Spitfire orbis torrent download

Yet it is several decades ahead of its time, offering everything from tubes already digital for easy processing to plenty of wattage with external tubes. The monitor speaker is also made up of two speakers in one cabinet, so you can monitor your own playing or another's along with your music.

Another unique features are the midi input and output jacks - connecting to other instruments and even audio sequencers - as well as a hi-fi headphone jack for silent practice sessions without disturbing others. The headphone jack can also drive your iPod or MP3 player for added convenience. The Albion is a versatile beast that can really be used for recording or practicing alone at any hour, with its footswitchable tube overdrive, various effects, individual line outs, speaker simulation output and two independent inputs.

Yes, this is a single user license, but our EULA allows for installation on up to two computers at a time. Orbis works well with any number of libraries, from orchestral to other synthesizers. This library has many unique and versatile sounds. Frequently Asked Questions. Does Orbis feature any content from Earth Encounters? I am an owner of Earth Encounters.

Are there crossgrade paths? My first intuition told me that the sliders were the faders for Bays A and B. In fact, the left slider controlled the level for both bays, with the right apparently crossfading between the two bays by way of the Mod wheel.

Some routine sound-design tools and techniques are less than obvious partly due to weak visual contrast. Solo buttons would be a significant boost to the sound-design workflow. By default, the aforementioned knob is assigned to control highpass and lowpass filter frequencies as well as the attack rate for each of the bays. When you click in the center circle, a popup window will appear for choosing the parameter you want to modulate.

You can assign other parameters to control, but the wheel can only control one parameter at a time. I also question the usefulness of the upper panels, particularly as it comes at the expense of the remaining parameters, whose controls are proportionately smaller. By contrast, adjusting the filters makes excellent use of visuals.

The Wobble section hardwires a set of independent LFOs to each Bay, one each for volume, pitch, and filter cutoff. Again, Orbis makes good use of visual editing. When you click on the waveform and swipe left or right to change its frequency, the image dynamically expands or contracts.

The sliders to the right of each LFO control modulation depth. The gating sequencer allows independent patterns to trigger each bay. Clicking in the topmost panel opens a neatly arrayed browser, with patches on the right-hand side often displaying their origins. Menus comprise a different sample for each key in a more or less construction-kit style. However, many hold up well when you play them in short durations, and others—particularly the wind-instrument one-shots—fare beautifully as musical snippets reminiscent of Jon Hassell when played polyphonically.

Because they are tempo-synced, they unfold in harmony at the same time listen to Clip 1 below. The unprocessed loops are marvels of unquantized humanity; although they sync to tempo, they speed up, slow, down, hesitate, and breathe listen to Clip 2.