Archive for March, 2011
SPL, the German high-quality professional audio manufacturer has been collaborating for several years with well-respected software developer Brainworx. The SPL Analog Code® plug-ins are the result of that collaboration, which not only has gained a solid reputation amongst users: Universal Audio (UA) has now chosen the two German manufacturers as the first third-party developers for the UAD-2 platform.
The agreement reached between SPL, Brainworx and UA, apart from marking the opening of the award-winning UAD DSP platform to third-party developers, involves the collaboration to complete a software development kit (SDK), which will allow other select developers of high-end audio processors to create software for the UAD Powered Plug-Ins platform for Mac and PC. View Full Article »
Professional Audio magazine reviewed our Transpressor in their December 2010 issue. Georg Berger called it the “Dynamic Duo.” He liked specially the “wonderfully organic analog sound” and the “brilliant Auto function in the compressor section.” But that’s not everything by far:
“Both dynamic sections have excellent audio properties and the shaping possibilities they offer make them very appealing. The Transpressor works best when both sections interact. It really doesn’t matter if you have the Transient Designer before or after the compressor in the signal path, the possibilities to shape sound are endless. We can give more punch to over-compressed signals by emphasizing the attack with the Transient Designer. Or, the other way around, we can control a very aggressive guitar by smoothing out its attack and then make it bigger with the compressor: in the end we would have a wonderful flat sounding and cutting guitar. These are only two of the countless options available — we wouldn’t have enough space in this review to even start to mention them all.”
Hagü Schmitz, Chief Editor of Xound Magazine, tested recently the Transpressor. Our new dynamic specialist won several points for its simple and fast operation, which makes it interesting for studio and live applications. We decided to transcribe some of Hagü’s comments regarding the different Transpressor sections:
Transient Designer Section:
“It doesn’t really matter if you want to pump a recording or, on the contrary, smooth out a saucy one, if you want to bring up some of the room ambience or ‘bring to life’ an overcompressed signal — the Transpressor will do the job without losing your time.
Especially with percussive sounds, like drums and percussion, the two Transient Designer parameters alone provide incredible processing possibilities to achieve an optimal balance between direct punch and room reverb, even if the original recording had no punch nor enough reverb.”
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