La marque Chauvet Professional présente un nouveau blinder asservi : STRIKE Array Ultra… Lire la suite sur Audiofanzine

The latest arrival to Excite Audio’s Evolve series promises to “blend fragile sonic moments into something intimate yet intangible, half-there, floating at the edge of the ethereal”. 

quietformat has released PURGE Plus, a zero-latency resonance control plug-in for macOS and Windows.

Designed for real-time use, PURGE Plus detects harsh resonances, ringing, and frequency buildup as they occur, then reduces them only when needed. Its zero-latency design makes it suitable for live playing on virtual instruments, low-latency vocal monitoring while recording, and general mix cleanup on tracks and buses.

A central feature is the 6-Band Bypass EQ section, which works as a resonance-suppression guide rather than a tonal EQ. The bands define where suppression should focus and where it should be avoided, allowing users to shape targeted cleanup or broader control across the spectrum.

PURGE Plus also includes Sidechain Mode, which allows the plug-in to analyze an external source and apply suppression to the current track based on that signal. This can be used to reduce frequency conflicts between overlapping parts in a mix, such as vocals and instruments, or bass and kick.

Main controls include Depth, Sensitivity, and Brighten, with Attack and Release controls available for adjusting response and recovery speed.

Pricing & Availability

PURGE Plus is available now at an introductory price of $34.99 (Reg. $49) for macOS and Windows in VST3 and AU plugin formats.

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Nous sommes allés rencontrer l’ingénieur Nicolas Sacco dans son studio Caverne Studio. Il nous ouvre les portes de son studio situé à deux pas des catacombes de Paris pour découvrir la configuration qui lui permet d’accueillir tout type de client… Lire la suite sur Audiofanzine

If the modern DAW has conditioned us to think in neat four-bar loops, Polyfold would like a word. Manifest Audio’s latest Max for Live device doesn’t just extend the concept of a step sequencer: it expands it into new creative realms.

In releasing Polyfold, a new Max for Live MIDI sequencer for Ableton Live, Manifest Audio have taken an ambitious view of what a sequencer can be. Framed as a “multidimensional sequencing system,” it steps away from the familiar comfort of 16-step grids and tidy four-bar loops, proposing something closer to an architectural framework for rhythm, melody, and harmony.

At the centre of the device is a dual stage rate architecture built around a shared base rate. Rather than assigning each lane a simple clock division and calling it a day, Polyfold routes timing through two independent sequencers labelled Multiply and Divide. Each runs at its own length and combines each step to reshape the underlying rate before it reaches the rest of the system. In practice, this allows for local accelerations, contractions, and asymmetries that still feel rhythmically grounded. It’s complex, but not chaotic: the math is exposed, not hidden.

Beyond those two, Polyfold offers 14 additional sequencer lanes, each supporting up to 1024 steps (though they can be as short as two steps each). Loop length, direction, and reset behaviour can be applied per lane, so you can build tight interlocking polymeters, letting individual parts run for long stretches before they coincide again — or enforce more conventional phrasing with the bar reset interval. Global controls make it possible to impose shared step counts or resets across unlocked lanes, while per-parameter play direction adds further dynamics.

« 1024 steps per lane » is of course the headline figure that prompts a double take. In a landscape dominated by short loops and incremental automation, it may appear indulgent. But Polyfold’s expansive scale makes more sense in context: you don’t have to run every lane to the horizon. One transposition or modulation lane might stretch towards 1000 steps, unfolding over minutes, while a pitch lane cycles briskly through 16 steps or less. The friction between those lengths is where the interest lies. Short, familiar loops provide a centre of gravity; as longer lanes drift across them, they introduce gradual harmonic turns, rhythmic offsets, or gestural swells that take far longer to resolve. Instead of everything repeating together, elements phase through different relational states, creating extended interactions that animate otherwise traditionally cyclic material. In that light, 1024 steps isn’t about cramming in more notes; it’s about giving certain parameters room to move slowly against the ones that don’t.

These extended step lengths also afford a different approach to longer melodic gestures: it’s easy to click and draw a curving pitch narrative over hundreds of steps, then apply gentle randomization (less than, say, 10%), to add dynamic variation to a melody that still broadly follows the drawn contour – as pictured above. But if you need everything to synchronize in more digestible phrases, that’s no problem – just activate Polyfold’s global bar reset interval as needed.

Pitch duties are handled by four discrete-range pitch lanes, enabling up to four-voice polyphony. Each includes per-note probability and access to preset pattern libraries, with user sequences stored directly inside the device. Optional Octave and Transpose lanes introduce structured harmonic movement, with the innovative Transpose sequencer operating at bar-level resolution rather than the rhythmic base rate. The Transpose lane is particularly helpful to imbue otherwise repeating pitch cycles with long-form tonal progression. Scale-aware operation keeps all pitch output harmonically coherent, while a Drums Mode toggle provides straightforward chromatic triggering for Drum Racks.

Beyond pitch, Polyfold sequences Chance, Velocity, Length, Hold, and Delay, many of which include Euclidean and Count-based pattern generation, alongside randomization. The global Chance lane may seem redundant with the per-pitch lane probability, but it provides the ability to enforce rhythmic patterns on all four pitch lanes simultaneously to produce unique chord-based rhythms.

These all come alongside a notably detailed Ratchet engine. Ratcheting here is not a blunt rhythmic repeat tool, but a fully parameterised layer, with pitch, velocity, and length decay, probability and deviation controls, plus bounded behaviours such as clip, wrap, and fold. The rhythmic ratcheting is relative to the current step’s rate, so it’s already dynamic; adding the pitch decay turns each ratchet into intricately expressive ornamentation. Reducing per-step ratchet probability helps ensure what might otherwise become annoyingly busy output never gets tiresome.

Polyfold also includes pattern preset menus across its Pitch, Transpose, Velocity, and Chance lanes. More than decorative drop-downs, the pitch presets provide structured melodic starting points that can be dialed in and mutated as required, while Transpose offers progression-based patterns that operate at bar level, steering harmonic movement over time according to a variety of chord progression patterns. Velocity and Chance feature rhythmically coherent variations without having to draw every accent by hand. The presets are instant scaffolding: quick ways to introduce order into a lane before you start bending it to your own ends. Better yet, you can select a preset at random – and also easily save and restore your own pattern presets too.

Finally, two additional modulation sequencers generate a combined control signal that can be mapped to up to eight parameters in a Live set. The signals can be mathematically combined — added, subtracted, multiplied, or divided — then shaped with slew, jitter, smoothing, and quantisation. OSC transmission and optional MIDI CC output extend Polyfold beyond Live, while the bundled X-Relay utility handles flexible routing within your set.

Polyfold makes some bold claims — but if you spend a little time inside it, the “multidimensional” label starts to hit home. Timing, pitch, probability, velocity, ratcheting and modulation all run on their own trajectories, yet intersect through shared rate logic and conditional flow. Long transposition arcs can drift against tight rhythmic loops. Modulation lanes control other elements of a set. Chance edits density upstream. Add OSC, MIDI CC, and Relay routing into the equation, and the device extends well beyond a single instrument to act as a compositional control hub for an entire project – and even networked external applications (via OSC). Multidimensional indeed.

POLYFOLD: Key Features

• 16 independent sequencer lanes with up to 1024 steps per lane
• Dual rate-stage architecture with per-step Multiply and Divide timing control
• Shared base rate with polymetric and polycyclic lane interaction
• Four polyphonic pitch sequencers with per-note probability
• Optional Octave and bar-level Transpose sequencing
• Scale-aware operation with local or global key control
• Dedicated sequencers for Chance, Velocity, Length, Hold and Delay
• Advanced Ratchet sequencer with pitch, velocity and length decay plus probability and deviation controls
• Euclidean and count-based pattern generation for Velocity, Chance and modulation lanes
• Preset pattern libraries for Pitch and Transpose with random selection
• Two modulation sequencers with additive, subtractive, multiplicative and divisive combination modes
• Assignable summed modulation output to up to eight parameters
• OSC output with per-lane address routing
• Optional MIDI CC output for external hardware and software control
• X-Relay routing utility for flexible MIDI distribution across a Live set
• Per-lane loop length, direction, rotation and bar reset controls
• Global lock system for synchronized or independent parameter editing
• Adjustable randomization, invert and scramble functions per sequencer

Requires Ableton Live 12.3 running Max 9.

Introductory pricing ends February 28. Visit the Manifest Audio website to purchase.

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There are some musicians who simply cannot sit still. As enterprising and creative as they are prolific, it’s as if such artists have endless reserves of energy— or perhaps time in their universe moves at half-speed, allowing double the productivity. Whatever the secret, Cory Wong belongs firmly in that category. And given the speed of his guitar playing, it may well prove the half-speed-universe theory in more ways than one.

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As a member of eminent funk outfit Vulfpeck, the Grammy nominee is set to headline London’s biggest indoor stage in July. He’s also about to embark on an extensive solo tour of North and South America with his new studio album Lost In The Wonder, a helter-skelter pop-funk record replete with collaborations which he produced and mixed himself.

He continues to self-produce his variety series Cory and the Wongnotes, and hosts the Wong Notes podcast, welcoming guests from Joe Satriani to Jacob Collier to Joe Walsh. His website offers a link to the Cory Wong Guitar Course, where he guides you through chord voicings, right-hand technique, practice methods and even his own ‘signature moves’. If that all sounds like hard work, it’s because it is. But for Wong, it’s all in the name of one painfully simple thing:

“I’m chasing what’s fun for me,” he reflects from his Minneapolis studio. “I’m chasing things that will challenge my artistry and creativity. So if those things all align on the Venn diagram, that’s what’s fun for me.”

Watching any of Wong’s concert films, it’s hard to reach any other conclusion. A funk-laden thrill ride backed by virtuosic brass and rhythm sections, the Stratocaster-armed Wong assumes a master-of-ceremonies role. He exuberantly bounds about the stage while welcoming a revolving door of guests — all, of course, without missing a beat. It’s no surprise that with Lost In The Wonder, Wong saw an opportunity to set himself another challenge.

“A lot of people know me as a guitar player— and rightfully so, because I’m a guitar guy!” says Wong. “But with this album, I wanted to really showcase a lot more of my songwriting, my production and my arranging. And then ask, how can I make the guitar the showcase instrument within all that other stuff?”

Wong’s voracious appetite for collaboration has so far led to his playing with a litany of venerable players; Jon Batiste, The Jonas Brothers, Bruce Hornsby, Billy Strings, Tom Misch and Victor Wooten— even Gene Simmons is on the list. Lost In The Wonder leans into that dynamic even further, with guests including Taylor Hanson, Devon Gilfillian, Stephen Day, Cody Fry, Yam Haus, Louis Cato and Magic City Hippies featured in various iterations across every one of its tracks.

“It was really fun to make this album and do collaborations with people where I can approach it more like a ‘producer’ type-guy, you know?” He laughs. “In a similar way that a lot of other people in the pop world do it. You look at the EDM world, [where] somebody like Zedd produces and works with a lot of other artists. Those sorts of folks have really inspired me. Really, my aim with this album is to ask: How can I draw something out of these collaborators that maybe they wouldn’t do on their own albums? How can I offer them a space and a creative outlet to do something a little bit different, but still showcase their artistry? And I ask the same of them: ‘I want you to draw something different out of me. Let’s find out what we can pull from each other, how we can grow each other’s artistry in this collaboration.’ With this album, I really wanted to continue to explore that. Again, it’s fun!”

Today, Wong is among the most lauded guitar players anywhere. He even has signature guitars with Fender and Music Man. But with great power comes great responsibility; the history of his craft is peppered with shred-fest soloing and braggadocious machismo. He’s capable of this, and it’s a thrill when the man lets rip. But how does such an energised performer and prolific instrumentalist keep the balance?

“There’s a long history of the guitar being this thing where we’re showboating our technical facility,” Wong says. “Or just constantly shredding guitar. And there’s a time and place for that— I like a lot of that music. But that’s not really what I want to do, and that’s not really what I feel is the most compelling part of my artistry.

“Sure, there are times where it’s like, ‘Let’s give them the fireworks! I’m going to get out there and shred.’ But I like the sound of other instruments. I like the arrangement. So much of what I’m doing requires me to be a band leader; I need to use my taste and my influences to arrange for different things. When you listen to the Duke Ellington big band, it’s not just about the piano.”

When it came to making Lost In The Wonder, Wong’s proclivity for collaboration naturally presented him with a surfeit of potential guests— not least those with whom he has played for years, such as Vulfpeck’s own Theo Katzman. The process of choosing guests for the album was once again demonstrative of Wong’s confidently whimsical approach to the record. “It was just, ‘What feels fun to do?’ He explains. “What do I want to explore?” Doubtless, that approach also required him to be light on his feet and adaptable; not tied to any one studio or band but taking contributions from practitioners wherever time and space allowed.

“For instance, somebody like [producer and artist] Ellis,” Wong continues. “I was in London, doing another session thing for somebody. I was like, ‘Hey, I’m going to be over at this studio, Sleeper Sounds, I’m just kind of hanging and writing. You want to come by and do something?’ He’s like, ‘Oh yeah, I’ll take the train down. Let’s hang for the afternoon!’ And we just sat down and wrote this tune together, The Big Payoff, and got the skeleton and some of the meat on it. Then I sent it over to my horn section leader, Michael Nelson. So it ended up getting done in three different studios.

“With Benny Sings, I flew to Amsterdam, and we wrote and recorded the song in the studio in one day. With Magic City Hippies, I had a song idea, and I sent it over to them. They were like, ‘Ok, here’s where we’re hearing this going!’ They added some different things. They sent it back to me. I said, ‘Ok, try this.’ They did some stuff, sent it back. It was all remote. So the process is always different. It’s just about what works for the collaborators and what we’re doing.”

The boyish energy Wong brings to his recordings extends to the technical aspects of creating Lost In The Wonder, with a surprisingly light guitar setup. While most of the recording was conducted at Minneapolis’ Creation Audio with producer John Fields (“a close friend of mine, one of the best producers”), the heart of Wong’s own setup— specifically when it comes to capturing his guitar playing— is startlingly simple.

“I don’t need them to have fancy outboard gear,” he says. “I track into a Universal Audio Apollo, just using the internal preamps, you know, just one rack space. I don’t need a whole rack of extra gear. If you have that, cool! But just get me the good sounds. I don’t care as long as the sounds are good. Because the musician and the decisions that they make is going to be the most compelling thing. How can you capture the essence of that? How can you capture that in the most pure way? A lot of times, for my guitar, it’s just plugging directly into the console. If you listen to a lot of the early Prince rhythm guitar stuff, or a lot of the Nile Rodgers guitar stuff, that’s what a lot of that is. Direct into the console.”

As for the next step along the signal chain, when it comes to Cory Wong, a custom guitar can only be followed by custom software. In this case, the product of a collaboration between the artist and venerable plugin developer Neural DSP.

“Most of the time, I use the Archetype: Cory Wong X plugin that I helped create with Neural DSP. There’s basically an emulation of an SSL console and a Neve console; there are characteristics of both hidden in there. But then there are also very clean amps in there.”

With filtering, compression, overdrive, cabinet simulation, room simulation and more available with the Archetype: Cory Wong X, the fact that Wong himself uses it must be evidence of its success, I offer.

“I was like, ‘The only way this thing goes out is if I am 100% satisfied, and if you are 100% satisfied,” Wong remembers saying to Neural DSP. “They sent me version one, and it was pretty good. And we made revisions. By version five, I was still like, not yet. It is great, but I don’t plug into it right now and think, ‘I have to use this for everything’. So we got to, like, version nine!”

If there’s one thing Lost In The Wonder demonstrates as much as Cory Wong’s propensity to stretch himself, it’s his willingness to back himself— and perhaps most impressive of all is the fact that it has yielded ample rewards on both fronts.

If time does indeed move at half-speed for the lightning-quick guitar player, he’s sure allowed plenty of it to pass before entering the new chapter of an ever-ascending career, positioning himself as an enabling force within the remarkable mechanics of his own artistic output. It’s a fresh precedent for Cory Wong the Producer, another unequivocal string added to the prolific artist’s already substantial bow.

The post “A lot of people know me as a guitar player, but I want to showcase my production”: Cory Wong appeared first on MusicTech.