UVI Digital Synsations，90年代風格合成器音色庫 價格比國外官網更便宜
In the late 80's and early 90's the synthesizer landscape began to change. A new breed of keyboards began appearing in shops, records and on stage; matte black behemoths eschewing the familiar knob arrays for uniform clusters of discrete buttons and glowing green LCD screens. They signaled more than a shift in interaction with our musical counterparts‚ they ushered in the era of the digital synth.
To those willing to forgo the immediacy and ease-of-editing of the analog synth world these keyboards offered amazing features for the time; massive polyphony, extensive on-board sequencers and pattern memory, removable storage and digital effects. In addition to the immediate benefits of digital processing some of these keyboards also dawned innovative hybrid synthesis techniques, combining sample playback with classic methods allowing synthesists and musicians the opportunity to explore new sonic territory.
4 Classics, Massive Patch Library
Pristine Sound, Deeply Editable
The original hardware combines next generation FM synthesis with 16-bit sampled sounds from internal memory or stored on removable ROM cards. The AFM engine on these synths allows you to freely apply filters and envelopes to any of the sampled sounds and then roll the resulting waveforms back into the FM algorithm prior to further filtering. This novel approach, dubbed RCM hybrid synthesis, can be used to yield extremely versatile sonic results.
The Korg M1 employs Advanced Integrated synthesis, a hybrid synthesis engine that allows the creation of sounds made up of 16-bit multisamples or harmonic tables generated from by digital analysis from sample data similar to additive synthesis. These methods can be employed in parallel for even greater sonic diversity.
A very popular Japanese synth with a purely digital signal path allowing the combination of 8-bit PCM samples with linear arithmetic synthesis to produce single hybrid sounds or complex cross modulations between the two. Furthermore you can layer two of these sounds together into a patch for a total of 4 digital OSCs. Each OSC can be independently programmed resulting in a remarkable variety of tonal possibilities.
The Ensoniq VFX uses a wavetable-like synthesis method similar to that of the PPG Wave. Up to 6 waves can be combined and layered into a single patch which feeds an impressive array of dual multi-mode filters, three 11-stage envelopes, an LFO and a 24-bit effects processor. Advanced parameter mapping allows up to 15 sources to be used for extremely complex modulations and sound shaping.
1.帝米為 UVI 公司海外簽約經銷商。