Geist2 is a streamlined environment for beat creation and sound sculpting that provides instant inspiration and new ideas for your productions. It combines deep sample manipulation, arrangement and modulation capabilities for an intuitive and fast workflow. Geist2 is designed so that nothing gets in the way of your creativity.
Spark is a VST/AU/AAX plugin that models four Marshall® tube amplifiers, four guitar cabinets, four overdrive pedals and a set of the most common spatial effects.
DUST creates a sonic soundscape never thought possible before. When you start creating with it, you’ll see just what it means to lose joyful hours exploring it’s capabilities. DUST is a synthesizer plugin based on a real-time particle simulation, where each particle is a separate granulating sound source. The motion of each particle is determined by the flow field, which determines the force applied to each particle at each point. Just like how the flow of a river determines the path of a leaf floating down in it. This is our most ambitious software release to date, and you are going to love it! Not only is DUST addictive to play with, but it generates some of the coolest sounds ever created.
Grace is a VSTi plugin sampler for musicians working with samples. It is a tool to load samples mid composition with minimal disruptions to your creative flow.
CRTIV Chorus is a stereo chorus effect AAX, AU and VST plugin for professional music production applications. Chorus is able to produce stereo-widening and weird modulation effects. Chorus plugin uses 4 operators for each channel thus creating a quite dense stereo chorus sound.
BMS is a bass management system AAX, AudioUnit and VST plugin for professional surround sound applications. BMS is able to extract and manipulate low-frequency content of non-LFE channels in up to 7.1 surround configurations. The main purpose of BMS is to simplify evaluation of low-frequency content present in non-LFE channels during mastering. At the same time, it is possible to mix extracted low-frequency content to the LFE (“Low Frequency Effects”) channel. An option to remove the extracted signal from non-LFE channels is also available. In BMS you can specify a desired frequency of the crossover filter, and adjust its steepness.
Slap Bass was sampled from a Fender Jazz electric bass guitar with Carvin J99 pickups and DR Hi-Beam bass strings directly into a Radial Pro48 DI Box. An extended range was obtained by tuning the E-string all the way down to a C. The low B (B0) of a standard 5-string bass was omitted do to “floppiness” from down-tuning. “Slap” and “pop” articulations were carefully and meticulously recorded for each note, although in the extreme upper range of the bass, do to tension of the string, normal notes starts to become indistinguishable from a pop articulations. Regular notes were recorded with a guitar pick, in order to maintain a semi-percussive and metallic sound.
