What VoiceAssist Does

VoiceAssist combines six voice-specific processing modules into a single environment and supports ARA integration, allowing analysis and editing directly on audio clips within compatible DAWs. The stated goal is to reduce the time required for cleaning and leveling spoken or sung material without relying on fully automated, opaque processing.

The six processing sections include:

• Clean: Denoising, dereverberation, and frequency repair intended to remove unwanted artifacts while maintaining intelligibility.
• Lowend: Tools for low-frequency recovery, resonance control, and adjustable high-pass filtering.
• Gate: A voice-aware gate designed to detect pauses without cutting off words or syllables.
• Dynamics: Volume riding and loudness matching for more consistent levels.
• Breath: Detection and reduction of breaths with an emphasis on retaining a natural sound.
• Sibilance: Targeted control of harsh consonants without broadly dulling the signal.

Each section can be adjusted independently, with visual feedback and editable regions so users can determine where and how much processing is applied.

Workflow and Compatibility

VoiceAssist is available both as an ARA plug-in and as a standalone application. In supported DAWs—listed by NoiseWorks Audio as Pro Tools, Cubase, Nuendo, Studio One, and Reaper—ARA integration allows clips to be analyzed instantly on the timeline. The standalone version supports exporting audio and MIDI automation, making it suitable for podcasting, audiobooks, and post-production workflows outside a DAW.

The plug-in supports AU, VST, and AAX formats on macOS and Windows. Licensing is available via iLok or NoiseWorks Audio’s own licensing system, and a fully functional trial version is offered.

Early User Feedback

NoiseWorks Audio reports that early access users include mix engineers and post-production professionals working in music and broadcast. Comments cited by the company highlight the transparency of the processing and the limited setup required to achieve usable results, particularly for de-essing, dynamic control, and resonance management. As with any early endorsements, these impressions reflect individual workflows and use cases.

Pricing and Availability

VoiceAssist is scheduled for release on January 14, 2026, with an introductory price of $199, compared to a stated regular price of $299. The introductory offer runs until February 3, 2026. Existing DynAssist users are eligible for an upgrade price of $99 during the same period (regularly $149).

NoiseWorks Audio will be exhibiting at NAMM 2026, booth #15800. Additional product details are available on the company’s website.

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According to AKG, the C104, C114, and C151 are designed to balance professional audio performance with straightforward operation. All three microphones use a transformerless FET circuit design intended to deliver low self-noise and a wide dynamic range, making them suitable for both quiet sources and louder performances without requiring complex setup.

Design and workflow considerations

The microphones feature a streamlined physical design that reflects AKG’s recent industrial styling while remaining practical for studio and on-camera use. AKG notes that the C-Series models are intended to integrate easily into common recording workflows, with an emphasis on quick setup for users who may be working across music production, podcasting, streaming, or video creation.

Polar patterns and recording flexibility

The new C-Series includes both cardioid and multi-pattern options, depending on the model. This allows the microphones to adapt to different recording scenarios, from single-source vocal tracking to interviews or room capture, without requiring additional hardware changes.

Sustainability-focused construction

One notable aspect of the new lineup is its emphasis on sustainability. AKG states that the microphone bodies are made from 100% recycled post-industrial recycled (PIR) metal. Packaging and included accessories have also been designed with reduced environmental impact in mind and are fully recyclable.

Manufacturer perspective

HARMAN representatives highlighted that the C-Series development focused on everyday usability for modern creators, informed by feedback from musicians and content producers. The company also emphasized AKG’s long-standing role in microphone design and its intent to apply that experience to products that are more accessible without targeting high-end, specialized studio segments.

Availability

The AKG C104, C114, and C151 condenser microphones were officially unveiled at NAMM 2026. Additional specifications and regional availability details can be found through AKG’s official product pages.

These new C-Series microphones position AKG toward users looking for professional condenser microphones with modern design choices, flexible recording options, and sustainability considerations, without the complexity often associated with traditional studio microphones.

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At its core, the UMD192 is built to handle large-scale I/O requirements. The interface supports up to 192 channels of audio at 44.1, 48, 88.2, and 96 kHz sample rates, with support for up to 128 channels at 176.4 and 192 kHz. Connection to a computer is handled via USB 3.0 using a class-compliant implementation for macOS, while Windows systems are supported through an SSL driver.

On the digital audio networking side, the UMD192 includes six pairs of MADI BNC connections, which can be configured for dual-redundant operation, allowing up to three redundant MADI links. Dante audio-over-IP is also fully supported, including interoperability with AES67 and ST 2110 (when used with Dante Domain Manager). SSL states that Dante latency can be configured as low as 0.25 ms, depending on network conditions.

Clocking can be sourced from either MADI or Dante, providing flexibility when integrating the interface into existing systems. The unit includes four ruggedized Ethernet ports—two primary and two secondary—for Dante networking, each with link and activity indicators. Additional front-panel LEDs provide visual confirmation of signal flow, sample rate alignment, power status, and connectivity.

The front panel also features physical controls for basic operation, along with a lockout function designed to prevent accidental changes during live or broadcast use. Power options include AC mains, Power over Ethernet (PoE), or USB, with support for redundant power configurations to improve reliability in mission-critical setups.

Designed with portability in mind, the UMD192 can be used on a desktop, positioned alongside a console, or mounted in a rack. SSL includes a USB-C cable, a USB-A to USB-C adapter, and an IEC power cable with the unit.

The Solid State Logic UMD192 is being shown at NAMM 2026, with additional technical details available on SSL’s website.

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The TEQ is built around two frequency bands, each offering ten selectable frequencies and switchable peak or shelving operation. The low band covers 30 Hz to 720 Hz, while the high band ranges from 1 kHz to 24 kHz. Both bands use a low Q of 0.5, making the EQ suitable for broad tonal shaping rather than narrow corrective work.

One of the defining aspects of the TEQ is its stepped gain structure. Cut and boost adjustments begin at 0.25 dB increments up to 1 dB, then increase in 0.5 dB steps up to 4 dB. An extended range switch allows the maximum cut or boost to reach ±8 dB for more assertive adjustments, though TK Audio notes that the extended steps are not a direct doubling of the panel markings.

In addition to the two EQ bands, the TEQ includes both high-pass and low-pass filters. The high-pass filter offers six selectable frequencies between 20 Hz and 60 Hz with a 12 dB/octave slope, while the low-pass filter provides six options from 12 kHz to 27 kHz. These filters are intended for managing low-end buildup and high-frequency harshness, respectively, and are controlled simultaneously for both channels.

The unit also features a built-in M/S function, allowing independent processing of the mid and side components of a stereo signal. When M/S mode is active, the TEQ’s cue function can be used to monitor mid or side channels directly. In standard stereo operation, the same cue control allows monitoring of the left or right channel. Illuminated switches indicate EQ and M/S status, with additional LEDs confirming cue activation.

From a construction standpoint, all rotary controls on the TEQ are stepped, and audio switching is handled with gold-contact switches and relays. TK Audio states that the signal path avoids electrolytic capacitors and is designed for extended bandwidth, with a published frequency response of 20 Hz to 80 kHz (±0.1 dB).

Key specifications include a maximum input and output level of +27 dBu, a dynamic range of 122 dB, and a signal-to-noise ratio of 95 dB. Total harmonic distortion plus noise is specified at 0.0005% at both 0 dBu and +20 dBu under the stated test conditions. The unit operates on either 115 V or 230 V power, selectable internally.

The TEQ is available now through TK Audio’s network of distributors. In the U.S., it is priced at $2,399, with regional pricing listed at €2,249 (including VAT), £2,150 (including VAT), and SEK 24,995 (including VAT). RAD Distribution is showcasing the TEQ at NAMM 2026 in booth #14402 (ACC North Level 1).

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Design and concept

At the center of the Type-21 is Heiserman’s Generation 5 HK12 capsule, the same capsule used in the company’s H251 microphone. The capsule is hand-crafted in the United States and housed in a compact, all-aluminum body. Unlike traditional tube-based 251 designs, the Type-21 uses a transformerless circuit built around a low-noise JFET, along with selected resistors and capacitors intended to prioritize low noise and consistency.

The smaller form factor is designed to make placement easier in tighter recording environments, such as drum rooms, guitar cabinets, and vocal booths, where larger vintage-style microphones may be less practical.

Controls and functionality

The Type-21 includes onboard controls aimed at flexibility during tracking. Engineers can switch between cardioid, omni, and figure-8 polar patterns, engage a high-pass filter to reduce low-frequency buildup, or activate a -15 dB pad for higher-SPL sources. The microphone operates on standard +48 V phantom power via XLR, eliminating the need for an external power supply.

A softly illuminated Heiserman logo is integrated into the microphone’s circuitry, serving as a visual indicator that the microphone is powered and active.

Manufacturing and build

Heiserman Audio states that the Type-21 is designed, machined, assembled, and manufactured entirely in the United States. The microphone is intended to balance studio use with durability suitable for regular session work.

Key features

• Generation 5 HK12 large-diaphragm capsule
• Transformerless JFET condenser design
• Switchable cardioid, omni, and figure-8 polar patterns
• High-pass filter and -15 dB pad
• Phantom-powered operation
• Made in the USA

Technical specifications

• Type: Large-diaphragm condenser
• Capsule: Generation 5 HK12, brass and acrylic chambered
• Diaphragm: Dual 6-micron, 24k gold-sputtered Mylar (PET)
• Power: +48 V phantom power
• Frequency response: 20 Hz – 20 kHz
• Max SPL: 130 dB (145 dB with pad)
• Sensitivity: 20 mV/Pa ±1 dB
• THD: <0.5% @ 1 kHz, 1 Pa
• Output impedance: 42 Ω
• Amplifier type: FET
• High-pass filter: 160 Hz
• Connector: Amphenol XLR
• Mount: Standard 57-style mic clip
• Dimensions: 138 mm (L) × 50 mm (W) × 28.5 mm (D)

Availability and pricing

The Heiserman Audio Type-21 is scheduled to be available starting January 15, with a suggested price of $1,499 USD. It will be sold through authorized Heiserman dealers worldwide as well as directly from the manufacturer.

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For audio professionals, the announcement is notable primarily for what it means for Logic Pro, Apple’s flagship digital audio workstation, which is now included in the subscription alongside other pro-level software.

What’s included in Apple Creator Studio

Apple Creator Studio combines the following applications under one subscription:

• Logic Pro (Mac and iPad)
• Final Cut Pro (Mac and iPad)
• Pixelmator Pro (Mac and iPad)
• Motion (Mac)
• Compressor (Mac)
• MainStage (Mac)

In addition, subscribers gain access to new intelligent features and premium content across Keynote, Pages, and Numbers, with support for Freeform planned for a later update.

What’s new for Logic Pro users

As part of the Apple Creator Studio launch, Logic Pro for Mac and iPad receives additional intelligent features aimed at composition and production workflows. Apple highlighted tools such as Synth Player and Chord ID, which are designed to assist with sound selection and harmonic analysis during writing and arrangement.

For existing Logic Pro users, these updates appear to be incremental feature additions rather than a redesign. For new users, however, the subscription model lowers the upfront cost of entry, particularly for those who also work in video, live performance, or other creative disciplines.

Subscription pricing and availability

Apple Creator Studio will be available via the App Store starting Wednesday, January 28. Pricing is set at:

• $12.99 per month or $129 per year
• One-month free trial for new subscribers
• Education pricing at $2.99 per month or $29.99 per year for eligible students and educators

The subscription covers access to all included apps across supported Mac and iPad devices, along with the associated premium features in Apple’s productivity apps.

Apple confirmed that users who prefer traditional licensing can still purchase the Mac versions of Logic Pro, Final Cut Pro, Pixelmator Pro, Motion, Compressor, and MainStage as one-time purchases through the Mac App Store.

What this means for Apple’s pro audio ecosystem

Apple Creator Studio represents a shift toward a more unified subscription offering for creative professionals and hybrid creators who work across audio, video, and visual media. For Logic Pro users in particular, the move positions the DAW alongside Apple’s broader creative toolchain, rather than as a standalone product.

Whether long-time Logic users choose to remain on perpetual licenses or move to the subscription model will likely depend on how frequently Apple adds new features and how tightly Logic Pro continues to integrate with the rest of the Creator Studio ecosystem.

More details about the subscription are available on Apple’s website.

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The UA 610 Tube Preamp & EQ Collection includes software emulations of the 610-A and 610-B tube channel strips. These models are based on the original 610 console modules designed in 1960 by Bill Putnam Sr., whose work played a significant role in the development of modern recording consoles. The original hardware became known for its tube-based amplification, transformer design, and simple but musical EQ section.

Universal Audio first introduced the 610 plug-ins for its Apollo DSP platform in 2014. The new native release allows the same processors to run directly on a computer’s CPU, expanding access to users who do not own Apollo interfaces. Both the Apollo DSP and native versions are included in the collection.

According to Universal Audio, the emulations model the complete signal path of the original units, including tube stages, transformers, and EQ circuits. The two versions reflect different design approaches: the 610-A offering broader tone shaping, and the 610-B providing more precise control.

The company notes that Apollo users can still take advantage of Unison preamp integration, which allows the plug-in to interact with Apollo hardware at the input stage. Native users, meanwhile, can use the plug-ins like standard DAW inserts across multiple instances without DSP limitations.

The UA 610 Tube Preamp & EQ Collection is available now as a free download for a limited promotional period through Universal Audio and participating retailers. After the promotion ends, standard pricing will apply.

More information is available directly from Universal Audio.

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The OptoFET features two primary operating modes. In Dual Stage mode, the FET and optical compressors are placed in series, allowing users to apply both types of compression sequentially. The signal flow can be reordered, enabling either FET-into-Opto or Opto-into-FET processing. In Dual Band mode, the compressors are split across frequency bands, with one handling low frequencies and the other handling high frequencies. A variable crossover control allows users to define where that split occurs, enabling independent dynamics control across the spectrum.

Each compression stage includes variable attack, release, threshold, make-up gain, and parallel blend controls, along with sidechain high-pass filtering. The unit also introduces two harmonic modes labeled GRIT and BLOOM, which generate harmonic content through the behavior of the compression circuits themselves rather than through transformer saturation. According to the company, these modes are distinct from Rupert Neve Designs’ earlier SILK circuitry and are designed to provide additional tonal shaping options tied directly to gain reduction and sidechain interaction.

Although the OptoFET is a mono unit, it features 31-position detented controls, allowing matched pairs to be used for stereo applications such as buses, stems, or full mixes. Rupert Neve Designs positions the OptoFET for use across tracking, mixing, mastering, live sound, and sound design workflows, depending on configuration and settings.

The Rupert Neve Designs OptoFET is shipping worldwide now, with a suggested retail price of $1,999 USD / €1,799 EUR / £1,549 GBP, excluding local taxes. Additional details are available from the manufacturer’s website.

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Studio One Pro Becomes Fender Studio Pro

Beginning this year, Studio One Pro will be rebranded as Fender Studio Pro. Fender says the underlying DAW continues to build on the existing Studio One feature set, while introducing a redesigned interface and deeper integration with Fender-branded instruments and effects.

New and updated features highlighted by Fender include:

• A revised visual layout with channel and arrangement overviews designed to streamline navigation and mixing
• Native Fender amp and effects plug-ins, including Mustang guitar and Rumble bass models
• Updated samplers and an AI-based audio-to-note function that converts recorded audio into editable MIDI
• Chord-based tools aimed at songwriting and harmonic exploration

Fender Studio Pro 8 will be available as a perpetual license or via subscription, with pricing varying by region. Owners of certain Fender-branded interfaces will also have upgrade paths from bundled demo versions.

Fender Studio App Updates

Alongside the DAW rebrand, Fender released version 1.2 of the Fender Studio companion app for iOS, Android, macOS, Windows, and Linux. The app remains free to download and is positioned as a lightweight recording and practice tool.

The update adds the ability to transmit sessions directly into Fender Studio Pro, expanded chord and drum features, and optional in-app purchases that unlock additional amps, effects, and higher track counts. Fender notes that some features are also included with an active Studio Pro+ membership.

New and Renamed Recording Hardware

Fender also introduced several updates to its recording hardware lineup, consolidating previously separate product families under Fender branding:

• Fender Quantum LT Series – A range of USB audio interfaces positioned for home and project studios, featuring MAX-HD microphone preamps, low-latency drivers, loopback routing, and integration with Fender Studio Pro. Higher-end LT models add expanded I/O, MIDI, and standalone mixer capabilities.
• Fender Quantum HD Series – Higher-spec interfaces offering up to 32-bit/192 kHz conversion, re-amp outputs, DSP monitoring, and ADAT expansion for larger recording setups.
• Fender Audiobox Go – A compact 2×2 USB-C interface designed for portable recording, podcasting, and simple desktop setups.
• Fender Motion Controllers – New hardware controllers designed to integrate directly with Fender Studio Pro for transport control, editing, and performance-oriented interaction. Fender says Motion will also support broader DAW workflows. Availability is expected in spring 2026.

Platform and Brand Changes

Fender confirmed that existing PreSonus users will transition from the MyPreSonus portal to MyFender, which will serve as a unified account system for Fender software, hardware, and instruments. According to Fender, existing customers will continue to receive support and updates during the transition.

The PreSonus brand will remain active within Fender’s portfolio, continuing to develop products such as StudioLive mixers, Eris monitors, and PA solutions.

Looking Ahead

Fender framed the announcements as part of a longer-term effort to more closely connect its software, hardware, and instrument ecosystems. Additional updates across Fender Studio Pro, control software, and notation tools are expected later in 2026.

More details on the new Fender Studio lineup are available via Fender’s official channels and product pages.

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According to the companies, the REDD Mixing System represents the first EMI-branded recording console introduced in more than 50 years. Rather than a fixed-format desk, the system is designed around a modular architecture that allows engineers to assemble custom configurations by combining REDD, TG, and RS-style channel and buss modules. This approach is intended to support a wide range of studio environments, from smaller private rooms to large-format control rooms, with the ability to expand or reconfigure the console over time.

Development of the REDD Mixing System spanned approximately six years and involved close collaboration between Chandler Limited founder Wade Goeke, Abbey Road Studios Head of Audio Products Mirek Stiles, and Abbey Road’s engineering team. The design reflects historical EMI construction practices while incorporating features intended to align with modern recording workflows. Each channel cassette is fully hard-wired and transformer-balanced, with hand-assembled components throughout. Chandler Limited states that the system avoids surface-mount components, ribbon cables, and PCB-mounted switches in favor of traditional hand-wired and hand-soldered techniques.

The modular cassettes are housed in console frames that occupy 12U of standard rack space per bay, with additional bays available for expansion. Tube and solid-state modules can be freely intermixed within the same system. Visual design cues reference classic EMI consoles, including illuminated faders designed to echo the appearance of vintage desks while using newly developed mechanical components.

Several input cassette options are planned at launch. These include a Class A TG2-style microphone preamplifier paired with a four-band Curve Bender EQ, as well as an all-tube REDD microphone preamp/EQ with switchable Pop and Classic EQ curves. Chandler Limited also confirmed that a MKI TG cassette, based on the original germanium transistor TG consoles from the late 1960s, is currently in development with a targeted release in the fourth quarter of 2026.

Buss cassette options include Class A TG2-style busses and tube-based busses derived from a newly developed RS61-type circuit. Each buss module includes stereo wet/dry mix control, a switchable insert point, NAB/IEC stereo buss EQ, and both coarse and fine gain controls. The system also incorporates low-level inserts on console sends, enabling reamping directly from console channels and facilitating integration of pedals or other low-level devices without external reamp boxes.

For larger configurations, the REDD Mixing System supports 12-channel expander cassettes, each providing twelve Class A TG2-style circuits with four busses and four sends per channel. A stereo master buss cassette is available for higher channel-count systems, offering TG2-style circuitry, wet/dry mix control, and insert functionality. Monitoring and routing are handled by a dedicated control room cassette, which supports up to three speaker sets and provides monitoring of busses, sends, master buss, auxiliary paths, and external inputs. Additional features include talkback routing, discrete headphone amplification, discrete speaker outputs, and standard monitoring controls such as mute, mono, dim, and polarity.

Abbey Road’s Mirek Stiles noted that his early exposure to TG and REDD consoles influenced his perspective on their sonic character and creative use, and described the new system as an effort to bring those design principles forward in a contemporary context. Chandler Limited also confirmed that a REDD Mixing System has already been used in active production, including sessions by producer Dave Cobb on recent award-winning albums.

The REDD Mixing System will initially be available in the United States as a special-order product directly through Chandler Limited, with deliveries expected to begin in August 2026.

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