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There are a few sounds you might not expect, eerie Clavioline and Hammond Solovox vibrato leads that'd be right at home in a McCarthyism-era alien invasion movie, and even a handful of proudly digital synths such as the Synergy and Korg DW8000.
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Almost everything you might find in a synth museum is on hand, including the Minimoog and Memorymoog, Roland Jupiter, Juno, TB-303, and JX series synths, Oberheim OB-Xa and OB-8, ARP Odyssey and 2600, Sequential Circuits Pro-One and Prophet VS, and Yamaha CS-80.
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My favorite sounds in VI.One were in the "Synth-Vintage" category, which takes a lawyers-be-damned attitude by actually naming all the keyboards that were sampled.
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There are two flags that these organs are samples, not modeled clonewheels: On presets that have harmonic percussion, all the keys trigger it all the time, and when you change rotary speeds, the program is clearly crossfading between samples recorded at slow and fast Leslie speeds. "Ole Ballader" pulls out the first four drawbars - turn up the reverb send, and it's perfect whether you’re covering "Whiter Shade of Pale" or just ripping off its organ part like Crowded House did. "Club Sandwich," a nearly full-drawbar blues organ sampled with the organ's vibrato/chorus knob at position C3, is a nicely greasy standout with spitty key click. The Clavinet sound, on the other hand, is pretty thin, even with effects. They're funky and barky, and variations with phaser, chorus, compressors, and overdrive are plentiful.
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The basic Rhodes and Wurly EPs are a great deal better than what I'm accustomed to from software that offers a "kitchen sink" sound set - good enough, in fact, that if I didn't know they were part of VI.One, I might think they were dedicated EP plug-ins from last month's Rhodes, Wurly, Clav roundup. For experimental and modified pianos, there are several cameos from fascinating John Cage Prepared Piano library. Even so, these pianos are full, rich, and clear, and while I did find myself turning up the low EQ on all of them, they had far more dynamics than any hardware workstation piano, and I'd recommend them for any pop, rock, or R&B production, if not for a solo classical recital. For example, the original Black Grand, a Steinway D, was over 18GB in size, and VI.One's total sample footprint is around 20GB. To use VI.One is to play its sounds, so here are the impressions I developed over the course of living with it for a couple of months.Īmong the acoustic pianos are presets called "Black Grand," "White Grand," and "The Big Grand." If these sound like the premium piano libraries of the same name from European developer SampleTekk, it's because they are - Big Fish happens to be SampleTekk's U.S. Straight to the "In Use" section? You bet. Let's see how much cake is underneath the icing. Vir2, the new, instrument-focused division of Big Fish Audio, is the latest developer to serve up a slice with VI.One, a library that includes everything from pianos to drum loops to didgeridoos. "All-in-one" virtual instruments attempt to let us have our cake and eat it too, and their popularity suggests that they succeed. On the other hand, we often associate software with imitating one type of sound really well: grand pianos, analog synths, or string sections, for example. Keyboard ROMplers and workstations do a great job at giving us immediate access to any sound we may have in our head. VI.ONE | Keyboard Magazine Reviewer: Stephen Fortner Back to VI.ONE product details