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Say hello to a new, inspiring workflow! Tracktion adds clip launching and Wavetable Synth to Waveform Pro 13 update. The Pro 13 gets the live performance workflow you’ll recognise from Ableton, Logic and Bitwig, and might just be the tempter you need to switch DAWs.

Over recent updates, Tracktion Waveform Pro has become the DAW you didn’t know you should be using, but its latest version could seal the deal, with familiar clip launching and a new wavetable synth promising to draw in newcomers and increase its user base.

The Waveform Pro 13 version could be seen as an obvious update, but something about its integration with the arranger window makes it look somewhat neater in our record. If we were to maintain that ‘party’ analogy, then, it’s like the cooler kid has arrived late, but they are dressed in the latest killer combat slacks, and everyone at the party is going ‘wow’. Ok, maybe…

Waveform Pro 13’s takes on clip launching lets you record and edit MIDI and audio clips on a grid and use a number of different sequencer actions to play and perform with them. You can choose to pre-arrange these actions and set probability levels so move towards more random events if you wish.

As with other DAWs, all of your live performances can be recorded – in this case using Performance Recording – and edited in an arranger window after the event, which, like we say, seems more handily placed than in most DAWs.

To go with the new clip launching feature, Tracktion has announced support for Ableton Link and a range of MIDI controllers from Novation and Akai.

The other big update to Waveform Pro is a wavetable synth called, handily, Wavetable which has two wavetable oscillators, and a sub and noise oscillator. There are 150 included wavetables and the option to import your own WAVs and Serum wavetables. The synth has five effect slots that can be re-ordered and also includes plenty of modulation features.

Tracktion has redesigned the main Waveform Pro UI to welcome the new clip launching features, and has improved the DAW’s automation. V13 also includes all-new content from Mode Audio.

Waveform Pro not only runs on a wide range of platforms, but is available in a wide (and slightly confusing) range of sizes.

The basic $199 Pro gets you the DAW plus AutoTune and Melodyne Essential. The $299 ‘Recommended’ bundle adds RetroMod FAT, LoFreq Modern, F.’em and Dan Dean Essential Bass instruments. ‘Studio Content’ ($599) adds extras like MOK Waverazor, Abyss, Hyperion, SpaceCraft and Modeler. Finally, the ‘Everything’ bundle has, well, everything Tracktion for $999. You can go here to see what’s included.

If you are a Pro 12 user, upgrade it as it’s just $99 to get you the synth and a whole new way of working. You can get more info from the Tracktion website.

 

Universal Audio launches Verve Analog Machines saturation effects, and makes the ‘Essentials’ version free until April 30.

Universal Audio has announced two new plugins that each have a number of retro saturation effects – or Machines – included. Verve Analog Machines is the headliner but the support act, Verve Analog Machines Essentials, might be the main attraction as it’s free until the end April.

With Verve Analog Machines you get 10 ‘Machines’, saturation effects of various colours that give creators everything from “subtle tape warmth and hi-fi tube saturation to full on distorted textures and more”.

The cut-down Verve Analog Machines Essentials includes four Machines but is just $99. It is free until April 30.

The fuller Verve Analog Machines features controls like Drive, Tone, and Tape Warble. The Machines are all analogue in nature (although obviously digital in delivery), all utilising the same kind of component level modelling employed in the rest of UA’s plugins.

The 10 Machine effects are Sweeten (reel-to-reel tape machine), Edge (analogue console), Glow (harmonics via a tube preamp or channel strip), Warm (older tape machine), Thicken (lo-fi tape), Vintagize (old tape), Distort (driving analogue preamp), Overdrive (fuzzy tape tone), Fire (searing analogue tape), and finally Sputter (broken distortion).

Verve Analog Machines Essentials is all of the above but with just four machines and has just the Drive control included (so no Tone or Warble).

“We really want people to get creative with true-to-life analogue tones,” says Ryan Wardell, UA’s Director of Software. “Verve Analog Machines gives music producers and beatmakers a sleek, fun collection of machines to experiment with everything from gentle warmth to sonic obliteration.”

You can get Verve Analog Machines on the standard UA subscription ($19.99/month or $149/year) which gets you close to 40 UAD Spark plugin instruments and effects, most of which are pretty amazing.

Or buy it for a one off fee of $99 until the end of April, or download the Essentials version now for free while you can. Get it now! You can do that, and grab more information on both Verve Analog Machines bundles here.

 

In this video, composer and synthesizer Anthony Marinelli takes a look at the world’s largest touring synthesizer, aka ‘The Chrome TONTO’.

The Chrome TONTO is a custom Moog format modular synthesizer, created for the electronic funk band Chromeo (David Macklovitch and Patrick Gemayel). It’s based around modules created by Synthesizers.com, in a case that’s inspired by the original T.O.N.T.O. synthesizer of Malcolm Cecil and Robert Margouleff.

Marinelli and co-host Rob Rosen talk to Patrick Gemayel, aka P-Thugg from Chromeo. They take a look at the massive 18 feet long x 8 feet tall synthesizer, including how it is assembled, how the system is customized and normalized behind the panel, and what’s needed to tour with a synth like this.

They also look at how they use Ableton Live and AbleSet for music playback, set lists, and lighting cues.

Watch the video and share thoughts on the system in the comments!

Topics covered:

00:00:00 Intro (music)

00:00:55 Meet P-Thugg

00:01:11 Building the Modules / Jam 1

00:02:53 The MIDI Keyboards

00:04:53 Building the Tiers / Jam 2

00:06:33 Custom system by Synthesizers.com (https://shop.synthesizers.com)

00:12:15 Custom Tuner Module

00:13:10 Synthesizer Tuner Hack

00:14:10 Modular and Poly Synth Output Configuration

00:15:50 Look Mum, no patch cords – Hard Wired Presets

00:17:34 Culmination of a Modular Dream / Monster Polyphonic Dream Next

00:19:07 Building the MIDI / Jam 3

00:22:44 Fully Built Instrument (after 3 hours setting up)

00:24:05 Preset Patching System

00:29:47 Bypassing the Preset Patches

00:30:21 Switching Presets on Stage

00:33:40 Spontaneously Programming Sounds on Stage

00:34:42 P-Thugg’s Favorite Sound

00:35:25 Presets Switch between Live Panel Settings

00:36:39 Re-creating the Album in a Live Setting

00:37:35 Changing The Face Panel

00:40:09 Patching the MIDI Polyphonic Synthesizer Keyboards

00:43:15 Tuning Drifting Oscillators – Custom Tuner Module

00:43:51 Connecting All 4 Modular Instruments

00:45:59 Cleaning the Chrome

00:46:35 MIDI Interface Routing

00:48:47 Moog Modular Flexibility with Minimoog Speed

00:49:14 Front Panel Tour

00:51:20 Overriding the Presets with Patch Cords / Multi-Mode Filter

00:53:34 AbleSet by Leolabs – Set Lists, MIDI Patch Changes, Ableton Live Playback connection (https://ableset.app)

00:56:10 Ableton Light Cues

00:57:02 DAW Software – Cubase, Pro Tools, Ableton Live

00:57:50 Adapting the Show to the Song

00:59:37 Chromeo’s Mission

01:01:20 Conclusion

01:01:47 Logo (music)