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Daws &

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INTERNA TIONAL EDITION

CONTENTS

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>>> CONTENTS

Welcome to the newly redesigned 2014 edition

of The Interntaional Guide to DAWs and Plug-ins.
Whether youre in music, film, TV, radio, games,
or any other audio profession, this guide will help
you parse your way through the fast-growing
world of digital audio workstations and third-party
plug-ins.

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16
Steinberg

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I would be hard-pressed to name another innovation that has shaped

the way we record audio more than the advent and proliferation of the
modern digital audio workstation. With each software release these
products become more powerful, more intuitive, and more creative,
bringing processes, sounds, and techniques that were once only
available in a major studio filled with outboard gear into the hands of
the pro-audio public.
While the market for DAWs has seemingly matured in the last few
years, and the leading manufacturers are easy to pick out, there is still a
steady stream of new releases and updates (and lets not even get started
on the wealth of choices when it comes to plug-ins). Choosing the
right workstation for your workflow and style is at the core of the
recording process.
Thats where this guide comes in. Within the pages of the 2014
DAWs & Plug-in Guide youll find informative and promotional
articles on the current offering of DAWs and plug-ins. Weve enlisted
the help of Audio Media contributor, engineer, and music technology
author Stephen Bennett to give us a run-down of the current offering
for DAWs, showing recent advancements and giving suggestions of
which workstation will offer the best features for you, whether youre
predominantly recording audio, composing music, or performing live.
Stephen also talks to a number of leading plug-in manufacturers about
their most innovative products and where they see the market moving
next. Lastly, weve also included a manufacturer index at the back for
your reference.
This Guide, along with the others in the series (Theatre Sound,
Microphones, Monitors & Headphones, Broadcast Audio, and Consoles)
are Audio Media projects and are designed to help you navigate your way
through the swaths of products available and find whats right for you.

18

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Directory

Jory MacKay, Audio Media

May Issue 2014

DAW Distinction
Getting Plugged in
Merging Technologies
Presonus
Source Elements

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May 2014 03

DAWS

DAW Distinction
The rise of the DAW has been one of the defining moments in modern music production.
Stephen Bennett looks at whats next for the all-mighty digital audio workstation.
THE TRANSFORMATION of the early
computer-based sequencer into the Digital
Audio Workstation (DAW) of today has been
a gradual evolution, with each generation
of software from the various manufacturers
leapfrogging each other with respect to features
and power. The DAW market is a mature one,
with basic facilities, such as those enabling
the arrangement of audio and MIDI data,
editing, mixing, automation, use of Virtual
Instruments (VIs), and effects processing using
the computers central processing unit (CPU)
being common to nearly all of the software
currently on the market.
However, there still appears to be room for
innovation with every iteration of competing
DAWs bringing something new to the table.
Although each DAW may have a specific
feature that different users might find useful,
most engineers whove been in the game a
while will choose their DAW by inertia no
one wants to learn a new way of working unless
they have to. Confusingly, many DAWS have
completely different descriptions for similar
functions, making choices of which piece of
software to use based solely on feature set
difficult. Sonically, DAWs may differ when pan
laws and plug-ins are brought into the equation,
but many null tests have demonstrated that,
where conditions are identical, all DAWs sum
audio in the same way its just adding numbers
together, after all. However, the internet is rife
with claims that despite mathematical proof
that files exported from the summing engines
of DAWs are indeed identical, people still
claim to hear differences between competing
software though most of us are unlikely to
choose our tools on such shaky foundations.

Far more important to the working engineer

are ergonomic workflow and essential specific
features that may be available only in a
particular DAW. This is undoubtedly where
the various pieces of available software do begin
to differ from each other.

THE CENTRE OF THE MODERN STUDIO

Steinberg set the general pattern of DAW
workflow early on with its MIDI-only Cubase
sequencer for the Atari ST and most software
on the market today still conforms to many
of these design paradigms although there
are some exceptions. Cubase featured (and
still features) a central arrange page where

Because most DAWs have

become multi-functional
tools with similar feature sets,
workow has become
a major deciding factor in
users choice of software.
Stephen Bennett
recordings can be captured in a similar fashion
to the way engineers worked with multi-track
tape machines in the past. Recorded parts
can be edited within this page or opened in
sub-windows for finer adjustment. However,
the DAW is a flexible beast and provides the
various software designers plenty of scope for
innovation. Some DAWs, such as Cubase
and Logic Pro, have evolved from MIDI-only
beginnings and tend to be full of features useful
in composition, while other were designed
from the ground up as audio recorders for
example, Avids Pro Tools and Merging
Technologies Pyramix. Some DAWs eschew
the traditional tape recorder paradigm and
focus on looping and arrangement. Although
Ableton Live is probably the best-known
software of this type, in the 1980s, E-Magics
Notator and Creator software for the Atari
ST were built around similar concepts as
is the new Bitwig Studio DAW for Linux,
Windows, and OSX. Ableton Live allows the
user to perform real-time pitch and tempo
manipulation and has therefore become as

Anymix Pro surround processor

folded into Steinbergs Nuendo
4 The International Guide To Daws & Plug-ins 2014

Apples Logic Pro X Drum Designer

a virtual drummer

much of a performance tool as a recording

system. Various Open Source DAWs have also
become available for multiple platforms, and
Harrison, makers of high-end mixing consoles,
has developed one of these using Ardour as a
platform for a DAW dedicated to mixing that
features software emulations of the companys
high-end desks.

CLOSE TO THE EDIT

DAWs enable the engineer or musician to
capture two types of recording audio and data
(as MIDI and automation data, for example).
In modern DAWs, the lines between the two
types of capture are becoming increasingly
blurred, with audio editing now almost as
fluid as MIDI and other data manipulation.
Common recording features, familiar to users of
tape machines, are to be found in most DAWs
channel arming and various monitoring
options, punch-in and out, locators, cycle and
so on. Many DAWS are always in record to
receive inputted MIDI note and controller data,
so you no longer need to press the dreaded red
button when recording Virtual Instrument or
external MIDI parts. Though this feature has
yet to be applied to audio recording, it cant
be long before DAWs become always-record
ready. Some companies are changing the way
that audio is recorded and edited. Pyramix, for
example, allows the recordist to capture audio
onto four separate drives simultaneously and for
the editing process to begin before all the takes
have been completed.
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DAWS

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display of level, average loudness, and stereo

imaging, while some have more sophisticated
tools available such as Magixs Samplitude
Pros track-level spectral editing and Nuendos
Loudness track that displays a graphical
representation of the average loudness of a
recording over the whole project.

Merging Technologies Pyramix

Avid Pro Tools innovative Beat Detective

Editing in competing DAWs is essentially

performed in the same fashion, with tools for
copying, pasting, and cutting recorded material
although some have brought familiar video
editing techniques into the audio world. These
allow editors to use ripple, roll, slip, and slide
edits to finely line up transitions between
recorded regions. Most DAWs now have
some type of multi-track phase-locked takes
feature that packs into a folder (or groups
together) various different passes of a recorded
part to allow the editor to quickly select the
best sections of the recordings. Many DAWs
feature virtual VCA (Voltage Controlled
Amplifier) grouping and all are capable of
automating every part of the mixing process
including effects. DAWs such as Pro Tools,
Nuendo, and Pyramix have dedicated hardware
controllers to assist with hands-on recording
and mixing, but most can be used with tabletbased devices running either the Open Sound
Control (OSC) protocol or bespoke software,
such as that found in the Apple iPad controller
for Logic Pro X. Speaking of tablets, many
companies now have cut-down versions of their
flagship software available for these mobile
devices its an area that should become more
interesting as the power of this hardware
increases.
Although most DAWs have long had some
kind of (usually offline) audio pitch and tempo
processing facilities, modern software usually
contains some kind of real-time processing
tools. Cubase/Nuendos VariAudio system
presents the analysed monophonic audio as
blobs that can be edited to bring to a defined
tuning or transposed to create harmonies.
This way of displaying the pitch content of
audio is almost exactly the same as that first
seen in Celemonys Melodyne plug-in but
Steinberg isnt alone in borrowing this idea, as
Apples Logic Pro Xs Flex Pitch feature and
MOTUs Digital Performer use almost exactly
the same pitch editing concept. Melodyne
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has been incorporated directly into Presonus

Studio One and Cakewalks Sonar X3 via its
proprietary ARA (Audio Random Access)
interface. Pro Tools audio editing tools are
grouped under the moniker of Elastic Audio
and the softwares Beat Detective feature was
the first to incorporate transient detection and
quantisation tools designed for editing rhythm
parts although the idea of slicing audio at user
defined or automatically detected transients first
popped up in Propellerheads ReCycle software.
Once these transients are specified, audio can
be quantised or forced to align to the groove
of other audio or MIDI recordings and most
DAWs feature some type of audio to MIDI
and drum replacement features.
In the same way that plug-ins allow a
DAWs feature set to be easily expanded, some

DAWS AND COLLABORATION

Although most DAWs have facilities to import
and export various file formats to allow users
to move sessions between different companys
software some are starting to build other
kinds of collaborative tools into their systems
by taking advantage of the connectivity the
internet and networking provides. Cockos
Reaper incorporates the NINJAM system to
allow users to share and collaborate over the
net. Sonar has built-in Gobbler connectivity
a third-party internet collaboration tool
while many DAWs provide facilities for users
to export mixes to Soundcloud and iTunes.
Pro Tools and Pyramix incorporate IP over
networking protocols to allow collaboration
between different users of the same software,
while Reaper can offload effects processing
onto another computer via a network
connection.
CONCLUSION
Although some DAWs are aimed squarely
at post production and others lean towards
providing mostly compositional tools, most
straddle the two fields.

Cubase/Nuendos Variaudio in action

software allows the user to create new internal

processing tools. Logic Pros misunderstood
Environment enables the programmer to
design sophisticated MIDI editors and
processors and has been joined in version X by
a MIDI scripting language that can be used
to build MIDI plug-ins. Ableton Lives audio
and MIDI processing facilities can be extended
by a specialised version of Cycling 74s DSP
programming language, Max for Live, while
Reaper goes one step further with its built-in
JS scriptable plug-in engine that enables users
to write high-quality effect plug-ins that sport
64-bit audio resolution and sample-accurate
MIDI. Most DAWS contain basic metering
and audio analyser features, covering the

DAWs will most likely continue to

converge in feature sets and continue the trend
to swallow up innovations that once existed
only as third-party plug-ins. However, plug-in
designers continue to innovate and are likely
to find their ideas being copied or eventually
incorporated into a DAW. If you think for
a moment about what a modern DAW can
do while running on even modest computer
platforms, youll see that these programs
have arguably had the greatest influence on
music, radio, and audiovisual production
since Edison recorded Mary had a Little Lamb
into his phonograph. DAW Evolution may
have slowed but theres no sign of it stopping
anytime soon.
The International Guide To Daws & Plug-ins 2014 6

PLUG-INS

Getting Plugged In
Stephen Bennett talks to a number of top plug-in developers to find out what the latest and greatest
advancements have been in this increasingly crowded market.
AUDIO SOFTWARE companies were quick
to take up the idea of allowing third parties to
add functionality to an existing Digital Audio
Workstation (DAW) via plug-ins. Avid (was
Digidesign) was among the first to exploit
the concept within Pro Tools with its offline
AudioSuite and Time Division Multiplexing
(TDM) plug-ins the latter requiring
additional DSP hardware to perform real-time
processing. However, it was the introduction of
the open Virtual Studio Technology (VST) by
Steinberg in 1996 that allowed programmers to
easily take advantage of the increasing power of
the computer itself to create real-time effects
and virtual instruments that could be used
within existing DAWs.
Since that time, many plug-in formats have
appeared, such as Apples Audio Units (AU),
Avids Real Time AudioSuite (RTAS) and
AAX plug-ins, and Steinbergs own VST3, but
most serious developers code software for most
formats. Other companies choose to bring their
technology outside the DAW itself to create
standalone processing tools, while some aim to
combine the haptic immediacy that hardware
brings with the world of digital audio.
SOFTWARE TOOLS
One of the earliest developers of DAW
software add-ons was Waves with its L1
Ultramaximiser, which allowed engineers to
increase overall loudness levels in a way not
possible before. The company now markets an
array of plug-in solutions, many of which still
push the envelope for software innovation. The
Vocal Rider is simple in concept, but contains
some clever processing under the hood. We
were very happy with the Vocal Riders success
as it coincided with our realisation that we
should refrain from concentrating on selling
bundles to businesses, says Amir Vinci,
Waves director of pro audio products.
It was also a technological breakthrough.
Vocal Rider is like a compressor, but it works
on a longer range of time on the loudness of the
vocal and is also sensitive to the levels of other
audio. Its a result of the research weve done
into making a good mix easier to achieve.
While Universal Audio (UA) has an
extensive range of DSP-assisted emulations
of classic outboard hardware, the company
also offers some unusual processing tools for

example, how about a plug-in that models

entire studios? In this case, its the sound of
Ocean Way Studios A and B: The Ocean
Way Studios plug-in is the first ambience/
reverb plug-in that models multiple room
positions, unique sound source dispersion
patterns and the sound of the studios vintage
microphones simultaneously, says UA software
product manager Will Shanks. Its also the
only tool that allows the user to dynamically
position up to three mic pairs in the room in
this case with acclaimed engineer Allen Sides
providing the pre-set microphone choices and
their positions. This plug-in is a time saver in
many mixing scenarios. For example, recording
studios often use the re-micing of rooms to
create a new sound in a mix. The Ocean Way
Studios plug-in allows you to do that right
in your DAW but it sounds as if you were
actually re-micing at Ocean Way Studios. The
plug-in can also be used as a small room reverb,
artificially removing the direct path to avoid
phasing with your sources.
McDSP is another veteran of the plug-in
market, having produced some of the most
respected software processing tools in the
industry. The company is especially renowned
for its equalisation software, but it is not
resting on its impressive laurels: The McDSP
AE400 Active Equalizer is a significant
advancement in the field of equalisation, says
Colin McDowell, CEO and CTO for McDSP.
The AE400 features completely overlapping
and independent equaliser bands, positive and
negative active gain, separate fixed equaliser
gains, independent key filtering, a side chain
input option for each band, active equalisation
threshold, ratio, attack, and release controls
per band, band control linking, and McDSPs
world famous equalisation algorithms.
VIRTUAL REALITY
Even in the area of virtual emulations of classic
processing tools, companies are looking for
new ways to enhance the user experience when
using their products. One of the main issues
with working with a software compressor or
equaliser, for example, is that the mouse isnt
the best tool for controlling the on-screen
parameters. While generic controller hardware
can be programmed to adjust specific software
parameters, its usually complicated to set up

8 The International Guide To Daws & Plug-ins 2014

iZotopes award-winning RX software

and unpredictable in use. Enter Softube with

its Console 1, a combination of software and
a dedicated mix controller. The Console 1
hardware gives you the immediacy and sound
from the analogue world, together with total
recall automation while maintaining the low
cost you expect when working with software,
says Henrik Andersson Vogel, Softubes
marketing manager.
Essentially, Console 1 is a mixer. You
use it in tandem with your DAW, and you
get hands-on control of your mix settings
and control of a great sounding model of a
Solid State Logic SL 4000 E. You select the
track you want to work with by pressing the
corresponding track selector button on the
hardware and then you use the hardware knobs
to set EQ, compressor, gate, transient shaper,
high and low cut filters, and distortion.
Although Sonnox originally caught
the attention of engineers with software
emulations of the various components of
the Sony Oxford mixing console hence its
name the company has expanded its range of
processing tools to cover other areas, such as
those enabling the engineer to prepare audio
for various distribution platforms at the highest
possible quality. The new Codec Toolbox
is an affordable yet invaluable solution for
encoding your music for the web, says Rod
Densham, managing director of Sonnox. It
is the result of a partnership with Fraunhofer
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PLUG-INS

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IIS, who originally created the MP3 and AAC

formats that the majority of people today listen
to online or on their portable music player.
Codec Toolbox consists of two applications:
the Toolbox Plug-In, which is used for
auditioning a mix in real-time through various
codecs, and the Toolbox Manager, which
includes a batch encode feature and a Clip
Safe feature that auto-compensates for any
overs present. Metadata, such as artist, track
name, and artwork, can easily be added to your
files to be displayed on your MP3 player or
iTunes, adds Densham.
GOING IT ALONE
Although the plug-in format allows developers
to add features right inside a DAW, sometimes
its better to provide real-time or offline audio
processing as standalone applications. Source
Elements roster of processing tools is awash
with unusual and innovative solutions to shift
your audio between applications. The company
describes its Source-Nexus program as a Swiss
army knife audio tool that allows the engineer
to route up to 24 channels of audio into Pro
Tools even if theyre using software that
doesnt provide inputs and outputs.
iZotopes Ozone was one of the first
software processors to combine multiple
processing tools dedicated to mastering in a
single plug-in and the company has continued
to innovate, making a name for itself in the
audio restoration field with its EMMY and
CAS Award-winning RX software. The
possibilities of software design are endless
and iZotopes development approach has
always embraced these possibilities, says Rob
DAmico, senior product manager for RX.
Thinking beyond knobs and faders, we develop
software by focusing on results, designing
all-in-one solutions powered by intelligent
audio processing and immersive visualisations.
With a few clicks of a mouse, RX can remove
unwanted sounds from an audio recording
and eliminate the need for ADR. Almost any
impediment can be treated to improve the
sound quality, saving production time, money,
and the integrity of the originally recorded
audio. Best of all, were happy to help engineers
to get back to doing their creative work.
For those working in the field of audio
restoration and forensic audio, Cedar Audio
will need no introduction, developing tools
that have proved invaluable in the broadcast,
film, and audio fields. The company has been
providing solutions for engineers since 1988
and Gordon Reid, Cedar Audios managing
director, has some interesting insights into the
rapidly changing world of software processing:
Not all innovation is contained within new
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The new Cedar Trinity audio surveillance

system from Cedar Audio

UAs Ocean Way Studios plug-in

processes such as Cedars Retouch, Respeed,

and Reshape modules, all of which broke
exciting new ground when released. Sometimes
a great deal of expertise can be employed to
create something that is solid rather than
flamboyant, integrating new ideas and facilities
in useful ways. The recently announced Cedar
Trinity audio surveillance system is an example
of this. This combines recording that can be
measured in terms of months or even years,
a suite of speech enhancement processes that
can be used by people with no previous audio
expertise, network streaming that allows remote
users to review and transcribe previous times of
interest while recording continues, and robust
file authentication. While the result has been
made to look as simple and straightforward as
possible, its actually the culmination of years of
planning and innovative software development.
Whats more, its possible that elements of
the system will later make their way into new
Cedar products for the mainstream professional
audio industry.

Occasionally, a piece of software arrives

that throws a curveball at the preconceptions
and expectations of the typical audio engineer.
Antares Autotune and Celemonys Melodyne
are examples of software that, although
designed for correction of errant pitching,
have become creative tools in their own right.
Accusonus Drumatom promises to follow
in the erstwhile footsteps of these venerable
programs, providing a facility that, until now,
was almost impossible to achieve.
Drumatom is a novel tool that allows
engineers to reduce or even eliminate
microphone leakage in drum recordings, says
Alexandros Tsilfidis, founder and CEO at
Accusonus. Drumatom gives the option to
build a unique drum signature, preserving the
personal style of a human drummer and the
sound of a well-tuned drum set. Mistakes are
unavoidable during the countless hours of a
recording session and, in such cases, Drumatom
is a lifesaver it gives you the chance to correct
things in the post-processing stage.
Tsilfidis says that we should expect to see
further applications of Drumatoms underlying
technology. After many years of research and
development, Accusonus has patented the A3
(Advanced Audio Analysis) technology, which
fuels the engine of Drumatom. We have already
started implementing this technology into a
greater family of audio tools, trying to improve
the sound engineers workflow in many ways.
Tsilfidis finishes with a comment that
demonstrates the continuing inspiration and
innovation evident in those companies working
in the audio processing field: In Accusonus, we
believe that its time to take advantage of the
enormous computational power available for
something more than just perfectly emulating
our analogue units. Weve seen that audio
professionals are now ready to accept innovation
and we want to push things into this direction!
FINAL THOUGHTS
For the developers of DAWs, modifications
of workflow or the inclusion of radical new
processing features have to be introduced
gradually, as users need to continue to remain
familiar with the software if the company
wishes to retain customers after each update.
No such limitation exists for the developers
of plug-ins and other standalone processing
tools and the companies who are involved in
producing this type of software have exploited
this flexibility to the max. As computing power
continues to increase the audio engineer can
expect further innovations and surprises to
be introduced by the pioneers who continue to
push the boundaries of sonic possibilities in the
field of digital audio processing.

The International Guide To Daws & Plug-ins 2014 9

MERGING TECHNOLOGIES SA

Pyramix Virtual
Studio 9:
MassCore
Unchained
Pyramix 9 arrives with a new mixer,
a new hardware interface, and true
64-bit operation, making the most
powerful audio engine on the market
even more powerful.

In 2007, the MassCore engine provided

Pyramix software users with the most powerful
audio engine in the world. Capable of 384
discrete inputs and 384 discrete outputs, 256
busses and almost limitless power for plugins, MassCore has always left the competition
completely behind. But now, after some 7 years
of using hidden cores in a multi-core CPU to
generate immense processing power and the
industrys lowest latencies, MassCore is still
the most powerful engine and it is getting an
upgrade to make it even yet more powerful!
Enter Pyramix 9, MassCore Unchained.
64-BIT MASSCORE
The issue with running something as insane
as MassCore in a 32-bit operating system was
that there was simply never the room to take
full advantage of what the audio engine was
capable of. Merging Technologies President,
Claude Cellier put it best when he said: It
seems that no matter how much power you
present to a digital audio workstation user,
they will work as hard as they can to find
the upper limits of that power. We are so
happy to be able to now completely raise the
bar once again on what our users are able to
achieve and we are very interested to see if
anyone now is able to find the new limit, or
if there even is one! With 64-bit, Pyramixs
true real-time operation is now able to span
not only hundreds of tracks, but also contain
more edits, more automation, more plug-ins
and span greater project lengths than ever
before. One has to admit that it is usually the
post-production industry that is leading the
way with pushing the boundaries. And, in
10 April 2014

post-production it is not only the audio that

needs horsepower. Video playback and remote
control all need memory and power as well,
and Pyramix 9 doesnt disappoint in these
situations either.
IRIS NETWORKED POST SYSTEM
AND VCUBE 64-BIT
Last year, Smart AV and Merging released
the IRIS Networked Post System (http://iris.
merging.com). Combining Pyramix DAW
with VCube Essentials and the Tango2
interface provided users with a complete studio
as a single turnkey solution. With the 64-bit
release of the VCube video engine alongside
Pyramix 9, Post Pack users are set to be able
to playback even more demanding codecs and
video file types without having to move the
VCube engine to a separate computer. Able to
easily playback all major file formats, sequences
and codecs, including H.264, DNxHD, AVC
Intra, MXF, MOV, AAF, CMX EDL, FCP
XML and many others, the VCube component

of the PyraCube system has now had its bar

raised as well. And, mixing all of that (no
pun intended) with the 24in touchscreen of
the Tango2 control surface for mixing and
automating makes the IRIS 64-bit system
unbeatable.
Hapi SMALL FORMAT AES67 /
RAVENNA INTERFACE
Meet Hapi, the son of Horus. Born from the
most flexible and sonically transparent audio
interface and providing the same RAVENNA
/ AES67 connectivity as its father, Hapi is
both the perfect primary interface for smaller
systems as well as the ultimate accessory for a
system using Horus where control room I/O
is required. Able to carry the same AD8D/
AD8DP, and DA8/DA8P analogue cards that
fit in the Horus option slots and connect to
any RAVENNA or AES67 network the Hapi
provides a more cost effective solution than
the Horus without having to make a single
compromise in quality.

IRIS Networked Post System at

Films @59 Bristol, UK
The International Guide To Daws & Plug-ins 2014

MERGING TECHNOLOGIES SA

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NEW MIXER
Being able to construct mixers bigger than
any other DAW could ever create means that
specialist tools need to be incorporated to
help users in navigating through the hundreds
of channels, auxes, subgroups, and master
busses in a way that does not slow down their
workflow. The main addition to the new mixer
is the Signal Flow view of the metering. Now,
with any strip, or range of strips selected,

that makes the final step of your project an

infinitely less complicated one to take. First off,
the Final Check Loudness metering has been
ported into the mixdown and now provides a
log sheet of the loudness measurements in the
program. But it also provides the possibility
to Fix the loudness by simple scaling (overall
volume increase or decrease) so that even if you
do not conform to loudness spec, it will ensure
that your final files do and it does all of this

MERGING TECHNOLOGIES SA
Is a Swiss manufacturer with over 20 years of
experience in developing ground-breaking,
professional Audio and Video products for
a wide range of entertainment and media
industries. With a dedicated user base in
the elite end of the music, film, television,
mastering, and performances industries,
Merging is committed to developing product
ranges with unrivalled quality and flexibility,
no matter what the application. Merging
builds tools for people who want more from
their systems, have an inherent need to push
boundaries, and believe that quality always
comes first, every time.

AES67 NOW!

Merging is a proud RAVENNA partner

Two views of the mixer showing the new
layout and Signal Flow collapse

MIXDOWN: LOUDNESS LOGGING

AND FIX TOOLS
Once the mix is finished, Pyramix 9 has a
completely redesigned mixdown window

over multiple busses simultaneously! Pyramix 9

is also now able to mixdown multiple busses at
the same time, creating a single poly-wav file
for each bus. So if you have a stereo and a 5.1
mix, with various deliverable busses, then all
you need to do is name them, select mixdown
split by bus, and press go.

the user can instantly see where the signal is

routed to by a slight colour change in the peak
meters. Then, with a simple click, the user can
collapse the view of the entire mixer so that it
only shows those strips and busses being used
for the part of the mix that has been selected.
Additional updates include automation modes
per strip, peak metering in the auxes and
subgroup sends, and much more visible
strip colouring.

AES67 is becoming quite the buzz word

this year. The new interoperability standard
for network audio (AoIP) has been quickly
jumped on by some of the industrys biggest
players as the unifying method for connecting
devices to a standard network to share
real-time audio streams. Merging is proud
to announce that all of its hardware and
software is completely AES67 compatible
with this latest release.

Johan Wadsten, Pyramix product manager

notes: We always want to try and make sure
our users are working faster and producing better
sounding results than the rest. Version 9 has been
a long time coming and I am so excited to hear the
results of all our hard work!.

Hapi STATS
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INFORMATION

Worldwide Headquarters
Merging Technologies SA
Le Verney 4, CH-1070 Puidoux, Switzerland
W: www.merging.com
E: info@merging.com
Merging UK Offices
Emerging UK ltd.
23 Easter Park,Benyon Road, Silchester, Reading
RG7 2PQ, United Kingdom
T: +44 (0) 118 402 5090
E: sales@emerginguk.com

Merging USA Offices

Independent Audio Inc.
43 Deerfield Road, Portland, ME 04101
T: +1 (207) 773 2424
E: info@independentaudio.com

Hapi: RAVENNA & AES67 interface

from Merging Technologies
www.audiomedia.com

April 2014 11

PRESONUS AUDIO ELECTRONICS

PreSonus Studio One

Professional 2 MusicProduction Software
Studio One Professional 2 lets you work quickly and focus on your inspiration. Access tools without
wading through menus. Load and save audio clips, MIDI files, effects, and VIs by drag-and-drop.
Import videos and create soundtracks. Exchange files, presets, instruments, and more with other
users. Mix, master, burn CDs and DVDs, and upload to the Web, all within Studio One.
MORE PRODUCTIVE. MORE CREATIVE.
MORE FUN!
PreSonus Studio One Professional 2
presents an integrated approach to recording,
from tracking to mixing to mastering and
distribution. Built for intuitive use, speed,
and efficiency, its robust enough for the most
complex productions.
Studio One has become the DAW of
choice for such musical heroes as superproducer Teddy Riley; Grammy-winning
engineer Khaliq Glover; and legendary
producer/songwriter 5aint. The reasons are
simple: Studio One 2 lets them work
quickly and efficiently and delivers the
features they need and the impeccable audio
quality they demand. And thanks to free
updates, Studio One is getting better all the
time! No wonder it has won so many awards,
including Audio Medias 2010 and 2012
Gear of the Year.

A VISION CREATED FROM EXPERIENCE

Created by a German engineering team with
many years of experience, Studio One is both
powerful and easy to use, integrates tightly
with PreSonus hardware, and works well with
competing hardware that supports Core Audio
or ASIO.
Version 2 added more than 100 features and
enhancements, including multitrack comping,
multitrack MIDI editing, transient detection
and editing with groove extraction, Folder
Tracks, and tightly integrated Melodyne pitch
correction thats only possible with Studio
One. Free updates soon followed: Version 2.5
added almost 100 features and enhancements,
and version 2.6 provided another 50. Yet
Studio One is still uncluttered and easy to use.
STATE-OF-THE-ART COMPUTING
Studio One Professional employs a state-ofthe-art audio engine that delivers incredibly

Studio Ones unique Project page is intelligently linked to the Song page and provides
tools for mastering, disc-burning, digital release, and direct upload to the Web
12 April 2014

clear, accurate sound and automatically

switches between 64- and 32-bit floating-point
process precision, on the fly, to accommodate
32-bit plug-ins. Written for multi-core
processors, it has 64-bit memory addressing to
take advantage of large amounts of RAM.
Version 2.6 added state-of-the-art
integration with PreSonus new StudioLive
AI-series mixers, enabling you to edit and use
StudioLive AI mixer scenes in Studio One and
send them to other apps in the StudioLive AI
software library. A Studio One Fat Channel
plug-in provides the same processing found in
the mixers, so when you load a live recording
with mixer scene, your music sounds exactly
the same as when it was recorded with the
StudioLive AI. Only PreSonus can conjure this
sort of magic.
AN EASIER, MORE INTUITIVE
INTERFACE
From the moment you launch Studio One,
its evident that this is a better way to record.
The Start page lets you access recent songs and
projects, create new ones, configure external
devices, download updates and support
materials, and access tutorials, demo songs, and
a PreSonus news feed.
One click lands you on the Song page,
where you can track, edit, and mix in one
easy-to-navigate window. The Arrange
view employs a waveform display with userselectable colour-coding and sample-level
zoom.
DRAG-AND-DROP RULES!
Just say no to mousing through menus. Studio
Ones powerful drag-and-drop function allows
you to drag an audio clip, effect, or virtual
instrument from the browser directly onto a
track. Want to save an audio or MIDI clip as
a file or save an effect or VI? Drag it from the
Arrange or Console view back to the browser!
The International Guide To Daws & Plug-ins 2014

Sign up for your digital AM at www.audiomedia.com

PRESONUS AUDIO ELECTRONICS

33 premium 64-bit Native Effects plug-ins

and 4 smartly designed virtual instruments.
You also get more than 25 GB of third-party
software, instruments, samples, and loops.
DECIDE FOR YOURSELF
Studio One does much more! For details, visit
www.presonus.com/products/studio-one; view
the free instructional videos; and join the lively
Studio One forum. Then download a free
demo and try Studio One Professional
for yourself!

The Song page allows you to track, edit, and mix in one
easy-to-navigate window

CONTROL LINK MIDI MAPPING

Studio One integrates with hardware
controllers simply and easily. Mackie Control
and HUI support provides compatibility
with a variety of control surfaces. And with
Control Link, mapping MIDI controllers is a
snap: Open any plug-in, click on a parameter,
twist a controller knob or press a switch,
click the Link button, and youre done. Map
controllers independently for each plug-in, or
map a controller to a single plug-in parameter;
the controller will continue to change the
parameter value after the plug-ins GUI is
closed.
PICTURE THIS
Studio One Professionals video features are
great for simple sound-for-picture projects.
You can import any QuickTime video into a
Song for playback and sync, with adjustable
video playback size and time offset.
A Follow Edit Position feature helps
sync to specific frames.

www.audiomedia.com

MASTERING WITH
STUDIO ONE
PROFESSIONAL
No other DAW offers
You can import a QuickTime video into the Song
an integrated mastering
window for scoring to picture
suite comparable to
Studio One Professionals Project page. As you
add songs to a project (collection of songs), the
songs and the project are intelligently linked so
that changes to one are automatically updated
in the other. Studio One Professional provides
the tools for professional mastering, including
INFORMATION
a phase meter and spectrum and peak/RMS
level meters with K-System options. A Scope
plug-in provides oscilloscope functions.
WORLDWIDE DISTRIBUTION
INSTANTLY!
Mastered albums can be digitally released in
multiple standard formats and can be saved as
disc images and burned to CDs and DVDs, all
within Studio One Professional. You get DDP
Export and PQ editing and can include song
and album art.
Better yet, upload your finished projects
to the Web and start distributing them
immediately with Studio Ones built-in
Nimbit client and free Nimbit account. Youll
get up-to-date statistics (number of fans,
number of active promotions, and sales) from
a Nimbit dashboard on the Start page. Want
to share your tracks? Studio One Professional
includes a SoundCloud client and dashboard,
too! No other DAW has these features.

PreSonus Audio Electronics

18011 Grand Bay Court
Baton Rouge, LA 70809 USA
T: +1 225 216 7887
F: +1 225 926 8347
W: www.presonus.com/products/studio-one
United Kingdom & Ireland
Source Distribution
(UK distributor)
Unit 6, Pembroke Buildings
Cumberland House Business Park
London UK NW10 6RE
T: +44 020 8962 5080
F: +44 020 8968 3218
E: sales@sourcedistribution.co.uk
W: www.sourcedistribution.co.uk
Germany & Benelux
Hyperactive Audiotechnik GmbH
Neukirchner Str. 18
65510 Hnstetten, Germany
T:+49 (6126) 95 36 50
F:+49 (6126) 95 36 569
E: info@hyperactive.de
W: www.hyperactive.de

A WEALTH OF PLUG-INS
Studio One Professional supports ReWire,
VST 2 and 3, and Audio Units and comes with

COMPREHENSIVE UNDO
Studio One enables you to view and undo
all edits done since the file was opened,
even if you have saved since then. This is a

random access Undo,

not a sequential one.

Preview any audio clip in the browser, and if

the clip has tempo information encoded, it
will play synced to the song tempo. View and
download SoundCloud-based audio files and
use PreSonus Exchange to share effects presets
and chains, instruments, and more with other
Studio One users all from the browser.
The Console view includes faders, solos,
mutes, pans, and more, with extensive
sidechaining. Export entire channels as stems,
complete with buses, effects, and instrument
returns.

April 2014 13

Sign up for your digital AM at www.audiomedia.com

SOURCE ELEMENTS

Game-changing Remote Recording,

Monitoring and File Transfer
Work with clients and talent remotely in real time. Source-Connect offers high-resolution IP-audio
straight into your timeline. With Source-Live, broadcast your mix with HD video to anyone, anywhere.
Transfer quickly with Source-Zip. Source-Nexus turns any application into a Pro Tools Plug-in.

Source-Connect Pro X, Source-Zip Pro, and Source-Live with Video

SOURCE-CONNECT
Source-Connect, the well-established and most
popular ISDN alternative, has new capabilities
enabling everyone to work with remote clients
in 5.1, stereo, or mono. New features allow
connections with the same remarkable audio
quality without requiring firewall configuration,
while also professionally molding itself into the
most security conscious networks. With SourceConnect Pro X, Source Elements is breaking
new ground releasing the most affordable
5.1 surround / multi-channel codec available.
Directly integrating into Pro Tools 10/11 64-bit
or any DAW using AAX, RTAS, VST, and
AU, Source-Connect is the IP audio solution
from the high end to the home user, Windows
and Mac.

NEW: SOURCE-NEXUS
A companion to Source-Connect Now and
an indispensable plug-in in its own right, turn
any application into a Pro Tools plug-in. Two
versions: Basic for mono/stereo or Standard up
to 24 channels. Coming to AU and VST soon.
NEW: SOURCE-LIVE WITH VIDEO
Source-Live with Video makes it possible for
post-production editors, designers, and
composers to work with clients remotely along
with HD picture. Superior and artifact free
compared to consumer options, Source-Live
with Video captures video and audio from any
desktop application (Media Composer, Final

Notable users:
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recording engineer, linked in 5.1 surround into choral sessions conducted at Abbey Road
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R5 hf."5(./,35)25)-.5,)/.#)(5,0#-5"-5($)35."5 &2##&#.35(5)(0(#(5) 55
Source-Connect Pro and its Remote Transport Sync feature when conducting domestic
and international ADR and mix sessions for various high profile projects and clients.
R5 -,51#((#(!5)'*)-,5,.5 %(4#5/-5)/,7)((.5.)5)515&(5.)55
5 )()(50)&5---#)(-5 ),5\ /**.-5 )-.5(.]51#."5."5 /**.-5(5#(5385
R5 ),5."5
5-,#-5\"5/-.]65)-.&5
/#)5 (5#(5()/0,5)((.50#5)/,55
Connect Pro X to play back 5.1 mixes live with picture sync to producers at Chase Audio
in Los Angeles.
www.audiomedia.com

Cut, Pro Tools etc) and streams seamlessly to

clients. Collaborating remotely is as simple as
signing into a web page. Source-Live sessions
also provide voice, video, and text chat for its
participants in a virtual control room.
SOURCE-TALKBACK
Source-Talkback AAX allows for single key
toggle, latch, and now featuring Auto mode
that opens the talkback when the transport is
stopped. Compatible with external switches for
wireless talkback control, more affordable and
convenient than external hardware.
Since 2005 Source Elements has been
connecting media professionals with their
clients in real time using sophisticated
purpose-built software. Their products have
been used in countless blockbuster movies
and music projects along with commercial
productions of all types.
Free trials at http://source-elements.com.
Call to discuss your unique needs.

[ ]

NEW: SOURCE-CONNECT NOW

Source-Connect Now makes it possible to
establish connections from virtually any modern
computer or Android and soon iOS device
with an internet connection; no iLok or

software download required. Made even more

powerful by providing free Guest logins, lowquality phone patched interviews and sessions
will be a thing of the past. Source-Connect
Now establishes new territory in affordability
and flexibility: Source-Connect Now accounts
are free for basic use.

INFORMATION

Source Elements LLC

Evanston, Illinois
T: +1 312 706 5555 (US)
T: +44 20 7193 8755 (UK)
T: +61 2 8005 5903 (AU)
W: www.source-elements.com

April 2014 15

STEINBERG MEDIA TECHNOLOGIES GMBH

Audio Editing and Mastering:

WaveLab 8.5
Good recordings dont necessarily sound good. This is one of the reasons why audio mastering is
considered a vital step in every recording process. The intricacies involved when mastering require
sophisticated tools, and this is where engineers turn to WaveLab.
Ranging from mastering engineers who work
in the studio on a day-to-day basis down to
music enthusiasts keen to digitise entire music
libraries, all of them use WaveLab to obtain
the highest degree of audio quality, to render
audio files to the required format, to edit and
master audio material to professional standards.
WaveLab gives you complete freedom to edit
and process audio files in their entirety or only
the smallest of detail.
MAKING WAVES
The award-winning eighth iteration
of WaveLab and its smaller derivative,
WaveLab Elements, are available for OS X
and Windows. And by running the 64-bit
version you can edit and process numerous
tracks simultaneously, handle extensive batch
processes, as well as analyse and restore audio
with the utmost precision.
WaveLab comprises four different
workspaces, christened Audio File, Audio
Montage, Batch Processor, and Podcast.
Each workspace is dedicated to a specific
job, providing a rich toolset for the respective
tasks. Each workspace can be adjusted to your
individual preferences, which helps to expedite
your workflow. The Audio File workspace is
the perfect place for sample-accurate audio
editing and high-quality analysis. Simply
import the audio file and all the tools and
functions are readily available to analyse,
edit, and process the material. The Audio
Montage workspace allows you to compile
multiple audio files, allowing real-time fades
and crossfades and providing clip-based effects,
edit tools, and global effect plug-ins within
the Master section. The third workspace, the
Batch Processor workspace, is one of the most
powerful tools within WaveLab. Divided
into three dedicated areas, the processing
chain runs to completion without the need for
any interaction from your side. Add effects,
specify the file format to which you want to
export run the Batch Processor for multiple
files simultaneously and save time. Finally,
the Podcast workspace is a complete online
publishing toolset allowing you to create and
16 April 2014

Newly introduced: the Encoder Checker is the

perfect tool for comparing encoding formats
prior to final rendering

metering. The WaveLab Control window can

also be conveninetly placed on a second screen,
allowing for best overview on whats going on
with the audio material.
With its MIDI learn capability, control
WaveLab with up to three MIDI controllers.
You simply have to assign the buttons and
faders of your hardware to specific parameters
within the application, giving you hands-on
control within seconds.
Thanks to the close collaboration with
plug-in manufacturer Sonnox, WaveLab
incorporates a professional restoration suite

WaveLab provides three-dimensional

spectral analysis of audio files

disseminate podcasts for the Internet. With its

intuitive user interface, FTP capability, RSS
2.0 support, and time-saving templates, you
can produce podcasts in no time without ever
leaving WaveLab. Got an iTunes account at
hand? Then you can also upload your podcasts
to iTunes!
Another essential part of WaveLab is the
WaveLab Control section, allowing you to
group a freely selectable range of analysis
tools in a dedicated space. Use studio-grade
analysing tools such as the spectroscope, VU
metering, oscilloscope, waveform display,
spectrum metering, phase correlation, and bit

consisting of DeNoiser, DeBuzzer, and

DeClicker to remove unwanted noise for an
overall better audio quality.
POINT MADE, POINT TAKEN
Available from this June, version 8.5 provides
significant features and many enhancements
to the exciting world of WaveLab. First
and foremost, the newly introduced Watch
Folders accelerate everyday file conversion and
batch processing tasks by designating them
to any standard folder of an operating system.
Audio and file processing such as dithering,
normalisation, and format conversion are
The International Guide To Daws & Plug-ins 2014

Sign up for your digital AM at www.audiomedia.com

STEINBERG MEDIA TECHNOLOGIES GMBH

not only hear the difference but also see

with your eyes how lossy encoders and
its parameter and bitrate adjustments
affect audio quality. Toggling between
the streams takes the guesswork out of
encoding your audio to the right format,
such as MP3 192 kbit, iTunes-compatible
AAC, or Ogg Vorbis.
Speaking of AAC, short for Advanced
Audio Coding, with the update to version
8.5, WaveLab now supports encoding
to the AAC file format which is the
standard audio format for many platforms
and products, such as iTunes and iPod.
This newly implemented encoder allows
you to render music or spoken word
files directly to AAC, straight from the
export file dialog, in conjunction with the
new Watch Folder feature, for instance,
for straightforward batch processing or
through the Encoder
Checker to provide
a direct comparison
between the different
formats.
The multi-format
rendering tools let you
render different formats
simultaneously and to
save rendering chains for
the most common
export formats.

WaveLab audio editing and mastering suite

Introduced in 1995, WaveLab belongs to
one of the very first mastering software
applications, and since then has been
providing the best workflow and tools for
mastering, editing, and restoration for
many years. The sample-accurate audio
editing capabilities combine elegantly with
the versatility of its tool set, including
error correction tools and restoration
plug-ins such as the DeNoiser, DeClicker,
and DeBuzzer by Sonnox. For seamless
delivery to audio CD or DDP, WaveLab
boasts the finest mastering technology to
facilitate matching and adjustment of levels,
equalisation, as well as loudness analysis
and processing of different audio tracks.
Rightfully so, WaveLab is considered the
go-to solution for many mastering engineers
around the globe.

Mixing and mastering engineer Goh Hotoda

www.audiomedia.com

About Steinberg
Celebrating its 30th anniversary this
year, Steinberg is known the world over
for its music and audio software and
hardware solutions. The company has been
developing, manufacturing and selling
innovative products since 1984. Used
by Grammy and Oscar award-winning
composers, engineers and producers, the
Steinberg range of products has long
since found world renown in all aspects
of modern digital audio processing, and
form the backbone of facilities specialised
in music composition and production,
mastering, restoration, broadcast, sound
design and audio post for the film industry.

INFORMATION

(Manufacturers HQ)
Steinberg Media Technologies GmbH
Frankenstr. 18b
20097 Hamburg
Germany
W: www.steinberg.net
(US distributor)
Yamaha Corporation of America
6600 Orangethorpe Ave
CA-90620 Buena Park
USA

automatically imposed onto audio files dropped

into the assigned Watch folder, and all tasks
run inconspicuously in the background, freeing
you up to focus on priorities.
The new Encoder Checker included in
WaveLab 8.5 lets you preview and compare
audio simultaneously through all common
encoder formats: listen to the original,
unrendered audio and up to three streams
each playing through a selected encoder and
settings. With the real-time FFT graph, you

WaveLab Control displays analysing tools such

as VU metering, spectrum metering, and phase
correlation

Once I started experimenting

with WaveLab, I found it
easy to use, and the meters
were fast and easy to read,
so I decided to adopt it
for my work.
Goh Hotoda, mixing and
mastering engineer for
Grammy award-winning
productions

April 2014 17

DIRECTORY

MASSEY PLUGINS
www.masseyplugins.com

ABBEY ROAD STUDIOS

www.abbeyroad.com
+44 (0)20 7266 7000

CELEMONY
www.celemony.com
+49 700 2353 6669

ABLETON
www.ableton.com
+49 30 288 763 231

CENTRANCE
www.centrance.com
+1 847 581 0500

ADOBE
www.adobe.com
+1408 536 6000

CHANDLER
www.chandlerlimited.com
+1 319 885 4200

MACKIE
www.mackie.com
+1 425 892 6500

ALGORITHMIX
www.algorithmix.com
+49 7741 91 930

CYCLING 74
www.cycling74.com
+1 415 974 1818

MCDSP
www.mcdsp.com
+1 650 318 0005

AMS NEVE
www.ams-neve.com
+44 (0) 1282 457 011

DALET
www.dalet.com
+1 212 269 6700

MERGING
TECHNOLOGIES
www.merging.com
+41 (0) 21 946 044

ANTARES
www.antarestech.com
+1 831 461 7801

DANGEROUS MUSIC
www.dangerousmusic.com
+1 607 965 8011

APOGEE
www.apogeedigital.com
+1 310 584 9394

DB-AUDIOWARE
www.db-audioware.com

APPLE
www.apple.com
+1 408 996 1010
ART
www.artproaudio.com
+1 716 436 2720
ARTURIA
www.arturia.com
+33 438 020 525
ARX
www.arx.com.au
+61 3 9555 7859
AUDIOEASE
www.audioease.com
+31 30 24 33 606
AUDIOFILE
www.audiofile-engineering.com
AVID
www.avid.com
+1 650 731 6100
AXIA AUDIO
www.axiaaudio.com
+1 216 241 7225
BBE
www.bbesound.com
+1 831 688 1311

DIGIGRAM
www.digigram.com
+33 (0)4 76 52 47 47
DTS
www.dtsonline.co.uk
+44 (0) 118 934 9199
ECHO
www.echoaudio.com
+1 805 880 5590
EVENTIDE
www.eventide.com
+1 201 641 1200
FABFILTER
www.fabfilter.com
FAIRLIGHT
www.fairlightau.com
+61 2 9975 1777
FLUX
www.fluxhome.com
FOCUSRITE
www.focusrite.com
+44 (0) 1494 462 246
FXPANSION
www.fxpansion.com
GRM TOOLS
www.inagrm.com

BITWIG
www.bitwig.com

HARRISON CONSOLES
www.harrisonconsoles.com

BORIS FX
www.borisfx.com
+1 508 573 5100

IK MULTIMEDIA
www.ikmultimedia.com
+39 059 285496

BRAINWORX GERMANY
www.brainworx-music.de
+49 (0) 2173 204 1852

IZOTOPE
www.izotope.com
+1 617 577 7799

CAKEWALK, INC
www.cakewalk.com
+1 617 423 9004

LEXICON
www.lexiconpro.com
+1 801 568 7567

CEDAR AUDIO
www.cedar-audio.com
+44 (0) 1223 881 771
18 May 2014

LYNX STUDIO
TECHNOLOGY
www.lynxstudio.com
+1 714 545 4700

MAGIX
www.magix.com
M-AUDIO
www.m-audio.com

METRIC HALO
www.mhlabs.com
+1 (727) 725-9555
MINNETONKA AUDIO
www.minnetonkaaudio.com
+49 2162 1062 622
MOTU
www.motu.com
+1 617 576 2760
MSOFT INC
www.msoftinc.com
MS PINKY
www.mspinky.com
NATIVE INSTRUMENTS
www.native-instruments.com
+49 (0) 30 61 10 35 0
NEYRINCK
www.neyrinck.com
NOMAD FACTORY
www.nomadfactory.com
NOTION MUSIC
www.notionmusic.com
+44 (0) 20 8899 6090
NOVATION MUSIC
www.novationmusic.com
+44 (0) 1494 462 246
OHM FORCE
www.ohmforce.com
OVERLOUD
www.overloud.com
PRESONUS
www.presonus.com
+1 225 216 7887
PRISM SOUND
www.prismsound.com
+44 (0) 1353 648 888
PROPELLERHEAD
www.propellerhead.se
RME
www.rme-audio.com
+49 08133 91 810
ROB PAPEN
www.robpapen.com
ROLAND SYSTEMS
GROUP
www.rolandsystemsgroup.co.uk
+44 (0) 1792 702 701

SADIE
www.sadie.com
+44 (0) 1353 648 888
SERATO
www.serato.com
SEVEN WOODS AUDIO,
INC
www.sevenwoodsaudio.com
+1 617 489 6292
SLATE DIGITAL
www.slatedigital.com
SLATE PRO AUDIO
www.slateproaudio.com
SOFTUBE
www.softube.se
+46 13 2116 23
SOLID STATE LOGIC
www.solid-state-logic.com
+44 (0) 1865 842 300

SYNTHOLOGY
www.synthology.com
TASCAM
www.tascam.com
+1 323 726 0303
TC ELECTRONIC
www.tcelectronic.com
+45 8742 7000
TC HELICON
www.tchelicon.tc
+45 8742 7000
TERRATEC
www.terratec.com
+49 2157 8179 0
THE SOUND GUY
www.sfxmachine.com
+1 408 646 5271
TOONTRACK
www.toontrack.com

SONALKSIS
www.sonalksis.com
+44 (0) 151 324 0022

TRILLIUM LANE LABS

www.avid.com
+44 (0) 1753 655 999

SONIC CORE
www.soniccore.com
+49 2241 3019595

URS
www.ursplugins.com

SONIC STUDIO LLC

www.sonicstudio.com
+1 415 460 1201
SONNOX
www.sonnoxplugins.com
+44 (0) 1865 887505
SONY CREATIVE
SOFTWARE
www.sonycreativesoftware.com
+1 608 256 3133

UNIVERSAL AUDIO
www.uaudio.com
+1 831 440 1176
VIENNA SYMPHONIC
www.vsl.co.at
VIRTUAL KATY
www.virtualkaty.com
+1 772 924 0026
VIRTUASONIC
www.virtuasonic.com

SOUNDFIELD
www.soundfield.com
+44 (0) 1924 201 089

V-PLUGS
www.v-plugs.com
+972 52 633 9077

SOUND TOYS
www.soundtoys.com
+1 802 951 9700

WAVE ARTS
www.wavearts.com
+1 781 646 3794

SOURCE ELEMENTS
www.source-elements.com
+1 312 706 5555

WAVES
www.wavearts.com
+1 781 646 3794

SPECTRASONICS
www.spectrasonics.net
+1 818 955 8481

WHOLEGRAIN DIGITAL
SYSTEMS LLC
www.wholegrain-ds.com

SPL
www.soundperformancelab.com
+49 2163 98340

XILS-LAB
www.xils-lab.com

SRS LABS
www.srslabs.com
+1 949442 1070

YAMAHA
www.yamahaproaudio.com
+44 (0) 1908 366 700

STEVEN SLATE DRUMS

www.stevenslatedrums.com

YELLOWTEC
www.yellowtec.com
+49 2173 967 30

STEINBERG
www.steinber.net
+49 40 210 35 0

ZOOM
www.zoom.co.jp
+81 35 835 2206

STILLWELL AUDIO
www.stillwellaudio.com

ZPLANE
www.zplane.de
+49 30 854 09 150

SYNCHRO ARTS
www.synchroarts.com
+44 (0) 1372 811 934

The International Guide To Daws & Plug-ins 2014