EDM Super Power WAV MiDi

Team MAGNETRiXX | 10 March 2014 | 253 MB

This pack contain everything you need to create next modern EDM hit sounding like tracks of W&W, Dimitri Vegas & Like Mike, Martin Garrix, Alvaro, Quentino, Swanky Tunes, Blasterjaxx, Sick Individuals, Sander Van Doorn, DVBBS, Borgeous, Showtek, Laidback Luke and etc. Here you will find 337 MB collection of Stomping Drum Loops, Anthemic Themes, Insane Hard EDM Kicks, Punchy Drum Shots, Synth Loops, Midi Files and Sound FX!

VoXX ACthirty Amp PRO for Nebula 192 khz

Team MAGNETRiXX | 10 March 2014 | 1.55 GB

Sampled here was a large VOX AC30 amp for a tried and true amp sound. This is a different amp and was done in a different booth so it has a different flavour – certainly clearer than the original Big Amp version. Full commercial package size is 1.7 GB. 72 Presets. Provided at 192 khz, 96 khz and 44 khz.Please note that these require a fully licensed Nebula Pro license to enjoy. 8 Microphone positions were employed with each microphone recording a mono signal only ( Although I used matched pairs of mics I used them as mono inputs.). Most Amps were recorded in three tonal landscapes. Flat, bright and warm although that is not a rule. Most libraries with the exception of the Fender Champ 600 ( Two perspectives ) Have all three perspectives – giving you 24 different tones per amp to experiment with and in some cases 32.

Dray for Q-clone 96 khz For Nebula

Team MAGNETRiXX | 10 March 2014 | 14 MB

Sampled at 96 khz with Prismsound Orpheus conversion and high quality short gold tipped cables. 15 MB. About 80 files in this package covering Kick, Snare, Vocals, Bass and more.
This Pack came about as a request from one of my customers. It has Hip Hop, Rap and any modern dance all over it. It is very loosely based on curves of Doctor Dray’s album the Kronic. The Curves have been made through SSL gear that will give your mixes a bit of depth. You won’t sound like the man just like that. I advise that you use a compressor plugin before or after the Q-clone instance to get the sound to punch a bit more. If you purchase the Exlojik , you can use the Med setting on your master bus to give you a great chain that will give you quick results. Use The SSL Duende channel strip to make any EQ tweaks and you should be set to make a great sounding song. To add more flexibility and tones perhaps consider the Colour Mix pro pack.

Red For Access Virus TI

Team MAGNETRiXX | 10 March 2014 | 1.53 MB

Red is a soundset for the Access Virus TI and Snow synthesizers and is aimed squarely at dance music productions with 128 presets divided into four categories: Bass, Plucked sounds, Pads and Sequences. Yes. Sequences. Although the Virus doesn’t have a built-in sequencer (at least not in the v5 of the operating system), we used some tricks with its very capable arpeggiator to simulate the functionality of a real step sequencer. Although a majority of the sounds is built upon the Hypersaw Oscillator, we have also used many of the DCO oscillators from the old Virus A/B/C.

Silverspike Reverb It VST 1.2 WiN

TEAM peace-out | 04.08.2009 | 11.2 MB

Silverspike Reverb.it simulates diffuse reverberation of rooms. Its quality results from a unique reverb algorithm based on random reflection patterns. This reverb is no toy. It provides dense, smooth, and authentic reverberation that you would only expect from expensive external high-end equipment. Two shelving filters and up to three separate reverb frequency bands give you full control on the spectral balance of the reverberated signal. No matter whether you need a rehearsal room, a concert hall, or a stadium. Perfect stereo imaging. And yes, Reverb.it is ready for 32bit/96kHz.

Sanford Reverb VST 2.0.1 WiN-ASSiGN

TEAM ASSiGN | 02 MARCH 2010 | 7 MB

The Sanford Reverb is a true stereo reverb. It is capable of simulating everything from small rooms to giant cavernous spaces. Its sound is dense, clean, and crisp making it perfect for most situations.

Spring Reverb Type4 v1.0.1 AU VST UB WiN MAC

VST AU PC & MAC OSX UB REPACK-DYNAMiCS

Team DYNAMiCS & AiR & NEMESiS | 01-26-2009 | 6 MB

A spring reverb is a system to obtain artificial reverberation invented during the 40’s by Laurens Hammond (also inventor of the Hammond Organ). In a Spring Reverb pan, the audio signal is coupled to one end of the spring by a transducer (a device that can convert electrical energy into mechanical energy or viceversa). This creates waves that propagate through the spring in both directions. At the other end of the spring there is another transducer that converts the motion in the spring into an electrical signal, which is then amplified and added to the dry sound. Most spring reverb units use several springs together, with each spring having its own characteristics (length, dimensions, tension, etc.) resulting in a natural reverberation by summing several delayed sounds at fixed or random intervals. However, with real spring reverbs the user isn’t allowed to change these characteristics. A software simulation like Type4, on the other hand, allows you to adjust parameters like “decay” (reverb duration), the dampening factor, the virtual spring tension and other parameters that affect the overall timbre of the reverb effect. Why should you want to use a spring reverb rather than a precise and modern digital reverb? Spring reverbs have typical sonic characteristics that, nowadays, make them desirable mostly as effects on their own rather than simulations of an acoustic phenomena.