New
Release
(plus taxes where applicable)
OVERVIEW
We are very proud to announce the Levine’s Machines software series by Iconic Instruments, a new collaboration with multi award-winning British Producer/Engineer, Steve Levine, whose storied career includes working with New Wave luminaries, Culture Club, David Grant, and The Mood; Punk pioneers The Clash, The Jags, XTC; and other varied major Pop acts, such as The Beach Boys, Sailor, Motörhead, Ziggy Marley, West World, Gary Moore and many others.
The first in the Levine’s Machines series, the LM-1, is a perfect emulation of Steve’s original drum machine unit that appeared on all of his most famous recordings. The LM-1, being one of just roughly 500 units, is a rarity that not only has the provenance of being a central part of Steve’s career, but the same model appeared on so many hits from the 1980’s, including recordings by Michael Jackson, Prince, Human League, Peter Gabriel, Stevie Wonder, and many, many more.
The sound of the LM-1 is instantly recognizable, and it can be tuned and manipulated (just like the original) to create a unique footprint for your tracks. But in addition to the original sounds and sound-shaping, the Levine’s Machines LM-1 by Iconic Instruments offers a full-featured sequencer, and a full mixing environment, with channel and mix bus effects chains, which include Drive, Compressor/Limiter, Transient Control and 4-band British-style EQ, all modeled from specific classic gear that Steve used in the 1980’s. There are channel and mix bus send effects, which are emulations of Steve’s most-used 80’s-era digital delay and reverb units. Each channel and effect can be bused within your DAW to a unique output, so that you have the option of printing or mixing in your DAW, rather than within the LM-1. And finally, the Levine’s Machines LM-1 comes packed with 20 Mix and Pattern presets, crafted by Steve himself, to give you ready-to-use drum sounds, or to use as a starting point for your tracks.
BLOG
TUTORIAL
(same features and functionality as the SP140)
The never-before-seen Density control allows you actually change the density of the reverb to range from a full, lush plate sounds to a light, transparent wash without reducing the fullness of the reverb.
The Drive knob allows you to not only add 70's-era distortion either pre- or post-reverb, but the high- and low-pass set screws give you the ability to place the distortion exactly where you want in the frequency spectrum.
As in a classic studio workflow, the GF240 has a Send Unit that features a filter section with high- and low-pass filters and a shapeable node to control the color of the reverb.
The slidable meter gives you control over the tail length, from a full six seconds down to 20 milliseconds (much shorter than available in an analog plate unit), or you can use the plus and minus buttons to conveniently jump in length by half-second intervals.
The Send Unit features a classic Pre-Delay control to delay (and slightly separate) the reverb from the original signal. The Send Width control allows you to narrow the input signal on the way into the reverb to help focus your track. And the Reverb Unit gives you a Reverb Width control that ranges from a full stereo reverb to a fully collapsed mono reverb. These impulses were specifically designed to sum to mono in a way that actually matches a true classic mono plate, rather than just summing left and right channels, which can give you an overly thick, muddy result. And the Reverb Pan control allows you to place the reverb in the center, or pan the entire plate signal off to one side or the other (think Eddie Van Halen's guitar sound on the first 5 records).
The Mix knob allows you set the wet/dry level, but there's also a convenient Solo switch that allows you to preview just the reverberation.
The GF240 includes 20 carefully crafted presets that range from classic to abstract.
FEATURES
The GF240 is not just another plate reverb... it's five different plates in one plugin, based on famous examples.