Free Music Software: The Venom VB-303 is a pattern-based acid bassline synthesizer for Windows inspired by the Roland TB-303.

Venom VB-303 is actively under development, but is still in beta.

Download links are available at the KVR forum.

Euno Lite (App Store link) is a free “new-generation” mobile synth from Electric Ears that features a “sounds as color” interface.

Description:

Consisting of three Oscillators, 4 Waveforms (including Ring Modulation) a 6db/12db Filter, an Envelope, a Master Controller set-up alongside its versatile Keyboard facility as well as real-time Pitchbend and Filter Cutoff controllers. euno lite is unique because of 2 things…One, it offers the best sound you can get from a mobile device. Two, its versatile keyboard, offering normal, legato/glissandi and tremolo playing modes as you could have never imagined on an iPhone/iPod touch.

To take most advantage of it, we do recommend to use euno lite with your favorite sequencer or with your favorite FX pedal set together with your guitar amp!

Knobster has released another bizarre free virtual instrument for Windows,  Mellofan.

Mellofan is something like a cross between a Mellotron an a household fan, letting you play music with the sound of a fan.

Features:

• Adjustable ‘melodiousness’
• Adjustable frequency and amount of rotation
• ADSR-envelope
• LP filter

via SonicState

Iliadis has introduced Efthimia Organ, a Windows virtual instrument. The Efthimia (Greek Name) Organ simulates a Hammond Clone Organ.

Description:

The Sound of this Instrument is not the usual Clean Sine Sound. It’s wilder but still warm. 9 Standard Drawbars for the Upper, 9 for the Lower Manual, 6 for the Pedals, a Percussion Osc with his Harmonic Selector, a Key Click Imitation, the Classical Vibrato Scanner and the Studio Reverb made the Efthimia Organ very powerful.

Details below. If you’ve used Efthimia, leave a comment with your thoughts!

Features:

• 64 Notes Polyphony for the Upper Manual and 64 for the Lower. The Pedals Section is Monophonic.
• 9 “Standard” Drawbars for the Upper Manual, 9 for the Lower and 6 for the Pedals.
• A Percussion OSC with a Selector for the “Standard” 9 Harmonics. Adjustable Decay and Level. A Touch Button switches On/Off.
• Key Click Imitation. Adjustable Decay and Level. A Touch Button switches On/Off.
• Vibrato/Chorus Virtual Scanner (V-1, C-1, V-2, C-2, V-3, C-3). A Touch Button switches On/Off generally. One Touch Button for the Upper and another for the Lower Manual makes it possible to set On/Off the Vibrato/Chorus for each Manual.
• Adjustable Master Reverb (Studio Type), Tune and Level.
• 128 Programms available.
• Vintage Look GUI.
• Low CPU consumption.

Efthimia Organ is donationware, with a minimum required donation of 20 EUR.

DirecBass 2.0 FREE is a reduced version of the Mid+Neck Patch 16Bit 44Khz with one articulation ( Hammer-ons ). It has the same features of the full version .

Key Features

• Low notes B-C-D
• 24bit 96Khz,
• Direct recorded for amp simulators,
• Full sustain,
• Natural decay (no loops),
• 5 velocity layers,
• Round robin for alternate picking

Pettinhouse has a bunch of other free virtual instruments available for Kontakt. Like DirectBass 2.0, they are “teaser” versions of their commercial products.

KX77FREE’s KX-Synth-X16 is a free virtual analog modular synth plug-in based on the EMS VCS3 structure, but with some additional features.

KX-Synth-X16 Common features:

• Three variable shape oscillators.
• Noise generator.
• Ring modulation.
• Two external inputs.
• LP filter; 18 db per octave with self oscillating.
• Same structure of the matrix (16*16).
• XY joystick.

Added features:

• Modern skin with notepad and variable color background.
• Keyboard controls to the oscillators and filter; -10 volts to 10 volts; useful for keyboard scaling.
• You can adjust the response curve of the oscillators.
• 256 mini knobs to adjust the plot modulation (0 to 1).
• The original ASR (trapezoid) is extended to 2 ADSR with Host synchronization.
• Delay fx with Host synchronization.
• MIDI controllers.

KX-Synth-X16 is available for Windows as a VST instrument plug-in.

via VSTCafe

Knobster has released Keywriter, a free rompler VST that reproduces the sounds of a German typewriter, Erika.

Note that I’m not referring to you, #1 awesome Synthtopia reader, as Erika. That would be a little pervy.

Unless your name is Erika.

Erika is the brand of German typewriter that the industrious gents at Knobster.org chose to emulate as a free rompler VST.

Now, a rompler that sounds like a German typewriter is probably the last VST on earth that you thought you’d ever need or want.

But this is actually a good thing.

Because it means that all those VSTs that you do need or want have already been invented, and they are available for download for free or for a small sum of money, via your local online music retailer.

Regarding Keywriter, it can be used as a unusual rhythm machine and as a tool for special effects. You can listen to a scintillating example at the Knobster.org site.

Main features of Keywriter:

• Full range of typewriter sounds;
• Stereo control;
• Drive control; and
• Low CPU usage.

Did I mention the awesome graphic user interface, Erika?

You’ll like it, especially if you’re on PC. If you’re on Mac, you’re out of luck this time.

via Making-music

MOTU BPM was one of the hotter pieces of music software to come out of the 2009 Winter NAMM Show, because it is designed to turn your computer into an advanced MPC-style virtual instrument.

MacMusic has an early review of MOTU BPM, and they’re impressed:

BPM is a force to be reckoned in the drum machine world. With its huge library and strong feature set, BPM can easily hold its own compared to hardware drum sequencers. BPM’s compatibility with all major DAWs deserves bonus points. I would have liked to have seen a MIDI programmable sound repeat button as well as a hi-hat decay slider as on MPC drum machines- perhaps in a future update.

Nonetheless, BPM is by far the strongest software drum machine currently available. I’ll be looking to see how musicians find creative ways to use BPM, much like the MPC, but in my opinion, MOTU may have officially put all hardware drum machines on notice.

No faint praise!

Have you used BPM? If so, leave a comment and let us know if you think it’s the strongest software drum machine currently available!

More on MOTU BPM.

NUSofting has announced Strings Dream Synthesizer, a software synthesizer designed to reproduce the sound of the most famous strings machines in synthesizer history – emulating the classic Eminent Solina as well as its sister keyboards from Elka, Crumar and even their Japanese cousins.

You can preview the sound of NUSofting’s Strings Dream Synthesizer below:

Strings Dream Synthesizer” will be released in May 2009 first as VST plugin and later as AU. Estimated price 89 USD.

Details below.

If you’ve used NUSofting Strings Dream Synthesizer, leave a comment with your thoughts!

About Strings Machines.

A remarkable number of musicians recognize the desirable sonic character of “string machines”.  String machines were unique to the Seventies and nearly every major manufacturer offered some variation on the theme.  ARP’s biggest selling instrument was in fact their Omni, an instrument that combined a string machine with a simple synthesizer.  Even Moog got in on the act with their Opus 3.

Just as the Rhodes piano and Hammond organs were intended as portable solutions to musicians who desired the sound of more cumbersome (and expensive) instruments, string machines were seen as the gigging musician’s alternative to the orchestra.  Or, at the very least, it was easier to carry around than a Mellotron!  Of course, the string machines didn’t sound like an orchestra, but had a character that today’s musicians find quite appealing on its own merits.

What makes a string machine?

This is a polyphonic electronic keyboard based on the top-octave divide-down technology as used in electronic organs to produce a fully polyphonic instrument from a single master oscillator.  This means that just a single oscillation is the primary cause of all frequencies of all notes played.  There are two main sonic characteristics of instruments that use divide-down technology:

1) The waveforms are all derived from a simple pulse (on, off states) using post filters
2) The relative phase of the waveforms for all generated pitch is locked, more later about why this is so valuable.

Ensemble and/or Chorus effects were perhaps the main contributing factor to the sound of these instruments.  Not just any old chorus, either.  Only a good old-fashioned analogue BBD-based chorus or ensemble will do.  “BBD” is short for “bucket brigade device”, a specific sort of analogue (not digital as we are used today) chip used to generate delay in audio: http://en.wikipedia.org/wiki/Bucket_Brigade_Device.

Between two and six BBDs were employed to create the thick, swirling ensemble effect.

The delay times of BBD components are modulated using from 2 to up to 6 oscillators at low rate (LFOs), with different waveforms and rate, depending on the Chorus design. (Modulation of delay times is a method to simulate an ensemble of instruments using audio processing)

http://www.dsprelated.com/dspbooks/pasp/Chorus_Effect.html

The BBD delay not only delays the audio signal but also modifies the audio spectrum in a remarkable way, further adding to the signature sound of the strings machines.

Let’s return to the subject of “locked phase” aspect of top-octave divide-down technology.  The phase, “roughly speaking”, tells us when the waveform of the sound is going through its positive or negative cycle.  When the relative phases of two simultaneous sounds are not locked, you will hear variations in amplitude and timbre. This is especially obvious with electronically generated timbres.

Thus the inventors who aimed at the portable synthesized reproduction of a strings ensemble combined “locked phase” sound generation with a Chorus based on BBD chips.  As luck would have it, this clever design results in a stable timbre, providing not only in a good emulation of the acoustic strings ensemble, but also a singularly hypnotic sound suitable to the psychedelic musicians, then and now.

The amplitude modulation issue, aka the Paraphonic voicing.

Organs using the top-octave divide-down technology are fully polyphonic.  Each note is turned off and on using a simple gate on key down, so that the sound amplitudes change almost abruptly from zero to full volume and vice-versa when the key is released.  Manufacturers sought to compensate for this with expression or volume pedals designed to articulate the sound with fade ins and fade outs, rising or lowering the volume.

String machines however, draw upon the same sort of simple Attack/Decay style envelopes familiar to synthesizer players.  However, this presents a new problem.  In order to achieve full polyphony, there would need to be an envelope generator for each and every note of the keyboard.  A very costly (and cumbersome) solution!
Manufacturers found another answer in “paraphonic voicing”.  It works about like this: the first key played triggers the envelope, which increases the volume as set by the Attack parameter.  So long as the first key is held, any other other note will start at the currently-held volume level.  Since there is only one actual envelope generator, the envelope itself is not re-triggered.

What happens when the key is released depends on the particular manufacturer’s implementation. Usually the first release key starts the fade out of the sound and following keys are slaved to that first key’s volume.

In any event, the Paraphonic voicing has some little something to do with the familiar string machine sound, though many string machine manufacturers approached their envelope behaviour in different ways

The Paraphonic label is also applied to other synthesizer keyboards which have a polyphonic oscillator bank followed by a monophonic section with envelopes and filters.  The classic Polymoog is one such instrument, and so is the Korg Poly-800, which had eight voices, but only a single filter.

Other Features and a little history

Not all strings machine feature Vibrato and De-tuning of coupled oscillators.

Ken Freeman was the inventor of an early strings machine.  His machine’s ensemble effect is not based on a BBD Chorus.  Instead, multiple de-tuned oscillators are triggered with each note. See the great article by Gordon Reid at

http://www.soundonsound.com/sos/feb07/articles/freemanstring.htm

Like Freeman’s String Symphonizer, the Yamaha SS30 had twin oscillator banks that could be de-tuned against one another.

The vibrato in organs and strings machines (which are organs plus envelope and chorus) is created by modulating the pitch of the master oscillator.  This can add more (soemtimes too much!) movement to the strings sound, but it can’t replace the chorus effect. The sort of vibrato is mostly useful for solo lines.

The first big chorus effect made using BBD components was the one designed by Eminent in Holland for their home console Eminent 310 Unique.  A simplified version of this became the Ensemble effect of the famous the Eminent Solina.  The Solina, in turn, was re-badged by ARP as the String Ensemble.  Read more about that at

http://www.soundonsound.com/sos/may07/articles/eminent310.htm

ARP made it’s own version of the chorus effect by essentially adding an LFO to the Eminent design

Italy was the home of many strings machines, most notably the Crumar, Elka and Logan ones.  The Elka Rhapsody was extensively used by Tangerine Dream both in the studio and on stage.  These keyboards have a very different sound the Solina.  It’s sound is somewhat harsher and thinner than that of the Eminent, but can be rich, like the Logan String Melody and some Crumar keyboards, though the latter tends to be more aggressive.

Crumar, Elka and Logan keyboards were sold in Germany and USA with different brand names.

Japanese manufacturers offered their own take on the string machine, including those made by Roland, with their now-classic chorus effect in tow.  The advances in these designs would elevate the quality of the string synthesizer to a whole new level.  Read more about that at:

http://www.soundonsound.com/sos/Jul02/articles/retrozone0702.asp

String machines were solid contenders for over a decade, even lasting well into the era of fully polyphonic synthesizers.  It was only when sampling hit the scene that these dear old machines would finally be laid to rest.

Today we can still appreciate the first simple analogue strings machines for their unusual and evocative tones.

Strings Dream is able to reproduce the infinite array of rich, analog pads from the most famous string machines in synthesizer history. Emulate the classic Eminent  Solina as well as its sister keyboards from Elka, Crumar and even their Japanese cousins.

String Dream does not use samples.  Instead the “octave divider” circuity typical of those early polyphonic synths has been natively emulated, so that all sounds are computed in realtime in true VA fashion.

The fundamental “Ensemble” effect (like the vintage Solina chorus) accurately follows the architecture of its hardware counterpart.  However, it has been extended for a wider range of “chorus” effects.

String Dream is easy to use.  It’s layout and features take their cue from and expand upon the familiar Solina design, with only the necessary controls to achieve the textures of the other strings machines.

We’ve provided a full ADSR envelope generator and Waveform selection (for several strings and organs sounds),.

There is a volume fader and switch for each of 6 stops (C.Bass, Cello, Brass, Horn, Viola, Violin).  The fader for each stop allows an almost infinite number of mixtures.

A powerful parameter to tune the relative phase of Violin wave against the other voices.

Brightness and highpass filters are also adjustable.

More performance flexibility with MIDI velocity and polyphonic mode selectable.

Note also that the C.Bass and Cello are monophonic with full legato mode and you can select one of eight keyboard split points, allowing you to layer the mono voices with the others.

Beside the chorus “Ensemble” effect, Strings Dream offers a four-stage Phaser for those famous “Jarre pads” and an exclusive reverb with the ability to morph on request to that “trembling” sound of the vintage spring reverb units.

“Strings Dream Synthesizer” will be released in May 2009 first as VST plugin and later as AU.  Estimated price $89 USD.

Tweaking The Parameters of SDS.

The 6 stops (C.Bass, Cello, Brass, Horn, Viola, Violin) are modeled after console organs or the big accordions, and should be conceived of in the same way.

C.Bass and Cello are the bass instruments, monophonic in SDS VSTi.  Cello has the standard tuning, also called  8′ in organs, while C.Bass is one octave lower (16′ voice). Their waveforms are fixed and the filters of these voices enhance the low tones.

Brass, Horn and Viola are 8′ voices in the standard tuning. The names suggest the kind of filters applied to these stops, therefore Brass is bright and shrill,  Horn is a much darker tone, and Viola is more open and even.  Using an accurate mixture of these three stops you can emulate a huge array of string machine oscs tones, and many variations besides.

Violin is a 4′ voice, which that means that it is one octave above the Brass, Horn and Viola. Note that for this stop a Phase knob is available, providing a significant harmonic change when the Violin is layered with another stop.

Note also that C.Bass and Cello are played only by the keys below the split point (the note set by the “Split Lower at XX” menu), while the other can be played over the entire range.

Another  remarkable feature is the ability to choose from three different waveforms for the set Brass, Horn and Viola, Violin.  You get two “sawtooth” waveforms and a “vintage” square. The latter allows for more evocative psychedelic effects.

The spectrum of the oscillators sound can be further shaped by the Brightness and HPF controls. Brightness boosts the high frequencies and HPF controls the main highpass filter.  Raising the value of this parameter reduces the low frequencies.  This is very useful when emulating the lighter texture of a viola or violin ensemble.

The Amp Envelope.

This is a full four-stage ADSR envelope (attack time, decay time, sustain level, release time).  The vintage hardware string machines usually featured only attack and release times in order to fade the sound in and out, but we’ve given you a little more control.

The ADSR mode switch allows to simulate the so called “paraphonic” mode used in the first hardware string machines.  When the switch is up, the ADSR is fully polyphonic and plays like a more conventional synthesizer envelope.

The MIDI velocity sensitivity is also something which obviously didn’t exist in that funky old gear, but SDS allows it as an option.

The Effects.

The three SDS effects are self-explanatory. Experiment with their knobs and have fun!

Andre Michelle created this gorgeous virtual Tenori On, ToneMatrix.

Michelle describes ToneMatrix as a “Simple sinewave synthesizer triggered by an ordinary 16 step sequencer. Each triggered step causes a force on the underlaying wave-map, which makes it more cute.”

Give it a try and let me know what you think!

via MusicOfSound

At the Winter NAMM Show, Spectrasonics introduced Trilian, the company’s successor to their Trilogy bass module.

The new instrument has a much larger core library and features new acoustic, electric and synth basses — as well as enhanced versions of the classic Trilogy sounds. Trilian is the first 64-bit native software based on Spectrasonics STEAM Engine and is the first virtual instrument to feature full library integration with the company’s flagship Omnisphere synthesizer.

Trilian Features (preliminary info):

• Trilian is the long-awaited successor to the award-winning Trilogy software plug-in
• Much larger core library includes multiple NEW Acoustic, Electric & Synth Basses
• Includes enhanced versions of all the original Trilogy patches
• Based on powerful STEAM Engine technology — like Omnisphere
• Arpeggiator with Groove Lock for instant bass line syncing to any RMX groove or MIDI Files.
• Omnisphere library integration: use any of the Trilian sounds inside Omnisphere!
• Integrated FX racks, including all effects from Omnisphere
• 8-part multitimbrality allows access to multiple articulations in a single plug-in
• High Definition streaming sample playback with Multi-channel audio architecture allows easy Mic, DI and Release soundsource mixing within a single layer
• Extensive ‘Round-Robin’ sampling for natural sounding bass lines with repeated notes
• Expressive Multisampled dynamic slides — realistically slide from one note down to another
• Live Mode allows 8 dynamic bass articulations loaded at once with instant, seamless key-switching
• Stack Mode allows user configurable key/velocity/controller articulation mapping
• New Custom Controls main page for rapid editing, access to the most useful controls and user interface customization for each patch
• State of the art new Browser with Searching, Attributes/Tags, Images
• Edit Page offers very powerful sound manipulation features including Timbre Shifting, FM, Flex Mod, Modultable FX, Dual-voice Harmonia(tm) and more
• Mac Universal Binary VST/AU/RTAS support — Windows VST, RTAS
• 64-Bit native support

Trilian is set to be released May 18, 2009, the MSRP is $299/€229. All Trilogy customers can upgrade to Trilian for $99. There is also a special free upgrade offer for Trilogy customers on the Intel-Mac platform and for customers who purchase Trilogy in 2009. Upgrades will be available exclusively through Spectrasonics online techshop.

Full product details, comprehensive sound listings and system requirements for Trilian will be announced in May.

Winter NAMM Show: Submersible Music introduced DrumCore V3. Version 3 sports a new interface, over twice as much content and is now a plug-in.

DrumCore gives songwriters and composers access to grooves and instrument sounds of over a dozen famous drummers and percussionists. It includes a library of both audio loops and MIDI grooves plus a software drum instrument for Mac and PC. DrumCore covers a multitude of styles — including rock, blues, metal, prog, alt-rock, pop, jazz, urban, funk, Latin, reggae and others.

DrumCore v3 will be available for $199 in Q2 of 2009. A v3 upgrade will be available to all DrumCore customers for $50 USD, available via the Submersible Music website and music software resellers worldwide.

New Drumcore 3 Features:

New User Interface

DrumCore v3 features a new interface with enhancements asked for by DrumCore users. Now it’s easier to search and audition the vast number of grooves in DrumCore via List View in the updated Groove Browser plus Audio Mode and MIDI Mode are more clearly indicated. Beats, variations and fills are arranged into song-like GrooveSets for fast access. Search content based on drummers, musical styles and “Feel” criteria (like shuffle, swing, 1/8th, 1/16th etc.) and then simply drag and drop grooves into any popular music application (Acid, Cubase, DP, GarageBand, Live, Logic, Pro Tools, Sonar, etc.).

Vastly Expanded “Basic Beats”, Urban and Jazz Sections

A huge selection of bread-and-butter songwriting beats have been added plus expanded jazz content featuring Seattle jazz drummer Gregg Keplinger (http://www.greggkeplinger.com). Submersible’s popular “Urban GT” expansion pack ($49 value) is now included, which features classic hip-hop and modern R&B MIDI grooves plus 24 subwoofer-slammin’ drumkits.

Matt Cameron (Soundgarden), John Tempesta (Testament) and Stephen Perkins (Jane’s Addiction) Content
Included with v3 are drumkits and grooves from Seattle rock/alternative legend Matt Cameron (Soundgarden, Pearl Jam), all of the TempestaPack II expansion pack ($79 value) featuring smoldering metal drummer John Tempesta (Rob Zombie, Testament, Helmet) and new grooves by Jane’s Addiction drummer Stephen Perkins.

RTAS/AU/VSTi Compatible

DrumCore v3 is now a plug-in for easier integration with all the popular recording applications.

“LiveDrummer” Technology

DrumCore MIDI engine enhancements provide greater realism for drum rolls and cymbal performances. Tired of “machine gun” playback? Grab the LiveDrummer slider and get more dynamics into your groove!

DrumCore Toolkit

DrumCore Toolkit can be used for importing REX2, WAV, ACID and AIFF loop libraries as well as for building drumkits using any WAV or AIFF files. It is a standalone application and ReWire client that works similar to DrumCore 2.5.

Drummers

DrumCore includes content by these great drummers: Ben Smith (Heart), John Bishop (Ernie Watts), Terry Bozzio (Jeff Beck, Frank Zappa). Matt Sorum (Velvet Revolver), Tony Braunagel (Bonnie Raitt), Ned Douglas (Dave Stewart,), Sly Dunbar (Bob Marley), Michael Shrieve (Santana), Alan White (John Lennon, Yes), Matt Cameron (Soundgarden, Pearl Jam), John Tempesta (Testament, Helmet), Stephen Perkins (Jane’s Addiction), Lonnie Wilson (Brooks & Dunn, Rascal Flatts), Luis Conte (Clapton, Sergio Mendes) Zoro (Lenny Kravitz) and others. Even more drummer content is available via “DrummerPack” expansion libraries.

2009 Winter NAMM Show: First up, let me state a pet peave: it should be against the law for software makers to advertise their software with awesome 3D models.

All the ads for MOTU BPM make it look like it’s an killer piece of hardware, not a virtual instrument. This seems to be a favorite trick for companies trying to make a virtual instrument look more awesome than it really is.

Other than that, it looks like BPM will be an interesting new app.

Here’s the official description for BPM:

BPM unites drum machine-style operation with advanced virtual instrument technology to give you the ultimate rhythm programming experience. Combine drum kits, sequenced patterns, sliced loops and instrument sounds to realize your rhythmic vision, mixing and matching any playing style with any drum kit. Or plug in your pad controller or MIDI keyboard to capture your live, groove-quantized performance directly in BPM.

Let me know what you think of BPM in the comments!

Inspired by legendary groups like Tower of Power and the big bands of decades past, MOJO is designed for emulating everything from a sultry sax solo to a screaming full big band.

More than a dozen articulations are instantly loaded and intelligently handled via performance features and keyswitches. Behind the scenes, a humanizing function, smart release layers, and custom legato and vibrato tools assist the player in reproducing the sounds of horns with realism. Crescendos and swells sync instantly to host tempos and can be triggered in real time.

Included in the instrument collection are: soprano, alto, tenor, and baritone saxophones, trumpet (open, muted, and piccolo), flugelhorn, trombone (open and muted), bass trombone, and clarinet. The articulation list varies for each instrument, but generally includes sustains, stabs, staccatos, trills, slurs, shakes, octave runs, rise to hits, falls (including four different lengths), doits, bends, stylistic riffs, special effects, and tempo-synced swells and crescendos.

All samples are recorded in 24-bit stereo using the finest preamps in the world, including a vintage Neve 1073 and a LaChapell Audio 992EG, and mics by AKG, Neumann, and Coles.

MOJO is powered by the  Kontakt engine, offering integration into all major sequencers via its AudioUnit, VST, and RTAS plug-ins, as well as standalone operation.

MOJO is expected to ship in March, 2009 for 499.94

Sonart Audio has released Yamaha C7 Grand Piano – a free 1.68 GB piano virtual instrument for Mac and Windows.

This piano was sampled in an acoustically tuned environment with every note in 20 velocities for 40 seconds plus a piano release and noise layers, recorded in 44.1 kHz/24 bit.

Features:

• Fantastic realistic sounds
• 20 velocities for 40 seconds plus a piano release and noise layers.
• Ease of use in the PC/MAC studio
• New 1.67 Gb 24-bit core wav library
• 7 different formats (EXS24, Kontakt 2.1, Kontakt 1.5, Giga 2, Giga 3, Halion and Wav).
• All NEW Sounds recorded by CS & Sonart sound designers
• Fully programmable

Multiformat Download Pack:

• REX2
• Reason
• RMX
• NI Kontakt 2.3+KSP
• Apple Loops
• AKAI MPC
• ACID
• WAV
• Halion
• SF2

plastique is a new freeware software synth for Windows from de la mancha.

It’s a 2 oscillator subtractive synth, using the 31 waveforms from the Casio HT-700 synth and some enhancements to the originals feature set. It does lofi 80’s sounds but also so much more, with a configurable filter (up to 16 poles), a pitch envelope for percussion, an arp, tempo sync delay & LFO, chorus and some lofi instability.

Features:

• 31 Waveforms from the Casio HT-700
• 2 Oscs with sync and octave / semitone detune
• Configurable Resonant Low Pass filter (2-16 poles with cut-off spread)
• Volume and Pitch envelopes
• Tempo sync LFO with 10 waveforms and note-on sync to modulate filter and pitch
• Tempo sync Arp with 6 modes and adjustable octave range, note length
• Tempo sync Delay
• Adjustable Chorus
• Lo fi options include reduction in quality, distortion and pitch drift
• 64 presets from Tim Conrardy, Ouroboros & Sink

Arman Bohn has released a free virtual instrument for Windows, the Glass Armanica VSTi.

It’s a virtual recreation of Ben Franklin’s rubbed glass instrument, known as the Glass Harmonica, Armonium, Hydrocrystalophone, or Armonica.

The Glass Harmonica makes gorgeous, ethereal sounds.

Here’s a sample from Bohn’s Glass Armanica:

The samples were created by filling wine glasses with water and tuning them with a chromatic tuner to the appropriate pitches (drop by drop). It was recorded with an Oktava MC-012 cardioid condenser microphone running into a Seventh Circle C84 Preamp.

The VSTi features:

• A single octave octave of samples running from MIDI note 72 to 84 (Octave 6)
• Amplitude ADSR controls
• Velocity sensitivity
• Reverb with width, size and mix controls
• Hi-Cut and Master Volume controls

It’s a free download from Bohn’s site.

TAL-Vocoder is a vintage vocoder emulation with 11 bands that emulates the sound of vocoders from the early 80’s.

Here’s a demo of Tal-Vocoder in action:

It includes analog modeled components in combination with digital algorithms such as the SFFT (Short-Time Fast Fourier Transform).

This vocoder does not make a direct convolution of the carrier and modulation signal as other digital vocoders maybe do. It includes an envelope follower for every of the eleven bands.

This vocoder is optimized for voice processing and includes some algorithms for consonants to make the voice more intelligible.

The carrier signal is a VCO (Voltage Controlled Oscillator) with a Pulse, Saw, Noise and SubOsc. But it’s also possible to use the left stereo input as carrier. This way every sound source can be used as carrier signal. This plug-in supports every sample rate.

via MakingMusic

SonicState takes a look at GForce M-Tron Pro, which is expected to be released soon. Price $199 / €139 Euros/ £109 UKP.

Features:

• 200+ total tape banks (sample sets), including:
  • 45 brand-new tape banks not found in the original M-Tron
  • 19 tape banks from the original M-Tron virtual instrument, remastered at London’s legendary Abbey Road Studios
  • Over 40 looped tape banks
  • Over 3.5GB of samples total
• 700+ patches including many created by world-class recording artists and programmers
• Up to 35 notes, each individually sampled
• Dual layer and split keyboard operation
• Programmable MIDI CC response via MIDI Learn
• 29 parameters per layer including synth parameters: Vintage-style ensemble and delay effects
  • Low-pass, band-pass and high-pass resonant filter section
  • Tape reverse
  • Tape half speed

Formats
Standalone, VST 2.4 (Mac/PC including VSTi), RTAS® (Mac/PC), MAS (Mac) and Audio Units (Mac).

Therminator 1.0 may not be controlled like a real theremin, but the sound is similar and musically useful.

As the developers say, “it makes a passable alternative to the real deal, especially in places where noise is a big issue. And it’s good for annoying friends as well!”