Native Instruments today announced KOMPLETE 7, a significantly expanded version of its studio-standard software bundle. The next generation of KOMPLETE now combines 24 instruments and effects – including five entirely new products – with over 10,000 sounds and 90 GByte of samples, resulting in a comprehensive suite with unparalleled versatility for music production and performance.

KOMPLETE 7 includes the latest versions of Native Instruments’ acclaimed full-featured instruments and effects, ranging from ABSYNTH 5, BATTERY 3.1, FM8, GUITAR RIG 4.1, KONTAKT 4.1 and MASSIVE to the upcoming REAKTOR 5.5. As the next generation of the legendary modular synthesis studio, the new REAKTOR version adds powerful modal and additive synthesis, a revised user interface, the unique “Lazerbass” synthesizer and many enhancements for both instrument builders and musicians.

KOMPLETE 7 also integrates a wealth of instruments and effects based on KONTAKT, KORE, REAKTOR and GUITAR RIG. Products added to the bundle include the acclaimed ABBEY ROAD 60s DRUMS vintage drum library, the radical performance effect THE FINGER by Tim Exile, the sampled electric bass SCARBEE MM-BASS and all four electric pianos from the SCARBEE VINTAGE KEYS series by sampling mastermind Thomas Scarbee, all four acoustic pianos of the CLASSIC PIANO COLLECTION, the cinematic ACOUSTIC REFRACTIONS instrument and the distinctive REAKTOR SPARK synthesizer.

KOMPLETE 7 also incorporates five completely new products that further expand the creative potential of the bundle: The powerful studio reverb REFLEKTOR with its advanced zero-latency convolution engine; the highly expressive REAKTOR PRISM modal synthesizer designed by NI founder Stephan Schmitt; the performance effects suite TRAKTOR’S 12, derived from Native Instruments’ leading DJ software; the new VINTAGE ORGANS instrument with its comprehensive arsenal of painstakingly sampled electromagnetic organs; and the new RAMMFIRE amp emulation that was developed in close collaboration with one of Rammstein’s guitarists, Richard Z. Kruspe.

On the Mac, KOMPLETE 7 requires OS X 10.5 or later, an Intel Core Duo 1.66 GHz processor or faster, 1 GB RAM, 16 GB free hard drive space, and a DVD drive.

KOMPLETE 7 will be available in September 2010 for a suggested retail price of $559 / 499 EUR. An update for owners of KOMPLETE 2/3/4/5/6 will be available for $229 / 199 EUR. Every copy of KOMPLETE 7 also includes an NI Online Shop voucher worth $60 / 50 EUR, valid towards any product from the KOMPLETE Instruments and Effects range that is not included in the bundle.

www.native-instruments.com/komplete

Discuss KOMPLETE 7 in our Instruments forum.

Alessandro Petrolati (Ape) has released Density, a new interactive real-time program for asynchronous granular synthesis sound file granulation. Density generates a wide range of effects: time/pitch shifting, pitch disintegration, time jittering, sound pulverizer, scrub pad exploration, dynamic envelope drawing and more. Interpolation transitions and Hyper Vectorials pads provide a powerful way to generate incredible sound objects. All parameters are controllable via MIDI learning/rescale.

The groundwork for Density, which dates back to 2001, was developed using the Csound programming language. It was based on GSC4 (Granular Synthesis for Csound) by Eugenio Giordani, which was the first patch for granular synthesis on Csound to implement the model proposed by Barry Truax. The current Density implementation based on Max/Msp allows a dynamic generation of the grains, rather than a fixed number of “voices” (static). The maximum density achievable depends only on available CPU power.

Density features

• Eight simultaneous granular streams
• Load up to 12 sound-files (aiff or wav) for each stream (96 total)
• Dynamic wave-pad scrub, wrap-around selection, crop, normalize draw, etc.
• Grid quantize: Zero-crossing, bpm, phase and samples
• Multiple resizable window buffers for fine scanning exploration
• Quick sndfiles exchange, mouse jumping on the windows (buffers)
• Envelope/windowing management of up to 12 pre-generated shapes (prototypes)
• Envelope/windowing load and manage up to 12 sound-files (aiff or wav)
• Dynamic envelope buffer load/save, normalize, crop, resize length, etc.
• Main mixer 8 channels + 1 master, solo/mute, VST support
• Quick-record export master channel, progressive file auto-name, select directory and re-sampling/quantize outfile
• Trigger mode granular streams: Foreground, sync, all
• DSP settings and status bar information
• Snapshots (presets) memory: Up to 24 for each stream and 24 for the main mixer
• Fast buttons snapshots store/recall
• Simultaneously (streams and main) transition (interpolation) between snapshots (in a given time)
• Client management: Include/exclude widgets from transitions
• Four drawing tables for transitions curves
• Micro-pad interpolating between four snapshots
• HV_pad (i.e. hyper vectorial pad), 9 snapshots pad (4 pad near), and auto-explorer (spiral, dunk, reflects) engine
• MIDI Input mapping: Learn/manual, rescale range and exponential curve
• MIDI Output sync: Enable/disable, continuously or mouse up send
• Voice selection shortcut key
• Windows float/no float mode
• Fully management of the project (as a folder), Save/Save As… and Load, ask when exiting
• Drag and drop support: Streams/windowing wave-pads (audio files) and project folder (main mixer)
• Oscilloscope, spectralscope, sonogram viewers

On the Mac, Density requires OS X 10.4 or later. A G5 or Intel processor is recommended. Density is available directly from Ape via Kagi online store for $30. A time-limited demo is available for download.

www.densitygs.com

Discuss Density in our Instruments forum.

ReBirth is back! Propellerhead Software’s legendary Techno Micro Composer has been resurrected and made available for iPhone, iPod Touch and iPad. ReBirth faithfully emulates dance music’s three backbone devices: The Roland TB-303 Bass synth and the Roland TR-808 and 909 drum machines. Combine these with FX units, fully featured pattern sequencers and a quick-acting, scalable iPhone interface and you’ll soon be making techno on the train, trance on the tram or beats on the bus.

With the original desktop release of ReBirth RB-338 in 1997, Propellerhead pioneered a new era of music making by realistically emulating historic hardware synthesizers and drum machines in software on personal computers. For the first time, users could get the actual sound of those vintage analog devices without hunting down, paying exorbitant prices for and having the headaches of maintaining classic gear. This “virtual instrument” concept, seemingly impossible at the time, started a trend to the point that it now is commonplace in music software.

Now ReBirth literally puts faithful emulations of dance music’s vintage analog hardware at iPhone users’ fingertips. With dual bass synths and pattern sequencers, two sets of drum machines plus FX and mixer sections, ReBirth gives you an extremely streamlined but very powerful music production environment. Every knob and button on ReBirth’s devices can be tweaked and turned in real time, so when you plug your iPhone into that massive sound system, you’re in charge of everything from pattern selections to the depth of those nasty Acid filter squelches.

ReBirth for iPhone may be small and cute, but it’s no toy. With a fully-featured song mode and advanced copy and paste capabilities, ReBirth is a deep iPhone music application that lets you arrange and compose full tracks. You can even share your songs with other ReBirth users -- one single click will upload your composition to the ReBirth server, allowing other users to enjoy your music on their iPhones.

Main features:

• 2 x TB-303 Bassline Synthesizers with pattern sequencer. The original Acid House and Techno bass synth. Unmistakable sound.
• TR-808 Drum machine, Roland’s sub-heavy 1980 beat computer. Instant Hip-Hop.
• TR-909 Drum machine. The go-to beatbox for everything House and Techno.
• A number of great sounding effects and audio shapers, including tempo-synced digital delay, distortion, compression and special pattern controlled filter.
• “Mod” support: Includes 5 original user modifications with alternative sound sets and graphics.

rebirthapp.com

ReBirth is available exclusively through the Apple iTunes Store for €5.49 / $6.99.

Discuss ReBirth for iPhone in our iPhone OS forum.

Camel Audio has announced the release of Alchemy Player, an affordable software instrument plug-in for those who want the sounds of Alchemy but don’t want to create new presets. Camel Audio has also just released two new sound banks, Cinematic and Dance & Trance. The Player is included free when you purchase any Alchemy soundbank, turning each of these banks into a standalone instrument in its own right.

Alchemy Player includes 150 presets and 360 MB of samples taken from the full factory library, including evolving soundscapes, lush pads, and pulsing arpeggios.  With your first soundbank from Camel Audio you get 300 expressive presets for the modest price of $59.

Alchemy Player features the same advanced sample manipulation engine as its big brother, with additive, spectral, granular, sampling and VA synthesis for totally unique sounds, and is easily controlled via a simple and compact interface. This provides sixteen performance controls for real-time tweaking and automation, which have unique functions for each preset carefully chosen by the sound designer; so each preset is like a small synth in its own right. The remix pad also makes it possible to quickly try different variations – simply click and drag to morph between the eight variations.  All presets are arranged by productand category for rapid access to the sound you require, to keep your inspiration flowing.

On the Mac, Alchemy Player requires OS X 10.4.9, a 2 GHz Intel or G5 processor, 1 GB of RAM, 3 GB available disk space, and an Audio Units or VST host.

Alchemy Player is available now for $59 / €49 / £39 as a 224 MB download. If at any point you decide you want to access the full power of Alchemy, you can upgrade to the full version for just $199 / €159 / £143, and let your imagination run riot creating your own sounds, explore the 600 presets and 3GB sample library, and gain access to the user library and third party soundbanks. As a further incentive, this month Camel Audio are offering a free soundbank.

Until March 31st you can get 20% off all additional soundbanks, once you have one bank in your basket, so there’s never been a better time to dip your toes in the Alchemical waters.  For sound examples and further information on Alchemy Player, please visit the Camel Audio website.

www.camelaudio.com/AlchemyPlayer.php

Discuss Alchemy Player in our Instruments forum.

At the core of DrumSpillage lies a high resolution multi model synthesis architecture. Rather than create a complex “one size fits all” generic drum synth algorithm AudioSpillage created a rich variety of highly flexible algorithms (see full list below). Each model can be tweaked well beyond its standard settings allowing you to create unique, highly personalized kits that no one else has. DrumSpillage features 2 precision ADSR envelopes per pad with ultra fast attack times and smooth release tails. Full control over envelope attack and release shape is provided as well an exponential mapping mode for tighter, punchier and more natural sounding drums. An independent pitch envelope gives you fine control over pitch shape and contour – crucial for designing bass drums to meet your exact needs.

With so many editing parameters, you’ll need good modulation possibilities to add extra interest to your sounds. Each pad has two multi-waveform LFOs capable of being driven well into the audio frequency range. Two global LFOs are available to all pads simultaneously and can even modulate the standard LFOs creating complex non-repetitive modulation sources for unique effects. Each pad has its own independent distortion unit with a choice of 6 algorithms ranging from warm analog style clipping to full digital overload and decimation effects. Add subtle character to your sounds or reshape them completely. Each pad also has a multi-mode filter capable of low pass, high pass, band pass or band reject filtering modes with switchable 12 or 24db/octave cutoff slopes. The filter can be modulated via envelopes and LFOs, and the resonance can be set to self-oscillation.

No need to worry about DrumSpillage becoming old, dated and stale. The model-driven architecture allows AudioSpillage to upgrade DrumSpillage with additional models without affecting the existing GUI and plug-in performance.

Key Features

• 13 exclusive drum synthesis algorithms (below)
• 16 part multitimbral, 64 note polyphony
• Pad based real-time control surface
• Fast slider based GUI
• Future proof model driven architecture
• Flexible modulation options
• Full MIDI key mapping and pad layering
• Dynamic velocity accent control
• Extensive editing capabilities
• 9 mono/stereo outputs
• High resolution 64-bit DSP engine

Full Model List

• Bass Drum
• Cymbal
• Noise HiHat
• Synth Clap
• Membrane
• FM Percussion
• Wood Drum
• Hand Bell
• Claves
• Electro Bass Drum
• Electro Snare
• Electro HiHat
• Electro Cymbal

DrumSpillage requires Mac OS X 10.4 or higher and an AudioUnit host.

Release date is set for 15th March 2010 but AudioSpillage is taking a very LIMITED number of advance orders now for a special discounted price of £75 / €89 / $119 which represents at least a 25% saving on the full retail price. You will receive your plug-in on or before the official release date.

www.audiospillage.com/drumspillage.php

Discuss DrumSpillage in our Instruments forum.

BigTick has released the long-awaited version 2.05 of Rhino, which is now also available for Mac OS X in VST and AU instrument formats. In addition, all other previously commercial BigTick products including Angelina, EP-station, EP-Phazer and Rainbow are now freeware.

Rhino is a 6-oscillator hybrid FM Synthesizer with customizable waveforms and modulable, variable waveshapers. The plug-in comes with more than 1000 presets, neatly classified in a searchable database, and many more are available on the BigTick web site.

Major enhancements in Rhino v2.05 are:

• Now supports Mac OS X Audio Units and VST.
• Improved UI with new envelope editing options.
• SFZ support.
• Flexible routing between the filters (parallel, serial, cross-feedback).
• Built-in library now contains all the available presets, neatly classified.

Rhino is now available for Windows and Mac OS X (Intel-only) in VST and AU instrument plug-in formats.

Purchase Rhino via direct download for €70 (around $97 at publishing time). A free demo version is also available for download. Registration is required to access the downloads of Angelina, EP-station, EP-Phazer and Rainbow.

www.bigtick-audio.com

Discuss Rhino on our Instruments forum.

GForce Software, recently recognized for the greatest software synthesizer of all time, has previewed significant upgrades to another beast in the stable at this year’s NAMM show. impOSCar 2 delivers a slew of new features, many of which have been borrowed from the venerable Oberheim OB8.

impOSCar 2 has no shipping date yet. There will be an upgrade path from, and it is backwards compatible with, the original impOSCar. Perhaps we will learn more at Musikmesse 2010 in late March. Until then we’ll have to be satisfied with some demo videos and this feature list.

• PWM on both oscillators.
• Aux Mod Section with comprehensive routing (destinations include: OSc2 pitch, PW1, PW2, PW1&2, Filter Separation, Filter Q, Osc Mix, Noise Mix).
• Additional LFO.
• Improved LFO sync options.
• New Modulation & Controller Routing options.
• Pink noise.
• Vastly Improved Arpeggiator.
• Chord Hold & Retrigger from a single key.
• Controller Section Featuring Channel & Poly Aftertouch.
• Mod Wheel Controls now switchable between Aftertouch, Expression and Mod Wheel.
• Pan Spread Modes (left to right, Random etc) and Spread Amount Control.
• Mono & Poly Unison Modes (up to 8 voice poly unison).
• Unison Voice Spread
• Portamento Spread on Unison glides.
• New Chorus Modes.
• Ring Modulation.
• External Audio Input with the new FX version.
• Release Velocity Response.
• Small, Medium & Large GUI sizes.

The original impOSCar is available in AU, VST and RTAS formats for both Intel and PowerPC Macs running OS X 10.4 or later. impOSCar has won numerous awards including the Future Music Platinum Award, Electronic Musician’s Best Software Emulation & Editor’s Choice Award, Computer Music Editor’s Choice & Performance Award, Music Tech Magazine’s Recommended Award and Keyboard Magazine’s Key Buy Award.

www.gforcesoftware.com/imp2.php

Discuss impOSCar 2 in our Instruments forum.

Audio Damage is very pleased to announce that its first software instrument is now available. It’s called Tattoo, and it’s a drum synthesizer with integrated sequencer. All sounds are synthesized in real time–no samples are employed.

With twelve voices inspired by the famous X0X series of analog drum machines and an internal sequencer that is second to none, Tattoo makes an excellent addition to the arsenal for any electronic music producer.

Each of the twelve internal voices has been created using their proprietary D-Plane synthesis, and each has been extensively tested and tuned in order to have a broad palette. Every parameter of every voice has its own modulation sequencer, allowing for extensive motion within a pattern.

The grid sequencer in Tattoo is a whole world unto itself, with comprehensive randomization features and multiple sync modes, including a MIDI note sync to enable use with virtually any time signature, groove template, or host swing. The sequencer has MIDI out (VST only) to drive other sound sources, to double or replace Tattoo’s internal sounds.

“This product represents our largest investment of time and effort to date, but it was a labor of love” says Audio Damage’s Adam Schabtach. “Chris and I are both drum machine nuts and we’ve been talking about doing a software beatbox almost as long as we’ve been talking about anything. Six or seven months ago we decided that the time had arrived to take a stab at it, and now it’s done. We’re pretty proud of it and we hope that you enjoy it, too.”

Click to zoom

Tattoo features:

• 12 Drum Synths: Tattoo comes equipped with twelve different voices, utilizing custom D-Plane synthesis, rather than the one general catch-all voice you find in most drum synth plug-ins.
• Sophisticated Step Sequencer: Tattoo’s internal sequencer comes correct, taking grid programming to the next level.
• Randomization For Days: There are multiple routes to randomizing your beats, from subtle ghost notes to full on haywire.
• Parameter Sequencing: Every synth parameter (and we mean every one) has its own sequencer, including randomization.
• Synchronized: Tattoo can run off its internal sequencer, from host sync, or via “note sync,” where the sequencer can be stepped with MIDI notes. In this way, Tattoo can run in any time signature you can come up with, or sync to any groove template in any host sequencer.
• MIDI Input: Tattoo’s MIDI implementation includes full MIDI learn for all parameters and MIDI pattern switching. You can also use MIDI note input in addition to or instead of Tattoo’s internal sequencer, and still have access to the randomization features and MOD sequencing.
• MIDI Output: Tattoo sends MIDI output of all its note events, including randomization, so you can use its step sequencer to drive any other drum synth or sampler (or any instrument, really) as long as your host allows MIDI routing from a plug-in instrument.
• Audio Outputs: Tattoo has six stereo outputs. The first buss has a modified version of the Kombinat “One Knob Compressor” to add a little (or a lot of) squish to things.

In short, Tattoo is more than a simple drum synth; it is a complete rhythm programming environment, a fantasy come true for any fan of vintage drum machines.

To use Tattoo, you’ll need a Steinberg VST-compatible host application which conforms to the VST 2.0 specifications, and a computer capable of running it. For the Audio Unit version of Tattoo, you’ll need an application capable of hosting Audio Unit plug-ins, and a computer capable of running it. The Mac version requires OS X version 10.4 or newer.

Tattoo is available now via direct download from Audio Damage for $79.

www.audiodamage.com/instruments/product.php?pid=AD024

Discuss Tattoo in our Instruments forum.

u-he proudly announces the release of ACE (Any Cable Everywhere). ACE is a small, hungry, modular mini-synthesizer with an outstanding sound and an enormous fun factor!

ACE delivers top quality sound at a highly competitive price. The selection of modules and clear layout make ACE the ideal instrument for newcomers delving into the fascinating world of modular synthesis. The number of ways to connect modules together is practically infinite, and you will soon discover how much more fun it is to make your own sounds in ACE than in a non-modular synthesizer.

[This] song was completely mixed in Logic with 24 tracks of ACE and 8 tracks for vocals. There’s no EQ or anything anywhere, just a few compressors on the vocals.

What is a modular synthesizer? ACE is presented as several individual modules, each of which can have a different effect on sound when it passes through. Many synthesizers are designed this way in theory, but internally they have a pre-determined, hardwired signal path.

With ACE, virtually everything can be plugged into everything else. You can route the traditional, for example, connecting your keyboard’s modulation wheel to filter cutoff or LFO. You can also plug an LFO into a filter and from there use it as a source for FM. If you so choose, you can go far into the deep end with no one dragging you back to the kiddie pool. Any Cable Everywhere.

• 2 x LFO (1 sine, 1 sine/tri/saw/sqr) 0Hz – 20kHz
• 2 x ADSR (same as Bazille)
• 2 x VCO (saw/pwm) 0Hz – 20kHz, VCO1 with SubOsc
• 2 x VCF (two variable outlets each: LP1/LP2/LP3/LP4, HP/BP/BR)
• 2 x VCA/Pan
• 2 x Multiples (as in Bazille)
• 1 x Mixer (Osc balance, Sub, Noise, Aux)
• 1 x Ramp Generator (up->hold->down->rest, loops if rest < 100)
• 1 x noise (white, pink)
• 1 x the common extras, such as Glide/Glide2
• 1 x stereo chorus (global)
• 1 x ping pong delay (global)
• 1 x Bass/Treble booster (global)
• 1 x Mapping Generator (creates variable values for each note or key, can be used as custom waveform for LFO2)

ACE boasts 25 signal sources, 30+ signal targets, and some pre-wired internal paths so that it makes noise even without a single cable attached (think ARP 2600). There’s even a Tweak page for circuit benders and control freaks.

ACE is available in VST, AU and RTAS plug-in formats. The Mac version requires OS X 10.4 or later on a G4 processor or newer, with an Intel Core 2 Duo or better recommended. According to u-he, “ACE is very demanding on CPU. You will only be able to enjoy it with a modern, fast computer.”

Early adopters who purchased a license when it was in beta can now download version 1.0, everybody else has the opportunity to get it for only $85/€69 from the ACE web site.

www.acesynth.com

Discuss ACE in our Instruments forum.

Loomer has announced the release of String, a virtual instrument that emulates the classic sound of the polyphonic string synthesizer. Its authentic tone comes from its accurate emulation of the divide-down oscillator technology and bucket-brigade chorus units behind the lush ensemble synths of the 70s.

String has two individual sound generating Layers, each housing three phase-locked oscillator stops at 16′, 8′ and 4′ ranges for Layer 1, and 8′, 4′, and 2′ ranges for Layer 2. Each Layer has its own Voicing Mode from a choice of Monophonic with Last, Low, and High Note Priorities, Paraphonic, and Polyphonic. In Polyphonic mode each voice has its own Attack/Release amplitude modulation envelope. In Paraphonic mode all voices within a Layer share a single monophonic Attack/Release amplitude envelope. The Monophonic Modes produce a single voice, which can be either the Lowest, Highest, or Last note pressed.

String’s Chorus section is modeled on the bucket-brigade device that characterized the sound of the classic ensemble synths. Select from two different Chorus algorithms for either an authentic Ensemble timbre or a more modern, denser sound. A built-in stereo Phaser can be used to add movement, depth, and interest to String timbres.

With optimised audio algorithms that won’t overload your processor, rock-solid stability, and easy integration with any MIDI hardware controller, String is ideal for live work. With a simple and intuitive interface, flexible Bank and Program management, and total parameter automation, String fits right into your studio environment.

String runs as an AU, VST, or RTAS plug-in (for Pro Tools 7 and above) or as a stand alone application. The Mac version of String requires OS X 10.4 or later, a 1 GHz or faster processor, either Intel with SSE or PPC, and 512 MB RAM.

String is available via direct download from Loomer for £50, or approximately $83 as of this writing. An evaluation is available for free download, with minor limitations.

www.loomer.co.uk/string.htm

Discuss String in our Instruments forum.

Progress Audio believes that making a better synth involves more than adding ADRSs, LFOs and endless controls. Enter the Kinisis synthesizer, featuring instead a Timeline which lets you “animate” controls over the course of a note, creating sounds that move and change in incredible ways.

Compared to the well-known ADSR (attack, decay, sustain, release) model, the Timeline gives you detailed control over how a parameter changes over the course of a note in an easy, intuitive and powerful way. For example, once you learn how to create a simple filter sweep with the Timeline, you can go on to create complex sounds using any other form of modulation.

You can do most of your sound design work from the main screen, with no need for lots of extra screens and hidden menus. Everything you need is at your fingertips, making it a quick and efficient user interface. The on-screen controls animate as you play notes, showing you how they are changing over time. You can see how the sounds you are hearing are being made.

Features

• 4 parts or ‘voices’ per note for complex layered sounds
• Each voice is a complete synthesizer engine with its own Timeline, oscillators, filter, modulation options and effects routing
• Vector synthesis oscillators which mix between 4 waveforms
• Noise oscillator can be mixed into the main waveform
• Import waveforms from WAV files
• Use the additive editor to change individual harmonics for ultimate control
• Waveform editor allows you to draw in a waveform, great for experimenting
• 12dB/octave resonant filter
• Low pass, band pass and high pass modes
• All parameters controllable by the Timeline for great filter effects
• Per-note modulation matrix and LFOs
• All LFO parameters can be animated in the Timeline
• Modulation amount in each slot of the modulation matrix can be animated over the course of a note using the Timeline
• Delay, reverb, and distortion global send effects
• Effects send amount is controllable for each note by the Timeline
• Global low-pass and high-pass filters for general shaping of your sound
• 6 assignable X-Y pads with MIDI learn and host automation support
• Time freeze: sweep through the Timeline with the mouse or MIDI controller to control which part of the Timeline is being played

Kinisis supports the AU and VST formats on the Mac, and is a Universal Binary for both Intel and PowerPC processors. A demo version is available for download.

You can purchase Kinisis directly from Progress Audio for $110 / €85 / £80.

www.progressaudio.co.uk/Kinisis/KinisisMain.html

Discuss Kinisis in our Instruments forum.

Plogue’s new soft-synthesizer turns your VST, AU, or RTAS host into a classic video game console, vintage 8-bit home computer and even an 80’s arcade. Plogue chipsounds authentically emulates more than eight vintage 8-bit-era sound chips (on top of their variants), down to their smallest idiosyncrasies.

chipsounds also faithfully allows you to dynamically reproduce the accidentally discovered sounds effect tricks and abusive musical techniques that were made famous by innovative chip music composers and classic video game sound designers, which for the good part of the last 2 decades, have pushed beyond the boundaries of the original chip designs.

Sound chips from vintage computers, arcades and game consoles had unique sonic qualities that have been shadowed by recent and ‘better’ technologies. Their limitations in polyphony and timbre have forced musicians of the time to come up with a series of techniques which pushed the boundaries of what they originally offered.

Those special techniques, combined with each type of chip’s “imperfections” gave true personality to the music and sound effects of the 80’s. Here are a few example techniques used by classic chip music authors that have been precisely reproduced in chipsounds:

• Fast one-shot arpeggios with pulse width modulation and amplitude modulation.
• Rapid waveform changes (also known as wavetables) for “drum-like” sounds and guitar-like leads.
• Resynchronizing of envelopes and waveforms, through interrupt-based timers in order to create new evolving waveforms and odd ring modulations.
• Fast sweeping glides of discreet pitch values.
• Creation of a ‘poor man’s’ 4bit sampler using rapidly changing volume function of the chips.

The Mac version of chipsounds requires a G5 PowerPC or any Intel Mac with OS X 10.4 or higher, 1GB of RAM or more, and around 100 MB of disk space.

www.plogue.com/?page_id=43

Discuss chipsounds in our Instruments forum.