8 LFOs, 12 ENVs, 34 Filter Types per part.Best of all, the new sounds are available for ALL users, regardless of using the hardware or not! Vastly Expanded Synthesis Engine These inspiring new sounds feature a wide range of categories and many have a distinctly ‘classic’ flavor! Notably, the 2.6 update takes Eric’s classic sound design work from the original 1987 Roland D-50 into completely new sonic territory with Omnisphere’s vast synthesis capabilities. Each hardware profile has a corresponding set of sounds in the Hardware Library which were specially designed using that hardware synth as an Omnisphere 2.8 controller. Omnisphere 2.8 includes a stunning new “Hardware Library” with over 1,600 new patches created by Eric Persing and the renowned Spectrasonics Sound Development team. Virtual instrument users can now experience the joy of the hardware synth workflow and hardware synth users can fully expand their capabilities into the vast sonic world of Omnisphere 2.8! Greatly Enhanced Arpeggiator Simply put, this ground-breaking feature makes using Omnisphere feel just like using a hardware synth! By bridging the physical experience gap between software and hardware, users gain intuitive control of Omnisphere 2.8 by using the familiar layout of their supported hardware synth. This remarkable innovation transforms over 65 well-known hardware synthesizers into extensive hands-on controllers that unlock Omnisphere’s newly expanded synthesis capabilities. Omnisphere 2.8 is the only software synth in the world to offer a Hardware Synth Integration feature. This award-winning software brings many different types of synthesis together into one amazing-sounding instrument that will spark a lifetime of exploration. Top Artists all over the world rely on Omnisphere as an essential source of sonic inspiration. Omnisphere 2.8 is the flagship synthesizer of Spectrasonics – an instrument of extraordinary power and versatility. Crunchessor also accepts external side-chain source signals and allows you to filter the key signal before it is used for compression.Omnisphere 2.8.5c + CoreLibrary VST3 AU AAX STANDALONE Crunchessor can be suitable both for single track and whole mix processing. Being a multi-purpose compressor, Crunchessor can be used for any kind of sound material: drums, vocals, bass, guitars, synth sounds, etc. As an option, you can disable both coloration and tube processing to get a neutral and clean compression sound. By choosing an appropriate style, you can add the coloration most suitable for the sound material you are working with. Beside this, Crunchessor offers you a selection of compression coloration styles, by itself a pretty unique feature for a compressor. This makes Crunchessor an ideal choice for musicians and producers who are fond of analog compression sound and its warmness. Another remarkable feature of Crunchessor is its analog tube-alike processing, which is applied in parallel to compression. One of its main advantages is the ease of tuning, which at the same time instantly delivers an excellent sonic performance. Ĭrunchessor is a track compressor AAX, AudioUnit, and VST plugin for professional sound and music production applications. The UE-100 became known for its musically warm curves and precise response, offering a myriad of possibilities for treating frequencies by boosting and/or cutting across the spectrum to shape sounds “like a Pultec on steroids.”Ĭrunchessor v2.19 WiN Team TCD | | 6 MB. While some earlier UE-100s were used to transparently filter out junk low and high frequencies when printing to tape and vinyl, it quickly became commonplace to take advantage of the unique pushbutton frequency selection this provided an easy way to not only recall settings, but also alter them on the fly while recording a performance. This all-tube minimum phase EQ used six discrete filter modules to create a collection of band-pass filters that could create dynamic curves for any application from source mixing to vocal tracking to mastering. When released in 1961, the Klein & Hummel UE-100 Universal Equalizer changed all that. They would have to accept the necessary evil of the resulting phase and intermodulation distortion when treating these sounds. But Rafa Sardina – who has 12 Grammy wins and 35 nominations – owns 10 of them! What is so special about this weird and wonderful device? For some time, hardware equalizers had to each be developed with a specific purpose in mind, requiring engineers to combine different EQ types in one signal chain in order to achieve the frequency response they needed on any given source. The original KLEIN & HUMMEL UE-100® EQs are extremely rare and expensive.
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