Huge Announcement from Cakewalk Sonar

Cakewalk announced huge news today.

Cakewalk Sonar (one of my beloved DAW softwares that I have grown up using for years), has just announced that it will soon be releasing a version that will run on Mac OS !

Also it has announced a time-limited offer for lifetime upgrades, with a one-time payment. The offer to jump on to lifetime upgrades will end 31 Aug 2016. Go to the official website for details and more information. http://www.cakewalk.com/June-2016#SONAR4Life.

I am not a Mac user, have never owned an Apple computer. But I'm still excited. I am glad that musicians on Mac will get one more alternative when choosing their DAW platform, and that the excellent software that Sonar is, will get more exposure and appreciation in the DAW community.

Somehow with this decision to adopt a new OS, I feel Sonar has stepped up to a new status. More widely used, more "international / universal", is the best way I can describe how I see this move.

Spectrasonics Announces Omnisphere 2!

Spectrasonics has outdone themselves with Omnisphere 2! 

Here's a quick run through of some of the features we can look forward to!


Introducing Omnisphere 2 from Spectrasonics on Vimeo.

Watch out for release dates!

PS:
Great news! Spectrasonics has announced that new owners of Omnisphere 1 will be entitled a free upgrade to Omnisphere 2 when it releases on April 30 2015.

Chris Hein Horns Compact Doodle

Just got myself the Chris Hein Horns Compact Library. Boy it is so good!

This is me completely playing nonsense (no note edits) on one patch of each instrument in the sax and clarinet section.

 It starts with saxes of the highest registers down to the lower ones, then clarinets from the higher to the lower ones.

 Please note that with exception to the bass and contrabass sax and clarinets, most of these have at least 1 other variation, (like the Eb and Bb clarinets, and Soprano Sax A and Sop Sax B) There is a whole other section with brass (trumpets (with & without mutes), flugel horns, trombones, tuba, etc) 

There are 65 instruments in all, a really great value for great sounding and playable instruments! Chris Hein Horns Compact sells at VSTBuzz.com at 50% discount (until 28 Jan 2015), at the price of 72.49 Euros (regular price 144.99 Euros). Grab it if you can!

http://vstbuzz.com/deals/50-off-chris-hein-horns-compact/

At the time of writing, the deal will run for 4 days and 13 minutes.

Eventide Ultra Channel FREE until 8 July 2014

http://www.bestservice.de/en/news.html#eventide_ultra_channel_free_download_

Eventide is giving away a great audio plugin as a promotion! This is good through July 8 2014. After this period the Ultra Channel will retail for $249.

UltraChannel™ is Eventide's new 64-bit native channel strip plug-in for AU, VST, and AAX64 for Mac and PC featuring micro pitch functionality from our flagship H8000, stereo delays with variable feedback paths, plus two stages of compression, gating, and five bands of parametric EQ.

Here are some videos to see and hear for yourselves. :)

Using Zampler to create a PitchFall Sound Design Patch

I have recently installed Zampler, the absolutely free plugin from PluginBoutique.com. Having watched the introduction video I was pleasantly surprised. Besides being a sfz player, there is a host of features that can spice and freshen up our old and dusty sfz collections.

These include fully automatable parameters like filters, ADSR and envelope controls, and effects like reverb, chorus, distortion, delay, and phasers. We can choose to make the instrument polyphonic or monophonic too. On top of that, we can also configure note gliding resulting in portamento.

The three main things that seal the deal and truly sets this virtual sampler apart, are:
LFO section(!) - 3 LFOs with 4 selectable waveforms can be used to modulate parameters. These are host tempo aware too!

Arpeggiator - An arpeggiator has been added with controls for pitch and velocity per note value. This would truly transform those

Mod Matrix - As if the earlier 2 features were not enough This third major feature alone makes it worth the while to incorporate Zampler into your workflow. This is a mapping section or virtual patch-bay to hook up almost any parameter's output (note pitch, note velocity, LFOs, mod wheel, pitch wheel, expression pedal, arpeggiator velocity(!), arpeggiator note pitch(!), or any randomly generated value) to any other parameter's output (volume, pan, pitch, ADSR, Filter Params, LFO rates, FX dry/wet levels, etc)

In my obsession with creating more pitch drop sound design patches, I decided to test Zampler out, and within minutes I have successfully used LFOs to modulate my pitch, and using my modwheel I could further affect the pitch in a playable manner. by using a second filter I could create a gating effect on top of the pitch drop. With automation I could automate the rate of the LFOs over time.

Watch the video and try this beast of a sampler out for yourselves!

Producer Spot - Free Downloads! - J3T Drum Tracks Loops Pack

Producer Spot Free downloads!: Fans can get exclusive downloads from Producer Spot. Come and get yours!

Grab the free Multi-track drum loops by J3T Drum Tracks!

This free Multi-Track Drum Loops pack, includes 4 ending sessions, 5 fills and 5 grooves sessions featuring 167 loops in Wav format and 167 Aiff files. From hi-hats, toms, cymbals to live kicks, snares and percussion this free loops are recorded at 120 BPM. Total size, after unzip the .rar file is 378 MB. To extract the files use WinRar on Windows and UnrarX on MAC.

You can use this drum samples and loops in your productions as royalty free, without extra costs.

Here's a sample track of the free Loops pack in action!

For more information about J3T Drum Tracks do check out their online drums sessions services here.

Ten Minute Master – Sample Streaming

This article from MusicTech is such a great read. 

Samples have come a long way, and we owe it to the great guys who continually push the technological boundaries so we can come ever closer to realism with our music.

The article talks about how it was in the days of sampling which, with unimaginably low resources (RAM only) allocated for samples, managed to squeeze only couple of seconds of samples for use in audio/music production.

Then came the revolutionary technology that broke the resource limitations of RAM capacity - the innovation of hard drive streaming, where sample data is streamed from hard disks to RAM.

It then talks about which types of harddrives are available and what aspects of hard-disk performance matters most when it comes to making music and getting the most when working with samplers. It also suggests some nice tips on how to spec-out your workstation to get the best performance for sampling based applications.

We are also reminded of the trend of greater efficiency with data, and continual improvements in technology, that music and virtual instruments in the future will sound ever closer to the realism that we dream of.

Free Shaker Virtual Instrument from Samplephonics

Samplephonics presents the community of electronic musicians and music producers with a FREE sampled shaker virtual instrument.

This free shaker percussion loops and samples is part of a bigger sample pack from Samplephonics called, 'Electroacoustic Shaker Percussion', which is going for only £9.70.

This free sample download comes with 10 free samples, all in 24-bit audio resolution.
Check it out and download it Here!

Do check it out, with all their other available products as well!

Sleigh Bells from Sonokinetic

Sonokinetic has come up with an amazingly detailed sampled virtual instrument of sleigh bells, just in time for the holiday season!

This super spec-ed out instrument contains not one but six different configuration of sleigh bells, with 1, 6, 13, 17, 21 and 25-bell configurations. If that were not enough, the guys at Sonokinetic did not just record one-hit samples for the library: they recorded tempo sync-ed performance loops of each of the bells. Now it is a composer's Christmas dream come true!

The best part of the story: it is free!

So head on over to get the complimentary instrument, check out more information about this superb instrument, listen to the demos and find out how excellent sounding their other products are, if you haven't heard of them before.

Sonokinetic was on the most recent issue of ScoreCast, sharing their company's creative vision and philosophy behind their products. Check it out here.



Note, Sleigh Bells is for the full version of Kontakt 4.2.4 and Kontakt 5 only. Please check your version of Kontakt before installing.

Simple Sam Samples - Signor Paganini Solo Violin

Let me present you with a new company and their amazing product, Simple Sam Samples' Signor Paganini Solo Violin for Kontakt.

I came to know about Simple Sam Samples from a forum.

The Virtuoso Solo Violin is a virtual instrument emulating the spectacular sound of Signor Paganini's signature instrument. It consists of spiccato / staccato playing sampled from the violin.

Being small and efficient in it's memory footprint and installation size, the sound is amazingly realistic, and the presence of the original instrument is faithfully re-created.

Special pricing available right now!
At the time of writing this article, there is a special pricing for the Signor Paganini Solo Violin. With at a regular price of $44.99, this solo virtual instrument is now going for only $14.95! To me this is a no-brainer purchase. Just buy it! :)

Audio Demos. Listen to the amazing realism in these demo tracks!

Video demos for your viewing pleasure

How Much Should We Charge for Our Music? by Emmett Cooke

Here's a great article that discusses how much we should charge for our work. It is written by Emmett Cooke.

It goes through the thought process of how much it costs us, and how much it costs the client.

After that it goes to discuss a few ways we can calculate our costs, and different ways we can charge the clients.

I believe it not only applies to just music composing, but can be really useful for any industry where you do a task-based project.

I got to know Emmett Cooke from this website he set up, its called VstBuzz.com. A music composer for media, games, TV and films, he is an active member in the music community. VstBuzz.com is his way of bringing great virtual instruments to the community at promotional/discounted prices. Do check it out!

After every purchase from VstBuzz, Emmett never fails to write in to see if everything is fine with the purchase and if the product is working well.

I applaud his passion for helping out the community, and I really love his music.

Now available: EastWest Partners SSL to Bring FX Global Suite for Play 4

EastWest has just released Play 4, the newest sample player engine for all its sample library products.

EW QL Symphonic Orchestra running on Play 4. The original 'skin' layout has been preserved,
along with a new look on the interface

What's new in the upgrade includes an improved streaming engine, improved overall performance, efficiency, a brand new mixer page, background loading, and more advanced instrument properties.

The all new mixer page on Play 4

Best of all, Play 4 would be available to existing Play users free-of-charge! That IS good news.

More information from the original sounds-online forum post, posted by Doug Rogers himself :)

Along with Play 4, comes the very exciting collaboration of EastWest with SSL, the very famous manufacturers of hardware consoles that have been processing audio signals for countless chart topping hits for the past decades. Now the same precision and signature audio processing power is has been integrated in software form, at a fraction of the original cost of SSL's standalone audio software plug-ins.

On top of all this, EastWest has added 726 additional reverb presets that comes with the SSL/EW  FX Global Suite. It really is value for money, at the current price of US99/EU99. Once you have paid for the license to use the EW/SSL processing tools, it will be enabled for all the sample libraries that run on the Play 4 engine.

These sound sculpting / dynamics processing tools of the SSL/EW FX Global Suite for Play 4, are implemented as channel fx/signal strips in the form of 'fx drawers' that are pulled down on top of the mixer view. Effects settings are stored per-channel. For every effects settings that is set up, the user can save these as presets that can be called up across different instances and projects.

The SSL/EW Global-FX drawer, and the comprehensive interface,
all fitting snugly into a single page of interface. Effects setteings are stored per-channel.

I have just installed and fiddled around with the Play 4. At present I am most impressed by 2 main features: The mixer, and the background loading feature.

The Mixer. This adds quite a bit of flexibility to the audio workflow of the project. If you look at a single mixer strip in the any of the new mixer view images, you will not see no functions that are 'new', nothing that you could not do before. However, the mixer view consolidates the midi/audio routing, panning, levels, so you can see them in the context of a levels and panning, as a mixing engineer does.

Also, if you have any of the Platinum/Diamond editions of any of the products that use mic positions (such as the ew symphonic orchestra, ew pianos, and the ew hollywood library series), each if the mixer strips will allow you to expand that single strip that will now function like a group buss, and expand out into individual mic positions as sub-strips, so you can have further controls over mic positions levels and panning. I feel this feature is really unique, ties up very well with the features of each of EastWest's library, and plays into the strength of the Play engine (pun intended). Well done, guys!

Background loading. Play 4 now has the ability to load an instrument in the background. This is true even if you are replacing a current instrument channel. In the past when loading an instrument, the play engine freezes up and the loading process takes prevents the user from doing anything. Now you can continue playing and enjoy the existing instrument while the new instrument is loading. Only upon the completion of the load, will the existing instrument be removed, and the new instrument samples will sound. Again this is true even if you are replacing your only instrument channel in the Play instance.

The images below show the background loading status bar at the bottom of the interface while loading. The GUI is completely interactive and functional while the loading is taking place, and you can still play the previous instrument even while it loads.

Background instrument loading in the mixer view

Background loading in the player view

All in all, the direction that EastWest is heading is very promising. I can see the beginnings of the counterpart of Vienna Ensemble Pro that Vienna Symphonic Library has developed. All that EastWest needs to do is add more features like group busses, aux routings and the ability to load audio and instrument VSTs to their mixer capabilities, and they would be on par with VSL's Vienna Ensemble Pro (except for the ability to operate in a network host/slave situation like VE-Pro does).

FL Studio Mobile is Out!

What happens when inspiration hits you, and you wish you had your DAW with you in your pocket?

Here comes FL Studio Mobile, available on Google Play and Apple's App Store!


FL Studio Mobile is priced at USD19.9 in both the App Store and Google Play store. The iOS version will work on iPod Touch, iPhone and iPad. Android version requires phones and tablets to be Android 2.3.3 and above.


Read the news release on Image-Line's official website, Image-Line's product page, and visit the App Store and Google Play store for more information..

This product looks and sounds amazing from the videos. Reading the specs makes me realise how serious Image-Line guys are when they wanted to create a mobile version of the big brother in the family. They ported a huge portion of functionality across, and whatever operation you can think of doing on the desktop FL Studio, there is a high chance that you can do exactly the same thing in the mobile version.

On top of faithfully bringing across all the features of the original desktop, Image-Line also makes full use of the mobile platform to make a native product that does not just seem like a OS port. For example, they make use of the accelerometer to control the pitch of the instruments.

Best of all, FL Studio Mobile is fully interoperable with the desktop version in terms of saving and reading  files from either versions. FL Studio Mobile also has the ability to save directly to email or dropbox (cloud storage).

WavesFactory Drumkits Sale on VSTBuzz.com!

I just found an awesome website called vstbuzz.com. It features lots of discounts from different VST developers from time to time.

Right now the discount is on WaveFactory products: Four WaveFactory drum kits are selling for a mere US$26, (from the original price of US$52)! At this time of writing there are 6 more days left until offer ends, so hurry!

This offer includes the following drumkits: Tea Towel Drums, Ossifar Drums, Brush Drums and the Classic Rock Drums. Total sample size of these kits is almost 16GB, so I'd say it is a steal at this offer price, so do check them out. Below are some demos of the kits in action, for your listening pleasure.

Get the latest information on VST discounts by signing up for the newsletter at VSTBuzz.com.




The founder of VSTBuzz is Emmett Cooke. Emmett is a multimedia composer for film and TV, as well as high-end corporate brands. Visit his official page here.

Results of the Audio Spotlight Cinematic Guitars 2 Sample Logic Contest

The results of the Audio Spotlight Sample Logic Cinematic Guitars 2 Contest are out!

The 3 winners are:

1st place: Terminal by Rob Pottorf
Rob wins the new Cinematic Guitars 2 sample library and 400 SL cash to use at Sample Logic's online store


2nd place: Icarus by Adriano Maria Maiello
Adriano wins the new Cinematic Guitars 2 sample library


3rd place: Requiem by Franto Kormanak
Franto wins 200 SL cash to use at Sample Logic's online store

Visit the official results page here: http://theaudiospotlight.com/cg2-sample-logic-contest/


My entry did not win any prizes, but it was definitely good exposure. Because of the contest, Crossing the Mountains (my entry) became the piece that has received the most listens in the shortest amount of time amongst all my pieces of work uploaded to SoundCloud.com to date. Therefore I am very grateful to The Audio Spotlight and Sample Logic for this opportunity to put my music out there where the world can hear it.

CG2 - Crossing the Mountains: My Entry for Cinematic Guitars 2 contest!

Listen on SoundCloud.com

This is my entry for the Cinematic Guitars 2 Sample Logic Contest hosted by The Audio Spotlight. 

Designed to be a driving piece using sound-designed instruments, Crossing the Mountains heavily features sounds from Sample Logic's Morphestra. 

Below is a full list of the sounds I used.

SampleLogic Product used in this piece: Morphestra
Morphestra patches used:
- Distant Pianos
- Two Way Play
- Deep Brass Bass
- Reversing Time
- Low Blow
- Reverse Collection
- Symphonic Percussion
- Cymbal Collection
- Symphonic Ensemble
- Colors of the Wind
- Death Proof

On top of this I also used a few of Kontakt Factory Library's sounds and instruments from Albion 1 and Albion 2, and a flugel horn from WavesFactory.

Created in FL Studio 10.0.9

It took me about 12 days to get it completed. I started on the 19th Sep 2012 and completed it on 30 Sep 2012. 

The Audio Spotlight - Cinematic Guitars 2 Contest!

The Audio Spotlight is hosting a contest to promote Sample Logic's new release: Cinematic Guitars 2

Here's the official contest page, with the rules and regulations.

Prizes:
1st prize: 1 Cinematic Guitars 2 + $400 SL Cash to use in Sample Logic's store
2nd prize: 1 Cinematic Guitars 2
3rd prize: $200 SL Cash to use in Sample Logic's store

Some of the Rules concerning the submission requirements, methods and formats:
In this contest, contestants are required to submit a piece (only ONE piece) of original composition not exceeding 2 minutes in duration.

This piece must highlight at least one Sample Logic product.

All work done on the piece of music must be entirely from the contestant. This means no collaborations are allowed.

Submissions must be uploaded to the The Audio Spotlight's group created for this contest on SoundCloud. Click to join, submit, or listen to some of the submitted works!

Submissions must use Soundcloud's mp3 format @ 192kbps.

Contest ends on Wednesday 3 Oct 2012, 11:59pm PST.

For a complete and updated list of rules involving the contest, please visit the official contest page!

There is still time to enter! All the best!

Latest Updates:
The deadline is now Midnight, 7 Oct GMT, on a Sunday.

Albion II - Loegria Videos from Spitfire Audio

In the spirit of excitement waiting for the release of Albion Loegria (that's tomorrow!), here are a few videos posted on Spitfire Audio's YouTube channel. There are many videos on other Spitfire Audio products there, so do check them out too.

Albion Loegria - Strings Walkthrough

Albion Loegria - Woodwinds, Brass & Strings Multis Walkthrough

Albion Loegria - Non-Orchestral Walkthrough

Albion Loegria - Byron Beats (Behind the Scenes)

Albion Loegria - Byron Beats (The Making of)

Spitfire Audio Releases Albion Volume II - LOEGRIA

All information below is available on the Spitfire Loegria product page. Please check it out for the most updated and accurate information.

I have to say this before anything else, so you don't miss the offer: 

Loegria's RRP is £329, but for 2 weeks from the release date of 30 Aug 2012, there is an introductory price of £249, and a 25% discount voucher for any of Spitfire's other products. 

(That's tomorrow, btw!)

It is with great excitement and anticipation that I read the news regarding the release of Spitfire's newest product, Albion Volume II - Loegria.

Due to be released tomorrow, Loegria aims to create intimate, cinematic and beautiful sounding scores. As with Albion Volume I, Loegria includes the complete sections of woodwinds, strings, brass and percussions to complete the various sections of an orchestra, played by the finest players in the UK, and recorded on warm and organic sounding 2" tape through a signal chain involving the highest quality equipment including valve and ribbon microphones.

A four-way mic control is made available to every instrument patch for great versatility. Short patches are recorded with 4x round-robin for great organic sounding performances.

The strings section is chamber-sized resulting in a very intimate and expressive sound. Included in the strings sections is also a number of techniques that extend the versatility of Albion Volume I's offerings. Recorded for a more choral interpretation of the instruments,

The brass section consists of 2 ensembles, the Euphonia and Horns, and the Sackbut choir, all produced to bring out the beautiful choral quality particular to the instruments being recorded.

The wind section consists of wooden recorders. The finest players who played for the recording brought out the simplistic yet beautiful qualities of these traditional instruments.

On top of these regular sections of the orchestra, there are unconventional additions to the collection, like the Byron Beats, Darwin Percussion, Stephenson's Steam Band and the Fenton Reversals.

Byron Beats is a collection of rhythm loops and inspired by a hugely popular vintage keyboard in the 60s & 70s. Designed to sync with the host DAW's tempo, these loops will feature a full-bandwidth analogue recording version, and another that goes through a signal path that includes a line mixer owned by Jimi Hendrix himself.

Darwin Percussion is another group of huge sounding cinematic drums to add to Albion Vol I's already impressive collection. Spitfire have gone deeper this time with 5x round robin recording, 5 dynamic layers, and more hits to truly get an organic feel in the performance. Patches come in 'tight' and 'loose' versions, the former to give a very impactful and huge sound, and the latter to give the sound a feel for the manpower behind the performance.

Fenton Reverses are meant to help musicians get out of tight corners when visual edits or visual rhythm forces the composer to change cue in mid-bar, or even mid-beat. These are cool sounds that are derived from the Albion range that do the job to break up the music so the next cue can begin without a jerking the listener out of the movie.

Stephenson's Steam Band is a collection of aesthetically 'mutilated' and 'mutated' sounds taken from within the Loegria's recordings. Many of them sounding beyond recognition from the original elements, the result is an inspiring collection of drones, pads and atmospheric tools that will blend seamlessly with the rest of Loegria's patches which come from the same organic source. These evolving sounds and pads, even though they are 'pre-programmed' to evolve and change over time, have a huge expressive potential. They are programmed so that there is a 2-way mic control and a modulation control. Between the two controllers you will be able to get surprising expression out of these patches.

IK Multimedia Releases ARC System 2

IK Multimedia has just released ARC System 2 ARC stands for Advanced Room Correction. This is a complete set of hardware and software that will calibrate your working environment for accurate audio reproduction.

The ARC system is the only solution that combines a microphone and a corrective plug-in to correct the sound quality for the acoustic environment the user is working in:

- elegant

- low cost

- portable

ARC 2 is based on the patented technology that drives Audessy's award-winning MultEq XT32 room-correction solution. 

Implementing the ARC room-correcting solution involves sampling the characteristics of the room's acoustics. After the room is profiled, the user can specify the position(s) where the listener would be (this does not need to be just the engineer's "sweet spot").

All that takes now is the route the DAW's master bus' monitoring output through the supplied ARC's plug-in. Thus the sound that gets sent to our monitor speakers would be an accurate signal that has been de-room-ed from the room profile that was taken earlier.

ARC system is:

- the first DAW-based room-correction solution in the market

- based on Audyssey's MultEq XT32 patented technology that corrects phase and frequency distortions in any acoustic environment

- improves clarity, stereo imaging and frequency response for faster and more reliable mixing

- immediately improves the sound of any room, acoustically treated or untreated (bedroom, audio control room, etc)

- step-by-step set-up is simple and straightforward

- the plug-in is compatible to native 64-bit DAW applications

- since it is a completely mobile solution, any musician and audio engineer can now reliably work with audio material on the go, in any environment

ARC 2 improvements:

- improved interface and a new 'monitor control panel' allows for greater ease-of-use

- resolution of calibration is 4 times more accurate. This helps improve critical low-end response

- mid-range and high frequencies are now smoother and more natural sounding

- new combined L/R option maintains perfect focus with symmetrical control rooms

- new customisable target curves allow engineers to create response curves to match their preference

- new 'virtual monitoring' feature allows simulates the frequency and audio response characteristics of popular audio play-back devices like popular studio monitors, car systems, boomboxes, etc. Really useful for previewing the audio material being played back under different conditions.

- higher quality can now be achieved in fewer measurements resulting in quicker set-up time

- measurements can be saved and used for multiple correction set-ups

The included microphone used to measure the room is a calibrated, omni-directional, and has a super-linear frequency response. It's flat frequency response is the key to room measurement. 

When not used for the purpose of calibration, it can then be used as a high quality microphone to faithfully and colourlessly capture any audio signal. 

The ARC 2 sells for 249.99 Euros at IK Multimedia's online store. Existing owners of ARC version 1 are eligible for an upgrade offer of 84 Euros. 

Having coloured sound in our monitoring mix is an age-old problem we all have to deal with when we are working with sound. This problem has plagued audio engineers, musicians, even acoustic-treatment engineers. 

Many workarounds have been used over the years to overcome this problem. 

Some of us treat our rooms with acoustically isolating materials. This requires us to place permanent/semi-permanent fixtures and a hefty sum of money altering the physical room, depending on the extent of the room treatment. This method also limits the flexibility of the solution. For example, the quality of the sound would alter again if the treated room were to be re-arranged (eg, having a cupboard added to one of the walls, or moving the workstation to face in another direction. Lastly, this method is not mobile. The corrected sound can only work within the treated room and limited to a certain areas of optimal listening.

Using sound-isolating headphones can partially solve the problem. However, the closed acoustic nature of the headphones does not allow us quite the same monitoring experience or a natural environment such as an acoustically accurate space similar to the size of a rooms.

There are solutions involve measuring the phase and frequency response of the room and then running the monitoring signal through an equaliser that negates the room's frequency response. Many of these solutions are limited to providing accurate monitoring within the confines of a 'sweet spot'. That is because their room correction algorithms do not cater for multi-position measurements as input variables.

Calibrating for accurate monitoring in the audio engineering context is akin to (and every bit as critical as) calibrating the colours of a computer display for a visual artist (desktop publishing designer, graphics artist, animator, etc) Without the ability to be absolutely sure that they are handling the same colour, they will never be able to achieve a high level of accuracy on what the resulting colours will end up looking like.

For me, the most attractive additions to ARC version 2 would be 

- the simulation of multiple playback profiles allowing us to preview how our content will sound like when played from some common speakers.

- the very high accuracy measuring microphone