#nugenaudio

[thetapelessworld]

NUGEN Audio advances aptly-named SigMod utility toolbox plug-in with welcomed VST3 hosting

NUGEN Audio advances aptly-named SigMod utility toolbox plug-in with welcomed VST3 hosting 

NUGEN Audio is proud to announce a significant SigMod update — with welcomed VST3 hosting additionally allowing users to use any plug-in in any way within this utility toolbox plug-in par excellence’s twelve different signal modification units to instantly enhance DAW and associated plug-in functionality like never before — to coincide with the company’s appearance at The 2019 NAMM Show, January 24-27, in Anaheim, California…

NUGEN Audio’s aptly-named signal flow-modifying SigMod utility toolbox plug-in proved popular following its launch last May to widespread critical acclaim. After all, many plug-ins are ‘stereo’ but only have one set of controls. Clearly, this limits flexibility, which can prove particularly problematic when working with hardware emulations as they necessarily also model the limitations of the original device — vintage or otherwise. Overcoming this, SigMod allows anyone to enhance both the functionality and usefulness of their collection, providing them — and also their DAW of choice — with a new lease of life! Literally. By simply combining single-process modules in any order to effectively design the precise routing required, they can combine, convert, delay, detect, filter, fix, host, invert, mute, re-route, route, solo, split, switch, tap... the productive possibilities are (almost) endless!

Enter today’s timely, significant update to SigMod — same as it ever was, while now also allowing VST3 hosting of plug-ins in Pro Tools (AAX environment), Ableton (VST2 environment), and Logic (AU environment). Ultimately, users can apply any plug-in in mid/side mode, add split L/R functionality, or split frequencies and route audio anywhere within the DAW itself, for instance. Indeed, SigMod just got significantly better!

Who better to reflect on the significant development of digital audio, then, than co-founding NUGEN Audio Creative Director Jon Schorah: “I remember when recording to four audio tracks, without EQ or effects processing, was considered to be something of a breakthrough on a typical DAW. We have moved on considerably since then. At NUGEN Audio we aim to be part of that journey, pushing innovation beyond what is considered remarkable by today’s standards.”

SigMod — with welcomed VST3 hosting — will be showcased by NUGEN Audio on Booth 14200 at The 2019 NAMM Show, January 24-27 in Anaheim, California. Come check it out! SigMod — with welcomed VST3 hosting — is available to purchase (as a 32- and 64-bit-supporting AAX-, AU-, VST-, and VST3-compatible utility toolbox plug-in) for Mac (OS X 10.7 and above) and Windows (Vista and above) directly from NUGEN Audio at an introductory ‘NAMM special’ price of $29.00 USD (rising to its regular price of $49.00 USD thereafter). For more in-depth information, please visit the dedicated SigMod webpage here: https://nugenaudio.com/sigmod

[kelbymedia]

Final Mixing for The Black String 🔪 @blackstringmovie #blackstringmovie @austinfilmfest #AustinFilmFestival . . . #SurroundSound #AvidS3 #ATCSpeakers #ProTools #SomeoneDiesInTheEnd #iZotope #NugenAudio #DangerousMusic #KelbyMusic #EFusionStudios (at Hollywood) https://www.instagram.com/p/Bo8i69hAI98/?utm_source=ig_tumblr_share&igshid=4p6il61b75a1

[therealjaywiz]

#latenight #mastering this #fire in the #redlight #district 😎😎😎 Holla @theplugstudios513 for your #audio needs. #Crayz #slatedigital #wavesaudio #pluginalliance #nugenaudio #presonus #studioone #stayhome #staysafe #stayhealthy . . . . . . . #recordingstudio #maudio #ableton #behringer #musicproduction #makingbeats #musicmakers #protools #undefined #studioone4 #stayathome #stayathomechallenge #stayhomesavelives #lockdown (at College Hill, Cincinnati) https://www.instagram.com/p/B_JzNh6FD0q/?igshid=nsuwn47lq2db

[a1jayrun-blog]

@therealflipsyde @flipsyde_steve @iamjayrun bringing that southern blues back. #jayrun #trapmusic #th3pr0v1d34 #trapper #producer #protools #engineer #singer #songwriter #universalaudio #nugenAudio #voxengo #proaudio #sonymusic #epic #RCA #warnermusic #atlanticrecords #apg #fashionblogger #shakedown #dopeteam #sde #dopegod2 #designer #5starglobalevents #miami #LA #hollywood #hitmakers (at Beaverton, Oregon)

[trvepeak-blog]

[Grammy Special] Mix Analysis #7 “Lazarus” by David Bowie

FOREWORD

Welcome to article number two of a ten part series about the last ten winners of the Grammy for „Best Engineered Album“! This time my mix analysis will be about „Lazarus“ off of David Bowie’s Album „★“. The first article was about Bruno Mars’ „That’s What I Like“, which was surprisingly dynamic for such a big release but also suffered from noticeable compression and unnecessary loudness. Here’s a list of all winning records:

2018 - “24k Magic” by Bruno Mars 2017 - “Blackstar” by David Bowie 2016 - “Sound & Color” by Alabama Shakes 2015 - “Morning Phase” by Beck 2014 - “Random Access Memories” by Daft Punk 2013 - “The Goat Rodeo Sessions” by Yo-Yo Ma, Stuart Duncan, Edgar Meyer & Chris Thile 2012 - “Paper Airplane” by Alison Krauss & Union Station 2011 - “Battle Studies” by John Mayer 2010 - “Ellipse” by Imogen Heap

You can find A LOT of information about the person David Bowie but I will just leave you with a few anecdotes about his final album „★“ before we dive into the hard facts. Did you know David Bowie and his friend / producer Tony Visconti tried to „avoid Rock ’n’ Roll“ while creating this record and mentioned Kendrick Lamar’s „To Pimp A Butterfly“ as their biggest influence, as well as Boards Of Canada and Death Grips? Bowie also recruited a local Jazz band from New York for the recording sessions, who where completely unaware that he was suffering from liver cancer. This shines a completely different light on his lyrics, as he was actually facing death and reflecting about his own mortality.

Another interesting thing about this record is the CD and LP artwork. Lyrics were printed black on black with partial varnish so you can only read them in a certain angle. The whole packaging in general contains a lot of secrets and Easter eggs which can be found here. It’s also noteworthy the title track sounds almost the same played backwards and was originally longer than 9m 58s but shortened to meet iTunes restrictions. Which surprised me because a) how is it possible Apple tells David Bowie how long his music should be and b) there are a lot of songs on iTunes songs that go far beyond the 10 minute mark. Here’s why: Any song shorter than 10 minutes can be sold as a single and instantly downloaded, everything longer than that can only be purchased together with the whole record. Which is standard on this platform but not mandatory so they could have kept the original length of "Lazarus".

Before we start the mix analysis I would like to share a conspiracy theory I came across during my research. It’s about David Bowie predicting his own death, as well as the birth of Kanye West… There you go: The David Bowie & Kanye West Conspiracy Theory, Explained

HARD FACTS

Record Label: ISO, RCA, Columbia, Sony

Year of Release: 2016

Duration: 06 m 22 s

PSR: ~ 10.0 (lowest) ~ 6.0 (highest)

Average Loudness: -8.0 LKFS

Inter-Sample Peaks: 0.4 dBTP (left) 0.6 dBTP (right)

Digital Peak: 0.0 dBFS (left) 0.0 dBFS (right)

Mixing Engineer:  David Bowie, Tony Visconti

Mastering Engineer: Joe LaPorta at Sterling Sound

For measuring the PLR, Average Loudness and Inter-Sample Peaks I used MasterCheck Pro by british company Nugen Audio. To keep it as neutral and simple as possible, I chose the „Optimal Master - Codec Only“ preset. For measuring the Digital Peak Level I used the 4U Meter, Fader & MS-Pan Plug-In by german company HOFA. The DAW used is Logic Pro X. The source material is 16 Bit and 44,1 kHz. If you want to now what all those fancy words mean, have a look at this article.

Furthermore I recommend reading and / or downloading the “Recommendations for Hi-Resolution Music Production” released in 2017 by the Producers & Engineers Wing of the Grammys. Which is not only a very helpful and well structured guideline for modern audio production but also a reference I will mention a few times.

After listening to the record you can tell the production is very loud, thick and direct. Looking at the waveform confirms what we’ve heard: Those are heavily compressed audio files with drastically increased loudness. Ok, it’s always possible to make it even louder and add more compression but the sound of „★“ is quite intense. The average loudness of „Lazarus“ is -8.0 LKFS which is -6.0 LU louder than the standard of -14.0 LKFS at Spotify and YouTube! This master is not only way too hot for streaming services but also for a CD in my opinion. Digital peaks are taken care of with a brick wall limiter at 0.0 dbFS but Inter-Sample Peaks reach up to 0.6 dbTP. And I’m asking myself again how a record like this could win a Grammy for „Best Engineered Album“…

My guess is the National Academy of Recording Arts and Sciences honors the work of David Bowie and this album in particular with this award, despite the sound quality. Don’t get me wrong, this record doesn’t sound bad at all, cause the production fits the vibe of the record like a glove. As previously mentioned, Bowie is reflecting a lot about his on death and mortality and therefore the lack of dynamic creates a very dense atmosphere and delivers the message directly to the listener. So the production - how „bad“ it may be - emphasis the musical and lyrical content and is therefore completely legit.

The beginning of „Lazarus“ leaves a lot of space for Kick, Snare and that sort of mono Guitar in the center of the mix before the Bass comes in and fills everything with it’s warm sounding low end. Bowie’s voice sits on top of the mix and sounds very direct and bright. Wind instruments are panned left and right but not to far though. There’s a certain effect during the verses that sounds like a stereo Guitar with a heavy Bitcrusher on it. Love it! If you listen closely, you can here very subtle layers of atmospheric synthesizers during the whole song which are glueing everything together and make this song whole. On of the last instruments you hear on „Lazarus“ is an electric Guitar on the far right in the stereo field with a super duper hard attack and some slapback echo on it.

PERSONAL IMPRESSION

I’m not a fan of the excessively loud and heavily compressed production style on „★“. Giving his love for experimentation, detail and experience, I was expecting a rather audiophile record, cause we are talking about David Bowie here! But for the following reasons I can understand why he chose this particular sound for the record:

Remember how I mentioned earlier Bowie and Visconti tried to „avoid Rock ’n’ Roll“ and said „To Pimp A Butterfly“ by Kendrick Lamar was a big influence while creating this record? So it’s not surprising at all you can hear how the Jazz found it’s way on the album. Yet every Jazz connoisseur would freak out if a record of this genre would be produced this way, so it makes perfect sense how „★“ sounds. As countless times before, Bowie is not meeting expectations and this is what makes him and his music so interesting.

Also the direct in-your-face sound emphasis the intimacy and honesty of the lyrics a lot, so honest it sometimes feels like he’s naked (metaphorically, not literally). This way you just can’t ignore the morbid and dark but sometimes hilarious and weird lyrics of him.

CONCLUSION

„★“ is a beautiful farewell gift to his fans but also to every listener of unconventional pop music with a strong Jazz influence. The production is very contemporary (loud and heavily compressed) and therefore creates a certain directness and intimacy between the listener and the music, which comes with a great CD and LP packaging by the way. Winning the Grammy for „Best Engineered Album“ though seems more like a gesture to honor the life and work of David Bowie rather than rewarding an completely audiophile recording.

[siegfriedmeier-blog]

What a great bunch of humans we had in here this weekend. Thanks to everyone involved, and extra thanks to Rach, Gary Ian and the boys in Stereo Sunrise for their extreme talents!! ♥️ #beachroadworkshops #beachroadstudios #siegfriedmeier #education #learning #studio #gear #pluginalliance #warmaudio #radialengineering #universalaudio #peluso #auratone #heilsound #godin #fractalaudio #canadianaudiodistributors #eventide #presonus #sjcdrums #nobleandcooley #vater #hhb #theampfactory #retroinstruments #samplitude #magix #nugenaudio #fabfilter #beyerdynamic #burl #roland #daddario #evans

[stryke303]

Working on final demo bits for my #ProTools electronic music creation presentation @aes_org in #NYC for @avidtechnology this week. About to pack it all up after one more run through and head to the big 🍎. Really pleased with the new @mackiegear #ProFXv3 mixer, which also doubles as a cool audio interface! It even shops with Pro Tools | First! And of course, I've got @nativeinstruments #Maschine and the lovely @playjoue MIDI controller in tow. All playing in perfect Harmony in @avid.protools with plenty more 3rd party goodies from @therolandcloud @nugenaudio @izotopeinc @mcdsp and much more! Will be a fun session! See you there! (at Miami, Florida) https://www.instagram.com/p/B3nGUwuAlvT/?igshid=mwpm8wsj37qq

[producedbytobi]

Demoing @nugenaudio Mastercheck. Codec Auditioning for Streaming Media. Shout out @warrenhuart & @warren_unitedmastering for recommending. Check out their demo via @producelikeapro YouTube Channel. (at Luxembourg) https://www.instagram.com/producedbytobi/p/Bv6iKhGASq7/?utm_source=ig_tumblr_share&igshid=1sgpwwfgvr3qq

[aneekt]

Thanks for the 5-star and VIP reviews for my sample pack, 'Vibrations' commissioned by Loopmasters. @loopmastersofficial made with wonderful tech from: @subpac @uaudio Apollo and plugins. @izotopeinc @accusonus @uheplugins @zynaptiq @slatedigital @adam_audio @ableton #feelsubpac @nativeinstruments @nugenaudio @c74connect @fender @orangeamplifiers @strymonengineering @rme_audio @zildjianuk @paistecymbals @pearl_drums @zoomsoundlab @audiotechnica_eu @rodemic @absolutemusicuk @wearenovation @moogsynthesizers #samplepack #loopmasters #sounddesign #music #musically #musicproducer

[thetapelessworld]

Nugen Introduce Sigmod Last Week to save 40% $29 thru June 25

Nugen Introduce Sigmod Last Week to save 40% $29 thru June 25

NUGEN Audio is proud to announce availability of SigMod — a utility toolbox plug-in that more than lives up to its Thousands of ways to enhance your plug-ins and DAW tagline with straightforward signal flow modification via 11 single-process modules that can easily be inserted, swapped, and moved around, allowing for new options to correct, convert, or tweak audio as required — as of May 24…

Put simply, SigMod allows for far more flexibility than is already available in DAW (Digital Audio Workstation) setups by allowing access to creative and advanced production techniques with ease — even if they are not supported natively within its user’s DAW/plug-in collection — courtesy of the following flexible selection of single-process modules: Mid/Side (for converting stereo plug-ins to mid/ side operation); Protect (for safeguarding digital equipment via virtual protection ‘circuitry’); Mono (for switching the signal path to mono to check for phase cancellation and image issues); Switch (for switching over the left and right — or mid/side — signals); Delay (for delaying the — milliseconds or samples — signal path); Phase (for inverting either side); Trim (for applying dB offset); DC Offset (for detecting and offsetting accordingly); Tap (for parallel processing); Crossover (for splitting frequencies to apply band-limited effects); and Mute/Solo (for muting or soloing a specific channel).

Combining those modules in any order allows SigMod users to design the precise routing required, resulting in instant inclusion of ‘missing’ features for easy exploration of new creative choices with auto-resizing keeping signal flow and functionality clear at all times. The upshot of all this is that SigMod serves up many useful, creative processes that are otherwise difficult to engage. Examples include adding mid/side functionality to classic compressor and EQ emulations, or getting creative with mid/side delays, distortion, and many other effects by inserting the Mid/Side encoder/decoder either side of any left/right plug-in instance.

Another useful instance involves inserting Protect across the output bus which will result in this safety module automatically cutting in to prevent bursts of noise or feedback howls due to system errors (with manual or auto-reset options providing protection levels as deemed necessary). Needless to say, this is invaluable when working with headphones while mixing. Though the wonderful world of parallel processing — namely, a second audio signal running alongside or ‘in parallel’ with the original sound to enhance and enlarge it in some way (rather than simply chaining a series of effects to interrupt the dry sound of an audio or software instrument track via its inserts) — can prove daunting to some, it doesn’t have to be that way with SigMod... simply drop in the Tap module and all is good to go! Get going elsewhere equally easily using the Crossover module to split the high frequencies from the lows, allowing application of different effects to different frequency ranges — really useful for avoiding muddying up the low frequencies or getting creative with automation or sweep effects.

Endless fun can clearly be had with the time-saving SigMod. Thanks to its interesting creative patching possibilities, putting into practice advanced production techniques can be easily achieved. Also achievable are significant CPU (Central Processing Unit) load savings since SigMod only uses a significantly smaller part of a complex plug-in when solving a simple task, meanwhile making up for DAW architecture shortfalls. SigMod is available to purchase as a 32- and 64-bit-supporting AAX-, AU-, VST-, and VST3-compatible utility toolbox plug-in for Mac (OS X 10.7 and above) and Windows (Vista and above) directly from NUGEN Audio at an introductory price of $29.00 USD until June 25, 2018 (rising to its regular price of $49.00 USD thereafter). For more in-depth information, please visit the dedicated SigMod webpage here: http://www.nugenaudio.com/sigmod-modular-signal-architecture-sound-design-aax-au-vst_62

  Watch an overview-style SigMod introductory video exclusive here: https://youtu.be/CeGGCuE3n2M

About NUGEN Audio (www.nugenaudio.com)

[redsyncstudio]

@nugenaudio #mastercheckpro #mastering #audiomastering #audiomasteringservices #masteringstudio #masteringengineer #premiummastering #itunescertified #stereomastering #stemmastering #vinylmastering #masteringforitunes #masteringlyon #analogmastering #masteringsession #redsyncstudio #mixing #musicproducer #musicproduction #djproducer #housemusic #deephouse #futurehouse #producerlife #techhouse #edmproducer #dubstepmusic #musicstudio #hiphopproducer #hiphopproduction (at Red Sync Studio) https://www.instagram.com/p/BodhxpvgqmW/?utm_source=ig_tumblr_share&igshid=1r0dgy5lf4t0e

[therealjaywiz]

Finishing up this #master for @divae513. Pretty good job if I do say so myself. I'm just glad I have something to do that I love #inthehouse #stayhome #staysafe #makemusic #slatedigital #infeq #fabfilter #pluginalliance #shadowhills #dangerous #baxeq #nugenaudio #wavesaudio #mixing #mastering #studio #theplug🔌 #cincinnati #fightcovid19 #vgm (at College Hill, Cincinnati) https://www.instagram.com/p/B-iEKu2FJWp/?igshid=1ado5a00qnp3d

[a1jayrun-blog]

@nugenaudio is at the end of every master bus ALWAYS #mastercheckpro #isl2 #nugenaudio Make sure your engineer is up on his True Peak Limiter game. #LUFS #LKFS #PLR #dbTP #youtube #spotify #tidal #afclip #applemusic #applestreaming #appledownload #codec #TV #ITURBS1770-4 #mastering #protools (at Beaverton, Oregon)

[trvepeak-blog]

Mix Analysis #4 “Fall Of The Ancient World” by Dan Terminus

FOREWORD

In this article I will do a mix analysis of “Fall Of The Ancient World” from Dan Terminus' recent album “Automated Refrains”, which is available here for free on Bandcamp! The genre is called Synthwave and can be described as followed: Kick, Snare, Hi Hat, Toms and additional percussion are most of the time Roland 909 or 808 samples and the range goes from very relaxed, chill and atmospheric (FM-84, S U R V I V E, Gunship, Timecop1983) to fast, up beat and hard hitting (MASTER BOOT RECORD, PERTURBATOR, GosT, Carpenter Brut).

Despite several different styles within the Synthwave genre, all of the mentioned artists are using sounds and elements that were very popular during the 80s and therefore create a feeling of nostalgia and retro while listening to it. Also 9 times of 10 you can dance to the music, no matter how hard or soft it is.

Although referencing the 80s in all it's glory more or less, the music doesn't sound like it's been recorded (nearly) 40 years ago, because it applies the standards of modern music production of 2017. Especially the more aggressive tunes have quite sophisticated songwriting and are mastered very loud, like MASTER BOOT RECORD, whose Synthesizers sound so harsh and distorted they could be actual guitars.

The most fascinating thing about this music is, that the general loudness of the recordings are pushed to the limit, almost completely brick walled and yet it's possible to enjoy it, cause it doesn't feel forced but like a natural thing to do. Which is weird, cause I'm not a friend of killing dynamics and transforming WAV form into a sausage but with this music it makes sense somehow. So let's take a look / listen at it!

HARD FACTS

PLR: ~ 9.5 (lowest) ~ 7.0 (highest)

Average Loudness: -7.6 LKFS

Inter-Sample Peaks: 0.8 dBTP (left) 0.7 dBTP (right)

Digital Peak: -0.0 dBFS (left) -0.0 dBFS (right)

Mix: Dan Terminus Master: Dan Terminus

Year Of Release: 2017 For measuring the PLR, Average Loudness and Inter-Sample Peaks I used MasterCheck Pro by british company Nugen Audio. To keep it as neutral and simple as possible, I chose the „Optimal Master - Codec Only“ preset. For measuring the Digital Peak Level I used the 4U Meter, Fader & MS-Pan Plug-In by german company HOFA. The DAW used is Logic Pro X. The source material is 16 Bit and 44,1 kHz. If you want to now what all those fancy words mean, have a look at this article.

As expected, the WAV form of “Fall Of The Ancient World” is a big, fat, juicy sausage. Digital Peak is at -0.0 dBFS on both channels, which is standard for this kind of music. Unfortunately there are Inter-Sample Peaks up to 0.8 dBTP which could have been avoided with a fitting Limiter (like the ISL 2 by Nugen Audio) and more attention during the mastering process.

The average loudness of the song is at -7.6 LKFS, which is more or less irrelevant on Compact Disc but wouldn't work with streaming platforms like Spotify or YouTube considering their maximum limit is -14.0 LKFS. If you would upload it like this, it could be turned down by around 6 dB!

Even during the quietest part of the song (the intro) the PLR is pretty high and goes up only a little to 7.0 during the louder parts. Which shows again how important loudness is to the artist even when things could be more quiet.

PERSONAL IMPRESSION

It wasn't really hard to pick this song, cause unlike other material on “Automated Refrains”, this one's got a serious “Das Boot” vibe going on, which I really like. Unfortunately this is the only time Dan Terminus is doing it on the record and I wish he would have kept it going. Instead he uses the “typical” Synthwave schemes, which dominate the rest of the record and make the second half feel a little boring and repetitive.

This is something I noticed about other artists from this genre as well. If you listen to the songs out of context, they feel a lot different, fresher I would say. But if you're listening to them after you already heard five tracks (or so), it's somehow exhausting and not interesting anymore. This could be the reason why some of the “big names” started incorporating singers to make their tracks stand out and be more memorable. Most of the time the song benefits from it but I also heard a few ones that were ruined by uninspired vocal melodies and should have been left alone.

A few words about the mix: The single elements aren't really distributed across the stereo field, the more accurate term would be stretched. They're all on the same line and right in your face but the synthesizers sound super wide though. Only those “Das Boot” sounds give a feeling of room and depth.

CONCLUSION

“Automated Refrains” by Dan Terminus is - compared to his previous work - more atmospheric and slower but unfortunately during the second half a bit boring due to a lack of diversity. If you're interested in what it sounds like when he puts the pedal to the medal listen to “The Wrath Of Code”!

The production is very modern and bright, super loud and in your face. Except the Intro it's constantly peaking at -0.0 dBFS which isn't nice but typical for this kind of music. Would have been cool though if he at least avoided those Inter-Sample Peaks which go up to 0.8 dBTP.

[sonicscoop-blog]

Mixing in surround? Here are some must-haves. 7.2 of our top picks for audio post and surround music mixing! Includes picks from @iZotopeInc , @NUGENAudio , Cargo Cult, Audio Ease, @WavesAudio and more. Immerse yourself on SonicScoop!

[x144]

Meters for days. @nugenaudio #naughtydog 🤔 👾 🎮🎙🎛🎚🔊🎶 • #mixing #mastering #nativeinstruments #creatives #maschine #mpc #akai #ableton #push #logicpro #protools #fruityloops #beats #rhymes #beatmaker #hiphop #raw #mastering #studiolife #studio #engineer #producer #dope #fresh #music #audio #musicproduction #creative