Dorico is the next-generation scoring application from Steinberg, with a whole new way of working with music notation. Built from the ground up by musicians for musicians, Dorico is like having an intelligent assistant by your side. Dorico’s output is the equal of the finest music engraving, and brings music to life through Steinberg’s award-winning audio engine.
Perfect for house, post-production and electronica, Fold’s ‘no expense spared’ attitude has ensured this incredible collection offers only the most unique tones, textures and ambience’s. Warm analogue sub-basses underpin evolving moog inspired arpeggios, dusty tape driven drum loops groove and twist supporting the dancing synth lead lines. All of which is impressively rounded of by the star of the show, the deep as an ocean delayed guitar phrases which add a sense of drama and occasion.
Scratch the surface of any synthesizer, and you’ll find the heritage of a few great brands. Buchla has been responsible for some of the most innovative, creative, and sonically spectacular electronic musical equipment ever made, and we’re proud to have such a legendary name in Softube Modular. In addition to our previously released 259e Twisted Waveform Generator, take advantage of the myriad spectral processing capabilities of the big friendly filter bank, the new 296e Spectral Processor, the only software version of this module officially licensed by Buchla U.S.A.
With the 259e, the answer is — pretty twisted. A coveted dual oscillator module now available for Softube Modular, Buchla 259e Twisted Waveform Generator is the first-ever officially licensed plug-in version of a Buchla product. While the unit can be used for traditional synth patches, its unusual inner workings makes Buchla 259e excel at metallic, cold, harsh, digital and screeching sounds.
Cacophony is easily the most massive collection of live concert hall performance sound effects, room tones, crowd reactions, orchestral tuning drones and incidental sound effects you will find anywhere. As we accelerate toward technical perfection and hyperrealism in the musical world with the help of technology, it’s important to remember the living flaws and details that make the experience of listening to live music so immersive. What is often most missing is the ghost of the place, the murmur and roar of the audience, the players tuning up – all of those little sounds in between. In their absence, we often feel something missing, though we cannot always put our finger on what. We’ve been recording orchestras, ensembles and solo performers regularly for nearly 2 decades, slowly building a deep and authentic collection of concert hall roomtones, all manner of audience applauses, murmurs and reactions, pit orchestra and ensemble tuning cacophonies, warm-ups, incidental sound effects, from great to small. These elements can be used for sound design in any style of music, video games, movies, VR, television and apps, or to simulate the environment of a live performance whenever you need it. The possibilities are endless.
When Eric Clapton used the Marshall Model 1962 on the John Mayall & The Blues Breakers self-titled album in 1966, the performance in combination with this amp was such a distinctive contribution to music history that the amp came to be known as the “Bluesbreaker”. The Bluesbreaker’s amp section is warm and crunchy, and the use of alnico speakers in an open back cabinet adds an unusually chimey and three-dimensional sound for a Marshall, which has contributed to its status as a genuine workhorse far outside of the blues genre too. The Marshall Bluesbreaker 1962 plug-in is a super accurate software version of the real thing, produced in partnership with Marshall from a Series 1 Bluesbreaker Model 1962 combo amplifier kept in pristine shape in the Marshall museum since 1965. The plug-in was component modeled down to the smallest details, resulting in flawless sound quality that will make you feel wonderful tonight and every night.
The Marshall JMP 2203 was introduced in 1975. It quickly replaced the Plexi as the go-to Marshall amp and became the amp against which all other rock amps were compared. Artists who used it included Jeff Beck, Andy Summers, Tom Morello, AC/DC, Mötley Crüe, Judas Priest, Slayer, the Pixies, and more. Marshall JMP-2203 is a super accurate plug-in version of the real thing, produced in partnership with Marshall from the reference 2203 amp that Marshall themselves use to define the true 2203 sound in the Marshall museum. The plug-in was component modeled down to the smallest details, resulting in flawless sound quality so you can let there be rock.
