EZkeys 2 is more than a piece of software, it’s a songwriting tool and a creative hub for new ideas. Ready to write, play and create? Meet your new piano player today.
Atmosia 2.5 is a 4 voice Atmospheric/Cinematic instrument ideal for film, TV, advertising and video game production as well as ambient and similar genres. A comprehensive extension to Atmosia 1 that now features over 520 sound sources from Atmosia 1, Electria 1, Mechia 1 and Firewalker as well as over 200 all new presets. Atmosia 2.5 is a free upgrade for all Atmosia 2.X owners, simply send us your serial number and location of purchase for an updated serial number. Atmosia 2.5 includes our distinctive X/Y pad to allow you to dynamically move between the four sound sources. X/Y movements can be recorded, and retriggered automatically on each new note, or the X/Y pad can be left as “free running”, where it will loop endlessly (forwards, or forwards and backwards).
Sitala‘s beauty is simplicity. It‘s fast and musical. Six knobs. Sixteen pads. Drag and drop. Playable like instrument.
Welcome to the AcidBox! The AcidBox V2 is a bass line synthesizer, a recreation of the iconic 303 bass line synthesizer from the 80’s with a new interface, which makes it easier to create real-time sequences and tweak them in a live situation. Get your live performances further with ACID BOX, a bass line synthesizer with custom functions, a 16 to 64 steps sequencer, and 6 integrated effects. A simple tool for real-time creation. AcidBox is inspired by works from Techno and House artists like Daft Punk, Aphex Twin or Laurent Garnier, with their use of vintage 80’s synthesizers and influences stemming from the Acid House genre. This synth also pay homage to Acid precursors such as DJ Pierre, Dr. Fernando, Woody McBride, Hardfloor, Leo Anibaldi or Fast Eddie.
Until recently most music software only allowed working with the same 12 notes, equally divided over an octave. Whilst microtuning additions have broadened this considerably, it can still be cumbersome to get all plugins and external synths in tune, until now… The MTS-ESP Suite equips composers with tools to get everything tuned quickly and accurately, as well as presenting entirely new compositional methods. Change notes or chords whilst they’re being played, transpose all instruments at once or morph into an entirely different tuning system – the possibilities are endless. Discover more about tuning and get detailed visual representations in real-time, or simply get everything tuned correctly in record time. The MTS-ESP Suite provides the computer musician with an intuitive toolset for rapidly composing and finessing microtonal pieces. Existing MIDI compositions can be easily converted to a different tuning system and given an entirely different emotional context. Working on new compositions is made nearly effortless.
The Ensoniq MR series of synthesisers was released in the mid 90s. A rack version and three keyboard versions were produced, all featuring a powerful synth engine able to create complex sounds consisting of up to 16 individual layers. To simplify operation, sounds could not be edited from the hardware, only via a software editor. This editor software allows the sound creation potential of the MR series to be unlocked using a modern computer, either running standalone or in any DAW supporting VST, VST3, AU or AAX plug-in formats. In addition to editing sounds, this editor features a bank manager for transferring and organising banks of sounds, a full performance editor (MR Rack only), a drum kit sound editor and the ability to send, save and recall insert FX presets and system parameter dumps.
GSi Mini Orchestra is a sample-playback synthesizer based on a selection of high quality stereo samples with long loops, that helps reproducing the sound of a symphonic orchestra easily and quickly. It offers 9 sections including: bass brasses (tubas, trombones), cellos and contrabass, french horns, woodwinds (flutes, oboe, fagotto), treble brasses (trumpets and trombones), treble strings (violins, violas), choirs, glockenspiel and percussions (timpani and cymbals). Each section can be programmed independently to have a given response to velocity, expression pedal, aftertouch, and velocity zone. The “aftertouch lag” parameter lets you adjust the response to the aftertouch messages in order to obtain smooth dynamic transitions.
