Audio Ease has announced the release of Altiverb 7, the original cross-platform convolution reverb that uses samples of actual spaces and classic gear to generate ambiance with software. Version 7 features an updated user interface, keyword searching and new modulation capabilities.

The Impulse response (sampled spaces) library is more accessible then ever because of Altiverb’s new picture browser: quicker loading, organize-by-size, and single click favorites are among its features. Altiverb 7 looks and feels better. Often used controls all line up on the front, while the more exotic ones are in drawers beneath. Keyword searching makes it easier to find the right space among the many hundreds of spaces Altiverb includes.

Altiverb 7 adds an algorithmic reverb that is closely fit to the impulse response. It can optionally add brightness and chaotic modulation in ways only synthetic reverb can while preserving the nature of convolution reverb.

The Impulse response library can be kept up to date from within the plug-in. The TDM structure has been sheavily simplified, altiverb is now the only total recall convolution reverb (without the use of snapshots). It adds drag and drop impulse response making from sweeps, slate claps or anything experimental from piano chords to overhead thunder. Altiverb 7 is fully backwards compatible: you can open up any old project and it will load and sound the same as Altiverb 6.

Altiverb 7 supports 64-bit operation, is Intel Mac only for now, runs in all major VST, Audio Unit and MAS hosts and in ProTools 8, 9 and 10 as a TDM plugin and as RTAS.

The upgrade is free for all Altiverbs purchased in 2010 or later: A grace period of close to two years! Otherwise the upgrade is $215 / €159.

www.audioease.com/altiverb

Vertigo Sound, in close cooperation with Brainworx, has announced VSC-2, the first software plug-in based upon Vertigo’s “Big Impact Design”. The VSC-2 plug-in captures all the fine nuances of this $6,000 flagship VCA compressor in convenient a TDM, RTAS, AU and VST compatible download.

“We are amazed how accurate the plug-in simulates the real deal. We have compared it to the hardware several times now in a professional studio and cannot hear any difference at all. Is that good or bad?!?” says Andreas Eschenwecker, CEO of Vertigo Sound.

Although VSC-2 was developed as a Stereo Bus Compressor, each channel provides a complete set of controls which also makes VSC-2 a dual mono “must have” in recording and mix situations. Its precision makes VSC-2 a first choice for mastering applications and the stereo mix bus. A true mono version of the plug-in is available as well.

On the Mac, VSC-2 requires OS X 10.4 or higher, an Intel or PowerPC processor (2 GHz or faster recommended), 2 GB of available RAM, Pro Tools 7.0 or higher or a VST / AU compatible host, and an iLok USB dongle. 64 Bit & AAX versions will be free upgrades in January 2012.

VSC-2 is available as a direct download from Brainworx for $331. An introductory 20% discount price of $265 is in effect until November 30. Further discounts are available for current Brainworx customers. The same installer will also serve as fully functional trial version for 14 days, no iLok necessary.

http://www.brainworx-music.de/en/plugins/vertigo_vsc-2

Waves Audio today announced the availability of H-EQ Hybrid Equalizer, a uniquely powerful plug-in for mixing and mastering, featuring vintage and modern EQ inspired by the finest British and American consoles.

Included are seven different filter types per band: US Vintage, UK Vintage 1, UK Vintage 2, US Modern, UK Modern, Digital 1 and Digital 2, in addition to a newly-developed, one-of-a-kind asymmetrical bell filter. An intuitive keyboard graphic lets users choose frequencies by clicking on notes, and an exclusive MS Mode allows users to apply different EQ to Mid and Side content. Also featured is a flexible real-time frequency spectrum analyzer with multiple display options.

Waves H-EQ Controls:

• Input Fader controls the signal input level.
• EQ Modes: Stereo/Linked, Dual/Unlinked, MS Mode.
• EQ Filters: HP, LF, LMF, MF, HMF, HF, LP.
• Analog Type toggles between analog characteristic types.
• Analog Level controls the level of the combined noise and hum.
• THD Level controls the level of harmonic distortion added to the signal.
• Keyboard lets users choose frequencies by clicking on notes.
• Analyzer presents a real-time graphical display of the input signal, output signal or both, as well as the EQ curve.
• Analyzer In displays the input signal, post-input fader.
• Analyzer Out displays the output signal, post-output fader.
• L/M turns on the display of the left side only in Stereo mode, or the M in M/S mode.
• R/S turns on the display of the right side only in Stereo mode, or the S in M/S mode.
• Freeze stops the frequency graph.
• Peak Hold stops the frequency graph at its highest peak point.
• Analyzer Scale displays the energy level measured by the analyzer.
• EQ Scale displays the EQ curve being applied to the signal.
• Band Markers allow users to manipulate the EQ bands using the band markers.
• Output fader controls signal output level.
• Phase flips the phase of the signal by 180 degrees.
• Trim displays the maximum peak level of the output signal and its distance from 0 dBFS.

On the Mac, Waveshell 8 requires OS X 10.5.8 – 10.7, an Intel Core Duo 2.3 Ghz processor or faster, 2 GB of available RAM and a minimum display resolution of 1024 x 768 pixels.

Waves H-EQ is now available at a U.S. MSRP of $200 (native) / $300 (TDM). A special introductory price of $99 / $149 is available for a limited time. Waves H-EQ is also available at no additional charge to owners of Waves Mercury with current Waves Update Plan coverage.

http://www.waves.com/content.aspx?id=11818

Waves Audio Ltd has announced the release of MPX Master Tape. Developed in association with audio engineer and producer Eddie Kramer, the MPX Master Tape plug-in is modeled on a rare machine consisting of an Ampex 350 transport and 351 electronics. With adjustable tape speed, bias, flux, wow & flutter, and noise parameters, the MPX provides comprehensive control over the contours of your sound. To top it off, it also features a flexible slap & feedback delay, ideal for rock, dance, dub and more.

MPX Master Tape features

• Modeled on the Ampex 350/351 ¼-inch reel-to-reel
• Adjustable tape speed, bias, flux, wow & flutter
• Slap & feedback delay
• Up to 24-bit 96 kHz resolution
• Mono and Stereo components
• Supports TDM, RTAS, Audio Suite, VST, AU

MPX Master Tape controls

• SPEED selects the simulated tape speed.
• MONITOR selects the monitoring mode.
• BIAS controls the level of the ultrasonic bias signal.
• VU METER displays input or output level.
• VU CALIBRATION controls the VU meter headroom calibration.
• DELAY TIME controls the time of the tape delay effect, with settings for 7.5 ips (266 milliseconds) and 15 ips (133 ms).
• DELAY TYPE toggles between delay modes.
• FEEDBACK controls the amount of the delayed output signal.
• LOWPASS controls the LP cutoff frequency on the delay path.
• RECORD LEVEL controls the input level.
• LINK I/O links Record and Playback Levels controls.
• PLAYBACK LEVEL controls the total signal output level.
• FLUX controls the level of simulated magnetic radiation emitted from the record head.
• WOW & FLUTTER controls the speed and gain modulations and fluctuations.
• NOISE controls the level of added modeled noise but not noise modulations and signal additive noise.

Waves offers special thanks to Eric Schilling (Shakira, Gloria Estefan, Natalie Cole, Elton John) who provided the machine, Bob Olhsson (Stevie Wonder, Marvin Gaye, Diana Ross) and especially John Haeny (Bonnie Raitt, Weather Report, Jackson Browne, Linda Ronstadt, Jim Morrison, Tom Jones), who provided invaluable assistance in the development of the MPX plugin.

MPX Master Tape is available from retailers worldwide or via direct download from Waves.com for $200 (native) / $300 (TDM). An introductory price of $99 / $149 is currently in effect. It is available at no additional charge to owners of the Mercury V8 bundle currently covered by the Waves Update Plan.

http://www.waves.com/content.aspx?id=11702

Discuss MPX Master Tape on our Effects forum.

McDSP has announced the release of McDSP v5, including Audio Unit (AU) support and the new 6030 Ultimate Compressor plug-in. In addition to Pro Tools, McDSP v5 plug-ins now support Logic, Garage Band, Digital Performer, Ableton Live and other AU compatible DAWs.

The 6030 Ultimate Compressor is the next generation of dynamic range control technology. Building on the entire McDSP compression algorithm code base, the 6030 adds new sonic capabilities, stunning interfaces, and quality only McDSP could deliver.

Using the popular module format, the 6030 offers ten different compressors. All of these designs are by McDSP – some completely from the ground up, while others are emulations of existing gear with unique variations created by McDSP. Each 6030 module is easy to operate, and yet has enough sophistication for the most discerning professional.

The 6030 Ultimate Compressor is available individually for $449 HD or $249 Native, or as an upgrade to Emerald Pack v5 for $349 HD or $299 Native for Emerald Pack v4 customers.

The McDSP v5 release will initially support Intel-Mac systems only running Mac OS 10.5.x (Leopard) and 10.6.x (Snow Leopard). A PowerPC version will be available in late December 2010, however the PowerPC version will not support the Audio Unit (AU) plug-in format – it will be a Pro Tools only version.

The McDSP v5 release is a paid upgrade requiring new authorizations. Existing McDSP customers can upgrade each McDSP plug-in (HD or Native) to v5 for $29 per plug-in for a limited time. In addition to adding support for the Audio Unit (AU) plug-in format, several new plug-ins, features, and significant fixes are included in the v5 release. The new v5 authorizations will not be transferable between users.

www.mcdsp.com

Discuss McDSP v5 on our Effects forum.

Softube has announced the official release of their Trident A-Range Equalizer plug-in. The original Trident A-Range console is a legendary piece of equipment. As only thirteen were ever made, it remains a holy grail for sound engineers and producers around the world that hope to create equal works of art to those that were originally recorded on the A-Range — David Bowie’s Ziggy Stardust, Queen, Elton John, and more.

The A-Range was originally designed in the early 70′s for Trident Studios in London by Malcolm Toft and Barry Porter. Toft was employed as a sound engineer at Trident Studios and when the studio needed a 24 track recording console, he started Trident Audio Developments to design and build the Trident A-Range. Other products followed and found their way to studios around the world. Toft remains active to this day, developing products under the Trident name.

The A-Range plug-in from Softube is the first and only native plug-in that has been fully endorsed by Toft and Trident Audio.

The plug-in version of the A-Range is modeled after a channel on one of the original 13 Trident A-Range consoles. This particular channel strip is channel number 15 from Sweet Silence Studio ‘B’ in Denmark and was borrowed from Danish producer Flemming Rasmussen. The A-Range console has been in Rasmussen’s care for a long time and used by Flemming Rasmussen when recording albums such as Metallica’s Ride the Lightning, Master of Puppets and …And Justice for All.

The A-Range channel features four bands of equalization and high and low pass filters, the sound of the filters are often referred to as “colorful” and “musical”. When running a hot enough signal through the original unit and boosting the bands it is possible to get it to distort, the sound is a hairy and effective saturation that is just right in some situation and just wrong in others! Even though the unit was never designed to distort, it has definitely been used this way by renowned producers and Softube thought it was only appropriate to stay true to the original unit and add the saturation to the plug-in as an option!

In Short

• Created together with original designer Malcolm Toft
• Each and every component carefully modeled
• Same sweet sounding EQ filters that made the original legendary
• Interaction between the different bands, making this equalizer one of its kind
• Saturation control
• Very CPU friendly

A VST, AudioUnits or RTAS (Pro Tools 7 or higher) compatible host application is required. The Mac version requires OS X 10.4 (or higher) on a G4 or Intel CPU (or higher), 512 MB RAM, a DVD drive and an iLok USB key. The TDM version requires a Pro Tools|HD Accel card.

A-Range is available via direct download from Softube, and at authorized dealers, for an introductory price of $229 (Native) or $329 (TDM/Native). After February, the price will increase to $279 and $449, respectively.

www.softube.com/trident_arange.php

Disucss the Trident A-Range Equalizer in our Effects forum.

Unique Recording Software announces URS Classic Console Strip Pro v2.0, a “multi console in the box channel strip solution” combining powerful modern features with vintage analog sound to enhance the mixing experience.

All 30 Input Stages have been upgraded to add a more weighted effect with improved vintage odd and even harmonics. The Input Stage Bypass makes it easy to keep your settings and A/B the Input Stage effect.

The Compressor section gets a lightning Fast Attack Algorithm that recreates the fast attack range of vintage Fet and Opto compressors. The Compressor’s Wet/Dry mix control allows adding just the right amount of source material dynamics to the Compression mix.

• Input Stage bypass
• Updated Input Stages
• Compressor Fast Attack
• Compressor Wet/Dry Mix
• Windows 7 and and Snow Leopard Support

The Mac version of URS Classic Console Strip Pro v2.0 comes in TDM, RTAS, AU and VST formats, and supports OS X 10.4 or greater, including 10.6 Snow Leopard. Macintosh users should install the Intel UB (Universal Binary) versions even if they are running a PPC.

URS Classic Console Strip Pro v2.0 is a free upgrade for all existing registered users. The updated URS Classic Console Strip Pro v2.0 Software installers can be downloaded from the URS web site. A 10 day demo is available (iLok required).

www.ursplugins.com/ursStripPro.html

German manufacturer SPL enhances its Analog Code plug-in series with the Vitalizer sound optimizing processor. Vitalizer is based upon the Vitalizer MK2-T hardware audio processor and will be available as a plug-in for most Mac hosts.

SPL’s patented filter technology was first released in the late 1980′s and has been continuously improved with several product versions ever since. The hardware Vitalizer MK2-T utilizes two Sovtek 12 AX 7 LPS-double triode tubes, one of which is used within the Mid-Hi Tune filter and gives the mid frequencies accurate transparency with a soft, unobtrusive sound. The second tube is used within the Stereo Expander. The stereo image not only gains more width but also more depth, transparency and clarity because of the pleasant tube harmonics. The treble range is reworked with Coil filtering stages which focus on achieving a smooth, silky sound pattern. High frequencies are livened up noiselessly without them sounding hard or aggressive.

“Together, the different models from the legendary SX2 to the current Vitalizer versions have been the most important and best-selling SPL hardware ever,” explains SPL’s CEO and product manager Hermann Gier. “The Vitalizer is a unique and comprehensive tool to add character and life to any music production, but especially in the digital domain. So it was not a question of whether we would release a Vitalizer Analog Code plug-in. It’s only been a matter of time – the final programming alone took about four months, but now even our hardware engineers are satisfied too.”

Special Features

• Patented technology for automatic sound optimizing
• Very easy to use
• Bass, mid and top end processing
• Unmasking of overlapping sounds
• Adjustable soft and tight low frequency sounds
• Ideal sounds patterns for electronic sounds/genres
• Mono, stereo or multi-channel operation

Vitalizer Analog Code plug-in is available in TDM, RTAS, VST, and AU formats. The release date is scheduled for 7 December 2009. A public beta version is available now.

www.theanalogcode.com

Discuss Vitalizer in our Effects forum.

Mixing engineer Chris Lord-Alge’s massive hardware arsenal includes racks and racks of the most coveted compression units in music history. CLA Classic Compressors are models of his hand-picked favorites—the very best of the best—and they are now available for your DAW.

Over the course of a career spanning almost three decades, Chris Lord-Alge has worked alongside such artists as U2, James Brown, Green Day, Tina Turner, Nickelback, Rod Stewart, Santana, Steve Winwood, Celine Dion and many others. At the heart of his sound is a command of compression that gives each and every track he mixes its radio-ready punch. During the development process of CLA Classic Compressors, Lord-Alge worked closely with the Waves R&D team, resulting in impeccable models of four compressors considered true classics by audio engineers the world over.

CLA Classic Compressors consist of four plug-ins: the CLA-2A, the CLA-3A, the CLA-76 Blacky and the CLA-76 Bluey. These classic models grant users access to the same tools that Lord-Alge has used to help define hard-hitting rock and pop over the last several decades.

Waves CLA-2A Compressor/Limiter

Modeled on the world’s first electro-optical tube compressor, the CLA-2A emulates the original’s smooth, frequency-dependent behavior that has made it a favorite of engineers everywhere. Like the mid-60s classic, the CLA-2A sounds great on guitars and bass and particularly shines on vocals. Topping it off with Lord-Alge’s personal presets and the zero-latency only a Native plug-in can provide, CLA-2A offers users a model that far surpasses its inspiration.

Waves CLA-3A Compressor/Limiter

Based on the early 1970s solid-state unit known for its unique and highly transparent compression curve, the CLA-3A delivers the quick response and the subtle harmonic distortion for which the original is world-renowned. Just like the original, the CLA-3A is ideal for bass, guitars and vocals. Unlike the original, users can fire up as many instances as their systems can handle.

Waves CLA-76 Compressor/Limiter

Inspired by two highly-desirable revisions of the famed mid-60s Class A line level limiting amplifier, both versions of the CLA-76 (“Blacky” and “Bluey”) offer the super-fast attack that made the originals studio legends. With an exclusive “All” control that recreates the original’s explosive “All-Ratio-Buttons-In” mode, plus modeled pre-amp distortion for extra edge, the CLA-76 delivers some of the most powerful drum sounds imaginable.

The Waves Chris Lord-Alge CLA Classic Compressors are available now with an MSRP of $800 Native / $1600 TDM. Waves Mercury owners covered by Waves Update Plan receive CLA Classic Compressors at no additional charge.

Discuss CLA Classic Compressors in our Effects forum.