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MTU Users Testimonials

Microsound Brand Precise Audio Editing

Bob Vermeulen, Omega Productions, Grand Rapids, MI, 03/92
Well, it's been four months now since I received my MicroSound Digital Workstation and believe me when I say, It's the smartest purchase I've ever made. After almost 25 years of editing with a china marker, razor blades and splicing tape, I didn't do too bad. Guess what? Fifteen minutes after getting into the MicroEditor software, I was performing edits that heretofore could only have been made by 100% luck. And I can adjust any edit, anytime!
Chris Andersen, Nevessa Production, Saugerties, NY, 10/95
For digital editing, MicroSound is the finest system I've seen. For the money it's an incredible value.
Dave Tosti-Lane, Technical Review, Mix Magazine, 05/94
I also found the ability to shift a segment's position, start and end points, and fade in/out times very powerful. These operations are nearly instantaneous, with no time-consuming wait for recalculation... The assurance that the waveform view would be accurate whenever it was displayed made editing operations faster.
Richard LePage, Rich LePage & Associates, Suffren, NY, 10/96
For the Metropolitan Museum in NYC, I started with a 90 minute stereo voice dialog. In 6 and a half hours I inserted over 2,000 delete edits, shortening the segment to the deliverable 22 minutes required. I could adjust any edit instantly, without undoing anything.
Todd Chatman, CCM Communications, Nashville, TN, 11/94
The non-destructive nature of editing on MicroSound has encouraged me to be more creative than ever, but with no pressure or fear of permanently damaging something. My stress level has dropped significantly in the last few weeks.
Marvin Sanders, "More for Windows - Turnkey Multitrack Systems", Keyboard Magazine 03/97
Skip zones are really a great concept, and take the place of what other programs would probably call "delete," where you cut a section out of an audio chunk, thereby creating two new chunks that are butt-spliced together. In skip zones, however, the segment you're working with isn't split apart into smaller chunks. Rather, you place "flags" on either side of audio that you don't want to hear and then that audio is removed from the playback stream. You can add thousands of skip zones within a segment, using them for click and pop removal, or for creating a choice voiceover take from a recording of several passages read back-to-back.
Note: Close but not exact. You click and drag to mark the area to "delete" using the center mouse button (several other ways also). Releasing the mouse auto-analyzes the marked waveform area, adjusts it slightly to not pop or click, inserts the skip zone, and then (if default approved) plays across the edit for approval. Total time including drawing the changed waveform image takes under 3 seconds, with a 2 second play time!
Charles Lawson, WETA Public Radio, Washington, DC, 2/99
Your products truly lighten the burdens of my life and make me happy to go to work! Microsound makes my life so easy that I still feel like I owe you folks years of my life that you are saving me in time and frustration. For me, Microsound has become as essential as microwave ovens and indoor plumbing. I don't know that I could come up with any higher praise for what you do.
Last fall was an extremely hectic one for me and the only thing that allowed me to survive was Microsound. I have been recording the National Symphony Orchestra subscription series at the Kennedy Center four days per week, doing the post-production work on the Baltimore Symphony Orchestra radio series, doing the post-production on a local chamber music series "Music from Washington", producing two weekly syndicated classical music radio programs and editing and mastering four CDs! The reliability, speed and just plain fun of working with Microsound made all of this grueling work a breeze!
Microsound really showed its abilities when producing the ninth installment of the thirteen-part Baltimore Symphony Casual Concerts. This program featured several colorful dream sequences cooked up by conductor David Zinman and intricately conceived using heavily-layered sound effects by producer Judith Schonbach. What could easily have taken us days to do with other systems took only hours with Microsound. The finished product has been referred to as "magical" by some who have heard it and Judith's comment after we were finished was "I HAVE to have one of these systems!" (She's a ProTools user.)
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