RELEASE DETAILS
Release title:
Bavaram Kon
Main artist name:
Sina Arpa
Release date:
21st May, 2019
https://publme.lnk.to/BavaramKon
#newmusic #Release #Music #indepedent #artist #hiphop

IK Multimedia UNO Synth Pro X: the compact, analogue UNO Synth finds its perfect form at lastIK’s third UNO Synth is, as we discovered from its developers and fans in our interview, the version ‘that the synth community deserved from the start’. In fact, its announcement came as something of a surprise. The first version was affordable and beloved for its approachability, while the subsequent Pro model expanded as a desktop version with a virtual keyboard, alongside a larger model with a physical keyboard.

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There remained a feeling among some users, however, that much of the Pro’s power was being hidden behind a lacklustre physical interface. Users wanted to really get hands-on.
With product manager Enrico Dell’Aversana taking over, again in collaboration with Italian synth hardware specialists Soundmachines, the Pro X was redesigned and the user experience was made a priority. He even told us that the ‘X’ stands for ‘experience’. Alongside the physical revamp, the internals have been tweaked, too, though to a much lesser degree – it was already a powerful system, after all. The changes are significant enough, though, that patches from the Pro and the Pro X are incompatible with each other.
IK bills the synth as ultra-portable. That’s more than justified; weighing just 800g, it’s well-built but even more compact in reality than photos let on. Alongside the bundled power supply unit, the synth can also draw power from a USB-C device that provides at least 7.5W – pretty much all recent laptops or computers. The USB port also sends MIDI data back and forth and can be used with the companion software librarian and editor, which also works as a DAW plugin.
IK Multimedia Uno Synth Pro X filters. Image: Simon Vinall
Unfortunately, the USB connection can’t send audio out directly to your DAW. This would have been the icing on the cake for portability.
Despite its compact size, you get a wealth of I/O on the rear panel, starting with two full-size MIDI plugs for connecting to external gear as well as two CV/gate ins and outs for incorporating modular equipment into your system. There are two full-sized jack outputs for connecting to a mixer or interface, as well as a 3.5mm headphone output. There’s also an audio input that lets you send a mono signal into the synth, where you can apply the UNO’s filters and effects, or just pass it through for incorporation into the main output.
Moving to the front panel, you’ll see that there’s way more going on than in the older Pro. The bulk is taken up by the sound editing area, then to the right is the Global section. Along the base are the sequencer and arpeggiator. And in the top right is a small but serviceable screen, which provides visual feedback and combined with the animated backlighting, keeps you apprised of what’s going on.
The heart of the synth is its three-wave-morphing oscillator paraphonic sound engine and its dual filters. (A paraphonic synth is one in which multiple oscillators can be used to play different notes, but all the oscillators route through the same signal path – as opposed to a truly polyphonic synth where each oscillator has its own signal path). While its predecessor relies on menu-diving, the focus here has been placed firmly on putting control at your fingertips. There is still some sub-function stuff going on of course – there simply isn’t room to have one button for every single feature – and these are mostly accessed by using the shift button, with secondary functions generally indicated using text on the body.
IK Multimedia Uno Synth Pro X sound control knobs. Image: Simon Vinall
IK’s focus on the hands-on controls really makes the Pro feel more… well, pro. Being able to grab and change pretty much anything by sight rather than taking several steps lends it an air of greater seriousness. Plus, it’s also more fun and encourages your creativity.
The layout guides you from the oscillators through the fat filters – which sound amazing, incidentally; a button lets you switch between two and four poles and low-pass and high-pass options – and on to the envelope section. Here, the ADSR knob can be switched between tweaking the filter, amp and also a new Envelope 3 option that can be used in the modulation matrix.
The modulation matrix has also been redesigned, with three buttons: Source, Destination and Amount. Here you can choose from 16 slots and 38 sources and then, using the screen and dial or the sequencer buttons, assign a destination, including external gear via the CV in/outs.
There’s a decent selection of effects too, with 12 stereo effects in three slots plus an analogue drive effect with a dedicated knob on the front panel; this is ace for live tweaking and performance. The flanger and phaser have been ditched in favour of a new Uni-Vibe effect, boasting a slightly more psychedelic feel.
IK Multimedia Uno Synth Pro X rear panel. Image: Simon Vinall
Then there’s the sequencer, paraphonic with 64 steps, a 10-mode arpeggiator with pattern designer and even a Bassline mode that’s designed to give you the sequencing feel of a Roland TR-303.
One nice new touch is the ability to load both the patch and sequence when loading presets. You can also load either individually, should you be sending a sequence out to trigger external gear, for example. The sequencer also includes a new Random mode which many people will find useful for generating a bit of low-effort inspiration. MusicRadar noted the general usefulness of the pre-created sequences that ship with the synth, and we’d concur, offering a strong launchpad for new ideas.
Sonically, the Pro X still sounds rich – as mentioned, the sound engine hasn’t changed radically, as Gearnews noted in their review. So it’s still capable of everything from warm and lush pads to huge basses, vicious filter sweeps, pulsating leads and much more. Everything routed through the fat filters and the dirty drive section sounds awesome, especially when you throw in some of the other excellent onboard effects.

The main point, though, is that you’re just much more likely to feel creative with this model because of the immediacy with which you’re able to create and change things. The software editor still works perfectly fine and is a bonus, but most users will find it less essential for accessing the whole sound engine, thanks to the new physical layout of the synth.
The UNO Synth Pro X isn’t necessarily an instrument for beginners. But, as its developers told us, it’s a machine that you can grow with. Less experienced users might need to invest some time in synthesis basics – at least if they want to take control of what they’re doing – but the rewards are huge.
For the price, the Pro X is an impressively powerful and cool-sounding synth that perfects the UNO Synth as a product, unlocking the potential of its versatile sound engine. If this is where IK and Soundmachines’ collaborations have led, we can’t wait to see where they go next.
Key features

3 wave-morphing oscillators
3 super-fast envelopes with loop and retrigger options
Dual-filter design, OTA and SSI-chip based
12 studio-quality effects in 3 slots + analogue drive
Paraphonic, 64-step sequencer, 10-mode arpeggiator
New bassline mode; audio input to effects
16-slot modulation matrix
USB / MIDI / CV / gate in/out
Software editor / librarian
USB or PSU power (supplied)

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Miroslav Philharmonik 2 CE Is FREE Until September 30th
IK Multimedia is back at it again with another giveaway. To commemorate Classical Music Month, you can get Miroslav Philharmonik 2 CE ($149.99 value) in exchange for a subscription to the IK Multimedia newsletter. So, what is Miroslav Philharmonik 2 CE? This particular piece of software is a smaller cutdown version of the full Miroslav [...]
View post: Miroslav Philharmonik 2 CE Is FREE Until September 30th

Waves Audio Introduces Online Mastering Service Waves Audio, the world’s leading developer of professional audio signal processing technologies and plugins, introduces the AI-powered Waves Online Mastering service, allowing users to get high-quality masters, quickly and easily. 

Waves has leveraged over 30 years of award-winning audio technology and expertise to offer an online mastering service that produces accurate, release-ready, custom-tailored masters for any uploaded track, guaranteeing exceptional sound quality. Waves Online Mastering will get your song’s quality on par with other songs on the market, ensuring that your tracks sound professionally mastered on any platform.  

This has been accomplished by integrating Waves Neural Networks® technology in an advanced AI mastering engine, along with invaluable input from top-tier mastering engineers. The result is a service that is unparalleled in the AI mastering space. 

Acclaimed mastering engineer Piper Payne (Dolly Parton, Janis Ian, Madame Gandhi, Corook, LeAnn Rimes), who has been part of the Waves Online Mastering development team, comments, “I got involved with this project intending to create a tool that would be as good as, or even better than, my own skills. We have modeled the processes and techniques I use daily, using advanced machine learning technology, and meticulously compared the sound to that of my own mastering chain, until we achieved the required level of excellence. We’re very proud to share this service with you: it provides such dependable masters, that often even I can't distinguish between them and my own mastering. It is intuitive and beneficial for any DIY producer/songwriter, professional mixing engineer, or music licenser.” 

Waves Online Mastering ensures high-end mastering results with maximum musicality. Whether you’re a seasoned producer or musician, or just starting out, you can now attain professional-sounding masters quickly and easily. You can personalize the result using the service’s Style and Tone customization options. You can also guide the service to your desired result, by uploading reference tracks whose sonic characteristics you wish the service to match. 

High-profile producers and engineers who have tested the service attest to its impressive results, high-end audio quality, and user-friendly workflow: 

Mixing engineer Tony Maserati (Beyoncé, Selena Gomez) says, after testing the service, “I’m thoroughly impressed with the various levels of treatment this service provides. From light-handed to more aggressive, there’s a setting that will help your track sit perfectly between whatever comes before and after it in a playlist.” 

Mixing engineer and producer Lu Diaz (DJ Khaled, Pitbull, Beyoncé, Jay Z) comments, "The sound quality and ease of use are fantastic. This service makes top-notch mastering accessible to everyone." 

Hip-hop producer and songwriter Knxwledge (Anderson .Paak, NxWorries, Kendrick Lamar) adds, “Waves Online Mastering is one of the cheat codes we've been waiting for. I’m getting high-quality masters, so fast.” 

Producer/engineer Mark Ralph (Clean Bandit, Years & Years) concurs: “The sound is impressive and accurate. This is great for a variety of genres, whether you need your masters to be subtle or more ‘pushed.’”

Mastering is essential to ensure your audio reaches its peak quality across all platforms, especially in today's landscape where music is consumed through a multitude of formats and devices. For producers and musicians ready to release their music, mastering is indispensable to achieve a professional result. Waves Online Mastering makes high-end professional affordable and immediately accessible to all.   

From Kendrick Lamar and Billie Eilish to Drake, Taylor Swift and Foo Fighters, Waves’ Technical GRAMMY®-winning audio technology has shaped countless hit recordings for decades. Now, Waves brings its technology and expertise to the world of AI-powered online mastering. 

To learn more about Waves Online Mastering, click here.

To access Waves Online Mastering, click here. 

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Waves launches AI-powered mastering tool, Waves Online MasteringWaves Audio, a company known for its audio software and hardware products, has launched an online mastering service powered by AI.

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The service, called Waves Online Mastering, lets you easily create professional audio masters. It incorporates advanced machine learning technology, Waves’ award-winning processing, and input from human experts in the field of audio mastering, including Grammy-nominated mastering engineer Piper Payne.
Upload your track, and an AI mastering engine will provide a master in a style of your choosing – ‘Precise’, ‘Elevated’ or ‘Organic’ options are provided. You can adjust the tone of the master, adding ‘Depth’ or ‘Presence’, for example, and you can even provide a reference track for the tool to base your master on.

You can upload WAV, AIF, AIFF or MP3 formatted files with sample rates of 44.1, 48, 88.2 or 96 kHz and export them as either WAV or MP3.
Users can try the service for free, and pricing is based on a credit system, starting at $6 for a single credit and going up to $180 for 60 credits, making it an affordable and efficient option for musicians looking to prepare their music for release. Payment is required only when users decide to export the final master.
We’ve seen an influx of AI-powered music production tools in recent years, especially in mastering, with the likes of LANDR, Soundcloud, Roex, Cloudbounce and Masterchannel launching their own AI-powered tools.
In a recent piece, What does AI mastering mean for artists, engineers, and music?, MusicTech explored the evolution of AI mastering technology in the music industry. In it, Masterchanel explains the advanced mastering technology it uses, which sees “reinforcement learning” and thousands of human engineers’ input to enhance the quality of its AI mastering service.
If you’re interested in having AI and Waves master your project, try it out at waves.com.
The post Waves launches AI-powered mastering tool, Waves Online Mastering appeared first on MusicTech.

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Machina Bristronica, a festival of knobs, buttons and discussions, returns to BristolMachina Bristronica – the synth and electronic music festival based in the South West of England – is returning in September 2023 after a three-year hiatus.
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The synth fest was first launched in Bristol in 2019 to great success. Unfortunately, the 2020 event had to be cancelled, making this year’s event four years in the making. It’s organised by the team at Stokes Croft-based synth shop Elevator Sounds, who have been hard at work to make the line-up bigger than ever.
The event is being held at Document, on 30 September, and you can expect a full day and evening of synth stalls, live hardware performances, panel talks, DIY modular workshops, music production and performance training, and more. The event is taking place in four large warehouse spaces and an outdoor stage.

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Gear nerds, fret not: you can get your hands on over 100 tables of the latest synths, drum machines, modular gear and more from big-name brands and boutique manufacturers. There are also 11 hours of live hardware performances from the likes of Dopplereffekt, Steevio & Suzybee, Mount Kimbie’s Kai Campos, Scanner, Surgeon’s Girl, Saskia, JacqNoise, and Julia Bondar, plus a Konx-Om-Pax live AV set and other visuals throughout the day.
If you’re looking to expand your knowledge, then you can attend six panel talks including The Relationship Between Artist and Equipment with Imogen Heap and Kai Campos; Navigating the Label Landscape, the Past, Present and Future of the UK Sound; and a one-on-one conversation with YouTuber Mylar Melodies and synth designer Vlad Kreimer called Emotional Synthesis: The Art of Romantic Engineering.
On top of this, there are five educational sessions that cover visual synthesis, live performance, audio-visual and hardware production techniques, and advanced modular patching. Plus, there’s a DIY area where attendees can build hardware pieces alongside the designers. There are seven of these workshops to choose from and each one is ticketed with a specific price that includes all components for the build.
Throw in some food stalls, bars, merch, installations and more and you’ve got the makings of a pretty delightful day out for anyone who has an interest in electronics and music making.
Tickets to the event are now on final release at £29.99, and are available via Resident Advisor. It’s open from 11:30am to 10pm, and for those who want to carry on after the event, there’s also an afterparty packed with live music and DJs from 10pm onwards at Dareshack.
More info can be found at headfirstbristol.co.uk.
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This YouTuber just played Tony Banks’ Roland JD-800 – which still contains the Genesis man’s patches from the ’90sYouTuber Alex Ball has managed to borrow a Roland JD-800 which once belonged to Genesis’ Tony Banks in the 1990s.
Along with giving you a demo of how it sounds, he’s also shown how his patches were programmed so you can unlock the tones yourself.

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The JD-800 is a digital synth that was released in 1991, and these days it can be tricky to get your hands on one. Most being sold online will set you back over £1,000. This specific one now belongs to avid synth collector Andrew Ward, who kindly loaned it to Ball to use in his video.
Roland did release a plugin emulation of the synth back in 2021 as a Zen-Core Model Expansion on the Roland Cloud. It offered the same retro sounds as the original, as it was crafted using the original waveforms along with with advanced modelling techniques. As of yet though, there has been no physical remake of the synth.
In Ball’s video, he walks through patch by patch and plays them through. They handily have correlating names to matching song titles such as Invisible Touch and Mama, but some for some of them Ball had to research into the band’s former live performances to figure out which parts of the song they were used in.
Each track is timestamped in the video’s description, too. Take a look at the full video below:

Earlier this month (September), Ball also got hold of an E-mu SP-12 from the ‘80s. For the occasion, Ward dug out some of Phil Collins’ and Mike Rutherford’s original floppy discs from part of his Genesis equipment collection.
“Chris Poacher lent us a floppy drive and I fired up the discs, possibly for the first time in over 30 years,” writes Ball on YouTube. Watch here:

Roland is set to open its first retail store in Japan on 1 October this year. Last year it also opened a retail space in London in honour of its 50th anniversary. The stores form part of a wider plan to expand Roland’s global reach, but no further shops have yet been announced.
The post This YouTuber just played Tony Banks’ Roland JD-800 – which still contains the Genesis man’s patches from the ’90s appeared first on MusicTech.