Note - This software is Windows compatible only and will not function on Mac computers!

Slicex uses advanced beat detection algorithms to slice song/percussion samples into pieces and make them independently playable from the Piano roll or controller.

A New Way Of Slicing

If the wave file contains slice/region data this will be automatically used instead of the beat-detection algorithm. Slicex offers playback, reordering of slices and time-stretching capabilities optimized for drum loops. Related plugins are the Fruity Slicer and Edison.

Segment Multiplexer

Cataract is a Segment Multiplexer for Electronic Music Production and Experimental Sound Design

Cataract features an arsenal of sample scanners with integrated modulation sequencers, generative parameters and various morphing functions. This makes it possible to construct architecturally complex patterns ranging from nuanced percussive articulations to intricate particle sound effects and all-out glitch chaos. Cataract comes with a large library of loops and samples, as well as more than 180 presets to get you started.

Once you’re ready to take things further, load up samples from any of our specialized packs to dramatically increase Cataract’s sonic palette. Of course you can also load any of your existing samples to fully customize Cataract to your needs. Warp pitched samples into parallax melodies or redistribute loop segments into generative polyrhythms. Cataract will give your projects a unique cutting-edge twist.

Cataract features a dynamic, colour-coded user interface that simplifies navigation and streamlines functionality. One of the plugin’s highlights is the ability to step-sequence nearly every parameter, making it possible to coordinate extremely expressive and detailed patterns. Synchronize with your hosts’s clock, use your MIDI keyboard to improvise complex pattern variations in real time, or sequence precise parameter changes from within your favourite DAW. You can even utilize Cataract’s GEN functions to set up completely generative evolving phrases.

Cataract includes two scanners, each of which are equipped with two sample slots. Each scanner includes two LFOs, a multimode filter, a multimode delay effect, a scan sequencer with windowing and dedicated LFO, a 3-Band graphic EQ, four dedicated randomizers, five MIDI triggered save states and a dedicated modulation matrix. Globally, Cataract features a crossfade-style morph section with its own dedicated X-MOD LFO, as well as three percentage-based randomizers that facilitate consistently compelling results with relative ease.

Peerless Sampling Character

The CMI V is a spot-on reincarnation of the first commercially available digital sampling system in music history—the sonic powerhouse behind numerous early MTV-era megahits. We even went the extra mile and added new creative features that weren’t possible back in the day.

In 1980, the Fairlight CMI turned heads with the introduction of digital sampling. Now our software homage lets you turn some heads yourself.

With exotic new sound of digital samples, the promise of an all-in-one digital workstation, and a physical design right out of a sci-fi movie, the Fairlight CMI was an object of desire for most self-respecting ‘80s keyboardists. Countless musicians and producers weighed the risks of bank robbery in order to afford one. No need today. Our faithful recreation gives you the same tools that many MTV stars used to make a cannonball splash into the pool. We’ve even made lots of improvements and additions that bring added power to this keyboard legend, including an alternate additive synthesis engine and tons of new modulation options. No vintage keyboard collection is complete without the CMI V.

Now it’s your turn to experience the sound and power of the digital workstation that started it all.

The unique musical architecture of the CMI

The CMI V isn’t just a digital instrument. It’s a complete digital workstation.

Our enhanced reproduction of this keyboard superhero lets you work with 10 digital instruments of your choice at once—mixing, layering, splitting and sequencing them as you please. Each instrument can draw from three different means of sound generation. The most obvious is the sampling engine that literally first defined the term in the industry. You can also shape sounds with the original additive synthesis engine where you control each of the component harmonics over time. We’ve even spun up the propellers and introduced a newer, simpler means of exploring additive synthesis like you’ve never heard it before named Spectral Synth. You also get around 300 expertly designed presets to get you going—including the original library of sounds you’ll recognize from countless hit recordings.

The CMI V has everything you need to explore the intersection of sampling and digital synthesis.

The original digital sound design powerhouse

If you want to sculpt sounds in the digital domain, the CMI V brings you a complete artists toolbox.

There are a zillion ways to shape sounds with the CMI. Work with a sample from the included library, or load in one of your own. Set the start and end points for the sample and loop. Modify the resolution to juice some interesting side effects. Resynthesize the sample into the additive synth domain for a harmonic representation. Create custom envelopes to control how each harmonic behaves over time. Change the sine waves that make up those harmonics to more complex waveshapes. Add multiple custom modulations to just about any sonic parameters you can think of. Heck, turn those modified additive harmonics back into a sample and sculpt your sound more back in that domain.

The CMI V gives you limitless creative options and sonic variety that are completely unique to this legendary sound design workstation.

The sound heard around the world

Many cutting edge ‘80s songs were fueled by the equally cutting edge sounds of the CMI. Now you can relive the glory days of MTV.

You know the sound of the CMI because it was everywhere—and still is. Consider the ear candy on Kate Bush’s “Running Up That Hill”. The rhythmic frenzy of Herbie Hancock’s “Rockit”. Peter Gabriel’s exotic “Sledgehammer” shakuhachi. The impossible horn line on Yes’ “Owner of a Lonely Heart”. The breathy vocal-flute on Tears for Fears’ “Shout” and “Everybody Wants to Rule the World”. Trevor Horn’s pulsing Page R bottom-end collage on “Relax” by Frankie Goes to Hollywood. Speaking of Hollywood, there’s Duran Duran’s “View to a Kill” Bond theme. How about Jan Hammer’s pitch-processed drums on his weekly “Miama Vice” TV scores? And MTV favs like “Close (to the Edit)” by Art of Noise and Yello’s “Oh, Yeah” are poster children for all things CMI.

Whether for cover-gig authenticity or just basking in nostalgia, CMI V delivers the fun novelty of songs that still fill the classic rock airwaves.

Main Features

• Software synthesizer playable through a MIDI keyboard
• 600 presets from the original CMI library
• 360 presets sounds made by Arturia sound designers
• Expanded number of track to 10 with a polyphony per track up to 32
• Perfect emulation of the analog filter response
• Faithful recreation of the sampling and additive synthesis capacities of the instrument
• Variable Bit Depth and Sample Rate
• Introduction of a new sound generation mode: Spectral synthesis
• Classic "page-R" inspired 32-step sequencer
• 24 sources of modulations per track to apply to all "CONTROL" parameters
• High-quality output effects
• VST, VST3, AU, AAX, and standalone operation

Preset Browser

Our redesigned preset browser lets you quickly find just the sound you’re looking for.

Search by name or simply select the appropriate tags to dial in on the exact sonic character you’re looking for. You can mark and recall your own favorites, enter comments, and set up playlists. There’s never been a more intuitive way to manage your library of designer and personal presets.

Resizable GUI

The user interfaces for all your Arturia instruments are now resizable, making it easy to work with any High Resolution screen, UHD or Retina.

You can decide whether you want to fill the screen with awesome graphic reproductions of classic instrument goodness, scale the window down when you’re working in a DAW and screen real estate is at a premium, or even zoom for detailed work.

Plugin Boutique Exclusive Bundles Featuring Serato Sample

• The Art of Sampling Bundle
• Sample+ Hip-Hop & Trap Bundle
• Sample+ House & Techno Bundle
• Sample+ Jazz & Soul Bundle

The Fastest Way to Sample

A powerful and intuitive new sampler plugin for producers that allows you to quickly find, chop, key shift and time-stretch samples.

The Power of Pitch ‘n' Time

It has the world-famous Pitch ‘n' Time algorithm built-in, giving you the best time-stretching quality on the market.

Works in Leading Production Software

Sample will work in most DAWs that support AU/VST* plugins including Ableton Live, FL Studio, Logic Pro and Maschine.

Important Note: This is the full version of Polygon. An upgrade for users that already own Polygon Version 1 is also availiable.

Polygon 2.0 is a hybrid sampler plugin designed to facilitate the creation of mind bending composite sound effects and unusual instrument patches.

Polygon 2.0 features a fully re-designed scalable user interface and we have completely revamped nearly every aspect of the plugin. Polygon’s new granular mode will catapult your samples into uncharted realms while its clean and logical interface, extensive modulation options and powerful new dual oscillator make it an invaluable tool for music production and creative sound design. Polygon 2.0 brings sound designers and musicians a powerful new sound sculpting instrument.

Granular Synthesis from the Future

Granulizer 2 is a granular synthesis software synthesizer intended for creative sound design.

It features a very versatile DSP engine that is able to deliver a wide sound palette, with sounds varying from metallic crunch and grainy fuzziness to smooth reverb-like tones, spectral widening or chaotic soundscapes.

Updated Design Language

Following the steps Inertia Sound Systems took during the INSTINCT development process, they went for a cleaner interface. While 2.1 was pretty sleek, the way the new components are designed gives us more freedom and focus solely on what's important.

This is Massive

In Inertia Sound Systems greatest update yet, this release has been in the making for over a year. It was created from the bottom up, to be used by musicians, sound designers and artists. Inertia Sound Systems want you to be as free as possible when you're in your creative zone.

Everything is Better

Inertia Sound Systems implemented a newly designed, high-quality granular engine with controls over grain size, density, speed, grain envelope shape, pitch, and timing randomization. You are now able to sync to host option for the delay time parameter and the grain speed.

The Interactive waveform viewer has zoom in/out and loop selection capabilities.

Follow the Grain

Granulizer 2 boasts a grain warping module, featuring a feedback modulation scheme, with controls for smear, smooth and depth, that provides atonal variations or perceptually acts as a second oscillator.

The Grain FX module has spectral processing per grain, manipulating grain sharpness/shape, spread, and frequency shift.

The HIVE

The HIVE section of Granulizer 2 is a high-quality diffusion delay featuring zero-delay feedback analogue modelled filters with subtle soft saturation, infinite feedback, control over diffusion amount, size, and more.

The Preset System

Granulizer 2 comes with custom-built presets, with sounds ranging from ambience, drones, glitches and synths. You can create your own from scratch or build upon the ones that already included. The possibilities are endless.

Themes

For you late night dwellers, Inertia Sound Systems felt that their default theme messed with your low light/chill vibe. So, starting with Granulizer 2.2, they included a dark theme. Moving forward, Inertia Sound Systems will support more options and maybe user styled themes, if users feel the need for it.

Sample Slicer + Step Sequencer + FX Chain

Slicer allows samples to be sliced into up to 32 parts. These parts can then be sequenced in the fully-featured step sequencer that includes a groove editor. Each slice has a whole host of editable parameters for in-depth tweaking. This is then run through a reorderable multi-effect chain that includes EQ, compression, drive, delay and more.

Palindrome is a granular morph plotting sampler geared toward experimental sound design.

The basic concept behind Palindrome is to fuse four granular samplers with a coordinate plotting grid and complex modulation sources in order to facilitate the creation of morphing sound effects and unusual instrument patches.

The plugin’s main grid section facilitates the creation of custom paths that determine the trajectory of a playhead over time. This playhead travels across a user-definable path that corresponds with the outputs of the samplers which are smoothly morphed using a bilinear interpolation algorithm.  Palindrome also features 8 user-definable multi-breakpoint modulation envelopes to facilitate the creation of intricate modulation shapes.

With its 4 granular samplers, morph-plotting system, 8 multi-breakpoint modulation envelopes, dual effects processors per sampler, shape presets, 4-note polyphony, deep randomization system, global reverb, 1.4GB sample library and numerous factory presets, Palindrome brings sound designers a powerful new sound sculpting tool.

DirectWave is one of the most complete VSTi samplers currently available.

Note - This software is Windows compatible only and will not function on Mac computers!

Opens All Your Sounds.

It loads and edits most of the existing sound formats³ out there (WAV (any), SF2 (Soundfont), AKP (Akai), Propellerheads Recycle, Native Instruments Battery, Kontakt *(nki), GIGA *(gig) & eMagic EXS24, ...) and it can even sample your existing VSTi instruments.

The Perfect Tool for Sampled Grooves

ReCycle is a creative tool that helps you make the most of your grooves. In simple terms, ReCycle lets you do with sampled loops what you can do with beats programmed from individual drum sounds – like alter the tempo, or replace sounds and process them individually. A tool for quickly editing sampled parts, chopping up riffs, remixing and doing mash-ups.

Slice your sampled loops with ReCycle and turn them from rigid recordings to flexible musical elements that blend seamlessly with your music. ReCycle slices loops into their rhythmical components, letting you quantize, rearrange or totally reimagine your sampled grooves.

How it’s Done

• Slice: ReCycle finds all the transients in your sampled material and slices your loop up, while also keeping the timing information so you can play it back at any tempo without losing its feel or with the artefacts that come from time stretch.
• Tweak: Sculpt your sound with ReCycle’s built-in effects: Transient Shaper, EQ, Envelope and a stretch feature that stretches the tail end of your each slice in the loop.
• Create: Save your loops as REX files and let the creative part begin. With ReCycled audio, your loops can be arranged, rearranged have their timing altered or even be used as a groove template for your song.

ReCycle Tricks

• 1. Like the sounds of your loop, but the feel isn’t right for your song? ReCycled loops can be quantized in your sequencer to fit with any groove.
• 2. Or maybe you feel of your loop, but the snare isn’t right? Simply replace the snare while keeping the tempo.
• 3. Create a more living performance by rearranging the loop’s slices in your sequencer to create fills and variations.
• 4. Use your sequencer’s groove quantize to set the ReCycled loop as your groove template and have the whole track swinging to your loop.

Important Note: You must have an eLicencer dongle to use Vengeance Sound products.

Meet Vengeance Sound's flagship drum and synth sampler, with over 6000 samples/sounds.