Working with a mouse and keyboard needn't compromise real‑time control, as Sugar Bytes' clever interface design demonstrates. I've not come across German developers Sugar Bytes before, but they've amassed an impressive collection of effect and instrument plug‑ins, most of which are designed for dance music production. As is often the case, there are signature Sugar Bytes elements that appear in many of their products, perhaps the most notable being their 'vowel filter'. If you've used an analogue‑style synth with a resonant band‑pass filter, you'll know that with judicious tweaking it's possible to reproduce some sustained human vocal sounds surprisingly accurately. As well as the usual squelchy low‑pass and high‑pass algorithms, Sugar Bytes' filters include dedicated modes that are fine‑tuned to create different vowel tones. These filters make an appearance in some shape or form in five of the six products under review here. All are available only as downloads from the Sugar Bytes web site, in VST (Windows and Mac) and Audio Units (Mac only) plug‑in formats, and are authorised simply by entering a serial number.

Effectrix and Artillery2 are both interesting variations on the idea of a multi‑effects unit. Most hardware multi‑effects are designed either for studio use or for guitarists, but the emphasis here is on real‑time control methods that suit DJs and dance producers. In essence, both plug‑ins offer a similar battery of effects, including not only Sugar Bytes' trademark filters, but also modulation effects, bit‑crushing, slicing and gating, delay, reverb and effects that emulate various vinyl scratching techniques. The main difference between them lies in how these effects are used. Effectrix presents the user with a 32 x 14‑cell grid. Free Download Lagu Ss501 Love Like This. Download Free Sn 29500 Siemens Pdf Files.

Raaz 3 Full Movie Torrent Download Hd more. Each different effect type has its own row in the grid, and the 32 columns represent beats and sub‑beats in the incoming audio. Clicking and dragging within the grid creates horizontal bars, indicating that a particular effect is to be applied at a particular point in the measure. So, for instance, you could apply filtering to the first bar, phasing to the second, both together to the third, and bring things to a close in the fourth bar with one of those switching‑off‑the‑turntable slowdowns. Clicking on the name of an effect brings up its parameters for editing, while you can also bypass effects or empty their lanes with single clicks. On top of this, each effect has its own presets and two 32‑step sequencers, which are edited in the larger lane below the main grid. You can set different values for each step by 'painting' with the mouse.

The grid can be scaled up and down relative to the tempo of the song, so you can use Effectrix to generate anything from slow filter sweeps to furious, broken‑up, glitchy rhythm patterns. What's more, you can create up to 12 different grid and step sequencer setups and assign these to the notes on a MIDI keyboard, allowing you to switch instantly between different patterns, and there are handy copy, paste and randomise functions to make the process as painless as possible. The range of effects will keep most users busy for a good long time, and covers most of the obvious bases, with a few novelties thrown into the mix, though I can imagine that some people will miss a 'kill EQ'. The quality of the effects themselves is a little variable.

I liked the vinyl effects, the filter and the phaser, while the 'tonal delay' mainly produces a metallic ringing sound, which is a bit of an acquired taste. I'm not quite sure how bit‑crushers manage to sound so different, but they do, and I didn't like this one at all — it sounds fizzy and thin, rather than crunchy or brutal. Artillery2 loses the grid, instead building on the idea of turning your MIDI keyboard into a real‑time control device.

Zones on an on‑screen keyboard are assigned to the different effects generators in much the same way as the individual samples in a multisample, except that there's no velocity layering. Each effect can be set to latch on and off when you hit a key in its zone, or to run for only as long as you hold the key down; they all default to the latter mode, which is sensible for things like the vinyl scratch effects, but less so for phasers and the like. Some effects, like the tonal delay, respond to note pitch, so it can be useful to have these assigned to a fairly large keyboard zone, whilst others only really need one or two keys. You can have as many effects active at once as you like, but only one zone can be selected for editing. Most effects have three or four main editable parameters, and each of these can have its own, independent modulation source: envelopes, LFOs, envelope followers and step sequencers are available. All the Effectrix effects are included, again all with their own presets, but there are several worthwhile additions.