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 →
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 →
SineVibes has introduced Turbulence 2, a distortion processor that “bends” and “curls” the input signal in real time, transforming it into synthetic textures.
Here’s what they have to say about Turbulence:
Even the most basic waveforms instantly become rich sounds with great density and character. Almost all of Turbulence’s parameters are animated by an extremely flexible sequencer with each of its 32 steps having individual transformer model, curve, modulation envelope – allowing easy creation of complex, lively rhythmic soundscapes. Turbulence can also store eight full snapshots of itself within a single preset, letting you switch them during performance or via host automation.
Controlling all of this technology is never hard thanks to Turbulence’s clean and simple, colour-coded user interface. It is rendered by your Mac’s graphics processor which means super-swift responsiveness and zero effect on audio performance. And with subtle animations of parameter changes, using Turbulence is always nothing but a pleasure.
SineVibes has introduced Flow – a flanger that’s designed to create effects that go far beyond tradtitional up and down ‘swoosh’ effects.
Flow uses a sophisticated envelope sequencer to modulate the sound in a rhythmical fashion. Flow has two different flanger characters, with positive or negative feedback, advanced synchronization and timing features, plus a host of automation and randomization options. Continue reading →
Moog Music has announced a big update to their Minitaur Editor:
“The Minitaur Editor has been rebuilt from the ground up and is now available free to all registered Minitaur owners.
In addition to the new standalone editor – VST, AU, RTAS, and AAX plugin compatibility have been added for improved DAW integration. Every feature on and under the hood of your Minitaur can now be easily accessed, automated, and recalled from within your favorite DAW.”
Today AIR Music Technology released an expansion pack for its AIR Instrument Expansion Pack (AIEP) with universal plugin support, and many virtual instrument enhancements. Air Music Technology were creators of the original virtual instruments and core effects offered with Avid Pro Tools software.
AIEP contains seven virtual instruments that range from emulations of vintage gear, to unique synthesis technologies, to tools for intuitive music creation. Each title is available in VST, AU, and AAX plugin formats, and can integrate with leading DAWs.
The updated Air Instrument Expansion Pack features Hybrid 3.0 and 2.0.2 versions of the other six instruments: Loom, Vacuum Pro, Structure, Strike, Velvet, and Transfuser 2. All the instruments feature numerous improvements to sonic quality, interface design, and production workflow. Continue reading →