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Ethereal Experimental Synthesizers Rob Papen, a company known for virtual synthesizers and effects, has now released the update for the Blade 2 additive synthesizer.

#Rob Papen

Rob Papen SubBoomBass VSTi per bassi potenti http://www.diggita.it/v.php?id=1600711

#rob papen #subboombass #vsti

Rob Papen Release Predator2

Rob Papen Soundware is proud to announce availability of Predator2 — successor to Predator, the natural-born, killer-sounding soft synth that has inspired so many composers and artists, adding musical bite to countless tracks, thanks to its cutting-edge features and world-renowned sound designer (and namesake company founder) Rob Papen’s preset-programming prowess — as of November 25...

As an award-winning product, Predator has been making its musical mark as a meaty mainstay of Rob Papen’s lengthening lineup of world-class soft synths since its introduction back in 2009. That’s a long time in the furiously fast, ever-widening world of music technology — testament to the popular product’s proven strengths, surely? Take a good thing and make it better best describes Predator2, then.

Indeed, in the first instance, Predator2’s pliable GUI (Graphical User Interface) has once again been given the trademark Rob Papen treatment, designed so that (almost) all of the main controls are always visible onscreen, making it both inspirational and intuitive in use. Ultimately, though, time and patience can be an issue for some users, so this time Rob Papen has helpfully included an EASY PAGE to cater to those not needing simultaneous access to so many controls. There they can quickly find the most important parameters to tweak a sound or even use the handy preset VARIATIONS function, which is an intelligent randomiser. Really feeling the need for speed? No need to look any further!

Improvements in Predator2 are much more than simply skin deep. Digging deeper still, it is packed to the teeth with powerful new features to die for. First and foremost, each of the three oscillators are now dual-equipped affairs with WAVE A and WAVE B including a variety of mixed and morphed waves between them. That said, there are now no fewer than eight editable USER WAVES which can be combined into wave-sets that are traversable in different ways. Each of those USER WAVES is editable with up to 256 different partials and advanced controls to edit and shape the wavetables. With many wavetables and wave-sets included in Predator2, the all-important building blocks of its inspirational sound abilities are already streets ahead of its popular predecessor.

Pushing onwards and upwards, all oscillators and filters are now fully stereo. Speaking of which, the flexible FILTER section is bolstered by a much-expanded second filter (FILTER 2) section with full controls and envelopes, plus a third high-pass filter (HP FILTER) section for further fine-tuning. To say that Predator2 sounds ‘phat’ is surely something of an understatement!

UNISON MODE has also been improved with up to six unison sub-voices for each full voice, allowing unison to work with any PLAY MODE. Meanwhile, more movement comes courtesy of an all-new XY PRO section with recordable paths that can be used to modulate all Predator2 controls.

Continuing with yet more notable improvements and additions, a dual arpeggiator (ARP A and ARP B) with Join mode means that users can create up to 32-step arpeggios — alternatively, they can try the all-new Sequencer Arp mode for yet more musical inspiration; increased envelopes, LFOs (Low Frequency Oscillators) — up from two (in Predator) to four (in Predator2), and modulation steps — up from eight (in Predator) to 20 (in Predator2) with an ADVANCED (modulation) MODE allowing users to step limits and LOWER THR and UPPER THR amounts also add to the excitement of inspirational sound design, as does ADV/CHORD (advanced chord) editing and dual three-band EQ with LP (lowpass) and HP (high-pass) filter that can be PRE-FX or POST-FX.

Finally, each section can have its own presets and directly responds to copy, paste, and clear commands. Add a Big Screen mode, much improved preset management with FIND PRESET mode and tagging (over 5,000 finest presets from Rob Papen himself and various artists to get users started), and Predator2 looks like it is all set to last longer than its long-lasting predecessor... perhaps!

Predator2 can be purchased in a boxed edition — as an AAX (32-/64-bit), AU (32-/64-bit), VST (32-/64-bit) compatible audio software plug-in for Mac OS X (10.6 or higher) and Windows (Vista, 7, 8, and 10) — from authorised Rob Papen dealers worldwide or as a download directly from Rob Papen for €149.00 EUR/$149.00 USD from here: http://www.robpapen.com/predator2-buy.html (Customers who have purchased Predator between March through to — and including — May 5, 2016 are eligible to upgrade to Predator2 for free, otherwise owners can upgrade to Predator2 for €49.00 EUR/$49.00 USD.)

Note that eXplorer4, the latest incarnation of Rob Papen’s all-encompassing software bundle, includes Predator2, upping the total product count to 15; competitively priced at €499.00 EUR/$499.00 USD, this represents a significant saving of over 50% when compared to separately purchasing each and every Rob Papen virtual instrument and effects plug-in included!

For more in-depth info, please visit the dedicated Predator2 product webpage here: http://www.robpapen.com/Predator2.html

#news #rob papen #robpapen #synth #synths #predator #predator2 #synthesizer #vst

Rob Papen Release eXplorer4 software bundle

Rob Papen Soundware is proud to announce availability of eXplorer4 — taking the fourth incarnation of its all-encompassing eXplorer software package to even deeper depths of musical inspiration by combining all of its award-winning virtual synths and acclaimed effects plug-ins, including its simultaneously-released latest product, Predator2, a natural-born, killer-sounding soft synth reboot, into an attractively-priced production and sound design dream bundle — as of November 25...

eXplorer4 features 15 Rob Papen products — namely, Blade, quite literally a cutting-edge soft synth; the breathtaking BLUE-II, the self-styled ‘Crossfusion Synthesis’ soft synth (since it covers so much musical ground so effectively); Predator2, the all-new, go-to soft synth to die for and the latest addition to this latest eXplorer incarnation (while its Predator predecessor remains part of the bundle, together with the PredatorFX filter, modulation, vocoder, and effects plug-in); Punch, a speaker-busting, body-rattling virtual drum synth; Punch-BD, based around the BD (bass drum) module of the multi-award-winning Punch to deliver the fattest- sounding bass drums possible; RG, a unique electric and acoustic guitar groove virtual instrument with sequencer and synth effects; RP-AMOD, an effects plug-in that uses modulators to alter audio in different ways with classic effects like chorus, ensemble, flanger, phaser, and tremolo that can be tempo-synced to DAW-recorded music; the RP-Delay effects plug-in with six delay lines, eight filters, four LFOs (Low Frequency Oscillators), a reverser, and more; RP-Distort, a wicked effects plug-in designed to destroy, distort, or more subtly alter any audio; RP-EQ, a silky smooth-sounding channel and mastering EQ effects plug-in; RP- Verb, an advanced, transparent, and musical-sounding algorithmic reverb effects plug-in with easy-to-use controls; RAW, a soft synth specialising in ‘distorted’ sounds specifically suited to EDM (Electronic Dance Music) and beyond; and the ultra-deep- sounding SubBoomBass groove bass soft synth with built-in step sequencer.

Since it makes sense to also own PRISMA, an advanced utility plug-in for Mac (32- and 64-bit, AAX, AU, and VST for Mac OS X 10.6 or higher) and PC (32- and 64-bit VST for Windows Vista, 7, 8, and 10) that allows any Rob Papen product owner to stack (up to four) of their virtual instruments — including instances of the same PLUG-IN or otherwise — as a single so-called ‘prismatic’ sound source, eXplorer4 owners of course can request to add PRISMA to their Rob Papen account for free. Fortunately for them, using PRISMA in combination with eXplorer4 enables them to create the most stunning stacked sounds imaginable when combining various virtual instrument combinations!

Come Q2 2017, the upcoming RP-Verb 2 effects plug-in is expected to be joining its software siblings in eXplorer4, making for an even more attractively-priced production and sound design dream bundle. Before then, though, eXplorer4 still represents a significant saving of over 50% when compared to separately purchasing each and every Rob Papen virtual instrument and effects plug-in included. It’s a no-brainer... as those who have already bought into the dizzying depths of the eXplorer experience will, without doubt, already be well aware.

eXplorer4 can be purchased in a boxed edition — featuring 15 AAX (32-/64-bit), AU (32-/64-bit), VST (32-/64-bit) compatible audio software plug-ins for Mac OS X (10.6 or higher) and Windows (Vista, 7, 8, and 10) — from authorised Rob Papen dealers worldwide or as a download directly from Rob Papen for €499.00 EUR/$499.00 USD from here: http://www.robpapen.com/eXplorer4-buy.html (Customers who have purchased or upgraded to eXplorer-III between July through to — and including — November 25, 2016 are eligible to upgrade for free, otherwise owners of eXplorer-III can upgrade to eXplorer4 for €79.00 EUR/$79.00 USD.)

Various upgrade options are also available to owners of other Rob Papen products... for more in-depth information, please visit the dedicated eXplorer4 product webpage here: http://www.robpapen.com/eXplorer4.html

#news #rob papen #synths #vst #music production #music producer #production #music composer #synthesizer

Rob Papen eXplorer-III review pt. 3 (effects and conclusion)

Effects overview

Return to overview This final look at Rob Papen’s eXplorer-III bundle covers the included effects. At the end of the page, you will find the summary conclusion for the whole bundle.

Four dedicated effects plugins are included and Predator also works as a multi-effects unit. The Rob Papen effects are:

RP-AMOD: Modulation effects

RP-VERB: Reverb

RP-DELAY: Delay effects

RP-DISTORT: Distortion effects and more

PredatorFX: Multi-effects unit

RP-AMOD

RP-AMOD is a modulation multi-effect unit. The usual types of modulation effects are all to found here: flanger, phaser, tremelo, chorus and ensemble and they all function as you would expect.

What sets RP-AMOD apart from other effects in this category is it’s routing. RP-AMOD actually allows for two effects to be used at a time. You will notice that the plugin is split into two sections which are really two separate effects units. You could use both units to combine a flanger with a phaser or a chorus with a tremelo or any other combination of effects. It is, of course, possible to switch off either or both of the units should you wish to. The Routing panel can then change how the two effects interact.

Parallel and serial routing work as you would expect but the really interesting options are three Split options. These work by engaging a low pass filter and a separate high pass filter. The Split Frequency knob then allows you to set the frequency at which the filters operate. The filters have three slopes to choose from: 6, 12 or 24db. When one of these modes is switched on, the signal from the low pass filter is routed to the top unit and the high pass filter is sent to the bottom one. This is particularly useful for Reese basses. It can also be used in instances where you might want to modulate a drum loop with panning but keep the low end centered.

As a hidden bonus, selecting None as the effect option in both units and engaging one of the three Split modes makes RP-AMOD act as a nice little notch filter.

If there’s one thing missing from RP-AMOD, it would be the LFO options found on his instruments to really go crazy with it.

That being said, it’s nice to see Rob Papen take effects that are so widely used in music production and tweak the tried and true formula just enough to keep things fresh and interesting.

For more information, visit the RP-AMOD page at robpapen.com

Return to overview

RP-DELAY

As the name suggests, RP-DELAY is a delay effect.

It shares a similarity to RP-MOD in that it comprises two separate units, each with it’s own options. The units found here have three possible delay lines per units (so up to six per plugin instance) and two reversers.

The display above the delay units helpfully gives readouts when moving RP-DELAY’s various knobs or pushing it’s buttons. It is also where you can select how the delay line routing is managed. Nine preset routes and depending which one you choose will determine which of the delay lines is activated. The presets are not entirely fixed as it is possible to switch a delay line off or on as long as it has signal being routed to it.

The delay has a tape mode which I found rather appealing. It does a great job of emulating old tape machine delays. When the plugin’s global length is modulated, it speeds up and slows down the virtual tape leading to some seriously wonky effects.

RP-DELAY offers up a lot of sound design potential. Filters and distortion supplement the each of the two units and if I was a little let down by RP-MOD’s lack of external modulation options, RP-DELAY more than makes up for it.

My favourite options from the Rob Papen instruments (LFOs and envelopes) are back once again this time with a couple of options: a volume envelope follower and a volume threshold trigger. The volume threshold is a bit of an unusual idea but a simple one. When the volume of the incoming audio hits the user defined threshold, an event is triggered. This essentially works as an on/off switch so you could, for example, use it to start and stop the Sequencer. The modulation options are very flexible with up to eight free destinations simultaneously availble.

RP-DELAY is a great sounding delay heaped with sound design potential and another nice additional to the eXplorer-III bundle.

For more information, visit the RP-DELAY page at robpapen.com

Return to overview

RP-DISTORT

I don’t think it’s any secret that Rob Papen loves distortion. Even before creating a synthesizer dedicated to it (RAW), it’s pretty clear that this was an area of his instruments that got a lot of attention. So it shouldn’t come as any surprise that he has created a standalone distortion effect plugin.

There are twenty six distortion types to play with and they’re all sonically interesting and different. Seven of the available distortions can split the incoming signal into two bands so that low and high sections can be manipulated independently. This actually goes further than the frequency split found in RP-AMOD as the low and high pass filter frequencies can be controlled seperately and then mixed.

The sound coming out of the plugin’s distortion section can be further filtered, compressed and have it’s stereo width increased. The four modules (distortion, filter, compressor and widener) can be rerouted so, for example, incoming signal could hit the filter first, then the distortion, then the widener and finally the compressor. The routing path is changed through a simple drop down menu in the display above the units.

Fun modulation make a welcome return although they are limited to four internal LFOs and four external MIDI sources. A small but welcome feature often missing from distortion plugins is a dry/wet mix control.

What I really like about RP-DISTORT is that I had to try really hard to make the distortion sound unbearable. In fact, even at it’s most extreme settings, I was still able to find useable sections of sound coming out of it.

Overall, I found RP-DISTORT to be a remarkable sounding plugin that gets the balance between nasty and musical just right and has plenty of options available to keep anyone happy.

For more information, visit the RP-DISTORT page at robpapen.com

Return to overview

RP-VERB

Reverb is arguably the most critical of all effects in music production. Whether you’re recording in an actual space or looking to create a virtual one, the character created by that space will go a long way towards defining the over all feel of your track. So choosing a good reverb is essential.

RP-VERB gives users several types of reverb to choose from. There are a selection of Halls, Rooms and Vintage reverbs. The manual does not explicitly state what the Vintage reverbs are but it does say they’re great for vocals and long tail reverbs.

For those looking to get really crazy, there are four Space reverb types. These a extremely long reverbs that push well beyond natural sounding spaces into something far more abstract.

The other interesting thing about RP-VERB is that the main reverb unit is separated from the early and late reflections with specialist controls for each. As each unit operates independently, it is possible to switch any or or all of them on and off. Again, this can lead to some intriguing ideas.

To round things out, a useful envelope control uses the incoming signal and can used to gate the output volume or control the reverb length and space size. An EQ is also available which can either alter the input or output signal.

Of course, it wouldn’t be a Rob Papen plugin without some distortion. Here, only a waveshaper is available which distorts the input signal but it does a great job of brightening up sounds.

RP-VERB is another interesting take on a classic effect. For sound designers, it’s a wide sandbox which huge amounts of control to really build your own unique space.

For more information, visit the RP-VERB page at robpapen.com

Return to overview

PredatorFX

The final plugin in eXplorer-III is actually the effects section of the Predator synth.

When audio first enters PredatorFX, it first reaches the Filter section and then proceeds to the effects. Should you wish to, it is possible to bypass the filter.

The full range of Predator’s filters are available here with special types being comb, vocal and formant. The high, band, low pass and notch filters are worth trying out as they have a silky character. Somewhat unusually, 36db slopes are available.

As with the Predator synth, up to three effects can be chained together and all of the same effects are on offer. A Compressor, Equalizer, Autopan and Widener are all particularly useful. The nicest surprise, however, is the Vocoder which is very well featured. It is even possible to choose whether PredatorFX acts as the carrier or modulator to the incoming signal. I threw a 606 drum loop through it and just by choosing random waveforms, I was able to turn it into a cool sounding percussive loop.

When the Vocoder is being used, of course MIDI input is required to play the synth. MIDI input can also be used to operate the envelopes and LFOs which can be sent to destinations all over the plugin.

It’s nice to see that there are more to these effects than what is already available in the RP- series plugins. I was particularly enamored with the Vocoder – a really nice touch.

For more information, visit the Predator page at robpapen.com

Return to overview

Conclusion

Rob Papen eXplorer-III bundle

eXplorer-III is an enormous collection of instruments and effects and at $699, it offers great value for money.

Rob Papen fans can often be found in the harder end of the musical spectrum and it’s true that these plugins can certainly be turned up to eleven, but I was impressed at the vast amounts of expression and nuance capable.

There is a lot of depth and complexity to be found in all the instruments and effects and I did find myself visiting the manuals on more than one occasion. However, that shouldn’t be taken as a negative. I find that really taking the time to learn an instrument from the people who made it, is far more rewarding than scratching my head trying to figure out a particular function. The manuals are all clear and go into every single function that each plugin has on offer.

If you were to just give these plugins a cursory glance, it could be easy to write them off as just another subtractive synth or just another delay. This would be completely unfair. The real strength in these plugins lies in Rob Papen’s expertise in looking at familiar types of effects and synthesis, using their standard capabilities as a base and then expanding on them. These are plugins for sound designers, by a sound designer.

I ‘m not much of a preset guy but of course I did have a flick through what the plugins ship with. All the plugins have a solid collection that shows off their power. To my ears, the presets from JoMal were absolute gold.

My personal highlights from the collection are:

Punch: I didn’t think there was a whole lot more to explore in the realm of drum machines. I was wrong.

Blade: Amazing for pads.

Blue-II: Crazy bonkers FM fun.

RG: Just sounds great.

RAW: I loved making sound effects with it.

RP-DISTORT: Really nice tones.

I would highly recommend the collection to any musicians and sound designers who are looking for plugins with a familiar feel and which employ well known techniques but offer ways to generate never heard before sounds and push the user out of their comfort zone.

For more information or to purchase the eXplorer-III bundle, head to robpapen.com

Return to overview

Rob Papen eXplorer-III review pt. 3 (effects and conclusion) was originally published on producertech.me

#bundle #plugins #rob papen

Rob Papen releases Vecto synth, exclusively for Reason

[Press release]

Virtual instrument and effects plug-in developer Rob Papen Soundware is proud to announce availability of VECTO — a serious sound-shaping vector synthesizer that truly testifies to the creative company’s mover and shaker status in the wonderful world of Rack Extensions (RE) for Swedish music software application, interfaces, and technology standards specialist Propellerhead Software’s revolutionary Reason, billed by its creators as being about perfecting the process of music-making — as of June 10…

That Propellerhead’s proprietary platform has proven so popular is beyond reasonable doubt… and when the Swedish music software application, interfaces, and technology standards specialist first introduced its revolutionary Rack Extensions concept — custom-built plug-ins for Reason, Rob Papen himself promptly pronounced it as being “…a brilliant concept.” Continuing, he subsequently summarised its inherent value to the likes of his namesake company as well as added fringe benefits for all concerned:

“Clearly, what we face as a developer is having to have a PC version and a Mac version, and if you run them in your regular host, you can crash your host. That’s a real big battle. People, if they use Reason, learn that things are connected. It’s cross-platform; everything works. It’s a major leap forward for Reason, and productions coming out of Reason will sound totally different. Reason remains Reason, but, now, it’s open.”

Open to the likes of Rob Papen — actually amongst the first wave of virtual instrument and effects plug-in developers — to develop distinctive and desirable third-party Rack Extensions for Reason. Revolutionary and evolutionary even, and they definitely don’t come much more so than VECTO, a serious sound-shaping vector synthesizer that truly testifies to the creative company’s mover and shaker status in the wonderful world of Rack Extensions. End game? Getting so much better all the time — to (partly) paraphrase another musical phenomenon — is perhaps closer to the musical mark, for Vecto veers towards another soft synth victory for Rob Papen, proof positive of how much musical mileage can be so successfully squeezed out of Reason Rack Extensions… safe in the hands of one of the most talented team of developers around, of course!

Cleverly, as implied by name, VECTO is a vector synthesizer that allows users to draw in VECTOR paths to shape the resultant sound in many wondrous ways. As always, it is presented packed with Rob Papen’s trademark flexible features and a profusion of professionally-programmed presets — remember: Rob Papen is a world-renowned sound designer in his own right, replete with a talented team of programmers, graphic designers, and fellow sound designers at his conceptual disposal — fashioned from four oscillators and much more besides.

“After releasing QUAD, we decided to make more use of the X/Y pad, which appears in a lot of other Rob Papen AAX-/AU-/VST-compatible virtual instruments, such as Blade, BLUE-II, and RAW,” reasons Rob Papen. “The change in sound between the four oscillators offers a lot of sound options in itself, including drawing the movement between them, as well as preset movements and additional features like Time Quantize and Space Quantize. In fact, all movements are tempo-based and they can also be changed dynamically.”

Due to the wide range of oscillator waveforms on offer — from classic analogue models to additive, spectrum, and high-quality samples, the sound options are dazzlingly deep! Take two FILTERS, each with 28 different types to choose from, then try bringing two top-notch FX processors into the highly creative musical mix, and audio routing is brought to a blistering finish. Of course, multiple MODULATION options additionally abound, as do performance-elevating fanciful features such as a step-based ARP (arpeggiator). Adds Rob Papen:

“The routing of the four oscillators is another cool feature of VECTO. Why? Well, instead of sending the oscillators direct to the FILTERS or FX, why not send an oscillator to another oscillator? This results in FM-type sounds. Or try combining that with two ‘normal’ oscillators. Each oscillator also has a special menu for additional volume control. But that’s not all. Each oscillator also has an option to ‘re-trigger’ the next sample in tempo-based values, or to delay the start of a sample. Besides this, there is a ‘sub-oscillator’ that even works in combination with the onboard samples! Surely creativity rules in every respect!”

Rob Papen Vecto rack extension back panel

Indeed, it does. Developmental homework having so stylishly paid off for all to see and hear, the time is right for Rob Papen himself to happily draw an appropriate conclusion:

“Feature-wise, VECTO is a synthesizer that’s sure to keep the synth geeks happy. However, most important of all is the sound that it produces using those high-quality oscillators, FILTERS, and FX, because, ultimately, that’s what you hear.”

Herein lies the musical key to unlocking levels of programmability and playability hitherto unseen and unheard of in the wonderful world of Reason Rack Extensions… until now, that is. Indeed, VECTO variously represents another amazing soft synth deftly developed by the talented Rob Papen team to enable Reason to sound like never before, this time thanks to those varied and variable VECTOR movements. Make music… like no other. Over, then, to the Rob Papen founder for one final footnote:

“This has always been our creative focus — developing inspirational synthesizers for making music, whatever the platform.”

VECTO can be purchased and directly downloaded for €99.00 EUR/$99.00 USD from the Propellerhead Shop (Purposefully, Propellerhead Software operates a 30-day try-before-you-buy service for those wishing to test Rack Extensions — simply click on the TRY button before committing to purchase.)

For more detailed info, please visit the dedicated VECTO product page

Rob Papen releases Vecto synth, exclusively for Reason was originally published on producertech.me

#rack extension #reason #rob papen #synth

Rob Papen eXplorer-III review pt. 2 (performance synthesizers)

Performance synthesizers overview

In part two of this eXplorer-III review, I’ll be covering the bundle’s four instruments which can be classified as performance synthesizers. That is to say that they do not have their own internal sequencer and so require MIDI notes from either a host DAW or a MIDI keyboard.

The four performance synthesizers are:

RAW: A synthesizer built especially for distorted sounds

Blade: An additive synthesizer

Predator: A synthesizer with a subtractive base

Blue II: An FM synthesizer

RAW

There really is no messing around when it comes to Raw. It was deliberately built for loud, aggressive sounds and it makes no apologies for it.

Raw is the end product of a collaboration between Rob Papen, DJ Promo and DJ Free-K after the DJs pitched the idea to Rob at Dancefair in Amsterdam.

The presets that come with it are certainly of the sledgehammer variety but (and I’m sure I sound like a broken record at this point), Rob Papen instruments are detailed sound design curiosities.

At it’s heart, RAW holds two oscillators, with standard analogue style waveforms and two waveforms that can be drawn by the user. Each oscillator also has a sub-oscillator, pulse width modulation and a spread control which is similar to unison. Oscillator two can be synced to oscillator one and can act as an FM carrier (oscillator one being the modulator).

The oscillators are then routed through the RAW section where the RAW knob controls the overall distortion on the oscillator. The XY pad can then be used to control the amount of distortion applied to the positive and/or negative portions of the waveform.

The XY pad can add a lot of movement to sounds as motions can be recorded and played back. The motions can be looped, sped up, slowed down and even synced to tempo.

What’s amazing about RAW is how many modulation sources and destinations there are. Motions recorded into the XY pads can act as LFOs, as can the user drawn waveforms. There is a dedicated modulation matrix where up to eight sources can be sent to eight destinations. The modulation matrix even allows for offset and upper and lower thresholds to be set as well as the standard amount.

Drawing waveforms is a breeze. You can either free draw, draw lines or erase. Of particular note is the Smooth button so that no matter how disjointed your waveform gets, it’s always easy to tidy it up.

The oscillators travel through an extensive multi-mode filter to the distortion effects section. Here, three distortion types can be used at once in serial: a waveshaper, a user selectable distortion type and a bitcrusher.

There is then a further effects section which contains modulation effects, a gate, a stereo delay and reverb.

Aside from it’s over the top loud musical uses, I found it to be very good for a wide variety of synthesized sound effects and evolving textures. It’s also a synth where happy accidents can happen. I found that something I started with one purpose in mind didn’t necessarily stay that way. I also found that despite it’s obvious nastiness, I really had to push it quite hard to make truly unbearable noises. Again, Rob Papen’s sound design influences are clear.

Overall, I found RAW to be enjoyable to use and was able to make some great sounds with it. Despite it being marketed as a hard, distorted synth, I was pleasantly surprised by it’s versatility.

For more information, visit the RAW page at robpapen.com

Return to overview

Blade

Blade is eXplorer-III’s additive synth. This type of synthesis works by adding sine waves together. In some instances, it can be extremely complex to program but Blade aims to simplify the process.

Blade uses ninety six stacked sine waves to shape it’s sound but rather than the user having to program each one individually, a series of global controls are grouped together making noise sculpting quite painless. Blade calls these controls the Harmolator.

The controls allow the user to deeply manipulate how the sine waves combine form the resulting wave form. I won’t go into every control here but highlights include control over the partials’ symmetry, the base harmonic and the ability to add a secondary harmonic and shift it around. Although it’s best to use your ears, an inbuilt spectrum analyzer really helps to see what these controls are doing to the sound. The now familiar sub oscillator and spread options are also here.

A lot of action can be found in the Timbre and Ripple section. RIpple allows lets users add a wave shape to the additive waves. Watching it in practice, it feels a little like FM synthesis. Timbre is a different beast. There are many Timbre presets available which raise and lower partials to a pattern.

The Harmolator is undoubtedly very powerful but with the help of the spectrum display, it’s fairly straight forward to find you way around.

The centre of the screen is taken up by a large XY pad. Around the outside are twenty four knobs – twelve for the X axis and twelve for the Y. Rob Papen is clearly a believer in the XY pad as a form of control as he since implemented two into RAW. The controls relate to Harmolator functions as well as the filter.

Motions on the pad can be recorded and are played back when a note is triggered. They can be sychronised to tempo or left to free run, looped and smoothed if you feel you have made too many sudden movements. Really, it’s a great, fast and naturally playable way to get motion into your sound without having to spend ages tweaking envelopes and LFOs.

Sound from the Harmolator is routed through a dedicated distortion section and then on to a multimode filter.

Again, we find Rob’s penchant for flexible routing on display in the modulation section.

Two other sections of note are the Chord/Strum section and the Arpeggiator. The Chord/Strum section allows Blade to memorise chords and then play them back relative to the incoming note. This is a unique feature in itself but it is made more so by the Strum. Strums work from lowest to highest note and can either be tempo synced (which works like a one shot arpeggiator) or can be free run. I had a lot of fun modulating the strum speed with an LFO to get a random guitar strum effect.

The Arpegiattor is programmable which is nice enough but I found that combining it with the Chord/Strum section made for patterns that I would never have otherwise considered.

Despite it’s name, some of Blade’s sweetest tones come from pads and sweeps. It’s a very lush sounding synth which, like all Rob Papen products, has a personality all to itself.

For more information, visit the Blade page at robpapen.com

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Predator

Rounding out eXplorer-III’s aggressively named trilogy of synthesizers, is Predator.

At face value, Predator is a three oscillator subtractive synthesizer, albeit one with a larger than average selection of waveforms – one hundred and twenty eight to be exact.

Predator’s trick is it’s ability to cross modulate the oscillators. FM and Ring Modulation are available as well as several less common types – Sample & Hold, Sign, Max and Mix. These can lead to some really big sounds very quickly. Oscillators can also be synced to each other.

The cross modulation is applied in different ways depending which oscillator you are applying it to. Oscillator 2 can only receive modulation from Oscillator 1. Oscillator 3, however, can receive modulation from Oscillator 1, Oscillator 2 or both simultaneously.

The Filter section also has a huge range of options. Two filters are available, running in series. The second filter, however, does have two unique split modes. The first will make the filters run in parallel and Filter 2 will adopt the characteristics of Filter one but the cutoff and resonance can be adjusted independently. The second mode works in the same way as the first, however, the oscillators are routed as such: Oscillator 1 is routed to Filter 1, Oscillator 2 goes to Filter 2 and Oscillator 3 is sent to both. There is even a pre-filter distortion unit.

Chord and Strum modes are again present here as well as the arpeggiator. These all work in the same way as in Blade.

As usual, the modulation facilities are extensive. The filter section has it’s own dedicated LFO and envelope as does global pitch. The amount that these are applied can be controlled from CC sources, the internal LFOs and even the oscillator waveforms.

The fact that it’s not as complex to start off with as some of it’s counterparts means that it can serve as a good entry point into the eXplorer-III instruments and learning your way around Rob Papen’s way of thinking.

Predator is regarded as a bit of a classic in the virtual instrument world and for good reason. While it may not push the envelope as far as Blade and RAW, it’s oscillator cross modulation is rather special. This coupled with the it’s one hundred and twenty eight waveforms and great sound quality make it impossible to define as “just another subtractive synthesizer”. It’s another unique take on a tried and true synthesis technique from Rob Papen.

For more information, visit the Predator page at robpapen.com

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Blue-II

Blue-II (the sequel to 2005’s Blue), is Rob Papen’s take on FM synthesis. The irony here is that while being sedately named, Blue-II is a beast.

It’s sound comes from six oscillators per voice. While it sounds amazing, you’re going to need a half way decent computer to make full use of what’s on offer.

FM synthesis can be quite complicated to program. While Blade made an effort to simplify programming it’s additive engine, Blue-II holds nothing back. Luckily, the interface is clear and well laid out so anyone who is used to FM synthesis shouldn’t have any problems finding their way around and those who aren’t should be able to learn without too much difficulty.

Everything you want and need for FM synthesis is here: FM matrix, matrix presets, per oscillator envelopes and self modulation. Blue-II’s default mode of synthesis is actually phase modulation. This is to emulate how Yamaha DX synths worked but true FM synthesis is easily selectable.

Then come all the extras. Far beyond the traditional sine waves used in FM synthesis, Blue-II comes with a multitude of additive and spectral waveforms and even samples.

Each oscillator can also be run through a phase distortion or waveshaping unit and users are able to draw their own waveshapes.

The inclusion of samples means that it’s possible to think about the each oscillator as an instrument in it’s own right. As each oscillator’s envelope allows for re-triggering, it’s possible to create some clever poly-rhythmic sequences using these alone.

To further encourage this way of thinking, each oscillator can be routed in a number of different ways: to either of the two available filters, to any of the four possible effects, straight out of the master or to combinations of the above.

Each oscillator can also be run through a phase distortion or waveshaping unit and users are able to draw their own waveshapes.

Blue-II has two multimode filters. The modes are very similar to what is available in other Rob Papen synths but the routing possibilities are a lot more open and akin to the oscillators.

The sound design possibilities in Blue-II are absolutely staggering.

Blue-II also features a Rob Papen favourite – the XY pad. This is the most advanced I’ve seen it. It has sixteen possible controls (eight per axis) all of which are user assignable. Each control can be muted and soloed so that you can get a detailed picture of how the pad is effecting your patch. As well as being free running, a grid can be overlaid on top of the pad to which movements can be snapped for some jarring effects.

Even by Rob Papen’s free wheeling standards, the route-able modulation is crazy. Blue-II has four multi-stage envelopes, four free LFOs and a thirty two step modulation sequencer. Another sequencer is also available which can be be used either for note sequences or to change each oscillator’s waveforms. This opens up a whole new world of possibilities.

Blue-II is an amazing instrument that really takes FM to the next level. My only wish is to be able to import my own samples into the oscillators. Still, gotta hold something back for Blue-III 😉

For more information, visit the Blue-II page at robpapen.com

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In case you missed it, part one of this three part review can be found here.

Stay tuned for part three…

Rob Papen eXplorer-III review pt. 2 (performance synthesizers) was originally published on producertech.me

#bundles #plugins #rob papen

Rob Papen eXplorer-III review pt. 1 (sequenced instruments)

Pre-amble

eXplorer-III is the current collection of Rob Papen’s sum output. It comprises eight instruments and four effects (technically five but more on that later). With this in mind, I have split this review into three parts. This first part covers the sequenced instruments, the second covers the performance instruments and the third covers the effects and a short conclusion. If you’re looking to quickly see what I thought of the bundle as a whole, head over to part three.

When looking at a collection of plugins as a whole, there is often a commonality between the products that unites them and gives you an idea of how the developer thinks. In the case of eXplorer-III, it wasn’t easy to find a theme as the plugins are quite diverse, however, I came to the following conclusion:

Before starting his own company, Rob Papen was (and still is) a sound designer and the depth of these plugins certainly reflects that. I will talk more about this in the review proper, but control and detail has been added to certain areas of the plugins that are often overlooked by other developers.

Sequenced instruments overview

eXplorer-III carries four instruments that have their own internal sequencer:

Punch: Drum machine

Punch-BD: Bass drum machine

SubBoomBass: Bass synth and sequencer

RG: Virtual rhythm guitarist

Punch

Punch is eXplorer’s drum machine. It’s inbuilt sounds come from a combination of synthetic models and samples. In total there are twenty four drum pads. The first sixteen of these use Punch’s inbuilt sources with the last eight allowing the user to import there own external samples.

The most common drum types have their own dedicated pads: bass drum, snare, closed and open hats and claps. In fact, you will actually find two pads given over to each of these drums. This allows for creative layering or changing up parts during a track. There are then six pads for toms, cymbals and percussion.

Synthesised drum models can be found on the first sixteen pads. These models push Punch well beyond the scope of a traditional drum machine as some of the synthesis modes and controls are unique. What this means is that you may start off with a traditional sounding drum, but after some tweaking, you’ve finished up with a really cool sounding effect.

Different drum models have different controls and effects and they employ different types of synthesis to generate the sound. You may find a filter appears on one model but not necessarily on another. It’s impressive to see this level of detail going into the models so that each one really does have it’s own character rather than just falling back on a standard set of controls.

As well as the drum models, Punch has over 250 inbuilt samples to play with. Here as well, there are plenty of tools to manipulate the samples which often push the user in directions they may not previously have thought of. For example, it is possible to randomise the pitch and also re-trigger the sample a set number of times using non-musical time values. This process can create some really interesting pitched rhythms.

One of my favourite controls is the Stereo Swap. This is found on pads using samples rather than models. It gives full control of the sample’s position in the stereo field and lets users set independent start and end points to modulate the panning. It’s a shame that Stereo Swap is only available on samples as it would be great to apply it to the models as well. On the plus side, it’s always possible to export the sound from your DAW and then import it back into Punch for even more control.

When it comes to importing your own samples, even more possibilities are presented. Two samples can be layered on a pad at a time and can be mixed in different ways. Modes include Alternate, which alternates between the two samples every time the pad is hit and split, which will split the two samples over and under a velocity threshold. Samples can be looped and also re-triggered. What’s great is that each sample can be manipulated independently or together, again, leading to previously unimagined ideas.

As you would expect, control over amplitude, filter and pitch is also possible and up to four choke groups can be set up.

There is also a modulation section which allows two additional envelopes, two additional LFOs and eight external modulation sources to be routed extensively to the pads.

Each drum pad has it’s own distortion unit and each one has nineteen different types of distortion available. There are knobs to control the amount of distortion as well as how much it’s mixed with the original signal. This is especially good new for those into harder edged genres as Punch really excels at those sounds when the distortion is driven hard. For the rest of us, when distortion is applied more subtly, it can really help to beef up drums.

After the distortion, the pads can then be routed to any of four separate effects. These can, in turn be routed in different ways to make effect chains. There are plenty of effects on offer (twenty nine in total) which are the usual helpful studio type effects: delays, reverbs, filters, mod effects, more distortion and dynamics processing.

If quick, global changes are needed, there is an Easy page to do this. The settings made on this page can be bypassed per pad.

To round of the feature set, Punch has it’s own step sequencer. Here, it is possible to create up to eight rhythm patterns. The patterns one to four are named Groove and patterns five to eight are named Break. This encourages the user to create variation when ending phrases, however, from what I can see, the controls in both Groove and Break patterns are exactly the same and so the user can use any pattern in any way that they see fit.

Each pattern can last up to sixteen steps and can trigger up to four drum pads at a time. Pattern steps have a range of settings that can radically alter what happens on each trigger: velocity, pan, tuning, flam, envelope speed and sample offset can all be controlled.

While altering these settings, only one pad sequence can be viewed at a time, however, the Track View button allows for an overview of the selected pattern.

Each pattern’s speed can also be altered and still remain locked to the host’s tempo. For example, Groove 1 could have be sixteen steps long and be running at 1x speed while Groove 2 could also be sixteen steps long but could be run at double speed.

Finally, three knobs control pattern swing, flam time and humanising.

So Punch gives sixteen internal sound sources plus another possible sixteen external samples, a ton of effects, an impressive sequencer and vast amounts of control throughout. Really, this should be all anyone needs in a drum machine.

No? You want more? Ok then. On to Punch-BD…

For more information, visit the Punch page at robpapen.com

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Punch-BD

Layering drums has become a well used technique in electronic music production, especially layering bass drums.

Punch-BD gives users the ability to layer up to six bass drums.

It features the same bass drum models and inbuilt samples from Punch. It is also possible to export samples so while the focus is on bass drum layering, users aren’t restricted just to this.

For the most part, Punch-BD functions the same way as Punch and shares the same modulation, effect and distortion options.

The biggest difference in functionality is how it’s sequenced.

Punch-BD loses the internal pattern sequencer found in it’s bigger brother. Instead, the pads are wholly triggered by MIDI note input. Even in this area, Rob Papen has added sequencing options that aren’t usually found on a drum machine. There are six play modes that determine which pads trigger when the plugin receives notes:

Stack: All pads are triggered regardless of what note is received

Tuned stack: All pads are triggered but the note received determines the playback pitch

6 Notes: Each of the six pads is assigned it’s own note starting from the Central Note

Seq: Cycles through each of the pads in order but ignores note pitch i.e. first note received triggers pad one, second note received triggers pad two etc.

Tunes Seq: Works in the same way as Seq mode but note pitch will determine the pad’s playback pitch

Pad triggering can also be linked. Each pad can be linked to another pad or to all other pads. Another addition is that each pad has it’s own three band peak EQ.

Punch-BD’s differences are enough to set it apart from Punch. It’s unique triggering options are particularly well thought out and I again found myself producing rhythms and sounds that I may not otherwise have created.

For more information, visit the Punch-BD page at robpapen.com

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SubBoomBass

SubBoomBass is, as you might expect, primarily a bass synthesiser. It has two oscillators, each one with fifty five wave forms. Some of these are synthesised and some of these are sampled. Each oscillator additionally has a sub-oscillator to give patches even more low end.

The synthesised waveforms are what you can commonly find on many subtractive synths, sine, square, sawtooth etc. plus some extras.

The sampled waveforms come from drums and percussion as well as bass instruments.

These oscillators can then be routed to two filters. Filter one has an extensive range of cutoff options and has it’s own dedicated envelope and LFO. Filter two has less option but can be run in series, parallel or either oscillator can be routed directly to it.

The audio then goes to the output section where a master volume knob with velocity and envelope control can be found. The envelope has standard ADSR stages with an extra Fade knob. This allows the volume to rise or fall during the sustain portion of the sound.

A Global section exists for controlling unison, tuning, decay/release envelope curves and a pitch LFO.

SubBoomBass patches can be played by MIDI or through the inbuilt sequencer. The sequencer can be used to create everything from acid style riffs to percussive loops. In fact, two sequences can be created each with a maximum of sixteen steps. There’s several options as to how these sequences can be played back from notes received. One option allows for the first sequence to play through followed by the second thereby creating a thirty two step sequence.

Other useful controls include global swing, slide and step length. It is also possible to step record note data into the sequencer from incoming MIDI notes. With some creative work in here, it’s wholly possible to get a good backbone to a track going in no time.

As well as the previously mentioned envelopes and LFOs, the Free Mod section has another envelope and LFO. These can be assigned to two destinations each. An additional routing matrix can send the envelope and LFO to more controls as well as allowing free routing of the LFOs and envelopes found elsewhere on the plugin and other external MIDI sources. Up to four sources can be routed to two destinations each.

Finally, an effects section gives a ton of further sound shaping possibilities. Distortions, filters, delays, reverbs and plenty more (twenty four in total) can be used. Up to two effects can be used in series on any patch and depending on the filter routing, can also be used in parallel.

SubBoomBass is a unique plugin. It’s part synth, part drum machine and part 303. This hybrid of ideas makes it a great place to start a track off. There’s a load of presets to get you going but again, the depth, the options available and Rob Papen’s unique way of thinking are really what makes SubBoomBass shine.

For more information, visit the SubBoomBass page at robpapen.com

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RG is arguably the most utilitarian of eXplorer-III’s instrument plugins in that it fulfils a need that a lot of us have. RG is a virtual rhythm guitarist but it wouldn’t be a Rob Papen plugin if it didn’t have a twist. There are six styles of guitar here but none of them are sampled. Instead, all of the guitars on offer are synthetically modelled. This is often referred to in synthesis terms as physical modelling.

Rhythm patterns are created in the sequencer at the bottom of the plugin and then triggered via MIDI notes. Two sequences can be created at a time and each one can last up to thirty two steps. The two sequences are split over the keyboard. Sequence A takes up C1-B2 and Sequence B occupies C3-B4. As you can see, each sequence has two octaves devoted to it. In order to form chords, these two octaves are then further separated. The first octave will play back major chords when triggered and the second will play minor chords. The limitation here is that RG can only play major and minor chords. While not ideal, I feel that RG (like all the other eXplorer-III plugins) is aimed at electronic musicians and sound designers (I include myself in these groups). Therefore, this easy two operate chord system works really well and I found that I could achieve most of what I wanted using just major and minor chords.

The sequencer is incredibly powerful. Up, down, ghost and glide strokes can all be individually sequenced with velocity control on each step. An additional Free control can be routed to various parameters in the plugin.

As well as regular loops, sequences can be divided into two thereby allowing for an introduction before the main loop. The looped part can be started from any step and will play until the end of the sequence before looping back. With some experimentation, this can lead to some unusual counterpoint rhythms.

What really matters is whether the combination of the models and the sequencer work together well enough to sound convincingly like a guitarist. It does.

I think that what helps RG to sound realistic is that it’s not trying to emulate more than guitars. This means that Rob Papen has been able to focus on the guitar sound rather than trying to be every other stringed instrument as well.

But it wouldn’t be a Rob Papen plugin if it didn’t have a ton of sound design tools as well. I’ve already mentioned the sequencer’s unique looping ability and as with Punch and SubBoomBass, plenty of effects are on offer for those who want to use RG for non-traditional purposes.

The effects in RG are more linear than in the other sequenced instruments. The guitar model first runs into a filter, then through three possible effects before coming to the output section. Using the filter and effects is a lot like a pedal board and so they all run in series. Parallel processing isn’t possible but all the effects have a dry/wet mix control.

RG is a whole lot of fun and certainly well worth a look for anyone looking to create some cool sounding guitar riffs. The combination of a realistic sound with Rob Papen’s expanded way of thinking makes for a very enjoyable plugin.

For more information, visit the RG page at robpapen.com

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Onwards to part two…

Rob Papen eXplorer-III review pt. 1 (sequenced instruments) was originally published on producertech.me

#bundles #plugins #rob papen