HitSend has been developed over the last 3 years with the collaboration of some of the top names in the professional audio production world.
A gamechanger for audio pros?
HitSend is a one-stop solution for pro mixing and mastering engineers: share files, communicate and get paid in one place
It is very common for mixing and mastering engineers to work remotely; not in the same studio as their clients, but communication and payment barriers can have a habit of slowing things down. Enter HitSend, a new one-stop solution that is designed to take care of the whole process.
HitSend is a web-based solution that you can access from anywhere (no downloads or installs required) and enables engineers to receive timestamped feedback from their clients so they can see where and how they need to make changes.
In addition, Files can be played back at full WAV/AIFF quality, and final mixes/masters are only made available to clients once they have confirmed they are happy and made payment.
Other features include integration with Google Drive and Dropbox and “best-in-class” security.
Features At A Glance:
Flawless audio – Full Wav. and AIFF playback on any device for up to 48x better audio quality.
Time-coded feedback – Collect feedback on tracks that can flow into Pro Tools, Logic, Studio One and Cubase.
Invoicing – Collect deposit and approval payments with PayPal, Stripe, Venmo, Apple Pay and more.
Best-in-class security – Protect projects with secure logins, encryption, data privacy and compliance.
A subscription to HitSend costs $40 a month; this includes 250GB of active storage, 1TB of archival storage and four workspace ‘seats’. Custom-built solutions – for labels and large production teams – are also available on request.
Manecolabs has announced the release of Sixteen Seconds Delay Reissue, which they say is inspired by “the original looping delay from 1983.”
What they say about it:
“The device topology is the same as first digital delays from that era, with an all-analog signal path, pre-emphasis and de emphasis, compression and expansion, anti-alias and reconstruction filtering and input output buffering and mixing.
Digital processing is limited only to analog to digital conversion, memory management and storage and digital to analog conversion, all in glorious eight bits.
There’s also an analog triangle Low Frequency Oscillator for modulating delay time/pitch, and a click metronome generator, also analog driven by the memory read circuit, with level and independent output.
Maximum delay time has been increased to 64 seconds, there are toggle switches for slow/fast speed/pitch and reverse playback.
On board footswitches control infinite/freeze from the delay buffer, and bypass for the whole unit. Slider illuminated controls are delay time coarse, delay time fine, sweep rate and depth, clix volume, feedback and mix.”
Sound designer Krzysztof Steplowski shared this video demo of 128 news sounds for the Novation Circuit and Novation Circuit Tracks.
The sound library features sounds inspired by electronic groups like Boards of Canada, Tycho and Tame Impala. The library explores sound territory very different from the default sounds and showcases the power of the Circuit’s internal synth engine.
“The area where the Novation Circuit engine really shines is in the modulation matrix,” notes Steplowski. “There are 20 modulation slots! From my experience 4-5 slots are enough
The audio demos use no post-processing, only original sound recorded directly from the unit. The “tape” effect is the part of sound design and can be adjusted by the modulation knobs.
