Berlin-based audio software developer Eisenberg Audio has released a new software synthesizer, Vier.
If you remember high school German class, you’ll recall that Vier means four, and Eisenberg’s Vier emulates the Doepfer MS-404, the monophonic analog synthesizer from the 1990s.
The Doepfer MS-404 was a single rack device. Vier combines four independent rack modules in one interface. More than an emulation of a beloved vintage synth, Vier uses modern technologies for its synthesis engine, such as anti-aliasing oscillators, which are capable of audio range modulation and zero-delay feedback filters best known from synthesizers like LuSH, Monark or Diva. Continue reading →
Propellerhead has announced that the new Instrument Development Toolkit (IDT) for Rack Extensions is now available. The free developer kit is designed to make it easy for sample library producers and instrument designers to build and sell Rack Extensions.
“With the Instrument Development Toolkit, it’s easy to build powerful Rack Extension instruments for Reason, even without prior coding experience,” says Propellerhead’s Mats Karlöf. “Developers can easily create Rack Extensions that sound incredible and work flawlessly within Reason.” Continue reading →
IK Multimedia has introduced SampleTank 3 Free, the free version of their SampleTank sound and groove workstation for Mac and PC.
SampleTank 3 Free is essentially a fully functioning version of SampleTank 3: The only difference is that SampleTank 3 Free includes a small portion of the sounds featured in the full version. Continue reading →
Virtual instrument maker AIR Music Technology has introduced The Riser, a new synthesizer for “creating powerful transitions.” Created with electronic dance music producers and DJs in mind, The Riser “infuses tracks with progression and hype.”
Central to The Riser are three editable sound generators – sweep, noise, and chord – which allow the user to manipulate the movement, timbre, and tonality of the transition. Three low-frequency oscillators (LFOs) provide modulation duties for each patch, including beat-synced movements and what AIR are calling the “Pumper” effect to modify dynamics. Reverb, delay, and mixer controls allow the user to shape transition volume, effect saturation, and stereo imaging. Continue reading →