Image-Line Plugins (Win/Mac OSX) | 893 Mb
Audio Plugins Pack by team R2R 2014.10.24, consist of synth modeling, effects, filters etc.
The Drumaxx percussion modelling instrument gives you total control over 16 physically modelled drum pads that can be routed to independent outputs for external effects processing.
DrumSynth Live features simultaneous support for 24 programmable real-time drum patches, each assigned to a separate key (C4 to B5). You can morph dynamically from one drum patch to another - just select the patch to morph to and tweak the morph amount wheel. In DrumSynth Live, sound is created by two noise generators and filtered by bandpass filters with incredible range - you can set anything from a single frequency (sine wave) to full white noise.
Gross beat is perfect for real-time or rendered gating, glitch, repeat, scratching and stutter performances. Gross Beat stores audio in a 2-bar rolling buffer under the control of 36 user definable time and volume envelopes, giving you unlimited creative control. Gross Beat Time and Volume presets can be linked to a keyboard, pad controller or automation source for on-the-fly changes to the preset. Preset slots can be set to momentary (key-held), return to base (slot 1) or hold mode on a per-preset basis. Preset-change synchronization can be set from immediate through to 4 beats (1 bar). Let our FL Studio Guru explain you how to automate Gross Beat using automation clips or the FL keyboard pianoroll.
Playing guitar is cool, but the steep learning curve to make your DAW sound like your old amp and stomp-boxes definitely isn't. Welcome then to Hardcore. These great stomp-boxes can be neatly arranged on the Hardcore pedalboard, each with it's own distinctive 'hardware' flavour. But wait, there's more (as they say), Hardcore includes an 8 band graphic EQ and 5 classic cabinet simulations to tie it all together into one massive sound. You will be feeling at home with Hardcore in no time at all, but more importantly sounding like famous people.
You may ask: why For several reasons. To begin with, there are too many subtractive synthesizers already, often bragging about being virtual analog. This one is digital, and proud to be. Everything is fake, the tone generator, the filter & its resonance, the phaser, all performed on the harmonics, before partials are computed. Now, how it's synthesized shouldn't matter after all, if the result sounds subtractive. But Harmless is more than a proof of concept, it allows fine control that wouldn't be possible through classic subtractive synthesis. Filtering and phasing can be assigned unusual shapes & slopes, something normally only possible through offline digital filters. Filter slopes can even be defined in Hz instead of octaves. Finally, you get control on each partial's frequency, creating timbres definitely impossible using common synthesis methods. Harmless was limited by design. We don't have any problem with complex synthesizers (we made several), but they're not for everyone. Here, no tabs, no hidden controls, no multipoint envelopes, all features are visible at once, and color-grouped. Over 100 parameters, most of which being automatable, are laid over a clear GUI.
Includes different sound effects such as Delay, EQ, Compressor, Flanger, Enhancer e.t.c. Delay VSTi is a delay line plugin, with inverted stereo / ping pong modes & a lowpass filter, optimized for automation (input and feedback values are ramped). Spectroman VSTi is a spectrum analyser plugin. It behaves like a row of peak meters, from low to high frequencies. The louder the frequency, the higher the bar will peak. A sonograph is a rolling display of the intensity Descriptionted as a chart. Low frequencies are Descriptionted on the left through to high frequencies on the right (Edison has a much larger and higher-resolution capability for this type of display on sampled data). The louder the particular frequency the brighter the trace on the screen. This plugin is useful (when mixing) for checking the frequency distribution of your mix.
Maximus will quickly become one of the most rewarding tools in your recording and mixing arsenal. Maximus applies level maximization via compression and/or limiting across three frequency bands, to enhance and improve the final track. Used sparingly, Maximus raises the volume of the track without introducing unwanted distortion and ensures that the quieter parts, often lost in the mix, are more easily heard. Maximus offers 4 user definable compression curves and complete visual analysis of the sound as it is processed. Bass can be increased and higher frequencies sharpened. Selected elements of a mix, instruments or vocals for example, or complete tracks are given a professionally mastered 'presence'.
Morphine is a powerful Additive Synthesizer with a logical, flexible architecture that allows you to create any sound. You can do this directly by adjusting harmonics manually or by taking any input sample and resynthesizing it into one of 4 independent voices. Morphine introduces a minor revolution to the world of Additive Synthesis. With low CPU usage algorithms that retain a warm sound without sacrificing articulation accuracy, and a flexible architecture, Morphine moves instantly to the top of its class.
Ogun's distinctive synthesis engine can generate more than 32,000 harmonics, modulated by high-level "harmonic mapping" functions, that hand tonal control directly to the user.
Poizone is a subtractive software synthesizer designed to bring you professional quality results, without a learning curve that hinders your creativity. The concept behind Poizone was to design a synthesizer that had the smallest number of controls while providing the maximum flexibility and features.
Like the transient beauty of Sakura (Japanese for Cherry Blossom), the sound of stringed instruments blossoms and fades. Image-Line brings you "Sakura", the string physical modelling instrument, to express the delicacy and beauty of stringed sounds. Sakura can reproduce the delicate pluck of a single string, a violins bowing or the sonorous resonance of a grand piano. Most importantly, the curious musician can take control of every aspect of the simulation to create fantastic instruments. Ever wanted to know what a 20 foot guitar sounded like Or a bowed piano Now you can find out, Sakura opens up a world of string modelling possibilities, why not download the Sakura demo and try it for yourself. The Sakurazensen is coming, be there to experience it.
Sawer is a vintage modelling synthesizer, that cuts through the mix to deliver precisely articulated and punchy sounds. Sawer pays homage to the envelopes and filters of a rare 1980's Soviet analog synthesizer, Polivoks. Maxx has devoted meticulous attention to the detail of Sawer's filter and envelope designs, ensuring Sawer delivers a unique sonic character reminiscent of the Polivoks hardware.
If the wave file contains slice/region data this will be automatically used instead of the beat-detection algorithm. Slicex offers playback, reordering of slices and time-stretching capabilities optimized for drum loops.
Meticulously crafted, Sytrus delivers ethereal lush pads, sonorous bells, scintillating highs or simply dirty grunge. The 6 user- definable operators can act as independent oscillators for subtractive synthesis, cross-modulate to create complex FM (Frequency Modulation) or RM (Ring Modulation) synthesis or the 256 partial harmonic editor can be used to additively synthesize virtually any timbre you can imagine. With up to 64x oversampling Sytrus delivers 100% epic sound.
Toxic Biohazard is the 4th generation in the line of Toxic synthesizers. Toxic Biohazard distills the best features from the previous 3 versions to deliver our most concentrated Toxic ever. Beware! Toxic Biohazard features a hybrid synthesis engine, combining the best of FM and Subtractive synthesis. With the addition of a warm, analog-modelled filter and set of built-in effects, the Toxic concept remains one of convenience, simplicity, and superb sound quality.
What is Vocoding You have heard vocoding many times, even if you don't know what it is. Vocoders are the classic robot voice from many sci-fi movies. Vocoders analyze the real-time frequency band activity of one sound, the Modulator, to control frequency band activity in another, the Carrier. A vocoder consists of a series of narrow-band frequency gates that allow through only those frequencies from the Carrier that are detected in the Modulator source. So if a human voice is used to vocode a synthesizer chord, it will sound like the synthesizer is talking. Check the demo tracks above.
Platform: WiN32 - EXE/VST, WiN64 - VST, MacOSX - APP/AU/VST
All above links are interchangable. No password