Hybrid modeling drum kits featuring synthesized drums sound in classic analogue synthesizer such as TR-808, MS-20, Minimoog and others. Incorporating all-time classic analogue instruments with modern High-End processing hardware and production technique. A key innovative feature in Supreme Drums is its Fusion Effect System. Powered by groundbreaking AI technology, Fusion Effect combines EQ, dynamic processing and transient designer into only three easy-to-understand controls.
This effect can make an effective change in sound on the fly without the need for vast professional knowledge to carry out the operation.
A standout feature of Supreme Drums One is its support for MIDI 2.0 and MPE, offering users an entirely new way to interact with the instrument through their devices. The higher resolution of MIDI 2.0 provides more precise control over the sound, along with numerous advantages when used with the latest MIDI 2.0-compatible keyboards and controllers. Notably, this is the first time the Fusion Effect can be directly controlled via MIDI controllers using MIDI 2.0’s highly detailed controller messages.
Key Features:
Hybrid Modeling technology with a small size (45MB)
Innovative Fusion Effect Unit
Support latest MIDI 2.0 and MPE
Provides VST3 Version （Now only Windows Version, as Mac Version now need signing and notarize, it will take more time）
Amped Roots 2.0 is made in collaboration with our good friend Ryan "Fluff" Bruce and the sims featured are the best amps from Fluff's personal collection. This plugin runs ML Sound Lab's Vorna Amp Modeling, indistinguishable from real tube amplifiers.
3D CAB SIM
Amped Roots features a 3D cabinet simulator that allows you to mix and match cabinets to dial in your tone. You can move the mics from the middle to the edge of the speaker, front or back and even angle mics to get a beefier sound. Choose from 3 cabinets: Mega Oversize, Freeman V30 and Freeman M25 with 4 microphone options or load in your own IRs.
Pedalboard
Amped Roots 2.0 features a pedalboard with high quality effects pedals and studio effects.
Included pedals:
• Noise Gate
• Compressor
• Drive Pedal
• Chorus
• Analog Delay
• Reverb
Standalone
Amped Roots 2.0 comes with a standalone program that is MIDI controllable and stage ready.
Tuner
The latest Amped platform includes a reliable and precise guitar tuner section.
NEW AMPED FEATURES
This plugin runs on our latest Amped engine that includes a reliable tuner, MIDI capabilities and a standalone app making it extremely versatile.
TBPA Volume allows you to control the volume of the audio signal independently from the volume fader of the mix console. This is useful for adjusting the gain/volume between different plug-ins within a plug-in chain or for volume modulation/automation.
Product description
TBPA Volume allows you to control the volume of the audio signal independently from the volume fader of the mix console. This is useful for adjusting the gain/volume between different plug-ins within a plug-in chain or for volume modulation/automation.
TBPA Volume supports sample accurate parameter automation (VST3/CLAP/AU). Alternatively the parameter changes are smoothly interpolated.
TBPA Volume suppresses aliasing during high-frequency gain changes.
Features:
click-free 64-bit internal processing
master volume fader, left/mid and right/side fader
left/right, mid/side processing
adjustable min/max volume values
treat min value as negative infinity
lock max volume to 0 dB
volume modulation display
smart power button
smooth parameter interpolation
low aliasing
support of sample accurate automation (VST3/CLAP/AU)
My younger brother strikes again. I mentioned in the story of my previous submission, the LaPaz Guitar, how my younger brother wanted to learn guitar. What I didn’t mention in that story, is that the guitar would have been the umpteenth instrument he would have tried his hand at at that point. He’s played recorder, violin, xylophone, and a few others I can’t even remember. However, none of the instruments he’s tried his hands at have captivated him as long as his current instrument, the tenor saxophone. Where the other instruments held his attention for a year at most, he’s been playing saxophone for well over four years now, and even plays in the local intermediate orchestra. Having said all that, I never even thought about sampling him playing the sax.
Then, a few months ago, I had to do a project for school; me and a few classmates had to write and orchestrate a piece of balkan brass music. This composition had to include obvious distinct sections, one recorded instrument, one synthesised instrument, and one sampled instrument. Me and my team got to brainstorming who would do what, what we would record and sample, and what we would synthesise. The last part was the easiest, as we luckily had someone on board who was quite good at sound design, who also offered to synthesise a trumpet. The tricky part was figuring what to sample and what to record, as we didn’t know anyone who played brass. However, I then realised, I did know someone who played a brass woodwind: my younger brother! So me and my brother booked a few hours in one of the school’s recording studios, along with a small assortment of microphones, and got to work.
This is also my second experiment with multi-microphone recording setups, and my first voyage into mic controls. Admittedly, I used a somewhat unorthodox recording setup for this. One cardioid microphone (the Close Mic) about half a meter in front of the sax, a figure eight microphone (the Mid-Room Mic) about two meters from the sax with the sensitive side aimed towards the sax, and an omnidirectional microphone (the Far-Room Mic) behind the sax in a corner of the room. Though I don’t have a lot of experience in recording, I’ve found that I quite enjoy having a more roomy sound, hence this setup, as it both nicely captures the sax, and the room around it.
We recorded two octaves, with three velocity layers per note, and three round robins per velocity layer. We also recorded the various pads and keys of the sax, which I mapped onto the lower keys of the keyboard, free for you to add in as you please. I also have these sounds their own volume knob.
The one crux of this library, I think, is the volume disparity between velocity layers. I tried to fix that as best I could, but didn’t go too far with it for fear of disturbing the noise floor too much. Still, I don’t think it’s too big an issue.
In the end, I’m really happy with how this project turned out! I’ve got a few other sample libraries in the works which I’m slowly working on, and I want to experiment with true legato in the future as well, so this is not the last you’ll hear from me.
A Cinematic Piano Experience for Decent Sampler Felt & Fog is a minimalist, ambient, and neo-classical piano library designed for composers, producers, and sound designers seeking depth, texture, and atmosphere. Whether you’re crafting delicate piano themes, cinematic soundscapes, or eerie documentary underscores, this library offers six expressive layers to shape your sound.
