The Element P is a specialized synthesizer for percussion sounds. It creates sounds using a simplified FM synthesis method, which is simple and easy to operate.
VOCAL FORGE is a new ZERO-G virtual instrument created by MIKE WILKIE & MATTHEW CORBETT (who produced the critically acclaimed Sounds of the 70s VI) and is powered by Native Instruments Intakt. Its uniquely inspiring new library features 800 patches and over 2,500 samples in 1.2 Gb of brand new material sourced entirely from pro vocal performances. Male and female MCs, sweet R+B, gospel singers, dance and pop vocals all recorded with accompanying harmonies.
Break the mold! Additive synthesis is capable of producing almost any kind of sound. Why continue using the same analog synths everyone else is using? Now is your chance to create something truly unique! Visually draw your own waveforms, timbral changes and filters. You can even load a .BMP file to use as a spectrum. Easily come up with new timbres and sounds by analysing .wav files. Load a .wav into the formant filter for a vocoded sound! Create sounds as wild as your imagination. Additive synth is capable of reproducing realistic voices and accoustic instruments, analog sounds, vocoded sounds, FM sounds, ambient pads and more! Use the formant filter to immitate accoustic instrument body, analog filters, a human vocal tract, or other worldly resonances. Sweep it or morph it. Ever wanted to be able to morph between a hp lp and bp filter? Now you can!
The Microwave defined hybrid synthesis at its best with its unique interpretation of wavetable synthesis combined with analogue filters. Now Waldorf Music brings this magical instrument back to digital workstations worldwide with the release of the Microwave 1 Plug-in. Now’s the time to bring back this magical instrument in a software form to the digital workstations of producers and musicians world-wide. The Waldorf Microwave 1 Plugin was painstakingly recreated from the original hardware with all its idiosyncrasies and wonderful singularities.
Robot voices, whispering strings, talking drum loops, rhythmic pads, the resonant ringing of bells, dripping water – the possibilities are all but infinite. With a quick tweak here and there, the Lector turns any incoming signal into novel sounds and effects. Tremendously versatile, the Lector puts in your hands a sonic toolset for a wide range of diverse applications. Just about anything goes, from distorting the human voice to adding subtle harmonies to lead vocals and getting creative with movie soundtracks.
The Stringer contains top notch quality sample sets of the ARP Omni, the Logan String Melody II and the Welson Symphony in two engines that can be mixed and layered. The real devices | The real string machines that were sampled for this project are highly sought after and became rare and expensive on the used market. The Logan String Melody II was built 1978 in Italy and distributed in Germany by Hohner. It has a very middy fat and exciting sound. The ARP Omni II is the successor of the Omni I and the Solina. The Solina string sound was THE string sound of the seventies and eighties, used on every stage and record. The Welson Symphony is a very rare Italian made String machine. It was built by WEBO electronics. more info
The Riser is an all-new instrument for designing musical transitions of epic proportions. A powerful, synth-based instrument, The Riser features all of the tools you need to compose heart-stopping transitions in one intuitive user-interface. In seconds, you can construct rises, falls, swells, fades, and more, based on our coveted sound synthesis technology. For instant inspiration, The Riser includes 300 pro-grade presets that you can edit, deconstruct, copy, mangle, and implement into your tracks. Transitions add suspense, hype, drama, and movement to your music. Cymbal swells and reversed instruments were go-to transitions for years, until the DAW pioneered fast and flexible audio editing, paving the way for complex sound effects. When combined with synths and other audio shaping tools, transitions completed their metamorphosis from science to art. Until now, this process has convoluted and time-intensive, taking attention away from the overall project itself. The composer spent more time trying to get plugins, virtual sample players, hardware effects, sound modules, and other gear to play nice with each other – and that was before hitting “record”.
