VirSyn Pack 11.01.2012 x86/x64 HAPPY NEW YEAR-ASSiGN | 87MB
The Multiband Filter Critical band equalization and compression. The multiband filter BARK takes the approach to match the reception characteristic of the final destination of all sound: the ear. The ear behaves as if it contains a bank of filters, each filter passing frequencies within the critical band. Two tones separated by more than a critical bandwidth are received by the ear independently. For this reason BARK contains a filter bank with 27 bandpass filters matching the critical bandwidth. In fact, the human ear have also its own built in compression system which are based on the critical bands. Consequently BARK incorporates an independent compression algorithm for each of it's 27 bands.
The Rhythmizer, Pimp up your loops!. The multi-band delay machine FDELAY is an exciting tool for sound design and loop manipulation in realtime. In contrast to the delay machines you're used to FDELAY splits the frequency spectrum of the input signal into 27 bands and applies a separate delay unit to each band. The delay times can be synchronized to the host tempo generating nearly infinite rhythmical and sonic variations of the input signal. For each of the delay bands you can specify the delay time, the level and the feedback amount separately. These parameter changes can even be automized in realtime for glitch free rhythmical morphings. A few high level parameters let you change the delay times and feedbacks of all delays with the turn of a single knob.
The Vocoder was invented by Homer Dudley in the mid-30's of the last century. Dudley worked at Bell Laboratories, and this is where the first Vocoder took shape.
The multi-band pitch shifter PRISM takes a fresh approach to solve the problem of shifting the pitch of complex sound sources in realtime. Traditional frequency shifting shifts all frequencies in an input up by the same amount and thereby alters their harmonic relation and tends to produce inharmonic results. But it's perfect in dealing with transients.
The algorithmic reverb tail of REFLECT is now made with a true stereo processor - this means that the spatial position of the input signal influences the character of the resultant reverb tail. As a nice side effect the new processor gives you an even wider stereo panorama and increased resolution and density in the reverb tail.
The idea behind the Transient Former TDESIGN is to give the user direct control over the attack and sustain characteristics of natural sounds, and though this sounds less than revolutionary, you only have to play with the unit for a few minutes to realise that the Transient Former is a very powerful creative tool. For example, you can take a recording of an unremarkable drum kit and dial in some really hard-hitting attack or take a very percussive sound and soften the attack. You can also use the sustain control to work on the decay portion of sounds, and with drums you can tighten up the sound to give a fast, dry decay or you can make them ring as though you'd taken the dampers off the kit. It's just like having remote control over the amount of damping tape stuck to the drum heads, but after the recording. Other than a compressor this process is independent of level and the effect is the same regardless of whether the input signal is loud or soft.
VTAPE is a set of three plugins based on a thorough simulation of the famous sound of analog tape machines. VTAPE Saturator simulates the recording and playback on an analog tape mastering machine. VTAPE Delay combines this sound with a modern, step sequencer-like tapped delay engine which leads the tradition of the tape echo machines into the 21st century. VTAPE Flanger simulates the legendary “Tape flanging” effect which can be achieved through the playback of two tape machines running at slightly different speed.
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