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Apr 17, 2019  Xfer Serum VST Crack is the Principal synthesizer out of Xfer Serum VST Patch Key Data, organizers of this enduringly helpful LFO Software. Its targets are straightforward: for a dream synth’, which with this occasion translates into a wavetable synthesizer producing astounding sound from a work process situated’ interface. Windows 8 and 10; Full Instructions for installing + download complete library attached. KEYSCAPE® is an extraordinary virtual instrument featuring the largest selection of collector keyboards in the world. From “holy grail” pianos to stunning keyboards you didn’t even know existed, this is a keyboardist’s dream come true.

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U-he Colour Copy v1.0.0.7675

A virtual analog effect inspired by classic bucket-brigade delays (BBD), but extended with modern features. We called our new baby “Colour Copy” because it can deliver the kind of colouration people still love in classic BBD units, but with a wider variety of colours. Colour Copy started life as the little delay unit called “Lyrebird” we built into Repro-1, but the sound was too good not to be developed further and become an FX plug-in.

Colour Copy in the spotlight…

• BBD-style analog delay, for the smoothest possible pitch effects
• unique colour morphing, with saturation for non-linear effects such as distortion / resonance
• 1ms to 1s or host-synched time base, scaled via rate control from 25% to 400%
• dynamic ducking via envelope follower

• LFO (with dynamic frequency and depth) can modulate rate, tap position or amplitude.
• MIDI note tracking and Freeze button (infinite loop) for wildest experimental effects
• powerful preset browser with tag and/or text search functions

• independent input and feedback routing options allow all possible stereo or mono combinations
• 100 factory presets, NKS-compatible
• UI instantly resizable from 70% to 200%
• custom remote control via MIDICC, 14-bit resolution option

In most digital delays the delay time alters the size of the buffer. If you quickly modulate or sweep the delay time on a typical digital unit, unmusical glitches propagate through the feedback as the buffer is shortened or lengthened. Like a real BBD, Colour Copy changes the internal samplerate instead (i.e. how fast the “buckets” pass on their content), and this is why Colour Copy is smooth with a capital SMOO!

Features

Colours

During development we soon realized that we could capture the essence of the entire range of classic bucket brigade delays – from the low-range rumbling, slowly evolving delays to the highly resonant, screaming characters. A single knob lets you continuously blend between the five finely-tuned “colour” macros. The differences may be subtle, but each one is rich in detail. In addition to obvious differences in frequency bandwidth, each comes with its own noise and dynamic characteristics, frequency loss over time, and several other qualities. The Saturation knob controls how prominent or subtle those characteristics should be, in case you want to dial back the colouration to better fit in the mix. Finally, a Brightness knob lets you adjust the bandwidth.

Flexibility

Colour Copy is capable of a huge variety of different delay-based effects. With delay times ranging from under a millisecond to several seconds, you can create anything from comb-filter and flange/chorus effects to regular ping-pong delays and longer “looper” effects. The routing options let you mix or swap the input and feedback signals independently or even invert the feedback phase for various phase cancellation effects when delay times are set very short. Additionally, unlike hardware BBD units, Colour Copy’s left and right output “taps” can be placed anywhere along the delay lines. This feature lets you move echos independently “forward in time” for e.g. ping-pong or “rushing” delays as well as various stereo chorus or flanger effects. You never knew you’d want three different ways to create a ping-pong effect!

Animation

Colour Copy comes with a stereo LFO that can be used to modulate either the delay rate, the tap positions or the delay amplitude. With a range of 0.05Hz to 20Hz (as times: 20s to 50ms) the LFO can create chorus, vibrato and tremolo effects. Crank up the modulation depth for deep pitch-shifting. An envelope follow signal derived from the input signal can be used to modulate the LFO frequency and depth, adding realtime dynamics to the effects.

Colour Copy comes with the obligatory ducking compressor, but with a unique twist: You can select whether to duck the entire delay output or just the feedback signal. This latter option leaves the very first delay unaffected, preserving the overall stereo “space” while preventing the sonic mayhem that high regeneration often causes.

Performance Control

Some people like to perform on their BBD hardware, pitching the regeneration up and down by twisting the rate knob. We took Colour Copy a step further in this direction by adding a pair of creative features: Firstly, a freeze button that loops the contents of the delay buffer for as long as you like. Secondly, MIDI key control so that you can play Colour Copy like a mono synth – each octave up doubles the delay rate.

After three years in development, Xfer Records has at last released its eagerly awaited wavetable synthesiser, and a quick glance at the feature list makes it apparent that Serum (VST/AU/AAX) represents an earnest attempt to produce nothing less than the world’s most advanced instrument of its kind.

For starters, fancy software engineering techniques have been employed to create oscillators that produce inaudible amounts of aliasing (the inharmonic artifacts that can occur in digital audio).

The result is that Serum’s oscillators sound cleaner and slightly brighter than what we’re used to hearing from synth plugins. It’s most noticeable when playing high-pitched parts, immediately setting it apart from everything else on the market.

The A and B oscillators are built around the most advanced wavetable engine we’ve ever seen. You get a 2D waveform view by default, but clicking it reveals a beautiful 3D wavetable display that indicates the current wave cycle, or ‘frame’.

Waveforms can be blended statically or dynamically using regular crossfading or harmonic/spectral morphing, the latter mutating from one to the next by adapting the level and phase of individual frequencies. Soundgoodizer vst download free.

You can import your own audio to create custom wavetables, but Serum has a full-spec wavetable editor built in to cater for the more hardcore user.

Under the ‘table

The wavetable editor enables you to manipulate the waveform on a graph display using an assortment of tools that vaguely remind us of the Performer in NI Massive, although with very different results, of course.

Alternatively, you can edit the waveform by adjusting frequencies on an additive graph (similar to that of Camel Audio Alchemy), or process/generate it using preset functions and mathematical formulae.

There are more editing options than we can possibly cover here in full, which is an ongoing theme with Serum – Xfer seems to have thought of everything, or at least made its best effort to.

A third oscillator is on hand in the shape of the sub generator (although it can be transposed up or down by four octaves, so the name is a bit of an understatement), which sports six basic waveforms.

The noise generator is in fact a stereo sample player, pre-loaded with every flavour of noise you’re likely to need. These include basic white noise variations as well as output noise sampled from classic hardware synths, and some ‘otherworldly’ alternatives.

The noise generator can run looped or in one-shot mode, so it’s ideal for synthesising percussion instruments – it even comes with a selection of drum kit sounds and a very handy set of kick drum transients; and you can also import your own waves.

The filter module takes its list of types from Xfer Records’ LFOtool and so includes a good variety of the usual analogue-style models (low- high- and band-pass, and notch) alongside a variety of combs, flangers and phasers, not to mention ring modulation, formant filter, sample- and-hold and various more esoteric types.

Modulation is handled by an intuitive drag-and-drop system, similar to that of Massive, but with a 32-slot mod matrix letting you see everything in one place, and advanced features such as user-editable curves and an auxiliary ‘via’ source for each slot.

In terms of modulation sources, there are three AHDSR envelopes and four LFOs shaped using the same refined LFO editor found in LFOtool. The LFOs also feature an envelope mode for building complex, multi-stage envelopes, and four macros are in place for bringing multiple parameters under unified control.

Two Chaos modulation sources can be configured in the global tab, too. These are largely intended to help invoke analogue-style nonlinearities, and they do that well, but you’ll find plenty of creative uses for them beyond that.

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Visual treats

The whole Serum interface is alive with animated visualisations that make it easy to see what’s modulating what – from dots that move on envelopes as they’re triggered, to oscillator waveforms that twist and warp as they evolve.

One of the most interesting visualisations is that of the unison function found on Oscillators A and B, which gives a representation of how many voices are stacked (from 2-16), as well as their relative volume levels and detune positions.

The unison feature reminds us of Synapse Audio’s Dune 2, and like that synth, Serum offers a selection of five stacking modes, including “Super”, which appears to replicate the supersaw unison found on Roland’s classic JP-8000.

This sounds huge, but you may find that playing chords with heavy unison really starts to burden your CPU – an issue that Dune 2 doesn’t suffer from. Serum’s oscillators are dramatically cleaner-sounding, though, and you can take the default 4x oversampling down to 2x if more notes or instances is your priority (or, indeed, go up to 8x if fidelity is your priority).

A shot in the arm

We’ve only just scratched the surface of Serum here, which has so many deep and advanced features in its locker that we couldn’t possibly hope to fully convey everything it can do in just two pages.

This is a must-have instrument for the serious sound designer, although even preset junkies will be thrilled with the 450+ excellent factory patches. We’re not being overdramatic when we say that it’s quite possibly the most sonically versatile synth we’ve ever used, and certainly one of the best sounding.

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