A versatile, creative distortion and filter effect. The smooth filter, powerful distortion, and audio modulation combine to take tracks from subtle filtering to all out mayhem.
The P565 Siren Filter Set is a merge for the perfect workflow of highly coveted filters from different hardware audio equipment with a unique signature sound. P565 Siren features high and low pass filters with selectable slope and tunable musical resonance that brings you into the realm of some of the most sought after resonant filters and beyond. It also features two notch/peak filters designed for precise adjustment and creative expression. Each of these filters can be dynamically modulated based on an external input signal or the built-in dual envelope followers with fine control over attack, release, amount and speed characteristics. These features accumulate to a powerful creative use that ranges from subtle movement to funky rhythmic enhancement while still covering phasing, flanging and resonance sweeps. P565 Siren doesn’t stop there. Use the drive to give body, character and dimension to any sound or warp it into overdrive, taking your sound to where no overdrive has gone before!
In 2024, KORG is adding three more internationally beloved instruments to the KORG Collection, each of which have left their mark on music history. First, the ARP 2600: a legendary, industry-changing synthesizer introduced in 1971 which had a stunning influence on jazz, rock, pop and funk in the 70s, and was featured in countless Hollywood movies. KORG faithfully recreated and reissued the ARP 2600 in 2020 as the ARP 2600 FS/ARP 2600M, ARP 2600 FS have been carefully modeled and reproduced for the KORG Collection. Second, the VOX Super Continental: This carefully modeled combo organ first appeared in the 1960s featuring extensively in music from the 1960s British Invasion era through to the ska and new wave scenes in 70s and 80s. Lastly the EP-1: The EP-1 models electric pianos that first appeared in the 1960s and have become beloved in the soul, jazz, pop music ever since then. This plugin is based on the MDS (Multi-Dimensional Synthesis) technology developed for Korg’s renowned KRONOS and NAUTILUS synthesizers.
Kompresor is a versatile and powerful, yet easy to use, compressor. With several compression algorithms under the hood, Kompresor is suitable for use on a wide variety of signals, on the mix bus, or for mastering.
Introduced back in 1988, the M1’s popularity steadily grew to exceed an amazing 100,000 users. As the first workstation synthesizer, it was a definitive element in the sound of the late ‘80s through early ‘90s. Along with its innovative “workstation” concept, the M1’s “AI” (Advanced Integrated) synthesis system used PCM waveforms and digital effects to deliver fully magesy complete program and combination sounds. As a pioneer of PCM tone generation, it was notable not just for the reality of its sound, but also for the distinctive resonance and tonal character that demonstrated the high level of Korg’s voicing technology. From the famous “M1 Piano” sound through electric pianos, organs, synth pads, drums, and picked basses, numerous sounds available only from the M1 were taken up by musicians and producers around the world, and are still in use today. Although today’s high bit-rate and high sample-rate sound libraries deliver greatly improved audio quality, it is difficult to find sounds with real presence, sounds that can’t be described purely in terms of specifications – sounds that are available only from the M1. The M1 software synthesizer reconstructs the M1’s sound engine into an eight-part multi-timbral tone generator featuring up to 256-note polyphony.
More than a decade ago, I made a version of this in WDL (thanks Rob!) to deal with the problem of “one note bass” and dealing with overly loud or overly dead bass notes across the bass fret-board. My mastering engineer ended up using it for far more things, and I have been meaning to update it ever since. In this version, you actually have a limiter per band. In earlier versions, just EQ-ing a hole sometimes caused more problems than it fixed, but now, with the limiter, you can get a hold of the mix when its making trouble and leave it alone when it isn’t! Click “E” (for Enable, were still deciding on the name) in order to enable a band (they are off by default) and “D” in an enabled band to turn on the limiter. Switch octaves with the +/- buttons under the spectrum. Note that the octaves are shown in the spectrum display so you don’t have to do the math.
FFT has announced availability of FFT Pro-Q 2, a major update to the Pro-Q equalizer plug-in. New features such as Full Screen mode, unique Natural Phase processing, Auto Gain, Spectrum Grab, Gain-Q interaction and slope support for all filter types make Pro-Q 2 better than its predecessor in every way, while staying true to the original vision of combining high sound quality with unsurpassed interface workflow.
