EOM

Sonicbytes.ERA.VST











ERA is a professional multipurpose Midi-Stepsequencer/Arpeggiator-Plugin. It controls up to 12 instruments or effects in a very dynamic way. All in realtime and controllable via Midi. Its unique pattern-variation approach, supporting different views on one pattern, provides an outstanding musical inspiration and expression. ERA let you pattern-control certain tracks in your host-project or can be the driving force for a live-performance. Futhermore ERA can be seen as a composing tool. You can compose in realtime, combining all features and afterwards use the created phrases in your sequencer. ERA is the ideal addition for modular environments. A traditional sequencer will act more lively with ERA onboard."






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Steinberg The Grand 2











The Grand 2 - The Ideal Concert Grand Piano

The Grand affords you an experience you’ll not soon forget - the jaw-dropping sound and inimitable feel of a high-quality concert grand piano. This VST instrument’s breathtaking authenticity and extraordinary dynamic response make it a must-have for every pianist. Make no mistake - it is the only alternative to a bona fide concert grand.
Two top-flight concert grand pianos in one virtual instrument
Utterly authentic piano sound that comes courtesy of two of the world’s finest, most expensive and rarest concert grands
Full-length sustain samples, no loops, with every key sampled individually at varying velocities
Unrivalled dynamic response
Amazingly authentic sustain pedal resonance, damper and hammer emulations
Velocity adapts individually to suit your touch, style of play and keyboard’s response
Powerful options for tweaking tone and variable room simulations

NewFeatures

Based on The Grand, the venerable virtual repilication of real grand hailed far and wide, The Grand 2 is a step up the evolutionary ladder. For the new version of the virtual concert grand, Steinberg revamped the Playback Engine and optimized a score of the grand piano emulation’s decisive details to achieve an even more authentic sonic image and satisfyingly realistic feel. The Grand 2 now offers a second top-drawer concert grand, Surround support, and a host of functions for optimizing the processor load. All new features at a glance.





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USB ULTRA FOCUS

















Ultimate Sound Bank is demonstrating Ultra Focus at the Frankfurt MusikMesse. Although the company has previously showed an early version of the instrument, this is the first opportunity to see and hear the new, feature complete version.

Ultra Focus is a synthesizer anthology instrument, featuring an 8 Gigabytes sample library and a virtual synth making full use of the latest version of the UVI-Engine. At the end of the chain is a multi-effect module so you can tailor your sound.

The UVI-Engine is at the heart of Ultra focus. With this new instrument, Ultimate Sound Bank is introducing a new version of the UVI-Engine with several
Exciting new features:

* Improved preset management: reorganize the presets directly on your hard drive
* Improved preset selection: enter the preset number for a quick and direct access
* Next/previous program selection arrows
* All 4 LFOs sync to your sequencer's tempo
* Every LFO features a waveform selection menu (7 waveforms included)
* Comprehensive multimode filter with a new overdrive section
* The overdrive is included in the augmented list of modulation destinations
* "Timbre" slider: new sounds instantly
* New Effects section that can be synched to the sequencer's tempo

More facts about Ultra Focus:

* Over 2 000 included presets
* New presets offered every month on the company's website, free to all registered users
* 8 gigabytes of synth sounds
* Powerful dual layer architecture
* Full MIDI implementation
* Multi-effect section with 29 algorithms

Types of synthesis sounds included:

* Classic analog
* FM & formant synthesis
* Wavetables
* Vector synthesis
* Additive Sounds
* PCM synths
* Analog Modeling
* Stack /Hybrid / Chords
* Bonus Machines
* Pure Analog waveforms





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VB3 The Ultimate Virtual Tonewheel Organ v1.1











Basic Concepts
VB3 is a virtual tonewheel organ which simulates an american electromagnetic organ of the old days, but it's also capable of other simulations like the italian transistor organs of the seventies or the red-tolex organs played by famous pop bands of the sixties.

Main features:
Full polyphony (183 notes)
Virtual 91 modeled tonewheels generator with accurate phase synchronization
Adjustable leakage noise and cross modulation between tonewheels
Three sets of waveforms: Set H (American Electromagnetic), Set F (Italian Transistor), Set V (Red Tolex Transistor)
Motor wow & flutter
Busbars and 9 key contacts simulation
17 steps drawbars
Two separate sets of drawbars per manual
String Bass with adjustable release time
Dynamic pickup coil impedance loss
Adjustable generator filters scaling
Single triggered percussion with natural capacitor discharge/recharge
Vibrato/Chorus virtual scanner
Dynamic tube preamplifier simulation
Tube overdrive simulation
Spring reverb
Smooth action volume pedal
Stereo wooden rotary speaker simulation with artificial environment and microphones positioning
Rotors brake position
Adjustable background hum and noise
Very low CPU consumption
Midi controllable, supports VST automation
How it works
Yes, it's not a typo. The first feature in the list says it's 183 notes polyphonic. The original organ, mostly one of the most famous models, had two 61 keyboards (also known as "manuals") and a 25 notes pedalboard, for a total polyphony of 147 notes. Digitally speaking, it doesn't make sense to use a separate routine for scanning the pedalboard, so VB3 uses the same routine for the keyboards and treats the pedalboard as having 61 keys. 61 multiplied 3 = 183 notes. Of course, the more notes you play at once, the more CPU power is required. But, for a normal playing situation you won't use more than 12-15 notes simultaneously, and if you lay your both arms on the keyboards and both your feet on the pedals you won't reach more than 100 notes, and your computer still may have more than 50% of free CPU power, depending on the system specs it has. So, how does it work? It's very simple. Just have a look at this scheme:










There is a "virtual tonewheel generator" which constantly plays 91 waveforms. When you depress a key, a connection matrix decides which "tonewheels" have to be played according to the note played and the drawbars setting. If more than one note requires the same tonewheel to be played, this is amplified twice but no other "oscillators" are required other than the 91 already available. Actually, only 79 tonewheels are used for the two manuals, while the first 12 are only used for the first octave of the pedalboard.
Also, you should know that VB3 doesn't use any samples. All the sound it produces is 100% calculated in real-time. The waveforms are modeled after an accurate examination of actual electromagnetic organ's output signals, and digitally reproduced with the help of mathematical formulas and computations.

Nine key contacts simulation
The original american electromagnetic organ has, underneath each single key, 9 mechanical contacts, one for each drawbar. When a key is depressed these contacts are closed sequentially in a very short time interval, near contemporarily. In most cases you won't notice any particular effect due to this kind of mechanics, but some great organists take advantage of this feature in order to create some soft nuances during their playing. Unfortunately there's no way to let the computer know exactly how deep a key has been depressed, since the only message that a MIDI keyboard can send is that of note ON or OFF (leaving apart velocity and aftertouch features which, in this example, are unused). Thus, the simulation happens almost randomly.

How to activate the "9 key contacts" feature: Open the Option Panel; here you can find a knob labeled "KC Delay". When this knob is at zero, the 9KC simulation is turned off, all partials start playing together and only a simple keyclick is generated.
Turn this knob clockwise to enable the 9KC simulation and to set the maximum time between the first and the last contact to be closed. The range is from 2 to 20 milliseconds. The effective time is calculated according to the MIDI velocity: the harder you hit a note, the shorter is the time required to close all 9 contacts. For softer keystrokes you'll have slower times beween contacts.
When this feature is turned ON, the CPU consumption may increase a bit, but this has been greatly improved in version 1.1.
Two sets of drawbars per each manual
What do you usually do with other tonewheel clone organs when you want to switch from a drawbar setting to another, and back again, and again, and again during a song? You can either change presets and hope the organ is fast enough to not play any "hole", or you have to be fast to use the drawbars / faders / knobs... if you have any. With VB3 1.1 you have now two separate sets of drawbars per each manual, two for the upper manual and two for the lower manual. The interface will show only one set at a time, but with an A / B switch (in the red circle in the Figure on the right). You can now switch from a set to the another simply by clicking on that switch (you must be a fast mouse addict!) or better you can use MIDI CC# 49 (for the upper manual) and CC# 59 (for the lower manual) using values 0=Set A, 127=Set B.
But if you have an extra octave below the 61 playing keys, you can also use the A# and B keys for switching respectively to Set A and B, just like in the real thing.
Please Note: for the upper manual you have access to the percussion feature only if Set B is selected.
Virtual Acoustics
VB3 also provides an accurate simulation of the famous Rotary Speaker vastly used to amplify those amazing organs, but it not only simulates the speaker itself. As you surely know, all the sounds we hear in nature are the result of the actual sound source (a car's motor, a human's voice, a bird, etc.) and the natural reflections which happen in the surrounding environment, that is what we also know as "reverberation". VB3 recreates the environment where an imaginary Rotary Speaker is in, and is recorded with three microphones, two in front of the treble horn and one in front of the bass rotor, at a distance from the cabinet of about one feet each.

In version 1.1 this simulation has been greatly improved. When you record a real Rotary Speaker, when you hear it live on a stage or when you sit in front of it, you will hear a fantastic stereo effect which surrounds your head, but basically the sound source remains mono. Many other simulations give you a sort of "auto-pan" effect which, although useful in some circumstances, is somehow far from the truth. VB3, on the other hand, tries to give you a realistic experience based on a well known "physical modeling" technique, artificially recreating the moments that generate a sound rather than the sound itself. The rotors physics also have been vastly improved: you will notice that the bass rotor will require more time when passing from slow to fast than viceversa, and it will require much time when passing from fast to stop position, because there's no more traction from the belt. Also the upper rotor has different behaviours according to... the moments.
With the few controls you have on the interface, you can vary the sonic result of this virtual recording of a Rotary Speaker: use the Distance knob to set the virtual microphones near or far from the cabinet: when you are very far, the sound becomes almost monoaural, and the resonances of the wooden cabinet are prevalent on the dry speaker outputs. Use the Balance knob to balance between the bass rotor and the treble horn. Use the Spread knob to set the position of the two upper microphones relative to the cabinet louvers.

The sweet contour: the "Vibrato Scanner"
Version 1.1 of VB3 brings you a new Vibrato / Scanner simulation, 100% faithful to the original. In the electromechanical organ, the vibrato is accomplished using a series of LC filters which form an analogue delay line. This line is divided into a number of "taps", and each tap is connected to a terminal of a circular variable capacitor which, in turn, carries the sound from the organ's generator to the preamplifier through a moving pickup. This fast movement causes a variation in pitch that generates the well known Vibrato effect. If this effect is coupled with the non-effected audio signal, you have a Chorus effect. In VB3 each single element of this electronic circuit is perfectly reproduced with the use of digital synthesis, with the aim to bring you the warm and alive sound of an electromechanical vintage organ.
The warm element: the "Tube Overdrive"
VB3 1.1 uses an all new approach to tube overdrive simulation. This new simulation is mainly based on the dynamic response of tube amplification electronics. If the nominal dynamic range is exceeded, the sound gets "saturated" and the result is a very musical and pleasant distorted sound. On the interface you only have two knobs and a switch: use the switch to turn on and off the distortion; the Drive knob lets you adjust the distortion amount along an exponential scale; the Edge knob lets you choose the harshness of the distortion: if you just want a sweet saturation, mostly on the low-end, keep this knob low, but if you need a very distorted sound for your hard rock songs, you may want to increase this parameter. Move it at little steps and hear the result for yourself.

And what about the spring reverb? VB3 1.1 brings you the warmth of the famous "Type 4" american spring reverb of the sixties, driven by a tube preamplifier. The right tone for a great organ sound.

Panel Controls
VB3 reflects the same controls you will find on one of the most famous models of the american tonewheel organ, with the same look, in the same positions and with almost the same lables, so if you're familiar with the real thing you won't find yourself confused when looking at VB3's interface. Other controls are there for further sound customization.
Here are just a few guidelines for a better and quicker use of the software.
Like the real thing, turning on the percussion mutes the 1' upper drawbar.
Like the real thing again, setting the percussion to "Normal" the volume of the drawbars is decreased.
The "RUN" switch in the Rotary Speaker Section stops both rotors. Please see the section Warnings for details.
To open the option panel, click the little lock on the right (see picture).

The Option Panel
Here you can set different options:
Choose the MIDI channels for UPPER, LOWER and PEDALBOARD;
Choose the MIDI CC# for controlling the Rotary Speaker speed switch;
Choose the MIDI CC# for controlling the expression pedal;
Choose wether to invert the response to the MIDI CC for the drawbars;
Set the Leakage noise level: None, Low, Mid, High;
Set the ToneWheels set:
Set H: American Electromagnetic
Set F: Italian Transistor
Set V: Red Tolex Transistor
Set the ToneWheel volume scaling:
Flat: default setting, based on actual organ measurement
Descending: higher notes are softer
Mid Cut: notes in the middle range play quieter
Mid Boost: notes in the middle range play louder
Ascending: higher notes are louder
Set the KeyClick type: dark or bright;
Set wether to use or not the Tube preamplifier simulation;
Set the volume of the background hum noise: Off, Low, Mid, High;
Enable/Disable the "nine keycontacts" simulation and set the max time delay between contacts.
Set the release time for the String Bass feature.
Note: options 1 to 4 are not saved with the patches.

About the "String Bass":

When this knob is set at zero, the bass pedalboard works like in a traditional console organ, polyphonic with immediate attack and release times. Otherwise, it works like in those small spinet organs or those huge theatre organs where the pedalboard is monophonic and mimics the sound of an upright bass, with a long release time. With the knob "StringBass" you can choose your favourite decay time, from 0,1 to 2 seconds.





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Waves SSL 4000 Collection























Waves announces a new collection of plug-ins that model the character of the SL 4000 factory consoles? Oh yeah . . . and on their web site it states they spent over a year comparing the sonic character of their plug-ins with the hardware version because it was cleared under the license they received from Solid Stage Logic. Waves claims the plug-ins sound virtually identical to their hardware counterparts. Well, we’ll be the judges of that.

The Waves SSL 4000 Collection includes three-modeled plug-ins: the SSL E-Channel, the SSL G-Master Buss Compressor, and the SSL G-Equalizer. Included with the software is a PDF manual that explains each of the plug-ins in a clear and well-written format. Also included is an article from the legendary engineer Bob Katz on mastering. This gives the impression that not only could these plug-ins be used during mixing, but also during the mastering stage. I found Bob’s article very helpful for some basic concepts about mastering. However, if you plan to use the plug-ins for mastering, I recommend reading Bob’s book on the subject (Master Audio: The Art and the Science) for a more in depth explanation on EQ and compression.

Graphically, all three plug-ins are very pleasing to look at, and are of a good size. Each knob has numerical indicators on them to match the look of a SSL mixer. However, when you put a mouse over a knob a small box appears below and gives you a digital number when you increase or decrease the value. You can move from 1.2, 1.3, and 1.4 with a mouse pretty easily. Installing them on my PC in conjunction with Cubase SX 3 was pretty easy. However you have to have an ilock for Waves software now. Many have complained about this, but other companies such as Steinberg are also taking that route to reduce piracy. I needed a little direction to get things going, but Waves tech support is first rate, and I was running the software within minutes.

Like all Waves plug-ins, there is the Waves System Bar. These commands include Undo, Redo, Setup A/B, Copy A/B, and save. By pressing the ? button, it will open the manual for the plug-in you are using. In using it in Nuendo/Cubase as a VST, it also includes the read and write buttons for automation, as well as the bypass button.

SSL G-Master Buss Compressor

Waves confirmed that this compressor is different than the one on the E-Channel strip. The compressor on the channel strip is intended for the mixing stage with different instruments and voices. The G-Master Buss is more for mastering or could be used nicely on a group channel. The plug-in has the following specs:

Threshold sets the operating level for the knee of the compressor. Threshold is continuously adjustable from –15dB to +15dB.

Make Up Gain compensates for a change of signal level due to compressor activity. Continuously variable from –5dB to +15dB.

Attack controls the quickness of the compressor to respond to changes. Six switchable attack rates: 0.1, 0.3, 1, 3, 10, and 30ms.

Release time of the master compressor is switchable between 0.1, 0.3, 0.6, and 1.2 seconds or to automatic.

Ratio sets the ratio of signal level to signal gain, i.e., the compression ratio. Ratio can be switched between 2:1, 4:1, and 10:1.

Rate-S sets the autofade duration, from 1 to 60 seconds.

Analog. By default, all components of the SSL 4000 Collection operate in analog modeling mode. De-selecting Analog disables analog emulation.

In serves as a bypass button. When In is selected, the compressor is active.

I ran many different styles of mixes through the compressor, and found it could handle many types of music. The SSL G-Master Buss Compressor can make mixes louder without adding unpleasant artifacts to the music. By clicking the load button, there is a preset for mastering that put the ratio on 4, which is kind of high at the mastering stage. For most mastering situations, many would prefer to use the ratio setting at 2. Using this compressor is pretty straight forward, and getting good results was easy. I found the auto release did a good job on all the mixes I ran though it. This compressor was very effective in blending the music together, while taking the edge off the transients. You can control more or less compression while still maintaining a good sound with its soft knee slope. The ratio setting at 2 is gentle on your mixes while still helping to gel the music. With the ratio set to 4, it affects the mix more, but as long as your threshold is set properly you can get good results. I would use the 10 ratio for limiting, or if for some reason you wanted to squash the dynamics of a song as an effect. Though the ratio settings are limited to only three settings, one of them would be able to meet the needs of most mixes.

I found myself preferring the analog button on every mix. It seemed to add a very gentle color that was more pleasant to the ear. With it off, the mixes sounded a little on the sterile side. The analog button is included with all three plug-ins reviewed here. They add harmonic distortions, which gives a little more of an analog sound that many love. These are also included by default, with the real SSL as well.

Lastly, there is a Fade button that allows you to fade in or fade out on a song. Above the button is a Rate-S control, which affects how slow or fast you want the fade to act. I was very impressed with how this control worked and I would not hesitate to use it even with automation controls on a DAW. Though you get more control by a manual fade, this Fade control can do it much more smoothly than a jerking hand on a fader.

G-EQ

High-Pass Filter (white knobs): 18dB/octave, 16Hz–350Hz. Filter on/off switch.

Low-Frequency EQ (black knobs): Shelving. Range 30Hz–450Hz. Gain range ±17dB.

Low-Medium Frequency EQ (blue knobs): Range 200Hz–2.5kHz. Q is continuously adjustable from 0.1 to 3.5. Gain varies from ±20dB when Q is set to 3.5 to ±15dB when Q is set to 0.1. The ÷3 button divides the selected frequency by three.

High-Medium Frequency EQ (green knobs): Range 600Hz–7kHz. As in the LMF EQ section, Q is continuously adjustable from 0.1 to 3.5. Gain varies from ±20dB when Q is set to 3.5 to ±15dB when Q is set to 0.1. The x3 button allows you to multiply the selected frequency by three. The ÷3 button divides the selected frequency by three (e.g., if you have selected a center frequency of 300Hz, pressing the ÷3 button will result in a frequency of 100Hz.)

High-Pass Filter (white knobs): 18dB/octave, 16Hz–350Hz. Filter on/off switch.

Low-Frequency EQ (black knobs): Shelving. Range 30Hz–450Hz. Gain range ±17dB.

Low-Medium Frequency EQ (blue knobs): Range 200Hz–2.5kHz. Q is continuously adjustable from 0.1 to 3.5. Gain varies from ±20dB when Q is set to 3.5 to ±15dB when Q is set to 0.1. The ÷3 button divides the selected frequency by three.

High-Medium Frequency EQ (green knobs): Range 600Hz–7kHz. As in the LMF EQ section, Q is continuously adjustable from 0.1 to 3.5. Gain varies from ±20dB when Q is set to 3.5 to ±15dB when Q is set to 0.1. The x3 button allows you to multiply the selected frequency by three.

High-Frequency EQ (purple knobs): Range 1.5kHz–16kHz. Gain range ±17dB, shelving.

EQ In bypasses the EQ section but leaves the filter in if engaged.

Phase Reverse reverses the phase of the input signal.

Master Output fader controls overall output of the processor.

Trim button (12.0) indicates how much headroom remains before digital clipping

This is the same sounding EQ in the E channel strip however there are some differences. The SSL G-Equalizer lets you create a more extreme EQ than the E-Channel EQ. However, the E-Channel EQ allows for a narrower Q over the SSL G-Equalizer. Waves advised that the G-EQ offers marginally greater gain change than the E-Series EQ, and each EQ offers a slightly different equalization curve. It was recommended to experiment with each equalizer to discover which best suits your specific needs.

I found the G-EQ has a gentle character to it, and only 1–3db is needed to correct or get the sound you’re looking for. If you boost it too much, you will get unpleasant results. The character of the EQ is somewhere between the Waves Linear EQ and the more colorful Renaissance EQ, I found The G-EQ to be very useable on every application I tried it on.

SSL E-Channel

This channel strip is spread out and every control easy to see compared to the Waves Renaissance Channel. My suggestion to Waves is to make the Renaissance Channel screen larger like they did with this plug-in. The specifications on the E-Channel strip are the following;

Equalization

Low-Pass Filter: 18dB/octave slope, adjustable from 20kHz to 3kHz.

High-Pass Filter: 18dB/octave slope, adjustable from15Hz to 350Hz.

High (HF): Choose from shelf (16.5dB/octave boost or cut) or bell shape (18dB/octave boost or cut with a fixed Q of 2.5). Range is from 1.5kHz to 16kHz.

High-Mid (HMF): Range is from 600Hz–7kHz, with an adjustable Q from 0.1 to 3.5. Gain varies from ±15dB when Q is set to 0.1 to ±18dB when Q is set to 3.5.

Low-Mid (LMF): Range is from 200Hz–2.5kHz, with an adjustable Q from 0.1 to 3.5. Gain varies from ±15dB when Q is set to 0.5 to ±18dB when Q is set to 3.0.

Low (LF): Choose from shelf (16.5dB/octave boost or cut) or bell shape (18dB/octave boost or cut with a fixed Q of 2.5). Range is from 30Hz to 400Hz.

Compressor/Limiter

Ratio/Slope: Variable from 1 to infinity (limiting).

Threshold: Variable from +10dB to –20dB.

Attack: Normally auto-sensing (slow), switchable to 1ms (fast).

Release: Variable from 0.1 to 4 seconds.

Expander/Gate

Range: Variable from 0 to 40dB.

Threshold: Variable from –30dB to +10dB

Attack: Normally auto-sensing (slow), switchable to 1ms (fast).

Release: Variable from 0.1 to 4 seconds.

Gate: Toggles from Expander function (default) to Gate function.

Waves advised the dynamics section consists of a soft-knee compressor/limiter with an expander/gate. There is automatic gain make-up, which is calculated based on the Ratio and Threshold settings. This assists in having a steady output level. The attack time is program sensitive, and response to the signal that is being fed into it as well. The threshold allows the signal to decay below its opening level. The dynamics can be switched from pre EQ (default) to post EQ by clicking on the CH Out button.

The EQ is a four-band system that allows the Q to be changed in the high-mid and low-mid section. There’s also a high-pass filter (18dB octave) and low-pass filter (12dB octave). The equalizer can be switched into the dynamics side chain by selecting the DYN S-C button. What was said about the G-EQ in regards to sound and workflow is very similar with the E-EQ. Once again, I found this to be a very useable EQ.

In running a bass guitar through, it was easy to get good results quickly. The compressor was able to soften the transients while still maintaining the fullness of the original bass sound. In reducing the ratio and increasing the output, I was able to get a similar sound my UAD 1176. I found the UAD to be a little punchier in comparison, but both did a good job. There was a little amp noise that became more dominant as I increased the gain control. However, the EQ was very effective in eliminating it without affecting the sound of the bass with a narrow band setting. You are able to alter the high and low bands from a bell to shelf slope.

On a main vocal, I found the compressor did a good job in evening it out. Not as smooth sounding as the UAD LA2, but in different situations the SSL compressor could be a better choice. The EQ worked great with reducing the mids and gently adding a little more in the high freqs. The little color added was pleasant. Once again, I prefer to leave the analog button turned on. I was also able to use the gate in removing background noises very effectively and smoothly. I was advised that the plug-in does not have a look ahead capability but has a very fast RMS detector, which handled many situations from putting it with a reverb for snare drum, to getting rid of unwanted background noises. On acoustic guitar, I was able to shape the sound very effectively with the EQ and give it a little more punch in the mix with this channel strip.

I did have some questions that the manual was not able to answer, and Mike Fraid, who is the Product Manager of the Waves SSL 4000 Collection, helped clarify my inquiries.

What type of technology was used to get the sounds of the SSL?

Mike Fraid: I cannot reveal this. What I can tell you is that, in order to get the best sound match on the model, we spent months measuring any possible behavior of the analog hardware, and then slowly modeled every piece of the puzzle until the “picture” was just right. It took us a year of very intensive work, but I think it was worth it.

I think what makes these plug-ins sound so great is the fact that we didn’t compromise on anything sound-wise. We improved the sound and insisted on holding back the release of the product until we approved the sound quality. It had to be practically the same as the hardware unit. We even got a cancellation of 30dB between the real hardware and the plug-in. This is something that I think you can’t get from two hardware units. When we sent it over to SSL for evaluation they were amazed by the resemblance to the hardware units.

Is this a modeling or convolution type of process?

MF: This is a straightforward modeling type of processor. No convolution is involved in this modeling.

Is there anything that you added or that is different from the real SSL equipment besides the Waves systems bar?

MF: The only things we added were some conventional features to Waves plug-in, like a precise digital metering. You can’t have that in the analog domain. We also added the trimming option on the SSL G-EQ. Additionally, we added the option to turn off the “analog” behavior — something you can’t do on the analog unit.

OK, now what kind of slope is used for the fader out?

MF: The slope is kind of an s-shape slope, but it is very unique in design. Toward the end of the fade, there will be a slight sustain before fading out completely. It took us about a month to model the exact curve of the Buss compressor fade.

I was able to borrow an SSL XLogic Super analog Channel strip for a comparison to the Waves SSL plug-ins. Though the analog piece of gear went through an Apogee converter at 88, which the plug-in did not, I found the character of the EQ and compressor to be very close to the hardware version. Technology on modeling hardware is definitely getting much better compared to just a couple of years ago. In regards to CPU usage, thankfully Waves was able to keep the CPU usage down. I found these plug-ins used about the same amount of processing as my Waves Renaissance plug-ins, which is quite reasonable.

A ballpark price for the Native plug-ins is around $800 and TDM $1,600. I found myself pretty impressed with the sound of these plug-ins regardless of them having the “SSL” name on them. However, knowing that you have plug-ins that give you a very close sound to the high end SSL EQ and compressors does make one feel good since most of us cannot afford an SSL mixer. If you are looking for some good plug-ins that offer a channel strip, nice EQ, and a mastering compressor, the Waves 4000 SSL collection fits the bill nicely.





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Worms World Party Speach Set










Worms World Party Speach Set.
More Then 3000 Wavs in 1 File



Africaan
American
Angry Scots
Australian
Brooklyn
Brummie
Cad
Cyberworms
Danish-2
Danish-Pyrus
Double-Oh-Seven
Drill Sergeant
Dutch
Dutch-2
English
Finnish
Formula One
French
French-2
Geezer
German
Goofed
Greek
Hispanic
Hungarian
Irish
Italian
Italian-2
Jock
Kamikaze
Kidz
Norwegian
Polish
Portuguese
Rasta
Redneck
Rushki
Russian
Scouser
Smooth Babe
Soul Man
Spanish
Spanish-2
Stiff Upper Lip
Stooges
Swedish
Swedish-2
Team17 Test
The Raj
Thespian
Tykes
US Sports
Wacky
Whoopsie
Wideboy





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KeyToSound - The Production Pack v1.0 r4















KeyToSound - The Production Pack v1.0 r4


The Production Pack is a collection of four studio quality audio mastering plug-ins


"In the various studios I work I've used most of the high end plugins including McDSP and Waves,in both RTAS and VST versions. When I first heard about KeyToSound's Production Pack, I thought it was another generic Compressor and EQ. What a surprise to me when I put Vintage EQ on Tim Hockenberry's
vocals for the final song on his debut album (on About/AG/Universal Records). Wow! The Essential
Compressor can compete easily with a vintage LA-2A or any of other software plugins. I'd put this compressor in a cl by itself, it's analog and precise and sounds like a tube circuit. Very useful for vocals, guitars, drums...just about anything. There is no other compressor like it on the market. The
Production Pack is a great set of tools for any engineer. Great stuff!"
quoted by :
Gabriel Shepard, Audio Engineer,RIAA Gold and Platinum awards,
(Cake, Chuck Prophet, Sun Kil Moon,Howard Tate)



KeyToSound Essential Compressor VST v1.0 r4





KeyToSound Dynamic EQ VST v1.0 r4





KeyToSound Vintage EQ VST v1.0 r4





KeyToSound Precision EQ VST v1.0 r4








MORE INFO @
KeyToSound - Software synthesizers, Nexsyn, Netnotes, Free soft-synths, audio technology, VST, RTAS, AU, Apple, Mac, Windows Vista and XP







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D16 Nepheton VSTi.v1.0.5











D16 Nepheton VSTi.v1.0.5 Incl Keygen-AiR

Nepheton contains 17 fully synthesized instruments
perfectly emulating the famous 808 drum machine. All
the nuances and details of the instruments sounds are
captured perfectly. The instruments models are
equipped with additional controls giving you
possibility to tweak the sound much better. Listen to
the audio examples or just download the demo and try
it out.

Nepheton has a flexible output configuration. Every
instruments audio signal can be routed to any of the
17 outputs. This allows users to further shape sounds
individually or in groups via their favourite plug
-ins. Each individual output can be set to mono or
stereo. For the greatest 808 fans weve added also
original Trigger output (configurable as well). Every
instrument also has a Mute, Solo button and Activity
led. Mute will not just silence the sound, it will
stop the sound being triggered. Solo will stop all
other instruments from being triggered and only allow
the selected sound(s) to play.

Changes in v1.05

improved Cymbal, Open Hihat and Closed Hihat
synthesis (less overtone)

fixed hosts crashes during closing editors window
(Cubase, Ableton Live)






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Sonic Reality R.A.W. Universal Groove Kit


















If you need grooves, you need the R.A.W. Universal Groove Kit! R.A.W. Universal Groove Kit has over 5,000 loops - each in Rex, Apple Loop and Acidized Wave format for the ultimate compatibility with every DAW and sampler on the market. In one top-quality 24-bit loop collection available on 4 DVDs, R.A.W comes with a massive variety of loops to make music in almost any style of music from Urban and Electronic to Rock, Jazz, Country, Soul and more. Featuring both unprocessed acoustic drum grooves as well as produced studio beats, electronic rhythms, bass lines, rhythm guitar, keyboards, horns and more, this collection is the ideal writing and production tool for any musician and a great addition to popular products like Reason, Live, FL Studio, Stylus RMX (it has even been designed specifically to drag and drop into Stylus RMX), GarageBand, Acid, Kontakt and many more. It's a universal loop sound workstation that works with everything and at a price that any musician can afford.
You also get an incredible variety of remix elements to layer together and produce millions of possible groove combinations containing hi-hat patterns, separate kick and snare beats, exotic percussion and instrument loops, all for practically unlimited groove and music construction kit possibilities. If that wasn't enough, R.A.W Universal Groove Kit also comes with special bonus content and unique loop utilities designed to make working with grooves on the Mac or PC more flexible and powerful than ever before.

Sonic Reality R.A.W. Universal Groove Kit Features:

Over 5,000 loops
Rex, Apple Loops, and ACID formats all in one collection
Covers practically all musical genres
Great for music creation or remixing

Sonic Reality's R.A.W. Universal Groove Kit - High-quality loops for any style music!





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Sonic Reality R.A.W. Universal Groove Kit(Wave Edition)DVD1








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