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MAAT Digital 2BC Multicorr and RSPhaseShifter Plugins: Phase Analysis and Correction ToolsMAAT Digital is a professional audio software and hardware company founded in 2016 by pro audio veterans Friedemann Tischmeyer in Hamburg, Germany. MAAT stands for “Mastering Academy Audio Tools.” Audio engineers and educators established the company to prioritize uncompromising sound quality over flashy graphics. The team focuses on high-fidelity tools for measurement, equalization, and effects. Over 20,000 audio engineers use MAAT products worldwide. MAAT contributes to global broadcast standards through active work with the European Broadcasting Union’s (EBU) Ploud working group.

One of the very first things that student audio engineers learn about is the fundamental importance of both phase alignment and phase difference. MC examined two MAAT plugins concerning audio phase. The 2BC multiCORR plugin is a 31 multi–band correlation meter designed to detect issues in stereo phase. The 2BC multiCORR is a diagnostic tool and does not affect audio. The RSPhaseShifter plugin is a phase alignment tool, or phase rotator, that does affect audio. Note that this plugin is not what it sounds like—this is not a 1970’s style swirly modulation phase shifter effect a la Pink Floyd. 

The two plugins can be used individually or as part of the same workflow. Use 2BC multiCORR to investigate where problematic phase correlation issues are present across the frequency spectrum. If the problem traces back to similar signal paths, for example, the minute delay between a bass amp and bass direct track, the RSPhaseShifter plugin can be used to alter the phase relationship between the two tracks without changing the tracks’ time alignment or EQ.

MAAT developed the 2BC multiCORR plugin because a conventional broadband correlation meter can conceal frequency-specific problems. A mix may show acceptable overall correlation while individual instruments or frequency ranges are producing significant cancellation. The plugin uses MAAT’s trueLinear scale and provides stereo balance and broadband correlation measurements. Five monitoring functions, Left Only, Right Only, Mono, Difference and Flip, allow an engineer to investigate what is happening without leaving the plugin. The 31-band display is particularly useful at the bottom end, where phase problems can have practical consequences. The RSPhaseShifter plugin is a 64-bit digital implementation of the 2016 analog hardware, Phase Shifter W2324, and was developed in partnership with Roger Schult’s German Audio Lab. The design concentrates on the task at hand—manipulating and correcting phase issues without adding the noise and coloration associated with analog circuitry. The plugin changes phase relationships while leaving the signal’s amplitude response intact. That makes it useful when two microphones, layered instruments or parallel signal paths are interacting in ways that produce phase cancellations and tonal changes. RSPhaseShifter provides 13 frequency selections from 16 Hz through 4 kHz. 

A typical application might involve a kick drum recorded with multiple microphones. Instead of moving tracks in time, an engineer can use RSPhaseShifter to alter the phase relationship at selected frequencies while listening for changes in punch and low-frequency consistency. The same approach can apply to bass, acoustic guitars, piano, drum overheads, stereo microphones and subwoofer alignment. This is truly a plugin where listening is key. There are no buttons or lights to tell you when. Ultimately, it’s your ears that will tell the tale.

2BC multiCORR  $49 AAX Native, AU, VST 2, VST 3 or as a standalone application. RSPhaseShifter  $99 AAX Native, AU, VST 2, VST 3

maat.digital

The post MAAT Digital 2BC Multicorr and RSPhaseShifter Plugins: Phase Analysis and Correction Tools first appeared on Music Connection Magazine.

Ski Lift Removes Mice from Chicken CoopGetting rid of rodents like squirrels, mice, or groundhogs is a lot like digging a hole on the beach. No matter how much you remove, it’ll always fill back in. So, while [Super Valid Designs] could keep trapping and “removing” the mice in his chicken coop, more will always work their way back in. His theory is that removing them live from the chicken coop and placing them some distance away will be more effective, and with this semi-automated ski lift that traps them and carts them off, it might end up being less work too.
The build comes to us in roughly two parts. The first is the gondolas, which not only cart the mice down the hill to freedom but also double as the mousetrap themselves. They are placed in the chicken coop, and a trap door on the ceiling with bait causes the mice to fall inside. 3D printed with acrylic windows, they are a luxurious way for a mouse to travel. At the bottom, another trap door opens onto a pile of brush, releasing the mice. The second part is the lift, built hastily out of wood and other parts lying around. After much hiking up and down the hill, [Super Valid Designs] eventually got it working properly and reliably toting the mice and automatically releasing them at the bottom of the hill.
It’s a bit too early to tell if this method is more effective than more traditional methods of dealing with mice. But it was at least a fun way to deal with the problem while he also works on more effective methods of preventing the mice from getting into his buildings in the first place. There are some simpler catch-and-release mousetraps out there as well if a ski lift is out of the question for whatever reason.

Vita Mirae Vita Mirae | Vital Banks: VHS Delirium10 Vital* presets created from scratch with Vita Mirae's sonic identity + 2 bonus presets. WATCH THE DEMO: https://youtu.be/RuDbI0NqOjM?si=BBZH4TJmpuVZTQxK Presets: KY Arcade Prisoners. KY CRT is F- Back. KY Electrified Dreams. KY Invaders of the Space. KY Michael Has Been Here. KY Mirae's Resonance. KY Synthetic Piano. KY Tape Mold. KY The Future is in Your Back. KY VHS Delirium. KY Synthetic Piano 2 (Bonus). PD VHS Delirium (Bonus). *vital plugin not included. Created by Vita Mirae. Read More

Hakuna Audio releases FREE Hakunizer one-knob enhancer plugin
Hakuna Audio has released Hakunizer, a free one-knob enhancer plugin for macOS and Windows. The workflow immediately reminded me of Image-Line’s old Soundgoodizer. Just like in FL Studio’s old multiband sound enhancer, you choose one of four programs labeled A, B, C, and D, then turn a single large knob until the result sounds good. [...]
View post: Hakuna Audio releases FREE Hakunizer one-knob enhancer plugin

Trump says US will form ‘AI Force’ and appoint AI czar: ReportsTrump posted on Truth Social that his new project would manage the fast-growing sector without adding regulations that could slow innovation.

ModeAudio Quiet Piano Ambient Loops: Cinematic upright piano samples
ModeAudio has released the Quiet Piano Ambient Loops, a collection of 833MB worth of royalty-free music loops and MIDI.  The piano is arguably the most versatile instrument; a single performance can be percussive, rhythmic, harmonic, and melodic all at once, with as much polyphony as your fingers can manage. But despite having all that potential [...]
View post: ModeAudio Quiet Piano Ambient Loops: Cinematic upright piano samples

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Coreboot Hikes the Bay Trail to DRAM InitializationThis article is written on an open-source operating system, but not an open-source machine — the BIOS isn’t open-source, and even if it were supported by the coreboot project (formerly LinuxBIOS), there would still be a whole host of binary blobs required to get it to boot. On one vintage architecture, there’s one less blob, as coreboot can now initialize DRAM on Intel Bay Trail SOCs, as [Mate Kukri] presented in a talk at the recent Open Source Firmware Conference.
Bay Trail isn’t exactly cutting-edge hardware, to be sure — the SoCs are over a decade old at this point, and were only used in low-performance mobile applications like Chromebooks. On the other hand, coreboot has been on Chromebooks for at least as long. Getting DRAM set up is difficult because, well, you don’t have any memory to work with until you do. Traditionally, the way you did that was to call on one of the many proprietary ‘binary blobs’ provided with next to no documentation by the manufacturer. Reverse engineering that requires some serious bus-sluthing, which was done in software with the SerialICE debugger and the Unicorn Engine CPU emulator. The talk focused on that technique and how it might be applied more widely, rather than getting into the weeds of how to do DRAM init on one obsolete SOC. At some point the whole thing should be archived on the OFSC website so those of us not lucky enough to attend in person can hear what [Mate] — and all the other speakers — had to say.

Because coreboot is open, you can do a lot more with it than a proprietary UEFI firmware — for example, you can choose not to initialize RAM at all, and run entirely in the CPU’s cache. You can also — of course — run DOOM. If you want to be binary-blob-free, you’ll need to find hardware supported by the more hardcore Libreboot distribution of coreboot, which admits no binary blobs at all. When it comes to Libreboot, it might actually be easier to install than to find compatible hardware these days.

REX launches 2x leveraged ETF tied to Bitcoin treasury firm StriveThe new ASSX fund offers 2x daily exposure to Strive shares, giving traders a leveraged way to bet on the Bitcoin treasury company.

Tips From A Deathrock Lifer: Scarlet's Remains' Tony HavocWe asked Scarlet’s Remains drummer Tony Havoc to share advice for fellow musicians from his extensive experience as a member of multiple beloved LA deathrock acts. Havoc has been a fixture on the global deathrock scene for decades. Renowned for his powerful “tribal” drumming and striking, ghoulish image, he has also played for Voodoo Church, The Dirty Horror, and Fear Cult, among many others. 

But Scarlet’s Remains is Havoc’s proudest achievement, having released two genre-classic albums in the 2000s, toured Europe, and recently reformed with a vibrant new lineup. With Havoc not only drumming but also being principal songwriter and de facto bandleader, the female-fronted quartet has been performing on the West Coast and in Mexico since earlier this year and is currently recording a new full-length.

Practice & Pump

Havoc originally aspired to be a guitarist, until his dad suggested, “Everybody plays guitar – why don’t you get into the drums?” He fell in love with drumming and would frequently skip school to practice in the family home by day. He cites diverse influences including Stephen Perkins of Jane’s Addiction, Wullie Buchan of The Exploited (especially on the Horror Epics album), and even Motley Crue’s Tommy Lee. 

“I like [Lee’s] showmanship. I don’t do any of that, but I appreciate it,” Havoc explains. “I like being in the back and sitting behind cymbals – I’m not an upfront, limelight type.” 

These days, Havoc is restricted to keeping his chops up on a practice pad at home and the one night a week that Scarlet’s Remains have at a Downtown LA practice space shared with multiple other bands. So, he takes another approach to maintaining his strength and stamina for the band’s frenetic live shows.

“It’s very good for a drummer to lift weights,” he offers. “You don’t need to be buffed and huge, but just to keep up the strength, because you don’t get to play your instrument every day the way a guitarist or bassist can.”

Do It Yourself Deathrock

“There’s a Minor Threat song that says ‘Make do with what you have / Take what you can get,’ and that really stuck with me,” Havoc recalls. “Because you can do it yourself. You don’t need anybody else. If you’ve got someone with money backing you, it’s a lot easier, but it can be done.”

True to this ethos, Havoc has learned to approach venues and promoters with a “package” of three or four bands already lined up, a particular night of the week in mind, and with an idea of the likely draw and the cover charge required for everyone to walk away happy. Upon first moving to L.A., he strolled into the famed Troubadour and did exactly that.

“When you approach a venue with a pre-made lineup, they don’t have to do anything except open their doors,” Havoc explains. “I think they appreciate that.”

Adapt & Survive

Like most semi-pro drummers, Havoc seldom gets to use his own kit on stage. Typically, he’s making do with a backlined kit provided by the venue, promoter, or one of the other bands on the bill. It’s a reality that Havoc is amazingly sanguine about, once again leaning into his “make do with what you have” punk ethic.

“I’ve played with cracked cymbals and cracked heads – I’ve kind of just gotten used to whatever’s thrown my way,” he says. “It takes about three songs to get used to a ‘foreign’ kit, but everyone’s warming up the first three songs, anyway.”

Typically, Havoc will bring his own kick pedal, cymbals (which venues often don’t supply), and an extra rack tom. “I’m a kind of ‘80s style drummer; I like two high toms,” he explains. “And the kits today usually just have one.”

When Havoc does get to play his own kit, it’s a Spaun set-up comprising a 22-inch kick, 12- and 13-inch rack toms, and a 16-inch floor tom (“I spend a lot of time on toms”). After years of choosing Zildjian cymbals, he now prefers Sabians simply for their sound. (Spaun Drums is a small Colorado-based company that manufactures all its products in the U.S.)

Dark Genre Realities

Havoc’s gateway to deathrock was the punk rock he first encountered as a teen, which has shaped his entire worldview and lifestyle ever since.

“I was raised by punk rock,” he mulls. “All my ideals, all my thoughts, my emotions – everything was learned through punk.” But there came a time when Havoc started encountering increasing racism, sexism, and homophobia in a punk scene that had been infiltrated by skinheads. Once he picked up a Christian Death record, he was sold on deathrock – an amalgam of punk, goth, and glam influences – as an adjacent alternative.

“In the deathrock scene, everybody was welcome. And I really, really like the idea behind that,” Havoc recalls. “Deathrock just seemed very wide open and there was so much you could do with it. Punk rock started to seem a little in a box.”

But, like any niche genre, deathrock is much more about passion than profit, and Havoc advises fellow subgenre musicians to be realistic about commercial aspirations. “If you’re going to do pop music, I mean you’re doing that strictly for the money. I get it,” he says. “But when you do a genre like deathrock, you’re doing it because it’s the music that comes out of your soul and it’s what you love to do.”

Havoc describes L.A.’s deathrock scene as much smaller than it was during Scarlet’s Remains’ original 2000s run, meaning sparse local crowds and scant revenue. (By contrast, the band experienced sold-out pandemonium at a recent show in Mexico City). But although he’s the band’s sole original member and wrote the bulk of its existing material, he splits everything equally with his bandmates, who also contribute funds evenly when required.

“What I get out of it is just for my soul, my brain, and my heart. That’s payment enough,” Havoc concludes. “Being in a room with three other people, when the music’s tight and everybody’s on and it’s connecting, that’s a really magical feeling that you just can’t get anywhere else.”

instagram.com/scarlets_remains_official

The post Tips From A Deathrock Lifer: Scarlet's Remains' Tony Havoc first appeared on Music Connection Magazine.

Boof2015 PrismPrism is a free, open-source audio analyzer and meter rack for Windows, macOS, and Linux. It can monitor system audio or an input device from the standalone desktop application, run individual analyzers as plugins inside a DAW, or provide the same core analysis tools through a native terminal interface. The desktop application captures system output directly through CoreAudio on macOS, WASAPI on Windows, and PulseAudio on Linux. Microphones, audio interfaces, and other input devices can also be selected directly. Multichannel sources can be routed into Prism's Left and Right analysis channels independently. Analyzers Prism includes eight real-time scopes and meters: Spectrum Analyzer — FFT spectrum with calibrated dBFS levels, selectable FFT sizes, spectral tilt, Log/Mel/Linear frequency scales, peak and pitch readouts, and optional heatmap and fill views. Oscilloscope — Time-domain waveform with fundamental-frequency pitch locking and sub-sample triggering. Vectorscope — Stereo phase and spatial analysis with XY, Polar, and M/S Linear views, correlation information, adjustable zoom, and optional multiband visualization. Waterfall — Layered spectrum history with configurable history length, density, frequency scale, and level-based or theme-based coloring. Spectrogram — Frequency-over-time analysis with Log, Mel, and Linear scales, stereo-energy analysis, and optional frequency reassignment modes. VU Meter — Adjustable-reference VU metering with stereo correlation and needle or bar displays. Loudness Meter — Momentary, short-term, and integrated LUFS metering with true-peak measurement. Waveform — Scrolling mono or stereo waveform with transient-preserving sampling and optional multiband energy display. Scopes can be resized and rearranged into a rack, placed into separate windows, rotated where supported, or pinned above other applications. Spectrum, Spectrogram, Oscilloscope, and Waveform also provide interactive measurement overlays, with optional linked guides between compatible scopes. Reference tracks and rolling capture The Spectrum Analyzer can analyze a WAV, AIFF, FLAC, or MP3 file and display it as a reference curve. Reference tracks can be viewed as an overlay or as a difference from the current signal, with adjustable reference level and level matching. Rolling Capture can continuously retain the previous 5, 10, 30, or 60 seconds of audio. Buffered audio can be dragged out of Prism as a WAV file without starting a recording beforehand, with 16-bit PCM and 32-bit floating-point export available. DAW plugins Each Prism analyzer is also available as a DAW plugin: VST3 and CLAP on Windows, macOS, and Linux. Audio Unit on macOS. Mono and stereo host layouts. Plugin settings stored with the DAW project. Pass-through audio processing; the analyzers do not modify the host audio. Prism Bridge is also included for sending a track or bus from a DAW to the standalone Prism application. Multiple Bridge instances can be loaded in a project, with the source selected from Prism's audio input menu. Profiles, themes, and terminal interface Profiles store the current scope layout, individual analyzer settings, and window state, and can be saved and shared as .prsm files. The interface can be customized with .iro themes. Themes are shared between the desktop application, plugins, and terminal interface where applicable, and Prism includes options intended for transparent or chroma-keyed overlays. prism-tui provides a native terminal interface using the same analysis and system-capture implementations, including Spectrum, Oscilloscope, Vectorscope, Waterfall, Spectrogram, VU, Loudness, and Waveform monitoring. Prism is licensed under the GNU General Public License v3.0. Read More