From Jungkook’s 35.5m monthly Spotify listeners to Avid’s $1.4bn sale to STG… it’s MBW’s Weekly Round-upFive of the biggest headlines on MBW this week...
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IK Multimedia’s UNO Synth Pro X is what the synth community deserved from the startEnrico Dell’Aversana is effusive when he talks about the new IK Multimedia UNO Synth Pro X. As well he might be – as the brand’s product manager, he has overseen a complete user interface redesign that reimagines its predecessor as an instrument focused on creation, performance and experimentation (he describes previous version as a ‘preset machine’).
“We really thought about how people use and experience the synth and we wanted as many people as possible to be able to have a good experience using it” he tells us from his base in Italy.
The new model is the result of extensive consultation and feedback from the synth community. Building on the powerful synth engine from the UNO Synth Pro, taking control of the redesign process gave Enrico and his team the chance to address what some producers felt were the shortcomings of the original. Largely, in the lack of hands-on control that it offered.
Image: Simon Vinall
“We wanted to gather as much information as possible about how people were using the synth and how they wanted to use it – otherwise it would just be just my point of view. When we did the first UNO Synth Pro, I wasn’t fully involved in the project; the interface wasn’t something I had a lot of input into. But with the Pro X, I took complete control of everything from the user experience to the decisions about which potentiometers to use. I think, with the mechanical designers, it took us a month and a half to come up with the knob specifications.“
This approach is applauded by YouTuber and synth aficionado BoBeats, who provided feedback not only on the original synth but on where he thought its successor should be aiming, as a self-professed ‘synth nerd.’
“It started when I was checking out the original UNO Synth Pro”, he tells us. “It was a great synth but I sort of knew immediately that the physical UI and the colour scheme didn’t quite do it justice. I talked to IK about the expectations when you are a synth nerd and you have something that is this advanced – you don’t really see features like these on an analogue synth under $1,000. I tried to convey to them what I’m drawn to as a user.”

Bo’s issues with the original synth were less about its powerful sound engine and more about the way it limited your access to its parameters. He explains “[IK] took a lot of the ideas from the original UNO Synth Pro and thought, ‘OK, we have to create something that has a look that’s equivalent to the power inside. I think the team figured out the balance between the complexity of the sound engine and an interface that is still accessible.
“On the original UNO Synth Pro, I found as a synth educator that you have all this power but only a few knobs to turn, and you’re going through lots of submenus, which can be difficult to demonstrate to users.”
Enrico confirms that opening up the incredible depth of programming capabilities to faster and easier control by the user was paramount when he approached the design of the new model. “The UNO Synth Pro was really a preset machine, so you went into your studio and prepared your presets and sounds and they were easy to call up. And the same for the keyboard version – you go to the stage and play without much experimentation.”
“With the Pro X, I wanted to create more of an experimentation machine; to really focus on the involvement of the user in creating the sounds instead of just recalling presets. So the interface had to be completely different – more tactile, easier and faster to use. And that’s why the sequencer is way more prominent in the interface. In 2023, a lot of synth aficionados aren’t necessarily keyboard players.”
Image: Simon Vinall
Bo concurs about swapping the prominence of the keyboard and sequencer, suggesting that it’s a better fit for the synth’s audience. “On the Pro X, IK have put the sequencer front and centre which makes a lot of sense because it’s something you interact with a lot. The keyboard now features less prominently – in fact, on the original, it wasn’t the greatest quality – and I think people are much more likely to program the Pro X using the sequencer than by playing its onboard keys.”
The Pro X (Enrico suggests, half-jokingly, that the ‘X’ is for experimentation) packs a lot of functionality into its compact and very portable frame, including three discrete wave morphing oscillators, dual filters with an OTA-based multimode filter, 10 stereo effects, a paraphonic 64-step sequencer, 10-mode arpeggiator and a host of CV/gate ins and outs to connect to your other analogue studio gear and computer, with a companion plug-in for preset management and remote operation. The extensive feature set sounds like it could exclude less-experienced creators, but neither the designers nor those who have used it extensively see that as being the case.
Discussing the kind of person who would get the most out of the Pro X, Bo suggests that it depends on how complex you want to go. “If someone just wants a simpler bass synth for example”, he says, “they might think about a Korg Minilogue XD or something like that.”
Image: Simon Vinall
He continues, “To be honest you can use it as a beginner or an advanced user but who is the ideal user? It’s an intermediate to advanced user that will get the most out of it. As a beginner, you can use its depth – a mod matrix, advanced sequence programming – as a learning tool.”
Enrico agrees. “What I had in mind was to make a synth where, even if you’re less experienced, you can get familiar with it because the layout makes sense – it’s very Moog-ish – so you know where things are. But as soon as you know what you’re doing you will discover new things, and start connecting things.
“When we were designing the synth, the idea was ‘maybe the user doesn’t know everything about synths yet but they want to be able later on to do more and more.’ So, yes, it’s for people who know what they’re doing but also for those that don’t yet, but will grow into it. You can do simple sounds but you can grow with it over time.
Image: Simon Vinall
“We designed it to be an investment for people. I’m the kind of guy who saves to buy the synths I like. When I go and buy something, it’s not because of the brand or how Instagrammable it is, but how long I’m going to be using it for, how much it’s going to give me in exchange for my money.”
Price is a factor that comes up in discussions about the Pro X, which IK has tried to keep as affordable as possible while maintaining a feature set that you don’t necessarily see in comparably priced synths. MusicRadar describes it as “well-priced” and while Bo suggests that trying to get the price down by $100 could potentially make it an easier sell, that’s arguably true of any product.
Most people who have tried it out agree that the Pro X occupies something of a unique position in terms of its features versus its price. In his review, Loopop identifies some monosynths out there that can be had for a couple of hundred less – mostly from Behringer – but generally lack onboard effects and sometimes presets, and are typically not paraphonic. For a little more money, he identifies the Behringer Deepmind 6 and Arturia MiniFreak as possible alternatives, albeit with different feature sets.

Enrico highlights the tradeoffs that he feels other synths appear to make when balancing features with cost – and why he feels they got the balance right with the Pro X. “For the price, it really doesn’t have that many compromises compared to the competition. You can have a polyphonic synth, but it won’t have a sequencer with this level of depth. Or it doesn’t have this breadth of effects. Or you get a monophonic synth that has a keyboard but no effects or lacks a good sequencer. Or doesn’t have presets! Even if some people don’t need them in 2023, you need to provide the facility to save presets.”
Bo tells us that, in his opinion, the decision to go with a more portable build as opposed to super-premium for cost reasons is the right one. “If IK had gone with an even more expensive build and a higher price, that could have been problematic because UNO Synth is supposed to be accessible; it’s not supposed to be a super-premium and expensive product. I think it’s on the reasonably priced side of things. It’s really about what IK is aiming for here.”
But for him, its position as the flagship of the UNO range still makes sense. “I like what IK is doing – it would have been easy to make another super budget synth but its saying, ‘OK, let’s increase the budget and improve the physical design and focus on the small details.’ And it’s a synth that’s designed for enthusiasts, so I think that’s the right way to go.”
Image: Simon Vinall
Enrico expands on the design decisions that were made when re-imagining the physical interface and software for the Pro X – not all of them financial by any means. “We have a very powerful analogue synth engine that’s quite hard to find for the price. Very few have two filters – maybe the Korg MS20, of which I am a huge fan. I traded off some features in the Pro for others in the Pro X.
“A simple example is that, in the original, there was a compare function that toggled between saved and current versions of a sound. But in the Pro X, there’s a record function. The idea is that someone might be experimenting with a sound and not necessarily know how they arrived at the end result so now they can wind back and find out.”
And it’s not just a case of adding a bunch of features either – a lot of tweaks were made along the way. Enrico continues; “we dropped the old phaser and flanger; great effects but not that popular any more. And I went for a Univibe effect which is weirder.”
Other changes were mostly in the refinement of the analogue engine. “The presets between old and new machines aren’t compatible for the simple reason that I changed so much about the internal design of the engine –smoothing off the rough edges. And we added the bass mode. I’m a huge fan of the TB-303 so that’s a feel that we wanted to give to the users.”
Image: Simon Vinall
However, IK is keen to stress that, unlike some other synth manufacturers, it isn’t trying to imitate any particular sound or chase trends but leave its mark in a crowded field. Discussing the wider market, Enrico opines: “To me, it shows that some other companies are holding back from giving everything they could. So with the UNO Synth Pro X, you get something that has all these features for the price or less than the price of something that doesn’t, but that has a brand.”
“We’re not a clone company and we’re not trying to be somebody else – we have our own sound. We’re going to give you another choice of sound, adding another flavour into your cooking, as it were. And how could you do that without doing something different? We give you a new flavour, without being someone else, and for a price that is reasonable – and that was the whole idea!”
Image: Simon Vinall
He credits his team, Davide Mancini and Luca Starna from Soundmachines, Francesco Spelta (mechanical and UX designer) and Enrico Lori, the CEO of IK “who helped in many ways and let us go for it”) for the success of the project.
The last word goes to Bo, clearly enamoured of the Pro X. “IK has really listened to the feedback it got from the whole synth community – improve the build quality, give us more hands-on control and show us on the front panel how deep and complex it is. I feel like the team pushed really hard within the company to get what they wanted. With the original, I had a lot of suggestions but with this one, they took my wish list – not literally – but they took it and made it happen.”
No doubt, however, that even the UNO Synth Pro X will leave producers with a new wish list of features; no doubt IK Multimedia and Enrico will be on the lookout for more ideas.
Learn more about the UNO Synth Pro X at ikmultimedia.com.
The post IK Multimedia’s UNO Synth Pro X is what the synth community deserved from the start appeared first on MusicTech.

Soundtoys SuperPlate was worth the waitFor over 15 years, Soundtoys’ plugin bundle has been considered by many producers as an essential tool for creative and characterful processing. Little Plate, Soundtoys basic plate reverb, was added to the collection five long years ago, leaving users twiddling their thumbs for the release of a full-featured version. Thankfully, it was worth the wait. Soundtoys SuperPlate has a wonderful sound, concise and easy to use GUI, and a few neat tricks up its sleeves.

READ MORE: Universal Audio’s UAFX Del-Verb is an all-in-one ambience machine

LittlePlate had just one reverb plate emulation and limited controls; SuperPlate gives you the option of five different plate reverb units.
These are based on the classic EMT140 (full-bodied), a Goldfoil EMT240 (darker and tighter), an Audicon (for punch and sparkle), an EcoPlate III (bright and spacious), and a Stocktronics RX 4000 (with pronounced high-frequency response).
Soundtoys really went the whole hog in the design phase, studying the unique characteristics of multiple hardware models (including five EMT 140 units), before combining them to form single algorithms.

It’s great to have multiple options in a single plugin, as each has distinctive characteristics, so you can try them all to see which works best on your audio. You also have decay times beyond the original units’ capabilities, going all the way to infinity to create epic ambiences and pads. With that in mind, it’s a shame that the shortest decay is only 0.5 seconds, meaning you can’t create super-short, room ambience sounds.
Note that SuperPlate’s decay time has an effect on the way the different frequencies die away. Much like on the hardware it emulates, faster times are tighter and brighter, and longer times have a warmer, more boomy sound.
If you have the full SoundToys V5 bundle, then you can add SuperPlate by upgrading to V5.4 for a modest upgrade cost. This also gives you several new EffectRack presets that combine the reverb with other SoundToys processors to great effect.
Alongside the plate choices, you have three preamp options for colouring the signal going into the reverb, which include a clean setting, a harmonically-rich tube preamp, and a solid-state transistor overdrive that has built-in compression to help tame transients.
Soundtoys Superplate. Image: Soundtoys
When testing on an emotive piano part, we find it especially effective at thickening the reverb and pushing the wet signal further back in the mix, and also for introducing pleasing, lo-fi warmth to the body and tail of the reverb. Frustratingly, it’s a chore to dial in the desired sound and then switch between the three drive settings.
You use the input dial to drive into the saturation, and then the output dial to rebalance the reverb signal volume. However, if you turn up the input to drive the Tube or Solid-State, and then switch to the Clean, you get a sizable volume jump. It would have been smoother for Soundtoys to implement a volume-matched amount dial for the coloured preamps, which wouldn’t affect the clean setting.
Elsewhere on the main GUI window are dials for decay, pre-delay, modulation amount, low cut and high cut, the aforementioned input and output, and a mix dial. It’s worth checking the manual here, as the mix dial doesn’t work exactly as you might expect. As you increase from 0 per cent to around 70 per cent, the dry remains unaffected and you are simply adding in more of the reverb signal; then from 70 to 100 per cent, you’re turning down the dry until it’s just the full, wet reverb sound. A little info on the GUI might have helped to avoid any confusion here for new users but, then again, maybe we should all just be reading our software manuals properly!
Although the GUI is fairly legible, it’s unfortunately not resizable, which is a common complaint aimed at Soundtoys’ plugins – as Marlon on the White Noise Studio YouTube channel says, after five years of receiving user feedback, Soundtoys shouldn’t have forgotten about this highly-requested feature.
Soundtoys Superplate. Image: Soundtoys
Of course, it wouldn’t be a true Soundtoys plugin without the ubiquitous Tweak button, which opens up the other half of the GUI with additional editing options. The main thing you’ll notice is the EQ display that shows the low-cut and high-cut filters, plus two parametric bands. The filters are linked to the two dials above on the main GUI, but here you get the additional option to switch between 6db, 12dB and 24dB slopes.
It’s especially useful to have the two adjustable parametric bands, which we’re able to use to effectively clean up some unwanted frequencies before a guitar hits the reverb, and also to make adjustments to rebalance some of the colour added by the different plate models. There’s also a handy bypass button that only bypasses the bands and not the cut filters.
Below the EQ window are controls for the modulation rate, stereo width and stereo balance. Increasing the pitch modulation on the tail can add a more dreamy quality to things like keys or pads, with slow times providing a lo-fi, tape-esque vibe, and faster times a more vibrato-like shimmer.

We’re also able to reduce piano resonances building up on longer decay times, and push the reverb sound even further back in the mix. A Width dial keeps the reverb signal in full stereo at 100 or collapses down to mono at 0. This can be used in conjunction with the Balance dial to shrink sounds down and pinpoint them more specifically in the stereo field, while retaining the reverberated character.
Our favourite feature is the Auto-Decay function. This works similarly to using sidechain to duck the reverb when the clean signal is playing, but instead of volume, it reduces the decay time. Threshold sets the level the effect kicks in, and then a Target dial controls the amount of reduction, followed by a Recovery dial to set the release time. It’s a genius idea that we found works incredibly well to help clean up transient passages on guitar, piano and vocal parts. You get to keep the overall volume and character of the reverb, but without it washing out the entire signal when more prominent parts of the dry audio are playing. Joshua Casper from Plugin Boutique rightly calls it a “must-have” once you’ve used the feature for the first time.
Aside from a few minor misgivings, SuperPlate is a fantastic and versatile plate reverb plugin. It combines high-quality algorithms, a characterful hardware-style plate sound, and warm preamp modelling, with useful digital controls that can help you quickly sculpt the perfect reverb for your mix.
It might not be the plugin you turn to for more creative reverb sound design, but for pure plate tones, it’s one of the best we’ve heard.
Key Features

Plate reverb plugin (VST2, VST3, AU, AAX Native, AAX Audiosuite)
5 plate styles
EMT140, Goldfoil EMT240, Audicon, EcoPlate III & Stocktronics RX40000
3 preamp options: clean, tube and transistor
Infinite decay
Built-in pre-delay
Modulation controls
Decay ducking feature
EQ with low cut and high cut filters and 2 parametric bands
Price: $149 (SuperPlate only), $499 (Soundtoys 5 bundle), $59 (upgrade from Soundtoys V5 to V5.4 including SuperPlate)
Contact: Soundtoys

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Laidback Luke responds to YouTuber who “became a professional DJ to prove that it’s easy”Laidback Luke has “critiqued” YouTuber Cody Ko’s video where he attempts to prove that becoming a pro DJ is easy.

READ MORE: New music platform Myvox lets artists licence and monetise their own AI voice models

In Ko’s original video, titled I became a professional DJ to prove that it’s easy, Ko jokes that because Shaquille O’Neal and Paris Hilton became DJs, he should be able to as well. Of course, Ko had the benefit of already having an established following, a good friend in renowned EDM act Dillon Francis, and the budget to splash out on high-end Pioneer DJ gear. It’s not a bad leg-up.
However, as Luke explains, it’s not that clear-cut. “I do know that Shaq started djing in 1998 so it’s always been there for him, and I know that Paris Hilton really, really loves EDM and dance music – but it’s interesting to think how it evolves.”
Ko later responded in another video that he made a mistake calling it “easy”.
“That’s the one thing I got really wrong about the video,” Cody Ko admits. “I didn’t do enough research into Shaq’s history with music and DJing. He’s been doing it for a long time, people really respect him. I used him as an example of someone that did something else and just transitioned to DJing, but I didn’t realise he’d been doing it for a long time and he has a long history in the music scene. That was kind of a fuck up on my part.”
“One of the biggest critiques I got from DJs about this video, is that it’s really not that easy for them to get gigs,” he continues. “Obviously if you’re someone that has a name you can just book a gig, and it was something I was trying to prove.
“I do understand the criticism of a budding DJ who is just trying to get booked and doing sets at random bars and parties and trying to build their name up that they would be pissed that I just call someone up and book a gig.”
You can watch the full video below:

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Reverb Machine DrumVerse R8 The R-8 is a late 80s drum machine that combined high quality 16-bit samples with a plenty of sound-editing options and human-like grooves; it went on to become the studio drum machine... Read More

How every musician can (and should) be part of Band Shirt Day 2023The second annual Band Shirt Day has been announced for Friday, September 15th, and every musician can participate in this global charity fundraising event which celebrates the iconic band t-shirt.. Continue reading
The post How every musician can (and should) be part of Band Shirt Day 2023 appeared first on Hypebot.

“I get so inspired listening to his production”: AMAKA on working with Kaytranada on new EP OasisAMAKA has released her debut EP, Oasis, today (18 August). The release marks her first solo offering since she and her sister brought R&B duo, VanJess, to a close.
Oasis was solely produced by two-time Grammy-winning producer Kaytranada, who featured VanJess on his 2019 album, Bubba, for the track Taste. We caught up with AMAKA to find out more about the project, and her time working alongside Kaytra.

READ MORE: Kaytranada: “I want to be remembered as one of the greats in terms of producing”

The EP is touted as a “tropical dance soundtrack” for the summer. AMAKA says of the EP, “An oasis by definition is a place you find and this oasis is one we can all find together; a vibe, an energy and a place people can escape to and let the music takes them into feeling their most confident, free and thriving self.”
She continues, “I wrote these songs on the journey to finding that place within myself and I hope listening to Oasis brings people to it too.”
We ask how this solo EP differs from her previous work with her sister in VanJess, and also what it was like to work alongside Kaytranada.
How did you find your writing process different for your AMAKA project compared to VanJess? 
“My process hasn’t changed, I think I’ve just gotten better as a writer in general. I would say it’s become more expansive, simply due to now writing with just myself in mind and having the space to explore things I never have before.”
How do Kaytranada’s productions complement your sound as AMAKA and a vocalist? 
“Beautifully and in a way that pushes me forward, I get so inspired listening to his production in a way that just makes me write between.”
Is there anything you’ve learned about your own writing and performing process during the making of OASIS?
“I’ve learned that I shouldn’t doubt my own voice anymore. I’ve been able to discover how versatile I am and I just want to now keep getting better at executing the different sides of my voice.”
Stream Oasis below:
Your browser does not support iframes. 
 

AMAKA has been teasing Oasis since March 2023 with the release of the single of the same name. The track arrived two weeks after VanJess announced their split via Instagram, which has since been revamped into AMAKA’s page.
As VanJess, sisters Ivana and Jessica Nwokike (the latter now performing as AMAKA), achieved critical acclaim with 2018 album Silk Canvas and 2021 EP, Homegrown. Throughout their discography, they worked with iconic producers such as TOKiMONSTA, GoldLink, Channel Tres, MNEK and more.
Stream AMAKA’s Oasis on your favourite streaming platform.
The post “I get so inspired listening to his production”: AMAKA on working with Kaytranada on new EP Oasis appeared first on MusicTech.

SXSW panels worth voting for from Bandsintown, Rock Paper Scissors, The Orchard & moreVoting for SXSW 2024 PanelPicker is coming to a close this Sunday, August 20, and we’ve put together an extensive list of panels worthy of your consideration. Anyone can register. Continue reading
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“At the end of the day, audio processing is much more important to me than the source”: Techno artist Levon Vincent weighs in on gearElectronic artist, producer and DJ Levon Vincent has argued that audio processing is “much more important” than the source when it comes to music-making.

READ MORE: J Lloyd says the horns on Jungle’s first album were him doing “mouth trumpet”

Discussing his creative process in a new interview with Music Radar, Vincent says he doesn’t have a preference for vintage or modern gear as he “never saw an advantage to one or the other”.
“A nice vintage synth with some tuning stuff going on can sound pretty good, but if you layer that with the punch of software it sounds ten times better,” he explains. “Then again, software alone sounds boring and clinical half the time.”
“The only thing I must have is at least one vintage synth from the Roland Juno series. I probably paid $200 for it back then and I also got a Roland 909 for $300 and a Yamaha DX7. I don’t even need a drum machine anymore and only have my converters because I couldn’t find a buyer.
“What I must replace though is my Chandler line mixer. Right now I’m going with a Neve 5067 and a JCF Audio converter. At the end of the day, audio processing is much more important to me than the source,” he says.
Also in the interview, Vincent reveals how he typically gets started on those Techno tracks of his, saying “If I’m at a DAW I love to work with drums first, but I’ll often just sit at a piano and write the tune before any computer is involved.”
“It depends on whether I want something melody-driven or drums-driven, and it’s best to have several different approaches because I’ll generally build a whole tune out of the first motive.”
He adds, “Everything goes through Reaper. That’s the big mama. I also opened LUNA recently and think I’ll experiment with that because I’m attracted by how luxurious it feels.”

The post “At the end of the day, audio processing is much more important to me than the source”: Techno artist Levon Vincent weighs in on gear appeared first on MusicTech.

Endlesss announce Clubs online community Clubs is a new online chat-based space within Endlesss' music creation apps that has been designed specifically for musicians to co-create and publish their music

Jungkook now has 35.5m+ monthly listeners on Spotify – over half a million more than BTS.HYBE-signed K-Pop star had 35,578,104 monthly listeners on the music streaming platform as of August 18
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How to LEGITIMATELY get a song more streams [Chris Robley of CD Baby]Don’t waste your money and risk your reputation on bot farms and other scams, and learn how to boost your music streams legitimately. by CHRIS ROBLEY from CD Baby’s DIY. Continue reading
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Armin Van Buuren DJs atop Burj Khalifa, breaks two world recordsArmin van Buuren has broken two world records by performing a DJ set on the Burj Khalifa building in Dubai, the world’s tallest building.

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The 40-minute DJ set took place on a balcony near the top of the 328-metre-tall building and consisted of the DJ, producer and label owner’s usual stadium-filling blend of electro-house and trance. A recording of the record-breaking set has been uploaded to YouTube, which you can watch below:

Armin Van Buuren’s elevating DJ set broke two world records: the highest performance atop the tallest building on the planet and the largest LED screen employed for a show. Oh yeah, we forgot to mention – the set was accompanied by mammoth audio-reactive visuals that spanned the length of the whole building.
The DJ set took place to promote the upcoming Middle East debut of UNTOLD — Dubai’s first mega festival, which will take place in February 2024. On the lineup is Alok, Alesso and Martin Garrix.
Talking of Martin Garrix, the Animals producer also has some experience in DJing on top of tall buildings. In October 2022, Garrix celebrated winning DJ Mag’s Top 100 DJs list by playing on top of the Empire State Building, becoming the first ever DJ to do so.
Neither DJ are the winner of the highest DJ set ever recorded on land, however. That feat went to Indian students Nosher Ali Khan, DJ Ghasuray, and Saad Ata Barcha, who played on the summit of the Pakistani mountain, Manglik Sar (6,050 meters) in 2021.
More cool DJ sets to have happened recently include a DJ set at Stone Henge and a set at the site of the Pyramids of Giza, both performed by Carl Cox. Nina Kraviz has delivered techno to fans on the Great Wall Of China and Paul Oakenfold once DJed at Mount Everest Base Camp.
Read more about UNTOLD festival via untold.com.
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Bertom Audio Releases FREE EQ Curve Analyzer v2.0.0
Bertom Audio releases the updated EQ Curve Analyzer v2.0.0, a freeware plugin analysis tool. Bertom Audio, if you don’t know them, are the developers of plugins like the Denoiser Classic and the Air Shelf dynamic EQ. Both of those plugins are available for free with a pay-what-you-want option, as is the topic of this post, [...]
View post: Bertom Audio Releases FREE EQ Curve Analyzer v2.0.0

Noisebud Square2 Square2 is an exceptional Equalizer/saturator that doesn't sound like anything else. With Square2 you will be able to dial in exactly the right amount of saturation and distortion to thicken,... Read More