OB-Xd 3.8

 

OB-Xd 3.8

OB-Xd is a classic synthesizer that captivates musicians with its rich, full-bodied tones and expansive sound design. Perfect for adding a vintage touch to electronic tracks, live recordings, or film scores, OB-Xd brings unique and expressive qualities to your music. Designed to recreate the Oberheim OB-X, it features enhancements like micro random detuning and unison for a fuller sound. Elevate your studio setup and music production with OB-Xd today.

What's New in OB-Xd 3:

Unlock Bi-Directional MIDI Control: Now with MIDI Out for true bi-directional communication. Mirror your MIDI CC from XML templates or create custom setups with MIDI Learn. When MIDI Out is enabled, it sends CC output to channel 1 (for all channels) or the selected channel. Ideal for controllers like the TouchOSC template or SFC-OB, enhancing your control and creativity.

New Unison Voices: This feature allows you to add multiple voice layers to each note played, creating a fuller and richer sound.

You can choose from 1 to 16 voices, where each additional voice adds complexity and depth to the sound. For the best effect, use this with the spread control set at half or higher to clearly distinguish the layered voices. This parameter is ideal for enhancing pads, leads, and basslines, offering a thicker, more immersive sonic character.

Enhanced Oscillator Features: The update introduces new Pulse Width Modulation Controls for intricate sound shaping, enhancing the sonic possibilities of the oscillators.

PW Offset: Adjusts the pulse width of Oscillator 2 with a unipolar knob based on the PW knob's setting.

PW Env: Modulates Oscillator 2's pulse width with the Filter Envelope.

PW Env Both: 1+2 button allows the Filter Envelope modulation to affect both oscillators' pulse width.

Advanced Filter Capabilities: Including Self-Oscillation, Filter Falloff Adjustment, and Adjustable Filter Envelope Shape, providing more control and variety in sound filtering.

Self-Oscillation: The 12dB filter now self-oscillates at high resonance levels.

Filter Falloff Adjustment: A new FLT CMP knob in the Voices section influences cutoff scaling.

Adjustable Filter Envelope Shape: Blends between exponential and linear shapes for the attack.

Filter Envelope Inversion: A new button for inverting the Filter Envelope output.

Enhanced Filter Keytracking Control: A refined knob offers precise control over the filter's response to keyboard tracking.

Level Difference Knob: Ensures consistent audio output during filter adjustments.

Refined Attack Envelope Shape: This feature introduces a sophisticated logarithmic-linear attack slider, offering unparalleled flexibility for dynamic sound sculpting. The slider enables users to precisely control the attack phase of sounds, ranging from subtle, gentle slopes for softer onsets to sharp, aggressive inclines for more pronounced attacks.

This dual-mode approach allows for a wider array of sonic textures, providing musicians and producers with the tools to tailor the attack characteristics of their sounds, whether they're aiming for a natural, smooth progression or seeking a more abrupt, impactful onset.

Oversampling Selection: Available in the registered version, this feature offers options for different sound quality requirements, including no oversampling (1x), 2x, or 4x.

MIDI and Preset Bar Enhancements: Improved usability and functionality, making it easier to manage and access MIDI controls and presets.

LFO Synchronization: Ensures perfect timing by syncing the internal LFO with your DAW's BPM.

Supported Formats:

• Universal Binary 2: Native Intel and Apple Silicon.
• Standalone Application: No additional software required.
• ProTools AAX. Apple Audio Unit. Steinberg VST. Steinberg VST3. LV2.

Sound Magic Supreme Drums One Synth (Hybrid Modeling Drum Kits) VST3 WiN [FREE]

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）

home page

https://neovst.com/supreme-drums-one-synth/

ML Sound Lab Amped Roots 2 - 5034 Fluff v2.0.0 VST3 AU AAX STANDALONE WiN MAC [FREE]

 

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.

home page

https://ml-sound-lab.com/products/amped-roots

TBPAVolume

 

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)
• preset management
• free GUI scaling

https://www.tbproaudio.de/products/tbpavolume

Tenor Saxophone by Hidde Pieters [Decent Sampler] $0.00

 

A multi-microphone sax with a roomy sound. Available in Decent Sampler format.

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Categories: Freebies, Hidde Pieters, Wind Instruments

Tags: decent sampler, saxophone, tenor

Description

Reviews (0)

Description

User Interface for the Tenor Saxophone Library

“Hey hey, it’s Hidde Pieters again!

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.

Cheers!

Specs:

Sample rate: 24-bit 48khz

Library size: 21MB

https://www.decentsamples.com/product/tenor-saxophone-by-hidde-pieters/