D16

Redoptor 2, a Vintage Tube Distortion, is the second generation of D16’s first FX Plugin from the SilverLine Collection series.

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 2 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.

Redoptor 2 comes with several new features improving user experience, which provides more control over the effect:

• exact tube and tube’s circuits emulation
• crossfade between tube and transistor distortion
• adjustable power of new harmonics
• tunable preamp filters
• fully equipped parametric equaliser
• presets organised into groups
• midi learn function
• 64bit internal processing
• multi-mode distortion’s quality adjustment
• Preamp with built-in compressor
• Output limiter
• Fully equipped parametric equalizer with frequency ranges expanded in version 2
• Tag based preset browser
• Two alternative GUI sizes
• MIDI-learn functionality throughout
• AAX compatibility

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!

The last 303 you will ever need

The definitive 303 emulation with a super-convenient sequencer to immediately get your creative juices flowing.

Re-designed emulation, now perfect in every detail

Emulation of the legendary 303 “silver box” has been taken to entirely new heights. We took the critically acclaimed and successful Phoscyon 1 and completely re-designed the signal path. Now, we’ve achieved an unprecedented level of emulation accuracy, resulting in this new incarnation of the plug-in.

Not just one, but every 303… under your fingertips

Sometimes, you might wonder why your 303 unit doesn’t have as low a cutoff as you can hear on one of your favorite tracks…

Diehard 303 fans know every 303 has a distinctive character, and now you can replicate that using Phoscyon 2’s Calibration Parameters. Not only do you have easy access to the familiar synthesis knobs, but you also get a backstage pass to the inner workings of the synth; we’ve included the service trim pots, originally designed for calibration, and some tweaks even owners of original the silver box couldn’t have dreamt of.

In short, it’s a gateway to an entirely new dimension of control and musical expression…

Beyond the original

Besides the parameters you can find on the original 303, there are also a bunch of knobs that most of you know and love from popular mods and circuit bends within the 303 community.

Vibrato novelty

You won’t find this in even the most twisted 303 modifications out there… vibrato effect. Used only by a handful of 303 artists in their work, and achieved in a unique way. The original trick uses a twonote tremolo which is smoothed by note sliding, resulting in a distinctive 303-style vibrato. Phoscyon 2 replicates this process in a more intuitive fashion so you can achieve the sound with just two knobs.

The vibrato effect relies on two alternating notes rather than an oscillator, so the two-note spread decides vibrato range and the note duration dictates the speed.

State-of-the-art FX chain

Every good 303 sound has a well-suited effects chain and, with Phoscyon 2, you can find a whole bunch of algorithms with acidic squeaks in mind.

The distortion

Distortion is the most important effect in the chain. Our implementation contains a selection of 19 distinctive-sounding models, based on famous hardware units that are notorious with the most recognizable 303 artists.

Reorderable insert effects

You can shuffle effect order with ease to get extra flavors and make great-sounding riffs out-of-thebox.

• Algorithmic reverb with independent settings for both early and late reflections
• 4-band parametric EQ
• Delay with tempo sync option and in-loop multi-mode filter
• Chorus with two delay lines
• Limiter with compression characteristics: controllable knee, ratio, threshold and envelope

The perfect sequencer for live performers and studio producers

An entirely re-designed sequencer / arpeggiator makes the plug-in even more appealing. Edit patterns with ease and convenience, play them live in a loop and switch between them in whatever way you find most convenient – using a mouse, a MIDI controller or DAW MIDI notes to express your musical ideas.

See where you are with one glance

Some hardcore 303 fans have learned to love the limitations of the original sequencer and now consider them part of their workflow. Others prefer a more modern approach to sequence editing.

To meet the needs of both types of people, Phoscyon 2 features two different modes to control the sequencer.

Music roulette

A new randomizer feature has been seamlessly integrated into the internal sequencer, allowing you to switch easily back and forth between randomizing a sequence and editing it.

You can decide which notes and step attributes are randomized with real-time density control for generated sequences.

Live override

Give life to your patterns by influencing Accent, Slide or Vibrato while playing.

Drag-and-drop export

Once you’ve got the perfect pattern, you can seamlessly import it into your favorite DAW by simply drag-and-dropping it.

A variety of trigger modes

Use a pattern trigger mode that suits you: MIDI notes, MIDI CC or GUI.

Arpeggiate to get more sophisticated and deliberate motives

It’s not typical, boring styled arpeggiator with few travel modes that generate the obvious note runs that are completely unpredictable while playing.

You get an advanced tool where you can prepare a “template” of your riff that’s a basis for more production-predictable sequences as the result.

Remaining features

Substantial factory content
Over 800 presets and patterns, out-of-the-box.

Re-sizable GUI
Several UI size options offer the perfect fit in your DAW screen and optimum workflow.

MIDI Learn
MIDI Learn helps link almost any visible control to your MIDI controller, so you can let your creativity loose in the moment

Have you ever wondered where does that unique magical breeze so audible in most of JMJ’s tunes come from? 

Fazortan 2 is the new incarnation of Controllable Space Phaser which is part of our SilverLine Collection. No need to say we didn’t 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 adjust ability 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 a 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 result that owners of the hardware box could only dream about. Endless contour diversity stretches results from monotonous sluggish swing to become a gurgling scrumble, just by a slight re positioning of the the rate knob.

Additionally it is now possible to add consecutive all-pass 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.

Who would like to use it?

The best way to judge Fazortan 2 is to listen to it. You’re welcome to our mp3 presentation. We made every effort to make sure Fazortan will fulfill all expectations one could have before buying an analog phaser unit.

Especially guitarists and retro keyboard players may appreciate possibility to  adjust it so it can emulate the rotary speaker, what along with its rich and lush sound, completes satisfactory every audio chain.

Of course given much more maneuverability it is a fine fx unit to be adapted regardless of genre.

Key Features

• True emulation of classic analog allpass phase shifter
• NEW Closer than ever to hardware solutions in version 2.
• 2 full controllable LFOs
• LFO synchronization with host application
• Unique sound different from the others digital phasers
• 64bit internal processing
• No harmonic distortions at output
• NEW Tag based preset browser
• NEW Two alternative GUI sizes
• NEW MIDI-learn functionality throughout

The Virtual Space Reverb

This compact, intuitive reverb plugin creates amazingly authentic real-world spaces without bogging you down in complex parameters.

The hybrid algorithm at the heart of Spacerek fuses modelled virtual spaces to a dynamic delay network, generating reverb tails with supremely realistic early reflections, dense, colorful late reflections, and separately adjustable ER and LR pre-delay times. Dozens of emulated room types take in halls, towers, chambers, tunnels and much more, and each one integrates a variety of preset stereo microphone and speaker setups. 

Spacerek also makes balancing the Direct signal, Early reflections and Late reflections easy with its three-channel mixer; while the highly musical Tilt EQ and Low Cut filter modules provide effortless shaping of the overall tail. And as each Reverb Model is pre-configured for left-right or mid-side stereo operation, tweaking width and spatialisation is a snap.

Spacerek doesn’t put the squeeze on your system, either – indeed, when you hear it, you can’t fail to be impressed by its CPU-friendliness.

MAIN FEATURES

• Hybrid room reverb algorithm, combining Virtual Space Reverb simulation for Early reflections and a dynamic delay network for Late reflections:
  • 114 Reverb Models, taking in dozens of room types, each with multiple mic and speaker setups
  • Direct signal / Early reflections / Late reflections mixer 
  • Volume control for each channel 
  • Balance control for each channel, with L-R or M-S stereo mode determined by the Reverb Model 
• Independent Pre-delay controls for Early and Late reflections 
• Tilt EQ 
• Low Cut filter independently activated for Mid and/or Side stereo components 
• 64-bit internal processing 
• Tag-based preset browser 
• Resizable GUI 
• MIDI Learn for easy controller assignment 

The Virtual Space Reverb
Spacerek’s early reflections are generated by D16’s proprietary Virtual Space Reverb engine, which simulates a diverse array of real-world spaces with painstaking accuracy. Each Reverb Model defines not only the acoustic properties of the space it represents but also the positioning of the stereo speakers and microphones used to send the source signal through that space, for even greater environmental realism and versatility.

Hybrid Algorithm for Quality and Performance
The late reflections are built up by a responsive dynamic delay network, which blends seamlessly with the Virtual Space Reverb’s early reflections to create an incredibly natural-sounding reverb tail. Independent Early and Late reflection Pre-Delay controls allow up to 1 second of start time offset to be applied to each, adjustable in nanoseconds, microseconds and milliseconds. And despite the quality and complexity of the acoustic modelling involved, Spacerek’s innovative optimised hybrid design keeps CPU usage lower than you might expect.

114 Stunning Reverb Models
Spacerek’s expansive roster of modelled rooms lets you summon up vivid virtual stages of many kinds – from booths, chambers and halls to tunnels, chapels and towers – and switch between them at a click. Each room takes in multiple microphone and speaker configurations, too, for a total of 114 different Reverb Models, covering all your mixing and sound design bases.

Convenient Mixer
Spacerek’s three-component signals – Direct, Early reflections and Late reflections – come together in a straightforward mixer. Quickly and easily set levels and stereo positioning, the latter in left-right or mid-side mode, depending on the selected Reverb Model.

Tilt EQ and Low Cut Filter
Two stages of musical frequency shaping enable tonal customistation of the tail, for applying those crucial finishing touches to your reverb. The Tilt EQ provides instant boosting of lows or highs, while the Low Cut filter is ideal for clearing mud and rumble out of the mid and/or side signals. 

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! 

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. Fully-featured delay lines

Despite the imposed, fixed topology, each of the 16 delay lines has its own independent set of parameters providing complete control over:

• Delay loop
• Panning
• Stereo spread
• Post-tap multi-mode filter

Despite its superficially simple appearance, in the right hands Tekturon can be a very powerful production tool, indeed! Quick-access mute buttons You’ll certainly appreciate these for live performance situations, among others: conveniently placed, always accessible, and MIDI-assignable mute buttons for selectively suppressing individual delay lines. Invigorate your arrangements, bring some life to your production, and have fun! Two-tiered Control Tekturon provides the ability to control some aspects of the processing globally (adjusting parameters of all 16 delay lines at once) or locally (individually per delay line), thus making it possible to exert both fine-grained and convenient, ‘one-knob’ control over your performance! Key features

• 16 delay lines arranged in a sequence of taps equally delayed from each other
• Quick-access Mute buttons for selectively suppressing lines’ outputs
• Globally controlled (all 16 delay lines at once):
• Time grid – The delay between subsequent taps and base delay time for all 16 feedback loops
• Optional host tempo synchronization
• Feedback base value
• Shuffle (swing)
• Master filter’s settings
• Locally (per delay line):
• Feedback relative to base value
• Delay time as multiple of Time grid
• Local filter’s settings
• Stereo Panorama
• Stereo Spread
• Output volume with level indication
• Ultra-low digital aliasing output
• Tag based preset browser
• MIDI-learn functionality
• 64bit internal processing

Lush 2 isn’t based on just a single machine

It’s built from modules that can be found in many modern virtual synths, combined into one compact, logical layout.

Don’t let its looks fool you: though it may look benign at first, its modular, multi-layer architecture takes it beyond simplistic poly-synths to the top shelf of extremely powerful, deeply programmable and devilishly versatile instruments in your arsenal. Suspiciously accurate sound is achieved only through experience: countless hours were spent analyzing classic analogue synthesizers, and then designing and implementing DSP algorithms with close attention to every component in the signal path – not just approximating its overall output.

We deliver to you a synth built on oscillators of uncompromising quality, filters with an incredibly natural warmth and character, and best-in-class effects. On top of that, with all of the layers, multi-layer options, and routing capabilities the plugin offers – there’s no end to what you can do with just a single instance of Lush 2

Synthesizer: Lush 2 lets you reach “unheard of” levels of creativity – each layer works as an independent synthesizer with its own polyphony, parameters, enhanced arp, and a choice between 8 of the finest insert effects.

Modulation matrix: An entire page dedicated to assigning your modulation to nearly any parameter – pick a source, pick a destination, set an amount: creative modulation!

Mixer: Lush 2 also comes complete with a powerful built-in mixer, complete with layer-independent parametric equalizers and compressors that can be rearranged. Volume, pan and superb send effects allow you to put the finishing touches on the final output.

More than an 8-trick pony

• Lush 2‘s multilayer architecture gives you access to virtually limitless sound design possibilities and a wide spectrum of applications.
• Super-convenient mixer: Bring it all together easily with a powerful built-in mixer: parametric EQ, compression and 3 send effects per layer!
• The sound you’re looking for: Astonishing sound quality comes with over 1600 presets to let you easily find what you need.
• Look and feel: Beautiful GUI with different themes and sizing to help you work in a way that suits you.
• Get under the hood: Powerful, yet practical. An easy-to-tweak instrument that helps you find hit sounds in seconds, unleashing its and your maximum potential

• True emulation of BBD based analog delay line
• Optional independent parameter control for each stereo channel
• Selectable L/R or M/S stereo processing modes
• Mistress mode allows the whole unit to work the same as the classic flanger
• LFO can be synchronized with your host application
• 3 different LFO-to-BBD clock curves
• Ultra-low aliasing output
• Highly musical and pleasant sound
• Tag-based browser
• Two alternative GUI sizes
• MIDI-learn functionality throughout
• 64bit internal processing

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!

The Swiss army knife of modulation effects

The most powerful modulation effect we’ve ever created, Godfazer is your new go-to plugin for chorus, phasing, filtering, rotary speaker emulation and much more. Built with creative sound design at the top of the agenda, Godfazer spatially and spectrally transforms signals of all kinds with its versatile Ensemble module and two dual-modulated Multi Filters.

Vintage devices and more

Godfazer’s Ensemble section offers a wide range of delay- and amplitude-modulating vintage device emulations, including BBD-based choruses, Solina-style ensembles and rotary speakers, as well as a variety of original tremolos, auto-panners and other models. But that’s only the beginning!

Alongside the Ensemble, two identical Multi Filters each feature 40 spectacularly diverse filter types, from dual shelving EQs, low/high/band-pass models and formant filters, to an extensive selection of vintage and modern phasers.

Powerful modulation

Bringing movement and dynamism to the Multi Filters, Godfazer’s dual Modulators each enable one of four styles of cutoff/center frequency modulation to be brought into play.

Apply static offset to the left and right channels with the Constant Modulator; get things wobbling with the tempo-syncable, pannable, phase-adjustable LFO; generate a modulation signal based on input amplitude with the envelope Follower; and hand craft your own synced or free-running cyclical progressions with the 16-step Step sequencer.

Freedom of routing

Both Modulators are routed independently to each Multi Filter, for truly complex signal blending, and the polarity of every input can be inverted at a click.

The Multi Filters themselves are configurable for parallel or serial signal flow using six topology options, which also determine the position of the Ensemble within the chain.

… Of course, Godfazer also includes all the standard features of the SilverLine plugin series, including 64-bit internal processing, three quality options for real-time playback and offline rendering, a resizable GUI, and a tagged preset browser.

From enhancing beats, thickening basslines and glamorizing vocals, to animating pads and bringing life to keys and FX, no modulation-based task is beyond its sonic remit.

Key Features:

• Ensemble module featuring:
  • 22 effect types / models, ranging from Choruses and Rotary speaker emulations (including various classic devices) to Tremolo and Auto-panning effects
  • Adjustable Speed and Depth for most of the effect models
• 2 Multi Filter modules, each featuring:
  • 40 filter types / models, ranging from Resonant Filters and Vowel Filters to EQs to Phasers (including various classic devices)
  • Adjustable Cutoff / Center Frequency and Emphasis for each model
  • Balance control with optional Mid / Side mode
  • Independent Modulation amount control with Invert option for each Modulator
• 2 Modulation blocks controlling (and shared by) both Multi Filters, with 4 modulation types each:
  • Constant modifier
    • Independent Value offset controls for the Left and Right channels, with Link option
  • LFO generator
    • Adjustable Stereo Phase
    • 6 LFO waveforms
    • Optional Tempo sync
    • Panning control
  • Peak follower with Attack, Decay and Sensitivity parameters
  • Step sequencer
    • 16 individually adjustable steps
    • Adjustable Rate with optional Tempo sync
• 6 different topologies for configuring the Multi Filter and Ensemble modules
• 64-bit internal processing
• No harmonic distortions at output
• Tag-based preset browser
• Over 100 presets
• Resizable GUI
• MIDI Learn for easy controller assignment

There have been many incredible delay units created over the past 70 years, from tape delays to oil cans to modern digital circuits. So when D16 Group and our friends at Slate Digital got together to create a new delay plugin, it was obvious which we would model: all of them!

All-in-one Introducing Repeater – A dual delay powerhouse that features 23 unique authentically modeled delay units ranging from classic oil cans and plates to the most famous vintage digital designs: Cassette Tape – A model of an early 80’s Japanese cassette tape deck. We’d call this one mid-fi Coopy Cube – An early 70’s delay originally made from a garden hose! Great for short delays to add depth, also with stereo Spread option. Digital 42 – One of the most famous modern digital delays, this one has a uniquely early digital tone with a touch of graininess and a slight scoop. Great for guitars and vocals. Digital 42 x 2 – The double option on the Digital 42, it halves the sample rate for an extremely unique lo-fi tone that is great on vocals, guitars, and drums. Digital Delay – A hi resolution digital delay. Use Repeater’s filters and Color to customize the tone. DM-2 – An early bucket brigade analog delay with a warm and rich tone. Amazing on guitars and synths. Mellow Delay – A smooth, subdued delay that is based on several vintage analog topologies. Memory Guy – Lush analog delay with fat vintage tone. Mirky Delay – Based on early bucket brigade analog delays, it is dark and thick. Great as a special effect delay or thickener when used with the Spread option. New Radio – Delay tone with FM radio style scooped hi-fi tone. Try it on vocals. Old Radio – Delay tone with AM radio style grainy lo-fi tone. Pitchy Delays – (3 models) – Delays with slight pitch modulations for extremely spatial and deep effects. Sounds great when both delay lines are set to the same time creating a chorusing mono effect. These can also be used with tight delays with Spread option for widening and thickening effects. Plexy Echo – Based on an old 70s tape delay unit. It’s fat tone, which sounds great on vocals guitars and even drums. Space Delay – Based on the famous magnetic tape delay with warm and gritty tone. A classic on guitars. Tape Delay Ancient – An extremely old 1940’s style tape delay tone. Tape Delay Classic – Early 60’s style tape delay. Tape Delay Modern – Hi-fi tape delay with warm and lush tone. Tape Delay Vintage – 70’s style tape tone, slightly grainy but warm. Telephone 1 – Lo-fi telephone tone, great for special effects or used as an insert on vocal or even full mix. Telephone 2 – Another lo-fi telephone tone with slightly different frequency and distortion tone. TelRay – The analog delay classic made original from a tuna can. Beautifully lo-fi with a rich tone that is perfect for guitars.

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 R n B. 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 Nepheton’s. 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!

Good choice We believe that we have created a powerful drum machine at an affordable price which is quick to program and very easy to use. Another D16 classic!

• fully synthesized drum sounds
• additional parameters to get yet more control over the sound
• many ways of controlling the device:
  • external mode (notes triggering the sounds)
  • internal sequencer (pattern mode)
• internal sequencer:
  • 8 banks with 12 patterns per bank
  • each pattern up to 16 steps of length
  • each pattern defined with one of four available measures
  • shuffle mode
  • trigger out
  • global accent track
  • tap mode
  • chain mode
  • shuffle (swing) and tempo values defined per pattern
  • built in randomizer
  • patterns import/export via human readable xml files
• two modes of synchronization:
  • precise synchronization to the host tempo
  • synchronization to internal clock – tempo controlled in the range 30-300 BPM (+-0.1)
• mutes/solos for each instrument (affect triggerring not just the signal)
• dynamic signal routing from instruments to outputs
• drum kits organised into groups
• midi learn function
• 64bit internal processing

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.

High quality of diffusion

In Toraverb, we applied diffusing network of the highest possible quality based on modified all-pass filters. By doing this and using properly tuned parameters, we can almost eliminate unwanted flutter echo effects for every sound source.

Two parametric EQs

Toraverb is equipped with two independent, single band, fully parametric equalizers with 3 available curve types each. One is used to EQ early reflections and the other to EQ late reflections. This is an incredibly useful feature which provides a lot of control over the character of the reverb allowing to achieve most natural sound.

Modulated tail

Toraverb also has an additional modulation parameter, which affects the diffusing network. These are responsible for the distribution of the sound waves reflections in time. By changing the modulation, the sound of the reverb tail can be altered to give a more realistic effect of sound propagation. Modulation amount is controlled independently for early and late reflections.

Realistic cross-talk

To give a better impression of physical space, we have added an innovative spatial reflection algorithm to Toraverb. It improves spatial reflections by allowing cross-talking of reflected stereo waves between stereo channels. This models what happens in the real world when a sound audible only in the left ear is reflected and is heard in both ears.

Early / Late mixer

For convenient blending, Early and Late reflections together. Now with balance parameters, for both reflection types, working in Left / Right or Mid / Side domains yet expanding palette of possibilities.

Built-in ducker

Essential functionality in the most studio situations. Toraverb features a built-in ducker, which’s compresses FX signal’s amplitude proportionally to the loudness of dry / unprocessed input, thus saving an overall output signal energy. Such a tool built into the plug-in is a real time-saver for any music producer or studio engineer. No need to employ any additional side-chain compression unit into your fx chain and simplify this aspect of use to the minimum.

Key Features:

• High quality diffusion network
• Pre-delay with optional tempo sync.
• Reverb’s tail modulation (with independent control for Early and Late reflections)
• Controllable crosstalk of spatial reflections
• Parametric EQ for Early and Late reflections (with 3 different curves each)
• Early and Late mixer (with stereo balance working in either L/R or M/S domains)
• Built-in ducker
• Adjustable FX crossfade characteristics
• Tag based preset browser
• Two alternative GUI sizes
• MIDI-learn functionality throughout
• 64bit internal processing

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.

• Sound source
  • Up to 4 generators, operating in parallel, activated/deactivated independently
    • Click – Sample-based, produces Kick accent
    • Tops – Sample-based, produces e.g. hihats, percussion and noise
    • Tools – Sample-based, produces almost full Kicks without sub
    • Kick – Sample-based or Synth-based, produces the Kick’s body. 4 synthesis engines for Synth Mode to select from:
      • 909 Kick model
      • 808 Kick model
      • 606 Kick model
      • Sine wave based Kick model
  • Audio-to-effect send per generator
  • 1 voice of polyphony
  • Optional MIDI velocity sensitivity and pitch tracking
• Built-in effect rack
  • 5 high-quality algorithms operating in series, may be independently turned on/off and reordered by drag’n’drop
    • Equalizer
    • Bit Crusher
    • Distortion
    • Filter
    • Limiter
  • Controllable connection point in the effect chain for the generators’ direct output (Mixdown after)
• Samples and presets
  • Vast factory content designed by CFA-Sound and Sounds of Revolution
    • 800 presets
    • 1100 samples
    • Suitably tagged
  • Tag-based Preset and Sample browsers
    • Preview option
  • User may import own samples
  • 7 preset categories (hierarchically ordered)
    • Global / Master presets
    • 909 Synth engine
    • 808 Synth engine
    • 606 Synth engine
    • Sine Synth engine
    • Bitcrusher Effect
    • Distortion Effect
• MIDI Learn option
• Flexible Randomizer
• Direct Export function (export your final kick as WAV file)

With so many chorus effect plugins on the market, finding one capable of delivering a truly authentic analog sound is easier said than done.

KEY FEATURES:

• High-quality analog BBD delay line emulation
• NEW 3 delay lines, each one featuring:
  • NEW Multimode filter
  • Tremolo effect
  • NEW Panning
• 3 LFO generators, each one featuring:
  • 6 waveforms
  • Timeline-locked tempo sync
  • NEW Independent phase shift controls for left and right channels with link option
  • NEW Amplitude control with invert option
• NEW 3 LFO-to-delay-line routing configurations
• 64-bit internal processing
• NEW Tag-based preset browser
• Over 100 presets
• NEW Three GUI scaling options
• NEW MIDI-learn functionality throughout

With that in mind, we set out to create the ultimate analog chorus emulation, inspired by the revered effects found in classic synthesizers such as the Solina String Ensemble, Elka Synthex and Roland Juno-106. This fruit of our labor is Syntorus 2, the newest addition to the Silver Line series of plugins.

Syntorus 2’s unique analog sound enriches any instrument routed into it, bringing life and movement to synth basses and leads, and adding depth and lushness to guitars and other electric/acoustic instruments.

Now for the science…

Chorus with REAL Analog Feel

The classic chorus effect is created by mixing an audio signal with one or more delayed and pitch-modulated copies of itself. It stands to reason, then, that the delay line module is the most important part of any chorus unit. For Syntorus 2, we constructed an extremely precise model of a high-quality BBD (bucket brigade device) analog delay line in the digital domain – the resulting emulation has an incredibly warm, musical sound with no unwanted digital artifacts.

Three BBD delay lines

Most chorus effect units use just a single delay, but Syntorus 2 deploys three analog delay lines to conjure a richer, fuller, deeper chorus sound. It also gives you a choice of two BBD delay line models: by default, the chorus effect is exceptionally clean and pristine, but activating Analog BBD Emulation adds even more analog warmth and character to the signal. And needless to say, full control is granted over all delay line parameters, giving you absolute freedom in sculpting your sound.

Configurable modulation

Syntorus 2’s three LFO generators serve as flexible modulation sources, routed to the delay lines in a number of switchable topologies. Timeline-locked host sync and independent adjustment of left/right phase offset broaden the spectrum of creative possibilities further still.

Filter and tremolo

Each delay line has a multimode filter and a tremolo effect built in, both governed by the same modulation sources as the delay time. The filter is ideal for cooking up convincing Leslie sounds, especially when delay modulation is used to simulate the directional characteristic and Doppler effect of a rotating speaker. The tremolo can be employed on its own or added to the modulated delay line for the crafting of even more dynamic sounds – it’s particularly effective on keyboards and guitars.

Complete synchronization

Each LFO can be independently synchronized to the host DAW, enabling the rate to be set in musical note values at project tempo. That in itself will come as no surprise, of course, but with Syntorus 2, the phase is also perfectly synchronized to the playhead position within your project, ensuring that your chorus always sounds exactly as it should at any point on the timeline.

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!