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Nuendo 4.3 Patch - Download

2011-09-16T11:15:00.002-03:00

PATCH / CRACK PARA STEINBERG NUENDO 4.3

DOWNLOAD:
http://depositfiles.com/es/files/zyfaccuhg?redirect

Nuendo 4.3 Download Descargar

2011-09-16T10:19:00.000-03:00

Steinberg Nuendo 4.3

DOWNLOAD:

Part 1: http://depositfiles.com/es/files/u48p7mzt1?redirect

Part 2: http://depositfiles.com/es/files/2nuyd79kf?redirect

Part 3: http://depositfiles.com/es/files/7ub7kkg7g?redirect

Part 4: http://depositfiles.com/es/files/tnwwadr9y?redirect

Part 5: http://depositfiles.com/es/files/3u3w8y499?redirect

Part 6: http://depositfiles.com/es/files/2iud44jl0?redirect

(Tamaño: 2.82 Gb)

Novedades de Nuendo 4

* Nuevo sistema de automatización: modos punch out individuales por canal, previsualización multifuncional que ayuda a encontrar los parámetros correctos y permite realizar cambios en varios parámetros de una sola vez, funcionalidad de suspensión que excluye parámetros en la lectura y escritura, comandos de relleno y asistente Unique Touch Collect
* Entorno de base de datos MediaBay: ofrece control sobre las librerías de samples y efectos desde Nuendo, con sistema de navegación y búsqueda de archivos de audio, vídeo y MIDI, proyectos e incluso presets de instrumentos. Permite organizar por carpetas y atributos definidos por el usuario
* Nuevas características de postproducción: 20 nuevos comaandos y herramientas como “Cut Head” “Cut Tail”, “Enlarge/Move Range to previous/next Event”, etc.
* 38 nuevos efectos VST3, elevando el número total a 60: destaca el ecualizador paramétrico de 4 bandas (estándar en cadacanal), el filtro Post (para eliminar ruidos n deseados) y nuevas herramientas de dinámica (3 compresores, un expansor y un limitador)
* Ruteo avanzado y grabación desde objetos Summing: permite el ruteo libre entre grupos de canales sin importar su orden, y puede enviar señales desde los grupos a los retornos de efectos y viceversa. Las pistas de audio no sólo pueden enviar señal a los grupos y retornos con los envíos pre fader, sino que también pueden patchear señales post fader desde la pestaña de salida hacia los grupos de canales y retornos de efectos. Además, se pueden rutear de nuevo señales de los objetos summing como buses, retornos de efectos o grupos directamente hacia las pistas de audio, permitiendo así nuevas grabaciones de las señales de objetos summing en las pistas a tiempo real. Nuendo detecta qué combinaciones puedencrear un bucle feedback y las desactiva.
* Side Chaining y "Arrastrar y soltar" para plugins de efectos VST3
* Controles rápidos de pista (Track Quick Controls) en el Track Inspector: son ocho controladores a tiempo real configurables por el usuario, que pueden asignarse a cualquier parámetro disponible en la pista (audio, MIDI o instrumento)
* Presets de pista: son capturas completas de los parámetros de un canal, disponibles para pistas audio, MIDI y de instrumentos, y pueden ser gestionadas por MediaBay
* Compatible con Mac Intel y Windows Vista 64
* Editor de samples rediseñado
* Nuevo Logical Project Editor: permite la manipulación de pistas y partes o eventos, incluyendo carpetas de pistas, con acciones como eliminar todo hasta el cursor, quitar el mute de todas las pistas mute, renombrar pistas y eventos o borrar automatizaciones concretas
* Pistas de instrumento: combinan entrada MIDI y salida de audio en una sola pista y canal del mezclador, ahorrando tiempo a los que utilizan instrumentos virtuales en Nuendo 4
* MPEX 3: time-stretching y pitch-shifting de calidad
* Nuendo EuCon Adapter (opcional): integración con controladores hardware de Euphonix
* Soporte WK-Audio ID actualizado
* Permite usar la rueda de ratón para fades y eventos de volumen
* Soporte QuickTime 7 avanzado
* Ventana Goto Timecode separada
* Soporte Apple remote
* Direct X ASIO 64 Bit
* MP3 Surround
* Nueva herramienta Trim
* Transposición Global Track
* Nuevo tipo de archivo: MIDI Loop

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Manufacturer's description

Delivering a next-generation audio production environment for audio post, studio production and live recording, Nuendo 4 empowers audio professionals by elevating creativity and productivity to new heights. Technologically advanced yet extraordinarily intuitive and fully customizable, Nuendo 4 offers streamlined, precision tools that save time and boost creativity for audio professionals in today’s media, recording and film industries. Nuendo 4 provides scaleable, cross-platform systems that integrate easily and fully withpremiere components by industry-leading plug-in and hardware manufacturers. Steinberg technologies provide unprecedented power, flexibility and speed, accelerating recording, mixing, editing and sound design workflows to an unprecedented level.

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Manufacturer's description

Delivering a next-generation audio production environment for audio post, studio production and live recording, Nuendo 4 empowers audio professionals by elevating creativity and productivity to new heights. Technologically advanced yet extraordinarily intuitive and fully customizable, Nuendo 4 offers streamlined, precision tools that save time and boost creativity for audio professionals in today’s media, recording and film industries. Nuendo 4 provides scaleable, cross-platform systems that integrate easily and fully with premierecomponents by industry-leading plug-in and hardware manufacturers. Steinberg technologies provide unprecedented power, flexibility and speed, accelerating recording, mixing, editing and sound design workflows to an unprecedented level.

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Review of http://www.soundonsound.com

About seven and a half years ago I found myself standing at a Steinberg exhibition booth watching a demonstration of Nuendo 1.0. It was pretty impressive. Here was a modern audio application with features that competitors could only dream about at the time, such as sophisticated multiple undo and surround support, running without the aid of any additional hardware. And so I found myself pondering whether Steinberg would be able to make a significant dent in an industry that was, at the time, being taken over by Digidesign’s Pro Tools.

The Nuendo revolution never quite happened, though. Hindered by subsequent changes in Steinberg’s ownership and management, Nuendo’s original focus towards pro audio and post-production became somewhat diluted with the release of Cubase SX (which was built on the foundations of Nuendo) and Nuendo 2, which then included all of Cubase SX’s functionality. Few really understood where the line was drawn between Cubase for music and Nuendo for post-production, and most people couldn’t even see a line in the first place.

With Nuendo 3, Steinberg really made an effort to add features to the application that would appeal to the post-production market, such as AAF support for interoperability with other audio workstations, support for playing back video via dedicated hardware, and compatibility with tools such as Gallery’s ADR Studio. Nuendo 3.1 added features for audio pull-up and pull-down, and Nuendo 3.2 introduced the Control Room, which provided comprehensive monitoring and talkback facilities without the need for an external mixer.

Nuendo 4 incorporates nearly all of the features from Cubase 4, and perhaps the most significant of these new features for Nuendo users will be the Media Bay, which provides a comprehensive way of databasing and cataloguing audio assets. For more information about the features that have been inherited from Cubase 4, be sure to read Sam Inglis’s review in last December’s SOS (www.soundonsound.com/sos/dec06/articles/cubase4.htm).

Pain In The NEK

It’s customary to start a review of a new upgrade by looking at the features that have been added, but in this case we need to take a moment to discuss features that have been removed. As mentioned in the introduction, Steinberg originally added full, Cubase-level MIDI functionality to Nuendo in version 2; but in version 4 the company have decided to take out the Drum and Score editors, and to not include the four new VST Instruments supplied with Cubase 4. These features are still available to Nuendo users, but only if they buy an optional Nuendo Expansion Kit (NEK) on top of the basic upgrade.

The Nuendo Expansion Kit is a separate boxed product and comes with a manual, DVD, and Syncrosoft activation code that enables you to download the licence for the NEK to your Syncrosoft dongle. Once Nuendo detects an NEK licence it will reveal the Score and Drum editors, and running the installer on the DVD will add the Halion One, Prologue, Spector and Mystic VST Instruments to your system. (A side note about the Score editor in Nuendo 4 is that you can now import and export MusicXML files, which is pretty neat, as it provides a way to share data with other score-writing applications, keeping symbols and other articulation markings intact.)

After raising the cost of Nuendo to £1450 with version 3, Steinberg have now lowered that price to £1250 for version 4, with the NEK costing an additional £200. For existing Nuendo users, Steinberg offer two choices of upgrades to Nuendo 4: one with the NEK for £270, and one without for £170. As many users have pointed out, it seems slightly odd that an upgrade removes features you already paid for unless you pay another £100 to get those features back again. However, Steinberg’s rather amusing position (as presented by moderators on Nuendo’s official forum) was that the upgrade price for Nuendo 3 users upgrading to version 4 was £270, but you could opt to pay less if you didn’t need certain features. Um, right.

I have to say that I really don’t understand what Steinberg hope to achieve by introducing the NEK. While the motive is presumably to further distinguish Nuendo’s post-production abilities from Cubase’s music creation heritage, it seems a bit clumsy to do this now by removing features that have been part of Nuendo for over four years. I think that Nuendo is sufficiently well-known at this point that a post-production professional is not going to overlook the program just because it also comes with score and drum editing features.

It’s somewhat perverse that, even though Nuendo is more expensive than Cubase, you still need to spend more money to get the functionality included with the less expensive application. Arguably this has always been Steinberg’s problem in separating Cubase and Nuendo — the company sees both products as flagship products for different markets, even though they’re the same application at heart. The funny thing is that, as you’ll see from the rest of the review, Steinberg are actually doing a great job of tailoring Nuendo to suit the needs of the post-production professional, without needing to confuse the issue further.

Waiting For A Bus

For some time, one of the biggest criticisms of Nuendo’s mixer has been the lack of flexible bussing, and specifically, of a way to route the output of a Group to the input of an audio track. This is important because mixers, especially in post-production, will need to deliver mixes as stems, where a stem is basically a submix of a number of related audio tracks. For example, when music is delivered to a dub stage for mixing into a film, a mix is normally separated into a number of stems for groups of instruments like strings, brass, percussion and synths. If all the stems are played together at 0dB, this will be the mix as the music mixer intended it; but often the dubbing mixer will need finer control over certain sounds to help the music sit better with the dialogue and effects, and this is where having the mix as a number of stems rather than as one audio file comes in handy.

In previous versions of Nuendo, stems would have to be recorded one at a time by using Nuendo’s Export Audio Mixdown command, which was incredibly frustrating. And while you could fake the idea of record busses by looping a number of outputs on your audio hardware to inputs, this could be a limiting approach and also threw up a bucketload of offset issues. But now, finally, in Nuendo 4, group and FX channels can be used as inputs to audio tracks.

FX channels are effectively the same as group channels, except for the fact that you can choose to add an insert effect automatically when you create an FX channel, and these channels are visually grouped together separately from group channels. Like many Nuendo (and Cubase) users, I wonder why we need both, and whether life wouldn’t be simpler with fewer different types of mixer objects. On the other hand, I can see that some users may find the distinction helpful in separating FX channels for effects and group channels for submixing, even though it becomes less clear when you start putting inserts on your groups as well, such as when submixing drums.

If you’re used to working in Pro Tools, routing audio in Nuendo’s mixer is a little bit different, because the separate functionality of buses and auxiliary inputs in Pro Tools is combined into single objects in Nuendo, which are group channels. This means if you want to record the output of an audio track to another audio track, you route the first track to a group and then set that group as the input for the other audio track. However, at this point, you end up with the same signal coming out of the group and the audio track, so if you’re just using groups to bus audio between audio tracks, it can be a good idea to set the output of the group to ‘No Bus’.

The new routing capabilities in Nuendo 4 go well beyond just being able to route groups to audio tracks, though. As before, VST Instrument and Rewire channels can also be routed to groups, along with sends and the new ‘instrument’ channels, but groups themselves can now be routed via an output or a send to any other group in the mixer, as opposed to only groups to the right of that group in the mixer (as in the previous version). And it’s also now possible for groups to be routed to FX channels and vice versa, or for audio tracks to be routed directly to an FX channel, making groups and FX channels even more interchangeable.

The only slight limitation with the new routing features is that when you select a group (or FX channel) to be the input of an audio track, the group you select must be of the same channel configuration as the audio track. A consequence of this is that you can’t have individual channels from a 5.1 group as the inputs to a stereo audio track. When using Input channels as the input to an audio track, you would normally create a ‘child bus’ for an input that has a different channel configuration to the audio track. But while Nuendo does indeed still allow you to create child buses for group channels, you can’t route the stereo child bus of a 5.1 group as the input of an audio track, which you can do in Pro Tools.

Despite this one limitation, Nuendo users will be (or should be, at least) having parties in the street for the new routing flexibility, which is a huge improvement over previous versions and adds a crucial ability to the application that had been noticeably absent for some time. Now, if only you could route a channel to multiple outputs without having to use sends...

Strictly Automation

Another area of Nuendo’s mixer that’s been somewhat lacking is the automation functionality, and for version 4 Steinberg have clearly put a significant amount of effort into understanding the automation features required by post-production professionals. This task has perhaps been aided by Steinberg’s relationship with Euphonix, and Nuendo 4 now offers automation features similar to high-end mixing consoles such as Euphonix’s System 5 series. These will be of particular benefit to those using one of Euphonix’s control surfaces, such as the MC or System 5 MC.

The Automation panel provides easy access to Nuendo’s automation features, and the clear colouring makes it very easy to see the current automation state with a casual glance.

To begin with, all of the controls for accessing Nuendo’s automation features, such as the Return Time parameter, previously on the Project window’s toolbar, and the Automation Reduction Level preference, have been placed into the new Automation panel. Like the Transport panel, the Automation panel can be customised so you can set which categories of controls you want to see. But its design is quite different and seems almost tactile, with a large number of cleanly laid-out and well-sized buttons that give a clear indication as to the status of the automation controls. In fact, this panel seems crying out to be used in conjunction with a touchscreen.

Previously, when you chose a mode for writing automation data, such as Touch or Auto-Latch, that mode would be global so the data created when you adjusted the controls of any track would be written using the same automation mode. In Nuendo 4, there’s still a global automation control, but an additional track Automation Mode parameter has been added to the General section of each track, allowing you to set an independent automation mode for each track.

In Nuendo 3, enabling automation on a track would arm all controls on that track for automation. So if you were riding a volume fader in an automation pass and you suddenly wanted to trim the reverb send level on that track, both the volume and send level would generate automation data. To solve this, Nuendo 4’s Automation panel includes the ability to suspend certain types of automation from being written when a track is armed for an automation pass, and a duplicate set of suspend controls let you suspend certain types of automation from being read back as well.

Another problem with the automation in previous versions of Nuendo was that, although you could edit the data quite easily, there weren’t any tools to help you achieve certain tasks quickly with the faders, which is of particular concern to those who use control surfaces. A good example, which is mentioned in Nuendo’s well-presented manual, is where you start recording a pass of automation and you want the value of the fader at the end of your pass to be written to the end of the Project, rather than having to keep the fader held down with the transport running, or using the mouse to make the edit manually afterwards.

To this end, Nuendo now offers a number of Fill options, of which Fill To End would aid the situation just described. Before (or during) the automation pass you enable the To End button in the Automation panel, and when you release the control you’re automating, the current value of that control as it’s released will be written to the end of the Project. Likewise, Fill To Start and Fill To Punch write the current value of a control being automated to either the start of the Project or the point at which you started the transport rolling for that pass, while Fill Loop writes the current value when the control being automated is released to the current loop region. Finally, Fill Gaps does exactly was it says — see the ‘Virgin Territories’ box for an explanation of how you could end up with gaps in the automation.

A nice touch with the Fill commands is that clicking a command once enables it for the current or next automation pass, and the command automatically disables itself after you press stop, just like Nuendo’s Punch In command. However, if you click the command again when it’s already enabled, a lock icon appears by that command, and it will remain permanently engaged no matter how many times you start and stop the transport, until you click the button again to disable the command.

Sneak Preview

In addition to the common Read and Write Automation functions, Nuendo 4 adds a new Preview mode as well, and automation tracks have an additional ‘P’ button to activate Preview mode, alongside the familiar ‘R’ and ‘W’ buttons. When Preview mode is enabled in the Automation panel, you can enable individual controls for a Preview pass by either touching the control or enabling the Preview button on the automation track for that control. While you can enable Preview mode while the transport is running or not, once a control is armed for Preview and the transport’s running, you’ll be able to try out an automation pass with that control without deleting any of the existing automation for that control — hence, Preview mode.

However, Preview mode allows you to do much more than simply preview an automation pass. Once Preview mode is active, three additional commands become available in the Automation panel: Suspend, Punch and Punch on Play. The Preview Suspend command allows you to toggle between the current Preview position of an automation control and the original automation data that already exists for that control, which is, as you can imagine, incredibly useful. Punch lets you punch in and start replacing the existing automation from the current transport position, at which point Preview mode will become inactive.

When you punch in from Preview mode, Nuendo will store the values of all the controls that were enabled in Preview mode as an entry in the Punch Log, which is part of the Automation panel. The Punch Log is set to store 10 entries by default, although this value can be increased to 100 if you wish. And once your last entry in the Punch Log has been created, Nuendo will start overwriting the entries at the beginning of the log. Once a punch entry has been added to the log, you can recall it by clicking the Load button, and by enabling Punch on Play, the stored values for all controls in that punch will be written as automation the next time the transport starts playing, which is pretty neat.

Preview mode is pretty powerful, but one area that can become frustrating is having to manually enable every single control you want to include in a Preview pass. To help with this there’s a Touch Collect Assistant, which can be enabled via the Touch Assist button on the Automation panel, and groups a channel’s controls so that touching one control enables all controls within a given group. For example, touching a control from a channel’s EQ with Touch Assist enabled activates Preview mode for all the controls of that channel’s EQ. One thing that would be nice, though, is a way of enabling all controls on the mixer for Preview mode with a single command, which would also make it easier to work with snapshots of the entire mixer.

Overall, the new automation features in Nuendo 4 are quite impressive. Other than making it easier to do snapshot automation, Steinberg have addressed almost every conceivable weakness with Nuendo’s original automation features. It perhaps goes without saying that a control surface will help you to get the most out of the new automation functionality, and assigning key commands (or any customisable buttons on your surface) to all of the new controls in the Automation panel is going to be essential.

A Logical Project?

The Project Logical Editor is a new Logical Editor-style window for manipulating objects in the Project window. Here you can see one of the presets that comes with Nuendo 4, which deletes Volume automation tracks.

While the new routing and automation features are tremendously useful, possibly my favourite feature in Nuendo 4 is the new Project Logical Editor, which enables you to manipulate objects in the Project window based on certain conditions. The Project Logical Editor looks like and works in exactly the same way as the Logical Editor, which is used for processing MIDI events, although these two editors work completely independently of each other.

The basic premise of the Project Logical Editor is that you can set a condition, and any object that matches this condition on the Project window can either be selected, deleted, or transformed according to the action you specify. The real power of the Project Logical Editor comes from the fact you can manipulate tracks, parts and events for almost every type of data: audio, MIDI, automation, marker, transpose and Arranger types are all supported. The only absent types I could think of that are part of a Project are Tempo and Signature events, although admittedly you can’t actually display these on the Project window (a shame, since the ability to work with tempo and time signatures alongside other tracks is particularly helpful in applications like Pro Tools and Logic).

As you can imagine, the potential of the Project Logical Editor is quite open-ended, but Steinberg supply a set of presets to give you a taste for what’s possible. There’s a handy ‘Delete Volume Automation’ preset, for example, which demonstrates how you can delete an automation track based on its name. This works by saying ‘Find an object whose Media Type is Automation, where the Container Type is a Track and the name contains Volume.’ For automation this is particularly useful, since it means you could delete or manipulate any type of automation track in this way, whether it’s a common parameter like Volume or some more obscure control from a plug-in.

However, I did find that the ‘name contains’ parameter didn’t always correctly find tracks containing the given string of characters in their names. For example, say you wanted to delete all the automation tracks for the plug-in ModMachine. The Automation tracks are usually labelled something like ‘Ins.:1:ModMachine:Delay1 - Sync Note,’ but searching for ‘name contains ModMachine’ would not delete the track, whereas being more specific, using ‘name contains Sync Note’, would. Also, as you type in longer search strings as parameters in the Project Logical Editor, the text gradually gets smaller until there isn’t enough space, at which point the characters start being superimposed on top of each other.

Any presets you create with the Project Logical Editor can be assigned in Key Commands and be used as part of a macro command.

As with the original Logical Editor, presets for the Project Logical Editor also show up in the key commands window, which offers two benefits. Firstly, you can of course assign key commands to your Project Logical Editor presets; but secondly, and far more interestingly, you can create macros that combine these presets with other Nuendo commands. For example, say you wanted to record all of your stems within a Project. Using the Project Logical Editor, you could create presets that disabled record on all the tracks in your Project, another to record arm on all tracks that had a certain string in the name (which would be used to identify those tracks as stems), and finally, one that deleted the stem identification string from the audio events that had been recorded. By combining all these presets into a macro and adding the Record command before the final preset, you would have a very powerful way of recording stems by using just one command, which could itself be assigned to a key command or a control surface.

The Project Logical Editor is a uniquely powerful feature that will easily enable professional users to create more efficient workflows, and probably cause a degree of envy amongst Pro Tools users. There are a few rough edges, maybe the user interface could be a little bit more friendly, and, like a dictator, once you get the hang of it you’ll always be wanting more power. But overall, the Project Logical Editor is terrifically handy.

Last But Not Least

Although Nuendo 4 would be fairly compelling if it only contained the core new features we’ve just discussed, there are also tens of smaller tweaks, improvements and new features. Many of these features, along with the Project Logical Editor, are also part of the recently released Cubase 4.1 update, and despite Steinberg’s marketing describing Nuendo as version 4, the actual shipping version is 4.1, which is presumably for consistency.

The new Quick Controls Inspector section allows you to assign eight track parameters for quick and easy access. Here I’ve used parameters from the RoomWorks and PostFilter plug-ins, the built-in EQ, the first send level, and the overall volume for that track.

To begin with, there’s a new section in the Inspector called Quick Controls, where you can assign any track parameter that can be automated (including all plug-in parameters) to one of eight customisable sliders. This is a great way of making your most commonly used parameters more accessible, and a new Quick Controls device in the Device Setup window lets you assign MIDI commands to remotely control the eight Quick Controls on the currently selected track.

Each track has its own set of Quick Controls, although I was slightly surprised that there’s no way to create a preset of a set of Quick Control assignments. On the plus side, the Quick Controls are at least part of a track preset, but I can definitely see situations where I might want to add the same Quick Controls to a track without having to apply an entire track preset.

The Sample Editor also sees some improvement in Nuendo 4, with a slightly redesigned user interface that now incorporates an Inspector. The Sample Editor’s Inspector consolidates many of the commands you would need to access in the Sample Editor into one location, and includes many of the definition features for hitpoints and so on that used to be on the window’s toolbar. I’m not sure if I’m crazy about this change, because the Inspector cuts into the width of the window, meaning that there’s marginally less space for the sample data to be displayed, especially if you have the Region list displayed as well, on the opposite side of the window. On the other hand, it does make Nuendo’s editors more consistent, particularly now the Score editor also incorporates an Inspector, as in Cubase 4.

On the Project window, the Play Order track is now known as the Arrange track, and a new Transpose track has also been added that allows you to create Transpose parts that globally transpose both MIDI and audio data over a given range.

In the category of ‘small but incredibly useful’ improvements, there’s a new preference that makes the fade handles for audio events always display at the top of the event, rather than on the same level as the event volume handle. This makes it much easier to make fade adjustments when the event volume is fairly low and the fade handles would otherwise be masked by the event start and end handles. Another related new preference allows you adjust the fade handles by using the mouse wheel, which is also handy.

Mac users might get a kick out of the fact that the buttons on the Apple Remote can now be used to trigger any command in Nuendo, and both Mac and Windows users will benefit from improved Quicktime 7 support. MPEG1, MPEG4 and H264 codecs are now supported, and Nuendo’s Replace Audio in Video File command is now compatible with all Quicktime audio formats.

An incredibly welcome change when loading Projects is that, if you already have a Project open and you start to open another, Nuendo will ask you whether you want to activate that Project or not. This is an absolute Godsend for people who work with large and complicated Projects that can take several minutes to activate. Previously, if you wanted to drag and drop some data from another Project you would have to open it, wait for it to activate, drag and drop the data, and then close and reactivate the first Project.

Conclusion

Nuendo 4 is a significant release that addresses many long-term issues with the routing and automation functionality in the mixer, while adding other new and innovative features as well. Although Steinberg’s focus is clearly post-production, Nuendo’s new features should also appeal to a broader range of users, particularly those who wouldn’t mind having advanced automation features inspired by high-end mixing consoles. The company’s marketing stresses how Nuendo 4 will help deadlines be met, and while this is a hard concept to quantify, there’s no doubt that there are many features — notably the Project Logical Editor — that will help improve and, in some cases create, efficient working practices.

MIDI (or, rather, music creation) features seem to come in and out of Nuendo like a ratcatcher’s elbow, and I think separating a few of the lesser-used editors into the Nuendo Expansion Kit will end up annoying more people than it attracts to Nuendo. The concept of ‘buy only the features you need’ didn’t work for music and audio software developers in the mid-’90s, and I can’t see it working any better now.

However, despite the confusion with the NEK, in many ways Nuendo 4 is really two versions worth of upgrades, if you count all the features included from Cubase 4, along with the features outlined in this review. And while Cubase 4 received some criticism for offering features that users had never asked for, Nuendo 4’s core improvements seem centred around requests that have been made by users, and particularly by those professionals who are now relying on Nuendo for their day-to-day work.

It’s funny to think that it’s been 10 years since Steinberg first announced Nuendo as a high-end solution for audio post-production on Silicon Graphics workstations. And while Silicon Graphics are no longer in the workstation business, Nuendo finally seems like it’s in a position to handle a demanding professional workload without any compromises.

DOWNLOAD:

Part 1: http://depositfiles.com/es/files/u48p7mzt1?redirect

Part 2: http://depositfiles.com/es/files/2nuyd79kf?redirect

Part 3: http://depositfiles.com/es/files/7ub7kkg7g?redirect

Part 4: http://depositfiles.com/es/files/tnwwadr9y?redirect

Part 5: http://depositfiles.com/es/files/3u3w8y499?redirect

Part 6: http://depositfiles.com/es/files/2iud44jl0?redirect

(Tamaño: 2.82 Gb)

Avid Torq 2.0 Download Descargar

2011-08-04T00:45:00.000-03:00

Avid Torq 2.0

Download: http://depositfiles.com/files/475wgp729

Torq® 2.0 DJ software takes you beyond beat matching and into the future of DJ performance and real-time production. Don’t just spin tracks—reinvent them. Take advantage of all four decks to create unique, complex, and dynamic mixes. Develop your own sound using high-quality, innovative effects and a powerful built-in sampler. Go beyond crossfading by transitioning between tracks in exciting new ways using the innovative new Traq Morph™ feature. You can easily integrate Torq 2.0 with turntables, CD decks, and a variety of popular DJ controllers—or run the software on its own. Designed for rock-solid stability and peak performance, Torq 2.0 gives you unlimited ways to create your own sound on the dance floor, in the studio, and beyond.

Unlimited Mixing Possibilities

With Torq software, automatic beat-detection and synchronization are just the beginning. Four full-featured decks—each with EQ, level control, headphone cueing, and crossfade—give you the power to build complex mixes and experiment in brand-new ways. Use the decks to prepare tracks during your set, then drop them into the mix and create dense, layered soundscapes. Tempo Anchors remove tempo variations from your tracks—or make other songs adopt the tempo changes—so you can easily blend older styles of music (such as classic funk and soul) with new. The zplane élastique time-stretching algorithm performs extreme audio warping with exceptional precision and sonic quality—allowing you to keep your entire mix perfectly in key.

Traq Morph—The Crossfader’s Second Coming

Torq software’s patent-pending Traq Morph™ feature is the biggest innovation in fading since the crossfader itself. It allows you to perform exciting transitions that would otherwise be impossible—short of having six hands and a rack of studio gear. Select between four flavors—Cut, Filter, Duck, and Morph—and Torq intelligently applies effects as you fade between songs. Use Filter mode to cut the bass out of Track A while introducing the bass of Track B as you move the crossfader, creating seamless transitions. Select Duck mode to introduce electro house-style ducking as you fade. Enable Cut mode to rhythmically cut back and forth between tracks in the mix. Or choose the Morph setting and hear Torq mix your audio sources in radical ways. Traq Morph takes you beyond the basic crossfades of yesterday and delivers exciting new transitions that will leave the crowd begging for more.

Live Remix Machine

Torq revolutionized digital DJ performance and production by combining DJ software essentials with a variety of cutting-edge features. Torq 2.0 goes even deeper with high-quality new effects and up to four simultaneous effect inserts per deck. But it doesn’t stop there—VST support means you can manipulate your sound with any of the countless VST effects on the market. Each deck supports four simultaneous built-in effects and one VST effect—for a total of 20 effects at once—so you can completely reinvent your sound night after night. Torq also delivers a host of advanced looping tools for remixing and mashing up tracks on the fly—including QuickLoop buttons, Pre-Loop functionality for capturing a section you just passed, and Smart Mode for capturing loops of musical size. The 18-cell, tempo-synced sampler makes it easy to add loops, samples, and other audio to their mix. Torq 2.0 even comes with 100 MB of free, ready-made loops to get you started.

Intuitive, Stable Operation

The engineering team behind our award-winning Pro Tools virtual instruments and effects applied their expertise to rebuild Torq 2.0 software from the ground up. The result is rock-solid reliability, enhanced usability, and a fresh look. The new Setup Wizard makes it easy to configure compatible hardware, import music libraries, and access sophisticated workflows. The updated Browser and database provide immediate access to your entire music library—even when you’ve got tens of thousands of songs. And of course, ultra-stable operation means you can rock the party all night long.

Customize Your DJ Rig

Do you already own a Numark NS7, Vestax VCI-300, or other popular DJ controller? Adding Torq 2.0 software to the mix opens up a whole new world of creative possibilities. Of course, Torq 2.0 also provides compatibility with the M-Audio Xponent® control surface for the ultimate hands-on experience.

For those who prefer the feel of traditional gear, Torq 2.0 supports vinyl and CD control out of the box—all you need are your favorite turntables or DJ CD players, a compatible audio interface, and a pair of Torq Control Vinyl or CDs (sold separately). So dive right in and build a rig that’s as unique as your sound.

Audio Production Centerpiece

On stage and in the studio, Torq provides the ideal centerpiece for your audio production setup. Want to hook up your outboard gear? Torq can send and receive MIDI beat clock, allowing total synchronization with drum machines, effects boxes, and other computers. ReWire support and an 18-cell sampler let you bring powerful studio processing to your live sets, as well as infuse your studio productions with live energy. Torq is also ReWire-compatible with Pro Tools M-Powered software, Ableton Live, and other popular applications, forever blurring the lines between performer and producer.

System Requirements:

MAC:

Mac OS X 10.5.8 - 10.6.5 (10.6.5 recommended)
Intel Core 2 Duo 2.0 GHz
2 GB RAM
1280 x 800 screen resolution
500 MB available hard drive space*
Multi-channel audio interface recommended

PC:

Windows 7 32/64 (recommended), Windows XP (SP3), or Vista 32/64 (SP2)
Intel Core 2 Duo 2.0 GHz
2 GB RAM
1280 x 800 or 1366 x 768 screen resolution
500 MB available hard drive space*
Multi-channel audio interface recommended

Download: http://depositfiles.com/files/475wgp729

Kontakt 4 Native Instruments - Download Descargar

2011-05-30T23:40:00.002-03:00

Native Instruments Kontakt 4

(without sound library)

KONTAKT 4 is the industry standard sampler from Native Instruments. Its immense 43 GB sound library contains over 1,000 instruments, while the unique Authentic Expression Technology® and a host of other fresh features makes this the most playable and powerful KONTAKT yet.

- REVIEW OF www.musicradar.com -

For those unfamiliar with Kontakt, it's a plug-in and standalone sampler for PC and Mac with a bundled library (43GB in the latest release). Over time, it's developed into one of the most powerful programs of its kind, and can deliver everything from simple mapped hits to full-on multi-layered, modulated, filtered and effected patches.

Structurally, it can run up to 64 individual instruments within its multi-part framework, and uses a modular architecture and workspace for the addition of processing and effects. It includes a variety of sample playback modes, including RAM-based and direct-from-disk, and offers complex real-time timestretching/pitchshifting.

It can import pretty much any sample format, including some original hardware sampler flavours (for example, it loads sounds from Akai CD-ROMs that are normally unreadable by your OS), and also supports loop formats such as Acidized WAV and Apple Loops.

A few months ago, v3.5 surfaced, with a revamped sample playback engine, vastly improved multiprocessor support, enhanced ability to address large amounts of memory and enhanced MIDI learn options. These extras complemented the already impressive features added in version 3, such as instrument Performance Views, which enable the designing of graphical interfaces for Kontakt patches.

Performance Views

One had to wonder where NI could go with v4, and inevitably, it's a combination of refinement and new stuff, with the most immediately obvious improvement being the upgraded Performance Views. What began in v3 as a neat idea has now really come of age, both visually and in terms of functionality.

Each of the seven library categories has its own skin, but beyond this, features are instrument-dependent, ranging from ready-made EQ controls and playback randomisation to velocity response curves and one-touch, scale-specific chord harmonising. You can also select articulations for many of the orchestral patches.

"The improved graphics and feature tweaks have given the library a genuine ROMpler feel."

However, it's the Urban Beats category that we found most impressive, with its separate tabbed interfaces for hits, loops and the groovebox. The latter even enables pattern-style programming. We'll concede that much of this was in Kontakt 3. But the improved graphics and feature tweaks have given the library a genuine ROMpler feel, while retaining the full back-end flexibility.

However, there's no simple way of combining the new or 'upgraded' sample content with that from previous versions - if you're upgrading, you'll be reinstalling sample content that you already have, which is a pain.

Other new features

You'll also find tag-based browsing, much like Kore, and 300 new impulse responses for the convolution processor. Existing users will welcome more subtle changes, such as the manually scalable interface window.

On the sounds front, the bundled library is 10GB larger than Kontakt 3's and is now made up of seven collections: Orchestral, World, Vintage, Band, Synth, Urban Beats and Choir, the latter being the latest addition. This equates to over 1000 instruments and they come pre-tagged, so you can search by type, timbre, genre and so on.

You'll also find a few escapees from discontinued NI products, such as Elektrik Piano, and some new VSL-sourced solo strings for the Orchestral collection, too.

There are a couple of new technical features that should get producers talking. First is the inclusion of a lossless data compression format (NCW), which is said to achieve between 30% and 50% space savings. Although the library doesn't come ready compressed, Kontakt 4 can batch convert any existing library - a good job for a rainy afternoon.

In use, there seems to be no additional CPU hit associated with using NCW, and the RAM preload is reduced, as you might expect. With NCW patches, we did find that some digital artifacts would afflict the sound near the maximum number of voices, but simply raising the voice limit alleviated this.

The other big news is AET, or Authentic Expression Technology. Put simply, this combines an FFT filter module and spectral analysis to enable morphing from one sound to another (as opposed to simply crossfading between samples). In practice, this can be used to move smoothly between velocity layers of multisampled instruments, but more powerful is the option to morph between different sounds completely.

"The bundled library is 10GB larger than Kontakt 3's and is now made up of seven collections."

The manual has a thorough explanation of how AET works, and there are five patches in the Choir library that morph between vowel sounds (as heard in the audio demo below). Sadly, though, these are the only patches in the library that use AET.

We spent some time working with AET and it's certainly impressive and arguably the way forward for multisampling. Even so, if you're a tweaker, you'll no doubt find plenty of creative ways to use and abuse it. And those who really like to go in-depth will appreciate the improved Script Processor, although we expect that this will see the most action in the hands of third-party sample library providers.

Download:

http://depositfiles.com/files/616safkdp

STEINBERG CUBASE SX 3 - DOWNLOAD

2011-04-29T14:04:00.002-03:00

STEINBERG CUBASE SX 3

Cubase SX3 lleva la producción musical a un nuevo nivel añadiendo más de 70 nuevas características. Por primera vez un sistema de producción musical nativo combina grabación y edición de audio y MIDI, instrumentos virtuales y mezcla, con la flexibilidad de un 'arranger' basado en loops y patrones. Disponible en versiones para Mac OSX y Windows, es capaz de trabajar con la gran mayoría de interfaces de audio del mercado. Añadiendo la integración de hardware externo de audio y MIDI, SX3 redefine la tecnología de produción musical.

Estas son las 10 características nuevas más importantes:

* Audio Warp: Timestretching y Pitchshifting en tiempo real, ofrece nuevas capacidades de edición y proceso de audio incluyendo soporte para ACID® File, los loops adoptan el tempo de un proyecto automáticamente, los ficheros de audio pueden seguir los cambios de tempo en tiempo real.
* Nuevo nivel de edición musical creativa con Intuitive Play Order Track para arreglos basados en patrones. Divide tu cancion por secciones y re-arreglala al vuelo. Compara versiones alternativas de tu canción y conviertelas de manera lineal para mezcla y mastering.
* Nuevo Inplace Editor, soporta edición de eventos MIDI ultra-rápida en la ventana del proyecto. Edición de eventos MIDI en contexto con audio o video.
* Nuevo MIDI Device Maps / Panels, para acceder directamente a hardware MIDI externo, con paneles de edición gráfica definibles por el usuario. Importa VST Mixer Maps o crea los tuyos propios incluso para el Track Inspector del channel strip del mezclador.
* Organiza tu escritorio con Workspaces definibles por el usuario. Crea y salva un espacio de trabajo para cada paso del proceso de producción. Cambia de espacio sobre la marcha como trabajando en varios ordenadores o monitores.
* Soporte Total Recall para Studio Connections, integración opcional de Yamaha Studio Manager 2. El primer paso hacia una nueva dimensión de integración de software y hardware. Este sistema de edición modular constituye un puente entre el estudio físico y el virtual. Abriendo un proyecto se puede recuperar en segundos la configuración de todo un estudio.
* Plugins FX externos, integración directa de proceso de efectos externo en el mezclador de audio VST. Usa hardware externo como si fueran plug-ins incluyendo compensación automática de delay.
* Función Freeze para instrumentos virtuales y pistas de audio con flexibilidad y funcionamiento mejorado. Descarga instrumentos o efectos de la RAM con o sin efectos de inserción.
* Nuevas ondas de volumen basadas en partes para control directo de dinámica. Arregla problemas de volumen sobre la marcha sin desperdiciar pistas de automatización. Después es posible mover eventos con su volumen correspondiente.
* Código de colores definible por el usuario para pistas y canales del mezclador VST, para mayor claridad y mejor orientación especialmente en proyectos complejos.

(INFO extraida de www.hispasonic.com)

-----------------------

Tamaño: 120 MB

http://depositfiles.com/files/rfm10fisq

Vegas Pro 9 - Rapidshare Download Descargar

2009-10-02T11:25:00.003-03:00

Sony Vegas Pro 9
La familia Vegas Pro 9 se compone de dos potentes aplicaciones que trabajan combinadas a la perfección para ofrecer un entorno eficaz e intuitivo a los profesionales del vídeo y la difusión. Esta completa familia ofrece la plataforma más robusta y progresiva disponible actualmente para la creación y producción de contenidos. Con una amplia compatibilidad de formatos, un avanzado sistema de procesamiento de efectos, una inigualable compatibilidad de audio y un variado complemento de herramientas de edición, la familia Vegas Pro 9 simplifica su flujo de trabajo. Desde la adquisición hasta la entrega, desde la cámara hasta el soporte Blu-ray Disc™, la familia Vegas Pro 9 le proporciona exactamente lo que necesita para obtener resultados excepcionales.

Herramientas de edición precisas

Edite vídeo SD o HD con la función de arrastrar y colocar, el recorte mediante ratón y teclado y la edición de expansión. Entre sus funciones se incluyen la tecnología ProType Titling, herramientas de edición multicámara, procesamiento de vídeo de punto flotante de 32 bits, diseños de ventana personalizables, ajuste con codificación de colores, compatibilidad mejorada con HDV/SDI/XDCAM, compatibilidad con plugins de Cinescore, detección y reparación de sincronización de A/V y cuantización de fotogramas automática.

Flujo de trabajo eficaz y profesional para sistemas de 32 y 64 bits

La interfaz de Vegas Pro 9 le proporciona un espacio de trabajo totalmente personalizable para ajustarse a sus necesidades de producción. Podrá anclar varias ventanas en distintos monitores y guardar los diseños para que se ajusten a tareas de edición específicas; asimismo, podrá anidar los proyectos de Vegas dentro de la escala de tiempo, personalizar y guardar comandos del teclado y utilizar la creación de secuencias de comandos de aplicaciones para automatizar tareas repetitivas. La administración de medios a nivel de sistema proporciona la máxima eficacia. La renderización en red le permite ahorrar tiempo al utilizar varios equipos y conjuntos de unidades en red para renderizar proyectos complejos. Vegas Pro también es compatible con la edición HD y HDV de 24p.

Amplia compatibilidad de formatos

El software Vegas Pro 9 admite de forma nativa los más recientes formatos de cámaras de vídeo profesionales, incluidos XDCAM EX y RED. El software Vegas Pro 9 también admite imágenes fijas de más de 1 gigapíxel de resolución. Use la herramienta de panoramización y escaneo (Pan and Scan) para crear sorprendentes secuencias de película a partir de estas enormes imágenes manteniendo su resolución HD.

Control de audio de máxima calidad

Utilice pistas ilimitadas, audio de 24 bits/192 kHz, grabación por pinchazos, mezclas surround 5.1, automatización de efectos y compresión/expansión de tiempo. Aplique efectos de audio personalizables en tiempo real, como EQ, Reverb, Delay y muchos más. Amplíe las opciones de procesamiento y mezcla de audio con plugins de audio de DirectX^® y VST compatibles. Utilice la mesa de mezclas para lograr un control de audio preciso.

Potente creación de Blu-ray Disc

Grabe películas en Blu-ray Disc™ directamente desde la escala de tiempo de Vegas Pro para una producción en alta definición. Use el software DVD Architect Pro (incluido con la familia Vegas Pro) para crear discos DVD o Blu-ray Disc con varios ángulos de vídeo, subtítulos, distintos idiomas y funciones especiales. Obtenga una vista previa de su trabajo y pruébelo en tiempo real. Aplique filtros de brillo, contraste, niveles automáticos, recorte y reducción de parpadeo. Inserte marcas de protección de copia de CSS y Macrovision^® en los masters.

Tutoriales interactivos

El software Vegas Pro 9 dispone de un sistema completo de ayuda, así como de tutoriales interactivos detallados que ofrecen demostraciones por pasos de las funciones y características comunes. Estos tutoriales ofrecen un método detallado de conocimiento del producto y la información sobre flujos de trabajo necesaria para realizar las tareas más habituales.

(info: www.sonycreativesoftware.com)

DOWNLOAD:
http://rapidshare.com/files/287813625/Sony.Vegas.Pro.9_todosonido.blogspot.com.rar
CRACK + Video de instalación:
http://rapidshare.com/files/287777220/Sony.Vegas.Pro.9.Crack_todosonido.blogspot.com.rar

IK Multimedia Amplitube Metal v1.0.1 - Download Rapidshare Descagar

2009-09-25T10:44:00.004-03:00

IK Multimedia Amplitube Metal v1.0.1 VST RTAS

AmpliTube Metal

A metal distortion powerhouse software/plug-in

Based on IK’s award-winning AmpliTube 2 software, AmpliTube Metal is the first guitar amp and fx modeling software entirely dedicated to heavy metal gear, with an arsenal of 48 highly acclaimed models of modern and vintage amps, cabinets, stompboxes and rack effects.

AmpliTube Metal offers an ultra-realistic software recreation of 14 stomp boxes, 5 amp models, 13 cabinets, 6 mics, and 9 rack FX for a complete high-gain arsenal of sounds from the late 70’s through today. With extremely rare and collectible models of metal stomp boxes, amp heads and cabinets, from the legendary, hard-to-find Japanese originals to classic British and American essentials, including models based on* the ProCo RAT, Electro-Harmonix® Big Muff Pi, Digitech® Whammy™, several vintage BOSS® effects, Randall® Warhead, Peavey® 5150™, Mesa/Boogie® Triple Rectifier®, and other great emulations based on metal gear.

AmpliTube Metal is based on IK’s award-winning DSM™ (Dynamic Saturation Modeling) technology. The product of over 10 years of research and development, DSM™ delivers unmatched realism and tone in recreating classic analog gear like guitar amps and stompboxes.

AmpliTube Metal is perfect for gain-heads of all styles, from early heavy metal and hard rock to today’s nu metal, thrash and speed metal.

5 separate modules: tuner, configurable Stomp pedal board, Amp head, Cabinet + Mic, and Rack Effects
14 rare Stomp effects with highly acclaimed distortion models
5 classic high-gain Amps
13 cabinet and 6 microphone models
9 post-amp FX Racks
2 fully configurable rigs with up to 32 simultaneous effects
Digital tuner
Stand-alone and VST/AU/RTAS plug-in for all popular DAWs
Includes SpeedTrainer™ for playing along with your favorite recordings
Includes AmpliTube X-GEAR for seamless integration with all the other “Powered by AmpliTube” products, MIDI control and StompIO integration
Powered by AmpliTube® with exclusive DSM™ (Dynamic Saturation Modeling) technology for award-winning sound & realistic feel
Mac OS X (including Leopard) and XP/Vista compatible

(info: http://www.ikmultimedia.com)

Size: 30.2 MB
Download:
http://rapidshare.com/files/284818909/Multimedia.Amplitube.Metal.v1.0.1.VST.RTAS.Incl.KeyGen_todosonido.blogspot.rar

XLN Addictive Drums Download Rapidshare

2008-09-04T10:02:00.001-03:00

XLN Addictive Drums

Addictive Drums is a Complete Drum Production Studio! And by "complete", we do mean complete!

It has everything you need to make a professional drumtrack production. It's flexible, yet very quick to learn and use.

Addictive Drums is built on three major, and equally important, building blocks.
You really need ALL three of them to get a complete drum production:

Drum Samples
Samples of the best brands available, in a studio with great acoustics, with a multi-mic setup. Stored in a multichannel format.

Production Tools
Mixing
Insert Effects
Reverbs
the Know-How of a sound technician / producer

Beats & Fills
The grooves, beats and fills of a good dummer!

Presets:

With one click, you can load up a complete drum production!

The settings for the Kit, the Insert Effects and the 2 built in Reverbs are recalled in a split second!

Save your own presets, and organize them in folders for quick access in any project. They appear automatically in the preset menu!

Addictive Drums gives you over 100 presets in diverse production styles such as:

Acoustic Roomy
Nice natural "full" sound. Subtle use of compression and eq makes this drum production sit very nicely in music that has an acoustic sound.

70's Kit
A dry and crisp muffled kit giving you that instant 70's feel.

Machine
Can real drums sound like an old-school drum machine!? Apparently yes!

Funky Pants
Plate reverb, lots of compression and a slight touch of tape saturation add up to a sweet funk preset taking you back to when papa had a brand new bag!

Live on Stage
Big sound with punchy compression and 2 reverbs. Can you hear the crowd roaring?

90s Rock
A very useful preset for that big fat rock-sound. The compressors are set for lots of attack and sustain, and a slight touch of Hall reverb to the snare give the drums a nice feeling of space. Just add your favourite rock guitar solo on top!

(Info: http://www.xlnaudio.com)

Download:
http://rapidshare.com/users/YGEHQG

(Aporte de Lopa para Sonidofull.com.ar)

EzDrummer Nashville Expansion Download - Rapidshare

2008-09-04T09:51:00.001-03:00

EzDrummer Nashville Expansion

These days Nashville is so much more than just Country music. The town is a melting pot of writers and performers in genres ranging from the most cutting edge Hip-Hop and Electronica to the best of Country and Bluegrass.
The Nashville EZX® takes the traditional country heart of Nashville as a starting point but branches out to become something bigger. A library of percussive sounds, including more then 10.000 samples, that will appeal to musicians, writers and producers in every musical genre in need of EZ access to great drums. The EZX® has a big sound and comes played with sticks, brushes and fingers.
In creating the Nashville EZX® we were lucky to work with two of the best, most experienced players and producers in the business at one of the best recording venues in Nashville.
(info: http://www.toontrack.com)

Download:

http://rapidshare.com/users/JSAJ85

(Creditos a Lopa de Sonidofull.com.ar)

Smaart Live v.5.4 Download Descagar Rapidshare

2008-07-29T13:24:00.003-03:00

Smaart Live v.5.4

Las Funciones de Medición Principales de SmaartLive
Fundamentalmente, SmaartLive es un analizador de doble canal basado en un software, y es capaz de realizar un gran número de tareas de medición que son requeridas por el profesional de audio. SmaartLive no está destinado a reemplazar la audición crítica y la experiencia humana, sino que la aplicación
inteligente de esta plataforma de medición a las tareas de configuración, en la búsqueda y solución de problemas, y en la optimización de sistemas, da al usuario varias ventajas significativas.

SmaartLive contiene un generador de señal interno que simplifica el proceso de la realización de las mediciones creando las señales de prueba apropiadas para cada medición. Así, se elimina la necesidad de una fuente externa para producir las señales de prueba.
SmaartLive también puede controlar equipos externos como procesadores para altavoces, ecualizadores, etc.

(Info extraida de www.siasoft.com - tutorial "Empezando con SmaartLive: Procedimientos Básicos de Montaje y Medición")

DOWNLOAD:
http://rapidshare.com/files/133357474/Smaart.Live.v.5.4__Todosonido.blogspot.com.rar

Sound Reinforcement Handbook - Download Rapidshare

2008-07-04T11:36:00.001-03:00

Sound Reinforcement Handbook (Second Edition)

Written for Yamaha By Gary Davis and Ralph Jones.

Download:
http://rapidshare.com/files/127062589/Yamaha_Sound.Reinforcement.Handbook_Todosonido.blogspot.com.rar

EZdrummer V.1.0 Download Rapidshare

2008-07-04T10:28:00.001-03:00

ToonTrack EZdrummer v.1.0. (PC)
EZdrummer® is a multi-microphone drum sampler designed for musicians and producers in need of a compact, affordable, easy to handle plug-in without compromising sound quality or control. The visualized drums in the interface combine auditioning of sounds and drumkit construction. The extensive drag and drop MIDI library (featuring 8000+ MIDI files) enables users to create a great drum track in just a few clicks. For more advanced handling, users can control microphone bleeding and levels between drums using the internal mixer.
The mixer also allows stereo and multitrack routing into the host through one single plug-in, and thanks to the second generation Toontrack® Percussive Compression (TPC), system requirements are kept to a minimum.
The drums for EZdrummer® were recorded, produced and played with the best in the business. From our pro Superior Drummer® line we’ve adopted the humanizing features that are instrumental in making our drum samplers the pinnacle in digital drum production.

(Info: http://www.toontrack.com)
-----------

Tamaño: 653 MB
Download!!

http://depositfiles.com/es/files/wriecm3fb

Waves Guitar Tool Rack 2.0 Download Rapidshare

2008-06-24T09:52:00.003-03:00

Waves Guitar Tool Rack VST - DX - RTAS v.2.0.

Amplificadores
Waves GTR ofrece 6 modelos de amplificadores, además de una salida directa. Todos los modelos comparten la misma interfaz, es decir, poseen los mismos controles o perillas virtuales.
Desde un menú desplegable el usuario elige alguna de las 7 opciones disponibles, a saber: Direct; Clean; Edgy; Drive, Crunch; Hot y Modern. No hay especificaciones acerca de los amplificadores reales utilizados para crear los modelos virtuales.
Gabinetes
Waves GTR cuenta con 8 gabinetes con los esquemas de bocinas o parlantes más utilizados por guitarristas.

Waves GTR posee 6 mics virtuales que pueden colocarse alineados o desalineados con respecto al centro del cono del parlante o bocina.

Waves GTR utiliza efectos que emulan los clásicos pedales. 23 son los efectos disponibles, que pueden insertarse dentro de tres tipos de pedaleras: para 2, 3 o 6 pedales o efectos simultáneos. 5 procesadores de distorsión; 9 de modulación; 4 módulos de Reverb/Delay; y 5 procesadores básicos (Gate; EQ, Volumen; etc.)

Download (link actualizado):
http://rapidshare.com/files/138989819/Waves.GuitarTool.Rack.VST.DX.RTAS.v2.0-AiR_todosonido.blogspot.com.rar

Nuendo 3.2 Download Rapidshare Descargar

2008-06-04T11:02:00.001-03:00

Steinberg Nuendo 3.2.0.1128

Novedades en Nuendo 3.2

* Sección Control Room completa, con cuatro salidas separadas, nuevos buses Mix, Headphone y Control, retornos de entrada configurables y setups de Monitor definibles por el usuario.
* Cada canal de audio, grupo, retorno FX o VSTi de Nuendo incluye ahora nuevos envíos Studio, permitiendo rutear cada señal a cualquiera de los cuatro Studios.
* Funcionalidad talkback para hablar directamente con los músicos, narradores u otros ejecutantes.
* Se pueden seleccionar y rutear hasta 6 entradas de reproducción hacia cualquier bus Studio, Track, Headphone o Control Room.
* Todas estas carcterísticas de Control Room están integradas en el controlador [ WK Audio ID], una superficie de control hecha a medida especialmente para Nuendo 3.
* Funcionalidad EuCon ampliada, integrando a Nuendo con entornos como Euphonix MC y System 5-MC. Soporte para joysticks duales automatizados products.

(Info extraída de http://www.hispasonic.com)

-----------

Download:

http://rapidshare.com/files/119403151/Steinberg.Nuendo.v.3.2.0.1128-H2O.part1.rar
http://rapidshare.com/files/119436520/Steinberg.Nuendo.v.3.2.0.1128-H2O.part2.rar

Digidesign ProTools M-Powered 7.4 - Descarga Download Rapidshare

2008-05-23T16:26:00.002-03:00

Digidesign ProTools M-Powered 7.4 (PC)

-Con crack

-Con fix para Windows 7

Download:

http://depositfiles.com/es/files/dwol77a65?redirect

Dotado con la potencia de manipulación temporal de Elastic Time, el software Pro Tools M-Powered 7.4 permite que abordes tus proyectos de nuevas maneras creativas, haciendo que tu trabajo con sesiones basadas en el tempo y el tiempo resulte mucho más fácil, eficiente e imaginativo. El software Pro Tools M-Powered 7.4 también soporta los sistemas Windows Vista Ultimate y Business (32-bit).

Stretch Your Sound with Elastic Time

El software Pro Tools M-Powered® 7.4 incluye Elastic Time, una potente función de manipulación temporal en tiempo real que facilita los cambios de tempo o de tiempo sobre la marcha. Para músicos, compositores y productores musicales, Elastic Time consigue que la creación musical basada en bucles resulte más rápida y más imaginativa que nunca, dándote la libertad para explorar diferentes tempos y para experimentar con bucles y archivos de audio que se sincronizan con tu sesión actual a lo largo de todo el proceso de composición. Para ingenieros y editores de post-producción, Elastic Time facilita sobremanera el estiramiento o la compresión de pistas de audio para encajarlas con las secuencias de vídeo, utilizando algoritmos de alta calidad que hacen que tu manipulación temporal resulte prácticamente imperceptible.

Con el software Pro Tools M-Powered 7.4, puedes cambiar el tempo y el timing de bucles, música, diálogos y otros archivos sonoros sin recortar el audio. Crea bucles fácilmente a partir de cualquier archivo de audio — incluso composiciones completas — con la ayuda de un potente análisis del tempo y de los transientes. ¿Quieres oír cómo sonaría un cierto fragmento de audio en tu canción? La nueva función Context Preview permite realizar sencillas preescuchas de bucles y archivos de audio sincronizados al tempo de tu sesión. Incluso los archivos de audio y los bucles importados se adaptan automáticamente al tempo de tu sesión.

Elastic Time no sólo permite manipular el tempo y el tiempo fácilmente, sino que también permite perfeccionar el timing de las interpretaciones con facilidad. Puedes mejorar fácilmente los golpes erróneos cuantizando el audio según el valor de “grid” (Bar|Beat) de tu sesión, o conforme a plantillas extraídas de otros ritmos o interpretaciones MIDI utilizando Beat Detective™, que ofrece la mejor precisión en la detección de picos conocida hasta ahora. Además, puedes depurar las regiones “Elastizadas” con un control preciso sobre cada golpe utilizando la nueva vista de pistas Warp y sus marcadores asociados — incluso puedes aplicar los mismos cambios precisos sobre varias pistas agrupadas conservando las diferencias de timing relativas en grabaciones multipista, como por ejemplo de baterías.

Para garantizarte los mejores resultados posibles, Elastic Time ofrece algunos de los procesamientos que mejor suenan de la industria, y te permite elegir entre varios algoritmos de time-stretching de alta calidad para cada pista. Incluso puedes ajustar aún más la duración de la ventana de procesamiento y la caída para personalizar a mano el procesamiento del audio para cada pista, en lugar de conformarte con utilizar un mismo algoritmo para todas ellas.

Cambia el tempo o el timing de pistas de audio sobre la marcha simplemente ampliando o comprimiendo regiones
Crea bucles fácilmente a partir del análisis de los datos de tempo y de los transientes de cualquier archivo de audio — incluso archivos de antiguos CDs de muestras que tienen varios bucles por corte
Preescucha bucles y archivos de audio sincronizados al tempo actual de tu sesión con Context Preview
Depura tus regiones con un control preciso sobre cada transiente de ataque, usando la nueva vista de pista Warp y sus marcadores asociados
Cuantiza pistas individuales o audio multipista según el valor de “grid” de la sesión o conforme a plantillas extraídas de otros ritmos, conservando los timings relativos de cada pista
Elige el algoritmo de time-stretching que mejor suena para cada pista entre varias opciones disponibles
Ajusta los parámetros Window y Decay de cada pista para obtener los mejores resultados
Realiza ajustes rítmicos rápidos o explora ritmos y estilos creativamente utilizando la cuantización Grid y Groove, que ahora funciona simultáneamente sobre eventos de audio y MIDI
Alivia la carga de procesamiento de tu CPU al renderizar pistas utilizando el modo Render
Utiliza la opción Render and Commit para trabajar en sesiones de Pro Tools 7.4 con versiones anteriores de Pro Tools (sustituye todas las regiones tratadas con Elastic Time por archivos de audio renderizados)

Más Flexibilidad con Más Sistemas y Opciones

El software Pro Tools M-Powered 7.4 soporta más sistemas y opciones que nunca, lo que lo convierte en una solución auténticamente flexible para encajar con tus necesidades de audio.

Si piensas actualizar a Windows Vista Ultimate o Business, el software Pro Tools M-Powered 7.4 proporciona nuevo soporte a ambas plataformas de Microsoft (solo 32-bit) además del actual soporte a Windows XP y Mac OS X 10.4.9.

El software Pro Tools M-Powered 7.4 también soporta una amplia variedad de periféricos de hardware M-Audio®, dándote la flexibilidad de diseñar y personalizar un sistema a tus necesidades de cada momento. Escoge entre una variedad de interfaces de audio FireWire y USB para conectar tus micros, instrumentos y equipos MIDI; tarjetas de audio profesionales con varias entradas y salidas; combinación de interface audio/MIDI y soluciones de controlador; interfaces de guitarra especializadas y mucho más.

Más características destacadas

El software Pro Tools M-Powered 7.4 ofrece muchas otras novedades, mejoras y ampliaciones fantásticas.

El software Pro Tools 7.4 ahora viene con Structure™ Free, el potente reproductor de muestras de Digidesign, que te permite añadir fácilmente una amplia gama de sonidos a tus sesiones (trae más de 885 MB de muestras de alta calidad).

Si usas aplicaciones ReWire (como Reason), el software Pro Tools 7.4 acepta datos de controlador MIDI directamente desde aplicaciones ReWire para grabarlos a una pista MIDI o Instrument de Pro Tools.

Además, el software Pro Tools 7.4 soporta caracteres Unicode por toda la aplicación. Eso significa que puedes escribir y editar texto en cualquier parte de Pro Tools en cualquier idioma soportado por Unicode, como japonés, francés, griego, ruso y hebreo.

(info extraida de: www.digidesign.com)
---------
Tamaño: 142 MB

Download:
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EWQL Symphonic Orchestra Gold Pro Exp. (XP) Download Descarga

2008-05-23T11:32:00.000-03:00

East West Q.L. Symphonic Orchestra Gold Pro Exp. (XP)

The GOLD EDITION is EASTWEST's most popular virtual orchestra, offering unparalleled realism at an affordable price. This 21 Gigabyte expansion more than doubles the size of the original version. In the August, 2006 issue of KEYBOARD MAGAZINE, their reviewers conducted a ORCHESTRAL LIBRARY ROUNDUP of orchestral libraries from top sound developers, and here was their conclusion ...

"Across the board Pro XP's samples have a fatness to them that other libraries don't quite capture. Ultimately, the level of warmth and detail in the recordings, multiple mic perspectives, flexible ensemble sizes, and wide range of articulations make Pro XP an obvious choice for anyone whose goal is to produce ultra-realistic MIDI mockups." - KEYBOARD (Orchestral Library Roundup)

System Requirements

21 GB Free Hard Disc Space, DVD Drive

* PLEASE NOTE: THE PRO XP VERSIONS DO NOT SUPPORT MAC OS-9 OR WIN-98.

MINIMUM REQUIREMENTS

Win XP, Pentium III/Athlon 1 GHz, 512 MB RAM, DVD drive

RECOMMENDED SYSTEM

Win XP, Pentium IV/Athlon 3 GHz, 1 GB RAM, DVD drive

SUPPORTED INTERFACES

WIN: VST™, RTAS™, DXi™, ASIO™, DirectSound™

Fruity Loops Studio 8.0 Download Rapidshare

2008-05-18T18:57:00.000-03:00

Fruity Loops Studio v.8.0 RC2 XXL Producer Edition

What's new in FL8 ?

Image Line has released FL Studio 8, the complete music production environment.

Representing the culmination of more than 10 years of sustained development, FL Studio 8 is now the most flexible virtual music studio in the industry.

Chief Software Architect, Didier Dambrin has realized his vision of creating an open-architecture virtual studio environment where the only constraint on the users is their own imagination. This philosophy is reflected in FL Studio 8’s flexible audio and control data routing, free-form Playlist design and interoperability with industry standards (VST/VSTi/VST2, DXi, DXi2, Buzz, ReWire, MIDI, MP3, WAV, OGG). Didier notes “We don't try to protect our data & come up with new formats only for marketing reasons. We use existing standards as much as possible, and allow FL Studio to be used as a plugin in other hosts”. In version 8, particular emphasis has been given to improved workflow through enhanced interface design, so that ideas can be crystallized and creativity captured.

What is FL8?

FL Studio is a fully featured, open-architecture music creation and production environment for PC. No extra software is required to produce any style of music, as a complete kit of instruments and studio tools is included in the cost of the package. With the included plugins, sounds and tools the user can create complete songs, backing tracks, loops or sizzling beats. Completed songs can be saved to WAV, MP3, OGG, MIDI, ZIP or the native project format (.FLP).

Instruments

Make virtually any sound. FL8 includes 29 virtual synthesizers covering acoustic/synthetic bass, electric guitar and plucked string simulation, sampler tools including piano, general sample playback, and beat-slicing, and a range of synthesis techniques (subtractive, modelling, FM, granular and additive). With FL Studios newest addition, FL Synthmaker - a fully modular environment, you can now create & share your own FL instruments, effects & dashboards without the need to write basic code.

Audio Recording & Editing

Capture audio from a single vocalist or a full symphony orchestra. FL8 can record up to 64 simultaneous tracks of audio. The Playlist workspace can contain an unlimited number of audio tracks and allows you to arrange discrete audio events in any order or position the creative process dictates with complete flexibility. Audio tools allow the user to time-stretch, pitch-shift, beat-slice, chop, edit and creatively destruct audio. FL8 audio editing is further enhanced with Edison, the recording wave editor. Edison is a fully integrated audio editing and recording tool with spectral analysis, convolution reverb, loop-recording, loop-construction tools and more…

FL Studio imports/exports WAV, MP3 and OGG formats.

Sequencing

Record musical performances and ideas in the most logical way. FL8 functions as both a pattern and track based sequencer, depending on user preferences. Tools include an unlimited track Step-sequencer, an industry-leading Piano Roll and Automation Clips. FL Studio supports MIDI and input from all standard Controllers.

FL8 is the fastest way from your brain to your speakers.

Arranging

Determine your own project design. In FL8, you decide how your project will be laid out. Unlike the competition, FL8's Playlist is a totally flexible and virtually unbounded space where Note Pattern, Audio and Automation data can be arranged and edited to suit your creative ideas and preferred workflow.

Mixing/Mastering

The most powerful mixer in its class. FL8 includes an industry-leading 64 stereo track mixer. Each track can hold a stack of 8 effects (VST, DX or FL) and, if desired, be routed to any of the other 64 tracks or one of 4 dedicated 'send' channels. The 44 included effects plugins span - Maximization, Limiting, Compression, Delay, Distortion, Equalization (graphic & parametriuc), Filtering, Phasing, Flanging, Chorus, Vocoding and Reverb. These will take you from the creative broad-brush effects like reverb, through to the minutia of the mastering process with multiband compression/limiting and parametric EQ.

Lifetime free updates

Registered FL Studio users who purchase the download edition of the program receive lifetime free updates to the level of the program they buy (Express, Fruity, Producer or XXL edition). For example, all FL Studio 7 customers will be able to download FL Studio 9, 10 ... for free. Boxed edition users can purchase lifetime free updates for a nominal fee.

Key new features and changes

First, FL Studio 8 carries forward everything that is included in FL Studio 7 plus many more features:

	FL Synthmaker is a fully modular environment where you can create & share your own FL instruments, effects & dashboards, all without the need to write basic code in a modular 'plug-n-go' workspace.
	One-click-recording using Edison wave editor plugin. Edison ia a fully integrated audio editing and recording tool with spectral analysis, convolution reverb, loop-recording and more.
	Slicex, the powerhouse drumloop slicer & re-arranging tool.
	Soundgoodizer is a 'maximizer-enhancer' plugin based on the Maximus sound-process engine.
	Fruity Limiter for maximizing & compressing final mixes or individual tracks. Free to all users.
	Better integration with controllers. FL Studio can permanently learn and remember links to external controllers with the new ‘multilink’ function + 'Override generic links' option.
	Wave Candy, a flexible audio analysis and visualization tool with Oscilloscope, Spectrum Analyzer and Peak Meter.
	Sinc interpolation now faster (64 point sinc now usable in real-time, depending on CPU)
	Rendering with improved latency compensation
	Score logger, records all MIDI & note activity for instant recall. Everything you play, whether or not recording is active, is captured and ready to be dumped to the Piano roll.
	Directwave Player, broaden your musical palette with downloadable sound banks and multi-sample sets.
	Recording filter, to select Audio, Automation or Note data recording sessions, independently or in any combination.
	Slip editing and resizing tool has been added to the Playlist for all clip types.
	Multi-core safe plugins are threaded for performance gain on multi-core CPUs.
	A 'Selected mixer track' has been added to the Mixer. The selected mixer track is routed there for better integration with visual effects or a recording Edison.
	FL8 supports track-based sequencing in the Playlist. Pattern Clips present sequence data as Audio and/or Automation Clips
	An 'Online Panel', to keep users updated with content and patches.

Formats

FL8 will fit easily within your current workflow supporting VST/VSTi/VST2, DXi, DXi2, MP3, WAV, OGG, MIDI, ASIO, ASIO 2.

Additionally supported through DirectWave Editor – AKAI AKP (S5/6K,Z4,Z8), Battery (version 1), MPC, Reason, Kurzweil, EXS24, Kontakt (version 1 & 2), Recycle, SFZ+ and SoundFont2.

(Info extraida de: http://www.flstudio.com)

----------------

DOWNLOAD:

http://rapidshare.com/files/123440673/Fruity.Loops.Studio.8.0.RC2.XXLProducer.Edition_todosonido.blogspot.com_.rar

Native Instruments PRO-53 - Download Rapidshare

2008-05-18T12:32:00.000-03:00

NATIVE INSTRUMENTS PRO-53 v.3.02.004

The PRO-53 carries on the tradition from the legendary days of vintage cult synthesizers. This virtual instrument, fashioned after the Sequential Circuits™ Prophet™-5, provides the sonic properties of the unique originals while meeting the practical requirements of the present day.

Inspired by the immortal sound of the synthesizer giants of the eighties, Native Instruments created the PRO-53 to cast in software those qualities that have been such a major influence on popular music in the past twenty years: brilliance, power, warmth and beauty. Through Native Instruments' creative development philosophy, these timeless aesthetics have now reached the next step in their evolution. The result is the manifest re-definition of an original that was regarded as unrivalled until now.

PRO-53 – The New Version
With the PRO-53, the third generation of the virtual analog classic is now available. The synthesizer emulation has been vastly improved by a new oscillator technology that offers an even warmer and more brilliant sound. In addition the sonic possibilities have been expanded even further with new features like a high-pass filter mode and an invertible filter envelope. The control surface was also reworked and now shines in a whole new light.

Using Native Instruments' highly advanced NSP-Technology (Native Signal Processing) it is possible to generate a software synthesizer that rivals its legendary hardware predecessors. The Native Instruments PRO-53 sets new standards without denying its origins.
What's new: no fixed limit to the number of voices, many more savable preset slots, velocity sensitivity, MIDI automation of all available parameters, an additional effects section, a high-pass filter mode, invertible filter envelope, audio input, LFO-envelope retrigger, and the option to run several PRO-53s in parallel.

The PRO-53 is able to import Prophet-5™ SysEx sound data, which means it can read and accurately reproduce all the existing sound libraries made for the original. The subtle deviations from perfect behaviour, which are typical of analog circuits and crucial to the sound, can now be fine-tuned.

The huge sound library gives the PRO-53 plenty of material for all kinds of musical styles: 512 selected classic and modern analog sounds cover any possibility.
64 of these sounds have already been programmed for the previous version by synthesizer legend John Bowen, one of the creators of the Prophet™-5 synthesizer. In addition, PRO-53 comes with 64 new sound presets, which were specially designed to take advantage of PRO-53's new features.

512 preset memory slots are available where you can store your own sound creations. The PRO-53 displays a name for each of the presets, unlike the original which only displayed the preset number.

A built-in effects unit adds multi-echo and ultra-fat chorus and flanging effects. This makes the sound of the PRO-53 'complete' for both live performance and studio production. The included preset sounds make extensive use of the effects. The PRO-53 also has an audio input for processing external audio signals through its filters and effects.

Integration
The Native Instruments PRO-53 integrates perfectly into any computer based virtual studio by supporting the interfaces VST®, Audio Units™, DXi™ and RTAS™. It can be used as a sequencer plug-in or as a stand-alone synthesizer. It is possible to run several PRO-53 plug-in instances in parallel.

(info: http://www.native-instruments.com)

----------

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M-Audio Pro-Sessions Heavy Guitars Download Descarga Rapidshare

2008-05-16T09:45:00.000-03:00

M-Audio - ProSessions Producer Virtual Instruments » Heavy Guitars

Top Features

produced by Sonic Implants
world-class performances and engineering
designed for extreme playability and realism
includes EXS24, HALion, Kontakt, MachFive and Reason formats

If you’ve been looking for a rock guitar library that is truly realistic, your search is over. Produced by Sonic Implants, Heavy Guitars delivers a fantastic palette ranging from ultra-crunchy to gritty “Old Skool” classic rock. These uniquely playable instruments include tones, sustains, effects and tons of chords. We’ve even incorporated special programming to allow for realistic strumming. Plug in and rock out with EXS24, HALion, Kontakt, MachFive and Reason.

(Info extraida de www.m-audio.com)

---------------

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Waves Mercury Bundle Download Descargar Rapidshare

2008-05-09T10:54:00.003-03:00

Waves Mercury Bundle V.5.0
With over 90 stellar processors and over 250 component plug-ins, Mercury features more Waves in one package than ever before!

From time-domain effects to equalizers, from dynamics control to noise reduction, from guitar sound modeling to the sound of classic analog components, there has never been such a comprehensive collection as this. The Mercury Collection offers more effects, more channel components, more mixdown tools, more processors than ever before in one place.

Finally-the world of Waves in one massive collection. Waves Mercury.

Over 90 Plug-in

API 550A, API 550B, API 560, API 2500, AudioTrack, C1 Comp & Sidechain, C1 Gate, C1 Parametric Compander, C1 Comp-Gate, C360 Surround Compressor, C4 MultiBand, DeBreath, DeEsser, Doppler, Doubler, Enigma, GTR3 Amps: Direct, GTR3 Amps: Clean, GTR3 Amps: Warm, GTR3 Amps: Punchy, GTR3 Amps: Scream, GTR3 Amps: Shredder, GTR3 Amps: Sweet, GTR3 Amps: Edgy, GTR3 Amps: Cream, GTR3 Amps: Drive, GTR3 Amps: OverDrive, GTR3 Amps: Crush, GTR3 Amps: Monster, GTR3 Amps: Inferno, GTR3 Amps: Scorch, GTR3 Amps: Supernatural, GTR3 Amps: Hot, GTR3 Amps: Crunch, GTR3 Amps: Modern, GTR3 Bass Amps: Directube, GTR3 Bass Amps: Activator, GTR3 Bass Amps: SolidState, GTR3 Bass Amps: Mo’Town, GTR3 Bass Amps: SuperTube, GTR3 Bass Amps: Thunder, GTR3 Bass Amps: OverBass, GTR3 Stomps: Chorus, GTR3 Stomps: OverDrive, GTR3 Stomps: Distortion, GTR3 Stomps: Fuzz, GTR3 Stomps: Buzz, GTR3 Stomps: Metal, GTR3 Stomps: Flanger, GTR3 Stomps: Vibrolo, GTR3 Stomps: Panner, GTR3 Stomps: Phaser, GTR3 Stomps: Octaver, GTR3 Stomps: WahWah, GTR3 Stomps: Doubler, GTR3 Stomps: Pitcher, GTR3 Stomps: Bass Pitcher, GTR3 Stomps: Delay, GTR3 Stomps: Lay-D, GTR3 Stomps: Reverb, GTR3 Stomps: Spring, GTR3 Stomps: Gate/Comp, GTR3 Stomps: Compressor, GTR3 Stomps: Gate, GTR3 Stomps: Tone, GTR3 Stomps: EQ, GTR3 Stomps: Axx Press, GTR3 Stomps: Volume Pedal, GTR3 Tuner, GTR3 ToolRack, IDR360° Bit Re-quantizer, IR1 Parametric Convolution Reverb, IR360° Surround Convolution Reverb, IR-L Parametric Convolution Reverb, L1 Limiter, L1 Ultramaximizer, L2 Ultramaximizer, L3 Multimaximizer, L3 Ultramaximizer, L3-16 Multimaximizer, 3-LL Multimaximizer, L3-LL Ultramaximizer, LFE360° Low-Pass Filter, L360° Surround Limiter, Linear Phase Equalizer Broadband, Linear Phase Equalizer Lowband, Linear Phase MultiBand, M360° Surround Manager, M360° Surround Mixdown, MaxxBass, MaxxVolume, MetaFlanger, MondoMod, Morphoder, PAZ Analyzer, PS22 Stereo Maker (TDM Only),Q10 Paragraphic Equalizer, Q-Clone, R360° Surround Reverb, Renaissance Axx, Renaissance Bass, Renaissance Channel, Renaissance Compressor, Renaissance DeEsser, Renaissance Equalizer, Renaissance Reverb, Renaissance Vox, S1 Stereo Imager, S1 Stereo Matrix, S1 Stereo Shuffler, S360° Surround Imager, S360° Surround Panner, SoundShifter, SuperTap 2-Tap, SuperTap 6-Tap, TransX MultiBand, TransX WideBand, TrueVerb, V-Comp, V-EQ3, V-EQ4, Waves Tune, X-Click, X-Crackle, X-Hum, X-Noise, Z-Noise.

(Info extraida de www.waves.com)
-----------------------

Tamaño: 281 MB

Download (Deposit files):

http://depositfiles.com/files/y26dwizv5

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Premium Grand Piano - Download - M-Audio Pro Sessions Premium Grand Piano Descarga Rapidshare

2008-05-01T15:47:00.001-03:00

M-AUDIO Pro Sessions - Premium Grand Piano

Top Features

expert sampling focused on a single great instrument
amazingly realistic and playable
top-quality recording and editing
supports EXS24, HALion, Kontakt, MachFive and Reason’s NN-XT
produced by Sonic Reality

The legendary sound of the Yamaha C7 Grand Piano captured by Sonic Reality in EXS24, HALion, Kontakt, MachFive and Reason formats. Experience the rich deep tone of this amazing multi-sampled acoustic grand piano with dynamically sampled notes and long durations for each key. For low notes that rumble, a warm, punchy mid- section and top notes that sparkle and cut through, Premium Grand Piano is the ultimate source for a piano with a great sound that plays like the real thing—an ideal match for our Keystation Pro 88 and Keystation 88es controllers.

*M-Audio, ProSessions and ProSessions Premium Instruments are trademarks or registered trademarks of Avid Technology, Inc. All other product names used on this Web page are trademarks of their respective owners, which are in no way associated or affiliated with Avid Technology, Inc. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose product sounds were sampled in the creation of this product.

(Info extraida de www.m-audio.com)

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Antares Harmony Engine Download Descargar Rapidshare

2008-04-28T17:13:00.001-03:00

Antares Harmony Engine – Vocal Modeling Harmony Generator (Para PC)

The quickest, easiest tool for creating realistic harmonies.

From the company that revolutionized professional vocal production with Auto-Tune pitch correction technology, Harmony Engine is a real-time harmony generating plug-in that puts professional-quality vocal harmony arrangements within reach of any songwriter, producer, musician or engineer.

With four independent harmony voices, a variety of powerful harmony generating modes, humanization features for natural sounding performances, and a flexible real-time preset system for harmony and vocal type, Harmony Engine provides incredibly easy-to-use tools to quickly and easily produce virtually any vocal arrangement you can imagine.

Whether you're an experienced vocal arranger, a songwriter looking for that perfect backup vocal, or a composer experimenting with unique vocal effects, Harmony Engine gives you entirely new ways to create the harmony parts you hear in your head. In fact, experimenting with different harmonies is so easy (and, dare we suggest, fun), you may find yourself using Harmony Engine to explore harmonic alternatives you may have never otherwise considered.

Key Harmony Engine Features Include:

* Four high-quality, formant-corrected harmony voices with independent vocal character, vibrato, and pan settings

* Antares Throat Modeling technology that lets you process each harmony voice through a physical model of the human vocal tract

* A variety of innovative Harmony Control modes, from fully automatic to individual control of every note:

Fixed or Scale Intervals: Simply set the key and harmony voice intervals and let Harmony Engine do the rest

Chord Degrees or Chord Name: Define your harmony chord-by-chord, complete with inversions and variable vocal ranges

Chord by MIDI: Define your harmony in real time via a MIDI controller or pre-recorded MIDI track

MIDI Omni: Directly "play" the four harmony voices as if they were voices of a synth or sampler

MIDI Channel: Use four separate MIDI channels for absolute control over each note of your vocal arrangement

* Spread and Register controls that allow you to quickly and intuitively set the pitch range and harmony style of your vocal arrangement

* Humanize functions that provide selectable amounts of variation to each harmony voice for realistic, natural sounding results

* A Freeze function that allows a unique variety of backup vocal effects by letting you instantly freeze pitch and/or formant articulation

* A Harmony Preset matrix that lets you create up to 15 complete harmony settings and instantaneously recall them in real time or via automation

* A Voice Parameter Preset matrix that lets you create and instantly recall up to 6 different "vocal groups"

* Five-channel output capability (host dependent) that lets you assign or export the original input and each of the four harmony voices to their own channels for further processing

* And lots more...

Harmony Engine. The quickest, easiest tool for harmony creation. From the worldwide leader in professional vocal processing technology.

(Info extraida de www.antarestech.com)

---------------
Download:
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AmpliTube 2 Jimi Hendrix Edition Download - Descarga - Rapidshare

2008-04-18T12:44:00.002-03:00

AmpliTube 2 Jimi Hendrix Edition

IK Multimedia está orgullosa de anunciar que AmpliTube 2 Jimi Hendrix Edition, está ahora disponible. Basado en AmpliTube 2 de IK y desarrollado en cooperación con Authentic Hendrix, AmpliTube 2 Jimi Hendrix Edition es la primera recreación por software de toda la configuración completa de equipos de Jimi Hendrix, disponible en un único producto, ofreciendo una colección vintage de pedales, amplificadores, recintos y modelos de efectos que hicieron legendario ese sonido.

Aunque comparte la misma funcionalidad de fácil uso que AmpliTube 2, AmpliTube Jimi Hendrix ofrece más de 20 nuevos modelos nunca incluidos anteriormente, como los modelos basados en Vox Wah V846, Maestro FuzzTone, Univox Uni-Vibe, varios pedales fuzz de Roger Mayer, amplificadores Marshall 1959 JTM100 Super Lead, Fender Twin Reverb y Dual Showman y otros raros equipos vintage. Esto hace de AmpliTube Jimi Hendrix la herramienta perfecta para todos los guitarristas, incluyendo a los usuarios de AmpliTube, para recrear todos los tonos auténticos de las populares melodías de Hendrix o como una fantástica herramienta con los modelos de los equipos de guitarras más coleccionables, que puede ser usada para muchos estilos modernos de música rock, desde el hard rock al punk, alternativo, progresivo y pop.

AmpliTube Jimi Hendrix posee 9 pedales vintage, 4 modelos de amplificadores vintage, y 7 recintos, ofreciendo una completa colección de aparatos extremadamente caros y difíciles de encontrar, en las puntas de tus dedos, desde el raros pedales como el Wah usado por Hendrix, que se convirtió en su sonido de firma en melodías como “Voodoo Child” y un modelo basado en Maestro FuzzTone, cuyo sonido es reconocido mejor en el popular hit de los Rolling Stones popular “"(I Can't Get No) Satisfaction”, a modelos de amplificadores que cubren el rango completo de amplificadores que Hendrix usó con “The Experience”, tanto en el estudio como en el directo. Todos los recintos que acompañan a los cabezales de amplificación mencionados anteriormente, se incluyen en la selección de 7 recintos disponibles, y más. Los recintos han sido modelados de forma precisa, equipándolos con los mismos altavoces vintage preferidos por Jimi, y grabados con 5 micrófonos vintage, incluyendo micrófonos de condensador, dinámicos y micrófonos de cinta. También se incluyen 4 racks de efectos (“Rotary Speaker”, “Stereo Reverb”, “Parametric EQ” y “Tube Compressor”), aumentando la flexibilidad tonal del producto y permitiéndote esculpir el sonido mucho más.

Download:

http://rapidshare.com/files/123357092/AmpliTube_2_Jimi_Hendrix_Edition__todosonido.blogspot.com_.rar

Samplitude 10 Download Descarga Rapidshare

2008-04-09T21:23:00.000-03:00

SAMPLITUDE 10

Samplitude 10 contains many innovations and full MIDI implementation for up to 64 tracks. New features include improved track, object and master automation, mastering effects and dynamics, overview mode, new range handling and improved time display.
The standard version of Samplitude now includes the pitch editor "Elastic Audio Easy". Also new to Samplitude 10 are mapping modes for hardware controller, routing manager, sidechaining, smart dithering as well as many MIDI and VST features. With the new audio quantization wizard you can quickly adjust your multi-track percussion recordings to suit the project grid. As a special extra, Samplitude Pro comes with "Independence LE" - a sampler workstation from yellow tools for realizing, customizing and creating authentic instruments.

Samplitude 10 was created for demanding, professional recording, editing, mixing and mastering at up to 32 Bit/384 kHz. The features include many non-destructive editing tools like the unique object editor which allows fades and diverse manipulation of the audio material in real time.

Features:
- 64 tracks, 8 submix busses, 6 aux send busses
- plug-ins per insert: 8
- Elastic Audio Easy
- ASIO, MME und WDM-Support
- solo / monitor poti: PFL, AFL
- K-Metering system
- external hardware integration
- MIDI Editors: score, matrix (piano roll), drum, event list, velocity/controller
- complete realtime editing
- track-, object- and master automation with several automation modes
- MAGIX Vintage Effects Suite
- sample workstation "Independence LE"
- rewire
- audio quantization with transient detection
- Batch Processing
- object-orientated editing
- high class effects set (phase stable mixing- and mastering effects)
- multiband dynamics with "Advanced Mode"
- multiband enhancer with "Maximize"-Function
- advanced dynamics with "Side Chain"-Function
- resampling/timestretching with algorithm "Universal HQ"
- mixer with variable signal flow
- DirectX and VST plugin support with automatic latency compensation
- Pentium 3/4 and Athlon optimizations
- VST-MIDI Out Recording und Audio Out Recording
- MIDI Multi-Object-Editing
- VST instruments support
- overview mode
- side chain routing
- project length up to 168 hours
- external remote controller support (e.g. Mackie control)
- POW-r Dithering
- smart dithering for WAV-files and virtual projects
- realtime room simulator with convolution (incl. 490 MB impulse samples)
- Routing Manager
- mapping modes for hardware controllers
- FreeDB
- CD/DVD mastering
- score export as MusicXML file

(Info extraida de: http://www.samplitude.com)

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Download:
http://rapidshare.com/files/105962028/MAGIX_Sampletude_10_Classic.__todosonido.blogspot.com.part1.rar.html
http://rapidshare.com/files/106014538/MAGIX_Sampletude_10_Classic.__todosonido.blogspot.com.part2.rar.html

Waves Diamond Bundle v5.2 (H2O) - Descarga Download Rapidshare

2008-03-31T21:54:00.003-03:00

Waves Diamond Bundle v5.2 - H2O

A comprehensive collection of audio processing tools, Diamond brings unparalleled signal processing power to your studio, for tracking, mixing, mastering, creative sound design, and audio restoration. Diamond now includes Q-Clone, Waves Tune LT, L3 Multimaximizer, L3-LL Multimaximizer, and IR-L Convolution Reverb as well as all the plug-ins found in Waves Platinum, Restoration, and Transform bundles. From dynamics, equalization, and reverb to pitch correction, spatial imaging, and beyond, Diamond is a must-have for every serious studio.

(Info: http://www.waves.com)

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Download (link actualizado):
http://rapidshare.com/files/139001466/Waves.Diamond.Bundle.v5.2_H2O_todosonido.blogspot.com.rar