Following the commissioning of the ‘first and only 72-channel Audient ASP8024 mixing console’ at Sheffield’s Foundry Studio, the Oslo Concert Hall in Norway has installed the largest Heritage Edition yet made.

Delivered in September, the 48-channel, eight-bay ASP8024-HE Heritage Edition comes with patchbay, Dual Layer Control (DLC) and producers’ desk. ‘We were looking for an analogue console that doesn’t lie,’ says Production Manager, Jan Olsen Skare. ‘Obviously the room has to “help” the music, but we wanted the console to have a true dynamic and good microphone preamps.’

With its main mix room centred on a 24-channel Neve Genesys G48 console, Newtone Studios is Oslo’s newest music production facility. ‘The Genesys fits right into our workflow,’ says studio manager Andrè Viervoll. ‘With total Recall of all parameters, analogue automation and DAW control, it has every feature we desired.’

Opened in January 2017 as a multipurpose, shared creative workspace with a commercial recording studio at its heart, Newtone is the amalgamation of three musical enterprises, combining the knowledge and experience of Viervoll, Tom Erik Skram and Aksel Jensen. Viervoll had managed Parachute Studio in Mølleparken for almost a decade, but when the lease expired he and Jensen joined forces and took the opportunity to unite with Skram and his team in Kalbakken.

‘[In Kalbakken] we could find the real estate we needed to build a studio and it made perfect sense to have it in the same space as a complete electronics workshop and a software/hardware development environment,’ Jensen explains. ‘Just as in the large studio complexes back in the day, we are able to service our own equipment, modify it and design and build custom gadgets to tailor the workflow as we want. Andrè brought his new Bösendorfer 225 grand piano and esoteric mic collection from Parachute, but then we needed a centrepiece – and after visiting AMS Neve HQ, we realised Genesys, was the answer. It soon arrived and we were ready to roll.’

Newtone’s Genesys G48 console sits in custom-designed furniture in the main mix room, with a Pro Tools dock and built-in touchscreen for the Genesys. 

‘Sound-wise we get the classic Neve sound we’d expect, with industry standard 1073 preamps and 1084 EQ,’ Viervoll  reports. ‘We are blown away with the sound of desk – and we really appreciate the tons of headroom we have. The only regret we have is not buying more channels and dynamics for every channel.’

A high-profile player on the Köln music scene for ten years, Parkhaus Studio was originally a low-key haven for songwriters and producers. While it has become a more commercial operation in recent times, it retains its early spirit wand enjoys a regular core of visiting artists and an expanding roster of new and converted customers.

Much of the studio’s current growth is down to recent renovations, including both acoustic and technology upgrades. Albert Gabriel, Recording and Mix Engineer and Chief Tech at Parkhaus, moved in and extended the range of services on offer, bringing an SSL AWS 948 to the facility as part of his own move to a more analogue outlook.

He sees this as major step forward: ‘I had been working in-the-box for the ten years before I bought the AWS,’ he says. ‘One day, a friend asked me to work on something... something that couldn’t work without analogue gear. I realised that what I did in back the nineties on an analogue console was way more natural than everything I had done after that.’

Gabriel went back to his roots (even acquiring a 2-inch multitrack tape machine) and eventually found the SSL AWS 948 – a hybrid console with SSL SuperAnalogue architecture and sophisticated DAW control. ‘Now Parkhaus is growing particularly fast,’ he continues. ‘With an SSL in the studio the old customers are coming back, and telling more customers to come too.

Gabriel describes Parkhaus as “musician-friendly”, with plenty of space and a relaxed environment. Facilities include a large central live room connected to two control rooms, each of which have their own vocal booths that double as production rooms, stocked with synths, guitars and other equipment. The main control room has the AWS 948 and an assortment of original analogue gear.

‘I know the SSL computer and the automation from the older consoles, so I found it really comfortable to switch to the AWS. Sound-wise I think it’s pretty close the K Series – and I never had a better feeling in a studio than with the K Series,’ he says.

The combination of superb SuperAnalogue architecture plus the AWS 948’s dual-path channel strip design and its trio of operating modes means that Gabriel is as happy tracking and mixing with the SSL as he is mastering from stereo stems: ‘The bus routing options, the Stereo Mix mode, and the opportunity to insert the dynamics wherever you want them are all features that are great for mastering,’ he says. ‘If there was an eight-channel version of the AWS, it would be called a mastering console.

‘I use it 24/7,’ he adds. ‘The plug-in control is awesome. I often turn the DAW screen off when I’m mixing because I get access to all the plug-ins using the AWS screen. That’s better than the DAW control because you can concentrate on the centre of the desk and the centre of the control room. That’s always been an important concept for SSL consoles.

Parkhaus continues to grow and continues to nurture the creative collective that is its expanding client-base. The SSL AWS 948 is an important part of that story, along with Gabriel’s mission to keep sound at the top of the priority list – along with a flexible, welcoming space, expertise on-tap, and the best tools for the job.

A chart success in 20 countries that ranked top on Spotify Global and attracted 270m views in just four weeks on YouTube, infectious, ‘Mi Gente’ (My People) is Latin-tinged pop from French DJ Willy William and Colombian singer J Balvin. The song was mixed by French Canadian songwriter/producer/mixer, Philippe ‘Phil’ Greiss in Stockholm, using his newly configured in-the-box set-up.

Associated with a number of Quebec-based artists looking to the French market, Greiss has been in-the-box for the past three years – in addition to working remotely in Paris, Los Angeles and latterly Stockholm, he maintains a professional hardware-based studio in Montreal but says that he increasing depends on a remote rig centred on an RME ADI-2 Pro AD/DA converter:

‘Songwriting is such a collaborative process that you need to be able to work with people in person, wherever they are,’ he says. ‘I really need a high-quality converter wherever I go and, in this regard, the ADI-2 Pro has truly been a game-changer.’

RME’s ADI-2 Pro reference converter packs several of its German manufacturer’s best-in-class feature sets into a powerful, yet mobile production tool. Supporting sample rates of up to 768kHz, full parametric EQ and dynamics, rock-solid clocking and an audiophile grade headphone amplifier, the ADI-2 Pro is road-ready.

Greiss is drawn to the pop music genre, and has left his mark on many international hits such as Maitre Gims’s ‘Sapés Comme Jamais’ (song of the year at the French Victoires de la Musique), and ‘Loin (Pilule Violette)’, which has since been certified Gold in Germany and topped the pop charts in Belgium. ‘I love the sound of a new pop record and always pay close attention to the sound of the top 40,’ he says. ‘I guess I am infusing some of these qualities and sensibilities into the work that I do for myself and others.’

While his permanent studio in Montreal features 32 outputs going through an analogue summing system paired with a high-end Focal monitoring, his remote rig consists solely of the RME ADI-2 Pro interface, an RME Babyface Pro, which he uses to track vocals when on the road, a pair of Focal Solo6 monitors, two pairs of reference headphones and an ADK laptop loaded with Pro Tools, Sonar and Ableton Live. ‘The ADI-2 Pro helps me get the best sound out of any session, and it is great to have laser-accurate, reference quality audio wherever I am working in the world,’ he reports.

This portability has enabled Greiss to move closer to the market where he is most active. ‘I was drawn to Europe as a result of all the records I have been working on. Willy William and I have known each other forever and always wanted to work more together, and we finally used this project to this a reality,’ he says. ‘I ended up mixing ‘Mi Gente’ and never could have anticipated its global appeal and international success.’

Greiss says that his ADI-2 Pro allows him to toggle between songwriting, producing and mixing. ‘Having a tool like the ADI-2 Pro is very important because songwriting is such a collaborative process. You need to be able to work whether people are coming to you or if you are going to them,’ he explains. ‘I really need a high-quality converter wherever I go, and the ADI-2 Pro helps me get the best possible audio out of any session.’

This not only provides reference audio, but ensures the sonic integrity is where it needs to be: ‘It is a great comfort knowing that I will have a laser-precise rendition of the audio I am working with, no matter where I am in the world or who I am working with.’

One of Greiss’ favourite aspects of the ADI-2 Pro is its parametric EQ, which he routinely uses to correct acoustic anomalies that can occur while working in a variety of rooms. This powerful tool enabled him to become more comfortable while mixing and monitoring, with all the necessary controls at his fingertips.

‘I mixed ‘Mi Gente’ in Paris, in a room with some acoustic challenges but, with the ADI-2 Pro, I was able to correct the output and correct a couple of room modes,’ he recalls. ‘I spent probably ten minutes with the tone sweep, revealing unwanted resonances, and I just adjusted them.’

‘The preamps on the UCX and Babyface Pro are very clean and transparent, which is exactly what I need,’ he adds. ‘It allows me to colour the source after the recording if needed, with the plethora of amazing emulations and processors that exist today.’

The monitoring too is important: ‘I am spoiled with the whole experience of listening to audio through the ADI-2 Pro,’ he admits. ‘Everything I listen to is right through the box – I am getting the benefit of world-class headphone amplification coupled with great conversion and it makes for an amazing listening experience.

‘I am working with great conversion from RME, and the ADI-2 Pro has really taken things to another level. With the ADI-2 Pro, I am completely at ease in the box and can work with greater speed and efficiency. It is a great time to be in the box; it’s going to be difficult to go back.’

More: www.rme-audio.com

New loudspeaker monitors play an essential part of a major £250k studio refurbishment that has recently been completed at London’s Metropolis Studios.

Continuing long-standing relationships with speaker suppliers PMC and Genelec, Metropolis has unveiled state-of the-art monitor systems in its Studio A and B.  Studio A – which has hosted recording sessions ranging from Amy Winehouse to Queen, has been equipped with PMC’s flagship QB1-A monitoring system. Studio B meanwhile, with Will I Am and Adele among its guests, now enjoys Genelec 1236 mains and the new 8351 coaxial three-way close-fields.’

‘We are delighted to have played such a significant part in the Metropolis studios refurbishment which builds on our 23-year relationship. The QB1-As are a real step change in high-end reference monitoring,’ says PMC owner, Peter Thomas.

‘Metropolis was among the first customers for our 1035 system dating back to 1989,’ adds Genelec’s Lars-Olof Janflod. ‘So, for 27 years the 1035s have served Metropolis Studio A and B – it’s a pleasure to be able to continue this legacy with our new 1236 monitors from the Smart Active Monitor family, the latest in monitoring technology.

‘We have enjoyed a longstanding relationship with both PMC and Genelec – two benchmarks in the audio world,’ says Metropolis CEO, Ian Brenchley. ‘As part of our continuing evolution at Metropolis as the gold bearer for recording, our new monitor set-ups from PMC and Genelec provide the best-in-class for our artists.’

Based in a former power station for Chiswick’s trams in the early 20th century, Metropolis is among the most successful independent recording, mastering, creative and production facility in Europe. Approximately half of the UK Top 40 chart entries are either recorded, mixed, mastered or ‘creatively treated’ within the complex. Additionally, the Metropolis Artist Services division operates a record label and music publishing company, and is producer of TV shows. The facility also host industry events and showcases.

‘We’ve worked with a wealth of artists from all genres over the years, including Michael Jackson, Lady Gaga, the Rolling Stones, U2, The Stone Roses, Rihanna, The Verve, Mark Ronson, One Direction, Adele, The Clash, Maroon 5, The Cure, Madonna, Justin Bieber and Lana Del Rey,’ says Brenchley.

PMC Speakers is launching the Hear More Tour – a series of seminars and playback demonstrations aimed at exploring high-end professional audio monitoring – with first dates in South Africa.

In conjunction with South Africa distributor Benjamin Pro Audio, PMC will use the events to showcase its line-up of professional studio products including the twotwo close-field range, the latest IB1S-AIII active monitors and IB1S passive monitors.

‘The Hear More Tour will highlight exactly what separates world class speakers from mediocre designs,’ says PMC Export Sales Manager, Chris Allen who will present each seminar. ‘We’ll be getting under the hood of our unique ATL monitor speakers to explain how and why we design monitors the way we do, why we focus so heavily on hand-built quality and the massive benefits our approach brings to professional users. Attendees will be able to hear a variety of material through a range of PMC products so that they can experience the full capabilities of PMC speakers for themselves.’

Throughout the tour, attendees will also have the opportunity to discuss high-level studio monitoring with recording professionals who will share their skills. Guest speakers include mastering engineers Troye Lilley, head of Troye Lilley Mastering in Cape Town, and Rogan Kelsey, of Kelsey Mastering in Bryanston.

‘These seminars are designed to appeal to a wide range of attendees, from those who are already making a living in this field through to students who want to learn from the professionals,’ Allen adds.

The South Africa tour opens at Digital Forest Studios in Cape Town on August 8th. It then moves to Cape Town’s Academy of Sound Engineering on 10 August, Pop Filter Studios in Pretoria on 12 August, Howard Audio in Johannesburg on 13 August and the Academy of Sound Engineering in Johannesburg on 15 August. Entry to each event is free.

The Hear More Tour moves to Russia in September, where further events are being planned.

Set up in 1981 as a rehearsal room and project studio for Italian owner Ninni Pascale’s band, Walhalla, Polosud Records’ Il Parco studio acquired ‘professional status’ in 1987 and subsequently became a focal point of the Napoli’s music scene.

After a ‘digital switchover’ in the late 1990s – which lasted until 2017 – Pascale says, ‘The analogue is finally back with the purchase of a great console, the Rupert Neve Designs 5088,’ supplied by Rupert Neve Designs’ Italy distributor, MidiWare.

The latest in a series of Add-on products for the PreSonus Studio One 3 DAW, the Convology Vintage Reverbs library is formatted to work with Studio One 3 Professional’s Open AIR convolution reverb.

The Vintage Reverbs library combines three collections, which are also available individually – Vintage Digital Reverbs, Vintage Plate Reverbs, and Vintage Spring Reverbs. The 36 reverb effects they contain have been modelled from hard-to-find plate reverbs, spring reverbs and digital reverb processors. All sounds were sampled at 96kHz, 24 bits.

The Convology Vintage Digital Reverbs collection conjures the sounds of early 1980s EMT digital reverbs, some of them quite rare. A great deal of audio engineering science went into elements in the EMT 245, such as how far or close together the reflections needed to be in order to emulate different rooms, halls, and so on. The EMT 248 was loaded with presets and adjustable algorithms including Baroque Church, Cathedral, Romanesque Church with numerous size rooms, halls, stairwells, bathrooms, and even a preset called Tiny Room.

Convology’s Vintage Plate Reverb collection covers the Ecoplate, EMT 140 and 240, and Lawson Plate Reverb. The EMT 240 provides a darker sound, while the EMT 140 tends to be warm, replicating the sound of a concert hall – but with a bit of EQ, the 140 can readily replicate a dark, bright, or warm sounding room. The Ecoplate is brighter and a little more metallic sounding – for bringing production elements out in the mix when needed to cut through. The Lawson Plate tends to be bright, with a bump in the lower mids.

The Convology Vintage Spring Reverbs collection brings back the sound of 26 spring reverbs, sampled in England, Scotland, Canada, the Netherlands, New Zealand and the US. Many reverbs sampled in this Add-on have been used by major recording artists, including tube spring reverbs used by The Rascals, Van Morrison and James Brown (‘It’s a Man’s Man’s Man’s World’). The collection supplies a variety of spring reverbs, including ‘boingy’ springs suitable for vintage guitar, lead vocal, and organ and lush, warm-sounding springs that can nearly sound like a plate when light tremor and flutter of the spring occurs.

Studio One 3 Professional 3.2.2 and is part of a growing collection of add-ons for Studio One 3. Convology Vintage Digital Reverbs is available immediately for US$29.95, Vintage Plate Reverbs for US$34.95, and Vintage Spring Reverbs for US$39.95 – or all three for US$79.95.

More: www.presonus.com

The CTC-1 Pro Console Shaper is the second in the PreSonus series of Mix Engine FX plug-ins for Studio One 3 Professional DAW.  The new add-on works with Studio One Professional 3.3.1 and later, providing models of three classic British, vintage tube, and custom consoles, and brings enhancements to the Mix Engine FX environment.

Every analogue console or summing mixer has a sonic signature that makes it recognisable in a mix. CTC-1 captures the unique character of the consoles modelled and allows this to be increased by a variable amount – like running the signal through the same console multiple times.

Introduced in Studio One 3.2 Professional, Mix Engine FX is a plug-in that can subtly alter or completely transform Studio One’s native mix engine. In contrast to conventional plug-ins that must be inserted independently on each channel, with limited or no interoperability, Mix Engine FX can process every channel routed through a bus, both individually at the source and at their summing point, using one plug-in. Any bus, including the main stereo bus, can have its own Mix Engine FX assigned.

Using State Space Modelling technology, CTC-1 captures the character and personality of analogue consoles, with modelling of input drive, channel noise, crosstalk, and character. It offers easy-to-use automatic gain compensation and a pass-thru option for added flexibility. The Drive stage re-creates the characteristic dynamic behaviour of an analogue console input preamp. Increasing the Drive amount first adds subtle harmonics to the signal, then goes into saturation or analogue distortion when the amount increases above a certain level. The character and sonic quality of this effect varies significantly between each model.

Inherent signal noise is key in defining the sonic character of an analogue console. The modelled analogue noise in CTC-1 is unique because it’s different on every channel, which is only possible with Mix Engine FX. Add a small amount of noise to any mix, and it will give the overall sound a more ‘analogue’ character. For songs that have a fade at the end, activate the noise gate to fade out the noise automatically, avoiding any unwanted noise tails.

Unlike plug-ins that work on a single channel or bus insert and only provide crosstalk between left and right signals, the crosstalk generated in CTC-1 spills over naturally into adjacent channels, with decreasing amounts the further away a channel is from the source.

Adding high amounts of Drive to the signal can result in extreme gain offsets inside the console, which could have a negative impact on subsequent plug-ins by offsetting dynamics threshold levels or creating distortion. CTC-1 is equipped with gain compensation algorithms to avoid this effect. Two settings are available: With the Bus setting, master gain compensation is applied inside the bus in which CTC-1 is inserted, before any bus insert effects; with the Channel setting, individual gain compensation is applied in each channel routed into the bus.

Since CTC-1 is a Mix Engine FX plug-in, and processing is applied to many sources individually, CPU load could get out of control, especially when working on a large project with many channels. Here, ECO mode comes to the rescue, reducing processing by using simplified algorithms with less attention to the nonlinearity in the signals.

The CTC-1 Pro Console Shaper Add-on for Studio One 3 Professional 3.3.1 (or later) is available for US$79.99 at the PreSonus Shop.

More: www.presonus.com

The PreSonus Studio 26 and Studio 68 USB 2.0 audio/Midi interfaces offer affordable ultra-high-definition recording to a wide range of users.

Both interfaces record at up to 192kHz, 24-bit resolution and feature PreSonus’ microphone preamps, digital converters, ultra-low-jitter clocking and Midi I/O. Studio-series interfaces come with the company’s Studio One Artist DAW software for Mac/Windows.

The Studio 26 2x4 bus-powered audio/Midi interface features two front-panel combo mic and switchable line/instrument inputs with +48V phantom power for condenser mics. In addition to the LR main outputs, two balanced line outputs serve monitor mixing, while LED meters indicate input and output levels. A Cue Mix A/B function toggles between two mixes while monitoring through headphones – for DJs and listening in on a performer’s monitor mix. This combination targets podcasters, singer/songwriters, DJs and live streaming.

For small studios, the Studio 68 6-input/6-output audio/Midi interface sports two front-panel combo mic/line/instrument inputs and two rear-panel mic/line inputs. Main LR outputs are accompanied by two balanced line outputs for monitor mixing or speaker switching plus SPDIF I/O. There is also a Cue Mix A/B function.

Both PreSonus Studio-series audio/Midi interfaces are shipping with MAP/street prices of Studio 26 US$199 and Studio 68 US$299.

More: www.presonus.com

PreSonus has updated its Studio Magic Plug-in Suite for Mac and Windows. The bundle includes seven plug-ins in VST, AU (Mac), and AAX formats.

The Klanghelm SDRR2tube can be a saturation processor, a compressor, an EQ, a bit-crusher, or a subtle stereo widener—or it can simply add movement to tracks. A comprehensive set of controls allow manipulation of the character of the saturation to make it sit perfectly in your mix.

Output Movement is an effects plug-in for studio or stage that adds rhythms to any input in real time using four rhythm engines with sidechains, proprietary Flux mode, LFOs, step sequencers, and macros. Analogue modelled effects optimised for modulation add rhythm with reverb and compressors pumping, filters and EQs opening and closing, delays morphing, and tube distortion warming and cooling.

SPL Attacker is a micro-plug-in that employs the same Differential Envelope Technology as SPL’s Transient Designer. Using SPL Attacker, all attack events can be amplified, regardless of their signal level. By focusing on the initial transient instead of specific frequencies, SPL Attacker amplifies just the attack curves of a sound event. This allows instruments to be mixed at lower levels, which opens up space in the mix, while the relationship between tracks is preserved.  

Mäag Audio EQ2 two-band hardware equaliser for exceptionally low phase shift across all EQ adjustments, which helps maintain the integrity of a mix’s original sound while enhancing ‘air’ frequencies. An input attenuator enables levels to be normalised after applying EQ.

Lexicon’s MPX-i Reverb delivers seven classic Lexicon plate, hall, chamber, and room reverbs through a streamlined interface and 100 versatile, finely crafted presets. Input and output metering allow levels to be monitored at a glance.

The Brainworx bx_opto compressor combines the best aspects and anomalies from several light-dependent compressor circuits, providing a powerful dynamics processor that delivers sounds that can’t be achieved with analogue optical compressors.

Arturia’s Analog Lab Lite is a Greatest Hits collection of physically modelled classic analogue synths, organs, string machines, and pianos from Arturia’s V-Collection of virtual instruments. Enjoy models of iconic instruments from Oberheim, Roland, Sequential Circuits, ARP, Hammond, Fender, Wurlitzer, Moog and Vox.

The PreSonus Studio Magic Plug-in Suite is free to registered owners of PreSonus’ AudioBox 96 USB, AudioBox i series, Studio series, and Quantum series interfaces and StudioLive Series III, StudioLive AR USB, and StudioLive RML-series mixers. The software will be automatically added to registered users’ online MyPreSonus accounts when registering an eligible interface or mixer in 2018.

More: www.presonus.com

PreSonus Studio One 3.3 is the latest in a series of free updates to Studio One 3 Artist and Studio One 3 Professional, adding frequently requested enhancements, including integration with Notion music notation and performance software for Mac and Windows.

Together, Studio One 3.3 and the newly released Notion 6 bring music composition and arranging of note events to traditional notation for printing or editing, as well as the ability to work on arrangements with Notion’s composition tools. Compositions made in Studio One 3.3 can be sent as note data to Notion for editing and printing parts. Audio or note data for each track can be moved to a copy of Notion 6 running anywhere on a network or on the same machine. 

Compositions may be begun in Notion 6 or Notion for iPad and moved to Studio One for editing, sound design, and mixing. Notion 6 can find instances of Studio One 3.3 anywhere on a network, automatically open a new project, and send the audio files or note data, track data, VST instrument data, and score data straight to the DAW, retaining instrument name, score order, pan and gain settings, rehearsal marks, initial time signature, and metronome marks.

Other Studio One 3.3 enhancements include faster multitrack drum editing instant quantisation of an entire drum performance using beat slicing. New Autofill and Autofades options allow filling of gaps, removal of overlaps, and fading in one pass. Alternatively, quantisation and beat-based time-stretching can be achieved using a more advanced combination of Audio Bend and Elastique Pro 3 algorithms that preserves transients. New mixing enhancements include one-click global effects on and off, enabling quick A/B comparisons. Tracks, instruments or plug-ins can be disabled to reduce CPU load and save memory.

In addition, Studio One 3.3 Professional improves multi-processing in the DAW’s Mix Engine FX for better CPU performance and introduces a new video engine that replaces QuickTime for Windows and Mac OS-X. Based on AV Foundation for Mac OS-X and Microsoft Media Foundation for Windows, this new video engine supports more current file formats and improves audio extraction.

Studio One 3.3 is a free update for registered users of Studio One 3.0 and higher. Downloads are available from within Studio One 3 or from the user’s My.PreSonus account.

More: http://studioone.presonus.com

The PreSonus hybrid mixer series comprises the 18-channel StudioLive AR16 USB, 14-channel StudioLive AR12 USB and 8-channel StudioLive AR8 USB.

StudioLive AR USB mixers are equipped with a USB 2.0 audio interface that can capture all input channels, plus the main mix, to a Mac or Windows PC, at 96kHz, 24-bit resolution Audio can be recorded with PreSonus’ Capture live-recording software, and edited in Studio One 3 Artist DAW recording and production software – included.

For applications requiring a computer, StudioLive AR USB mixers are equipped with an onboard stereo SD recorder that can be used to pass the main mix without a computer. The SD recorder plays up to 32GB of MP3 and .WAV files for hours of music or backing tracks without a computer.

The new mixers feature the PreSonus Super Channel, accommodating four stereo analogue and digital sources at once. A media player can be connected to the Super Channel’s unbalanced RCA and mini-jack inputs to play stereo audio from the onboard SD recorder or from your USB-connected Mac or Windows PC. Bluetooth 4.1 will pair a smartphone to a StudioLive AR.

Other features include class-A mic preamps, two instrument inputs, three-band semi-parametric EQ, pan, mute and PFL solo. In addition to the main outputs, there are monitor mix outputs with dedicated buses for feeding stage wedges, a headphone amp, or an in-ear system.

Each StudioLive AR USB mixer has an internal stereo effects processor with 16 presets, including an assortment of room, hall, and plate reverbs; chorus and delay effects; and a preset that emulates an acoustically treated studio room. A dedicated effects return, with master level fader and monitor sends, allows adjustment of the amount of the effect in the main and monitor mixes.

All models are expected to be available in Q3 2016.

More: www.presonus.com

PreSonus has released the StudioLive AR USB-series of hybrid mixers for live performance and studio use. The series comprises the 18-channel StudioLive AR16 USB, 14-channel StudioLive AR12 USB and eight-channel StudioLive AR8 USB.

StudioLive AR USB mixers are equipped with a Mac- and Windows-compatible, 96kHz/24-bit, USB 2.0 audio interface and is bundled with Capture live-recording software and Studio One 3 Artist DAW production software.

Compact and road-ready, StudioLive AR USB mixers offer all connectivity and features needed to mix and record live, in the studio, and in rehearsal, including class-A mic preamps; instrument and line inputs; semi-parametric three-band EQ; and an internal stereo effects processor, providing an all-in-one solution for mixing and recording performances.

All models are equipped with an onboard stereo SD recorder that will record the main mix without a computer. The SD recorder will play up to 32GB of MP3 and WAV files without a computer.

StudioLive AR USB mixers also feature the PreSonus Super Channel, which allows audio to be played from four stereo sources simultaneously from unbalanced RCA inputs. Bluetooth 4.1 allows pairing of a smartphone with StudioLive AR USB mixers for wireless access to a music library or backing tracks.

All models are available immediately. MAP/street prices are: StudioLive AR16 USB US$599.95; StudioLive AR12 USB US$499.95; and StudioLive AR8 USUSB $399.95.

More: www.presonus.com

Prism Sound is extending the reach of its Mic to Monitor educational seminars by holding three of its forthcoming events in conjunction with the Abbey Road Institute, which now has centres in Paris, Melbourne, Berlin and London.

The 2016 Mic to Monitor tour kicked off at the new Abbey Road Institute in Berlin, before moving to Los Angeles for its second event. It will eventually visit more than ten cities around the world, including Paris and Amsterdam, where it will be held at Abbey Road Institute’s sixth centre, which is due to open later this year.

Targetting music production students, hobbyists and professionals, Mic to Monitor aims to dispel the myths surrounding the recording process, and explain what makes great gear great, what it takes to become a successful and in demand audio engineer, how recording professionals tackle different aspects of their productions and how a hit sound achieved.

Each seminar features presentations from recording professionals who will answer audience questions on recording techniques. Among those scheduled to take part are Tomato Sound Factory owner and producer Frederic Maury who will speak at the event in Paris in June, and Talvin Singh OBE who will address audiences in London in December. There will also be presentations from the pro audio equipment manufacturers that are supporting the events in each territory, and an opportunity to demo and win recording equipment.

‘Mic to Monitor has become an incredibly successful brand and we are delighted to be partnering with another internationally acclaimed Abbey Road Institutefor at least three of this year’s seminars,’ says Graham Boswell, Sales Director of Prism Sound. ‘No matter where you are in the world, there are always new recording tricks and techniques to be learned – even by people who are already making a successful living in this field. Mic to Monitor sets out to impart knowledge by providing a vehicle for recording professionals to share their experience with the next generation of audio engineers.’

‘As a music production educator, we encourage events like these that provide a platform to sound professionals who are willing to share their experiences and knowledge with other enthusiasts,’ says Abbey Road Institute CEO, Rudi Grieme. ‘We are very pleased to host the Mic to Monitor events at our Abbey Road Institute locations because of the high quality and innovation that Prism Sound stands for, and the variety of topics and guest speakers that highlight the music production process.’

Places at Mic to Monitor 2016 events are limited and are allocated on a first come, first served basis. Those wishing to reserve a place should visit Eventbrite for details of venues, dates and guest presenters.

With 20 songs written and recorded in pop-up studios in just four days, the 2017 Pro7ect songwriting retreat is regarding its fourth year as a significant point in its development and acceptance.

The highly creative environment of the Hotel Pelirocco in Brighton played host to producers Roni Size, Martin Glover (aka Youth), John Fortis, Andrew Levy, Stew Jackson, Ian Wallman and Jon Fletcher. Among those taking part were artists Billy Crabtree, Lily Dior, Eleni Drake and Georgia Train, part of the production and writing team Xenomania whose recent credits include the title track of the Kaiser Chiefs’ 2016 album, Stay Together.

Pro7ect has announced its intention to return to Brighton’s Hotel Pelirocco in 2017 for another week of musical collaboration with producer Andrew Levy taking part in the event for the second consecutive year.

Now in its fourth year, the retreat gives songwriters and artists the opportunity to work with A-list producers to write, record and produce music. These face to face collaborations with producers such as Liam Howe (Lana Del Ray/Ellie Goulding/FKA Twigs), Stew Jackson (Massive Attack/Phantom Limb) and Andrew Levy (Brand New Heavies) has already resulted in success, with a number of songs from previous events attracting attention from the international music industry.

‘Our aim is to facilitate creative retreats where songwriters, producers and musicians join forces to inspire musical collaboration,’ says Lisa Fitzgibbon, who co-founded Pro7ect with Ivor Novello nominated producer/composer Ian Wallman. ‘The benefits of collaboration are obvious – this year, for example, 14 participating songwriters and artists wrote and recorded 15 songs in four days. That level of creativity would be hard to sustain on your own, but when you get a group of like-minded people together, it is amazing to see what they can achieve.’

The Hotel Pelirocco setting lends an element of creativity to the experience. Now a by-word for those seeking seaside getaways laced with glamour and hedonism, the hotel has 19 individually themed rooms each reflecting a different aspect of Rock’n’Roll culture. Since its inception it has attracted many celebrity and music industry guests including the Happy Mondays, Primal Scream, Scissor Sisters, New Order, Chrissie Hynde and the Chemical Brothers.

For the duration of Pro7ect@The Hotel Pelirocco, four pop-up recording studios are installed at various locations around the hotel. Each is equipped with recording technology from renowned equipment manufacturers such as PMC, Focusrite/Novation, Roland and Audio-Technica. Participants work in teams led by a producer and write a track a day for four days. The teams are changed each day and the songs are either written for one of the artists in the room or to spec using tip sheets supplied by Pro7ect. Every evening there is a feedback session where teams play the result of their day’s work to the entire group.

‘This approach works really well – as can be seen by the successes we’ve had with songs written during previous Pro7ect@The Hotel Pelirocco retreats,’ Lisa Fitzgibbon says. ‘Elle Exxe is recording two of our songs on her new LP and another tack has gone to a synch option for TOWIE. A track written this year is also an option on the next Brand New Heavies album, while singer/songwriter Eddie Prove may include at least two tracks from this year’s retreat on his next album.’

‘It’s a great experience – an eye-opener and very inspirational,’ says Andrew Levy.

Pro7ect is a global network of musical professionals that facilitate creative opportunities for songwriters, producers and musicians to collaborate at residential writing retreats. We inspire musical collaboration. Pro7ect will take place to Brighton’s Hotel Pelirocco from the 12-17 March 2017

More: www.hotelpelirocco.co.uk/hp/pro7ect

Propellerhead Software Reason 9 music compsition software introduces new devices, sounds and tools, including  Player devices, Pitch Edit, workflow enhancements, and the addition of the Pulsar dual-channel LFO soft synth.

Reason 9 introduces three Player devices that instantly transform any Midi input into music. Note Echo creates rhythmic, pitched Midi delays for melodies and drum rolls, while Scales & Chords turns simple melodies into harmonies and chords. Notes can be transposed to a selected scale and used to automatically generate chords, and Dual Arpeggio transforms chords into rhythms.

Reason’s new Pitch Edit mode helps fix out-of-tune notes, adjusts vibrato, changes timing. Audio-to-Midi converts vocals to Midi notes. Reason 9 also comes with 1,000 new cutting-edge sounds. The Reason rack is also enhanced with key workflow improvements and darker theme options, for late-night studio sessions.

Reason 9 also now includes the popular Pulsar dual channel LFO – previously available as a Rack Extension via the Propellerhead shop. Use Pulsar to introduce variation to sounds, create entirely new ones using its advanced and flexible modulation, or load up any of the range of presets.

More: www.propellerheads.se

Propellerhead Software has announced the release of Reason 9 music production software.

Reason 9 introduces three Player devices that instantly transform any Midi input into music. Note Echo creates rhythmic, pitched Midi delays for melodies, drum rolls and other effects, while Scales & Chords turns simple melodies into harmonies and chords. Dual Arpeggio transforms chords into intricate rhythms, ranging from classic up-and-down to polyphonic and polyrhythmic.

A new Pitch Edit mode allows correction of vocals, fixing out-of-tune notes, addition of vibrato, change to timing, creation of new melodies from a recording, changes to the dynamics and other processes. Audio to Midi enables conversion of vocals to Midi notes.

Reason 9 also comes with 1,000 new sounds. The Reason rack is also enhanced with key workflow improvements and darker theme options, for late-night studio sessions.

‘For Reason 9, we focused on the journey from inspiration to perfection,’ says Propellerhead Product Marketing Manager, Mattias Häggström Gerdt. ‘The new devices and sounds can spark a million new ideas, while the new tools and highly requested features help you polish those ideas to perfection.’

More: www.propellerheads.se

Propellerhead Software has announced the v9.1 update to its Reason music production software.

Reason 9.1 is a free update to Reason 9 that brings Ableton’s Link technology to the Reason Rack. The first third-party DAW to support Ableton Link, Reason 9.1 can play in time with Link-enabled apps on desktop and mobile. The update builds on the Reason platform by introducing a host of new devices, sounds, and creative tools that inspire music makers to create music from initial concept to finished song.

Ableton Link was introduced in 2015 as a means to allow apps on different devices to play in time, needing only a Wi-Fi connection to start on the beat and stay in tempo. The technology was developed for Ableton Live and was quickly adopted in mobile apps such as Gadget by Korg, Figure by Allihoopa and iMaschine by Native Instruments.

‘Adding Ableton Link as well as the three new Player devices, 1,000 new sounds, Pitch Edit, numerous workflow enhancements and the addition of the Pulsar dual-channel LFO makes Reason 9 even more fun for making music – from initial jam to polished song,’ says Propellerhead Product Marketing Manager, Mattias Häggström Gerdt.

More: www.propellerheads.se