Click notes in with the pencil tool, select them with the marquee tool and adjust the Velocity, Pan, Pitch and Gate time of the selected notes using the so-named knobs. The kit can be played by the Drum Sequencer when a MIDI note is received, or unhooked from the Sequencer for triggering via a keyboard or pads.The Drum Sequencer is simple but effective. The preset drum library contains over 160 full kits, each with an accompanying sequence, although kits and patterns are mix-and-matchable, too, and you can drag your own samples in. Vengeance Sound VPS Avenger Overview. Vengeance Producer Suite - Avenger - Official Product Overview Video.Reaching an early interest in electronic music (C-64, Amiga Series), I finally reached Cubase as a quiet journey.Vengeance Sound VPS Avenger Synth is a monster Synthesizer plugin with a huge amount of features. With the regular updates (thanks for this).Each drum also has its own Route panel, for routing through the Shaper, Step Sequencer, Effects and Master Filter sections, but not the 'insert' Filter or Amp.Avenger's Drum module is great fun and a worthy inclusion. Additionally, the triggering can be offset in either direction, for effortless 'smearing' of claps and snares - a welcome feature that's all too rare in drum machines. Adjustable parameters include Volume, Pitch, Pan and Spike, the last for boosting transients (and also included in Avenger's main Amp module).
![]() The LFOs feature 17 preset waveshapes and three user-drawn ones the Mod Envelopes can be synced to cycle over up to 160 bars and include a Loop+Release mode, in which the signal loops to Release marker while the note is held, then jumps to the Release point, continuing until released and the breakpoint Pitch Envelopes are polyphonic, to give just a few highlights.You can insert Gain blocks wherever you like in the signal path for volume adjustment, the Shaper (a superb waveshaping distortion module) is freely positionable, and multiple filter blocks in a Route can be arranged in any order. Assignments are grouped by mod source in the Matrix and collapsible to reduce clutter, so you can switch any source out to change all of its assignments at once.The modulators themselves are all well up to scratch. Needless to say, the list of targets is even more extensive, covering - we think - every parameter of the instrument, from the oscillators and filters to the arpeggiators and effects.Up to 256 modulation assignments are made by dragging sources onto targets or selecting both in the Mod Matrix, while amounts are set by dragging the tiny triangles that appear next to modulated parameters or the sliders in the Mod Matrix. The numbers are mindboggling: eight Pitch Envelopes, eight multi-breakpoint Mod Envelopes, eight Step Sequencers, four Amp Envelopes, four Filter Envelopes, four LFOs, three Macro knobs, an array of 'Maths' functions, all the standard MIDI messages and several CCs, and the oscillator Wavetable Envelopes and Vibrato LFOs. Thus, one oscillator could supply a bassline, while the next two blast out a lead, the next three a pad and so on, each 'instrument' triggered by its own arpeggiator, processed through its own effects, and modulated by its own step sequencer, envelopes and LFOs - and all at the press of a single note on your keyboard! Indeed, with that in mind, the oscillators can even be renamed.When it comes to modulation, Avenger is possibly the most well-equipped synth we've ever met. Choices, choicesClicking the menu above the oscillator waveform display brings up an enormous categorised list of sonic starting points. You can also right-click any block in the Route list to locate its module in the interface via a nifty animation. With so many of each module type possibly visible at once, this is extremely helpful. Setting up the signal flow like this feels quite unusual, but it means each oscillator (or a group of them) can effectively serve as a self-contained 'synth within a synth'.The flow of each oscillator is represented throughout the interface by colour-coded bars at the top of each module - green for Osc 1, pink for Osc 2, etc. Mikuni carburetor identification guideThe confusingly-named V-Saw tab houses Avenger's unison controls, with which a stack of up to seven detuned, spread voices is invoked. Oh, and you can draw your own waveshapes freehand using the mouse, too, and load your own samples in as wavetables, so there's really no limit to what Avenger can use as source material in each and every one of its oscillators.On the left-hand side of the Oscillator section, alongside adjustable volume, panning, tuning and noise, FM and AM knobs enable instant transformation of the sound, each drawing on a range of nine fixed waveforms and three editable ones, while the Vibrato section dials in cyclical per-voice pitch modulation. While the expected dance and electronic-orientated sounds dominate (this is Vengeance, after all, and that's very much its bag), there are also loads of acoustic and electric instrument samples in there. ![]() There are 32 modules in all, including delay, reverb of all kinds, dynamics, EQ, distortion and more, and you can load eight of them at once into each of four insert racks, two Send Racks and a Master insert rack. The Step Sequencer (also eight in number) does the 'trancegate' thing by default but is available for assignment to pretty much any target in the Mod Matrix.Finally, Avenger has a ton of effects onboard, mostly taken from Vengeance's various VPS bundles, but with six all-new Vintage emulations, too, courtesy of Arts Acoustic. The Wavetable Envelope is manipulated in various ways with the controls below, and features an optional step sequencer for programming time-multiplied envelope repeats.The other tabbed pages of the central pane host a variety of other interfaces, including a DAW-style mixer (again highlighting Avenger's 'workstation' approach), a key and velocity zoning page, the Pitch and Modulation envelopes, the Arpeggiator and the Step Sequencer.The Arpeggiator (of which up to eight can be instantiated, each switching between up to four patterns) is much as we've come to expect in any modern synth, with pitch offset, full rhythmic control, buttons for nudging the pattern up/down and left/right, and a big library of preset patterns. At the same time, the wavetable itself pops up in place of the virtual keyboard, with an overlaid volume envelope. The Editor defaults to the multi- breakpoint Wavetable Envelope, which modulates the Index knob, controlling the progression of the playhead through the wavetable. ![]()
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