More interview footage to come with Ken and Rod!

http://www.epikdrums.com/

The VIRTUAL CONSOLE COLLECTION consists of two plugins, Virtual Channel and Virtual Mixbuss. Each plugin allows the user to choose from one of six modeled consoles. Virtual Channel is applied on individual mixing channels. Virtual Mixbuss goes on the first insert of the master fader. When using the Virtual Console Collection, your DAW instantly takes on
the personality of a real analog mixing desk. The imaging and depth improves, instruments sit better in the frequency spectrum, and mixing becomes easier and more musical. You can even push the DAW faders up to find each mixer’s ‘sweet spot’. This is due to the algorithms being dynamic, just like a real console.

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From Slate Digital Co-founder Steven Slate:

The Virtual Console Collection has been a dream of mine for years. I've always mixed on analog consoles because I love the color and sound that they provide, and I missed it while trying to mix "in the box".

The Folcrom allowed me to get the best of both worlds, and I've used it on hundreds of mixes and productions with great results. However, after creating Slate Digital with Fabrice Gabriel almost two years ago, one of the first things we looked in to was recreating the sound of analog mixing, but with digital.

This first lead us to the question: What is wrong with digital summing?

To answer this question, we first built our own digital summing buss. In fact we built three of them. Our conclusion?

NOTHING. Nothing at all is "wrong" about digital summing, whether it be fixed integer or floating point, dithered or undithered... None of these things had an audible effect that any human could pick out in a blind A/B test.

No, actually the problem is with analog summing. With an analog console, the audio path contains a lot of circuitry. By the time a mix is summed in an analog console and gets passed to the outputs, it contains varied degrees of harmonic distortion, phase distortion, and noise. However, it is these nonlinearities that sound "musical" to the human ear.

Fabrice Gabriel is not only a genius at audio DSP, but he has a degree in electrical engineering. He was able to carefully analyze the schematics of all the great mixing consoles and produce individual DSP modules that reproduce various parts of the circuit path, from line input amplifiers to fader buffers to summing amps. Over the past year, we then tweaked the modules by EAR in a mastering room to precisely match the hundreds of test files that were processed with each console.

Keep in mind, that an analog console is a dynamic instrument. As you begin to push the faders into the mix buss, the amplifiers start to reach their threshold and various changes occur in the harmonics and overall sound. This is all recreated in this plugin suite.

In conclusion, I'm so proud of this plugin, and I think it will change the way many people think of "mixing in the box". As we've been developing the Virtual Console Collection, we've been pleased to see other digital models of analog mixing pop up (such as the Harrison Mixbuss), showing us that this was an important issue for the audio industry, and we're glad to add to it.

The Virtual Console Collection is RTAS, VST, AU on both Mac and PC, and along with the whole Slate Digital line, will now be available very soon with a 14 day demo. I'm eager for you all to try them.

- Steven Slate

www.slatedigital.com

LOS ANGELES — Solid State Logic, the world’s leading manufacturer of professional digital and analogue consoles, is proud to announce the release of X-Patch at the 2010 Winter NAMM Convention, Booth 6907 at the Anaheim Convention Center from January 14th to 17th.

X-Patch is designed to deliver the flexibility of plug-in style routing to boutique analogue processing. Developed from technology at the heart of SSL’s acclaimed Matrix console, X-Patch provides a 16x16 SuperAnalogue™ routing matrix that can be Ethernet controlled remotely from a standard computer. SSL’s Logictivity™ Remote Studio Browser application provides Set-up, Configuration and Preset Storage and makes the X-Patch the perfect tool to incorporate analogue processing into any production studio environment. X-Patch can function as a simple ‘X-Y Router’ or as a ‘Matrix’ to create complex processing chains. This allows for analogue processing to be built into favourite processing chains and then easily placed into signal paths, for example, favourite Mic Pre, EQ & Dynamics processors recalled as the perfect vocal chain at a single stroke. In a studio environment X-Patch speeds up workflow and aids creativity by reducing the constant physical re-patching required when using only a patch bay for routing. Up to six X-Patch units can be controlled in parallel from a single instance of the X-Patch Logictivity Browser software.

X-Patch is also a powerful stage or studio live performance tool for guitarists. Once configured, X-Patch can operate independently of the Studio Browser application and host computer and has MIDI connections. Connection of a standard MIDI Foot Controller to X-Patch creates a versatile stand alone analogue routing/switching system for on-stage boutique instrument processing, or amplifier selection at a fraction of the cost of comparable professional on stage effects selection systems.

Key Features

* Inserts analogue processors into production workflow like plug-ins
* Suited to studio production and live performance applications
* Insert ‘chains’ can be created, saved and recalled
* Browser software controls routing and set up
* Ethernet connection to Mac or PC host computer
* 16 x 16 pure analogue routing matrix
* Rear panel audio connection via 4 x 25 way D-Sub’s
* Front Panel XLR inputs and outputs for channels 1 & 2
* SSL SuperAnalogue™ transparent audio performance
* MIDI connectivity enables use of Programmable Foot controllers
* +4dB and -10dB operating levels facilitate use of guitar pedals etc

X-Patch will be available Spring 2010 priced $1,199 + Tax.

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

NEW KEN SCOTT COLLECTION *EPIK DRUMS*

http://www.sonicreality.com/

Ken Scott's Take On The Recording Of The Beatles White Album

EPIK DRUMS A KEN SCOTT COLLECTION

http://www.sonicreality.com/

http://www.presonus.com/

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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.

http://www.seelectronics.com/whatsnew.html

Trident Audio Developments shows off their *NEW* HG3 Monitors designed by Harvey Gerst, Estimated Street Price Is Under $5000.

http://trident-audio.com/hg3.html

Think of it as the cost effective 44

How is it different than the classic AEA R44C ?

The new CE and CXE have simplified black and satin-silver exteriors. Their sound is the same as our 44C and CX classic Big-Ribbontm microphones. The CE replaces the CNE, our 2001 NAMM 100th anniversary model.

Cushion Mount: The CE cushion mount is machined from a single piece of aluminum and black anodized. The original R44C cushion mount is made from six pieces of hand-polished, bright plated and hand-assembled brass.

Yoke: The CE yoke is round-edge steel with a silver-satin finish. The AEA R44C yoke is a bronze investment casting that is bright polished and plated. It is identical to RCA’s zinc casting but is stronger and lasts much longer.

Grill: The perforated brass grills on the R44CE and the R44C are the same.

The R44C is bright polished and plated where the R44CE is satin finished.

Cable: Accusound Studio Pro Quad is used on the 44CE. The R44C uses the new Accusound Silver Triplex cable with a black cloth cover.

Transformer Case: Mechanically the cases are the same. The CE finish is all black with an epoxy logo front and rear. White for standard, and red for the high output CXE. The R44C case is the hand polished 1936 Streamline-Moderne Radio finish, black badged for standard and red for high-output.

Price: R44CE $2,800.00, R44CXE high-output $3,300.00. Price includes a 44VC case for protected shipping and vertical storage, and an extensive manual. AEA’s R-Series includes the classic R44C and high-output CX, the medium-distance R84, the stereo R88, the close-up R92. The active A-Series are the super-quiet A440 and the A840, use-with-any-preamp, Big-Ribbontm.

AEA/Audio Engineering Associates

1029 N. Allen Ave. Pasadena, CA 91104

stereoms@aol.com 1-626-798-9128 Fax: 1-626-798-2378

http://www.ribbonmics.com/