Indholdsfortegnelse for June 2017 i Computer Music

“We’re in an era of choice, connectivity and creativity” Although us music-obsessed folks here at cm HQare proud to champion computer-based tune-making, we never shun the use of outboard gear. If anything, we’re excited to live in a world where anyone can make music using any conceivable combination of physical and virtual tools. We’re in an era of choice, connectivity and creativity. That’s why we’re exploring the synergy between modern digital and classic gear this month. First, our cover feature, Punch & Power (p20), shows you how to use both analogue-modelled and digital mixing tools to strike the perfect balance between classic dynamics and modern weight. After that, house pro Alex Arnout makes a track from scratch on video (p42), using his enviable array of classic Roland kit alongside in-the-box…

EASY GUIDE NON-HARMONIC TONES Learn the music theory behind connecting two or more chords together Read the full article on p72 STUDIO STRATEGIES CREATIVE REVERB TRICKS Discover the creative uses lurking within your favourite reverb plugins Read Read the the full full article article on on p74 pxx DR BEAT TIMPANI Program epic orchestral percussion in your DAW with this tutorial Read the full article on p76…

“The games are fully personalised, as the level increases according to your achievements” cm What’s your background in music and in programming? NG “I think I have the programmer mindset. I understand programming… but I don’t write code. We have two great programmers on the SoundGym team, and I think that this ‘programmer mindset’ of mine makes the communication and the idea-to-product process very fluent and effective. Besides being CEO at SoundGym, I’m a musician (producing music under the name Gingold X), and a sound designer. I love synths and technology, and Reaktor is my dreamland, where I can make crazy sonic ideas come true.” cm What inspired you to create SoundGym? NG “I wanted to create a unique environment, where music producers and engineers can get proper audio ear…

The classic way of adding punch to a sound is to draw for a compressor… but how exactly does one work? A compressor is an automatic volume control, with typical controls including Threshold, which sets the level that will trigger gain reduction; Ratio, which sets the proportion of reduction that will actually occur; and Attack and Release, which dictate how quickly the compressor reacts to the Threshold being breached. After applying compression, Makeup Gain is used – whether automatically or manually – to match the volume level of the compressed and the original input signal, to help us see exactly what the compression is doing. Compression was originally envisioned as a tool to level out particularly dynamic signals like vocals, bringing harsh shouts and subtle whispers into line with each…

SPL Transient Designer cm135 » 8/cm10 » £cm149 Based on the classic SPL hardware, the UAD version can dramatically change a sound’s amplitude envelope using just attack and release controls. The release adds clean sustain to the signal, while the attack dial adds punch. www.uaudio.com Waves Trans-X N/A » N/A » $99 An ideal workhorse for transient shaping, this tool works in wideband and multiband modes. Trans-X’s multiband is great for jobs such as adding attack in the high-mids or fattening up the low-end sustain. www.waves.com Sonnox TransMod N/A » N/A » £cm1cm15 One of the most tweakable wideband transient shapers out there, TransMod can shape loud and quiet transients differently – ideal for creative breakbeat manipulation. There’s also a great overdrive function placed after the processing. www.sonnox.com SKnote Snap…

Technique 12. Analogue preamp punch Using analogue preamp models to add authentic retro punch can be a great way of making pristine drums more characterful and powerful. Our own Lindell 6X-500 CM adds punch and power when the Gain knob is cranked, while Kush Audio’s Omega A Transformer, with the -20dB pad engaged, adds subtle distortion to the transients, exciting them for a punchier, glossier sound. Meanwhile, Slate Digital’s FG-76 preamp has a more rounded, dark sound which brings out the drum kit’s punch. Check out our video and audio examples for more. 13. Parallel gated distortion for attack Looking to add extreme, OTT punch to a snare’s front end? First, add a distortion plugin such as Soundtoys Decapitator on a return channel. Then, after sending your snare signal to…

Roland Jupiter-8 “You get a great, phat sound out of it! I haven’t heard a phatter sound out of anything yet. You can trigger it from the 909 or 808… it’s my number one. I’ve done so many tracks just using the 808 and the Jupiter-8, and I haven’t really needed anything else!” Access Virus TI2 Darkstar “It’s a great synth. You can download new banks all the time through SysEx which is an old-school way of working. There are some great banks in there; you can tweak everything, you can cue everything, and there’s eight different outs coming out of the back for separating your sounds on different channels.” Yamaha DX7 “A classic Detroit synth. I love the sounds that come out of it, like the pads and the…

The 1980s was an important time for synth music. Analogue polysynths had dropped in price, making them more accessible to all. Digital instruments such as the Roland D-50 and Yamaha DX7 offered the luxury of polyphony, putting a wealth of new sound-design possibilities into the hands of the common music maker. These synths were at the cutting edge, and so they practically defined the sound of the era. So by using a sonic palette that draws on these 80s icons, synthwave producers have brought these nostalgic sounds into the 21st century, with modern technology and cutting-edge production techniques. Many different styles and aesthetics sit under the synthwave umbrella. Artist such as FM-84 and Timecop1983 have a dreamy, more pop-like sound; but there’s also a darker side to the genre, exemplified…

Before MIDI, some (not all) analogue synthesisers could be interconnected via the decidedly primitive means of shuttling actual voltages back and forth. This method of interconnection made use of two or three distinct signal types. Envelopes could be triggered via voltage gates (essentially a voltage that is held at a steady state for a given period of time – say for as long as a key is held down), as well as triggers (short voltage spikes). The latter might also be used to sync sequencers together. The third signal was the control voltage. Most commonly used to control pitch, this could also be used for filter cutoff and other destinations that expected to see a continuously changing voltage. The trouble with control voltage was that manufactures never settled on any…

With Voice Executor defined by its presets, it’s essential that they’re well made and broad in scope. There are 35 in total, divided into four categories – Rap, Vocals, Speech and Special. The eight Vocals presets consist of Clear, Huge, Tight and Delay in Male and Female versions, while Speech does the same with Natural, Tight, Clear, Huge, Shout and Whisper. About that rather incongruous Delay: it’s primarily employed in the Special category, which contains nine overt effects treatments (heavy distortion, radio speaker simulation, etc), four of them bringing it into play. They’re quite fun but feel a little out of place alongside their more workaday siblings. The presets are convincingly tuned, sound as you expect them to, and cover a decent amount of ground, but there’s certainly room for…

Step 1 On your PC or Mac, go to vault.computermusic.co.uk, then either register for a new Vault account, or log in if you already have one. Step 2 Click ‘add a magazine’ in the top bar, select the issue you want to add to your Vault (eg, this issue is 243), and answer a few simple security questions. Step 3 Go to ‘my vault’ to see all your mags – click a cover and use the links to download! You can download as much or as little as you like. PLUGIN AF2-10-CM Install and use this issue’s free four-band equaliser plugin from OverTone DSP. Start unpacking it over on p52 SAMPLE PACKS ORCHESTRAL TENSION 500 exclusive brass, string and wind ensemble samples to add emotion to your tracks, p106 LOOPMASTERS…

WOULDN’T JUNO IT? Ever wanted to have a nose around Roland’s archive of classic electronic music gear? The company have a private museum in Japan that’s full of it, but now we can all step inside thanks to a 360 degree video and Google Street View. bit.ly/RolandMuseum TASTIER PI We’ve never really thought of the Raspberry Pi as a music-making machine, but maybe we were wrong. Not only have Tracktion announced that Waveform, their new DAW, will work on it, but Pisound, a dedicated Raspberry Pi audio/MIDI interface, was recently funded via Indiegogo. SLIDE GUITAR (AND SYNTHS) EDM producers can get a negative press, so it was refreshing to see a video of Calvin Harris recording the guitar and keyboard parts for his recent single Slide. It was nothing spectacular,…

The easiest way to ensure a punchy, powerful mixdown is to build those qualities into it right from the start. An awful lot can be achieved by working with only basic aspects like timing, level, panning, pitch, arrangement and, of course, sound selection. Getting your punch in early like this is almost always more sonically effective than trying to improve things later on using fancy mixing tools. So, you can put the multiband ultramaximalizer plugins back in their box for now, and when you do eventually use them, you’ll really feel their benefit. Designing impact and energy into your mix from the very beginning has further benefits. First, on a creative level, if the track still isn’t exciting you after taking initial measures to ensure a decent degree of ‘oomph’,…

dbx 160 This classic VCA compressor has worked its magic on hundreds of hit records from the cm1970s and 80s. It’s ace for making live drums sound more punchy, due to its über-fast attack and clean sound. Plugin emulations of the cm160 include Waves and Universal Audio’s offerings – perfect for that classic drum snap in the box. API 2500 A heavy-hitter for punchy whole-mix or bus compression, the API 2500 not only has a super-fast attack setting but also features a switchable high-frequency EQ shelf placed before the RMS detector, which makes the compressor less sensitive to low frequencies – ace for preserving punch. Tempted? Give the Waves or UAD plugin versions a go. Urei 1176 Peak Limiter First introduced in cm1967, the cm1cm176 soon found favour for all…

A standard transient shaper is great for adding punch and power to a sound, but it can be a bit of a blunt approach in certain situations. By using a multiband transient shaper instead, we can choose to adjust the attack or decay of specific frequency ranges rather than the entire sound. This can be incredibly useful for all sorts of sound design and mixing tasks. Imagine a crusty, sampled bass guitar loop as an example: one band, targeted around the bass area, can be used to add attack and sustain to the sub frequencies for a fatter, punchier low-end; this means you can leave the midrange frequency’s background noise, crackle and character completely untouched. If the background noise and body within the bass’s midrange is dynamically overpowering the mix,…

01 SNAPPY SATURATION Great results can be had from combining transient shaping with saturation. You can make your own custom processing chain by, for example, combining a big attack boost from a transient shaper with a classic reel-to-reel tape plugin to give your attack a bigger yet classically fuzzy sound. If you want to keep things simple, however, our own TS-1 CM from the good folks at Audiority has both transient shaping and saturation combined into one huge-sounding plugin! 02 MINIMALIST ARRANGEMENTS Something that’s often overlooked in the quest for a powerful, punchy sound is the actual arrangement of a track. A lot of modern music typically features a sparse structure for the simple reason that keeping things minimal in your arrangement will instantly free up headroom in your mix.…

A standard synthwave track is comprised of a few basic elements: drums, bass, arpeggio, synth pad and synth lead. The drum sounds come straight from 80s, often using samples from machines from the likes of the Roland TR-707, LinnDrum, Simmons and Oberheim DMX. Drum patterns are typically minimal – often only a kick drum and snare are prominent, as most of the rhythmic energy is provided by the synths. Bass sounds are relatively simple, short and snappy; frequently taking the form of repeated eighth-notes (or 16ths for faster-paced tracks) and often only playing the root note of the chord. The bassline is usually accompanied by a synth arpeggio or simple repeating pattern, serving as both a melodic and rhythmic driving force. Pad sounds are dreamy, ‘soft’, heavily filtered and coated…

COMPRESS THE REVERB It may sound like every synthwave track contains a pad, but this isn’t necessarily the case. The use of long reverbs on melodic elements creates a massive reverby background. Try compressing your reverb to bring the ambience up in the mix for a sustained, pad-like timbre. LO-FI DELAYS Like reverb, delay is extremely important. For the vintage flavour of synthwave, check out Sonic Charge Permut8 ( sonicharge.com ) for crunchy, old-school repeats. To go even further back in time, use a delay modelled on classic tape delay machines. SATURATION AND BITCRUSHING Many synthwave sounds appear to come straight out of an old VHS or arcade game. For a distinctly lo-fi sound, stack several stages of light saturation and gentle bitcrushing for that old-school dirt. USE…

Elektron Overbridge Elektron’s Analog Rytm beatbox, Analog Four/Keys synths and Analog Heat distortion box can be tightly integrated with your DAW through the company’s Overbridge software, allowing synchronization and patch editing from within a VST or AU host. You can even use the Overbridge devices as USB interfaces to record other gear. Access Virus TI A handful of Access’ now-classic Virus series of synthesisers sport their Total Integration appellation, meaning that they can be edited and controlled from a computer over USB. Like the Elektron devices, the four Virus TI models can stream their audio over USB without the need for an audio interface. Novation UltraNova and MiniNova The latest models in Novation’s virtual analogue/wavetable hardware synthesiser line, the ’Novas come bundled with a plugin editor that can be instantiated…

“He went to his record company and said, ‘This bassline is from an underground Ibiza track – no one will notice it’” “A few years ago, a guy came up to me in a club and started telling me what he thought about our music,” explains Arno Kammermeier, one half of the acclaimed and German tech house duo Booka Shade. “He was struggling for words, but at the end, he said, ‘Your music is for girls’. “Haha! I think he was criticising us, but at the time I had to smile because I took it as a compliment. Yeah, our music is a bit more relaxed and melodic than a lot of the angry, industrial, in-your-face music. “And if our new album [the just-released Galvany Street; a sort of Cubist,…

With six insert slots drawing on a roster of 11 effects, SynthMaster One has plenty of signal-processing and polishing scope. The effects share a tabbed space in the interface’s centre with the Arpeggiator, the six modules are reordered by dragging and dropping, and the whole rack can be bypassed with a click of the FX On/Off button. The effects themselves are clearly lifted from SynthMaster 2.8. Despite a few controls having been trimmed off along the way, they still make for an impressive and colourful bunch. The highlights for us are the Distortion, which is an instant toughener; the tidy six-band EQ; and the Delay, which retains 2.8’s shelving EQ and ping-pong mode, but loses the distortion. As well as those, there’s filtered digital distortion (sample rate and bit depth…

The latest plugin release from one-man development house Luca Capozzi, Grainspace (VST/AU/AAX) is a granular processing effect incorporating a simple reverb. GrainSpace slices each input channel into up to 32 grains of between 16 and 500ms in length, as established by the Grain Size and Distance knobs. The Distance control widens and narrows the spacing of the grains, and by tweaking it in conjunction with Smear (which applies a series of all-pass filters to smooth the transitions between grains), all sorts of interesting tonal changes can be made to a sound without obviously ‘granulating’ it. As well as the default Stereo mode, Mid and Side options are also on offer, the latter being particularly useful for blending peripheral weirdness in with the solid centre signal of a drum track, say.…

The central knob in the Vowels section collectively shifts the three band-pass filters that make up the formant filter to give the vowels Male, Female or Child-like characteristics. As you’d expect, Male is the ‘lowest’ of the three, Child is the ‘highest’, and Female sits in between. Switching to Custom mode, however, grants access to all 30 frequencies (which default to the Male set), as well as the names of the vowels shown in the Orb. Thus, you can tweak the Male vowels to taste, or come up with new ones of your own and save them with the preset. Unfortunately, the dialog in which all of this is done is decidedly clunky. Frequencies have to be entered numerically using the keyboard, rather than via knobs, sliders or spinners, and…

This month, we’ve donned our best commissioning tuxedos and put our top men on this classy sample pack. With this megapack of sounds, you’ll get orchestral swells, tremoring strings, staccato stabs, brassy hits and loads more. Whether you’re laying down a bed of nail-biting atmosphere, thickening up chords, or just bringing some human emotion into your latest project, there’s something for everyone. 500 EXCLUSIVE SAMPLES 24 Brass fortes 93 Horn and string stabs 102 Orchestral loops 60 Tremolo swells 19 Atmospheres 51 Orchestra stabs 6 Multisampled instruments 39 Percussive samples 39 Processed orch samples DOWNLOAD Get these exclusive samples on your PC/Mac over at vault.computermusic.co.uk…

FEATURED PLUGIN Cableguys WaveShaper CM Built from scratch just for us, this nonlinear distortion plugin lets your draw in your own wave-mangling functions. On the left, use the graph display to plot points, reshaping the curve to determine the transfer function of the wave – ie, how output relates to input and so how messed up your audio becomes. On the right, the oscilloscope shows input and output waveforms as they happen. www.cableguys.com EQ/ FILTERS Acustica Audio Pink CM • Analogue-modelled API-alike EQ • Four EQ bands, two with shelf toggle • Output adjusts to match Input Trim • Cut from the full Pink channel strip • AU/VST/AAX www.acustica-audio.com DDMF CM EQ Pack • Two superb equalisers • IIEQ Pro CM: 19 filter types • LP10 CM: Linear phase mastering…

PUNCH & POWER Get your sounds to pop like never before with all these videos from this month’s cover feature Read the full article on p20 1 Five easy methods to build punch into your mix 5 Adding punch to drums with amplitude shaping 6 Exploring slow-attack compression for punch 7 Perfecting a mix’s punch with transient shaping 8 Multiband transient shaping to sculpt punch 9 Dialling in frequency-specific snare smash 10 Unsquashing overcompressed sounds 11 Three bassline power-ups 12 Analogue preamp punch 13 Parallel gated distortion for attack 14 Custom compression for consistency 15 Advanced limiter tweaks 17 Using a custom chain of multiple limiters 18 Advanced layering tactics for pro punch 19 Adding pre-punch with reversed layers 20 Precise punch with extreme transient surgery cm Producer Masterclass…

Before we get into the app news, a quick word on Apple’s new iPad. Its name might not feature a suffix, but this is actually the replacement for the ageing iPad Air 2, and at £339 for the entry-level 32GB version, is now the cheapest Apple tablet. We like the look of it, and we suspect that many musicians will feel the same. www.apple.com You might think that you know what a sequencer looks like, but Seaquence will surely convince you otherwise. This new iPhone, iPad and iPod touch app enables you to make music using not a grid or row of buttons, but a collection of sea creatures, which change their behaviour as you adjust parameters. It sounds like a gimmick, but there’s a polyphonic synthesis module…

“Our news section was led by three products hardly anyone is using any more” “Trackers!” screamed our June 2007 cover ( 113), as we investigated “the amazing free software giving the big boys a run for their money”. We’d hesitate to say that we may have been a little hyperbolic there, but it’s fair to say that then, as now, trackers were more niche than mainstream. We also showed you how to sound like Klaxons, who we described as “the darlings of the nu rave scene” – a dubious honour if ever we heard one. The band announced in 2014 that their upcoming dates would be “their last headline tour”; whether that was their decision to make we’re not sure. There was an article on tuning up your PC, too.…

Paul Jarrett “Giorgio by Moroder, Daft Punk. A million-dollar-sounding track from a perfectly mixed and mastered record. That whole album is like the Rosetta Stone for mixing live instruments and electronic music.” Jimmy Wilkerson “I’ve had a couple of tracks that were mixed professionally by a couple of different people. I use them both with [Sample Magic] Magic AB. Since I started referencing, my mix game has taken a giant leap forward.” Miko›aj Bezeg “Probably every record from Koan Sound. For example, Forgotten Myths – amazing work put in the mixing process, while maintaining the impact of every instrument… I feel like these guys are sound engineering geniuses and amazing artists at the same time.” Sancho Panza “Linkin Park, Burn It Down. It’s heavy, thick, has amazing low mids, has…

“Counterintuitively, boosting transients can actually decrease the impact of sounds!” One of the many awesome things about music production and audio are the descriptive terms used to get across how exactly something sounds. Whether it’s a wobbly bass, warm chords or an icy pad, anyone who’s into music can start to imagine how something sounds, purely from its description. Similarly, we imagine a punchy sound as being something that has a forceful, immediate impact when we hear it… but why is this? To explain in more detail, let’s delve into the world of amplitude envelopes and transients. Level over time An amplitude envelope describes how a sound’s volume changes over time. Depending on the…

Popularised by SPL’s iconic Transient Designer, a transient shaper is one of the simplest yet most effective tools for shaping a signal’s punch and impact, usually via only two controls: attack and sustain. In contrast to a compressor, which will only act when the threshold level is exceeded, transient shaping plugins act on an input signal in a consistent way, regardless of the incoming signal level. This behaviour often makes them a more reliable choice than a compressor for adding or removing a signal’s punch, for a number of reasons. One example is mixing live drum recordings: a live drummer will typically not hit the drums at a completely consistent level, so a compressor will not shape the signal in a completely consistent way; a transient shaper, on the other…

With so many different techniques for shaping amplitude envelopes, it’s easy to forget that the audio editing and automation tools that come included with modern DAWs can be used for manual envelope adjustment. A simple example of a common amplitude shaping task many electronic producers undertake is sidechain compression of a bass using the kick for a trigger – whilst using a sidechain compressor to do this job is the usual solution, much more precise results can be obtained by manually drawing in the volume reduction instead. This will not only sound more precise when done correctly, but it also has the benefit of acting instantaneously, unlike a sidechain compressor, which will typically take at least 0.5ms before its gain reduction kicks in. To manually adjust the amplitude envelope of…

“You couldn’t help but be influenced – it was a totally new experience” Back to the old-school Since his debut as one half of broken beat act Da Lunartiktz in the late 90s, Alex Arnout has made a name for himself in the dance scene as part of Cermaix with Leiam Sullivan, and solo with releases on One Records, Hot Waves and Fear Of Flying. In 2007 he set up his own label, Dogmatik, which has put out tracks from big names such as Maya Jane Coles and Dusky. We travelled to Alex’s East London studio so he could make us an exclusive track from scratch using his bewildering array of classic music gear, and share a few of his music production secrets along the way. Computer Music :…

Neon lights, lasers and flying cars – the 1980s portrayed a spectacular vision of the future. Sadly, we never did get that space-age lifestyle, but we did gain a body of music which influenced a modern genre. Synthwave is a synth-heavy type of music that takes inspiration from the sounds and imagery of the 1980s and repackages them for a modern audience. Its roots can be heard through synth-laden film and television scores of the 1980s, such as Brad Fidel’s work in The Terminator and the biting action of Jan Hammer’s Miami Vice . More recently, the 2011 movie Drive brought the genre to popular attention, and it’s been growing in popularity ever since. Synthwave is an eclectic mix…

Com Truise Galactic Melt Com Truise is an adventurer of space and time. He’s the science fiction of the synth scene, creating a majestic sound which brings back memories of tuning in your VHS player’s tracking control (for those of us old enough to remember!). Galactic Melt sounds like a strange name for an album, but once you hear its downtempo retro stylings, you’ll understand why. bit.ly/ComTruiseGM TimeCop1983 Journeys The influence of Timecopcm1983’s dreamy sound has helped define the popular side of synthwave in recent years. Synthwave is typically an instrumental genre, but on this album, TimeCopcm1983 utilises vocalists on several tracks. Journeys is his second album, but be sure to check out the rest of his work. It’s truly dreamy, 80s-inspired pop. bit.ly/TC83Journeys NewRetroWave An excellent resource…

Many of the most mature DAWs began life as MIDI sequencers long before audio was introduced to the desktop computer. As MIDI-equipped instruments and effects became more complex, the features of these software sequencers evolved to meet the needs of their owners. What began as simple MIDI Note On and volume events eventually blossomed into parameter-for-parameter software control over MIDI devices. This dedication to MIDI software was probably best exemplified by Atari’s 1040ST computer, with its built-in MIDI ports and legendarily precise MIDI timing. Many of today’s DAWs retain their MIDI power of old. Cubase, for example, offers Device Panels – essentially virtual versions of an instrument’s hardware panel. There are loads of free prefab device panels online, and you can, of course, create your own. Steinberg aren’t the only…

Our promise We bring you honest, unbiased appraisals of the latest computer music products. Our experts apply the same stringent testing methods to all gear, no matter how much hype or expectation surrounds it. What the ratings mean 1-4 A seriously flawed product that should be avoided 5 This product’s problems outweigh its merits 6 A decent product that’s only held back by a few flaws 7 Solid. Well worth considering 8 Very good. A well-conceived and executed product 9 Excellent. First-rate and among the best you can buy 10 Exceptional. It just doesn’t get any better than this! See and hear the latest software in action in our ‘2 Minutes With…’ videos! Wherever you see the icon, head straight to your DVD, the Vault download area, or our YouTube…

GrainSpace’s Freeze control loops the contents of the buffer constantly when turned to its first ‘detent’, leaving all parameters fully operational for manipulation of the frozen signal – the buffer tops out at two seconds. Beyond that first ‘on’ point, the knob travels through a series of tempo-synced note values, from 1/32 to 16 bars, toggling the freezing on and off in time with the host DAW at the selected time division – ie, if set to 1/4, it freezes for a quarter-note, unfreezes for a quarter-note, freeze for a quarter-note, etc. The on/off Freeze status is indicated by a green lamp, so it’s always clear what’s going on. The manual, unmodulated ‘On’ setting, however, needs to be a button rather than the inappropriate first knob position, since it has…

The Plugins collection is a suite of complete, limitation-free instrument and effects plugins. It’s an incredible resource, boasting more than 70 pro-quality plugins that you won’t find anywhere else, all for PC and Mac, in VST and AU formats. All of the included software is created exclusively for us by respected commercial developers such as D16 Group, AudioRealism, Ohm Force, KV331 Audio, u-he, Cableguys, AudioThing, XILS-lab, Vengeance-Sound, Rob Papen, zplane and more. FREQUENTLY ASKED QUESTIONS What is Plugins? Is it just freeware from the internet? No, and neither are the plugins limited or ‘crippled’. It’s a set of virtual instruments and effects created by some of the best developers in the business just for us – you won’t find this set of plugins anywhere else! Where do I get Plugins?…