d16 Group Silverline Collection Crack 2022.2 + Torrent Free Download
D16 Group Silverline Collection Audio Synapse Audio The Legend Windows Crack In the back of The Legend, you can switch between two model revisions: early and late. In addition, additional options allow you to improve analog simulation and take into account tolerances in parts that are usually found in devices. The ranges of the most important parameters can be determined, as well as the degree of drift, drift, or saturation. Another added feature in The Legend is the built-in effects, which include high-quality delay and reverb. Both of these effects are compound-friendly and provide the appropriate sound with a small number of parameters. Legend 530 includes patches created by top sound designers and categorized into categories like Bass, solo, SFX, etc.
D16 Group Silverline Collection Audio Software is the creative software developer behind some of the best music plugins you can find. Among their many high-quality shows are Phoscyon, Antresol, Nepheton, Devastator 2, Lunchbox, and LuSH-101. They have a lot, but for this issue of SoundBytes magazine, we’ll take a look at the latest releases of some of the effects plugins: Toraverb 2, Decimort 2, Devastor 2, and Tekturon. This is half (currently) a group called Silverline. Six of the Silverline family have been around for a very long time, starting life with only 32 bits. In recent years, two new plugins have been added to the suite, and the old effects have been improved one by one including resizing somewhat small user interfaces.
Toraverb 2 will work with Windows 7 or higher, 4GB RAM, 2.5GHz multi-core CPU with SSE (multi-core 2.8GHz recommended). VST and AAX (32-bit and 64-bit) versions available. On a Mac, you will need OS X 10.7 or higher, 2.5GHz CPU (2.8GHz recommended), 4GB + RAM. AU, VST, and AAX versions (32-bit and 64-bit) are available. Installing Toraverb 2 was simple, and you can activate it online by logging into your D16 account or by downloading an activation file to activate it offline.
After adding it to a track or bus in your DAW, you’ll see the screen. One of the great things about the screen (besides its good looks) is that it has two different sizes. Along the top of the screen and buttons are menus for different functions. Two of the items on the options menu handle quality settings and display size options. On the right is the current preset screen, clicking that will open the browser from which you can choose from many other presets on the panel. You can also browse the presets using the Previous / Next buttons. Other functions include the ability to configure settings (initialize – start a preset from basic settings), reload a preset (for example – you might not like the way your adjustments disappeared), and save a preset.
There are several controls that change the “bowels” of the sound on the left side of the screen. One of the best parts of Toraverb 2 is that it has many controls that are separated by early or late reflections. Once you have selected the Early or Late tabs, you can change many parameters.
Available controls here are Preset Delay (up to 500ms), Volume, Bass Clipping, Interference between Left / Right Channel Delay Lines (only on the Early Reflections tab), Notes (Late Reflections tab only), Attenuation – similar Tone control as it can adjust the sound of the reflective surface, and propagation – changes the way the reflected sound is affected by the surface it is reflected from. Last but not least in this section is the modding control. This will do some amount of adjustment for the reflections, and it appears to cause the pitch to vibrate slightly in a semi-random way.
To the right of this section, you can control the single-band parametric equalizer settings. There are actually two of these, one for both early and late meditations. Three types of filtration are available: high rack, low rack, and bell. Controls in gain, frequency, and bandwidth are also in place. Next is the mixer section. From here you can change the panning for the early/late signals, and increase/decrease the gain for each of them as well. When the MS Mode button is enabled, the left / right move controls will act as middle/side controls.
The last area on the screen is the main section. This is where you can change the dry/wet amount (this can be locked to toggle between presets) and the FX curve that adjusts the fade from dry to wet signal. The last two controls are for Ducking (pressure is used to adjust the level of moisture in proportion to the level of dry mix) and Attack / Release which adjusts attack/release times for the Ducking effect.
When Toraverb 2 was released, it had an introductory price of $ 49, then went to its usual price of $ 69. There is also an upgrade path for those who have purchased the original version. I think this is very affordable, especially when you consider some of the other high-end frequencies in the market with similar features that can cost you a lot more. Toraverb 2 is really fun, and it will easily win you over with its intuitive interface, great sound, and programmability.
Toraverb 2 will work with Windows 7 or higher, 4+ GB of RAM, and a 2.5 GHz multicore CPU with SSE (2.8 GHz multicore is recommended). It has VST and AAX versions available (32-bit and 64-bit). On the Mac, you’ll need OS X 10.7 or higher, 2.5 GHz CPU (2.8 GHz is recommended), 4+GB of RAM. AU, VST and AAX versions are available (32-bit and 64-bit). Installing Toraverb 2 was simple, and you can activate it online by logging into your D16 account or by downloading an activation file to activate it offline.
After you’ve added it to a track or a bus in your DAW, you’ll be presented with the display. One great thing about the display (besides how nice it looks) is that there are two different sizes. Along the top of the display and buttons are menus for various functions. A couple of the items available under the Options menu are processing quality settings and display size choices. To the right is the display for the current preset, and clicking on that will open the browser in which you can choose from the many other presets that are on board. You can also skim through the presets by using the Previous/Next buttons. Other functions include the ability to Initialize the settings (INIT – start a preset from basic settings), Reload a preset (i.e. – maybe you don’t like how your edits have gone amiss), and Save a preset.
Many of the controls that change the “guts” of the sound are over on the left side of the display. One of the best parts of Toraverb 2 is that it has many controls separated by the early or late reflections. Once you’ve selected either the Early or Late tabs, you can change many of the parameters.
The available controls located here are Pre-Delay (up to 500ms), Size, Bass Cut, Crosstalk between the left/right channel delay lines (only on the Early reflections tab), Feedback (Late reflections tab only), Attenuation – similar to a tone control since it can adjust the sound of the reflective surface, and Diffusion – changes the way the reflected sound is affected by the surface from which it is reflected. Last but not least in this section is the Modulation control. This will dial in an amount of modulation for the reflections, and it sounds like it causes the pitch to slightly waver in a semi-random fashion.
To the right of that section control to adjust a single-band parametric EQ. There are two of these actually, one each for the early and late reflections. Three types of filtering are available: high shelf, low shelf, and bell. Gain, frequency, and bandwidth controls are also present. Up next is the mixer section. From here you can change the panning for the early/late signals, and increase/decrease the gain for each as well. When you enable the MS Mode button, the left/right panning controls will then function as mid/side controls.
The last area on the display is the Master section. This is where you can change the dry/wet amount (this can be locked for switching between presets) and the FX Curve which adjusts the crossfade from the dry to the wet signal. The last two controls are for Ducking (uses compression to adjust the wet level in proportion with the dry mix level) and Attack/Release which adjusts the attack/release times of the Ducking effect.
When Toraverb 2 was released, it had an intro price of $49 USD, and then it went to its regular price of $69 USD. There is also an upgrade path for those who bought the original version. I think this is very affordable, especially when you consider some of the other high quality reverbs on the market with similar features can cost you much more.
Toraverb 2 is really a treat, and will easily win you over with its intuitive interface, great sound, and programmability.
Devastator 2 is a multiband distortion plugin that uses diode-clipper emulation and analog-modeled filters. The filtering can occur before or after the diode clipper. These filters have cutoff and resonance controls with the classic types: low pass, high pass, bandpass, and band-reject. An improved browser and a larger GUI is also available.
For the PC you’ll need Windows 7 (or higher), 1.5 GHz CPU with SSE (2.0+ GHz multicore recommended), 4+ GB of RAM. VST and AAX versions are available (32-bit and 64-bit). For the Mac, you’ll need OS X 10.7 (or higher), 1.5 GHz Intel-based CPU (2.0 GHz recommended), and 4+ GB of RAM. AU, VST and AAX versions are available (32-bit and 64-bit). Like the others in this article, Devastor 2 is easy to install. You can activate it online by logging into your D16 account, or by downloading an activation file to activate it offline.
After you have it installed and activated, you can load it onto a track in your preferred host. At the top are controls for loading/saving presets and some other options. On the left side is the Shaper section with controls for dynamics, preamp, threshold, and shape. This is where the diode-clipping takes place. Dynamics control will level out any amplitude differences and works somewhat like a compressor. The preamp is the signal amplifier for the diode clipper. The threshold sets the nominal amplitude level, and anything above that setting is where the distortion takes place. The shape will warp the clipping curve you’ve selected, and there are six available curve types to choose from. Those curve types are covered in the manual in more detail if you’d like additional info on them. +/- LEDs give you feedback when the signal goes past the threshold setting.
There are three identical filters in the filtering section. Each of them has a cutoff, resonance/bandwidth, filter type, and volume settings. The resonance control will switch to a bandwidth type when using the bandpass and band-reject filter types.
These can be set up in nine different configurations using the Signal Routing feature. Here are just three such settings you can use: 1) All three filter modules work in parallel and feed into the clipper. 2) Filters one and two in parallel feed into the clipper, and then the signal moves from there to the third filter. 3) One of the filters feeds into the clipper and the output from the clipper goes to the two other filters. See the screenshot above for all the routing possibilities. Anyway, you get the idea – there are many combinations to choose from to shape/distort your audio. On the right side of the display, there is a limiter you can enable and a dry/wet effects control.
Devastator 2 is an effective and useful plugin that lets you get a warm sound from its diode clipper emulation. The signal routing is simple to use and works very well.
The texture is a delay plugin with a large sonic vocabulary. The main reason I say that is that it uses multiple lines (sixteen of them) to process your audio. Each of those delay lines has its own set of effects. These effects can be manipulated how you want, and include volume, delay, feedback, panning, stereo spread, filter type, cutoff and resonance. This sounds like it can be fun to use, right? Well, the good news is that the answer is “yes”, but it is also intuitive and powerful as you will soon find out.
For the PC you’ll need Windows 7 or higher, 4+ GB of RAM, and a 2.8 GHz CPU with SSE (3.2 GHz with multicore is recommended). It has VST and AAX versions available (32-bit and 64-bit). On the Mac, you’ll need OS X 10.7 or higher, 2.8 GHz Intel-based CPU (3.2 GHz CPU is recommended), 4+GB of RAM. AU, VST and AAX versions are available (32-bit and 64-bit). After a simple installation, you can activate it online by logging into your D16 account, or by downloading an activation file to activate it offline.
There are many useful and interesting presets that are ready to use right away, but you might be wondering how Tekturon works if you want to design your own from scratch. If you are starting with the Initialized settings, you can begin by selecting the Volume setting on the left side. After you select it, you can draw in the amounts for the volume in each delay line. Next, you may want to add some filtering. To do this, you click on Filter Type from the left side of the display and select from one of the types for each of the lines. They include low pass, bandpass, high pass, or it can have no filtering at all. If you don’t select a type, each line will use whatever is in the Master filter section (more on that later). Every delay line can have the same filter type, or you might want a different type for each of them. For my present, I also added some resonance for each line. It’s the same method as before; select what you want on the left (in this case, Resonance), and use your mouse to draw in the amount you’d like per line. This could be varied for each line of course, or just a straight swipe of the mouse straight across so they are all equal. I also wanted to add some panning, so I added that to the delay lines. Towards the bottom of the display, you can see if a line’s volume level is above zero (without looking at the actual Volume settings), as the Audible light will be on. If needed, each delay line can also be muted by clicking its corresponding red button along the bottom.
The Master Filter section has controls for the filter cutoff types (high pass, bandpass, low pass or off/disabled) and resonance. This filter controls all of the delay lines in the same manner at the same time, but you could also adjust each line in the way I described earlier. Below the Master Filter section is the Time Grid where you can adjust the time between the delays. It can also be synced to the host. The Tap button can be used to set the beat/speed by tapping the button with a mouse. It will use an average of the time between your clicks on the button to determine the speed. The Shuffle control adds a swing type of delay to all the lines, and Feedback also affects all the lines.
The texture is a powerful delay plugin with some easy to use features. I was able to quickly set up nearly any type of delay I wanted and had fun in the process. The layout is very intuitive and I almost didn’t even need the manual.
There are a couple of other useful features in these D16 effect plugins. One of those is the easy-to-use MIDI learn, which is a simple right-click away on whichever control you’d like. In addition, the processing quality setting (as I mentioned earlier) has separate real-time and offline settings from which to choose: Draft, Normal, High, and Ultra. All of the plugins I reviewed here are well-conceived and reasonably priced. Most importantly, they all have terrific sound quality. Most DAWs have some “so-so” effects included, but these are way above the norm and they are well worth auditioning. I previously purchased their Antresol flanger (which I love by the way) but didn’t have time to cover it in this review. I mentioned the separate pricing for each product, but they also have a Silverline Collection bundle on our site.