The Next Generation in Synthesis
Hybrid 3.0 is the next generation in synthesis. This high-definition virtual synthesizer combines the coveted warmth of analog synths with a full range of futuristic digital manipulation capabilities. The result is the best of both worlds — a virtual instrument with a comprehensive set of precisely adjustable parameters that can sound like a synth you remember or something no one has ever heard before.
1200+ Built-In Sounds
Hybrid 3.0 comes with over 1,200 inspirational presets designed to jumpstart the creative process. Over 200 new patches, designed by the acclaimed AIR sound designers, include everything from wobbles, synth pads, arpeggios, poly synths, basses, leads, sequences, and much more. Hybrid veterans will be pleased to find that the familiar Hybrid 2.0 presets have been completely reworked, allowing users to experience their favorite sounds with all the sonic improvements of Hybrid 3.0. If you're prone to tweaking, Hybrid 3.0 is loaded with a comprehensive set of user-adjustable parameters that let you create unique sounds and fine-tune them to taste. With support for two simultaneous parts (i.e. a powerful combination of two separate, 3-oscillator synthesizers), you can layer, split, or spread sounds to produce deep, complex, and wide patches. Plus, the simple patch browser makes it easy to find the preset you're looking for and allows you to load two presets simultaneously, one into each part, for experimenting with rich timbres and playing multi-patch sounds.
With three versatile oscillators and a sub oscillator per part, Hybrid 3.0 is capable of stacking multiple oscillators together for huge pads, leads, basses, and more. Two multifunctional oscillators can recreate the classic subtractive-synthesis waveforms for a dose of analog nostalgia. In addition, these oscillators feature algorithms for digital wavetables. As a result, users can choose from nine different modes, including the Multi-Square waveform, Saw Sync, Saw Cross Modulation (which modulates the pitch of a saw wave with the output of a triangle wave for complex tones), Saw Multi (a stack of seven saws in unison), Square Sync, Square Cross Modulation, Square Pulse Width Modulation (PWM), and Wavetable. Hybrid 3.0 offers 100 wavetables with up to 64 single-cycle waveforms each. A third oscillator includes saw, square, or triangle waves, plus a noise generator and a sub oscillator for deep bass effects.
Dual Filtering and Saturation Modes
Hybrid 3.0 features two multi-mode filters that can run in series or in parallel. In addition, the filters can be assigned one per channel to the stereo outputs, or set so that Oscillator 1 feeds Filter 1, with the remaining Oscillators being routed to Filter 2. Both of the filters offer your choice of DCF (Digitally Controlled Filter) or VCF models. The vintage Voltage Controlled Filter (VCF) makes it easier than ever to achieve those fat, retro synth sounds of the '70s and '80s. This sound filter brings the legendary soft and fat warmth of classic analog synth hardware filters to Hybrid 3.0.
Use the revolutionary multimode filters to control the tone color of a part by removing or accenting certain frequencies. Choose from an extensive collection of 23 modes. Then dial in the filter cut-off, velocity, and key tracking. Use the resonance dial to change the tone from a nasal sound to a ringing tone by emphasizing frequencies around the cut-off and generating self-oscillation. A blend of the third oscillator and noise generator can serve as an audio modulation source for filter cut-off, producing distinctive electronic audio effects.
To add some serious edge, adjust the filter saturation. Hybrid 3.0 offers the original Overdrive filter, which creates a soft tube-like clipping and includes five additional filter saturation modes: Distort, which creates a harder, brighter clipping; Hard Clip, which creates a very hard and bright transistor-like clipping; Rectify, which creates a gentle distortion that retains the character of the input signal; Bit Crush, which creates deliberate aliasing by reducing the bit depth; and Resample, which creates deliberate aliasing by reducing the sample rate.
Hybrid 3.0 includes four LFOs per part: two monophonic, one polyphonic, and one special Pump LFO. Use the LFOs to modulate pitch, loudness, or cut-off to produce vibrato, tremolo, or electronic sweeps. Choose from eight modulation types, ranging from sine and triangle waves to random, "drift," and sample-and-hold modulation. Change the depth, rate, phase, and sync mode to quickly and dramatically alter the sound.
Pump is a special type of envelope that simulates studio side-chaining to create the pumping-and-breathing effect. In the case of Hybrid 3.0, this rhythmic effect can be applied to much more than the overall mix. The Pump LFO can be routed to create a rhythmic effect on a variety of specific parameters, such as pitch or filter settings.
Use the four envelope editors to easily sculpt the filter, amplitude, and any two other modulation envelopes. Adjust velocity, attack, decay, and key tracking, and then type in the envelope rate.
New to Hybrid 3.0 is Hype, a quick way of enhancing the low- or high- end of any patch. Beef up wobbles, basses, and kick-drum sounds with deep, sub-bass by adjusting the Hype Low parameter, or turn up Hype High to polish off the high end with shimmer and sparkle; the latter sounds great on pads, strings, brass, and percussive sounds.
Hybrid 3.0 offers a new way of making your patches sound enormous. Two Doubling knobs, one for each part, are built into the Common tab for additional widening and thickening. Turn up the Doubling knobs to full for a dramatic response or mix it in subtly for a slight thickening effect.
Whether you use it in the studio or in a live situation, Hybrid 3.0 is built to perform. Use the step sequencers for arpeggiation or phrase generation. Set the modulation matrix to easily map modulations from sources to destinations. And set up "morph" groups to modify sounds on the fly, from the interface or a MIDI controller.
Hybrid 3.0's onboard 16-step sequencers have been revamped for more programming and sequencing flexibility. Now, steps can be linked together to vary sequencer rhythm, manipulate note dynamics, and create advanced modulation patterns. Like before, both step sequencers can function as a composition tool or an extra modulation source, making it easy to create patches that move and evolve. You can set note values, velocity, and modulation, and then pick from nine playback options to use the sequencer as a step sequence, arpeggiator, or MIDI phrase generator. Plus, you can even import your own MIDI phrases for complete customization.
Hybrid 3.0 also offers flexible and easy-to-use modulation matrices with 16 assignable modulation sources and more than 20 destinations each. Assign modulations to an oscillator or filter. Hybrid 3.0 allows multiple assignments of sources and destinations, all with adjustable intensities.
With Hybrid 3.0, you can assign any rotary control or fader on the plugin's interface to one of the four "morph" groups. Assign pan, filter, or amplifier envelopes to a morph group to alter sounds from your controller while recording or playing live. Each morph group can control several parameters simultaneously. You, in turn, can control morph groups from the dials on the interface or from a MIDI controller.
Hybrid 3.0 provides two insert effect sends per part, each with more than 40 effect types, so you can quickly change the sound of a part. A separate master effects section lets you select reverb, delay, and chorus effects to enhance — or warp — any of the sounds at the patch level. Easily adjust effect parameters and sync effects to a chosen tempo.
Seamless DAW Integration
Hybrid 3.0 is available in VST and AAX plugin formats for both 32- and 64-bit operating systems and in AU for 64-bit operating systems. With its rich set of analog and digital sounds and a large array of adjustable parameters, Hybrid 3.0 gives musicians, arrangers, composers, and sound designers the qualities and character of a unique hardware synthesizer with the convenience and flexibility of an integrated plugin.
Reviewed By bduffy
July 3, 2018
Stunning functionality and sound.
I picked this up for an insane $1.00 on pluginboutique.com. If you ever see this come up on special, you must grab it. This is simply one of the best all-purpose synths out there today.
AIR Technology has been around for a long time; until recently, their plug-ins were only available to Pro Tools users (they make the default effect suite included with Pro Tools), but they have opened it up in recent years to other formats.
I expected this to fall along the lines of the instruments included with Pro Tools; professional, but outdated, bearing the imprint of circa-mid-2000's. But boy, was I wrong. Of course the presets are techno-centric, but they sound fantastic and serve as great starting points. I found myself sinking in and wasting many an hour digging in and even coming up with ideas.
What really sets this apart is the multitude of features. It reminds me a lot of Omnisphere, without being sample-based: dual oscillators that can be blended or turned on or off separately; a rich step-sequencer and arpeggiator; a rich selection of saturation for the filters and excellent in-line effects. I'm reminded that AIR used to be Wizoo, who made some of Steinberg's finest, long-lost synths, whose ethos still runs through Cubase today.
Not only this, it's insanely light on resources. I'm not sure that I could top out Cubase, running on a 2013 MacBook.
I could go on and on, but really, this is a tremendous, still totally relevant synth today, and worth every penny at full price, but it's shocking that one can pick this up for as little as one dollar. I urge anyone to check it out; it's the underrated secret deal of the decade.Read more
Reviewed By fluffy_little_something
December 7, 2016
I bought it very cheap, as usual, I mean, who pays the regular price for Air stuff... I had demoed it and liked some of the presets, and given the low price, I thought why not, let's go for it.
And I must say that it has surpassed my expectations, a lot :)
What I like most is the sound quality as such, also of the included effects. There is a soft shine on higher octaves where other synths tend to sound a bit metallic and irritating. It has a nice full presence in the mid-range, basses can also get very profound, especially when using an eq in the effects section. I often use the simple bass-treble eq and set the bass to +6db. That yields a solid foundation that you can "feel", for instance in synth bass patches. Even resonance sounds pleasant and the volume does not go down, unlike on Sylenth1 and many others. (I know hardware did that as well, but probably not on purpose).
The DCF vs VCF switch really makes a difference, it is not a shallow gimmick. That applies to all controls actually, they are rather effective.
What I also noticed is that it sits well in the mix, it simply sounds good when adding tracks and doesn't turn into a bland synth brew.
Unison and voice stacking sound very good when set right, unlike on Predator, where there is always an ugly "phase bulge" at the beginning of each note.
The wavetable feature is quite basic by modern standards, but I think it is simply intended as an add-on to the standard subtractive waveforms. I often use it on one osc while I use two classic waveforms on the other two osc's, just to add a different flavor, for instance a metallic character.
All in all, it is a very musical, intuitive, human synth, which makes very nice 80's sounds for instance, even DX7 bass sounds.
There are a few things I think could be improved, most of all the GUI, which is relatively small on my big display, and too modern in my view. Since there is no mighty mod matrix like on other synths and LFO's don't go beyond 30Hz, Hybrid 3 will likely not be the first choice of EDM kiddies, anyway. So a more classic GUI might be appropriate, fully scalable if possible.
The layout is OK, though, easy to remember visually. There is quite some clicking, though, because of all the tabs.
I particularly don't like the graphic envelopes, they are small, and the dots are sometimes almost one behind the other, so it is hard to grab the one you actually want to change. The envelopes don't allow for additional stages etc., so conventional sliders for those 5 values would have been better.
When using osc and envelope retriggering, the previous note is cut off too abruptly in my view, not as elegantly and noise-free as on Sylenth1. And the last note priority does not retrigger the previous note completely like it does on Predator for instance. So when you have a punchy or percussive sound and release the second note, the first one continues at the right pitch, but without the punch. Some synths do it this way, others like Predator. Not sure if there is a right way to do it...
Related, mono mode without legato is not Hybrid 3's strength, there often is a slight blip on the attack, even when using slow attack. A lot of synths do that and I don't like it. I think it might have to do with voice stealing.
I would also like to have a phase knob for setting the phase right when in retrigger mode.
Anyway, for 30 bucks it was a steal. I know I like it because I make a lot of patches for it, without having to :)Read more
Soundware for Hybrid 3...