Noise Production
Noise_Production

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: 22.07.2007
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(8)

Peavey Electronics ReValver Mk III

, 25 2008 . 16:13 +
Pocket_Disaster (Noise_Production)


Peavey “” ReValver™ MK III, . , , , .

, Guitar Rig Amplitube - Revalver , , 17 , ! 65 - rack-.
40- , Revalver MKIII - . Peavey ReValver MK III 15 , Peavey 6505®, JSX®, Classic®, ValveKing®, Triple XXX® , chorus, distortion, wah, tremolo, compression, limiter, delay, octaver .

: 15 Peavey 6505®, JSX®, Classic®, ValveKing® Triple XXX®, 12 , 9 , 19 , 11 , 150 , 7 (, ), MIDI, VST, AU, ASIO/WDM, CoreAudio. : 1 GHz CPU, 512 MB RAM, 1024×768 , VST host ASIO/WDM . , Tweak Module GUI , ( 17 ) . .
Extensive Guitar Amp, Preamp, and Power Amp Modeling

Peavey ReValver Mk III models 15 of the world's most popular guitar amplifiers, including models of Peavey 6505®, JSX®, Classic®, ValveKing®, and Triple XXX® amps, through an exclusive algorithm that analyzes the interactions of the components on the circuit level based on the amps' original schematics. By controlling these amplifier models from the component level, ReValver is able to model every nuance with amazing accuracy.

ReValver also boasts 12 preamplifier models, 9 power amplifier models, 150 speaker simulations, and 20 microphone configurations, allowing the user to mix and match components to create a truly personalized custom tone.

Amplifier Models

Peavey 6505®
For over 15 years, the 6505® has been the super-high gain amp for hardcore rock players worldwide. Featuring 5 12AX7 preamp tubes, 4 6L6GC power amp tubes, and Patented Resonance and Presence controls, the 6505® is the sound of rock and metal.
Peavey 6505+®
The big brother of the 6505® boasts 6 12AX7 preamp tubes for additional bite.
Peavey JSX®
With unprecedented versatility, the JSX® offers the widest range of EQ options and gain structures. This 3 channel amp delivers sounds ranging from the Classic® 50 to vintage British to the modern Triple XXX® and all tones in between.
Peavey XXX®
Three all-tube channels of unrelenting sustain, gain, and power makes the XXX® the ULTIMATE tone machine. As hot as the name implies, the XXX(R) rips.
Peavey ValveKing®
Boutique features such as the patented Texture™ control take this amp from Class A/B saturation to vintage Class A tones, allowing  guitarists to coax virtually any tone from this amplifier
Peavey Classic®
Revered by guitarists of all genres worldwide for two decades, this amp delivers tone that is as classic as it’s name.
ACM 900
Modeled after a British amp built with both valve and solid state components. It has only 1 channel but the two gain knobs controls the gain at two stages in the preamp. This is the sound of classic rock.
Higher
Modeled after the “treadplate” rectified amp which contributed to the sound of modern heavy rock. This amp has 5 modes, Normal/Clean/Modern/Red/Vintage, each with different frequency characteristics and gain.
Bluesmaker
Loosely based on a 1962 British classic. This amp has 2 channels, a normal and a tremolo channel.
Fox ACS-45
Based on a widely revered amplifier that defined the sound of the British Invasion, it’s distinct tone is still as sought after today as it was then.
Basic 100
With one channel for guitar and one for bass, this  amp has a lot of bottom.
As the real thing, it does not provide much distortion but it is usually played “cleanish”. The guitar and bass channels have different gain and tone stacks. The bass channel even has a “Deep” switch, shifting the frequency response of the Bass knob. On the guitar channel, the Bright switch gives you a brighter sound on lower gain.
Matchbox
The MatchBox is designed to provide clean to overdriven amplification with a minimum of clipping. It has as many as 4 gain stages with considerable attenuation between stages. It has a power amp in a push-pull configuration but no negative feedback (NFB). The sound is fitting for both guitar and for bass. This amp is using a very special tube configuration which gives you an extra bright sound.
LePetite
This amp contains preamp 3 chains in parallel which are fed into one power amp. The 3 channels can be mixed individually with the “blend” knobs.The three types are Clean/Diode/Triode. The second part of the amp consists of 1 triode tube and a push-pull pair of pentodes.
HomeBrew SE-1
The HomeBrew SE-1 is a low watt single ended amp with two channels. For a low watt circuit it has as many as 3 triode stages for gain. The amp has 2 channels, Clean/Dist.
HomeBrew PP-2
The HomeBrew PP-2 is a low watt push-pull amp with two channels and Britishtone stack.



Preamp Models




Peavey 6505 preamp: Peavey proudly introduces its 6505® Series guitar amplifiers, named in celebration of Peavey�s first 40 years, 1965 to 2005. The 6505® preamp features 5 preamp tubes, with presence and resonance controls and three-band EQ for taming their notorious tone.




Peavey Classic 30 preamp: The Classic 30 has a dual channel preamp allowing quick variations of the tone - from vintage blues, to modern hard-rock and grunge tones. The boost switch is particularly useful in obtaining the more traditional �cranked-amp� tones without the harshness generated by sending too much low end to the power amp.




Peavey JSX preamp: This amp delivers sounds ranging from the Classic(R) 50 to vintage British to the modern Triple XXX(R) and all tones in between. The versatile and comprehensive control section supplies a master volume pot and independent volume knobs for each of the 3 channels (Ultra, Crunch and Clean). Tone shaping is accomplished through passive controls for Bass, Mid and Treble on the Clean channel, while the Ultra and Crunch channels utilize active low, mid and high controls.




Peavey ValveKing preamp: The ValveKing delivers a tone ranging from bluesey clean to crunchy and classic rock. The amp has a built-in spring reverb and separate tonestacks for the two Clean and Lead channels. The amp�s preamp section uses 12AX7 tubes. The ValveKing also feature global resonance, presence and reverb controls.




Pre HB: Simple pre amp for clean and slightly overdriven sounds. The pre amp goes easily into overdrive, but distorts gently and relatively cleanly.




Pre amp Duo: This pre amp has 2 parallel channels; a triode tube path and a diode clipping path. The tube sound mixed with diode distortion makes an interesting and dynamic mix as the two components deliver two different overtone spectra.




�62 BluesMaker pre amp: This pre amp has been directly taken out of the BluesMaker �62 amp. It contains both channels, the clean and tremolo, including the tremolo controls.




Basic 100 bass pre amp: This is the bass channel pre amp in the Basic 100. The tone controls does not include a �mid� as the original does not have one. The deep switch lowers the frequency of the bass control.





Basic 100 guitar channel pre amp: This is the guitar channel pre amp from the Basic 100. It is rather clean and is difficult to distort as it contains only 2 triodes, none of which usually saturates.




ACM 900 pre amp: This is the pre amp section from the ACM 900. The two gain knobs control the gain in two places in the chain.




Flathill �Modern� pre amp: This is the �Modern� channel pre amp from Flathill. Very high gain and bright.




Flathill �Normal Red� pre amp: This is the �Normal Red� channel pre amp from Flathill. High gain. This pre amp has a presence control, something that usually sits in the power section. It gives a little extra control over the brightness.




Power Amp Models



Peavey 6505 power amp: Peavey proudly introduces its 6505(R) Series guitar amplifiers, named in celebration of Peavey�s first 40 years, 1965 to 2005. 6505(R) Series power amps feature four 6L6GC power amp tubes, with the amps presence and resonance controls.




Peavey Classic 30 power amp: The Classic 30�s power amp section is pure EL84 heaven. By decreasing the drive on the preamp and increasing the level of the power amp, you can achieve great EL84 saturation.




Peavey ValveKing power amp: The ValveKing �s power amp section features the classic 4x6L6 lineup. The ValveKing, however, adds the patented Peavey Resonance control, as well as a presence control.




M-998: Simple power amp, which does not have a standard Long Tail Pair (LTP) to drive the push pull end stage, but is using 2 triodes in series, for extra gain. This power amp also uses a couple of tonal character filters, which can be tweaked in the Tweak GUI.




Standard power amp #2: This power amp has a standard push-pull end stage, but not driven by the usual Long Tail Pair (LTP). It does have a �clean� switch for less drive and slightly different tonal character.




�62 BluesMaker power amp: This power amp is taken directly out of the �62 BluesMaker. It has a drive and presence control. It has a standard Negative Feedback Loop (NFB) to which the presence control is attached to. The NFB shapes the distortion character of the power stage.




Basic power amp: This power amp is taken directly out of the Basic 100. As the original amp, the power section has only a master control. Even though the power stage has a Negative Feedback loop (NFB), it is not attached to a presence control. The NFB shapes the distortion character, and the amount can be set in the Tweak GUI.




ACM 900 power section: This power amp is taken directly out of the ACM 900.




Flathill power section: This power amp is taken directly out of Flathill.


Effects, Stomp-boxes, and Utility Functions

Peavey ReValver Mk III features a robust selection of 30 stomp-box and effects including various types of chorus, distortion, wah, tremolo, compression, limiter, delay, octaver, and much more. A new FFT-based convolution reverb allows for very complex and smooth reverbs, including sampled spring reverb.

ReValver also boasts 7 Utility functions including tuners, analyzer, splitters, and more.

 

Stomp-Boxes



OverDriver: This stomp box is wired somewhat like a guitar amp, in that it is using 3 stages of distortion, but all being diodes. The �Turbo� acts like a �Master�, adding some extra gain before the last stage. This stomp box could possibly be used stand alone, driving a speaker by itself.




Chorus CS-1: This is a versatile stereo chorus with adjustable speed and modulation depth, stereo width, feedback, delay and 3 individually adjustable filter bands on the wet signal. (The filters are available in the Tweak GUI.) A chorus can be used to fatten up the sound.




ACS CS1 compressor: A compressor is used to even out the volume so that the lower levels do not completely disappear. It would make any distortion module distort for longer.




Limiter LM-3: A limiter is specially tailored dynamics compressor. This particular limiter compresses the sound a factor 50:1 over the given threshold. It will stop sounds or transients over this threshold, limiting the output volume.




The Slow Grow SG-1: An auto swell effect follows you tones and removes the transients. This makes the sound appear being played backwards.




Octapus: Behind every great tone there is a another tone waiting to come out. With Octapus you can release this sub octave, taken from and added to your melody. The frequency triggering algorithm will only work properly on a single note at a time. You may want to be careful with chords or it will not sound as expected. The Octapus is a tight and accurate Octaver stomp box.




Flanger FL-Duo: A flanger works much like a chorus, by mixing a varying delayed signal with the original to produce a series of phase cancellations. These �notches� make up sound of the flanger. The FL-Duo, is actually two flangers rolled into one. They share the same knobs, except for the mixing controls.




Texas Treble Maker: The Texas Treble Maker is a so called �treble booster�. The purpose is to equalize the frequency spectrum of the guitar to make the distortion smoother. The overtones of roughly every kind of sound are progressively fainter the higher up the spectrum they are. This means that the distortion a sound generates in a distortion circuit mainly originates from the overtones of the lowest frequencies of the sound. This places the frequency range of the distortion components in a particular place of the spectrum. - A treble booster is designed to reshape the clean sound so that the distortion components originates in equal amount from each overtone. The result is a much smoother distortion, and of course a lot more distortion.




The Sher�ff: The Sher�ff stomp pedal constitutes a rather rough but versatile distortion effect. Modeled loosely after a 1980�s era cousin it�s perfect for blues and rock, either by itself or together with a clean amp channel.




Re-Lay 2 Delay: The Re-Lay 2 is a double delay with a lot of options. You can set the volume of each tap, plus 2 individual filters (in the tweak GUI) per tap.




Re-Lay 4 Delay: The Re-Lay 4 is a quadruple delay with a lot of options. You can set the volume of each tap, plus 2 individual filters (in the tweak GUI) per tap.




Greener: A classic, yet so simple. This late �70s solid state stomp box is using a diode clipping circuit, shaped by pre-, and post filtering for optimal smooth overdrive / distortion.




Driver: This is a very versatile stomp box which delivers anything from smooth overdrive (with �Blues� turned up) to a heavily distorted and overloaded sound (�Gain� and �Muffler� turned up high). The module is using a modified amp tone stack which allows for heavy mid scooping. This box does a good job in both blues and Rock �n� Roll.




MagnaVibe: A vibrato is (and don�t confuse this with a tremolo) frequency modulation, similar to when you move the string up and down, changing its pitch. This vibrato allows you to select a rate between 0 and 10 Hz, as well as a general depth. A knob for �delay� allows the vibrato to kick in a little bit after you pluck the string, making it more transparent when you play fast. Two modes are available, an �standard digital� one, and emulation of a certain �magnetic� stereo amp.




Tremolo: A tremolo is (and don�t confuse this with a vibrato) amplitude modulation. This effect �rotates� the volume at the range of 0-10 Hz. Two variants are included, the classic �digital� tremolo (multiplying the signal with a sine) and the even more classic �tube bias� tremolo (adding a sine to the bias of a tube, partly saturating the signal). The tube bias variant adds a natural overtones clarity. The digital variant can adjust the up / down slope of the transition, going from soft to pulsing.




Wow-Wah!: A Wah pedal is a low-, high-, or band pass filter with adjustable frequency. At the point of cut off, there is a peak with adjustable resonance, making the guitar sound �waaaoooowwwoooaaa�. The resonance has similarities with the human mouth, hence the name. The frequency can be controlled either by a midi pedal (or the main knob) or by automatic rotation. The resonance can range between any 2 frequencies of your choice. An extra knob for addition of overtones can give the guitar a clearer tone.




BassBox: This is a distortion pedal with a slightly different harmonic spectrum. The even harmonics are stronger than the odd, making the distortion very smooth, bordeline �clean�. A second gain knob allow ordinary diode clipping, being somewhat asymmetrical. This module can be used for adding just a little bit of color and spice to the sound. Great for bass due to the harmonic spectrum.




ShutUp Sch-1b, Noise Gate: A noise gate is a simple way to get rid of noise in the signal. The traditional way such an effect works is lowering the volume of the signal when the signal itself becomes very weak (as it is mostly then you can hear the noise). The ShutUp Sch-1b is different in two ways: This noise gate is not �either closed or opened�, but is sliding smoothly in between the two. Secondly, Sch-1b does not affect the actual �volume� but is continuously changing the filter parameters of an intelligent filter circuit. You may very well notice that the noise gate is half-closed when playing softly. Compared to traditional noise gates this has the impression of being perfectly responsive. The noise gate has 4 separate bands, where as the fourth has an adjustable frequency.




Ph2 Phaser: Phasing works by mixing the original signal with one that is phase shifted. The phase is shifted by an LFO which frequency and depth can be controlled. This phaser has a feedback and width control for stereo effects.

 

Effects



8Q: 8 band parametric filter with adjustable frequency, gain, Q. It comes in the types: High shelf, low shelf, high pass, low pass, band pass, notch and peak. Each band can be either a 1st order or second order IIR filter. (Please note that �first order� filters _cannot_ represent eq, band pass or notch curves.)




3Q: Triple parametric filters with adjustable frequency, gain, Q. It comes in the types: High shelf, low shelf, high pass, low pass, band pass, notch and peak. (Please note that �first order� filters _cannot_ represent eq, band pass or notch curves.)




Stereo Reverb R1: Stereo reverb designed to be placed last in the chain to give ambience or width to the result. Adjustable echo, pre-delay, room size. 3 filters can be programmed to shape the character of the wet part.




Stereo Reverb R2: Stereo reverb designed to be placed last in the chain to give ambience or width to the result. Adjustable pre-delay, room size. 3 filters can be programmed to shape the character of the wet part. This reverb is thicker than Reverb R1; it has also different default filter parameters.




Stereo widening effects: A module with combined ambience, stereo widening and exciter / enhancer. This module gives your sound a wider, fuller sound with more presence. The enhancer is working on the principle of delaying lower frequencies to allow the higher frequencies to come first, giving the sound a touch of presence and clarity. Because of the delay, the enhancer may appear to add �distance� to the sound. You can blend the enhancement with the mix control. The widening effects applies a rotating phase distortion to each channel and in combination with the ambience component you can place your audio in a rich virtual room.




Channel Delay: A module which can delay each channel 0-100 ms independently. Each channel can be adjusted +-16dB. Using the ambiance option, the module acts as if the time delay represent a distance in a room. The further away from the source a channel is, the less high frequencies and less volume it has.




VST host module: This module does not provide any effect or signal processing in itself, but simply allows you to load a 3rd party VST plug-in and run it as if it was a regular ReValver Mk II module. This allows you to use your favorite plug-in inside of the ReValver Mk II system. VST Plug-In Technology by Steinberg.




CS3 tube compressor: A compressor is used to even out the volume so that the lower levels do not completely disappear. It would make any distortion module distort for longer. It is believed that a tube compressor sounds warmer than a a solid state variant. This is due to the slight saturation of the tubes, and the transformer adding a subtle touch of �crunch�. By rolling off some bass on the side chain, the compressor do not trigger as easily on lower frequencies, which effects the dynamics.




CS2 compressor: A compressor is used to even out the volume so that the lower levels do not completely disappear. It would make any distortion module distort for longer.




Gr8 Graphical Equalizer: Simple 8 band graphical equalizer with frequency bands strategically placed for bass and guitar. The bands can be adjusted manually by pressing the �T� button. Pressing �R� will reset the band.




C-Verb


 

Utility Functions



Signal splitter: The signal splitter divides the signal into 2 streams, each running in parallel using their own set of modules. In the �signal merge� module, these two streams are mixed into 1 again. It is only possible to use the signal splitter once.




Frequency Analyzer: The frequency analyzer can scan the audio in real time and present the frequency content on a live display. The update speed is can be switched between 50 ms and 500 ms. The analyzer can create up to 3 snapshots and overlay them over each other. By hovering over the graph with the mouse you get an accurate readout of that position. The anti-aliased display yields a very accurate picture.




Levels: A utility module to insert where ever you wish to monitor or change the volume levels. Monitors left + right channel. This module has a volume adjust and �Learn� button to automatically adjust level to 0dB.




Stereo Levels Adjust: Same as �Levels� module, but with a control knob for each channel. A utility module to insert where ever you wish to monitor or change the volume levels. Monitor left + right channel. This module has a volume adjust and �Learn� button to automatically adjust level to 0dB.




Tuner: Guitar tuner with two simultaneous displays, needle & strobe. With anti-aliased graphics, this tuner displays your tuning with unbelievable accuracy. The �A� is adjustable between 425Hz and 455Hz. Never go out of tune again.




Simul-Tune: This is not one but 6 independent tuners running at the same time. Each channel is tuning strictly against a preset tone. That way, one can always be sure the tone has �triggered�. The tuning is presented in strobe form and represent the total tuning error for that channel. (5 of the 6 channels will probably display as wildly out of tune at any given time.) The brightness of the strobe indicate the confidence level of a frequency in that particular range. (I.e. dark display = not even close.)




One Tone Stack: This module only contains one tone stack. The module has �Bass�, �Mid� and �Treble� knobs to adjust the filter aspects of any of the included tone stacks of ReValver Mk II. (The Foxy tone stack does not use the �mid� knob.)




One Triode Tube: This module only contains one single triode tube with no filters, and with level adjustment before and after. Using a couple of these and you could probably build an amp yourself.

Tweak It!

Unlocking ReValver�s groundbreaking customization tools is also easy. By right-clicking on an amp model, users can �go inside� and adjust the amp�s tones and components on the Tweak Module GUI. Every tube in every amplifier can be tweaked or replaced with any one of 17 included tube types. ReValver even lets you modify power amp rectifiers, output transformers and tone stacks.





http://depositfiles.com/ru/files/5534027 pass: bansheebot
+ FAQ .


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(2)

AudioEase Speakerphone VST RTAS v1.03

, 24 2008 . 20:37 +
Pocket_Disaster (Noise_Production)



AudioEase RTAS- Speakerphone, . , , .. , , , , , , . AudioEase , Altiverb, . : " GSM- , , 1952 ". , , .

Changes:
* Preset change faster then ever before.
* Drag and drop now works without having to hold down any modifier keys.
* Drag and drop from/to Cubase/Nuendo fixed.
* [VST] Inserts the correct channel IO variant again.

http://ifolder.ru/5778831
pass: levap2004
: 

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(9)

, 22 2008 . 17:31 +
 (Noise_Production) , , , rapidshare. , , - , . - .
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(1)

MAGIX Samplitude 10

, 13 2008 . 22:36 +
Pocket_Disaster (Noise_Production)
 
Features:
- 999 tracks, 64 submix busses, 64 aux send busses
- plug-ins per insert: unlimited
- ASIO, MME and WDM driver support
- solo / monitor poti: PFL, AFL
- K-Metering system
- external hardware integration
- MIDI Editors: score, matrix (piano roll), drum, event list, velocity/controller
- MIDI Machine Control (MMC)
- complete realtime editing
- track-, object- and master automation with several automation modes
- MAGIX Elastic Audio
- MAGIX Analogue Modelling Suite including am-munition
- MAGIX Vintage Effects Suite
- MAGIX Robota Pro
- sample workstation "Independence LE"
- rewire
- audio quantization with transient detection
- batch processing
- object-orientated editing
- high class effects set (phase stable mixing- and mastering effects)
- multiband dynamics with "Advanced Mode"
- multiband enhancer with "Maximize"-Function
- advanced dynamics with "Side Chain"-Function
- resampling/timestretching with algorithm "Universal HQ"
- mixer with variable signal flow
- DirectX and VST plugin support with automatic latency compensation
- Pentium 3/4 and Athlon optimizations
- VST-MIDI Out Recording und Audio Out Recording
- MIDI Multi-Object-Editing
- VST instruments support
- 5.1 surround / object surround
- overview mode
- side chain routing
- project length up to 168 hours
- external remote controller support (e.g. Mackie control)
- POW-r dithering
- smart dithering for WAV-files and virtual projects
- realtime room simulator with convolution (incl. 490 MB impulse samples)
- Routing Manager
- mapping modes for hardware controllers
- FreeDB
- CD/DVD mastering
- score export as MusicXML file


http://ifolder.ru/5712595
http://ifolder.ru/5712594

- da2m  
: 


(2)

Soniccouture Abstrakt Bass Kontakt

, 12 2008 . 19:01 +
Pocket_Disaster (Noise_Production)




NI Kontakt - !
:
- 1.6 GB 24 Bit 44.1khz Sample Library
- Complete Bass Workstation
- 140 Advanced Kontakt 2 Instruments
- Full Sampling + Synthesis User-control
- Brainwave Detune KSP Processor
- Original multi-sampled waveforms from a wide range of bass instruments
- Vari-Amp Sampling on Electric basses allows user to mix between 2 amp mics and D.I.

- Featuring : ARP 2600, Minimoog, EMS Synthi AKS, Fender Jazz, Bassman,
Sherman Filter Bank, Korg MS-20, Roland SH101, Casio CZ-101, Yamaha CS-01,
Yamaha TX-81Z, Yamaha FS1R, Roland TB-303, Roland Jupiter 8, Prophet 5, Access Virus,
Yamaha AN1X, Fender Rhodes, Roland TR-808, Roland Alpha Juno, Didgeridoo,
Plus many more uniquely created experimental Bass waves.

, Abstrakt Bass :

1. Abstrakt Bass - The most unusual Bass sounds in the collection, Low-end oddities and extra characterful sounds of the collection. The Bass sounds that make a track stand out when you need something more than just a standard bass sound.

2. Distortion and Drama - Nasty overdriven growlers and howlers, and the really big atmospheric basses that fill a track with a sense of drama and foreboding. Particularly appropriate for Drum and Bass, IDM, film music, Trance etc.

3. Drones and Effects - Long, spacey low-end experiments - Film soundtracks and ambient style. With these instruments it's often enough to hold down one note and slowly tweak and modulate..

4. Dry Synth - Big electro sawtooths, offbeat trance basses, percussive squares, pulse warps, blocky FM -it's all here. Raw, vintage waveforms sampled from the original hardware and given the full Soniccouture Sampling + Synthesis treatment so that you can shape each sound precisely for your track.

5. Electric and Acoustic - Slap, Dub, Picked, Fingered, Upright - Every natural bass sound required for contemporary production styles. Electric bass Instruments feature VARI-AMP sampling - mix between D.I., close mic and distant mic at the tweak of a knob. Stunningly elegant control over your sound.

6. Sub Basses - We know how hard it is to find a really good Sub bass - and we also know that they are not all the same! So we wanted to include a good selection of heavy, smooth subsonic rumbles from the worlds most famous bass synths.

7. Synth Classics - A wide selection of all time greats in one place : Alpha Juno Hoovers, 303, Jupiter PWM, Mini Detune, Lately Bass, SH-101, 808 kick bass, House organ basss and many more.


:
1 - http://vst.ifolder.ru/5246762
2 - http://vst.ifolder.ru/5247111
3 - http://vst.ifolder.ru/5247545
4 - http://vst.ifolder.ru/5248171
5 - http://vst.ifolder.ru/5248561
6 - http://vst.ifolder.ru/5248954
7 - http://vst.ifolder.ru/5249544
8 - http://vst.ifolder.ru/5250643
9 - http://vst.ifolder.ru/5250697

  RapidShare:

http://rapidshare.com/users/2K6DU9

: 
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(0)

Native Instruments Kontakt VSTi RTAS v3.0.1r2 ()

, 12 2008 . 18:57 +
Pocket_Disaster (Noise_Production)

Native Instruments Kontakt . . Kontakt 3 , .
Native Instruments , Kontakt 3 , . 1000 -- Kontakt 3 " ". "Band", "Orchestral", "Synth", "Urban Beats", "Vintage" "World", 33 Kontakt 3.

:
- 6- ( 33 )
- «Performance View» 1000
-
-
-
- 18 high-end
-
-
- MIDI loop drag & drop -
- 7

Import and Compatibility
EXS-24™, KOMPAKT®, Akai™ S-x000/Z8, BATTERY®, GigaStudio™, INTAKT®, Apple Loops™, Reason™ NN-XT, REX™ I/II, HALion™1/2, REAKTOR®, ACID™ WAVs, Emu™ EOS/ EIV/ EIII/ Esi/ EmaxII and many more: All compatible formats...
Interfaces
Stand-alone, VST®, Audio Units™, RTAS® (Pro Tools 7), ASIO™, Core Audio™, DirectSound™
* Over 18 high-end effects

http://ifolder.ru/5120519
pass: levap2004





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(2)

Native Instruments Kore v2.0.1 + Sounds Pack

, 05 2008 . 01:01 +
Pocket_Disaster (Noise_Production)


Native Instruments KORE 2





Native Instruments KORE 2 — , , .

KORE 2 — - , 500 3000 , 400 FX KoreSounds. , .

KORE 2 , KoreSound® , . KORE 2 , KORESOUND PACKS, KOMPLETE 5 Audio Unit™/VST® .

KORE 2 REAKTOR, MASSIVE, ABSYNTH, FM8, KONTAKT GUITAR RIG. — , , . , Sound Matrix — -, : , , KoreSound, MIDI , , .

Kore:
1 http://ifolder.ru/5123809
2 http://ifolder.ru/5121602
pass: levap2004

Sound banks:
1 http://ifolder.ru/5134524
2 http://ifolder.ru/5134160
3 http://ifolder.ru/5133436
pass: levap2004
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(0)

Ableton Live 7

, 05 2008 . 00:35 +
Pocket_Disaster (Noise_Production)


Ableton Live v7.0.1





:

64 , . POW-r.

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Operator, Dynamic Tube Saturator , " ".

EQ8 64- .

Live.

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.

Ableton:

- Ableton . , , , -. Live , .

Tension - , String Studio Applied Acoustics Systems (AAS). Tension . - . , .

Electric - . Lounge Lizard AAS. , , .

Analog , AAS Ultra Analog . , .


http://vst.ifolder.ru/4606273

: pcmusic.ru


PS: http://www.ableton.com/live


 

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(0)

MU Technologies MU Voice VST RTAS v1.1.1

, 05 2008 . 00:17 +
Pocket_Disaster (Noise_Production)

, , . Mu Voice . Mu Technologies. 5.8 .

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Mu Voice :
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(3)

PSP Xenon

, 11 2008 . 17:04 +
Pocket_Disaster (Noise_Production) /


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(18)

ubase Studio 4 !

, 08 2008 . 22:10 +
Pocket_Disaster (Noise_Production)



1. Cubase Studio 4.
2. 4.1.1
3. synsoacc.dll
32- Windows\system32
64- Windows\SysWOW64
.

!


NEW FEATURES

Sidechain Input for VST3 Plug-ins

Sidechain inputs are now available on most VST3 plug-ins included with Cubase Studio 4.1. Thanks to the new “free routing” architecture (see below) virtually any signal in the VST mixer can be used as a Sidechain input signal. Sidechain is a crucial function for audio-controlled effects such as ducking (compression controlled by an audio source). Sidechain control functions are pre-defined for each supported plug-in: Sidechain signals on dynamics plug-ins like compressors control the signal gain, modulation effects have LFO control. The amount of the effect can be precisely controlled.

Free Routing

Version 4.1 gives you complete freedom when routing audio in your project. The new routing capabilities allow totally unlimited routing between group channels regardless of their order, and supports sending from groups to FX returns.

Redesigned Sample Editor

Thanks to the new Inspector-style section, the Sample Editor in Cubase Studio 4.1 is now more ergonomic and quicker to use. The Inspector consolidates all audio editing functions, especially those used for musical tempo operations including Musical Mode, AudioWarp and Hitpoints. Related functions are grouped together in the same place for easier access, including tools for finding out loop tempo, timing adjustment and altering the pitch of a sample.

Track Quick Controls

A new section has been added to the Track Inspector: Quick Controls. This set of eight user-definable realtime controllers gives ultra-fast access to any parameter available on the current track. Significantly speeding up workflow, Quick Controls are available for Audio, MIDI and Instrument Tracks, and can control any mixer parameter for audio and instrument tracks, insert plug-in parameters, VSTi parameters and MIDI controllers for MIDI and instrument tracks. Track Quick Control assignments are setup for each track and saved with both the project and in the Track Presets so they’re always available in any project once setup and saved. These new quick controls develop their full potential when used in combination with a remote controller. Setup is easy thanks to a MIDI learn function. Once assigned, remote control knobs or fader functions will follow the track selection.

Advanced MediaBay Options

The powerful Cubase Studio MediaBay system has seen some major improvements in version 4.1:

  • The Browser section now offers definition of which folders or media drives are to be managed by MediaBay, speeding up scanning and searching and improving overall performance
  • MediaBay now also supports the new MIDI Loop file type for support of Sequel loops, with a dedicated tab added to the Viewer Filter section
  • An activity indicator has been added to show any MediaBay search or index activity Many of the smaller MediaBay windows and dialogs have been graphically adapted for consistency

Global Transpose Track

Cubase Studio 4.1 adds a new track type: Global Transpose. This new feature makes it so easy to create new musical arrangements based on loops, or experiment with chord progressions without having to edit each part on each track individually. The new track type controls all Audio, MIDI and Instrument Tracks, and includes a special new “Bound” feature that keeps transposition within the range of one octave. The new Root Key function affects the entire project including the Transpose Track, allowing for extraordinarily quick transposition of an entire song in just a few clicks.

Advanced Arranger (Play Order Track)

The advanced Arranger Track has ereplaced and improved on the Play order Track concept, and introduces new pattern-based features to enhance creative experimentation with song arrangement as well as offer new ways of using Cubase Studio for live performance:

  • Arranger parts can now be triggered live by clicking in the part list
  • Special playback modes allow for new live performance applications: Normal, Repeat Forever and Pause After Repeats
  • New Flatten options have been added to the Arranger Track edit window: One, multiple or all Chains can be flattened with a single command and the Arranger Track can now be kept after flattening, so all Arranger Track presets are preserved for further editing.

Project Logical Editor

The powerful Logical Editor is now available on the project level, opening up countless new possibilities for task automation and project-wide “power editing”. With the Project Logical Editor, you can manipulate tracks and parts/events, including folder tracks in ways that can radically enhance workflow. This new editor applies user-defined actions to any, all or multiple selected parts/tracks in one single step. But that’s not all. The Project Logical Editor comes with a large selection of Logical Editor Presets, which are available directly from the Edit menu. But you can create your own presets which are automatically added to the Preset menu. To top things off, all Project Logical Editor Presets are also available as targets for user definable key commands.
Here are just a few examples for possible Logical Editor operations: ·

  • Select all MIDI parts named ‘drum’”
  • Trim selected automation by 10%”
  • Delete all muted tracks”
  • Mute track if name contains ‘Vocal’” ·
  • Add a date to selected MIDI and Audio Tracks

 
The Project Logical Editor is an extremely powerful tool that can make a huge difference to production and editing workflows.

Sequel Project Import and Content Compatibility

Sequel is Steinberg’s entry-level Music Creation and Performance software. Cubase Studio 4.1 now supports import, playback and editing of Sequel projects. Sequel projects can be opened just like regular Cubase Studio projects, with no conversion needed. All sounds and effects are available, as well as Transpose Track and Arranger information. Of course, all sounds and effects can now be fully edited within Cubase Studio, and the project saved in the native Cubase Studio 4 format. In addition to project import, Cubase Studio 4.1 also provides full access to the extensive loop library included with Sequel, provided that Sequel is installed on the same system. This means access to up to 5000 exciting audio and MIDI loops covering a huge variety of today’s music styles that automatically follow the Project Tempo and Transpose Tracks. Browsing and searching for loops from this library is just as simple as in Sequel – thanks to the powerful MediaBay.

MusicXML Import & Export

MusicXML is a data format for interchange of musical scores supported by an increasing number of companies to facilitate the exchange of musical scores between applications. Cubase Studio 4.1 now supports both MusicXML import and export, becoming the center of a multi-platform and multi-application music score workflow. In comparison to MIDI files, MusicXML includes not just note information, but also layout information. Cubase Studio 4.1 can read scanned scores from applications such as SmartScore, Capella-Scan, PhotoScore Professional and others. MusicXML Export allows for transfer of scores to specialized score layout/publishing software such as Finale, Sibelius, or capella Media Producer. More than 60 software applications currently support MusicXML; a current overview and more information about MusicXML can be found here:   http://www.recordare.com/xml/software.html#NowBoth

Windows Vista Support

Cubase Studio 4.1 now fully supports Windows Vista32. A Preview Version for Vista64 is also available, which runs natively as a 64-bit application and supports up to 128GB RAM.

Neue VST3 PlugIns

The following new or updated plug-ins have been added to Cubase Studio 4.1:

  • Distortion
    Great-sounding but simple to use distortion effect with Drive, Feedback, and Tone controls

  • DualFilter
    This unique effect combines low-pass and high-pass filters with single Cutoff and Resonance controls – great for DJ-style filter effects.

  • Chorus
    This single-stage Chorus is identical to the Studio Chorus, but with a single modulation stage only

  • Roomworks/Roomworks SE
    Both are now available as VST3 plug-ins, offering the same great features as the entire VST 3 plug-in set including Silence support, which ensures that the plug-in only draws CPU performance when audio signals are passing through the plug-in

  • UV22 HR
    The Apogee UV22HR dithering plug-in is back as a VST3 plug-in, now available on all system platforms (including Intel Mac and Vista64)

VST Plug-in Bridge

The new VST Plug-in Bridge in Cubase Studio 4.1 ensures maximum compatibility of plug-ins. 32-bit Windows versions of plug-ins and instruments can be used in Cubase Studio running on Vista 64. Mac PPC-only versions of plug-ins can be used in Cubase Studio on Macs with Intel processors. While fully compatible, the plug-ins running through VST Bridge should be replaced with native versions whenever available.

Improved QuickTime 7 Support

QuickTime compatibility has been enhanced, with Cubase Studio 4.1 now compatible with the latest and most popular video formats and offering more flexibility and enhanced image quality:

  • MPEG1, MPEG4, .H264 formats are now supported
  • “Replace Audio in Video File” now works with every audio file format supported by QuickTime
  • “HQ” flag support (high-resolution video playback)
  • Half/Double Size support

Drum Editing Enhancements

Several enhancements have been added for improved drum editing:

  • Velocity data can now be edited for multiple pitches simultaneously
  • Instrument names are shown in the key editor when selecting/moving events if a drum map has been assigned
  • Instrument names are also shown in the Drum Editor info line, as well as the context display when selecting/moving events.

Load Projects inactive

Support for multiple projects open at the same time is one major advantage of Cubase Studio. 4.1 sees further enhancements to this feature, with a new option to open a project in an inactive state. This new function significantly reduces load times and saves system resources, as multiple projects can now be opened and parts or entire sections can easily be copied from one project to another without projects using additional CPU and RAM resources.

Remote Control Extensions

Hardware remote controllers now have access to Instrument Tracks and the Studio Sends (Control Room), as well as the new Track Quick Controls in Cubase 4.1. For instrument tracks, instrument parameters can now be accessed from a remote control device. The list of controllers using these new functions includes Mackie Control, Mackie HUI, Steinberg Houston, SAC-2K, Yamaha 01X and Yamaha DM2000.

Apple Remote Support

Mac users with an Apple Remote will be pleased to find their little infrared remote control available as a remote device in Cubase Studio 4.1., with “Apple Remote Control” now available from the device setup window. Apple Remote is provided as a preset but is fully customizable for hundreds of available functions. (OSX-only)

MIDI File Playback using HALionOne

Cubase Studio 4 owners have access to hundreds of great-sounding instruments using HALionOne, which is delivered with sample-content taken from Yamaha’s award-winning Motif synthesizers. This sound library also includes a complete General-MIDI Sound-Set. With Cubase Studio 4.1, Standard MIDI Files can be imported and played directly using the HALionOne GM Sound-Set. With the new “Import To Instrument Tracks” preference enabled, dragging a MIDI File into Cubase Studio will automatically set up instrument tracks with HALionOne and select the correct GM sound.

New file type: MIDI Loop

Cubase Studio 4.1 supports a new file type “MIDI Loop”. A MIDI Loop is a combination of a MIDI file and an associated track preset. Any MIDI part on an instrument track – for example a great bass line, synth pattern or drum groove – can be exported as a MIDI Loop. MIDI Loops are now available in MediaBay and can be imported into other projects. Cubase Studio 4.1 offers full access to more than 2000 MIDI Lopps shipped with Sequel. Dragging a MIDI Loop into a new project creates a new Instrument Track with the associated sound and imports the MIDI data onto that track, for fast, efficient copying of parts along with the right sound.
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(4)

Wave Lab

, 23 2007 . 17:55 +
MEDBEDb (Noise_Production) Wave Lab, . ( ,  )  5.01 . , ?
: 

(1)

RSO Vocal Magic VST 4.0

, 16 2007 . 01:38 +
Pocket_Disaster (Noise_Production) Magic , , . , , , .

:

Vastly improved CPU usage.
Warmer, vintage sound.
Completely new design.
All parameters fully automated.
Works with or without Vocal Magic VERB

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(10)

...

, 10 2007 . 04:39 +
 (Noise_Production) - PC. , . PC. - . - Intel Core 2 Quad? , . , ??
: 


(1)

Native Instruments Kontakt v3.01VSTi RTAS

, 08 2007 . 01:31 +
Pocket_Disaster (Noise_Production)
. .  Kontakt 3 , .
Native Instruments , Kontakt 3 , . 1000 -- Kontakt 3 " ". "Band", "Orchestral", "Synth", "Urban Beats", "Vintage" "World", 33 Kontakt 3.

:
- 6- ( 33 )
- «Performance View» 1000
-
-
-
- 18 high-end
-
-
- MIDI loop drag & drop -
- 7


 


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(2)

Waves GTR 3 -

, 08 2007 . 00:26 +
Pocket_Disaster (Noise_Production)

GTR3 - , , . . . ( :).
Waves captured the finest vintage and contemporary amps from Fender®, Marshall®, Mesa/Boogie®, Vox®, and more, using revolutionary sampling techniques that go way beyond standard modeling. The result is the most amazing guitar tones you will ever hear coming out of your computer. And with GTR3’s host-free Standalone ToolRack, all you need to do is plug in…and play!

19 Guitar Amps
7 Bass Amps
22 Cabs
26 Stomps
Multiple Mics and Mic Settings
Custom Hardware Interface
Realistic Dynamic Response
Expert Presets and FX Chains
Sync-to-Host BPM Effects
Drag-and-Drop Simplicity
Real-Time MIDI Control
Standalone or DAW-Ready


http://ifolder.ru/3801854
,
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(0)

Sidechain compressor

, 08 2007 . 00:03 +
Pocket_Disaster (Noise_Production)


SideChComp http://ifolder.ru/4372086
- http://idigit.ifolder.ru/4372171 ( )
: 

(1)

Waves.API.Collection.VST.RTAS.v1.0-AiR

, 08 2007 . 23:25 +
Pocket_Disaster (Noise_Production)



SUPPLIER ..: TEAM AiR
PROTECTION : PACE\iLOK
DATE ......: 10/2007

Developed in association with Automated Processes
Incorporated, the API Collection features four
precision processors based on renowned API modules:
the 550A 3-Band Equalizer, the 550B 4-Band Equalizer,
the 560 Graphic Equalizer, and the 2500 Stereo
Compressor. Used by engineers worldwide on countless
hit records, these modules deliver a sound like no
other. And with the API Collection, Waves captures
every nuance of their unique sonic signatures

Modeled on the late 1960’s legend, the API 550A EQ
provides reciprocal equalization at 15 points in 5
steps of boost divided into three overlapping ranges.
The high and low frequency ranges are individually
selectable as either peaking or shelving, and a band
-pass filter can be inserted independently of all
other settings. The 550A is a uniquely powerful
equalizer with that one-of-a-kind API sound.

Featuring four overlapped EQ bands, the API 550B is
invaluable as both a problem solver and a sweetening
device. With 7 switchable filter frequencies spanning
up to 5 octaves per band, the 550B’s “Proportional Q”
automatically widens the filter bandwidth at minimal
settings and narrows it at higher settings. It even
lets you undo previous processing, affect or even
reverse tonal modifications. With its vast range of
tonal possibilities, the API 550B is a versatile EQ
for all your processing needs.

Based on the 1967 classic, the API 560 10-Band
Graphic Equalizer features precision filtering and
high headroom, ideal for signal enhancement and room
tuning. The API 560’s curve shaping potential is
unmatched, while API's unique "Proportional Q" design
intuitively widens the filter bandwidth at lower
boost/cut levels and narrows it at higher settings.
And since boost and cut characteristics are
identical, previous actions can be easily undone. For
precision equalization with unmatched versatility,
turn to the EQ heard on top recordings for decades:
the API 560.

The API 2500 is a versatile dynamics processor that
lets you shape the punch and tone of mixes with
absolute accuracy. Its dual channel design lets the
2500 also function as two separate mono channels via
a single compression setting. Using auto-makeup gain,
you can adjust Threshold or Ratio while automatically
maintaining a constant output level. With both "feed
back" and "feed forward" compression types, the API
2500 boasts a wide range of incredibly musical
parameters which have made it a favorite of engineers
the world over.


 


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(1)

Crysonic newB -

, 08 2007 . 23:18 +
Pocket_Disaster (Noise_Production)


Crysonic newB - , , , Crysonic. , , ! "Aural Acoustic", newB - VST , . , .


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(3)

Roger Nichols Digital UNIQUEL-IZER VST RTAS v1.2

, 08 2007 . 23:16 +
Pocket_Disaster (Noise_Production)
Why work within the confines of an EQ configuration of someone else's choosing? UNIQUEL-IZER lets you determine your ideal EQ. If you ever need more bands or filters, they're just a click away. No need to swap out for another EQ or use another insert slot. UNIQUEL-IZER lets you be the boss.

Variety is the key
From standard to specialty filters, the unprecedented selection lets you be the master of your EQ. Use the 4 and 8 harmonic parametrics to remove A/C line noise (i.e. hum) or use the steep notch to remove unwanted tones. With 11 filter types available, there's a filter for every occasion.

Get Ready to Flex
Activate or inactivate filters on the fly or solo an individual filter to hear only its effect. Two workspaces allow you to compare EQ's to zero in on the ideal settings for your mix. Boost or cut your signal by +/- 24 dB. Zoom in on the filter graph for editing precision. Save your EQ's with integrated Save and Load. Import previously saved filters into your current EQ session.



: pcmusic.ru
: 



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