Now users of SONAR X1 Producer Expanded can increase their arsenal of ProChannel modules with the Softube Mix Bundle plug-ins. The ProChannel Modular version of Softube Mix Bundle will let you utilize the best features of Sonar X1 Producer Expanded, which is to provides flexible drag and drop routing with full modular capabilities. Sep 25, 2018 - Voltage Modular is here but can it make a dent in the VCV Rack and Softube Modular market? It has 69 modules, a fruity look, an inbuilt shop,.
Softube Eurorack Eurorack for EveryoneToday is the day—the eagerly anticipated Modular is finally available. At a very attractive introductory price, no less: The basic Modular package is $75 until July 15, 2016. After that date, the normal price of $99 will apply.
What Is This Modular Thing? Created in close collaboration with Eurorack godfather Dieter Doepfer, Modular gives you both the sound, flexibility and expandability of a true analog modular synthesizer.
Softube Software
But Modular is more than just another virtual synthesizer plug-in—it’s an entirely new modular synth standard which can be expanded as new modules are continuously added. What Do I Get? The Modular basic system gives you a great toolkit to start out with.
It includes six modeled Doepfer modules and over 20 utility modules. But there is much more to discover.
Additional modules from quality Eurorack vendors—starting with a range of units from cutting-edge manufacturer Intellijel—are available for separate purchase. Rest assured there is more to come. Click the button above to buy right away, read more, or get your free 20 day demo license. Or check out the Modular product video below.Modular product video. Well I made a very impulsive decision and bought this last night from JRR Shop for $63. First Impressions.
I think it will become my favourite modular type synth. I love my XILS4 and Arturia Modular V but this has some distinct advantages.
The architecture is completely open, so even without any expansions you can create very complex or very simple synths with any number of VCO, filters EGs etc. Unlike XILS4 or Modular V unused modules do not clutter the interface, you just add what you need, so it’s much easier to see what is going on and you are not limited to a set number of a certain module. Unlike something like Diva routing options and configurations are nearly infinite. Of course this would not matter a jot if it did not sound any good. Unlike most soft synths there is not an extensive array of effects, just a single delay so the pre-sets are not drenched in reverb and other effects. As a result they may not sound as lush at the first listen, but if like me you find yourself dialling back or turning off effects when you come to use a sound in a mix you will not be worried about the dry sound.
This considered I think it sounds very good and after all we all have plenty of reverbs, flangers, choruses and the like. If you have any experience in analogue (or virtual analogue) synthesisers beyond selecting a preset and twiddling the filter cut-off you should find it easy to create new patches.
It’s certainly easier that XILS4 or Modular V. A few minutes after firing it up I had a simple two oscillator mono synth, with VCF, VCA, LFO and a couple of envelope generators created and running. The extra modules will expand it considerabley but the basic package is very powerful. TheMaartian FWIW, if the modular concept appeals to you, and you don't really give a crap about Eurorack compatibility, but are just interested in sound, take a look at AAS' Tassman 4 modular synth.
They make awesome modeled instruments that load fast and are very expressive to play. I have tried demos in the past, it is an awsome beast for sure, currently weighing in at $349. I have Ultra Analogue which sounds great. I don't think Tassman is as intuitive as the Softtube Modular which I could just open and start building patches from scratch without refering to the manual. I will of course be refering to the manual to get the best out of it.
The first road block I had is with the sequencer not running, in the presets at least the sequencer only runs when the DAW transport is running. I suspect this can be changed. As there is about a week to go on the intro offer I thought I would give my thoughts after three weeks with this VSTi.
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These are to compliment the comments I made earlier in the thread. It’s not a synth for everyone and probably not suitable as your only synth. If you want 100’s of pre-sets look elsewhere. You do need a good knowledge of analogue synths (or be prepared to learn) but it will give you some wonderful and very personal sounds. As mentioned before there are no on-board effects other than a basic delay. But we all have plenty of VST effects, don’t we? As I have expanded my knowledge of the many utility modules the true power of this thing is revealed.
Here are just two examples. • There is a frequency divider which will divide the incoming signal either by fixed amounts or a variable “voltage controlled” amount. This can result in all sorts of sonic madness or just be a versatile sub oscillator or clock divider.• The signal tool enables two inputs to be processed against each other, one neat trick is to input two different outputs form the filter, say the 48db and the 6db Low pass outputs and use the A-B output, you will then hear only the frequencies that are different between the 6 and 48 db outputs, sort of a pseudo high pass effect. I added the three Intelijell modules, but was not tempted Heartbeat drum modules. • My favourite is the uFold, If I was just going to add one it would have been this as it really adds to the harmonic complexity of any input signal. Typically you would feed it from a VCO, but it can be interesting to put the signal through a filter first.
Folds and symmetry can be independently modulated so some interesting evolving harmonic textures can be created. Modulating with an ADSR with a short decay for example can produce some nice metallic harpsichord type sounds.• The Korgasmatron filter is very useful, it has two channels and low pass, band pass, high pass and band reject modes and variable clipping options. There is also a voltage controlled cross fade between the two channels so it really adds to the standard filter.• I need more time with the Rubicon VCO, I still do not have my head around some of the FM, folding and symmetry options, but even as a standard VCO it has some nice sounds.
The downside is the authenticity, when one has grown used to modern software synthesisers some things can get frustrating, it would be nice for example to have an offset module with a semitone switch, of to be able to get some visual feedback of the notes the sequencers will play. But then again that is part and parcel of the emulation and will lead you in different directions.
I am looking forward to seeing what modules are added. A wave table oscellator would be nice! With just a couple days before the into-offer expires here is a quick update if anyone is on the fence. I have worked out the FM on the Rubicon oscillator. I have just been making some wondrous clanging noises!! It’s actually quite simple and if you have ever programmed an FM synth you will get the idea pretty quickly once you read the manual and understand the terminology used.
I also made my favourite patch to data that I am calling Softuba; a synth brass sound, the FM gives it a nice rasp in the attack, the uFold brightens and gives movement to the tone and it’s all rounded off with the filter. Just add a touch of QL Spaces in the Sonar FX bin!
Softube purchases are strictly licensed for sale to customers in the USA only Being able to control the attack and decay of a sound is tremendously useful for anyone mixing music. But Softube's Transient Shaper goes beyond that due to the fact that it's a dual band processor. This means that the user can set it to affect only the treble or bass portion of a sound—separately for the Sustain and Punch parameters—and leave the rest untouched. This opens up a new realm of possibilities. Transient shaping has become a vital technique in music mixing.
The ability to sharpen or soften the onset of a sound, as well as lengthen or shorten the decay, has proven very useful for giving each sound just the right size and position in the mix. Transient Shaper takes this concept one step further, by letting the user affect either the entire frequency range—as most similar tools—or only the treble frequencies or bass frequencies. Use cases For example, on drum overheads, this means you can turn up the Sustain knob and set its frequency control to Wide. This will simultaneously stretch out the room sound and cymbals, as well as give you more sustain and boom to the toms. But let's say you don't want boomier toms. Then you set the Sustain knob's frequency control switch to Hi, in which case the Sustain processing only affects the high frequencies, i.e.
The cymbals and room, but leaves the toms just the way they are. Set the switch to Lo, and hear how you now only get boom from the toms, but the room sound and cymbals stay unaffected. More than percussion The dual band operation makes Transient Shaper useful for much more than drum and percussion sounds.