15 Appreciated Plug-ins Available in this Total Bundle（Total Bundleの内容）

Enter the Delay Matrix

Tekturon is a multitap-delay effect with 16 independent, high-quality delay lines. What really sets it apart from other, similar products, however, is the way it’s controlled and the unique topology into which the taps are arranged: The Delay Matrix. In fact, Tekuron can’t be thought of as a tap-delay effect in the strictest sense, but more of a sequence of taps equally delayed from each other, whereby working with the plugin strongly resembles using a step sequencer. This rather unusual design should give your creativity just the kick it needs!

Inspired by Ergonomics

Each and every aspect of the plugin’s workflow is presented in a visually clear and intuitive way, allowing for quick and precise control of every facet of the device, as well as the ability to easily tame all 16 delay lines it contains with global controls. The ability to visually grasp the entire layout with minimal effort allows you to achieve even the most complex results with extraordinary speed.

Learn more about Tekturon.

LuSH-101 is a synthesizer created from modules that can be found in many modern virtual synthesizers, all combined into a single compact and logically intuitive design. However, this basic simplicity combined with its multilayer architecture turns it into an easy-to-use but extremely powerful instrument that can be programmed and tweaked quickly, almost effortlessly leveraging its maximum potential.

The multilayer architecture guarantees that both the sound design possibilities and number of unique situations in which LuSH-101 can be used, are virtually limitless. Layered sounds can be created simply by assigning the layers to the same MIDI channel; the results can sound as massive as anything imaginable! Assigning the layers to different keyboard zones allows you to create even the most sophisticated splits. Of course, you can always assign the various layers to different MIDI channels for 8-part multitimbral usage. And, virtually any combination of splits, layers, and multitimbrality is possible with just a single instance of LuSH. With each layer working as an independent synthesizer with its own polyphony, parameters, enhanced arpeggiator, and a palette of only the finest insert effects, LuSH-101 can push your creativity to unprecedented levels!

Want to express yourself even more? In addition to a very sophisticated MIDI-learn implementation, an advanced modulation matrix is built into each layer. Even the Arpeggiator’s MIDI output can be used as a modulation source, unleashing your creativity to build complex sequences and progressions.

LuSH also comes complete with a powerful built in mixer, complete with layer-independent parametric equalizers and compressors. Three send effects in superb quality allow you to put the finishing touches on the final output.

LuSH plays perfectly in any genre. For funkier styles, the Gate may be used instead of the VCA for instant staccato sounds full of energy and rhythmic pep. When creating Ambient or Chillout, longer attack and release times along with the smooth, rich spaciousness of the built-in reverb are enough to satisfy even the most ardent purists. Is Dubstep or Drum & Bass more your thing? No problem! Filters modulated by the LFOs and envelopes in conjunction with Unison mode can lead to the sickest, nastiest, and most novel vibrations – your sound system won’t know what hit it (and you won’t, either), so watch out! No matter what you want to play or how you want to use it, LuSH will get the job done.

LuSH plays perfectly in any genre. For funkier styles, the Gate may be used instead of the VCA for instant staccato sounds full of energy and rhythmic pep. When creating Ambient or Chillout, longer attack and release times along with the smooth, rich spaciousness of the built-in reverb are enough to satisfy even the most ardent purists. Is Dubstep or Drum & Bass more your thing? No problem! Filters modulated by the LFOs and envelopes in conjunction with Unison mode can lead to the sickest, nastiest, and most novel vibrations – your sound system won’t know what hit it (and you won’t, either), so watch out! No matter what you want to play or how you want to use it, LuSH will get the job done.

Learn more about Lush-101.

Synthesis

Nepheton contains 17 fully synthesized instruments perfectly emulating the famous 808 drum machine. All the nuances and details of the instruments sounds are captured perfectly. The instruments models are equipped with additional controls giving you possibility to tweak the sound much better. Listen to the audio examples or just download the demo and try it out.

Outputs

Nepheton has a flexible output configuration. Every instrument’s audio signal can be routed to any of the 17 outputs. This allows users to further shape sounds individually or in groups via their favourite plug-ins.
Each individual output can be set to mono or stereo. For the greatest 808 fans we’ve added also original Trigger output (configurable as well).

Every instrument also has a Mute, Solo button and Activity led. Mute will not just silence the sound, it will stop the sound being triggered. Solo will stop all other instruments from being triggered and only allow the selected sound(s) to play.

Control

Nepheton has extensive midi control. Midi notes can be used to trigger each individual sound. Alternatively, the internal sequencer can be used. This can be set to play using Nepheton’s internal clock or set to synchronize perfectly to the host sequencer.

Most of Nepheton’s parameters can be automated within the host and also controlled using MidiCC with an external controller. An easy-to-use Midi Learn function allows reassignment of any of the parameters.

Internal Sequencer

Internal sequencer’s memory contains two banks of patterns: simple and extended. There is 16 extended and 96 simple patterns which both can be edited traditionally using the step buttons or using the tap function.

Simple patterns are used in Host Mode where each pattern location has a midi note number assigned to it. With these notes you can control freely the order of played patterns.
Extended pattern differs from the simple one in it has 4 segments (variation A/B and part 1/2). The whole bank of 16 extended patterns is divided into two groups of Basic Patterns and Intro/Fill In Patterns. You can choose freely from played patterns, used variations, and fill in modes (triggered automatically or manually). It also can be defined whether the starting pattern should be preceded by introduction pattern and many many more. Extended patterns are used when Host Mode is off.

A Randomizer function is also provided within the internal sequencer. It can be used to make simple changes to a pattern or create a whole new one – ideal when your creativity needs a boost! Randomizing can be applied to specific instruments and the frequency of occurrence can also be adjusted easily to give you just the right amount.

Learn more about Nephaton.

Drumazon synthesis emulates all the sounds of the original 9O9. All the instruments are synthesized in exactly the same way as the original. All the nuances and detail of the original are captured perfectly. In addition, all Drumazon instruments have enhanced controls. This extra functionality allows the user to adjust the sounds further than on the original unit. This opens up a whole new world of sound creation.

Synthesis

Drumazon synthesis emulates all the sounds of the original 9O9. All the instruments are synthesized in exactly the same way as the original. All the nuances and detail of the original are captured perfectly. In addition, all Drumazon instruments have enhanced controls. This extra functionality allows the user to adjust the sounds further than on the original unit. This opens up a whole new world of sound creation.

Outputs

Drumazon has a flexible output configuration. Every instrument’s audio signal can be routed to any of the 11 outputs. This allows users to further shape sounds individually or in groups via their favourite plug-ins. Each individual output can be set to mono or stereo. Every instrument also has a Mute and Solo button. Mute will not just silence the sound, it will stop the sound being triggered. Solo will stop all other instruments from being triggered and only allow the selected sound(s) to play.

Control

Drumazon has extensive midi control. Midi notes can be used to trigger each individual sound. Alternatively, the internal sequencer can be used. This can be set to play using Drumazon’s internal clock or set to synchronize perfectly to the host sequencer. Most of Drumazon’s parameters can be automated within the host and also controlled using MidiCC with an external controller. An easy-to-use Midi Learn function allows reassignment of any of the parameters.

Internal Sequencer

Within the internal sequencer, patterns are stored in 8 banks. Each bank can store up to 12 patterns. Each pattern consists of 16 steps. Each pattern location has a midi note number assigned to it. The patterns can be edited traditionally using the step buttons or using the tap function.

The internal sequencer has various modes of operation. In Chain Mode, a range of patterns are selected from the internal banks and are played through in a circular fashion. Patterns can also be triggered freely by selecting the corresponding midi note (for example, from a midi controller keyboard). External controllers can be used in any mode to provide full control over pattern playback.

A Randomizer function is also provided within the internal sequencer. It can be used to make simple changes to a pattern or create a whole new one – ideal when your creativity needs a boost! Randomizing can be applied to specific instruments and specific steps. The frequency of occurrence can also be adjusted to give you just the right amount.

Files are stored in the XML format. This allows single patterns or whole banks to be exchanged between users easily. XML allows the files to be edited in a text editor. Ideal if you want to post or share a pattern on a web site – just post the text!

Presets

The settings for each instrument can be stored in it’s own preset. Each instrument preset can be loaded in individually. This allows maximum flexibility when putting kits of instruments together. A dedicated Preset Manager is provided to help the user manage the sounds within their own unique library.

Learn more about Drumazon.

Nithonat is a fully synthesized drum machine based on the classic 606. The unique sound of this machine has been used by many artists over the years in the production of Electro, Hip-Hop and Rnb. The original 606 has been perfectly emulated. However, since Nithonat is software based, D16 were able to enhance the original with extra functionality.

Full control over the sound

On the original 606, the only editable sound parameter was volume. D16 have added to the original and as a result, Nithonat is equipped with extra controls which allow each sound to be shaped in ways which were not possible in the original machine.
A whole spectrum of sounds is now at you fingertips ? rumbling kicks, rustling snares and completely synthesized and unnatural sounding toms and hi-hats.

For the first time since the 80s, it is now possible to hear what the analog synthesis of the 606 is truly capable off!

One of a kind

Nithonat was designed completely from the ground up. Its synthesis is special ? even when compared to Nephetonís. It has very unique and characteristic hi-hat and cymbal sounds which are due to the emulated structure of the circuits in the original. The bass drum has unparalleled attack character and strong punch. The snare sounds sandy.

These unique attributes guarantee that our 606 is not a sub-standard 808 but is a great instrument with a unique timbre which will bring an old school feel to any track it is used on.

New dimension of creativity

Nithonat has a powerful built-in internal sequencer. The tracks can be edited in a very simple and intuitive way and modified with many useful functions. The clear GUI means that sequencer is very easy to use.

In addition to having many internal sequencer modes, Nithonat can also be used as a sound module. All sounds and functions within Nithonat can be controlled from a host sequencer.  Experimenting with Nithonat can give interesting and unexpected results. Operation of Nithonat is very similar to Drumazon and Nepheton ? having knowledge of these will mean that using Nithonat will not require much manual reading!

Learn more about Nithonat.

The best choice for designing top-quality & dancefloor-crushing kicks.

PunchBOX is a virtual instrument designed for creating high-quality kick drum sounds. An equally vast and exquisite factory content delivered by industry-standard sound designers Sounds of Revolution and CFA-Sound gets you started in no time.

Synthesis & Sampling Shaking Hands in One Plugin

PunchBOX easily brings together the best of the two worlds. The expressiveness of synthesized sounds next to the richness and complexity of samples end up delivering top-notch, never-heard and dancefloor-crushing kick sound.

Each of the onboard samples is a little diamond in itself, crafted with professional experience, precious pieces of studio equipment, top-shelf instruments and vintage analog gear. The kick sound synthesizers, originating from highly acclaimed D16 emulations of classic Roland drum machines, were taken to the next level and customized to perfectly fit the purpose of PunchBOX.

The very heart of PunchBOX is comprised of four sound generators, each of them standing for a key component of the final majestic kick sound. Factory settings were created to allow influencing the sound in a unique, intuitive and inspiring way.

Vast Quality Factory Content

The best sound designers out there prepared an arsenal of 1100 samples and 800 presets suitable for pretty much all contemporary subgenres of electronic music. It’s never been easier to keep up or even exceed the most recent trends in music production and sound quality standard. Organized using the reknowned D16 tagging system makes browsing for the right (base) sound easy, efficient and smooth.

An Effect Rack that Get’s Your Kicks

Fulfilling you every need when it comes to taking a kick sound to the next level drove the PunchBOX dev team to create an effect rack with (almost) unlimited power. Switching effect order by simple drag’n’drop? Varying effect amounts with a simple click? Feeding an effect with only a small proportion of sound generator X? It’s all in there! The greatest kick sound mangling tools at hand.

Intuitive & Inspiring Workflow

The PunchBOX dev team worked hard to offer you an interface that understands your needs – and not the usual other way round. You’ll immediate feel like working with Lego and see how simple it is to just activate/deactivate/level the building blocks of a kick sound – and all of that only a mouse click, wheel turn or drag’n’drop away. Not feeling creative today? Not a problem, just browse through the perfectly tagged presets or use the random sound generator!  This is an interface that understands your needs. Not the usual other way round. Get creative in a giff!

Learn more about PunchBOX.

Taking the classic analog sound of the legendary silver box into the future, PHOSCYON offers an unmatched sound together with advanced features such as a state of the art Distortion unit; fully user configurable BPM sync’d Arpeggiator and Randomizer; a unique ‘Play Live’ mode; vintage arrangement and pattern builder, full MIDI CC support and, to top it off, the most authentic 18db/oct low pass filter ever created

Diehard fans of the original Bass Line will be blown away with PHOSCYON’s uncanny emulation of the classic, but will also marvel at the ease with which new sounds can be crafted; sounds which were not possible on the original. PHOSCYON gives you access authentic vintage sounds at a fraction of the cost of the real thing. With the familiar Bass Line interface coupled with the added sound generation tools, we at D16 Group feel that PHOSCYON is quite simply in a class of its own.

Capabilities

Phoscyon is a vintage analog modeled Bassline synthesizer with a unique low pass filter with an 18db/oct dumping and constant resonance amplitude throughout the entire frequency domain. The filter sounds phenomenal! Hear that squelch and you’ll swear its analog! We’ve also equipped it with a fully customizable integrated arpeggiator (essential in electronic music) as well as an exhaustively analog modeled distortion effect, crucial for those screaming acid bass lines!

PHOSCYON’s designers are also musicians who believe that in order for electronic music to stay relevant, it needs to evolve – just like any other genre. Our approach is to give forward thinking musicians and producers the tools they need to craft the sounds they want. Whether it’s Techno, Acid, Triphop, IDM, D&B, Ambient, or any other kind of genre-bending music, PHOSCYON will take your sound further.

• Classic 303 Sound – Faithful emulation of the classic analog sound of the legendary silver box taken into the future with whole bunch of new features for new level of artistic freedom
• State Of The Art Distortion Unit Build-In – Yet more easy, convenient and instant tweaking acidic sounds
• Arpeggiator and Randomizer – For effortless and joyful creating bass lines and crazy melodic passages with total control over the process

Learn more about Phoscyon.

A Legendary Flanger Resurrected

In bringing the classic stomp box back to life, we’ve created a must-have effect plugin that will appeal not only to performing guitarists, but to instrumentalists and producers of virtually any genre: whether it’s rock guitar riffs or melodic synth lines you’re into, you’ll find that the extreme attention to sonic detail coupled with the flexibility afforded by modern technology in Antresol make it the perfect example of what a flanger should be in the modern era. The original, conceived in the mid-70s, quickly became a benchmark for flanger-type effects by offering a uniquely rich character defined by luxuriously harmonious interacting resonances, and has been heard ever since on countless classic recordings. That’s why D16 couldn’t resist the opportunity to resurrect the soul of this classic in a thoroughly modern incarnation with Antresol, our newest effect in the SilverLine Collection!

Loaded with features way beyond the original

Antresol’s users can also enjoy absolute freedom of control over every aspect of the BBD-based delay line (including such nuances as calibration of the linearity of the clocking system or the number of analog memory cells constituting the backbone of the BBD). Fashioning a flanger sound that is uniquely you yet retains all the richness and warmth afforded by the original, classic circuit design has never been easier!

In addition to the standard parameter knobs found on the face of the original unit, there is also a wide range of deeper parameters available to tweak, such the on-PCB trimpots which would normally be inaccessible without taking the stompbox apart. Some even go far beyond those you could find in common flanger-type effects: a fully controllable LFO (with adjustable phase and rate sync to a host application’s tempo); the ability to delink the stereo channels and control the most important parameters independently for left and right (or mid/side, depending on selected mode), and more. Try the demo today and see where your imagination takes you!

True BBD emulation with Total control

An exceptionally accurate emulation of an impulse-controlled, solid-state analog delay line (a Bucket Brigade Device) is responsible for the impeccable sonic characteristics found in Antresol. Effects based on high-quality BBD emulations stand out with remarkable, even seductive warmth, and we have no doubt that the tremendous success of D16’s first foray into BBD delay line emulation, the chorus plugin Syntorus, has been directly attributable to this approach.

The key element around which Antresol is designed, an analog BBD integrated circuit, proved to offer some unique challenges for a digital emulation of this type. In particular, the feedback parameter showed some weaknesses in the form of improper shapes of emerging peaks and notches in the frequency response, forcing us back to the drawing board. After much R&D, our Eureka moment came in the form of a much-refined BBD emulation using quasi-analog signal representation throughout, guaranteeing behavior much more akin to the original, physical circuit. While a bit chaotic, it includes all the benefits and subtleties the analog domain can offer—unlike a deterministic, classically digital algorithm—and all this without any unwanted artifacts such as aliasing (something we always take great pains to minimize)… and all with the rock-solid stability only digital can offer!

Learn more about Antresol.

Sigmund is far from just another delay: it consists of four discrete delay units, each with its own, independent set of parameters offering an incredible degree of sound-shaping freedom. There’s an ancient saying, often attributed to Aristotle: The whole is greater than the sum of its parts. With Sigmund, this is especially true: each of the delay lines has complementary modules built in, independent from the feedback loop:

• Multi-mode Filter (can work either in or outside of the feedback loop)
• Overdrive module
• Amplitude modulator (for tremolo effects)

But that’s not all: Sigmund has two general-purpose LFOs which can be used to auto-modulate some of the delay lines’ internal parameters. Used subtly, these LFOs can be used to delicately bring a sound to life, to add gently flowing, modulated warmth reminiscent of the analog delays of yesteryear. At extreme settings, these LFOs are capable of twisting the input signal utterly beyond recognition and into what you might expect transmissions from an alien civilization to sound like!

This all adds up to an immensely powerful architecture, the potential of which can be explored nearly endlessly and often with hardly predictable outcomes.

Flexible Routing

Sigmund’s four delay lines can be interconnected with each other in practically every manner possible. The plugin offers a choice of nine different routing topologies which give access to completely new dimensions of sound creation. For example, say you have your delays currently running in parallel but would like to have a cascade of serially connected delays instead: you can reconfigure them instantly by choosing your desired algorithm with just a click of the mouse. For even greater convenience when working with Sigmund, the output signals of each of the four delay lines are combined in a special, purpose-built internal mixer to ensure seamless transition between algorithms and greatly speed workflows.

Oustanding Quality

The signal processing solutions we chose to implement in Sigmund have allowed us to achieve an unprecedented level of audio quality! A signal being routed sequentially through each processing block suffers no loss in fidelity from one to the next and no undesirable artifacts are introduced as is so often the case with some of the more widely used but inferior solutions. With Sigmund, each delay line is absolutely alias free: the only sonic colorations you’ll ever hear are the ones you’ve intentionally created.

The signal path design process that went into Sigmund has been zero-comprimise from beginning to end: in fact, the sound quality is so high, the processing so pure that it’s possible to work with even the smallest delay times, even down to one-tenth of one millisecond with zero artifacts emerging. Thus, it’s possible without any tricks or half-measures to use a single delay line not only as a traditional delay effect, but also as a chorus or flanger and in some of the highest audio quality theoretically possible!

Learn more about Sigmund.

There are many different chorus effect plugins available on the market today. However, finding one which gives the classic analog chorus sound is easier said than done. Even on expensive units with advanced parameter controls, getting that vintage chorus timbre can be a challenge.

With this in mind, D16 set out to create a plugin which would have a rich analog chorus similar to the effect found on classic synthesisers like the Solina, Synthex or Juno. This new effect is called Syntorus and is the latest addition to the Silver Line of plugins.

Syntorus has a unique sound which will add richness to any instrument it is used on. Synthetic basses and leads will come to life. It will also add extra depth and lushness to acoustic instruments. Whether you are an electronic musician, a traditional keyboard or guitar player, we are sure you will be impressed!

Now for the science… To create a chorus effect, an audio signal is mixed with one or more delayed, pitch modulated copies of itself.

Analog Delay Line

The delay line module is the most important part of any chorus unit. To give Syntorus its unique and special sound, we implemented a very precise model of a high quality analog delay line and projected this into the digital domain. This means that Syntorus has a very musical and warm sounding delay line with no unwanted digital artifacts.

Syntorus also has an emulation of a Bucket-Brigade Device (BBD) analog delay line included within its architecture. Turning this on, will add extra analog warmth and character to the audio signal. With BBD off, Syntorus functions as an exceptional high quality chorus effect unit where the spectrum of the sound is clean and pristine.

Double Delay Line

In most ordinary chorus effect units, a single delay line is used to create the sound.  As Syntorus is no ordinary plugin, we decided to implement TWO high quality analog delay lines to give a richer, fuller and deeper chorus sound. These can be set to operate separately or configured to run in a master/slave mode. Full control is provided over all parameters in the signal path allowing for absolute freedom when sculpting the sound.

Tremolo

Both delay lines have an additional tremolo effect included which is controlled by a LFO – very useful for playing Rhodes keyboards or guitar sounds.

The Tremelo effect can be used on its own or added to the delay line signal to create even more dynamic and moving sounds. Complete Synchronization of LFO with Hosting Application. Each LFO can be synchronized with the host application. In this mode the period of the LFO depends on the host tempo and is set as a musical measure. This feature is standard on most plugins. However in Syntorus, the phase is also perfectly synchronized with song position within a project. This guarantees that Syntorus will always play exactly the same way wherever we are in the timeline of a song or project.

Learn more about Syntorus.

The concept algorithm implemented in the unit allows to create practically ANY type of reverb.

When creating Toraverb, we did not base it on any current reverb unit available in the market. We did not implement any “off-the-shelf” algorithm. Toraverb is not a classic type reverb unit like spring, room, hall or plate. Toraverb is a concept algorithm reverb. Using a set of easily accessible parameters, it allows the user to create practically ANY type of reverb. Our goal was to create a reverb which would sound pleasant to the listener and the output could be tweaked in many ways by the user.

Reverb is a critical effect in a mix. Result depends on the reverb algorithm used and the quality of the implementation. Usually reverb is used as a send effect in which many channels in a mix are routed to it. If a low-quality plug-in or hardware unit is used, the end results can sound very disappointing with the reverb tail sounding like it had been “ripped-off” in the mix.

Learn more about Toraverb 2.

Decimort recreates the colouration and adds the vintage sampler’s magic to any sound.

Electronic music (especially Hip-Hop) producers have long been aware that classic samplers (such as early Akai and E-MU units) had a character and sound all their own: they added a “grit” and “color” to the samples and loops they played back which made them sound “fat” and sit well in a mix. This sound coloration was due to the encoding techniques, lower sample rate and bit depth, and conversion circuits used by these early samplers. Decimort recreates this coloration and adds that vintage sampler magic back to any loop, any bassline, or any sound played through it for that matter! Beyond vintage sampler emulation, it’s also the perfect bit-crusher with filter, capable of extreme settings for dramatic results.

The highest quality low-quality effect you can buy

While this tagline may seem like an oxymoron on the surface, allow us to explain: the Decimort effect unit (available as part of the SilverLine collection of plugins from D16) is a premium grade bit crusher and sample rate reducer with some highly unconventional features. The advanced signal processing algorithms within Decimort simulate the complex behavior of the entire sampling path that exists in every AD/DA converter, and with version 2 comes far greater control over the process!

Decimort has zero internal aliasing—in fact, the only aliasing present is the emulated aliasing of the classic samplers we modeled when creating it. Unwelcome artefacts are completely absent in the processed signal: only the desirable, modeled ones remain.

More control than any other effect of this type

Decimort isn’t just another bitcrusher with only bit resolution and sampling frequency to tweak; in fact, it provides far more advanced features than you likely could have ever expected from an effect of this kind, all implemented in stunning quality:

• Two optional anti-alias filters – A very steep low-pass pre filter (Approximative Filter) coupled with the resampling frequency that removes all harmonic content above it, ensuring no aliasing will appear below this frequency in the spectrum. A further post filter (Image filter), also synchronized with the resampler, gives control over amount of aliasing images appearing above resampling frequency when enabled.
• Adjustable Jitter – An unprecedented feature in the bit crusher’s world which introduces short-period, random fluctuations to the resampling frequency, thus making the process even more sonically interesting by producing a type of harmonic distortion you’ve likely never heard in this context.
• Two quantization methods – Two available quantization methods; the mid-raiser and mid-tread decimation algorithms, each of them characterized by a drastically different dynamics response.
• Controllable dithering – Dithering was conceptually developed as means to reduce audible quantization errors by masking the harmonic distortions they cause. We added controllable dithering to increase number of ways in which you can (mal)treat the sound.

All this adds up to a very powerful and musical tool which is not only another creativity-releasing item for your arsenal, but one that gives you the ability to emulate classic sampling units in-the-box—now with even greater precision through access to a variety of parameters unavailable up till now in effects of this type!

Learn more about Decimort 2.

Vintage Tube Distortion effect

Precisely modeled tube distortion module capturing the sensitivity, warmth, and character of real tube saturation and analog circuits. NEW With refined emulation.

Parametric EQ

4 Band fully parametric equalizer provides unparalleled control over your overdriven and distorted tones.

Independent stereo processing

Redoptor accurately emulates the sonic signature of a classic high-gain guitar amplifier while offering the flexibility of a modern stereo signal path.

Dynamics under control

A compressor before the gain stage lets you shape the tube circuit’s response, and a master output limiter tames your fierce distorted levels.

Overview

Redoptor is a high quality Vintage Tube Distortion emulator

The organic sound of a tube amplifier being pushed into breakup has been the gold standard for overdriven and distorted tones for as long as musicians have been intentionally distorting their signals.

The gentle natural compression and rich blend of even and odd harmonics produced by analog tube circuitry make any effected signal feel more powerful, punchy, and alive.

Unlike solid-state transistor and fuzz circuits which only produce odd harmonics and limit the incoming signal in an unnatural and unresponsive way, Redoptor smoothly and dynamically responds to the changes in volume of incoming audio, just like a real tube amplifier. This means that louder sounds are saturated with more crunch and delicious harmonics, while softer and naturally decaying sounds clean up gradually. This creates a very sonically pleasing distortion.

Learn more about Redopter 2.

Fazortan 2 is the new incarnation of Controllable Space Phaser which is part of our SilverLine Collection. No need to say we didnt cut much corners on quality and that robust, yearned by all – analog feel of the sound. Total control over the Phase shifter provides you with adjustability and allows to obtain the desired contour with high precision. Have you ever wondered where does that unique magical breeze so audible in most of Jean Michael Jarre’s tunes come from. Surprisingly the backbone here isn’t the synth itself but the effect unit coupled with the synthesizer, saying more precisely – analog phaser of which our Fazortan 2 seems to be a fine equivalent. Thanks to the analog modelling technique we were able to implement allpass filters comprising characteristics identical to its analog counterpart based on Operational Transconductance Amplifiers. Now in version 2 we’re even closer to the sound character the original hardware unit brings.

You can think about Fazortan 2 as of the exact copy of a retro phaser taken out from 70’s and redone to become a virtual unit. But being the same sounding unit that provides primal functionality and sound of the original is where similarities end and where limitless scope of plugin comes to play. Bearing on mind only one Rate knob and a Color switch on the front panel of the real phaser device, Fazortan 2 from the first look at its GUI, presents itself as a completely new device that effectivelly expands capabilities of its origin.

Structure

Full control over two LFOs (waveform, rate and depth) controlling the unit and unlike the hardware unit Fazortan 2 LFO works in various waveform modes: sinus, triangle, hyper-triangle and random (i.e. only triangle is available in original).

By using both LFOs simultaneously you’re now able to obtain the result that owners of the hardware box could only dream about. Endless countour diversity stretches results from monotonius sluggish swing to become a gurgling scrumble, just by a slight repositioning of the rate knob. Additionally, it is now possible to add consecutive allpass stages as well as regulate the feedback effect. The amount of stages translates on how many humps and pits residues in the converted sound spectrum while feedback parameter value implies severity of these irregularities. Feedback knob gives you sounds from soft to rapid and drilling. To visually display how it works consider a white noise as an input signal. Moving the feedback knob will start to morph incoming “sea waves” reminiscent noise into “windy” whizz. Additionally, each lfo can be modified by altering its respective phase giving, as a result, an improved panning of the incoming signal.

Learn more about Fazortan 2.

The sweet spot in distortion domain

Devastor 2 is the second generation of D16’s first FX Plugin from the SilverLine Collection series. Devastor is a deceptively simple yet remarkable Multiband Distortion Unit. It is an enhanced version of the distortion unit you can find in Phoscyon, but with full control over multiband processing. This elevates its sonic mangling capabilities to an entirely new level!

Structure

The plug-in consists of four essential blocks:

• Dynamics-flattener module (one-knob controlled input signal compressor)
• Diode-clipper distortion
• Three multi-mode filter sections
• Optionally activated signal limiter

The plug-in offers nine different connection topologies between its filters and diode-clipper. Filters can process the signal before or after it gets fed into the diode-clipper, but some of the configurations even allow the filters to work alongside the clipper, which greatly increases the possible sonic palette.

Devastor’s filters are not simply the peaking EQ type which are commonly used in classic multiband distortion units: rather, they are like those found in analog synthesizers (low pass, high pass, band pass and band reject) with adjustable resonance and cutoff parameters. As a result, Devastor has a completely unique sound. Just check out the factory content and hear for yourself!

Versatile and advanced

Devastor can be used to distort and enhance a wide range of sounds, from full-on acid synth sounds to guitar fuzz or an analog amp with speaker combo. It can even be used with drums to make them sound dirtier and more dynamic! Devastor isn’t just good at creating distorted, monster sounds: it can also be used subtly to improve the timbre and character of gentler sounds. For example, reducing the preamp gain, increasing the threshold, and selecting a soft-knee for the dynamics will bring out more warmth and detail in a sound without introducing distortion.

When designing Devastor, we applied special antialiasing techniques to the output signal to make sure it was devoid of aliasing (one of the reasons why digital distortion units can sound so cold and un-musical). As a result, Devastor has a warm, musical, and very high quality sound.

We would like to invite you to listen the audio examples to whet your appetite and to check out the demo version for yourself if you need any more convincing. Devastor uses algorithms of such high quality that you’d be forgiven in a blind test for wondering if the sound has somehow been sent from the computer to an external analog distortion unit and back into the computer again!

Learn more about Devastor 2