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MOLEKULES FOR KONTAKT 6
Is a free re-release (with a new interface) of a heritage instrument I made by playing a piano sample through various Reaktor Molekular presets with a view to creating haunting, evolving sounds, resulting in ten presets using ten unique samples. The preset entitled “Old” features on the soundtrack
Authentic, lo-fi vibes
Try the new Lo-fi feature to add the signature tone of 80s hip-hop resampling. Bring character-filled artifacts and classic tone to your production in seconds.
iZotope has re-released its Vinyl – free creative effect plugin that simulates the dust, scratches, warp, and mechanical noise of vintage turntables.
The new version of Vinyl comes with an updated GUI that aligns with the design trends from iZotope: it is simple and clean and Izotope says it cuts down on learning time so you can get right to crafting believable vintage effects. It now looks like the other iZotope plugins such as Ozone stereo imager or Vocal Doubler.
Vinyl is also light on CPU resources, so you can enjoy its benefits even in your most complex productions.
Besides the new design, Vinyl now has a Lo-fi feature perfect to add the signature tone of 80s hip-hop resampling. Bring character-filled artifacts and a classic tone to your production in seconds.
Molotok, a simplified version of TDR Molot GE, is a musically characterful dynamics processor. Meaning “Small Hammer” in Russian, Molotok provides a rich range of exciting compression colors at your fingertips.
While Molotok doesn’t emulate any “vintage” device, its sound and behaviour was definitely inspired by their most interesting musical peculiarities. This flexibility makes it a rewarding choice for almost any source in the mix, be it drums needing more crisp and impact, solidification and enrichment of vocals, or the enhancement of guitar and bass recordings of all types.
Molotok relies on the same algorithms as its larger edition, Molot GE. As with all TDR plugins, Molotok employs state of the art audio processing technology keeping unwanted distortion under strict control. An intuitive and well documented user interface offers quick access to all relevant parameters in a rewarding manner. Several helpers such as unlimited undo/redo, optional stepped controls, inline help tips and many more features help the operator achieve consistent results within a short time.
Full featured dynamics compressor
Eleven musically intriguing compression flavour nuances
Different quality modes including zero-latency operation
High quality signal processing
U-he Zebralette v2.9.2 VST AU AAX x32 x64 WiN MAC LiNUX [FREE]
Zebralette: mini Zebra
Zebralette is our version of a Trojan horse. A free synthesizer and an introduction to Zebra2’s fantastic oscillators. Perhaps it will persuade you to try Zebra2 and upgrade. If one oscillator is this powerful, imagine what you can achieve with four… and all the other great features available in Zebra2.
– A single Zebra2 oscillator with a 16-slot waveset. Read more below
– Oscillator waveform editing with geomorph, spectromorph, geoblend and spectroblend modes. Read more below
– 24 spectral effects including filter, sync, scatter, phase distortion and many more
– Polyphonic (up to 16 voices), monophonic and legato modes
– Stereo VCA with pan and volume modulation
– VCA oscillator stacking with adjustable stereo width: single, dual, quad and eleven modes
– ADSR envelope with fall/rise (sustain slope) and velocity controls
– Modulation options including: modwheel, velocity, pressure, breath, key follow, gate and more
– 2 LFOs: one global, one per voice
– A 32-stage MSEG (multi-stage envelope generator)
– 3 built-in effects: chorus/phaser, EQ, delay
– MIDI learn / unlearn of hardware controls (CC)
– Polyphonic aftertouch support
– 300 factory presets
– Scalable UI from 70% to 200%
What is a Zebralette?
-ette: an English suffix indicating a diminutive form
Zebralette is an introduction to Zebra2’s powerful oscillators. Zebra2 can seem overwhelming at first glance, so we stripped it down to a single oscillator plus a few other features and created Zebralette, the little Zebra. Once you master Zebralette you can move up to Zebra2 with confidence. And your presets can come with you, as Zebralette presets can be opened in Zebra2.
But more than a teaching tool, Zebralette is an incredible sounding synth in its own right. Surrounding Zebra’s spectral oscillator with a few core modulation options and effects make Zebralette highly capable. With unsion options (think supersaw, but Zebralette is not limited to saw waves, so we refer to it as superwave), 16 voice polyphony and two different envelopes, you have everything needed to create some marvellously complex sounds.
Diminutive? Yes. Powerful? Yes.
One oscillator may not seem like enough for a synthesizer, but Zebra2 oscillators are rather powerful and clever.
It resembles many other oscillators you may have used. You can choose a waveset from the included library, or use the waveform editor to draw your own shapes. Here is where things start to get interesting: The Waveform Editor manages up to 16 different waves and lets you rearrange, duplicate and morph between individual waves. Use one of modulation sources and the WaveWarp control to scan through the 16 waves and create unusual, dynamic sounds.
There are four drawing modes: GeoMorph, SpectroMorph, GeoBlend, SpectroBlend, each offering a different approach to creating and manipulating waveforms.
Using the two Geo modes you draw the waveform shape using up to 32 points, while the Spectro modes let you create the harmonic spectrum over 128 columns. When using WaveWarp to scan through the waveset, Morph alters the waveform, whereas Blend blends (crossfades) between adjacent waves.
To add further complexity, use one of the 24 Spectral Effects to warp, mangle or add subtle harmonics to your sound. Read the user guide for the full list and descriptions.
You can do quite a lot with just one oscillator.
– Apple logoMac OS X 10.9 or newer
– Windows logoWindows 7 or newer
– 1GB RAM, more recommended
– 50MB free disk space
– 1000 × 600 or larger display
– Modern CPU (Sandy Bridge or newer recommended)
– Host software
B-Step Sequencer is a unique, powerful step sequencer plugin and standalone application for creating melodic loops, chord progressions, arpeggios, drum grooves, and basslines.
B-Step Sequencer comes with an array of features like chord programming, sequencer ratcheting, shuffle, drag-n-drop, copy, MIDI learn, and much, much more. An embedded manual and intelligently sorted presets help users get up to speed quickly.
Designed for Creating:
The User Interface:
Full multi-touch support.
Clean, free customizable style.
Embedded user manual.
Create your own color themes.
Up to four independent sequencers in one.
Sequencer ratcheting/step repeats.
Monophonic and polyphonic playback modes.
Pattern auto chaining.
Measurements from 1/16th to more than 4/4th.
Partial bar replays.
Send control and program changes at each step.
5×6 chords per project.
Define random chords from 12 scales.
16-steps * 4-tracks * 16 pattern.
Skip, mute, and other functions.
Drag-n-drop (copy for bars and step).
Multi drag (copy the state of one slider or button to all of its siblings).
Bar snapshots (copy and past on the fly from/to an advanced clipboard).
MIDI clock master (up to 400 BPM).
Syncable to other MIDI sequencers.
5x MIDI OUT to control up to 5 hardware or software synthesizers (4x independent).
1x MIDI IN for sync to another master.
MIDI clock/sync thru.
1x IN & OUT for MIDI controller (for MIDI learn).
2x IN & OUT for Novation Launchpad.
Auto restore MIDI connections.
Native Novation Launchpad support (for up to two Launchpads).
Advanced MIDI learn.
Sends feedback to MIDI controllers.
System / MIDI:
CoreMIDI, virtual MIDI, network MIDI.
Auto save and load last session (project, controllers, settings).
Import and export of your projects and other data (via mail or text).
First, the Swiss Army Knife reverb! (a more cooperative one is to follow)
This is the result of some deep diving into Householder reverb algorithms (a way of taking four delay lines and turning them into infinite reverb). It’s different from anything I’ve done before, reverb-wise: extremely flexible, and incorporating some neat new tricks (for instance, the highs fall away at the same rate they would in a giant concrete cavern, allowing for REALLY huge-sounding spaces as well as convincing smaller spaces). It’s actually two parallel Householder reverbs in the place of one.
But what would happen if you had them feed back into each other, not just into themselves?
Turns out two different things can happen. One is a twisting and distorting of the sonic space into a distinctly… SPRING-like tonality. If you push the flavor knob towards 1.0, you increasingly get that clangy spring reverb thing, either subtly or overbearingly.
The other is this: apparently the opposite of a spring is a plate. Because when the Householder tanks feed back into each other inverted, they cancel out those same things and produce a whonging booming dense solidness that I remember, very well, from building a REAL plate reverb out of a big sheet of steel hanging from springs. I should say that real one I built was not a GOOD plate reverb… but I remember what it was like, and I can bring back the feel of it with this strange beast and its inverted broken feedback thing. This is one of those Airwindows plugins that lets you cut off your own foot with giddy abandon: all the bad settings are totally available. But if you know how to tune it, you might get something quite magical.
You get damping (from ‘almost’ infinite reverb down to very very damped), an overall tone control to handle whether the verb is bright or not, the ‘flavor’ control that leans either platey or springy or neutral, a room size that will go unreasonably huge even at 96k, and dry/wet. Stay tuned for stuff that’s more ‘preset’ and always gives you useful/good settings: that’s coming too. But this one is the reverb of doom: the most wild range of settings and tonalities and spaces, and the neat thing is apart from the global tone control at top, it’s all about manipulating the heart of the algorithm in significant ways. None of the adjustments are arbitrary: for the range of useful tonality, this reverb is very simple to operate.
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