10 Best Audio Software of All Time in the KVR Marketplace
We asked the vast horde of KVR Members to identify what's cool. What follows is a list of the ALL-TIME best audio software according to KVR Members. The only limitation is that each software must be available for purchase within our own KVR Marketplace. What follows is the best of the best we have to offer within the KVR Marketplace.
Starting with #1 u-he's Zebra.
Zebra is a wireless modular synthesizer that combines subtractive and additive synthesis with a powerful modulation engine and built-in effects section. Version 2.0 adds the sonic capabilities of FM, modeling of natural sounds and advanced wavetable synthesis.
Zebra 2 offers many different types of synthesis and sound manipulation options, and you can mix them up in any way you choose. For instance, you can easily combine additive synthesis with phase distortion and frequency modulation. Or you can recreate the structure of your favourite analogue synthesizer. All this is done in an intuitive drag-and-drop fashion, without cluttering the user interface with cables.
Zebra is meant to be the most flexible yet easy to use synthesizer one can think of. Zebra presents you with as much complexity as you need for a particular sound, but not more. It's layout is arranged so that nothing gets in your way, unless you explicitly want it.
I just picked this up a week or so ago, and i agree with the sentiment here that this at the top of the list of synths I've researched (dozens - but for music tech research more so [unfortunately] than spending time to master them creatively), and I couldn't be happier. It has a certain quality about it that transcends the divide between the more digital and more analog synths, with a pleasing warmth but at the same time potentially having a cutting edge precision.
Kudos to the people who came up with its signal flows and interfacing and filters and algos. (There should be a documentary about its development really. I'm not clear on whether They really knew what they were doing.
Really the only thing I can find about the history of its development comes from this article:
I personally own over 20 softsynths, and have been toying with some lesser-known ones because innovation always fascinates me.
But nothing in the Zebra package would be particularly obvious to me as a programmer. I'm sure there synths with bits of brilliance that could be mentioned as excelling in one element or area or another, but Zebra is particularly unique in that it never loses the high standard of musicality from the beginning of its signal flow to the end. I know recently musicians have begun to be impressed by more organic and analog processes, while being also spoiled by some very good well-crafted digital softsynths. Exploring the confluence of these two evolutions in taste and creativity seems to be at the heart of our current electronic music scene. At the time I made my purchase of Zebra I was considering purchasing Diva first. This was because I had watched some of the few Zebra tutorials out there, and the synth didn't really look "familiar" or directly compare with the common and basic synth flows I had worked with. I've experimented with ANA 2 (very good), Serum and Massive (and a few of the other Komplete synths) and the Image Line product line, Dune 3, Phase Plant (as a demo for 14 days - really loved it), Omnisphere (somewhat of a hybrid rompler synth but some well-worth-it features IMHO despite its price tag), Spire, Adam Szabo's Viper (a phenomena and over-looked synth really), Cycle (Amaranth - an orphaned synth unfortunately), Quik Quak's Glass Viper, Auddict's Hexeract (a disappointment since it seems to have been abandoned, along with Fxpansion's Geist 2, lol), AIR and KV331's synths, the Madrona Labs stuff (very good for "unexpected and artsy"), IK Multimedia's Syntronik (nice), etc. So much variety, and a lot of interesting specific features in here for most of these, that I can't go into for lack of time.
But frankly I wish I had tried and learned Zebra long ago.
Zebra actually seems worthy to focus on more so than any of these, because I literally can not make it sound bad or uninviting. I can make it sound dangerous, ugly, menacing, and so on, but it creates such a steady illusion that I'm playing with organic electric juice, that it, more than any other synth, reminds me of playing with high end electric guitar gear. Expressive. Musical. Often stunning.
So I was just going to write a short review to go along with what's already here. This is not a new product - but I had to add my two cents and I hope the developer knows how much I appreciate the fine thought process and heroic standards, and I most definitely look forward to Zebra 3. Good work U-he.
As an aside, Plugmon Neumann (as more than a skin really) looks incredible and I'm checking it out - to make understanding and working with Zebra easier. $35 at the moment. Interesting.
I love it. Just bought it and spent this whole weekend playing with it.
The manual is great to but would like to know more about the Resolution parameter. It not really clear how it interacts with other parameters. Which parameters does it interact with? What are the downsides of turning the Resolution parameter up or down? In which cases should I turn it up and when to turn it down?
Thanks in advance.
Diva's oscillators, filters and envelopes (which can be mixed and matched) closely model components also found in some of the great monophonic and polyphonic synthesizers of yesteryear. "But, " says Urs, "what truly sets DIVA apart is the sheer authenticity of the circuit emulations – at the cost of a relatively high CPU-hit, DIVA is the first native software synth that applies methods from industrial circuit emulators (search for "PSpice") in realtime. Especially the authentic behaviour of DIVA's zero-delay-feedback filters, when pushed to the limits, demonstrates the advantages of this groundbreaking approach."
u-he describes the available filters as "famous transistor ladder", "screaming Sallen-Key", "classic OTA ladder" and "OTA state-variable" (and similar for the oscillators), and owners of classic analogue synths will already know how best to apply these models – they are easily differentiated in the gorgeous user interface.
Since Version 1.3 Diva also features a Digital Oscillator, an "Uhbie" filter and a vintage-style Arpeggiator.
Diva's virtual analog synthesizer is the best in the business.
I absolutely love the 5 different oscillator models, the 5 filter models, and the 3 ADS(S)R envelope models. They all help this monster to create amazingly beautiful sounds applicable across all genres. And if you're not feeling like designing your own sounds, their 1200+ factory presets will get your creative juices flowing.
I have Diva preloaded on tracks for everything from bass, pads, leads, keys and fx on my templates, and I can't imagine my life without it.
Diva is an analogue modelling synth that really captures the vibe of old analogue gear with some extra additions. It offers a flexible take when it comes to mixing and matching oscillators, envelopes and filters from a variety of classic machines. I personally found mixing FM into a Moog bass gives me some amazing EBM bass tones I can't get with anything else. It's sharp, snappy and full sounding. The sound quality is nigh on perfect...I'm not sure how you could really improve on this. We've reached the point where analog modelling is good enough to make it virtually indistinguishable from the real instruments. The UI is fabulous, it has a great preset system, it's possibly one of a very few synths that I think is in almost all senses, perfect. My only criticism would be that it's quite heavy on the CPU, so on an older system it struggled a bit running multiple instances but I've just upgraded to a Ryzen 3950X and it runs like a dream. I think it's just how things are going, you can have 'ok' and low CPU or you can have fantastic and higher CPU usage. This definitely goes down the later path, though you can enable eco CPU options (though you probably won't want to once you hear how it sounds). Sure, it's slightly pricey but you get a lot of swappable modules in terms of oscillators and filters so it carries a lot of flexibility with Moog, Juno and MS20 style options so sound wise you get a pretty broad palette. You can also dig under the hood on a per voice level and tweak the individual osc tuning which again, gives you a lot of scope to tune this to how perfect/wonky you want it to be. I like my synths a little wonky and characterful and it can absolutely do that.
All in, one of the best vst's you can buy, if not the best. It's been my go to bass synth since I got it. Absolutely great for anything needing a stand out bass sound, so great for techno or dance music or anything with classic analog character. The pads and leads are also great. Big selection of quality presets but being of the classic era, it's super easy to program your own from scratch, not to mention, actually a lot of fun. I think this will be right up there for most people as a 'go to' synth.
Really love this thing.
From Hollywood blockbuster composers and Billboard Hot 100 producers right through to keen beginners, the world of music production trusts the comprehensive feature set, straightforward tools and unrivaled sound of our acclaimed music production software.
- Sampler Track 2 – Improved Sampling Editor with features including slicing, LFOs and legato glide. [Pro/Artist/Elements].
- Frequency 2 – Amazingly precise dynamic EQ for better mixing. [Pro].
- Squasher – New dynamic tool to improve leads, tame bass and enhance reverb for EDM. [Pro/Artist/Elements].
- Scale Assistant – A Songwriter's Dream. Analyze, follow, or quantize to a scale or play live in tune. [Pro/Artist/Elements].
- Advanced Key Editor – Create perfect pitch bends and more in the MIDI CC. [Pro/Artist/Elements].
- Global Tracks – Stay in sync more easily with tempo changes, markers and more now in the Key Editor. [Pro].
- Advanced Audio Export – Simplify creating stems with new export queues. [Pro].
- Imager – Multiband stereo placement for perfect panning. [Pro/Artist].
- New Score Editor – Workflow improvements and beautiful new fonts from Dorico. [Pro].
- New Samples – Six fresh, exclusive sound and loop sets. [Pro/Artist/Elements].
- SuperVision – Super-flexible, fully customizable metering. [Pro/Artist].
I've been Cubase from the beginning with an Atari1040ST and later on I switched to PC.
Till today!I tried also other DAW's but Cubase is the one that siuts best for me.
It is easy to use, offers a nice workflow and has so many features that makes me save time.Read Review
Best DAW ever. I switched from Logic some years ago I never regretted.
Very good MIDI handling, Media bay is very well implemented and a decent set of out of the box plugins.
And now Steinberg seems to listen tu its userbase too. Well done.Read Review
SynthMaster is an 'all-round' semi-modular software synthesizer and effect plug-in that features many different synthesis methods including VA, Additive, Wavetable, Phase Modulation, Phase Distortion, Frequency Modulation, Pulse Width Modulation, Ring Modulation, Amplitude Modulation, Physical Modeling and SFZ Sample Playback synthesis.
With its multi-synthesis oscillators, analog modelled/digital filters, flexible effects routing with 11 types of high quality effects and a massive modulation architecture with 95 separate modulation sources and 650+ modulation targets, SynthMaster is a powerful instrument for all synthesizer enthusiasts.
Great sound and its easy to program. Although its an older synth its still one of the very best.Read Review
This synth can do pretty much every type of synthesis at this point. You also get tons of presets, which is nice. And there's lots of filter options and they sound good.
The sound quality sounds a little less "high-fi" compared to some of the newer synths like Avenger, Falcon, etc.
The built-in effects don't sound very good in my opinion..
The developer is pretty engaged and active on KVR which is always a bonus.
The main drawback is the interface. For me, it is very clunky to use. There are a ton of tabs and different screens to jump between. Modulation is painful to work with. Also, in general I find the envelopes in Synthmaster (and Synthmaster One) to be difficult to use.
However, for the money, you can't get much more "bang for your buck" than Synthmaster 2... it's a true bargain. Especially if you want to browse through presets. Other newer synths may have better interfaces or features, but there's a big jump in price for the synth and presets usually.Read Review
OB-Xd is based on the Oberheim OB-X. It attempts to recreate its sound and behavior, but as the original was very limited in some important ways a number of things were added or altered to the original design.
OB-Xd was designed to sound as good and as rich as the original. It implements micro random detuning which is a big part of that sound. However, it was not designed as a self-contained completely independent soft-synth. It needs to be contained within a VST framework where things like transposition, automation, layering, arpeggiation, etc., are available.
While not copying originals, some of the features were taken to a better point. Continuous blendable multimode filter (HP-Notch(BP)-HP in 12 dB mode and 4-1 pole in 24 dB mode). Also, like many synths of the OB-X's generation, the OB-Xd has no internal effects so its sounds and textures can be greatly enhanced by the use of additional processing like chorus, reverb, delay, etc.
Pro Tools AAX plugin version offered with registered version only.
Obxd sounds great, there are a ton of good patches and banks on KRV and the GUI is large enough to see and use. It's a very usable synth. I love the S&H. Thanks to the developer and all those that contributed patches.
I'm running Windows-7, 64-bit with REAPER 64-bit. I'll try it on the Mac soon.
joel in Dallas.Read Review
This synthesizer is amazing; it's a very good, useful emulation of the OB8, from what I can tell, and it has the features I want an emulation of the Oberheim synths to have: clear, lush sounds, easy interface, unison, sample and hold.
The sound is incredible. It doesn't have a sub oscillator, but I haven't been able to tell if it really needs one; you can get the synth to grind low without much of a problem, especially with the unison mode.
There's not much that can be said about the user interface and features; it has a set of filters, the SEM's resonance and cutoff features that seem to be clear enough. (I don't have an actual SEM to compare against, nor am I really concerned about an exact match, personally; I just want the thing to sound good.)
All in all, a very worthwhile synthesizer; I use it with Cubase 7.6, 64-bit windows version, and it works very well for me.Read Review
The FabFilter Pro-Q is a top-quality equalizer plug-in with perfect analog modeling, dynamic EQ, linear phase processing, and a gorgeous interface with unrivalled ease of use.
Effortlessly sculpt your sound
FabFilter Pro-Q is designed to help you achieve your sound in the quickest way possible. Via the large interactive EQ display, you can create bands where you need them, enable dynamic EQ for any band, and select and edit multiple bands at once. Unique features like Spectrum Grab, Full Screen mode and EQ Match will speed up your workflow even more.
Mixing and mastering features
Pro-Q offers everything that a demanding engineer could wish for: top-quality linear phase operation in addition to the zero latency and unique Natural Phase modes, smooth dynamic EQ, per-band mid/side processing, full surround support (up to Dolby Atmos 7.1.2), an intelligent solo feature, optional Auto Gain and a built-in, fully customizable spectrum analyzer.
10/10 for a clean EQ for technical and surgical usage with up to 24 (!!!) bands.
I use that clean, very versatile EQ every day on almost every channel at least as the LPF/HPF. It is my standard channel strip EQ right in the beginning before any other plugin.
Very helpful are the "solo" buttons to listen to the frequency range you're actually tweaking. Also awesome is that you can mark several bands at once and move them together in frequency and/or gain, whether you do it with the mouse or the knobs.
Thanks to the wonderful GUI, I also always use it to reduce resonance frequencies.
Want to work on MS? Easy done. Just change the whole EQ from L/R mode to M/S mode. Every band can be set separately to M, S or both, or respectively L, R or both.
The analyzer can be set to different settings (resolution) and on different signal path points: pre, post and pre&post. Very helpful.
On top of that, you can also choose between non linear phase with zero latency to different linear phase modes with different latency settings.
Although not my first choice for musical Eqing, the possibility to go up to 30kHz and work with a Baxandall bell curve can bring some nice high end shine.
For surgical and correction issues I wished you could switch every band independently to LR or MS. Let's hope that's possible in v2, although I'm not even sure if this is possible within one plugin ;)
And maybe Fabfilter starts to implement different GUI sizes in future versions.
Nevertheless: This is a must-have-workhorse-EQ for every DAW.Read Review
Pro-Q Vers. 1.23 is amazing channel eq, and on zero latecy mode sounds like it is in analogue phase mode. Sounds smooth, clean, transparent, and has nice stereo vibe. For cutting extremely useful, and has GUI one of the kind in the world of plugins. Also linear phase modes are under your command, if you need them. Practical, and flexible eq with unique possibilities of splitting bands between M/S, L/R what is very useful in the painting with sound over the sound picture. When you working with Pro-Q you always want to watch his display like magic is happening that moment. Analyzer is also very good without noticeable latency, and can be assigned to Pre, Post or Pre+Post. Pro-Q can be automated thru MIDI with great precision and flow without any audio artifacts. Highly recommended workhorse eq that sounds very good in the mix. Very focused sound, and in correction cut's keeps source's integrity very well. The most important fact is that is light on your CPU. For the next update V2 we expect to find 18db/oct. low cut slope inside hopefully.
10 out of 10 without any thinking.
Pro-Q V2 is now one of a kind with all possibilities that offers. Fabfilter did it again and released V2 of the well known eq with a lot of improvements in all ways. New mode "Natural Phase" gives extreme transparency and smoothness while retains cleanness and preserves transients even better from V1. Linear phase mode is also improved with quality settings up to the Max. Mastering on this mode is a pure joy. Zero Latency mode is also improved sonically. Full screen mode is so good to go into smallest details, and keyboard with notes that shows frequency of every note with +/- cents if you don't work on 440 tuning (sick) standard is really helpfull. Auto gain compensation, Optional Gain-Q interaction, Filter shapes: Bell, Notch, High/Low Shelf, High/Low Cut, Band Pass, Tilt Shelf, Different interface sizes and additional Full Screen mode, EQ Match feature to automatically match the spectrum of another track via the side-chain input, Phase Invert option to change polarity, Highly improved CPU optimization: Pro-Q 2 uses less memory and is more than twice as efficient as its predecessor! Built-in spectrum analyzer with Pre-EQ, Post-EQ and SC modes, adjustable range, speed, resolution, tilt and freeze, Spectrum Grab: just grab and adjust a peak in the real-time spectrum analyzer right away.
This eq is something that you will like at the first try.
Again 10 out of 10.Read Review
ACE (Any Cable Everywhere) aims to deliver top quality sound at a competitive price. The selection of modules and clear layout make ACE the ideal instrument for newcomers delving into the fascinating world of modular synthesis. The number of ways to connect modules together is practically infinite, and you will soon discover how much more fun it is to make your own sounds in ACE than in a non-modular synthesizer, according to u-he.
ACE may seem underspec'ed judging from its raw feature list, but bear in mind that virtually everything can be plugged into everything else. You can plug an LFO into a Filter and from there use it as a source for FM.
You probably can't name a softsynth that I don't own. And this is -- by far -- my favorite.
tl;dr: Reviewer gushes for several paragraphs.. .
Ultimately, this is a synth with two oscillators, two filters, two LFOs, two envelope generators, and two VCAs. Yes, you can patch anything anywhere. But before we even talk about that, let's talk about those five elements (or four of them).
Because really, ACE is a study in what happens when you try to make those five things as good as they can possibly be. The oscillators are among the best I've ever heard in any synth of any kind. Just absolutely luscious. Filters? Taken by themselves, they're probably not as jaw dropping as the ones in Diva (by the same developer) or Cytomic's The Drop (the only filter I've ever used that can actually bring your CPU to its knees if you push it hard enough). But they are gorgeous, and more importantly, it's very hard to put everything underwater with them. They just gel perfectly with the rest of the synth. LFOs and envelopes? What's the big deal? The former is just some kind of extra wave, and the latter is a fancy volume knob. Think again. The LFOs have as much character as the main oscillators, and the EGs are incredibly flexible (with a "snap" function that will tighten them up when you need it, and a "fall/rise" rate knob that basically gives you another stage). They can do lazy, and the can stand at attention. In other words, we're dealing with fantastic components.
My advice? Don't patch anything anywhere for a week. Or a month. Or a year. Because honestly, that sync knob will keep you occupied. Or the ring mod on the second oscillator. Or the mixer panel. To really appreciate ACE, you have to commit to exploring it normalized. It is just astonishing how good it sounds.
And after that? Well, what can I say. Everyone knows the drill. You can patch those EGs to anything. Those glorious oscillators can modulate each other or anything else (and you can stack each one eight voices high, with separate tunings). Or use the LFOs -- which, again, are as fantastic as the mains -- as oscillators in various kinds of FM configurations. Or run the filters in series. Or crossfade things through the mults (or do AM). Or glitch the thing out with crosstalk and simulated capacitor failure. Or use the mapping generator as. .. anything you'd like it to be. It is seriously endless.
And none of this really exhausts all of the little details that conspire to make this an incredibly flexible synth. Some days it sounds like a mini. Some days I can get it to sound like some kind of Buchla fantasia. Some days it's doing squeaky clean synthpop. Some days it wants to growl like an MS-20. Some days it's doing outtakes from a Tomita record. And really, all of that makes perfect sense, because as the dev put it:
"If you really want to compare ACE to a classic modular synth (or three), think of it as a pimped-up ARP 2600 using modules from a Roland SH-7 with (almost) the patching flexibility of an EMS VCS3 / Synthi A – but polyphonic."
As said, I own a lot of softsynths (including emulations of ARPs and EMS rigs). Like many, I have spent a lot of time and money chasing down "features." Eight oscillators! Four types of comb filter! ACE taught me how absurd all of this is, because at the end of the day, it's all about the Big Four. Essentially, ACE is a modular rig for the non-insane. Other reviews have echoed this sentiment, but it's really true. The fact that it's really "just four and four" is entirely liberating; it forces you to think about what you're doing and why, and yet I've never had more happy accidents with any other piece of music software. You will die at your keyboard before you run out of sounds to make with this thing.
A few other quick things:
1. ACE is not loaded up with FX, but the chorus is the most gorgeous I've heard in software. Its default setting (and the same goes for the delay) are beautifully subtle. And there's a phaser that manages to not take you instantly to Itchycoo Park (unless you want to).
2. The press was very insistent that this is an advanced synth that is emphatically not for beginners. I get it, but having spent a lot of time with this thing, I'm not sure I really agree with that. It would certainly require some patience, but plenty of people learned synthesis on rigs like this, and I have a feeling they were better for it. One of the consequences of being able to override the normalization is that you can isolate the components very easily. I can imagine a fantastic guided tutorial where we start by patching the oscillator directly to the VCA in gate mode and go from there -- adding one component after another and dealing with things in small segments. It would be really educational. It's certainly taught me a few things, and I considered myself pretty knowledgeable before I got it.
3. ACE is not "Bazille Lite." Seriously. The interface is similar, and Bazille has more of everything, but they are very different instruments. Bazille's oscillators, in particular, sound completely different, because it's trying to emulate and facilitate various kinds of FM/PM sounds. It's more accurate to say that Bazille is the "digital" complement to ACE's insistently analogue setup (though that's not fair in a way, because the one can imitate the other to a degree).
4. That said, there have been rumors of an ACE XL (or maybe just wistful requests for one). I suspect that's not coming any time soon, but the devs didn't dismiss the idea. I would buy such a thing in a nanosecond, but honestly, I don't find myself wishing ACE were more powerful than it already is.
I'm writing this review ultimately because I think this synth is massively underrated. It wasn't heavily reviewed, there aren't a lot of tutorials, it looks intimidating, and despite having hundreds of presets, it's never going to be anyone's goto rompler. I also think a lot of people bought Bazille without really realizing how different this thing is. It's an absolute classic. And a monster.Read Review
best with starting the plug from then on you will have one hell of a time to close it again, this VA-Modular-VST is hell addictive.
The ACE concept of plug any cable anywhere enables you to do some really impressive sounds and cabling, which can be a bit daunting at the beginning especially for newbies in creating sounds from scratch.
You can use any tutorial about Modular synthesis and learn it in ACE and master it there and thanks to the clear GUI you always know where to put things.
The best of ACE: plain simple it is one of the most impressive analogue sounding VST's out there and pretty powerful in what it can do to!
The worst of ACE: The only real downside of ACE... it's processing hunger, but sound quality doesn't come from thin air, you will learn to love the freeze/bounce function of your host, you need it a lot...
This synth captured me since I got it christmas 2009 and didn't let me go for a long while, hence the late review ;) I am struck with love for this baby, lush pads, booming basses, soaring leads and experimental sounds with ACE you can produce most of the sounds you need.
I just can say thanks Urs make the Bazille a bigger monster!Read Review
Bitwig Studio 4, new musical timelines have arrived.
This means comping for audio clips, both in the Clip Launcher and the Arranger. A new set of Operators, for changing the chance, recurrence, and more of any note or audio event. Random Spread for any expression point (like per-note pitch, or audio panning) with perfect control. And Native Apple Silicon support on Mac, even allowing Intel and ARM plug-ins to work side-by-side.
For me Bitwig Studio is the no #1 choice if you are an electronic producer who want to enjoy as much freedom as possible.
Bitwig is so "open"and versatile. There isn't any other DAW on the market that offers such a freedom. You can modulate everything and there are so many possibilities of customisation. Also the dev-team is very responsive, bringing constantly great updates and they are listening to the customers. It's a mixture of pure awesomeness and freedom. Thanks Bitwig.Read Review
Das Rating ist so, weil ich es für mich in dem Umfang nutzen kann, ohne größere Defizite zu haben. Weiterhin, weil auch die Lizenzphilosophie für mich aktuell okay ist. Die Bitwigger leisten sehr gute Arbeit auch mit der Community, die wirklich schnell gewachsen ist. Natürlich hat jeder Newcomer seine kleinen Defizite, doch ich bin sehr optimistisch, dass da noch einiges gutes ansteht.
Ich habe seit Jahren FL benutzt. Die losen Fenster, die grafischen Dinge vor allem, sind leider nicht schön. Dinge, die man auch nicht einfach modifizieren kann. Seit Bitwig als Nebenspieler zu Ableton, hat mich dann doch sehr überzeugt, eine andere Strategie zu versuchen und mich nicht mit dem umherschieben der Fenster zu beschäftigen. Wer schon mal eine DAW unter den Fingern hatte, wird relativ intuitive mit Bitwig arbeiten können. Sicher war es in FL auch nicht so kompliziert. Ich bin fähig mit allen DAW's wenigstens die Basics zu verstehen, da ich fast alle probiert habe. Somit war Bitwig kein Problem. Ich kenne DAW's die sind da anders.
Als nun Bitwig ins Haus kam, konnte ich relativ fehlerfrei meine Plugins implementieren, 32 und 64-bit, meine Samples einfügen und schon loslegen. Super einfach, mit geringem Grundwissen über das Programm. Die feste Struktur und GUI macht es sehr einfach Überblick zu bekommen und zu behalten. Die Chains sind wirklich wahnsinnig hilfreich, wenn man Effekt-Ketten hinter seinen Synthies legt. Das Anreihen von Tools ist einfach und übersichtlich. Und alles in einer Chain-Datei speicherbar. Somit hat man immer das komplette Paket und kann seine favorisierten Sounds jederzeit finden und wieder benutzen. Jedes Plugin wird in eine Bitwig-Eigene Form gebracht, die nur aus Knöpfen besteht, somit muss die GUI des Plugins nicht offen sein. Leider kann diese Knopf-Liste unangenehm lang werden, wo man sich gerne mal eine zweite oder dritte Reihe wünscht. Jedes Plugin startet in einer Sandbox, somit muss man bei Fehlern nicht das Programm neu starten, sondern nur das Plugin. Super .
Warum ich nicht Ableton nahm? Ich habe Ableton probiert, kam damit klar konnte es mir aber nicht leisten. Der Reiz des neuen hatte mich auch fasziniert und außerdem hat Ableton genug Nutzer, weswegen ich mich auch wirtschaftlich gesehen lieber für Bitwig entschied, das war kein Fehler. Die 12 Monatslizenz mag ein wenig unangenehm sein, aber wer es sich leisten kann und die Updatedate-Philosophie bisher okay fand wird gerne ein paar Credits für den next level sh*** hinlegen. Bitwig ist wirklich gut im Rennen und steht den anderen DAWs, bis auf wenige Dingen, in nichts nach. Es gibt da draußen sicher Musiker und Experten die evtl. spezielle Anforderungen haben, die Bitwig noch nicht erfüllen konnte oder erst noch wird, doch für mich reicht das zurzeit völlig aus, um komplexe Beats zu bauen in einem angenehmen Arbeitstempo.
Go Go Bitwig u have my Voice.
impOSCar2 is the multi-award winning reimagination of the OSCar..
impOSCar2 is the successor to our multi-award winning impOSCar software subtractive and additive synthesis synthesizer. If you're not familiar with the impOSCar then you're in for a real treat. However, if you fell in love with it the first time around, be prepared to fall in love all over again.
impOSCar2 comes with a 1000+ Patch library featuring sounds created by original OSCar users including Billy Currie (Ultravox) Darren Price & Rick Smith (Underworld) & Paul Wiffen (the original OSCar sound designer and programmer for Stevie Wonder & Jean Michel Jarre).
While the original impOSCar was a component emulation of the rare and classic OSCar synthesizer with a few added features, such as polyphony and on-board effects, impOSCar2 soars to new sonic heights via steroid injections of innovative features and enhancements, each designed around the wishes of those musicians, programmers and producers who loved the original.
Since the original impOSCar release we've carefully compiled user feedback and over the course of eighteen months, in another true labour of love, we've incorporated the best of these within impOSCar2 creating a synth that positively oozes more character, more playability, more expression and more detailed sound sculpting opportunities than could have been imagined a few years ago.
The basic sound is very pure and warm, rich in harmonics and very clean, but under the hood we'll find that the oscillators also support additive synthesis - something you don't get on your everyday VSTi. This is very useful for harsh sounds, synthetic bells, experimental noise and for advanced sound design. The thing with the oscillators is that they have that full-range-but-not-icepicky sound so rare in synths today - it is a colour of its own, like Eddie Van Halen used to say, a "brown" sound...
The next stop is the "Drive" feature - something I abuse on my day-to-day music making. But, just like the original, it doesn't distort the sound - it is merely an overdrive to change the harmonic response. Very useful for thick basses and leads, and the reason I don't care about the lack of an "Unisson" option.
The filters are also at an league of its own. The Separation knob is unique to this design, and splits your filter in two, giving you more control over ressonance. The basic 24db/oct lowpass is turned with two 12db/oct filters, for example . You can also crank the Q knob and use Separation to turn a bandpass (or lowpass+bandpass, or whatever) into a very rich formant filter.
Other than that, the interface is very easy to use after you get a grasp of it. I'd reccoment this software to anyone trying to learn analog synthesis, because everything is at your face, and harder features are very inviting to experimentation. The patch library contains a large number of quality sounds, and the manual explains the harder functions in detail.
Summing these three main features I must say that, in my opinion, this is the best sounding VSTi ever written.Read Review
It can be a little confusing at first, but you wouldn't believe how well the manual clears it up. Without the manual, I would probably give it a 6.
I can't even do it justice with words. Just try the demo, and then when it starts making horrendous, disturbing noises (the copy protection on the demo slowly increases the noise level in the background until it becomes deafening), but it. Best beal on the planet.
It's not Absynth or Massive, but I am not going to dock any points for not cramming it full of features. It has what it needs, and uses it all well. The filters are... geez, I'm speechless just thinking about it.
As mentioned before, the manual clears up any questions you may have about the UI, so I give it a 10.
I am not much of a preset user, but it does come with a lot, and they show off its extreme might very well. Also, in the newest update (not in the demo) there is a much better preset browser built into it, so that is very nice.
I am giving a 10 for the addition of the preset browser. It was something that obviously a lot of people wanted, so the updated the synth to have one. Plus, they seem to be owned by M-Audio now, so you can't go wrong there (I think).
Value For Money:
If there was an infinity symbol available instead of a 10, I would give it infinity. If you buy one synth, buy this one.
Has not crashed yet. I did have some weird issues running multiple instances, but as far as I can tell, I fixed that when I updated to the latest version.Read Review
DUNE 3 is a powerful polyphonic synthesizer that combines VA/subtractive, Wavetable and FM synthesis with an extensive modulation system, named the Differential Unison Engine (DUNE).
A unique feature of DUNE 3 is the ability to synthesize a very high number of oscillator voices, regardless of the synthesis model in use. At full polyphony, up to 8320 oscillators can be active simultaneously.
The synthesizer output passes through two high-quality FX chains, containing EQ, Delay, Reverb, Distortion, Phaser, Chorus and Compression, in order to polish the sound yet further.
An incredibly powerful Synth with a perfect implementation. Fully NKS compatible, regularly updated, extremely well documented.
Easily one of the top 3 synths to own. You will know what I mean as soon as you get your hands on it.
Why did I purchase it? Because all the professional reviews confirm this is truly a masterpiece and also that out of all the soft synths on the market, this is the one which sounds the closest to a hardware synth.
Supports Dune 2 and Dune 3 presets and includes quite a good number of presets of the box.
You will notice there are not as many Dune 2/3 presets out there on the Internet (free or paid) as those which you can find for other popular synths - BUT the lack of thousands of presets makes you actually want to create/learn the process - which provides invaluable experience/knowledge (rather than your experience being limited to switching presets as you would do on Romplers).
Master one Synth and You'll Master them all. Dune it is.
Thanks to Synapse Audio - they have some other brilliant synths which also deserve close attention but for now, Dune 3 is my Baby.
Free trial is available too.Read Review
I've never actually owned a real virtual synth like this, all I've ever used have been freeware like Synth1. I've only owned Dune 3 for a short while now but I do not regret buying it, it is an amazing synth. Powerful yet runs even on my potato. Every time I use it, it makes me happy and I keep on returning back to it to explore more :D.Read Review