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onvert any MIDI FX plugin output in Logic Pro X to the editable midi region. Logic Pro X 10.5.1 Required.
Convert any MIDI FX plugin output in Logic Pro X to the editable midi region. Use chord trigger or arpeggiator and convert its outputs to editable midi. Just place the plugin as the last MIDI FX in the plugin chain, enable record, and playback your region on track, drag converted midi back to Logic PRO X track. You can now edit notes and fine-tune changes that were not possible before.
Logic Pro X version: 10.5.1 is requiered.
1. Insert MIDI FX Freeze as last MIDI FX Plugin (After chord trigger, arpeggiator, etc.)
2. Select Project Sample Rate to match the current project setting.
3. Enable Record Button.
4. Playback midi region on track.
5. Drag fully editable midi region back to track.
Quickly, I’ll tell you (so you don’t necessarily have to read the more detailed version with good technical stuff and known issues, below, but it should help you), the C-C- -01 is a Signal Enhancer. It can:
Peak Follow (with RMS, Oscillators, and Noise also, and also change the Oscillators’ sound response curve going into the Oscillators Peak Followers, and change both response curves for both Peak Followed signals), and change the signal’s Attack and Decay moderately.
Blend RMS and the Peak Follower.
Blend Saturation and the previous EQd, Filtered, and Peak Followed Signal.
Subtract the EQ and Filtering from each previous signal at each EQ band, and/or subtract the entire EQ process from before Equalization, and use “Non-EQd Makeup” controls to boost back (and beyond), in parallel, the remaining signals after the EQd signal was subtracted.
Use dual-bands, can split Stereo signal into Mid/Side, all things can be manipulated per channel.
Use Linked Controls.
Also, sorry, but some of the things in the About DOC that comes with the plug-in are slightly inaccurate, some things I don’t describe properly. Most, if not all of the corrections are listed on this page.
I’m no coding or programming genius, I just use SynthEdit and connect the wires, and do some basic things. Now for the more technical, more in-depth version (below).
Key Features/Notes/Known Issues/Problems, and some things you can do with the C-C- -01:
I cannot fix DAW/Host compatibility issues, that might be a SynthEdit problem. Also, Automation Parameter names may not completely show inside of some DAW/Hosts.
All Parameter Automations have not been tested, some have, I did this only because all controls of themselves have been tested during the testing and development phase. I cannot fix Parameter Automation problems if they arise, unless there is a setting I’ve missed in the internal working of SynthEdit, maybe I can fix that. I’ve plugged in all of the SynthEdit signal wires properly, as far as I know.
Has Peak Following (with a 2nd Peak Follower using Oscillators and Noise), RMS (for both Peak Followers), EQ/Filters (with a added subtractive process that subtracts the EQ’d signal from it’s predecessor, and allows you to blend back in the remaining signal, plus add a boost of that signal, or just use the subtractors on the whole EQ process, and then use the LMeqs and RSeqs sliders to blend back that remaining signal from before the entire EQ process, or a combination of the two sets of blend-back sliders for creative effects. I call this process “Non-EQd Makeup” on the plug-in GUI, above those blend-back slider controls), and Saturation.
Peak Follower 1 (called Peak Follower in the plug-in) operates on the Main Input Signal, after EQ/Filters. Peak Follower2 also operates on the Main Input Signal, after EQ/Filters, using the Oscillators/Noise. Both Peak Followers modulate (I think that’s the term) the volume control of separate sets of VCAs, one after the other (the 1st Peak Follower’s VCAs to the 2nd one’s VCAs), for each Peak Following process.
Has Left/Right and Mid/Side Input Signal Selection.
Has linked controls (internally, not on screen, also the Oscillators section has no linked controls), as well as fully independent control of both signal halves throughout most of the plug-in. Use the Left/Mid set of controls when using linked controls.
Has volume response curve options for both halves of the signal (see additional notes below for more about this).
7-band EQ: 6 bands of Biquad modules, band 7 is a Band Shelf Mid Range Boost/Cut. The EQ processing order is: EQ1 to EQ7, consecutively.
Wet/Dry mix for the entire FX process, as well as a Saturation blend and an RMS to Peak Follower blend per Peak Follower.
Has Oversampling up to 32x, and FIR type.
Has Channel On/Offs to isolate your signal.
Use the Input Trim and Drive Controls to find the sweet spot on each of the 3 Saturators, and make up gain lost or boosted using the Effects Makeup Gain, so you can compare the before and after of the whole FX process. Drive your Sides signal into Saturator 1 at 30% Wet while pushing the Mids into Saturator 3 at 70% Wet for smoother, more subtle distortion/saturation sounds (Hypothetically speaking. each Saturator is different, and may still have a harsher edge to it, also depending on your setting, but this process helps to smooth that out a bit).
(Also hypothetical, depending on your sound’s frequency range) Use a Notch Filter to cut an area, then boost back its’ remaining predecessor signal to get rid of some of those “nasal-y” artifacts, careful though, too much can almost ruin your sound. I think some phase shifting can occur, but I have not examined that. Creative effects can be found by randomly moving and setting the Non-EQd Makeup sliders before/while EQing. In one instance, I tried cutting a large amount (-60 db) using a Peak EQ Type with an average to moderate Q setting (I think the Q was somewhere in the range of .2 to 10), then boosting the Non-EQd Makeup in moderate to large amounts, and the effect was good.
Be careful when using the Oscillator Monitor Function, the volume may be intensely loud. Be sure to set your volumes low before you turn on the Oscillator Monitor. It is there to let you set a balance, if you want, but you can really push the volume into the Peak Followers if you want, but you probably don’t want to monitor that louder sound, it’s very distorted, and Oscillator waves at low, mid-range, and high frequencies might damage your ears (maybe all of them can actually, I actually don’t know, and I’m no expert). The real effect was designed for the Peak Follower, so no Oscillator sounds are actually heard when using it for it’s intended purpose, but you can hear the effect on the audio, it subtly equalizes and can boost clarity in your signal. Try a Sine at 1500 Hz on one channel and some Pink Noise on the other and you will hear for yourself. Try the Decay at max (about 5 o’clock) for more body. At the shortest Attack and Decay settings, transients can be more audible with a greater clarity of energy, but not drastically, depending on the setting. At the longest settings, smoother, bigger sounds are achieved. Add RMS and change the Rate Control to hear the difference, and blend between the Peak Follower before the RMS using the RMS Blend control for a natural balance. It is subtle. Use White Noise and Pink Noise together in a Mid/Side configuration to have the Peak Follower put Pink Noise on just the Sides signal, and White Noise on the Mids, and you can balance the volume going into the Peak Follower (it is just subtle to hear it), but when using Oscillator waves (Sine, Saw, etc.) near or at the same frequency and volume (in Mid/Side mode) you may notice more of a Left or Right balance to your signal, I believe since the Oscillators are Mono, not Stereo. I included one Oscillator for each signal half. So, Oscillator wave types and/or frequencies far enough away from each other should give a Mid/Side signal a chance of being encoded/decoded by the process, which means for more fun in your Peak Following. The White and Pink Noise seems to always work in Stereo or Mid/Side, though.
The Peak Meters may be slightly inaccurate, they show the level below clipping, while it may be that the signal is just clipping a bit. Sorry. As far as I’ve seen it’s only on very quick, loud peaks that it won’t show, otherwise it seems fairly accurate (compared to my DAWs meters, it is just a little below), but I’m no expert. I’m not quite sure how to fix this.
The Main Panel’s bottom left features a set of VCA Response Curve choices (I forgot to label them, sorry, you’ll see the words, Decibel when you load the plug-in), they apply only to the Main Signal’s 1st Peak Follower (called Peak Follower on the plug-in GUI, it’s the one that doesn’t use Oscillators). All of the Standard Volume knobs throughout the plug-in have the VCA Response set to the Decibel Curve. I couldn’t decide if I should change that, and I also didn’t have room to give another set of options for you to choose that. I think it’s best if you all can choose it, so I plan to add it later, in a newer version someday, with more Oscillators also.
Currently, there’s no internal preset browser. I have not tested whether the Save as .VSTPRESET option in a DAW/Host works. I believe it should. I have experienced issues, in a plug-in created using an older version of SynthEdit, where a saved DAW/Host version of a .VSTPRESET would not be recalled in a project, for some reason, I do not know the reason why though. I don’t know if that issue is present here, or if it’s even a SynthEdit problem at all, it could be that my DAW/Host version is older.
Made with SynthEdit, using only available modules and settings, not coded by myself at all.
EVOX Calypso is an experimental sound, performance-oriented virtual musical instrument that is designed for creating cinematic ambient soundscapes, sound structures, and atmospheric and ethereal textures, as well as more traditional synthesizer sounds that can be layered to create a tremendous variety of spatial sounds. EVOX Calypso sounds extend to unattainable distances, immersing you in unexpected worlds. The tool includes more than 128 ready-to-mix presets.
EVOX Calypso is Free/Donate. The Free version has some limitations. A version available to supporters includes a package of additional presets for synthesizers, effects, and track models.No installation is necessary, and it works without problems in Windows XP and Windows 10 (32/64-bit). (EVOX Calypso is 32-bit.)
EVOX Calypso is an standalone tool application for Windows that employs Wavetable / Granular synthesis in two separate and programmable layers each with extensive FX, Modulation Matrix and Chord Sequencer modules which provide the user with maximum control over unique sound creation.
As an experimental synthesizer, it radically departs from standard type instruments and is meant to be used as a laboratory for the exploration of new sonic and timbral creations. Playing EVOX Calypso is not like playing a conventional synthesizer, it does not have a keyboard and MIDI GUI like conventional synthesizers. Sound manipulation is carried out by built-in modulators and sequencers.
EVOX Calypso also has an 8-track sequencer with up to 64 steps for each track. Each track is essentially a separate synthesizer that can be recorded and played back in sync with the other tracks. Mini compositions can be made by merging these tracks together.
Toum! is a virtual synthesizer to design kick, tom, timbal, percussion and bass sounds. The user can use the include presets or make their own analog, acoustic and electronic drums, and EDM bass synth sounds. Also can be designed snares, clap, hats and certain FX sounds.
Toum! has a virtual analog structure and a small phase modulation component.
With the modulation FX in Space, you can completely transform your reverb’s sound. Included FX modes are Pitch, Chorus, Flanger, and Phaser Rather than adding the FX to the entire sound, it only affects the reverb signal. For example, you can make the reverb have a psychedelic effect by adding a phaser or flanger.
Combining these powerful FX with the built in distortion, EQ, and filter, there’s limitless possibilities of how you can transform your reverb.
Space Lite is available to download as a 64-bit plugin for Windows and Mac in VST/VST3, AU, and AAX formats.
It brings up lightning speed drum-kits loading and fast one stage control, fitted for live usage. Now, with better control, both mp3 and WAV. format support, faster workflow and only 0.5 sec. loading times for new core kit, Yumbu 2 is one of the quickest drum samplers in the market.
Yumbu 2 uses 10 (.wav, mp3) file sample slots to build 10 drum components drum-kits. According to this approach, every slot can be anything, from kicks to snares or cymbals or you name it. Each slot is triggered by its own unique MIDI note which noted on its slot button. For instance, slot 48 is triggered by note number 48 in the MIDI keyboard (c2). The samples menu is divided into 14 categories, including a wide range of drum-kit components types. Each type button (kicks, snares, claps, etc.) is directing to it’s own sample library folder which located at “C:UsersyournameDocumentsFananteamYumbuUSER”. Each sample slot has also a room for user’s imported samples which can be added manually to the “user” folder. Yumbu 2 comes with 30 full drum-kits to start with.
Yumbu 2 has a built-in mixer that allows you to tweak any sample separately. You can use the EQ, change the pitch, add a random pitch manipulation to every sample, pan and you can use our pitch based round robin effect which has a wide control ability on the final sound. The mixer is also armed with 3 master effects (compressor, reverb, delay) with a brand new unique effect called “F.R” which allows full scale frequency control over the wet signal. You can use the effect by sending a fx amount from the “master fx” knob on every channel or you can override the per cell sending and just send them directly to the master effect.
Yumbu 2 loads drumkits extremely fast, only 0.5 sec for full loading. It can set “sample start and “sample end” points with MIDI assignable knobs and it also allows you to tweak the active keyboard’s octaves starting points. Yumbu 2 uses 24 presets drumkit banks. Each preset represents a full drumkit containing all the components and settings.
Yumbu 2 is armed with brand new morphing system which can blend any 2 drum elements together (which can create tons of new fresh drum sounds). The morph system can also play with the blended element’s pitch and increase the invention of new drum sounds like never before.
Each channel in Yumbu 2 is armed with dedicated modulation effects which allow adding beautiful nuances and textures to each drum element separately. There is a yowling phaser effect, a delay and the new Zelda filter which can completely change the audio materials native character and morph it into a new interesting sound.
10 drum sample slots per kit.
14 drum element banks with full 30 drum-kits that adjusted to wide range of pop and EDM genres.
Morphing system for blending any 2 drum elements together.
Automation file manager.
4 additional WAV. pages in the element menu for user’s WAV. files.
MIDI assignable startend points manager.
Graphical MIDI keyboard with assignable keyboard starting points.
Full virtual mixer with gain knobs, master effect send knobs, pitch knobs, random pitch manager knobs, round robin and pan knobs, master compressor, delay and reverb effects armed with a unique F.R. feature.
MIDI route options (internal or sent to the DAW through MIDI channels).
Scalable and customizable GUI.
Dedicated modulation effects including phaser, delay and Zelda filter.
Shortnoise is a unique and inspiring electronic sample library with a huge 6GB of content and over 300 Kontakt instruments to choose from.
Jam packed full of Electronic Grooves, Arpeggiated Sequences, Manipulated Synths, Cinematic FX, Unique and Expressive Performance Patches, this beauty has a whole world of surprises waiting to be unleashed!
Perfect for electronic music, film scores and experimental sound design.
6GB of Stunning Electronic Sounds at your Finger Tips
If you’ve ever found yourself in need of big, inspiring and easily editable electronic sounds, then Shortnoise is for you!
From screaming leads, to fat basses, lush arps to sweeping pads, there is a huge amount of sounds to choose from. Anyone who writes electronic music in any style, will find this an incredibly useful sample library that will provide hours of inspiration.
All sounds are 100% royalty free (can be used for sound design, music etc.) and even better….its totally free!
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