Universal Audio is proud to announce Apollo, a high-resolution audio interface that combines UA’s analog design heritage with esteemed UAD Powered Plug-Ins in a sleek, elegant recording system. With Apollo, music producers and performers can finally track through UAD Powered Plug-Ins in real time, via a professional 18 x 24 FireWire/Thunderbolt-ready audio interface that delivers class-leading 24-bit/192 kHz sound quality.

“Apollo is the culmination of 10 years of analog and digital audio development here at UA,” said Bill Putnam Jr., Universal Audio founder. “In many ways, it’s brought the analog and digital sides of our company together. With Apollo, we’re delivering the sound, feel, and flow of analog recording with all the conveniences of modern digital equipment, including next-generation Thunderbolt technology.”

Apollo is, first and foremost, a well-built, high-resolution audio interface, featuring premium mic preamps and top-end converters to deliver the lowest THD and highest dynamic range in its class. Its Core Audio drivers ensure compatibility with all major DAWs, including Pro Tools, Logic Pro, Cubase, Live, and more. Moreover, Apollo’s Console application and companion Console Recall plug-in (VST/AU/RTAS) provide control and recall of all interface and UAD plug-in settings within individual DAW sessions, even months and years later.

Apollo differentiates itself from all other audio interfaces, however, via its onboard UAD-2 DSP Acceleration. This onboard processing allows for recording through UAD-2 Powered Plug-Ins — with nearly instant sub-2ms latency — so that music producers can quickly monitor, audition, and “print” audio using a wide range of popular analog emulation plug-ins from Ampex, Lexicon, Manley, Neve, Roland, SSL, Studer, and more (sold separately). In this way, Apollo’s sonic character and tonal options are virtually limitless. The onboard UAD-2 processors are also available for mixing and mastering, offloading processing from the host computer.

Notably, Apollo offers compatibility with Intel’s new Thunderbolt technology, as found on the newest iMacs, MacBook Pros, and MacBook Airs. Available via a user-installable Thunderbolt Option Card, Thunderbolt provides lower latency, reduced audio buffer size, improved performance at high sample rates, and greater UAD plug-in instances versus FireWire.

“Thunderbolt technology makes possible a whole new class of products to enhance music production workflows and creativity,” says Jason Ziller, Director of Marketing and Planning for Thunderbolt technology at Intel Corporation. “Products like Universal Audio’s Apollo are using Thunderbolt to rock music producers’ worlds.”

Apollo incorporates numerous design hallmarks from classic UA analog gear, including its fast, easy workflow. Dedicated front-panel controls are present for all the most common features, including preamp gain, channel selection, mic pad, +48V phantom power, low cut, monitor level, and dual headphone controls.

Apollo’s connectivity includes 4 digitally controlled analog mic preamps, 8 balanced line inputs and outputs, dual front-panel JFET DIs, digitally-controlled analog monitor outputs, 8 channels of ADAT, 2 channels of S/PDIF, word clock I/O, FireWire 800 (standard), and a Thunderbolt expansion bay — making it a well-equipped centerpiece for the modern project studio.

On the Mac, Apollo requires OS X 10.6 or later, an Intel processor, an available FireWire or Thunderbolt port and a compatible AU, VST or RTAS host application.

The Apollo High-Resolution Audio Interface will be available in both DUO CORE and QUAD CORE processing formats (with either two or four Analog Devices SHARC processors, respectively). Apollo will be shipping in the first quarter of 2012, with an estimated street price of $1,999 (DUO processing model) and $2,499 (QUAD processing model). Apollo’s Thunderbolt Option Card will be shipping in the first half of 2012, with an ESP of $499.

www.uaudio.com/apollo

Zynaptiq has announced the release of Pitchmap, the worldʼs first and only audio plug-in capable of polyphonic pitch-correction and pitch-mapping in real-time.

Pitchmap allows real-time correction of pitch inaccuracies within mixed signals, as well as completely altering the tonality, chords, harmonies or melodies of a musical signal on- the-fly, a process Zynaptiq refers to as Pitch Mapping. Pitchmap does this using Zynaptiqʼs proprietary, artificial intelligence based MAP technology (Mixed-Signal Audio Processing) to de-mix an incoming signal – like, for example, a full mix – into individual elements, and then allows the user to arbitrarily or automatically correct and modify their pitches. Additionally, Pitchmap provides means to deliberately induce processing “errors” to make results sound synthetic in a very futuristic and unique way.

“Our DSP Developer Stephan M. Bernsee has come up with what we believe to be a real game-changer.” Zynaptiq CEO Denis H. Goekdag said. “Pitchmap lets you reach into a recording and change the pitch-related aspects of the composition on-the-fly. You can change an entire song from minor to major with just a couple of clicks, simultaneously correcting any tuning issues and changing the key. While there are other pitch processing solutions available, Pitchmap combines polyphonic capability, a real-time workflow and an exceptional processing quality based on techniques that model the human auditory system, thus opening up a whole new level of creativity.”

Pitchmap provides all of the following functionality in real-time:

• Automatic correction of pitch inaccuracies in polyphonic/mixed signals
• Pitch Mapping: Change harmonies and melodies on the fly
• Pitch Mapping via GUI-created source/destination maps or real-time MIDI-input
• Macro controls for near-instant creation of harmony- and key-changes
• Snapshot functionality for fast workflow and easy automation
• Perceptive modeling based Natural mode for voice-adapted processing
• Continuously variable Electrify parameter for making results sound synthetic in an exciting and unique way

On the Mac, Pitchmap requires OS X 10.6 or later and an Intel CPU with at least 2 Cores. Pitchmap will initially be released as an AU (Audio Units) plug-in, with VST and AAX support for both Mac and Windows platforms planned for later in 2012.

Pitchmap is priced at $399. A free trial is also available for download. A special introductory price of $269 will be available until 1 April 2012.

www.zynaptiq.com/pitchmap

Zynaptiq GmbH, based in Hannover, Germany, creates audio software based on artificial intelligence technology, and was founded in 2011 by Stephan M. Bernsee and Denis H. Goekdag, known for their involvement with Prosoniq, Hartmann Music, Surround SFX and the DSP Dimension, amongst others.

FXpansion is proud to present Tremor, a software drum machine with powerful synthesis, effects, modulation and step-sequencing. DCAM circuit-modelled sound generation is fused with new ideas to produce original sounds with the punch and extreme sound pressure of old-school analogue. Tremor’s dance drums, funky beatscapes, abstract machines and undiscovered sonic terrain are suited to all kinds of electronic, urban and experimental music.

Central to each of Tremor’s 8 synthesis engines is a specialized DCAM oscillator with harmonic partials akin to a drumskin’s modes of vibration. Mixed with a sub-oscillator and tuned noise source, the signal is sculpted by modelled drive/filter/FX sections and razor-sharp envelopes. Tremor’s diverse output includes classic kicks, snares and claps, organic hats and body-shaking subs alongside futuristic zaps, scrapes, textures and sounds that defy classification.

The TransMod modulation system in Tremor is easier and deeper than a mod-matrix. It offers new sound design possibilities and lets you animate sounds with LFOs, step-automation sequences and real-time macro controls while the synthesis engine reacts just like real analogue circuits. Tremor’s sonic potential is showcased in the included suite of presets by a team of elite sound designers.

Feature Hightlights

• Synthetic drum machine software
• DCAM-modelled synthesis and FX
• Specialised oscillator with drumskin vibration partials
• Filtering and drive with multiple responses
• Deep, intuitive TransMod modulation system
• Polyrhythmic pattern step-sequencer
• VST, AU, RTAS and standalone

On the Mac, Tremor requires OS X 10.5.8 and above, a 2.53 GHz Intel Core 2 Duo processor and 2 GB of DDR2 RAM. FXpansion recommends a 2.9 GHz Intel i5 processor and 2 GB of DDR3 RAM.

Tremor is available now via download from the FXpansion web shop for $149 / €119 / £99. Until 9 February 2012, Tremor is available for $99 / €79 / £69 to all registered owners of Geist or DCAM: Synth Squad (and for customers purchasing Tremor at the same time as Geist or DCAM: Synth Squad).

http://www.fxpansion.com/

u-he has announced the release of DIVA, the first native software synthesizer that applies methods from industrial circuit simulators in realtime. The oscillators, filters and envelopes closely model components found in some of the great monophonic and polyphonic synthesizers of yesteryear.

Modules can be mixed and matched so you can build hybrids, but what sets DIVA apart is the sheer authenticity of the analogue sound. The behaviour of zero-delay-feedback filters when pushed to the limit clearly demonstrates the advantages of DIVA’s approach, which was inspired by tools such as PSpice, an analog and mixed-signal circuit simulator typically used in electronic design automation.

This does come at the cost of quite a high CPU-hit. You will need a fast computer. Even though the “draft” and “fast” quality setting may play fine, DIVA only shows her true talents and attitude in “Divine” accuracy mode.

On the Mac, DIVA requires OS X 10.5, an Intel processor with at least 2 cores at 2 GHz, and a VST or AU compatible host application. Support for Pro Tools and/or FXpansion adapter is planned for Spring 2012.

DIVA is available via direct download from u-he for $179 (+19% VAT in Europe). A special discounted price of $119 is offered through 15 January 2012.

http://www.u-he.com/

ValhallaDSP has announced the release of ÜberMod, a unique mutltap delay and modulation plug-in. With up to 32 modulated delay taps, extensive diffusion and overdrive sections, and parallel slow and vibrato LFOs, ÜberMod can be used to create lush dimensional choruses, classic string ensembles, tape and BBD echoes, nonlinear and reverse reverbs, and a bunch of sounds that defy categorization.

Feature List:

• True stereo signal path, for maintaining the spatial image of stereo inputs
• Delay times that can be synced to tempo, to create modulated delays and nonlinear reverbs at specific beat rates
• Unique WIDTH control, that varies the spatial image from mono to stereo to “super-stereo”
• Separate parameters for the detune and vibrato oscillators, to have high level control of up to 32 independent LFOs
• OverMod control, to turn up modulation depth beyond the bounds of sanity
• A high level DEPTH parameter, for quick adjustments to the overall chorus modulation amount
• A large number of chorus tap modes (2/4/6/8/16/32 Taps, Dual Ensemble, 16Phase) for dialing in specific chorus, ensemble, and nonlinear reverb sounds
• Diffusion section (with adjustable amount, size, mod width and mod depth) for creating delays that smear over time, diffusion choruses, and modulated reverbs
• Drive section (with pregain, postgain, and noise gain) for emulating tape saturation & analog delays
• Taps menu, for adjusting the spacing, slope, left/right skew, and randomization of the output taps
• A simple yet powerful EQ section, for rolling off the high and low frequencies, and switching between bright and dark color modes
• SPEED control, to double the delay time and drop the pitch of the signal within the delay buffers
• All parameter changes are smoothed to avoid clicks, and to generate tape echo-esque effects — the smoothing time can be adjusted to create a variety of swishing, whooshing boing sounds
• Resizable GUI influenced by NASA Human Interface specifications & Swiss School of graphic design — “Minimalist GUI, Maximalist Sound.”
• High level controls have dedicated sliders, while the “tweakier” controls are selected via their own panels
• Cross platform/DAW preset mechanism, that allows presets to be easily exchanged with other ÜberMod users via text based copy and paste

ÜberMod is available in AU (32/64-bit), VST (32/64-bit) and RTAS plug-in formats, and may be purchased via direct download from ValhallaDSP for $50. A free trial version is also available.

http://www.valhalladsp.com/valhallaubermod

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

Applied Acoustics Systems (AAS) has announced the release of Chromaphone, a new creative percussion synthesizer plug-in. Chromaphone combines acoustic resonators to create drums, percussion, mallet, string, and synth-like instruments. Drum skins, bars, marimbas, plates, strings and tubes form pairs that are sparked to life by a configurable mallet and a flexible noise source.

At the heart of Chromaphone lies a novel coupling technology that precisely models how vibrating objects interact and influence each other capturing key acoustic behaviours of musical instruments. This, combined with access to the resonators’ physical properties, results in a library of truly expressive instruments as well as a vast range of sonic colors.

“This new resonator coupling technology we are introducing in Chromaphone brings our physical modeling platform to a whole new level,” said Philippe Derogis, CTO of Applied Acoustics Systems, “Musical instruments are made from combinations of interacting mechanical objects and coupling allows us to take into account this complex dynamics with great acoustic precision and sharpness. It has been really exciting and rewarding to see how our partner sound designers took advantage of these new synthesis possibilities and put together a creative library of vivid sounds that feature the richness and presence of real-life instruments.”

The benefits of physical modeling

• Sound manipulation at the source core
• Presets load in a flash
• Super smooth dynamics—no velocity layers!
• Small memory footprint
• Installs in less than a minute

Neat features

• Real-time control over any parameters via host automation
• Host tempo synchronization for effects and modulations
• Relaxed editing with unlimited undo/redo capability

On the Mac, Chromaphone requires OS X 10.5 or later, an Intel processor, 512 MB of available RAM, 70 MB of free hard drive space, a minimum 1024 x 768 display resolution, and a compatible VST or Audio Units (AU) plug-in host application.

Chromaphone is available now. The suggested retail price is set at $199, but until 5 December 2011, Chromaphone is available at the special introductory price of $169.

http://www.applied-acoustics.com/chromaphone/

Flux:: sound and picture development is proud to announce Elixir, a novel kind of program limiter designed to achieve a pure natural sound without altering the audio material and its timbre. Aimed at broadcast, post-production and the mastering industry, Elixir provides real True Peak output level in accordance with the ITU-R.BS 1770 and EBU R128 norms, and for surround/multichannel operation Elixir provides up to 8 channels of simultaneous processing.

Elixir’s straightforward interface makes it exceptionally easy to achieve great results, even under a tight deadline. Simply set the input level, adjust the Threshold according to the amount of limiting desired, and finally enable Make Up for gain compensation and loudness addition. That’s it! For truly delicate and fine processing tasks like mastering, Elixir presents a new innovative concept called Stages, providing the option to set the algorithm to perform limiting in multi-stages, in order to achieve even more precise and natural sounding results.

Example: If the threshold is set to -3 dB and the ‘Stages’ parameter set to 3, the first stage will limit at -1dB, the second stage will limit at -2dB and the third will limit at -3dB, with analyzing performed in each of the three stages.

The algorithm uses an oversampled representation of the audio sample as reference when defining the gain envelope, while the actual processing is applied only to the original non-oversampled data, in order to reduce artifacts (like aliasing) and to achieve the most precise and excellent sounding result presenting none, or effectively reduced, conventional limiting pumping effects even during heavy processing.

In addition to Stages, Elixir presents the option to run the algorithm in a higher resolution mode with even more detail put into the processing, obviously, at the cost of additional CPU-consumption.

On the Mac, Elixir requires OS X 10.5, 10.6, or 10.7, an Intel processor, a 32-bit VST or AU compatible host application, or Pro Tools 8 or later for 32-bit RTAS.

Elixir is available via direct download from Flux:: for $199. An introductory price of $139 is on tap for a limited time. Discounts are also available for current Flux:: customers and bundles.

http://www.fluxhome.com/products/plug_ins/elixir

Sound Radix is happy to announce the release of SurferEQ, an innovative pitch-tracking equalizer AU, VST and RTAS plug-in. It is capable of locking onto a vocal or an instrument pitch and adjusting the EQ frequency to its fundamental pitch, or any of its harmonics thus “surfing” on the sound waves.

Sound Radix designed the EQ filters with new and original algorithms, making every effort to preserve the energy and size of the original recording. In addition to the HP, LP, shelf and bell shaped filters, they have developed a unique harmonic filter, which makes it possible to control the complete harmonic series using only a single band of EQ.

As it is always relevant to the sound source, SurferEQ is a tool like no other. It enables tone shaping in ways that were impossible to achieve previously by other tools.

Features

• Pitch-Tracking Equalizer
• Original Assymetric EQ Algorithms
• Innovative Harmonic Filter
• 64 Bit Internal Processing

SurferEQ is available as RTAS, VST & Audio Units plug-ins.

SurferEQ is currently available at an introductory price of $129 until January 2012. As a thank you to early supporters, users of Auto-Align can purchase SurferEQ for an introductory price of $99 in the User Area.

http://www.soundradix.com/products/surfer-eq

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

iZotope, Inc. today announced the release of Ozone 5 and Ozone 5 Advanced. Ozone 5 is an update to iZotope’s critically acclaimed software mastering suite. Ozone 5 Advanced is a professional mastering suite that expands Ozone’s feature set with individual component plug-ins, extended features, and the brand-new Ozone Meter Bridge.

“Whether you’re a musician, engineer, or mastering pro, Ozone 5 lets you master music and other audio simply and efficiently,” says Nick Dika, iZotope Senior Product Manager. “Ozone 5 is the biggest update we’ve ever offered, with improvements that will appeal to Ozone experts and new users alike. Ozone 5 Advanced is designed to set a new industry standard for mastering tools. Advanced includes many exclusive features, and offers mixing and mastering engineers an even higher level of flexibility, precision and control.”

New in Ozone 5

• Pristine Sound and Enhanced DSP – Each module has been updated with refined signal processing algorithms to bring you a new level of mastering quality. The most complete mastering suite available has never sounded better.
• Optimized Workflow and Updated Interface – iZotope has redesigned Ozone’s user interface to allow for finer control while placing important features right at your fingertips. New users can jump in without a steep learning curve while experienced Ozone fans will feel right at home.
• Visual Feedback – Every module features updated metering to help guide you to the perfect-sounding master.

Ozone 5 Advanced builds on iZotope’s reputation for superior sound quality and industry-standard audio mastering tools. Each module in Ozone 5 Advanced is equipped with extended features made specifically for mixing and mastering professionals. For added flexibility, Ozone 5 Advanced allows customers to use each of the mastering modules as individual plug-ins. Combining essential visualization from Ozone’s modules with new metering tools, the all-new Meter Bridge provides a suite of audio analysis tools that help you visualize changes made during the mastering process, troubleshoot problematic mixes, and compare reference tracks.

Ozone 5 Advanced Includes

• Extended Features – Ozone 5 Advanced provides deeper control within every module in Ozone. Advanced exclusives include a variable-phase EQ, Loudness Maximizer modes with Transient Recovery and Stereo Link controls, mono-compatible stereo synthesis features and much more.
• Meter Bridge – The powerful Meter Bridge introduces a high resolution real-time 3D spectrogram with unique mix analysis features, BS.1770-2 compatible stereo loudness metering, resizable spectrum analyzer, and a vectorscope with stereo balance and correlation meters.
• Meter Taps – For mixing and stem mastering, multiple audio streams can be superimposed on a 2D or 3D plot using Ozone 5 Advanced’s Meter Tap plug-ins. Meter Taps enable unprecedented visualization of how a mix’s elements fit together.
• Component Plug-ins – Use Ozone 5 Advanced’s mastering modules as an integrated mastering system or as individual plug-ins. Move module presets between Ozone 5 Advanced and its components freely.

On the Mac, Ozone 5 requires OS X 10.5.8 or later, an Intel processor and a compatible AU or VST host application (or Pro Tools 7.4 or later for RTAS/AudioSuite). For use of the scrolling 3D Spectrogram, Ozone 5 Advanced requires a graphics card that supports Open GL 2.0.

Ozone 5 and Ozone 5 Advanced will be available for a suggested retail price of $249 and $999 respectively. Special discount pricing of $199 and $599 is available through 2 January 2012. Current Ozone customers may upgrade for $149 to Ozone 5 or $499 to Ozone 5 Advanced. Ozone 4 customers who purchased after October 1, 2011 will receive a free upgrade to Ozone 5 Standard upon release.

www.izotope.com/ozone5

Update November 11: Current Ozone 4 customers may upgrade for $99 and $399 respectively.

Update November 28: The introductory discount pricing has been extended an extra month to January 2.

Eventide has announced the Reverb 2016 Stereo Room and Omnipressor plug-ins for AU, VST, and the new Pro Tools native format, AAX, in the first installment of a major initiative to bring their world class effects to the native plug-in world.

The original Eventide Reverb 2016 is a hardware effects processor from the mid-1980′s that included several reverb algorithms that are still prized today: Stereo Room, Room Reverb, and High Density Plate.

The video above demonstrates the Pro Tools TDM-only version of the Eventide Reverb 2016, currently available from Princeton Digital. It is not currently known if the upcoming native plug-ins will sport the same functionality or features.

Dubbed the Omnipressor because of its unique ability to both compress and expand audio, this processor is capable of extreme compression, limiting, expanding, and dynamic reversal. One of Eventide’s first customers was a young Brian May, lead guitarist of Queen. With the Omnipressor in his rig, his sound was never the same again.

Eventide’s first native plug-ins, the Reverb 2016 Stereo Room and Omnipressor, will be available through Eventide software dealers, and on eventide.com beginning mid-November 2011 at a special introductory price of $149 and $99 respectively.

http://www.eventide.com/