Interesting new device from the renowned K- Devices stable which always has lots of very interesting modulators. This one is particularly nice if you have Push2 as it maps all the controls for a an even more fun experience. Requires Max for live.
MOOR is a unique monophonic step sequencer that will let you create sequences that you could never get with other tools of its kind. It creates, then twist and manipulates your sequences and synth lines giving results that go beyond your imagination.
HOW IT WORKS
“MOOR” is an arbitrary contraction of words “Mono Oracle”, that was the codename during the development. This is still useful to explain the nature of this device: – Mono: it’s a monophonic step sequencer – Oracle: it lets user ask for something, then it elaborates an answer MOOR starts as a standard mono step sequencer: you set a time resolution, and pitch and velocity values for each step. Around these core features, several functions make it special. Two new parameters are added to each step: chance and exclusive duration. Chance works similarly as in AutoBeat device, but it offers here an improvement specially designed for a melodies sequencer as MOOR is: the hold mode. You can set a different chance factors for each step, globally, via the random and scramble functions, or exclusively, editing step by step with mouse or Push2. The result is that, depending on its chance factor, some steps, sometimes, do not trigger the note, letting silence fill the sequence in a controlled-random way. Enabling hold mode, a note off message is sent just when a new note on message comes, that means that for each silent note, the previous one is kept active: this mode creates still continuously changing sequences, but with, instead of silence, notes of different length. Exclusive Duration is another great feature of MOOR: considering the time resolution you set, it’s possible to refine the duration of each step. Each step can be set to 25, 50, 75, 100, 150, 200, or 400% of the time resolution: this introduces the chance to create complex sequences with a step sequencer! You can set this parameters manually, or globally, and this introduces an important feature, the duration lock mode: when you have a sequence with a duration, let’s say 1 bar, if you randomize durations, the global length of the sequence will change.
This opens to new, exciting, let’say wild perspectives, and is cool, but, if you want to experiment with step durations, all keeping the original length of the sequence, you can do it: enabling the duration lock mode! Then MOOR will find for you randomized durations, but their sum will always gives the original length of the sequence, isn’t amazing? A given number of steps, at a given time resolution, steps with pitch, velocity, chance, duration values. All of this gives us a sequence, and MOOR offers several parameters to manipulate it. Processing the sequence as cyclic signal, MOOR can twist it thanks to scale and phase distortion operations! MOOR can also make your life easy when you go on stage: you can store, and recall, up to 4 snapshots in a preset or, even quicker, you can export your sequences to Live clips! As often happens with K-Devices, you can accurately control and define each aspects of the multiple features manually, or wisely exploit the advanced random functions included. In both ways, MOOR will bring you really far! The user interface of MOOR is just beautiful, made to be self explanatory: when you edit a parameter, animations on interface will let you easily understand what the parameter does. Of course you also get an accurate description of parameters in the Live Info View.
We all need audio editors and this is a particularly nice one with a plethora of features.
Acoustica is a comprehensive solution for professional audio recording, editing, mixing and mastering. The intuitive user interface was designed with speed, accuracy and ease-of-use in mind and gives access to a large set of powerful tools to make your recordings sound the best. The consistent workflow simplifies your production work all the way from recording, editing, batch processing, sound design and audio restoration to Red Book compatible CD burning.
Ultimate Audio Quality
Acoustica offers support for state-of-the-art audio resolutions up to 32 bit and sampling rates up to 384 kHz, ensuring that all of your work comes across at the highest quality. Acoustica Premium Edition even supports multichannel audio recording and editing such as 5.1 and 7.1 surround sound.
Audio Restoration
Integrated audio restoration tools help you get the most out of recordings impaired by background noise, clicks, crackle, clipping or missing high frequency content. The Premium Edition contains the same set of professional tools as our Restoration Suite.
Multitrack Editing
New in Acoustica 6 is the ability to edit multitrack audio. Both the Standard and the Premium Edition allows you to mix audio from different tracks in real-time, add audio effects to tracks or easily create cross-fades. You can even loop or time stretch clips directly from the multitrack timeline.
Processing Tools
High quality audio tools and effects are integrated such as dynamic processing, limiter, equalizing, reverb, convolution reverb, chorus and flanger. You can also modify tempo and key of your recordings independently using the superb quality time stretching and transpose tools.
Effect Chains and Plug-In Support
You can create complete chains of processing tools, including external plug-ins, and save them along with all the parameter settings for later use. VST and DirectX plug-in support allows you to access a vast number of both free and commercial third party audio processing plug-ins directly from Acoustica.
Analysis Tools
Powerful offline analysis tools are available, including spectrum, spectrogram and wavelet analysis. Real-time analyzers such as K-System level meters, phase correlation meters and spectrum analyzers allow you to monitor your audio output visually in real time during playback.
Strobe 2 as well as being an excellent polysynth has many unique features, such as the ability to morph between presets which reminds me of the snapshot feature of NI's Maschine Jam. Modulaation is a breeze and the random and XY pads are fun. Be aware though that it's a little heavy on the PC!
Strobe is inspired by the classic single-oscillator synth designs (think Roland's SH-101), but it's polyphonic and features unison (32 unison voices for each main voice).
The Main oscillator combines Saw and Square waveforms with level faders for each and pulse width for the latter, and includes a Stacking option with Detune, enabling up to four extra oscillators to be stacked, independent of the Unison.
Sound generation is bolstered by four sub oscillators (Sine, Triangle, Saw and Square, each with its own octave setting) and a Noise generator.
"At the centre of the interface is the Scope display, providing visual feedback."
The signal is shaped by a single multimode filter offering 22 filter types and a Drive control; an LFO with swing and pulse width; two envelopes (Modulation and Amplitude) with tempo Sync and Loop; and a VCA with adjustable analogue colour.
The TransMod system enables modulation of most parameters, and each assignment includes a secondary slot for applying a scaling modulator. Other options include an Arpeggiator and a Ramp module for delay and rise time generation.
Finally, at the centre of the interface is the Scope display, providing visual feedback on the oscillator and LFO waveforms, and filter curve.
Ground zero
In terms of layout, Strobe2 is pretty much identical to Strobe 1; but under the hood, the audio engine has been completely rebuilt. Version 1 patches you've created in Strobe's native preset format can be imported via Strobe2's Legacy tab or from your OS's browser.
The new engine is far better CPU-optimised than its predecessor, and the previous extreme oversampling rates (x16 and x32) have been ditched, although oversampling is now always active (x2, x4 or x8), and the option remains to switch the rate when rendering.
The new interface offers scale options (75- 220%), two colour Themes (light and dark), a fold-out preset Browser, plus two tabbed pages for the new Effects and upgraded Arpeggiator.
Said Effects section comprises 28 processors, 19 of them lifted from Fusor (TinCan Reverb, for example), and new ones including FX-Verb (an algorithmic reverb), Pattern Delay (a multitap delay), Env Shaper, Enhancer, Nonlinear Ringmod, DirtyDAC (an old DA converter emulation) and various EQs. The effects are inserted in series in two three-slot chains, with mix blend dials for each effect and each chain.
"The Filter Drive is now gain compensated and includes a Leak level control for introducing the pre-filter signal."
Meanwhile, the 32-step Arpeggiator has all the typical options you'd expect, such as Swing, Gate time, Rate and Mode, as well as a modulation Step Sequencer. This last can be used in tandem with the Arpeggiator (each can reset the other) and as a TransMod source.
Further new features include eight Quick Preset slots for easy access to up to eight patches, with time-variable morphing between them, freezable at any point in the morph; 16 TransMod slots, up from the previous eight; parameter locking when changing patches (including the Arpeggiator); a Randomizer with X/Y pad (morph between randomly generated variations in each corner) and its own Quick Preset slot; and three new TransMod Processors.
Synth matters
The new arp and effects contribute immensely to Strobe2's 900-odd new patches, but there are changes to the synth itself that prove transformative, too.
The sub oscillators can now match the Main oscillator octave as well as up to three octaves below (as per v1), and the Sub section as a whole can be unlinked from the main Oscillator's pitch-related parameters (Sync, Stack and Detune) - ideal when you want to retain a solid underpinning while the Main Oscillator is doing something more complex.
There's also a Phase Reset option for the Main Oscillator, facilitating consistent note onset, and each oscillator section includes a Tone control, which is basically a high shelving EQ.
The Filter Drive is now gain compensated and includes a Leak level control for introducing the pre-filter signal; and the LFO offers an additional sub cycle, which is a multiple of the main LFO. Finally, both Envelopes have doubled maximum time ranges (32 seconds each for Attack, Decay and Release).
All of this expands Strobe2's sound capabilities considerably, and A/B-ing it with v1 reveals a much more vibrant- and expansive- sounding synth. This is particularly noticeable with pads, leads and textures, where the new effects often play a big part.
Of course, the arp patches are also considerably better, with complex 32-step patterns outshining the eight- steppers of v1, although sadly the Legacy arp patches don't include the arp programming, rendering them pointless.
Basses benefit, too, with more potential in the edginess department. Nevertheless, there was a certain directness of sound to the original Strobe that worked particularly well for simple basses, and that has changed.
Overall, Strobe2 is a more rounded synth than v1, with a far broader feature set, a better preset library and greatly finessed sonics. Review from Techradar
Incredibly versatile and fully featured beat making software which can also be used to create full songs . Seems a steep learning curve is needed to know all the different things that Geist2 is capable of doing . But well worth delving into, as this is probably the best one of its kind out there!
The original Geist was the successor to FXpansion's earlier software groovebox, Guru.
It comes as no surprise, then, that Geist2 takes the already winning formula of its predecessor and improves it in enough areas to constitute a must-have upgrade for existing users and an even more compelling proposition for newcomers. Before we get into its new features, let's start with a summary of what Geist is all about...
Ghost is the machine
Essentially, Geist2 is an MPC-style pad-based 'groove DAW', complete with sampling, sequencing and song construction, that runs standalone or as a VST/AU/AAX plugin.
At the top of its hierarchical structure (Global) are eight Engines. These are effectively eight instances of the whole instrument brought together in a single interface, so you can run, say, a drum kit into one, a bass in the next, a set of vocal samples in another, etc. Each Engine houses 64 pads (up from the 16 of Geist), and each pad comprises up to eight stacked sample layers, which can be split by velocity, triggered using round robins, or selected at random.
Every level of the hierarchy (Global, Pad and Layer) can host up to six of Geist2's built-in effects, and has its own mixer, complete with sends to four Global auxiliary effects returns. Live sampling is another key feature, with direct-to-pad recording of external signals or Geist2's own output, and automatic, non-destructive slicing of loops across the pads.
Sequencing of pads is done using a familiar pattern sequencer that stores up to 24 patterns of 1024 steps each and features automation lanes for Volume, Pan, tuning, timing Shift, effects sends and much more.
Patterns can be arranged into Scenes, and strung together as arrangements manually or in real time, making Geist2 a full-on production environment in its own right - albeit one that still can't host other plugins.
Window repair
The original Geist could be undeniably fiddly at times, due to the awkward disconnect between its inflexible interface and the multi-layered complexity of its architecture.
While the latter hasn't been lessened (nor should it be!) for Geist2, the GUI has been utterly transformed by the transition to vector graphics and Retina/HiDPI compatibility, and the introduction of a muted, more contemporary new look.
Not only is the whole window now freely resizable with no effect on graphical fidelity, but every panel within it can also be stretched vertically and horizontally (to a greater or lesser extent, depending on the individual pane), with pads reshaping to fit, scrollbars appearing as required, and multiple automation lanes now viewable for each pad in the Sequencer.
It's wonderfully liberating and a vast improvement over the previous setup, but we're surprised there's no option to save workspaces for instant recall - big pads for performance, fullscreen sequencer for sequencing, huge mixer for mixing, and so on.
A few specific elements have been sensibly relocated, too. The Engine and Global Mixers are now unified, and the previously oversized pattern keys section has been shrunk and moved to the top of the Pattern panel, for example.
More importantly, the Sampler has been greatly reduced in size and prominence from its previous dedicated panel to a pop-out extension of the pad section, with no loss in functionality.
Indeed, it's actually gained a choice of Assign modes for capturing each take to the next Layer, Pad or both, or sending it to the Slicer, which makes the process of on-the-fly kit creation faster and more fun than ever.
Speaking of the Slicer, while it's not seen much change beyond a UI redesign, it's worth noting that it can, of course, distribute its slices across four times as many pads now, making those enormous sliced kits much easier to play and sequence than before.
By far the most significant addition to the Pattern Sequencer is the same independent pattern lane length adjustment that we dug so much in FXpansion's Tremor drum machine. Simply drag the end point of a lane to the left to set its length, generating all manner of polyrhythms as each lane cycles around its specified number of steps.
That's all the headline new stuff covered, then, and to wrap up in the space remaining: Geist2 also now includes the acclaimed Bloom delay and Maul distortion among other effects additions, making 47 modules; Vintage mode emulates the sound of old-school samplers; and as well as all the original Geist content, you also get a whole new factory library of samples, kits and projects.
The price of power
Sitting somewhere between evolution and revolution, Geist2 makes enough changes to feel like a whole new instrument in certain areas and the same groove production powerhouse that we already knew and loved in others.
The new interface and TransMod system are worth the upgrade price alone, but independent pattern length, more pads, improved effects and Sampler Assign modes join them to make Geist2 a dazzlingly powerful tool for any dance, urban and electronic producer - both in the studio and on stage.
It might not be the most intuitive piece of music software around, but what it lacks in immediacy it makes up for in functionality, creativity and speedy workflow.
Absolutely amazing tool to morph and transform sounds into something completely different. The modulations take everything to the next level!
Since its release, Unfiltered Audio's Sandman has wowed mix engineers, sound designers and DJs alike with its slice-and-dice genius. A delay plugin with a severe narcoleptic bent, Sandman uses its Sleep mode to freeze its delay buffer to create stunning loops and grains that can be re-pitched, down-sampled, played in reverse, dirtied with noise and modulated — transforming and mutating sounds beyond all recognition! Using very short delay times, the shape-shifting Sandman alternately becomes a flanger, stutter generator, wavetable synthesizer or percussion resonator. But Sandman also excels at producing traditional echo and stereo ping-pong effects, providing delay times ranging from slapback to longer than a coffee break.
Never satisfied for long, the mad scientists at Unfiltered Audio have pushed Sandman's versatility up several notches. The new Sandman Pro adds seven new delay modes — each fitted with its own set of adjustable controls — that greatly expand its sonic palette while driving maximum delay times to a staggering 16 minutes. Use Classic Tape mode to lather echoes, loops and grains with virtual tape saturation, wow and flutter. The artifact-free Multi-Tap mode gives you a whopping 16 simultaneous delay lines to bless vocals and guitar solos with mammoth doubling and stadium-size echo effects. Use the ultra-smooth Reverse mode to produce click-free, haunting reverse echoes. Unlike with using other delays, you can modulate Sandman Pro's delay time in Modern Instant mode without producing audible pitch artifacts—great for cleanly transitioning vocal effects from doubling to echo trails at the end of a phrase. Use the dual-mono Pitch Shifter mode to create vocal harmonies, classic shimmer effects, metallic textures and more. Or use Glitch Shifter mode for funky pitch shifting that sounds, um, just plain wrong! Not messed up enough? Modulate the Sleep button in No Echo mode for crazy stutter and glitch effects. Sandman Pro can sound squeaky clean, severely damaged or anything in between.
But there's more. Sandman Pro includes Unfiltered Audio's flagship modulation system, and as of version 1.1, there are now eight different types of modulators, including a special modulation mode for seamless integration with the ROLI Lightpad control surface. Every one of Sandman Pro's controls is automatable using Unfiltered’s freely assignable LFOs. Not getting the patterns you want with sine-based LFOs? No problem – you can also modulate parameters with a full blown step sequencer – another new feature in v1.1.
The range of tones and textures that the Sandman Pro can achieve is truly limitless. Using high feedback levels, the new diffusion network layers reverb with your echoes and multi-tap delays. And with stereo delays, you can offset the left and right delay times and apply cross-channel feedback to create intricate polyrhythmic ping-pong echoes and phase-y Sleep-buffer loops. Reverse the Sleep buffer to transform grains with backward envelopes. Or lock the length of the buffer and adjust its start and end points to change the grain's pitch. Built-in lowpass and highpass filters sculpt your mad creation's timbre, while the new Soft Clip function adds analog-style saturation. M/S mode works with the Width control to blend mid and side channels in left- and right-channel outputs, transforming Sandman Pro into a mid-side encoder. M/S Width control adjusts the wet signal's stereo field from mono to stereo to super-wide stereo.
Brimming with new features, from beautiful to bizarre, Sandman Pro is the indisputable Swiss army knife of the delay world.
FEATURES
•Seven new delay modes: Classic Tape, Modern Instant, Pitch Shifter, Glitch Shifter, Multi-Tap,Reverse and No Echo
•Produces an unparalleled variety of time-based effects, including flanging, phasing, chorus, ping-pong delays, 16-tap delays, automatic double tracking, reverse echoes, reverb, pitch shifting, harmonizing, granular synthesis, percussion resonator, stutter generator, glitch effects and many other effects that defy description
•Delay times range from 5 ms to a whopping 1,000 seconds when used in conjunction with Sample Rate reduction
•Sleep buffer can be reversed, re-pitched, down-sampled, trashed with noise, modulated and shaped with built-in lowpass and highpass filters
•Every control—including the Sleep and Kill (panic) buttons—can be automated
•Unfiltered Audio's flagship modulation system provides eight freely assignable and fully automatable modulators, including the new Step Sequencer and ROLI Lightpad module, with intuitive drag-and-drop patching to each and every one of Sandman Pro's controls
•Left and right channels can have cross-channel feedback and filtering applied and their delay times linked, offset or independently adjusted
•Feedback, X-Feed and Diffusion parameters to create thick delay tails or even reverbs
•M/S mode outputs Mid and Side signals on left and right channels, transforming Sandman Pro into a mid-side encoder
•M/S Width control adjusts the wet signal's stereo field from mono to stereo to super-wide stereo
•Soft Clip function provides analog-style saturation at Sandman Pro's inputs and outputs
•Waveform display shows the effect of your control tweaks in real time
•Newly added features provide seamless integration with the ROLI Lightpad control surface, for an unparalleled level of real-time control.
Very very nice Kontakt instrument for creating patterns via two sequencers. Incredibly useful for the cinematic , ambient genre and has a ton of presets loaded which are very easy to tweak. Enabling one to completely change them into something else very quickly. The sound pallette is excellent including the percussives/drums. Requires the Full version of Kontakt
WHAT IS MARBLE?
MARBLE is a creative music tool - it is an extremely versatile instrument, modern and inspiring. By coming up with two parallel sound slots equipped with an "open" sequencer, real-time sound shaping and loads of acoustic and synthetic sound sources MARBLE tries to find new approaches to music production.
MARBLE covers a wide range of musical components and offers an enormous number of possibilities and options. About 900 presets are surely demonstrating that. You have single sounds, tonal textures, rhythmical figures, drum beats, ambient patterns, moving spheres, percussion loops etc. There are endless ways you can use MARBLE.
Ok, but what is it basically about?
MARBLE is technically a two track 16 step sequencer with the ability to edit every single step in terms of volume, pan, flter, tune, drive, reverse etc. To sum it up, you have eleven parameters to chose! In order to feed these two tracks MARBLE provides 63 different sound sources, some of them are providing up to six times round robin with several dynamic layers (see list below).
Marble is fully chromatic. It is not just a one key trigger machine. You can play the sounds in every key or as chords.
But if that was not enough, MARBLE gives you the opportunity to shape the entire sound in real-time. You have 13 effects at your fingertips which can be manually adjusted in 127 steps. To recall these effect settings just use the Marble - or the Modwheel – which runs through all 127 steps. You can now shape your sound in real- time at your own requirements.
THE MAIN FEATURES
1. THE CORE - THE 'OPEN' SEQUENCER
The base of MARBLE are two parallel sound slots or tracks, each equipped with an 'open' 16 step sequencer. 'Open' means that you can determine and define every possible sound parameter for every single of the 16 steps. In detail it is possible to separately change the values for 12 (!) functions for every step of both sequencers. You can change the velocity, the note length, pan, tuning, the playing-direction, the shape, filter, LFO stutter, reverb, delay and the time shifting in both directions.
MARBLE is fully chromatically playable. It is not just a one key trigger machine. You can play the sounds in every key or as chords, but it is also possible to „lock“ the tuning, which lets you easier play drum beats or rhythmical patterns.
2. CONTENT AND SOURCES
MARBLE is a creative music tool - it is an extremely versatile instrument, modern and inspiring. By coming up with two parallel sound slots equipped with an "open" sequencer, real-time sound shaping and loads of acoustic and synthetic sound sources MARBLE tries to find new approaches to music production.
MARBLE covers a wide range of musical components and offers an enormous number of possibilities and options. About 900 presets are surely demonstrating that. You have single sounds, tonal textures, rhythmical figures, drum beats, ambient patterns, moving spheres, percussion loops etc. There are endless ways you can use MARBLE.
Ok, but what is it basically about?
MARBLE is technically a two track 16 step sequencer with the ability to edit every single step in terms of volume, pan, flter, tune, drive, reverse etc. To sum it up, you have eleven parameters to chose! In order to feed these two tracks MARBLE provides 63 different sound sources, some of them are providing up to six times round robin with several dynamic layers (see list below).
Marble is fully chromatic. It is not just a one key trigger machine. You can play the sounds in every key or as chords.
But if that was not enough, MARBLE gives you the opportunity to shape the entire sound in real-time. You have 13 effects at your fingertips which can be manually adjusted in 127 steps. To recall these effect settings just use the Marble - or the Modwheel – which runs through all 127 steps. You can now shape your sound in real- time at your own requirements.
In order to check Marble before purchasing...
THE MAIN FEATURES
1. THE CORE - THE 'OPEN' SEQUENCER
The base of MARBLE are two parallel sound slots or tracks, each equipped with an 'open' 16 step sequencer. 'Open' means that you can determine and define every possible sound parameter for every single of the 16 steps. In detail it is possible to separately change the values for 12 (!) functions for every step of both sequencers. You can change the velocity, the note length, pan, tuning, the playing-direction, the shape, filter, LFO stutter, reverb, delay and the time shifting in both directions.
MARBLE is fully chromatically playable. It is not just a one key trigger machine. You can play the sounds in every key or as chords, but it is also possible to „lock“ the tuning, which lets you easier play drum beats or rhythmical patterns.
2. CONTENT AND SOURCES
In order to feed the 2 sound slots MARBLE provides a lot of exciting and organic sound sources. Beside some highlights of our current Cinematique Instruments library we have specially recorded plenty of new sounds and instruments such as a complex Gretsch jazz drum kit, a bass, a marimba, the pizzicato notes of a cello trio, a flute - thanks to powerflute.ch, several modern and classical synths, a gran cassa, miscellaneous tiny skin percussions, shaker, lots of fx and glitch sounds and much more. (below you fnd the entire list). Most of the sounds are existing in several round robin variations - up to 6 - and several dynamic layers - up to 8. Each sound covers a key range of minimum four octaves from C1 to C5. There are over 2,500 single sample sounds.
3. A NEW PATH - REAL-TIME SOUND SHAPING
MARBLE provides a new and absolute unique feature: Real-time Sound Shaping. After having created a sound in the sequencer area with all the extensive possibilities - see under 1 -, the entire sound of MARBLE finally passes a complex effect matrix. This effect matrix includes various effect such as low- and highpassfilter, distortion, compression, frequency rate, random generator and much more. By means of slightest changes of these effects MARBLE achieves amazing results and gives an exciting vitality and complexity to all the sounds or patterns. And guess what? This works in real- time.
4. FREEZE IT.
Imagine you like to play the guitar or piano while MARBLE is running, just enable „Freeze“ and MARBLE will play without holding a key in an endless mode. This is an excellent feature for those who are going to use MARBLE in a live situation or as the starting point for a new music composition in order to add further instruments.
SOUND LIST:
Tonal sounds/ natural and organic: E-Bass (Single Notes) - Telecaster Single Notes - E Guitar Harmonics - Cello Trio Pizzicato - Flute Staccato (coming from powerflute.ch) - Marimba (recorded in a concert hall) - Vibraphone/ Metallophone - Kalimba - Alto Glockenspiel - Glas Bowl - E-Piano (coming from K101)
Synth: Pure Sinus - Pure Saw - 80s Typical - Classical - Korg MS20 Elektro Bass - Modern Bass - 808Tom - Analog Vibraphone - Analog Flute Synth - Insomnia - Magnolia
Percussive: Set of Glitch Sounds - Processed Bass Drum - Set of Bass Drums - Bongos - Grancassa - Set of Handclaps - Tiny Skin Handdrum - Tom Toms - Shaker - Dead Guitar Strokes - Muted Metal Plates - Metal Salad Bowl - Sea Container - Spokes - FX Set
Excellent sounding synth similar to Diversion but much lighter on CPU power. Excells at sequential and glitched out sequences but Thorn is excellent sounding across the board. A tad heavy on the reverb and delay effects on many of the presets, and take note ( you will have to increase it ) of only four voice polyphony when trying to play chords!!
Dmitry Sches Audio Software has released Thorn, a spectral synthesizer instrument that was designed to be easy to use and deliver awesome sound.Thorn is straightforward, while providing advanced sonic control at the same time. It features an intuitive workflow and high quality processing modules.
Being light on the CPU, Thorn is ready to be put at the heart of your mix, in any genre of modern electronic music production.
Thorn offers 3 oscillators that utilize spectral synthesis method. This gives you control over all harmonics involved into the generation process of your sound. The oscillator provides sets of spectral and real-time effects to shape harmonics further. Of course FM, RM, PWM, Hard Sync implemented too.
Sound sources organized as spectrum tables of 16 frames with ability to edit and morph harmonics. The spectral synthesis gives ability to “post-process” all the generated harmonics with a special filter to colorize the output.
Two multi-mode, analog modeled filters with sensitive saturation stages available to charge your sounds and make it shine through the mix. There are 9 high quality effects, 3x ADSR envelopes, 3x LFOs, 2x multistage envelopes at your service in Thorn. 16-step flexible arpeggiator with MIDI output to generate rhythmic sequences available as well.
Additionally, Thorn provides a grid-based Glitch sequencer for maximum fun. Chop your sounds with the sequencer to get modern glitchy, stuttering effects.Features
Thorn offers 3 oscillators that utilize spectral synthesis method. This gives you control over all harmonics involved into the generation process of your sound. The oscillator provides sets of spectral and real-time effects to shape harmonics further. Of course FM, RM, PWM, Hard Sync implemented too.
Sound sources organized as spectrum tables of 16 frames with ability to edit and morph harmonics. The spectral synthesis gives ability to "post-process" all the generated harmonics with a special filter to colorize the output.
Two multi-mode, analog modeled filters with sensitive saturation stages available to charge your sounds and make it shine through the mix. There are 9 high quality effects, 3x ADSR envelopes, 3x LFOs, 2x multistage envelopes at your service in Thorn. 16-step flexible arpeggiator with MIDI output to generate rhythmic sequences available as well.
Additionally, Thorn provides a grid-based Glitch sequencer for maximum fun. Chop your sounds with the sequencer to get modern glitchy, stuttering effects.
