When it comes to production tips, you tend to focus on getting the song produced. Producer Chris Lake has shared a trick for the long term, however, that is definitely a must-know for all producers.

Posting on Twitter, the hit producer explained why he can no longer revisit old tracks and how he wished he’s thought ahead.

He said: “Once you finish a track, make sure you back up that project, but take into consideration how hard it may be to open this up in 10-15 years when you could get the rights back to your single (if you released it on another label).

“Often, third party plugins won’t work the same years down the road. It’s best to bounce out stems to audio. You can always open those up in another DAW down the line. I can’t revisit so many of my old tracks because I can’t find the right files / plug-ins etc to open them.“

Other major names in the industry were quick to support his point, including Laidback Luke and Bassjackers.

Lake also said he is planning on producing some video tutorials “soon” on how he approaches his project organisation – this tip will no doubt be mentioned in it!

The reason I’m highlighting this essential grain of knowledge is because it is so easy to lose old work, and it’s something I have had the misfortune of experiencing recently.

Whether you are changing computers or switching DAWs, there are plenty of reasons why files could be corrupted or simply not compatible anymore.

The way DAWs work is they remember all your VST settings and re-load them each time you open the project. If, for example, you no longer have access to a plugin, or have somehow lost a preset, you have no copy of the original audio and have to start from scratch.

The best way to resolve this is, as Lake said, to bounce your tracks and render them to audio. That way, you also have a copy of the audio, which does not depend on software working years down the line.

The post Chris Lake shares crucial production trick to avoid ‘same mistakes I did’ appeared first on Audio Ordeal.

Studio effects company Eventide have just launched their latest reverb pedal for guitars and synths, the Blackhole.

A historic element of Eventide’s sound, the Blackhole algorithm was introduced in Eventide’s DSP4000 Ultra-Harmonizer hardware processor and now opens a host of possibilities on a pedalboard.

With Blackhole, users can pick and choose from five presets to create “supermassive” atmospheres, with more available from the Eventide Device Manager software.

Blackhole can load as many as 127 presets via MIDI, which are also accessible in the preset list on the Eventide Device Manager (EDM – a PC or Mac application for software updates, system settings and creating/saving presets).

Five presets can be loaded at a player’s feet for access from a latching/momentary Dual-action Active Footswitch.

The rear-panel Guitar/Line Level switch allows impedance matching with guitars, synths, FX loops or DAW interfaces.

A single Aux switch can be deployed to Tap Tempo, or a triple Aux switch can be used for easy preset changing (up/down/load).

Blackhole offers multiple Bypass options:

• Buffered
• Relay
• DSP+FX
• Kill dry.

MIDI capability is available over TRS (for use with a MIDI to TRS cable or converter box) or USB.

Blackhole also comes with two types of infinite reverb.

“Infinite mode” continuously layers new sound on top of a suspended reverb while “Freeze mode” holds the effect in stasis, allowing musicians to play over the reverb tail.

The Freeze Footswitch allows instant access to this feature. Unlike other reverbs which may offer pre or post modulation, Blackhole features modulation built into the very reverb structure itself; this modulation can be used to smooth out the rough edges of the most extreme settings and offers unique tone- shaping ability.

Any combination of parameters can be mapped to an expression pedal.

Blackhole’s tone controls can be used to add airiness or tame the low end and movement can be added to the EQ controls via an expression pedal.

The unique Gravity control can custom-tailor the reverb tail in two realms – normal or inverse decay – to create interesting swells or suck the dry signal back into the reverb tail. At longer decay times, Blackhole allows the articulation to shine through without competing with the reverb tail.

Features

• Five presets loaded at your feet with dozens more available with Eventide Device Manager (EDM) software
• Control the Size of your space from a cartoonishly small room to a limitless universe
• Use PreDelay to offset the onset of the reverb
• Turn up Feedback to go beyond the event horizon
• Tap the Freeze Footswitch to instantly ‘freeze’ your sound 
• Dual action Active Footswitch is latching or momentary
• Rear panel Guitar/Line Level switch for selecting use with guitar, synths, FX loop or DAW interface
• Map any combination of parameters to an Expression Pedal
• Use a single Aux switch to Tap Tempo or a triple Aux switch for easy preset changing (up/down/load)
• MIDI capability over TRS (use with a MIDI to TRS cable or converter box) or USB
• Multiple Bypass options: Buffered, Relay, DSP+FX or Kill dry
• Catch-up mode helps dial in your sound when toggling between presets/parameters
• Eventide Device Manager PC or Mac application for software updates, system settings and creating/saving presets
• Fine-tune your tone with Lo, Hi and Q (resonance) controls. Use the tone controls to add airiness or clear up the low-end. Map the EQ controls to an expression pedal to add movement to the reverb tail
• Unique Gravity control to custom-tailor the reverb tail in two realms — normal or inverse decay. Create interesting swells or suck the dry signal back into the reverb tail. At longer decay times, Blackhole allows the articulation to shine through without competing with the reverb tail

Blackhole is available for $279 (MSRP)

The post Blackhole guitar and synth reverb pedal launched appeared first on Audio Ordeal.

A new polysynth called Generate takes chaos to the next level, developed by Newfangled Audio and distributed by Eventide.

Available at an introductory price of $99, Generate combines standard synth features with “revolutionary” chaotic oscillators to create complex pads, warm moving keys, jittery sequenced basses, out-of-control leads, and “oh my God” textures.

With Generate, what initially looks like randomness contains underlying patterns, interconnectedness, constant feedback loops, repetition, self-similarity, fractals, and self- organization.

Each of Generate’s five chaotic generators brings out these underlying patterns to create an oscillator that can smoothly fade from a sine wave to total chaos, with an expanse of territory to explore in between.

The musical textures created include distortion, harmonics, grunge, static, and noise – all of which can be predictably or unpredictably modulated.
Generate’s chaotic generators are routed through a Buchla 259 Complex Waveform Generator wavefolder, or novel Animated or Fractal wavefolders, each adding unique overtones. ]

SEE ALSO: Pioneer launches the CDJ-3000 with jog display and improved touch features

The signal chain includes a low pass gate inspired by the ideas of legendary synthesizer designer Don Buchla with added controls for Poles and Resonance.

These modules combine to give Generate a versatile and musical voice with its own unique flavor.

Every parameter in Generate’s voice can be modulated by a combination of two Envelope Generators, two LFOs, a Sample and Hold/Random generator, an 8-step Sequencer, and MIDI and MPE sources, the latter allowing amazing control from expressive controllers.

With up to 493 simultaneous modulation routings from its main page, the innovative modulation user interface allows users to easily and quickly patch any combination of sources to any destination, creating sounds that move, and which move listeners.

All modulation sources have multiple outputs generated at once, as a modular synth should, and every mod output being tied to every control delivers up to 493 modulation routes in an intuitive single pane.

SEE ALSO: Native Instruments launches Maschine+ as standalone hardware on October 1

The Double Pendulum, Wavefolder, and Low Pass Gate modules each have animations to show how each module responds to input, and to modulation.
The Generate radical chaotic oscillator has five types:

• Double Pendulum
• Vortex,
• Pulsar Discharge
• Turbine

Generate’s voice is followed by unparalleled EQ, Chorus, Delay, Reverb, and Limiter effects, all combining to launch chaotic sounds into outer space or right into listener’s faces.

Over 450 Presets, including sounds developed by renowned artists, provide a launch point for creative experimentation while three unique color schemes let users customize Generate’s look.

Newfangled Audio’s Generate requires an iLok account, but no dongle is necessary.

For macOS 10.9+, Pendulate is compatible with 64-bit AAX, AU, VST2 and VST3 protocols.

For Windows 8.1+, Generate is 64-bit AAX, VST2 and VST3 compatible.

To learn more, visit https://etide.io/generate.

The post Newfangled Audio turns chaos into sound with latest VST synth appeared first on Audio Ordeal.

Transmutator, a novel cross-fading plugin which challenges simple volume fades claims to open up a whole new level of creativity.

Starting life as the latest release from founding plug-in partner JMG Sound, Transmutator takes advantage of complex processing techniques balanced with easy-to-use controls.

The commonplace crossfade effect — simply speaking, making a sound be heard gradually as another disappears or becomes silent — can be useful, but the plugin’s creators claim Transmutator can up that transition for you.

READ MORE: Newfangled Audio turns chaos into sound with latest VST synth

Designed for many uses, it can transition between different sections in tracks (from verse to chorus or build-up to drop, for example), mixing between two songs (such as in a DJ set), or complement sound design (by fusing and morphing two elements together in various ways).

To use, it is simply a case of inserting the audio effect plug-in in a track, then feeding a second track into its side-chain input.

JMG Sounds’ Transmutator is available to purchase for a time-limited introductory promo price of €19.00 EUR until September 30, 2020 — rising thereafter to €69.00 EUR — as an AAX-, AU-, VST-, and VST3-compatible audio plug-in directly from United Plugins.

The post Change the way you cross-fade song elements with Transmutator appeared first on Audio Ordeal.

This article is originally published on descript.com.

Remote interviews are a fact of life for every podcaster, and in today’s era of social distancing, more so than ever. Since you rarely get the chance at an interview do-over, nailing down your remote recording workflow is essential. We’ll show you how to prepare for and record a remote interview, so you get it right the first time — with some additional tips along the way to make sure all your bases are covered. 

Choose the right remote recording setup for your podcast

The first step is to determine the remote recording setup that best suits the format and content of your podcast and your production and editing workflow.

In most cases, your best solution will involve recording remote interviews on Zoom, Skype, Google Hangouts, or a similar online conferencing service. This low-friction setup makes it easy for guests or co-hosts to contribute, but you’ll need to make sure you have the right software to record these interviews.

It’s also wise to make sure you can record phone calls. Phone interviews don’t offer great audio fidelity, but they make a great backup option in case of technical problems or schedule changes. Phone interviews probably won’t be your first choice, but it’s a good idea to be able to record a phone call just in case you need to. 

If you’re recording with the same remote co-host on each episode of your podcast, consider a double-ender setup, in which you and your co-host record your own audio tracks locally and combine them in post-production. For most podcasters, this isn’t the most convenient solution, but it does translate into the highest audio fidelity for you and your co-host.

The best way to record an interview is to prepare for it

When it comes to interviewing — especially remote interviewing — a little preparation goes a long way.

Do some research into your guest’s background, expertise, and projects. Who are they? Why is their work notable? What do you (and in turn, your audience) hope to learn from them?

Putting together a rough outline of the questions you’d like to ask will come in very handy. Write down a handful of specific questions and key points, but keep your outline broad and high-level. That’ll allow you to more easily adapt to the flow of conversation.

SEE ALSO: Best Home Gear for Podcasting in 2020

Maintaining that conversational flow remotely can be substantially trickier than doing so person-to-person. Prime yourself to listen more than you speak — in particular, try not to interrupt your guest. Editing out awkward silences between speakers is much easier than dealing with too much crosstalk!

When it’s time to record the interview, take a couple final preparatory steps to ensure a clean recording. Close all unnecessary software and set your computer to “Do Not Disturb” mode to make sure unwanted distractions don’t pop up (or worse: end up in the recording).

How to record a Skype call, Zoom interview, or Google Hangout

For most remote recording situations, Zoom, Skype, or Google Hangouts are your platforms of choice. All three are easy to set up, simple for guests to use, and feature audio fidelity good enough for most podcasts. 

Both Zoom and Skype offer built-in call recording functionality, but Google Hangouts currently limits this offering to enterprise users. There’s an additional caveat: the file format (.MP4 or .M4A) that each platform outputs may not be what you want, depending on your podcast production and editing workflow.

For maximum control over your final product, you’re better off using third-party apps to record computer system audio directly into the recording software of your choice rather than relying on their recording functionality.

If you’re on a Mac, BlackHole is a great open-source tool that allows you to route audio between apps, which means you can record the audio output from Zoom (or Skype, or Google Hangouts) directly into your preferred recording software. On Windows, Virtual Audio Cable offers similar functionality. 

If you’re already using Descript to record, you won’t need to use additional audio routing software. When recording audio into Descript, open the Record panel, choose Add a Track, select your input, and choose “Computer audio.” Click the Record button whenever you’re ready, and audio from Zoom, Skype, or Google Hangouts will be piped into Descript. 

No matter which remote recording setup you use, make sure you test it — and test it again — with a friend or colleague before you’re actually recording your podcast. Troubleshooting when you should be interviewing ranks near the top of everyone’s Least Favorite Things To Deal With, so make sure everything is in order before your guest is on the line.

How to record a phone interview with Google Voice

Social distancing means nearly everyone has gotten used to handling calls and meetings on Zoom, Skype, or Google Hangouts. But maybe your podcast guest is really old-school, or their computer is on the fritz, or maybe they’re simply only able to access a phone during your scheduled call time. It’s likely phone interviews will never be your first choice, but being able to record an old-fashioned phone call will come in handy.

Recording phone calls can be tricky, but using Google Voice to make an outgoing phone call from your computer means you can use the same remote recording setup detailed above to record the call.

Follow Google’s instructions to set up Google Voice and then learn how to make an outgoing call. Once everything’s set up, you’ll be able to record phone calls with Google Voice just like you’d record an interview on Zoom or Skype. 

Again, make sure to test with a friend and then test again before your interview. 

If lossless audio quality is a must, record a “double-ender”

For most remote recording situations, Zoom, Skype, or Google Hangouts are your platforms of choice. All three are easy to set up, simple for guests to use, and feature audio fidelity good enough for most podcasts. 

But if you have a remote co-host that regularly appears on your podcast, and you want to maximize the quality of your audio, a “double-ender” is the way to go: Each host or guest records themselves locally, and audio tracks are combined in post-production. For an additional cost, you can use third-party recording platforms that simulate double-enders without each speaker managing their own recording software.

A traditional double-ender sees each speaker recording their own audio track using their recording software of choice (Descript, Audacity, Quicktime, etc.), and then the host or editor combines each speaker’s recording into a finished product. Each speaker should have a decent microphone — if they’re using a laptop microphone to record, you probably won’t hear a substantial advantage with a double-ender over a Zoom, Skype, or Google Hangouts recording.

Alternatively, you can simulate a double-ender by using a platform like SquadCast, Zencastr, or Cleanfeed. These services record lossless audio from each speaker, upload each track to the cloud, and combine them automatically. These platforms cost money, but they’re a great alternative to a double-ender when guests or co-hosts don’t have the time or wherewithal to fiddle with recording themselves locally. Again, make sure each speaker has a decent microphone — otherwise you won’t reap the full benefits of lossless audio.

Make remote recording hassles a thing of the past

Recording your podcast remotely isn’t painless, but once you get the hang of it — and nail down your workflow — it’ll become second nature.

The post How to record a podcast remotely and get it right the first time appeared first on Audio Ordeal.

VST developer Tritik has released their latest plugin, Irid, a reverb plugin that sets out to give you deep control of reverb textures.

With a “specialised reverberation algorithm” and three tunable voices, Irid allows the user a wide range of sounds and creative control.

Expect anything from “grainy delay-like effects to rich and lush sounding spaces”.

READ MORE: Tritik Krush Review

The three voices take on pitch shifters and a frequency shifter, which allows for many more textural and ambience options compared to a standard reverb plugin.

Each voice features an output level control and a ‘reverse’ option for expanding the timbral possibilities by time-reversing the sound grains.

Irid includes more than 80 presets designed by Richard Devine, Emptyvessel, Audilepsy, and Tritik.

Key features:

• Three tunable voices with independent output levels and ‘reverse’ modes;
• Two pitch shifters (-1 octave to +2 octaves);
• Frequency shifter (-100 Hz to +2000 Hz);
• Versatile and transparent reverberation algorithm;
• Freeze function;
• Pre-delay with host-sync option;
• Modulation and Width controls;
• Low-cut and high-cut filter section;
• Fully resizable high-resolution interface.

Tritik Irid is available for €49, with a special introductory price of €29 until July 31, 2020.

The post Tritik launches new ‘tunable’ reverb plugin for deep textures and control appeared first on Audio Ordeal.

iZotope has launched Stutter Edit 2, the latest plug-in collaboration with GRAMMY-nominated composer and electronic musician Brian Transeau.

Stutter Edit 2 creates the famous “stutter” editing effect with one button, slicing audio into small fragments and sequencing the pieces into sharp rhythmic effects.

In addition to these trademark stutter effects, performers and producers can juggle between a multitude of rhythmic gestures to build tension and create dynamics, both in live performances and studio arrangements.

This new version offers an expanded suite of effects that give access to near-infinite combinations of sound.

With new AUTO mode, users can add sounds to mixes without routing or easily connect a MIDI controller to access multiple gestures at once.

The new version also includes an upgraded Distort module and new Comb, Chorus and Limiter modules, a new Reverb module from Brian Transeau’s personal collection, along with a suite of 11 effects.

Every parameter in Stutter Edit 2 can be set to move in time with the gesture, letting users create everything from automatic pans to jumping reverb effects and more.

Here’s what iZotope has to say on the features

• Stutter engine: Create instant rhythmic patterns out of any sound. Trap your hi hat. Make your vocals skip and jump. Turn percussion into pitch. Make an instant dubstep breakdown.
• An easier setup with AUTO mode for auditioning sounds in a mix with hassle-free with one button. Or hook up a MIDI controller with step-by-step in-app help that detects a DAW. 
• New Curve Editor affects any setting in Stutter Edit 2, letting you make sweeping filters, pumping reverbs, and blends of lo-fi energy. Drill into any setting to edit the curve in detail, or choose from 12 premade curves for instant inspiration.
• New effects modules: get the creative juices flowing with deeper controls and more options for motion and chaos. Stutter Edit 2 adds new Comb and Chorus modules, along with a full-featured Reverb and two-band Distort module. 
• New banks and gestures designed by BT deliver a wealth of effects, ideas, and sounds. Saved banks auto-map to your MIDI key keyboard, giving you dozens of gestures at your fingertips. 
• New UI experience offers a logical workflow, with a new dedicated output section, easier Stutter controls, and a flexible system for saving banks and gestures. 

“Stutter Edit 2 is unique in that it offers world-class effects and complex rhythmic parameter sequencing in a form that is playable by anyone,” said Brian Transeau.

“We are excited for this updated version to launch as its predecessor has already found its way into the studios of some of the greatest sound designers and artists, and the effect can be heard all over blockbuster films, hit songs, commercials and trailers.”

“With the first version of Stutter Edit, our collaboration with BT influenced music makers across every genre of music,” says iZotope co-founder and CEO Mark Ethier.

“We are thrilled to continue our partnership with BT and launch the next chapter of this pioneering product.” Stutter Edit 2 is now available at www.izotope.com and select retailers.

Stutter Edit 2 will also be available Rent-to-Own through Splice.

Pricing details for new customers and upgrading customers can be found at www.izotope.com/stutteredit. Owners of the previous version Stutter Edit can find their upgrade coupons in their iZotope account.

The post iZotope launches Stutter Edit 2 with revamped controls appeared first on Audio Ordeal.

BOSS has introduced the SY-1000 Guitar Synthesizer, an advanced synthesizer and modelling processor for guitar and bass.

The SY-1000 features a newly developed Dynamic Synth and refreshed versions of historic BOSS/Roland instrument modelling and synthesizer technologies. Backed by a cutting-edge sound engine, high-speed DSP, and evolved GK technology, the SY-1000 is a mighty pedal which will complement an electronic-influenced guitarist.

Availability & Pricing
The BOSS SY-1000 will be available in January 2020, for $999.99.

Leveraging custom DSP and GK independent string processing, the SY-1000 brings articulate tracking, lightning-fast response, instantly variable tuning, sound panning/layering, and more.

SY-1000 users can build patches with three simultaneous instruments – each with a number of distinctive types to choose from – and combine them for an endless range of sounds.

Fed by the processor’s 13-pin GK input, every instrument offers an extensive set of parameters for tone shaping, mixing, and tuning. A normal ¼-inch input is also available to blend in regular guitar/bass pickup sounds.

The pedal features 10 oscillator waveforms are available, plus six filter types, amplifier control, two LFOs, and two 16-part step sequencers for automating pitch, filter, and amplitude parameters. Optimum performance is realized with the GK input, but it’s also possible to play the Dynamic Synth via the normal guitar/bass input.

Complementing the Dynamic Synth are two additional synth instruments. OSC Synth is an analogue-style engine with numerous filter options and full ADSR control. Also included is a faithful sonic recreation of the GR-300, Roland’s legendary analogue guitar synth from the early 1980s.

The SY-1000’s instrument models include a large selection of classic electric, acoustic, and bass guitars, each with independent tuning, EQ, virtual amp settings, and more. There’s also a unique VIO Guitar instrument that emulates bowed tones, and a Poly FX instrument that produces rich voices with high-res definition.

The SY-1000’s effects and user interface are derived from BOSS’s flagship GT-1000 multi-effects. A large LCD and hands-on knobs enable free-flowing sound creation, and users can customize eight onboard footswitches to operate nearly any function. Deep external control is supported as well. Main and Sub stereo outputs include independent EQs, and there’s also an effects loop for integrating external gear.

Dedicated power-up modes optimize the SY-1000 for guitar or bass operation. For full access to all synth and modelling features, a Roland GK-compatible pickup and 13-pin cable are required. User-installable options include the GK-3 Divided Pickup, which is compatible with most standard electric guitars, and the GK-3B Divided Bass Pickup, which works with most 4-, 5-, and 6-string electric basses. GK Ready instruments are also available from many different manufacturers.

The post BOSS announces SY-1000 guitar synth pedal appeared first on Audio Ordeal.

IZOTOPE has just launched Dialogue Match, the first tool to automatically learn and match the sonic character of dialogue recordings – but it will only be available for Pro Tools users.

The announcement calls it the first product to combine “brand-new machine learning” with reverb technology from Exponential Audio’s product line, which was acquired by iZotope earlier this year. 

Re-recording mixers that are responsible for delivering the final sound mix for films and television programs, often need a way to quickly match dialogue from lavalier, boom mics, and ADR (Automated Dialogue Replacement), in order to create a seamless and cohesive dialogue performance.

With Dialogue Match, users can analyze the audio to extract a sonic profile, then apply the profile to any other dialogue track for fast and easy environmental consistency in scene recordings, allowing them to complete the tedious process of matching production dialogue to ADR in seconds, rather than hours.

“Users who have tested Dialogue Match are telling us that it will change the way they approach dialogue editing forever,” said iZotope’s senior product manager, Mike Rozett.

“We are very excited to collaborate with Exponential Audio founder Michael Carnes on this product and we’re both convinced that this technology will revolutionize the laborious process of getting continuity in dialogue.”

For re-recording mixers and ADR editors, Dialogue Match is a time-saver. Tonal characteristics can be matched between a boom and a lavalier microphone, localized audio can automatically be matched to the original language, and global snapshots and reference profiles can be saved or loaded. 

Dialogue Match Features

EQ Module leverages the EQ matching mechanics of iZotope’s Ozone 9 to quickly learn and match the tonal and spectral characteristics of dialogue.

Reverb Module Reverb Module uses brand-new reverb matching technology, powered by machine learning, to capture spatial reflections from one recording and accurately apply them to another via Exponential Audio’s clean, realistic reverb engine.

Ambience Module analyzes the spectral noise profile of a recording and identifies and re-creates room tone for a dramatic acceleration of the ADR workflow.

Dialogue Match is now available as a standalone AudioSuite Plugin for $599 MSRP.

iZotope does not currently support its use for any host application other than Pro Tools 11 or later. 

Dialogue Match will also be available as part of the following bundles.

• Post Production Surround Reverb Bundle ($1,199 MSRP)
• RX 7 Advanced Reverb Bundle ($1,499 MSRP)
• RX Post Production Suite 4 ($1,999 MSRP)

Operating Systems:

Mac: OS X 10.9.5 Mavericks–macOS 10.14 Mojave
PC: Win 7–Win 10
NOTE: Dialogue Match does not yet support Catalina.

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