IZotope Alloy v1.0.1.DX.VST.RTAS.Incl.KeyGen-DYNAMiCS

IZotope Alloy v1.0.1.DX.VST.RTAS.Incl.KeyGen-DYNAMiCS

The world of DAWs doesn't need another channel strip. What it needs is a better way of working with the essential tools you need for all of your tracks and busses. That's why we designed Alloy. Alloy provides the key dynamics and sound shaping effects you'll use again and again, in a self-contained and completely configurable interface. Add iZotope Alloy to your tracks and busses and bring them to life with six processors designed to add character to every element of your mix. Alloy gives you exceptional sound quality, vintage emulation balanced with digital precision, time-saving presets and workflow features, and a forward-thinking interface that puts just the controls you need at your fingertips

Native instruments Guitar Rig 4 Pro PC Standalone & VST

Native instruments Guitar Rig 4 Pro PC Standalone & VST

GUITAR RIG 4 PRO is the ultimate all-in-one guitar and bass solution for perfect custom tone. The powerful and intuitive soft-
warecomprises of a vast array of amps, cabinets, mics and effects, recreated in stunning detail. The latest version includes
2 new amps, 4 new super-flexible effects and above all, the revolutionary Control Room for that “big bucks” studio tone.

What's new

GUITAR RIG 4 PRO offers innovations and improvements that (not only) guitarists will appreciate.
The ability to customize your sound has now taken on a truly professional dimension with the new
Control Room feature, reworked matched cabinets, new effects and new amps. Improvements to
the interface and architecture make GUITAR RIG 4 PRO the most versatile and powerful version yet.[/size]

CONTROL ROOM

This all-new module opens a vast new world of tone with an unparalleled degree of natural
sound reproduction and tonal clarity. With just a few fader moves you can create the
sound of professional studio recordings that will definitely cut through the mix.

NEW AMPS

GUITAR RIG 4 PRO's new amps bridge the gap between vintage goodness
and future classic. Cool Plex* and Hot Plex must be heard to be believed.

NEW EFFECTS

New tools to transform your sound include Grain Delay, Octaverb, Iceverb and Twin Delay.

MASTER FX SECTION

This new feature allows you to keep any chain of effects while changing presets, to create variations of your
basic sound that can be switched in real-time. For example- add overlapping delays or reverbs to your guitar
when switching presets for a smooth transition, or add global effects or EQs for adapting all presets at once.

Great for live use on stage and when switching to another guitar!

OVER 250 NEW HIGH-CLASS PRESETS

GUITAR RIG 4 PRO comes with over 250 studio-ready presets. Use them as
instantly usable pro-quality tones or as a starting point for your own tweaks.

FURTHER IMPROVEMENTS

Further technical improvements to GUITAR RIG 4 PRO include:

- Faster workflow with component presets
- Better handling of external Controllers
- Improved range and quality for time and pitch-based effects
- True stereo processing

Fxpansion Dcam Synth Squad VSTi 1.0.1.2

Fxpansion Dcam Synth Squad VSTi 1.0.1.2

Introducing an evolutionary leap in software synthesis technology. DCAM: Synth Squad finally delivers the satisfaction of playing real analogue instruments in software! Advanced modelling technology carefully reconstructs the soul of dusty vintage circuits within your computer, for the unmatched vibe of hardware at a fraction of the cost. At the heart of DCAM: Synth Squad are 3 modelled synthesizers - Strobe, Amber and Cypher - bulging with the immense weight and power of old-school analogue. These are no mere emulations stunted by the limitations of the past. Instead, they combine the best features from legendary machines with new and exciting ideas to drag them kicking and screaming into the modern world.

Oscillators ooze immense sound pressure, amp stages can be overloaded for extra grit, and real-world chaos can be dialled into the circuit for delicious instability. These synths don't break with extreme settings, so you can abuse them just like the real thing. Meanwhile, the intuitive TransMod modulation system brings your sounds to life in new and expressive ways.

Fusor, a versatile sound-design environment that can layer and keysplit 3 instances of the DCAM synths, is also included. It provides a variety of ways to add new dimensions to your sounds with high-quality FX, extra modulation and an advanced step-sequencer/arpeggiator.

Purity of concept and execution. Meticulously engineered circuit models. Raw musical tone. The ultimate in sound quality and performance control

ToonTrack Superior Drummer 2.01 (VSTi RTAS AU) (Hybrid DVDs -Windows and MacOSX)

ToonTrack Superior Drummer 2.01 (VSTi RTAS AU) (Hybrid DVDs -Windows and MacOSX)

Toontrack Superior Drummer 2.0, ”The New York Studio Legacy Series”, is a professional sample engine for creating lifelike drum tracks on your computer.
Toontrack Superior Drummer 2.0 is a complete overhaul of the original dfh Superior engine with the same sound quality, attention to detail and musicality that has made the original Toontrack Music drum sampler line what it is.
Superior Drummer 2.0 has been re-developed for optimized use with e-drums with more effective use of sample layers and much improved loading times. It includes custom MIDI played by legendary session drummer Nir Z accessed through the all new customized MIDI engine and arranger EZplayer pro, also features stand alone capacity through Toontrack solo.

Review
The current arms race in software instruments is nowhere more evident than in software drum machines, in large part because modern music is so dependent on percussion in all its forms, meaning that there’s always plenty of demand for new drum tools. DR-008 seemed like quite an instrument when I acquired it just a few years ago. But its virtues pale next to the recent and various incarnations of BFD, Battery, EZDrummer, Strike, Groove Agent, KitCore, DrumCore, Session Drummer 2, Addictive Drums, Jamstix, MDrummer, and more—including the subject of this review, Toontrack’s recently released Superior Drummer 2.0.

The fundamental approaches: simplicity versus control

There are two fundamental problems that these software machines address, and it seems that every virtual drum machine emphasizes one or the other—not both. The first problem is to provide effective tools to create recorded drum performances that are indistinguishable from the well-recorded output of a real drummer playing a real drum kit. (This is obviously less important for musicians whose drums aren’t supposed to sound “real,” such as musicians working in electronic genres.) Solving this problem demands a knowledgeable user as well as a very capable piece of software with lots of sound manipulation tools. The second problem is to make it easy for musicians who really don’t think like drummers to create those interesting, realistic performances—performances that avoid mechanical repetition in tone, attack, and composition—without having to learn how to think (and play) like a drummer.

These issues essentially define the audiences for drum machines, which are split into people who want lots and lots of control over the details of every drum used in a track, and people who just want to put solid drum tracks in their songs with as little effort as possible. (The least effort possible actually involves calling a good drummer with a good setup for performing and recording, and paying said drummer to cut the track for you. But doing that once costs as much or more as a decent software drum machine.)

Tools like EZDrummer, DrumCore, KitCore, Session Drummer 2, Jamstix, and Addictive Drums are obviously aimed squarely at the second problem and audience. They give people with limited drum playing or programming expertise well-sampled kits (in the case of KitCore, LOTS of kits) plus simple tools for creating arrangements in a range of styles from MIDI grooves or sampled loops. These instruments sound good to very good, but their main attraction is the ease with which a user can put together a respectable drum track.

Superior 2.0 is about control

Superior Drummer 2.0, Toontrack’s recently introduced top-of-the-line software drum machine, is much more about control than ease-of-use. (As the well-written manual says, “Superior Drummer® 2.0 delivers total realism in terms of sound quality, detailed control for programming and live drum performance.”) But the sophisticated users who choose this product over EZDrummer, Addictive Drums, or Jamstix are likely to find it straightforward enough for the job it does. The package includes the Superior virtual drum machine, which consists of a huge set of drum samples plus an instrument for playing and mixing them, plus the EZPlayer Pro MIDI file organizer, arranger, and player (bundled with plenty of MIDI groove content).

The tradeoffs in favor of control (as opposed to ease of use) begin with setting up Superior inside a DAW. Kudos to Toontrack for providing detailed instructions on how to do this within all of the major host applications. Even with those instructions, it took me a couple of tries (and a visit to the Cakewalk forum) to get Superior and EZPlayer loaded up and talking to each other in Sonar 7 PE. In other words, setup was not exactly E-Z.

The “construct” panel, where drums and kits are selected and tweaked, is the first thing that comes up in Superior. The memory and status section is a clear indication that memory control can be an important issue for instruments with as much content as this, especially if your DAW isn’t fitted with maximum RAM. (Superior 2.0 loads 580 MB of samples when the NY Avatar kit is selected.) As per previous comments, there are plenty of tools here for adjusting the sounds made by specific drums and drum mics. The range of controls for individual drums includes pitch, volume envelope, and “humanization” strategies, and these work effectively and as expected.

The quality and quantity of the samples in the NY Avatar kit that ships with Superior are, well, superior–a full install uses 20 GB on a hard drive—and the controls supplied can produce a wide range of excellent drum tones. As noted in the manual, instruments and kits from other Toontrack collections (for example, DFH Superior and the various EZX expansion sets) can also be loaded in Superior, as full kits or individual pieces. It’s also worth noting that Superior’s engine is designed out of the box to rotate samples, so that a given drum hit never sounds exactly the same twice in a row.

With all the samples and the tweaking options available, you’d expect Superior to sound damn good, and it does. Take a listen to the two samples of my instrumental piece “Morphine”. The first sample uses DR-008 with the Wizoo Live kit for the drums. The second uses Superior 2.0. I think it’s pretty clear which one sounds better

Brainworx Plugins Bundle

Brainworx Plugins Bundle

Contains:
BX Control 1.0.9
BX Digital 1.1.3
BX Hybrid 1.0.4

1. What is M/S technology ?

Most people who are into recording music know about the M/S microphone technique where you have 2 different microphones for mid and side signals. Recording a signal with M/S microphone technique means to create a stereo (L/R) signal by mixing the M and the S signal together in a special way that will create a very mono-compatible stereo signal. To record in M/S you have to feed the M-signal to the Left and Right channel of your mix and the S-Signal will be fed phase-correct to the Left-channel and phase-reversed to the Right-channel. This means you will have to split the S-signal and use a total of 3 channels for only 2 microphones that will be mixed together to a conventional stereo-signal. The bx_digital does all that work for you, just feed it with the separate M- and S-microphone signals…

For additional details about this technique you may have a look into every decent book about recording basics if you want to learn more about this method to create very mono-compatible stereo-signals, e.g. when recording drums, classical music, choirs or accoustic instruments in general.

2. What is M/S good for in MASTERING ?

Well, it may sound simple, but our bx´s have a built-in M/S matrix that will separate EVERY stereo signal into its mono sum and the stereo difference signals. This way you are able to separately control these 2 signals which can be very useful when you work on a stereo mix that has certain "problems" or if you just want to enhance certain elements in the mix.

Ever tried to cut high frequencies of a mix to reduce the "essing" of the lead vocals and AT THE SAME TIME boost high frequencies of your harmony instruments (guitars, keyboards, pianos, etc… most likely recorded or mixed in stereo)??? Well, with the bx1 / bx_digital and their M/S mastering mode you can do exactly THAT!

There is a reason why all of the big mastering places all over the world have been using this technique for decades – without really telling anyone about it…

Antares Harmony Engine.VST.RTAS.v1.0

Antares Harmony Engine.VST.RTAS.v1.0

From the company that revolutionized professional vocal production with Auto-Tune pitch correction technology, Harmony Engine is a real-time harmony generating plug-in that puts professional-quality vocal harmony arrangements within reach of any songwriter, producer, musician or engineer

SPL Plugin Bundle

SPL Plugin Bundle


Includes:

SPL Attacker 1.1
SPL De-Verb 1.1
SPL Mo-Verb 1.1
+ As A Little Extra
SPL Free Ranger 1.1

Attacker
The Transient Designer's attack enhancement

The Attacker MicroPlug employs the same processing technique like the original Transient Designer. SPL’s Differential Envelope Technology has revolutionized dynamic processing with a level-independent method.

This radically different approach ...

... allows to forego the setting of a threshold. Other parameters are set automatically and in a musical manner as they follow the characteristics of the input signal. After all, only one control allows to reshape the attack characteristics of a sound.
Working with the Attacker is disarmingly simple: All attack events can be amplified – regardless of their signal level. However, the possibilities for studio and live applications are seemingly endless.
Usually equalizers are used to separate instruments in a mix. With EQs the tonal aspect of the signal is considered but not the temporal aspect. The Attacker now opens this new dimension in signal processing. By amplifying the attack curves of a sound event, the mix can be made to sound more transparent. Instruments can be mixed at lower levels while still maintaining their positions in the mix—but occupying less space.
The Attacker also offers an output control gain control that allows to compensate for level changes after processing the signal. This ensures a simple and safe adjustment of levels and helps avoiding internal clipping.

De-Verb
The Transient Designer's sustain reduction

The De-Verb MicroPlug employs the same processing technique like the original Transient Designer. SPL’s Differential Envelope Technology has revolutionized dynamic processing with a level-independent method.

This radically different approach ...

... allows to forego the setting of a threshold. Other parameters are set automatically and in a musical manner as they follow the characteristics of the input signal. After all, only one control allows to reshape the sustain characteristics of a sound.
Working with the De-Verb is disarmingly simple: All reverb events can be reduced – regardless of their signal level. However, the possibilities for studio and live applications are seemingly endless when reverb curves of any sound event can very simply be reduced to decrease ambience and reverb-tails.
The De-Verb also offers an output gain control that allows to compensate for level changes after processing the signal. This ensures a simple and safe adjustment of levels and helps avoiding internal clipping.

Mo-Verb
The Transient Designer's sustain enhancement

The Mo-Verb MicroPlug employs the same processing technique like the original Transient Designer. SPL’s Differential Envelope Technology has revolutionized dynamic processing with a level-independent method.

This radically different approach ...

... allows to forego the setting of a threshold. Other parameters are set automatically and in a musical manner as they follow the characteristics of the input signal. After all, only one control allows to reshape the sustain characteristics of a sound.
Working with the Mo-Verb is disarmingly simple: All reverb events can be amplified – regardless of their signal level. However, the possibilities for studio and live applications are seemingly endless when reverb curves of any sound event can very simply be enhanced to emphasize dry ambiences and reverb-tails.
The Mo-Verb also offers an output gain control that allows to compensate for level changes after processing the signal. This ensures a simple and safe adjustment of levels and helps avoiding internal clipping.

Free Ranger
Free Analog Code®

An EQ processing straightly reveals the sound quality of a software – probably better than any other processing tool. Therefore, the Free Ranger ideally demonstrates the amazing qualities of our Analog Code plug-ins.
Features

The Free Ranger is based upon the Full Ranger-EQ from our EQ Rangers series. It is limited to four – we think very useful – bands:

* 16?kHz center frequency – Boost: Glitter, brilliance, air.
* 1,8kHz center frequency – this is THE EQ test frequencies. An EQ that sounds good here is a good EQ. Therefore it makes a lot of sense to compare EQs in that range. Applications examples: Boost for more bass definition and presence, cut reduces metal for brass.
* 150 Hz center frequency – Boost: more warmth for everything, main impact of bass instruments, fuller, fatter snares. Cut for vocals: avoids collision with bass.
* 40 Hz center frequency – Boost: in general fuller sounds, deep bass punch (kick drum). Cut: reduces booming sounds and sub harmonic interferences