Togu Audio Line TAL-BassLine-101 v1.31 Incl.Keygen-R2R

Togu Audio Line TAL-BassLine-101 v1.31 Incl.Keygen-R2R TAL-BassLine-101 is a monophonic bass synthesizer with a classic analogue sound. The GUI is intuitive and easy to use. It produces the raw sound you know from analogue devices without any effects. BassLine has a very smooth and authentic analogue sounding 24dB zero feedback delay resonance low pass filter. Especially designed and calibrated for extreme settings. It sounds even smooth with a lot resonance and a high oscillator pitch. Details as envelope transitions between overlapping notes are carefully modeled. The oscillators do not use any samples. BassLine generates all wave-forms in real time. Self resonating zero feedback delay filter (24dB LP). Calibrated and tuned after our hardware device. Midi learn / automation for all controls. Alias free oscillators for an authentic sound also @ 44'100Hz sampling rate. Arpeggiator with different sync modes (host, midi clock, not on). Original (RC) and linear portamento mode. Built in arpeggiator with some additional modes. Powerful step sequencer with up to 96 steps and recording option. 6 voice poly mode. Sequencer MIDI export with drag and drop. Sequencer / arpeggiator MIDI out for VSTi version. De-Clicker mode for slower envelopes :/ More than 300 presets. All sample rates supported. home page: http://kunz.corrupt.ch/products/tal-bassline-101

Korg Legacy Collection WAVESTATION v1.70 WIN OSX Incl Keygen-AiR

Korg Legacy Collection WAVESTATION v1.70 WIN OSX Incl Keygen-AiR Originally part of the first Korg Legacy Collection and later the Korg Legacy Collection: Digital Edition the WAVESTATION is now available individually. As the original manufacturer, Korg is uniquely qualified to recreate our vintage digital synthesizers as software instruments. The WAVESTATION is designed to run as a stand-alone program; or as a VST, AU or RTAS Plug-in, making it compatible with nearly any DAW software studio package. Homepage: http://anonym.to/?http://www.korg.com/Legacy

Antares Kantos v1.02 VST & RTAS-OxYGeN

Antares Kantos v1.02 VST & RTAS-OxYGeN Antares Kantos Audio-controlled Software Synth Kantos is a plug-in with a difference — its synth engine is not triggered via MIDI, but by an audio input, from which it also derives its pitch. Is it a uniquely creative use of Antares' pitch-tracking technology, or merely a novelty one-trick pony? Antares' first venture into virtual instruments, Kantos (which comes from the ancient Greek word meaning 'to manually propel an empty metal soft drinks container') rather unsurprisingly incorporates the company's proven pitch-tracking technology, as seen in their now-ubiquitous Auto-Tune software and hardware products. Indeed pitch-tracking is the only way to play Kantos — rather than designing the system to be controlled via MIDI in the usual plug-in fashion, all the necessary pitch and trigger information is derived from an audio input. Kantos runs under VST, MAS or RTAS on compatible Mac or PC platforms and is authorised using the now familiar challenge-and-response system. The program will run for 20 days prior to authorisation, so you can use it as soon as you install it. Like most software instruments, Kantos uses a fair amount of CPU power; a computer with a fairly fast processor is essential if you want to use multiple plug-ins at the same time. Basic Operation Despite a graphical user interface that looks like a sneeze in zero gravity, Kantos is based on a fairly straightforward two-oscillator synthesizer topography where each oscillator can generate a waveform selected from a wavetable menu plus a further fundamental sine wave. There's also a single noise s ource. A mixer section allows the levels of the oscillators, the noise and the original audio to be combined along with the onboard delay effects. Conventional filters and envelope shapers are used to modify the oscillator sounds, and there's a very easy-to-use modulation matrix that allows any one of eight sources to be mapped to a choice of destinations with variable modulation depth. Where Kantos differs from conventional synthesizers, apart from the use of an audio trigger source, is that the timbral characteristics of the source are monitored and may be used to 'articulate' the oscillator and noise sounds in way that is both reminiscent of, and entirely dissimilar to, a vocoder. You have to hear it to understand what I mean by this! Trigger Sources The audio used to trigger the synth must be monophonic and of a reasonably uniform loudness if accurate pitch-tracking is required, though some interesting atonal chaos can be had by feeding drum loops or polyphonic sounds into the instrument. Normally an audio track will be used as the triggering source, in which case it should be as free from background noise and crosstalk as possible and preferably normalised. Guitar workswell as a trigger source, but you have to take care not to allow notes to ring on when you pick a new note, as this confuses the software. I also tried Kantos with a live audio signal, but found this introduced a noticeable tracking delay causing each new note to jump up to the correct pitch shortly after triggering. Presumably this doesn't happen when working from audio tracks, as Kantos gets a preview of the audio moments before having to output the pitch. Articulation, Effects & Envelopes Articulation is applied in a technically very complex but operationally very simple way. A graphical window functions as a kind of virtual joystick which sets the degree and character of the formant processing, so all you have to do is move the ball around the display until you get a sound you like. When the noise signal is passed through the articulator, the result is a weird robotic whispering effect, which works well added to the oscillator sounds, especially when vocals are being used as the source. No synth would be complete without LFOs and Kantos includes two multi-waveform types that can be routed via the modulation matrix (shown above). Their frequencies can be adjusted using sliders, or alternatively, there's a tap-tempo function. Using Kantos Because Kantos functions using an audio source, it is deployed as an insert plug-in rather than as a virtual instrument. My first impression was that the user interface was a case of 'design before functionality', and even after getting used to it, I still find it unnecessarily dark. However, the signal flow is fairly easy to follow and the little blobs of light on the green 'sneeze' lines function as fader handles making adjustment easy. While setting up, it helps to use one oscillator only and to pick a fairly simple synth waveform, such as the default sawtooth, or a square wave, to help optimise the detector thresholds. I also found that when using guitar as a trigger source, the tracking was better when using a bright sound, so if you experience difficulty with any source, inserting an EQ before Kantos may help. Conclusions No device that follows audio pitch is ever going to be a plug-and-go solution, but Kantos works well on the majority of pitched sound sources, providing they are strictly monophonic and include no delay-based effects. You will have to work at the input settings and may have to edit your audio tracks to remove spurious noises and sounds, but the reward is a unique type of synthesis that follows many of the nuances of the original signal. I'm still not convinced by the user-interface design, but once your eyes have adjusted to the 'snot-in-outer-space' styling, it's not difficult to master.