At The NAMM Show 2015: Applied Acoustics Systems has announced the upcoming release of Strum Acoustic GS-2, a new version of its award-wining Strum Acoustic GS-1 guitar track production plug-in.
Strum Acoustic GS-2 will ship with a streamlined interface, a new equalizer and compressor module, a new multi-effect processor as well as native 64-bit operation on Mac OS X and Windows, among other features. The factory library has been completely redesigned and includes an “impressive” collection of steel and nylon guitars. Continue reading →
At the 2015 NAMM Show: Focusrite introduced the Red 2 & Red 3 Plug-in Suites, featuring 64-bit AAX, AU, and VST compatibility
These are the first Focusrite plug-ins to include AAX support, making them compatible with Pro Tools 10 and above. With its introduction, the Red 2 & Red 3 Plug-in Suite is bundled free with all Focusrite Scarlett, Saffire, Forte, and Clarett audio interfaces. The plug-in suite will also retail separately for $299.99. Continue reading →
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 →