API (www.apiaudio.com)
A recognized leader in the world of analog consoles and outboard gear, API has been building classic, time-tested signal processors for more than 40 years. With this new partnership, UA will be able to bring software emulations of coveted API products to UAD-2 platform users on Mac and PC.

Thermionic Culture (www.thermionicculture.com)
Manufactured and designed in the UK, Thermionic Culture is squarely focused on providing meticulously crafted, all-tube audio gear. With this new partnership, UA will be able to bring Thermionic Culture’s analog philosophy and distinctive sound to more engineers and producers worldwide.

"We're thrilled to welcome our new partners to the UA family," says Matt Ward, President of Universal Audio. "The legendary API signal processors and high-quality boutique products of Thermionic Culture both have something unique to offer UAD customers. We're looking forward to the products that develop from these partnerships."

For more info check out the gear slutz thread that is heating up fast! I am particularly interested about the discussion of Thunderbolt and its application with Pro Tools 10. Very interesting stuff!

EDIT:
There is now a thread dedicated solely to Pro tools 10 on gear slutz, check it out here.

Here is a translation from 4sound.se on the preliminary specs of Pro tools 10. I also converted the estimated prices the krona to the US dollar.

With ProTools 10 you can mix several audio formats in the same session - including interleaved - no need to copy files, ... which in itself had done your project fat, but still in the wrong sense.

ProTools 10 is designed with the pro in mind and offers powerful but easy tools for a well-oiled and time-saving workflow.

Get improved input / playback performance when working at a laptop with an external hard drive or network attached storage device.

Speed ​​up the editing and mixing with smart tools, Clip Gain and new audio suite.

Handle even the largest and heaviest plug-saturated arrangements with 16k Automatic Delay Compensation.
Sculpt your sound with an array of Pro Tools plug-ins from Avid and their partners, some of the best audio designers in the industry.

Pro Tools comes with 75 virtual instruments, effects, sound processing, and tooling plug-ins - some of which emulates classic hardware processors, amplifiers and instruments as well as the reputed eqn and the dynamics of systems 5. (One of the most sought after consoles used to create the richest mixes of all time)

Prices. (Preliminära.)
PRO TOOLS 10 | FULL [Ilok + CARD] 6499 SEK($981.14 US)
PRO TOOLS 10 | LE9 CROSS GRADE [CARD] 4999 SEK($754.69 US)
PRO TOOLS 10 | MP9 CROSS GRADE [CARD] 4999 SEK($754.69 US)
PRO TOOLS 10 | PT9 UPGRADE [CARD] 2 199 SEK($331.98 US)

Talk with your 4Sound store for more info.

• Virtual Instruments:
• Boom ®-drum machine and sequencer
• DB-33 tone wheel organ with rotating
speaker
• Mini Grand acoustic grand piano
• Structure ® Free sample player-
• Vacuum monophonic tube synth
• Xpand! ® 2-synth and sample workstation
• Big Fish Audio 8 GB sound library
• Over 70 effects, sound processing, and utility
plug-ins, including:
• AIR effects, high-quality reverb, delay,
flange, and Other Effects
• Avid Channel Strip, EQ and System 5
compression modeler
• DB 76-1176 compressor emulation
• D-Verb ™-Professional-grade reverb and
ambience processing
• Eleven ® Free-guitar amp and effects
Emulator
• EQ III and Dynamics III-high-quality EQ
and compressors / limiters
• Maxim ™-peak limiter and mastering

What is The Time Modulator?

CONTROL TIME ITSELF! - with The Marshall Time Modulator (now in a convenient, cross-platform plug-in size!)

Once in a while something is created that is so good, so unbelievably useful, it becomes "timeless"...

The Marshall Time Modulator is one of those creations. Before there was much "digital" anything, and before records were considered something anachronistic and nostalgia evoking, back when "Dark Side of the Moon" was new and Hip-Hop kind of a distant dream, Stephen St. Croix had an idea: What would happen if you took the the longest analog delay line possible, gave it the greatest signal to noise ratio in a piece of outboard gear, and then made the modulation of it possible over such a wide range that it could effect sound in ways sublime AND outrageous. Something so utilitarian and necessary that it could fit in equally well on Stevie Wonder's "Songs in the Key of Life," or as the means of giving extra gravitas to the sound of a bad acid trip. Stephen called it: The Marshall Time Modulator. You'll call it "indispensable".

http://intdevices.com/proaudio/product/show/11/

Bombardier is our most ambitious project to date – a premium quality buss compressor, tailored for smooth and musical processing of complex audio such as drum groups, vocal stems and your full stereo mix, lending a controllable sense of weight, fluidity and cohesion.

Bombardier gives a nod to the non-linear and frequency-variant subtleties of a wide range of Grade-A hardware buss compressors, and should you wish these can be pushed almost into the realms of a character compressor.

Due to its RMS compression engine (and unlike The Rocket, which uses peak compression), Bombardier is ideally suited to final mixdown and mastering usage, as well as for those who like to set up buss dynamics first and then mix ‘into’ the buss compressor.

Bombardier’s party piece is the new and unique ‘bomb’ processing algorithm which, when selected, gives attack and release settings that are effectively instantaneous while yielding exceptionally smooth gain reduction. Bomb mode is sure to become a firm favourite with mastering engineers the world over, but can also give extremely satisfying results in single track and buss applications

Five different and highly effective pre-emphasis filter modes vary Bombardier’s response to the frequency spectrum and are key to preserving transparency during full-mix compression.

Bombardier is very flexible, offering forward/feedback topologies, variable and automatic release behaviours, sidechain operation, parallel processing and variable gain reduction range limiting. Choosing appropriate settings for the task at hand is critical to getting the best out of Bombardier, so a full range of well chosen presets are provided.

http://www.stillwellaudio.com/?page_id=342

More interview footage to come with Ken and Rod!

http://www.epikdrums.com/

Changes: Unsecretly awesome

* Fix for crash in some take related actions
* Grouping: project setting for selection to follow grouping (right-click group button on toolbar)
* Import: prompt for behavior on first import of REX or multichannel MIDI
* Media items: optimized item memory use
* MIDI: allow sending all-notes-off from plugins and MIDI items
* OSX: better keyboard behavior in key assignment window
* Project load: faster filename resolving/caching, better handling of missing files
* ReaSamplOmatic: avoid artifacts when looping very short samples
* REX: fixed possible loop glitch, buggy peaks drawing when importing as a single looped item
* REX: properly save/load imported looped item tempo
* Save as: save with trim now looks for overlapping regions and does not save duplicates
* Sends: MIDI CC actions to set/adjust selected track send volume/pan
* Tempo: MIDI CC actions to set/adjust tempo (coarse and fine)
* Undo: better memory limit targetting (even if it means fewer undo points kept)

OS Requirements:

Windows (32-bit): Windows 98/ME/2000/XP/Vista/7 or WINE (limited support for W98/ME).
Windows (64-bit): Windows XP/Vista/7 x64 (requires x64 compatible drivers for audio/MIDI hardware).
OS X: 10.4, 10.5 or 10.6, PPC or Intel (Intel recommended).

http://www.reaper.fm/download.php

Ken Scott's Endorsement Of The UAD Trident A-Range Plugin

NEW KEN SCOTT COLLECTION *EPIK DRUMS*

http://www.sonicreality.com/

http://www.presonus.com/

For full story click the continue reading button to the right

Following up on the runaway success of its StudioLive 16.4.2 digital mixer, PreSonus announced a new member of the family: the StudioLive 24.4.2. Like its 16-channel sibling, the 24-channel StudioLive 24.4.2 is designed for both studio recording and live sound, without compromising the requirements for either.

StudioLive 24.4.2 sports the same friendly user interface, robust feature set, and extensive I/O configuration as the StudioLive 16.4.2 but with several significant additions and enhancements. The most obvious difference is that the new mixer provides 24 input channels, rather than 16. As with the 16.4.2, each input features a trim pot, XLR mic input with XMAX™ mic preamp, 1/4-inch TRS balanced line inputs and unbalanced insert points. Like the 16.4.2, the StudioLive 24.4.2 offers 4 subgroup outputs, but where the 16-channel model offers 6 aux buses, the 24.4.2 provides 10 aux buses.

Of course, both StudioLive models serve as dual-port FireWire audio interfaces that can route all channels and buses to and from a Mac or Windows PC. But where the 16.4.2 is a 32x18 FireWire interface, the 24.4.2 can send 32 channels to the computer and can return 26 channels via FireWire.

The now-familiar Fat Channel provides extensive metering and the programming interface for the EQ, dynamics processing, high-pass filter, and signal routing. But the StudioLive 24.4.2's Fat Channel provides a 4-band fully parametric EQ, an upgrade over the StudioLive 16.4.2's semiparametric equalizer. The StudioLive 24.4.2's gate/expander has also been upgraded from the gate/expander in the 16.4.2, adding Key Filter and Key Listen features.

Like the StudioLive 16.4.2, the StudioLive 24.4.2 provides 31-band graphic EQ. But whereas the 16-channel mixer has 1 stereo graphic EQ for the main bus only, the 24-channel StudioLive has 4 stereo 31-band graphic EQs, and they're available to the main, subgroup, and aux outputs. The graphic EQ's settings can be stored and recalled individually or as part of a mix scene, as with every other setting on the StudioLive.

Otherwise, for the most part, the StudioLive 24.4.2 has essentially the same feature set and interface as the StudioLive 16.4.2. Nothing has been taken away. You still get two stereo 32-bit effects processors, stereo tape sends and returns, a talkback section, stereo S/PDIF digital output, and all of the other powerful StudioLive features. You can daisy-chain the StudioLive 24.4.2 with another StudioLive (either model) and with FireStudio-series interfaces, to create a mega-system with up to 52 inputs and outputs for mixing with recording. Up to three StudioLive 24.4.2s can be daisy-chained in Standalone mode for live mixing without recording.

The two StudioLive models offer the same superb audio quality, with high-headroom, 32-bit floating-point processing; Class A XMAX™ mic preamps; and 24-bit, 48 kHz digital converters with 118 dB dynamic range. Both mixers' FireWire interfaces work with any ASIO- or Core Audio-compliant audio application and are compatible with Windows and Mac OS X, including Windows 7 and Mac OS X 10.6 (Snow Leopard). Latency is so low that you can use your host program and plug-ins with either StudioLive in real time for live performances.

StudioLive comes bundled with PreSonus's new Capture™ 1.1 recording software for Mac OS X (including OS X 10.6) and Windows (including Windows 7). Designed primarily for live recording, Capture is preconfigured to record with the StudioLive, so all mixer channels are correctly routed to Capture tracks. Launch Capture, open a new session, click once to arm all tracks, click on Record, and you're capturing the audio from up to 32 channels and a stereo bus of your choice! It could not be simpler.

You also get a free copy of PreSonus' groundbreaking Studio One Artist digital audio workstation software for Mac and Windows, which features unlimited track count, a full complement of PreSonus Native Effects plug-ins, and more than 4 GB of third-party resources.

With outstanding ease of use, top-quality sound, roadworthiness, cascading multiple units, bundled recording software, and the features you want for both studio and live applications—and now more channels and aux sends, fully parametric EQ, an enhanced gate, and more flexible graphic EQs—the StudioLive 24.4.2 is absolutely loaded. To top it off, with an expected street price of $3,299, it is an outstanding value that competes head-to-head with digital mixers that cost several times its price.

About Logic Pro 9.1

This update delivers improved compatibility and numerous fixes.

Issues addressed include:

• Support for 64-bit native mode
• Compatibility with 64-bit Audio Unit plug-ins
• File names with over 32 characters are now supported
• Samples are now mapped correctly when using the "Contiguous Zones" option in the EXS editor

Updated System Requirements

• 32-bit mode requires Mac OS X 10.5.7 or later
• 64-bit mode requires Mac OS X 10.6.2 or later

The update is recommended for all users of Logic Pro 9.
For detailed information on this update, including some restrictions when working in 64-bit mode, please visit this website:
http://support.apple.com/kb/ts2565