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Music Industry News


    Glide Magazine premiered the new track from Racine, WI-raised and Oakland, CA-based singer-songwriter Pezzettino called “How To.”

    Glide calls the song “a delicate folk-rooted composition that combines the humility of Big Thief and the musical curiosity of Regina Spektor. Pezzettino has created a song of enduring aspiration, where daily struggle and hope combine for a musical buildup that is indie folk at its most haunting.”

    Read the entire premiere HERE

    The song comes from Pezzettino’s upcoming album, Resin which is out on February 8th.

    read more

    The Big Takeover premiered the new track from Montreal-raised and NYC-based singer-songwriter Matt Shapiro called “Rockaway Girl.”

    The Big Takeover says of the track “It’s an up-tempo strummer and hummer that dashes off the starting line of the track and quickly introduces the distorted synth-organs that are one of the record’s sonic hallmarks. It’s an exuberant, lo-fi affair with organs grinding alongside pulsing bass and drums and Shapiro’s reverb-drenched vocals floating overtop.”

    See the entire premiere HERE.

    “Rockaway Girl” is the opening track... read more

  • Orouni

    The practice of a meticulous craft, a fascination for ambitious compositions, a strong attachment to the art of songwriting, a desire to set a palette of emotions to music, ranging from assumed melancholy to contagious euphoria, openness to the world and more: Orouni shares so many values and desires with December Square that his presence within the family seems self-evident.

     While some pursue experimental research reserved for experts and others lose themselves in their mad quest for global... read more

  • HARD-ONS! Join Rose Tattoo For ‘Still Never Too Loud’ Tour 2019!
    HARD-ONS! Join Rose Tattoo For ‘Still Never Too Loud’ Tour 2019!

    Rose Tattoo’s – ‘Never Too Loud’, released in 1997 through Repertoire Records Germany, was a ‘Popumentaryread more

  • Press Club tour dates April/May 2019
    Press Club tour dates April/May 2019

    Tour announcement: Press Club
    Tour dates: April/May 2019
    More info: Band website

    With Press Club having already risen... read more

  • Nick Waterhouse new album out 8 March 2019
    Nick Waterhouse new album out 8 March 2019

    Album release: Nick Waterhouse
    Release date: 8 March 2019
    Label: Innovative Leisure
    More info: Artist website

    Los Angeles-based musician... read more

  • Active Bird Community tour dates January 2019
    Active Bird Community tour dates January 2019

    Tour announcement: Active Bird Community
    Tour dates: January 2019
    Label: Barsuk Records
    More info: Band website

    Following the... read more

  • Daniel Steinbock Announces Single, “13 September”
    Daniel Steinbock Announces Single, "13 September"

    The new indie folk single, “13 September”, from California native Daniel Steinbock, pulls a remembered young love from the depths of an acoustic daydream. The song navigates through gentle fingerstyle guitar as odes to a first sweetheart conjure tender moments out of true love’s past. The single is off the upcoming debut album, Out of Blue, out February 15.

    Steinbock narrates the tale of two warm souls falling head over heels, an homage of... read more

  • Ghettoblaster premieres the new Terry Ohms video

    Ghettoblaster premiered the new video from Terry Ohms today called “Bring All to Front.” To accompany the video release, they also did an interview with Ohms where he discuss some of the songs’ origins and what he’s currently listening to.

    “Bring All to Front” comes from Terry Ohms upcoming album, Terryfirma. Recorded in his basement, Ohms not only played all the instruments on the album but he also directed his own music videos.

    Check out the video and read up on the full post... read more

  • THE TWILIGHT SAD! ‘It Won/t Be Like This All The Time’ Album Out 18th January (Rock Action Records)
    THE TWILIGHT SAD! ‘It Won/t Be Like This All The Time’ Album Out 18th January (Rock Action Records)

    Glasgow's The Twilight Sad return with the latest single from their fifth full-length – and their first for their new label read more

Featured Articles

  • Native Instruments Komplete 12

    Native Instruments are back! Today NI announced a whole new line-up of hardware and software including the highly anticipated Komplete 12. These releases signify a move to make their ecosystem more accessible for all types of users, from beginners wanting to make their first beat, all the way through to serious producers and sound designers who demand the best sound quality and the most diverse content to cover all genres and styles.

    So what’s new? Hardware first…:

    Well let’s start with the Komplete Kontrol S88 MK2, the Komplete Kontrol MK2 range was released last year with the 49 and 61 getting the facelift with a fresh new professional look and vastly improved UI. But the 88-note flagship weighted S88 was left sadly left behind, until now!

    The S88 has now undergone the MK2 treatment; it now features the two screens for navigating your presets and managing your parameters, it features the same super high quality FATAR weighted keybed as it's predecessor, capacitance encoders, light guide, deep Komplete integration, full NKS support, after touch and physical pitch and mod wheels plus more of the features which the MK2 range has become so well known and respected for.

    Komplete Kontrol S88 MK2 Komplete Kontrol S88 MK2

    So if you’re after a truly expressive, fully weighted keybed with NKS support, deep DAW integration and the best integration with your Komplete library, then there’s no better option than the S88 MK2.

    Next up is the new Komplete Kontrol A Series, a price conscious take on the aforementioned Komplete Kontrol series.

    Available in 25, 49 and 61 note variations the A Series represents the very best of NI’s hardware innovations in a more affordable package. The A series retains the super slick navigation, encoders and form factor of the Komplete Kontrol S range, but it forgoes the dual screen layout and opts for a high resolution OLED display, USB MIDI (no Din MIDI) output, plus a custom keybed designed specifically for NI and this range, which feels almost identical to the FATAR keyboards from their premium lineup, providing the same positive, quality feel you're used to.

    Komplete Kontrol A49 Komplete Kontrol A49

    This new range allows users to access NI’s ecosystem of Komplete instruments, effects, NKS and superb DAW integration without having to invest into a premium keyboard. If you’re happy using your computer screen to navigate your software library and you don't need the light guides, then the A series is just the ticket.

    A Series is NI quality at a price point you wouldn’t expect. Each A Series keyboard ships with Komplete 12 Select and Maschine software with 2GB of content, meaning you can get right to work making music, right out of the box.

    Speaking of Maschine:

    Maschine see’s its first hardware addition since the highly successful Maschine MK3 with the announcement of Maschine Mikro MK3, a brand new take on the Maschine Mikro Groovebox. In the style of the A series keyboard lineup, Maschine Mikro forgoes it’s bigger siblings colour screens, and opts for a more subtle, yet highly usable OLED display.

    All of the mod-cons from MK3 have been carried over to the Mikro MK3, the up-rated and enlarged RGB pads, the touch strip, lightening fast browsing and super slick step sequencer, but the overall size has been slimmed down into a Mikro chassis, making it great for a portable setup, a second controller for more advance beatmakers, or a quality step sequencer for your DAW environment.

    Playing the pads on the Mikro, you instantly notice that they are IDENTICAL to the MK3, with all the bounce, snap and response you expect from an NI pad, with just enough squish in them to make pressure based effects and beat repeats accurate and effortless.

    Maschine Mikro MK3 Maschine Mikro MK3

    During the RND process of designing the Mikro, NI digested and analysed all of the most commonly used shortcuts and actions used by maschine users to dial in the perfect workflow within the restricted space the smaller chassis provides, so there’s less shift commands and menu diving than ever, but it’s super simple to build your perfect groove.

    So for aspiring beat makers, finger drummers and producers wanting an affordable yet incredibly high quality hardware solution to their beat-woes, the Mikro MK3 is a serious contender. Mikro MK3 ships with Maschine software and includes thousands of sounds, so you’re sure to never dry up for creativity.

    Just tell me about Komplete 12!!!

    Well this is the biggie isn’t it? Of course, EVERYONE knew it would eventually come but in true NI style they’ve really outdone themselves this time around, squeezing in more content, instruments, effects and now expansions than ever available in any other version of Komplete.

    Komplete 12 Ultimate Collectors Edition

    In Komplete 12 there’s even more tools available at your disposal than ever before, with a whole host of new instruments, effects and some revamps of some world class classics, such as the genre defining Massive and Kontakt which have been upgraded to Massive X and Kontakt  6 respectively.

    Expansions are also included as part of Komplete now, for the first time ever. Meaning all of those lovely sounds you wanted access to....well they're all included as part of the Komplete experience. There are now four versions of Komplete 12 available, let’s have a rundown of what you can expect to see in each version and see what’s fresh and new:

    Komplete 12 Select, your entry point into the Komplete ecosystem. Bundled with a variety of NI hardware, this essential software collection is also available separately and provides you with 45GB of sound content, instruments, samples and more to get any enthusiastic songwriter off the blocks. Updates to the full versions are also available further down the line.

    Included in Komplete 12 Select Included in Komplete 12 Select

    Komplete 12, the industry standard software instrument platform returns. With over 50 instruments and effects and 220GB of content, Komplete 12 is the perfect tool to get the music in your head out into the real world.

    Included in Komplete 12 Included in Komplete 12

    Komplete 12 Ultimate, Ultimate by name, Ultimate by nature. A breathtaking collection of the creme-de-la-creme of NI's software titles. The package if you're looking for deep synthesizers, beats, samplers, pianos, bagpipes (remember that!?), strings, orchestral, modular and so forth.

    "But wait, you said four versions?" Ah yes I did, the fourth version is a new package from NI, something I am personally very keen to spend days installing and tinkering with, it is.....

    Komplete 12 Ultimate Collector’s Edition, a completely new version just for the release of version 12. The Ultimate Collectors Edition is for the VERY serious producer who simply needs any conceivable sound at their fingertips at any one time. It includes everything from Komplete 12 Ultimate (as above), but it also includes all of the Symphony Series, Creative Effects and Expansions that were released between 11 and 12, making it the most cost effective way of owning the largest collection of NI titles, in one package....just look at it.

    Included in Komplete 12 Ultimate Collectors Edition Included in Komplete 12 Ultimate Collectors Edition

    System requirements are below and are the same throughout each version, it’s just the hard drive space you need to budget for, and at a whopping 990GB for Komplete 12 Ultimate Collector’s Edition, you better get the 2TB SSD sharpish, because you’re going to run out of room!

    • Windows 7,8 or 10 (64-bit with latest service pack)
    • macOS 10-.12 or 10.13 (latest version)
    • Intel Core i5, 6GB RAM
    • Supports ASIO, Core Audio and WASAPI
    • Runs in 64-bit VST, AU and AAX hosts

    And with any Komplete release there's opportunities to get very favourable prices on upgrades from your current version, or if you're not to NI & Komplete you save £££'s when you buy with a hardware bundle, by upgrading the included version of Komplete Select to your desired Komplete version. Call us to discuss your upgrade path.

    All of this fresh new hardware is set to ship in 2018, with some software and hardware coming as early as next month, so give us a call to see what NI hardware is the best fit for you and your projects.

    For more information about Native Instruments speak to our in store specialists (and NI users) Li Daguerre and Tom Lewis.

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    Which Plug-ins come with my UA Interface?

    We often get asked which UAD plug-ins to use and add with UA Interfaces, but it's always worth checking out the plug-ins that come bundled with them. Below is a roundup of all the UA Plug-ins that come FREE with any of the Audio Interfaces from Universal Audio - so before you start adding to you system, see what you've got included below :



    UA 1176SE KMR Audio

    1176SE/LN Classic Limiting Amplifiers (Legacy)

    Probably the most famous FET compressor out there, the 1176 is suitable for vocals, bass, drum overheads, guitars, synths..you name it. It will crunch up if you drive it and works wonders if you parallel it on vocals or layered backing vocals for some extra bite.


    La2a Legacy UAD KMR Audio

    Teletronix LA-2A Classic Leveling Amplifier (Legacy)

    Probably the most famous optical compressor out there! The Teletronix LA-2A has been the staple vocal compressor for years (sometimes using it in series through an 1176 as well). Perfect for getting those vocals to sound the way they should. With it's easy to use layout, you'll probably end up using it on many instruments - as it's that easy to get it to sound great!


    Pultec EQ Legacy KMR Audio

    Pultec Pro Equalizers (Legacy)

    Many times you may have heard of Pultec EQ's, but until you've done the EQP-1A boost and attenuate trick at the same time you don't realise how many times you'll want to end up using them! The EQP-1A is equally as happy on individual tracks as well as across the mix bus or sub groups, and alongside the MEQ-5 Midrange EQ you've got warm tube EQ for all styles of music production.


    UA KMR Precision Mix Rack

    Precision Mix Rack Collection

    Designed by UA themselves the Mix Rack Collection features the Precision Channel Strip with 5Band EQ and nice clean dynamics, Precision Refection Engine and Precision Delay Modulation featuring Chorus, Flanger and Delay plug-ins. Really low DSP usage as well.


    UA Hz1 KMR Audio

    UA Precision Enhancer Hz

    You want bass? Help dial in some extra low-end with the Precision Enhancer Hz. Whether it's for Synth or Real bass or perhaps just to assist your overall mixes gain some extra heavyweight sound, the Precision Enhancer Hz can help. * NOTE : only supplied with the Apollo Rack Interfaces *


    UA 610B KMR Audio

    UA 610-B Tube Preamp and EQ

    The UA 610-B Tube Preamp uses Universal Audio's Unison technology to add the emulation of the 610-B tube amplifier, signal path and transformers to your signal whilst tracking or re-amping. It's like having your own vintage console in the box.


    Fairchild Legacy KMR Audio Plugin

    Fairchild 670 (Legacy)

    The Fairchild 670 is the dual channel version of the Fairchild 660 and is one of the most sought after valve compressors ever. Designed in the 1950's and consisting of 20 valves and 11 transformers this is one warm sounding unit, equally at home on lead instruments or say a drum bus, where you can add subtle depth or drive it a bit harder for extra texture. * NOTE : only supplied with the Apollo Rack Interfaces *


    KMR Audio UA Marshall Plexi

    Marshall Plexi Classic Amplifier

    Recorded at KORE Studios in London by engineer Tony Platt (who recorded AC/DC Back In Black), this is the sound of Rock. Made famous and used by Hendrix, Clapton and Page the Universal Audio version was developed by Softube. Gives you that grit and and punch with option mic blending between 7 mic placements and types : FET, Valve and Dynamic. Use the Unison Technology to track through this classic with no latency.


    KMR Audio UAD Mpeg SVT VR

    Ampeg SVT-VR Bass Amp

    For those who want the Classic Bass Amp to partner their classic guitar amp then look no further than the 1969 Ampeg SVT-VR. Suitable for all genres of and capable of using the Unison technology, this is one bass amp that will cut through a mix or re-amp dull lifeless parts easily.


    Raw Distortion

    Based on the original 1980's RAT Pro Co Distortion the RAW is a faithful version of this classic guitar pedal, and by using the Unison technology you can just plug-in and play. Instantly taking you back to this vintage rock moment in time!


    Realverb1 UA KMR

    RealVerb Pro

    Ok, it's been out a while now, and yes there are probably more fancy and full -on Reverbs out there, but there still is some charm about the sound of RealVerb Pro, and it comes bundled with the Interfaces so why not check it out, easy to edit and navigate and of course it's FREE!

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    KMR Interview Jake Gordon


    Jake Gordon is a MPG nominated Mixer, Producer and Engineer who has worked with artists as varied as Dizzee Rascal, J-Hus, Emeli Sande, Lethal Bizzle, The Vaccines, Everything Everything, Tinchy Stryder, Clean Bandit, Plan B, Naughty Boy as well as mixing the Mercury Prize winning album by Skepta. Working out of Miloco Studios, Jake is now the 'go-to mixer' for urban music and I caught up for a chat about how he likes to work and how he started his journey...



    KMR : So Jake what is your main choice of DAW these days?

    JG : It's always Pro Tools, it always has been. When I started it was a Pro Tools studio based around a Pro-Control but I have learnt and taught myself Logic, only because every now and then people send me a Logic session. It’s just useful to be able to get around in it.


    KMR :  Do you prefer recording audio in Pro Tools or in Logic - and have you used Ableton at all?

    JG : I guess I’ve always thought of them like Neve and SSL’s - they both do the same thing just all the buttons are in different places! I started on Cubase about 15 years ago, but I don’t use it at all now. I’m doing the Dizzee Rascal record and he used to be a Logic guy but now he’s downloaded Ableton and he’s just flying!


    KMR :  Are you more of an "in the box" guy?

    JG :  Well, other than every now and then...my mixes always start and finish in the box, so it’ll be ITB yes. I wish I wasn’t really but it's mainly just down to how the mixes go. I don’t have my own studio currently, and sometimes you only have one day to do it, so I need to be able to take it home - where I'll often get calls like ‘ we’re in mastering send me the pre-master’ - or 'we need this tweak etc'. I think if I wasn’t in the box I'd probably have lost a lot of clients by now!

    My vocals 99% of the time always go out into the Tube-Tech CL1B hardware because it sounds wicked. If there's some cool outboard then I’ll throw it out into it, anything that's a bit weird. If I'm on top of it and feeling good then why not, I'll have a go.


    KMR :  I guess if you have the time really?

    JG :  Precisely. If not, then there are the UAD versions, but it’s mainly the CL1B pretty much on every mix. The Eventide H3000 I've got back into, it's one of those pieces when you can’t figure something out, it's just wicked - we just try that. I’m sure, maybe it's a placebo thing, but I’m sure the flangers and the choruses in the box just can’t reach the same depth. They sound one-sided in the box and the H3000 just sits nicely it doesn’t take up any space it shouldn't, it just sounds great.


    KMR :  Do you use guitar pedals as effects?

    JG :  I use a couple of Sansamps sometimes, putting drums through them, or the bass and parallel it and just smash it to bits. It sounds terrible to say, but I don’t really care about EQ's. If I want to EQ something I’ll find something ITB that I can EQ with. Frankly, if I want it to sound a certain way, I’ll get to the sound whether I’m using SSL, Waves or ProQ - but the weird stuff I think that’s where it’s at. Like the Sansamps, and the Mutator, Eventides…


    KMR :  Things that don’t react the way you expect them to?

    JG :  Yeah, like "that was unexpected - brilliant let's use that!"


    KMR :  Did you start off ITB?

    JG :  I actually learnt out of the box, but I don't know if I can remember how to recall an SSL! In terms of recording I always prefer a console, but these days I’m not doing so much tracking. The last big thing I did was the Emeli Sande record which was 2 years ago. I do find the flow of a desk works better when you’re recording, especially when you’re recording lots of instruments. I hate giving myself options, I’d rather put it down!


    KMR :  Sometimes too many options can be too distracting...

    JG :  Oh, 100% - actually having said I’m ITB - the API Console 550 EQ’s are brilliant - they sound really good.


    KMR :  How do you track vocals - what do you use on the way in, do you keep the CL1B just for in the mix?

    JG :  When tracking vocals it’s always been a Neumann U87, some sort of Neve preamp and then an Empirical Labs Distressor on the way in.


    KMR :  What mode on the Distressor, 1176?

    JG :  4.1 usually, it's just a sort of subtle thing, I like using it, I think it comes from assisting where Distressors are really easy to recall with the numbers.


    KMR :  Do you always use a U87?

    JG :  I tend to just always put it up, especially when I don’t get a lot of time to experiment. When I did the Skepta record the first take we ever did ended up on the record! Sometimes he wouldn’t tell me he was going in the booth, and I'd turn around and he’d be stood there, and I’d have to be 'ok cool, right let's go'. It’s more about getting it down and capturing it. So the U87 you know it works, you know it sounds good - if it sounds bad then it’s probably something else.


    KMR :  U87 into a Neve then 1176 is kind of a working standard, isn’t it - what other mics do you use?

    JG :  Yeah, you know what it is. If there’s a Shure SM7, especially on rappers that sounds really good, a U47 is always nice. There was a mic called the LOMO 19a19 and they are phenomenal! I've never used it on a rapper, but they used to have one in Hoxton Square when it was open and I think they’ve got a couple in The Pool. They look ridiculous, they’re like Soviet throwbacks.. tiny little valve mic - kind of thin sounding but in a really nice way, it’s not like a C800 bright.


    KMR Lomo19a19 microphone Lomo 19a19 Microphone


    KMR :  What tools help get you to finish tracks - do you have a standard mix bus chain?

    JG :  I tend to use the same mixbus chain as that's how I started off out of the box. So it’s always a very OTB style chain: a UAD Curvebender, into an SSL Compressor, then I’ve been using the Waves C4 multiband every now and again, and then Ozone, but that basically just limiting. I’ll get a kick and a Snare sound, then I get into it and just mix into it. I will adjust them though if it sounds shit!

    I learnt with the GML 8200 EQ and SSL compressor but with the UAD software I also compared the Massive Passive and just sort of preferred the CurveBender on the mix bus.


    KMR :  Which other Engineers or Producers helped you start off?

    JG :  When I was 16 I was assistant at a studio called The Library which was owned and run by Julian Standen, who most people may know as Jules who runs Gearslutz.com. So I started with him, and then he started off Gearslutz, so I worked with Tom Stubbs who was his engineer, whilst doing a BTec at the same time, but I spent 5 days a week at the studio. Jules was wicked - he was hard! He was old school, I appreciated it. He’s done so much for me man, he’s got me every job since. It was the Studio etiquette sort of thing I learnt, where you just shut the fuck up!


    KMR :  Yeah, where you don’t say anything for two years...

    JG :  Exactly! He was so up for teaching me stuff, and if there wasn’t a band in then I'd clean the studio from top to bottom, and he’d say 'OK, I’m going to be here for 3 hours, so go and mess around with Pro Tools'. The Studio was cool, and Jules is brilliant - I owe a lot to him, I haven’t seen him for a while, but he seems to be doing alright with Gearslutz! He took the time to train me, and show me things like ‘this is how we coil a cable’, things like that.


    KMR :  I think I had the same lesson on day two when I was a tape op - these things you never forget!

    JG :  It’s the one thing I get really annoyed at other people with! 'Why you doing the cable like that?? ’ haha!


    KMR :  So what did you do after The Library closed?

    JG :  Jules then hooked me up with Fortress Studios in Old Street, so I was at Uni and at weekends I was at Fortress, and then after University finished I was there full-time.


    KMR :  How did you end up at Miloco after Fortress closed?

    Miloco had just revamped their studios and were throwing a party so I went along and Jules introduced me to Nick Young. Nick then asked me to be the assistant at The Square, which is now closed unfortunately.

    They were just putting a Solid State Logic desk in The Square for a chap called Lex - Alex Dromgoole who is amazing! I think he used to be one of Spike Stent's guys at Olympic and I went into The Square and I don’t think I had a day off for about 7 months! Fortress was fantastic but it was definitely more indie bands, I think Miloco came at a good time and really kicked it on a bit.


    KMR :  Miloco brought a new level to running studios at that time, didn't they?

    JG :  100%! I spent a whole bunch of time with Lex -  I was the assistant in the studio and he was brilliant. It was the first time I'd ever assisted on mix sessions. At Fortress the assistants never bothered, so when Lex came in it was all on the board, fully SSL, at Fortress it was Neve and previously at The Library it had been Pro Control. So I learnt how to do all his recalls on the SSL so that was fantastic.


    KMR :  Assisting on mix sessions has changed so much now...

    JG :  It used to be one of the most boring things in the world. These days my assistants don’t even have to do recalls. It used to be terrible - assisting with a band is great, but with mixing it’s you and the other bloke, and he’s doing all the work!


    KMR :  ..and they don’t want to talk to you

    JG :  Exactly - he doesn’t want to talk because they’re just getting on with it. At least with the SSL recalls I got to see what was going on, as I was writing it all down..not that there was much outboard as he was all on the desk.


    KMR :  He didn't use much outboard then?

    KMR :  Yeah he had his way, I don’t know whether it was a Spike Stent thing or not, but Lex felt that the EQ's on the G Series sound fantastic. The compressors on the G sound fantastic so why not put everything through the same sound because we’re trying to mix it all together. The same tones on everything. Unless it's not working on the board then why bother because the EQs sound great… the compressors are all like DBX160s anyway!

    Then I started working with Dan Grech who was all in the box. As much as I loved Lex’s way of working on the desk, probably Dan’s way influenced me more. He produced the first Vaccines record which I assisted on. He did that thing where he'd done the drums at RAK - and then he had a U87, SM57 and an RE-20 and one lead, which was plugged into the Neve and the Distressor. If he wanted guitar he’d plug into the U87, bass the RE20 etc - his mantra was it sounds good, the mics sound good, then if it sounds shit there's something wrong at the source.


    Jake Gordon Miloco Studios KMR


    KMR :  There's something to be said about walking into a room and just making it happen, isn't that what makes a good engineer?

    JG :  Yes one of the guys who is exactly like that is Phill Brown, and to assist with he's phenomenal, he was brilliant. I was moving around the Miloco studios, and I was down at Music Box and he would just walk in and just make it work. He always used both 1176's one on the vocal and one parallel, and I remember he came in one day and one was broken. He was just like’ yeah ok no worries I’ll compress it and it'll sound the way I want it to ’. But I think that comes with experience, not being scared of things not going to plan, and just having the confidence to make it work.


    KMR :  I’m sure at some point he’d have experimented with compression to find his sound, and then trusting his ability?

    JG :  Yes of course and also just not being freaked out. Sure, sometimes turning up and not having your favourite plug-ins available can be annoying - but as we're in a service industry you just have to use what you’ve got. Frankly, it's not the plug-in that'll make a kick drum sound bad it’s you.


    KMR :  Speaking of plug-ins what could you not live without?

    JG :  Soundtoys probably. All of the Soundtoys pretty much go on every single channel, EchoBoy always sounds fantastic. I just go through the presets randomly and then adjust the time to where I was and you get these mad settings - and every now and again you hit jackpot. Also Crystallizer and the Little AlterBoy. Oh yeah and AVID LoFi, I use LoFi a lot, I think I read an article a few years ago from Tom Elmhurst where he took it all down to 10bit or 8bit or something, that's where I first heard about that idea.


    KMR : LoFi is great, I use about 0.5db of distortion, then drop it down to 12bit - I’ve even used it on a mixbus when the track was sounding ‘too nice’!

    JG : Yeah, it sounds brilliant! I've done something similar but with the Ozone exciter on the master bus - it's just the thing when people say its ‘too clean’ then I use it to excite and make it sound a bit crunchy.


    KMR : How do you find spending a lot of time getting wonderful recordings and then having to lose a bit to get it like the demo?

    JG : Well, we all overthink things don't we, and if I don’t listen to the rough mix I just wouldn’t get anything done. These days clients want it exactly like the rough mix, absolutely 100% like it - and you’ve got to beat it and make it so much better!


    KMR : Do you work on singles or albums mainly these days, how do you think it’s changed for you since you started?

    JG : I love doing albums. I just don’t get as many as these days artists don’t do it like that, very rarely do people come to you with 12 songs, they usually have one and then a few months later have another. But with the albums I have done, you’d always go back to the first track as usually it's wrong, but then you start to get the vibe and you get a great sounding album.

    I do think it's changed over the last 8 years, I also rarely get booked more than like 5 days in advance - it just seems to be a very different way of working. The first 5 years of assisting were all bands and I’m really happy that's how I started, and it’s a shame that a lot of assistants these days may not get that opportunity.


    KMR : Loudness wars?

    JG : Well, I usually just have to make it louder than the rough mix - it's a shame as inevitably it is at the end of your lovely mix, you then have to slam it through a Limiter and send it off!


    KMR : What artists or projects are you working on currently?

    I'm currently working with Dizzee Rascal on his album and its wicked, he’s producing it all himself and it sounds really sort of English and very cool. There's another guy called BiG HEATH from Cambridge, he’s really good.


    KMR : Thanks for the interview!


    Jake is represented by Pieces of 8 Music

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    When they're not manning the engine room at KMR, our staff can usually be found beavering away in their own recording studios.  We asked the guys here to look in their plug-ins folders and talk about some of their favourite software tools...




    Balance Mastering MagPha EQ

    I chanced upon this little gem a few months ago on Gearslutz. I knew John Flynn’s work in the past as a mastering engineer but also as the developer of the Teufel Reverb plugin. Since then it’s been used on all my work. It’s an amazing mastering EQ plug-in that sounds extremely musical and smooth and is extremely flexible. Some of the presets are a lesson in how powerful this EQ can be. It’s also very affordable.


    Oeksound Soothe

    I’d never heard about this plug-in until a friend recommended it to me. Oeksound Soothe is an incredible tool that removes any harshness dynamically and very transparently. Whether I’m recording vocals, mixing or mastering, this plug-in is in my chain. Nothing comes close to it.


    MeterPlugs Dynameter

    While not the sexiest of plug-ins (it’s just a meter), MeterPlus Dynameter has been the most influential plug-in in my arsenal ever since I first purchased it.  The impact it’s had on my mixes and masters has been incredible! I just can’t do without it now.





    First off, I’ll hold my hand up and admit to being very much a hardware guy. Happily, my advanced years mean any Luddite tendencies are forgivable - possibly even expected.  But even I have to grudgingly admit that in-the-box processors have come a long way. Here are a couple of things currently on my mix bus that manage to get even a jaded old hack like me excited…


    New Fangled Audio Elevate

    A collaboration with venerable digital meisters Eventide, Elevate claims to be “the most advanced mastering plug-in ever created”. Now mastering should very probably be left to people who know what they’re doing (ie. not me). But often projects don’t have the budget available, or it’s simply nice to get a demo sounding more polished, and in these situations it’s good to have a trick up your sleeve.

    I won’t pretend to understand the technical hoodoo that’s going on under the hood, but it’s something to do with (deep breath…) adaptive multi-band limiting based on 26 Mel scale linear phase auditory filters modelled on the human ear. If that sounds complicated, don’t worry - the informative GUI is intuitive, easy to navigate and very tweakable.

    Why do I like it? Because it sounds very natural - even when pushed into hard limiting – and it’s almost effortlessly easy to get good results. It has bumped off a load of other dynamics and EQ plug-ins from my mix bus and simplification is always good in my world. To my ears at least, it just sounds right.


    IK Multimedia Dyna-Mu

    Although not explicitly described as such, IK Multimedia Dyna-Mu is fairly clearly modelled on the Manley Vari-Mu valve compressor. What does it sound like?  Well... remarkably like a Manley Vari-Mu – and therefore fantastic (believe me, I’m crying inside as I write this!). It really nails the warm musical glue that this processor is so good at - a subtle glow that just makes everything sit better in the mix without messing with track definition. This is part of IK Multimedia’s T-Racks 5 suite that includes a bunch of other great emulations. Well worth checking out…




    XLN Audio RC-20

    Swedish based XLN Audio is probably most famous for Addictive Drums 2. However, another one of their handy plug-ins is RC-20 Retro Color which uses their Flux Engine to add harmonic and analogue texture to almost anything.

    I find myself automating the Magnitude slider throughout a track to add extra dirt or character to particular sections. It works very well on things like soft synths, taking them more into an “analogue” direction.

    RC-20 usually ends up on sources for “retro” vocals and any instruments that just need that something extra - and the simple control layout and visual cues provide clear assistance. Similar in sound to magnetic tape and analogue harmonic distortion, I find RC-20 provides really flexible and quick solutions to sounds that are sounding a bit ‘flat’ in the box.


    BOZ Digital +10dB

    Do you like smashing drums? Or pinning vocals and then adding a hair of bite? Or maybe you want a mix bus that tames yet sways?  Then you need a Compex compressor!

    The Compex F760X is hardware only, but Boz Digital Labs has a solution for you in the +10dB channel. The “dB” stands for David Bendeth (renowned producer and user of these classic hardware boxes), and the plug-in comes very, very close to the sound of the original 1960/70 units.

    I use this on drums and guitars all the time. Also, I work with a studio that has the hardware originals and the tracks always get to the ‘right place’ with the plug-ins at my studio before comparing to the hardware units. We mix and match the hardware and plug-ins as it sounds so good.

    I feel parallel compression is where this plug-in truly excels, especially on drums - and with the legendary ‘expander’ you can soon get that "Jon Bonham" drum sound… should you want it!




    Native Instruments Reaktor

    Reaktor is the only software synthesizer I’ve ever invested any serious time to.  I’m also a hardware guy, so something really needs to stand out to get my attention!  I’ve used almost every synthesizer plug-in out there, but nothing challenges my understanding of synthesis and meta-programming quite like Reaktor.

    The things you can do with Reaktor are truly limitless. Of course, it comes with a huge amount of pre-programmed presets and patches, but it’s the ability to start a patch completely from scratch that really appeals to my desire for sound exploration.

    While getting to know Reaktor’s incredibly intricate back-end, I have learned so much about sound design, signal flow, modulation and event triggering. This understanding has transferred itself into other areas of my music and I now approach things with a very different mindset than I would have done before.

    When you make a patch from scratch that ends up being the defining part of your track, it’s a great feeling to know that you made ALL of the decisions that led to making that sound. No presets… all you!


    Moog MultiMode Filter XL

    Sometimes a plug-in comes along that demands an emotional response. It can be negative when someone has done a poor job of ripping off one of my favourite synths, or it can be the polar opposite when I’m pleasantly surprised! The latter is true with the UAD Moog Multimode Filter XL, one of the best emulations of an analogue circuit that I have ever heard.

    Moogs filters are revered by the music making masses - you can literally buy t-shirts with the schematic of a transistor ladder filter on them!  It’s a pretty simple circuit but it really did define the direction of synthesizers and electronic instruments that followed in Bob’s footsteps.

    The UAD emulation of the Moog filter gives you a traditional low pass filter with four selectable slopes, two LFO’s with balance control and… the thing that really sells it to me…a sequencer section, where you can apply sequential changes to any of the parameters. This allows smooth swells, glitchy resonant peaks and much, much more.

    I use the Moog filter collection all over my mixes, and when I’m making samples for live sets, I'll usually reach for my UAD plug-ins to grab some tape saturation and some EQ, and then run it all through those lovely, thick Moog filters.  Win!

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    Dear Octatrack,

    Before I found you I was a lost soul in an ocean of sound, you were the one who picked me up and helped me focus on what was important to me and my music, without you I would still be a wandering, hopeless synth-dude.

    It sounds mooshy - sorry, but that's really how I feel about the Elektron Octatrack, for me the Octatrack was the piece of gear that helped me steer my improvised musical endeavours into a more structured and interesting form. I feel without it, I'd still be making those challenging drones(!) and ambient tracks, that didn't really go anywhere or do anything (nor did anyone listen to them).

    It is with the power of the Octatrack that I can design and perform a live set or a group of tracks with relative ease, whilst making them fun, unique and engaging to both perform and listen to.

    Originally released in 2011, the Octatrack DPS-1 was widely adopted by the music making masses because of it's complexity, incredible sound design capabilities and performance capabilities.

    In 2017, Elektron released an updated MK2 version with design cues from the Digitakt, and improved layout and navigation to allow for quicker and easier editing and the such. They also improved the quality of the inputs to provide a better noise floor when connecting external gear. they also made the buttons back-lit for better visual feedback when on stage.

    So, why do I like it?

    The Octatrack is renown for being a complicated box to master, in fact Elektron machines as a whole have this stigma attached to them and I feel that this is very true when talking about the Octa, it took me a little while to master, but now I know - there's no going back.

    The Octatrack is dubbed an 8-track performance sampler, but as the marketing suggests it's "way more than a sampler" and I really can't stress how important this simple fact is. Sure, you can sample on it, make incredible beats and build stupidly complex songs and patterns, but where I believe the true strengths of this machine begin to unfold when you use it as a performance mixer.

    The Octatrack has eight internal tracks, it has four balanced inputs which can be used as two stereo pairs or a four single mono inputs, allowing you to connect up to four external instruments, which can be live sampled, looped, effected, sliced and rearranged as you play. In this setting the Octatrack is unlike anything else ever made. It becomes your central hub for applying effects, mixing and performing your material.

    There's even the option to set track 8 as a master track, so you can apply master effects or even a global beat repeat if you like.

    I use the Octatrack in a improvised DAW-less setting with a few grooboxes that I am very comfortable with, Octatrack sends master clock and transport control information to the machines, each of the audio puts of the synths are fed into the Octatrack where I can apply changes on the fly and more.

    Despite its steep learning curve, I honestly believe that the Otatrack is the best piece of hardware ever designed. It can literally do anything with audio and if you're interested in making a daw-less setup then I strongly believe that with the Octatrack, your music wont only be easier to perform, it'll be a lot more engaging to listen to.

    Get one, they're wicked.

    If you want more information about Elektron machines, then get in touch with us!


    KMR Elektron Octatrack MkII

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  • Is 5U for you?

    Tom Lewis

    A quick history of 5U.

    In the 1960’s a certain Dr Bob began to develop a new type of sound making machine. After a few years building and selling Theremin kits, Bob was beginning to form some circuit designs that would ultimately become a line-up of Moog Modular synthesizers.

    In 1964 Bob presented one of the very first modular systems of his design at the AES show and this is where 5U was born.

    Unlike other modular designs that were being developed at the time, Dr Bob decided that it would make sense to have a familiar input device to control his modular systems, as such the 953 keyboard system was developed to allow musicians to interface with this unusual machines in way that seemed familiar.

    The Moog Modular was really brought front and centre when a certain Wendy Carlos released a somewhat groundbreaking album 1968. Switched on Bach was a turning point for electronic music, it was a body of work that proved that a synthesizer could be used to perform complete pieces of music that were not just abstract in nature, but true pieces of “real” music. This is where the Moog modular began to gain popularity and even found its way into some of the pop music of the time.

    The specs.

    The 5U format adheres to all the modern standards we use and take for granted nowadays: Bob decided that the oscillators would track to a 1 volt per octave input and there would be a separate system for turning functions on and off, this system is commonly known as CV and Gate and is found on literally everything.

    Moog System 35 Moog System 35

    Throughout the history of the “modular synthesizer” there’s obviously been a fair few formats to come to fruition, for example Wiard, Buchla, MOTM, Frak-rack and most notably Eurorack. Euroracks voltage standards all follows Bob’s original spec, where 1 volt corresponds to the western scale of 12 notes or a complete octave.

    All that’s changed is that S-trig and V-trig have been replaced by a simpler system of gates for controlling all aspects of triggering. 5U uses ¼” jacks and in certain Moog systems Cincon Jones connectors are used for the switch triggers (or s-trig), and given that they are 5U in size, modules themselves feel more substantial than some other formats.

    So given the amount of formats that are available, why should you get into 5U? Well for me, the answers are pretty simple:

    • For starters the sound quality is simply unlike anything else you ever heard. There's this simplistic, raw and unyielding quality of a well designed oscillator going through a big low pass, that is technically repeatable on other synthesizers (duh!), but a 5U system does it like nothing else.
    • The feel and workflow of a 5U system just can't be matched. Big Cosmo knobs, hefty positive 1/4" jacks and a open friendly front panel design, that even on the busiest of modules, never feels cramped or awkward.
    • And one for those who are aesthetically challenged...5U looks cool :) I mean, it just does, doesn't it?

    So is 5U for you?

    Well this is the big question, what does 5U offer me that other formats do not? Well we've already covered the sound quality, the feel and the aesthetics, what about function? An argument I've seen int he past is that there's not enough choice in the 5U format and that argument is starting to be quashed all the time thanks to a few elite builders who exclusively adhere to the format and develop new ideas.

    The Free State FX FSFX101 is a 5U version of Mutable Instruments Braids

    Moog reissued a selection of their legacy modular systems back in 2015, in fact we've been lucky enough to have a System 15 and we also have in stock a System 35, but outside of those reissues, getting hold of a real Moog 5U module or system, was a rare and expensive opportunity.

    Thankfully there have been a lot manufacturers who have continued to build 5U modules when Moog had stopped developing the format, and in fact there's new builders coming onto the scene, like Paula Maddox Aka. Dove Audio who have just announced an MU / 5U format oscillator called WTF.

    Moon Modular, Free State FX, Corsynth, Analog Craftsmen, Synthetic Sound Labs and Frequency Central are all brands that we carry and develop a range of 5U modules, and within those few manufacturers alone there's a deep catalogue of modules that cater for every possible application you could imagine. To argue there's not enough choice..well it's simply not the case.

    And 5U isn't even more expensive than other formats, you can build an extremely powerful system or buy a pre-assembled system form Moon modular or Analog Craftsmen for example for less than £5k

    So is 5U for you? Well if you're after the best sound quality, then yes and if you're looking to build something unusual, then yes....thanks to the wide array of modules available you can literally design any form of system you might desire.

    If you're interested in learning more about 5U modular, please get in touch. We'd love to talk you through the options available and help you design a system that's perfect for your requirements

    And hell...it's not like you can't plug your Eurorack into it anyway....."Oh hey Maths, how are you?"

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  • A genius at work:

    Don Buchla was one of the world’s most pioneering circuit designers in the field of synthesis, a man who was praised consistently for thinking outside of the box, bending the concepts of what a synthesizer should and could be. Creating some of the most intricately designed and musically inspiring machines that even to this day are making a HUGE impact on how people think about and approach synths and sound design.

    I personally think that without his input during the early formative years of electronic music, we would have a very different landscape to the rich, diverse and experimental group of musicians and manufacturers we have making synths and creating sounds today.

    A little history:

    Don’s experimental musical endeavours started back in his 20’s where he became interested in the growing music concrete scene, where physical tapes and their recorded content are spliced, manipulated and played back in odd and interesting way to create new sound and forms of experimental music.

    This earlier form of sample based composition and sound design coupled with Don’s traditional music studies set him in good stance to develop new and somewhat unusual ideas.

    In 1963 Don was commissioned to build a new type of electronic musical instrument designed for performance applications, this commission was at the request at none other than Morton Subotnik (known for his great album Silver Apples of the Moon) and Ramon Sender, both of the San Francisco Tape Music Centre.

    After raising funds from various sources, the development of the first Buchla Modular System began. The system was completed in 1965 and was dubbed as the Buchla Modular Electronic Music System. Eventually the system was moved to Mills College in 1966 where it still resides to this day.

    In the same year Don began to sell these systems, which would later be commercially known as the System 100. Even in these earlier designs Don’s unique insight into audio circuitry and human interaction with and instrument are very apparent, with a variety of alternative controllers like the TCVS-12 made available right from the beginning of the formats inception. These controllers, even in the early days of electronic music, challenged it’s users to think of new ways to control this brand new medium of music making.

    Dons vision to create new mediums in which to control electronics was always a passion project for him, even later in he’s career, Don was still developing groundbreaking concepts like the Lightning and Thunder, which in themselves later led to the 223e and the Kinesthenic input system to be developed, Don even designed an electric marimba….which current Buchla in house developer Joel Davel has a rich history with.

    Don’s initial range of Series 100 modular comprised of 30+ modules, of all unique design and function, some of Don’s key circuits were realized in these earlier modules and most of which still exist, either in their complete form like the 292e low pass gate and 259e dual VCO, or in part like the microphone preamp in the 206e which was originally its own module called the 170.

    Don eventually moved to on to create a wide array of different modular formats, synths (he designed for our friend Mr Tom Oberheim at one point), including the highly revered 200 series, that series that still stands the test of time and is even available today under the 200e series moniker, and most notably developed my favourite synth of all time, the Music Easel, which in itself is one of the most comprehensive and interesting instruments ever designed.

    So Don’s earliest work was incredibly significant in many different ways. On the East Coast Dr Bob Moog was working primarily with performers whereas Don was working more with experimental composers, these two vastly different client bases and demographics meant that their designs followed a very different path and had vast different goals and influences.

    Bob Moog’s modular designs followed the east-coast subtractive rule sets, where an oscillator tone is filtered and the harmonic content is subtracted, and then amplified by a VCA, this form of synthesis relies heavily on interaction with the filter cutoff. These types of patches would be played using a compliment B sequencer or a 953 keyboard for example, allowing the user to have very predictable and repeatable control over their patch.

    Don’s concepts followed what is now know as the west coast additive synthesis concept, where the starting position is a simple tone, such as a sine wave, which is heavily modified using frequency modulation with one VCO modifying another and passed through a low pass gate, which is a combination circuit of a low pass filter and a VCA in series, which produces more organic decay and harmonic response than your standard filtering processes. These patches we’re normally controlled by a series of complex gates & functions to form a more generative and abstract form of patch, with less repetition and more experimental results.

    Suzanne Cianni in 1971

    Let’s not argue who did what first, let’s just agree that they we owe them a great deal of gratitude for what followed their innovations. Both Bob and Don’s concepts of synthesis have played a very important role in some of the unique designs that we see today, but I think that Don’s more experimental mindset that has allowed for some of the weird and wonderful machines to come to fruition over the last decade.

    The legacy:

    You only have to take a very quick look at synthesizer market to start seeing flourishes of Don’s work and concepts in other manufacturer’s designs. I mean, let’s be serious for a moment…a good chunk of the Eurorack modules available today are essentially additive designs with roots firmly in Don’s early circuit designs:

    Verbos Electronics for example create a variety of aesthetically and sonically inspired Buchla style Eurorack modules, whilst the designs are different to Don’s they do however tip their hat to his great work. Mark Verbos actually started work building Buchla format modules, a few examples include the 258v and even he's current harmonic oscillator was also originally made for 4U as the 242v.

    Mutable instruments, whilst Olivier might disagree with me! I firmly believe that there’s some subtle nods to Don’s work in what he creates. Ripples for example, whilst it might be more of a Roland inspired filter, it does feature an on-board VCA which can be modulated at the same rate as the filter cut off to create low pass gate style sounds. Stages, which is a sequence-able modulation source feels and acts like a 250E Function Generator in some regards.

    Mutable Stages


    Endorpin.es, another quality Eurorack builder who has drawn constant inspiration from Buchla 200 series modular, best known for their Furthrrr Generator, a complex oscillator that oooozes west coast flair.

    Make Noise, a company near and dear to my heart! Whilst based in Asheville (down the road to Moog HQ) Antony Rolando’s designs don’t really follow the additive concepts, they instead allow for a highly experimental range of synthesis styles. It takes one listen of the 0-coast to get an idea of where the oscillator idea came from…

    Catalyst Audio, a small boutique manufacturer from the US build incredibly Eurorack format replicas of some of the Buchla 100 series.

    And the list goes on, but it’s not just Eurorack that’s drawing inspiration from Don’s inspiring circuits and synthesis concepts.

    Arturia Minibrute 2, whist the synths main voicing architecture sits firmly in its subtractive ways, you might notice that it’s triangle wave has something called a metalizer..which acts and sounds just like the timbral control section of the Music Easel or a 261.

    Landscape Stereo field, this little box of awesomeness even looks like a Buchla design! And whilst its architecture don’t really fit the additive format, without Don’s concepts of alternative controllers this thing could have ended up looking quite different.

    Bastl Instruments Kastle 1.5, these guys definitely tick the box for "far out designs" the Kastle 1.5 is a very complex additive synth with a cluster of interesting function generators and modulation capabilities. It's additive voicing tips it's hat to some of the more complex voices you can achieve with a Buchla system.

    The list of designs inspired by additive synthesis concepts is literally quite endless, these are just a few things that draw inspiration. Don’s experimental and unique mindset that has inspired people to go beyond what is considered the norm, who knows?

    Thankfully Don and Bob’s concepts permeated modern Synth designer’s mindsets and frankly I’m quite pleased they did.

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    Arturia are really starting to get a feel for that their users want, sure they've made a couple of questionable Creations and additions to their product lineup recently....but that can all be forgiven with the announcement of the DrumBrute Impact.


    Arturia DrumBrute Impact Doof doof doof doof

    You might be asking yourself "but why?" and "what's different?" and let me stop you right there. DrumBrute Impact, whilst I shares a similar look to the original DrumBrute it is in fact completely re-voiced and sounds remarkably different. It's also a lot smaller and quite a lot cheaper at just £265.

    Impact contains 10 analogue voices, which are controlled by a remarkable sequencer (something which Arturia are well known for). The sequencer can do complex poly-rhythms in the same way you can on Beatstep Pro V2.0 and it also allows you to sequencer lock the colour settings for certain voices.

    "colour settings? what are they?" Well, a new feature to the Impact is the colour control, which effectively serves as a secondary voice for the main voice you're programming, this colour handles a different function depending on the voice you've selected and, as mentioned above, you can chose on a per-step basis, when that colour change takes effect. Very handy for making linear grooves and beats sound more alive.

    So how does it sound. Well from the videos I've watched so far...it sounds a lot like a meatier 808, have a look at the video below from MylarMelodies and see what you think?



    As you can probably tell from the video, the form factor is quite a bit smaller than the original DrumBrute, but somehow they've managed to cram in a group of dedicated outputs, analogue and MIDI sync, full size pots and full size pads for more expressive playing.

    DrumBrute Impact is a very welcome addition to the drum machine world and is a superb option for anyone starting out or anyone that just wants a head-melter of a drum machine without destroying the bank.

    And it's just £265.....I'm always taken back how affordable it is to get into making music with hardware nowadays, when I started making music with hardware back in 2010 there really wasn't much around and now if you've got a couple of hundred quid, you can build a really great sounding setup and get playing out.

    Impact is shipping this Summer, for more information drop me (Synth-Tom) a line.

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    New Audient iD44 Available

    UK based audio manufacturer Audient are now shipping their NEW iD44 Audio Interface with over £500 of free software when registering using their ARC Software Hub.

    This new desktop interface features 4 Class-A Audient mic preamps, the same as in their console range, and with 20-in 24-out there are many configurations possible with this flexible AD/DA desktop converter.

    iD44 KMR Audient Front NEW Audient iD44

    • 20-in, 24-out Desktop Interface 4 x Class-A Audient Console Mic Preamplifiers
    • Class-Leading AD/DA Converters
    • 2 x ADAT Inputs & Outputs for Digital Expansion
    • 2 x Discrete JFET Instrument Inputs
    • 2 x Fully Balanced Inserts
    • 2 x Independent Stereo Headphone Outputs
    • Main and Alt Speaker Outputs ScrollControl
    • 3 x User Defined Function Keys Dedicated Talkback, Dim and Cut Controls
    • Low Latency DSP Mixer
    • Word Clock Output
    • USB-C Connectivity (USB2.0 Compliant)
    • 24bit/96khz
    • All-Metal Enclosure
    • Over £500 worth of plugins and software free with ARC

    The iD44 has two JFET DI inputs which behave the way an input stage of a tube amp may react, allowing Bass, Guitar or Synth direct connectivity to help speed up your recording workflow.

    There are balanced insert points for mix down or while tracking through your favourite outboard kit, and two stereo headphone outputs allowing for different cue mixes independently through their own DAC.

    KMR Audio iD44 Audient Rear iD44 Rear Panel


    New iD MIXER

    The iD Mixer has been created with smooth workflow and ease of use the primary functions. You can customise the channels, create up to 4 cue mixes, assign function button control and save any of your layouts and setups.

    The new talkback functionality allows any audio source to be used so you could assign and use your built-in Laptop mic to avoid using one of the Audient mic-preamps. This is an elegant solution.

    KMR Audio iD Mixer Audient NEW iD Mixer


    Over £500 worth of Software with Audient ARC Software Hub

    When you purchase an Audient iD44 and register you gain access to the Audient ARC Software Hub which provides over £500 worth of software free.



    More Information


    For more information on the iD44 as well as the rest of the Audient range - including the flagship ASP8024-Heritage edition console - please click the image below or contact us here

    KMR Audio iD44 with Mac



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    It's time to get some Komplete in your life. Starting 01/07/2018 there's some downright disgusting prices on Komplete 11 and Komplete 11 Ultimate, with savings up to 25%! This offer is only available whilst stocks last.

    This means you can get NI's collection of world class instruments, samples, effects and more from just £359! And couple it with a purchase of Komplete Kontrol Keyboard or Maschine and you're getting into the NI ecosystem for even less than ever before.

    Komplete is the benchmark by which all other software instruments are measured by, comprising of some of the most intricately designed instruments and effects ever including: Form, Battery, Massive, Monark, Absynth, FM8, Kontour, Kontakt and my personal favorite Reaktor.

    Komplete provides all the tools you need for sound design, production and songwriting, in a single software package, and NI's hardware range give you the tightly integrated controller options for giving you the best workflow possible.

    To see the Komplete list of deals available, click here.

    For more information regarding Native Instruments Komplete, speak to our in house NI Specialist Li Daguerre.

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