Academic Sonic Reality Miroslav Refill Gold Bundle Vol.1-6 | ~ 9.11 Gb
Sonic Reality Miroslav Refill Gold Bundle is the ultimate orchestral & choir collection for Reason. It contains 5 collections of orchestral instruments plus a 6th collection of choirs, all from the Miroslav Orchestra archives.
dfh EZdrummer is a multi-microphone drum sampler designed for musicians and producers in need of a compact, affordable, easy to handle plug-in without compromising sound quality or control. The visualized drums in the interface combines auditioning of sounds and drumkit construction. The extensive drag and drop midi-library (featuring 8000+ midifiles) enables users to create a great drumtrack in just a few clicks. For more advanced handling, users can control microphone bleeding and levels between drums using the internal mixer. The mixer also allows stereo and multitrack routing into the host through one single plug-in, and thanks to the second generation Toontrack Percussive Compression (TPC), system requirements are kept to a minimum. The drums for dfh EZdrummer were recorded, produced and played with the best in the business. From our pro SUPERIOR line we’ve adopted the humanizing features that are instrumental in making our drum samplers the pinnacle in digital drum production. With dfh EZdrummer, Toontrack have stepped into the next generation of acoustic drum-samplers.
Best Service K-Size Minimal Edition MULTiFORMAT DVDR | 3.8GB
K-Size Audio and Best Service present K-SIZE Edition. A brand new series of high quality loops and sounds for the electronic music scene. We kick off the series with the “K-SIZE “Minimal” Editon”. Featuring more than 2800 unique loops and sounds ready to use with your own club smasher: Kicks, Basses, Claps, Cymbals, Fx, Snare, Percussion, Synths, Vocals and Addon-, Full-, HiHat-, Percussion- & Synth Loops. All loops are available in the formats Wav/Acid, REX2, APPLE LOOPS. The producers set a new benchmark and added the real STYLUS/SAGE-Format. In addition, all One-Shot samples are ready to use in your favorite samplers like KONTAKT3, BATTERY2, EXS24, HALION and REASON.
After Hours is a collection (over 800MB of multiformat material) of hip hop, r’n’b & urban drum, percussion, bass, synths, keys, strings (and more!) loops & hits.
"Micro Synths" is the first release in next new FatLoud series - "Micro". 42 multiformat key & tempo labeled synth loops suitable to use in genres like hip hop, rnb, pop and urban. All loops was produced by Rafik (www.rafikbeat.com), young talented producer from FatLoud Producers Team. Each pack in MICRO SERIES contain 40-60 multiformat loops, hits or stabs in incredible low price! If you do not like to spend your money on "hundreds of sounds" librarys and use only few loops/hits after purchase... this series is for you! Packs in MICRO SERIES are small, but still hi FatLoud quality & no fillers included!.
FatLoud Hip Hop Construction King 2 MULTiFORMAT DVDR | 1.01 GB
Hip Hop Construction 2 is a sequel of FatLoud's bestseller "Hip Hop Construction King". Containing 10 hip hop/urban construction kits built from over 220 loops plus 90 one-shot drum hits. Includes 1,20 GB of multiformat material.
Xhun Audio is proud to present LittleOne, a faithful emulation of a new classic: the Moog Little Phatty analog synthesizer. To produce the same rich and warm sound of the original hardware, LittleOne emulates every single component of the Little Phatty (oscillators, filter, envelopes, LFO ...), preserving the original frequency responses and frequency ranges. The result is an analog-sounding instrument - all in the digital domain. But it's not over.... In addition to the Little Phatty synthesizer emulation, LittleOne encloses a full rack with a 16-step MIDI sequencer, a 16-step trancegate effect and two master effects slots.
Xhun Audio is proud to present LittleOne, a faithful emulation of a new classic: the Moog Little Phatty analog synthesizer.
To produce the same rich and warm sound of the original hardware, LittleOne emulates every single component of the Little Phatty (oscillators, filter, envelopes, LFO ...), preserving the original frequency responses and frequency ranges.
The result is an analog-sounding instrument - all in the digital domain.
But it's not over.
In addition to the Little Phatty synthesizer emulation, LittleOne encloses a full rack with a 16-step MIDI sequencer, a 16-step trancegate effect and two master effects slots.
Specs:
The Moog Little Phatty Physical Modeling emulation
An all-in-one complete synthesis setup!
Two aliasing-free analog modeled oscillators with continuous selection mode ( like the original ) between Triangle, Saw, Square, Pulse
A 4-Pole Low Pass filter modeled on the classic Moog Ladder, featuring the original frequency responses and overload control
Two 4-Stage ( ADSR ) envelope generators
Modulation LFO with the original waveforms and frequency ranges ( 0.2~500 Hz )
Monophonic/polyphonic mode , pitch bend ranges and more - all accessible from LittleOne LED display
128 ready-to-use presets from classic analog to contemporary cutting-edge dance to psychoacoustic sounds and SFX
XSQ16M, a build-in 16-step MIDI sequencer
GATED!, a build-in 16-step trancegate effect
Two master effects slots with the possibility to choose between delay, reverb, tube distortion, flanger, chorus
Full MIDI CC#s mapping (according to the original Little Phatty CC#s specs)
Introducing Mantis307 a fat, mean, and rubbery VST synth that was influenced by the similarly raucous sonic stylings of classic analog synths like the tb303, mc202, nord3, OSCar and juno60.
Features killer unison and distortion, as well as constant time slide (portamento done right!). In addition, 2 oscillators + subosc per voice, sync, mono and polyphonic modes, keyboard tracking, and 3 envelope curve types. (and much much more!). And with a super low CPU footprint that lets you layer many mantis sounds without breaking a sweat. Mantis307 was created for raw acidic sound design! ::: Mantis really shines when used like a tb303, as a bassline monosynth. To get you started, there are several teebee presets to get the aciiid juices flowing. But don't be fooled, Mantis's range of sounds include much much more than just 303 and basses.
The Bat is an faithful emulation of one of the most famous guitar distortion pedals.
The Bat will provide you with a wide range of distorted sounds from Blues to Punk rock.
Thanks to a unique gain stage design, the Bat gain knob will let you add sustain by enhancing a specific frequency range and push it into clipping. A diode clipper will then softclip the result once more and extend the dynamic range.
The tone knob acts like a classic low pass filter, and let you change the low pass frequency.
Mantis307 is described as "a fat, mean, and rubbery VST synth influenced by the similarly raucous sonic stylings of classic analog synths like the TB-303, MC-202, Nord 3, OSCar and Juno 60". It features "killer" unison and distortion, as well as constant time-slide ("portamento done right"). In addition, sync, mono and polyphonic modes, keyboard tracking, and 3 envelope curve types, and much more. All with a low CPU footprint that lets you layer many mantis sounds without breaking a sweat.
Sen'tor is modelled after a vintage overdrive pedal featuring a warm distortion chain and an advanced EQ. This EQ is a key element in this effect, as it let you sculpt the sound and obtain a wide variety of tones.
Each EQ knob has an influence over a full set of parameters regarding filters frequencies and relative volumes. What makes is so special is that each knob may influence the same parameters differently.
The "mid" EQ knob can produce a scooped sound when turned fully down, giving you access to that classic heavy sound.
Versatility is the key word here, and you will find yourself tweaking it and make it suitable for very different genres, from blues to hard rock or jazz.
A few effects managed to create a consensus among guitar players in terms of quality and usability...
...but very few ever created as much division as this famous fuzzy tone blending unit Rectifuzz is based on. Some love it, some hate it, but you can't get indifferent to the insane distortion provided by this big stomp effect.
Rectifuzz won't put an end to this debate but rather heat it up further more. Based on the circuitry of that famous pedal with a blend knob, Rectifuzz will provide you with a heavy, wide tone to fuel your metal amp or add some ringy grit to your funk riffs or lead solos.
Faithfull emulation
Each stage has been faithfully reproduced to give a realistic replication of that famous tone :
A preamp adds some color to the sound before messing it up
A distortion stage based on dual transistor fuzz will both fuzz and rectify the signal, producing that characteristic tone
Finally, the tone stage and final amp will polish the sound before leting you "blend" it with the dry preamp signal.
Four inner presets have been set to let you get the most out of this effect.
These presets change the basic setting of various elements in each sound processing stage to let you get a wider range of tones from this architecture.
The change is made through the simple "four dots" menu that follows our philosophy of keeping things simple in order to let musicians keep concentrating on music rather than on tweaking.
Features list :
On/Off switch
mono / stereo
Blend knob to mix dry preamp and distorted signals
Muffin Rider is based on a famous transistor fuzz pedal featuring two gain stages and a tone knob.
After 40 years of success, this pedal is still considered as a must when it comes to bold, loud sustain.
The unique architecture of this distortion let it autobias enough to get nice warm sustaining notes, and boosts and clips the high and low ends through the two gain stages in a way that provides that characteristic creamy tone.
From pink psychedlic to smashing grunge tones, this effect is a must in any guitar player's arsenal.
Lamp Driver is based on an analogue pedal featuring a tube to provide a warm smooth saturation.
It actually features two gain stages, one opamp based and one tube based.
Main gain is actually provided by the opamp stage; the signal is then hi passed before passing through a tube stage.
The result is a smooth and responsive tone enhancing your playing dynamics.
Two EQ variations are provided to respect teh orginal versions, and give you access to more tone options.
Fuzz effect is probably one of the most simple, raw effects possible.
While an overdrive aims at pushing the next element in the chain to saturation (usually an amp), a fuzz will amplify and saturate internally. The output signal has a regular level, but sounds highly distorted.
So making something new in the fuzz domain is not obvious and it is not everyday a plugin can claim clipping your sound in a new way.
Most software Fuzz will soft clip the signal, and slightly shift it to give it some bias.
Touch Sensitivity & Extreme Bias
Kung Fuzz and Kung Fuzz 68 are modeled after the famous Fuzzface® analog unit.
The dynamic response of that device differs from simple clipping in the way it biases at high input levels (see graph B).
At very low input level, the signal is clean.
When it hits the clipping threshold the signal is already quite biased.
As the input level increases not only the bias will not disappear, but will get stronger to reach its stable state, with an extreme bias factor.
The output sound is more nasal, emphasizing odd harmonics.
You can compare it to the difference between a minimoogish square and the most narrow pulse. Do not hesitate to feed it with a monophonic sound (guitar, voice, simple waveform) to hear this phenomenon clearly.
Kung Fuzz 68 enhances the fuzz possibilities by letting you set the amount of bias, and soften the clipping treshold to make it more versatile and better fit other sound sources such as bass guitar or synths.
Distortion pedals often kick overtones out of clipping limits. Playing chords in a distortion can become frustrating.
Based on a famous analogue circuit carved by guitar players, EZ-driver delivers a warm distortion while letting higher frequency pass through.
EZ-Driver is based on a famous opamp distortion that is reknown for its warm tone and the way it respects your guitar natural timbre.
The tonal quality of this effect makes it suitable for blues rock or jazz. The Drive knob affects both the tone and distortion by changing the first stage opamp feedback path.
From slight crunch to more pronounced distortion this distortion respect playing dynamics and gives you access to a variety of warm tones to spice up your signal chain without sacrifying your instrument specific qualities.
-plus is based on a famous distortion used in huindreds of recordings. Its classification can be subject to controversy since it is capable of smooth overdive sounds and can be pushed to more extreme clipped distortion.The secret of this effect lies in the distortion stage design, which makes the Gain knob affect both tone and distortion amount. Thanks to this design, the Gain knob (Distortion) let you access a wide variety of tones and makes it one of the simplest and yet more versatile distortion effect.
The D-380 is based on another effect using the same
design as a base. the D380 tone is very different hough, with much less low end and more pronouced mid range. This makes it suitable for leads and fast playing. It both provides a long sustain and enhances attacks precision.