How Much Do Game Audio Professionals Really Make?

Current state of income levels among video game composers and sound designers revealed in the recent GameSoundCon report

Los Angeles (September 8, 2014) - With the assistance of the Game Audio Network Guild (G.A.N.G.), Brian Schmidt, Executive Director of GameSoundCon, the premier conference for video game music and sound design, conducted a comprehensive survey among composers, sound designers, audio directors, and others involved in writing music and/or sound content for video games. The goal of the survey was to establish an updated and realistic picture of the income possibilities and parameters for video game composers and sound designers, including the freelancer segment.

GameSoundCon received over 500 responses to questions related to compensation, work and environment, additional compensation, use of live musicians & middleware, and contract terms within the categories “large budget games”, “casual games” (smaller budget but professionally produced and marketed), and “independent games” (self-financed, such as Kickstarter projects, etc).

“The changes in the overall game industry are certainly reflected in the game audio industry,” said Schmidt. “Especially in smaller scale games, composers are also creating sound effects and doing integration or other technical work. One thing that surprised us was that compensation had two definite peaks, one at around $55,000 and one around $110,000. We believe this reflects the premium that top composers and sound designers with the right skills can demand, even in a very competitive market.”

The results of the GameSoundCon report reveal important findings for working professionals in the game sound industry:
- Game Music and Sound is predominantly a freelance gig (60%)
- Game Music is overwhelmingly “work for hire” (95%) and “per unit” royalties are rare.
- A salaried employee makes $70,532 per year on average, whereas a freelancer in the large-budget game category can make more than that with just one project. More details, such as project fees for indy/casual games can be found in the report at GameSoundCon.com
- Most game composers, particularly for smaller games, also deliver sound effects and/or do integration or other technical work
- Even in large-budget games, most of the music is produced virtually as opposed to predominantly by live musicians(54%).
- Women are underrepresented in the industry, at less than 5%

“It’s hard to define our industry”, says Brian Schmidt, “It is impossible to draw a sharp line between the categories. Nevertheless, we believe it serves as a useful distinction so that we’re not comparing the compensation from a blockbuster like Call of Duty with that of a, 2-person development company making an iPhone game in their basement.”

In addition to compensation information, the survey reported on
+ Work and Environment
+ Additional Compensation (Royalties, Bonuses)
+ Use of Live Musicians in video game music
+ Use of Middleware in games
+Contract terms, Soundtracks & Performance Rights clauses

The complete report with details, graphs, and remarks on the statistical validity of the GameSoundCon survey can be found in the complete downloadable PDF at GameSoundCon.com
The 10th GameSoundCon conference will be held in Los Angeles, October 7 – 8. Go to GameSoundCon.com for details.

About SoundCon LLC
SoundCon LLC is dedicated to education on the art, technology and business of composing for video games and video game sound design. With award-winning speakers and panelists from throughout the game and traditional audio industries, GameSoundCon is the leading music and sound conference specifically for the professional audio community. GameSoundCon creator and speaker Brian Schmidt received the Game Audio Network Guild’s 2008 Lifetime Achievement Award, and is a 27 year veteran in the game audio industry, having composed award-winning game music and created sound effects for over 130 interactive games.

RTW TM3-Primus TouchMonitor Now Shipping Worldwide

Ultra-Compact Meter Enables Extensive Loudness and Audio Metering Capabilities for a Variety of Applications and Budgets

AMSTERDAM, 8 SEPTEMBER, 2014 – RTW (IBC Hall 8, Stand D.92), the market leader in visual audio meters and monitoring devices, is pleased to announce that the TM3-Primus, its new smart series product, is now shipping worldwide. This highly compact model from the award-winning TouchMonitor line provides a full set of easy-to-read instruments for level and loudness metering in commercial and non-commercial production and broadcasting environments. Executives will be available during the 2014 IBC Show to demo the TM3-Primus and discuss its capabilities.

Introduced to the market earlier this year at NAB, the RTW TM3-Primus is a multifunctional audio measurement desktop unit featuring unbalanced RCA type two-channel analog, digital (SPDIF) and USB interfaces. In addition, it features an advanced USB hybrid mode where a metering point in a digital audio workstation (DAW) (implemented using a specific RTW plug-in) can be visualized right on the new TouchMonitor’s screen. Also, a USB port allows for implementing an innovative USB/plug-in hybrid mode that enables metering to be performed on the DAW so that a user can process and visualize the information instantly.

As a compact and low-cost member of the TouchMonitor family, the TM3-Primus is equally suited for professional use in minor or secondary workflows for broadcasting, video editing, music and other recording environments. It offers a new quality solution for non-commercial use in small radio environments or podcasting. Like other models from the award-winning TouchMonitor series, the TM3-Primus comes with a highly intuitive and user-friendly 4.3-inch touchscreen interface that simplifies system handling even for operators without a strong background in audio.

Supported loudness standards include: ITU BS.1770-3/1771-1, ATSC A/85, EBU R128, ARIB, OP-59, AGICOM and CALM. The TM3-Primus includes level and loudness display with bargraph type or numerical readout plus MagicLRA type. Other instruments included with the meter are PPM, moving coil, correlator, RTA, vectorscope, numerical and chart.

About RTW
RTW, based in Cologne (Germany), has nearly 50 years of experience in designing, producing, and marketing advanced recording-studio equipment, leading and innovating the market for high quality audio metering and monitoring tools. RTW operates a worldwide distribution and service network. For more information on RTW, visit www.rtw.com, www.facebook.com/rtw.de or call +49 221 709130.

Digigram and KALRAY Partner to Create High-Quality, Low-Power, Real-Time HEVC Video Encoder Solutions

Digigram Expertise in Video Quality Metrics, Encoding, and Streaming Enables Use of KALRAY Manycore Processor to Facilitate High-Density HEVC Encoding more…

GeoBroadcast Solutions Receives ZoneCasting™ Patent

Achievement brings targeted advertising for over-the-air radio broadcasters one major step closer to reality

CHICAGO, September 8, 2014GeoBroadcast Solutions has a message for over-the-air broadcasters heading into The Radio Show: The era of geo-local advertising to increase radio revenues is about to begin.

GeoBroadcast Solutions, LLC (GBS) is the company behind ZoneCasting™, a unique and groundbreaking technology that delivers the dual benefit of over-the-air, hyper-local advertising opportunities for businesses right down to targeted neighborhoods; and new revenue-generating opportunities that provide long-term sustainable value for radio stations and networks. As of this week, GBS has been granted a patent for ZoneCasting that makes deployment a realistic proposition for the very near future.

“ZoneCasting is the first true dynamic ad insertion opportunity for over-the-air radio on a geographical basis, using our now-patented wireless architecture,” said Bill Hieatt, Chief Technical Officer, GBS. “We now look forward to the FCC’s approval of the ZoneCasting technology, clearing the way for ZoneCasting deployments that will bring lost revenues from a fractured marketplace back to the terrestrial airwaves.”

The approval of the ZoneCasting™ patent comes at a time when radio broadcasters are faced with increasing competition for ad revenue from online radio, mobile streaming and other emerging models online. ZoneCasting’s targeted precision delivers unique commercial content simultaneously to many defined zones across a single broadcast market, unleashing new revenue opportunities for broadcasters, ad agencies and local businesses through a neighborhood focus. GBS’ proprietary modeling approach is instrumental in enabling targeted advertising capability across multiple in-market zones.

The road to patent approval began in September 2009, when GBS filed a provisional patent to protect the proprietary nature of the ZoneCasting concept. Since filing, the GBS team has partnered with GatesAir for transmitters and IP transport solutions to support low-cost distribution methods; and hyper-directional antennas and combiners from Jampro. After receiving FCC Experimental Authorization grants, two successful field tests were conducted in 2010 (Salt Lake City) and 2011 (Sebring, Florida), followed by simulations and listening tests in 2012. Each of these important events offered significant value and insight into proper zone location, system design, coverage modeling and optimization for ZoneCasting deployments.

GBS continues to evolve the ZoneCasting concept as the final FCC rulemaking phase moves toward completion. The company has filed two additional patent applications since 2010 that will allow for further refinement and optimization of the ZoneCasting architecture.

“The ZoneCasting patent approval underlines the unique character of the ZoneCasting design, and our thorough testing and significant technology partnerships instill exceptional confidence in our design philosophy,” said Hal Kneller, VP Global Sales and Business Development, GBS. “Our mobile network-like approach enables broadcasters to deliver a very robust and high-quality signal with targeted ad insertions. We’re excited about the future of ZoneCasting and the opportunities it brings broadcasters and advertisers alike.”

About GeoBroadcast Solutions
GeoBroadcast Solutions, LLC (GBS) offers proprietary products and solutions to enhance radio station coverage areas to maximize both coverage and revenue as well as the ability to zone both audio (pending FCC approval) and RBDS/RDS. With several additional patents pending, new techniques for Single Frequency Networks have been developed to improve coverage. Christine McCarthy of Barnes & Thornburg guided the ZoneCasting patent to approval and is currently processing the pending patent applications. GBS partners with GatesAir for transmission and IP distribution equipment, and with Jampro for antennas and combiners.

# # #

Prism Sound’s Audio Test Equipment Plays a Pivotal Role at BW Broadcast

Croydon-based BW Broadcast has increased its stock of Prism Sound audio test equipment by investing in two more dScope Series III Digital Audio Analysers, bringing the total number of units it owns to nine.

Founded in 1997 by Scott Incz and Roger Howe, BW Broadcast designs and manufactures cutting edge but affordable broadcast equipment for FM, AM, HD Radio and Internet broadcasting. Known for its innovations in low-power FM transmission, RDS encoders and processors, BW Broadcast has undergone rapid growth in recent years thanks to the development of a successful range of DSP products including its V2 FM transmitters and the DSPX range of audio processors.

“To support our growth, we have recently taken on new staff in all departments,” Scott Incz says. “We have also increased production to meet demand and this has resulted in an expansion of our product test facilities so that we can maintain high standards of quality control.”

Incz says that Prism Sound’s dScope Series III has played a pivotal role at BW Broadcast since the company acquired its first analyser 10 years ago.

“When we first decided to buy an audio analyser we looked at products from a couple of different companies and eventually chose Prism Sound’s unit because it offered more functionality,” he says. “Obviously, price was a consideration but I don’t like the way that some companies sell you a basic product and then charge you more for plug-ins or additional features. In Prism Sound’s case, the dScope Series III was a single box that did everything I needed it to do – and, of course, it was British-made, which was also a bonus.”

Prism Sound’s dScope Series III audio analyser is a powerful audio test solution that leads the way in advanced generation and analysis tools. Used in both R&D labs and production lines around the world, dScope Series III includes precision analogue and highly-optimised digital outputs and inputs. Precise and automatic gain-ranging allows high resolution measurements over a massive range, from a few micro-volts to more than 150 volts RMS, and from less than 1 Hz to over 90kHz. Its interface processor uses dedicated DSP to provide a wide range of real time measurements, while its software uses the host PC for almost unlimited number crunching and analysis options such as Fast Fourier Transforms, unique ‘FFT Detectors’, swept sine and multi-tone testing. Designed to be highly programmable, the dScope Series III can be automated from a wide range of third-party software using Active X controls, or internally using VBScript.

BW Broadcast is using its latest Prism Sound dScope units in two new, state of the art Automated Test Equipment (ATE) systems, which are quality checking its range of transmitters, receivers and digital audio processors.

“Our new ATE systems incorporate various manufacturers’ products including Prism Sound’s dScope,” Scott Incz says. “The system is incredibly fast and each system can test up to 40 products a day. It is also very easy for our staff to use – they just load up the unit being tested, select the model on the computer programme, enter the serial number and press go. 15 minutes later they have 200 test results, all of which are stored to a central database. This means that if a customer has a problem with one of our units – even if it is years later – we can access all the original data to help resolve the issue.

“Prior to installing our new ATE systems, we spent hours checking every piece of equipment and inevitably mistakes would occur. The two identical ATE systems have made a huge difference to our productivity and we are now looking to add a third one.”

Scott Incz added that dScope Series III is a central piece of the jigsaw. “We couldn’t operate our ATE without it,” he says. “We use dScope to test every aspect of our products’ audio performance, including measuring the performance of our DSP code. dScope allows us to carry out numerous audio-related tests and always gives accurate results. We particularly like the FFT multitone testing feature because it allows us to take multiple measurements at the same time, which really speeds up the testing process.”

Although Prism Sound can offer computer scripts for production line testing, BW Broadcast decided to commission its own script for its ATE.

“We went the custom script route because we wanted our ATE to work with lots of different test products,” he says. “It took over a year to develop our custom script and we soon discovered that the parameters were moving as the development went along. This is inevitable with computer scripting – the system you end up with is not necessarily the one you thought you would get. Since our ATE went live just over a year ago we’ve done a number of re-writes and tweaks, which have improved it even further.”

BW Broadcast sells its products to radio broadcasters all over the world, as well as to movie theatres and sports stadiums. The company’s Award-winning technology has recently been used in both the Soccer and Rugby world cups and the Olympics.

The company also works with major car manufacturers, supplying high performance testing for their in-car entertainment development and production lines. Its engineering department also routinely works on custom and ‘special’ transmission projects for non-profits, charities, governmental and military organisations.

For more information about BW Broadcast, please visit www.bwbroadcast.com

-ends-

About Prism Sound
Founded in 1987 in Cambridge, UK, Prism Sound manufactures a range of high quality professional test equipment for audio applications. The company is organized in three divisions and in addition to audio test equipment, Prism Sound also manufactures equipment for high-quality recording and production for music and sound applications and for voice-logging recorders used in law enforcement, legislative and business applications. Prism Sound audio test equipment is used by many major consumer electronics brands in automotive, home entertainment, personal mobile, communications and other market sectors as well as most of the world’s leading broadcasters including the BBC. Prism Sound’s music recording products are widely used by leading professionals in music and film sound such as the legendary Abbey Road Studios in London.

For more information: www.prismsound.com

The 137th Audio Engineering Society Convention to Offer Expanded Broadcast and Streaming Track

— As many as 15 separate Broadcast and Streaming sessions will cover a huge range of timely topics, from loudness issues and CALM Act compliance to facility design, codecs and signal routing —

New York, NY — The ways in which both broadcast and streaming audio platforms are evolving and converging will be on display at this year Broadcast and Streaming Track during the 137th Audio Engineering Society Convention, set for Thursday, October 9, through Sunday, October 12, 2014, at the Los Angeles Convention Center in Los Angeles, California. Broadcast and Streaming Track Chairman David Bialik has identified key trends in these spheres and assembled a series of cutting-edge panels that will explore and discuss these topics.

The list of presentations is comprehensive, including:

Loudness for Streaming and Radio
Audio Issues for 4k and 8k Television
Facility Design
Audio Issues and HTML5
Routing Audio in a Broadcast Facility
Listener Fatigue and Retention
Hear Now/Sound Effects
SBE/Troubleshooting and Maintenance of Equipment
Troubleshooting Software
Compliance with CALM Act/PLOUD
The Streaming Experience
Telephony and IP Codecs: How to Choose What Is Best for You
Understanding Audi0 Processing—How to Use the Audio Processor
MPEG-DASH—What about Audio?

These panels and presentations will go into considerable depth under the guidance of thought leaders in their categories. For instance, the Loudness for Streaming and Radio panel will look at key questions, such as “Is the ‘loudness war’ in radio over?” “Has it moved over to Internet streaming?” “How can we control level without disrupting the audience?” These will be examined by a panel consisting of John Kean, NPR Labs; Thomas Lund, TC Electronics; Robert Orban, Orban; Frank Foti, Telos Alliance; Tom Box, DTS; and Scott Norcross, Dolby.

Attendees at the Broadcast and Streaming Track sessions will also experience a rare treat: a look at facility design through the eyes of two audio legends. Eddie Kramer, acclaimed engineer/producer for such legendary acts as Jimi Hendrix, Led Zeppelin and Kiss; and the Walters-Storyk Design Group’s John Storyk, designer of Hendrix’s Electric Lady Studios as well as hundreds of other iconic recording and broadcast facilities, will both be there to discuss how two leading FM music stations, KEPX in Seattle and KPFK in Los Angeles, are managing substantial changes. KEPX is preparing to move to a new broadcast facility that will feature cutting-edge broadcast/recording studios and a live performance venue designed to showcase visiting artists, while KPFK, one of the most powerful stations in the U.S. at 110,000 watts, will undertake a major acoustical update of their live performance studio and create a new control room. That both stations will operate professional-level recording studio/performance venues underscores radio’s continued importance for music, and the presence of Kramer and Storyk to share their expertise will provide a unique perspective for attendees.

Commenting on the Broadcast and Streaming program at the AES137 Convention, David Bialik states, “The AES Tracks, Sessions and Workshops are about learning ‘Technology and Technique,’ while the sales presentations stay on the exhibition floor. I believe this is the reason that the attendance for the ‘Broadcast and Streaming’ sessions only increases year after year.”

For information on how you can get your FREE Exhibits-Plus badge (pre-registration required) and detailed information on the Broadcast and Streaming Track at the AES137 Convention, as well as further Registration, Hotel, and Technical Program information, visit the AES137 webpage at http://www.aes.org/events/137/.

Calendar of Technical Program Events for 137th Audio Engineering Society Convention Is Now Online

— Full schedule of Workshops, Papers and Presentations helps attendees make the most of their AES137 experience —

New York, NY — An extensive calendar of Technical Program events is now online for the 137th Audio Engineering Society Convention, which will take place Thursday, October 9, through Sunday, October 12, 2014, at the Los Angeles Convention Center in Los Angeles, California. This year’s Technical Program is full of cutting-edge events, where attendees will have the opportunity to be a part of history as the next chapter in professional audio developments come to light through a detailed series of Papers, Engineering Briefs, Tutorials, Workshops and Special Events. AES137 will offer dedicated program Tracks in the fields of Broadcast and Streaming Media, Game Audio, Live Sound, Networked Audio, Recording and Production, Product Design, and Sound for Picture, as well as Historical Events sessions, Standards Committee meetings, Tech Tours and more.

Those in attendance with either an “Exhibits-Plus” badge (FREE with pre-registration) or a premium “All Access” badge will have entry to two of the AES convention’s newest and hottest events: the Project Studio Expo and the debut of the Live Sound Expo and High Resolution Audio (HRA) program. The Project Studio Expo brings together the latest techniques, tools and experts for professional training on topics ranging from acoustics in small spaces to microphone placement, mixing and mastering. The Live Sound Expo offers expert advice for the broad spectrum of live sound engineers with an emphasis on the practical, bringing professionals with decades of experience to the stage to inspire and educate attendees. Additionally, a High Resolution Audio (HRA) program will be held on Friday, October 10, 2014. The direct result of a collaborative effort between the AES and DEG: The Digital Entertainment Group, the HRA program will include sessions addressing the current and future direction of HRA from various perspectives, including content creation, digital distribution, licensing of hi-res music files, archiving, subscription models, marketing/promotion of hi-res music, compatibility of playback devices and more. These sessions will feature some of the brightest minds in the business as they discuss some of the most current and controversial issues concerning the rapid adoption of high-resolution audio across the industry.

AES Executive Director Bob Moses stated, “Excitement is growing as we finalize the Technical Program itinerary for AES137. We have quite a varied program this year that is sure to garner attention in many audio circles. People who have been to the AES conventions know what a truly unique experience we offer, and this year’s convention is on track to be one of the best. Our online calendar, mobile app and other resources really help to round out the experience and help attendees take advantage of the full spectrum of what they want to get out of the convention. And we are looking forward to more big announcements in the weeks to come further underscoring that AES137 will be the audio event of the year.”

For information on how you can get your FREE Exhibits-Plus badge (pre-registration required) and access the Tech Program Calendar for the AES137 Convention, as well as further Registration, Hotel, and Technical Program information, visit the AES137 webpage at http://www.aes.org/events/137/.

KJWY Heads East with Help From Jampro

Philadelphia, PA – KJWY-Channel 2, Philadelphia recently received a JCPD-LV-6/4(24)R Band I, circularly polarized, 4-dipole VHF panel antenna system from Jampro Antennas to help with its move east from Wyoming to Pennsylvania. Parent company, PMCM TV, LLC, was able to put the station on air after petitioning the Supreme Court regarding the move. Now, with help from Jampro, KJWY is the first full power CPOL VHF DTV station in the Philadelphia region.

The JCPD-LV-6/4(24)R Band I, circularly polarized, VHF panel antenna was selected because of its outstanding axial ratio and circularity. The Antenna, which is equipped with feed point radomes and custom mounting brackets, is configured to produce an omni directional pattern. Also supplied was a Jampro Channel 2 DTV mask filter, and RCPU antenna switch frame with rigid transmission line.

According to Jampro President Alex M. Perchevitch, “KJWY conducted a number of extensive studies on several antenna systems before making its selection, which allowed it to choose just the right antenna type and minimize nulls. Jampro’s VHF panel antenna is a critical piece of the puzzle for KJWY as it becomes the first full power CPOL VHF DTV station in the Philadelphia area. The delivery and installation worked out perfectly well. We couldn’t be more pleased with the results or proud to be able to help PMCM TV, LLC transition its station, KJWY, from Jackson, WY to Philadelphia.”

The Jampro JCPD antenna is a circularly polarized 4-dipole flat panel antenna system with rugged galvanized steel construction that ensures years of dependable performance in even the harshest environments. Protective lightweight dipole radomes may be added as protection against heavy ice buildup. The JCPD antenna has proven to provide excellent bandwidth, with typical VSWR of <1.1:1 or better. Many standard and custom directional patterns are available to fit a wide range of coverage requirements.

About Jampro
Jampro Antennas Inc., established to answer the need for quality broadcast systems at a reasonable price, is a leading supplier of antennas, combiners & filters and RF components for every application in the broadcast industry. Reputed for innovation and customization, Jampro builds each system to the specifications of the individual broadcaster. From the first system delivered in 1954 to those installed today, the Company is committed to consistent performance and quality founded on solid engineering. Today, over 25,000 broadcasters worldwide benefit from the quality and performance provided by Jampro systems. Additional information on JAMPRO can be obtained at www.jampro.com.
###

Jampro contact: Sonia Del Castillo
916-383-1177 • mailto:Sonia@jampro.com

Press Contact: Desert Moon Communications
Harriet Diener • 845-512-8283
harriet@desertmoon.tv

Hal Leonard and Groove3 Announce Strategic Partnership

Music Industry Leaders Team Up to Create and Deliver the Future of Online Tutorials

Montclair, NJ, and Austin, TX (September 4, 2014) - Hal Leonard Books, a division of Hal Leonard Corporation, Milwaukee, the leading publisher of books and digital content on the music business, audio technology, and instrument history, and Groove3, the audio community’s best source for informative and effective online tutorials, announced today a long-term strategic partnership to develop and deliver authoritative content to the world.

This collaboration will transform Hal Leonard’s industry leading content, including series such as Music Pro Guides and Quick Pro Guides, using Groove3′s proven online video delivery system and subscription model, while expanding Groove3′s reach beyond the robust community the company has built over the last 10 years, addressing all aspects of the music-making process, including recording, production, engineering, mixing, songwriting, DAW guides and more.

“Groove3 has always had the end user’s best interest in mind and is dedicated to delivering the best tutorials about today’s audio tools and recording and production techniques. Now having the opportunity to partner with Hal Leonard and offer their first-class content along side ours, it’s a match made in heaven for all audio professionals and hobbyists alike around the world,” said Groove3 Vice President Antony Livoti.

“Groove3 is the most trusted and time-tested online quality resource for training videos for musicians, and bringing Hal Leonard’s reputable brands and content into their community will be a huge benefit to all musicians interested in learning online,” said John Cerullo, Group Publisher of Hal Leonard Books.

“Hal Leonard has been a pioneer in offering digital content to active music makers for decades, and the Groove3 partnership, along with our many other recent digital and web based initiatives, will allow us to continue to offer the best in music instruction for years to come,” added Hal Leonard Corporation President Larry Morton.

Groove3 currently offers more the 850 hours of top-notch online training. The new, exclusive content from Hal Leonard will include product by world-renowned recording, audio, and music experts from many fields, including the Hal Leonard Recording Method by Bill Gibson, the Bruce Swedien Recording Method, Rikki Rooksby’s series of books on songwriting, and much more. Additional courses and products will be announced and released in the coming weeks.

In addition, the partnership allows for the development and offering of customized online programs for traditional resellers, such as musical instrument dealers, and licensing programs to audio-trade outlets, secondary and higher educational institutions, and industry organizations.

Eisenberg Audio Releases VIER Software Synthesizer

Berlin, Germany (September 3, 2014)Eisenberg Audio, a German audio software developer, has released a new software synthesizer: VIER, which means ‘four’ in German, emulates the Doepfer MS-404, a famous monophonic analogue synthesizer from the 1990s. Today, the now vintage MS-404 is not only known to synthesizer insiders, but enjoys a large fan base of musicians.

The Doepfer MS-404 was a single rack device, and VIER combines four independent rack modules in one seamless interface. VIER uses modern technologies for its synthesis engine, such as anti-aliasing oscillators, which are capable of audio range modulation and zero-delay feedback filters best known from synthesizers like LuSH, Monark or Diva.

VIER offers a wide range of options for parameter linking and cross modulation as well as intelligent voice management. Thus, VIER is much more than an emulation of a vintage synthesizer, and much more than the sum of four parts.

The parameter linking allows the building of groups, which can be manipulated and modulated by macro parameters together, offering fast access to the most important sound properties, and operates the four modules as one unit. VIER also contains a broad variety of factory presets that may be loaded, adjusted, saved, or marked as favorites. Additionally, users may create, save and load their own presets.

The intelligent voice management offers different creative modes, in which each note of a chord can be assigned to the four different modules and operated with unlimited polyphony. The results are truly unique and inspiring.

VIER runs stand-alone on Windows and Mac OS X or as plugin via VST, AU, RTAS and AAX

Availability & Pricing

VIER is available now at www.eisenberg-audio.de/vier for regular $99.00 (EUR 99.00).

Until September 30, 2014, VIER is available for an introductory price of $69.00 (EUR 69.00)

A free trial version is available at http://eisenberg-audio.de/downloads/vier

For more information, please visit www.eisenberg-audio.de/vier

About Eisenberg Audio
Eisenberg is a young Berlin based company founded in 2009, and currently made up of a team of six members. Having previously formed a core part of the world’s market leader in software synthesizers, the founders of Eisenberg aim to truly break new ground with a whole series of company’s Artificial Intelligence Studio Technology (AIST) based products. The development of any products has taken place in cooperation with a number of well-known featured artists on Berlin’s musical scene, including Brandt Brauer Frick, Phon.o and Roland “Roy” Knauf (Deichkind). At CEBIT 2010, Eisenberg was awarded in the renowned ?Gründerwettbewerb?, a founders’ competition held by the German Federal Ministry of Economics and Technology.

About

The Radio magazine The Wire provides information from manufacturers and associations about industry news, products, technology and business announcements. The information shown here is posted by companies and their representatives and are not edited or previewed by the Radio magazine staff. The content providers are solely responsible for the content of their posts. If you would like your company's news and information to appear here, contact us.

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