Toxic Biohazard

Toxic Biohazard is the 4th generation in the line of Toxic synthesizers vst from FL Studio. Toxic Biohazard distills the best features from the previous 3 versions to deliver our most concentrated Toxic ever. Beware!

Hybrid Synthesis.

Toxic Biohazard features a hybrid synthesis engine, combining the best of FM and Subtractive synthesis. With the addition of a warm, analog-modelled filter and set of built-in effects, the Toxic concept remains one of convenience, simplicity, and superb sound quality.

Toxic Biohazard includes following enhancements...

• Optimized engine. Improved the sound quality, with even more accurate waveshapes, and quicker rendering times.
• "Physical" envelopes (amplitude and filter) physical modelling of how sounds in real world decay & resonate, for example, the sound of a water drop. Further, physical envelopes are rendered
• real-time without any interpolation, avoiding noise artifacts and allowing Toxic Bio to deliver fast, accurate envelope times.
• Pack of new effects: phaser, reverb, ...

image by Image-Line

The FM technology

One of the ‘warmest’, crisp, and clear Frequency Modulation engines in the world, owes its sound to the precise calculation of the digital signal. Due to high-resolution DSP processing, it produces sound with an extremely low noise threshold; something that most FM engines cannot offer. The Toxic Biohazard sound was built from the ground up, via our own unique mathematical calculations and analog-modelling techniques.

The Oscillators

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Completely alias-free, and well tuned for all sampling rates, they produce a rich, "fat" sound all across the spectrum. Due to the high quality of the anti-aliasing process, users will not encounter the shredding noise on high frequencies that has plagued FM synthesis in the past. Furthermore, the oscillators are calculated at extremely high speeds, keeping your CPU usage to a minimum. Toxic’s low CPU consumption affords the user plenty of room for external processing and running multiple instances. The oscillators also come equipped with Maxx Claster’s own powerful spectrum analysis technology. This allows the user to create his or her own waveforms, via the simple process of loading a WAV or AIFF format sound file. All of these features make the oscillators very flexible, and allow for the use of both synthetic and acoustic waveforms within Toxic. Each oscillator also comes with 32 built in ‘classic’ waveforms, each shown to be the most useful in FM synthesis.

The Effects

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Made to assure high quality and flexibility is built into the synthesizer its self, Toxic Biohazard aims to reduce the need for external processing altogether! The effect modules are designed to give the user access to several types of effects, from aggressive, tube-like distortion, to warm stereo delay, reverb, flanger, and phaser effects. With our own pro-quality tape delay emulation, based on non-fixed delay buffer sizes, instead of the usual methods incorporated within digital delays, our delay lines give you warm sound, with “true” feedback and modulation. Lastly, the signal chain features an analog-modelled, parametric equalizer to further shape your sound. The EQ provides access to crisp, clear high-end definition, creamy mid ranges and earth-shaking low-end frequencies. The Toxic Biohazard effect modules expands its palette of sound to include everything from dark, atmospheric textures to razor sharp leads, fit to slice easily through any mix.

The Filter

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Maxx Claster's own analog-modelled, multimode filter is reminiscent of a certain silver box of old. Garnishing a warm, resonant Low-Pass mode, a smooth Band-Pass setting, and a creamy High-Pass mode, Toxic Biohazard gives a wealth of control over tone. The filter is further enhanced by modulation via a dedicated envelope generator and low frequency oscillator, as well as responding to velocity information and keyboard tracking. These features allow for extreme sound shaping, as well as subtle nuances attributed to dynamic playing.

The Sequencer

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Powerful, yet simple, the sequencer offers a total of 64 steps, which can be divided into two independent, 32 step modules to allow double-polyphonic patterns. Using our own "Smart Sequencer" technology, when a chord is played, the module defines that chord, and tunes the pattern accordingly. The sequencer also allows for pure playback of the programmed sequence from single notes. Simply holding one chord can virtually create an arrangement for you!

System requirements

PC:

• Windows 7, Vista, XP (SP2) - (32 & 64 Bit)
• 2Ghz AMD or Intel Pentium 3 compatible CPU with full SSE1 support
• 512Mb RAM.
• 30Mb free disc space.
• DirectSound or ASIO compatible soundcard.

Mac:

• OSX v10.4 (Universal Binary)
• G4 1.5 GHz or Intel Core Duo family.
• 512Mb RAM.
• 30Mb free disc space.
• CoreAudio drivers.

Source : Image-Line

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Harmless

For several reasons. To begin with, there are too many subtractive synthesizers already, often bragging about being virtual analog. This one is digital, and proud to be. Everything is fake, the tone generator, the filter & its resonance, the phaser, all performed on the harmonics, before partials are computed.

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Now, how it's synthesized shouldn't matter after all, if the result sounds subtractive. But Harmless is more than a proof of concept, it allows fine control that wouldn't be possible through classic subtractive synthesis. Filtering and phasing can be assigned unusual shapes & slopes, something normally only possible through offline digital filters. Filter slopes can even be defined in Hz instead of octaves. Finally, you get control on each partial's frequency, creating timbres definitely impossible using common synthesis methods.

Harmless, for less harmonics

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Again, Harmless is additive doing subtractive. Harmonics are not produced to be filtered, the timbre is filtered before being generated. This may sound like a detail, but generating sounds this way offers a lot more advantages than drawbacks.

Not necessarily less efficient

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Powered by a highly optimized, multithreaded additive engine, CPU usage is comparable to the one of traditional subtractive synthesizers, especially for low-passed timbres. Voices may be generating hundreds of harmonics in parallel and still not overload the CPU.

Because less is more

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Harmless was limited by design. We don't have any problem with complex synthesizers (we made several), but they're not for everyone. Here, no tabs, no hidden controls, no multipoint envelopes, all features are visible at once, and color-grouped. Over 100 parameters, most of which being automatable, are laid over a clear GUI.

Harmless, only in appearance

Simpler to program, yet packed with evil features. Under the hood, you will find unique options, like linking the phaser's output to partials frequencies. The LFO section can act as a special modulation source, linking the phaser's width to the velocity, or the pitch to the filter's envelope.

 

Of course, Harmless also offers features typically unique to additive synthesis, like its automatable harmonic mask.

Harmless is also packed with effects, the usual chorus, delay & reverb, but also a multiband compressor/limiter powered by Maximus itself. It also inherited the powerful unison from Sytrus.

In conclusion, our goal was to create a subtractive synthesizer with a unique twist, that also was easy to program, and we believe it succeeded.

System requirements

Windows 7 & 8, Vista, XP (SP2) - (32 & 64 Bit OS)

2Ghz AMD or Intel Pentium 3 compatible CPU with full SSE1 support

512Mb RAM.

30Mb free disc space.

DirectSound or ASIO compatible soundcard.

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FL Studio Various Tool - NewTone

NewTone

NewTone (editor) is a pitch-correction and time manipulation editor. Slice, correct, edit vocals, instrumentals and other recordings.

Professional pitch correction & manipulation

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Fully integrated with FL Studio for the most efficient work flow. 

Auto or manually pitch correct vocals, create harmonies and new tunes.

Change volume levels, pitch duration, note position in the bar and alter or correct the overall pitch.

Simply move the blocks to correct

Image by Imag-Line

Newtone makes it easy to correct your vocals or monophonic-instrumental recordings. 

Transparent blocks indicate detected pitches and the red line the moment-by-moment pitch all calculated automatically. Out of tune notes are immediately visible, and can be corrected individually with the click of a right-mouse button. Alternatively Drop into Advanced Edit Mode and micro-correct any portion of the waveform.

Drag & drop file adding

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Drad and drop your sounds or vocals directly into Newtone.

Efficient integration with FL Studio allows easy import/export to and from the Playlist, to wave format or exported as MIDI. 

Since Newtone is hosted as an effect and syncs with FL Studio transport, you can completely edit your audio without leaving Newtone.

Experiment with sound

Go beyond correcting vocals, create harmonies or use Newtone to experiment with non-vocal sounds. 

Newtone is not only a pitch and time manipulation tool, but a versatile sound-design environment.

Key features:

Auto correct your vocals

Create harmonies & new tunes

Full integration with FL Studio

System requirements

Windows XP/Vista/7

2Ghz AMD or Intel Pentium 3 compatible CPU with full SSE1 support

512 Mb RAM

130 Mb disk space

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Harmor Vst Plugin

Just like its little brother Harmless, Harmor is driven by a powerful additive synthesis engine. Its modules will look familiar to subtractive synthesizer enthusiasts: oscillators, filters & phasers, these are featured in Harmor but, because performed through additive synthesis, offer more freedom. You don't just select filter types, you draw them.


You wanted more, so also featured is the multipoint envelope editor of Sytrus fame, applied to over 40 parameters, in 2 independent parts. Through the same envelope/mappings, randomize any parameter or link it to key or velocity, and even fine-tune each unison voice independently.

Processing units can be rearranged in a semi-modular way. If you need one of the 2 filter units processed after the blur unit, that's no problem.

Because it typically requires manipulating large amounts (up to 500 per voice) of partials over time, additive synthesis is hard to handle. No human can (or even wants to) edit 500 envelopes, but editing 2D images, that we can do easily. Get access to gain & pitch planes which you can tweak in the image editor of your choice, and import any bitmap, even if it wasn't designed to be turned into audio, it might still sound interesting.
Being an additive synthesizer, Harmor can resynthesize audio files as well. The reproduction will be faithful, not a vague sound-alike as in many additive synthesizers. Resynthesis can of course be tweaked, providing time stretching, pitch shifting, or less conventional manipulations of partials.
And of course, the result of the analysis can still be turned into an image for further editing.
Additive synthesis is generally very CPU-consuming, but not Harmor's engine. Its efficency is in fact, comparable to that of subtractive synthesizers. Voices may be generating hundreds of harmonics in parallel and still not overload the CPU. Processing being multi-threaded, extra CPU cores come in handy.

 System requirements

• Windows 7 & 8, Vista, XP (SP2) - (32 & 64 Bit OS)
• 2Ghz AMD or Intel Pentium 3 compatible CPU with full SSE1 support
• 512Mb RAM.
• 30Mb free disc space.
• DirectSound or ASIO compatible soundcard.

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SYTRUS VST PLUGIN

Hybrid Synthesizer - subtractive but addictive A disruptive innovation in software synthesis, nothing else compares to the diversity Sytrus packs. FM, RM & Subtractive synthesis - have it all!. Sytrus is my favorite VST Plugin. 

 Sound engine

Meticulously crafted, Sytrus delivers ethereal lush pads, sonorous bells, scintillating highs or simply dirty grunge. The 6 user-definable operators can act as independent oscillators for subtractive synthesis, cross-modulate to create complex FM (Frequency Modulation) or RM (Ring Modulation) synthesis or the 256 partial harmonic editor can be used to additively synthesize virtually any timbre you can imagine. With up to 64x oversampling Sytrus delivers 100% epic sound.

Effects

Sytrus features 3 independent, chainable, filter units, each containing an array of filters (13 types each with 5 cutoff slope settings) and integrated waveshaper (distortion processor).

The filter units are optionally followed by a Chorus, Delay & Reverb unit. 100% Flexibility.

Presets

With over 500 hand-picked presets Sytrus is ready to contribute to any genre immediately upon installation. Sounds cover - Arps, Bass, Bell, Brass, Chromatics, Drum, DX7, Experimental, FX, Guitar, Orchestral, Organ, Pad, Percussion, Piano, Plucked, Sequence, Synth, String, Wind. 100% inspiration.

Key Features:

• 6 independent operators with total freedom on oscillator shaping
• FM, RM, subtractive synthesis
• Multipoint articulation with unique arpeggiator system
• Fully controllable & automatable unison
• Effects: 13 filter types, 3 band Parametric EQ, Phaser, Chorus, Filters
• X/Y modulation control
• Up to 64x oversampling (for high-quality FM synthesis)

AWESOME !!!

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POISONEZONE VST INSTRUMENT

One of the best VST Plugin for FL Studio, Poizone is a subtractive software synthesizer designed to bring you professional quality results, without a learning curve that hinders your creativity. Once you have spent some time auditioning the preset patches Iam sure you will agree that Poizone packs a lot of punch in what appears to be a simple package. Image-Line always give the best stuff right ...

Key Features:

• 2 oscillators that can produce the two most popular and useful shapes for subtractive synthesis: fat, bright SAW and PULSE shapes, with adjustable pulse width.
• Noise generator.
• Ring modulation
• Sync modulation
• 16 voice polyphony
• 4 voice UNISON with user-adjustable stereo panning and 'Octaver'. The Octaver expands the harmonic range and flexibility of the unison sound to support the creation of realistic 'vox-like' effects
• 2 ADSR envelope generators. One for traditional envelope duties, the other can be user assigned
• 3 FILTER modes - low pass, band pass and high pass. PoiZone features a warm, super-trooper-extra-analog-moog-like-mega filter with self oscillation. Special attention has been given to precise filter tuning so that when KEYTRK is set to maximum, the PoiZone filter will track keyboard frequency precisely so it can be used as an oscillator. The PoiZone filter has bright and clean sound or it can be 'grungy' and 'angry' when resonance is introduced as it features some light distortion. And even with distortion the filter sounds clean on high frequencies as it has no aliasing
• Keyboard and Velocity tracking for the filter
• Multi-mode Arpeggiator
• Noise Gate with an adjustable 16 step pattern. The gate features smoothness control and the ability to import/export patterns to .fxp files
• DELAY effect, with tempo-synced click-free stereo delays and delay time modulation. Lo-cut and hi-cut for trancers!
• CHORUS with a warm sound with great unison emulation
• MIDI learn feature with the ability to save/load MIDI setups to/from a patch
• LFO and MOD WHEEL modulation. Can be assigned to a wide range of performance parameters in PoiZone
• 330 high quality factory sounds.

System requirements

PC:

Windows 7, Vista, XP (SP2) - (32 & 64 Bit)

2Ghz AMD or Intel Pentium 3 compatible CPU with full SSE1 support

512Mb RAM.

30Mb free disc space.

DirectSound or ASIO compatible soundcard.

Mac:

OSX v10.4 (Universal Binary)

G4 1.5 GHz or Intel Core Duo family.

512Mb RAM.

30Mb free disc space.

CoreAudio drivers.

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Phutura VST Instrument

Ok guys, lets talk about Phutura. Phutura is a virtual synthesizer inspired by 80's hardware synth Alpha Juno, best known for the Hoover sound. Its edgy and futuristic feel makes it perfect choice for Lead and Chord Stab type of sounds, suitable for use in dark & energetic styles of music like Techno, Rave, Drum&Bass, Electro, Hardstyle, Dubstep.

·  Specifications of Phutura

1. Polyphony: 8 Voices (+ 8 release reserve).
2. Oscillators: 3 Oscillators (Sawtooth, Pulse and Sub, with 4-6 subtypes each) and White Noise Waveform.
3. Filters: Non-resonant High Pass Filter (4 modes) and Resonant Low Pass Filter.
4. Modulators: LFO, ADSR Envelope, Pitch Bender, Mod Wheel and Key Tracking.
5. Effects: Chorus.
6. MIDI: Automation of all interface controls is possible.
7. Patches: 128 Patches (80 presets in Hoover, Bass, Lead, Pad, Polyphonic, Synth & Sound FX categories; and 48 blank User Patches).
8. System: Windows with 32-bit host.

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