Waves Audio has released the Primary Source Expander (PSE) plug-in – a tool to reduce stage bleed and sensitivity to feedback when a mic is idle by automatically lowering mic levels between musical phrases for live sound and for mixing live recordings.

At the heart of the Primary Source Expander plug-in is a precision expander, tailored to melodic sources such as vocals, guitars, strings, brass and woodwinds. PSE operated as a gain control that smoothly attenuates the channel’s level when the source goes below a set threshold. The user determines both the threshold and the amount of attenuation. Reducing stage noise leakage when microphones are idle will help users get an overall mix that is more coherent, more focused and has better phase relations.  

PSE also provides advanced sidechain and ducking controls for consistency and precision when treating complex live scenarios. When mixing FOH or monitors in a live venue and working on a live recording in the studio, PSE ensures that mics are as loud and clean as possible, while preserving the source’s original tone and the natural ambience of the location.  

More: www.waves.com/plugins/pse-primary-source-expander

Waves Audio has released the Smack Attack transient shaper plug-in to ‘add smack and bite’ to drums, loops and percussive sounds. The plug-in offers control over the level, shape and duration of transients’ attack and sustain.

Smack Attack can control the level, shape and duration of transients, giving tracks tightness and dynamics. Unlike traditional transient shapers, Smack Attack also gives pinpoint control over the transients’ shape and duration, as well as offering standard attack and sustain level controls. A Sensitivity control allows selective transient shaping – processing all transients, only the loudest, or anything between.

Smack Attack also features a user-friendly GUI with real-time graphic waves display; a limiter/clipper for driving your sound to the limit; and a Wet/Dry mix control for parallel processing. Smack Attack is also Midi-control-assignable.

More: www.waves.com

Waves Audio has introduced SoundGrid Connect to the SoundGrid driver, enabling connection of any ASIO/Core Audio-compatible audio interface to SoundGrid.

This dramatically increases the capacity of a SoundGridsystem, allowing hundreds of plug-ins to be run simultaneously, as well as streaming audio, and recording and mixing from multiple computers and DAWs at the same time. By offloading plug-in processing to the server, computer CPU capacity is also made available for other tasks.

Users who already have a SoundGrid I/O can also use SoundGrid Connect to expand their SoundGrid network and add to it any ASIO/Core Audio interface. SoundGrid Connect is available free of charge to any owner of at least one Waves software product.

More: www.waves.com

Waves Audio has released the Tune Real-Time plug-in.

Waves Tune Real-Time applies vocal pitch correction instantly and automatically, in live performances and pre-production, tracking and mixing in the studio. The plug-in’s pitch detection and correction technologies ensure that the tuned vocal retains the vocalist’s natural vocal sound, offering both subtle pitch correction and also creative pitch quantisation.

Operation is via a simple layout of intuitive controls and touchscreen. Waves Tune Real-Time can be easily programmed per song and customised to the singer’s articulation – controlling range, choosing a scale, and marking specific notes to fix or avoid. Control of the plug-in’s sensitivity, and tuning a singer’s vibrato while preserving its natural movement are possible.

Waves Tune Real-Time is compatible with all Waves SoundGrid applications and emotion mixers, and can work with any live console via Waves MultiRack without the need for complex set-ups.

More: www.waves.com

Having leaned his trade at New York City’s Sigma Sound Studios working on records for The Village People, Diana Ross, The Spinners and Ashford & Simpson and Stanley Jordan, Matthew Weiner has graduated from analogue roots to the network-based environment of his work at ShoreTel, a leading telecommunications developer.

‘You could say I’ve been in audio from the patchbay to the switch,’ he says.

Remote recording sessions of jazz artists have been a consistent part of his work, nad have seen him use a series of equipment set-up that now includes Focusrite’s Red 8Pre – a 1U-high eight-preamp interface that features 16 analogue inputs and 18 analogue outputs with dual Thunderbolt 2, Pro Tools HD DigiLink and Dante ports.

‘The Red 8Pre is amazing,’ Weiner reports, having used it both on location and at his Radiance Recording studio in Teaneck, New Jersey.

‘The efficiency it provides me is second to none – in a single rack unit, I can connect 24 channels of mics in addition to the eight it has built in, and use 32x32 Dante from anything to anywhere, routing any of the 16 analogue I/O and 16 Adat I/O as I need to without limitations. Also, I can provide a balanced analogue output and two unique headphone mixes with separate volume knobs. I can also pass through another Dante device as the 8Pre has a second network jack, making this like its own mini router.

‘As a result, it’s easy for me to hang another audio device that supports applications using the Dante audio-over-Ethernet media networking. I use as an additional way to drive a two-track output with volume control or to a router and my Yamaha DM1000v2, if that’s the right tool for the job.’

‘The Red 8Pre is Dante compatible, so my cabling can consist of inexpensive Cat cabling and an RJ45 jack – an equivalent Lightning/USB connection doesn’t go far, and for any distance you need to go optical, which costs way more to cover footage that is not even close,’ he continues. ‘Compare function, flexibility and cost, and the Red 8Pre wins out every time. It also has two Thunderbolt ports, so once again, depending on how you choose to work, you have options and you can send anything anywhere. This really could not be easier.

‘On my current project, I am overdubbing through the Red 8Pre and using it for routing as part of my Dante system. The delay is in the microsecond range, and it’s not at all noticeable to me or anyone that has been in the studio with me since I got it. With my Macbook Pro, two rack units and a few mics, I’m pretty dangerous. Congrats, Focusrite – I think you have a category killer here.’

More: www.focusrite.com

The next API Legacy AXS mixing console scheduled for delivery will find its home in a studio owned by producer Michael Marquart – formerly drummer with the band A Flock of Seagulls and now a record producer for some big names in music.

Marquart serves as the President of Windmark Recording, a multi-room recording studio complex in Santa Monica. The AXS will be a part of Marquart's private recording facility in Virginia.

‘I am very excited to install a new API 32-channel Legacy AXS console in my east coast studio,’ says Marquart. ‘I have long been a big fan of API’s mic preamps and the 550A EQ. Now I get all that and a lot more in a large-format desk. I especially like the moving fader automation.’

The console is set for a mid-July delivery, with commissioning shortly after.

More: www.apiaudio.com

Yamaha has launched the latest additions to the MT Series of professional studio monitor headphones – the HPH-MT8 and HPH-MT5 (available in black and white versions).

Along with the HPH-MT7 (launched in 2015), the new models complete Yamaha’s new line-up of live audio and studio headphones. MT Series headphones are designed to deliver flat, high-resolution sound with precise stereo imaging and faithful source signal reproduction, while providing a high level of isolation and comfort to ward off fatigue during extended monitoring sessions.

The HPH-MT8 and HPH-MT5 feature custom drivers, respectively equipped with 45mm and 40mm CCAW voice coils, along with powerful neodymium magnets. Made from aluminium wire coated in highly conductive copper, the lightweight-yet-powerful drivers deliver a broad frequency response of 15Hz-28kHz in the MT8 and 20Hz-20kHz in the MT5.

Ensuring that the new models have the necessary durability for the rigours of road travel, the rugged design features a comfortably-fitting closed-back, circumaural configuration with solid ABS housing and a sweat-resistant headband. The large ear pads feature smooth synthetic leather and low-resistance cushions which absorb excess vibrations and reduce sound leakage, providing outstanding isolation and stress-free wearability over extended periods. A three-dimensional arm pivot construction and adjustable slider length ensures the angle of the ear pads fit the wearer’s head perfectly, helping to alleviate fatigue. In addition, the MT8 features die-cast aluminium support arms and steerable earcups for single-ear monitoring.

The HPH-MT8 and HPH-MT5 both include a detachable straight 3m cable, equipped with corrosion-resistant gold-plated stereo mini-plug and 6.3mm stereo adaptor, allowing them to be used with both professional audio equipment and portable audio players. The MT8 is also supplied with a detachable 1.2m coiled cable.

‘Ever since the development of the industry standard NS-10M studio monitors, at Yamaha we have maintained a uniform approach in all of our recording and sound reinforcement products. This seeks to achieve the purest sound reproduction possible, giving our users an ideal platform to work from when creating their own signature sound,’ says Yamaha Commercial Audio Business Unit Director, Yoshiyuki Tsugawa. ‘In response to the growing trend of headphone monitoring in professional studio and live sound reinforcement environments, the HPH-MT8 and HPH-MT5 models were designed around this core concept of sonic purity. The aim is to provide everyone from sound professionals to casual listeners with headphones that offer superior fidelity, outstanding sound quality, and very high levels of comfort, durability and versatility.’

The HPH-MT8 and HPH-MT5 will be available during 2016.

More: www.yamahaproaudio.com

New and purpose-built, YellowRattle Studios is the new working home of producer/songwriter Paul Dackombe in the English countryside of Essex. At its heart is a 16-channel Genesys Black G32 mixing console.

With a 35-year career spanning drumming, songwriting and production – principally with with 80s pop band Explained Emma – Dackombe has built and run several studios, focusing on development and small label projects alongside his own label, Wire-Sound with Dave Formula from Magazine/Visage.

Time in and experience of studios – as both musician and producer – has given him a clear vision for YellowRattle: ‘I have used and owned various outboard preamps, EQs and compressors over the years, and have been lucky enough to have worked on many consoles, including the Neve 88RS at Abbey Road,’ he says. ‘For this studio build, I wanted to return to a single hybrid desk layout – although there are some outboard units I will not give up.’

Being familiar with the analogue sound of the 88RS, Dackombe turned to Neve to replace his SSL desk: ‘I looked at a variety of what I would call hybrid desks – a blend of analogue front end with DAW control and functionality – as I prefer to mix in a hybrid manner. The Neve sound made the Genesys Black a leading contender and, coupled with the modular structure and DAW capabilities, it was a winning choice,’ he explains. ‘I don’t think anything else came really close when all those factors were considered. The ability to choose between classic and modern pres and EQs is pretty unique outside of a 500-series set up, although I went for all the classic choices with my Genesys Black.’

Dackombe concedes that Genesys Black has presented him with a learning curve, but that it didn’t take long to climb it: ‘The flexibility is great,’ he reports. ‘There are any number of different workflow options and always a solution for different set-ups. And, of course, the legendary Neve sound – it sounded fantastic from the first moment we hooked it up.’

He is currently working on a writing project for a jazz/pop album, which is set for release at the end of April 2017. However, he’s also putting revisiting older projects. ‘I am now blocking out time slots in the studio to re-mix completed projects, as the finished product on this desk is so much better than my last set-up.’

More: www.ams-neve.com

Giving songwriters and artists the opportunity to work with A-list producers to write, record and produce music, the Pro7ect songwriters retreat will be hosted by Hotel Pelirocco in Brighton. Joining the team for the 2017 edition of the annual event is renowned music producer, songwriter, remixer and bass player Youth.

As an artist, he is a founding member if art-punk band Killing Joke while his collaboration with Alex Paterson resulted in the release of two albums as The Orb. One track in particular, Little Fluffy Clouds, defined ambient house and chill-out and brought these genres firmly into the mainstream.

‘My whole career has been about working with diverse artists, improvising, innovating and experimenting with music and sounds, as well as proper songwriting, so I am delighted to be part of the Pro7ect retreat,’ he says. ‘I’m looking forward to spending time at the Pelirocco, collaborating with some inspirational artists and seeing what we can create together.’

‘We are thrilled that Youth has agreed to take part in Pro7ect 2017,’ says singer/songwriter Lisa Fitzgibbon, who co-founded Pro7ect with Ivor Novello-nominated producer/composer, Ian Wallman. ‘His Maverick approach to the art of making music is legendary, and he is welcome addition to the P7 community.’

The Hotel Pelirocco has 19 individually themed rooms, each reflecting a different aspect of Rock’n’Roll culture, and has attracted celebrity and music industry guests, including the Happy Mondays, Primal Scream, Scissor Sisters, New Order, Chrissie Hynde and Chemical Brothers.

‘Collaborating with like-minded people in an inspirational environment is an amazing experience and it is surprising what can be achieved in just a few days,’ Lisa Fitzgibbon adds. ‘This year, for example, 14 participating songwriters and artists wrote and recorded 15 songs in four days. That is an incredible output – and what makes it even more impressive is the quality of the material produced. Elle Exxe is recording two songs from our 2015 retreat on her new LP and we also have synch options with TOWIE and Made In Chelsea for two more tracks. From this year’s retreat, one track is an option on the next Brand New Heavies album, while singer/songwriter Eddie Prove may include at least two tracks on his next album.’

For the duration of Pro7ect, four pop-up recording studios are installed at various locations around Hotel Pelirocco. Each studio is equipped with the latest recording technology and participants work in producer-led teams to 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. Every evening there is a feedback session where teams play the result of their day’s work to the entire group.

Producer Andrew Levy (Brand New Heavies) will return for 2017, with two further producers to be announced. runs from 12-17 March; the cost of participating is between £789 and £969, which includes food and accommodation for five nights. Places are limited.