Serum серийный номер

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The extra voices can be detuned for extra lushness, but the freakiest stuff comes with the introduction of Warp or wavetable position offsets. This makes each unison voice unique, although with a corresponding CPU cost. All your modulation connections in one convenient location. The sub oscillator is basic (and no less useful for being so), but the noise generator is a bit special. It’s a stereo sample player loaded, as you’d hope, with noise of every colour. But it doesn’t stop there. Joining the noise are sampled ambient whooshes, windchimes, vinyl crackles, dripping water and atmospherics galore.

Adding samples of your own is as easy as dropping them into Serum’s ‘Noises’ folder, remembering that stereo samples consume twice as many voices. This could be an issue if you’re prone to extravagant CPU-taxing chords.

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Peering into another nested menu, I see four categories that ultimately hold around 90 single and combined filters. Tick boxes are provided to determine which sound sources are processed and a mix control sets the filter’s overall effect, from none to maximum. Even though Serum lacks the serial/parallel routing seen elsewhere, it’s pretty comprehensive and covers analogue-style multimode filters through to formant filters dripping with vowel-like enunciation.

The quality is high throughout. Notable amongst the throng is the terrific ‘zero delay’ German LP filter and the distorted, dirty French LP (with added ‘boeuf’).

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It’s not just regular filters either, there are comb filters, flangers and phasers, all of which are relatively predictable, followed by ring modulation and a sample and hold filter, which are much less so. Actually, the latter reminded me of one of the weirder filters from Waldorf’s Microwave 2, which is no bad thing. Finally, you’re able to place any filter across the whole synth’s output as the filter collection is mirrored in the effects rack for convenience. The effects rack contains 10 modules, their order reassignable with a swift mouse drag.

There are no duffers here and my personal favourites were the warm and spacious plate reverb and dense, classy chorus. Most parameters can be modulated and by the same sources as the rest of the synth. Thus, if the mood takes you, you can tie the phaser speed and delay time together, or simply put both under external MIDI control. The wavetable editor where you can work on an entire table or individual frames.

Hyper/Dimension is a dual effect that pairs a simulated (but CPU-friendly) unison with four subtly modulated delay lines.

I mention it only because it has so far found its way into every pad I’ve made. Before moving on, distortion also deserves a quick mention. Not usually an effect I use extensively, this one has over a dozen modes and at times is so full of presence it’s almost ‘alive’. Best of all is its highly customisable waveshaper mode, complete with dual waveform editors that facilitate an almost ludicrous level of fine-tuning. The wavetable editor enables you to manipulate the waveform on a graph display using an assortment of tools that vaguely remind us of the Performer in NI Massive, although with very different results, of course.

Alternatively, you can edit the waveform by adjusting frequencies on an additive graph (similar to that of Camel Audio Alchemy), or process/generate it using preset functions and mathematical formulae. There are more editing options than we can possibly cover here in full, which is an ongoing theme with Serum – Xfer seems to have thought of everything, or at least made its best effort to. A third oscillator is on hand in the shape of the sub generator (although it can be transposed up or down by four octaves, so the name is a bit of an understatement), which sports six basic waveforms.

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The noise generator is in fact a stereo sample player, pre-loaded with every flavour of noise you’re likely to need. These include basic white noise variations as well as output noise sampled from classic hardware synths, and some ‘otherworldly’ alternatives. The noise generator can run looped or in one-shot mode, so it’s ideal for synthesising percussion instruments – it even comes with a selection of drum kit sounds and a very handy set of kick drum transients; and you can also import your own waves. The filter module takes its list of types from Xfer Records’ LFOtool and so includes a good variety of the usual analogue-style models (low- high- and band-pass, and notch) alongside a variety of combs, flangers and phasers, not to mention ring modulation, formant filter, sample- and-hold and various more esoteric types.

Modulation is handled by an intuitive drag-and-drop system, similar to that of Massive, but with a 32-slot mod matrix letting you see everything in one place, and advanced features such as user-editable curves and an auxiliary ‘via’ source for each slot. In terms of modulation sources, there are three AHDSR envelopes and four LFOs shaped using the same refined LFO editor found in LFOtool. The LFOs also feature an envelope mode for building complex, multi-stage envelopes, and four macros are in place for bringing multiple parameters under unified control.

Two Chaos modulation sources can be configured in the global tab, too. These are largely intended to help invoke analogue-style nonlinearities, and they do that well, but you’ll find plenty of creative uses for them beyond that.

The whole Serum interface is alive with animated visualisations that make it easy to see what’s modulating what – from dots that move on envelopes as they’re triggered, to oscillator waveforms that twist and warp as they evolve. One of the most interesting visualisations is that of the unison function found on Oscillators A and B, which gives a representation of how many voices are stacked (from 2-16), as well as their relative volume levels and detune positions.

The unison feature reminds us of Synapse Audio’s Dune 2, and like that synth, Serum offers a selection of five stacking modes, including “Super”, which appears to replicate the supersaw unison found on Roland’s classic JP-8000. This sounds huge, but you may find that playing chords with heavy unison really starts to burden your CPU – an issue that Dune 2 doesn’t suffer from. Serum’s oscillators are dramatically cleaner-sounding, though, and you can take the default 4x oversampling down to 2x if more notes or instances is your priority (or, indeed, go up to 8x if fidelity is your priority).

We’ve only just scratched the surface of Serum here, which has so many deep and advanced features in its locker that we couldn’t possibly hope to fully convey everything it can do in just two pages. This is a must-have instrument for the serious sound designer, although even preset junkies will be thrilled with the 450+ excellent factory patches. We’re not being overdramatic when we say that it’s quite possibly the most sonically versatile synth we’ve ever used, and certainly one of the best sounding. Serum is an oddly named synth built around refreshingly clean, low-aliasing wavetables.

Even when forced to be filthy, it somehow retains a refined and polished character, which is no mean feat. With its zappy envelopes, highly malleable LFOs and extensive Warp tools, Serum is not just a source of shifting pads and atmospherics: it’s a very capable and versatile synthesizer. It also happens to possess one of the most elegant interfaces a complex synth was ever given. I don’t have many wishes for future versions. An arpeggiator or a step sequencer would be welcome, but more slots in the modulation matrix would be even better.

If it were possible for patches to load just a fraction quicker that would be lovely, but there really isn’t much to find fault with. I expect some will demand lower-quality or ‘draft’ modes for those ultra-clean but needy wavetable oscillators. Personally, even though my system occasionally creaked under the strain, I’ve got hooked on the quality and would rather reduce polyphony than give it up. If you have any interest at all in wavetable synthesis, grab the demo today.

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Serum comes with over 450 presets, 144 wavetables. Available as VST, AU, AAX both 32 and 64bit.

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AU or AAX compatible host software. (Other than that, the site has been working like a charm. Your email address will not be published. Have fun downloading and always support us. Thank you very much! Currently my website has to pay a lot of fees every month, so I will have to put some ads, I hope to receive your sympathy, thank you very much! The dream synthesizer did not seem to exist: a wavetable synthesizer with a truly high-quality sound, visual and creative workflow-oriented interface to make creating and altering sounds fun instead of tedious, and the ability to “go deep” when desired - to create / import / edit / morph wavetables, and manipulate these on playback in real-time.

Serum has a Wavetable editor built right in- you can create your own wavetables in a variety of ways.

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Import audio directly from audio files - Serum has a variety of methods and options for analyzing audio for breaking it apart into individual waveforms. You can import single-cycle wavetables of course, as well as many at once (with in-built sorting options, or manual re-ordering).

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Morph between various wavetables using standard linear interpolation (crossfading) or via harmonic/spectral morphing. Draw directly on the waveform, with optional grid-size snapping and a variety of shape tools. Generate or modify waveforms using FFT (additive). Create or process waveforms using formula functions.

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Processing menu options allow you to do the other tasks you would want, such as apply fades, crossfades, normalize, export, and much more. Playback of wavetables requires digital resampling to play different frequencies. Without considerable care and a whole lot of number crunching, this process will create audible artifacts. Artifacts mean that you are (perhaps unknowingly) crowding your mix with unwanted tones / frequencies. Many popular wavetable synthesizers are astonishingly bad at suppressing artifacts - even on a high-quality setting some create artifacts as high as -36 dB to -60 dB (level difference between fundamental on artifacts) which is well audible, and furthermore often dampening the highest wanted audible frequencies in the process, to try and suppress this unwanted sound.

In Serum, the native-mode (default) playback of oscillators operates with an ultra high-precision resampling, yielding an astonishingly inaudible signal-to-noise (for instance, -150 dB on a sawtooth played at 1 Khz at 44100)! This requires a lot of calculations, so Serum’s oscillator playback has been aggressively optimized using SSE2 instructions to allow for this high-quality playback without taxing your CPU any more than the typical (decent quality) soft synth already does.

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Load up Serum and we think you’ll be able to notice both what you hear (solid high frequencies, extending flat all the way up to the limits of hearing) as well as what you don’t hear (no unwanted mud or aliasing gibberish- just good, clean sound). The modulation system allows for drag and drop connections between mod sources and destinations.

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Want an LFO controlling a filter cutoff? Simply drag the LFO title to the cutoff knob. This LFO->Filter connection will now appear in the Mod Matrix as well. In other words, you have two views/approaches for creating and modifying your modulations: sometimes a list is nice, other times you just want the job done fast and easy.

In addition to moving through the set of wavetables (up to 256 make up a single oscillator), you can manipulate the waveform itself in a separate realtime process referred to as Warp. This allows for FM/AM/RM/Oscillator Sync and many other ways to modify the waveform, including “Remap” modes - a graph editor for drawing your own custom table manipulations.

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Serum includes all of the filter types found in LFOTool in addition to some brand-new ones. Flangers, Phasers, and Comb filters all of which can key-track to the musical note you play. Dual filter types let you control or morph between filter types. Get creative with atypical processes for filters such as downsampling, or the unique filter types found nowhere before, such as the dirty-sounding French LPF. An effects rack with 10 effects modules lets you get your sound all the way to the finish line inside Serum.

Effects can be re-ordered to any configuration you want.

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Virtually all effect parameters are also available as modulation destinations. This is especially useful on monophonic synth sounds. For example, apply an LFO to control reverb size or dry/wet, or velocity to control distortion amount. Many of these effects and modes were built just for Serum, so there are many unique effects to choose from, such as Hyper, which simulates (additional) unison amounts, or a dual-waveshaper which allows for a distortion you can morph between two separate wave shapes. Serum will let you stack a single oscillator to use up to 16 voices. Each of the wavetable oscillators have a number of unison advanced parameters.

Stack settings allow for note (e.

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Octave) layering to get a fuller sound for a single note-press.