PCDJ DEX 2.5.1-Patch XenoCoder | 13.89 MB
PCDJ DEX 2 for MAC or Windows is our all-encompassing professional DJ software that’s simple enough for the novice, but feature rich enough for any seasoned DJ. Look no further, DEX 2 does it all – whether you’re mixing audio, video, or even karaoke files DEX gives you full control over your media allowing you to do more in the mix than ever before. With our ultra-accurate automatic beat-mixing, your songs will always stay in sync, allowing you to focus on the other aspects of your mix. Since DEX 2 offers no latency playback; loops, hot cues, and all playback controls are as responsive as possible, whether you’re using a keyboard and mouse or a DJ MIDI controller. So load up DEX 2, import you tunes, and cue up your imagination – DEX 2 is the total entertainment solution, accept no compromises!
Features:
- 4 DJ decks (two for video and karaoke) with professional grade mixer and playlists - Fully manual or automatic mixing (one-click beat-matching) - Video mixing (including pitch, break, reverse, scratch video) - Timecode vinyl/CD support - Robust library with format filters, search as you type, and tag editing - Seamless intelligent looping and beat-skip - Skin support – change the appearance of DEX 2 - Automatic grid-based BPM detection with batch processing - Vinyl simulation including scratch, pitch, reverse play, and brake - Headphone cueing and monitoring - Support for professional VST effects - Analog input for microphone (with talk over),turntables, or CD player’s - Pitch scaling for harmonic/key mixing - advanced auto-mixing including Mix-In/Mix-Out (Cue In/Out) points - Perceptual automatic gain (volume control) - Sample player – load up audio clips and trigger them - Karaoke CDG (MP3+G Zip and uncompressed) support - Record your mix to MP3, WAV or AIFF - Key-Lock (Master Tempo) – Very high quality option available! - ASIO/CoreAudio low-latency support - Browsing system with unlimited lists, disk explorer, database, and iTunes library import support - Load the whole song in RAM for instant access - Audio-CD support on Win/Mac - DEX 2 reads mp3, m4a, wav, aiff, ogg, cda, mpeg, avi, mov, mkv, wmv, flac and more!(Non DRM) - DEX 2 works cross-platform, so your purchase will work equally well on a Windows computer as it will on a MAC!
home page: http://www.pcdj.com/
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AOM Factory Invisible Limiter v1.4.1 - R2R| 10.53 MB
A.O.M. Invisible Limiter is a transparent brick-wall limiter with automatic attack/release-time optimization. Invisible Limiter's limiting algorithm minimizes audible difference between original and limited materials throughout its processing.
Invisible Limiter is useful if clean limiting or transparent volume maximizing are required and it removes peaks as if they weren't there.
Homepage
http://aom-factory.jp/
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AOM Factory Wave Shredder v1.4.1 - R2R| 8.82 MB
A.O.M. Wave Shredder was bone to inject madness to your track. Wave Shredder is a collection of destructive processors: Rate Reducer, Zero-time Gate, Waveform Cut&Fold, Chopper and Bit Crusher.
A.O.M. Wave Shredder is a collection of destructive processors: Rate Reducer, Zero-time Gate and Chopper, Waveform Cut&Fold and Bit Crusher.
Rate Reducer is based on zero-order sample hold. Zero-time Gate sets the input signal to zero immediately when the signal level falls below the threshold. Zero-time Chopper plays the inverse of Gate. The Cut&Fold section truncates under zero signal to zero, and in fold mode, the section puts inverse truncated signal instead of truncation. Bit Crusher reduces signal's resolution.
Homepage
http://aom-factory.jp/
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AOM Factory Stereo Imager D v1.4.1-R2R
Team R2R | 8.23 MB
Links update: 18/05/2024
Stereo Imager D is a decorrelation-based Stereo Imager.
Common stereo imager (typically using M/S decomposition) plugins can not retain stereo information of source singal. These plugins sometimes emphasizes side component of input signals, however, such processing easily breaks tonal balance and stereo eld of input singals.
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Microworks CAMPS v4.2.2 - R2R| 37.24 MB
If you've ever hit a mental block when searching for the rightchord or a variation on a melody, the people at Microworks can giveyou some assistance. They have created the Computer Assisted MusicProcessing System (CAMPS), an algorithmic composition program thatmight shake your creative logjam loose. CAMPS 4.0 features areasonably complete sequencing environment and tools to generatevirtually any element of a piece of music.
With an array of automatic tools, from harmonization to melodycomposition to drum arranging, CAMPS certainly covers a lot ofbases. Though its language is that of music theory, CAMPS' featuresare accessible to users with little or no formal training.Ultimately, though, the autocompose features' nature and qualitydetermine whether the program is useful to you.
GETTING IN AND AROUND
The first thing I noticed when I opened CAMPS' box is the almostcomplete lack of hard-copy documentation. Only four sheets of paperare included with the installation CD. One page is devoted to aQuick Tour of the CAMPS environment, and the other three areconcerned with the proper installation and authorization of theprogram. Read those pages carefully to avoid problems with yourregistration key.
Using a standard challenge-and-response technique, CAMPS hides adigital license on your hard drive. This requires that you extractthe license to a floppy disk if you transfer the program to anothercomputer. Unfortunately, you must also do this every time youdefragment your hard drive, a huge annoyance for musicians whodefrag their drives frequently. According to Microworks, theprocedure is required because of Windows operating systemlimitations and may be resolved in the future.
If you're familiar with another sequencer, CAMPS' environmentshould be as comfortable as old jeans. The default startup windowis a standard Track view with toolbars at the top and bottom of thescreen (see Fig. 1). Other editing views include the NotationEditor, Piano Roll Editor, Event List Editor, and Controller DrawEditor.
Upon closer inspection, the Track view proves to have two uniquefeatures. First, an extra track called the Chord Track lets theuser set an extensive group of parameters that establish the key,mode, and function of each chord in a song (see Fig. 2). Theseparameters are the guidelines that the program uses to generatealternate chord progressions. The second unique feature is thecategorization of each track according to its function. Categoriesrange from Melody to Bass to Drum, and they guide CAMPS in itsanalysis of existing parts and in the creation of appropriate newlines and harmonies. (The Drums category indicates that CAMPSshould compose lines appropriate for unpitched instruments and thatit should ignore that track when doing a harmonic analysis.)
As a sequencer, CAMPS is fine but not fancy. I like the factthat many commands are available directly from the keyboard or theright mouse button. I was able to play and record MIDI tracks,import Standard MIDI Files, and even tinker with all theautocompose features before cracking the online manual. The onetruly obscure procedure is setting tempos, which is only possiblefrom the Tempo List Editor or the Tempo Draw Editor. Unlike othersequencers, CAMPS doesn't have a dialog box where you can enter atempo value, which I found awkward.
The program's online help feature is a model of hyperlinkedorganization. I can't imagine anyone doing a better job with thatformat, yet I found myself begging for a hardbound manual. A PDFfile on the CD helps some, but unfortunately, it follows the onlinehelp structure. Hyperlinked help files are a great reference forretrieving details and cross-referencing information, but they justdon't cut it for the linear process of learning new software.
A FISTFUL OF CHORDS
The real power of CAMPS is in its autocompose features,including its ability to analyze the Chord Track and any existingMIDI tracks and make suggestions based on that analysis. Using theuser-defined parameters in the Chord Track as a reference, theprogram can generate a completely new chord progression or suggesthundreds of alternative progressions that harmonize with existingtracks. You can also manually construct any of the chords yourselfor simply have CAMPS analyze an arrangement's chord progressionfrom the existing tracks.
The Chord Track is subdivided into Chord Blocks, and each ChordBlock is made up of one or more Chord Containers. A Chord Block isnothing more than a way of dealing with groups of Chord Containers— for example, identifying them for reharmonization orperforming standard cut, copy, and paste functions. A Chord Blockusually corresponds to a complete musical phrase or subphrase,typically from four to eight bars. The length of a Chord Block canbe defined manually or determined automatically based on CAMPS'analysis of existing tracks.
The really useful information resides in the Chord Containers.Each Chord Container contains only one chord, but the name"Container” reflects the fact that a Chord Containeralso holds information about the chord's key, mode, and duration— the factors CAMPS analyzes to determine potentialalternative chords. The same Chord Container could thereforerepresent any number of chords that share the defined parameters.You can establish the harmonic tendencies of Chord Containersmanually or let CAMPS sort them out from your existing MIDItracks.
CAMPS provides three basic functions for manipulating chords:Generate, Harmonize, and Construct. Those functions also come insome "EZ” flavors, which, in combination with a MagicWand tool, give novices quick results with predeterminedalgorithms. The authors are quick to point out, though, that themore input you provide, the more useful and musical your resultswill be.
HARMONIC COMPLEXITY
I tested the program by importing a MIDI file of a salsa-esqueoriginal composition built around a stock chord pattern, namely onebar each of G minor, F, Eb , and D7. Thearrangement consisted of 13 tracks: two trumpet; one each of horn,trombone, and tuba; and eight percussion. The piece's first eightbars were completely chordal and, with the exception of a singlechromatic note in the tuba part, completely diatonic. CAMPS did aperfect job of analyzing the tuba part's function as a bass lineand the drums as nonharmonic information, correctly declaring theother brass parts to be melodic lines.
When I asked CAMPS to EZHarmonize the entire arrangement,though, I received some very strange results. The Harmonizefunction is intended to generate chords that fit with existingpitched data, yet its first chord choice on repeated harmonizationpasses was an F# diminished orG# diminished, despite the clear tonality ofthe music. Even removing that one chromatic tuba note didn'thelp.
Heeding the authors' advice that EZ functions are merely astarting point, I next tried to Harmonize the song. When I selectedthe Harmonize function, a dialog box opened and started listingdozens of Detected Keys and Modes and hundreds of Detected ChordProgressions, all at lightning speed (see Fig. 3). I selected Gminor as the key and mode to focus on, and all the displayed chordprogressions reflected that choice, more or less. ThoughEZHarmonize failed to suggest a starting chord of G minor onrepeated passes, almost half of the suggestions in the Harmonizewindow started with that chord. Still, after scrolling throughscreen after screen of suggested chord progressions, I never foundthe pattern I thought my music implied.
If you're looking for ideas to shake up your staid harmonies,you may regard this tendency to avoid obvious choices as a goodthing. Clearly CAMPS is not short on imagination; I suspended thesearch for possibilities at around 10,000 G-minor chordprogressions.
I started a new file and tried to restrict the possibleharmonizations further by entering a simple chord-based melody andalso defining specific first and last chords. The good news is thatCAMPS takes the chords before and after a harmonization region intoconsideration when generating alternatives. The bad news is thatthe Harmonize dialog box only lets you audition the newly generatedchords and doesn't let you hear them in context. On the other hand,if you attempt to Harmonize several noncontiguous chords, it willplay the intervening chords during the preview.
Next I entered five bars of George Gershwin's "I've GotRhythm,” one of the most common chord progressions in Westernmusic. I included a simplified melody and the tonic chords thatoccur in the first and fifth measures. Then I selected measures 2through 4 for harmonization. I wasn't forced to suspend the processthis time, as there were only 997 variations, a much moremanageable number. There were fewer jarringly dissonantsuggestions, but I was still surprised to find that the familiar I— vi — ii — V progression was number 101 on thelist of suggestions, with the rock ’n’ roll version (I— vi — IV — V) barely beating it at number97.
When I asked Microworks about the problem, I was told that toavoid making stylistic decisions, CAMPS does not prioritize resultsin any particular order. I think there needs to be some way theuser can manage the program's many suggestions. Providing moreeffective tools to organize or constrain the results would makeCAMPS a far more useful program. In its present form, the programlacks the tools to control its own imagination.
To have the program create alternative chords withoutconsidering existing MIDI lines, use the Generate function. In thismode, CAMPS bases its choices solely on the existing key and modedata defined in the Chord Containers. When I generated alternativesto the first eight bars of my salsa tune, CAMPS offered 500,000suggestions before I suspended the process. The first 13suggestions were variations of the first chord with the rest of thephrase harmonized simply as I — ii — V — I— ii — V — I. The next 135 patterns varied thefirst two chords while keeping the remaining six bars constant.CAMPS generated about 20,000 progressions before varying the fifthbar.
These results from the Generate function again make apparent theabsence of tools to distill the program's "creativity.”Though the pattern of results was predictable, (varying only thefirst chord, then the first two, then the first three, and soforth), I found wading through half a million suggestionsdifficult. The fact that Generate gives you the flexibility toignore melodic lines also makes me wish Harmonize respectedexisting lines more. That would allow the user more control overthe number of outside-of-the-box suggestions.
LISTEN TO THE MELODY
CAMPS' Compose function is its only tool for generating new ortransforming existing melodic lines, yet Compose utilizes moreinternal parameters than the chord functions (see Fig. 4). It alsotends to be more conservative in its suggestions, varying themelody a little bit at a time depending on how you set up theparameters.
The Compose dialog box allows you to determine the relativeconsonance, melodic activity (for example, use of repeated notesand size of skips), rhythmic characteristics, and scale and rangeof the melody, among other factors. You can choose to have the newmelodies follow an existing rhythm, or you can select RhythmCompose to hear variations. All those factors affect the degree towhich the melody is altered.
Numerous Compose presets are included that illustrate thealgorithm's flexibility. Mellow Alto Sax, for example, has a rangeof less than two octaves, a very high consonance level, and amaximum leap of a perfect fifth. Out Guitar, by contrast, featurestwice the range and a significantly higher tendency towarddissonance. There are different presets for every Line category,with the tendencies of an Obbligato or String line modifiedappropriately for its role in the overall arrangement.
A unique feature called MelodyDraw lets you draw a shape for themelody to follow. That may be one of CAMPS' strongest features asit allows a composer to say, in effect, "Give me a moderatelydissonant line that descends for six bars and then reversesdirection.” MelodyDraw could be improved with the addition ofa larger drawing window or a variable zoom for the window. Once Iestablished chord patterns that I liked, I found MelodyDraw and theother Compose features to be potentially useful.
CAMPS even adds harmonies to a line with any combination ofseveral standard voicings. Open the Notation or Piano Roll View,select a line for Voicing, and you are presented with anote-by-note dialog for choosing Cluster, Close, Drop-2, Drop-3,Drop-2&4, Fourths, Spread, or Upper Structure Triad voicings.That is an impressive array of arranging techniques, but selectingvoicing styles on a note-by-note basis is pretty tedious.
Fortunately, CAMPS remembers the last voicing you used. The nexttime you open the Voicing dialog box, it assigns the previousvoicing as the default for all selected notes. As long as you planto continue in the same voicing style, this feature saves you a lotof effort. Still, I would prefer to select a voicing style for theentire selection and then tweak individual voicings asnecessary.
RATTLE YOUR MUSE
Make no mistake: CAMPS packs a lot of musical intelligence.Also, it performed at blazing speed on everything from a PentiumIII/450 MHz to a mere Pentium 120 without a hiccup. It's the kindof direct, efficient, no-nonsense program I love to use.
Nevertheless, I was frustrated by the lack of control over theharmonization process. It's great that CAMPS generates the type ofchromatic substitutions jazz players thrive on, but it has troubledealing with simple triadic pop harmony. In addition, I discoveredthat its harmonic vocabulary lacks one of the most common dominantsubstitutions in pop music: the IV chord over the V chord's root(for example, an F triad over a G bass in the key of C). Moreover,the process of limiting and defining results is pretty clunky: iftriadic harmony is possible, it isn't easy to achieve. Overall, themelodic tools are more useful, yielding possibilities that seemmore appropriate. Undoubtedly this is due to the greater degree ofuser control over the process.
If you're looking for something to rattle your muse's cage,download the fully functional, 30-day demo. Considering the nearlylimitless possibilities that CAMPS can suggest, you'll certainlynever be able to say, "I hadn't thought of that!”again.
home page: http://www.mxw.com/win4/product.htm
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This is a stand-alone product. Spark Dubstep IS NOT an expansion pack for Spark (an expansion pack will be released soon) Spark Dubstep is a complete software package that gives you access to Sparks intuitive, organic, features and work flow using the Dubstep Library
SPARK DubStep's powerful, user-friendly interface makes beat- and bass pattern-creation easy, especially when using the step sequencer situated at the top of the default centre panel. Hardware drum machine enthusiasts will feel right at home here. Thanks to advanced looping modes cleverly combined with the XY pad's real-time slicing and filtering controls, users will be producing breaks in no time at all.
Each of the 480 instruments comes complete with 12 sound-sculpting parameters to promptly put your own stamp on the resultant sound: modify the noise colour of hi-hats; clip basses using various analogue filters; adjust the LFO rate and depth of a wobble bass, etc.
SPARK DubStep's integrated 16-channel mixer offers 14 high-quality effects and maps each instrument's stereo output to the host DAW when seamlessly running as a plug-in (RTAS, AU, VST3) with real- time automation available on all parameters. It's possible to export patterns as .wav or MIDI files to the DAW — simply drag-and-drop any pattern from the currently open kit to have it automatically rendered in the chosen format.
Performers wishing to use SPARK DubStep as a standalone instrument independently from a software sequencer and play it from their favourite MIDI keyboard- or drumpad-based controller are perfectly free to do so. Either way, all onscreen key knobs and pads are easily assignable via MIDI.
MAIN FEATURES:
30 different kits ranging from pure wobble anthems to revisited EDM and Hip Hop tracks on dub steroids. More than 500 pre-programmed MIDI patterns, that you can also customize to your needs. Made for live performance: FX Pad, Looper, Slicer and Real-time automation on all parameters. 14 high quality effects : Multiband Compressor, Reverb, Sub generator, Destroyer, Bit crusher, Multiband EQ, Chorus, Delay, Distortion, Phaser, Plate reverb, Flanger, Space pan, Limiter. Spark’s Step Sequencer makes track creation a breeze. Perfect integration: 16 independant audio outputs, midi I/O. Unparalleled sound quality based on virtual analog synthesis (TAE®) and high resolution sampling. Playable through any MIDI keyboard or drumpads.
home page: http://www.arturia.com/evolution/en/products/spark-dubstep/intro.html
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Propellerhead Recycle v2.2.3 - Portable | 5.89 MB
ReCycle is a creative tool that helps you make the most of your grooves. In simple terms, ReCycle lets you do with sampled loops what you can do with beats programmed from individual drum sounds like alter the tempo, or replace sounds and process them individually. A tool for quickly editing sampled parts, chopping up riffs, remixing and doing mash ups.
PORTABLE NOTES: ... a tiny thinstalled portable, nothing is ripped (except the loops), start the app with the "ReCycle.exe" (win7 = apply as admin)
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LinPlug RMV v5.1.0 - R2R| 14.43 MB
The RMV is a dream machine, but you need to try it to understand just how flexible it is, how intuitive and easy to use the interface is, how well the library system works. A wonderfull machine. RMV Drum Addiction Drum Synthesizer, Drum Sampler, Audio Loop Slicer and Drum Librarian for Windows. RMV is the result of many years of investigation and programming and a huge step forward from its predecessor, the RM IV.
Features
*Drum Synthesizer *Drum Sampler *Audio Loop Modules (Slicer & Player) *Drum Librarian *Available for PC and for Mac OSX *64-voice polyphony *Multiple instances of the RMV can be opened. *48 polyphonic Pads for the universal or specialized Drum Synthesizers or Drum Samplers *Six independent Audio Loop Modules with up to 64 slices each *Each PPad and each Slice features its own controls for Volume Pan Output Selection Tune (+- 24 semitones in 10 cent intervals) two independent Effects Send *Each Pad and Slice can belong to one of 10 Edit Groups (parameters for all Pads or Slices in a Group can be adjusted simultaneously) *Each Pad and each Slice can have additional modules a 12x12 Modulation Matrix 3 independent LFOs a Distortion and BitCrusher a multimode AHDSR-controlled filter a four-band parametric equalizer three insert effects racks each of which can be set to one of nine different effects units a "Varizer" for unbeaten realistic humanizing. *Each Pad additionally features its own controls for loading and saving Pad files, Choke Group (12 groups are available including prev/next and self-mute), Trigger Key, Polyphony (mono...8, full), Mute and Solo *Almost all instrument parameters are MIDI controllable
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Wave Arts Dialog v1.10 - R2R| 13.34 MB
Dialog combines in one plug-in all the processing needed to clean up, adjust, and sweeten recordings of the spoken voice. It is perfect for voice-over, film/tv recordings on location or sound stage, and broadcast.
Dialog includes brickwall filters, de-hum and de-buzz processing, broadband noise reduction, de-ploding, de-essing, 10-band equalization, compression, and limiting. Separate presets for each section allow you to get results fast.
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kiloHearts Faturator v1.003-R2R
Team R2R | 2013.11.08 | 3.39 MB
Links update: 19/03/2017
Grit, oomph, fatness, raw, color, or just that certain something. Sometimes your sounds need a shovel of dirt. Faturator is standing ready to tear whatever you throw at it apart violently, and then gently (but firmly) put it back together fatter and rawer than ever.
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Focusrite Midnight Plug-in Suite v1.4-R2R
Team R2R | 2012.11.28 | 17.33 MB
Links update: 25/12/2018
Focusrite’s new Midnight plug-in suite takes two of the most iconic Focusrite modules of all time – the ISA110 equaliser and ISA130 compressor; models their sound exactly with powerful DSP technology; and gives them elegant, functional on-screen front panels that make them simplicity itself to use. Now you can add that authentic, classic Focusrite sound to your own tracks at a price you can afford. Your productions have never sounded so good.
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ReViSiT Professional v1.7.3 Incl.Keygen-MESMERiZE
Team MESMERiZE | 4.87 MB
Links update: 07/01/2022
reViSiT is an award-winning tracker that plugs into your VST host (e.g. Cubase), enabling a fluid tracker user experience that couples a powerful music notation with the advanced features of digital audio workstations, such as sequencing, audio recording, video synchronisation, mixing, effects, mastering, scoring and more.
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MuTools MuLab UL v4.5.1-R2R
Team R2R | 2012-11-24 | 33.09 MB
Links update: 07/05/2017
MuLab is a top-quality sound and music production system for Mac OSX and Windows, transforming your computer into an inspiring modular studio. MuLab is an easy, effective and rock-solid tool designed to create, record, and finalize Your Music!
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Studio Devil Virtual Tube Preamp v1.0 | 21.21 MB
Studio Devil Virtual Tube Preamp faithfully emulates the analog circuitry of a discrete, class-A biased, vacuum tube preamplifier. All of the associated analog circuitry, including the vacuum tube itself and the effects of biasing resistors and capacitors, are simulated in amazing detail. Just about any audio source or track can benefit from the natural soft limiting and dynamic warmth that this virtual tube preamplifier provides.
Features:
-Discrete Vacuum Tube Preamplifier Channel using the best vacuum tube modeling technology available to faithfully emulate the dynamic and expressive nature of real vacuum tube preamplifiers using Studio Devil’s proprietary vacuum tube circuit modeling technologies!
-Input Drive Control adjusts the strength of the signal feeding the input grid of the virtual tube preamplifier!
-Output Level Control to adjust the output signal strength and to compensate for low drive settings!
-Bass Contour Control to sweep the value of the cathode bypass capacitor which controls the low frequency and dynamic saturation responses of the preamp!
-Treble Rolloff Control to tweak the value of intrinsic and parasitic capacitances in the simulated vacuum tube preamp, giving control over the natural warmth and softness associated with real vacuum tube preamps!
-Bias Switch to select from two preset tube bias levels which vary the interaction of gain, asymmetrical drive, and dynamics of the preamplifier!
-Invert Switch permits controlling the phase of the preamplifier and the polarity of the class-A asymmetry!
-CPU Switch adjusts the modeling algorithm to balance the tradeoff between accuracy and CPU load allowing multiple instances to run on even slower workstations!
-Overload LEDS assist in setting healthy levels by indicating when the input signal is overdriving the tube preamp and when the output level clips!
http://www.studiodevil.com/products/virtual_tube_preamp/
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n-Track Studio 7.0.1 Build 3000 x86/x64 | 28.87 MB/32.4 MB
n-Track Studio is an audio & MIDI multitrack recorder that turns your computer into a full-fledged recording studio. You can record, playback, overdub just like with a tape multitrack recorder, but you can exploit the flexibility and power of today's PCs for applying effects, realtime input processing, automated aux channels sends and returns, destructive and non-destructive wave editing. The program supports 24bit-192 khz recording, multiple channels soundcards, live input processing, mp3 encoding and much more.
Features:
- Audio in all popular WAV file formats except 8-bit, as well as Ogg Vorbis - MIDI (with piano-roll editor) - DX/DXi/VST/VSTi plugins - cut-paste editing - ASIO, WDM, and MME audio interfaces - robust set of built-in effects (compressor, MB-compressor, parametric EQ, reverb, auto-vol, pitch shift, echo, chorus, and tempo delay) - spectrum analyzer - LIVE mode for hearing FX while recording - multiple soundcards - surround mixing - automation of volume, pan, aux sends & returns, and plugin FX parameters - ReWire technology by Propellerhead
home page: http://ntrack.com/
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