Falcon vst free download

Adjust transient sensitivity manually or use embedded markers like those found in REX files. A realtime, low-CPU pitch-shifting sample oscillator.

Freely adjust sample start time, playback mode and tempo analysis. Use the Solo Mode button to switch between discrete monophonic and polyphonic pitch-shifting algorithms. IRCAM's premier granular oscillator, divides an audio sample into grains and recombines them for realistic pitch shifting or soundscape generation.

A multi-voice implementation of the IRCAM Granular oscillator which can be used to great effect to achieve a range of complex unison sounds. Includes the same control set from IRCAM Granular with an additional section to control voice quantity, position and spread. Similar to the Stretch oscillator, but implementing IRCAM's high-quality phase vocoder for time-stretching and pitch-shifting with transient and envelope preservation.

Requires more processing power than the standard pitch-shifting algorithms used in other oscillators but with a significant quality improvement. With effects suited for nearly every need from creative mangling to precise sound sculpting, mixing and analysis, Falcon provides a tremendous sound design facility.

Effects within Falcon can be instanced as sends on effect busses, at the program, layer or note level and allow for extensive control of your signal and an unrestricted approach to sound and instrument design. Additionally, effects can be racked in an EffectRack for parallel and multi-band processing, or as a central, reusable multi-effect with macro-driven controls. A versatile delay module with with discrete channel controls for creating time-based effects.

A sophisticated display visualizes changes to time, stereo and phase. A highly-optimized convolution-based reverb module. Includes a large library of factory impulses with support for user samples.

A versatile algorithmic reverb capable of producing an extremely broad range of spaces with a minimal control footprint. Uses the same engine as the stand-alone effect plugin. An ensemble chorus effect inspired by the ensemble effect section of a popular vintage synthesizer. A classic flanger effect, mixing the input signal against a variable time-delayed version of itself. Shifts all frequencies in the spectrum by a set amount Hz for interesting morphing effects, widening, sound thickening and repitching inharmonic sounds like drums.

A variable order automatic phaser with LFO-based sweep between adjustable high and low frequencies. Visualizer displays filter shape at low and high frequency positions. A variable 8-voice chorus effect specifically designed to reduce artifacts for enhanced depth and clarity.

A unique filter inspired by the filter section on a popular American analog synthesizer. A classic comb filter module. A time-delayed version of the input signal is fed back into self and added or subtracted.

A crossover filter with selectable low-pass, band-pass and high-pass modes and variable crossover frequency. Configure in EffectRack chains for multi-band processing.

A screaming lo-fi take on formant filtering, ab using a resonant filter and a bitcrusher to generate vocal formants; a perfect fit to spice up your talking basses! The most efficient of all filters by far. A variable order manual phaser with sweepable frequency and filter shape visualizer. A unique filter inspired the filter section on a popular Japanese analog synthesizer. A circuit-modelled second-order single opamp nonlinear Sallen-Key lowpass filter with controllable asymmetric clipping and power supply starvation.

A multimode 37 variant on a 4th order ladder filter with built-in saturation and oversampling. The Mid band is a bell curve, while the Low and High bands are shelves. A convolution processor specifically designed for emulating EQs and cabinets. Choose from a large selection of factory impulses. Supports user samples. A distortion effect with 3 different saturation modes and internal oversampling up to 16x.

A specialized convolution effect designed to emulate signal reamping. Emulates various amplifiers and the characteristics of subsequent capture microphones including dynamic, condenser and ribbon mics. Ab use the saturating hysteretic behaviour of famous inductors to shape and add punch to bass sounds while leaving high frequencies clean. A distortion effect with many saturation modes, input and output filters and internal oversampling up to 16x.

A multi-band variant of the Studio Limiter module with adjustable crossover frequencies. A 2-stage dynamics processor, a compressor stage tames signal peaks over a variable threshold then an expander gates the signal below a second variable threshold.

A look-ahead limiter with graphical timeline visualizer that displays dynamic range of the input and output signal. Mono signal is represented by a vertical bar.

Out of phase stereo signal is represented by a horizontal bar. Displays the frequency content of the input signal. Frequency is mapped across the X-axis, amplitude along the Y-axis. A chromatic tuner with needle-style meter, accurate to 1 cent increments.

A helpful tool when adjust a sample's pitch with its keygroup Fine Tune parameter. Feedback Machine now allows introduction of a feedback loop to your FX chain. A typical vinyl simulation effect outfitted with year, speed, wear, electrical and mechanical noise, dust and scratch simulations. A delay effect utilizing multiple delay lines and diffusion to produce a dense delay tail.

A general purpose delay module with delay time, feedback, cutoff and mix parameters. A delay module with discrete delay paths for the left and right channels. The Mid-band is adjustable while the Low and High bands have fixed frequency assignments. An 8-band parametric EQ with variable filter shapes and an interactive graphical display.

A typical wah pedal effect, with its filter frequency set automatically by the module's input level. A two-stage filter effect, low-pass and high-pass applied in series. Simulates the vowel shaping filtering found on classic talkbox effect pedals.

A standard limiter module, compressing the input signal with higher ratios than those of the Compressor effect. A precision mastering processor ideal for stereo mixes, such as Falcon's main outs. Provides a multi-band compression, limiter and tube saturation stage.

A standard reverb effect fed by an optional low-pass or high-pass filter. A classic chorus effect, mixing the input signal with multiple time- and pitch-modulated variations for a shimmering unison effect. A phaser with an integrated auto-panner, produces a wider and more varied phasing effect. A classic phaser effect, mixing the input signal with a phase-modulated version of itself.

A multi-stage effect made up of a filter sandwiched by two drive stages. A dual-speaker emulation of a rotary speaker with adjustable crossover. Slices the incoming audio on a variable grid. When activated will repeat the most recent slice. Useful for glitch effects and variations in a live performance or looped samples.

Combines the input signal with a modulation frequency and both subtracts and adds the modulation frequency to the input frequency. A resampler and bit reducer with optional overdrive and filter stages. Modulation generators can be instanced at any level in a patch allowing them to control nearly any parameter, be it on an oscillator, effect or even on another modulator.

This system allows you to paint motion into your sounds almost effortlessly, from subtle variation over time to complex on-demand sequences. Every modulation generator in Falcon can store presets, providing a quick way to save and reuse configurations that you find useful. Falcon ships with over a thousand preset wave shapes for the Multi Envelope generator alone. DRUNK Generates a random walk signal which simulates the natural randomness of pitch and amplitude drift found in sustained notes.

You can also draw your own custom wave shapes for precise control. Allows for long and highly-expressive modulation sequences and can be looped for LFO-like behavior. Falcon's Event section provides control over pre-synthesis data, namely the manipulation, analysis or generation of MIDI. Event processors can do anything from arpeggiating incoming notes or strumming them like a guitar to applying micro tunings, playing back MIDI files or creating generative sequences.

Euclidean Keys : Generate discrete euclidean-based sequences for each key in the chromatic scale. Probability Arp : Arp with chance-based octave, ratchet, skip, accent, direction, pan, and harmonization. Rain Sequencer : 12 note-based vertical sequencers with discrete speed, velocity, and pan modifiers. Wave Sequencer : 12 note-based clocked event generators with poly aftertouch output. Warp Sequencer : Generate chord-based sequences with hand-drawn speed curve.

Velocity Test : Note velocity monitor with mono and poly modes. Falcon is built to be an efficient, versatile and powerful hybrid instrument. Its user interface is presented in a single and flexible window that is resizable to fit any screen size. EDIT The central columns EDIT tab provides a comprehensive visual representation of your entire instrument split into varying levels of detail from the Program instrument level all the way down to the keygroup note level.

A Layer level resides between the two that lets you easily organize and modify selections of keygroups. Quickly focus your view with global and level-specific filters, collapse sections as needed and easily tab through modules for editing.

Macros live in a dedicated tab and can be freely arranged with an interactive graphical editor. Quickly create custom UIs for your instruments that suit your needs without any scripting knowledge. Macros can target as many parameters within your instrument as you like, allowing for the creation of powerful and unique controls.

BROWSER The browser gives you immediate access to files, soundbanks, oscillators, effects, multi effects, modulators and events through dedicated tabs. Browse traditionally or use the search and favorites tagging command to instantly call up relevant results. Monitor and adjust channel gain, pan, mute, solo and effects and configure Aux channels. Quickly focus your view with channel and component-level filters. Load your favorite instruments and map them across one or many controllers for a dynamic performance in moments.

Falcon ships with an impressive collection of 1, factory patches designed by some of the industry's top sound designers. Covering everything from classic synthesis methods, percussion, physical modeling, sample-driven granular and multi granular soundscapes to multi-oscillator hybrids.

The 1, presets were all created to an extremely high quality standard, delivering an extraordinary and hugely versatile selection of sounds right out of the box. Categorically divided for easy browsing, Falcon's factory sounds provide deep performance and editing control via customized macros. Make broad-stroke changes to get the right feel and then fine tune the sound to fit your mix without ever leaving the macro panel.

If a sound is close but still off, you can tab over to the Edit panel at any time for total control. Factory sounds can provide instant gratification or can be used as fuel for your own sound design. Enhance your Falcon experience immediately with one of our premium instruments like CS-M , or grab Mayhem of Loops for a massive fuel injection to your new sampling workstation.

In the main window, where most of the programming work takes place, the centre portion of the interface shows the various hierarchy components, with Program at the top followed by the rest of the tree underneath. At the bottom is the Keygroup section and it is here that the oscillators are installed.

No limits are placed on how many oscillators can be used, and they can also be overlapped in any combination. For example, there is one called Slice which automatically slices up any audio file dropped onto it according to various settings made by the user , and provides a button that instantly maps the slices across the keyboard.

Others include a very impressive wavetable oscillator equipped with a great number of wave shape options; granular and stretch oscillators, which both process whatever samples are dropped onto them; and an FM oscillator. There are many others too, including a set customised for drum kit elements, so the user has much to explore. Having created something that makes a sound, or several different sounds, you can experiment further by adding effects, modulators and MIDI events to the components.

This is done by clicking in the relevant section of the hierarchy and selecting the desired effect or processor from a menu, or by selecting them from the right-hand browser menu and simply dragging and dropping them in place, just as with the oscillators.

All this is pretty easy to do, but things get complicated when a Program has multiple Layers and Keygroups, and it soon becomes necessary to refer to the structure tree, which is available to view in the left-hand panel of the interface. Of course, there is also plenty that can be done by assigning modulators to controls, and doing so is simply a matter of right-clicking on the relevant control and choosing a modulation source from a menu.

Or, for those who are happy to code, there is the Script Processor which can either be used through its own user-friendly interface, or via an external text editor, like MS Word. Lua is the language used. Overall, though, Falcon is not quite as user-friendly as it could be. Despite playing with it for many hours, with frequent reference to the page manual, I found its structure hard to follow.

That said, I never got on too well with algebra or double-entry book keeping, so others might take to it like ducks to water.