Universal Audio Marshall Plexi Super Lead Plug-In

UA Marshall Plexi

PRESS RELEASE: Universal Audio and Softube are proud to announce the Marshall “Plexi” Super Lead plug-in — the only Marshall-branded amplifier plug-in on the market — coming exclusively to Apollo audio interfaces and the UAD Powered Plug-Ins platform in May 2015. The 100-watt Marshall Super Lead Model 1959, commonly referred to as the “Plexi,” is one of the world’s most celebrated guitar amps. Softube worked with Marshall and recording engineer Tony Platt (AC/DC’s Highway to Hell and Back in Black) to craft a stunningly faithful emulation of Marshall’s own reference Super Lead Model 1959 amp, built in 1967 and captured using an era-correct 1960BHW speaker cabinet in Kore Studios, London. Read More …

Mesa Cab Clone Makes Life Worth Living

Mesa Cab Clone

Aaah, that’s the stuff. Mesa Engineering has just announced the Cab Clone, a guitar speaker cabinet emulator and load box which lets you record your screaming, wailing cranked tube amp silently or to send a nice clean signal to a mixing desk via the balanced XLR output, plus a 1/4″ uncompensated output for sending your signal to a slave amp rig, cabinet emulated etc. Plus there’s a Thru output for sending the signal on to your speaker cabinet for ‘real speaker’ monitoring. It also has a compensated headphone output so you can get your groove on in your head without getting evicted/divorced. You can select between open-back, closed-back and vintage voicings, and there’s a DI level control for optimising the signal for mic, instrument or line applications. There’s also a Phase Flip switch and Ground Lift.

MUSIKMESSE: BOSS GT-001 Guitar Effects Processor

boss-gt-001PRESS RELEASE: BOSS is proud to announce the GT-001 Guitar Effects Processor, a sleek desktop unit with premium sound and an integrated USB audio interface. Equipped with a huge selection of top-quality COSM amps and effects, 1/4-inch and XLR inputs, and much more, the compact GT-001 brings flagship BOSS guitar tones and advanced recording features to any home studio or mobile setup. Read More …

COOL GEAR ALERT: Roger Mayer 456

456Ever felt that your digital mixes were just missing something? Something warm and musical and just flat-out real? Well, what you’re probably missing is the beauty of analog tape. There’s something very pleasing to the ear lurking in the particular way analog tape captures sound, and it’s something that’s impossible for digital technology to replicate. And yet, as Roger Mayer observes, these qualities can be captured on a CD, which leads us to the realisation that they can be incorporated within your own recordings too. But how? Roger’s 456, that’s how! It allows you to duplicate the dynamic and harmonic qualities of analog tape even within the digital realm. Here’s Roger’s extensive documentation about what the 456 is, what it does and how it does it. Read More …

COOL GEAR ALERT: Two Notes Torpoedo C.A.B.

CAB thumbnailAah! This is perfect! A lot of us are huge fans of cabinet impulses in the studio but there hasn’t really been a practical way of using them live. You could take your laptop to a gig, but then what if someone runs off with it and finds your porn stash? Well the Torpedo C.A.B. will help you to retain your tone and your dignity by providing cabinet impulses in stompbox form. It’s not a loadbox (so don’t expect to be able to silently record your amp head), but it does include all the other features of the Torpedo Live (which is a loadbox), together with an input stage specifically tailored to accept pedal-level signals.  Read More …

REVIEW: Digitech BP355

Bass players often seem to be given the short end of the stick when it comes to multieffects and recording-friendly products. There have been a few cool units over the years, but more often than not bass players are criminally short-changed when it comes to under-foot processing power. No more! DigiTech’s BP355 is going to change all that. Part preamp, part multi-effects unit, part looper, part recording interface, it’s an innovative piece of kit that covers a lot of basses… uh, bases.

Amp models? It has 21, based on – you ready for this? – Mesa Boogie Dual Rectifier, Fender Tweed Deluxe, ’63 Vox AC30 Top Boost, ’65 Fender Blackface Twin Reverb, ’77 Marshall Master Volume, Ampeg B15, Ampeg SVT, Ashdown Bass Magnifer, Demeter VTBP-201S, DigiTech Clean Tube, DigiTech High Gain, DigiTech Solo, Fender Bassman, Fender Dual Showman, Hiwatt Custom 50, Mesa Boogie 400+, SWR Basic Black, SWR Interstellar Overdrive, Sunn 200S and Trace-Elliot Commando (as well as a Direct voicing with no amp model to speak of).

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REVIEW: AVID ProTools 9

I’ve been using ProTools for years now and there have been all sorts of updates in that time, some minimal, some sweeping, but none so big as the behemoth that is ProTools 9. Along with the recently-released new Mbox line, ProTools 9 redefines ProTools and does away with the old LE level of software altogether. The most revolutionary, or perhaps evolutionary, aspect of ProTools 9 is that you no longer need to hook up an Mbox or a ProTools M-Powered unit to run the program. That’s a first for this series, and it’s something users have been asking for ever since ProTools first came out. For folks like you and I that means we can now drag our laptops around to edit audio in ProTools without having to lug our Mbox as well – all you need is your computer and your iLok with your ProTools licence. ProTools 9 will run standalone on Avid hardware, or on third-party audio interfaces, and it includes an enhanced feature set including automatic delay compensation, higher track counts, EUCON open Ethernet protocol support, which allows users to include Avid’s Pro Series and Artist Series controllers and consoles. Oh and get this: there are no feature or functional differences between ProTools HD 9 software and ProTools 9 software with the added Complete Production Toolkit 2 option.

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