In 2013, Waldorf launched the second version of its Pulse analogue synth, it noted that “good things can come to those who wait”. It had been 18 years since the release of the original Legend after all.
Ten years later, it’s more a case of a good thing being taken away, as Waldorf has just announced that Pulse 2 is being discontinued.
“It’s always sad when we have to say goodbye to one of our favourite technical devices,” sobs Waldorf, mournfully. “In this case we are talking about one of the best synthesizers that first saw the light of day in 1995 and has inspired many music producers and musicians to this day.”
The company adds that “This device was one of the pioneers in the world of music production, offering many possibilities to create unique and innovative sounds. It has helped many artists to turn their musical visions into reality.”
We praised Pulse 2 huge tones and powerful engine, which enabled it to be something of a sonic chameleon.
No specific reason has been given for Pulse 2’s discontinuation, but if you want one there are still some available, priced at $649.99/£499/€576. For more information visit the Waldorf website
Baby Audio goes back to 1982 and revives Yamaha CS01 synth as a plugin, the BA-1 analog modeled synth. The BA-1 is so authentic that you can even drain the batteries and use the built-in speaker.
Having made its name with a range of intuitive effect plugins, Baby Audio has now released its first synth, the BA-1. This is a “modern re-imagination of a cultish 1982 analogue synth,” known as the Yamaha CS01.
Yamaha CS01, a compact, almost toy-like keyboard, it was a simple single-oscillator monosynth that could be powered by batteries and had a built-in speaker.
For the BA-1, Baby Audio’s first task was to model the CS01 as accurately as possible, but that was just the start. There are plenty of additional features, like a second analogue-modelled oscillator, FM and polyphony, for example.
Fittingly, there are also some quirky elements. This may be a plugin but you can still drain the battery, bend the circuits and ‘use’ the built-in speaker. These features can help you to achieve the kind of lo-fi sound that you’d associate with vintage hardware.
In addition, there are some suitably retro effects – all inspired by budget ‘80s rack hardware – and more than 500 presets. The ‘Re-Gen’ algorithm enables you to create new patches on the fly.
BA-1 runs on PC and Mac in VST/AU/AAX formats. It is currently available for $49, but you can also download a trial version (regular price will be $99).
GPU Audio and Vienna Symphonic Library have announced the MIR Pro 3D Multi Impulse Response Convolution platform, powered for the first time by GPU Audio technology.
The announcement is a milestone for GPU Audio, because one of the most established plug-in manufacturers is now partnering with them to take advantage of the potential of GPU-powered audio effects. They say that, by leveraging the power of your GPU, it opens up system resources ten-fold, so you have fewer resource headaches and more creative options.
Many modern computers now have extremely powerful graphics processing units (GPU), designed to support graphics-intensive applications like gaming. GPU Audio’s platform is designed to take that massive processor and make it just as useful for audio as it is for graphics, freeing up your computer’s CPU to handle other tasks.
Vienna MIR Pro 3D is designed to let you approach space as a musical instrument, giving you virtual representations of some of the world’s most interesting acoustic spaces, with up to four listener/mic positions and virtually unlimited source positions.
MIR’s core engine relies heavily on convolution; a mathematical process that ordinarily pushes the CPU to the limit, with a huge number of sound sources (such as orchestras), multiple output channels (for the likes of 3D audio) and long reverb tails resulting in hundreds, or even thousands of convolutions. For example, an orchestra made up of 80 stereo sources, mixed in 7.0.4 for Dolby Atmos, will create a maximum of 1,760 positional impulse responses and consequently the same number of convolutions (80 x 2 x 11).
Vienna MIR Pro 3D Features and Benefits:
Direct access to virtual representations of some of the world’s most exciting acoustic spaces, from up to four listener/mic positions and virtually unlimited source positions.
Based on pure, true-to-the-source audio recordings upscaled to 3rd Order Ambisonics – no algorithmic reverb or physical modelling.
Full 3D audio support, six degrees of freedom – instruments or any other sound source, virtual microphones and microphone capsules can be moved in a fluid three-dimensional space and rotated and tilted in any direction
Total flexibility of audio output formats, from stereo to surround to immersive and raw Ambisonics.
The unique MIR Control Icon allows for easy placing of any audio signal in a three-dimensional room and control of almost any sonic aspect quickly and intuitively.
Tabbed instances provide multiple venues simultaneously, with instruments taking up “Roles” to move between venues.
Individual RoomEQ settings for different signal sources allow for specific fine-tuning of the “wet” signal
Character Presets (such as ‘Air’, ‘Silk’, ‘Bite’, ‘Distant’, ‘Warm’) for quick timbral changes
Advanced Preset Management of Venue Presets and Roles
Optional distance-depending air absorption filter and volume scaling
Adjustable Room Tone (natural noise floor) recorded from each microphone position in full Ambisonics
Directional frequency profiles with reflectional information from every single Vienna Instrument, plus a selection of “General Purpose” profiles for 3rd party sources, for the most accurate rendering
Works with any commonly used sampling frequency, up to 192 kHz
AU/VST/VST3/AAX Native plug-in for direct integration with most modern DAWs
