Harmor Mac OSX AU+VST 64/32 Alpha 9
Additive / subtractive
Just like its little brother Harmless, Harmor is driven by a powerful additive synthesis engine. Its modules will look familiar to subtractive synthesizer enthusiasts: oscillators, filters & phasers, these are featured in Harmor but, because performed through additive synthesis, offer more freedom. You don’t just select filter types, you draw them.
You wanted more, so also featured is the multipoint envelope editor of Sytrus fame, applied to over 40 parameters, in 2 independent parts. Through the same envelope/mappings, randomize any parameter or link it to key or velocity, and even fine-tune each unison voice independently.
Processing units can be rearranged in a semi-modular way. If you need one of the 2 filter units processed after the blur unit, that’s no problem.
Image synthesis Because it typically requires manipulating large amounts (up to 500 per voice) of partials over time, additive synthesis is hard to handle. No human can (or even wants to) edit 500 envelopes, but editing 2D images, that we can do easily. Get access to gain & pitch planes which you can tweak in the image editor of your choice, and import any bitmap, even if it wasn’t designed to be turned into audio, it might still sound interesting.
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Ogun Mac OSX AU+VST 64/32 Alpha 9
Lots of harmonics
Ogun’s distinctive synthesis engine can generate more than 32,000 harmonics, modulated by high-level ‘harmonic mapping’ functions, that hand tonal control directly to the user.
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Slicex Mac OSX AU+VST 64/32 Alpha 9
A new way of slicing
If the wave file contains slice/region data this will be automatically used instead of the beat-detection algorithm.
Slicex offers playback, reordering of slices and time-stretching capabilities optimized for drum loops.
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Vocodex Mac OSX AU+VST 64/32 Alpha 9
What is Vocoding? You have heard vocoding many times, even if you don’t know what it is. Vocoders are the classic robot voice from many sci-fi movies. Vocoders analyze the real-time frequency band activity of one sound, the Modulator, to control frequency band activity in another, the Carrier.
A vocoder consists of a series of narrow-band frequency gates that allow through only those frequencies from the Carrier that are detected in the Modulator source. So if a human voice is used to vocode a synthesizer chord, it will sound like the synthesizer is talking. Check the demo tracks above.
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Sytrus Mac OSX AU+VST 64/32 Alpha 9
Meticulously crafted, Sytrus delivers ethereal lush pads, sonorous bells, scintillating highs or simply dirty grunge. The 6 user-definable operators can act as independent oscillators for subtractive synthesis, cross-modulate to create complex FM (Frequency Modulation) or RM (Ring Modulation) synthesis or the 256 partial harmonic editor can be used to additively synthesize virtually any timbre you can imagine. With up to 64x oversampling Sytrus delivers 100% epic sound.
Sytrus features 3 independent, chainable, filter units, each containing an array of filters (13 types each with 5 cutoff slope settings) and integrated waveshaper (distortion processor). The filter units are optionally followed by a Chorus, Delay & Reverb unit. 100% Flexibility.
With over 500 hand-picked presets Sytrus is ready to contribute to any genre immediately upon installation. Sounds cover – Arps, Bass, Bell, Brass, Chromatics, Drum, DX7, Experimental, FX, Guitar, Orchestral, Organ, Pad, Percussion, Piano, Plucked, Sequence, Synth, String, Wind. 100% inspiration.
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Harmless Mac OSX AU+VST 64/32 Alpha 9
You may ask: why?
For several reasons. To begin with, there are too many subtractive synthesizers already, often bragging about being virtual analog. This one is digital, and proud to be. Everything is fake, the tone generator, the filter & its resonance, the phaser, all performed on the harmonics, before partials are computed.
Now, how it’s synthesized shouldn’t matter after all, if the result sounds subtractive. But Harmless is more than a proof of concept, it allows fine control that wouldn’t be possible through classic subtractive synthesis. Filtering and phasing can be assigned unusual shapes & slopes, something normally only possible through offline digital filters. Filter slopes can even be defined in Hz instead of octaves. Finally, you get control on each partial’s frequency, creating timbres definitely impossible using common synthesis methods.
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Gross Beat Mac OSX VST+AU 64/32 Alpha 9
Instant and powerful …
Gross beat is perfect for real-time or rendered gating, glitch, repeat, scratching and stutter performances. Gross Beat stores audio in a 2-bar rolling buffer under the control of 36 user definable time and volume envelopes, giving you unlimited creative control.
Live or automated performance
Gross Beat Time and Volume presets can be linked to a keyboard, pad controller or automation source for on-the-fly changes to the preset. Preset slots can be set to momentary (key-held), return to base (slot 1) or hold mode on a per-preset basis. Preset-change synchronization can be set from immediate through to 4 beats (1 bar).
Let our FL Studio Guru explain you how to automate Gross Beat using automation clips or the FL keyboard pianoroll.
Gating & volume effects
In addition to the gating possibilities afforded by the spline based envelope, Gross Beat is perfect for side-chain effects without the need to link to an audio source. Just select one of the ducking-style presets for instant side-chain pumping.
The TRON Legacy legacy …
Gross Beat can be heard on Daft Punk’s Tron Legacy soundtrack playing a major part in the rhythmic structure. Why not experiment with the same presets as were used in the soundtrack: Click here to learn more.
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