Saturday 30 December 2017

Zebra2 Update - UHE


The mighty Zebra just got better! With a few new modules, a much clearer and larger new GUI ; it is now a vast improvement on the original and looks just excellent!!

Zebra2 is our wireless modular synthesizer, combining a powerful modulation engine with many different types of synthesis: additive, freehand or spline-based waves, oscillator spectral effects, FM oscillators, classic synth and comb filters. The entire signal path is stereo.

Zebra 2.8 beta - changelog (revision 6849)
Please backup your presets before installing.
We unified the preset organization between Mac and Win.
On Mac, there were separate local and user folders for OSC and MSEG module presets and Microtuning files.
The user location won't be used anymore. During installation, any presets from this location will be moved to a 'user' folder in the local location.


New skin "Dark8" for fans of strong "the other way round" contrasts:


Thursday 21 December 2017

ANA - Sonic Academy


Great intuitive synth with lots of powerful features, at the heart of which lies an updated killer polyphonic step arp and chord section!

Our highly anticipated launch is finally here! We have spent many thousands of hours rebuilding and redesigning every nook and cranny of ANA to create a beautifully elegant and powerful synth. One that is super simple to use but with an extensive toolset to allow you to create complex and exciting sounds.

Over 3 YEARS in the making, our baby is finally ready and we can't wait for you all to try it out.

So Fresh & So Clean

We have completely redesigned the interface, with a brand new HD Retina ready GUI with both classic white and a new black skin to choose from.

With all of the new features we have crammed into ANA 2 it was a challenge to present it all on screen without it getting cluttered, we have managed to accomplish this simple and familiar layout that made ANA 1 so famous, whilst also giving you the full flexibility of what ANA 2 has to offer



Tuesday 5 December 2017

Mangleverb - Audio Damage





As the name suggests a hybrid variation mix of Reverb, filters and enveolopes. If it's by 'Audio Damage' then obviously its gonna be great! It is!


What happens when you combine a thick reverb, a filter, an envelope follower, an LFO, and a VCA? We wanted to know. The results are surprisingly useful. Mangleverb can be used as a filter, reverb, transient shaper, rhythmic gate, LPF gate, tempo-synced VCA, and any combination thereof. It is, for all intents and purposes, a Swiss Army Knife, for both wild sonic destruction and more utilitarian production work.

Want to make a cool smooth-shaped verby kick? No problem. A 16th-note stutter gate? Gotcha. A plain ol-fashioned funky duck envelope follower? We can do that. A huge 80s "Pour Some Sugar on Me" gated snare 'verb? Although we're not sure why you'd want to do that, with Mangleverb it is alarmingly easy.

Mangleverb has an updated version of the reverb algorithm from our long-deceased Deverb plug-in, along with our most popular analog filter model, an incredibly sophisticated LFO and envelope follower, sidechain input, a full I/O section, and just in case you want to replace your tweeters, a feedback knob. In short, the question isn't "what does it do?" but rather "what doesn't it do?"

Mangleverb is available as both 32- and 64-bit VSTs for Windows, and as a Universal Binary AU/VST for OSX.


Tuesday 28 November 2017

Waveform 8 - Tracktion Software


Lots of unique features in the new Traktion Waveform DAW especially in the MIDI department ,which goes quite deep with it's many composition tools. Oddly comes with hardly any VST's and the effects modules are very basic looking compared to most others. Niggles aside though, it's still a a great DAW!

Waveform is a rapidly evolving application specifically designed for the needs of modern music producers. Specializing in creative and inspirational workflows and avoiding features not explicitly needed allow the app to remain surprisingly fun and intuitive. While other apps try to appeal to broad user groups, for example film score, live sound, performance – we are laser focused on music production.

The all new MIDI composition tools available in Waveform are designed to empower and inspire the creative process. Tools which demystify complex musical structures and allow non trained enthusiasts to explore composition. Synchronized pattern generators allow you to dive into chord progressions with matching bass lines, melodies and arpeggios. Real time chord players turn one finger keyboard players into musical maestros. Don’t let your instrumental abilities restrict your creative flow.

Waveform features an expanded modular mixer that can take advantage of multi screen setups. The customizable interface allows you to quickly switch from editing to mixing workflows and desired viewing. Waveform’s powerful ‘racks’ environment allow you to build limitless DSP chains and save/recall them as presets, whether it be your favorite DSP for a particular vocalist, or deep sound design patch. Embrace the power and flexibility of digital modular.

Collective is a powerful sampler and synthesizer capable of generating a wide variety of instrument sounds. Developed to accompany the new music composition tools, Collective allows you to immediately start creating diverse musical styles. Quickly select from over 600 presets and deep dive to surgically craft your unique sound. Pull from the included sample library or load your own, combine with synthesis or cherish the supreme quality of traditional samples. One instrument to rule them all.

Waveform is an unlimited app designed for modern music production. Developed to be creative and inspirational and with a minimal learning curve, our goal is to empower music enthusiasts. Unlike other apps, Waveform supports all major plugin and loop varieties and runs on all major desktop operating systems – now including Raspberry Pi. The beautiful user interface has been carefully crafted to guide the user through the deep capabilities of a digital audio workstation. Dive in and start creating today


Thursday 23 November 2017

BOOM - AIR Music Technology


Great little drum machine from 'Air' which is easy to get to grips with and sounds great. Many drum machines out there but this one is very highly recommended for it's simplicity and ease of use. Using MIDI notes to trigger the 16 step patterns is fab!!!

Air Music Technology originally created Boom as part of the Creative Collection of instrument plug-ins included as part of Avid™ Pro Tools™. As the popularity of Pro Tools grew, more and more musicians and producers relied on the incredible sonic firepower of this amazing Drum Machine. Boom continued to evolve, and demand grew. Boom is now available on its own by popular demand, available to anyone who demands instant creativity in AU/VST formats.

Boom features a slick modern interface that pays homage to the most popular vintage drum machines of the past. Boom has been used on many famous projects since its launch, ranging from hit albums, feature films and radio projects. It’s one of the most loved Pro Tools Plugins.

Boom includes a diverse collection of 10 different classic electronic drum kits, offering variations on the classic 808 and 909 kits, more aggressive Dance and Urban-style kits and a powerful retro style kit modelled on the concept of a 'CR78 merged with a 606'. Each one has been created with great attention to detail and provides serious sonic impact.

Each kit contains 10 different drums, and you can adjust the panning, volume, tuning and decay of each drum within a kit. Each drum channel also contains a special tuning screw that can be turned to make a sonic adjustment, specific to a particular drum. This tweaking ability provides for nearly limitless possibilities with a user-friendly interface.

You can mix and match drums from different kits to make your own custom kit, and the drum sounds can be triggered individually via standard MIDI pitch mappings.
For instant inspiration, over 50 presets are included cover contemporary, classic electronic/urban musical genres. Boom also has an on-board sequencer that enables you to create and trigger your own patterns, which can be saved and recalled as presets.

You can select different patterns using the keys along the bottom of the interface, when you're in Pattern Select mode, and these are conveniently colorĂ¢€‘coded to show you how they map to a MIDI keyboard from middle 'C' upwards for remote selection.

The Matrix display in the top left enables you to program a pattern, but if you prefer you can also use the keys along the bottom, this time with Pattern Edit mode selected. You'll find some nice touches, such as the ability to copy one pattern to another, and some simple controls for adjusting the way in which the pattern plays back within your host: normal, double, half or triplet time, and there's even a swing control mirroring classic MPC’s and other vintage drum machines/samplers.


Wednesday 15 November 2017

Twistor - K-Devices


Companion effect to K Devices 'Moor' This time, as the name suggests, focusing on mangling your audio with a myriad of modulation effects. Very effective , though like 'Moor' i find the  layout slightly confusing !!

Max For Live audio effect designed to modulate anything you want in Ableton Live

PURE MODULATION MAGIC

Thanks to powerful pattern creation and twisting features, Twistor creates modulations that are not possible to obtain with other modulators!

MAIN FEATURES

Any Time Resolution

Set the exact time resolution you need for your steps: 1/8, 3/4, 7/8, 3/16T, 15/1D, 13/32 and so on.

Exclusive Step Duration

Set exclusive duration for each step: 25, 50, 75, 100, 150, 200, 400% of the global time resolution. This opens to crazy new possibilities!

HOW IT WORKS

Twistor is easy to master.
You can start considering a classic step sequencer modulator: steps of a given duration sending values to a controlled parameter, according to a time resolution. The main difference with a classic step sequencer is that in Twistor each step can have different duration: by modifying the single step duration, and by manipulating the entire pattern.

The modulator signal is scaled by minimal and maximal values, to perfectly fit your target’s range and purposes. You can change the duration of the pattern, changing time resolution, or using the Rate parameter to let a given length of 1 bar become one half, the double of it, one time and a half, etc, always keeping the same number of steps, and, very important, the sync with Live’s transport!
You can modify the sync position of your pattern with Shift: if you have time resolution equal to 8n, and you set Shift at 50% (the range is 0-100% of the time resolution), then all your sequence will be delayed by 16n. You can use Bend to let the playhead make movements from linear, to exponential, or logarithmic, dynamically changing the duration of each step, always keeping the given length for the whole sequence! Isn’t amazing?!

Let’s talk about the duration of each step. You can modify the duration of each step manually, listening to the results, and keeping an eye on the Resulted Length. This will bring you far from the grid concept, opening to new possibilities: your ears only can evaluate the results. Or, you can choose to gone wild, but all staying in the safe sanctuary of the grid, setting a Main Length, locking it with the toggle on bottom right corner of the device, and hitting the random button; Twistor will generate again different durations, but now their sum will always give the original length of the pattern. This features gives, it’s guaranteed, amazing results!


Tuesday 14 November 2017

Moor - K Devices


Interesting new device from the renowned  K- Devices stable which always has lots of very interesting modulators. This one is particularly nice if you have Push2 as it maps all the controls for a an even more fun experience. Requires Max for live.

MOOR is a unique monophonic step sequencer that will let you create sequences that you could never get with other tools of its kind. It creates, then twist and manipulates your sequences and synth lines giving results that go beyond your imagination.

HOW IT WORKS

“MOOR” is an arbitrary contraction of words “Mono Oracle”, that was the codename during the development. This is still useful to explain the nature of this device: – Mono: it’s a monophonic step sequencer – Oracle: it lets user ask for something, then it elaborates an answer MOOR starts as a standard mono step sequencer: you set a time resolution, and pitch and velocity values for each step. Around these core features, several functions make it special. Two new parameters are added to each step: chance and exclusive duration. Chance works similarly as in AutoBeat device, but it offers here an improvement specially designed for a melodies sequencer as MOOR is: the hold mode. You can set a different chance factors for each step, globally, via the random and scramble functions, or exclusively, editing step by step with mouse or Push2. The result is that, depending on its chance factor, some steps, sometimes, do not trigger the note, letting silence fill the sequence in a controlled-random way. Enabling hold mode, a note off message is sent just when a new note on message comes, that means that for each silent note, the previous one is kept active: this mode creates still continuously changing sequences, but with, instead of silence, notes of different length. Exclusive Duration is another great feature of MOOR: considering the time resolution you set, it’s possible to refine the duration of each step. Each step can be set to 25, 50, 75, 100, 150, 200, or 400% of the time resolution: this introduces the chance to create complex sequences with a step sequencer! You can set this parameters manually, or globally, and this introduces an important feature, the duration lock mode: when you have a sequence with a duration, let’s say 1 bar, if you randomize durations, the global length of the sequence will change.
This opens to new, exciting, let’say wild perspectives, and is cool, but, if you want to experiment with step durations, all keeping the original length of the sequence, you can do it: enabling the duration lock mode! Then MOOR will find for you randomized durations, but their sum will always gives the original length of the sequence, isn’t amazing? A given number of steps, at a given time resolution, steps with pitch, velocity, chance, duration values. All of this gives us a sequence, and MOOR offers several parameters to manipulate it. Processing the sequence as cyclic signal, MOOR can twist it thanks to scale and phase distortion operations! MOOR can also make your life easy when you go on stage: you can store, and recall, up to 4 snapshots in a preset or, even quicker, you can export your sequences to Live clips! As often happens with K-Devices, you can accurately control and define each aspects of the multiple features manually, or wisely exploit the advanced random functions included. In both ways, MOOR will bring you really far! The user interface of MOOR is just beautiful, made to be self explanatory: when you edit a parameter, animations on interface will let you easily understand what the parameter does. Of course you also get an accurate description of parameters in the Live Info View.


Saturday 11 November 2017

Acoustica - Acon Digital


We all need audio editors and this is a particularly nice one with a plethora of features.

Acoustica is a comprehensive solution for professional audio recording, editing, mixing and mastering. The intuitive user interface was designed with speed, accuracy and ease-of-use in mind and gives access to a large set of powerful tools to make your recordings sound the best. The consistent workflow simplifies your production work all the way from recording, editing, batch processing, sound design and audio restoration to Red Book compatible CD burning.

Ultimate Audio Quality
Acoustica offers support for state-of-the-art audio resolutions up to 32 bit and sampling rates up to 384 kHz, ensuring that all of your work comes across at the highest quality. Acoustica Premium Edition even supports multichannel audio recording and editing such as 5.1 and 7.1 surround sound.

Audio Restoration
Integrated audio restoration tools help you get the most out of recordings impaired by background noise, clicks, crackle, clipping or missing high frequency content. The Premium Edition contains the same set of professional tools as our Restoration Suite.

Multitrack Editing
New in Acoustica 6 is the ability to edit multitrack audio. Both the Standard and the Premium Edition allows you to mix audio from different tracks in real-time, add audio effects to tracks or easily create cross-fades. You can even loop or time stretch clips directly from the multitrack timeline.

Processing Tools
High quality audio tools and effects are integrated such as dynamic processing, limiter, equalizing, reverb, convolution reverb, chorus and flanger. You can also modify tempo and key of your recordings independently using the superb quality time stretching and transpose tools.

Effect Chains and Plug-In Support
You can create complete chains of processing tools, including external plug-ins, and save them along with all the parameter settings for later use. VST and DirectX plug-in support allows you to access a vast number of both free and commercial third party audio processing plug-ins directly from Acoustica.

Analysis Tools
Powerful offline analysis tools are available, including spectrum, spectrogram and wavelet analysis. Real-time analyzers such as K-System level meters, phase correlation meters and spectrum analyzers allow you to monitor your audio output visually in real time during playback.


Sunday 5 November 2017

Strobe2 FXpansion


Strobe 2 as well as being an excellent polysynth has many unique features, such as the ability to morph between presets which reminds me of the snapshot feature of NI's Maschine Jam. Modulaation is a breeze and the random and XY pads are fun. Be aware though that it's a little heavy on the PC!

Strobe is inspired by the classic single-oscillator synth designs (think Roland's SH-101), but it's polyphonic and features unison (32 unison voices for each main voice).

The Main oscillator combines Saw and Square waveforms with level faders for each and pulse width for the latter, and includes a Stacking option with Detune, enabling up to four extra oscillators to be stacked, independent of the Unison.

Sound generation is bolstered by four sub oscillators (Sine, Triangle, Saw and Square, each with its own octave setting) and a Noise generator.


"At the centre of the interface is the Scope display, providing visual feedback."

The signal is shaped by a single multimode filter offering 22 filter types and a Drive control; an LFO with swing and pulse width; two envelopes (Modulation and Amplitude) with tempo Sync and Loop; and a VCA with adjustable analogue colour.

The TransMod system enables modulation of most parameters, and each assignment includes a secondary slot for applying a scaling modulator. Other options include an Arpeggiator and a Ramp module for delay and rise time generation.

Finally, at the centre of the interface is the Scope display, providing visual feedback on the oscillator and LFO waveforms, and filter curve.
Ground zero

In terms of layout, Strobe2 is pretty much identical to Strobe 1; but under the hood, the audio engine has been completely rebuilt. Version 1 patches you've created in Strobe's native preset format can be imported via Strobe2's Legacy tab or from your OS's browser.

The new engine is far better CPU-optimised than its predecessor, and the previous extreme oversampling rates (x16 and x32) have been ditched, although oversampling is now always active (x2, x4 or x8), and the option remains to switch the rate when rendering.

The new interface offers scale options (75- 220%), two colour Themes (light and dark), a fold-out preset Browser, plus two tabbed pages for the new Effects and upgraded Arpeggiator.

Said Effects section comprises 28 processors, 19 of them lifted from Fusor (TinCan Reverb, for example), and new ones including FX-Verb (an algorithmic reverb), Pattern Delay (a multitap delay), Env Shaper, Enhancer, Nonlinear Ringmod, DirtyDAC (an old DA converter emulation) and various EQs. The effects are inserted in series in two three-slot chains, with mix blend dials for each effect and each chain.


"The Filter Drive is now gain compensated and includes a Leak level control for introducing the pre-filter signal."

Meanwhile, the 32-step Arpeggiator has all the typical options you'd expect, such as Swing, Gate time, Rate and Mode, as well as a modulation Step Sequencer. This last can be used in tandem with the Arpeggiator (each can reset the other) and as a TransMod source.

Further new features include eight Quick Preset slots for easy access to up to eight patches, with time-variable morphing between them, freezable at any point in the morph; 16 TransMod slots, up from the previous eight; parameter locking when changing patches (including the Arpeggiator); a Randomizer with X/Y pad (morph between randomly generated variations in each corner) and its own Quick Preset slot; and three new TransMod Processors.
Synth matters


The new arp and effects contribute immensely to Strobe2's 900-odd new patches, but there are changes to the synth itself that prove transformative, too.


The sub oscillators can now match the Main oscillator octave as well as up to three octaves below (as per v1), and the Sub section as a whole can be unlinked from the main Oscillator's pitch-related parameters (Sync, Stack and Detune) - ideal when you want to retain a solid underpinning while the Main Oscillator is doing something more complex.


There's also a Phase Reset option for the Main Oscillator, facilitating consistent note onset, and each oscillator section includes a Tone control, which is basically a high shelving EQ.


The Filter Drive is now gain compensated and includes a Leak level control for introducing the pre-filter signal; and the LFO offers an additional sub cycle, which is a multiple of the main LFO. Finally, both Envelopes have doubled maximum time ranges (32 seconds each for Attack, Decay and Release).


All of this expands Strobe2's sound capabilities considerably, and A/B-ing it with v1 reveals a much more vibrant- and expansive- sounding synth. This is particularly noticeable with pads, leads and textures, where the new effects often play a big part.


Of course, the arp patches are also considerably better, with complex 32-step patterns outshining the eight- steppers of v1, although sadly the Legacy arp patches don't include the arp programming, rendering them pointless.

Basses benefit, too, with more potential in the edginess department. Nevertheless, there was a certain directness of sound to the original Strobe that worked particularly well for simple basses, and that has changed.

Overall, Strobe2 is a more rounded synth than v1, with a far broader feature set, a better preset library and greatly finessed sonics. Review from Techradar


Thursday 2 November 2017

Geist2 - FXxpansion


Incredibly versatile and fully featured beat making software which can also be used to create full songs . Seems a steep learning curve is needed to know all the different things that Geist2 is capable of doing . But well worth delving into, as this is probably the best one of its kind out there!

The original Geist was the successor to FXpansion's earlier software groovebox, Guru.

It comes as no surprise, then, that Geist2 takes the already winning formula of its predecessor and improves it in enough areas to constitute a must-have upgrade for existing users and an even more compelling proposition for newcomers. Before we get into its new features, let's start with a summary of what Geist is all about...
Ghost is the machine

Essentially, Geist2 is an MPC-style pad-based 'groove DAW', complete with sampling, sequencing and song construction, that runs standalone or as a VST/AU/AAX plugin.

At the top of its hierarchical structure (Global) are eight Engines. These are effectively eight instances of the whole instrument brought together in a single interface, so you can run, say, a drum kit into one, a bass in the next, a set of vocal samples in another, etc. Each Engine houses 64 pads (up from the 16 of Geist), and each pad comprises up to eight stacked sample layers, which can be split by velocity, triggered using round robins, or selected at random.

Every level of the hierarchy (Global, Pad and Layer) can host up to six of Geist2's built-in effects, and has its own mixer, complete with sends to four Global auxiliary effects returns. Live sampling is another key feature, with direct-to-pad recording of external signals or Geist2's own output, and automatic, non-destructive slicing of loops across the pads.

Sequencing of pads is done using a familiar pattern sequencer that stores up to 24 patterns of 1024 steps each and features automation lanes for Volume, Pan, tuning, timing Shift, effects sends and much more.

Patterns can be arranged into Scenes, and strung together as arrangements manually or in real time, making Geist2 a full-on production environment in its own right - albeit one that still can't host other plugins.
Window repair

The original Geist could be undeniably fiddly at times, due to the awkward disconnect between its inflexible interface and the multi-layered complexity of its architecture.

While the latter hasn't been lessened (nor should it be!) for Geist2, the GUI has been utterly transformed by the transition to vector graphics and Retina/HiDPI compatibility, and the introduction of a muted, more contemporary new look.

Not only is the whole window now freely resizable with no effect on graphical fidelity, but every panel within it can also be stretched vertically and horizontally (to a greater or lesser extent, depending on the individual pane), with pads reshaping to fit, scrollbars appearing as required, and multiple automation lanes now viewable for each pad in the Sequencer.

It's wonderfully liberating and a vast improvement over the previous setup, but we're surprised there's no option to save workspaces for instant recall - big pads for performance, fullscreen sequencer for sequencing, huge mixer for mixing, and so on.

A few specific elements have been sensibly relocated, too. The Engine and Global Mixers are now unified, and the previously oversized pattern keys section has been shrunk and moved to the top of the Pattern panel, for example.

More importantly, the Sampler has been greatly reduced in size and prominence from its previous dedicated panel to a pop-out extension of the pad section, with no loss in functionality.

Indeed, it's actually gained a choice of Assign modes for capturing each take to the next Layer, Pad or both, or sending it to the Slicer, which makes the process of on-the-fly kit creation faster and more fun than ever.

Speaking of the Slicer, while it's not seen much change beyond a UI redesign, it's worth noting that it can, of course, distribute its slices across four times as many pads now, making those enormous sliced kits much easier to play and sequence than before.

By far the most significant addition to the Pattern Sequencer is the same independent pattern lane length adjustment that we dug so much in FXpansion's Tremor drum machine. Simply drag the end point of a lane to the left to set its length, generating all manner of polyrhythms as each lane cycles around its specified number of steps.

That's all the headline new stuff covered, then, and to wrap up in the space remaining: Geist2 also now includes the acclaimed Bloom delay and Maul distortion among other effects additions, making 47 modules; Vintage mode emulates the sound of old-school samplers; and as well as all the original Geist content, you also get a whole new factory library of samples, kits and projects.
The price of power

Sitting somewhere between evolution and revolution, Geist2 makes enough changes to feel like a whole new instrument in certain areas and the same groove production powerhouse that we already knew and loved in others.

The new interface and TransMod system are worth the upgrade price alone, but independent pattern length, more pads, improved effects and Sampler Assign modes join them to make Geist2 a dazzlingly powerful tool for any dance, urban and electronic producer - both in the studio and on stage.

It might not be the most intuitive piece of music software around, but what it lacks in immediacy it makes up for in functionality, creativity and speedy workflow.


Tuesday 31 October 2017

Sandman Pro - Unfiltered Audio



Absolutely amazing tool to morph and transform sounds into something completely different. The modulations take everything to the next level!

Since its release, Unfiltered Audio's Sandman has wowed mix engineers, sound designers and DJs alike with its slice-and-dice genius. A delay plugin with a severe narcoleptic bent, Sandman uses its Sleep mode to freeze its delay buffer to create stunning loops and grains that can be re-pitched, down-sampled, played in reverse, dirtied with noise and modulated — transforming and mutating sounds beyond all recognition! Using very short delay times, the shape-shifting Sandman alternately becomes a flanger, stutter generator, wavetable synthesizer or percussion resonator. But Sandman also excels at producing traditional echo and stereo ping-pong effects, providing delay times ranging from slapback to longer than a coffee break.

Never satisfied for long, the mad scientists at Unfiltered Audio have pushed Sandman's versatility up several notches. The new Sandman Pro adds seven new delay modes — each fitted with its own set of adjustable controls — that greatly expand its sonic palette while driving maximum delay times to a staggering 16 minutes. Use Classic Tape mode to lather echoes, loops and grains with virtual tape saturation, wow and flutter. The artifact-free Multi-Tap mode gives you a whopping 16 simultaneous delay lines to bless vocals and guitar solos with mammoth doubling and stadium-size echo effects. Use the ultra-smooth Reverse mode to produce click-free, haunting reverse echoes. Unlike with using other delays, you can modulate Sandman Pro's delay time in Modern Instant mode without producing audible pitch artifacts—great for cleanly transitioning vocal effects from doubling to echo trails at the end of a phrase. Use the dual-mono Pitch Shifter mode to create vocal harmonies, classic shimmer effects, metallic textures and more. Or use Glitch Shifter mode for funky pitch shifting that sounds, um, just plain wrong! Not messed up enough? Modulate the Sleep button in No Echo mode for crazy stutter and glitch effects. Sandman Pro can sound squeaky clean, severely damaged or anything in between.

But there's more. Sandman Pro includes Unfiltered Audio's flagship modulation system, and as of version 1.1, there are now eight different types of modulators, including a special modulation mode for seamless integration with the ROLI Lightpad control surface. Every one of Sandman Pro's controls is automatable using Unfiltered’s freely assignable LFOs. Not getting the patterns you want with sine-based LFOs? No problem – you can also modulate parameters with a full blown step sequencer – another new feature in v1.1.

The range of tones and textures that the Sandman Pro can achieve is truly limitless. Using high feedback levels, the new diffusion network layers reverb with your echoes and multi-tap delays. And with stereo delays, you can offset the left and right delay times and apply cross-channel feedback to create intricate polyrhythmic ping-pong echoes and phase-y Sleep-buffer loops. Reverse the Sleep buffer to transform grains with backward envelopes. Or lock the length of the buffer and adjust its start and end points to change the grain's pitch. Built-in lowpass and highpass filters sculpt your mad creation's timbre, while the new Soft Clip function adds analog-style saturation. M/S mode works with the Width control to blend mid and side channels in left- and right-channel outputs, transforming Sandman Pro into a mid-side encoder. M/S Width control adjusts the wet signal's stereo field from mono to stereo to super-wide stereo.

Brimming with new features, from beautiful to bizarre, Sandman Pro is the indisputable Swiss army knife of the delay world.

FEATURES

•Seven new delay modes: Classic Tape, Modern Instant, Pitch Shifter, Glitch Shifter, Multi-Tap,Reverse and No Echo
•Produces an unparalleled variety of time-based effects, including flanging, phasing, chorus, ping-pong delays, 16-tap delays, automatic double tracking, reverse echoes, reverb, pitch shifting, harmonizing, granular synthesis, percussion resonator, stutter generator, glitch effects and many other effects that defy description
•Delay times range from 5 ms to a whopping 1,000 seconds when used in conjunction with Sample Rate reduction
•Sleep buffer can be reversed, re-pitched, down-sampled, trashed with noise, modulated and shaped with built-in lowpass and highpass filters
•Every control—including the Sleep and Kill (panic) buttons—can be automated
•Unfiltered Audio's flagship modulation system provides eight freely assignable and fully automatable modulators, including the new Step Sequencer and ROLI Lightpad module, with intuitive drag-and-drop patching to each and every one of Sandman Pro's controls
•Left and right channels can have cross-channel feedback and filtering applied and their delay times linked, offset or independently adjusted
•Feedback, X-Feed and Diffusion parameters to create thick delay tails or even reverbs
•M/S mode outputs Mid and Side signals on left and right channels, transforming Sandman Pro into a mid-side encoder
•M/S Width control adjusts the wet signal's stereo field from mono to stereo to super-wide stereo
•Soft Clip function provides analog-style saturation at Sandman Pro's inputs and outputs
•Waveform display shows the effect of your control tweaks in real time
•Newly added features provide seamless integration with the ROLI Lightpad control surface, for an unparalleled level of real-time control.


Saturday 28 October 2017

Cinematique Marble - KONTAKT



Very very nice Kontakt instrument for creating patterns via two sequencers. Incredibly useful for the cinematic , ambient genre and has a ton of presets loaded which are very easy to tweak. Enabling one to completely change them into something else very quickly. The sound pallette is excellent including the percussives/drums.  Requires the Full version of  Kontakt 


WHAT IS MARBLE?

MARBLE is a creative music tool - it is an extremely versatile instrument, modern and inspiring. By coming up with two parallel sound slots equipped with an "open" sequencer, real-time sound shaping and loads of acoustic and synthetic sound sources MARBLE tries to find new approaches to music production.

MARBLE covers a wide range of musical components and offers an enormous number of possibilities and options. About 900 presets are surely demonstrating that. You have single sounds, tonal textures, rhythmical figures, drum beats, ambient patterns, moving spheres, percussion loops etc. There are endless ways you can use MARBLE.

Ok, but what is it basically about?

MARBLE is technically a two track 16 step sequencer with the ability to edit every single step in terms of volume, pan, flter, tune, drive, reverse etc. To sum it up, you have eleven parameters to chose! In order to feed these two tracks MARBLE provides 63 different sound sources, some of them are providing up to six times round robin with several dynamic layers (see list below).
Marble is fully chromatic. It is not just a one key trigger machine. You can play the sounds in every key or as chords.

But if that was not enough, MARBLE gives you the opportunity to shape the entire sound in real-time. You have 13 effects at your fingertips which can be manually adjusted in 127 steps. To recall these effect settings just use the Marble - or the Modwheel – which runs through all 127 steps. You can now shape your sound in real- time at your own requirements.

THE MAIN FEATURES

1. THE CORE - THE 'OPEN' SEQUENCER

The base of MARBLE are two parallel sound slots or tracks, each equipped with an 'open' 16 step sequencer. 'Open' means that you can determine and define every possible sound parameter for every single of the 16 steps. In detail it is possible to separately change the values for 12 (!) functions for every step of both sequencers. You can change the velocity, the note length, pan, tuning, the playing-direction, the shape, filter, LFO stutter, reverb, delay and the time shifting in both directions.

MARBLE is fully chromatically playable. It is not just a one key trigger machine. You can play the sounds in every key or as chords, but it is also possible to „lock“ the tuning, which lets you easier play drum beats or rhythmical patterns.

2. CONTENT AND SOURCES


MARBLE is a creative music tool - it is an extremely versatile instrument, modern and inspiring. By coming up with two parallel sound slots equipped with an "open" sequencer, real-time sound shaping and loads of acoustic and synthetic sound sources MARBLE tries to find new approaches to music production.

MARBLE covers a wide range of musical components and offers an enormous number of possibilities and options. About 900 presets are surely demonstrating that. You have single sounds, tonal textures, rhythmical figures, drum beats, ambient patterns, moving spheres, percussion loops etc. There are endless ways you can use MARBLE.

Ok, but what is it basically about?

MARBLE is technically a two track 16 step sequencer with the ability to edit every single step in terms of volume, pan, flter, tune, drive, reverse etc. To sum it up, you have eleven parameters to chose! In order to feed these two tracks MARBLE provides 63 different sound sources, some of them are providing up to six times round robin with several dynamic layers (see list below).
Marble is fully chromatic. It is not just a one key trigger machine. You can play the sounds in every key or as chords.

But if that was not enough, MARBLE gives you the opportunity to shape the entire sound in real-time. You have 13 effects at your fingertips which can be manually adjusted in 127 steps. To recall these effect settings just use the Marble - or the Modwheel – which runs through all 127 steps. You can now shape your sound in real- time at your own requirements.

In order to check Marble before purchasing...


THE MAIN FEATURES

1. THE CORE - THE 'OPEN' SEQUENCER

The base of MARBLE are two parallel sound slots or tracks, each equipped with an 'open' 16 step sequencer. 'Open' means that you can determine and define every possible sound parameter for every single of the 16 steps. In detail it is possible to separately change the values for 12 (!) functions for every step of both sequencers. You can change the velocity, the note length, pan, tuning, the playing-direction, the shape, filter, LFO stutter, reverb, delay and the time shifting in both directions.

MARBLE is fully chromatically playable. It is not just a one key trigger machine. You can play the sounds in every key or as chords, but it is also possible to „lock“ the tuning, which lets you easier play drum beats or rhythmical patterns.


2. CONTENT AND SOURCES

In order to feed the 2 sound slots MARBLE provides a lot of exciting and organic sound sources. Beside some highlights of our current Cinematique Instruments library we have specially recorded plenty of new sounds and instruments such as a complex Gretsch jazz drum kit, a bass, a marimba, the pizzicato notes of a cello trio, a flute - thanks to powerflute.ch, several modern and classical synths, a gran cassa, miscellaneous tiny skin percussions, shaker, lots of fx and glitch sounds and much more. (below you fnd the entire list). Most of the sounds are existing in several round robin variations - up to 6 - and several dynamic layers - up to 8. Each sound covers a key range of minimum four octaves from C1 to C5. There are over 2,500 single sample sounds.

3. A NEW PATH - REAL-TIME SOUND SHAPING

MARBLE provides a new and absolute unique feature: Real-time Sound Shaping. After having created a sound in the sequencer area with all the extensive possibilities - see under 1 -, the entire sound of MARBLE finally passes a complex effect matrix. This effect matrix includes various effect such as low- and highpassfilter, distortion, compression, frequency rate, random generator and much more. By means of slightest changes of these effects MARBLE achieves amazing results and gives an exciting vitality and complexity to all the sounds or patterns. And guess what? This works in real- time.


4. FREEZE IT.

Imagine you like to play the guitar or piano while MARBLE is running, just enable „Freeze“ and MARBLE will play without holding a key in an endless mode. This is an excellent feature for those who are going to use MARBLE in a live situation or as the starting point for a new music composition in order to add further instruments.


SOUND LIST:
Tonal sounds/ natural and organic: E-Bass (Single Notes) - Telecaster Single Notes - E Guitar Harmonics - Cello Trio Pizzicato - Flute Staccato (coming from powerflute.ch) - Marimba (recorded in a concert hall) - Vibraphone/ Metallophone - Kalimba - Alto Glockenspiel - Glas Bowl - E-Piano (coming from K101)

Synth: Pure Sinus - Pure Saw - 80s Typical - Classical - Korg MS20 Elektro Bass - Modern Bass - 808Tom - Analog Vibraphone - Analog Flute Synth - Insomnia - Magnolia

Drum Kits: Gretsch Jazz Drum - BeachTowel Drum - Electro Drums - Domestic - Bungalow - 80s DrumBox - Glitched - Korg MS20

Percussive: Set of Glitch Sounds - Processed Bass Drum - Set of Bass Drums - Bongos - Grancassa - Set of Handclaps - Tiny Skin Handdrum - Tom Toms - Shaker - Dead Guitar Strokes - Muted Metal Plates - Metal Salad Bowl - Sea Container - Spokes - FX Set

Pads & Textures: Ambient - Sinus 60Hz Granular - Calm, Noise Frame - Stretched Metal - NoiseSwimmer - Bowled Texture - 50s Orchester Stretch - Feedbacks - Noise & Digital Dust - Guitar Cloud - Crackle & Bell - Dr Mabuse

Marble requires the full version of Kontakt 5.3 or higher.
For more details please read the manual.







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Thursday 26 October 2017

Thorn - Dimitri Sches


Excellent sounding synth similar to Diversion but much lighter on CPU power. Excells at sequential and glitched out sequences but Thorn is excellent sounding across the board. A tad heavy on the reverb and delay effects on many of the presets, and take note ( you will have to increase it ) of only four voice polyphony when trying to play chords!!


Dmitry Sches Audio Software has released Thorn, a spectral synthesizer instrument that was designed to be easy to use and deliver awesome sound.Thorn is straightforward, while providing advanced sonic control at the same time. It features an intuitive workflow and high quality processing modules.
Being light on the CPU, Thorn is ready to be put at the heart of your mix, in any genre of modern electronic music production.
Thorn offers 3 oscillators that utilize spectral synthesis method. This gives you control over all harmonics involved into the generation process of your sound. The oscillator provides sets of spectral and real-time effects to shape harmonics further. Of course FM, RM, PWM, Hard Sync implemented too.
Sound sources organized as spectrum tables of 16 frames with ability to edit and morph harmonics. The spectral synthesis gives ability to “post-process” all the generated harmonics with a special filter to colorize the output.
Two multi-mode, analog modeled filters with sensitive saturation stages available to charge your sounds and make it shine through the mix. There are 9 high quality effects, 3x ADSR envelopes, 3x LFOs, 2x multistage envelopes at your service in Thorn. 16-step flexible arpeggiator with MIDI output to generate rhythmic sequences available as well.
Additionally, Thorn provides a grid-based Glitch sequencer for maximum fun. Chop your sounds with the sequencer to get modern glitchy, stuttering effects.Features

Thorn offers 3 oscillators that utilize spectral synthesis method. This gives you control over all harmonics involved into the generation process of your sound. The oscillator provides sets of spectral and real-time effects to shape harmonics further. Of course FM, RM, PWM, Hard Sync implemented too.
Sound sources organized as spectrum tables of 16 frames with ability to edit and morph harmonics. The spectral synthesis gives ability to "post-process" all the generated harmonics with a special filter to colorize the output.

Two multi-mode, analog modeled filters with sensitive saturation stages available to charge your sounds and make it shine through the mix. There are 9 high quality effects, 3x ADSR envelopes, 3x LFOs, 2x multistage envelopes at your service in Thorn. 16-step flexible arpeggiator with MIDI output to generate rhythmic sequences available as well.
Additionally, Thorn provides a grid-based Glitch sequencer for maximum fun. Chop your sounds with the sequencer to get modern glitchy, stuttering effects.


Friday 20 October 2017

Quatromod - Audiodamage



Another excellent deceptively simplistic plugin utilizing 4 oft used effects which once again are really effective and top notch!


Take our classic Liquid through-zero flanger, Fluid multi-mod chorus, Vapor diffusion chorus, and FreqShift frequency shifter (from our Eurorack hardware line) and put them all in one plug-in, and you have a true powerhouse of stereo-insert modulation.

FLANGER: The through-zero flanger mode is our Liquid plugin in all its glory, with Haas Effect "Offset" control and invertible feedback for extra widening.

CHORUS: The chorus mode, based on our original chorus product, Fluid, later extended in to the Dimensions module for Eurorack, has six delay lines modded at different rates for one of the thickest stereo choruses available. The DIM-D mode does what you'd expect, changing the topology to match that venerated box, but with all the control of a modern chorus.

DIFFUSOR: Our Vapor plugin, recreated here as the Diffusor mode, is essentially the diffusion block from a reverb, rewired to act as a chorus. The secret snare weapon of many a producer, this mode is an unique effect that will reward experimentation.

FREQSHIFT: One of our most popular Eurorack-format hardware modules, here thoroughly reworked for the DAW context. Once you use this mode in a slight upwards shift on pads, and you'll never use anything else.

Available for nearly all modern plugin formats, QuatroMod is a convenient one-stop shop for all your modulation needs. With a vector-based resizable user interface, Retina- and 4K-capable scaling, and a platform-agnostic preset mechanism, QuatroMod will quickly become your go-to mod plugin.


 


Tuesday 17 October 2017

EOS2 - Audiodamage


One of the best, if not THE best reverb plugins out there.Not surprising as this comes from the makers of Valhalla which are also some of the finest reverbs to be had. This one though, unlike some of the those, has a much more simpler interface and just a sprinkling of presets which is just fine to get you tweaking more, and everything comes across as just plain  easier to use in my opinion. The overall sound is just spot on , EOS  reaks quality. The infinity mode is cool by the way! A MUST have!!

Eos 2 is a massive update our Eos algorithmic reverb. With an all-new entirely procedural GUI (featuring full Retina and Windows HiRes compatibility), a new cross-platform preset mechanism, a new reverb algorithm, the addition of crossover controls, the addition of VST3 versions, and a ground-up rebuild for future-proofing, Eos 2 is a worthy successor to our all-time best-selling plugin.

Eos consists of four high-quality custom-designed reverb algorithms, made with the modern production environment in mind. Three different plate simulators and our own Superhall algorithm give you a broad palette of reverb, and the easy-to-understand interface makes adjusting the algorithms to suit your track incredibly simple.

Want a traditional dark plate reverb? Eos can do that. How about a short, dense room sound for your drum buss? Not a problem. But where Eos really comes in to its own is when you drop Superhall on your piano or synthesizer tracks. The incredibly long modulated hall sounds of Eno-style ambience are where Eos thrives, something that is not possible with convolution 'verbs


Monday 9 October 2017

Maschine 2 - Native Instruments



Not one of the most intuitive  but Maschine remains a real leader in it's field.Although  mainly used as a plugin to your DAW, with the recent updates it is now becoming closer to a fully fledged DAW in itself. The recent additions of a bass synth and the isomorphic keyboard brings it ever closer to the likes of Abletons Push2. With the Maschine Jam hardware this is really a great music making combo!!  


POWER OF SOFTWARE
The included MASCHINE 2 software is exploding with cutting-edge technology. Improved browsing, arranging, and sampling, plus a new mixer, plug-in strip, and exclusive drum synths. Get ready for the most responsive, fluid, and musical beatmaking experience ever.

MASCHINE 2.6.8 WITH NEW BASS SYNTH
MASCHINE 2.6.8 introduces a monophonic, internal bass synth exclusive to MASCHINE.

MASCHINE 2.6.8 introduces a new monophonic bass synth plug-in. Design and shape rich bass tones with intuitive, fun, and fully-automatable controls directly from the hardware. Morph seamlessly from sine to saw to square – and all spots in between – to create your own unique sound. Or load any of the presets to get bass tones for any genre, including booming sub-bass or dripping acid. Unleash the full power of the bass synth with MASCHINE JAM to program classic acid glides directly from the hardware.

PLAY HARMONIES ON JAM IN ISOMORPHIC KEYBOARD MODE
MASCHINE 2.6.8 also introduces an isomorphic keyboard mode to easily play harmonies and melodies on the MASCHINE JAM 8x8 grid. In this mode, the notes on the keyboard are only the notes from the scale. Each chord also has its own hand shape – regardless of key – so you don’t need to know musical theory to play with perfect pitch. Plus, it’s easier to learn and play than on a traditional piano. Learn the shape for a chord in one key, and use the same shape in another.


Friday 29 September 2017

Vengeance-Sound VPS Avenger

  
An absolute monster of a synth with more features and modulation / routing than almost any soft synth out there. Fantastic sounding and with in built drums which all acts like a self contained DAW/synth hybrid. If your into making techno/dance music etc then this is probably all you will ever need with it's 8 arpeggiators running on 8 different oscillators and up to 4 LFO's /Amps/Shapers  etc. On the surface Avenger is very intuitive with a well laid out un confusing GUI - under the hood however lies some really serious and complex sound design options - that you can easily get to grips with if you want to delve that deep! Top marks here and one of the very best VST's i can't recommend highly enough !!!!


Vengeance-Sound's first ever virtual synth is nothing if not ambitious.

Coded - like all its stablemates - by Keilwerth Audio, it unites analogue, sample-based and wavetable synthesis in an immense workstation-style architecture, packed with sequencers, filters, effects and modulation. VPS Avenger (VST/AU/AAX), on paper at least, is every inch the 'power synth', then, but let's see how it fares in practice...
New Avenger

Avenger's vector-based and resizable GUI is unfussy in its layout. On the left are the file browser and Effects section; in the middle are the Oscillator section and a tabbed page containing various editors, sequencers and modulation controls; and on the right are the Filter, Amp and Shaper sections, and the Modulation Matrix. At the very bottom of the interface sit the usual virtual keyboard/ wavetable view, and five freely assignable Macro knobs and buttons.

As with any synth, the action starts in Avenger's Oscillator section, where up to eight - yes, eight - source signal generators are loaded. As well as those, Avenger also features a full-on drum machine section.

FM and AM knobs enable instant transformation 
of the sound.

The preset drum library contains over 160 full kits, each with an accompanying sequence, although kits and patterns are mix-and-matchable, too, and you can drag your own samples in. The kit can be played by the Drum Sequencer when a MIDI note is received, or unhooked from the Sequencer for triggering via a keyboard or pads.

The Drum Sequencer is simple but effective. Click notes in with the pencil tool, select them with the marquee tool and adjust the Velocity, Pan, Pitch and Gate time of the selected notes using the so-named knobs. Velocity can also be edited by dragging the stalks under each note, and rolls of up to eight hits can be specified for individual notes.

Clicking a waveform reveals that sample and its editing controls in the main Editor. Adjustable parameters include Volume, Pitch, Pan and Spike, the last for boosting transients (and also included in Avenger's main Amp module). Additionally, the triggering can be offset in either direction, for effortless 'smearing' of claps and snares - a welcome feature that's all too rare in drum machines. Each drum also has its own Route panel, for routing through the Shaper, Step Sequencer, Effects and Master Filter sections, but not the 'insert' Filter or Amp.

Avenger's Drum module is great fun and a worthy inclusion. It's just a shame each channel can only load samples, not synth oscillators - although we're told this is planned for an update.

Rather than simply merging the oscillators into a composite tone in the mixer, as other synths do, Avenger treats each one as a wholly discrete sound source, to be triggered and mixed with others in the traditional way if desired, or sent off down its own path as the basis of a self-contained and separately sequenced 'instrument'.


One oscillator could supply a bassline, while the next two blast out a lead, the next three a pad.

The Oscillator Route panel sets the course of the currently selected oscillator's output signal, passing it through your choice of the potentially many active filters, amps, pitch envelopes, arpeggiators, trancegates, effects racks, etc all the way to final output block. Thus, one oscillator could supply a bassline, while the next two blast out a lead, the next three a pad and so on, each 'instrument' triggered by its own arpeggiator, processed through its own effects, and modulated by its own step sequencer, envelopes and LFOs - and all at the press of a single note on your keyboard! Indeed, with that in mind, the oscillators can even be renamed.

When it comes to modulation, Avenger is possibly the most well-equipped synth we've ever met. The numbers are mindboggling: eight Pitch Envelopes, eight multi-breakpoint Mod Envelopes, eight Step Sequencers, four Amp Envelopes, four Filter Envelopes, four LFOs, three Macro knobs, an array of 'Maths' functions, all the standard MIDI messages and several CCs, and the oscillator Wavetable Envelopes and Vibrato LFOs. Needless to say, the list of targets is even more extensive, covering - we think - every parameter of the instrument, from the oscillators and filters to the arpeggiators and effects.

Up to 256 modulation assignments are made by dragging sources onto targets or selecting both in the Mod Matrix, while amounts are set by dragging the tiny triangles that appear next to modulated parameters or the sliders in the Mod Matrix. Assignments are grouped by mod source in the Matrix and collapsible to reduce clutter, so you can switch any source out to change all of its assignments at once.

The modulators themselves are all well up to scratch. The LFOs feature 17 preset waveshapes and three user-drawn ones; the Mod Envelopes can be synced to cycle over up to 160 bars and include a Loop+Release mode, in which the signal loops to Release marker while the note is held, then jumps to the Release point, continuing until released; and the breakpoint Pitch Envelopes are polyphonic, to give just a few highlights.

You can insert Gain blocks wherever you like in the signal path for volume adjustment, the Shaper (a superb waveshaping distortion module) is freely positionable, and multiple filter blocks in a Route can be arranged in any order. Other than that, the path is fixed - you can't place the Pitch Envelope after the effects, say.

Each module can be bypassed, though, or removed entirely (ie, returned to the module selection menu at the top of the panel). Setting up the signal flow like this feels quite unusual, but it means each oscillator (or a group of them) can effectively serve as a self-contained 'synth within a synth'.

The flow of each oscillator is represented throughout the interface by colour-coded bars at the top of each module - green for Osc 1, pink for Osc 2, etc. With so many of each module type possibly visible at once, this is extremely helpful. You can also right-click any block in the Route list to locate its module in the interface via a nifty animation.
Choices, choices

Clicking the menu above the oscillator waveform display brings up an enormous categorised list of sonic starting points. You get the analogue staples, naturally - Saw, Square, Triangle, Sine and noise waves - but beyond those lies a veritable sweet shop of single-cycle waveshapes, samples (up to four of which can be stacked in a single oscillator) and wavetables.

There are somewhere in the region of 500 waves, 500 wavetables and well over 1000 samples, providing an almost overwhelming 5GB library of oscillator fuel in every conceivable category. While the expected dance and electronic-orientated sounds dominate (this is Vengeance, after all, and that's very much its bag), there are also loads of acoustic and electric instrument samples in there. Oh, and you can draw your own waveshapes freehand using the mouse, too, and load your own samples in as wavetables, so there's really no limit to what Avenger can use as source material in each and every one of its oscillators.

On the left-hand side of the Oscillator section, alongside adjustable volume, panning, tuning and noise, FM and AM knobs enable instant transformation of the sound, each drawing on a range of nine fixed waveforms and three editable ones, while the Vibrato section dials in cyclical per-voice pitch modulation. The confusingly-named V-Saw tab houses Avenger's unison controls, with which a stack of up to seven detuned, spread voices is invoked. The Voicing tab reveals a four-voice chord generator and volume, wave selection and pitching parameters for the dedicated sub oscillator.


With a wave or wavetable loaded, the four knobs to the right of the central oscillator wave display present a variety of shaping options, including 'bending' to the left, right or centre, sync, formant filtering, bitcrushing and sample rate reduction. With one or more samples loaded, these knobs mirror four of the controls in the main Sample Editor immediately below, for adjusting those parameters for all samples in the stack together.

The wave display itself, meanwhile, shows the synthesised waveforms in real-time, so you can always see what effect your wranglings are having on them. It not only looks very cool, but is also hugely informative.
The next wave


The Editor tab of the bottom-centre pane is also contextual. With a sample loaded, it becomes a basic sample playback editor, offering repitching, keytracking depth, start point offset and randomisation, onset delay and bitcrushing/sample rate reduction. With a synthesised waveform in place, it switches to the amazing FFT spectrum filter, where the harmonic make-up of the signal is adjusted, either freely or in terms of harmonic and disharmonic components.


With a wavetable loaded, things get a bit more complicated. The Editor defaults to the multi- breakpoint Wavetable Envelope, which modulates the Index knob, controlling the progression of the playhead through the wavetable. At the same time, the wavetable itself pops up in place of the virtual keyboard, with an overlaid volume envelope. The Wavetable Envelope is manipulated in various ways with the controls below, and features an optional step sequencer for programming time-multiplied envelope repeats.


The other tabbed pages of the central pane host a variety of other interfaces, including a DAW-style mixer (again highlighting Avenger's 'workstation' approach), a key and velocity zoning page, the Pitch and Modulation envelopes, the Arpeggiator and the Step Sequencer.


The Arpeggiator (of which up to eight can be instantiated, each switching between up to four patterns) is much as we've come to expect in any modern synth, with pitch offset, full rhythmic control, buttons for nudging the pattern up/down and left/right, and a big library of preset patterns. The Step Sequencer (also eight in number) does the 'trancegate' thing by default but is available for assignment to pretty much any target in the Mod Matrix.

Finally, Avenger has a ton of effects onboard, mostly taken from Vengeance's various VPS bundles, but with six all-new Vintage emulations, too, courtesy of Arts Acoustic. There are 32 modules in all, including delay, reverb of all kinds, dynamics, EQ, distortion and more, and you can load eight of them at once into each of four insert racks, two Send Racks and a Master insert rack. That, in case you didn't take it in, is a lot of effects.
Powerhouse


We'd need the whole reviews section to cover everything Avenger can do - there are so many things we've not had space to get into, such as the extraordinary range of filter types, the tagged browser and the ease with which you can make your own wavetables, to name but three.


Every one of its individual elements is a powerful system in its own right, and they all come together to constitute a synthesiser of dizzying power and flexibility. Its pseudo- multitimbral, semimodular architecture is ingeniously implemented, with only the lack of multiple outputs into the host DAW and the cramped Mod Matrix letting the side down.

Most importantly, though, it sounds absolutely incredible, with that characteristic Vengeance energy, power and richness married to the deep textural nuance that only wavetable synthesis can bring.

Make some room in the heavens, Omnisphere 2, Serum, Massive and Spire, because the pantheon of bona fide supersynths just grew by one. Review from musicradar.com


Thursday 14 September 2017

Ultraloop - Twisted Tools


Amazing tool for glitching out a bunch of loops at the touch of a button (buttons). Includes many presets to get you going but really comes into its own when you load your own, which is great for anyone with large loop libraries and who wants to breath some freshness into them  

This can go very deep or you can keep it simple.Best to focus on one module at a time. Especially fine stuff for Electronica ,dubstep etc

. ULTRALOOP is a first-of-its-kind loop remixing sampler with a fast and intuitive visual workflow for Native Instruments *Reaktor. ULTRALOOP combines advanced loop layering, comping, effect processing and automation techniques to generate new grooves, riffs and song ideas. You can use ULTRALOOP with the included factory sample library or to remix your own samples, injecting new life into any existing loop library. In addition to the factory library, Ultraloop Expansions are available as part of our Loop Expansion series.

At the core of ULTRALOOP is an advanced loop layering engine and sequencer, capable of both layering and comping - a production technique that allows you to flip between layered tracks that are playing back simultaneously, by muting and un-muting slices of each layer. Up to eight tracks with loops of any BPM can be layered or comped together in real-time and can be further processed using the all-new Gestural FX engine. The Gestural FX engine automatically generates dynamic effect movements that ramp and modulate over time, using a suite of creative effects designed to produce endless fills, articulations and variations.
To create additional loops and variations, ULTRALOOP features and endless supply of randomization functions, connected to a unique Preset Grid system for each main parameter group. A Preset Grid allows you to store, recall and automate settings by using a dynamic memory grid made up of 17 slots that can be played on-the-fly. The settings for the entire instrument, including all the parameter Preset Grids can be stored and recalled in one of eight Global Scenes, allowing you to create infinite loop variations. All the relevant instrument features can be played with live, without skipping a beat, by using a mouse, MIDI or OSC


Saturday 2 September 2017

Blue Cats Patchwork

Another excellent plug in from Blue Cats which hosts your vsts and effects in chains, allowing you to save and load your favourite collection at the click of  button. Splendidly laid out and with great automation features, but the real power comes in routing vst's and effects to seperate channels, which one cannot do in many DAWs.

Blue Cat's PatchWork is a universal plug-ins patchbay that can host up to 64 VST, VST3 or Audio Unit plug-ins into any Digital Audio Workstation (DAW) in one instance.

It is possible to chain effects in series or create up to 8 parallel chains that can be activated independently. This lets you create your favorite effects or instruments configurations within the plug-in, without the need for multiple busses. These configurations can be saved as presets and recalled instantly, or shared with multiple DAWs, using any plug-in format (full list below).

Despite the name, you can forget about wires or cables: configuring plug-ins routing is as simple as adding or removing a row or a column in the rack's matrix. All plug-ins can also communicate with each other or with the host application using the virtual MIDI ports offered by the plug-in.

For each plug-in slot, latency compensation, presets management, undo/redo integration, audio i/o selection and individual plug-in bypass are included for optimal operation. The plug-in also stores the position of the window for each plug-in so that the layout is restored with your session or saved with presets.

Also, sub plug-ins can be automated or controlled with external control surfaces using Blue Cat's PatchWork parameters mapping capabilities.

This product is available as an audio plug-in (effect or a virtual instrument) and standalone application, so that it can used alone or inserted on any type of track in your favorite DAW, with up to 16 audio channels.

Input and output level meters are also available to monitor the signal that is dispatched to inserted plug-ins, including side chain and aux channels.

If you are looking for a multiband plug-ins host for multiband processing, check out the Blue Cat's MB-7 Mixer plug-in. Also, any Blue Cat Audio plug-in is compatible and can be hosted by this software.

V2.0 (2017/02/23)

Brand new GUI design, with improved usability and touchscreen support.
Now supports retina displays on Mac (text using high resolution).
Favorite plug-ins and their settings can be saved to be quickly reloaded later from a menu.
Unused channels for each hosted plug-in can now be muted (instead of default pass-thru).
Load/save native VST, VST3 or AU preset files.
Presets and parameters menus are now split in sub menus instead of a single list.
Additional user VST path to locate VST plug-ins is now available.
Missing VST & VST3 plug-ins are now automatically relocated.
Lock GUI state and in/out gains to prevent changes when loading presets.
Output gain is now always active, even when using a single PRE column.
Exclusive solo mode for parallel chains.
Show or hide all plug-ins editors with single click.
Hide plug-ins slots to minimize the plug-in.
Standalone application: drag and drop preset files on the application to load preset instantly on startup (and create shortcuts to launch app with a specific preset).
Now compatible with most recent Audio Units (Waves for example).
Changed demo limitations: up to 5 instances allowed, bypass time changed to half a second, and bypass parameter is not affected anymore.
Fully compatible with previous versions of the plug-in.Dropped support for Windows XP and Mac OS X 10.6 and earlier.


Saturday 5 August 2017

PreSonus Studio One 3 Professional


Top notch DAW Studio One is THE way to go especially if you prefer arranging and multi mixing/recording your own stuff and in this respect beats the likes of Ableton Live hands down!! Too many awesome features to list here! With the newly updated version, Studio One is faster than ever and loads/performs at lightning speed. An excellent set of instruments and notes FX etc is also included and its really well worth getting the professional version for these extra features. I'll certainly be using this DAW more often than i have done in the past!!


Studio One Artist and Professional are available direct from both PreSonus and music retail shops worldwide as both upgrades and full versions. Both Artist and Professional come as standard download versions, and can also be purchased with the entire program on an exclusive limited edition 64 GB USB flash drive.

Instantly familiar—yet nothing feels like it. Studio One® 3 contains everything you’d expect from a modern digital audio powerhouse. Once you touch its fast, flow-oriented, drag-and-drop interface, you’ll realize Studio One® 3 was built by creative people for creative music production.

At every step of the musical process, you’ll spend your time creating music instead of fighting a bloated interface. And the sound quality? Well, simply put, it’s unparalleled. In fact, the most common comments from musicians, producers and engineers who have switched to Studio One are “I can just get things done faster” and “Studio One just sounds better.” Let’s find out why.


Version 3.5.1 Release Notes (June 27, 2017)

New features and improvements:
Overall lower latency when playing virtual instruments
Further CPU load balancing improvements
Improved Quick Zoom behavior (alt+shift)
Mixer Undo history logs parameter changes from external devices
Visual bypass state for Mix Engine FX in console
Bouncing Events now keeps routing

The following issues have been fixed:
[Mix Engine FX] Softube Tape not working in 64-bit double-precision mode
[Event FX] Editing tail value in event inspector by dragging mouse is broken
Copy > Replace Arranger section from Scratch Pad back into song creates empty section
Track names cut off when in "Show Automation" mode
Inserts on duplicated tracks stop working
Duplicate / Copy with "Layers follows events" copies wrong range from layers
Copy and paste to wrong track if "Layers follows events" is active
[Auto Punch] punch area not respected, results in merged Event
[macOS] crash in window management
[macOS] incomplete localization when multiple versions of Studio One are installed
[macOS] Stillwell The Rocket compressor (Audio Units) not working
[macOS] crash when using built-in audio device on 10.9.5
Disable Solo from Arrangement not working for multi-out instruments
Browser selection lost after searching
Time offset when bouncing pitch-shifted audio with new algorithms
Mixer Undo not working on Cue Mix sends
Instrument channel direct assign to sidechain not recalled on song load
Instrument Low Latency Monitoring not working with Vienna Instrument Pro
• Latency information for hardware monitoring is incorrect
[Rotor] Drive not stored correctly
[StudioLive Series III] DSP and plug-in sync issues
[Fat Channel XT] Vintage EQ boosts hi and lo shelves on copy
[Fat Channel XT] gain reduction incorrect
Output Level Meter modes not synced
Can't select a plug-in from the Insert Menu with touch
Can't open controller lane (focus issue)
[Project Page] crash when importing from DDP Image
[Project Page] can't update artist name
[Project Page] Analyzer parameter changes don't mark document as edited
Level Meter doesn't store/recall "LU/LUFS" and "EBU+18" settings
Level meter display settings (+18 or LU/LUFS) should NOT reset Loudness values
Replacing instrument results in wrong instrument UI displayed
"Cursor follows edit position" broken in Arranger inspector list
Midi file export with tempo change broken
Fader automation causes noise on fade out
Bounce of external instruments at bar one not possible


Monday 31 July 2017

Madrona Labs - Aalto


An amazing synth with absolutely amazing sounds. If your looking for some unique and out of this world sounds........look no further!

Aalto is a semi-modular software synthesizer with an innovative, patchable UI, distinctive sounds, and a charming personality

Aalto's sound engine lets you create sounds that have been difficult or impossible to make with softsynths before now. The heart of Aalto is a Buchla-inspired complex oscillator, with FM, timbre and waveshape controls that enable a wide range of expressive sounds. These sounds are uniquely malleable and alive, in part because they are made with dynamic calculation, not static wavetables.

Aalto is designed as much for sequencing patterns as for playing individual notes. Each voice has a separate, built-in sequencer with a patchable, independently controllable rate and offset that make it easy to achieve evolving, chaotic textures.
Each voice also includes a lowpass gate module with a vactrol emulation in the control path. The vactrol equation slows down the response to incoming control signals through a complex nonlinear filter. You can turn the vactrol response down to instantaneous, or up to a pronounced ring.

Following the lowpass gate is a patchable waveguide / delay module with a waveshaper and a peaking EQ built into the feedback loop. Because it has such short and controllable delay times, unlike a typical analog delay, it can be used as an additional oscillator or waveguide.
Aalto's filter is a state-variable topology with mixable simultaneous outputs, tuned to have a similar range to an Oberheim SEM filter. (Though I couldn't resist turning up the resonance just a little more.)

Subjectively speaking, Aalto can make a wide range of sounds, from lush to edgy, including some very complicated ones, without sounding too thick in a mix. Aalto's sounds are not hyped or confined, they are wide-range, open and natural. We hope our approach will appeal to experienced sound designers who have their own favorite EQs and limiters. And for those just getting into synthesis, Aalto is an accurate and honest tool for learning. We have tried to make Aalto a deep instrument that will reward lasting engagement.

Aalto's manual (included) has over 50 pages full of Aalto lore, tips and tricks, and a complete introduction to patching synthesis!



Monday 10 July 2017

Acon Digital Acoustica Premium Edition



Extremely comprehensive and versatile mixing and mastering suite that not only looks great but is also an invaluable tool to fine tune your mixes.

Acoustica is a comprehensive solution for professional audio recording, editing, mixing and mastering. The intuitive user interface was designed with speed, accuracy and ease-of-use in mind and gives access to a large set of powerful tools to make your recordings sound the best. The consistent workflow simplifies your production work all the way from recording, editing, batch processing, sound design and audio restoration to Red Book compatible CD burning.

Ultimate Audio Quality
Acoustica offers support for state-of-the-art audio resolutions up to 32 bit and sampling rates up to 384 kHz, ensuring that all of your work comes across at the highest quality. Acoustica Premium Edition even supports multichannel audio recording and editing such as 5.1 and 7.1 surround sound.

Audio Restoration
Integrated audio restoration tools help you get the most out of recordings impaired by background noise, clicks, crackle, clipping or missing high frequency content. The Premium Edition contains the same set of professional tools as our Restoration Suite.

Multitrack Editing
New in Acoustica is the ability to edit multitrack audio. Both the Standard and the Premium Edition allows you to mix audio from different tracks in real-time, add audio effects to tracks or easily create cross-fades. You can even loop or time stretch clips directly from the multitrack timeline.

Processing Tools
High quality audio tools and effects are integrated such as dynamic processing, limiter, equalizing, reverb, convolution reverb, chorus and flanger. You can also modify tempo and key of your recordings independently using the superb quality time stretching and transpose tools.

Effect Chains and Plug-In Support
You can create complete chains of processing tools, including external plug-ins, and save them along with all the parameter settings for later use. VST and DirectX plug-in support allows you to access a vast number of both free and commercial third party audio processing plug-ins directly from Acoustica.

Analysis Tools
Powerful offline analysis tools are available, including spectrum, spectrogram and wavelet analysis. Real-time analyzers such as K-System level meters, phase correlation meters and spectrum analyzers allow you to monitor your audio output visually in real time during playback.