QuikQuak Glass Viper 1 20
Glass Viper is a synthesizer with unique waveform shaping, that has a deep
and natural sense of movement. Going beyond analogue simulation, into a truly
organic sound, from simple old synths to grungy filthy basses, or delicate
pianos to strange unnatural film effects.
Instead of taking a sample or oscillator and applying just filters and FX
techniques, Glass Viper bends the actual shape of its waveforms through a
series of moving control points. Up to four of these swirling and changing
sounds can be layered together to create a huge range of instruments. Glass
Viper allows you to really shake things up with a deep, natural sense of
movement.
From the start, Glass Vipers goal was to make sound creation visual, and
distance itself from mathematics. Making something with a unique sound was
also a priority, and in a world full of synthesizers, this had to mean a
fundamental difference. Without the complexity of many changeable modules,
Glass Viper encourages play and experimentation. Most of the presets
available were bo from experimentation, rather than setting out to make a
particular sound.
Glass Vipers moving waveform is the fundamental to its sound. When a note
is held, the sound can move in a natural and pleasing way, without repetition.
Like RaySpace, the visual aspect is also a major part of Glass Viper,
guiding the user to a more experimental and less mathematical route to sound
creation. The main display will change depending on which panel you are
selecting. On the Voice panel the four waveforms of the currently playing
note are directly displayed. On the Global panel the actual whole output
waveform is plotted. And on the Waveshaper panel, you can edit the waveforms
in real time so you can really get the feel of the sound creation process.
There is an extensive copy and paste algorithm, which enables you to copy
either each panel, voice or whole 4 voices instruments this speeds up the
sound creation process enormously, and also allows the user to use parts of
different presets to make new ones.
quikquak/Prod_GlassViper
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sâmbătă, 29 mai 2010
QuikQuak Glass Viper 1 21 for Mac
QuikQuak Glass Viper 1 21 for Mac
Glass Viper is a synthesizer with unique waveform shaping, that has a deep
and natural sense of movement. Going beyond analogue simulation, into a truly
organic sound, from simple old synths to grungy filthy basses, or delicate
pianos to strange unnatural film effects.
Instead of taking a sample or oscillator and applying just filters and FX
techniques, Glass Viper bends the actual shape of its waveforms through a
series of moving control points. Up to four of these swirling and changing
sounds can be layered together to create a huge range of instruments. Glass
Viper allows you to really shake things up with a deep, natural sense of
movement.
From the start, Glass Vipers goal was to make sound creation visual, and
distance itself from mathematics. Making something with a unique sound was
also a priority, and in a world full of synthesizers, this had to mean a
fundamental difference. Without the complexity of many changeable modules,
Glass Viper encourages play and experimentation. Most of the presets
available were bo from experimentation, rather than setting out to make a
particular sound.
Glass Vipers moving waveform is the fundamental to its sound. When a note
is held, the sound can move in a natural and pleasing way, without repetition.
Like RaySpace, the visual aspect is also a major part of Glass Viper,
guiding the user to a more experimental and less mathematical route to sound
creation. The main display will change depending on which panel you are
selecting. On the Voice panel the four waveforms of the currently playing
note are directly displayed. On the Global panel the actual whole output
waveform is plotted. And on the Waveshaper panel, you can edit the waveforms
in real time so you can really get the feel of the sound creation process.
There is an extensive copy and paste algorithm, which enables you to copy
either each panel, voice or whole 4 voices instruments this speeds up the
sound creation process enormously, and also allows the user to use parts of
different presets to make new ones.
quikquak/Prod_GlassViper
BUY QuikQuak Glass Viper 1 21 for Mac 10$
TAGS download QuikQuak Glass Viper 1 21 for Mac, order QuikQuak Glass Viper 1 21 for Mac, download QuikQuak Glass Viper 1 21 for Mac
Glass Viper is a synthesizer with unique waveform shaping, that has a deep
and natural sense of movement. Going beyond analogue simulation, into a truly
organic sound, from simple old synths to grungy filthy basses, or delicate
pianos to strange unnatural film effects.
Instead of taking a sample or oscillator and applying just filters and FX
techniques, Glass Viper bends the actual shape of its waveforms through a
series of moving control points. Up to four of these swirling and changing
sounds can be layered together to create a huge range of instruments. Glass
Viper allows you to really shake things up with a deep, natural sense of
movement.
From the start, Glass Vipers goal was to make sound creation visual, and
distance itself from mathematics. Making something with a unique sound was
also a priority, and in a world full of synthesizers, this had to mean a
fundamental difference. Without the complexity of many changeable modules,
Glass Viper encourages play and experimentation. Most of the presets
available were bo from experimentation, rather than setting out to make a
particular sound.
Glass Vipers moving waveform is the fundamental to its sound. When a note
is held, the sound can move in a natural and pleasing way, without repetition.
Like RaySpace, the visual aspect is also a major part of Glass Viper,
guiding the user to a more experimental and less mathematical route to sound
creation. The main display will change depending on which panel you are
selecting. On the Voice panel the four waveforms of the currently playing
note are directly displayed. On the Global panel the actual whole output
waveform is plotted. And on the Waveshaper panel, you can edit the waveforms
in real time so you can really get the feel of the sound creation process.
There is an extensive copy and paste algorithm, which enables you to copy
either each panel, voice or whole 4 voices instruments this speeds up the
sound creation process enormously, and also allows the user to use parts of
different presets to make new ones.
quikquak/Prod_GlassViper
BUY QuikQuak Glass Viper 1 21 for Mac 10$
TAGS download QuikQuak Glass Viper 1 21 for Mac, order QuikQuak Glass Viper 1 21 for Mac, download QuikQuak Glass Viper 1 21 for Mac
QuikQuak Glass Viper VSTi 1 20c
QuikQuak Glass Viper VSTi 1 20c
Glass Viper is a synthesizer with unique waveform shaping, that has a deep
and natural sense of movement. Going beyond analogue simulation, into a truly
organic sound, from simple old synths to grungy filthy basses, or delicate
pianos to strange unnatural film effects.
Instead of taking a sample or oscillator and applying just filters and FX
techniques, Glass Viper bends the actual shape of its waveforms through a
series of moving control points. Up to four of these swirling and changing
sounds can be layered together to create a huge range of instruments. Glass
Viper allows you to really shake things up with a deep, natural sense of
movement.
From the start, Glass Vipers goal was to make sound creation visual, and
distance itself from mathematics. Making something with a unique sound was
also a priority, and in a world full of synthesizers, this had to mean a
fundamental difference. Without the complexity of many changeable modules,
Glass Viper encourages play and experimentation. Most of the presets
available were bo from experimentation, rather than setting out to make a
particular sound.
Glass Vipers moving waveform is the fundamental to its sound. When a note
is held, the sound can move in a natural and pleasing way, without repetition.
Like RaySpace, the visual aspect is also a major part of Glass Viper,
guiding the user to a more experimental and less mathematical route to sound
creation. The main display will change depending on which panel you are
selecting. On the Voice panel the four waveforms of the currently playing
note are directly displayed. On the Global panel the actual whole output
waveform is plotted. And on the Waveshaper panel, you can edit the waveforms
in real time so you can really get the feel of the sound creation process.
There is an extensive copy and paste algorithm, which enables you to copy
either each panel, voice or whole 4 voices instruments this speeds up the
sound creation process enormously, and also allows the user to use parts of
different presets to make new ones.
quikquak/Prod_GlassViper
BUY QuikQuak Glass Viper VSTi 1 20c 10$
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Glass Viper is a synthesizer with unique waveform shaping, that has a deep
and natural sense of movement. Going beyond analogue simulation, into a truly
organic sound, from simple old synths to grungy filthy basses, or delicate
pianos to strange unnatural film effects.
Instead of taking a sample or oscillator and applying just filters and FX
techniques, Glass Viper bends the actual shape of its waveforms through a
series of moving control points. Up to four of these swirling and changing
sounds can be layered together to create a huge range of instruments. Glass
Viper allows you to really shake things up with a deep, natural sense of
movement.
From the start, Glass Vipers goal was to make sound creation visual, and
distance itself from mathematics. Making something with a unique sound was
also a priority, and in a world full of synthesizers, this had to mean a
fundamental difference. Without the complexity of many changeable modules,
Glass Viper encourages play and experimentation. Most of the presets
available were bo from experimentation, rather than setting out to make a
particular sound.
Glass Vipers moving waveform is the fundamental to its sound. When a note
is held, the sound can move in a natural and pleasing way, without repetition.
Like RaySpace, the visual aspect is also a major part of Glass Viper,
guiding the user to a more experimental and less mathematical route to sound
creation. The main display will change depending on which panel you are
selecting. On the Voice panel the four waveforms of the currently playing
note are directly displayed. On the Global panel the actual whole output
waveform is plotted. And on the Waveshaper panel, you can edit the waveforms
in real time so you can really get the feel of the sound creation process.
There is an extensive copy and paste algorithm, which enables you to copy
either each panel, voice or whole 4 voices instruments this speeds up the
sound creation process enormously, and also allows the user to use parts of
different presets to make new ones.
quikquak/Prod_GlassViper
BUY QuikQuak Glass Viper VSTi 1 20c 10$
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QuikQuak Pitchwheel 3 10 for Mac
QuikQuak Pitchwheel 3 10 for Mac
The Pitchwheel plug in freely alters the pitch of a sound without changing
its length. It has a large, easy to use dial and simple parameters making it
a fast and creative effect unit. It can give fine tuning control from
fractions of a semi tone to huge multi octave pitch swings. 8 note chords can
be played through MIDI, allowing harmonies to be constructed easily from the
audio input. The user pointer acts as a desired pitch change, and the actual
pitch is produced by gravity and inertia controls. Pitchwheel moves towards
the desired pitch at sample accuracy, enabling nice transitions without
stepping artifacts. A DJ tutable feel can be created with some play, but
the difference here is that the tempo remains the same, so your track can go
on without sequence timing changes. You can of course use it static, to
create odd alien sounds, and character changes. Dopler effects can be easily
simulated, or just use it to alter background atmospheres in real time to get
them just right. The stereo image is kept intact on all pitches, without
movement across the channels.
Pitchwheel now has a new pitch shifting engine that has taken several
months to create, its 46ms 44k latency makes it the most responsive
wideband pitch shifter on the market. And with excellent tonal and transient
quality, makes it a great tool for any studio.
quikquak/Prod_Pitchwheel
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The Pitchwheel plug in freely alters the pitch of a sound without changing
its length. It has a large, easy to use dial and simple parameters making it
a fast and creative effect unit. It can give fine tuning control from
fractions of a semi tone to huge multi octave pitch swings. 8 note chords can
be played through MIDI, allowing harmonies to be constructed easily from the
audio input. The user pointer acts as a desired pitch change, and the actual
pitch is produced by gravity and inertia controls. Pitchwheel moves towards
the desired pitch at sample accuracy, enabling nice transitions without
stepping artifacts. A DJ tutable feel can be created with some play, but
the difference here is that the tempo remains the same, so your track can go
on without sequence timing changes. You can of course use it static, to
create odd alien sounds, and character changes. Dopler effects can be easily
simulated, or just use it to alter background atmospheres in real time to get
them just right. The stereo image is kept intact on all pitches, without
movement across the channels.
Pitchwheel now has a new pitch shifting engine that has taken several
months to create, its 46ms 44k latency makes it the most responsive
wideband pitch shifter on the market. And with excellent tonal and transient
quality, makes it a great tool for any studio.
quikquak/Prod_Pitchwheel
BUY QuikQuak Pitchwheel 3 10 for Mac 10$
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vineri, 28 mai 2010
QuikQuak Pitchwheel 3 11
QuikQuak Pitchwheel 3 11
The Pitchwheel plug in freely alters the pitch of a sound without changing
its length. It has a large, easy to use dial and simple parameters making it
a fast and creative effect unit. It can give fine tuning control from
fractions of a semi tone to huge multi octave pitch swings. 8 note chords can
be played through MIDI, allowing harmonies to be constructed easily from the
audio input. The user pointer acts as a desired pitch change, and the actual
pitch is produced by gravity and inertia controls. Pitchwheel moves towards
the desired pitch at sample accuracy, enabling nice transitions without
stepping artifacts. A DJ tutable feel can be created with some play, but
the difference here is that the tempo remains the same, so your track can go
on without sequence timing changes. You can of course use it static, to
create odd alien sounds, and character changes. Dopler effects can be easily
simulated, or just use it to alter background atmospheres in real time to get
them just right. The stereo image is kept intact on all pitches, without
movement across the channels.
Pitchwheel now has a new pitch shifting engine that has taken several
months to create, its 46ms 44k latency makes it the most responsive
wideband pitch shifter on the market. And with excellent tonal and transient
quality, makes it a great tool for any studio.
quikquak/Prod_Pitchwheel
BUY QuikQuak Pitchwheel 3 11 10$
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The Pitchwheel plug in freely alters the pitch of a sound without changing
its length. It has a large, easy to use dial and simple parameters making it
a fast and creative effect unit. It can give fine tuning control from
fractions of a semi tone to huge multi octave pitch swings. 8 note chords can
be played through MIDI, allowing harmonies to be constructed easily from the
audio input. The user pointer acts as a desired pitch change, and the actual
pitch is produced by gravity and inertia controls. Pitchwheel moves towards
the desired pitch at sample accuracy, enabling nice transitions without
stepping artifacts. A DJ tutable feel can be created with some play, but
the difference here is that the tempo remains the same, so your track can go
on without sequence timing changes. You can of course use it static, to
create odd alien sounds, and character changes. Dopler effects can be easily
simulated, or just use it to alter background atmospheres in real time to get
them just right. The stereo image is kept intact on all pitches, without
movement across the channels.
Pitchwheel now has a new pitch shifting engine that has taken several
months to create, its 46ms 44k latency makes it the most responsive
wideband pitch shifter on the market. And with excellent tonal and transient
quality, makes it a great tool for any studio.
quikquak/Prod_Pitchwheel
BUY QuikQuak Pitchwheel 3 11 10$
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QuikQuak Pitchwheel VST 3 11
QuikQuak Pitchwheel VST 3 11
The Pitchwheel plug in freely alters the pitch of a sound without changing
its length. It has a large, easy to use dial and simple parameters making it
a fast and creative effect unit. It can give fine tuning control from
fractions of a semi tone to huge multi octave pitch swings. 8 note chords can
be played through MIDI, allowing harmonies to be constructed easily from the
audio input. The user pointer acts as a desired pitch change, and the actual
pitch is produced by gravity and inertia controls. Pitchwheel moves towards
the desired pitch at sample accuracy, enabling nice transitions without
stepping artifacts. A DJ tutable feel can be created with some play, but
the difference here is that the tempo remains the same, so your track can go
on without sequence timing changes. You can of course use it static, to
create odd alien sounds, and character changes. Dopler effects can be easily
simulated, or just use it to alter background atmospheres in real time to get
them just right. The stereo image is kept intact on all pitches, without
movement across the channels.
Pitchwheel now has a new pitch shifting engine that has taken several
months to create, its 46ms 44k latency makes it the most responsive
wideband pitch shifter on the market. And with excellent tonal and transient
quality, makes it a great tool for any studio.
quikquak/Prod_Pitchwheel
BUY QuikQuak Pitchwheel VST 3 11 10$
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The Pitchwheel plug in freely alters the pitch of a sound without changing
its length. It has a large, easy to use dial and simple parameters making it
a fast and creative effect unit. It can give fine tuning control from
fractions of a semi tone to huge multi octave pitch swings. 8 note chords can
be played through MIDI, allowing harmonies to be constructed easily from the
audio input. The user pointer acts as a desired pitch change, and the actual
pitch is produced by gravity and inertia controls. Pitchwheel moves towards
the desired pitch at sample accuracy, enabling nice transitions without
stepping artifacts. A DJ tutable feel can be created with some play, but
the difference here is that the tempo remains the same, so your track can go
on without sequence timing changes. You can of course use it static, to
create odd alien sounds, and character changes. Dopler effects can be easily
simulated, or just use it to alter background atmospheres in real time to get
them just right. The stereo image is kept intact on all pitches, without
movement across the channels.
Pitchwheel now has a new pitch shifting engine that has taken several
months to create, its 46ms 44k latency makes it the most responsive
wideband pitch shifter on the market. And with excellent tonal and transient
quality, makes it a great tool for any studio.
quikquak/Prod_Pitchwheel
BUY QuikQuak Pitchwheel VST 3 11 10$
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RS Met Straightliner VSTi 10 03
RS Met Straightliner VSTi 10 03
Straightliner is a straight lined subtractive synthesizer in a mode
guise. You will find the well known building blocks of classic analog
synthesizers 4 oscillators, a filter, 2 envelope generators patched
together in the traditional way. What sets it apart from the sheer mass of
other subtractive also often called virtual analog synthesizers is, that it
does not attempt to emulate analog synthesizers with all their physically
imposed limitations. Instead, Straightliner takes full advantage of the
extended possibilities that sofware based synthesis offers: Instead of
relying on a set of fixed waveforms, Straightliners oscillators support
loading of arbitrary single cycle audio files which may be even stereo.
Mono waveforms can be stereoized inside the synth itself by manipulations of
the phase spectrum and by detuning left and right channel. In tu, the whole
signal path is laid out in stereo. The standard ADSR model for envelopes is
replaced by a flexible modulation generator which allows to define an
arbitrary number of breakpoints. The heart of subtractive synthesizers is the
filter. In this department, Straightliner offers a multimode filter with
various modes, among them the usual suspects like lowpass, highpass, bandpass
and a sophisticated Moog filter model but also several other interesting
types. The user interface of the synth focuses on visual editors instead of
the commonly seen hardware oriented interfaces. These visual editors dont
just sketch the resulting curves but exactly represent what is being
generated in a what you see is what you get manner.
rs met/
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Straightliner is a straight lined subtractive synthesizer in a mode
guise. You will find the well known building blocks of classic analog
synthesizers 4 oscillators, a filter, 2 envelope generators patched
together in the traditional way. What sets it apart from the sheer mass of
other subtractive also often called virtual analog synthesizers is, that it
does not attempt to emulate analog synthesizers with all their physically
imposed limitations. Instead, Straightliner takes full advantage of the
extended possibilities that sofware based synthesis offers: Instead of
relying on a set of fixed waveforms, Straightliners oscillators support
loading of arbitrary single cycle audio files which may be even stereo.
Mono waveforms can be stereoized inside the synth itself by manipulations of
the phase spectrum and by detuning left and right channel. In tu, the whole
signal path is laid out in stereo. The standard ADSR model for envelopes is
replaced by a flexible modulation generator which allows to define an
arbitrary number of breakpoints. The heart of subtractive synthesizers is the
filter. In this department, Straightliner offers a multimode filter with
various modes, among them the usual suspects like lowpass, highpass, bandpass
and a sophisticated Moog filter model but also several other interesting
types. The user interface of the synth focuses on visual editors instead of
the commonly seen hardware oriented interfaces. These visual editors dont
just sketch the resulting curves but exactly represent what is being
generated in a what you see is what you get manner.
rs met/
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Refined Audiometrics VST PACK
Refined Audiometrics VST PACK
CLAS/NR Compressive Loudness Audio Shaping with Noise Reduction
The CLAS plugin has been a huge smash with recording engineers and
artists alike. But one of the problems with this kind of processing,
when used at high relative treble enhancment levels as an exciter, is
an increase in high frequency noise and hiss. This is particularly
troublesome for live sessions and old recordings.
To overcome this problem when recording, we have implemented a variant
of CLAS that incorporates a sliding filter Noise Reduction unit ahead
of the CLAS processing. Analog implementations of sliding filter noise
reduction have been used in the past to implement Dolby B and Dolby C
noise reduction encoding. We are doing it here, for the first time, in
digital form.
In practice, one simply adjusts the Threshold for noise reduction
until, under ambient noise levels, one sees the Noise Reduction meter
fully closed down. The two red bars on the left extend all the way to
the bottom. At thresholds just below that point, you will see the
noise reduction bars dancing up and down.
If Threshold is set too far below your actual noise levels, then of
course the noise reduction bars retract all the way up, indicating that
it thinks signal is present. The same happens with any noise gate
technology.
Conversely, with this kind of noise reduction scheme, setting the
threshold too far above the actual noise level will produce "noise
modulation" on actual signals a kind of stuttering sound. That
typically happens when your threshold is 20 dB or more above the actual
noise level, and it occurs because the sliding filters are biting into
the top of your sound spectrum in an effort to eat that much "noise".
But when adjusted properly, and this is very easy to do with our Noise
Reduction bar graph, the sliding filter noise reduction technique works
very well indeed. With Noise Reduction ahead of CLAS processing, you
can safely boost the highs without fear of undue noise degradation. As
soon as the signal falls away, the sliding filter slams shut, keeping
noise at bay.
CLAS NR uses upsampling ahead of the filtering for sample rates below
80 kHz, using a slightly different technique than our PLParEQ, but for
the same kind of quality improvements. Filtered results are downsampled
again to your system sample rate. The upsampling used is much lighter
weight than PLParEQ requiring much lower CPU loading. Note: the free
CLAS plugin does not perform this high SR filtering.
CLAS NR uses 64 bit computation throughout, and it is 64 bit ready for
Sonar 5. For 24/32 bit systems, the 64 bit results are dithered back to
your host wordsize using our sophisticated Gaussian PDF dither.
CLAS NR performs equally well in stereo or on mono tracks, using
autosensing of the host connections. Some hosts do not advertise Mono
inserts properly.
CLAS NR can accommodate all sample rates.
refinedaudiometrics
PLParEQ is a 10 band Phase Linear Parametric Equalizer
of the highest quality. Each filter may
assume any of many different filter characteristics,
and operate in either traditional phase warping mode,
or our phase linear mode. It uses the same inteal
DSP core as all of our other high end products. Audio
streams are treated in either stereo or mono.
Individual filters can be applied to either both
stereo channels, middle only, or side only.
This PC VST plugin can operate in traditional 32 bit
mode 24 bit audio or as a 64 bit plugin for
Cakewalks new Sonar 5. All inteal processing is
carried out in double precision 64 bit floating
point, regardless of exteal host mode.
For audio streams at sample rates below 80 kHz the
DSP engine inteally upsamples with high quality
Sinc interpolation, applies its filtering, and then
downsamples back to your system sample rate.
Available filter types include all of the
conventional resonant 2 pole lowpass, highpass,
bandpass, band reject, all pass, high and low
shelving, and the three Oxford variants of
peaking/dipping filters. Also included are 1 pole
lowpass and highpass, 4 pole resonant Butterworth
lowpass and highpass, 6 pole notch for killing 50/60
Hz and other troublesome spurs very tight and
narrow, 1/F pinking filter, tunable 1/F lowpass 3
dB/octave, tunable F highpass +3 dB/octave, and A,
B, and C weighting filters. The list of filters
continues to grow as we identify more useful
variations.
You can run all of the filters at native sample rates
higher than 80 kHz, and forego the inteal
upsampling conversions. Upper limits on the sample
rate > 96 kHz are dicted primarily by your
computers capacity, and your need for high quality
at the very lowest frequencies below 100 Hz.
Individual filters can be operated as either
traditional phase warping, or phase linear. Our
algorithms employ blocked processing for phase
linear operation, and produce phase linearity by
sending the signal through each filter twice once
in the forward time direction, and then again the the
time reversed direction, thereby unwinding the phase
back to zero.
The blocks are reassembled using very high quality
windowing and 8 fold temporal overlap. IMD resulting
from phase linear operation has been measured as 120
dB from peak signal levels. IMD test measurements
Coer frequencies for filters can be adjusted from
10 Hz to 30 kHz at all sample rates.
Computation proceeds in double precision floating
point throughout the entire DSP core, which uses 56
bit mantissas and 80 bit intermediate products and
sums. At the last stage of conversion back to 24 bit
audio, we dither with a carefully crafted white
Gaussian dither from the 56 bit mantissas to the 24
bit mantissas utilized thorughout by VST hosts. Our
noise floor is typically measured at around 180
dB/RootHz. The Gaussian dither distribution is
provably more preserving than more commonly used
triangular distributions.
Our tests indicate that PLParEQ requires about 5 6
of our computer speed capacity, with each additional
filter enabled requiring an additional 0.5 1 at the
highest quality levels. These tests were performed on
a 3 GHz Pentium 4 computer with HyperThreading
enabled. Different VST hosts will show varying
requirements. Our tests were performed with Mackies
Tracktion 2 as the VST host. Performance on a more
mode Pentium IV are likely to show improvements
upon these results.
IMD test measurement statistics The signal was a
0.5 dBFS 1 kHz sinewave at 44.1 kHz SR. The
filtering was performed as a Q20 phase linear
bandpass filter centered at 1 kHz with unity gain,
and using the highest quality setting largest
resampling blocksize.
The test chart exhibits a spectral resolution of 0.67
Hz, with the IMD spurs spaced by 43.1 Hz. The signal
was inteally upsampled to 88.2 kHz for filter
application, then downsampled back to 44.1 kHz for
final output.
refinedaudiometrics
PLParEQX Our Phase Linear Parametric Equalizer
Featuring X Technology for Light CPU Loading
PLParEQX utilize our X Technology to provide phase
linear filtering at a very light CPU loading for
Intel and AMD computers.
Whereas PLParEQ is an ultra high quality phase linear
parametric equalizer for mastering use, the X
Technology series offers slightly lower quality at
significantly reduced CPU loading, making them useful
for routine mixing and tracking applications.
PLParEQX is a 10 band version. Both offer high
quality oversampling in the processing and up to 5
levels of Quality. The lower quality levels are
useful when you need minimum processing latency, and
in tu you are willing to accept increased levels of
sonic artifacts. Our measurements indicate that the
lowest quality level has IMD products about 96 dB
below signal levels.
Our X Series filters are 64 bit ready for Sonar 5,
and offer classical filtering shapes in purely phase
linear mode for minimum sound degradation,
especially in sharp attacks when imposing strongly
varying filtering with frequency.
We offer a full complement of lowpass, bandpass,
band reject, and highpass filters, classical shelving
and peaking filters, as well as some novel low slope
filtering for when you just need a slight attenuation
with frequency. Also offered are A, B, and C
weighting filters, and a killer 6 pole Notch filter
for absolutely killing that bothersome spur.
The 3 band unit offers the basic complement of
filters, without the more advanced ones offered in
the 10 band unit.
The magic of our X Technology is such that no matter
how many filters you activate, the CPU loading is the
same low level. On tests with a 3 GHz Pentium 4 we
find the loading in Sonar 5, running in 64 bit mode,
to be around 4 significantly lower than the
premier PLParEQ filters. The quality may be a bit
compromised, but can you hear the difference?
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CLAS/NR Compressive Loudness Audio Shaping with Noise Reduction
The CLAS plugin has been a huge smash with recording engineers and
artists alike. But one of the problems with this kind of processing,
when used at high relative treble enhancment levels as an exciter, is
an increase in high frequency noise and hiss. This is particularly
troublesome for live sessions and old recordings.
To overcome this problem when recording, we have implemented a variant
of CLAS that incorporates a sliding filter Noise Reduction unit ahead
of the CLAS processing. Analog implementations of sliding filter noise
reduction have been used in the past to implement Dolby B and Dolby C
noise reduction encoding. We are doing it here, for the first time, in
digital form.
In practice, one simply adjusts the Threshold for noise reduction
until, under ambient noise levels, one sees the Noise Reduction meter
fully closed down. The two red bars on the left extend all the way to
the bottom. At thresholds just below that point, you will see the
noise reduction bars dancing up and down.
If Threshold is set too far below your actual noise levels, then of
course the noise reduction bars retract all the way up, indicating that
it thinks signal is present. The same happens with any noise gate
technology.
Conversely, with this kind of noise reduction scheme, setting the
threshold too far above the actual noise level will produce "noise
modulation" on actual signals a kind of stuttering sound. That
typically happens when your threshold is 20 dB or more above the actual
noise level, and it occurs because the sliding filters are biting into
the top of your sound spectrum in an effort to eat that much "noise".
But when adjusted properly, and this is very easy to do with our Noise
Reduction bar graph, the sliding filter noise reduction technique works
very well indeed. With Noise Reduction ahead of CLAS processing, you
can safely boost the highs without fear of undue noise degradation. As
soon as the signal falls away, the sliding filter slams shut, keeping
noise at bay.
CLAS NR uses upsampling ahead of the filtering for sample rates below
80 kHz, using a slightly different technique than our PLParEQ, but for
the same kind of quality improvements. Filtered results are downsampled
again to your system sample rate. The upsampling used is much lighter
weight than PLParEQ requiring much lower CPU loading. Note: the free
CLAS plugin does not perform this high SR filtering.
CLAS NR uses 64 bit computation throughout, and it is 64 bit ready for
Sonar 5. For 24/32 bit systems, the 64 bit results are dithered back to
your host wordsize using our sophisticated Gaussian PDF dither.
CLAS NR performs equally well in stereo or on mono tracks, using
autosensing of the host connections. Some hosts do not advertise Mono
inserts properly.
CLAS NR can accommodate all sample rates.
refinedaudiometrics
PLParEQ is a 10 band Phase Linear Parametric Equalizer
of the highest quality. Each filter may
assume any of many different filter characteristics,
and operate in either traditional phase warping mode,
or our phase linear mode. It uses the same inteal
DSP core as all of our other high end products. Audio
streams are treated in either stereo or mono.
Individual filters can be applied to either both
stereo channels, middle only, or side only.
This PC VST plugin can operate in traditional 32 bit
mode 24 bit audio or as a 64 bit plugin for
Cakewalks new Sonar 5. All inteal processing is
carried out in double precision 64 bit floating
point, regardless of exteal host mode.
For audio streams at sample rates below 80 kHz the
DSP engine inteally upsamples with high quality
Sinc interpolation, applies its filtering, and then
downsamples back to your system sample rate.
Available filter types include all of the
conventional resonant 2 pole lowpass, highpass,
bandpass, band reject, all pass, high and low
shelving, and the three Oxford variants of
peaking/dipping filters. Also included are 1 pole
lowpass and highpass, 4 pole resonant Butterworth
lowpass and highpass, 6 pole notch for killing 50/60
Hz and other troublesome spurs very tight and
narrow, 1/F pinking filter, tunable 1/F lowpass 3
dB/octave, tunable F highpass +3 dB/octave, and A,
B, and C weighting filters. The list of filters
continues to grow as we identify more useful
variations.
You can run all of the filters at native sample rates
higher than 80 kHz, and forego the inteal
upsampling conversions. Upper limits on the sample
rate > 96 kHz are dicted primarily by your
computers capacity, and your need for high quality
at the very lowest frequencies below 100 Hz.
Individual filters can be operated as either
traditional phase warping, or phase linear. Our
algorithms employ blocked processing for phase
linear operation, and produce phase linearity by
sending the signal through each filter twice once
in the forward time direction, and then again the the
time reversed direction, thereby unwinding the phase
back to zero.
The blocks are reassembled using very high quality
windowing and 8 fold temporal overlap. IMD resulting
from phase linear operation has been measured as 120
dB from peak signal levels. IMD test measurements
Coer frequencies for filters can be adjusted from
10 Hz to 30 kHz at all sample rates.
Computation proceeds in double precision floating
point throughout the entire DSP core, which uses 56
bit mantissas and 80 bit intermediate products and
sums. At the last stage of conversion back to 24 bit
audio, we dither with a carefully crafted white
Gaussian dither from the 56 bit mantissas to the 24
bit mantissas utilized thorughout by VST hosts. Our
noise floor is typically measured at around 180
dB/RootHz. The Gaussian dither distribution is
provably more preserving than more commonly used
triangular distributions.
Our tests indicate that PLParEQ requires about 5 6
of our computer speed capacity, with each additional
filter enabled requiring an additional 0.5 1 at the
highest quality levels. These tests were performed on
a 3 GHz Pentium 4 computer with HyperThreading
enabled. Different VST hosts will show varying
requirements. Our tests were performed with Mackies
Tracktion 2 as the VST host. Performance on a more
mode Pentium IV are likely to show improvements
upon these results.
IMD test measurement statistics The signal was a
0.5 dBFS 1 kHz sinewave at 44.1 kHz SR. The
filtering was performed as a Q20 phase linear
bandpass filter centered at 1 kHz with unity gain,
and using the highest quality setting largest
resampling blocksize.
The test chart exhibits a spectral resolution of 0.67
Hz, with the IMD spurs spaced by 43.1 Hz. The signal
was inteally upsampled to 88.2 kHz for filter
application, then downsampled back to 44.1 kHz for
final output.
refinedaudiometrics
PLParEQX Our Phase Linear Parametric Equalizer
Featuring X Technology for Light CPU Loading
PLParEQX utilize our X Technology to provide phase
linear filtering at a very light CPU loading for
Intel and AMD computers.
Whereas PLParEQ is an ultra high quality phase linear
parametric equalizer for mastering use, the X
Technology series offers slightly lower quality at
significantly reduced CPU loading, making them useful
for routine mixing and tracking applications.
PLParEQX is a 10 band version. Both offer high
quality oversampling in the processing and up to 5
levels of Quality. The lower quality levels are
useful when you need minimum processing latency, and
in tu you are willing to accept increased levels of
sonic artifacts. Our measurements indicate that the
lowest quality level has IMD products about 96 dB
below signal levels.
Our X Series filters are 64 bit ready for Sonar 5,
and offer classical filtering shapes in purely phase
linear mode for minimum sound degradation,
especially in sharp attacks when imposing strongly
varying filtering with frequency.
We offer a full complement of lowpass, bandpass,
band reject, and highpass filters, classical shelving
and peaking filters, as well as some novel low slope
filtering for when you just need a slight attenuation
with frequency. Also offered are A, B, and C
weighting filters, and a killer 6 pole Notch filter
for absolutely killing that bothersome spur.
The 3 band unit offers the basic complement of
filters, without the more advanced ones offered in
the 10 band unit.
The magic of our X Technology is such that no matter
how many filters you activate, the CPU loading is the
same low level. On tests with a 3 GHz Pentium 4 we
find the loading in Sonar 5, running in 64 bit mode,
to be around 4 significantly lower than the
premier PLParEQ filters. The quality may be a bit
compromised, but can you hear the difference?
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Refx Slayer 2 VSTi 2 6
Refx Slayer 2 VSTi 2 6
Slayer 2 starts from where its predecessor left off.
In particular, the physical model of the guitar has
been completely revamped, improving the quality of
the simulation dramatically. Not only does Slayer 2
sound a whole lot better, it is also much more flexible.
Up to 16 effects can now be used simultaneously; half
of them before, and half of them after the amplifier.
You can place any of the sixteen available stomp box
effects in any of the sixteen available effect slots.
When you want to change the order of the effects, just
dragndrop.
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Slayer 2 starts from where its predecessor left off.
In particular, the physical model of the guitar has
been completely revamped, improving the quality of
the simulation dramatically. Not only does Slayer 2
sound a whole lot better, it is also much more flexible.
Up to 16 effects can now be used simultaneously; half
of them before, and half of them after the amplifier.
You can place any of the sixteen available stomp box
effects in any of the sixteen available effect slots.
When you want to change the order of the effects, just
dragndrop.
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Rob Hubbards Retu Soundbank for quadraSID
Rob Hubbards Retu Soundbank for quadraSID
Tu the clock back to when it all started: reFX presents a new
QuadraSID soundbank made by Rob Hubbard. The legendary C64
composer is possibly the best known computer game musicians of
all time. Back in the 80s he wrote the scores for more than 75
C64 games including such hits as Sanxion, Commando, Battle of
Britain, The Human Race, Inteational Karate and Gerry The Germ.
All 128 patches were made by Rob Hubbard himself and all typical
C64 sounds are included in this bank: synthetic drums, basses,
leads, arpeggio and effect sounds. Get the timeless C64 sounds
for QuadraSID from its original creator only here from reFX!
001 Delta Rif Raf
002 Hello Mr. Hat
003 Olde Square Kick
004 Snare 1
005 Snare 2
006 Cave Troll Drum
007 2 Oct Blip
008 1 Oct Blip
009 Antartic Wind
010 Babbling Brook
011 Banjo
012 Bass 1
013 Bass Percusion 1
014 Chomping Komping Poly
015 Chopper Rotor
016 Clarinet
017 Classic Square Laser
018 Clavinet
019 HoMer Clavinet
020 Orch Bass Drum
021 Digery Doo Hickey
022 Distant Explosion
023 Electro Bass
024 Olde Skool Explosion
025 MadFiddler
026 Throbbing Head Bass
027 Filter S H
028 Hi Tek Stick Fire
029 Hollow Bass
030 IK Lead
031 IK Intro Warble
032 Jaw Harp
033 Laser Reverb
034 Lead Synth 1
035 Lead Synth 2
036 Lead Synth 3
037 Lead Synth 4
038 Lucky Man M@@g
039 Lunatic is in my head
040 Major Triad
041 Minor Triad
042 Piccolo
043 Gerry Has Germinated
044 Random Pitch
045 Sad Sidney
046 Sanxion Bass Line
047 Spark Plug
048 Synth Bass1
049 TB 303 bass
050 Thingy Springy
051 Casio Toy Piano
052 Polysynth w/velocity
053 Velocity Sid Bone
054 Violin
055 Ye Olde Siddy Fx
056 Hard Sink Unis 1/3
057 Hard Sink Unis 2/3
058 Hard Sink Unis 3/3
059 Echo Lead Unis 1/3
060 Echo Lead Unis 2/3
061 Echo Lead Unis 3/3
062 Sanxion Unis m/whl 1/3
063 Sanxion Unis m/whl 2/3
064 Sanxion Unis m/whl 3/3
065 Harpsichord
066 Tubular bell Unis 1/3
067 Tubular bell Unis 2/3
068 Tubular bell Unis 3/3
069 Low Tek Drum Patte
070 We hate RingTones!
071 Sleigh Bells Unis 1/3
072 Sleigh Bells Unis 2/3
073 Sleigh Bells Unis 3/3
074 FM explosion
075 Squeeze Box Pad
076 Triangle Pad
077 Polysynth Pad
078 Kick Drum
079 Snare 3
080 Unison W.A.R lead 1/1
081 Unison W.A.R lead 1/2
082 Unison W.A.R lead 1/3
083 Organ 1/3
084 Organ 2/3
085 Organ 3/3
086 Organ Fast 1/3
087 Organ Fast 2/3
088 Organ Fast 3/3
089 Wine Glass
090 Wave Shaper
091 12/8 bass n drum
092 Hi Score Riff
093 Splash Cymbal
094 Sammy Foxy
095 Sawtooth Pad
096 ActionBiker 40 secs
097 Flute w/attack
098 Laser fire 2
099 Co Net
100 FAT unison 1/3
101 FAT unison 2/3
102 FAT unison 3/3
103 Saw Phaze unis 1/3
104 Saw Phaze unis 2/3
105 Saw Phaze unis 3/3
106 Sword Swish
107 Army o Horses
108 CrazyComets
109 Kick Drum 2
110 VXD fatal error
111 Oboe
112 Turkish Delight mod whl
113 Hockey Bass 140 bpm
114 Aqua Tark 1/3
115 Aqua Tark 2/3
116 Aqua Tark 3/3
117 ET Phone Home 1/3
118 ET Phone Home 2/3
119 ET Phone Home 3/3
120 Jack wins Pot
121 Bass Percussion 2
122 Low Tek Lektric Tom
123 SteamTrain
124 Phantasy Unis 1/3
125 Phantasy Unis 2/3
126 Phantasy Unis 3/3
127 Hang Up! 1/3
128 Hang Up! 2/3
Feature highlights:
128 original presets in FXB format
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Tu the clock back to when it all started: reFX presents a new
QuadraSID soundbank made by Rob Hubbard. The legendary C64
composer is possibly the best known computer game musicians of
all time. Back in the 80s he wrote the scores for more than 75
C64 games including such hits as Sanxion, Commando, Battle of
Britain, The Human Race, Inteational Karate and Gerry The Germ.
All 128 patches were made by Rob Hubbard himself and all typical
C64 sounds are included in this bank: synthetic drums, basses,
leads, arpeggio and effect sounds. Get the timeless C64 sounds
for QuadraSID from its original creator only here from reFX!
001 Delta Rif Raf
002 Hello Mr. Hat
003 Olde Square Kick
004 Snare 1
005 Snare 2
006 Cave Troll Drum
007 2 Oct Blip
008 1 Oct Blip
009 Antartic Wind
010 Babbling Brook
011 Banjo
012 Bass 1
013 Bass Percusion 1
014 Chomping Komping Poly
015 Chopper Rotor
016 Clarinet
017 Classic Square Laser
018 Clavinet
019 HoMer Clavinet
020 Orch Bass Drum
021 Digery Doo Hickey
022 Distant Explosion
023 Electro Bass
024 Olde Skool Explosion
025 MadFiddler
026 Throbbing Head Bass
027 Filter S H
028 Hi Tek Stick Fire
029 Hollow Bass
030 IK Lead
031 IK Intro Warble
032 Jaw Harp
033 Laser Reverb
034 Lead Synth 1
035 Lead Synth 2
036 Lead Synth 3
037 Lead Synth 4
038 Lucky Man M@@g
039 Lunatic is in my head
040 Major Triad
041 Minor Triad
042 Piccolo
043 Gerry Has Germinated
044 Random Pitch
045 Sad Sidney
046 Sanxion Bass Line
047 Spark Plug
048 Synth Bass1
049 TB 303 bass
050 Thingy Springy
051 Casio Toy Piano
052 Polysynth w/velocity
053 Velocity Sid Bone
054 Violin
055 Ye Olde Siddy Fx
056 Hard Sink Unis 1/3
057 Hard Sink Unis 2/3
058 Hard Sink Unis 3/3
059 Echo Lead Unis 1/3
060 Echo Lead Unis 2/3
061 Echo Lead Unis 3/3
062 Sanxion Unis m/whl 1/3
063 Sanxion Unis m/whl 2/3
064 Sanxion Unis m/whl 3/3
065 Harpsichord
066 Tubular bell Unis 1/3
067 Tubular bell Unis 2/3
068 Tubular bell Unis 3/3
069 Low Tek Drum Patte
070 We hate RingTones!
071 Sleigh Bells Unis 1/3
072 Sleigh Bells Unis 2/3
073 Sleigh Bells Unis 3/3
074 FM explosion
075 Squeeze Box Pad
076 Triangle Pad
077 Polysynth Pad
078 Kick Drum
079 Snare 3
080 Unison W.A.R lead 1/1
081 Unison W.A.R lead 1/2
082 Unison W.A.R lead 1/3
083 Organ 1/3
084 Organ 2/3
085 Organ 3/3
086 Organ Fast 1/3
087 Organ Fast 2/3
088 Organ Fast 3/3
089 Wine Glass
090 Wave Shaper
091 12/8 bass n drum
092 Hi Score Riff
093 Splash Cymbal
094 Sammy Foxy
095 Sawtooth Pad
096 ActionBiker 40 secs
097 Flute w/attack
098 Laser fire 2
099 Co Net
100 FAT unison 1/3
101 FAT unison 2/3
102 FAT unison 3/3
103 Saw Phaze unis 1/3
104 Saw Phaze unis 2/3
105 Saw Phaze unis 3/3
106 Sword Swish
107 Army o Horses
108 CrazyComets
109 Kick Drum 2
110 VXD fatal error
111 Oboe
112 Turkish Delight mod whl
113 Hockey Bass 140 bpm
114 Aqua Tark 1/3
115 Aqua Tark 2/3
116 Aqua Tark 3/3
117 ET Phone Home 1/3
118 ET Phone Home 2/3
119 ET Phone Home 3/3
120 Jack wins Pot
121 Bass Percussion 2
122 Low Tek Lektric Tom
123 SteamTrain
124 Phantasy Unis 1/3
125 Phantasy Unis 2/3
126 Phantasy Unis 3/3
127 Hang Up! 1/3
128 Hang Up! 2/3
Feature highlights:
128 original presets in FXB format
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Rob Papen Blue VSTi RTAS 1 8 5d
Rob Papen Blue VSTi RTAS 1 8 5d
This exciting synth delivers FM Synthesis, Phase Distortion Synthesis, Wave
Shaping Synthesis and Subtractive Synthesis is one creative combination! We
call it "Crossfusion synthesis".
BLUE has six oscillators which can be connected in various ways, two
analogue style modelled stereo filters, an enormous range of processing and
modulation options, sequencer and an incredibly powerful arpeggiator.
Despite these heavy features, BLUE is so easy to use thanks to its user
interface and the innovative easy edit page for quick sound changes!
This all brought together with over 1700 inspirational Rob Papen presets
covering a wide range of musical styles.
BLUE 1.8 is out now, with new features like "Unison", "Chord memory with
strum" and "Ensemble and Compressor FX", 400 new presets and a fast
browser.
robpapen
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This exciting synth delivers FM Synthesis, Phase Distortion Synthesis, Wave
Shaping Synthesis and Subtractive Synthesis is one creative combination! We
call it "Crossfusion synthesis".
BLUE has six oscillators which can be connected in various ways, two
analogue style modelled stereo filters, an enormous range of processing and
modulation options, sequencer and an incredibly powerful arpeggiator.
Despite these heavy features, BLUE is so easy to use thanks to its user
interface and the innovative easy edit page for quick sound changes!
This all brought together with over 1700 inspirational Rob Papen presets
covering a wide range of musical styles.
BLUE 1.8 is out now, with new features like "Unison", "Chord memory with
strum" and "Ensemble and Compressor FX", 400 new presets and a fast
browser.
robpapen
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Rob Papen LinPlug Albino VSTi 3 0 2
Rob Papen LinPlug Albino VSTi 3 0 2
In 2002 Rob Papen approached Peter Linsener of LinPlug with
the idea of a sound designers dream synth.
A few months later ALBINO was bo! This very unique synth
stole the hearts of many musicians due to its high quality
sound, usability and inspirational presets.
Now, just when you thought things couldnt get any better...
Albino 3 arrives!
There are loads of amazing new creative features added like
the two new filters "Scream" and "Comb"; four FX units with
new FX like LoFi and WahWah; a Compressor and an improved
Reverb.
But the biggest new feature is that you can layer up to four
instances of Albino in one single preset!
Albino 3 has more than 2100 Rob Papen presets in various
styles of music plus two banks by the very talented REYN
Famous Dutch producer, Noisia Dutch DnB and NarvanaX
Dutch Hardcore.
Key features
AU, RTAS and VST plug in synthesizer for PC and Mac
Modular and extendable design currently with with 4
Oscillator Modules, 4 Filter Modules, 2 Envelope Modules and
12 Effect Modules
32 voice polyphonic CPU dependent
More than more than 2000 Rob Papen presets, integrated sound
browser
up to 4 oscillator per voice and layer, various High Quality
Oscillator types with countless waveforms
Oscillator AM and FM and "Pulse Width Modulation" for all
! waveforms, oscillator sync, filter FM
up to 2 filters per voice and layer, each with 4 types of
multimode filters, altogether 20 filter modes, saturation
control
up to 8 envelopes per voice and layer, 2 types: 5 levels / 5
rates with loop and ADSFR mode
Variable keyboard and velocity tracking, individual for each
envelope
up to 4 LFOs per voice and layer with various waveforms,
broad range of tempo sync, Symmetry and Phase adjustable,
additional DAD envelopes for every LFO
Controller hardware faderbox or synth can be used to
control Albinos parameters using the LinPlug ECS
Portamento / Glide with various options, constant Time or
Rate and Auto Bend
Improved adjustable Precision to bring in the warmth of good
old analogue modules
Sophisticated Arpeggiator per layr with 32 programmeable
steps, several modes, swing, several clock settings,
save/load/copy/paste and many more functions
Modulation matrix with more than 1000 modulation routings
Spread for ultra fat sounds up to 20 Oscillators per
layer
Microtuning support TUN files for different scales
Up to 4 effect blocks per layer with chorus, flanger,
phaser, filter, distortion, delays, reverb, gator, wah,
compressor and LoFi effects
Fully recognized velocity, mono and poly aftertouch, pitch
bend, mod wheel and various other controllers
Full version comes with a comprehensive PDF manual box
version with printed manual
Sample accurate timing, full automation and settings are
saved with your song
The Layers
Each preset can now be made up of 4 individual layers. So
actually a sound can make use of up to 80 oscillators for a
single note 4 Layers, 4 Oscillators each, 5 times Spread. A
typical todays DAW, either Mac or PC can usually handle about
120 Albino 3 Digital Oscillators or 75 Albino 3Analoge?
Oscillators. But to explore the musical possibilities that the
Albino 3 Layers offer to you we recommend to check out the
presets that come with Albino 3. Some people told us that now
they have a full song right at their fingertips. Thanks for
the compliment.
Rob Papen presets
The famed Dutch sound designer Rob Papen provided more than
2000 presets that cover all type of sounds for todays
contemporary music. After providing presets for the Emu
Orbit 3 and Access Virus. Get hold of the third version of
this masterpiece of instrument design and sound design, get
hold of Albino 3 and the more than 2000 Rob Papen presets for
the music of today.
Powerful Arpeggiator
Each layer can have an up to 32 step rhythm arpeggiator with
several modes in ALBINO : up, down, up/down, down/up, as
played, random mode and a chord and modulation mode.
It can be retriggered, it can swing with your music and you
can mix its step velocity values with the velocity you played
the chord. Your own creations can be save or copy/pasted to
other presets. Many of the new presets make use of the
Arpeggiator and the possibilities are literary endless.
Requirements
VST2.0 capable host software
Minimum
Screen resolution of 1024 x 768
PC: 500 MHz, 256 Mb RAM, Windows 98 or newer
Recommended
Screen resolution of 1280 x 960
PC: 1 GHz, 512 Mb RAM, Windows XP or newer
New in this version
reduced CPU load with open layer window
alteative color for text displays
fixed seldom crash on closing editor while sequencer is
running
fixed resizing in Logic 5/6 Mac only
filters do now bypass when switched off
fixed hangup when loading sessions with multiple
instances of Albino Mac AU only
improved sound when feeding filters with spreaded
oscillators at full volume
linplug
BUY Rob Papen LinPlug Albino VSTi 3 0 2 15$
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In 2002 Rob Papen approached Peter Linsener of LinPlug with
the idea of a sound designers dream synth.
A few months later ALBINO was bo! This very unique synth
stole the hearts of many musicians due to its high quality
sound, usability and inspirational presets.
Now, just when you thought things couldnt get any better...
Albino 3 arrives!
There are loads of amazing new creative features added like
the two new filters "Scream" and "Comb"; four FX units with
new FX like LoFi and WahWah; a Compressor and an improved
Reverb.
But the biggest new feature is that you can layer up to four
instances of Albino in one single preset!
Albino 3 has more than 2100 Rob Papen presets in various
styles of music plus two banks by the very talented REYN
Famous Dutch producer, Noisia Dutch DnB and NarvanaX
Dutch Hardcore.
Key features
AU, RTAS and VST plug in synthesizer for PC and Mac
Modular and extendable design currently with with 4
Oscillator Modules, 4 Filter Modules, 2 Envelope Modules and
12 Effect Modules
32 voice polyphonic CPU dependent
More than more than 2000 Rob Papen presets, integrated sound
browser
up to 4 oscillator per voice and layer, various High Quality
Oscillator types with countless waveforms
Oscillator AM and FM and "Pulse Width Modulation" for all
! waveforms, oscillator sync, filter FM
up to 2 filters per voice and layer, each with 4 types of
multimode filters, altogether 20 filter modes, saturation
control
up to 8 envelopes per voice and layer, 2 types: 5 levels / 5
rates with loop and ADSFR mode
Variable keyboard and velocity tracking, individual for each
envelope
up to 4 LFOs per voice and layer with various waveforms,
broad range of tempo sync, Symmetry and Phase adjustable,
additional DAD envelopes for every LFO
Controller hardware faderbox or synth can be used to
control Albinos parameters using the LinPlug ECS
Portamento / Glide with various options, constant Time or
Rate and Auto Bend
Improved adjustable Precision to bring in the warmth of good
old analogue modules
Sophisticated Arpeggiator per layr with 32 programmeable
steps, several modes, swing, several clock settings,
save/load/copy/paste and many more functions
Modulation matrix with more than 1000 modulation routings
Spread for ultra fat sounds up to 20 Oscillators per
layer
Microtuning support TUN files for different scales
Up to 4 effect blocks per layer with chorus, flanger,
phaser, filter, distortion, delays, reverb, gator, wah,
compressor and LoFi effects
Fully recognized velocity, mono and poly aftertouch, pitch
bend, mod wheel and various other controllers
Full version comes with a comprehensive PDF manual box
version with printed manual
Sample accurate timing, full automation and settings are
saved with your song
The Layers
Each preset can now be made up of 4 individual layers. So
actually a sound can make use of up to 80 oscillators for a
single note 4 Layers, 4 Oscillators each, 5 times Spread. A
typical todays DAW, either Mac or PC can usually handle about
120 Albino 3 Digital Oscillators or 75 Albino 3Analoge?
Oscillators. But to explore the musical possibilities that the
Albino 3 Layers offer to you we recommend to check out the
presets that come with Albino 3. Some people told us that now
they have a full song right at their fingertips. Thanks for
the compliment.
Rob Papen presets
The famed Dutch sound designer Rob Papen provided more than
2000 presets that cover all type of sounds for todays
contemporary music. After providing presets for the Emu
Orbit 3 and Access Virus. Get hold of the third version of
this masterpiece of instrument design and sound design, get
hold of Albino 3 and the more than 2000 Rob Papen presets for
the music of today.
Powerful Arpeggiator
Each layer can have an up to 32 step rhythm arpeggiator with
several modes in ALBINO : up, down, up/down, down/up, as
played, random mode and a chord and modulation mode.
It can be retriggered, it can swing with your music and you
can mix its step velocity values with the velocity you played
the chord. Your own creations can be save or copy/pasted to
other presets. Many of the new presets make use of the
Arpeggiator and the possibilities are literary endless.
Requirements
VST2.0 capable host software
Minimum
Screen resolution of 1024 x 768
PC: 500 MHz, 256 Mb RAM, Windows 98 or newer
Recommended
Screen resolution of 1280 x 960
PC: 1 GHz, 512 Mb RAM, Windows XP or newer
New in this version
reduced CPU load with open layer window
alteative color for text displays
fixed seldom crash on closing editor while sequencer is
running
fixed resizing in Logic 5/6 Mac only
filters do now bypass when switched off
fixed hangup when loading sessions with multiple
instances of Albino Mac AU only
improved sound when feeding filters with spreaded
oscillators at full volume
linplug
BUY Rob Papen LinPlug Albino VSTi 3 0 2 15$
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Rob Papen Predator VSTi RTAS 1 5 8
Rob Papen Predator VSTi RTAS 1 5 8
Predator is a "phat sounding" killer synthesizer that combines inspiring
presets and first class features to make this your go to synth for
contemporary music production.
The user interface has been designed so that almost all controls are
visible on screen, making it fun and incredibly easy to use. And if youre
unsure about a particular synth function, simply right click your mouse to
access the help screen.
Predator is packed with powerful features such as Preset Morphing,
Intelligent Preset Variation, MIDI and Synth Controllable FX, Unison
Detune, Chord Memory and an extremely versatile Arpeggiator.
Included preset banks: HipHop NY, Club, DirtySouth and Gfunk banks. Jump,
hardcore, breakbeat, various trance styles, DnB banks and more...
Last but not least .Predator also includes PredatorFX, allowing you to use
the incredible filters, modulations, effects and vocoder as an FX plug in
within your music host.
Predator 1.5 is out now with even more presets included Junkie XL presets
and new features like a great Bank manager!
robpapen
BUY Rob Papen Predator VSTi RTAS 1 5 8 20$
TAGS order Rob Papen Predator VSTi RTAS 1 5 8, low cost Rob Papen Predator VSTi RTAS 1 5 8, buy Rob Papen Predator VSTi RTAS 1 5 8
Predator is a "phat sounding" killer synthesizer that combines inspiring
presets and first class features to make this your go to synth for
contemporary music production.
The user interface has been designed so that almost all controls are
visible on screen, making it fun and incredibly easy to use. And if youre
unsure about a particular synth function, simply right click your mouse to
access the help screen.
Predator is packed with powerful features such as Preset Morphing,
Intelligent Preset Variation, MIDI and Synth Controllable FX, Unison
Detune, Chord Memory and an extremely versatile Arpeggiator.
Included preset banks: HipHop NY, Club, DirtySouth and Gfunk banks. Jump,
hardcore, breakbeat, various trance styles, DnB banks and more...
Last but not least .Predator also includes PredatorFX, allowing you to use
the incredible filters, modulations, effects and vocoder as an FX plug in
within your music host.
Predator 1.5 is out now with even more presets included Junkie XL presets
and new features like a great Bank manager!
robpapen
BUY Rob Papen Predator VSTi RTAS 1 5 8 20$
TAGS order Rob Papen Predator VSTi RTAS 1 5 8, low cost Rob Papen Predator VSTi RTAS 1 5 8, buy Rob Papen Predator VSTi RTAS 1 5 8
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