raley and Matej chose the API 1608-II as their studio’s centrepiece, with the purchase made through by Vintage King.

‘API has a rich history with having recorded some of the greatest Rock & Roll and Country albums and it’s American made,’ says Raley. ‘API consoles are a game changer compared to the competition.’

‘We love the stereo aux addition. The EQ’s and preamps give you that API sound on every channel,’ adds Matej. ‘It is a dream. We wanted that API punch and the 1608-II makes our left speaker hit like Sugar Ray and our right uppercut like Tyson.’

Raley and Matej already plan on adding an expander to their 1608-II console.

RTW has released the MM3 MusicMeter, allowing loudness metering to be incorporated into music-based applications with flexibility and ease.

The MM3 MusicMeter features vectorscope, PPM/TruePeak or vu, real-time analysers, Loudness vs Time charts, along with numerical and graphical loudness display and zoom modes – all accessible with a simple swipe of the screen. With the ability to view the display in both vertical and horizontal modes, the MM3 MusicMeter can fit into any workflow. In addition to the available features, the MM3 supports audio inputs including analogue, SPDIF and USB, while an SPDIF output delivers a buffered stereo signal or downmix from a 5.1-channel stream.

The MM3 MusicMeter is compatible with the company’s well-known USB Connect software package, which is available at no cost from the company’s website. The USB Connect software equips its user with a direct audio signal transfer and additional control from within a DAW environment, further expanding the capabilities of the MM3.

‘RTW has typically been reserved for the broadcast and production market, but we are now breaking that tradition with this introduction to the music market,’ says, RTW CEO, Andreas Tweitmann. ‘This new audio solution is available at an affordable price for everyone in the industry, and gives the opportunity for sound engineers and mixers to implement loudness metering into their music-based workflows and applications.’

The RTW MM3 MusicMeter is currently shipping through a limited number of exclusive partners and online at RTW’s worldwide webshop.

More: www.rtw.com

Rupert Neve Designs has announced the Shelford Channel, calling it ‘the definitive evolution of Rupert Neve’s most prized classic console modules, thoughtfully advanced and refined for the 21^st century recording studio’.

The Shelford Channel is built around Rupert Neve’s first new transformer-gain, class-A mic preamp in more than 40 years. This new preamp design is complemented by the ‘best-of-the-classics’ 1073- and 1064-inspired inductor EQ section from the company’s existing Shelford 5051 and 5052 modules, a bold and powerful new diode bridge compressor inspired by the 2254 with additional functionality, a new dual-tap transformer output with high- and low-headroom outputs, variable Silk/Texture transformer saturation, and twice the operating voltage of Rupert Neve’s vintage modules.

‘For decades, Rupert has often been asked to create a new design based around the same mic pre, EQ and compressor technologies that comprised his classic console modules,’ RND says. ‘With the Shelford Channel, he and his team have not only recaptured the magic of those original designs, but have elevated these circuits with new levels of versatility and precision for the modern era. This unit delivers what can only be described as the combined essence of fifty years of Rupert Neve’s designs.’

The Shelford Channel will begin shipping in Q4 2016, with an MSRP of US$3,995.

More: http://rupertneve.com

Located in Jiutepec, just south of Mexico City, the SOGA (Sounds of Gaia) complex was opened by Angel Sananda in 2012, with SOGA Recordings beginning operations in August 2015. The complex itself was nominated for a prestigious international architecture award, and includes a 175-person auditorium, two project studios, a coffee shop, a rooftop garden, accommodation for 20 people – and now a newly-installed 32-channel Rupert Neve Designs Shelford Edition 5088 analogue mixing console.

‘The core intention behind SOGA was to create a working space that could combine music production and the use of sound as a tool for wellbeing,’ Sananda explains. ‘Because I was so familiar with the workshop/retreat world and the music production world, I had a solid idea of what I needed to accomplish. The result came in the form of a retreat centre with a Class A studio inside of it – SOGA Recordings.’

The 5088 was Sananda’s choice for the core of the new hybrid digital/analogue system: ‘I’ve always been a fan of the ‘Neve sound’, and I also wanted to have something that could distinguish SOGA Recordings from the rest of the Mexican studios,’ he says. ‘When I decided to buy the 5088 there were none in Mexico, so I decided to go that way. It sounds amazing, and it enabled us to achieve the sonic signature I was looking for in the studio.’

Sananda’s goal is to create life-changing experiences for the people who visit. He does not think of his studio’s visitors as clients, but rather focuses on ‘creating the right environment inside and outside the studio so that people leave as family’.

‘The mix between the architecture of SOGA, the studio aesthetics, our love for analogue equipment and our 5088 plus the hospitality, warmth and talent of our staff has placed SOGA Recordings as one of the coolest studios in Mexico,’ Sananda reflects.

Held at London’s Grosvenor House and attended by the UK’s top producers, engineers and mixers, the 9^th Annual MPG Awards saw renowned mixing console designer Rupert Neve receive a Special Recognition Award.

He accepted the award from Wimberley in Texas, as presented by Producer/Engineer Tim Palmer (Pearl Jam, U2, Robert Plant, Ozzy Osbourne among many others).

‘Most producers and engineers – both old and new – will have forged a “special relationship” with some incarnation of a Rupert Neve console, channel, compressor etc. at some point in their careers,’ says MPG Awards MD, Tony Platt. ‘The MPG is delighted to present the Special Recognition Award 2017 to him.

‘The mark of the best audio production tools is their ability to inspire creativity as well as delivering the highest quality – and, indeed, Rupert continues to design tools that do exactly that. And what is more, he does it with flair and style.’

Sanken Microphones has introduced the CU-51 cardioid condenser model as part of the Sanken Chromatic range of professional studio mics. The CU-51 is primarily a music microphone, unique to Sanken, that ‘addresses the general desire to limit the sonic changes in position to level only’.

The CU-51’s unique dual-capsule design provides an exacting cardioid pattern for vocals and a wide range of musical applications. Its ability to accommodate extremely high SPLs ensures distortion-free response when recording instruments with wide dynamics. The mic has a very low proximity effect and its frequency response is claimed to be truly flat at 90°.

A special characteristic of the CU-51 is its ability to maintain uniform response in both on-axis and off-axis positions. The benefits of larger diaphragms are generally accepted, but previous designs typically exhibit limited high frequency response. Current methods to remedy that limitation also bring compromises, including a varying response with the off-axis angle.

The tone and response of the CU-51 remains consistent through changes in the axis angle while maintaining the benefits of a large capsule design.

The CU-51’s double capsule has one diaphragm that is optimised for low frequencies, while the other one captures the higher frequencies. To achieve this overall wide dynamic response, the capsules are individually positioned within the body of the microphone. The unique capsule mounting arrangement guarantees phase coherency between the two capsules in a meticulously engineered microphone that achieves totally transparent high-resolution results. The PPS (Polyphenylene) membranes are immune to the effects of humidity and temperature change, resulting in consistent response, regardless of the recording environment.

More: www.sankenchromatic.com

Sanken Microphones has announced the CU-51 cardioid condenser addition to its Chromatic range of professional studio microphones.

The CU-51’s dual-capsule design provides an exacting cardioid pattern for vocals and a wide range of musical applications, while its ability to accommodate extremely high SPLs insures clean, distortion-free response when recording instruments with wide dynamics. The mic also exhibits a very low proximity effect.

The CU-51 is able to maintain uniform response in both on-axis and off-axis where previous designs typically exhibit limited high-frequency response. Current methods to remedy this limitation also have compromises, including a varying response with the off-axis angle. The CU-51 is primarily a music microphone, unique to Sanken, and addresses the general desire to limit the sonic changes in position to level only. The tone and response of the CU-51 remains consistent through changes in the axis angle while maintaining the benefits of a large capsule design.

The CU-51’s double capsule has one diaphragm optimised for low frequencies while the other captures the higher frequencies. To achieve this overall wide dynamic response, the capsules are individually positioned within the body of the microphone. The PPS (Polyphenylene) membranes are immune to the effects of humidity and temperature change, resulting in consistent response, regardless of the recording environment.

The CU-51’s frequency response is truly flat at 90°, essential in maintaining sonic transparency. The microphone claims to consistently deliver a high transient, natural and uncoloured sound with vivid sonic imagery.

More: www.sankenchromatic.com

Highly-regarded in Japan’s discerning music recording world, Mick Sawaguchi has a history of pioneering new techniques, and has been a strong advocate of surround over many years. In 2014, his recordings have moved to 9.1-channel surround – the configuration advocated as ideal for music by Auro 3D. This admits Sawaguchi to the exclusive club of multi-award-winning adopters of the format.

Tellingly, Morten Lindberg from 2L, Daniel Shores from Sono Luminus and Sawaguchi from Unamas are all users of Merging’s Pyramix 10, with Horus and Hapi networked audio interfaces.

The Schertler Group has announced Arthur (Format48) high quality modular mixer, which can be built and configured by its users.

Designed for studio and live applications, the mixer is created from a choice of different class-A input and output modules – Mic Input, Mic Input Ultra Low Noise and Mic Input x4 units, Yellow instrument input unit, Stereo Input unit, LR Master, Aux Master and external Power-In units. These can be combined in any order and quantity to form both compact and large-scale mixer configurations. The number of units that can be included depends on the power supply used. For simpler combinations of 12 or 25 units, there is a choice of two compact power supplies. A further high-end power supply is also available: This can be used with any combination of units, from just a few to 70V or greater. (Power-In units are also required for larger configurations.)

Modules can be added, removed or re-ordered at any time, making Arthur one of the most flexible mixers on the market. Further modules are planned for release in coming months.

Arthur’s electronic design is remarkable for its complete absence of negative feedback (NFB) from input to output. All filters and summing amps are free from restricting back loops in the mixer’s straightforward high-speed design, resulting in an ultra-fast response and natural attack. All circuits are built using discrete class-A components and pure high-voltage DC amps (without any capacitors in the signal path), offering 30dB headroom and low noise, as well as unparalleled stability, warmth and transparency.

Configuring and ordering an Arthur mixer can be done through the Schertler website (Mixer area). Alongside the technical information and specs for all available modules and accessories, a Configurator enables the various units to be selected in their required quantities. The mixer’s ‘virtual build’ can be previewed along the way as different components are added or removed. External components such as power supplies, side panels and accessories are not supplied as standard and must be ordered separately.

Once delivered, physical assembly of modules is stated to be ‘a straightforward process’, involving a series of connecting rods and hexagonal screws. Users are free to design personal channel sequences, as there are no mechanical or electrical restrictions, with the exception of ensuring that the appropriate power supplies have been purchased to support the number of units being used.

Arthur is available for pre-order from the Schertler online store (Europe, US and Canada only) and can also be purchased via Schertler showrooms and distributors worldwide.

More: www.schertler.com

The HHB Group and Genelec have launched the world’s first Genelec Experience Centre, where visitors can audition an array of loudspeaker monitors for music, post, broadcast and install applications.

The professional audio equipment supplier and manufacturer of active monitoring loudspeakers have collaborated over a 34.5-sq-m demonstration facility within the new offices of Scrub (HHB’s postproduction reseller division, situated in the Fitzrovia area of London’s West End.

Visitors are able to choose source material from virtually any format to evaluate Genelec monitors in stereo, surround and immersive audio configurations. The centre’s audio architecture allows routing of any source to any destination –from a stereo pair of compact 8010A monitors to a full-blown 11.1 immersive audio system.

The 11.1 system partners an Avid Pro Tools S6 control surface presented in AKA Design bespoke studio furniture, and combines seven 8351A SAM studio monitors in left, centre, right, left side, right side, left back and right back positions, four 8330A SAM studio monitors overhead and two 7370A SAM studio subwoofers handling the low end. Complementing the centre’s Pro Tools S3 control surface is a 5.1 configuration of five 8320A SAM studio monitors and one 7350A SAM studio subwoofer, which provides monitoring accuracy and flexibility in a smaller footprint, while the 8010A studio monitors and two 8430A audio-over-IP SAM studio monitors demonstrate both analogue and digital compact loudspeaker formats.

A second 5.1 system showcases Genelec’s architectural installation products and includes five AIC25 active in-ceiling speakers and one 5041A active in-wall subwoofer, while two AIW26B active in-wall speakers can be run in stereo mode or in 2.1 mode in conjunction with the 5041A. Finally, four 4030B installation speakers are positioned in the Scrub sales office to demonstrate small to mid-sized commercial installations.

Visitors are able to choose source material from a range of formats including MP3, CD, DVD, Blu-ray, PlayStation, Pro Tools, Logic, Nuendo, Spotify and Tidal – with Blu-ray, Pro Tools and Nuendo providing Dolby Atmos compatibility. The system is also compatible with Auro-3D and DTS:X, and can support low-order ambisonics and binaural formats. Extensive use of high-quality signal processing, audio conversion and Dante audio networking – courtesy of products from BSS, Focusrite and DAD – helps achieve the centre’s flexibility and configurability while also reflecting the growing adoption of this type of technology in the marketplace.

‘Outside of our own factory in Finland, this is without doubt the most comprehensive Genelec demonstration facility in the world, and we’re thrilled to be able to invite customers to London to experience everything that Genelec loudspeaker technology can offer,’ says Genelec Marketing Director, Jani Jalonen. ‘If you want to hear our products in action and discuss any aspect of speaker selection, placement and calibration, then this is the place to visit.’

For general enquiries or to make a demo appointment, please contact the Scrub office.

With music for Call of Duty: Black Ops, Call of Duty: World at War, and Counterstrike: Global Offensive, as well as TV shows Buffy the Vampire Slayer and God, The Devil, and Bob on his CV, Sean Murray’s game scores are readily musically dense and visceral. Given the dark side of their content, synthetic sounds would seem to be the way to go…

‘I have a huge collection of vintage synths, as well as a ton of wonderful orchestral sounds and samples,’ Murray admits. ‘We’ve got every sound you can imagine. But there’s nothing like recording real instruments for your score. I make it a point to always add something real and organic to my scores.’

This might be his own acoustic guitar or orchestral string players he regularly works with: ‘I’ll bring them into my studio, set up a pair of mics, and record them live,’ he explains.

Recently, these recordings have been made on a new Tascam DR-100 MkIII. ‘Having something portable like the DR-100 MkIII that can really create a studio quality recording has made a huge difference for me,’ he says. ‘I can go into anyone’s living room and get a great sounding recording that I can really use.

‘The [onboard] omni mics are fantastic for capturing the ambience of the room,’ he continues. ‘Recently I took it over to my cello player’s house – she’s got this big living room with a high ceiling and hardwood floor, and the room sounds wonderful. I brought the score, had her listen to it on headphones, and recorded her part live to the DR-100 MkIII. I was able to take that recording back to my studio, import it into my DAW, and use it in the score.’

The ability to make professional-standard recordings in impromptu locations also relies on high-quality mics, preamps, sampling rates – with the Tascam also offers.

‘It’s really changing the way I work,’ Murray concedes. ‘Having the 192kHz sampling rate gives me amazing clarity and so much more realism. Having that extra clarity on the high end really puts that shining touch on it.’

More: www.tascam.com

London’s busy Tottenham Court Road is a slightly less frenetic place after the completion of ‘an incredible expansion’ at Forever Audio (formerly SNK Studios), including the opening of a Dolby Certified mix and ADR studio. Occupying six floors, the facility includes audio post studios with voiceover booths, and a track-lay suite.

Founded in 2003, the studio has mixed countless TV and radio commercials, programmes, documentaries, promos and films.

Swedish plug-in specialist Softube has the announced British Class A For Console 1 channel strip.

The module comprises a collection of models of ‘the most coveted and distinctive-sounding’ mixer modules presented in a single channel strip for the company’s Console 1 software mixing system.

British Class A For Console 1 includes classic EQ, compressor, limiter, gate and input stage.

British Class A For Console 1 is available at an introductory list price of US$199 before reverting to it recommended US$249. It is available via the Softube web store and authorised dealers around the world.

More: www.softube.com

Inspired by the EMI TG limiters from Abbey Road Studios, Chandler Limited’s TG12413 Zener Limiter revived the vintage hardware used to record Pink Floyd and The Beatles. Now, Softube has released its Chandler Limited Zener Limiter plug-in for Universal Audio’s UAD-2 hardware and Apollo interfaces.

Like the EMI/Abbey Road TG limiters, the Chandler Limited Zener Limiter’s circuit employs zener diodes – rather than other limiter topologies such as optical (Teletronix LA-2A), FET (1176), or VCA (SSL G-Master Buss) or diode bridge (Neve 33609). Exploiting the difficulties associated with Zener diode circuitry, the Softube model closely emulates the Chandler Limited Zener Limiter’s entire circuit, including its transformers and circuit nonlinearities and germanium transistors – and adds extended functionality including Mid/Side processing.

The original EMI limiters featured a single attack setting and six release settings. The Chandler Limited TG12413 Zener Limiter boasts 11 attack and 21 release settings, greatly enhancing its usefulness in your workflows. The switchable input impedance varies the of drive the Chandler Limited Zener Limiter plug-in for more severe limiting, and tweaking the THD control gives smooth distortion with a high-frequency bump. The Side Chain feature removes low frequencies feeding the limiter.

Like the hardware, the Chandler Limited Zener Limiter plug-in is suited to use in tracking, mixing and mastering.

More: www.softube.com