daws & plug-ins 2014
DESCRIPTION
ÂTRANSCRIPT
GUIDE TO
THE
A S p e c i a l P r o m o t i o n a l P u b l i c a t i o n F r o m I n t e n t M e d i a
BROADCAST INTERNET AUDIO MULTIMEDIA POST PRODUCTION RECORDING
I N T E R N A T I O N A L E D I T I O N
In association with:Produced By:
Daws &Plug-ins 2014
www.audiomedia.com May 2014 03
Sign up for your digital AM at www.audiomedia.com CONTENTS
> Commercial Director
Darrell Carter [email protected]
> Editor Jory MacKay [email protected]
> Group Head of Design & Production Adam Butler [email protected]
> Production Executive Jason Dowie [email protected]
> Designer Jat Garcha [email protected]
>>> CONTENTS
>>> MEET THE TEAM
> 4
DAW Distinction
> 8
Getting Plugged in
> 10
Merging Technologies
> 12
Presonus
> 14 Source Elements
> 16
Steinberg
> 18
Directory
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© 2014 NewBay Media. All rights reserved.
Welcome to the newly redesigned 2014 edition
of The Interntaional Guide to DAWs and Plug-ins.
Whether you’re in music, film, TV, radio, games,
or any other audio profession, this guide will help
you parse your way through the fast-growing
world of digital audio workstations and third-party
plug-ins.
I would be hard-pressed to name another innovation that has shaped
the way we record audio more than the advent and proliferation of the
modern digital audio workstation. With each software release these
products become more powerful, more intuitive, and more creative,
bringing processes, sounds, and techniques that were once only
available in a major studio filled with outboard gear into the hands of
the pro-audio public.
While the market for DAWs has seemingly matured in the last few
years, and the leading manufacturers are easy to pick out, there is still a
steady stream of new releases and updates (and let’s not even get started
on the wealth of choices when it comes to plug-ins). Choosing the
right workstation for your workflow and style is at the core of the
recording process.
That’s where this guide comes in. Within the pages of the 2014
DAWs & Plug-in Guide you’ll find informative and promotional
articles on the current offering of DAWs and plug-ins. We’ve enlisted
the help of Audio Media contributor, engineer, and music technology
author Stephen Bennett to give us a run-down of the current offering
for DAWs, showing recent advancements and giving suggestions of
which workstation will offer the best features for you, whether you’re
predominantly recording audio, composing music, or performing live.
Stephen also talks to a number of leading plug-in manufacturers about
their most innovative products and where they see the market moving
next. Lastly, we’ve also included a manufacturer index at the back for
your reference.
This Guide, along with the others in the series (Theatre Sound,
Microphones, Monitors & Headphones, Broadcast Audio, and Consoles)
are Audio Media projects and are designed to help you navigate your way
through the swaths of products available and find what’s right for you.
For more details visit www.audiomedia.com
Jory MacKay, Audio Media
AUDIO MEDIA (UK)
Audio Media is published by
Intent Media London,
1st Floor, Suncourt House,
18-26 Essex Road,
London N1 8LN, England.
www.audiomedia.com
Telephone: 020 7354 6001
www.nbmedia.com
>ADVERTISER INDEXAdvertiser PageSonnox 2
iZotope 5
Lexicon 7
Prism 15
Waves 19
Presonus 20
May Issue 2014
DAWS
DAW DistinctionTHE TRANSFORMATION of the early
computer-based sequencer into the Digital
Audio Workstation (DAW) of today has been
a gradual evolution, with each generation
of software from the various manufacturers
leapfrogging each other with respect to features
and power. The DAW market is a mature one,
with basic facilities, such as those enabling
the arrangement of audio and MIDI data,
editing, mixing, automation, use of Virtual
Instruments (VIs), and effects’ processing using
the computer’s central processing unit (CPU)
being common to nearly all of the software
currently on the market.
However, there still appears to be room for
innovation with every iteration of competing
DAWs bringing something new to the table.
Although each DAW may have a specific
feature that different users might find useful,
most engineers who’ve been in the game a
while will choose their DAW by inertia – no
one wants to learn a new way of working unless
they have to. Confusingly, many DAWS have
completely different descriptions for similar
functions, making choices of which piece of
software to use based solely on feature set
difficult. Sonically, DAWs may differ when pan
laws and plug-ins are brought into the equation,
but many ‘null tests’ have demonstrated that,
where conditions are identical, all DAWs sum
audio in the same way – its just adding numbers
together, after all. However, the internet is rife
with claims that despite mathematical proof
that files exported from the summing engines
of DAWs are indeed identical, people still
claim to hear differences between competing
software – though most of us are unlikely to
choose our tools on such shaky foundations.
Far more important to the working engineer
are ergonomic workflow and essential specific
features that may be available only in a
particular DAW. This is undoubtedly where
the various pieces of available software do begin
to differ from each other.
THE CENTRE OF THE MODERN STUDIOSteinberg set the general pattern of DAW
workflow early on with its MIDI-only Cubase
sequencer for the Atari ST and most software
on the market today still conforms to many
of these design paradigms – although there
are some exceptions. Cubase featured (and
still features) a central arrange page where
recordings can be captured in a similar fashion
to the way engineers worked with multi-track
tape machines in the past. Recorded parts
can be edited within this page or opened in
sub-windows for finer adjustment. However,
the DAW is a flexible beast and provides the
various software designers plenty of scope for
innovation. Some DAWs, such as Cubase
and Logic Pro, have evolved from MIDI-only
beginnings and tend to be full of features useful
in composition, while other were designed
from the ground up as audio recorders – for
example, Avid’s Pro Tools and Merging
Technologies’ Pyramix. Some DAWs eschew
the traditional ‘tape recorder’ paradigm and
focus on looping and arrangement. Although
Ableton Live is probably the best-known
software of this type, in the 1980s, E-Magic’s
Notator and Creator software for the Atari
ST were built around similar concepts – as
is the new Bitwig Studio DAW for Linux,
Windows, and OSX. Ableton Live allows the
user to perform real-time pitch and tempo
manipulation and has therefore become as
much of a performance tool as a recording
system. Various Open Source DAWs have also
become available for multiple platforms, and
Harrison, makers of high-end mixing consoles,
has developed one of these using Ardour as a
platform for a DAW dedicated to mixing that
features software emulations of the company’s
high-end desks.
CLOSE TO THE EDITDAWs enable the engineer or musician to
capture two types of recording – audio and data
(as MIDI and automation data, for example).
In modern DAWs, the lines between the two
types of capture are becoming increasingly
blurred, with audio editing now almost as
fluid as MIDI and other data manipulation.
Common recording features, familiar to users of
tape machines, are to be found in most DAWs
– channel arming and various monitoring
options, punch-in and out, locators, cycle and
so on. Many DAWS are ‘always in record’ to
receive inputted MIDI note and controller data,
so you no longer need to press the dreaded red
button when recording Virtual Instrument or
external MIDI parts. Though this feature has
yet to be applied to audio recording, it can’t
be long before DAWs become always-record
ready. Some companies are changing the way
that audio is recorded and edited. Pyramix, for
example, allows the recordist to capture audio
onto four separate drives simultaneously and for
the editing process to begin before all the takes
have been completed.
The rise of the DAW has been one of the defining moments in modern music production.
Stephen Bennett looks at what’s next for the all-mighty digital audio workstation.
Apple’s Logic Pro X Drum Designer
– a virtual drummer
Anymix Pro surround processor
folded into Steinberg’s Nuendo
4 The International Guide To Daws & Plug-ins 2014 www.audiomedia.com
“Because most DAWs have
become multi-functional
tools with similar feature sets,
workflow has become
a major deciding factor in
users’ choice of software.”
Stephen Bennett
Editing in competing DAWs is essentially
performed in the same fashion, with tools for
copying, pasting, and cutting recorded material
– although some have brought familiar video
editing techniques into the audio world. These
allow editors to use ripple, roll, slip, and slide
edits to finely line up transitions between
recorded regions. Most DAWs now have
some type of multi-track phase-locked ‘takes’
feature that packs into a folder (or groups
together) various different passes of a recorded
part to allow the editor to quickly select the
best sections of the recordings. Many DAWs
feature virtual VCA (Voltage Controlled
Amplifier) grouping and all are capable of
automating every part of the mixing process
including effects. DAWs such as Pro Tools,
Nuendo, and Pyramix have dedicated hardware
controllers to assist with hands-on recording
and mixing, but most can be used with tablet-
based devices running either the Open Sound
Control (OSC) protocol or bespoke software,
such as that found in the Apple iPad controller
for Logic Pro X. Speaking of tablets, many
companies now have cut-down versions of their
flagship software available for these mobile
devices – it’s an area that should become more
interesting as the power of this hardware
increases.
Although most DAWs have long had some
kind of (usually offline) audio pitch and tempo
processing facilities, modern software usually
contains some kind of real-time processing
tools. Cubase/Nuendo’s VariAudio system
presents the analysed monophonic audio as
‘blobs’ that can be edited to bring to a defined
tuning or transposed to create harmonies.
This way of displaying the pitch content of
audio is almost exactly the same as that first
seen in Celemony’s Melodyne plug-in – but
Steinberg isn’t alone in borrowing this idea, as
Apple’s Logic Pro X’s Flex Pitch feature and
MOTU’s Digital Performer use almost exactly
the same pitch editing concept. Melodyne
has been incorporated directly into Presonus’
Studio One and Cakewalk’s Sonar X3 via its
proprietary ARA (Audio Random Access)
interface. Pro Tools’ audio editing tools are
grouped under the moniker of Elastic Audio
and the software’s Beat Detective feature was
the first to incorporate transient detection and
quantisation tools designed for editing rhythm
parts – although the idea of slicing audio at user
defined or automatically detected transients first
popped up in Propellerhead’s ReCycle software.
Once these transients are specified, audio can
be quantised or forced to align to the ‘groove’
of other audio or MIDI recordings and most
DAWs feature some type of audio to MIDI
and drum replacement features.
In the same way that plug-ins allow a
DAW’s feature set to be easily expanded, some
software allows the user to create new internal
processing tools. Logic Pro’s misunderstood
Environment enables the programmer to
design sophisticated MIDI editors and
processors and has been joined in version X by
a MIDI scripting language that can be used
to build MIDI plug-ins. Ableton Live’s audio
and MIDI processing facilities can be extended
by a specialised version of Cycling ‘74’s DSP
programming language, Max for Live, while
Reaper goes one step further with its built-in
JS scriptable plug-in engine that enables users
to write high-quality effect plug-ins that sport
64-bit audio resolution and sample-accurate
MIDI. Most DAWS contain basic metering
and audio analyser features, covering the
display of level, average loudness, and stereo
imaging, while some have more sophisticated
tools available such as Magix’s Samplitude
Pro’s track-level spectral editing and Nuendo’s
Loudness track that displays a graphical
representation of the average loudness of a
recording over the whole project.
DAWS AND COLLABORATIONAlthough most DAWs have facilities to import
and export various file formats to allow users
to move sessions between different company’s
software some are starting to build other
kinds of collaborative tools into their systems
by taking advantage of the connectivity the
internet and networking provides. Cockos’
Reaper incorporates the NINJAM system to
allow users to share and collaborate over the
net. Sonar has built-in Gobbler connectivity
– a third-party internet collaboration tool –
while many DAWs provide facilities for users
to export mixes to Soundcloud and iTunes.
Pro Tools and Pyramix incorporate IP over
networking protocols to allow collaboration
between different users of the same software,
while Reaper can offload effects processing
onto another computer via a network
connection.
CONCLUSIONAlthough some DAWs are aimed squarely
at post production and others lean towards
providing mostly compositional tools, most
straddle the two fields.
DAWs will most likely continue to
converge in feature sets and continue the trend
to swallow up innovations that once existed
only as third-party plug-ins. However, plug-in
designers continue to innovate and are likely
to find their ideas being copied or eventually
incorporated into a DAW. If you think for
a moment about what a modern DAW can
do while running on even modest computer
platforms, you’ll see that these programs
have arguably had the greatest influence on
music, radio, and audiovisual production
since Edison recorded Mary had a Little Lamb
into his phonograph. DAW Evolution may
have slowed but there’s no sign of it stopping
anytime soon.
Sign up for your digital AM at www.audiomedia.com DAWS
www.audiomedia.com The International Guide To Daws & Plug-ins 2014 6
Merging Technologies’ Pyramix Avid Pro Tools’ innovative Beat Detective
Cubase/Nuendo’s Variaudio in action
PLUG-INS
Getting Plugged InAUDIO SOFTWARE companies were quick
to take up the idea of allowing third parties to
add functionality to an existing Digital Audio
Workstation (DAW) via plug-ins. Avid (was
Digidesign) was among the first to exploit
the concept within Pro Tools with its offline
AudioSuite and Time Division Multiplexing
(TDM) plug-ins – the latter requiring
additional DSP hardware to perform real-time
processing. However, it was the introduction of
the open Virtual Studio Technology (VST) by
Steinberg in 1996 that allowed programmers to
easily take advantage of the increasing power of
the computer itself to create real-time effects
and virtual instruments that could be used
within existing DAWs.
Since that time, many plug-in formats have
appeared, such as Apple’s Audio Units (AU),
Avid’s Real Time AudioSuite (RTAS) and
AAX plug-ins, and Steinberg’s own VST3, but
most serious developers code software for most
formats. Other companies choose to bring their
technology outside the DAW itself to create
standalone processing tools, while some aim to
combine the haptic immediacy that hardware
brings with the world of digital audio.
SOFTWARE TOOLSOne of the earliest developers of DAW
software add-ons was Waves with its L1
Ultramaximiser, which allowed engineers to
increase overall loudness levels in a way not
possible before. The company now markets an
array of plug-in solutions, many of which still
push the envelope for software innovation. The
Vocal Rider is simple in concept, but contains
some clever processing under the hood. “We
were very happy with the Vocal Rider’s success
as it coincided with our realisation that we
should refrain from concentrating on selling
bundles to businesses,” says Amir Vinci,
Waves’ director of pro audio products.
“It was also a technological breakthrough.
Vocal Rider is like a compressor, but it works
on a longer range of time on the loudness of the
vocal and is also sensitive to the levels of other
audio. It’s a result of the research we’ve done
into making a good mix easier to achieve.”
While Universal Audio (UA) has an
extensive range of DSP-assisted emulations
of classic outboard hardware, the company
also offers some unusual processing tools – for
example, how about a plug-in that models
entire studios? In this case, it’s the sound of
Ocean Way Studios A and B: “The Ocean
Way Studios plug-in is the first ambience/
reverb plug-in that models multiple room
positions, unique sound source dispersion
patterns and the sound of the studio’s vintage
microphones simultaneously,” says UA software
product manager Will Shanks. “It’s also the
only tool that allows the user to dynamically
position up to three mic pairs in the room – in
this case with acclaimed engineer Allen Sides
providing the pre-set microphone choices and
their positions. This plug-in is a time saver in
many mixing scenarios. For example, recording
studios often use the re-micing of rooms to
create a new sound in a mix. The Ocean Way
Studios plug-in allows you to do that right
in your DAW – but it sounds as if you were
actually re-micing at Ocean Way Studios. The
plug-in can also be used as a small room reverb,
artificially removing the direct path to avoid
phasing with your sources.”
McDSP is another veteran of the plug-in
market, having produced some of the most
respected software processing tools in the
industry. The company is especially renowned
for its equalisation software, but it is not
resting on its impressive laurels: ‘The McDSP
AE400 Active Equalizer is a significant
advancement in the field of equalisation,” says
Colin McDowell, CEO and CTO for McDSP.
“The AE400 features completely overlapping
and independent equaliser bands, positive and
negative active gain, separate fixed equaliser
gains, independent key filtering, a side chain
input option for each band, active equalisation
threshold, ratio, attack, and release controls
per band, band control linking, and McDSP’s
world famous equalisation algorithms.”
VIRTUAL REALITYEven in the area of virtual emulations of classic
processing tools, companies are looking for
new ways to enhance the user experience when
using their products. One of the main issues
with working with a software compressor or
equaliser, for example, is that the mouse isn’t
the best tool for controlling the on-screen
parameters. While generic controller hardware
can be programmed to adjust specific software
parameters, it’s usually complicated to set up
and unpredictable in use. Enter Softube with
its Console 1, a combination of software and
a dedicated mix controller. “The Console 1
hardware gives you the immediacy and sound
from the analogue world, together with total
recall automation while maintaining the low
cost you expect when working with software,”
says Henrik Andersson Vogel, Softube’s
marketing manager.
“Essentially, Console 1 is a mixer. You
use it in tandem with your DAW, and you
get hands-on control of your mix settings
and control of a great sounding model of a
Solid State Logic SL 4000 E. You select the
track you want to work with by pressing the
corresponding track selector button on the
hardware and then you use the hardware knobs
to set EQ, compressor, gate, transient shaper,
high and low cut filters, and distortion.”
Although Sonnox originally caught
the attention of engineers with software
emulations of the various components of
the Sony Oxford mixing console – hence its
name – the company has expanded its range of
processing tools to cover other areas, such as
those enabling the engineer to prepare audio
for various distribution platforms at the highest
possible quality. “The new Codec Toolbox
is an affordable yet invaluable solution for
encoding your music for the web,” says Rod
Densham, managing director of Sonnox. “It
is the result of a partnership with Fraunhofer
8 The International Guide To Daws & Plug-ins 2014 www.audiomedia.com
iZotope’s award-winning RX software
Stephen Bennett talks to a number of top plug-in developers to find out what the latest and greatest
advancements have been in this increasingly crowded market.
www.audiomedia.com The International Guide To Daws & Plug-ins 2014 9
Sign up for your digital AM at www.audiomedia.com PLUG-INS
IIS, who originally created the MP3 and AAC
formats that the majority of people today listen
to online or on their portable music player.”
Codec Toolbox consists of two applications:
the Toolbox Plug-In, which is used for
auditioning a mix in real-time through various
codecs, and the Toolbox Manager, which
includes a batch encode feature and a ‘Clip
Safe’ feature that auto-compensates for any
‘overs’ present. “Metadata, such as artist, track
name, and artwork, can easily be added to your
files to be displayed on your MP3 player or
iTunes,” adds Densham.
GOING IT ALONEAlthough the plug-in format allows developers
to add features right inside a DAW, sometimes
it’s better to provide real-time or offline audio
processing as standalone applications. Source
Element’s roster of processing tools is awash
with unusual and innovative solutions to shift
your audio between applications. The company
describes its Source-Nexus program as a ‘Swiss
army knife’ audio tool that allows the engineer
to route up to 24 channels of audio into Pro
Tools – even if they’re using software that
doesn’t provide inputs and outputs.
iZotope’s Ozone was one of the first
software processors to combine multiple
processing tools dedicated to mastering in a
single plug-in and the company has continued
to innovate, making a name for itself in the
audio restoration field with its EMMY and
CAS Award-winning RX software. “The
possibilities of software design are endless
and iZotope’s development approach has
always embraced these possibilities,” says Rob
D’Amico, senior product manager for RX.
“Thinking beyond knobs and faders, we develop
software by focusing on results, designing
all-in-one solutions powered by intelligent
audio processing and immersive visualisations.
With a few clicks of a mouse, RX can remove
unwanted sounds from an audio recording
and eliminate the need for ADR. Almost any
impediment can be treated to improve the
sound quality, saving production time, money,
and the integrity of the originally recorded
audio. Best of all, we’re happy to help engineers
to get back to doing their creative work.”
For those working in the field of audio
restoration and forensic audio, Cedar Audio
will need no introduction, developing tools
that have proved invaluable in the broadcast,
film, and audio fields. The company has been
providing solutions for engineers since 1988
and Gordon Reid, Cedar Audio’s managing
director, has some interesting insights into the
rapidly changing world of software processing:
“Not all innovation is contained within new
processes such as Cedar’s Retouch, Respeed,
and Reshape modules, all of which broke
exciting new ground when released. Sometimes
a great deal of expertise can be employed to
create something that is solid rather than
flamboyant, integrating new ideas and facilities
in useful ways. The recently announced Cedar
Trinity audio surveillance system is an example
of this. This combines recording that can be
measured in terms of months or even years,
a suite of speech enhancement processes that
can be used by people with no previous audio
expertise, network streaming that allows remote
users to review and transcribe previous times of
interest while recording continues, and robust
file authentication. While the result has been
made to look as simple and straightforward as
possible, it’s actually the culmination of years of
planning and innovative software development.
What’s more, it’s possible that elements of
the system will later make their way into new
Cedar products for the mainstream professional
audio industry.”
Occasionally, a piece of software arrives
that throws a curveball at the preconceptions
and expectations of the typical audio engineer.
Antares’ Autotune and Celemony’s Melodyne
are examples of software that, although
designed for correction of errant pitching,
have become creative tools in their own right.
Accusonus’ Drumatom promises to follow
in the erstwhile footsteps of these venerable
programs, providing a facility that, until now,
was almost impossible to achieve.
“Drumatom is a novel tool that allows
engineers to reduce or even eliminate
microphone leakage in drum recordings,” says
Alexandros Tsilfidis, founder and CEO at
Accusonus. “Drumatom gives the option to
build a unique drum signature, preserving the
personal style of a human drummer and the
sound of a well-tuned drum set. Mistakes are
unavoidable during the countless hours of a
recording session and, in such cases, Drumatom
is a lifesaver – it gives you the chance to correct
things in the post-processing stage.”
Tsilfidis says that we should expect to see
further applications of Drumatom’s underlying
technology. “After many years of research and
development, Accusonus has patented the A3
(Advanced Audio Analysis) technology, which
fuels the engine of Drumatom. We have already
started implementing this technology into a
greater family of audio tools, trying to improve
the sound engineer’s workflow in many ways.”
Tsilfidis finishes with a comment that
demonstrates the continuing inspiration and
innovation evident in those companies working
in the audio processing field: ‘In Accusonus, we
believe that it’s time to take advantage of the
enormous computational power available for
something more than just perfectly emulating
our analogue units. We’ve seen that audio
professionals are now ready to accept innovation
and we want to push things into this direction!”
FINAL THOUGHTSFor the developers of DAWs, modifications
of workflow or the inclusion of radical new
processing features have to be introduced
gradually, as users need to continue to remain
familiar with the software if the company
wishes to retain customers after each update.
No such limitation exists for the developers
of plug-ins and other standalone processing
tools and the companies who are involved in
producing this type of software have exploited
this flexibility to the max. As computing power
continues to increase the audio engineer can
expect further innovations – and surprises – to
be introduced by the pioneers who continue to
push the boundaries of sonic possibilities in the
field of digital audio processing.
UA’s Ocean Way Studios plug-in
The new Cedar Trinity audio surveillance
system from Cedar Audio
MERGING TECHNOLOGIES SA
Pyramix Virtual Studio 9: MassCore Unchained
In 2007, the MassCore engine provided
Pyramix software users with the most powerful
audio engine in the world. Capable of 384
discrete inputs and 384 discrete outputs, 256
busses and almost limitless power for plug-
ins, MassCore has always left the competition
completely behind. But now, after some 7 years
of using ‘hidden’ cores in a multi-core CPU to
generate immense processing power and the
industry’s lowest latencies, MassCore is still
the most powerful engine and it is getting an
upgrade to make it even yet more powerful!
Enter Pyramix 9, MassCore Unchained.
64-BIT MASSCOREThe issue with running something as insane
as MassCore in a 32-bit operating system was
that there was simply never the room to take
full advantage of what the audio engine was
capable of. Merging Technologies President,
Claude Cellier put it best when he said: “It
seems that no matter how much power you
present to a digital audio workstation user,
they will work as hard as they can to find
the upper limits of that power. We are so
happy to be able to now completely raise the
bar once again on what our users are able to
achieve… and we are very interested to see if
anyone now is able to find the new limit, or
if there even is one!” With 64-bit, Pyramix’s
true real-time operation is now able to span
not only hundreds of tracks, but also contain
more edits, more automation, more plug-ins
and span greater project lengths than ever
before. One has to admit that it is usually the
post-production industry that is leading the
way with pushing the boundaries. And, in
post-production it is not only the audio that
needs horsepower. Video playback and remote
control all need memory and power as well,
and Pyramix 9 doesn’t disappoint in these
situations either.
IRIS NETWORKED POST SYSTEM AND VCUBE 64-BITLast year, Smart AV and Merging released
the IRIS Networked Post System (http://iris.
merging.com). Combining Pyramix DAW
with VCube Essentials and the Tango2
interface provided users with a complete studio
as a single turnkey solution. With the 64-bit
release of the VCube video engine alongside
Pyramix 9, Post Pack users are set to be able
to playback even more demanding codecs and
video file types without having to move the
VCube engine to a separate computer. Able to
easily playback all major file formats, sequences
and codecs, including H.264, DNxHD, AVC
Intra, MXF, MOV, AAF, CMX EDL, FCP
XML and many others, the VCube component
of the PyraCube system has now had its bar
raised as well. And, mixing all of that (no
pun intended) with the 24in touchscreen of
the Tango2 control surface for mixing and
automating makes the IRIS 64-bit system
unbeatable.
Hapi – SMALL FORMAT AES67 / RAVENNA INTERFACEMeet Hapi, the son of Horus. Born from the
most flexible and sonically transparent audio
interface and providing the same RAVENNA
/ AES67 connectivity as its father, Hapi is
both the perfect primary interface for smaller
systems as well as the ultimate accessory for a
system using Horus where control room I/O
is required. Able to carry the same AD8D/
AD8DP, and DA8/DA8P analogue cards that
fit in the Horus option slots and connect to
any RAVENNA or AES67 network the Hapi
provides a more cost effective solution than
the Horus without having to make a single
compromise in quality.
10 April 2014 The International Guide To Daws & Plug-ins 2014
Pyramix 9 arrives with a new mixer,
a new hardware interface, and true
64-bit operation, making the most
powerful audio engine on the market
even more powerful.
IRIS Networked Post System at
Films @59 Bristol, UK
www.audiomedia.com April 2014 11
Sign up for your digital AM at www.audiomedia.com MERGING TECHNOLOGIES SA
NEW MIXERBeing able to construct mixers bigger than
any other DAW could ever create means that
specialist tools need to be incorporated to
help users in navigating through the hundreds
of channels, auxes, subgroups, and master
busses in a way that does not slow down their
workflow. The main addition to the new mixer
is the Signal Flow view of the metering. Now,
with any strip, or range of strips selected,
the user can instantly see where the signal is
routed to by a slight colour change in the peak
meters. Then, with a simple click, the user can
collapse the view of the entire mixer so that it
only shows those strips and busses being used
for the part of the mix that has been selected.
Additional updates include automation modes
per strip, peak metering in the auxes and
subgroup sends, and much more visible
strip colouring.
MIXDOWN: LOUDNESS LOGGING AND FIX TOOLSOnce the mix is finished, Pyramix 9 has a
completely redesigned mixdown window
that makes the final step of your project an
infinitely less complicated one to take. First off,
the Final Check Loudness metering has been
ported into the mixdown and now provides a
log sheet of the loudness measurements in the
program. But it also provides the possibility
to ‘Fix’ the loudness by simple scaling (overall
volume increase or decrease) so that even if you
do not conform to loudness spec, it will ensure
that your final files do… and it does all of this
over multiple busses simultaneously! Pyramix 9
is also now able to mixdown multiple busses at
the same time, creating a single poly-wav file
for each bus. So if you have a stereo and a 5.1
mix, with various deliverable busses, then all
you need to do is name them, select ‘mixdown
split by bus’, and press go.
Johan Wadsten, Pyramix product manager notes: “We always want to try and make sure our users are working faster and producing better sounding results than the rest. Version 9 has been a long time coming and I am so excited to hear the results of all our hard work!.”
MERGING TECHNOLOGIES SAIs a Swiss manufacturer with over 20 years of
experience in developing ground-breaking,
professional Audio and Video products for
a wide range of entertainment and media
industries. With a dedicated user base in
the elite end of the music, film, television,
mastering, and performances industries,
Merging is committed to developing product
ranges with unrivalled quality and flexibility,
no matter what the application. Merging
builds tools for people who want more from
their systems, have an inherent need to push
boundaries, and believe that quality always
comes first, every time.
Hapi STATS
(Coax & Optical)
Two views of the mixer showing the new
layout and Signal Flow collapse
Hapi: RAVENNA & AES67 interface
from Merging Technologies
INFORMATION
[]
Worldwide HeadquartersMerging Technologies SA
Le Verney 4, CH-1070 Puidoux, Switzerland
W: www.merging.com
Merging UK Offices Emerging UK ltd.
23 Easter Park,Benyon Road, Silchester, Reading
RG7 2PQ, United Kingdom
T: +44 (0) 118 402 5090
Merging USA OfficesIndependent Audio Inc.
43 Deerfield Road, Portland, ME 04101
T: +1 (207) 773 2424
AES67 NOW!
AES67 is becoming quite the buzz word
this year. The new interoperability standard
for network audio (AoIP) has been quickly
jumped on by some of the industry’s biggest
players as the unifying method for connecting
devices to a standard network to share
real-time audio streams. Merging is proud
to announce that all of its hardware and
software is completely AES67 compatible
with this latest release.
Merging is a proud RAVENNA partner
PRESONUS AUDIO ELECTRONICS
PreSonus Studio One Professional 2 Music-Production Software
MORE PRODUCTIVE. MORE CREATIVE. MORE FUN! PreSonus Studio One Professional 2
presents an integrated approach to recording,
from tracking to mixing to mastering and
distribution. Built for intuitive use, speed,
and efficiency, it’s robust enough for the most
complex productions.
Studio One has become the DAW of
choice for such musical heroes as super-
producer Teddy Riley; Grammy-winning
engineer Khaliq Glover; and legendary
producer/songwriter 5aint. The reasons are
simple: Studio One 2 lets them work
quickly and efficiently and delivers the
features they need and the impeccable audio
quality they demand. And thanks to free
updates, Studio One is getting better all the
time! No wonder it has won so many awards,
including Audio Media’s 2010 and 2012
Gear of the Year.
A VISION CREATED FROM EXPERIENCECreated by a German engineering team with
many years of experience, Studio One is both
powerful and easy to use, integrates tightly
with PreSonus hardware, and works well with
competing hardware that supports Core Audio
or ASIO.
Version 2 added more than 100 features and
enhancements, including multitrack comping,
multitrack MIDI editing, transient detection
and editing with groove extraction, Folder
Tracks, and tightly integrated Melodyne pitch
correction that’s only possible with Studio
One. Free updates soon followed: Version 2.5
added almost 100 features and enhancements,
and version 2.6 provided another 50. Yet
Studio One is still uncluttered and easy to use.
STATE-OF-THE-ART COMPUTINGStudio One Professional employs a state-of-
the-art audio engine that delivers incredibly
clear, accurate sound and automatically
switches between 64- and 32-bit floating-point
process precision, on the fly, to accommodate
32-bit plug-ins. Written for multi-core
processors, it has 64-bit memory addressing to
take advantage of large amounts of RAM.
Version 2.6 added state-of-the-art
integration with PreSonus’ new StudioLive
AI-series mixers, enabling you to edit and use
StudioLive AI mixer scenes in Studio One and
send them to other apps in the StudioLive AI
software library. A Studio One Fat Channel
plug-in provides the same processing found in
the mixers, so when you load a live recording
with mixer scene, your music sounds exactly
the same as when it was recorded with the
StudioLive AI. Only PreSonus can conjure this
sort of magic.
AN EASIER, MORE INTUITIVE INTERFACEFrom the moment you launch Studio One,
it’s evident that this is a better way to record.
The Start page lets you access recent songs and
projects, create new ones, configure external
devices, download updates and support
materials, and access tutorials, demo songs, and
a PreSonus news feed.
One click lands you on the Song page,
where you can track, edit, and mix in one
easy-to-navigate window. The Arrange
view employs a waveform display with user-
selectable colour-coding and sample-level
zoom.
DRAG-AND-DROP RULES!Just say ‘no’ to mousing through menus. Studio
One’s powerful drag-and-drop function allows
you to drag an audio clip, effect, or virtual
instrument from the browser directly onto a
track. Want to save an audio or MIDI clip as
a file or save an effect or VI? Drag it from the
Arrange or Console view back to the browser!
12 April 2014 The International Guide To Daws & Plug-ins 2014
Studio One™ Professional 2 lets you work quickly and focus on your inspiration. Access tools without
wading through menus. Load and save audio clips, MIDI files, effects, and VIs by drag-and-drop.
Import videos and create soundtracks. Exchange files, presets, instruments, and more with other
users. Mix, master, burn CDs and DVDs, and upload to the Web, all within Studio One.
Studio One’s unique Project page is intelligently linked to the Song page and provides
tools for mastering, disc-burning, digital release, and direct upload to the Web
www.audiomedia.com April 2014 13
Sign up for your digital AM at www.audiomedia.com PRESONUS AUDIO ELECTRONICS
Preview any audio clip in the browser, and if
the clip has tempo information encoded, it
will play synced to the song tempo. View and
download SoundCloud-based audio files and
use PreSonus Exchange to share effects presets
and chains, instruments, and more with other
Studio One users – all from the browser.
The Console view includes faders, solos,
mutes, pans, and more, with extensive
sidechaining. Export entire channels as stems,
complete with buses, effects, and instrument
returns.
CONTROL LINK™ MIDI MAPPINGStudio One integrates with hardware
controllers simply and easily. Mackie Control
and HUI support provides compatibility
with a variety of control surfaces. And with
Control Link, mapping MIDI controllers is a
snap: Open any plug-in, click on a parameter,
twist a controller knob or press a switch,
click the Link button, and you’re done. Map
controllers independently for each plug-in, or
map a controller to a single plug-in parameter;
the controller will continue to change the
parameter value after the plug-in’s GUI is
closed.
PICTURE THISStudio One Professional’s video features are
great for simple sound-for-picture projects.
You can import any QuickTime video into a
Song for playback and sync, with adjustable
video playback size and time offset.
A Follow Edit Position feature helps
sync to specific frames.
COMPREHENSIVE UNDOStudio One enables you to view and undo
all edits done since the file was opened,
even if you have saved since then. This is a
random access Undo,
not a sequential one.
MASTERING WITH STUDIO ONE PROFESSIONALNo other DAW offers
an integrated mastering
suite comparable to
Studio One Professional’s Project page. As you
add songs to a project (collection of songs), the
songs and the project are intelligently linked so
that changes to one are automatically updated
in the other. Studio One Professional provides
the tools for professional mastering, including
a phase meter and spectrum and peak/RMS
level meters with K-System options. A Scope
plug-in provides oscilloscope functions.
WORLDWIDE DISTRIBUTION – INSTANTLY!Mastered albums can be digitally released in
multiple standard formats and can be saved as
disc images and burned to CDs and DVDs, all
within Studio One Professional. You get DDP
Export and PQ editing and can include song
and album art.
Better yet, upload your finished projects
to the Web and start distributing them
immediately with Studio One’s built-in
Nimbit® client and free Nimbit account. You’ll
get up-to-date statistics (number of fans,
number of active promotions, and sales) from
a Nimbit dashboard on the Start page. Want
to share your tracks? Studio One Professional
includes a SoundCloud client and dashboard,
too! No other DAW has these features.
A WEALTH OF PLUG-INSStudio One Professional supports ReWire,
VST 2 and 3, and Audio Units and comes with
INFORMATION
[]
PreSonus Audio Electronics18011 Grand Bay Court
Baton Rouge, LA 70809 USA
T: +1 225 216 7887
F: +1 225 926 8347
W: www.presonus.com/products/studio-one
United Kingdom & Ireland
Source Distribution
(UK distributor)
Unit 6, Pembroke Buildings
Cumberland House Business Park
London UK NW10 6RE
T: +44 020 8962 5080
F: +44 020 8968 3218
W: www.sourcedistribution.co.uk
Germany & Benelux
Hyperactive Audiotechnik GmbH
Neukirchner Str. 18
65510 Hünstetten, Germany
T:+49 (6126) 95 36 50
F:+49 (6126) 95 36 569
W: www.hyperactive.de
The Song page allows you to track, edit, and mix in one
easy-to-navigate window
33 premium 64-bit Native Effects plug-ins
and 4 smartly designed virtual instruments.
You also get more than 25 GB of third-party
software, instruments, samples, and loops.
DECIDE FOR YOURSELFStudio One does much more! For details, visit
www.presonus.com/products/studio-one; view
the free instructional videos; and join the lively
Studio One forum. Then download a free
demo and try Studio One Professional
for yourself!
You can import a QuickTime video into the Song
window for scoring to picture
Sign up for your digital AM at www.audiomedia.com SOURCE ELEMENTS
SOURCE-CONNECTSource-Connect, the well-established and most
popular ISDN alternative, has new capabilities
enabling everyone to work with remote clients
in 5.1, stereo, or mono. New features allow
connections with the same remarkable audio
quality without requiring firewall configuration,
while also professionally molding itself into the
most security conscious networks. With Source-
Connect Pro X, Source Elements is breaking
new ground releasing the most affordable
5.1 surround / multi-channel codec available.
Directly integrating into Pro Tools 10/11 64-bit
or any DAW using AAX, RTAS, VST, and
AU, Source-Connect is the IP audio solution
from the high end to the home user, Windows
and Mac.
NEW: SOURCE-CONNECT NOWSource-Connect Now makes it possible to
establish connections from virtually any modern
computer or Android – and soon iOS device
– with an internet connection; no iLok or
software download required. Made even more
powerful by providing free Guest logins, low-
quality phone patched interviews and sessions
will be a thing of the past. Source-Connect
Now establishes new territory in affordability
and flexibility: Source-Connect Now accounts
are free for basic use.
NEW: SOURCE-NEXUSA companion to Source-Connect Now and
an indispensable plug-in in its own right, turn
any application into a Pro Tools plug-in. Two
versions: Basic for mono/stereo or Standard up
to 24 channels. Coming to AU and VST soon.
NEW: SOURCE-LIVE WITH VIDEO Source-Live with Video makes it possible for
post-production editors, designers, and
composers to work with clients remotely along
with HD picture. Superior and artifact free
compared to consumer options, Source-Live
with Video captures video and audio from any
desktop application (Media Composer, Final
Cut, Pro Tools etc) and streams seamlessly to
clients. Collaborating remotely is as simple as
signing into a web page. Source-Live sessions
also provide voice, video, and text chat for its
participants in a virtual control room.
SOURCE-TALKBACKSource-Talkback AAX allows for single key
toggle, latch, and now featuring Auto mode
that opens the talkback when the transport is
stopped. Compatible with external switches for
wireless talkback control, more affordable and
convenient than external hardware.
Game-changing Remote Recording, Monitoring and File Transfer
Since 2005 Source Elements has been
connecting media professionals with their
clients in real time using sophisticated
purpose-built software. Their products have
been used in countless blockbuster movies
and music projects along with commercial
productions of all types.
Free trials at http://source-elements.com.
Call to discuss your unique needs.
Source-Connect Pro X, Source-Zip Pro, and Source-Live with Video
Work with clients and talent remotely in real time. Source-Connect offers high-resolution IP-audio
straight into your timeline. With Source-Live, broadcast your mix with HD video to anyone, anywhere.
Transfer quickly with Source-Zip. Source-Nexus turns any application into a Pro Tools Plug-in.
Notable users:
recording engineer, linked in 5.1 surround into choral sessions conducted at Abbey Road
Source-Connect Pro and its Remote Transport Sync feature when conducting domestic
and international ADR and mix sessions for various high profile projects and clients.
Connect Pro X to play back 5.1 mixes live with picture sync to producers at Chase Audio
in Los Angeles.
INFORMATION
[]Source Elements LLC
Evanston, Illinois
T: +1 312 706 5555 (US)
T: +44 20 7193 8755 (UK)
T: +61 2 8005 5903 (AU)
W: www.source-elements.com
www.audiomedia.com April 2014 15
STEINBERG MEDIA TECHNOLOGIES GMBH
Audio Editing and Mastering: WaveLab 8.5
Ranging from mastering engineers who work
in the studio on a day-to-day basis down to
music enthusiasts keen to digitise entire music
libraries, all of them use WaveLab to obtain
the highest degree of audio quality, to render
audio files to the required format, to edit and
master audio material to professional standards.
WaveLab gives you complete freedom to edit
and process audio files in their entirety or only
the smallest of detail.
MAKING WAVESThe award-winning eighth iteration
of WaveLab and its smaller derivative,
WaveLab Elements, are available for OS X
and Windows. And by running the 64-bit
version you can edit and process numerous
tracks simultaneously, handle extensive batch
processes, as well as analyse and restore audio
with the utmost precision.
WaveLab comprises four different
workspaces, christened Audio File, Audio
Montage, Batch Processor, and Podcast.
Each workspace is dedicated to a specific
job, providing a rich toolset for the respective
tasks. Each workspace can be adjusted to your
individual preferences, which helps to expedite
your workflow. The Audio File workspace is
the perfect place for sample-accurate audio
editing and high-quality analysis. Simply
import the audio file and all the tools and
functions are readily available to analyse,
edit, and process the material. The Audio
Montage workspace allows you to compile
multiple audio files, allowing real-time fades
and crossfades and providing clip-based effects,
edit tools, and global effect plug-ins within
the Master section. The third workspace, the
Batch Processor workspace, is one of the most
powerful tools within WaveLab. Divided
into three dedicated areas, the processing
chain runs to completion without the need for
any interaction from your side. Add effects,
specify the file format to which you want to
export – run the Batch Processor for multiple
files simultaneously and save time. Finally,
the Podcast workspace is a complete online
publishing toolset allowing you to create and
disseminate podcasts for the Internet. With its
intuitive user interface, FTP capability, RSS
2.0 support, and time-saving templates, you
can produce podcasts in no time without ever
leaving WaveLab. Got an iTunes account at
hand? Then you can also upload your podcasts
to iTunes!
Another essential part of WaveLab is the
WaveLab Control section, allowing you to
group a freely selectable range of analysis
tools in a dedicated space. Use studio-grade
analysing tools such as the spectroscope, VU
metering, oscilloscope, waveform display,
spectrum metering, phase correlation, and bit
metering. The WaveLab Control window can
also be conveninetly placed on a second screen,
allowing for best overview on what’s going on
with the audio material.
With its MIDI learn capability, control
WaveLab with up to three MIDI controllers.
You simply have to assign the buttons and
faders of your hardware to specific parameters
within the application, giving you hands-on
control within seconds.
Thanks to the close collaboration with
plug-in manufacturer Sonnox, WaveLab
incorporates a professional restoration suite
consisting of DeNoiser, DeBuzzer, and
DeClicker to remove unwanted noise for an
overall better audio quality.
POINT MADE, POINT TAKENAvailable from this June, version 8.5 provides
significant features and many enhancements
to the exciting world of WaveLab. First
and foremost, the newly introduced Watch
Folders accelerate everyday file conversion and
batch processing tasks by designating them
to any standard folder of an operating system.
Audio and file processing such as dithering,
normalisation, and format conversion are
16 April 2014 The International Guide To Daws & Plug-ins 2014
Good recordings don’t necessarily sound good. This is one of the reasons why audio mastering is
considered a vital step in every recording process. The intricacies involved when mastering require
sophisticated tools, and this is where engineers turn to WaveLab.
Newly introduced: the Encoder Checker is the
perfect tool for comparing encoding formats
prior to final rendering
WaveLab provides three-dimensional
spectral analysis of audio files
www.audiomedia.com April 2014 17
Sign up for your digital AM at www.audiomedia.com STEINBERG MEDIA TECHNOLOGIES GMBH
automatically imposed onto audio files dropped
into the assigned Watch folder, and all tasks
run inconspicuously in the background, freeing
you up to focus on priorities.
The new Encoder Checker included in
WaveLab 8.5 lets you preview and compare
audio simultaneously through all common
encoder formats: listen to the original,
unrendered audio and up to three streams
each playing through a selected encoder and
settings. With the real-time FFT graph, you
not only hear the difference but also see
with your eyes how lossy encoders and
its parameter and bitrate adjustments
affect audio quality. Toggling between
the streams takes the guesswork out of
encoding your audio to the right format,
such as MP3 192 kbit, iTunes-compatible
AAC, or Ogg Vorbis.
Speaking of AAC, short for Advanced
Audio Coding, with the update to version
8.5, WaveLab now supports encoding
to the AAC file format which is the
standard audio format for many platforms
and products, such as iTunes and iPod.
This newly implemented encoder allows
you to render music or spoken word
files directly to AAC, straight from the
export file dialog, in conjunction with the
new Watch Folder feature, for instance,
for straightforward batch processing or
through the Encoder
Checker to provide
a direct comparison
between the different
formats.
The multi-format
rendering tools let you
render different formats
simultaneously and to
save rendering chains for
the most common
export formats.
WaveLab audio editing and mastering suite
Introduced in 1995, WaveLab belongs to
one of the very first mastering software
applications, and since then has been
providing the best workflow and tools for
mastering, editing, and restoration for
many years. The sample-accurate audio
editing capabilities combine elegantly with
the versatility of its tool set, including
error correction tools and restoration
plug-ins such as the DeNoiser, DeClicker,
and DeBuzzer by Sonnox. For seamless
delivery to audio CD or DDP, WaveLab
boasts the finest mastering technology to
facilitate matching and adjustment of levels,
equalisation, as well as loudness analysis
and processing of different audio tracks.
Rightfully so, WaveLab is considered the
go-to solution for many mastering engineers
around the globe.
WaveLab Control displays analysing tools such
as VU metering, spectrum metering, and phase
correlation
“Once I started experimenting
with WaveLab, I found it
easy to use, and the meters
were fast and easy to read,
so I decided to adopt it
for my work.”
Goh Hotoda, mixing and mastering engineer for
Grammy award-winning productions
Mixing and mastering engineer Goh Hotoda
About Steinberg
Celebrating its 30th anniversary this
year, Steinberg is known the world over
for its music and audio software and
hardware solutions. The company has been
developing, manufacturing and selling
innovative products since 1984. Used
by Grammy and Oscar award-winning
composers, engineers and producers, the
Steinberg range of products has long
since found world renown in all aspects
of modern digital audio processing, and
form the backbone of facilities specialised
in music composition and production,
mastering, restoration, broadcast, sound
design and audio post for the film industry.
INFORMATION
[]
(Manufacturer’s HQ)Steinberg Media Technologies GmbH Frankenstr. 18b
20097 Hamburg
Germany
W: www.steinberg.net
(US distributor)Yamaha Corporation of America 6600 Orangethorpe Ave
CA-90620 Buena Park
USA
DIRECTORY
ABBEY ROAD STUDIOSwww.abbeyroad.com+44 (0)20 7266 7000
ABLETONwww.ableton.com+49 30 288 763 231
ADOBEwww.adobe.com+1408 536 6000
ALGORITHMIXwww.algorithmix.com+49 7741 91 930
AMS NEVEwww.ams-neve.com+44 (0) 1282 457 011
ANTARESwww.antarestech.com+1 831 461 7801
APOGEEwww.apogeedigital.com+1 310 584 9394
APPLEwww.apple.com+1 408 996 1010
ARTwww.artproaudio.com+1 716 436 2720
ARTURIAwww.arturia.com+33 438 020 525
ARXwww.arx.com.au+61 3 9555 7859
AUDIOEASEwww.audioease.com+31 30 24 33 606
AUDIOFILEwww.audiofile-engineering.com
AVIDwww.avid.com+1 650 731 6100
AXIA AUDIOwww.axiaaudio.com+1 216 241 7225
BBEwww.bbesound.com+1 831 688 1311
BITWIGwww.bitwig.com
BORIS FXwww.borisfx.com+1 508 573 5100
BRAINWORX GERMANYwww.brainworx-music.de+49 (0) 2173 204 1852
CAKEWALK, INCwww.cakewalk.com+1 617 423 9004
CEDAR AUDIOwww.cedar-audio.com+44 (0) 1223 881 771
CELEMONYwww.celemony.com+49 700 2353 6669
CENTRANCEwww.centrance.com+1 847 581 0500
CHANDLERwww.chandlerlimited.com+1 319 885 4200
CYCLING 74www.cycling74.com+1 415 974 1818
DALETwww.dalet.com+1 212 269 6700
DANGEROUS MUSICwww.dangerousmusic.com+1 607 965 8011
DB-AUDIOWAREwww.db-audioware.com
DIGIGRAMwww.digigram.com+33 (0)4 76 52 47 47
DTSwww.dtsonline.co.uk+44 (0) 118 934 9199
ECHOwww.echoaudio.com+1 805 880 5590
EVENTIDEwww.eventide.com+1 201 641 1200
FABFILTERwww.fabfilter.com
FAIRLIGHTwww.fairlightau.com+61 2 9975 1777
FLUXwww.fluxhome.com
FOCUSRITEwww.focusrite.com+44 (0) 1494 462 246
FXPANSIONwww.fxpansion.com
GRM TOOLSwww.inagrm.com
HARRISON CONSOLESwww.harrisonconsoles.com
IK MULTIMEDIAwww.ikmultimedia.com+39 059 285496
IZOTOPEwww.izotope.com+1 617 577 7799
LEXICONwww.lexiconpro.com+1 801 568 7567
LYNX STUDIO TECHNOLOGYwww.lynxstudio.com+1 714 545 4700
MASSEY PLUGINSwww.masseyplugins.com
MAGIXwww.magix.com
M-AUDIOwww.m-audio.com
MACKIEwww.mackie.com+1 425 892 6500
MCDSPwww.mcdsp.com+1 650 318 0005
MERGING TECHNOLOGIESwww.merging.com+41 (0) 21 946 044
METRIC HALOwww.mhlabs.com+1 (727) 725-9555
MINNETONKA AUDIOwww.minnetonkaaudio.com+49 2162 1062 622
MOTUwww.motu.com+1 617 576 2760
MSOFT INCwww.msoftinc.com
MS PINKYwww.mspinky.com
NATIVE INSTRUMENTSwww.native-instruments.com+49 (0) 30 61 10 35 0
NEYRINCKwww.neyrinck.com
NOMAD FACTORYwww.nomadfactory.com
NOTION MUSICwww.notionmusic.com+44 (0) 20 8899 6090
NOVATION MUSICwww.novationmusic.com+44 (0) 1494 462 246
OHM FORCEwww.ohmforce.com
OVERLOUDwww.overloud.com
PRESONUSwww.presonus.com+1 225 216 7887
PRISM SOUNDwww.prismsound.com+44 (0) 1353 648 888
PROPELLERHEADwww.propellerhead.se
RMEwww.rme-audio.com+49 08133 91 810
ROB PAPENwww.robpapen.com
ROLAND SYSTEMS GROUPwww.rolandsystemsgroup.co.uk+44 (0) 1792 702 701
SADIEwww.sadie.com+44 (0) 1353 648 888
SERATOwww.serato.com
SEVEN WOODS AUDIO, INCwww.sevenwoodsaudio.com+1 617 489 6292
SLATE DIGITALwww.slatedigital.com
SLATE PRO AUDIOwww.slateproaudio.com
SOFTUBEwww.softube.se+46 13 2116 23
SOLID STATE LOGICwww.solid-state-logic.com+44 (0) 1865 842 300
SONALKSISwww.sonalksis.com+44 (0) 151 324 0022
SONIC COREwww.soniccore.com+49 2241 3019595
SONIC STUDIO LLCwww.sonicstudio.com+1 415 460 1201
SONNOXwww.sonnoxplugins.com+44 (0) 1865 887505
SONY CREATIVE SOFTWAREwww.sonycreativesoftware.com+1 608 256 3133
SOUNDFIELDwww.soundfield.com+44 (0) 1924 201 089
SOUND TOYSwww.soundtoys.com+1 802 951 9700
SOURCE ELEMENTSwww.source-elements.com+1 312 706 5555
SPECTRASONICSwww.spectrasonics.net+1 818 955 8481
SPLwww.soundperformancelab.com+49 2163 98340
SRS LABSwww.srslabs.com+1 949442 1070
STEVEN SLATE DRUMSwww.stevenslatedrums.com
STEINBERGwww.steinber.net+49 40 210 35 0
STILLWELL AUDIOwww.stillwellaudio.com
SYNCHRO ARTSwww.synchroarts.com+44 (0) 1372 811 934
SYNTHOLOGYwww.synthology.com
TASCAMwww.tascam.com+1 323 726 0303
TC ELECTRONICwww.tcelectronic.com+45 8742 7000
TC HELICONwww.tchelicon.tc+45 8742 7000
TERRATECwww.terratec.com+49 2157 8179 0
THE SOUND GUYwww.sfxmachine.com+1 408 646 5271
TOONTRACKwww.toontrack.com
TRILLIUM LANE LABSwww.avid.com+44 (0) 1753 655 999
URSwww.ursplugins.com
UNIVERSAL AUDIOwww.uaudio.com+1 831 440 1176
VIENNA SYMPHONICwww.vsl.co.at
VIRTUAL KATYwww.virtualkaty.com+1 772 924 0026
VIRTUASONICwww.virtuasonic.com
V-PLUGSwww.v-plugs.com+972 52 633 9077
WAVE ARTSwww.wavearts.com+1 781 646 3794
WAVESwww.wavearts.com+1 781 646 3794
WHOLEGRAIN DIGITAL SYSTEMS LLCwww.wholegrain-ds.com
XILS-LABwww.xils-lab.com
YAMAHAwww.yamahaproaudio.com+44 (0) 1908 366 700
YELLOWTECwww.yellowtec.com+49 2173 967 30
ZOOMwww.zoom.co.jp+81 35 835 2206
ZPLANEwww.zplane.de+49 30 854 09 150
18 May 2014 The International Guide To Daws & Plug-ins 2014
