ABOUT OMNISPHERE 2 Omnisphere is the flagship synthesizer of Spectrasonics – an instrument of extraordinary power and versatility. Download Omnisphere 2 for FREE on PC - Released on 19 Jan 2017. Learn how to download and install Spectrasonics Omnisphere v2.2 for free in this article and be sure to share this website with your friends. INTEGRA-7 Motional Surround Editor Ver.1.0.0 for Windows. The INTEGRA-7 Motional Surround Editor is a VSTi instrument that allows you to graphically control the Motional Surround aspect of the Roland INTEGRA-7 synthesizer. Please configure as follows to use INTEGRA-7 Motional Surround Editor. I can't speak for the Omnisphere personally but my friend sends me songs he has made with it and they are amazing. The JD XA is a complex synth but brilliant. Being honest, I play it less and less now I have the System 8. I use the JD Xi for drums, so my next purchase will probably be the Integra 7 for the Orchestral and acoustic sounds.
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Sound Module
The Integra 7 might at first glance seem to be a Jupiter in rack form, but it turns out there's more to it than that — much, much more..
Based upon the XV5080 rackmount synth, the Roland Fantom X family (launched in 2004) was both a critical and a commercial success, due in no small part to the immense range of sounds that could be wrung from its capacious ROM and SRX expansion boards. Four years later, the company released the Fantom G series and, at first sight, this appeared to be the next big thing. But first sights can be deceiving. The new models couldn't host SRX boards and Roland released just three of its new ARX boards, covering nowt but drums, electric pianos and brass. Consequently, I have every sympathy with owners who, had they been able to afford the criminal record, might have propelled their Fantom Gs through the windows at Roland UK.
The next, seemingly unrelated, chapter in this story occurred when Roland launched the Jupiter 80, a synth based in large part upon the company's new Supernatural physical modelling technologies. But, despite modest success, neither this nor the more recent Jupiter 50 took the world by storm, so I was rather underwhelmed when I heard that Roland were to release a Supernatural synth module. Happily, that proved to be a misjudgment because, as we shall now see, the Integra 7 will be of huge interest to XV and Fantom owners, as well as to players wanting to get their hands on a rackmount Jupiter.
Structure
Although it looks complex, the Integra 7 actually comprises just two distinct synthesizers. The first is a Supernatural synth derived and expanded from the new Jupiters. As shipped, this offers 256 Supernatural Acoustic Tones and 1109 Supernatural Synth Tones, 26 Supernatural Drum kits, and six 'virtual' expansion boards — five containing a total of 108 additional Supernatural Acoustic sounds, and one with seven additional effects for the Supernatural Drums. The second is a PCM-based synth derived from the XV5080, and this includes all 896 of the XV's preset patches, all of its drum kits, plus 12 of its 14 SRX boards and a high-resolution GM2 expansion pack with 512 additional PCM-based sounds.
To integrate all of this into a coherent whole, the Integra 7 eschews Roland's traditional Patch/Performance architecture in favour of something called a Studio Set, which is a multitimbral setup offering 16 Parts plus an external audio input. With the exception of a Drum Kit Part (which offers additional compression and EQ effects) each Part comprises a Tone (ie. a patch from one of the synth engines), an MFX effects unit, and a dedicated EQ. The patches are editable within their usual constraints and, once assigned to a Part, they can be further modified to determine their levels, pitches, pans, key ranges, the MIDI channels to which they will respond, and so on. The outputs from the Parts are then mixed before the whole shebang is sent to Roland's standard chorus/reverb architecture or to the new Motional Surround effect (see box) and, finally, to a global EQ.
On one hand, this structure is great news, because it makes the Integra 7 truly multitimbral in the sense that the use of an MFX on one sound demands no compromises from another. On the other hand, it's no use wailing that you've only assigned Tones to a handful of Parts, so you should be able to assign multiple MFXs and EQs to each, because nobody's listening. This means that you can't use the Integra 7 to recreate Fantom Performances that cascade multiple MFXs, let alone match the complexity of the effects paths available on, say, a Korg Kronos.
Now, what about the pattern play modes, chord memories, phrase memories, arpeggiators, sequencers, sample loading and playback, and all the other gubbins found on modern synthesizers? Forget them; they're not here. The Integra 7 is a sound generator, pure and simple.
Sounds
Despite the presence of the PCM-based synth engine, it's tempting to think of the Integra 7 as a Jupiter 50 module. Nevertheless, that's wrong.. In some ways it's better. To start with, there are 117 Supernatural Acoustic patches in a Jupiter 50, but 256 in the Integra 7, even before loading the expansions. What's more, the range of editing parameters has been enhanced. For example, whereas the electric guitars on the JP50 offered four parameters — noise level, strum speed, strum mode and Variation — those on the Integra 7 offer a fifth: picking harmonics. Another example? The saxophones have evolved even further, adding three new parameters: Play Scale, Scale Key and Glide. Performing a similar crosscheck of the Supernatural Synths in the two models also reveals an upgrade: whereas there are 363 PCM waves in the Jupiter 50, there are 450 in the Integra 7. There are some losses too — for example, the APS sounds have disappeared from Supernatural Acoustic — but I'm still confident that you could recreate the vast majority of Jupiter sounds on an Integra 7. Then there are the aforementioned expansion packs — Ethnic, Woodwind, Session, A. Guitar, Brass and SFX — and some of the sounds in these are excellent. In particular, ExSN1:Ethnic gives me the same sort of tingle that I experienced when I discovered the equivalent sounds in my Roland S330 library back in the late-'80s.
To test the Supernatural Drums ('drawn from V-Drum technology”) I hooked the Integra 7 up to a TD3KW kit and, to Roland's credit, everything worked immediately. But it didn't take me long to decide that I wouldn't want to substitute this for a V-Drum brain without a lot of reprogramming beforehand. However, it would be superb as an adjunct and, when used for sequencing, the range and quality of the kits in the Integra 7 is impressive, especially you get to grips with the instrument variations and using modulation controllers to introduce embellishments such as snare and cymbal rolls.
Following my reviews of the Jupiter 80 and Jupiter 50, I became aware of people expressing concerns about the latency of the Supernatural sound engines under heavy load. To test this on the Integra 7, I inserted the Supernatural Drums '0001 Session Kit' into all 16 Parts in a Studio Set, set them all to the same MIDI channel, and played. The sound was horrible, of course, but there was no hint of delays significant enough to suggest timing errors. I was reassured.
Moving on to the PCM-based synth engine, it's worth noting that the sample library underpinning the XV5080 remains impressive to this day, and its sounds sink into a mix with an ease that makes many other synths eye it with undisguised jealousy. Hooking mine up next to the Integra 7, I initialised both to their factory settings and dialled up the first patch, '128VoicePno', on both. The difference was clearly audible and simple to identify: the effects differed, so I switched them off. The two now sounded similar, and it didn't take too much tweaking to get to a point where I could have swapped between them without problems. Interestingly, this revealed that the XV menu structure has not been perfectly recreated on the Integra 7 because some of the items are in a different order, which could cause experienced programmers to trip over occasionally. Sweeping through the presets, I found that the effects were usually the main culprits for the differences between the XV5080 and the Integra 7 patches and, after suitable editing, it would have taken a braver man than I to tell which synth was which in a blind test. Hmm.. that's not strictly true. If I had to summarise the overall difference between the two, I would suggest that the Integra 7 sounds like the XV5080, but a little more so; not in a 'Wahey! Viagra!' sort of way, but in a 'I've brushed my teeth and combed my hair, and I feel ready to take on the world' sort of way.
This then brings us to the virtual SRX boards. Echoing the structure of a Fantom X, there are four virtual slots in the Integra 7 so, although there are 12 boards present in the ROM, you'll have to select which four you want to use at any given moment. Happily, you can save your choice as the default, so you don't need to reload them manually each time that you switch on the synth. Comparing the genuine SRX11 (Complete Piano), SRX06 (Complete Orchestra), SRX04 (Symphonique Strings), and SRX07 (Ultimate Keys) boards to the versions in the Integra 7, I again found that most of the sounds were at least similar, and almost all could be tweaked to perform the same tasks.
Download armenian playlists for virtual dj. Finally, it's clear that Roland view GM2 as an important aspect of the Integra 7 because, in addition to the standard bank, it provides a high-resolution expansion bank of GM2 sounds, plus a further 256 ExPCM sounds to complement it. These take up all four expansion slots (so they can't be used alongside SRX sounds) and they can't be edited, but don't ignore them because they are another source of high-quality sounds.
In Use
The Integra 7's front panel: not as knobby as a Jupiter, but it's more straightforward to program than it might first appear.
I very much like the look and feel of the Integra 7. Its hardware feels good, it boots and loads expansions more quickly than many modern synths, its sound quality is first-class and, while you might think that programming it would be a bit like painting the Sistine Chapel through its letterbox, it's quicker and simpler than you might think. Mind you, the fact that you have to download all the manuals (other than the basic user guide) does not impress me.
Of course, it has some limitations. I have already mentioned the inflexibility of the effects structure, and I think that, if Roland expect the Motional Surround effect to play a big part in its use, eight-channel digital I/O would have been sensible. The company could also have taken this opportunity to sort out some of the deficiencies in its Supernatural synth engines. For example, the inability of aftertouch to affect modulation in Supernatural Synth and the lack of a dedicated Hammond chorus/vibrato effect in Supernatural Acoustic remain very frustrating.
More significant is the maximum number of Studio Sets simultaneously available: just 64. That's a tiny fraction of the 2000 (or thereabouts) Combis available on some of the synths I use and, given that this is the only place where you can create splits, layers and multitimbral setups, it's a gob-smacking limitation.
Also worrying is the 128-voice polyphony. This sounds a lot, but if you program a patch using stereo PCMs, it can in extreme cases drop to just 16 notes, even before layering of other sounds is taken into account. Given that Roland are marketing the Integra 7 as a one-stop solution for media composition, voice stealing may become an issue, so I would have been far happier had it offered the 256-voice polyphony of the Jupiter 80.
Conclusions
If you want multiple analogue monosynths in a box, a knobby step sequencer, and a control panel the size of Berkshire, go and buy them. Don't complain that Roland have designed a module that will help me to convince 5000 soggy people in a field that I've got a Bösendorfer, a string section, a C3, a Solina, an EP200, a Compact Deluxe, a couple of Minimoogs and an ARP2600 on stage. Meanwhile, in the studio, the Integra 7 will undoubtedly be more pleasant to use (and probably more reliable) than the powerful hardware, host software and plug-ins that I would need to obtain an equivalent breadth of sound generation on a Mac or PC. Sure, it has its shortcomings, but its sound quality competes with the best synths from elsewhere, and the inclusion of the XV5080 engine and the SRX boards is a game-changer. You won't always be able to substitute an Integra 7 for an XV or Fantom but, when possible, I know which I would choose — and it wouldn't be the older models. I suspect that many people will question whether a dedicated sound generator should be able to command a price of more than £1000$2000 in 2013, but I nonetheless expect the Integra 7 to be a deserved success.
Inputs & Outputs
The Integra 7 offers eight analogue outputs (presented as A, B, C and D pairs) that you can assign as a stereo mix plus a 5.1 mix, or as a standard eight-channel configuration. The 'A' signals are provided through balanced quarter-inch TRS and XLR sockets, and as an S/PDIF signal, while the others are presented on unbalanced quarter-inch sockets. Stereo inputs are also provided on the font and rear panels, and, if signals are presented to both of these, they are summed and treated as a single input.
Standard MIDI In/Out/Thru is provided on five-pin DIN connectors, and there are two USB sockets; one for saving and recalling user sounds and Sets on memory sticks, and the onefor computer connectivity, carrying two-channel audio (again, the 'A' signals) and MIDI.
The iPad Editor
Like the Jupiter 50 and 80, the Integra 7 has an iPad editor that you can connect via the Camera Connection Kit or Roland's new USB Wi-Fi adaptor. This is capable of modifying Supernatural Synth sounds, selecting and mixing Parts in Studio Sets, saving and loading Sets, and controlling the Motional Surround effect. Am I impressed? I'm sorry, but I'm not, because it doesn't address the Supernatural Acoustic engine, the PCM-based engine, the other 40 (or thereabouts) effects, or the global settings. What's more, the software is only available from the iTunes App Store, a place that I view as only slightly less evil than Danté's ninth circle of hell. Spectrasonics. omnisphere. 2. dvdr. d1 win mac. If Roland want to provide external editing, they should do so with software that addresses the whole synth and runs on real Macs and PCs.
Motional Surround
For years, Roland have claimed to be able to position a sound in space, not just by panning (left/right) and by using amplitude and reverb to create depth (near/far) but by the use of phase distortion to create an illusion of up/down and even to place sounds behind your head. I tested this when it first appeared in 1991 and was unconvinced but, when Roland launched a low-cost version, the RSS10, I bought one on impulse. I then sold it again, which tells you almost everything that you need to know.
The Integra 7 incarnation of this, now named Motional Surround, can be placed in the signal path of all 16 parts as well as the external audio input. It's simple to use and, when monitored in stereo, it can create pleasing soundstages, adding depth to mixes as well as allowing you to sweep sounds around the panorama. Whether this is more than you could achieve with panning and careful use of level and reverb is moot, but there's no question that it's quicker and easier to control.
How to download virtual dj 8 free. Overuse of Motional Surround on stereo mixes could become tiring for the listener, but I suspect that it will be much more effective when used in 5.1 mode, and I agree with Roland that this will make the Integra 7 of great interest to people involved in sound for TV and movies.
Integra 7 Specifications
Number of voices | 128 |
Number of Parts | 16 |
Sound generators | Supernatural Acoustic |
Supernatural Synth | |
Supernatural Drums | |
PCM Synth | |
PCM Drums | |
Expansion slots | Four virtual SRX boards |
Six ExSN(x) Supernatural libraries | |
One ExPCM GM2 + PCM Sound Collection | |
Number of programmable Studio Sets | 64 |
Number of user memories | 256 x Supernatural Acoustic |
512 x Supernatural Synth | |
64 x Supernatural Drums | |
256 x PCM Synth | |
32 x PCM Drums | |
Multi-Effects (MFX) processors | 16 (one per Part) with 67 types |
EQs | 17 (one per part, plus global) |
Compression + EQ | Six (assigned within Drum Part only) |
Other effects | Motional Surround, Chorus (three types), Reverb (six types) |
Screen | 256 x 80 monochrome backlit LCD |
Audio inputs | Two quarter-inch pairs on front and rear panels |
Outputs | Output pair 'A': balanced quarter-inch jacks, XLR, S/PDIF |
Output pairs B, C, D: unbalanced quarter-inch jacks | |
Headphones: quarter-inch stereo | |
MIDI | In/Out/Thru and USB |
USB | Computer port on rear panel (MIDI & Audio 'A') |
Memory port on front panel |
Pros
- Excellent build quality.
- It has a clean, crisp sound, which works beautifully within complex mixes.
- The MFXs are truly multitimbral.
- Editing is quicker and simpler than you might imagine.
- At just 4kg, it's more than convenient.
Cons
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- There is limited memory for user setups.
- The maximum polyphony may be a limitation.
- The effects routing is inflexible.
- Digital I/O is restricted to two channels.
- You have to download the detailed manuals.
Summary
With two enhanced sound engines derived from the Jupiter 50 and 80, new Supernatural expansion packs and drum kits, plus the PCM-based sound engine from the XV5080 and all 12 of the mainstream SRX boards, the Integra 7 generates a huge and diverse range of high-quality sounds. I can see it becoming a mainstay of many studios and live rigs.
information
£1199 including VAT.Roland UK +44 (0)1792 702701.
Published February 2013
on Jan 08, 2017 in Synths & Sound Design 4 comments
There's no doubting the joy of using a real hardware synthesizer. The tactile controls are difficult to beat. But when it comes to sound these 7 virtual synths more than hold their own.
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).
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
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.
Review: https://ask.audio/articles/review-rob-papen-blue-ii
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/
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.
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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.
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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.
Omnisphere Vs Integra 7 Review
Web:https://www.applied-acoustics.com/modeling-collection/
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!