Copyright 2018, Newfangled Audio

P/N: 141313, Rev 2

Newfangled Audio and Punctuate are trademarks of Orthogonal Art
and Science, LLC.
AAX and Pro Tools are trademarks of Avid Technology. Names and logos
are used with permission.
Audio Units is a trademark of Apple, Inc.
VST is a trademark of Steinberg Media Technologies GmbH.
All other trademarks contained herein are the property of their respec-
tive owners.
Punctuate proudly uses the PFFFT library, which is available at https:
//bitbucket.org/jpommier/pffft.

Newfangled Audio
www.newfangledaudio.com

I
Contents

1 Background on Auditory Filter Banks 1

2 Newfangled Audio Punctuate 2

3 Installation and Instantiation 4

3.1 Registering Your Plug-in . . . . . . . . . . . . . . . . . . . . . . 4
3.2 Activating Your License . . . . . . . . . . . . . . . . . . . . . . 5
3.3 Installing Your Plug-In . . . . . . . . . . . . . . . . . . . . . . . . 5
3.4 Moving or Removing an Activation . . . . . . . . . . . . . . . 5
3.5 Removing or Uninstalling your Plug-In . . . . . . . . . . . . . . 6

4 Preset Bar 7
4.1 Preset Selector . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
4.2 Preset Load and Save Buttons . . . . . . . . . . . . . . . . . . 7
4.3 Compare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
4.4 Info . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
4.5 Update . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
4.6 SETTINGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
4.6.1 OPENGL . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
4.6.2 VISUALIZATIONS . . . . . . . . . . . . . . . . . . . . . . . 8
4.7 Color Scheme . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
4.8 Resize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

5 Parameters and Metering 10

5.1 Global Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
5.2 Global Parameters . . . . . . . . . . . . . . . . . . . . . . . . . 11
5.2.1 INPUT AND OUTPUT LEVEL AND BAR METERS . . . . . . 11
5.2.2 ACTIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
5.2.3 MIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
5.2.4 SCROLLING TRANSIENT METER . . . . . . . . . . . . . . 12
5.3 TRANSIENT PAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
5.3.1 TRANSIENT EMPHASIS . . . . . . . . . . . . . . . . . . . . 13
5.3.2 ADAPTIVE TRANSIENT . . . . . . . . . . . . . . . . . . . . 13
5.3.3 TRANSIENT LENGTH . . . . . . . . . . . . . . . . . . . . . 14
5.3.4 ADAPTIVE LENGTH . . . . . . . . . . . . . . . . . . . . . 14
5.3.5 TRANSIENT EMPHASIS PER BAND . . . . . . . . . . . . . 14
5.3.6 TRANSIENT EMPHASIS PER BAND METERS . . . . . . . . 14

II
 5.3.7 SOLO BUTTONS . . . . . . . . . . . . . . . . . . . . . . . 14
5.3.8 RESET TRANS . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.3.9 DRAW CURVE . . . . . . . . . . . . . . . . . . . . . . . . 15
5.4 FILTER BANK PAGE . . . . . . . . . . . . . . . . . . . . . . . . . . 15
5.5 FILTER BANK SUB-MODULE PAGE . . . . . . . . . . . . . . . . . 15
5.5.1 AUDITORY FILTER BANK . . . . . . . . . . . . . . . . . . . 16
5.5.2 MEL/CUSTOM . . . . . . . . . . . . . . . . . . . . . . . . 16
5.5.3 SOLO BUTTONS . . . . . . . . . . . . . . . . . . . . . . . 16
5.5.4 INSERT FILTER . . . . . . . . . . . . . . . . . . . . . . . . . 16
5.5.5 REMOVE FILTER . . . . . . . . . . . . . . . . . . . . . . . 16
5.5.6 FILTER CENTER FREQUENCIES . . . . . . . . . . . . . . . 16
5.5.7 FILTER BANK DISPLAY . . . . . . . . . . . . . . . . . . . . 17

6 Conclusion 18

7 About Newfangled Audio 19

III
Chapter 1

Background on Auditory
Filter Banks

In the 1930s a physicist at Bell Labs named Harvey Fletcher was studying
the human auditory system. In 1933 he published a paper called "Loud-
ness, Its Definition, Measurement and Calculation" which introduced the
concept of critical bands in human hearing. This discovery showed that
a human can only detect a the presence of a frequency if it is a certain
distance from another frequency playing at the same time. This fre-
quency distance changes depending on the frequencies of the tones
that are playing. But generally, this and other research has found that
we can divide the human auditory range into 26 critical bands between
0 Hz and 20 kHz, and within each critical band a human can really only
make out one sound at a time. Because the critical band corresponds
to action of the basilar membrane in the human ear it is referred to as
an auditory filter, and the set of all 26 critical bands is referred to as an
auditory filter bank.
In the years since, many successful models of the human auditory system
have been developed which rely on these critical bands. Many of the
most successful of these rely on the Mel Scale, which defines a particular
arrangement of auditory frequency bands such that each band sounds
equally spaced from all others. The idea is that by breaking up a sound
using a mel spaced filter bank, the division of that sound will sound equal
to a human listener.
Auditory scientists and engineers now use the mel scale in hearing re-
search and in speech recognition research. You might not know it, but
the mel scale is probably being used behind the scenes in various gad-
gets and equipment you already use. It’s often used any time the signal
processing could benefit from working in the same way as the human
ear. After success using the mel scale auditory filter bank in EQuivocate
and Elevate we decided to use it to create a more full featured transient
modulator called Punctuate.

1
Chapter 2

Newfangled Audio
Punctuate

2
Punctuate is heavily based on the Transient Emphasis section of the Ele-
vate Mastering Limiter. It is a multi-band transient modulator (sometimes
called a transient designer) that uses, by default, the 26 critical bands in
the human ear. In addition to using the critical bands it uses intelligent
algorithms to set the parameters of the transient modulator for each
band. This allows you to control the transient emphasis (or suppression)
and timing across all 26 bands with just 4 controls.
Like EQuivocate the filter bank in Punctuate supports between 1 and 26
bands which, by default, are distributed along the Mel Scale between
0 Hz and 20 kHz, however it does allow you to customize the center fre-
quency of each band. The filters themselves are linear phase triangular
filters, of the kind often used in human auditory models to represent crit-
ical bands. Unlike the filters used in analog graphic EQs, these filters are
very well behaved over the mel space. With Transient Emphasis at 0%
these filters will pass your audio untouched, and when the transients are
modulated, each band will stay completely independent from its neigh-
bor. And unlike some other linear phase filter implementations, these fil-
ters have minimal pre-echo or other time domain artifacts. The overall
effect is a very pleasant and neutral tone modification, which sounds
very natural.
By default, the number of bands is set to 26 and they are spread using
the Mel Scale, so that filters should closely represent the critical bands of
human hearing. This means each transient modulator is directly tickling
a different section of your inner ear. For the purposes of modifying a
complex sound, this should be the most direct way available.
This all works together to create an incredibly powerful, but very easy to
use transient modulator.

3
Chapter 3

Installation and
Instantiation

Newfangled Audio plug-ins are distributed by Eventide and like other

plug-ins Eventide distributes, Punctuate uses PACE’s ilok.com licensing
system, with or without and iLok hardware dongle. Each license provides
two activations which can reside on either your computer or on an iLok
license dongle. Once you’ve purchased your plug-in, you’ll need to
register it on Eventide’s website, activate your license, and install the
plug-in on to your computer

3.1 Registering Your Plug-in

When you purchase Punctuate, you’ll receive a Serial Number and Li-
cense Key. The Serial Number will be two letters followed by 6 numbers.
If you have an individual Punctuate license, the Serial Number will start
with NP (i.e. NP-######). The License Key will be 3 sets of 4 characters, a
letter or a number, each; like XXXX-XXXX-XXXX.
Once you’ve received these codes, you can register your plug-in on the
Eventide website. To do so, please log in to http://www.eventideaudio.
com, navigate to My Account in the top right corner, and select Reg-
ister a New Product. Then, fill out the form by selecting Native Plug-in
(VST, AU, AAX) in the Product Category field, select Punctuate in the
Product list, and enter your Serial Number, License Key, and iLok.com
account name. If you don’t yet have an ilok.com account, you can
create one for free at http://www.ilok.com. Once you’ve done so, press
Register.
Once you’ve entered this information and pressed the Register button,
Eventide will send the applicable plug-in license to your ilok.com ac-
count, which you will need to activate to your computer or iLok don-
gle.

4
3.2 Activating Your License
To activate and manage your plug-in licenses you’ll need to install PACE’s
iLok License Manager software which you can download from http:
//www.ilok.com. If you don’t have this software installed, please down-
load and install it now.
Once you have installed and launched iLok License Manager you should
be able to log in to your account by clicking the large "Sign In" button
in the upper left hand corner of the application. Once you have, you
should be able to see available licenses by choosing the Available tab
at the top of the iLok License Manager application. If you have suc-
cessfully registered your plugin, your Punctuate Native license will be
available in this list. Please activate this license by dragging it to either
your computer or iLok dongle listed on the left. When you do so, you
will be asked to confirm the activation, and you will be able to see it by
clicking on the location you have chosen. At this point your license is
activated.

3.3 Installing Your Plug-In

You should have been given a link to the Punctuate plug-in installer
when you purchased your plug-in, but if you haven’t, you can find down-
loads for all of our plug-ins at http://www.newfangledaudio.com/downloads.
Please download and launch the correct installer for your system.
Once you’ve launched the plug-in installer, it will take you through sev-
eral pages of options. We have tried to choose defaults for these op-
tions which will best serve the majority of users, but it is worth a minute to
make sure you understand these options before clicking through to the
next page. A common issue with Windows VST plug-ins is choosing the
correct VST directory, which can be different on each system. Please
pay special attention to this setting. Once you have followed through
the installer, your plug-ins and presets should be in your chosen locations,
and you can hit finish to end the installer application.
At this point, you should be ready to use your Punctuate Plug-In.

3.4 Moving or Removing an Activation

If at any point, you decide to move your plug-in activation, you can do
so in iLok license manager. To move an activation between an iLok don-
gle and your computer, simply plug in the iLok, locate the license in its
current location, and drag it to its new location. To deactivate a license,
find it in its location, right click on it, and choose deactivate.
Remember that each Punctuate Plug-In License comes with two activa-
tions, which can be used on either a computer or iLok dongle, meaning
you can use Punctuate in two locations at the same time.

5
3.5 Removing or Uninstalling your Plug-In
We’re sure you’ll love your Newfangled Audio plug-ins, but if you ever
want to remove them from your machine it’s as easy as removing the
following files.
For Mac:
• Macintosh HD/Library/Audio/Plug-Ins/Components/<Plug-In Name>.component
• Macintosh HD/Library/Audio/Plug-Ins/VST/Newfangled Audio/<Plug-
In Name>.vst
• Macintosh HD/Library/Audio/Plug-Ins/VST3/Newfangled Audio/<Plug-
In Name>.vst3
• Macintosh HD/Library/Application Support/Avid/Audio/Plug-Ins/Newfangled
Audio/<Plug-In Name>.aaxplugin
• /Music/Newfangled Audio/<Plug-In Name>/
For Windows:
• c:\Program Files\Common\Steinberg\VST2\Newfangled Audio\<Plug-
In Name>.dll
• c:\Program Files\Common\VST3\Newfangled Audio\<Plug-In Name>.vst3
• c:\Program Files\Common\Avid\Audio\Plug-Ins\Newfangled Au-
dio
<Plug-In Name>.aaxplugin
• My Documents\Newfangled Audio\<Plug-In Name>\

6
Chapter 4

Preset Bar

At the very top of the Punctuate plug-in is a preset bar which allows you
to load and save preset, as well as a couple other features. These are
the preset bar sections.

4.1 Preset Selector

On the far left is a drop-down menu which allows you to select preset
from a tree structure. You shouldn’t need to access these presets on
your computer, however, if you do, on the Mac these presets are stored
in your <User>/Music/Newfangled Audio/Punctuate/Presets folder. On
Windows these presets are stored in your <Documents>/Newfangled Au-
dio/Punctuate/Presets folder.
Next to the preset drop-down menu is a left and right arrow, which allow
you to quickly scroll through presets.

4.2 Preset Load and Save Buttons

To the right of the preset selection arrows is a LOAD and SAVE button.
LOAD will allow you to load a .tide preset from anywhere on your com-
puter. Save will allow you to save a new preset to anywhere on your
computer, however, we suggest that you place it somewhere in the pre-
sets folder so you can access it from the file dropdown.

4.3 Compare
The COMPARE button will allow you to toggle between the current set-
tings and the last saved or loaded preset. If you have settings that you

7
like, save them as a preset, and as you tweak you can always return to
them using the COMPARE button.

4.4 Info
The INFO button will open this manual for you to read about the plug-
in.

4.5 Update
If there is a software update available an UPDATE button will appear in
the preset bar. Clicking it will bring you to a web page where you can
download the new installers.

4.6 SETTINGS
The SETTINGS button pops down a settings page which contains addi-
tional options.

4.6.1 OPENGL
The OPENGL button allows you to toggle between two different render-
ing engines. Most people will want to use OPENGL set to on, which will
select a rendering engine that uses your computer’s onboard GPU to
do all graphics rendering for Punctuate. However, some computers do
not have a separate GPU processor, or have a GPU that doesn’t use
the specific OpenGL features used by Punctuate. In these cases, hav-
ing OPENGL set to "on" may cause graphics errors or an extreme load
on your computers CPU. To turn OpenGL rendering off, set the OPENGL
button to "off", close the plug-in window, then open it again. Closing
and opening the plug-in windows is necessary because the rendering
engine can only be changed when the plug-in window is closed.

4.6.2 VISUALIZATIONS
The VISUALIZATIONS button allows you to turn the animated meters on or
off. Generally you’ll want to keep these on, but if they’re bothering you,
or if your computer is having trouble showing all the animations you may
choose to turn these off.

4.7 Color Scheme

On the far right is a drop-down labeled COLOR SCHEME. This will allow
you to choose one of several different color schemes for your viewing
pleasure.

8
4.8 Resize
The bottom right corner of the UI will allow you to resize the plug-in. To
change the default plug-in size drag the plug-in to the desired size and
save over the default preset.

9
Chapter 5

Parameters and Metering

All of Punctuate’s controls fit on a single page, in this section we will

describe each control and call out some features and tips.

5.1 Global Controls

Punctuate has several control types, including vertical and horizontal
sliders, rotary knobs, drop-down menus, and toggle and radio buttons,
all of which have tool-tips which will give you more information about
their function if you hover your mouse above them.
In general, all sliders and knobs can be double clicked to type in a
specific value, option-clicked to return them to their default value, or
command-clicked or control-clicked to enter a vernier mode for fine
tuning. In addition, some controls support special shift-click functional-
ity, such as using shift-swipe to draw and EQ curve, or shift clicking the
gain sliders to set output level compensation. Where available, these
shift-click functions are mentioned in the tool-tips for the individual con-
trols.
Where appropriate, many controls have a related on/off button which
will deactivate this control, or even the entire section. Turning sections
off when you’re not using them may reduce the amount of processing
power used by Punctuate.

10
5.2 Global Parameters
5.2.1 INPUT AND OUTPUT LEVEL AND BAR METERS

The left and right hand sides of the plug-in have matching vertical bar
meters which display the INPUT (on the left) and OUTPUT (on the right)
levels in levels in Peak (horizontal ticks), RMS (solid bar and numerical
display), and Peak Hold (numerical display) formats. These meters are
always present in the display and clicking the Peak Hold section, or by-
passing the plug-in will clear the held peak value.
Above the INPUT meter is a knob for the MASTER INPUT LEVEL, and above
the OUTPUT meter is a knob for the MASTER OUTPUT LEVEL. The MASTER
INPUT LEVEL is just before the INPUT meter and the MASTER OUTPUT LEVEL
is just before the OUTPUT meter. The Punctuate Transient Designer is linear
and floating point, so it will not saturate your audio at any step in it’s
process, but the INPUT and OUTPUT level can be used to set optimize
the meters and make up for any throughput gain change.

11
5.2.2 ACTIVE
The ACTIVE button is located near the top left of the plug-in UI near the
NEWFANGLED AUDIO label in the header. It activates or bypasses all the
processing in the plug-in.

5.2.3 MIX
The MIX knob is located next to the ACTIVE button. When the plug-
in is ACTIVE the MIX knob blends the output signal between the wet
(transient modulated) sound and the dry input sound.

5.2.4 SCROLLING TRANSIENT METER

In the top center of the screen is a scrolling transient meter. This will
show you the transient modification applied to each band in either a
stacked or spread configuration. When the waveforms are stacked you
will see each transient modulations waveform stacked on top of each
other on the same axis. When the waveforms are spread you will see
the individual waveforms spread out so you can see each a bit more
clearly.

5.3 TRANSIENT PAGE

The rest of the controls are split between a TRANSIENT page for con-
trolling the TRANSIENT EMPHASIS or SUPPRESSION algorithms and a FILTER
BANK page for fine tuning the filter bank settings. First the controls on the
TRANSIENT PAGE:

12
5.3.1 TRANSIENT EMPHASIS
This is the plug-ins main TRANSIENT EMPHASIS control. This control works
in tandem with the individual band controls to set the TRANSIENT EM-
PHASIS or TRANSIENT SUPPRESSION in each band. By default, when the
TRANSIENT EMPHASIS control is above 0% Punctuate is emphasizing tran-
sients, when it’s below 0% it’s suppressing transients. However, in the
TRANSIENT EMPHASIS PER BAND section you can change each band
from emphasizing (+dB) to suppressing (-dB) allowing you to invert this
action for specific bands, or all bands if you choose. This action may
seem a little confusing at first but is very powerful because it allows you
to emphasize transients in one section of the frequency spectrum while
suppressing them in another. This can be useful for getting the high hats
out of the snare mic, or boosting the kick while cutting the snare in the
room mic, for just two examples.

5.3.2 ADAPTIVE TRANSIENT

The ADAPTIVE TRANSIENT slider will set how much Punctuate is allowed
to adapt each bands modulation to the transients it sees in that band,
or how much it must consider the other bands when setting it’s transient
level. When the ADAPTIVE TRANSIENT slider is pulled to 0% the intelligent
algorithm is turned off, forcing all bands to respond at the same level
to incoming transients. When the ADAPTIVE TRANSIENT slider is turned
to 100% each band totally ignores the other bands and responds only
to transient in it’s own frequency range. At settings between these two
extremes the bands work together to identify transients in sections of the
signal and boost and cut these in the most natural way.

13
5.3.3 TRANSIENT LENGTH
The TRANSIENT LENGTH slider allows you to set the length of what Punc-
tuate considers to be a transient. When this is set to be very short only
the very beginning of each attack is modulated, but when it’s set longer
more of the attack sound is captured in the modulation. When it’s set to
be very long it can take a while to recover and might be less sensitive to
many quick transients.

5.3.4 ADAPTIVE LENGTH

The ADAPTIVE LENGTH control allows each of Punctuate’s bands to adapt
it’s own length parameter to the signal it sees. This means that, in gen-
eral, lower bands will have longer lengths and react more slowly while
higher bands have shorter lengths and react more quickly. This is a
powerful control and it’s setting can greatly effect the sound of Punc-
tuate.

5.3.5 TRANSIENT EMPHASIS PER BAND

Below the four main sliders are individual TRANSIENT EMPHASIS PER BAND
sliders. Each of these sets the total amount of transient emphasis being
applied to that band, when the TRANSIENT EMPHASIS slider is at 100%.
By default these are all set to +12 dB and the amount of global transient
emphasis is applied using the TRANSIENT EMPHASIS slider, but my mod-
ifying these band sliders you can create complex modulations which
effect different parts of the spectrum differently, or even suppress some
bands while emphasizing others.

5.3.6 TRANSIENT EMPHASIS PER BAND METERS

Behind the TRANSIENT EMPHASIS PER BAND sliders are meters showing
the transient emphasis being applied in each band. Similar to the sliders
themselves these range from -12 dB to +12 dB.

5.3.7 SOLO BUTTONS

Below each TRANSIENT EMPHASIS PER BAND slider is a solo button which
allows you to solo that specific band and each what’s happening there,
only.

5.3.8 RESET TRANS

Hitting the RESET TRANS button will reset all transient per band sliders to
0.0 dB.

14
5.3.9 DRAW CURVE
The DRAW CURVE button is on by default, which allows you to click and
swipe your mouse across the GAIN SLIDER FIELD to draw a curve on the
transient sliders. If you toggle the DRAW CURVE button off you will be
able to manipulate only one band at a time, but will be able to fine
tune it using a command click.

5.4 FILTER BANK PAGE

5.5 FILTER BANK SUB-MODULE PAGE

The Elevate plug-in uses a triangular filter bank to split the input signal
into a number of frequency bands that resemble the critical bands in
the human ear. The FILTER BANK parameter page allows you to control
the filters that split the input signal into these frequency bands. This filter
bank outputs a number of audio streams which the adaptive algorithm
uses to set the gain reduction across bands. In general, the higher the
number of bands, the more fine grained control the adaptive algorithms
will have, and the more gain you can add before hearing artifacts. How-
ever, a larger numbers of bands does increase the algorithms processing
requirements significantly, and increasing the number of bands may not
always produce a noticeable increase in quality.
The number of bands selected in the auditory FILTER BANK will change
the number and frequency of bands in the TRANSIENT emphasis pages.
Selecting the 1 BAND option will also deactivate the ADAPTIVE parame-
ters, as these work across the bands. By selecting 1 BAND you are turn-
ing the limiter section into a standard look-ahead limiter, with transient
emphasis.

15
5.5.1 AUDITORY FILTER BANK
This drop-down allows you to select the number of bands you are split-
ting the signal into. Setting the number of bands using this drop-down
will automatically space them on the mel scale between the minimum
value and the maximum value.

5.5.2 MEL/CUSTOM
This set of interactive radio buttons allow you to distribute the filter cen-
ter frequencies using the MEL scale or a CUSTOM scale of your choosing.
The MEL scale is an auditory scale based on the perceptual distance be-
tween pitches, selecting MEL will equally distribute the chosen number
of filters between the current minimum frequency and current maximum
on the MEL scale. CUSTOM is selected by either choosing the radio but-
ton, or by moving any of the filter center frequencies away from their
MEL based values. By customizing the filter bank to your program mate-
rial you can use the TRANSIENT page to hone in on particular frequency
ranges that are important in your program material.

5.5.3 SOLO BUTTONS

There is a set of toggle buttons which allow you to solo the output of one
band, or for a number of bands by shift-clicking or ctrl-clicking. These are
the same solo buttons that appear on the TRANSIENT page.

5.5.4 INSERT FILTER

The [+] button beneath the solo for the selected band will insert a new
filter with a center frequency between the band chosen and the one
to it’s right. This can be especially helpful if you find you need more
resolution in an area when fine tuning the filter center frequencies. If
you are already using the maximum number of filters, the INSERT FILTER
buttons will be greyed out.

5.5.5 REMOVE FILTER

The [-] button beneath the solo for the selected band will remove the
current band without effecting the center frequencies of the surround-
ing bands. This can be helpful if you find one or more bands to be re-
dundant while fine tuning center frequencies.

5.5.6 FILTER CENTER FREQUENCIES

There are also a set of text box sliders that allow you to set the CENTER
FREQUENCY of each band. By default these are set to match the crit-
ical bands of the human ear, however these bands can be fine tuned

16
to more closely match important frequency ranges in your program ma-
terial as well. Doing so will allow you to use the band specific gain and
transient sliders in the other sub-modules to fine tune your result.

5.5.7 FILTER BANK DISPLAY

The FILTER BANK DISPLAY shows you the relative distance and shape of
each filter using the MEL scale. This will help you visualize how the fil-
ters are arranged across the auditory spectrum. The triangular shape of
these filters help adjacent band have some amount of similarity, leading
to a smoother overall sound.

17
Chapter 6

Conclusion

We hope you enjoy Newfangled Audio’s Punctuate Intelligent Transient

Modulator plug-in. If you have any questions, comments, or concerns
please write us at support@newfangledaudio.com

18
Chapter 7

About Newfangled Audio

The Oxford English Dictionary defines Newfangled as "objectionably new".

Music technology can sometimes be a backward looking pursuit. This
is understandable, the purpose of music technology should be to help
musicians make great music. There have been many great pieces of
gear in the past and we should seek to keep these pieces and make
them available to people who want to use them, and the time and
dedication required to master a musical instrument means that changes
in their design are often evolutionary rather than revolutionary.
However, the great pieces of gear from yesteryear are more often than
not those that contained new ideas in their time. The reverence we
have for these pieces can sometimes turn into fetishism, and mindless
re-creation of classic gear can fail to inspire musicians and artists to take
new risks. It’s important to make sure artists and engineers have access
to good tools that inspire them and don’t stand in their way, but these
tools should never be used as a security blanket to stand in the way of
an artist or engineers ears and taste.
Newfangled Audio seeks to only make gear that incorporates new ideas.
We want to make gear that is great, but only using ideas that others are
not. We realize that deviation from the norm might sometimes be ob-
jectionable. The Oxford English Dictionary defines Newfangled as "ob-
jectionably new".

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