Feb 21, 2018 - SONiVOX Vocalizer Pro v1.3 INTERNAL Part instrument, part processor, Vocalizer Pro is the ultimate instrument expansion tool. Mar 18, 2015 - Part instrument, part processor, Vocalizer Pro is the ultimate. Free to try Sonivox Mac OS X 10.10/10.7/10.8/10.9 Version 1.3 Full Specs.

VOCALIZER PRO 1.3 Vocalizer is described as a completely new concept in modern music production that couples a new technology synthesis engine with an open input based architecture. Vocalizer is one part effect plug-in and one part virtual instrument. Vocalists, non-vocalists, & producers feed Vocalizer any audio source, and it re-pitches, effects, and re-synthesizes the original source into a whole new sound.

Primarily designed for vocal use, vocalists will enjoy the vast options afforded by Vocalizer to add previously unattainable dimensions to their voice. Inversely, non-vocalists will enjoy the opportunity to use their voices in musical ways that they previously thought impossible. What’s New in VOCALIZER PRO 1.3: • Revolutionary MIDI-controlled audio effect • Unparalleled vocoding, re-synthesis and signal processing from subtle to mind-blowing • Expanded controls including FFT audio processing suite • Pitch shift, formant, improved frequency control and spreading • Two rows of performance pads extend playability and live performance control • AU, VST, RTAS and AAX Support • 64 Bit & 32 Bit System Requirements:–.

Note: The download is of a PDF with links to the installers. Strings They're lush. They're dramatic. They're emotionally evocative. Nothing sets the mood like well-done ensemble strings in the hands of a skilled composer/arranger/producer.

The key, of course, is 'well-done,' and you're sunk before you start if your strings sound like screechy steel cables instead of a rich, silky, expressive string ensemble. We'll never let that happen to you.

That was our mindset when we created Orchestral Companion Strings. The SONiVOX design team has produced over 90 outstanding string programs, each one meticulously crafted to deliver as accurate and convincing an experience as possible. Your productions deserve nothing less. There is a comprehensive collection of full orchestral string ensembles, which are fantastic for background string parts or quickly sketching out an orchestral score. But we also offer you also a full array of individual string sections so you can really customize and polish your final creation by building things up section by section. The key is flexibility—you can compose and create on as detailed a level as you'd like.

All sections are fully represented, including 1st violins, 2nd violins, violas, cellos and contra basses. Up and down bow bowing, sustain, staccato, and spiccato notes, plus instrument pizzicato and tremolo articulations provide the depth of content needed for convincing ensemble string parts and tracks. What really sets the SONiVOX Orchestral Companion Strings apart from other seemingly similar products is this: We spared no effort or expense in seeking out the best musicians playing the best-sounding instruments, and we took the necessary steps to record them correctly in the most lifelike manner possible. We paid attention to every detail—we left no stone unturned, as they say. All because we knew you wouldn't accept shrill, grating, artificial-sounding strings any more than you'd put up with some cheap product knock-off from a shady street vendor. The technical details of how we did this are actually pretty interesting, so here they are: World-Class Musicians; Top-Tier instruments We recorded the Orchestral Companion Strings in the legendary Futura Productions studios in Massachusetts. Members of the Boston Pops and/or Boston Ballet Orchestras played all performances, with the same premium instruments they use for their actual concert galas and events.

A combination of spot and ambient mic’ing capture every instrumental nuance, while preserving the refined acoustics and intimacy of the performance space itself. State-of-the-Art Sampling Sessions Under the expert guidance of SONiVOX musical sound connoisseur Jennifer Hruska, each sample session was faithfully recorded by Emmy award-winning engineers Antonio Oliart and RIAA award-winning engineer John Bono. The players were positioned using orchestrally-correct seating, and measures were even taken to compensate for the sound-absorption of any players absent on that particular day. In order to retain a realistic 'organic' feel, we used absolutely minimal post-recording electronic processing. We used two B&K 4011 microphones to preserve the highly-desired front-of-hall sound (you know, the 'good seats'), while superior-grade spot mics accurately captured each instrument's individual detail.