Inspired by the deep, solid sound of Melodic Techno, ‘Fleck’ offers you a sample pack of extensive, room quivering ideas and immediate inspiration for your new tracks.
This collection runs extremely heavy with analogue gear, over 90% of the sound sources are created on analogue synthesizers and vintage drum machines.
This dedication to the retro sound ensures a sonic palette that surpasses your production beliefs. ‘Fleck – Melodic Techno’ nods at key producers including Tale Of Us, Mathame, Colyn, Fideles, and Dizharmonia. You’ll find content inspired by these legendary figures that can be used straight out the box for immediate impact or edit, manipulate and warp till your heart’s content. The diverse 700+ Melodic Techno sample library ensures you’ll have what you need in the studio when you need it. Just a solid kick, covered, some midi to transcend your current programming, right at your fingertips, or even a fully-fledged melody to implement, done.
‘Fleck – Melodic Techno’ has been intricately designed to give you the tools you need in today’s Techno world. Take them for a spin, we know you’ll be happy and your studio running at 100% will be tickled pink too.
Do you want to learn more about Cubasis, the app for producing music on your iOS or Android device? In this course, instructor Mark Struthers gives an overview of Cubasis’ powerful audio and MIDI features and walks you through the workflows needed to create, perform, record, and mix music. Mark shows you how a project is constructed in terms of the Cubasis UI and walks you through several useful project options. He points out some things to be aware of when you create new projects. Mark steps through some of the editors and effects that you can use, including how to access third-party AU effects. He shows you how to use EQ to achieve a clearer mix and goes over group tracks, the mixer, and automation. Mark concludes with a discussion of creative functions that you can find in Cubasis.
Note: This course was created by Mark Struthers. We are pleased to host this training in our library.
Tom Lord-Alge – THE BEACHES “GIVE IT UP” Inside The Track 8 TUTORIAL
Join us for a look inside the track with rock mixer extraordinaire Tom Lord-Alge! Hosted at his very own Spank studios in Miami, this series focusses on Tom’s hybrid mixing techniques and general approach to projects. The session at hand is of the raunchy single ‘Give It Up’ by Canadian band The Beaches. TLA plays the rough mix, gives his opinion on what could be improved, then dives into his mixing workflow that is ‘in the box’ apart from SSL console EQ, summing, and mix compression.
He demonstrates his way of blending drum samples, recreating the lo-fi vocal aesthetic of the rough mix, and increasing perceived loudness with the SSL Quad compressor. Tom also explains why he avoids certain common workflows, compares stereo compressors, and plays his mixes with and without analog processing!
PART 2
00:16:04
Avoiding templates, parallel compression, & mix buss EQ, vocal focus, stereo compressors, ITB vs. hybrid mixe
ABOUT TOM LORD-ALGE
Tom Lord-Alge, the younger brother of mix engineer Chris Lord-Alge, is a 3 time Grammy Award winning producer and mix engineer One of Tom’s first major projects was the Multi-Grammy Award winning album Back In The High Life by Steve Winwood, for which Tom earned his first of two Best Engineered Recording Grammy Awards.
Michalis Msm Michael – SLOWTHAI & JAMES BLAKE “FEEL AWAY” Inside The Track #55 TUTORIAL
We’re thrilled to present the MWTM series premiere with a top name in British grime music, Michalis ‘MsM’ Michael! Filmed at his enviable hybrid studio in London, this footage dives deep into the mix techniques used on ‘Feel Away’, the 2020 single by Slowthai featuring James Blake and Mount Kimbie. With the Pro Tools mix session open, MsM reveals his favourite ways to maximise perceived loudness, add shimmer, tame harshness, enhance transients, and much more. Aside from focussing on this record, he shares the key aspects of his regular hybrid workflow. MsM gives impartial views on the benefits of digital and analog tools, compares hybrid vs. ITB mixes, and discusses the typical stages of a project right up to mastering!
PART 1
Deliverables, template, clipping, gain staging, hybrid setup, converters, analog vs. digital
PART 2
Rough mix, dynamic range, streaming services, loudness artefacts, low end management
We are back with the most anticipated Drum Kit of All Time: Filth Vol. 3 – True to it’s name the kit is full of strictly the grimeyest morsels of dirty goodness for those of us that love those hard hip hop flavors, This Kit is a one stop shop of hard drumloops, percs, sounds and musical chops composed and designed by Btcha for you guys to use in your productions.
Btcha is known for his work with Griselda, The Carters, Partynextdoor, Danny Brown, Mac Miller, G-Unit, Mobb Deep, Prodigy, Sean Price, Lloyd Banks, Curren$y, & Mr. Probz to name a few. But more importantly Btcha is known for having some of the dopest drums in the industry.’
FM8 packs the intricacies of FM synthesis into a sleek user interface with innovative advanced features.
CONTEMPORARY CLASSIC
Native Instruments has harnessed the power of FM synthesis. The strengths of digital are manifest in FM8’s powerful audio engine which generates breath-taking, brilliantly dynamic FM sound in pristine quality. With its emphasis on ease-of-use, the FM8 brings a high degree of simplicity to the otherwise intricate process of FM synthesis, delivering unsurpassed depth, brilliance, and dynamism.
SYNTHESIS FROM THE START
A central aspect of FM8 is usability. The “Easy Edit Page” offers a clearly-designed interface with simple controls that adjust more complex parameters automatically, allowing you to take a far more musical approach to FM synthesis. The more detailed editing pages have been improved for easier handling and are all accessible with just one click. FM8 lets you play straight away!
BEYOND FREQUENCY MODULATION
FM8 offers an unprecedented range of features and effects. The classic crystalline bells and keys are perfect for creating melodic and percussive sounds of the highest quality. A unique arpeggiator, a revolutionary sound morphing feature and a large selection of new, charismatic effects add countless sound-shaping possibilities. The sonic potential of FM8 goes well beyond the confines of conventional FM synthesis.
THE LIBRARY
The FM8 library contains over 1200 expertly-designed presets. Rich and detailed, they exemplify the strengths of FM synthesis, from dynamic digital pianos to bright, bold brass. Also included are a number of effect rack, sound morphing, and arpeggio presets. Simply search and you will find – instantly.
1.4.4 – 2021-03-10
FIXED FM8 is now macOS Big Sur compatible
FIXED Plugin targets sometimes fail validation in Logic Pro X
FIXED Opening modal dialog windows crashes the UI on macOS Big Sur
FIXED Setting autoscaling to off in Ableton Live 10.1 on Windows can lead to UI Glitches
FIXED Activating autoscaling in Cubase 11 on Windows can lead to UI Glitches
FIXED Plugin File Browser doesn’t display any external HDs
FIXED Last item in the plugin File Browser is not shown when the list exceeds available space
NI Massive v1.5.8 Standalone VST AAX [WIN & MACOSX]
MASSIVE is a sonic monster – the ultimate synth for basses and leads. The analog concept belies the contemporary, cutting-edge sound it generates. The high-end engine delivers pure quality, lending an undeniable virtue and character to even the most saturated of sounds. The interface is clearly laid out and easy to use, ensuring you will have MASSIVE generating earth-shuddering sounds from the very first note.
MAXIMUM SONIC IMPACT
Virtual-analog architecture for colossal sound
Equally flexible in the studio or on stage
Comprehensive library with 1,300 huge presets
UNCOMPROMISING SOUND
MASSIVE gives your tracks a solid foundation with the creamiest, punchiest basses. Razor-sharp leads cut through the mix even with grit and dirt piled high. And an overwhelming array of wavetable oscillators, modulation options, and filters and effects offer a sonic spectrum as broad as it is inspiring.
Massive 1.5.8 – 2021-02-25
REMOVED 32-bit plugin targets on Windows
FIXED Massive is now macOS Big Sur compatible
FIXED Massive AU crashes upon loading in Ableton Live 11
FIXED Last item in the plugin File Browser is not shown when the list exceeds available space
FIXED Plugin File Browser doesnt display any external HDs
FIXED Setting autoscaling to ‘off in Ableton Live 10.1 on, Windows can lead to UI glitches
FIXED Activating autoscaling in Cubase 11 on Windows can lead to UI glitches.
The God Mode introduces a new push-pull technology giving you full control over what frequencies to saturate and distort. Its node EQ graph and linear phase filters allow for unlimited options to shape the colouration of your sound.
The God Mode makes use of a push-pull technology inspired by the legendary analogue Pultec EQ, a passive tube eq from the 50s, widely used in the 70s/80s for both broadcasting and mixing. The Pultec EQ would ‘push’ the gain for a certain frequency range into its tube circuit, and would then ‘pull’ it back again, to smooth out the frequency response. This creates a sound close to the original but with a nice warmth added to the boosted frequency ranges. God Mode introduces a modern version of this technique.
The first step to using God Mode is to boost or ‘push’ certain frequencies in your track that you like to be more saturated or distorted. You can, for example, use one shelf to boost the highs and one peak to boost a certain colour or resonance. Because you push these frequencies harder into the saturation algorithm, they will be naturally more affected by it. The second step is to decide if and how much ‘pull’ to apply to the boosted frequencies. This gives you creative control over the amount of colouration and the option to create a perfectly balanced frequency response for your track. The result: a beautifully saturated signal, specifically coloured according to the frequencies ‘pushed’.
The God Mode doesn’t stop there though. It has a ‘live’ mode for recording, that uses regular filters without latency instead of linear phase filters. It has a side-chain to create rhythmic distortion effects, and you can pan the wet and dry sound individually. In addition, one of the three drive effects uses a ‘on steroids’ version of the Tape Analog VM™ algorithm from the Bad Tape. It allows for subtle saturation on the master as well as crazy over the top distortion effects on bass, vocals and synths.
Features
Super easy to use Graph
Unique Push & Pull technology
Tape Analog VM™ algorithm on steroids also featured in denise’ Bad Tape plugin
Linear Phase Filters: Pristine sound quality and in-phase dry/wet mixing
Individual dry/wet panning
Live recording Mode
Create rhythmical drive with the ‘side-tape’ side chain
Subtle to extreme use on single track instruments, busses & mastering
In a generation of producers who make extensive use of loops in their music, there might be a sense of stale productions. Musical loops can be pitch-shifted and time-stretched, but they can’t follow your music. Your music ends up following the loops. One can cut, splice, mangle, edit loops to make them kind of unique, but repetitions of loops make music less interesting and exciting.
Enter Xtyle with features that allow loops to follow your music and inject life and excitement in your songs and music compositions. Xtyles is indeed a collection of loops, but these loops can be turned from major to minor and vice versa. Not only can they be time-stretched and edited, but it all happens on the fly, as a result of pressing a button, or a key, commanding an improvisation or a total reworking of a performance.
Xtyles features 8 layers of loops which can be randomised at slice level. Prepared in Major and Minor versions, these loops will follow your composition, with melody, rhythm and sounds improvisations to spice up your track.
Xtyles generates loops combinations according to 8 pre-defined “Xtyles”, or according to the user’s taste, which can be stored in 4 user “Xtyles.”
The user can recall on the fly up to 8 “Scenes”, which include loops combinations and sounds choices, to create evolving arrangements, perfect for any song structure.
Color coded Keyswitches make it easy to trigger each loop and change Key and Mode (Major Minor) for each loop, even within subdivisions of the bar. The user can also command an “improvisation” at a press of a key, or change totally the scene, with new loops combinations.
Let’s recap
Sound
640 Loops in 20 categories, presented in Major and Minor versions.
Loops mapped according to Pitch to follow any Key.
Up to 8 layers per scene, 8 recallable scenes (via Key switch)
8 predefined Xtyles to generate new loops combinations
4 user Xtyles to generate new loops combinations.
Up to 32 sounds per layer per step sequence
32 sounds sequences presets
32 loop sequences presets
Independent pitch per layer.
30 Presets Snasphots
Effects
Transient designer, Bass & Treble enhance, Chorus, Convolver per layer
Master Convolution reverb and Delay
Master Delay, Master Algorithmic and Convolution Reverb.
Convolver.
Engines
Step Volume.
Step Filters.
Host, half time and double time syncing.
Full re-ordering of slices, with randomisation, 8 scenes slots.
Manual recording of sequence and step edit feature.
And more…
Requires NI Kontakt 5.8.1 (R43), XTYLES does not work with Kontakt Player.
![Native Instruments FM8 v1.4.4 Standalone VST AAX [WIN & MACOSX]](https://vstorrent.info/wp-content/uploads/2021/05/FM8-1.4.4-min.jpg)
![NI Massive v1.5.8 Standalone VST AAX [WIN & MACOSX]](https://vstorrent.info/wp-content/uploads/2021/05/NI-Massive-158.jpg)
