"Impulse Command is a compact true analogue synth in a neat, smart, package. When we say ‘real analogue’ we mean that the entire audio path (aside from the post effects of course!) and all modulation are entirely analogue, using circuits based on awesome sounding vintage 1970s designs. Their circuits are not locked down by CPUs. Controls are not quantised and read by CPUs. With the exception of the essential digital elements (that is MIDI conversion, sequencer control and digital delay/reverb), Impulse Command really is analogue and the sound benefit is immediately apparent!
The synth has been designed by Tom Carpenter, a musician and a big fan of electronic music. He knows how to program a synth and what should be expected. It was not designed by an engineer or steered by committee or men in suits. Design wasn’t constrained in order to bring maximum profit to share holders! So, the modulation choices and range of sounds they produced have all been carefully thought out and quickly give you those sounds you want: huge bass, synth leads, percussion, effects, modular style sounds."
"Available direct only... Come see Colossus at SynthFest (UK, 5/Oct)
Numbers will be limited - we are currently taking pre-orders, ready to ship in early 2020.
This is truly something special.
Price is £25K. This exclude any tax (most likely you can claim it back through your business). Shipping: Outside of UK it would need to be crated, onto a pallet, then freighted. Shipping and crating likely to be 500-1000GBP. If you aren’t too far from Calais there maybe other options.
WHAT IS COLOSSUS?
Analogue Solutions is excited to introduce Colossus, an exciting new mega-synth with a design ethos truly from the dawn of analogue synths. It is more than a powerful analogue ‘workstation’ - it is also art, architecture, exquisite studio furniture.
Design inspiration is of course from the 1970’s EMS Synthi 100, however, no circuit from the Synthi has been cloned or copied. We prefer to make our own designs. We have chosen some of our favourite circuits from our own large back catalogue synths such as Polymath, Telemark and Vostok.
Colossus is not a Synthi 100 clone - all circuits are non-EMS, Analogue Solutions’ design.
"Here's a quick little video of the Analogue Solutions Impulse Command being played (as a standard synth would be played!) and also taking the same sound and sequencing then transposing it via the Impulse Command's internal analogue sequencer.
Not only does the IC excel at creating some of of the best analogue sequencer loops you can muster, but it's also a fantastic, versatile and playable synth controllable via MIDI or CV.
Note: The custom blue face is limited in supply. Contact AS regarding this point.
Enjoy!"
Update:
Live Studio Synth Jam Analogue Solutions CV-ONLY (no midi)
Published on Sep 12, 2019 rezfilter
"Here's a little fun, loosely filmed, live jam using only CV (no MIDI) with a handful of synths (mostly Analogue Solutions) including a couple of classics -- ObieRack (little bass) + ARP 2600 (kick).
The Impulse Command (ltd. blue edition) was played live while the other synths were driven live by analogue sequencers (chained) and were tweaked live.
Walkthrough: Orbis Uploaded on Jul 16, 2019 Spitfire Audio
"Paul takes us through the new Orbis library- a one-of-a-kind synthesizer born out of rare recordings from around the globe, presented in Spitfire's sophisticated eDNA Engine."
Official press release follows:
Spitfire Audio announces availability of ORBIS plug-in presented in eDNA engine as a horizon-expanding ‘world synth’
“Great film music often blends sounds from different cultures to create a rich tapestry; ORBIS lets you infuse your music with DNA from around the world — from incredibly useful, original recordings through to beautifully evolving textures.”
- Paul Thompson, composer and Spitfire Audio co-founder
LONDON, UK: Spitfire Audio is proud to announce availability of ORBIS — offered as a horizon-expanding ‘world synthesizer’ standalone plug-in, presented in the sound-specialising British music technology company’s sophisticated eDNA engine, enabling exceedingly creative access to 2,500 extraordinary sounds born out of organic performances treated and transported to new dimensions, designed for progressively-minded composers as a gargantuan creative compendium comprising distorted loops to evolving textures and visceral one-shots, subsonic low-end to ethereal pads, perfect for producing rich-sounding, panoramic scores from nature documentaries to sci-fi movies — as of July 18…
Sometimes a score needs more than an orchestra. ORBIS reimagines the work of David Fanshawe (1942-2010), an English composer, sound explorer, and ethnomusicologist who travelled the globe to gather an archive of approximately 2,000 hours of music, documented for posterity at a time of great change. “The present is almost history; every day is worth recording.” So stated the man himself.
However, ORBIS itself is so much more than a collection of organic field recordings; rather it includes 90% treated content, with over 200 presets, plus loops, textures, one-shots, and pads created by Spitfire Audio’s accomplished team of engineers in its own journey of sonic discovery, distilled — alongside clean recordings, rich in history, character, and emotion — in the sound-specialising British music technology company’s sophisticated eDNA engine to provide users with virtually endless parameters and possibilities for enhancing their own scores with the DNA of countless cultures from across the globe.
Enduring and enthralling, David Fanshawe’s rarefied recordings have already made themselves heard in scores to major movies such as 1997’s Seven Years In Tibet (John Williams) and 2002’s Gangs Of New York (Howard Shore); now they are ready and able to empower anyone’s scoring sensibilities as an essential resource for producers, composers, or sound designers intent on seeking out new sounds — or even civilisations! After all, sounds are the fabric from which music is weaved.
With that thought in mind, maybe it was inevitable that Spitfire Audio would creatively cross paths with the David Fanshawe World Music Archive. As such, ORBIS was effectively conceived back in January 2015, when widow Jane Fanshawe introduced Spitfire Audio co-founder and composer Paul Thomson to the global sonic explorer’s namesake legacy. “Listening to these extraordinarily vivid recordings is like looking through a window into a different time and place,” pronounces the clearly captivated listener.
Literally placing them into a different time and space, Spitfire Audio subsequently handpicked thousands of extraordinary sounds from those extraordinarily vivid recordings, really resulting in a so-called ‘world synthesizer’ since ORBIS users are able to delve deeper into some of the most rare and distinctive sounds and loops on the planet, rich in history, character, and emotion encompassing a range of cultures and communities, many of which no longer exist; enhancing every sound still further with ORBIS’ own exploratory eDNA is inevitable.
Imagine the eDNA engine as a set of two turntables alongside a highly-sophisticated DJ mixer. It includes two sound bays — A and B, each designed to create differing sonic treatments, with individual and independent modulators and control of TRIM, BEND, GLIDE, CLONE, TUNE, ADSR (envelope), HI-PASS (filter), LO- PASS (filter), and WOBBLE (modulating VOLUME, PITCH, and FILTER). Furthermore, the GATE SEQUENCER allows for independent gating of those two bays and unified control of amount, speed, and LENGTH of sequence. These two signals are then unified with an x-fader; move between the sounds with the mouse or the factory default-assigned modulation wheel. Elsewhere, eDNA’s five-stage FX (effects) path contains 41 custom plug-ins, including preloaded bespoke IRs (Impulse Responses). The BAY A FX and BAY B FX stages affect sound bay A or B, while an AUX FX stage can be sent via the layers or MASTER FX stage.
Obviously ORBIS easily enables sonic journeying of its own doing. Discover hundreds of presets treated in various ways, with Spitfire Audio’s acclaimed sampling expertise and technology twisting and turning every sound through 3,000 lines of code! Some sound subtly manipulated while others are heavily processed, unrecognisable from their original source material.
Musically-speaking, ORBIS travels far — from playable one-shots and short phrases to tuned and untuned rhythmic loops and recordings up to a minute long. Ultimately, unearthing sounds with subtle movement, complexity, and evolution is an ear-opening experience. Throbbing basses and pulsing loops, ideal for dance music; thunderous drones, subsonic low-end and visceral, tortured drum hits, for adding movement and depth; Blade Runner-style synths, made from antelope horns; and ethereal pads and breathtakingly beautiful evolving textures, for three-dimensional cinematic soundscapes... the very nature of ORBIS’ design takes its users to new levels of sonic exploration and adventure. A lifetime of inspiration as an essential resource awaits anyone creatively climbing aboard.
As to the finished product’s potency, Paul Thomson is clearly qualified to comment, enthusiastically ending on a high note: “This is a really rich tapestry of sounds; it’s almost like a new kind of ‘world synth’ which goes from the raw sounds that are incredibly useful all the way through to beautiful, undulating, evolving textures made from these incredible organic recordings.”
ORBIS can be purchased and digitally downloaded as an AAX-, AU-, and VST-compatible plug-in that loads directly into a DAW (Digital Audio Workstation) for a time-limited introductory promo price of £229.00 GBP (inc. VAT)/$269.00 USD/€269.00 EUR (inc. VAT) until August 1, 2019 — rising thereafter to an RRP of £299.00 GBP (inc. VAT)/$349.00 USD/€349.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/orbis/"
There many ALGORITHMS whose structure can be routed in 13 path signal or algorithms roughly organized in 2 family groups: - Virtual analog (7 algorithms) + Virtual acoustic (6 algorithms)
ELECTRIC PIANO MODEL
REED MODEL
PLUCK MODEL
ORGAN MODEL
BOWED STRING MODEL
STANDARD OSC
COMB FILTER
VPM OSC (Phase Modeulation)
RESONANCE OSC (Bandpass resonant)
OSCILLATOR SYNC (Slave Oscillator)
RING MOD
CROSS MOD
"STRAYLIGHT is a granular-based instrument, perfect for lush pads, soundscapes, and tones. In this walkthrough we give you an overview of all the main features, and illustrate how you can quickly create and customize evolving sounds, and modulate them so they fit into your scenes and scores with ease."
Playlist:
1. Introducing STRAYLIGHT | Native Instruments
2. STRAYLIGHT Interview with Paul Haslinger | Native Instruments
We talk to Hollywood composer and former Tangerine Dream member Paul Haslinger about his experiences and process creating scores for Hollywood films, and how he implements STRAYLIGHT into his creative process.
3. STRAYLIGHT Walkthrough | Native Instruments
AT A GLANCE
Product type: KOMPLETE Instrument
Instrument type: Real-time cinematic texture instrument
For use with: The latest version of the free KONTAKT PLAYER. Download via KOMPLETE START.
Number of sounds: > 350 master Snapshots
1 NKI that includes: 319 grain source sets
50 sample sets
Sound categories: Atmosphere, Pad, Lead, Transition, Keys, Effects, Subs, Pulses
Download size: 2,47 GB (3,86 GB uncompressed samples)
System requirements: STRAYLIGHT needs a fast CPU to run and requires an Intel i7 processor or higher.
"STRAYLIGHT was built in collaboration with Frank Elting and The most human colors, a boutique instrument and sound design agency. The instrument was also developed in consultation with composer Paul Haslinger (Underworld, Minority Report, Fear The Walking Dead, Rainbow Six: Siege).
Craft unique cinematic soundscapes, transitions, and ambient tones in real-time. Built for sound designers and film, TV, and game composers, STRAYLIGHT is ideal for everything from post-apocalyptic sci-fi to gritty thrillers. It combines specialized grain and sample playback modules with carefully captured sound sources, effects, and a powerful performance-based X-Y modulation matrix, allowing inspirational dynamic performance and sound design, direct to picture.
THE GRANULAR ENGINE
STRAYLIGHT has a bespoke granular engine that places the source audio into a powerful and specialized – yet easy-to-use – interface. Harness lush, organic timbres that can defy time and pitch, yet still retain the pristine character of the source sounds (strings, glass, stone, membranes, and more), and sonically evolve over time (risers and transitions can adapt automatically to project tempo).
Small sounds can be vastly magnified in size and scope without sacrificing their sound quality or character. The granular engine is then paired with a layer from the sample module, offering the same level of editing and modulation.
PERFORM REAL-TIME MODULATION
STRAYLIGHT’s modulation and effects sections ensure a fast, creative workflow. The precise X-Y control enables expressive direct-to-picture performance and detailed control over intensity and timing. Apply and modulate up to 14 different effects – taken from nine different categories: Filters, dynamics, EQs, gaters, drivers, modulation, delays, utilities, and reverbs. STRAYLIGHT even includes specially captured reverb impulse responses, selected to complement its audio content and granular engine.
Easily assign MIDI CC to the XY matrix, and use it in conjunction with master effects to ride intensity, direct to picture.
Both the granular and sample modules offer deep editing possibilities for personalizing the source sounds and intelligent randomization for generating new sounds quickly.
Use tempo-synced grain cursor speeds for creating perfectly timed transitions and risers.
Select up to four different effect types each for the grain and sample layers, plus four additional master effects, and two send effects – and you can assign parameters from all those effects to macros or the X-Y matrix.
Tag based browsing for both presets and sound sources makes it easy to find what you’re looking for. Tags even apply when randomizing the modules."
Certain eurorack modules would look great as mini desktop modules. This would be one of them. Add MIDI and 16 track multitrack sequencing for each MIDI channel.
"usta / ˈusta / s.f. [probably from an ancient Germanic form, cfr. German Nüster, English nostril] – the trail left by the pray. Idiom., more common: ‘good sense’, ‘wisdom’. Idiom. a usta ‘by heart’. The ‘Usta’ sequencer follows both of those meaning: literally, it gives your patch a trail to follow; more broadly, it offers you a way to approach your composition ‘by heart’, without too much planning.
USTA is a 4×4 tracks sequencer for voltages and gates with variable stage duration, designed to quickly see and edit multiple voltage relationships in real time.
“Variable stage duration” means that every single stage duration can be individually set in relation to the clock, instead of being constrained to a one-to-one ratio (i.e. one stage per every clock impulse).
“4×4 tracks” means that every stage can store and generate up to four separate voltages (two CVs and two gates), and that up to four independent stage sequences can be arranged into as many different tracks.
Its architecture is based on an array of 16 ‘Stages’ which form a ‘Pattern’; 16 patterns form a ‘Track’, and four tracks form a ‘Project’. Within each track, each stage can provide two gates and two CVs, and a wide set of options is available to define and modify the value of each output (‘Layers’) and the way it is played (‘Colors’).
Every Stage is related to a dedicated stepped encoder for quick and intuitive editing, and all the 16 encoders are arranged in an oval layout with a circular playhead. Every encoder is surrounded by a ring of 16 LEDs and a RGB led, to provide a visual feedback of the current setting of that step basing on the layer you are working on (like raw CV, quantized CV, length, gate…) and the way it should play depending on the RGB color.
True STEREO analogue synth / sonic realizer. Perfect for melodic and percussion loops. Very easy (and fun!) to create modular style analogue loops. It’s a complete soundtrack all by itself!
It’s wrong to call it a synthesizer (in fact a new word needs to be invented) because then you get preconceived ideas about what it does. It’s a whole lot more than a synth. It’s also part drum synth, part pattern generator, part modular loop producer.
All its unique features plus the 2 independent LPFs give this machine the ability to produce stereo loops that sound like multiple synths playing at once.
Special features:
Analogue synth: analogue audio and modulation circuits
Stereo / dual filters
This synth can sound like multiple synths all at once
Stereo digital effects (reverb and delay)
16 step analogue sequencer
16 step MIDI Note sequencer
Dynamic internal patch system
ReOrder! feature to create new melodies from the sequencer
Dynamic VCO mix levels
Semi-modular
High-quality build
Impulse Command is a compact true analogue synth in a neat, smart, package. When we say ‘real analogue’ we mean that the entire audio path (aside from the post effects of course!) and all modulation are entirely analogue, using circuits based on awesome sounding vintage 1970s designs. Their circuits are not locked down by CPUs. Controls are not quantised and read by CPUs. With the exception of the essential digital elements (that is MIDI conversion, sequencer control and digital delay/reverb), Impulse Command really is analogue and the sound benefit is immediately apparent!"
"Up for sale is extremely rare powerful Soviet vintage analog synthesizer "ALISA-1377". It was made in USSR in 1985 at Luberetskiy Military Radioplant "Rodina" near Moscow. ALISA synthesizers were made especially for experimental electronic music, creating of sound effects in soviet cinema and scientific acoustic researches. This unique instrument has warm, aggressive and absolutely original analog sound! (check the Demo section below photoes)
The synthesizer has 1 OSC with 4 wave forms, ADSR , filter, various modulations, vibrato and portamento effects.
OSCILLATOR: tune; octave +1/+2; portamento; wave forms: triangle, saw, square, odd harmonics; frequency modulation (for all 4 waveforms); impulse-width modulation (for square wave form) with impulse width and depth controls; harmonics (for odd harmonics wave form). You can use individual OSC waveforms (triangle, saw, square, odd harmonics) or mix them together to get unique sounds!
FILTER: cutoff, resonance, vibrato (filter modulation), ADSR, switch between filter control- keyboard or contour OSC (ADSR). The synths filter due to it`s original architecture can be used as additional oscillator when filter`s resonance knob in self-oscillaltion position and it sounds really weird and interesting!
"A bit of Kraftwerk inspiration and messing with some of the Roland Cloud Electrode Synth with some TR-808 and TR-909. It's fun and easy to create with this Roland Cloud stuff and I really do like it quite a lot."
Sonically Shocking
Inspired by the Complextro sub-genre of Electro House (or Electro) music, Electrode is a proud addition to the FLAVR Series of virtual instruments. Roland Cloud has once again joined forces with a very prominent artist in the space, James Egbert, to bring you 47 all-new and shockingly brilliant patches:
"WMD fuels fire for expanding Eurorack world with singular-sounding Fracture multi-particle percussion synth module
DENVER, CO, USA: modular synthesizers, guitar pedals, and standalone musical instruments manufacturer WMD is proud to announce availability of Fracture — a multi-particle percussion synthesizer module for small-format Eurorack modular systems that applies concepts from classic analogue clap circuits to granular synthesis techniques to generate a wide palette of sounds while maintaining a simple, intuitive interface — as of April 20…
Initially inspired by audience applause, hip-hop samples, and classic drum machines, Fracture is much more than another percussion module or ‘sample player’ for expanding Eurorack modular system setups since it uses granular synthesis techniques to generate a wide palette of sounds while maintaining a simple, intuitive interface. In itself, that’s no small feat. For granular synthesis is a technique that operates on the microsound time scale (specifically shorter than one tenth of a second and longer than 10 milliseconds, including the 20 Hz to 20 kHz audio frequency range and the infrasonic frequency range below 20 Hz); based on the same principal as sampling, samples are not conventionally played back, but split into smaller segments or grains (of around one to 50 milliseconds) that may be layered on top of each other, played at different speeds, phases, volume, and frequency (amongst other parameters).
Proprietary micro-samples — specifically recorded for this purpose by WMD — is where it all starts for Fracture. It ends with an engine built to suit those samples, ultimately. Unlike WMD’s first Eurorack percussion synthesizer module, Chimera, which involves impulse-rich samples at its tonal centre, Fracture uses single-impulse samples such as claps, ping-pong balls, opening a beer can, and many more. Moreover, it then plays back a group of similar such samples in a pseudo-random order resulting in unique hits. DENSITY, DECAY, and TAIL settings all affect tone and how ‘tight’ the user’s virtual clappers are to playing together.
Trying to design a clap percussion module with wide-reaching range — from classic drum machine claps all the way to full audience applause — was WMD’s definitive design goal for Fracture. Fortunately, Fracture exceeded expectations, ending up as a module capably covering an amazing array of timbres that reach way beyond the scope of claps.
Fracture features a number of other outstanding sound-sculpting tools packed into its slender (8HP width) frame, including a stereo output (OUT L and OUT R); built-in H (Hall) and R (Room) REVERB; two trigger inputs for different sound types — TRIG triggers a burst of particles and TICK triggers a single particle (independently of the TRIG input); three types of filter; three types of envelope; and a free-running, voltage-controlled ‘applause’ capability. CV (Control Voltage) over all parameters is also available of course.
Creating singular-sounding percussion that fuels fire for the ever-expanding Eurorack world is perfectly possible with WMD’s latest (multi-particle percussion synthesizer) module. Making room for Fracture is surely space well filled and money well spent!
Shipping now, Fracture is available to purchase through WMD’s growing global network of authorised dealers"
"The Sequential Circuits Max is a 6 voice, 6 oscillator, and 6 VCF synthesizer that could be considered a budget version of the Sequential Circuits Prophet 600 because of its lack of control surfaces, aside from a simple 500 note sequencer and patch selection controls. This is not the case upon closer inspection, as all of the functionality of the Sequential Circuits Max can be accessed through simple MIDI CC control from MIDI controllers, DAW's, and more! This and many of the pre-programmed patches reveal its' true analog character. With a little experimentation and programming, the Sequential Circuits Max can achieve a sound close to that of a Prophet 600 or even a Prophet 5! It is definitely an underrated synth that has potential in many different areas!
Gear Used:
- Sequential Circuits Max
- Arturia Beatstep Pro
- Novation Impulse 49
- Behringer EM600"
"I know a lot of people build Eurorack systems to process external audio, and Clouds and DLD are both good candidates for that purpose, so let's give it a stab.
By the way, what are your thoughts on using external audio in this series? Do you think it goes against the premise of "just three modules"? My feeling is that it flies as long as it's just a basic sample or loop like this. It should be pretty evident what the raw sample sounds like and what sounds or effects are produced by the modules, and the majority of the "performance" should take place in the rack, so to speak.
I'm not planning on relying too much on external audio, but I think it makes sense to include it occasionally as it's a pretty common way to work with the modular, and it makes for a more musical use of "effect module" combinations like this one. Perhaps I should get a sample player like a TipTop One in place of Ears, as a way to integrate that aspect more closely with the rack?
Patch notes:
Patch wise, this is pretty simple: audio comes in from my computer (playing a short piano loop I recorded earlier), is passed through Clouds' granular mode and then into the DLD, where I'm using the two channels in stereo.
I'm using Ears as a sort of "performance control", with the envelope follower output patched to Clouds' Position and Density. That way, I can scrape and push the contact mic surface to access different parts of Clouds' frozen buffer. With the Density knob set to 12 o'clock, no grains are produced as long as I'm not touching Ears. Hitting/pushing the contact mic harder leads to a higher density of randomly distributed grains, so there's a somewhat logical connection between the tactile interface and the sound produced.
I'm using Clouds to produce "impulse" sounds, with lots of reverb to make long, sustained tones from short snippets of the piano sample. DLD to makes a backdrop of short, rhythmically pulsating loops – using different subdivisions of the clock for each channel can make for some really hypnotizing rhythms.
In the beginning you can hear the clean sample passed through for a while, before I turn up Clouds' dry/wet blend to full. From there on you're only hearing the sound as processed by the modules until I turn the blend down again around the 8 minute mark.
"Extremely rare powerful Soviet vintage analog synthesizer "ALISA-1377".
It was made in USSR in 1985 at Luberetskiy Military Radioplant "Rodina" near Moscow. ALISA synthesizers were made especially for experimental electronic music, creating of sound effects in soviet cinema and scientific acoustic researches. This unique instrument has warm, aggressive and absolutely original analog sound!
The synthesizer has 1 OSC with 4 wave forms, ADSR , filter, various modulations, vibrato and portamento effects.
OSCILLATOR: tune; octave +1/+2; portamento; wave forms: triangle, saw, square, odd harmonics; frequency modulation (for all 4 waveforms); impulse-width modulation (for square wave form) with impulse width and depth controls; harmonics (for odd harmonics wave form). You can use individual OSC waveforms (triangle, saw, square, odd harmonics) or mix them together to get unique sounds!
FILTER: cutoff, resonance, vibrato (filter modulation), ADSR, switch between filter control- keyboard or contour OSC (ADSR). The synths filter due to it`s original architecture can be used as additional oscillator when filter`s resonance knob in self-oscillaltion position and it sounds really weird and interesting!
"Craig Peters walks you through our newest library Granada 49 which is the newest library of our Vintage Keys Series."
Note this is the first post to feature FESMA. They were primarily an organ maker. You'll find a video of the original FESMA Granada 49 from YouTube below. First, some samples and details via Soundiron.
"GRANADA 49 faithfully captures a rare 1970's-era portable analog synthesizer by the now defunct Italian synth-maker Fesma. The instrument's classic wood-accented body echoes the popular aesthetics of the 1970s and its fat, warm analog sound cuts through the mix. We've sampled its 9 stock waveform presets and included tons of custom FX patches and sound-designed ambient synth pads created from the source to make this compact library extraordinarily playable and versatile. Whether you're looking to recreate an old 8-bit videogame sound, fat synth bass tones or razer-sharp lead lines, the Granada 49 library can do it!
The power of Granada is really unlocked by our easy-to-use yet powerful 3D-modeled user interface. Basic sound shaping options are included: volume swell, note attack time, release time and sample start offset let users mold the sound anyway they want. Other main controls include vibrato and a special "Octave" knob, which really beefs up your tone by smoothly rolling in lower and higher octave layers.
The "Glide" option adds an adjustable-speed portamento pitch bend between notes. The advanced tempo-syncable LFO system features configurable LFO shape, modulation target, speed, intensity, and fade-in time. A versatile filter system allows you to select between 13 filter types, modulation options, and control the frequency and resonance. As always, we included our customizable arpeggiator, which lets users control pattern direction, rhythm, swing, randomization and duration. The advanced GUI is rounded out by our modular FX rack, which lets users put any of 18 different effects (reverb, distortion, etc.) in up to 10 slots, in any chain order they desire. This also includes 119 of Soundiron's high quality impulse responses which can be loaded into the "Reverb" effect.
The library is programmed for the full version of Kontakt 5.5.2 and later (OSX 10.9 or later / Windows 7 or later required). It comes equipped with a custom user interface and dynamic sound shaping and mixing controls: volume, attack, release, offset, vibrato, octave, bank preset loading (with optional key-switching), adaptive arpeggiation, advanced LFO and filter systems and our full FX rack with convolution reverb with your choice of well over 100 different rooms, halls, spaces and special FX impulses."
Note the following is a user video I found on YouTube of the original. It is not a video from Soundiron.
FESMA -GRANADA 49 Published on Mar 4, 2015 MUTAN MONKEY Creative Music Instruments
