The start of Spring brought us a fresh new Mac, a shower of stellar stompboxes, a radical new multi-effects plugin and an update to one of our favourite software compressors. Some were announced earlier in the year, but our joy was complete when they shipped in April.
New iMac and iPad Pro
Although the launch of AirTags might have dominated the broader media headlines, for musicians, the highlights of Apple’s Spring Loaded event on April 20 were the arrival of the first iMac built on Apple Silicon, and the intriguing integration of the M1 processor into the iPad Pro.
Hitting the Apple Store at some point in May, the new 24” M1-powered iMac is already dividing opinion with its external redesign, which retains the characteristic ‘chin’ of its predecessor, but sees a reduction in thickness down just 11.5mm, and the introduction of seven colour options. Internally, while the no-show of the predicted M1X processor was undeniably disappointing, the M1 has proven itself to be a massive step up from previous Intel offerings in the 13” MacBook Pro, MacBook Air and Mac mini, and for the new iMac, Apple are claiming up to 85% faster CPU performance than the 21.5” model it replaces. The cheery all-in-one also features a 4.5K Retina display, and can be configured with up to 16GB RAM and 2TB of SSD storage.
Ultimately, the 24” M1 iMac is shaping up to be a solid regeneration of Apple’s ubiquitous desktop computer, and one that will only improve further as more developers convert their DAWs and plugins to Apple Silicon-native code. Going for one of the higher-spec models would seem to be a must for music production, though, in order to max out the RAM and get the full I/O array of two Thunderbolt/USB 4 and two USB-C ports, rather than the paltry two Thunderbolt/USB 4 ports of the base model. And having said all that, with rumours currently circulating about the imminence of the purported 12-core M2, you might actually want to hold off on buying any new Mac for now if raw speed is a priority.
As for the move from Apple’s ‘mobile-orientated’ A series SoC to the full-on M1 in the iPad Pro, well, that’s a story yet to be fully told, we assume. With the previous model already boasting far more power than the vast majority of iPadOS apps come anywhere near demanding, it’s hardly a game-changing upgrade in its own right. What we hope it really means, of course, is that Apple are on the verge of enabling macOS apps to run on iPad, at last bringing the likes of Logic, Pro Tools, Studio One and Live to their frustratingly hobbled fondleslab. Fingers crossed…
Boom Library Enrage
One of the most talked-about software releases of April, Boom Library’s brilliant modular multi-effects plugin centres on a flexible routing system that lets you define complex schemes of up to six parallel channels of eight modules each, within an intuitive grid-based interface. 40 modules are onboard, including four distortions, eight filters and multiband splitters, four signal/noise generators, five pitch processors, two reverbs, five modulation effects and two dynamics shapers. The parameters of the selected module appear in a contextual panel, and every one of them can be set in motion using a wealth of LFOs, pitch trackers, envelope followers, mathematical formula functions, macros and other modulation sources.
Looking beyond the well-stocked preset library, the freedom that Enrage gives you in constructing your own elaborate multi-dimensional effects chains and combinations is dizzying; and there are some really interesting gadgets to be found among the modules, particularly in the Pitch and Delay categories. As we enthused in our recent multi-effects plugin round-up, it’s a boundless playground of sound design and creative signal processing possibilities.
Universal Audio UAFX pedals
They’re best known these days for their UAD-2 DSP Accelerators and Apollo audio interfaces, and the ever-expanding range of superb plugin effects powered by them, but Universal Audio are still very much in the hardware and outboard game, and last month saw them launch their first ever guitar pedals in the form of the UAFX range.
Built on “new dual-processor engines and UA’s proven analog modelling expertise”, Golden Reverberator, Starlight Echo Station and Astra Modulation Machine emulate a variety of classic reverbs, delays and modulation effects by the likes of Lexicon, Fender, MXR, EMT, Boss et al. After hearing them in action, we came away very impressed by their sound and response; and with the feature list taking in stereo/dual mono operation, analog dry-through, silent switching and – via the UAFX software – true/buffered bypass with trails, they look primed to be a surefire hit.
Eventide UltraTap Pedal
And the fancy footwork didn’t stop there in April, as veteran effects developers Eventide released the third in their dot9 series of guitar pedals, each of which repurposes a particular algorithm from the company’s legendary catalogue as a dedicated stompbox. In the case of UltraTap Pedal, said algorithm is that of the same name from the iconic H3000 rackmount, H9 multi-effects pedal and UltraTap plugin, summarised by Eventide as “the mother of all Echoplexes”.
Perfectly complementing its creatively-minded stablemates, Blackhole Pedal and MicroPitch Pedal, UltraTap Pedal conjures up all sorts of fabulous soundscapey strangeness, with up to 64 delay taps collectively adjustable in terms of spacing and levelling, and the brilliant Slurm and Chop knobs applying ‘smearing’ and modulation. As well as the guitarists at whom it’s primarily aimed, this is one that electronic musicians will want to check out, too, for transmogrification of synths and samples both in the studio and on stage.
Empirical Labs Arousor 3
Our final music technology highlight of April ’21 was a free update to one of our go-to compressor plugins: Empirical Labs’ virtual “evolution” of their own hugely acclaimed Distressor rackmount.
Arousor 2 was already a stunning character compressor, delivering all the colour, energy and punch of the real thing, and incorporating various software-exclusive enhancements, such as a couple of extra ratios and the incredibly useful AtMod and Saturation knobs – and version 3 adds yet more notable goodies. For starters, the two eagerly anticipated Opto modes serve up the more languid, musical release curves of the LA-2A optical compressor, modelling the ‘T4’ optocouplers of specific vintage (1980s Urei) and modern (2018) units; and yet another pair of ratios have been worked in (6.5:1 and 7:1), which means Arousor now offers four more than its hardware counterpart. Then there’s the Soft Clipping Expert panel, wherein second harmonic distortion can be dialled in and the compressor input placed pre or post clipper; and the ability to audition the sidechain EQ in order to hear what frequencies are keying the compressor. The GUI can now be doubled in size, too, for better visibility on high-res displays; and dongle-haters will be delighted with the implementation of iLok Cloud authorisation.
We’ve never made any secret of our love for Arousor (and, indeed, the Distressor), and with v3 we’re particularly digging the Opto modes and 2nd Harmonics control, both of which expand the plugin’s remit nicely. This is quite simply one of the finest, most versatile compressors money can buy, and Empirical Labs’ ongoing development of it without an upgrade fee in sight is truly laudable.
Find out more about Arousor in our in our roundup of 5 Of The Best Boutique Compressor Plug-in Emulations You Should Check Out
What music production-related stories caught your eye in April? Let us know in the comments.