Synthetic’s oscillator system is made up of two groups: Group A and Group B. Each group consists of two oscillators, a filter, and an amp envelope. The oscillators have seven different waveforms to choose from: Sine, Saw, Triangle, Square, Noise, Supersaw, & Tri-Sine. The filters have five different types to choose from: Low Pass, High Pass, Band Pass, Band Reject, & Peaking.
Heizenbox is a granulizer plugin for VST hosts running on Windows. The incoming audio is recorded into a buffer. It then plays back slices of the buffer, offsetting loop points after each loop. With the interface you can change the loop length, offset, repeats, pitch, direction and applying effects.
The Mayhem VST plug-in suite is a collection of four different effects designed exclusively for the abuse of your audio.
The Mysterizer from FXpansion was included and locked to Steinberg Cubase, but this version is unlocked to be used in any VST host.
The Mysterizer is a multi-effect plug-in with a unique hands-on user interface. It can be used as an insert effect or a send effect, and allows you to choose between eight different effects. For each effect, you can control two parameters by clicking and dragging in the display, allowing for continuous real-time effect manipulation, subtle sweeping changes or weird, wild mutations.
This GREAT amplifier/cabinet simulation from Steinberg will give you mellow jazz sounds and evil distortion many, many times!!! And it is so because of its low, very low CPU consumption. Give it a try!!!
Amp Modeling for your Virtual Studio. With Warp VST, Steinberg has made the warm sound of three well-known guitar amplifiers available for the VST 2.0 interface. The sound characteristics of three classic amps and three outstanding speaker cabinets are now authentically recreated in software, using Hughes&Kettner’s groundbreaking DSM technology – in real-time.
The Mercury-1 from TC Works (TC Electronics) is a monophonic multitimbral modeled-analog synthesizer for PC based VST-compatible audio programs. It has a basic and simple design and architecture just like the classic Moog and Roland synths it is modeled after. It also packs quite a punch with its monophonic analog sound and quality Moog-like filter. It sounds great when generating basses, leads, growls, 303 sounds, synth percussion and effects. It has awesome sound quality but was extremely CPU-intensive back when it was released, but now it is extremely CPU-friendly.
RoomVerb M2 is based on Virtual Room Acoustic modeling technique that allows to simulate various acoustic spaces from small bath rooms to huge open spaces using a single set of parameters. Such an approach provides a unified way of controlling reverb and removes the limits inherited in traditional reverb design schemes based on either pre-defined algorithms or pre-calculated room response patterns. The plugin processing DSP core has a flexible modular design that supports dynamic host CPU loading. This means that if you don’t need a certain reverb function you can switch it off, reducing the CPU load.
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.
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.
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.
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