Refx Nexus full version fl studio vst plugin free download. Hello friends aaj hum is post me nexus ko kaise install karte hai us par baat karenge or usko download link bhi free me apko diya jayega jisse aap nexus full version download kar sakte hai easily mediafire ka link or google drive ka link hoga direct download koi ads nahi. 6 Cpu Usage 1; Omnisphere 2. 6 Cpu Usage System; Omnisphere allows up to 64 voices of polyphony per Part. This can put tremendous demand on the CPU, so limiting polyphony is one of the most important things you can do to manage CPU usage. As a general principle, set the voice count according to the type of Patch you are working with.

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on Jan 08, 2017 in Synths & Sound Design 4 comments

Digital wavetable synths are also assimilated and whether you prefer the raw, grainy sound of a PPG or Prophet VS, or the smoother transitions of an Access Virus, Omnisphere 2 can cough up a decent approximation. It would be no slouch judged purely as a DSP synth. Exploring the sonic potential of. Jun 29, 2013 Nexus 2, Omnisphere, Alchemy - which one? For discussion about setting up your studio and advice on the gear and equipment within it. Also it takes well over $2000 to have all the expansions which to me is insane when you can buy a an Access Virus TI for that kind of money and have one of the best digital hardware synths ever that can do 16. AMBIENT KAZOO - OMNISPHERE 2. VIRUS VS DP4 (SAMPLES) This is a small library showing what happens when you take two good things and combine them. Here we were using an Access Virus TI synthesizer together with the mighty Ensoniq DP/4 effect processor. All loops = 128 BPM.

Any top-10 (OK, top-7) list of virtual synthesizers will, ultimately, be pretty subjective—everyone has their own idea of what constitutes the coolest toys when it comes to making and mangling sounds for creative musical ends. Even so, a list of the most impressive soft synths will certainly end up including some models that would be on anyone’s wish list, along with a few more personal choices—and this collection pretty much fits that bill.

I tried to limit this list in a few ways, to make it more manageable.. I omitted instruments that are primarily samplers—even though many of the models here utilize samples as source material, they don’t mainly present them as realistic simulations, but as raw material for heavy processing. I stuck to synths that are—at least to me—geared to playability, and not primarily sound design or scoring effects. And I selected synths that are not emulations of specific classic hardware models, but stand on their own merits.

So without further ado, here are a few of my choices for the slickest soft synths around.

1. Spectrasonics Omnisphere 2

Omnisphere is one of those synths that would probably turn up on just about everyone’s lists. Like many of the synths on this list, Omnisphere (currently Omnisphere 2) combines a number of synthesis techniques, including both oscillators and sample-based source material (including user waves), wavetable synthesis, granular synthesis, and even FM. Combining a huge factory library with comprehensive programming options, the emphasis is on heavily processed sounds of all kinds, from traditional synth tones to dense swirling pads to arpeggios to shifting, chugging, twinkling soundscapes and musical noises that defy easy description. Playability includes nice touches like the Orb, a real-time joystick-type controller that can simultaneously vary many parameters. Omnisphere has been around for quite a while, and has certainly earned its place on a list of soft synths that hardware synths really can’t touch.

Web:https://www.spectrasonics.net/products/omnisphere/index.php

Review: https://ask.audio/articles/review-spectrasonics-omnisphere-2

Courses:https://ask.audio/academy?nleloc=application/omnisphere

2. NI Massive

Native Instrument’s Massive is another synth that’s been around for years, and its popularity and sound pretty much guarantee it a place of honor. Massive follows a traditional subtractive synthesis models, with oscillators (three, plus noise) filters (two), amplifier, modulation (LFO), and effects. But there’s much more to it than that simple description suggests.

Massive’s oscillators are more than just simple analog waves (like sine, square, sawtooth, pulse, etc.)—they’re Wavetables, which, besides those basic, traditional shapes, also include a large collection of richer and more complex wavetables to use as raw material, making for a much wider range of possible sounds. The overall subtractive architecture is familiar enough to be accessible to most synthesists, yet it offers extra levels of flexibility, accessed from the various programming tabs in its center panel, like the Routing panel, where you can view and tweak the signal flow of the various modules that make up a patch, and the drag-and-drop icons that make quick work of building up modulation patching. All in all, Massive’s combination of accessibility and flexibility have made it a perennial favorite among synthesists of all stripes.

Web:https://www.native-instruments.com/en/products/komplete/synths/massive/

Courses:https://ask.audio/academy?nleloc=application/massive

3. NI Reaktor

Another entry from Native Instruments, Reaktor (currently Reaktor 6) is not really a synthesizer per se—it’s potentially every synthesizer you could imagine. Reaktor is an object-oriented programming environment for building your own synthesizers, and it’s one of the most powerful tools available for those who want ultimate control over their instruments. But you don’t have to have a degree in computer programming or DSP to use Reaktor—while it does contain a daunting set of under-the-hood tools and building blocks, it also comes with a large collection of finished synthesizer designs—called Ensembles—and there are many more available from third-parties as well. Some of these are available as separate, stand-alone synths, like NI’s own Razor (an additive synthesis design), Prism (a physical modeling instrument), and Monark (a well-regarded take on the venerable Minimoog).

Studio one 4 tempo mapping. But the real power of Reaktor comes when you go behind the front panel, and delve into the nuts & bolts of synthesizer architecture. Taking full advantage of everything the programming environment has to offer may require a significant investment in time and energy, but for inveterate tweakers it’s well worth the effort, going well beyond even the possibilities available from assembling your own modular synth in the real world.

Web:https://www.native-instruments.com/en/products/komplete/synths/reaktor-6/

Review: https://ask.audio/articles/review-native-instruments-reaktor-6

Courses:https://ask.audio/academy?nleloc=application/reaktor

4. Rob Papen Blue II

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Rob Papen offers a number of popular synths (like Predator, Blade, and others, including the now-discontinued Albino), but Blue (currently Blue II) is probably the flagship of the line. Utilizing when Papen has dubbed “Cross-Fusion Synthesis”, Blue II combines FM, Phase Distortion, Waveshaping, and Subtractive synthesis, to create one highly flexible and great-sounding instrument. No less than six (!) oscillators freely combine all the different methods of sound generation in a single patch, and the graphic display makes routing and processing relatively easy for a synth with so many options. The helpful graphic displays include features like a straightforward FM matrix and graphic envelopes, along with sequencer and arpeggiator pages, and make Blue II’s programming power readily accessible, making it easy and efficient to tweak sounds—far easier than twiddling hardware knobs blindly.

5. LennarDigital Sylenth

LennarDigital’s Sylenth has become a very popular synth of late. Unlike many of the other entries in this list, it’s not a be-all, do-all, end-all design. Sylenth is designed to do one thing—emulate classic analog synthesis—but do it exceptionally well. It’s a dual-layered design, with 4 traditional analog-style oscillators, and a classic subtractive synthesis architecture. All the virtual analog components were carefully designed to offer the rich sound of their real analog counterparts, with alias-free oscillators, and filters that include nonlinear saturation and self-oscillation options.

A comprehensive set of envelopes, modulators, and an arpeggiator is rounded off with a full array of audio effects—everything needed to achieve classic analog synth sounds with the warmth and edge of traditional hardware synths is included. A faux LCD panel helps simplify programing the more tweaky features, and flexible routing allows for the two oscillator layers to cross-feed the filters, making for an especially nice bit of analog character in the digital world.

Web:https://www.lennardigital.com/sylenth1/

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Course:https://ask.audio/academy?nleloc=topic/sylenth

6. U-he Diva & Zebra 2 & Repro 1

U-he is not a synth, it’s a company—actually it’s software developer Urs Heckmann (plus a small staff), who’s come up with many excellent and characterful synth designs (and effects plug-ins) over the years, many available as freeware (like the popular Zoyd synth, and the unique Triple Cheese, which uses comb filters to generate/process its sounds). The U-he line includes several synths, but I want to focus on two of the most popular, Zebra 2 and Diva.

Urs describes Zebra 2 as a “wireless modular synthesizer”—it incorporates many types of synthesis, including subtractive, additive, and FM, along with an equally versatile array of sound-modifying tools like comb-filtering (physical modeling), all freely patchable. Only modules used in a particular patch are displayed, reducing front-panel clutter, and making for a more streamlined interface. The centrally-located modulation grid offers an easy way to connect modules, and helps visualize signal flow in complex patches. And for performance, Zebra 2 offers a “Perform” panel, with no less than four (!) programmable and assignable X/Y pads.

Diva, on the other hand, is a more dedicated analog-style synth—it models the sounds of various classic analog synth modules. But two things set it apart from other analog modelers. The first is that you can mix and match components/modules inspired by different synths, creating hybrid designs. The other is Diva’s cutting-edge approach to modeling analog circuits, which promises to achieve the next level in emulating the nuance of real analog instruments. This faithfulness to real analog sound brings with it a bit of a CPU hit, but users have embraced it, so this Diva may be worth her high-maintenance ways.

Web:https://www.u-he.com

Review: https://ask.audio/articles/review-uhe-repro1

Course:https://ask.audio/academy?nleloc=application/uhe

7. AAS Modeling Collection

As I said earlier, lists like this typically combine entries that are on everyone’s top-10 with choices of a more personal nature—this last entry probably reflects my interest in physical modeling techniques. AAS—Applied Acoustic Systems—makes a variety of virtual instruments and “sound banks”—their instruments are based on physical modeling, which, as you may know, is a method of creating a sound by emulating the physical way that sound is created in the real world. So instead of traditional oscillators, filters, and envelopes, you’ll typically find exciters, disturbers, and resonators—simulations of different vibrating materials, striking, plucking, bowing, and blowing techniques, and complex resonances and timbral responses.

AAS’s modeling collection includes instruments that put these kinds of tools to use emulating strings, guitars, electric pianos, and even analog synth circuitry, but the two I want to mention are Tassman, a general-purpose physical-modeling synth, and their latest, Chromaphone, which is dedicated to modeling all manner of percussive sounds. Both of these instruments let the user synthesize highly realistic sounds, thanks to the physical modeling of acoustic sound-generation, but those sounds don’t necessarily have to emulate actual instruments—for more creative applications, the modeling tools can be used to create very acoustic-sounding instruments that don’t—maybe couldn’t—actually exist in the real world, but sound (and play) like they do! Physical modeling technology is widely used nowadays for processing—component modeling is routinely employed to simulate the circuit path of classic analog hardware, including synth components like oscillators and filters—and it’s gradually being applied more to instrument design.

Wrap-up

Like with any list, there are plenty more great synths I could have included but didn’t, for one reason or another (I decided to limit my choices to separate plug-ins, eliminating obvious possibilities like Alchemy and Sculpture, which are exclusively built-in to Logic). I also didn't include any audio examples—how can you boil the characteristic sound of synths that each offer so much variety into a few seconds of one or two patches? There are plenty of audio demos available online, along with trial versions of most, if not all, of the synths I mentioned, and I think the best approach for anyone who wants to get to know what particular models are capable of is to go ahead and try ‘em out yourself—a little homework that, for once, should actually be a lot of fun!

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Omnisphere 2.6 includes a stunning new “Hardware Library” with over 1,600 new patches created by Eric Persing and the renowned Spectrasonics Sound Development team. Each hardware profile has a corresponding set of sounds in the Hardware Library which were specially designed using that hardware synth as an Omnisphere controller.

Since the announcement of Omnisphere 2 at this years’ NAMM 2015, we have had a lot of enquiries into what users are to expect with Omnisphere 2. This article includes a list of answers to these questions which keep popping up.

What is new in Omnisphere 2?

There are many new and exciting features to Omnisphere 2. Our quick top 10 (in no particular order) most interesting features would be:

1. Audio Import – Use your own audio files as a soundsource in Omnisphere 2
2. Over 400 New DSP Waveforms for the Synth Oscillator – an increase of 100X
3. Over 4,000 new Patches, Soundsources and Multis
4. 25 new Effects Racks
5. Sound Match – Instantly locate any related sound in the library
6. Sound Lock – Lock parameters to keep these settings while you browse
7. New Interface – Redesigned wider interface with mini-browser available at all times
8. 10 morphing Wavetable Oscillators per Patch
9. Powerful new Granular Synthesis – Manipulate from subtle tweaks to beyond recognition
10. Enhanced Modulation Control – with new sources and many more targets

…and much more!

Are Omnisphere 1 and Omnisphere 2 different instruments/products?
No. Omnisphere 2 is simply the next major version of Omnisphere. Everything from version 1 is included in Omnisphere 2 of course!

If I already own Omnisphere, is there an Upgrade to Omnisphere 2?
Yes. If you already are an Omnisphere customer, you are eligible for the Omnisphere 2 Upgrade!

How is the Upgrade delivered?
The Omnisphere 2 Upgrade package will be shipped on 30^th April 2015. The upgrade package includes an upgrade code. The Omnisphere 2 upgrade will be a 17 GB download which will be made available through your Spectrasonics user account, once you have registered your upgrade code.

Will the Omnisphere 2 Upgrade be available as a physical product?
Not at this time. The Spectrasonics download service is highly reliable though… even with slower connections.

Will Omnisphere 2 replace my Omnisphere plug-in?
Yes. Omnisphere 2 is the next version of Omnisphere. The Omnisphere 2 Upgrade contents (17GB) will merge with the existing Omnisphere 1 library and become one product, replacing Omnisphere 1 as a plug-in.

When opening older projects which uses a patch from Omni 1, will they load the same?
Absolutely – it is still Omnisphere! Version 2 is fully backwards compatible with version 1 projects.

Will custom saved patches/multis be effected when upgrading to Omnisphere 2?
They will open and operate the same as always.

Will the audio import in Omnisphere 2 be for single samples or multi-samples?
It is one sample of any length per soundsource. You can layer up to two soundsources in a patch and 8 patches in a multi.

Keep in mind that Omnisphere’s focus is as a synthesizer and will never be a sampler with multiple velocities, key-mapping, round-robin, etc. – there are other instruments out there that do that very well.

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The idea here is to easily turn your audio files and even your audio tracks/mixes into synthesis source for Omnisphere 2s powerful oscillators. You’d be amazed at how much you can creatively mangle one sound and make something amazing!

What if I recently purchased Omnisphere? Do I have to pay the full upgrade price?
No. The good news is that there’s a grace period free upgrade available from the Spectrasonics site if you have purchased Omnisphere between October 2014 thru to May 2015. This also means that if you do not currently own Omnisphere, you can buy Omnisphere 1 now and you can upgrade to Omnisphere 2 for free after April 30.

Will the full Omnisphere 2 be available as a download or on a USB drive for installation?
Yes, there will be alternative forms of installation available optionally to registered users in addition to the included set of 8 DVD-ROMs that comes in the box.

However, it’s important to note that all Spectrasonics instruments are sold exclusively as physical boxed product through authorized resellers like Time & Space. Currently, Spectrasonics is shipping its instruments including multiple DVD-ROMs.

However, Spectrasonics is keenly aware that many users no longer have computers with optical drives and there are numerous scenarios when the convenience of downloading or the speed of a USB drive would be a preferred form of installation for different users.

To address all the various user needs and scenarios, Spectrasonics is starting a new Support Services area of their tech shop that will offer Alternative Installation USB Drives and Additional Download Installations for optional purchase. These services are available directly from Spectrasonics for registered users. The price of the Alternative USB Drive service will be $40 and the Additional Download Installation service price is $10.

The great news for new users is that the Omnisphere 2 box includes a 25% Off discount coupon towards these support services.

What are the minimum system requirement for Omnisphere 2?
Same system requirement to current Omnisphere:

• 2.4 GHz or higher processor
• 4GB RAM minimum, 8GB or more recommended
• Dual Layer compatible DVD-ROM drive
• (Optional USB Drive/Download installations available)
• 64GB of free hard drive space

Mac Users:

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• OSX 10.8 Mountain Lion or higher
• Intel dual core processor or higher
• AU, VST 2.4 or higher, RTAS or AAX capable host software
• Audio Unit plugin requires host with support for “Cocoa” based plugins
• Native 64-bit and 32-bit on OSX
• 6GB of RAM or more if using the Sample File Server

Windows Users:

• VST 2.4 or higher, RTAS or AAX capable host software
• Microsoft Windows 8/7/Vista
• Native 64-bit and 32-bit on Windows

For more details on Omnisphere 2, check out the below Omnisphere 2.0 video filmed at the 2015 NAMM Show by our good friends over at Sonic State.

Omnisphere 2.5 - Endless Possibilities

Omnisphere® ist der Flaggschiff-Synthesizer von Spectrasonics - ein Instrument von außergewöhnlicher Kraft und Vielseitigkeit. Top-Künstler auf der ganzen Welt vertrauen auf Omnisphere als wesentliche Quelle klanglicher Inspiration. Diese preisgekrönte Software vereint viele verschiedene Arten der Synthese in einem erstaunlich klingenden Instrument, das eine lebenslange Entdeckungsreise anstoßen wird. Mit der Version 2.5 bietet Omnisphere als erster Softwaresynthesizer der Welt eine Hardware-Synth-Integration, die über 30 bekannte Hardware-Synthesizer in umfangreiche Hands-on-Controller verwandelt.

Omnisphere 2.5 ist jetzt als KOSTENLOSES Update für alle registrierten Omnisphere 2 Benutzer verfügbar!

Bundle: Omnisphere 2 & Tutorial Video - Damit Sie sofort voll loslegen können, empfehlen wir Ihnen, das HandsOn Omnisphere Tutorial Video (Download/deutsch) gleich zum günstigen Bundle Preis mitzubestellen.

Hardware Synth Integration

With the version 2.5, Omnisphere becomes the first software synth in the world to offer a Hardware Synth Integration feature, which transforms over 30 well-known hardware synthesizers into extensive hands-on controllers that unlock Omnisphere’s newly expanded synthesis capabilities. Simply put, this ground-breaking new feature makes using Omnisphere feel just like using a hardware synth!

This remarkable innovation bridges the physical experience gap between software and hardware, giving users intuitive control of Omnisphere by using the familiar layout of their supported hardware synth. Virtual instrument users can at last experience the joy of the hardware synth workflow and hardware synth users can now fully expand their capabilities into the vast sonic world of Omnisphere!

List of Supported Hardware

• Access Virus A | Access Virus B

• Clavia Nord Lead 1 | Clavia Nord Lead 2

• Dave Smith OB-6 | Dave Smith Prophet 12 | Dave Smith REV2

• Korg Minilogue | Korg Monologue | Korg Prologue

• Moog Little Phatty | Moog Slim Phatty | Moog Sub 37 | Moog Sub Phatty | Moog Subsequent 37 | Moog Voyager

• Novation Bass Station II | Novation Circuit Mono Station | Novation Peak

• Roland JP-08 | Roland JU-06 | Roland JX-03 | Roland SE-02 | Roland SH-01A | Roland System-1 | Roland System-1m | Roland System-8 | Roland VP-03

• Sequential Prophet 6 | Sequential Prophet X

• Studiologic Sledge

Hardware Sound Library

Omnisphere 2.5 includes a stunning new “Hardware Library” with over 1,000 new patches created by Eric Persing and the renowned Spectrasonics Sound Development team. Each hardware profile has a corresponding set of sounds in the Hardware Library which were specially designed using that hardware synth as an Omnisphere controller. These inspiring new sounds feature a wide range of categories and many have a distinctly ‘classic analog’ flavor! Best of all, the new sounds are available for ALL users, regardless of using the hardware or not!

Vastly Expanded Synthesis Engine

• Four Layers per patch!
• State Variable Filters
• Over 500 DSP Wavetables
• Powerful New Granular Synthesis
• 8 LFOs, 12 ENVs, 34 Filter Types per part
• Doubled Mod Matrix
• Full FX Modulation

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You can use your own audio file as a soundsource in Omnisphere, simply by dragging it onto the interface! Go wild with using the new Granular Synthesis, Harmonia, Innerspace and many other creative tools inside Omnisphere!

High Resolution Interface

Omnishere 2.5 supports a newly redesigned, high resolution interface with support for HiDPI displays. The modernized GUI is now easier to use and resizable to fit comfortably into your workspace.

Includes over 14,000 sounds!

Since the beginning, Omnisphere has been the sonic weapon of choice for creative players and producers in search of next level sounds on hit records, bestselling games and Oscar-winning films. Omnisphere’s amazing sound library is constantly growing and being pushed in fresh directions by the award-winning Spectrasonics Sound Development Team.

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57 FX Units

Innerspace | Quad Resonators | Thriftshop Speaker | Classic Twin | Bassman | Hi-Wattage | Rock Stack | Brit-Vox | Boutique | San-Z-Amp | Stompbox Modeler | Metalzone Distortion | Toxic Smasher | Foxxy Fuzz | Analog Phaser | Analog Flanger | Analog Chorus | Analog Vibrato | Solina Ensemble | Vintage Tremolo | Envelope Filter | Crying Wah | Stomp-Comp | Precision Compressor | Studio 2-Band EQ | Vintage Compressor | Modern Compressor | Gate Expander | Vintage 2-Band EQ | Vintage 3-Band EQ | Graphic 7-Band EQ | Graphic 12-Band EQ | Parametric 2-Band EQ | Parametric 3-Band EQ | Formant Filter | Power Filter | Valve Radio | Flame Distortion | Smoke Amp | Ultra Chorus | Retro-Phaser | Pro-Phaser | EZ-Phaser | Retro-Flanger | Flanger | Chorus Echo | BPM Delay | BPM Delay X2 | BPM Delay X3 | Radio Delay | Retroplex | Pro-Verb | EZ-Verb | Spring Reverb | Imager

Additional Highlights

• Standalone Application now included!
• New Live Mode interface for touch screens
• Enhanced Orb with Attractor mode
• Satellite Instrument support for Trilian and Keyscape
• -and more!

Omnisphere 2.5 Features

• Now includes over 14,000 inspiring sounds for all types of music production
• Ground-breaking Hardware Synth Integration allows hands-on control of Omnisphere
• Audio Import - Use your own audio file as a soundsource
• Over 500 DSP Waveforms for the Synth Oscillator
• Sound Match™ feature instantly locates any related sounds in the library
• Hardware Library with distinct ‘classic analog’ flavor
• Spotlight - EDM library with next-level, modern sounds
• Powerful Granular Synthesis for amazing transformations
• 57 incredible FX Units, which are fully integrated and can be modulated
• Creative “Psychoacoustic” sounds from the renowned Spectrasonics sound design team
• Sound Lock™ feature gives endless useful variations by locking sound aspects while browsing
• Wavetable Synthesis - Each waveform is a Morphing Wavetable
• ORB circular motion interface allows infinitely-shifting variations
• Deeper FM/Ring Modulation capabilities for aggressive timbres
• Dual Filter architecture includes more than 34 Filter algorithms in series or parallel
• Performance-oriented Live Mode allows for seamless patch layering on the fly
• Flex-Mod™ modulation system allows powerful, modular-style matrix routing
• Stack Mode interface allows for complex patch-layering, splits, and crossfades
• Mini-Browser available at all times plus larger Full Browser design
• Up to 20 oscillators per patch can be either DSP synth or sample-based
• High Resolution resizable Interface with “Zooming” into deeper synthesis levels
• Eight independent Arpeggiators with unique Groove Lock™ feature
• Polyphonic Timbre Shifting/Crushing, Waveshaping and Reduction
• Eight full-featured LFOs per patch, with syncing and complex waveforms
• Twelve Envelopes with both simple ADSR-style or advanced multi-breakpoint interfaces
• Easy Sound/Project Sharing for collaborators and third-party libraries
• Sample-based soundsources can be processed with synthesis features
• …and much, much more!

“Keyscape Creative”

The “Keyscape Creative” library is a cutting-edge collection of over 1200 Omnisphere patches specially designed to showcase the power of combining Keyscape and Omnisphere 2. Owners of Omnispehre 2 and Keyscape can update their products to get the new patches, which then appear in Omnisphere 2’s patch browser as a new directory.

Fazit (Auszug)

Das enorme Kreativpotential, das in vielen Instrumenten der Library steckt, sucht seinesgleichen. Eric Persing und seine Crew haben sich in puncto Klangdesign selbst übertroffen. Aufwand und Mühen wurden dabei nicht gescheut, man denke nur an die Schlauchbootfahrt durch eine Höhlenlandschaft, mit dem Ziel, den Klang von Stalaktiten als tonale Percussion einzufangen.

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Minimum Anforderung:

• 2.4 Ghz oder höher
• 8 GB Ram oder mehr
• freier Festplattenspeicher entsprechend der Library Größe

Mac:

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• OSX 10.11 oder neuer
• Intel Dual Prozessor
• AU / VST 2.4+ / AAX (64 Bit) kompatible Software

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Windows:

• Windows 7 / Windows 8 / Windows 10
• VST 2.4+ / AAX (64 Bit) kompatible Software

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