After 20+ years in professional audio: live sound engineering, studio technical direction (Deep Forest, Pierre Jacquot), head of digital marketing at Playback.fr. A first-hand witness to the analog-to-digital shift, I track the whole audio landscape and break it down here — no fluff.
Martinic models the 1979 Moog Prodigy monosynth with its ACE technology, then grafts on what it never had: up to eight voices, a built-in sequencer and a spring reverb. Out at 34 euros.
The handheld was the missing piece of the Spectera ecosystem: the SKM transmits and receives on a single antenna, takes Sennheiser and Neumann capsules, and is driven remotely from front of house. Shipping from mid-September.
AEQ brings a modular AoIP console to IBC: up to 24 motorised faders and 180 channels in 3U, 10 N-1 busses, Dante, AES67 and optional MADI. A direct answer to stations’ operational constraints.
Drawmer just shipped the FC1 (FET) and OC1 (opto), two 500 Series modules under 300 pounds each. They cover two of the four big compression families. Here are seven 500 Series modules to round out your rack, from the FET that hits to the diode-bridge that colours, with real prices and honest use cases – no fake equivalents.
Letting one signal drive a processor on another: here is sidechaining explained, from ducking that clears the voice to electronic-music pumping, plus the detection filter that cleans up a bus.
MIDI carries digital messages, CV/Gate carries analogue voltages: here is how to make them talk and build a hybrid studio, from volt-per-octave to clock sync.
Mics, IEMs and intercom share the same spectrum: here is how to coordinate your wireless links without interference, from carrier spacing to intermodulation, from venue scanning to the frequency plan.
Telos Alliance brings the Omnia XII to Europe, its new FM, HD Radio and DAB broadcast processor: reworked architecture, the Clemenza clipper and fully remote operation.
Reverb is the most-used effect in the mix, and the most abused. Reverb types (room, hall, plate, spring, chamber), algorithmic versus convolution, and the five controls that decide whether your mix breathes or suffocates.
ReStem 2 splits a stereo drum recording into seven stems — kick, snare, hi-hat, toms, ride, crash and the rest — each on its own fader. Everything runs on your machine, nothing goes to the cloud, and the result is repeatable down to the sample. A realtime mode and a drum-replacement engine round out the new version.