{"id":132749066266,"title":"Soniccouture The Attic","handle":"soniccouture-the-attic","description":"\u003cp\u003e\u003cstrong\u003eSoniccouture The Attic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDo You Dream In Analogue?\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eThe Attic:\u003c\/strong\u003e a project to document and sample interesting, characterful instruments that may not always be the obvious choice when we think of classics. Instruments which, when added to a track, instantly add some special magic, even if it is due to the fact that it sounds a bit cheap or quirky.\u003cbr\u003e\u003cbr\u003eSoniccouture asked around some friendly producers: Neil Davidge, Adrian Utley and Liam Howe were all happy to open up their attics to us, and the resulting collection is a fascinating journey into the corners early analogue synthesis, offering a huge palette of sounds to reach into when you need colour, character and exuberance.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eThe Instruments\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    10 different virtual instruments in one package.\u003c\/li\u003e\n\u003cli\u003e    Meticulous sampling : every single note from each orginal unit is recorded, capturing all the variation and inconsistencies that make vintage analogues so appealing.\u003c\/li\u003e\n\u003cli\u003e    Modelled analogue behaviour : oscillator drift, natural attack variation, custom chorus and ensemble effects, mono mode \u0026amp; legato\u003c\/li\u003e\n\u003cli\u003e    Extensive effects section with bespoke convolution effects, phaser\/chorus\/delay, compression, EQ, filters, amp modelling, overdrive etc.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eLibrary Specifications\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    10 unique sampled analogue instruments\u003c\/li\u003e\n\u003cli\u003e    24 bit 44.1 khz stereo sampling\u003c\/li\u003e\n\u003cli\u003e    7.9 GB library (with Kontakt NCW compression)\u003c\/li\u003e\n\u003cli\u003e    350 presets arranged into the following categories: Bass, Strings, Keys, Pads, Lead \u0026amp; SFX\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e    Every note sampled from original units\u003c\/li\u003e\n\u003cli\u003e    Attack variation modelling or round-robin alternate samples\u003c\/li\u003e\n\u003cli\u003e    Oscillator drift modelling\u003c\/li\u003e\n\u003cli\u003e    Original reverb IRs  \u003c\/li\u003e\n\u003cli\u003e    Custom effects panel with Soniccouture impulse response reverb library\u003c\/li\u003e\n\u003cli\u003e    Compatible with free Kontakt Player 5 - VST AU RTAS\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eMini 700\u003c\/strong\u003e\u003cbr\u003eA simple monosynth by Korg from 1974, the same era as the Minimoog and the Roland SH2000. It has semi-fixed parameters, with a selection of toggle switches offering limited editing of these. It has a very fat, zappy sound, and fantastic chunky coloured controls. The filter (Traveler) is particularly interesting, with a LPF and HPF semi linked by interlocking faders.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Original waveforms and presets fully sampled\u003c\/li\u003e\n\u003cli\u003e    Traveler dual filter behaviour modelled\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eRS202 String Machine\u003c\/strong\u003e\u003cbr\u003eDating from 1976, the RS202 is 61 note polyphonic, with Strings I, Strings II and Brass sound sources, and a split keyboard - any sound could by assigned to either section of the keyboard. The ensemble chorus effect was a key part of the sonic signature, contributing to its classic, fizzing disco string sound.The RS202 is an all time classic string machine.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Brass, String II \u0026amp; String II settings fully sampled\u003c\/li\u003e\n\u003cli\u003e    Original switch settings modelled\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eJennings Univox\u003c\/strong\u003e\u003cbr\u003eDating from 1951, and a true oddity. The first electronic venture for Tom Jennings who later went on to create Vox amplifiers AC15, AC30 etc. The Univox was used by the Beatles during their early Cavern days in Liverpool and can be heard on Telstar by the Tornados.In about 1951\/1952 the Univox took off in a big way due to its competitive price and Tom's country wide marketing program.  The first version was the J6, single keyboard model, later followed by the J10 with two rows of Tone \u0026amp; effect tabs. All models were supplied with metal screw-on clips, to fasten it under the right hand side of a piano. Later we designed an adjustable chromed stand that enabled the user to do gigs in other locations with out having to screw on fixing brackets each time.  Most customers in those days were either Pub owners or pianists playing Pub gigs.\u003cbr\u003e\u003cbr\u003eThis particular Univox has a great pedigree as it was loaned to us by Adrian Utley from Portishead. You can read more about it on our Blog\u003cbr\u003e\u003cbr\u003e    Every (working) switch setting fully sampled\u003cbr\u003e    Sampled through original Univox speaker\u003cbr\u003e    Polyphonic mode added - fantastic for spooky pads\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Additional filter and EG control\u003c\/li\u003e\n\u003cli\u003e    'Knee lever' real-time MIDI control\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eSuzuki Omnichord\u003c\/strong\u003e\u003cbr\u003eIntroduced in 1981 and manufactured by the Suzuki Musical Instrument Corporation. It typically features a touch plate, and buttons for major, minor, and diminished chords. This unit (belonging to Neil Davidge of Massive Attack) is a ‘System Two, and it has a great synth tone, which sounds ‘cheap in all the right ways. You can mix two different tones, one straight, and one modulated with a basic LFO. While not sounding much like a plucked string, it does have a pure character all its own, which won it many fans, such as Daniel Lanois and Brian Eno. This Omnichord unit loaned by Neil Davidge from Massive Attack.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e    Two 'voice' settings fully sampled\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e    Chord matrix function fully modelled\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Strum Plate - strum in real time with MIDI controller\u003c\/li\u003e\n\u003cli\u003e    Detune and Width controls added\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eKorg LP10 Electronic Piano\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eKorgs first ever electronic piano, the fuzzy, dreamy tones of the LP10 weren't strictly realistic, but with retro-spectacles on it has a lot of charm. With Piano, Electric piano and Clav settings and a useful shaping EQ, but no velocity sensitivity.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Piano, Clav and Electric piano settings fully sampled\u003c\/li\u003e\n\u003cli\u003e    Additional detune, velocity, Filters and EG controls\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eHammond Solovox\u003c\/strong\u003e\u003cbr\u003eThe USA precurser to the Jennings Univox, produced in Canada for Hammond by the Northern Electric Company, Ontario between 1940 and 1948. A monophonic, valve driven keyboard instrument with a separate amplifier cabinet, the sound was derived from a single LC oscillator which had a frequency range of one octave. The signal from the oscillator was then passed through a series of 5 frequency dividers to create a further two octaves. On the front of the instrument there were a series of large thumb operated buttons for oscillator range (switch-able +\/- 3 octaves: 'soprano', 'contralto', 'tenor', 'bass'), vibrato, attack time, 'deep tone', 'full tone', '1st voice', 2nd voice', 'brilliant' and a switch for selecting woodwind, string sound or mute.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    All 'stop' settings fully sampled\u003c\/li\u003e\n\u003cli\u003e    Sampled through original speaker cabinet\u003c\/li\u003e\n\u003cli\u003e    Knee Volume controller modelled for real-time MIDI control\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e    Polyphonic mode for ancient pad sounds\u003c\/li\u003e\n\u003cli\u003e    EG and filter controls added\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eGodwin String Concert 249\u003c\/strong\u003e\u003cbr\u003eLittle known compared to the RS202 and Arp Omnis etc, but in fact this string synth has one of the most lifelike string sounds you will hear from an analogue synth. Manufactured in Italy by Sisme, it has 49 keys, 3 string sounds - Cello 16' \/ Viola 8' \/ Violin 4' controllable by faders. Its chorus and tremolo are particularly unique, adding a fabulous shimmer to the sound.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e Cello, Viola and Violin settings fully sampled\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eChorus and tremolo controls modelled\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePhilips Philicorda\u003c\/strong\u003e\u003cbr\u003eThe Philicorda is a 1960s transistor based organ that has found favour with producers in recent times ; one was used on the album 19 by Adele by producer Jim Abiss. This particular unit belongs to producer Liam Howe, and has been used on records by Marina and the Diamonds, Ellie Goulding, and Cocknbullkid.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Every 'stop' setting fully sampled\u003c\/li\u003e\n\u003cli\u003e    Chord function fully sampled\u003c\/li\u003e\n\u003cli\u003e    Original reverb included in effects section\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e    Output noise with 'backdrop' functionality\u003c\/li\u003e\n\u003cli\u003e    Additional filters and EGs\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eSH2000\u003c\/strong\u003e\u003cbr\u003eThe second synth ever produced by Roland (after the sh1000), it was designed to sit on top of a home organ to provide additional sounds. To that end, it is based around presets which are selected by a series of brightly coloured paddle-switches, and sounds very fat and characterful indeed. Basic filter and LFO controls are present, as well as 'growl' and 'wow' effects, which can be linked to aftertouch to give great performance potential.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    All original SH2000 presets sampled\u003c\/li\u003e\n\u003cli\u003e    Original Wow setting sampled for each patch\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eFull Aftertouch control\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSynthi AKS\u003c\/strong\u003e\u003cbr\u003eThe EMS Synthi AKS is a legendary instrument with an illustrious history. First manufactured in 1972 by EMS in Putney, south-west London, The Synthi A was basically a portable version of EMS's famous VCS3 synthesiser, and the KS keyboard (an unplayable 30-note touchplate) was added to make the Synthi AKS. It cost £420.It was quickly adopted by the likes of Brian Eno and Pink Floyd, and has been used by experimental musicians ever since. The Synthi has a unique patching system that uses a small patchbay grid. Each of the Synthi's components appear as a source and destination on the patchbay, and by placing a pin into that x-y position, you can route the signal from one component to the other. This was a very effective way to make a powerful modular system very compact.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eThe Attic features 3 different Synthi AKS instruments:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e    Multisamples :\u003c\/strong\u003e chromatically tuned patches that can be layered and played polyphincally as well as monophonically.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e    Loops :\u003c\/strong\u003e sequence patterns generated by the Synthi and presented in Kontakt's Beat Machine mode.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e    FOCUS SFX :\u003c\/strong\u003e Individual hits and sounds from the Synthi : something it excels at and the source of the real sci-fi sound. Packaged in Soniccouture's custom FOCUS interface, where sounds can be audtioned and easily mapped across the entire keyabord to be played chromatically.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eRequirements\u003c\/strong\u003e\u003cbr\u003eThe latest NI Kontakt Player is included in this product!\u003cbr\u003eThe minimum Kontakt Player version to use this library is specified in the product description. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eWindows\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWindows 7, 8.1 or 10 (latest Service Pack, 32\/64-bit)\u003c\/li\u003e\n\u003cli\u003eIntel Core 2 Duo or AMD Athlon 64 X2, 4 GB RAM (6 GB recommended)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eMac\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMac OS X 10.10, 10.11 oder 10.12 (latest update)\u003c\/li\u003e\n\u003cli\u003eIntel Core 2 Duo, 4 GB RAM (6 GB recommended)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003efor all\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    1GB free disc space for player installation\u003c\/li\u003e\n\u003cli\u003e    additional hard disc space according to the library size\u003c\/li\u003e\n\u003cli\u003e    internet connection for product activation required (on any computer)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e SUPPORTED INTERFACES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eStand-Alone\u003c\/li\u003e\n\u003cli\u003eVST\u003c\/li\u003e\n\u003cli\u003eAudio Units\u003c\/li\u003e\n\u003cli\u003eASIO\u003c\/li\u003e\n\u003cli\u003eCoreAudio\u003c\/li\u003e\n\u003cli\u003eWASAPI\u003c\/li\u003e\n\u003cli\u003eAAX Native (Pro Tools 10 or later)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eProduct activation:\u003c\/strong\u003e\u003cbr\u003eAn internet connection on any computer is required to 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The Attic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDo You Dream In Analogue?\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eThe Attic:\u003c\/strong\u003e a project to document and sample interesting, characterful instruments that may not always be the obvious choice when we think of classics. Instruments which, when added to a track, instantly add some special magic, even if it is due to the fact that it sounds a bit cheap or quirky.\u003cbr\u003e\u003cbr\u003eSoniccouture asked around some friendly producers: Neil Davidge, Adrian Utley and Liam Howe were all happy to open up their attics to us, and the resulting collection is a fascinating journey into the corners early analogue synthesis, offering a huge palette of sounds to reach into when you need colour, character and exuberance.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eThe Instruments\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    10 different virtual instruments in one package.\u003c\/li\u003e\n\u003cli\u003e    Meticulous sampling : every single note from each orginal unit is recorded, capturing all the variation and inconsistencies that make vintage analogues so appealing.\u003c\/li\u003e\n\u003cli\u003e    Modelled analogue behaviour : oscillator drift, natural attack variation, custom chorus and ensemble effects, mono mode \u0026amp; legato\u003c\/li\u003e\n\u003cli\u003e    Extensive effects section with bespoke convolution effects, phaser\/chorus\/delay, compression, EQ, filters, amp modelling, overdrive etc.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eLibrary Specifications\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    10 unique sampled analogue instruments\u003c\/li\u003e\n\u003cli\u003e    24 bit 44.1 khz stereo sampling\u003c\/li\u003e\n\u003cli\u003e    7.9 GB library (with Kontakt NCW compression)\u003c\/li\u003e\n\u003cli\u003e    350 presets arranged into the following categories: Bass, Strings, Keys, Pads, Lead \u0026amp; SFX\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e    Every note sampled from original units\u003c\/li\u003e\n\u003cli\u003e    Attack variation modelling or round-robin alternate samples\u003c\/li\u003e\n\u003cli\u003e    Oscillator drift modelling\u003c\/li\u003e\n\u003cli\u003e    Original reverb IRs  \u003c\/li\u003e\n\u003cli\u003e    Custom effects panel with Soniccouture impulse response reverb library\u003c\/li\u003e\n\u003cli\u003e    Compatible with free Kontakt Player 5 - VST AU RTAS\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eMini 700\u003c\/strong\u003e\u003cbr\u003eA simple monosynth by Korg from 1974, the same era as the Minimoog and the Roland SH2000. It has semi-fixed parameters, with a selection of toggle switches offering limited editing of these. It has a very fat, zappy sound, and fantastic chunky coloured controls. The filter (Traveler) is particularly interesting, with a LPF and HPF semi linked by interlocking faders.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Original waveforms and presets fully sampled\u003c\/li\u003e\n\u003cli\u003e    Traveler dual filter behaviour modelled\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eRS202 String Machine\u003c\/strong\u003e\u003cbr\u003eDating from 1976, the RS202 is 61 note polyphonic, with Strings I, Strings II and Brass sound sources, and a split keyboard - any sound could by assigned to either section of the keyboard. The ensemble chorus effect was a key part of the sonic signature, contributing to its classic, fizzing disco string sound.The RS202 is an all time classic string machine.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Brass, String II \u0026amp; String II settings fully sampled\u003c\/li\u003e\n\u003cli\u003e    Original switch settings modelled\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eJennings Univox\u003c\/strong\u003e\u003cbr\u003eDating from 1951, and a true oddity. The first electronic venture for Tom Jennings who later went on to create Vox amplifiers AC15, AC30 etc. The Univox was used by the Beatles during their early Cavern days in Liverpool and can be heard on Telstar by the Tornados.In about 1951\/1952 the Univox took off in a big way due to its competitive price and Tom's country wide marketing program.  The first version was the J6, single keyboard model, later followed by the J10 with two rows of Tone \u0026amp; effect tabs. All models were supplied with metal screw-on clips, to fasten it under the right hand side of a piano. Later we designed an adjustable chromed stand that enabled the user to do gigs in other locations with out having to screw on fixing brackets each time.  Most customers in those days were either Pub owners or pianists playing Pub gigs.\u003cbr\u003e\u003cbr\u003eThis particular Univox has a great pedigree as it was loaned to us by Adrian Utley from Portishead. You can read more about it on our Blog\u003cbr\u003e\u003cbr\u003e    Every (working) switch setting fully sampled\u003cbr\u003e    Sampled through original Univox speaker\u003cbr\u003e    Polyphonic mode added - fantastic for spooky pads\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Additional filter and EG control\u003c\/li\u003e\n\u003cli\u003e    'Knee lever' real-time MIDI control\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eSuzuki Omnichord\u003c\/strong\u003e\u003cbr\u003eIntroduced in 1981 and manufactured by the Suzuki Musical Instrument Corporation. It typically features a touch plate, and buttons for major, minor, and diminished chords. This unit (belonging to Neil Davidge of Massive Attack) is a ‘System Two, and it has a great synth tone, which sounds ‘cheap in all the right ways. You can mix two different tones, one straight, and one modulated with a basic LFO. While not sounding much like a plucked string, it does have a pure character all its own, which won it many fans, such as Daniel Lanois and Brian Eno. This Omnichord unit loaned by Neil Davidge from Massive Attack.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e    Two 'voice' settings fully sampled\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e    Chord matrix function fully modelled\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Strum Plate - strum in real time with MIDI controller\u003c\/li\u003e\n\u003cli\u003e    Detune and Width controls added\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eKorg LP10 Electronic Piano\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eKorgs first ever electronic piano, the fuzzy, dreamy tones of the LP10 weren't strictly realistic, but with retro-spectacles on it has a lot of charm. With Piano, Electric piano and Clav settings and a useful shaping EQ, but no velocity sensitivity.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Piano, Clav and Electric piano settings fully sampled\u003c\/li\u003e\n\u003cli\u003e    Additional detune, velocity, Filters and EG controls\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eHammond Solovox\u003c\/strong\u003e\u003cbr\u003eThe USA precurser to the Jennings Univox, produced in Canada for Hammond by the Northern Electric Company, Ontario between 1940 and 1948. A monophonic, valve driven keyboard instrument with a separate amplifier cabinet, the sound was derived from a single LC oscillator which had a frequency range of one octave. The signal from the oscillator was then passed through a series of 5 frequency dividers to create a further two octaves. On the front of the instrument there were a series of large thumb operated buttons for oscillator range (switch-able +\/- 3 octaves: 'soprano', 'contralto', 'tenor', 'bass'), vibrato, attack time, 'deep tone', 'full tone', '1st voice', 2nd voice', 'brilliant' and a switch for selecting woodwind, string sound or mute.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    All 'stop' settings fully sampled\u003c\/li\u003e\n\u003cli\u003e    Sampled through original speaker cabinet\u003c\/li\u003e\n\u003cli\u003e    Knee Volume controller modelled for real-time MIDI control\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e    Polyphonic mode for ancient pad sounds\u003c\/li\u003e\n\u003cli\u003e    EG and filter controls added\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eGodwin String Concert 249\u003c\/strong\u003e\u003cbr\u003eLittle known compared to the RS202 and Arp Omnis etc, but in fact this string synth has one of the most lifelike string sounds you will hear from an analogue synth. Manufactured in Italy by Sisme, it has 49 keys, 3 string sounds - Cello 16' \/ Viola 8' \/ Violin 4' controllable by faders. Its chorus and tremolo are particularly unique, adding a fabulous shimmer to the sound.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e Cello, Viola and Violin settings fully sampled\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eChorus and tremolo controls modelled\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePhilips Philicorda\u003c\/strong\u003e\u003cbr\u003eThe Philicorda is a 1960s transistor based organ that has found favour with producers in recent times ; one was used on the album 19 by Adele by producer Jim Abiss. This particular unit belongs to producer Liam Howe, and has been used on records by Marina and the Diamonds, Ellie Goulding, and Cocknbullkid.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Every 'stop' setting fully sampled\u003c\/li\u003e\n\u003cli\u003e    Chord function fully sampled\u003c\/li\u003e\n\u003cli\u003e    Original reverb included in effects section\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e    Output noise with 'backdrop' functionality\u003c\/li\u003e\n\u003cli\u003e    Additional filters and EGs\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eSH2000\u003c\/strong\u003e\u003cbr\u003eThe second synth ever produced by Roland (after the sh1000), it was designed to sit on top of a home organ to provide additional sounds. To that end, it is based around presets which are selected by a series of brightly coloured paddle-switches, and sounds very fat and characterful indeed. Basic filter and LFO controls are present, as well as 'growl' and 'wow' effects, which can be linked to aftertouch to give great performance potential.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    All original SH2000 presets sampled\u003c\/li\u003e\n\u003cli\u003e    Original Wow setting sampled for each patch\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eFull Aftertouch control\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSynthi AKS\u003c\/strong\u003e\u003cbr\u003eThe EMS Synthi AKS is a legendary instrument with an illustrious history. First manufactured in 1972 by EMS in Putney, south-west London, The Synthi A was basically a portable version of EMS's famous VCS3 synthesiser, and the KS keyboard (an unplayable 30-note touchplate) was added to make the Synthi AKS. It cost £420.It was quickly adopted by the likes of Brian Eno and Pink Floyd, and has been used by experimental musicians ever since. The Synthi has a unique patching system that uses a small patchbay grid. Each of the Synthi's components appear as a source and destination on the patchbay, and by placing a pin into that x-y position, you can route the signal from one component to the other. This was a very effective way to make a powerful modular system very compact.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eThe Attic features 3 different Synthi AKS instruments:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e    Multisamples :\u003c\/strong\u003e chromatically tuned patches that can be layered and played polyphincally as well as monophonically.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e    Loops :\u003c\/strong\u003e sequence patterns generated by the Synthi and presented in Kontakt's Beat Machine mode.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e    FOCUS SFX :\u003c\/strong\u003e Individual hits and sounds from the Synthi : something it excels at and the source of the real sci-fi sound. Packaged in Soniccouture's custom FOCUS interface, where sounds can be audtioned and easily mapped across the entire keyabord to be played chromatically.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eRequirements\u003c\/strong\u003e\u003cbr\u003eThe latest NI Kontakt Player is included in this product!\u003cbr\u003eThe minimum Kontakt Player version to use this library is specified in the product description. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eWindows\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWindows 7, 8.1 or 10 (latest Service Pack, 32\/64-bit)\u003c\/li\u003e\n\u003cli\u003eIntel Core 2 Duo or AMD Athlon 64 X2, 4 GB RAM (6 GB recommended)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eMac\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMac OS X 10.10, 10.11 oder 10.12 (latest update)\u003c\/li\u003e\n\u003cli\u003eIntel Core 2 Duo, 4 GB RAM (6 GB recommended)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003efor all\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    1GB free disc space for player installation\u003c\/li\u003e\n\u003cli\u003e    additional hard disc space according to the library size\u003c\/li\u003e\n\u003cli\u003e    internet connection for product activation required (on any computer)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e SUPPORTED INTERFACES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eStand-Alone\u003c\/li\u003e\n\u003cli\u003eVST\u003c\/li\u003e\n\u003cli\u003eAudio Units\u003c\/li\u003e\n\u003cli\u003eASIO\u003c\/li\u003e\n\u003cli\u003eCoreAudio\u003c\/li\u003e\n\u003cli\u003eWASAPI\u003c\/li\u003e\n\u003cli\u003eAAX Native (Pro Tools 10 or later)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eProduct activation:\u003c\/strong\u003e\u003cbr\u003eAn internet connection on any computer is required to authorize \/ activate the product (Challenge\/Response).\u003c\/p\u003e"}