The Resonance of Early Electronic Music

Gong Amp takes an exciting experimental amplifier from the beginnings of electronic music to the plugin world of today.

In 1932, Maurice Martenot was looking for a way to make his groundbreaking proto-synthesizer "Ondes” audible beyond what could be archived with the horns and loudspeakers of the time. He developed a set of "diffuseurs”, of which the "Métallique” was one. Instead of a paper cone or horn, Martenot put a gong behind the amplifier circuitry. This seemingly simple idea resulted in resonances and brilliant overtones that excite audiences to this day.

A patcher for all iZotope plugins (AAX, VST3, VST, AU) !

- just download trials from developer site https://www.izotope.com/en/products/downloads.html,

- run the patch

- enjoy ! ;)

The sonic palette is huge, through the vast modulation possibilities that QUAD has to offer. The sound sculpting tools start in each Oscillator and are the Phase Distortion and WaveShaper.

These tools are brought to life by 2 XY-Pads in each Oscillator, which can be moved through an extensive modulation matrix.

QUAD's Oscillators are complemented by two top-notch analog-modeled Filters, which have different routing options, an arpeggiator, and two high-quality effects processors.

CHAINSAW MASSACRE

Precisely modeled in collaboration with Klirrton Manufaktur and producer Kristian Kohle from Kohlekeller Studio, the Grindstein is the official analog modeled simulation suite of their ultimate death metal preamp, along with the cutting edge Schnauze noise gate and the new Fleisch equalizer.

Dirty and fuzzy death metal tones from the 90s into the modern age, from a ripping chainsaw to a more modern and tight sound with just a touch of grind.

It can go from the Swedish HM2 sound all the way to 90's Florida transistor distortion, but with modern fat low-end and tightness like never heard before!

Renowned for delivering fresh, cutting edge and musical plugins for producers, Rob Papen invited the DJs to his studio for a brainstorming session resulting in a list of 'must-have' features and tools for a brand new synth. Armed with this list and several more brainstorming sessions later, Rob Papen and his development team created a powerful new virtual synth RAW.

RAW has two oscillators each with an X/Y field, (as included in Blade and BLUEII) to distort the waveform using Phase Distortion. But that's not all, you can also draw two of your own 'waveforms' and use them as LFO waveforms enabling the creation of unique 'wobble' movements that are perfect for DubStep and other electronic music styles.

UNIQUE STELLAR REVERB

The Space Station UM282 is a faithful simulation of the Ursa Major Space Station SST-282, an early 80's echo and reverb unit.

Unlike other reverberation devices from that era, the Space Station used delay techniques to transform a mono signal into a new reverberated stereo signal.

Where traditional delay units of the past have only one or two taps, the Space Station has many: 8 taps are used for listening and the others are used to synthesize the reverberation.

Today BLUE-II remains true to that ethos with even more sound dimensions and features to its extended name, starting with six oscillators beating at its musically creative heart. These can be connected in various ways, together with two analog-style modeled stereo filters with 27 different filter types, an enormous range of processing and modulation options, sequencer, and an incredibly powerful arpeggiator. A new range of specially selected waveforms based on samples have been meticulously fashioned for creating new and fresh-sounding synth sounds, so don't go expecting acoustic pianos galore here. However, since choirs and strings are an excellent basis for so many synth sounds BLUE-II has them in abundance - with much more besides!

CHAINSAW MASSACRE

Precisely modeled in collaboration with Klirrton Manufaktur and producer Kristian Kohle from Kohlekeller Studio, the Grindstein is the official analog modeled simulation suite of their ultimate death metal preamp, along with the cutting edge Schnauze noise gate and the new Fleisch equalizer.

Dirty and fuzzy death metal tones from the 90s into the modern age, from a ripping chainsaw to a more modern and tight sound with just a touch of grind.

The current Rob Papen collection holds synthesizers that contain many features and types of synthesis which sometimes can be daunting to the average user.

But there is always something tempting and fun in something that is so simple!

Look at the 1980s, in which we had top synthesizers like the Roland Jupiter-8, but also at the other end of the spectrum the simpler but fantastic synths like the SH-101. And yes, both became classic synthesizers.

Compare it also whilst making music, very often less is more and this is also can be applied whilst using synthesizers. Sure, with a heavily featured synthesizer, you can also be less complex in a patch. But this often still takes more time to achieve.

With BLADE-2 we have expanded the features of BLADE even further again making it a dream synthesizer for synth lovers who like to think out of the box and love to experiment!

Next to the Harmolator mode, we have now included an Additive mode which allows you to morph or mix between 4 additive waveforms using the XY pad. Of course, in addition to using these additive waves, you can also create and edit your own!

Another new addition is a dedicated wave-analyze section that allows to analyze of sample data into a waveform, which then again can be used in the Harmolator or Additive section.