Noise Engineering released Plugin Bundle 1

Noise Engineering released Plugin Bundle 1, containing the software version of their Eurorack products: Basimilus Iteritas, Cursus Vereor, and Desmodus. These plugin versions offer polyphony, a powerful modulation system, extensive MIDI capabilities, a huge library of presets, and in-the-box ease of automation and sequencing.

Basimilus Iteritas is a parameterized drum synthesizer with its roots in the analog world. At its heart, it’s a simple six-oscillator additive synthesizer with adjustable waveform, harmonic spread, and decay. Basimilus also includes an adjustable attack, including a noise oscillator. These are summed and fed into an infinifolder for crunch and variety. Basimilus Iteritas has a host of features and algorithms that make creating percussion simple and enjoyable. It’s easy to morph from a kick to a snare to a hat with just a few parameters: everything on Basimilus Iteritas is designed with automation in mind.

Cursus Vereor is based on the core synthesis of our hardware oscillator Cursus Iteritas, and adds in a musical ADSR envelope and lowpass gate/VCA section with a vintage-inspired chorus. The synthesis portion works from a dynamically generated oscillator. It gives the user spectral-like controls over three different modes based on different conceptualizations of frequency: Fourier, which uses sine waves; Daubechies, using wavelets, and Walsh mode, using the Walsh transform. Cursus Vereor parametrizes a wide variety of sounds, but because the sounds are all based off of orthogonal functions, it has a musical tone structure and can produce an extremely wide variety of harmonic sounds. Add in randomization, envelope shaping, sample rate control, and wavefolding, and you have a synth like nothing else.

Desmodus is a unique parameterized reverb and synthetic-tail generator designed for creating unearthly and potentially infinite spaces. The parameters on Desmodus are designed to be automated and played: spaces can be morphed from reverb to delay to complete chaos with the slide of a few faders. Three reverb algorithms affect the way the feedback path of the reverb behaves: there’s clean, distorted, and a pitch-shifting shimmer.

Not experimental enough? The Regen parameter, which controls the feedback amount, can go above 100%, creating infinite tails that never go away. Past 75%, the reverb also starts ducking based on the input signals, creating dynamic atmospheres. The parameters are designed to be automated, and can seamlessly morph between delay, reverb, and terrifying atmosphere.