Sylenth1 is a virtual analog VSTi synthesizer that takes the definitions of quality and performance to a higher level. Until now only very few software synthesizers have been able to stand up to the sound quality standards of hardware synths. Sylenth1 is one that does.
Sylenth1 is not just another synth. It was built from a producer’s point of view. It was built to produce superior quality sound and music. It was built to perform. A lot of research has been invested in order to achieve unheard warmth and clarity. The graphical interface ensures the highest level of usability so you can fully unleash your creativity.
At its core Sylenth1 houses 4 alias-free unison oscillators, which generate analog shaped waveforms. Each oscillator is capable of producing 8 unison voices in full stereo, adding up to a total of 32 voices per note. With its 16 notes of polyphony this means you can play up to 512 voices simultaneously! The oscillators perform extremely well in both the very low (down to 0.01Hz and below!) and very high (all the way up to half the samplerate) frequency regions without losing their sharpness, liveliness or character. This makes them well suited for all kinds of sounds, from the deepest basses imaginable to the highest crystal clear bells.
On top of that there are 2 state of the art, pure analog sounding filter sections. Each of these consists of 4 filter stages with nonlinear saturation incorporated, in order to emulate the warmth and drive of a real analog filter. The resonance control can be turned up to a level way beyond self-oscillation and combined with the drive control this makes it possible to let the filters SCREAM! Where a lot of digital filters sound like they’re made out of cheap plastic, these filters sound rock-solid, warm and raw.
Sylenth offers many modulation options to sculpture the sound any way you like. There are 2 ADSR envelopes and 2 LFO’s which can be used to modulate a whole set of different parameters. Next to that, it is possible to use the extra 2 amplitude envelopes, velocity, keyboard track or modulation wheel as a source for modulation.
The final part of this synth is the master effects section. A set of 7 professional quality sound effects and an arpeggiator, conveniently grouped into an LCD panel structure.
- Arpeggiator – 10 different melodic modes, built-in step sequencer with adjustable pitch, velocity and hold settings. Outputs Step Velocity as a modulation source.
- Distortion – Five different types of distortion (overdrive, foldback, clip, decimator and bitcrusher) in full stereo, uses 4x oversampling to minimize aliasing artifacts.
- Phaser – 6-Stage stereo phaser, with 2x oversampling, an embedded LFO, feedback and frequency spread adjustment.
- Chorus/Flanger – 4-Stage stereo chorus, with 2x oversampling, adjustable delay time, depth, rate and feedback for flanging effects.
- Equalizer – Bass and treble adjustment by frequency and amplification.
- Delay – Delay module with low and high pass filters, unique echo smearing function, pingpong mode with stereo spreading, independent left and right delay time and adjustable stereo width.
- Reverb – Smooth reverb with adjustable pre-delay, damp, size and stereo width.
- Compressor – Stereo compressor with attack, release, threshold and ratio settings, which can be used to increase punch, drive, warmth and analog feel of your sounds.
With all the functionality and processing horsepower mentioned above, you might expect that this synth would max out even the fastest CPU in no-time, especially considering the high sound quality of each single voice and effect. Well, one of the many benefits of this synth is that it doesn’t. It uses highly optimized code and SSE instructions in order to reduce the CPU usage to a minimum. It will also automatically turn off any parts that are not used, to save extra CPU time. This enables you to create pure quality sound using only minimal system resources.
Sylenth1 | LennarDigital Vst Free Download (x86 & x64)
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The legendary waveshaping sound of Z3TA+ (zay’-ta) is back – and better than ever. New filters, modulatable waveshapers, flexible effects, expressive control and a gorgeous new interface make Z3TA+ 2 one seriously powerful synth. It’s not often that a soft synth can be called a classic, but in the case of Z3TA+ it’s definitely appropriate. Used on countless tracks over the past decade, Z3TA+’s distinctive sound has been a staple of electronic artists the world over.
Bigger and Badder
Z3TA+ 2 has a completely redesigned interface that inspires performance and makes sound design clear and comfortable while preserving that signature sound that has made it a favorite of top producers and musicians around the world. Explore all the new features
Harness the power of this modern classic with a much more spacious interface featuring logical enhancements and quick access to needed controls. See more information and access more visible parameters, including all Waveshaper controls in the Oscillator section and waveform previews in drop-down menus.
Z3TA+ 2 comes with thousands of expertly crafted sounds and numerous overall improvements. With 14 dual-stage filter types, a massive Modulation Matrix, highly flexible FX section, and 16 Waveshapers for each of its 6 Oscillators, the sound design possibilities are limitless.
The Sound of a Classic, Only Better
Z3TA+ 2 has a wealth of new sound design capabilities including new filter types, new waveshapers, new modulation destinations and a revamped effects section.
Z3TA+ 2’s effects section features easy routing of all effects and a new, flexible distortion module. The distortion module includes the new Hypertube algorithm and can effect the filter busses, the effects section, or both.
New Filter Types
The Filter section has 4 new filter types bringing the total to 14. Both filters are now readily accessible and visible simultaneously with Separation control for tweaking resonance peaks on stacked filters.
New Waveshaping Modes
Fold: Folds the entire waveform over itself by progressively swapping the left and right halves.
Spectrum: Harmonic levels wander in alternating directions creating a complex phaser-like quality.
Random All: Creates continuously random variations of all harmonic levels.
Random Odd: Only odd harmonic levels are randomized, while even harmonics are progressively suppressed.
Enhanced Modulation Matrix
All 16 Waveshapers are now accessible via the Modulation Matrix opening up a huge variety of new sound shaping possibilities.
New Graphical LFOs clearly show the resulting LFO shapes when morphing between 2 waves and the new AMOUNT fader quickly scales an LFO’s intensity.
New Graphical Arp provides visual display of Arp patterns, including 100 new patterns and 50 new ‘Gate’ patterns from Dance MIDI Samples. Instantly apply trance gates to synth pads and leads and increase total Arp flexibility and expression with Humanize and Swing controls.
New Graphically Controlled Envelopes feature an improved design and provide visual representation and realtime feedback of all Envelope Generators.
Z3TA+’s legendary sound engine has been improved with a new ‘HIGHEST’ SRC algorithm providing smoother, more accurate interpolation of wavetables. Of course, the sound of original Z3TA+ patches have been faithfully preserved.
The Performance Module gives quick, hands-on control of the analog-simulating Burst and Drift parameters as well as Portamento and in-depth X/Y pad control. New speed control for X/Y Pad adjusts the morphing speed of X/Y coordinates.
Adaptive Pitch Bend
Adaptive Pitch Bend allows for the bending of notes within the key and mode performed and automatically learns the key based on performance.
Melodyne is a product application for OS X or Windows with which you can alter sound in a more musical manner than was ever suspected conceivable. In Melodyne, you work with notes – and not with a trivial wave structure. You don’t simply see where the music gets louder or calmer additionally where notes start and end and at what pitch they lie.
You can change every note and in this way impact specifically the sound, stating and progress – and do this with vocals and monophonic instruments as well as with polyphonic instruments, for example, pianos and guitars too.
Working with Melodyne is similar to having the capacity to say to a vocalist “sing this note somewhat more” or to a piano player “give marginally less weight to the third in this harmony” – hours, weeks, even years after the recording session.
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Why Melodyne is better
That Melodyne sounds so good and is so simple to use is based on two things. The less important is the technology.
The decisive factor is its understanding of the music.
Melodyne identifies the notes and the relationships between them. It is only as a result of this knowledge that Melodyne’s algorithms are able to “think” and operate in such a musical way. The benefits to you as a musician and producer include the famously superior sound of Melodyne and many other advantages that software lacking this understanding of musical contexts is incapable of offering.