Year/Date of Issue: 06/01/23
Developer: Audiority.
Developer site: Audiority
Format: VST, VST3, AAX.
Bit depth: 64bit
Tabletka: Cured [CE-V.R]
System requirements: WIN 7+
Description :
Welcome to Audiority, the “one man band” audio boutique providing high quality audio plug-ins and virtual instruments ranging from precision hardware simulators to unique creative tools.
My name is Luca Capozzi and here you will find all the products I have created to date. If you want to know more about how Audiority was born, read the story here.
I am also known for my sounds released by Epic SoundLab. My sounds, samples and instruments are used by such famous artists as Alaistar King, Anders Trentemøller, Dave Porter, Michael Nielsen, Martin Gore, Kaveh Cohen and many others.
Plugins included in the package
Effects:
• Deleight v1.4.1 – Multitimbral stereo delay with cross-feedback.
• Echoes T7E mkII v2.2.2 – *Binson® Echorec® T7E Magnetic Echo.
• GrainSpace v2.4.2 – Granular processor and reverb.
• Harmonic Maximizer v1.2.0 – Multi-band exciter and loudness maximizer.
• LDC2 Compander v1.2.0 – analog modeled optical compressor and expander.
• Plexitape v1.3.1 – *Maestro® Echoplex® EP-3™ tape echo.
• Polaris v1.8.1 – An echo/reverb based on early digital reverbs from the late 70’s.
• PolyComp v1.2.0 – Analog simulation of a multiband compressor.
• Pre X7 v1.5.1 – Analog modeled tube preamplifier.
• Pyros v2.1.0 – Aggressive distortion (formerly The Abuser).
• Side Filter v1.3.0 – High pass filter.
• Space Station UM282 v1.4.0 – Ursa Major Space Station SST-282 echo device.
• TS-1 Transient Shaper v1.3.1 – transient shaper with soft clipping.
• Tube Modulator v1.4.1 – Analog simulated modulator.
• XenoVerb v1.5.0 – Creative reverb with several algorithms. Guitar amplifiers and pedals:
• Big Goat v1.2.1 – Electro-Harmonix® Big Muff Pi™ distortion.
• Blue Face v1.2.1 – Dunlop® Fuzz Face™ fuzz.
• Chorus Ensembler v1.1.1 – BOSS® CE-1™ BBD chorus and vibrato.
• Dark Memory v1.0.2 – an echo of the Electro-Harmonix® Memory Man™ EH7810 BBD.
• Distortion One v2.0.1 – BOSS® DS-1™ distortion.
•Dr. Drive v1.2 is a free Horizon Devices® Precision Drive™ overdrive.
•Dr. Phase v1.1 is a free MXR® Phase 90™ phaser.
• Electric Matter v1.2 – flanger Electro-Harmonix® Deluxe Electric Mistress™ BBD.
• Green Reaper v1.1.2 – Ibanez® Tube Screamer™ TS9 overdrive.
• Heavy Pedal mkII v2.0.4 – BOSS® HM-2™ distortion.
• Klirrton Grindstein v1.2.3 – Ultimate Death Metal Plugin Suite.
• L12X v1.3 is a free Marshall® Lead 12™ solid state amplifier.
• Oktaver 82 v1.1.0 – classic BOSS® OC-2™ monophonic octaver.
• Solidus Randy 250 v1.1.0 – Randall® RG100ES & RH150 solid state amplifiers.
• Solidus VS8100 v1.2.0 – Marshall® Valvestate™ 8100 solid state amplifier.
• The Bluesman v1.0.1 – Marshall® Blues Breaker™ overdrive.
• The Driver v1.0.1 – Marshall® Drivemaster™ overdrive.
• The Overseer v1.0.1 – Marshall® Guv’nor™ distortion.
• The Shredder v1.0.1 – Marshall® Shredmaster™ overdrive.
Reading the list of pedals, remembering when they made their debuts in the 60’s and 70’s, getting the catalogs and dreaming of having a sea of FX pedals 🙂 In those days the magic was so great you were playing the PEDALS, not caring so much whether you can tell it’s a guitar, bass, or keyboard triggering the sound.
Mind if I share the story I heard of how the flanger came to be? Circa 1978 I worked with the foley technician for the “Starsky and Hutch” series. He was delivering gunshot recordings to the Scott Sound studio on Santa Monica Blvd. Across the street at Paramount Studio, Robin Trower was recording his 3rd or 4th album. I mentioned something about phase shift and flanging, how I loved Robin’s Hendrix-like tone. The studio tech told me that at Electric Ladyland Studio, they were mixing from reels, adding Jimi’s live guitar solo……. somebody accidentally touched one of the reels, causing a momentary time delay. When that occurs and within a certain bandwidth, you’ll hear the sweep through the harmonics. The edge of a tape reel is called a “flange”, so that’s how the effect was named. What a discovery and way to strike oil 🙂
Just in case anyone’s interested in how the modulation FX work, they’re all based on a split original signal which is delayed slightly then added back at output. Feeble memory here but I think, in terms of length in milliseconds, it’s phase shift first, then flanging, then chorus, then reverb and finally echo
Admin as always thanks for the oracle here and excellent site work.