sustaining trends in audio land, 2021 edition

Now, after spending some time on digging a little bit more deeper into the current offerings and market situation in audio production I just wanted to briefly outline some of my personal summaries regarding sustaining trends but maybe outline also some new things I do see on the horizon.

The mobile audio evolution

To me this indeed looks like an ongoing trend for years now which simply does not stop. On the one hand we can see the whole software and especially the App market continuing and increasing in all areas and platforms: notebooks, tablets, smartphones and their respective eco systems accordingly. Where Ableton once started in providing an almost complete mobile music production approach in literally just a bag, Bitwig and others followed and now Apps are everywhere allowing any kind of recording and music or media production on the go. Apples recent move with the M1 SOC (System on Chip) approach fits perfectly into this trend by increasing the mobility even further in terms of power, size and efficiency. Others will follow this path for sure. Also we can see traditional music gear manufacturers going more and more into compact and battery powered solutions as well, such as the Korg Volca series or the Roland boutique thingies, just to name the two.

The retro cult continues

Companies like Behringer will continue to spit out analog HW clones like there is no tomorrow. Whether thats synthesizer reissues or blatant plain copies of vintage mixing outboard or modeled software – you’ll find everything and in almost all shades of quality and price. And I think this is a really good thing to have such a variety to choose from and also this will lead to some serious price drops in the overpriced used gear market in that area.

Modular madness

I don’t think this is part of the overall retro trend but a niche on its very own. In any case the modular synthesis thing is still gaining more and more momentum. There is a sheer amount of hardware options to choose from and meanwhile also quite a lot of audio interfaces and controller solutions are offering not only Midi but also CV support. Even in software land one can put his/her virtual hands on something modular. All in all, this looks and sounds like real fun and a great opportunity to spend a lot of time on (and money).

Look mom no computer

All those neat outboard DAW-less setups shown on YT: Some hardware samplers and grooveboxes here, some fancy retro synths there and fx stomp boxes all over the place. Well, “Look mom no computer” is of course absolutely wrong here because half of that stuff has tiny little digital displays and computers underneath you have to tinker with. Personally, I would prefer some neat “one knob, one job” analog interfaces plus a real full-blown DAW any day. However, definately a sustaining trend and a good thing.

Loudness war, quo vadis?

While it seems that LUFS finally made it and in fact has been successfully settled as a standard in the broadcast domain – in music production in general it has not. Todays audio mastering target levels are still insane and even some “engineers” continue to present converter clipping as the holy loudness grail to their YT followers. That really hurts. At least some of the big streaming sevices restricted target loudness levels to -14 or -16LUFS which gives a little hope.

ITB production finally took over

Now that even the last renowned mixing engineer has finally surrendered to the dark side in the box – at least for the recording and mixing part – the question remains, why this has taken so long. Was it for quality concerns? The time-to-market pressure to finally have total recall in all regards? Simple ignorance or fear? We might not be sure about the final answer but we do know that today almost everybody can run some media production tasks in a decent quality on his very own while having a low entrance barrier. And this is what I really would call the “game changer” of the last decade. Now, your skills are the limit.

Game of DAWs

There is really no trend in particular here other than the fact that we have the very same players on the board since a decade ago. Maybe Bitwig will aim for the crown from Ableton? It’s whole inherent synthesis and modulation integration make this comprehensive sequencer an instrunment on its very own and also it runs natively on Linux. All the other contenders improved step by step here and there but quite comparable. Maybe having build in mixing scenes and more convincing analog style summing is a thing which sticks a little bit out. So, on my own I wasn’t that much impressed about this very last episodes and now I’m looking forward to an upcoming but much more entertaining season, hopefully.

The pandemic impact

As we all know, the Covid impact on everything live performance related was and still is a sheer desaster. How this will evolve in the future is hard to predict but it is clear that there won’t be any back to normal any time soon if ever. That means this area must transform into the digital/virtual domain as well and most of the suppliers in exact this kind of areas are already the winners of the current situation.

Stay healthy!

 

released: ThrillseekerVBL – Vintage Broadcast Limiter

VOS_Logo_VBBringing mojo back – Thrillseeker VBL is an emulation of a “vintage broadcast limiter” following the classic Variable-Mu design principles from the early 1950′s. They were used to prevent audio overshoots by managing sudden signals changes. From today’s perspective, and compared to brickwall limiters, they are rather slow and should be seen as more of a gain structure leveler, but they still are shining when it comes to perform gain riding in a very musical fashion – they have warmth and mojo written all over.

Thrillseeker VBL is a “modded” version, which not only has the classic gain reduction controls but also grants detailed access to the amount and appearance of harmonic tube amplifier distortion occurring in the analog tube circuit. Applied in subtle doses, this dials in that analog magic we often miss when working in the digital domain, but you can also overdrive the circuit to have more obvious but still musical sounding harmonic distortion (and according side-effects) for use as a creative effect.

On top, Thrillseeker VBL offers an incredibly authentic audio transformer simulation which not only models the typical low-end harmonic distortion but also all the frequency and load dependent subtleties occurring in a transformer coupled tube circuit, and which add up to that typical mojo we know from the analog classics. This would not have been possible with plain waveshaping techniques but has been realized with my innovative Stateful Saturation approach, making it possible to model circuits having a (short) sort of memory.

ThrillseekerVBL is a freeware VST audio plug-in for Windows x32 and you can download a copy in the Downloads section.

Related Links

VBL – final teaser & release info

vintage, broadcast, limiter

ThrillseekerVBL will be released 1st of July 2013 as a freeware VST audio plug-in for Windows x32.

OMFG

(via)

Beautiful Tech: Roland RE 201 Space Echo

[vimeo http://vimeo.com/40331950 w=660&h=495]

An ode to/rant about arguably one of the most musical pieces of outboard gear you could own: the Roland RE201 Space Echo.

Don’t miss to read the full article on www.musicofsound.co.nz

Fairchild ad’s, early 1960s

(via preservationsound.com)

reverb and delay, retro style

(via preservationsound.com)

what makes a good party?

(via dangerousminds.net)

quote of the day

The term “vintage” is seriously overused. It applies very well to wine and guitars, but it does not apply easily to pro audio hardware. – Fletcher

retro vintage modern hi-fi

Definitely a must see Blog – check it out at itishifi.blogspot.com.