Changing Presets Crack

Changing Presets Crack In Syntheway Magnus Choir VSTi 2022 + Free Download

Friendly Links, Virtual Musical Instruments – Software Synthesis and Sampling. VST Audio Plug-ins.

Changing Presets Crack

Changing Presets Crack Realistic Virtual Piano, Master Hammond B3 Organ, Organux, SF2 Player, Strings, DAL Flute, Zephyrus, Percussion Kit: Orchestral, Latin, African, Mallet Instruments.

MAGNUS CHOIR
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Overview

Changing Presets Crack a virtual instrument plug-in which can be used to create natural and synthetic choirs, using a combination of synthesis and sampling. Available for Windows and Linux based VST/FST hosts.

Features

Choirs, Vocal Textures and Pads combines an advanced sampling engine and synthesizing techniques to an instrument full Changing Presets Crack of expression capabilities. DSP engine delivers a new level of realism in digital sound creation…

For a realistic choral sound, Magnus includes a variety of vocal textures and sustained vowels in multiple dynamics: Espressivo, Staccato, Marcato, Crescendo, Decrescendo, Tenuto, Maestoso, Legato, and more…

32 Factory Presets (Natural, Synthetic and Hybrid sounds with filter characteristics included):

Oohs Choir

Ahhs Choir

Mms Choir

Men’s Choir

Women’s Choir

Angel’s Choir

Odd Choir

Choir Pads

Dark Octave Choir

Future Choir

Astral Choir

Psychedelic Choir

Spatial Voices

Synthetic Choir, and more…

ADSR envelope generator with Attack, Sustain, Decay and Release parameters and several modulation targets, that gives musicians almost limitless possibilities in varying and creating unique new sounds with different vocal characteristics.

Changing Presets Crack In Syntheway Magnus Choir VSTi

State Variable Filter that includes Low Pass, High Pass, Band Pass, and Band Reject filters  Changing Presets Crackwith adjustable Cutoff Frequency and Resonance, depending on the performer’s preference.

Reverb Effect Built-in: Free variation of acoustic ambience thanks to complete separation of choir and room. Small rooms can be modeled just as accurately as larger spaces. Customizable with user controls for: size room, width room, damping factor & mix,  Changing Presets Crackused to create psycho-acoustic models in the DSP environment, without having to load up any other plug-ins.

System Requirements of Changing Presets Crack:

Operating System : Windows® 98SE/ME, Windows® 2000, Windows® XP, Windows® Vista.

Linux Operating System (Requirements)

Processor: Pentium®, Celeron® or equivalent – 500 MHz or more.

RAM: 64 MB of memory (128 MB recommended)

Changing Presets Crack In Syntheway Magnus Choir VSTi

VST 2.0 Host application like: FL Studio 7.xx, 6.xx, Steinberg Cubase VST 5/32, Cubase VST 5 Score, Cubase VST 5 Standard, Cubase SL 1.xx, 2.xx, Cubase SX 1.xx, 2.xx, 3.xx, Synapse Orion Pro 6.xx 7.xx, Synapse Orion Platinum 6.xx 7.xx,

Sony Acid Pro 5.xx 6.xx, Mackie Tracktion 2.xx, Audio Mulch 1.0, 1.0rc1, 0.9xx, Steinberg Nuendo 1.xx, 2.xx, 3.xx, Samplitude 8.xx 9.xx, Cakewalk’s SONAR 5 Producer Edition and Studio Edition, SONAR Home Studio 4 and Home Studio 4 XL, Bram Bos Tunafish 1.xx, M-Audio Ableton Live 5.xx, M-Audio Evolution Sound Studio II Standard & Pro 2.xx, PowerTracks Pro Audio, Making Waves Audio & Studio 5.xx and more …

Graphics (minimum): 16-bit 800×600

Work with other hosts, as a DirectX plug-in using the FXpansion Vst-Dx V3/4 adapter or running ToneWise’s DirectiXer 2. Is the easiest way to gain access to the hundreds of VST plug-ins from your DirectX audio application. Compatible with the Cakewalk Audio line (v6 and higher), FASoft N-Track, Sound Forge and Vegas (as an Aux effect only, in Vegas), Acon Digital Media Acoustica 4.0 (Effects only) Syntrillium Cool Edit Pro, and many more.

Via FXpansion’s VST-to-RTAS Adapter: M-Audio Digidesign Pro Tools M-Powered Recording Software.

Via FXpansion’s VST to AudioUnit Adapter for Mac OS X: A highly-integrated plug-in wrapper that allows users of AudioUnit-compatible applications to integrate VST plug-ins and instruments seamlessly in to their working environment.

Other Components: PC configured according to the specifications of the host application

An ASIO® soundcard is recommended for low latency real-time play.

Installation

The files must be in a directory where the VST host is looking for VST plugins. Unzip, unrar the files “.dll and .dat” into your VST Plugins folder.

Version History

v.1.5
Improvements of Changing Presets Crack: 

– Updated built-in sound bank to 32 patches (16 new predefined sounds).
– Added State Variable Filter, that includes Low Pass, High Pass, Band Pass, and Band Reject Filters with adjustable Cutoff Frequency and Resonance.
– Added MIDI Automation: MIDI Continuous Controllers (MIDI CC) messages are recognized from an external MIDI control surface.
– Redesigned GUI.
– Added embedded CHM help/info file and button on GUI.
– Display selected preset.
– Added Web link button to ” register full version” in demo, and web-link to our site in registered version.
Fixed bugs:

# Decimal / Controller Name
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CC# 07 – MASTER VOLUME

CC# 71 – DECAY – ENVELOPE GENERATOR
CC# 72 – RELEASE – ENVELOPE GENERATOR
CC# 73 – ATTACK – ENVELOPE GENERATOR
CC# 74 – SUSTAIN – ENVELOPE GENERATOR

CC# 88 – REVERB SIZE ROOM
CC# 89 – REVERB WIDTH ROOM
CC# 90 – REVERB DAMPING FACTOR ROOM
CC# 91 – REVERB MIX LEVEL

Variable Room Simulation (Reverb Built in)
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Added realistic acoustic environments, from small rooms to large concert halls.

Parameters:

– S i z e : This is the Size ( front – rear distance ) of the room. It ranges 0 to 10 ( smallest to largest)
– W i d t h : This represents the width ( left-right distance) of the room. It ranges 0 (small) to 10 (wide)
– D a m p : ( D a m p i n g f a c t o r ) This is a way to describe the surface absorption, or how sound is reflected by the walls, floors and ceilings. A higher Damp setting causes high frequencies to decay faster. It Ranges 0 (near no absorption) to 10 (high absorption).
– M i x : The proportion of the “Dry/Wet” signal in the output

ElectriKeys Electric Piano VSTi
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Overview

ElectriKeys is an Electric Piano emulation based on vintage Fender Rhodes MK1™, Hohner Clavinet D6™, Wurlitzer™ and Yamaha™ CP-70 e-pianos. Available for Windows and Linux based VST/FST hosts.

Features

Features

Sound is generated via a hybrid method that combines synthesis and sampling techniques, to create the most realistic sounds of these vintage electric pianos.

EP Selector. One instrument offering the sound of four legendary e-pianos:

Fender Rhodes™ Electric Piano (Stage Piano Mark I)

Hohner Clavinet D6™

Wurlitzer™ Electric Piano

Yamaha™ CP-70 Electric Grand Piano (Brilliance: Mellow, Normal and Bright)

Tremolo Section: Recreates the classic effect (which was called vibrato on the real Rhodes™

front panel). Contains a LFO (Low Frequency Oscillator) with modulation depth, frequency and offset. The panning slider controls the output effect distribution between left and right speaker and to help create a broad spectrum of stereo tremolo effects.

5-Band Parametric Equalizer: EQ composed of five parametric filters with Frequency, Bandwidth and Gain knobs. Equalization allows you to lower or raise the volume

of specific frequency ranges for bass and treble manipulation. Also contains global gain wheel to adjust the overall volume (Turn the wheel to right to boost a band, or to left to decrease its level).

Decay & Release Time: Decay sets the note decay while the key is pressed. Release sets the release (fade out) time after the key is released, offering unique tone to each player.

32 presets for Tremolo effects and Parametric EQ ready to play. Creating new sounds is as simple as combining these presets in different ways and tweaking any associated parameters from there as desired.

FULL MIDI Automation: Complete MIDI Continuous Controller. Every parameter can be controlled via MIDI or host automation.

” E L E C T R I K E Y S ” is based on 4 Vintage Electric Pianos
1) Fender Rhodes Mark I™ (1969-1975)
The Fender Rhodes product line evolved quickly as the 1970’s began. The 73-key Electric Piano was renamed the Fender Rhodes Suitcase Piano in 1969, featuring a black harp cover and a stereo 80W amp, and by 1970 the Fender Rhodes Mark I Stage Piano was available.

The Stage Piano was the piano top from the Suitcase model, modified for use with an external guitar or bass amplifier. The Stage model featured detachable legs (parts from a Fender pedal steel guitar), a sustain pedal and pushrod (part of a Rogers hi-hat stand), and a simplified front panel with only volume and bass EQ controls. Internally, the Stage Piano was nearly identical to

the Suitcase model. Over the last few decades, the electric piano has played a central role in music of all types, from jazz/fusion and funk, to rock and dance. The Rhodes was used much in jazz-fusion throughout the 1970s. Chick Corea’s album Light as a Feather and Miles Davis’s

In a Silent Way featured the Rhodes throughout the whole album. Joe Zawinul of Weather Report, Jan Hammer of the Mahavishnu Orchestra and Herbie Hancock also used the Rhodes.

Classic Rhodes™ Effects
The piano’s clean tone is what you hear on many essential Fender Rhodes recordings, but definitely not all of them. The Rhodes sounds even better with the right amp and effects. The Suitcase Vibrato was the original Rhodes effect, built into all versions of the Suitcase piano (as well as Stage models with the Super Satellite & Janus I systems).

The idea behind the Vibrato was to simulate a rotating speaker, although the actual sound was quite different. The first version of the Vibrato was in mono, a tremolo effect that varied the amplitude of the piano’s output in a square-wave pattern. When the Suitcase amps went stereo in 1969, this pattern was translated into a panning effect. Front-panel controls were provided for Speed and Intensity.

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2) Hohner Clavinet D6™ (Image Copyright by Electronic Edge Vintage Keys )

Musician and inventor, Ernst Zacharias, designed the first of these, the Cembalet, in the 1950’s. This was intended to be a portable, amplifiable version of the Cembalo, or Harpsichord. This worked by plucking the end of a flat reed with the key, which was then picked up and amplified in much the same way as an electric guitar.

A little later came the Pianet. Both the “CH” and “N” models once again used flat reeds, but employed a very different plucking/striking action. When a key was depressed it engaged a “sticky pad” with foam backing which actually stuck to the reed. When the key was released, the pad came unstuck causing the reed to vibrate which was then amplified. The Pianet model “T”

came much later and utilized the suction of a soft rubber pad onto the reed. This was somewhat superior to the “N” and “CH” models, but still had several drawbacks. Although made very popular by bands such as the Zombies and Small Faces, there wasn’t much dynamism available from the keyboard. As all the reeds were damped upon release, this negated the possibility of obtaining sustain via a foot pedal.

The D6 was later superseded by the model E6 and the Clavinet/Pianet Duo. These were basically the same, but more roadworthy and better protected against proximity hums and generally quieter than previous models. However, these models came just a bit too late on the scene in the age of electronics to be as successful as they deserved to be.

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3) Wurlitzer™ Electric Piano

Inventor Benjamin Miessner had designed an amplified conventional upright piano in the 1930s, and Wurlitzer used his electrostatic pickup design, but replaced the strings with struck steel reeds. The instrument entered production in 1955 as the

EP-112 and continued to be produced in various forms until about 1982 when production of the EP-200A ceased.

The Wurlitzer piano is usually a 64-note instrument whose keyboard range is from A an octave above the lowest note of a standard 88-note piano to the C an octave below the top note of an 88-note piano. Tone production in

all models comprises a single steel reed for each key, activated by a miniature version of a conventional grand piano action and forming part of an electrostatic pickup system using a DC voltage ofChanging Presets Crackmechanical sustain pedal similar to that of a conventional piano is fitted

Compared with its erstwhile rival, the (Fender) Rhodes electric piano, the Wurlitzer has a brighter, more hollow sound. When played gently the sound can be quite sweet and vibraphone-like, becoming more aggressive with harder playing. In a pop or rock band setting with guitar(s), bass and drums the Wurlitzer has a distinctive and clear sound where a Rhodes would tend to blend in. However it has also been used successfully in MOR ballads and even country music.

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4) Yamaha CP70™ Electric Grand

The quest for a portable piano has been around since the invention of the Fender Rhodes and the Wurlitzer. Of course, neither of these actually sound like pianos… they have a pleasant sound that is ‘piano-like’ but in no way are they a substitute for the real thing.

Several companies tried all sorts of things (including some fairly horrible electronic things) but it wasn’t until Yamaha released their CP70 ‘Electric Grand Piano’ in the mid-’70s that I had something approaching a ‘real’ piano that could be toured around and amplified easily without any difficult mic techniques.

There were three models in the product’s lifetime… the original CP70 (73-note keyboard) which was superceded by the CP70B (with balanced outputs) and the CP80 (a full 88-note keyboard version).

The Rhodes name and logo are trademarks of Joseph A. Brandstetter.

The Fender name and logo are trademarks of Fender Musical Instruments.

Clavinet is a registered trademark of Hohner International.

Wurlitzer is a registered trademark of the Baldwin Piano Co.

Yamaha is a registered trademark of Yamaha Corporation.

These trademarks are not affiliated or associated with Syntheway and are mentioned only to describe the types of sounds reproduced by ElectriKeys Electric Piano

Syntheway Strings VSTi

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Overview

SYNTHEWAY STRINGS is a “rich-sounding” sample based string VSTi for Windows.

Syntheway Strings have the ability to produce beautiful and lyrical lines, as well as powerful and forceful articulations. You’ll find string orchestra Sustained, Espressivo, Staccato, Marcato, Crescendo, Decrescendo and more!

Features

Strings Selector:
Full Strings
Octaves Strings
Dark Strings
Marcato Strings
Staccato Strings
Marcato Octaves

ADSR envelope generator with Attack, Sustain, Decay and Release parameters and several modulation targets.

All samples have been hand edited with painstaking attention to sonic fidelity, usability and noise levels.

Syntheway Strings has full length sustain samples,

no loops (natural decay), stored in 16 bits and 44.100 KHz, providing superb detail for the musician.

Multisampled Strings: Violin, Viola, Cello, Contrabass…

The size has been significantly reduced.

For its quality, has reasonable small size: 11.9 MB

Affordable price and user-friendly attitude are sure to attract many musicians.

Authentic sound based on an intelligent VSTi engine and Sample Playback, which provides virtually unlimited dynamic expression for your performances.

No Sampler Required!. The Virtual Instrument combines intuitive handling with excellent 24-bit sound quality, and functions as a plug-in instrument, without the need for a sampler, in VST Host application such as FL Studio, Cubase, Orion, Audio Mulch, Sonar and more…

GLIDE control: affects pitch transitions. When turned to the far left, there are no pitch transitions – new notes immediately play at their “correct” pitch. If turned to the right, the glide time increases – new notes are triggered at the pitch of the previous note,

and then gradually glide to the pitch of the played note, quickly or slowly, depending on the setting of this knob.

Includes 12 Presets -Prefabs- (6 Strings mode, 6 Ambience, acoustic environments )

MIDI Automation: Added complete MIDI CC#. The following MIDI Continuous Controllers (MIDI CC) messages are recognized and affect the described parameters:

:: MIDI Implementation Chart for Syntheway Strings::

# Decimal / Controller Name
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CC# 05 – GLIDE – Portamento Time –
CC# 07 – MASTER VOLUME

CC# 71 – DECAY – ENVELOPE GENERATOR
CC# 72 – RELEASE – ENVELOPE GENERATOR
CC# 73 – ATTACK – ENVELOPE GENERATOR
CC# 74 – SUSTAIN – ENVELOPE GENERATOR

CC# 88 – REVERB SIZE ROOM
CC# 89 – REVERB WIDTH ROOM
CC# 90 – REVERB DAMPING FACTOR ROOM
CC# 91 – REVERB MIX LEVEL

Free variation of acoustic ambience thanks to complete separation of strings and room. Small rooms can be modeled just as accurately as larger spaces. Customizable with user controls for: size room, width room, damping factor & mix, used to create psycho-acoustic models in the DSP environment, without having to load up any other plug-ins.

A c o u s t i c A m b i e n c e

Added realistic acoustic environments, from small rooms to large concert halls.

Parameters:

– S i z e : This is the Size ( front – rear distance ) of the room. It ranges 0 to 10 ( smallest to largest)
– W i d t h : This represents the width ( left-right distance) of the room. It ranges 0 (small) to 10 (wide)
– D a m p : ( D a m p i n g f a c t o r ) This is a way to describe the surface absorption, or how sound is reflected by the walls, floors and ceilings.

A higher Damp setting causes high frequencies to decay faster. It Ranges 0 (near no absorption) to 10 (high absorption).
– M i x : The proportion of the “Dry/Wet” signal in the output

Master Hammond B3 VSTi

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Overview

MASTER HAMMOND B3 is a Virtual Hammond VST plug-in with a rich and authentic sound based on the legendary B3. The result is a warm and powerful sound over the entire range of the keyboard. The MHB3 is capable of all the variations one expects from this type of organ, and is suitable for any flavor of music, be it Rock, Jazz, Blues, Gospel, etc.

Features

B3 Mode Selector:
B3 Standard
Fast Bright
Slow Bright
Fast Dark
Slow Dark
Full Bright
4 B3 Blues types

Authentic sound based on an intelligent VSTi engine and Sample Playback, which provides virtually unlimited dynamic expression for your performances.

Modeled on mastered samples (normalized and noise-reduced). Based on PCM recordings of a Hammond B3 organ with full length sustain samples, no loops (natural decay), stored in 16 bits and 44.100 KHz.

The size has been significantly reduced. Great quality and reasonable small size: 7.48 MB.

ADSR envelope generator with Attack, Sustain, Decay and Release parameters and several modulation targets.

10 Acoustic Ambience presets.

Portamento/Glide control: affects pitch transitions. A gliding effect that allows a sound to change pitch at a gradual rate, rather than abruptly, when a new key is pressed or MIDI note sent.

Reverb built-in: free variation of acoustic ambience thanks to complete separation of organ and room. Small rooms can be modeled just as accurately as larger spaces.

MIDI Automation: Added complete MIDI CC#. The following MIDI Continuous Controllers (MIDI CC) messages are recognized and affect the described parameters:

:: MIDI Implementation Chart for Master Hammond B3::

# Decimal / Controller Name
——————————————————————————–

CC# 05 – GLIDE – Portamento Time –
CC# 07 – MASTER VOLUME

CC# 71 – DECAY – ENVELOPE GENERATOR
CC# 72 – RELEASE – ENVELOPE GENERATOR
CC# 73 – ATTACK – ENVELOPE GENERATOR
CC# 74 – SUSTAIN – ENVELOPE GENERATOR

CC# 88 – REVERB SIZE ROOM
CC# 89 – REVERB WIDTH ROOM
CC# 90 – REVERB DAMPING FACTOR ROOM
CC# 91 – REVERB MIX LEVEL

DAL Flute VSTi

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Overview

DAL FLUTE is a hybrid flute emulator combining multi-samples of real flutes with a Digital Signal Processing (DSP) engine. Offers control over several parameters allowing you to sculpt new and interesting sounds.

Features

Hybrid Synthesis that combines sample-playback engine with native DSP processing.

Powerful multi-mode filters, envelopes, and LFOs give a wealth of creative possibilities.

Flute Selector: Normal, Bright and Pan Flute modes (Rotary switch selection)

24 presets redesigned in a wide range of styles ( 8 for each mode: Normal, Bright and Pan).

FULL MIDI Automation: Complete MIDI Continuous Controller

The flute simulation in DAL Flute is controlled by the following parameters:

Sections

LFO2 Section:

1 LFO -Low Frequency oscillator- with 6 waveforms (Sine, saw, ramp, triangle, pulse & S&H) + Speed, Pulse Width , Depth.
1 LFO -Low Frequency oscillator- with 5 waveforms (Sine, saw, ramp, triangle & pulse) + Speed, Pulse Width , Depth.
Envelope2 Section:

Filter Envelope: ADSR (Attack, Decay, Sustain, Release) and Control the amount of the Filter Envelope Generator (Knob setting the Gain of the envelope)
Amplifier Envelope: ADSR (Attack, Decay, Sustain, Release)
Moog Filter Section:

Cutoff Frequency: Controls the Filter’s Cutoff Frequency.
Resonance: Emphasizes the Cutoff Frequency.
Glide / Pitch Section:

Variable note glide speed.
Variable Pitch.
Mono and Retrigger switch: Possibility of turn the synth into Mono Mode and Retrigger switch.
X-Y axis Glide/Pitch: Drag and Drop option for Glide/Pitch effect, by clicking-and-dragging a point in an X-Y axis.
Miscellaneous Section:

Signal’s Harmonic Spectrum (Freq. analyser).
MIDI Channel selector : 1 to 16
Output Control: Emphasis and Volume knobs.
Web link button to ” register full version” in demo,

 

and web-link to website in registered version.

* Hybrid Method combines mastered multi-samples, normalized and noise-reduced. Based on PCM (Pulse Code Modulation) recordings of real flutes. Full length sustain samples, no loops (natural decay), stored in 16 bits and 44.100 KHz and Digital Signal Processing (DSP) engine.

Organux VSTi

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Overview

Organux is a virtual organ VST plug-in designed for creating a wide range of classic and modern organ sounds.

Features

Hybrid method that combines sampling and synthesis techniques.

Selector with 20 predefined types of organ sounds such as:

Baroque Pipe Organ

Cathedral Organ

Farfisa Organ

Ethereal Organ

Chorus Organ

Pipe Organ

Church Organ

Percussive Organ

Gothic Organ

Fast and Slow B3 Organ

Rock Organ

Blues Organ

Detuned Organ

Electronic Organ, and more…

LFO (Low Frequency Oscillator) with modulation depth, frequency, offset, waveforms (sine-triangle-square) add expressive effects such as “Tremolo”

by using the simple GUI commands, or also can be controlled by the position of a ball by clicking-and-dragging in an X-Y axis. The panning slider controls the output effect distribution between left and right speaker.

Multiple-Mode Filter that includes LP (Low pass), BP (Band pass), HP (High pass), notch, peak, low pass and high pass shelving filter with adjustable cutoff and bandwidth. The values are automatically computed when you select any of the filter types.

ADSR envelope generator with Attack, Sustain, Decay and Release parameters and several modulation targets.

16 presets for effects ready to play.

Portamento/Glide control: A gliding effect that allows a sound to change pitch at a gradual rate, rather than abruptly, when a new key is pressed or MIDI note sent.

Reverb effect built-in: Customizable with user controls for: size room, width room, damping factor & mixer.

Delay effect built-in: Creates a delay (echo) effect on audio signals controlled by amount of feedback and modulation of delay time.

On-screen MIDI keyboard that can be played with the mouse, or keyboard (Q is Middle-C, Z two Octaves lower) The ‘T’ on the left of the keyboard sets Toggle Mode where each key stays held until you click it a second time.

MIDI Channel selector : 1 to 16 channels.

FULL MIDI Automation: Complete MIDI Continuous Controller. You can use this to automate parameter changes from a sequencer, or to control your synthesizers from an external MIDI control surface.

:: MIDI Implementation Chart for ORGANUX:

:= FULL MIDI Automation =: Complete MIDI Continuous Controller (Control of all parameters for use with external hardware control). The following MIDI CC messages are recognized and affect the described parameters

Zephyrus VSTi

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Overview

ZEPHYRUS is a hybrid synthesizer that combines an analog synthesis engine and soundfont oscillator to produce complex pads and background sounds.

Features

Soundfont Oscillator: The SFO Uses the raw samples in a soundfont file (*.SF2) as waveforms. Samples can be arranged into Banks, Patches, Key and Velocity zones.
2 Digitally Controlled Oscillator – DCO – with 3 selectable waveforms (Saw, Triangle, Pulse) have knobs to control the octave (4′ 8′ 16′) , and interval.
2 Digitally Controlled Filter – DCF – A) with control over cutoff, contour amount, FM mod and emphasis. B) with control over ADSR envelope generator (Attack, Decay, Sustain, Release).
1 Mixer, controlling oscillators A & B,

master volume, Filter mod and Tracking rate.
LFO (Low Frequency Oscillator) with 2 selectable waveforms (Triangle & Pulse)
Loudness Contour with control over ADSR (Attack, Decay, Sustain, Release).
Distortion Unit (Waveshaper): A wave distortion effect which maps input to output values using flexible spline-based graph. Distorts the input depending on a transfer function you draw by dragging the control points with your mouse.

PORTAMENTO/GLIDE control: affects pitch transitions. A gliding effect that allows a sound to change pitch at a gradual rate, rather than abruptly, when a new key is pressed or MIDI note sent. When turned to the far left, there are no pitch transitions – new notes immediately play at their “correct” pitch. If turned to the right, the glide time increases – new notes are triggered at the pitch of the previous note, and then gradually glide to the pitch of the played note, quickly or slowly, depending on the setting of this knob.

Delay Effect Built-in: with Modulation (Varies the delay time dynamically- 0 to 10V ) and Amount of Feedback controls.
On-screen MIDI keyboard that can be played with the mouse, or keyboard (Q is Middle-C, Z two Octaves lower) The ‘T’ on the left of the keyboard sets Toggle Mode where each key stays held until you click it a second time.
Includes 32 internal presets and display “preset name” (Pre-programmed sounds)
Possibility of turn the synth into Mono Mode and Retrigger switch.
Hint Property: Tool tip when the mouse is over a control. You can mouse over any of the controls anywhere in Zephyrus and this will display a short description of what that control does.
One-panel Graphical User Interface

Fant. Soundfont (SF2) Player VSTi

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Overview

FSFP is a sample generator that works with the SoundFont2 collection (SF2), designed for creating music on your VST Host.

FSFP now supports Full MIDI Automation: MIDI control of every knob and slider on the interface can be modulated by via standard MIDI Continuous Controllers.

Features

Parameters

Load SoundFont – This button is located in the center of the interface. Click it and select a SoundFont2 instruments/drumkits bank file to load (*.SF2).
Bank – Here you can set the patch (instrument) number in the SoundFont collection to be played by the generator.
Preset Number – Here you can set the preset number in the SoundFont collection to be used by FSFP.
Instrument – Shows the name of the selected instrument. Click this area to see a full list with instruments/drumkits available in the currently loaded SoundFont collection.
Sections

LFO (Low Frequency Oscillator): Modulation Depth, Frequency & Offset.

ADSR envelope generator with Attack, Sustain, Decay and Release parameters and several modulation targets.

Distortion Unit: A wave distortion effect which maps input to output values using flexible spline-based graph. Distorts the input depending on a transfer function you draw by dragging the control points with your mouse.

MIDI Channel selector and Master Volume control.

Delay Effect Built-in: Feedback amount & Modulation knobs.

Reverb Effect Built-in: Customizable with user controls for: size room, width room, damping factor & mix.

Signal’s Harmonic Spectrum (Freq. analyser)

On-screen MIDI keyboard that can be played with the mouse, or keyboard (Q is Middle-C, Z two Octaves lower) The ‘T’ on the left of the keyboard sets Toggle Mode where each key stays held until you click it a second time.

PORTAMENTO/GLIDE control: affects pitch transitions. A gliding effect that allows a sound to change pitch at a gradual rate, rather than abruptly, when a new key is pressed or MIDI note sent. When turned to the far left, there are no pitch transitions –

Changing Presets Crack new notes immediately play at their “correct” pitch. If turned to the right, the glide time increases – new notes are triggered at the pitch of the previous note, and then gradually glide to the pitch of the played note, quickly or slowly, depending on the setting of this knob

Virtual Room Emulator VST (Reverb)

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Overview

Virtual Room Emulator is a VST reverb plug-in for native PC platforms. Used to create psycho-acoustic models in the DSP environment.
It simulates the reverberation of a sound in a rectangular type room, allowing separate control of the room’s width, depth and height. It also allows you to control the distance between the listener and the sound positioned in that virtual room.

The Virtual Room Emulator section offers control over the size, width, and damping factor of the room by way of three linkable sliders. Produces a natural sounding room reverberation effect that gives you true room perception, from small rooms to large concert halls. Small rooms have a high percentage of early reflections ( the first feedback from the closest objects) that can give more body to tracks. It is also good with acoustic guitars and voices. Larger rooms are better with strings, or wind instruments and synthesizer pads.

Features:

Reverberation technique that simulates a real acoustic environment of a room.

Separate control of Room’s dimensions, produces naturally sounding reverberation.

Early and late reflections, (The sound reflections from walls, floors and ceilings following a sound created in an acoustically reflective environment).

Damping to re-create a realistic room (In the context of reverberation, damping refers to the rate at which the reverberant energy is absorbed by the various surfaces in the environment).

It uses reverberation engine that does not produce metal harmonics.

32-bit sound processing with sample rate of 96kHz.

16 predefined room configurations that range from tiny to extra large rooms , allow you to quickly switch between different Virtual Room’s configurations.

The plugin is perfectly suited for any type of audio production when acoustic space simulation is needed from recording to post production.

Parameters:

– S i z e : This is the Size ( front – rear distance ) of the room. It ranges 0 to 10 ( smallest to largest)
– W i d t h : This represents the width ( left-right distance) of the room. It ranges 0 (small) to 10 (wide).

– D a m p : ( D a m p i n g f a c t o r ) This is a way to describe the surface absorption, or how sound is reflected by the walls, floors and ceilings. A higher Damp setting causes high frequencies to decay faster. It Ranges 0 (near no absorption) to 10 (high absorption).

– G a t e : Gate Type Input. Only used in Freeze and Gated modes.

– M o d e : Selects between Normal, Freeze and Gated modes.

* Normal: The usual reverb behavior.
* Freeze: When this mode is active,the gate input works as on/off switch for sustain-like effect. When the gate is low, the reverb works as normal. When the gate goes high, Virtual Room Emulator freezes the effect.
* Gated: When in this mode, Virtual Room Emulator only outputs wet (reverberated) signal when the gate is high. When the gate is set to low, a little decay is internally applied to smooth the transition back to, the dry-only state.

– M i x : The proportion of the “Dry/Wet” signal in the output

Syntheway Percussion Kit VSTi
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Overview:

Syntheway Percussion Kit is a collection of percussion instruments designed for creating Orchestral Percussion, Auxiliary Percussion, Mallet Percussion, Latin Percussion and African Percussion.

Features

Complete selector switch on GUI including the following instruments:

1) Orchestral Percussion
Instruments distributed across 5 octaves keyboard.
Key Range Details:
> C1…..C#1 – Snare Roll
> D#1…..E1 – Triple Roll
> F1…….B1 – Bass Drum
> C2……C3 – Timpani
> C#3….C4 – Gong (Tam-Tam)
> C#4..F#4 – Suspended Cymbal
> G4….F#5 – Temple Block
> G5……C7 – Triangle
– Timpani II (Extended)

2) Auxiliary Percussion (Also known as battery  percussion or accessory percussion)
– Triangle
– Woodblock
– Ride Cymbal
– Cymbals
– Tambourine
– Sleigh Bells

3) Mallet Percussion (Also known as keyboard percussion)
– Vibraphone
– Xylophone
– Glockenspiel
– Marimba
– Tubular Bells

4) Latin Percussion
– Conga
– Timbale
– Bongo
– Castanets

5) African Percussion Kit (Full range)

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Special Mallet Instruments: > Vibraphone, > Xylophone, > Glockenspiel, – > Marimba, & > Tubular Bells. Realistic sounds, sampled across 5 octaves keyboard Changing Presets Crack.

Integrated, variable room simulation. Free variation of acoustic ambience thanks to complete separation of instruments and room. You can add your own effects, and mix the percussion the way you wish. Small rooms can be modeled just as accurately as larger spaces.

Customizable with user controls for: size room, width room, damping factor & mixer, used to create psycho-acoustic models in the DSP environment, without having to load up any other plug-ins.

ADSR envelope generator with Attack, Sustain, Decay and Release parameters and several modulation targets.

FULL MIDI Automation: Complete MIDI Continuous Controller. Every parameter can be controlled via MIDI or host automation.

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de.syntheway.net

For german speaking people:

Virtuelle Instrumente und Effekt Plug-Ins – Überblick

Schnittstellen: VST

Zephyrus
Lizenz Kostenpflichtig 32 $
Größe 906 kb
Beschreibung Beschreibung Ein Hybrid-Synthesizer der die analoge “synthesis engine” mit dem Soundfont Oszillator kombiniert und so die Möglichkeit bietet komplexe Pads und “Background” Sounds zu produzieren.

Syntheway Strings
Lizenz Kostenpflichtig 35 $
Größe 7.19 MB
Beschreibung Einige der Samples sind mit Sample Playback und DSP optimiert.
Es lassen sich mit dem Plugin „beautiful and lyrical lines” , sowie “powerful and forceful articulations” produzieren.Changing Presets Crack

Magnus Choir
Lizenz Kostenpflichtig 39,90 $
Größe 4.80 MB
Beschreibung Mit dem Plugin lassen sich „natural“ und „synthetic“ Chöre erzeugen.

Master Hammond B3
Lizenz Kostenpflichtig 35 $
Größe 4.14 MB
Beschreibung Eine virtuelle Hammond B3 mit einem authentischen Sound. Das Resultat , der mit Sample Playback und DSP(basierend auf der Legendären B3) bearbeiteten Samples, ist ein warmer und satter Sound.

DAL Flute
Lizenz Kostenpflichtig 29 $
Größe 1.79 MB
Beschreibung ein “hybrid flute emulator”. Das Plugin kombiniert Multisamples der realen Flöte mit DSP. Die Steuerung verschiedener Parameter ermöglichen es neue Sounds zu kreieren.

Realistic Virtual Piano
Lizenz Kostenpflichtig 35 $
Größe 3.43 MB
Beschreibung Ist die Emulation eines “grand piano” mit einem klaren und nahe zu “lebensechten” Sound.

Virtual Room Emulator
Lizenz Kostenpflichtig 15 $
Größe 912 kb
Beschreibung ist ein “reverb plug-in“ . Es simuliert das Echo eines Tones in einem rechteckigen Raum. Dabei ermöglicht das Plugin die Breite,Tiefe und Höhe des Raumes zu steuern.

Source: plugindex.de (Special Thanks to Jessica)

************************************
Syntheway at Portail Francophone

fr.syntheway.net

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Pianos Electriques Virtuels

Syntheway présente ElectriKeys, une émulation de pianos électriques cultes pour Windows et Linux.

Il émule le Rhodes MK1, l’Hohner Clavinet D6, le Wurlitzer et le Yamaha CP-70 et fonctionne avec les hôtes VST et FST.

Le son est généré en utilisant une technique combinant synthèse et échantillons.

Il embarque un trémolo qui dispose d’un LFO et d’une gestion de la stéréo, de réglages du Decay et du Release, un égaliseur paramétrique à 5 bandes, un analyseur de fréquences, 32 presets pour le trémolo et l’EQ et une automatisation Midi complète.

Vendu 35$, une démo pleinement fonctionnelle est disponible.

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Keyboardsrecording.fr

Syntheway, Magnus Choir 1.5

Syntheway vient de mettre à jour le logiciel Magnus Choir VSTi (Windows, Linux), qui passe en version 1.5. Les nouveautés et autres améliorations se font surtout au niveau au niveau de la banque de sons intégrés, qui possède 32 patches (dont 16 prédéfinis :

textures vocales et pad). On peut aussi noter la présence de filtres variables, agissants sur les signaux basses, aiguës, la résonance. L’automation MIDI n’est pas en reste, puisque les messages MIDI CC, sont reconnus depuis n’importe quelle surface de contrôle MIDI externe.

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Les plugs ins Vst de Syntheway’s VST fonctionnent officiellement sous Linux
publié par jazzride le Mar 12 Sep 2008 [09:21 UTC]

La société Syntheway annonce que ses plugs ins sont officiellement supportés par Linux. Signe des temps, début d’une longue série, sans doute…

Les requis:
– JACK : 0.100.0 or above (http://jackit.sourceforge.net)
– Wine : preferably 1.0 or above, but many older versions will work too.
(http://www.winehq.org/)
– FST : 1.7 or above (http://joebutton.co.uk/fst/)

Le site de la société proposant des plugs ins Vst compatibles Linux

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Guitariste.com

Actualité de la guitare et de la basse

Magnus Choir VSTi : des chœurs dans l’ordi

L’éditeur Syntheway lance le plug-in Magnus Choir pour aider à simuler des voix.

Si le succès du film Les choristes vous a fait tourné la tête mais que votre budget permet à peine de louer la chorale municipale de Triffouilly-sur-Seine, une solution de fortune existe : Magnus Choir.

Il s’agit d’un instrument virtuel compatible VST conçu pour reproduire des chœurs. Les réglages permettent de jouer sur la dynamique (staccato, crescendo, etc.) et de régler l’attaque, l’enveloppe afin de coller à vos idées. Des pré-réglages permettent de choisir un chœur d’hommes, de femmes, des voix bizarres …

Le logiciel coûte 39 dollars.

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Syntheway.audiofanzine.com

Syntheway Magnus Choir

Magnus Choir est un instrument virtuel qui est utilisé pour créer des chorales naturelles ou synthétiques en utilisant des samples et de la synthèse.

Le plug-in est disponible sous Windows et Linux aux formats VST/FST. Voici la liste des caractéristiques de la version 1.5 :

– 32 patches.
– Filtres : Low Pass, High Pass, Band Pass, et Band Reject avec Cutoff et Résonance ajustables.
– Automation MIDI.
– Interface graphique redessinée.
– Affichage du preset sélectionné.

plus d’informations sont disponibles sur le site de Syntheway

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Syntheway DAL Flute 2

Syntheway vient de sortir la version 2.0 de DAL Flute, une flûte virtuelle hybride (synthèse + samples) au format VSTi pour Windows.

Disposant d’un nouveau moteur audio et accompagné de 24 presets, le logiciel jouit d’une interface graphique redesignée et propose les nouvelles fonctionnalités suivantes :

Nouvelle flûte multi-samplée.

 

Modes de flûtes : Normal, Bright & Pan.

Automation MIDI et support des contrôles continus.

Zone de Pitch Bend définissable.

PAs X-Y pour l’effet de Glide/Pitch.

Bouton de sélection du canal MIDI.

Fichier d’aide accessible depuis l’interface.
Prix : 29 $.

Syntheway Zephyrus

Syntheway a sorti Zephyrus, un synthétiseur virtuel combinant une synthèse à modélisation analogique et un oscilateur de soundfont pour créer des pads complexes et des sons d’arrières plans.

Le SFO (SoundFont Oscilator) utilise en fait les samples bruts contenus dans une soundfont (fichier *.SF2) comme forme d’onde. Les samples peuvent être organisés en Banks, Patches, Key et Velocity zones.

Le synthé comporte outre :

2 DCO (Digitally Controlled Oscillator) avec trois formes d’ondes sélectionnables (Saw, Triangle, Pulse)
2 DCF (Digitally Controlled Filter), un de type filtre à modulation, l’autre de type enveloppe ADRS
1 Mixer pour contrôler les oscillateurs, le master, etc.
1 LFO à deux formes d’ondes (Triangle & Pulse)
1 “Loudness Contour” avec contrôle ADSR

Unz unité de distorsion avec Waveshaper
Un contrôle de portamento et glide.
un delay avec modulation
un clavier MIDI permettant de jouer à la souris avec possibilité de mode toogle maintenant tout note jouée jusqu’au prochain click sur la note.
Automation MIDI de 23 contrôleurs (CC)

Ce synthé mérite surement d’être essayé compte tenu de son approche originale (une version démo totalement fonctionelle avec bip régulier est disponible) est proposé pour la modique somme de 32$ US payable en ligne.

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FreeShareWeb, Portail Francophone Amateur du Freeware et du Shareware

David Laurent, MERCI!…

Rubriques: Apprendre la musique

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Magnus Choir VSTi
Plug-in pour VSTi pouvant être utilisé pour créer des choeurs normals et synthétiques

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Realistic Virtual Piano VSTi

RVP est une émulation acoustique de piano à queue avec un son stupéfiant riche et réaliste. Plusieurs échantillons sont combinés avec un playback d’échantillon et le moteur de DSP, optimisés pour un bruit acoustique. Les pianos retentissent extrêmement propres et réalistes

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Master Hammond B3

MHB3 est un plugin pour les systèmes VST sous Windows créant un son d’orgue riche et authentique.

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DAL Flute

Emulateur VSTI de flute.
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Syntheway Strings

Module pour système VST, créant des instruments virtuels.

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Friday, November 28, 2008

 

Glossary Of Musical Terminology (Definitions)

Musical Terminology, Glossary, Definitions

This is a list of musical terms that are likely to be encountered in printed scores. Most of the terms are Italian (see also Italian musical terms used in English), in accordance with the Italian origins of many European musical conventions.

A cappella: Choral music generally without accompaniment; literally – in the style of the chapel

Accelerando (Accel.) or Stringendo (String.): Gradually growing faster

Accent: Emphasis or stress on one tone over others

Ad libitum (Ad lib.) or A placere: At pleasure; at will

Alla Breve: Indicating 2/2 time or “cut time”; literally – on the breve (half note)

Allargando: Growing broader, that is, louder and slower

Animato: Animated; excited; with life and spirit

A tempo: Return to the original tempo

Bravura: With spirit and boldness

Caesura (/ /): A break in the music

Cantabile: In a singing (lyric) style

Coda: A section added at the end of a composition or passage as a conclusion

Con: A prefix meaning “with”

Con anima: With animation

Con forza: With force

Con spirito: With spirit

Crescendo: Increase in volume

Da capo (D.C.): To return and perform from the beginning

Del segno (D.S.): To return and perform from the sign

Decrescendo: Decrease in volume

Diminuendo: Gradually become softer

Diatonic: Pertaining to the notes of a major or minor scale

Dissonance: A relation or state of tension between various tones

Divisi: To divide; as into parts

Dolce: Sweetly

Double flat ( bb ): Lower the tone one full step

Double sharp: ( ø ): Raise the tone one full step

Dynamics: The level (amplitude) or loudness of sound

Pianissimo (pp) – very soft

Piano (p) – soft

Mezzo piano (mp) – medium soft

Mezzo forte (f) – medium loud

Forte (f) – loud

Fortissimo (ff) – very loud

e, et, ed: Meaning “and”

Enharmonic: The same pitch given two different letter names, e.g., e natural and f flat

Espressivo: With expression

Fermata: A sign that indicates the note or rest over which it is placed is to be prolonged

Fine: The end

Forzando (fz): Forced

Interval: The distance or relation between two pitches

Key signature: A grouping of accidentals placed at the beginning of a composition or section to indicate key

Sharps (#):

Number Major Key Minor Key

0 C a

1 G e

2 D b

3 A f#

4 E c#

5 B g#

6 F# d#

7 C# a#

Flats (b): Major Key Minor Key

0 C a

1 F d

2 Bb g

3 Eb c

4 Ab f

5 Db bb

6 Gb eb

7 Cb ab

Legato: Smooth and connected

L’istesso tempo: In the tempo of the previous section

Maestoso: Majestic

Marcato: Marked, emphasized

Melisma: Use of many notes on one syllable of text

Meno: A prefix meaning “less”

Meno mosso: Less motion

Modulation: A change of key within a composition

Molto: Much

Morendo: Dying away

Mosso, moto: Motion, movement

Niente: Nothing

Non: Not

Ornament:

Melodic decoration

Ossia: Alternate version of a set of notes

Passione: With fervent emotion or passion

Phrase: A natural division of the melodic line with a cadence; comparable to a clause or sentence

Piu: More

Poco a poco: Little by little

Quasi: As if, almost

Rallentando (Rall.): Gradually slower

Ritardando (Rit.): Gradually slower

Rubato: Free use of accelerando and ritardando as an expressive device

Sans: Without

Scherzando: Playfully

Sempre: Always

Senza: Without

Sequence: Repetition of a set of notes at a different scale degree

Sforzando or Sforzato (sf or sfz): Forced or accented

Simile: In a similar manner

Sotto voce: Softly, with a subdued voice, literally “under the voice”

Staccato: Short and detached

Subito: Suddenly

Tacet: To be silent

Tempo: The pace at which a composition is to be performed; rate of speed

Tempo Terms from slowest to fastest

Grave very, very slow

Largo very slow

Larghetto less slow than largo

Adagio slow

Lento moderately slow

Andante moderate; walking tempo

Andantino less slow than andante

Moderato medium tempo

Allegretto less fast than allegro

Allegro fast

Vivace, Vivo very fast and lively

Presto extremely fast

Prestissimo as fast as possible

Tenuto: Hold or sustain

Tessitura: The location of the majority of pitches in a composition or section

Timbre: The tone quality or color of a tone

Time Signature: A symbol indicating the type of meter and the unit of beat

Tonality: All notes in a scale related to one central tone

Tranquillo: Tranquil, peaceful

Tutti: All

Unison: Voices on the same pitch or mixed voices in octaves

Table of General Musical Markings by origin

Italian
a (Italian) for, at, in, etc.
a cappella (Italian) for choral music without accompaniment
a capriccio (Italian) in a humorous manner
accelerando (accel.) (Italian) gradually getting faster
ad libitum (Italian) as the performer wishes
affettuoso (Italian) affectionate, with tender warmth
agitato (Italian) agitated, excited
alla (Italian) in the style of
alla breve (Italian) the half note (minim) rather than the quarter note (crotchet) takes the beat
allargando (Italian) growing broader
amabile (Italian) sweet, amiable, lovable
amoroso (Italian) loving
ancora (Italian) again

 

animato (Italian) with spirit
a piacere (Italian) at the performer’s discretion
appassionato (Italian) impassioned
arioso (Italian) a short solo in the style of an air
arpeggio (Italian) the notes of a chord are played in succession rather than simultaneously
assai (Italian) very
ben, bene (Italian) well
brillante (Italian) with brilliance or vivacity
cadenza (Italian) a passage for solo instrument in free, improvisatory style
calando (Italian) diminishing in dynamic and speed

cambiare (Italian) to change
cantabile (Italian) in a singing style
chiuso (Italian) stopped, in horn playing
col, colla (Italian) with the
come (Italian) like, as
comodo (Italian) comfortable, easy

con (Italian) with
con brio (Italian) with brilliance or vivacity
con dolore (Italian) with sorrow
con forza (Italian) with force or strength
con fuoco (Italian) with fire
con giusto (Italian) with taste, fitting mood and tempo
con passione (Italian) with passion
con spirito (Italian) with spirit
coro (Italian) chorus
crescendo (Italian) gradually get louder
dal (Italian) from the
decrescendo (Italian) gradually get softer

 

decisivo (Italian) with decision
delicato (Italian) delicately
diminuendo (Italian) gradually get softer
dolce (Italian) sweetly
dolente (Italian) doleful, sorrowful
doppio movimento (Italian) double the preceeding speed
e, ed (Italian) and
e poi (Italian) and then
espressivo (Italian) expressive
facilmente (Italian) easily, without strain
feroce (Italian) ferocious
fine (Italian) end, close
furioso (Italian) furiously
giocoso (Italian) gay, playful

grandioso (Italian) grandly
grazioso (Italian) graceful
il, la (Italian) the
impetuoso (Italian) in an energetic manner
lacrimoso (Italian) tearfully
lamentoso (Italian) in a mournful style
largamente (Italian) in a dignified manner
legato (Italian) smoothly
leggiero (Italian) light and graceful

lusingando (Italian) alluring, flattering
ma (Italian) but
maestoso (Italian) majestically
mancando (Italian) dying away
marcato (Italian) emphasized
martellato (Italian) hammered stroke played with very short bows at the point
marziale (Italian) march-like

meno (Italian) less
meno mosso (Italian) less movement, slower
mesto (Italian) mournful, sad
mezzo (Italian) half
misterioso (Italian) mysteriously
molto (Italian) much, very
morendo (Italian) dying away and becoming slower
nobilmente (Italian) nobly
non (Italian) not
ossia (Italian) or
parlando (Italian) singing in speaking style

parlante (Italian) singing in speaking style
pateticamente (Italian) pathetically
perdendosi (Italian) dying away and becoming slower
pesante (Italian) heavy, weighting
piacevole (Italian) agreeable
piangevole (Italian) plaintively
piu (Italian) more
pizzicato (Italian) pluck the string with the finger
placidamente (Italian) peacefully
pochetto (Italian) very little
poco (Italian) little, a little
poco a poco (Italian) little by little
poi (Italian) then
pomposo (Italian) pompous

quasi (Italian) almost
rallentando (rall.) (Italian) gradually getting slower
religioso (Italian) with devotion
replica (Italian) repeat
risoluto (Italian) resolutely
ritardando (rit.) (Italian) gradually getting slower
ritenuto (riten.) (Italian) suddenly slower, held back
ritmico (Italian) rhythmical
rubato (Italian) robbed time, speeding up and slowing down
scherzando (Italian) playfully

secco (Italian) dry, short
sempre (Italian) always
semplice (Italian) simple
senza (Italian) without
serioso (Italian) serious
simili (Italian) the same
sino al (Italian) up to the..
slargando (Italian) broadening
slentando (Italian) getting slower
smorzando (Italian) smother dynamic to nothing
soave (Italian) suave, gentle
solennemente (Italian) solemnly
sonore (Italian) sound with full tone
sordino (Italian) mute
sostenuto (Italian) sustained

sotto voce (Italian) with a barely audible sound
spiccato (Italian) with a light bouncing motion of the bow
spiritoso (Italian) lively, with spirit
staccato (Italian) detached, short
stentando (Italian) delaying, retarding
strepitoso (Italian) noisy
stringendo (Italian) quickening
subito (Italian) suddenly
sul (Italian) on the..
suono (Italian) sound, tone

tanto (Italian) so much
tempo primo (Italian) return to original time
tempo rubato (Italian) robbed time
teneramente (Italian) tenderly
tenuto (Italian) held, sustained
tessitura (Italian) average range of a vocal part
tosto (Italian) rather
tranquillo (Italian) tranquil, quiet, calm
tremolo (Italian) a quick reiteration of the same tone on a string instrument
troppo (Italian) too much
tutti (Italian) all
un poco (Italian) a little
vibrato (Italian) slight change of pitch on same note
vigoroso (Italian) vigorous, strong
vivo (Italian) lively
German
aber (German) but
ausdrucksvoll (German)

 

with expression
beruhigen (German) to calm, to quiet
bewegt (German) agitated
bewegter (German) more agitated
daher (German) from there
dämpfer (German) mute
drängend (German) pressing on
einleiten (German) to lead into
erschütterung (German) a violent shaking, deep emotion
etwas (German) somewhat, rather
flüchtig (German) fleeting, transient
frei (German) free
ganz (German) entirely, altogether
gebrochen (German) broken
gedehnt (German) held back
gemächlich (German)

comfortable
geschlagen (German) struck
gesprochen (German) spoken
gesteigert (German) intensified
gestopft (German) stopped note by placing the hand in the bell of the horn
gewöhnlich (German) usual, customary
gleichmässig (German) equal, symmetrical
halbe (German) half
halt (German) stop, hold
hauptstimme (German) most important voice in the phrase
hauptzeitmass (German) original tempo
heftiger (German) more passionate, violent
hervortretend (German) prominently
hörbar (German) audible
immer (German) always
klangvoll (German) sonorous,

full-sounding
klingen lassen (German) allow to sound
kräftig (German) strong, forceful
kurz (German) short
lebhaft (German) lively
leidenschaftlich (German) passionate
mit (German) with
nebenstimme (German) the second most important voice in the phrase
nehmen (German) to take
neue (German) new
nicht (German) not
noch (German) still, yet
ohne (German) without
plötzlich (German) suddenly
ruhig (German) calm
schleppend (German) dragging
schon (German) already

schwerer (German) heavier, more difficult
schwermütig (German) dejected, sad
sehr (German) very
sprechstimme (German) speaking voice
trauernd (German) mournfully
übertönend (German) drowning out
unterbrechung (German) interruption, suspension
verhalten (German) restrained, held back
verklingen lassen (German) let die away
verzweiflungsvoll

(German) full of despair
vorwärts (German) forward, onward
weg (German) away, beyond
wieder (German) again
wie oben (German) as above, as before
zart (German) tenderly, delicately
ziemlich (German) suitable, fitting
zurückhaltend (German) slowing in speed
zurückkehrend zum (German) return to..
French
bien (French) very, well
come (French) like
détaché (French) detached
doux (French) soft, light
echoton (French) with an echo
éclatant (French) sparkling, brilliant
encore (French) again
en dehors (French) outside, emphasized
en fusée (French) dissolving in
et (French) and
fois (French) times, as in number of
laissez vibrer (French) let vibrate
lié (French) tied
main (French) hand (droite right; gauche left)
marqué (French) marked, with emphasis
pause (French) pause, rest
peu (French) little
plus (French) more
sans (French) without
seulement (French) only
sombre (French) somber, dark
son (French) sound
sourdine (French) mute
soutenu (French) held, sustained
sur (French) over, on
très (French) very
tristement (French) sadly
unison (unis.) (French) same pitches played by several instruments

Posted by uknh at 9:37 PM No comments:

Labels: DefineGlossary Of Musical Terminology, Definitions, Glossary, Italian Musical Terms, Musical Terminology

Wednesday, October 8, 2008

 

Audio Hardware Links

Audio Hardware Links

Posted by uknh at 5:28 PM No comments:

Labels: AKG, Alesis, Audio Hardware,

VST Hosts & Audio/MIDI Sequencers – Audio & Post Production Systems

VST Hosts & Audio/MIDI Sequencers – Audio & Post Production Systems ^
[(*) My favourites]

Image-Line FL Studio 8.xx, 7.xx, 6.xx… (*)

Steinberg Cubase VST 5/32

Steinberg Cubase VST 5 SCORE

Steinberg Cubase VST 5 Standard

Sony Acid Pro 7.xx, 6.xx (*)

Synapse Audio Software: Orion Pro 7.xx

Cakewalk SONAR Home Studio 6 and Home Studio 6 XL

Cakewalk SONAR 7.xx, 6.xx Producer Edition

Cakewalk SONAR 7.xx, 6.xx Studio Edition

M-Audio Ableton Live 7.xx, 6.XX (*)

M-Audio Evolution Sound Studio II Standard & Pro 2.xx

Score Writer 4.0

OscillaStation 2.xx

 

Mackie Tracktion 2.xx

Audio Mulch 1.xx

Bram Bos Tunafish 1.xx

Adobe Audition 3.xx

Steinberg Cubase SX 3

Steinberg Cubase SL 3

Steinberg Cubase 4 (*)

Steinberg Cubase Studio 4 (*)

Steinberg Cubase SE “Special Edition” 3

Steinberg Cubase LE (1.xx or higher)

Pinnacle Steinberg Cubasis VST 4.xx 5.xx

Steinberg Nuendo 4.xx, 3.xx

Emagic Logic Audio 5.xx

Emagic Logic Audio Platinum 6.x

 

x

Magix Samplitude 8.xx, 9.xx Professional

Psycle Modular Music Creation Studio v1.8.2

PowerTracks Pro Audio

Making Waves Audio & Studio 5.xx

Renoise v1.xx

Celemony Melodyne (2.0 or higher)

Cakewalk Music Creator

Massiva

Multitrack Studio

Muzys 2.xx

Magix Music Studio 7.xx

Sensomusic UsinePro 2.xx

WaveLab 5.xx (VST Effects only)

Acoustica Mixcraft Recording Studio 4.xx. 3.xx (VST Effects only)

 

 

Friendly VST Plug-ins -Changing Presets Crack

Here a list of friendly VST Plug-ins (Many of them from my personal collection working with FL Studio v8 and Cubase v4)

Acon Digital Media Studio Clean
Acon Digital Media Studio Necessities
Acon.Digital.Media.Studio.Time
Admiral.Quality.Scamp.VST

Thanks For Downloading:)
Changing Presets Crack In Syntheway Magnus Choir VSTi From Crackfolder Links Given Below!
                                                        Downloading Links

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