112dB Morgana是一个牛的不得了的采样音源，超越了典型软件采样音源的局限性,能够产生真实乐器的感觉.
We're now so used to soft samplers being presented as vast pre-loaded ROMplers that it's all too easy to forget about the bad old days of hardware samplers, when you'd be lucky if yours came with just a few floppy disks of ready-to-go sounds.
Back then, it was entirely expected that you'd be willing to go to the effort of manually recording your own sounds before editing them on a tiny LCD display.
Crucially, and entirely unlike today's samplers, the sounds that came out of those old-school units were often significantly different to the ones that went in. The bass was grittier and the top-end was less well-represented. There was hiss, there was analogue degradation from the circuitry, and everything was generally distorted, though often in a pleasingly organic way.
Until now, there hasn't really been a reliable way of emulating this combined effect, but now we have Morgana the debut VST/AU instrument from 112dB.
Overview
The idea is simple: deliver a soft sampler that recreates the aged analogue and primitive digital circuitry of the late '70s and '80s to form a musically expressive instrument for both studio and live use, but with a much handier editing interface and full automation control, and none of the memory constraints of yesteryear.
First impressions are that it's mission accomplished for 112dB. The simplicity of Morgana's front panel is hugely appreciated; unlike many of the hardware samplers we grew up with (or soft synths we've subsequently embraced) this one really does feel like a nice, ergonomic analogue synth.
Taken as a piece of virtual hardware, the controls are well laid out (and enable fine control when holding down Shift), making it incredibly easy to edit patches or individual samples.
The help menus that open automatically when you hover a parameter long enough give you handy tips about the extra range and routing parameters that lie behind the scenes. However, an optional routing matrix would be a welcome addition at some point.
As for the sample patch architecture, it's all pretty standard stuff. You put samples in, tell the sampler which notes to place them on, set their start, end and loop points, tune them, and that's about it. You can also create a patch with distinct upper- and lower-level multitimbral patches, which you can then blend into one über-patch.
Sounds, editing and patches
Absolutely the best thing about Morgana, though, is its sound. 112dB have gone to great lengths to replicate not just the low-quality chips used in yesteryear's gear, but even the idiosyncrasies of the internal wiring. So, for example, circuit crosstalk is modelled at the preamp stage.
This rather nifty section is applied in real time, and can be bypassed or applied to any sample individually and non-destructively, so you can always opt to change the quality or character later in the game.
Likewise, the Sample Rate control enables the user to determine just how lo-fi they want things to sound, and the Analog knob (found in the Setup panel) offers a sliding scale of effects, taking the sound from solid and consistent to characteristic of all-out wavering circuitry.
It's not all nostalgia-fuelled perfection, though. One thing nobody really misses about old samplers is the cumbersome editing process that most vintage units saddled you with, and as streamlined as Morgana might be compared to those boxes, the confines of the hardware-aping interface make it feel a little cramped compared to most modern soft samplers.
Compatibility with the main popular sampler formats is absent, which is a disappointment, as this would have enabled users to load up existing patches in formats like Kontakt and EXS, but with a slightly grittier sound.
Meanwhile, the supplied patches are a bit of a letdown. While we'd be the first to encourage making your own samples, it is nice to have some tasty sounds at your fingertips, particularly when you're in the throes of creativity Morgana does support REX files, though, featuring a Slice button to map them across keyzones.
Finally, although there are a number of automatable controls, not everything is quite as accessible as we'd like. In version 2, we hope to see just about everything controllable by automation, though the first priority in any update should be the facility to manipulate the sample start, end and loop points.
Summary
Morgana imbues samples with a sonic character that will be unlike anything else in your mix, helping them to stand out. Perhaps you could achieve something similar using a bit-crushing plug-in, but nothing else quite emulates the lo-fi effect that old circuitry had in precisely the same way.
Using Morgana immediately brings back happy memories of sampling 'back in the day' in much the same way as the first really decent modelling soft synths – such as GForce's Oddity – recalled the notoriously flaky analogue circuitry that initially powered most vintage synthesisers.
Morgana might not be the last word in sampling technology – it's not intended to be – but it's certainly a very valuable and desirable homage to the best that old-school sampling had to offer.
The InstrumentWhen sampling technology was in its infancy, samplers lacked the power
required for high-quality interpolation and filtering. Analog-digital
converters were primitive, and the sounds that went into these
machines came out grittier and darker--but also warmer and punchier.
The same qualities that degraded the audio from a technical standpoint
had the effect of enhancing the audio from an artistic standpoint.
But where are these instruments today? Why do samplers nowadays
endeavor to produce an exact carbon copy instead of adding their own
touch? Whatever happened to character, to samplers that feel as if
they belong in the hands of musicians instead of laboratory
technicians?
We asked ourselves those very questions, and we couldn't come up with
any good answers. So we decided to change that.
Enter Morgana.
Morgana is an authentic representation of a vintage digital sampler,
designed to be musical rather than accurate while simultaneously free
from the clumsy interface or sub-megabyte RAM limitations plagued by
old hardware. Morgana doesn't try to boast the most impressive spec
sheet, or the most transparent sound. By returning to a simpler
architecture, Morgana actually transcends the limitations of typical
software samplers, creating an experience that sounds and feels like
an actual instrument--one that is inspiring and with a sound all its
own.
Features
Morgana aims to provide an authentic representation of an early
digital sampler, designed to be musical rather than accurate. Per
voice Morgana offers extensively modeled VCFs, amp and filter
envelopes. It also features a unique interpolation method, which
enhances digital artifacts, and a pre-amp to shape each sample,
simulating a primitive analog-digital stage.
Morgana is also capable of sampling, either through its own inputs or
through a technology entitled "SampLink" which effectively allows
Morgana to sample from any track in a multitrack environment in a
simple and no-hassle way.
Morgana comes with a custom recorded sample library of about 300
presets.
Some highlights include:
* Faithful representation of sampling technology circa 1984
* High quality 4 pole lowpass filter per voice (analog modeled OTA
design)
* Non-destructive input modeling, including samplerate adjustment and
mic preamp
* Vintage microprocessor emulation including modulator quantizing and
digital crosstalk
* Support for multiple output modes, including mono, stereo, pseudo-
stereo, and pseudo-surround with up to 8 outputs
* Dynamic multisample keymapping
* Each copy of Morgana can be made to sound subtly different, just
like analog hardware
* Proprietary SampLink technology allows live sample recording across
different applications
* Specifically tailored for use in live performances
Specifications
* 16 voice digital sampler
* Two part multitimbrality
* 8-bit sampling rate
* Variable sample rate from 10.1KHz to 29.41KHz
* Two APDSR envelopes for filter and amplitude
* Two sample oscillators per voice
* 4-pole analog modeled filter per voice with cutoff and resonance
controls
* Keytracking generator for filter cutoff
* Relative level, cutoff, transpose, and detune per sample
* Non-destructive input modeling with antialias filter, mic preamp,
and gain control
* LFO with MIDI clock sync
* Flexible MIDI learn system
* SampLink technology for full-featured realtime sampling capabilities
* Support for WAVE, AIFF, and ReCycle (.REX/.RX2) sample formats
* Support for different tunings through .SCL tuning files
Home Page - http://www.112db.com/
Size:40.32 MB
112dB.Morgana.v1.2.3.VSTi.REPACK-DYNAMiCS
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