Get your kicks with Rob Papen’s Punch-BD bangin’ bass drum virtual instrument

RP_Punch-BDECHT, THE NETHERLANDS: virtual instrument and effects plug-in developer Rob Papen Soundware is proud to announce availability of Punch-BD, a powerful kick-ass bass drum virtual instrument for Mac (OS X 10.6 or higher) and PC (Windows Vista, 7, and 8) — based around the BD module of its award- winning speaker-busting, body-rattling Punch drum synthesis/sampler software instrument — to enable users to comfortably create the biggest-sounding bass drums around, as of September 19…

Stacking bass drums is a popular technique used by today’s power-seeking music producers to give their tracks the kind of kick that will literally move dancefloors — and even mountains… maybe! By introducing Punch-BD, Rob Papen provides its users with an attractive ability to stack up to six bass drums in total to comfortably create cutting-edge bass drums that will clearly cut through any musical mix. Moreover, its six sequentially-numbered BD pads can be divided across an external controller keyboard for performance purposes — in 6 Notes PLAY MODE (with the six ‘notes’ repeated over the whole keyboard range) — or ‘simply’ stacked — in Stack or Tuned Stack PLAY MODE (which follows the pitch of the keyboard) — to creatively construct brand new bad-ass bass drum sounds suited to any style of contemporary music production. When selecting Seq, the fourth PLAY MODE, the bass drums that are active play in sequential order — perfect for more experimental applications, while Tune Seq PLAY MODE is essentially the same as Seq but follows the keyboard pitch. Each BD pad can be played solo or muted and has its own command menu with some speedy Copy and Swap functions for friendlier workflow.

Predictably, perhaps, Punch-BD features the same high-quality algorithms attributed to the ever-popular Punch’s punchy sound. In Drum MODE users can choose from four synthesis Models, together with a familiar-sounding range of Classic electronic bass drum samples, and also, according to Rob Papen himself, “…a nice range of built-in acoustic and fantasy bass drum samples.” Elsewhere, each BD pad includes its own distortion module offering no fewer than 19 distortion types, together with a three-band parametric EQ. Each BD pad also features a preset section next to the overall ‘BD kit’ to speed up bass drum sound selection for contributing to the resultant stacked sound. Sample MODE allows adventurous users to combine two samples per pad in several ways with many samples already installed from Punch to make percussive life easier. Enterprising and adventurous users can even choose to load in their own samples for full flexibility with drag-and-drop support, though those pressed for time will appreciate added quick edit parameters for adjusting the most important parts of any given drum sound.

Like its knockout bigger brother, Punch-BD packs four FX processors with no fewer than 31 high-quality FX types with several routing options into its feature-heavy hit list, lifted higher still with further filters, envelopes, and modulation routings with which to delve deeper via various editing pages — EASY, PADS, MIXER, MOD/FX, and MANAGER — when crafting and storing signature sounds that are alive and kicking while packing a whole lot of low-end punch for not a whole lot of financial outlay.

Of course, Punch-BD provides perfect speaker-busting, body-rattling bass drum sounds to die for, though this is to be expected with Rob Papen at the sound designing helm: “There are plenty of great presets onboard Punch-BD. Enjoy!” We will, indeed, Rob!

From EDM and hip-hop to soundtrack projects, Punch-BD is a production powerhouse par excellence. As a 64- or 32-bit (AAX-, AU-, and VST-compatible) plug-in, add it to your DAW and you, too, could soon be moving musical mountains! Simply stack those bass drums high and give your tracks the driving kick to take them wherever it is that they need to go.

Punch-BD can be purchased as a boxed version from authorised Rob Papen dealers worldwide for €49.00 EUR (including VAT/tax)/$59.00 USD or purchased and downloaded directly from Rob Papen here: (Note: Punch-BD is available for free to EDM Bundle, eXplorer-III, Punch, and Urban Bundle owners… simply login via the Rob Papen homepage, go to My Products, and download the latest installer and installer guide.)

Watch Rob Papen’s Punch-BD telling tutorial video for further info here:

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Alto Professional Live Series Mixers Now Available

Analog dynamic compression, Alesis DSP effects, USB audio, and extensive EQ provide
complete mixing platform for any venue.


Cumberland, RI, USA –– September 17, 2014. Alto Professional (, the source for live performance reinforcement, announces availability of their Live Series analog mixers. Live Series mixers are united by their modern look, low-profile design, low-noise, highheadroom DNA™ preamps, extensive EQ, built-in compression, Alesis DSP effects, and USB audio/connectivity.

These new slim-line mixers are available in four configurations:
● Live 802: 8-Channel, 2-Bus
● Live 1202: 12-Channel, 2-Bus
● Live 1604: 16-Channel, 4-Bus
● Live 2404: 24-Channel, 4-Bus

Designed with a user-friendly format, Live Series mixers allow anyone to achieve a perfect mix –from the live sound novice to the experienced sound engineer. Each XLR microphone channel is equipped with high-headroom, ultra-low-noise DNA™ preamps for striking clarity and dynamic range. Switchable phantom power allows for the use of dynamic or condenser microphones.

Select mic channels offer analog dynamic compression, each with an individual control knob. Each channel features its own 3-band EQ—the 4-bus models add sweepable mids—and there is a 9-band graphic EQ that can be applied to the main or monitor mix. Live Series mixers feature high-quality Alesis DSP effects providing additional creative control in any mixing environment. The Alesis DSP section provides 10 premium effects; each offers 10 variations, for a total of 100 ready-to use effects.

Mono channels feature an XLR input, balanced ¼-inch line input, and a TRS insert jack. Each mono channel offers a low-cut filter, gain control, three-band EQ, pan knob, mute switch, and a 60mm smooth-travelling fader. Stereo channels trade the insert jack for a second balanced ¼-inch input. In addition to having two more send knobs, 4-bus models include a pre/post fader switch for the first two sends.

Designed for modern music making, these new Live Series mixers feature USB audio in and out. This 24-bit USB audio feature enables the stereo main or monitor mix to be recorded to a computer, or allows for the playback from a laptop or other USB audio source controlled by a dedicated level knob. Live Series mixers are equipped with an onboard USB jack to power lamps or charge mobile devices. A footswitch can be used to toggle the effects on and off. LED 12-step metering and an easy-access headphone out with independent level control help keep the mix under control.

“Our Live Series mixers are the highest-featured, best-sounding mixers in their class,” noted Dustin Plumb, Product Manager, Alto Professional. “Our U.S. engineering team went to great lengths to ensure that every detail was designed to meet or exceed Alto Professional standards and provide the end-user an intuitive and transparent mixing experience. From the sonic nuance of the all-new low-noise, high-headroom DNA microphone preamps, to the dynamic performance of the onboard compressors, our all-new Live Series mixers give upcoming musicians and seasoned pros the sound they desire and the quality they deserve.”
Live Series analog mixers are available from authorized Alto Professional dealers worldwide with the following street prices: Live 802 ($229), Live 1202 ($279), Live 1604 ($499), Live 2404 ($599).

For additional product information, visit

Posted in Hardware | Tagged , , | Leave a comment Releases ‘Beat Box Kit: MPC & Maschine Edition’

beatbox-kit-mpcIn another exclusive, we’re proud to present The BeatBox Kit – MPC & Maschine Enhanced Edition. This is truly a one-of-akind MPC & Maschine powerhouse, with 40 original beat box loops
from MSXII Audio coupled with a fully multisampled human beat box drum kit featuring 184 beatbox sounds & timbres for creating your own realistic beat boxing loops, riffs and sequences.

This kit uses the exact same programming techniques found in our multisampled acoustic drum kits with an array of multisampled human beat box sounds mapped out across your pads in a finger drumming friendly layout with velocity-sensitive sample switching for incredibly accurate and life-like beat boxing performances using nothing but your MPC/Maschine pads!

The kit is fully tweaked and optimsed for all MPCs, with a WAV version for the
MPC Renaissance, MPC Studio, MPC Element,MPC1000/2500/500/JJOS/4000 and a legacy MPC SND version made for theMPC2000/XL/3000/60. In addition to the velocity switching on each pad we’vealso incorporated random layer playback to give an even more realistichuman feel on the MPCs that support this feature (JJOS2/XL, MPC Software,

Also included is a Maschine MGRP kit that features up to 8 velocity switched
layers per pad, fully compatible with NI Maschine 1.8 and 2.x.!!
As well as the core beatbox sounds used directly in the kit (kicks, snare, open
and closed hats, claps, shaker, snap & toms), we’ve included over 100 bonus
sounds including ‘breathing’ sounds, fx, percussion and alternate snare, kick
and hat timbres. Finally there’s the fantastic 40 beatbox loops found in the
original ‘Beat Box Kit’ sample pack from MSXII Audio, covering tempos of 85
bpm, 92 bpm, 135 bpm and 141 bpm, all recorded through a Neuman TLM
102 Microphone for a cool and classy saturated tone.!!

‘Beat Box Kit: MPC & Maschine Edition’ is available exclusively from For more information including audio demos, go to
Technical Specifications
• Samples: 184 multisampled human beat box sounds, 40 beat box
• Format: 16 bit WAV, MPC SND, MPC programs, Maschine 1.8/2.x
• Compatibility: Compatible with all MPCs, all versions of JJOS &
Maschine 1.8/2.x
• Publisher/Sound Design: MSXII Audio, MPC-Samples & Pad Pimps
• License: Royalty Free
• Delivery: Download instantly after purchase.
• Price: $26.99

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XPand!2 software Now Available for all DAWs

AIR_XPand!2_WebLargePopular Creative Collection plugin enhanced and available for all VST, AU, and AAX users.
Cumberland, RI, USA – September 16, 2014. AIR Music Technology (, a
developer of premium virtual instruments, announces availability of XPand!2 in VST, AU, and AAX formats. AIR Music Technology produced the original XPand! Instrument as part of the Creative Collection plugin package included with Avid™ Pro Tools™. Now, the latest version, XPand!2, is available on its own, providing a powerful music creation tool for any musician, sound designer, composer, or producer.
AIR Music Technology designed XPand!2 to operate as multitimbral music workstation. Each patch may contain up to four stereo parts. Each individual part is provided with its own MIDI channel, Note Range (Zone), Mix, Arpeggiation, Modulation, and Effects settings. The Voice Mode for each part can be set to polyphonic or monophonic. Polyphonic parts can have up to 64 voices; monophonic parts offer First, Last, Highest, or Lowest priority making it easy to designate a bass, lead, or solo instrument. As remarkable as each part may be on its own, fusing the four parts together to build one incredible Patch is where XPand!2 reveals its true power.
XPand!2 relies on a variety of sound creation technologies—everything from wavetables and FM synthesis to sample playback—to deliver thousands of patches created by the Air Music Technology sound design group. Sounds are conveniently sorted into categories for quick access. Editing a sound or creating new ones from scratch is simple. Six smart knobs deliver hands-on control of major parameters relating to the selected sound. In the Easy Mode, each of the six knobs now controls common parameters of all parts in a patch for rapid, on demand editing.
“XPand! quickly became a key reference instrument for Pro Tools users worldwide since its release,” said Andy Mac, Product Manager for AIR Music Technology. “XPand!2 builds upon this proud legacy, now including over 2500 expertly crafted sounds, multiple part layering, and patches with a collection of outstanding studio quality effects. The editing is simple for any performer, while the onboard arpeggiators allow inspiring patterns.”

XPand!2 Highlights:
● Versatile multitimbral sound module instrument
● Up to four stereo instrument parts per patch
● Up to 64 voices per part; Mono or Poly voice modes
● Smart Knobs provide intuitive sound editing
● Easy Edit Knobs control the entire patch at once
● Two digital effects processors; 50 editable effect types
● Individual arpeggiation control for each part
● Over 2500 + total presets and parts
● VST, AU, and AAX compatible
● No iLok required

A number of inventive modulation routings add to the performance capabilities of Xpand!2. The advanced arpeggiator includes dotted and triplet values, as well as an incredibly useful Latch mode. Two independent processors deliver dozens of studiograde
audio effects. The processors can be routed individually, or combined together in a “cascade mode” to create exciting new results.
XPand!2 is available online for $99.99. Owners of AIR’s popular AIR Instrument Expansion Pack can upgrade to XPand!2 for just $49.99. For more information, visit

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Fader8: Pass the Lube!

image001Icon Digital USA has recently added an indispensable cleaning kit to their product line up. With a long-lasting career in Technical Service, Thomas Siedler created an easy and reliable way for users to clean, maintain and extend the usefully life of their gear.  Fader8 came to be after years of observing how consoles have been cleaned in the past with alcohol and other aggressive cleaning solutions. Fader8 is a tried and tested maintenance kit, along with established maintenance instructions that put an end to aggressive cleaning solutions that shorten the life of faders, pots and switches in a very simple, yet effective way putting life back into the gear!


One product does it all, when evaluating Fader8, James Schmidt Service Technician at Full Compass Systems was quoted, “We really like the Fader8 cleaner. It did a great job of cleaning up dirty controls and faders. The major difference we noticed was how it seemed to both clean and lubricate faders unlike other cleaners, leaving them feeling new again.”


The cleaning kit includes everything that engineers, musicians, producers and hobbyists need to clean consoles, Professional Audio equipment, lighting, DAW controllers and DJ equipment, Home Audio, Guitars and Basses. Requiring no pre or post treatment the all in one Fader8 cleaning kit includes 1 200ml can of Compressed Air, 1 200ml can of cleaning solution, 3 swabs and 1 microfiber cloth.

Fader8 is designed for a higher quality, longer lasting, deep clean for faders, pots and switches. Take care of equipment and use Fader8! Icon Digital is opening dealers and selling Fader8 directly online at . For dealer information please contact

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Production power trio tackle Titanfall gaming blockbuster OST using ATC monitoring

?????????????????????????????????????????????“We all came to these monitors from different paths — writing, mixing, and mastering, which I think is testament to their versatility as a range.”

– Stephen Barton, 2014 (Composer, Titanfall)

HOLLYWOOD, CALIFORNIA, USA: specialist British loudspeaker drive unit and complete sound reproduction system manufacturer ATC is proud to announce that film and video games composer Stephen Barton, music scoring mixing engineer extraordinaire Alan Meyerson, and Grammy® award-winning mastering engineer Gavin Lurssen professionally pooled their formidable resources and talents to complete the recently released Titanfall original soundtrack album using an all-ATC selection of reference monitors…
Titanfall is the latest gaming blockbuster from one of the co-creators of Call Of Duty: Modern Warfare, which has spectacularly sold over 14-million copies to date. Crucially, it, too, benefits from another superlative score from film and video games composer Stephen Barton, a British émigré who headed for the Hollywood Hills back in 2002 to work as an assistant to fellow Brit composer Harry Gregson-Williams, who has won numerous awards as well as receiving widespread critical acclaim for his film and video game scores, including The Chronicles Of Narnia, the Shrek movies, and the Metal Gear Solid franchise.

Today Barton works out of his own well-stocked studio setup in a leased room within Lurssen Mastering, a full-service mastering studio on the famous Hollywood Center Studio lot, a location steeped in over 80 years of entertainment history, which, of course, is precisely where the Titanfall composition success story began, skilfully and sympathetically mocked up on an all-singing, all-dancing DAW. Here he hears exactly what he needs to, thanks to a revealing pair of ATC SCM50ASL Pro three-way active monitors. “The ATCs are nothing short of phenomenal,” Barton begins, before continuing: “There’s nothing out there that equals them to my mind in terms of clarity, lack of fatigue over long-term listening, and truthfulness, which is the most important quality of any studio monitor. I’ve been using them for nearly seven years now, so, when I started working out of Lurssen Mastering a few years ago, the fact that Gavin Lurssen was using the bigger brothers to those in my setup was actually a big influence, and a great indication that we were like-minded in our listening approach.”

Cue Gavin Lurssen, Chief Mastering Engineer at Lurssen Mastering, whose sought-after skill-set brought the Titanfall original soundtrack production to its natural conclusion: “I have a strong relationship with Stephen Barton, who wanted me to do what we do to his music that was being released on Titanfall. When you’re also dealing with some orchestral music — beautiful stuff like this that was done in Abbey Road, it clearly falls into the high standards and practices of what we normally do — creating a total spectrum of balance that’s going to translate into all consumer listening environments, which includes mobile devices with little earbuds all the way through to audiophile listening environments.”

Sited within that historic Hollywood building — formerly used to fashion movie sets, Lurssen’s listening environment is naturally second to none with larger ATC SCM150ASL Pro three-way active and smaller ATC SCM25A Pro three-way compact active monitors at its heart: “The way that I ended up with ATC was that I was working at another mastering facility and a client came in with a pair of ATCs so that they could complete a project. Within seconds of hearing them I knew that something magical was happening and also knew that when the time came to open my own place then that’s where I’d turn to. So when that happened eight years ago their US distributor hooked me up with the 150s and I’ve used them ever since. There’s no doubt in my mind that they’re the only thing that I can use to create my audio balances. They’re smooth and not fatiguing, and, somehow, make digital sound like analogue. I can sit in a room all day long and not burn out.”

Outside the mastering and compositional confines of the Titanfall soundtrack-spawning Lurssen Mastering building, those epic-sounding orchestral music scoring mixing sessions at London’s legendary Abbey Road Studios fell upon the seasoned shoulders and exemplary ears of Alan Meyerson, one of Hollywood’s top scoring engineers, with extensive credits including the majority of Hans Zimmer’s movie music. “Alan also uses ATCs, and it’s just been a case of coincidence that this amazingly huge project was done down the line on these speakers,” summarises Lurssen.

Coincidence or otherwise, in this case, there’s no doubting the benefits of an all-ATC reference monitoring experience in Barton’s finely-tuned musical mind: “The translation across the entire range made the entire workflow incredibly smooth. On mix down there were maybe two or three cues out of 30 or 40 for the IMC (Interstellar Mining Corporation) — one of the two factions in the game — that needed small tweaks. The majority of them were perfect straight out of the gate. Obviously a major part of this is down to awesome mix talent, but I think the fact that we weren’t adjusting to an entirely new monitoring approach meant that it was a much more cohesive process without any of those ‘I didn’t think that sounded like that’ moments. That’s especially true in important aspects of the frequency spectrum for a game like this, which is generally in the low end. Crucially, the translation to the game is superb. We did a direct shootout between the 25s and 150s whilst mastering Titanfall and it was stunning how consistent the sound was. All of these monitors simply tell you what’s there, and that’s a rare quality that’s vital, whether composing, mixing, or mastering.”

The SCM25A Pro three-way compact active monitors carry a UK RRP of £5,963.00 GBP (plus VAT) per pair; the SCM50ASL Pro three-way active monitors carry a UK RRP of £8,891.00 GBP (plus VAT) per pair; and the SCM150ASL Pro three-way active monitors carry a UK RRP of £11,577.00 GBP (plus VAT) per pair. All are available worldwide from any authorised ATC stockist.

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N-WAVE360_angle_pair_10x8_mediaCompact self-powered monitoring system offers advanced style and impressive audio.

Cumberland, RI, USA – September 13, 2014.  Numark (, the world’s leading innovator of DJ solutions, is set to debut their N-Wave 360 desktop DJ monitoring system at the upcoming BPM 2014 show to be held in Birmingham, England.

Designed to offer the DJs impressive desktop sound in a compact format, the self-powered N-Wave 360 includes two matched speaker cabinets. Each cabinet contains a 1″ silk dome tweeter—with blue LED illumination—matched with a 3″ woofer via a precision crossover circuit. The onboard amplification system can deliver up to 60 Watts of peak power. These magnetically shielded powered monitors are ideal for a compact studio setup; they won’t interfere with other electronics and offer extra protection when used near a video monitor.

“The N-Wave 360 brings both visual excitement and exceptional audio monitoring to the studios of DJs all over the world—at a tremendous value,” offers Karl Detken, Director of Marketing, Numark. “With their blue LED illuminated tweeters, these monitors not only look electrifying, but they deliver incredible audio performance as well.”

The amplification system for both speakers is cleverly mounted in one unit, requiring just one power outlet to drive two speakers. Unlike many studio monitors, the volume knob is conveniently located on the front panel for easy access. High-density materials are used to increase acoustic efficiency, and bass porting improves the low-end response. Concave oval waveguides provide a wide listening area “sweet-spot” for accurate imaging and fatigue-free listening. Radial-edge speaker baffles minimize audio distortion.

For those users needing more low-end punch, an electronic bass-boost circuit is provided, as well as a subwoofer output that can be used to add a powered subwoofer to the N-Wave 360 monitoring system. 

N-Wave 360 Highlights:

  • Precise audio amplification for home DJ setups
  • Convenient front panel volume control
  • 1″ silk dome tweeters with blue led illumination
  • 3″ low-frequency drivers
  • Precision crossover circuitry
  • High-fidelity amplification with 60 watts of peak power
  • Efficient cabinets constructed from dense wooden materials
  • Concave waveguides create a wider sweet spot listening area
  • Carefully formed baffle radiuses reduce edge diffraction
  • RCA audio inputs
  • Magnetically shielding
  • 80 Hz – 20 kHz frequency response
  • Universal voltage

DJs will be able to see N-Wave 360 on display at the 2014 BPM Show at Booth C45, September 13-15 in Birmingham, England. N-Wave 360 will be available in stores this fall with a street price of $99 USD. For more information, visit:

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