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Posted on: Thursday 27th of July 2017

Radial Engineering DAN-TX and DAN-RX DI boxes allow users to send (TX) or receive (RX) two channels of analogue audio over a digital Dante-enabled network. The DAN-TX includes 1/4″, RCA and 3.5 mm inputs, with a single Ethernet output that can connect any analogue device to a Dante network. Mono instruments are provided a thru connection for a stage amp, and the box includes a trim control that provides +/-10 dB of gain. Radial say balanced signal levels up to +24 dB can be accepted without distortion, and a high pass filter and -20 dB pad can be engaged when required. The DAN-RX is a two-channel Dante receiver that can output balanced analogue audio at any point on a Dante network. The unit features dual XLR outputs and a 3.5 mm headphone output with level control. The DAN-RX connects to the network via a single Ethernet cable, and ground lift is provided on the outputs. Both the DAN-RX and DAN-TX are built with 14-gauge steel construction and employ 24-bit / 96 kHz converters. Power for each device can be supplied with a 15V adaptor (included) or via Power over Ethernet (PoE), and both power sources can be used simultaneously for redundancy.

Audified SYNERGY R1 – this is the plug-in developer’s first foray into hardware, with a software/hardware hybrid digital reverb and analogue saturator processing module for the 500 series modular rack format.
Synergy features seven types of reverb algorithm with three kinds of true analogue saturation. Users can control the device from their DAW, automate it, and store session settings, courtesy of an easily accessible, front facia-positioned USB connection.Reverb algorithms range from Room  to Tunnel, and users can control four parameters: decay, predelay, colour, and type. The true analogue saturator section features three switchable circuits with GE (Germanium), OA (OpAmp), and JF (J-FET) types to add harmonics to the signal, plus a gain control. Both sections include wet/dry mix controls, so SYNERGY R1 can be used as a 100% digital reverb or a 100% analogue saturator (and anything between those two worlds).
What sets SYNERGY R1 apart from normal 500 series modules, however, is that each and every one of its functions can be remote controlled via the included SYNERGY R1 plug-in that can be used from within all major DAW host applications on Mac and PC (with AAX, AU, VST2, and VST3 support).

Avid Pro Tools HD 12.8 is a major upgrade of the industry-standard DAW, which includes all of the new Dolby Atmos Mixing features. The highlights of the 12.8 release are support for 7.0.2 and 7.1.2 track and stem formats, one universal panner module for both stem and Dolby metadata panning, automated routing between stem and objects, and support for Pro Tools sessions on the Avid NEXIS storage systems. On-the-fly switching and automation between surround and object outputs give mixers the ultimate flexibility. This it the feature re-recording mixers have been waiting for: the ability to assign audio as an object “on the fly”. For the most fluid re-recording workflows, Pro Tools also synchronizes audio and automation punches between input and playback modes in conjunction with the Dolby RMU. Support for ADM BWAV files, containing object metadata, makes remixing more efficient and economical for repurposing content. You can now import a Dolby Atmos master that’s been saved as an ADM file, and bring in panning, track labelling and grouping. In this way, a Dolby Atmos Master file that’s been created using a system other than Pro Tools can also be file imported into your Pro Tools session. Monitor and route hundreds of audio inputs and outputs through Pro Tools MTRX, which provides the bandwidth and sonic fidelity preservation required for mixing any large-scale immersive audio format. Pro Tools now (finally) supports working from volumes mounted as UNC Paths, specifically tested for ISIS and NEXIS workspace mounted in such a way. Additionally, Pro Tools now supports linking to MXF files containing a SMPTE ID, with a new column in the workspace to display the ID. A raft of bugs (including many MIDI anomalies) are now flagged as fixed, and several minor annoyances have been dealt with – holding shift while using the trim tool no longer fails to affect all selected clips.

NUGEN Audio has revealed a major new update for its award-winning Halo Upmix. The new 3D Immersive Extension builds on the industry-leading Halo 9.1 Extension, adding further options beyond the existing Dolby Atmos bed track capability. The 3D Immersive Extension now provides Ambisonic compatible output as an alternative to channel-based output for VR, game and other immersive applications. This makes it possible to upmix, re-purpose or convert channel-based audio for an Ambisonic workflow. In addition, the Halo 3D Immersive Extension makes Halo the first upmixer to fully support Avid’s newly announced Pro Tools version 12.8, now with native 7.1.2 stems for Dolby Atmos mixing. The combination of Pro Tools 12.8 and Halo 3D Immersive Extension will provide a more fluid workflow for audio post professionals handling multi-channel and object-based audio formats. ‘We are delighted to offer new options for engineers involved in the rapidly developing world of immersive audio and Dolby Atmos,’ says Jon Schorah, founder and creative director, NUGEN Audio. ‘The addition of Ambisonic output in the 3D Immersive Extension enables users to apply our unique algorithms in ever diversifying contexts and workflows.’ Halo Upmix is available immediately at a list price of $499 for both OS X and Windows®, with support for Avid AAX, AudioSuite, VST2, VST3 and AU formats. The new 3D Immersive Extension replaces the Halo 9.1 Extension and can now be purchased for $199. Owners of the existing Halo 9.1 Extension can upgrade to the Halo 3D Immersive Extension for no additional cost. Support for native 7.1.2 stems in Avid Pro Tools 12.8 is available on launch.

PreSonus is now shipping its top-of-the-line Quantum Thunderbolt 2 interface. The Quantum offers two combo mic/instrument/line inputs and six combo mic/line inputs, each with a digitally controlled XMAX preamp and +48V phantom power. You also get two ¼” TRS main outputs, eight ¼” TRS line outputs, and two independent headphone outs with dedicated volume controls. With ADAT Optical I/O and S/PDIF stereo digital I/O, you can have up to 18 additional digital inputs and outputs for a total of 26 in and 32 out. BNC word clock I/O ensures your Quantum and other digital audio devices operate in tight sync. Of course, you get MIDI I/O, too.
Designed to be the central hub for any recording studio, the Quantum offers two main and eight auxiliary balanced line-level outputs that are great for monitor mixing. An onboard talkback mic can be routed to any mix, and you can listen to any mix from either of two headphone amps. You also get Mute/Dim and Mono controls.
PreSonus Studio One Artist DAW is included with the Quantum, full preamp control functions are integrated in the recording environment. Most of the Quantum’s features can also be controlled in PreSonus’ free UC Surface control software, for easy integration with all DAWs. Quantum owners also reveive the Studio Magic Plug-in Suite – seven useful plug-ins in VST, AU, and AAX format – and can upgrade to Studio One Professional for 50% off. The Quantum interface is available immediately at a MAP/street price of $999.95.

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