Korneff amplifier

Korneff Audio has launched a new audio plugin that combines killer reverb and delay effects with a super-friendly user interface and controls. The Micro Digital The post Korneff Audio releases Micro Digital Reverberator 80s digital reverb plugin appeared first on rekkerd. Read more at Rekkerd.

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• Looking for 20 - 40 watt Solid State amp for Klipschorns;
• Korneff Audio releases Micro Digital Reverberator 80s digital reverb plugin
• Korneff Audio – Amplified Instrument Processor 1.0 (VST3, AAX) [WiN x64]
• Unique, Interesting or Just Beautiful Point-to-Point Construction
• Pierce The Veil's Tony Perry: the 10 records that changed my life
• KORNEFF AUDIO: YOUR NEW MAIN SQUEEZE?
• Korneff Audio Amplified Instrument Processor v1.0 [WiN]
• HiFi Subjectivist ¦ Audio Forum ¦ NVA User Group

WATCH RELATED VIDEO: BIGGEST METAL GUITARS EVER? // NEURAL DSP GOJIRA + KORNEFF AMPLIFIED INSTRUMENT PROCESSOR REVIEW

Looking for 20 - 40 watt Solid State amp for Klipschorns;

That Korneff is one hellaciously good amplifier. It's on par with the Yamamoto, possibly preferable if you value more tone. To see the Tripath mentioned in the same breath as the Korneff was pretty heady stuff then. To me. Naturally, I also had my doubts. Having heard Tripath, Toccata and ICEpower analog switching amps, none thus far have compelled me to give up valves. Mind you, I would give 'em up - and good riddance in a heartbeat.

Premium 45s or Bs are expensive. They age so gradually that you can never be sure how far your sound quality has deteriorated.

That's an insidious whisper always at the back of your mind. Or, tubes mysteriously fail one of my Emission Labs solid-plate 45s just did, thankfully still under warranty. And there's more. This review page is supported in part by the sponsor whose ad is displayed above. Add some Platinum-tipped pointy feet and a leather-bound spin manifesto aka owner's manual and he could easily charge us triple. As is, fancified looks and spare change remain where they belong - on Rodeo Drive and in your wallet respectively.

Third, you might assume that the Signature 30 is nothing but a gussied-up Clari-T. It's not. It's a whole nuther ball game. Whether it's the increased power; better parts; some special synergy of all of the above But anyone who's heard a Clari-T to enjoy it for what it is while duly noting certain limitations -- harmonic leanness in particular that makes it a bit thin and threadbare when mated to Tripath speed and transparency -- will instantly know the difference.

I'm betting the choice of 2. In my AudioSector Pateks, designer Peter Daniel swears that what you choose for the few remaining parts in a minimalist circuit makes far more of a difference than seems sensible. I'm sure the same could be said for the Red Wine Audio amp.

Fourth, someone somewhere will want to know whether the 30 can be bridged. You'd be wrong. You can add a preamp to flavor the stew but you might prefer the 30 straight up with the integral DacT CT The decision is between ultimate transparency, speed and musical energy versus additional body and enhanced holographic image float.

Lastly, once you get the 30 topless, you'll curse. Or whistle. This can't be it? It's all there. And yes, the actual circuit once you disregard the batteries is tiny.

It's an effrontery to complexity. It asks that if this is enough, who needs all the other stuff you get -- and dearly pay for -- elsewhere. Some head scratching follows. After the insult of such minimalism wears off, you're ready to dip your toes into battery-powered Tripath magic to see how that wears - on , not off. L et's roll the sonics. The scuttlebutt is true. In other words, changing leads from my Yammy to the Siggie caused no disconnect, no sudden seams, no step down, no shift in overall flavor or gestalt.

The Signature 30 thus joins a very exclusive secret society of transistor amps whose handful of members include the exceptional Nelson Pass FirstWatt F3. These amps sport the microdynamic finesse, textural purity, treble elegance, beat fidelity and tactile suchness we expect from no-feedback direct-heated triodes - plus the obligatory voicing restraints to remain high-fidelity machines rather than pleasant distortion generators.

There will be others in this club. I simply haven't met 'em yet to know who they are. But the Signature 30 no doubt has the same secret handshake as the F3 to belong in the inner circle. And its eerie operational silence especially uncanny on vocals creates a special quality of fully manifested solidity and amazing smoothness that has one more perceptional hurdle -- of stuff to overlook or listen around -- go out the window.

While the archetype of this society's charter -- cloning direct-heated triodes with transistors -- creates like-mindedness, it doesn't mean carbon copies. Differences remain. What those are can't be identified in the limbo of abstraction. One needs the relative arena of comparisons. Neither of those sport volume controls. They were thus run with the sonically invisible Music First Passive Magnetic transformer attenuator.

This would, as closely as possible, match the 30's own passive attenuator. The frontal driver array has output below 35Hz to become a useful indicator for amplifier bass performance. To test the 30 truly full range, my 88dB Gallo Reference 3. The Signature 30 completely lacks unnatural sharpness around climactic vocal edges and plucked transients, of the kind that are staples in the Flamenco fare I fancy to instantly show up when an amp misbehaves.

Yet this minor warmth doesn't soften the presentation such as to undermine pop, crack and sizzle when appropriate. Life and warmth coexist. That's a mean balance to strike and walk.

If anything, I'd call this amp a skoch laid-back rather than forward. Brilliant voicing decision in general and especially for an everyman-priced solid stater.

Also lacking are those occasional instances where charged leading edges assume a kind of wiry behavior that's discontinuous and inappropriate.

Put differently, the Signature 30 doesn't suffer what I think of as foreshortening. That's when undue emphasis on the transient attacks prematurely "clips off" the musical event by rushing the decay portion. This may not be an actual shortening as much as a perceptional shift when the beginning of the event is overemphasized to make the follow-through appear less than it should.

Either way, the end result is a front-heavy presentation. In my experience, this is common behavior for transistors. It's one reason why they can sound somewhat flat and lean compared to tubes. The 30 does not exhibit this. It's also free of sibilant sizzle. Close-miked recordings display sibilants without treble-leading hissies. Very untransistory of the Signature. That doesn't mean it blooms like a typical valve amp.

It doesn't. But then neither does the Yamamoto. Which is a valve amp, simply not typical nor part of the deep triode school. This bloom -- a certain waft and wane of extra dimensionality and atmosphere -- can be instantly added with the 6SN7-based Wyetech Jade. If you want that quality, think premium tube preamp. For the Signature 30 as well as the AS.

If the Yamamoto preceded by a TVC lights your wick as it does mine, the Red Wine piece used as an integrated with passive attenuator will as well. They are soul brothers. Add the F3 into this family picture too. The genetic material of these three amps is the same. Both transistor amps in fact have a kind of textural purity that goes beyond even the 45 triodes in a somewhat androgynous asexual way. The Yamamoto does exude a bit more Eros. But that also renders it a bit less pure and nearly guaranteed equates to more distortion.

These are subtle distinctions. They are very challenging to put into words. The most important thing to stress by way of reference to the Clari-T is the utter absence of harmonic thinness.

Where valved amps do their thing with THD, the Signature 30 -- I assume -- does it solely with the Jensen paper-in-oil caps. Since most tube amps are capacitor-coupled as well, this theory suffers huge holes. Still, the 30 isn't lean, bleached, papery or whitish by any stretch or in any way.

Yet the Clari-T suffers echoes thereof. So the 30 isn't a Super-T. It leapfrogs into a completely different class of performance. He now recognizes what those of us spoon-fed on the really good stuff want. And he has, somehow, figured out how to give it to us by using deceptively simple -- and few -- ingredients.

If that's an accurate statement on Vinnie's evolution as a designer, he's come scarily far in a very short time. Watch out! The charging nightmare What nightmare?

Korneff Audio releases Micro Digital Reverberator 80s digital reverb plugin

Description: The Amplified Instrument Processor is a complete set of instruments designed to create the perfect guitar, bass, or keyboard sound. Its power and versatility make it an excellent processor for almost any audio task. AIP can do wonders for vocals, acoustic instruments, pianos, group buses, and even the entire mix. The AIP features a 4-band parametric equalizer based on German Klangfilm tube equalizers from the s.

Korneff Audio – Amplified Instrument Processor 1.0 (VST3, AAX) [WiN x64]

But notable other non- Lord-Alges have gotten in on the game, too — be it for their take on signal processing, drum samples or amp tones. And yes, I just referenced Journey lyrics. Have your mom explain them to you. Yes, all day long. Like… a lot a lot.. Choosing a compressor used to mean losing momentum to surfing compressor options. I one day realized that, despite all of their different graphics and supposed emulations, most of them sounded pretty much the same. I cleaned house and my workflow improved considerably. Engineers tend to engage compressors for two entirely different reasons.

Unique, Interesting or Just Beautiful Point-to-Point Construction

Even better, we have back-dated this so any purchases you made since have also been credited to your account! Click the button below to claim your free credit. Sounds by genre Sounds by formats Sounds by labels View all sounds. Nu Disco. Acid House.

Pierce The Veil's Tony Perry: the 10 records that changed my life

There are so many compressor plugins available that I almost feel hesitant to feature another one. The Korneff Pawn Shop comp is different in both look and features though, and that makes it a unique new entry in that category. The Pawn Shop Comp is made to be a color machine, as it emulates what you might find in a home-brew analog comp from days gone by. All the typical controls are there. The Threshold control is interactive with the Auto Make-up Gain function, which allows you to focus on creating music instead of tweaking levels. The Ratio control has a standard range of vintage limiters, from all the way up to

KORNEFF AUDIO: YOUR NEW MAIN SQUEEZE?

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Korneff Audio Amplified Instrument Processor v1.0 [WiN]

That Korneff is one hellaciously good amplifier. It's on par with the Yamamoto, possibly preferable if you value more tone. To see the Tripath mentioned in the same breath as the Korneff was pretty heady stuff then.

HiFi Subjectivist ¦ Audio Forum ¦ NVA User Group

RELATED VIDEO: Amplified Instrument Processor 1.1 Walkthrough

I was invited by an associate to come see and hear his audio system. I knew that he has some serious tube equipment including one of my early P-P amps but I had never seen it. When I arrived, I grabbed an amp in each hand, and went inside. As I carried my equipment up the stairs, I could hear someone playing the sax in the room. No, this sound was coming from speakers.

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