Let’s get straight to it: Ozone has already established itself as a do-everything mastering tool. It’s a suite of interconnected modules handling frequency and dynamics, designed to work together in an integrated interface. It does so much, in fact, that it’s hard for an upgrade to do more, but Ozone 5 promises new sound and visual feedback that could further entrench this popular tool.

And that could explain how Ozone 5 stole the Audio Engineering Society trade show in New York. AES is a flurry of knobs, dials, and faders, but some of the major buzz we heard was just this single upgrade to the software. (CDM’s Marsha Vdovin was out on the floor, and the word “Ozone” kept cropping up.)

Ozone is eminently visual software, so a lot of what’s new you can glean just by looking through the screenshots. But there are sound improvements, as well, both in the standard Ozone and the spendier “Advanced” edition.

What’s new:

• Updated modules. iZotope says they’ve “refined” their DSP algorithms. (Let’s see, carry the one…) The idea is, existing modules should sound better. There’s a detailed list on the iZotope site – aside from more subtle changes, you’ll find very specific adjustments to how parameters are controlled and how they impact the sound. To give one example, there’s a …
• New Limiter. The latest version of iZotope’s “psychoacoustics-based” limiter in the Advanced edition has a new stereo link control for handling left and right separately or together, and new intelligent transient handling algorithms, among other improvements.
• Enhanced EQ. Analog-matching EQ models analog shelf modes and frequency response, matching is easier than before, as with other modules, you can use left/right separately, and now zoom and display stereo info in your spectrum. There’s also new variable-phase functionality.
• New Reverb. Yes, sometimes you use reverb when mastering. (A little light reverb can do wonders.) A new modeled reverb algorithm adds new models and spaces and gives you unique early reflection control, as well as “cross-mix” for stereo imaging.
• New UI, workflow. I’ll let you just see what this looks like, but suffice to say parameters and labels are better-organized to be friendlier to advanced and beginning users alike. Past versions of Ozone were sometimes pretty-but-counterintuitive; this looks a bit clearer. Of course, you might not notice while dazzled by the…
• Slick visual feedback. In the standard version, metering has been enhanced. In the Advanced version, you get slick 2D and 3D plots of your sound spectrum for the Meter Bridge and Meter Taps modules. They look awesome, yes, but I also think these kind of “alien world mountainscape” views can help you better visualize what’s happening in a sound, so there is a practical use, too.

And, of course, all of this means you can easily wow clients when mastering by showing them visualizations that look like Geordi LaForge is studying abnormal quasar activity from the deck of the Enterprise. Just try to avoid opening up a cosmic string-related time wrinkle while mastering.

(And yes, when you’re all alone and no one is looking over your shoulder, you can do something useful with it.)

Pricing: US$249 (€195); US$999 (€799) Advanced.

Why is Advanced so expensive? Well, each module is also an independent plug-in you can use in your host. With that in mind, this starts to look like a better deal – some terrific reverb, EQ, and dynamics you can use anywhere. You also get the Meter Bridge and Meter Tap for analysis, fancier 2D and 3D spectrographs, and more advanced loudness meters. On the other hand, the basic version will also work with your host and gives you the sound-processing functionality minus all those more sophisticated meters you might need.

This month, there’s also steeply discounted intro pricing: US$599 for Advanced, US$199 for the standard edition. Expires December 1.

Ozone 5 was announced last month, but is now shipping. An OpenGL 2-capable video card is required for the 3D visualizations, but nearly all machines now provide that (including most integrated chipsets, too).

Ozone 5 Product Page @iZotope

For a look at what this tool can do, here’s our friend and experienced mastering and mix engineer Danny Wyatt, talking about how he works with limiting. The new UI and meters are actually a lot clearer than what you see in the video, and offer some nice, new functionality. I can tell you, Danny is a fully-converted Ozone lover, having worked with him in the studio as he mastered my own album. He’s got a big toolset of other stuff, but Ozone is very often what the real work comes down to, and — I think I can say this, Danny — he’ll be happy to evangelize the tool if you talk to him.

This isn’t a review, mind – in fact, my only significant reservation is that Ozone is so slick, it could distract from the reality that good mastering probably doesn’t need it. A great mastering engineer can do wonders with a fairly simple tool and their ear – no wild visualizations required. (“Great mastering engineer,” also known as, “not me.”) But that same person may well appreciate the level of precision iZotope, working with algorithms they’ve developed entirely in-house, can provide.

We want your feedback, as always. Ozone users – what do you think?

Users of rival products – what’s your all-in-one mastering tool of choice, and why?

Integrated Melodyne pitch correction in PreSonus’ Studio One is made more interesting by the technology behind it. Celemony this week describes a new technology they call ARA, or “Audio Random Access.” The notion is this: rather than just receiving or generating audio signal, the plug-in gets access to audio data. That means you can actually write a plug-in that rewrites the audio content in a recorded DAW track, as Melodyne does in Studio One.

As developer Celemony describes it, “ARA opens an additional channel of communication through which the DAW and plug-in can exchange information about the audio file, tempo, pitch, rhythm and much more, which allows them to work together considerably more closely.”

It’s the ability to exchange audio data information that seems the most compelling. Previously, audio processing plug-ins simply took buffers of audio signal from the DAW. You could “look ahead” further into that signal by increasing the buffer (and thus latency with it), but generally speaking, you’re doing the processing in something that approximates real-time. ARA in the example of Melodyne gives you access to an entire recorded track without having to transfer the audio file to and from the plug-in.

Celemony says this is “an extension of the existing plug-in interfaces,” not a new plug-in format. (If it were the latter, I’d have to point to this xkcd cartoon.) I’m still obligated to express some skepticism about how widely this will be adopted, or if it can be considered a “standard” extension, though they do promise additional vendors soon. (Implementation would seem to be by necessity on a host by host basis – and then once you have the host, a plug-in creator might add support.) It’s a proprietary technology, but then, so are the plug-in formats currently in wide use (AU controlled by Apple for Mac OS, VST by Steinberg, and RTAS by Digidesign, unless we see more of LV2). For now, though, we’ll have to see if the idea itself can extend what a plug-in can do. Check out the videos for more.

celemony.com/ara (no documentation for developers, but there is an email address to use if you’re interested)

With soft synths a dime a dozen, how do you set yourself apart? Defying conventions is a pretty good start, and a team of developers who built the Mixxx open source DJ tool are doing just that.

SodaSynth from Oscillicious is a soft synth with a different approach. With no effects and, surprisingly, no filters, SodaSynth is all about the oscillators. But apart from its ready-to-layer sound, the developers are also making their software run in new places: aside from a VST, there’s a version for HP’s defunct TouchPad and, more interestingly, the first major soft synth we’ve seen yet for Google Chrome’s Native Client. We’ve got some details on the latter that will appeal to you hardcore Web browser / coder geeks out there.

First, the sound: with no filters and no effects, SodaSynth’s developers say they’ve made a synth that’s easy to layer. You get five waveforms, up to 32 oscillators per note, and full 8 note polyphony. (Per-note oscillators to me is where things get interesting.) The controls are pretty stunningly simple, but with five “classic” waveforms and some unique morphing settings.

Also, for those new to synthesis – and for some of those more unusual parameter names new to all of us – they’ve added extensive in-line online support, in a nice touch. (More in the gallery/sounds below.)

I’m in. Mac and Windows VST, and should run fine on Linux machines with Windows VST support. US$23.

SodaSynth VST

Here’s what it sounds like:

SodaSynth VST Demo 1 by Oscillicious

And there’s an HP Touchpad version, which you’ll find for $3 in the HP App Catalog. Notable in that it may soon join our Doomed Tablet Instruments Hall of Fame. (Our friend Francis Preve had an instrument out for the Newton. Really.) Seriously, if anyone has a TouchPad, send us video, ‘kay?

But more practically…

You can run SodaSynth right in Google’s Chrome Browser. We’ve seen plenty of synths and even full-blown workstations employing Adobe’s Flash. And there have been some projects built in JavaScript for Mozilla’s Audio Data API, previously called the Web Audio API (which I liked better as a moniker). Tons of examples via the Chromium site; Chrome and now an experimental Safari build have added support:

Web Audio API Samples

Soda Synth uses a third avenue, one which I’ve heard lots of people talk about but no one actually try. Google’s Native Client allows you to run native code right in the browser – not this JavaScript kids today love so much, but good, old fashioned, C/C++.

What does that mean for synths? Think low-latency live audio that out-performs other solutions, at least for now. SodaSynth isn’t just the first NC synth in the Chrome Web Store; according to the developers, it’s the first Native Client app, period. (Answer to the question “who cares whether you use native code ever again?” is, of course, “audio people.” I’m sure JavaScript advocates will be happy to chime in here, but even if JavaScript matches C/C++ performance, the ability to run C DSP code natively will continue to have advantages down the road.)

It’s free, so add it to Chrome now, and you get a synth you can jam with – there’s even a 4-bar live looper so you could produce actual sound snippets with the thing. I’m curious to hear your experience.

SodaSynth, free for Chrome Web Store

Developing in Native – Why it Matters, What it’s Like

I’m all about getting the nitty-gritty details – yes, including not only why this is exciting, but what the development process is like, warts and all.

Developer Albert writes:

Why is this news? It’s native compiled C++ code running our synthesizer in a browser at full speed, for the first time. While there’s some other pro-audio web apps like AudioTool, nothing can really get the latency low and run efficiently without native code. We think this might be a peek into a future where we there’s real pro-audio web apps.

I asked Albert specifically what challenges, if any, they’d encountered. Albert tells CDM that NaCl (get it?) still has some rough edges and needs further testing, and significantly isn’t enabled by default for some users. He did qualify that by noting NaCl’s developers have been generally helpful.

The Pepper Audio API that NaCl implements is pretty similar to SDL and performance seems to be good. The three big advantages of using NaCl over Adobe Flash for this sort of thing are raw performance, being able to directly set the audio latency, and that most audio apps are already written in C/C++, so they’re easier to port. Being able to just upload your binary to “deploy” it instead of building Windows/Mac/Linux versions is a huge time saver too.

Currently, I’m only hosting binaries for x86 and x86_64 because the Native Client doesn’t actually work on ChromeOS yet. One of the main
NaCl developers mentions this [2], though perhaps that’s been miscommunicated by Chrome’s marketing team, because I too thought it
was supposed to work.

The next milestone for the Native Client team is to implement “Portable Native Client”, or PNaCl [1], which will mean that NaCl apps will get distributed as “LLVM bitcode” instead of compiled architecture-dependent binaries. In other words, you will compile your application once, and it should run on x86, x86_64, and ARM. I think Google is waiting for this before pushing NaCl into ChromeOS.

“Early days” seems to be the key phrase here, but I’m eager to see Google put some resources behind this and turn this into a solid solution, especially on their nascent Chrome OS. (Too bad, as I was looking forward to seeing someone fire this up on a ChromeBook.)

For further reading, via Albert:

[1] The gory details about the proposed PNaCl plan
[2] Chrome/NaCl engineer at Google saying it doesn’t work in ChromeOS

More Images + Sounds

A song without and with effects, using Renoise:

SodaSynth VST Demo 2 (Dry – No Effects) by Oscillicious

SodaSynth VST Demo 2 (Wet – With Effects) by Oscillicious

The VST version:

Image of the ill-fated HP tablet version:

http://www.oscillicious.com/

I took a look at Omnisphere 1.5, the synth so big it’ll make your head hurt, for Keyboard in a story out now (and readable now). As I begin the story:

Seeing its six DVDs of sound content, you might be tempted to duct-tape a key down and let Omnisphere finish your film scoring gig. While the director would probably love the results, you’d be missing out on the real fun.

In other words, what I discovered in that review was that Omnisphere, particularly with additions in the new 1.5 update, is a powerful creative sound design tool, not just a preset machine. The highlights:

• Granular section, pictured, made nicer with the ability to combine with glide and intelligent parameter control design
• Harmonia, which allows you to control each harmonic component of a sound independently using individual oscillator and synth controls
Waveshaper, which can not only add bit-crush-style effects, but work its magic on each element, polyphonically
• Individual independent arpeggiator, plus MIDI file drag-and-drop
• An Orb for exploring sonic capabilities – we’ve seen these sort of X/Y controllers before, but here you can even dynamically assign parameters in realtime, and add features like inertia and gesture recording
• iPad control via a really wonderful controller app

Being able to navigate multiple sonic parameters in real-time with touch, and combining sound-bending, far-reaching sonic tools like Harmonia and the granular features means you can really take sounds far from their original source – and sync them to tempo, if you like, with those MIDI and arp features. I need to pick up the whole tool again after the review and see what new sounds I can make; if there are any other users who wish to share, I’d love to hear what you’re making, as the possibility is really deep.

And yes, they now have done a dubstep bass tutorial, so everybody playing at home should take a shot.

Read the full, detailed review at Keyboard Magazine:

Spectrasonics Omnisphere 1.5 [Review by me for Keyboard]

How does it all work? Here are some relevant videos:

Numerology is a sophisticated Mac modular step sequencer, capable of brewing patterns from simple to elaborate using combinations of note-making building blocks. It’s also a powerful host, opening up signal routing and modulation to AU plug-ins.

Version 3.1, released this week, may be a “point” release, but its two additions are significant. First, it’ll run as a VST plug-in in any host, which adds direct MIDI routing from plug-in to host. (Somewhere, plug-in developers are nodding, knowingly – AU may be more commonly associated with the Mac, but VST can be a better choice even for Mac users.)

Second, as you can see in the video, you get some tasty new real-time pattern recording modules. Out of the box, they’ll run easily with Novation’s inexpensive Launchpad controller, though you could adapt them to other controllers, too, if you wished. Check out the video to see it all coming together.

Description:

Numerology’s updated Launchpad mapping with realtime pattern recording into the DrumSeq, PolyNote and MonoNote sequencers. The laptop is running Ableton Live with three instances of the Numerology VST, as well as Camel Audio Alchemy for synth lead and NI Massive on pads. The drum sounds are from Numerology’s DrumKit module with a patch designed by Jason Wolf of Tripl3Tone.

All of this is yours in two editions:
Standard (US$129)
Pro (US$199) with multi-output support for hosted Audio Units, OSC support, custom scale quantization, and advanced modules

http://www.five12.com

Thanks to developer James Coker – and glad I can prod him to release videos with these software updates.

From the wonderful world of plug-ins, we’ve got some good news for soft synth lovers.

I covered the forthcoming Z3TA+ 2 release from Cakewalk last week, and a number of readers pointed to the brilliant work of Urs Heckmann. As it happens, Urs has a number of updates releasing this week, adding 64-bit support, compatibility fixes, and new tutorial videos. Check out the mapping generator and “tap map” LFOs for one terrific example in ACE (the modular Any Cable Everywhere).

New features in the ACE modular and More Feedback Machine delay/multi-effect:

ACE (Any Cable Everywhere) Version 1.1
(modular synth plugin)

* native 64-bit support for Mac AU and VST Win
* extra factory presets by Howard Scarr
* improved installers take Win7 permissions issues into account
* improved compatibility of RTAS (Mac) version, supports “3-finger salute” automation
* adds Cocoa view to AU version
* several minor bugs and niggles fixed
* new tutorial videos: http://www.youtube.com/uheplugins

MFM (More Feedback Machine) Version 2.1
(complex delay and multi-effect)

* native 64-bit support for Mac AU and VST Win
* extra factory presets by Tasmodia
* new PDF manual, with hyperlinks
* improved installers take Win7 permissions issues into account
* improved compatibility of RTAS (Mac) version, supports “3-finger salute” automation
* improved synchronization
* adds Cocoa view to AU version
* several minor bugs and niggles fixed

Below, an image gallery gives you an idea of the capabilities of these instruments; pictures I think speak as clearly as words – at least when the interface is nicely designed.

Also, while it’s not new, this video of Urs’ Zebra2 gives a good overview of what makes that special.

And in Aalto News…

In another soft synth update, Aalto from Madrona Labs, which we’ve covered here previously, gets a bunch of fixes:

improved performance!
optimized patch loading
fixed Logic dropouts, improved Logic CPU spikes
fixed Live 7 UI hangs
fixed Sonar crash, tested in Sonar X1
fixed Maschine scan crash
fixed multislider parameter behavior
added debug diagnostics
smaller executable

Previously:
For Lovers of Aalto, Semi-Modular Soft Synth, a Place to Share Patches

And an interview: Madrona’s Randy Jones on Aalto Soft Synth, Designing a New Instrument, Small Makers

Notably, in fact, both ACE and Aalto draw inspiration from modular synths, but each take a unique approach to applying that hardware patching model to software. Note the schematic-style approach of Aalto, versus the more literal dangling virtual cords in ACE.

CDM is no match for the site KVR Audio when it comes to plug-in releases and updates, but I think it’s only appropriate to talk about updates to software we’ve been following – some selective news on plug-ins. If you’ve found an update that’s particularly useful to how you work, let us know!

On Create Digital Motion today, I write about the 1.5 release of ArKaos GrandVJ, the latest version of the popular Mac and Windows VJ tool. The big innovation: insert a VST plug-in into software like Ableton Live, and you can pipe MIDI and audio to your live visuals for easy synchronization and collaboration. You can even, as the video demonstrates, run an Ethernet cable between two machines. (This works on both Mac and Windows, despite the appearance of only Apple laptops in the video.)

GrandVJ is doubly interesting for readers on the music site, as it’s long featured a music-centric interface (a black-and-white piano keyboard was a feature of the earliest versions of ArKaos), alongside easy MIDI assignment. (APC20 support was recently added alongside out-of-the-box, bi-directional control with Akai’s APC40.) GrandVJ also boasts terrific, media server-quality performance at the price of a VJ app.

Stay tuned for more tests, and a round-up of live visual tools. (Or, if you like, volunteer to help us out or make requests on the kind of information you’d like to see.)

This is just the tip of the iceberg as far as what we’re covering in the live visual scene, so if you aren’t already reading Create Digital Motion with your Create Digital Music feed, come check it out / follow both sites on Twitter and Facebook. And believe me; I’m not just being self-promotional here — a lot of us want to see more live visuals when we go out to shows! Vive le revolution audiovisual.

ArKaos GrandVJ 1.5 Packs in Features; Talks to Music Apps via Plug-in

In a sea of software and hardware, a handful of releases every year stand out. On the software side, one of the most promising is Rob Papen’s Punch. It reflects a number of trends in soft synth design – given a choice between sampling and synthesis, it choose both; 64-bit support comes standard; pattern sequencing is built in. But it’s worth examining for two reasons: one, independent soft synth designer Rob Papen has done some of the best work in recent years, and two, it appears to offer a rich set of practical features in equal measure.

The video above is quite extensive – one watch-through will likely tell you whether or not this is for you. But here are the basic features:

• The Drums, The Drums… 2 bass + 2 open hat + 2 closed hat + 3 tom + 2 clap + 3 user.
• Each drum can choose one of several synthesis models or samples.
• Presets, Custom Samples. Load one of any number of presets and preset samples, or load your own sample content into the drum machine.
• Lots of Per-Drum Control. Per-drum distortion, individual output busing, choke groups. These route together into a prerequisite Mixer.
• Modulation. 2 envelopes, 2 LFOs, 8 modulation slots, for one of four effects units.
• Sequencer. 16-step internal patterns, each with four tracks. Sounds useful enough, though for more complex rhythms, of course, you’ll want to turn to your host or another MIDI source.
• “Easy” Controls. Each drum has what are in effect Macro controls, all MIDI-latchable, and various MIDI assignment options, as illustrated in the video. When you go from programming to performance mode, in other words – even as you work – you can quickly add hands-on control.

Mac + Windows, 32-bit + 64-bit, VST, AU (Mac), RTAS

http://www.timespace.com/punch
http://www.robpapen.com/punch.html

Punch is not without competition. Native Instruments’ Maschine is becoming a full-fledged host and sampling workstation. Propellerhead’s built-in Kong drum machine offers a very similar brew of sampling and synthesis, multiple models, hands-on control, and routing and mixing – indeed, part of the appeal to me of Punch is that it does more of what Kong does in a plug-in form. Arturia’s Spark melds sampling, synthesis, and physical modeling, loaded up with vintage samples and models as well as newer ones. FXpansions’s GEIST is sample-based, but also worth a look. Audio Damage’s Tattoo focuses on synthesis and sequencing, at the opposite pole. Both Spark and Maschine also have their own dedicated hardware controller. That’s just a start among recent entries – I’m sure I’m forgetting half a dozen others. (Round-up candidates?)

But Punch is now shipping, and it looks like a balanced, logical approach to this. It’s also one of the more inexpensive options here – EUR149 / GBP125 / US$179.

For all the lusting after hardware drum machines, it’s tough to beat software options for flexibility, range and quality of sound, speed of editing, and cost. 2011 seems an especially good year. I think CDM will have to do a drum machine roundup soon. Tips welcome.

The wonderful, sometimes-inspiring, sometimes-daunting capability of the computer is to make any sound you like. Give someone an open toolbox, and they really limited only by skill and imagination. Graphical modular environment Reaktor by Native Instruments has a reputation for crunchy granular sounds and elaborate, multi-layered glitches, and those are to some of us certainly a good thing. But here’s some music made in Reaktor that tends in another direction. The creatoors give us some nice tools, to be sure, but they also give us some actual music and sounds to explore.

At top, our friend Peter Dines has been continuing to iterate with his granular tools, Loupe. Here, OpenSoundControl control signals from an iPad running (recently-updated) TouchOSC translate to new sounds. Multi-touch control seems to me perfect for this sort of continuous parameter control. The download updates his $15 patch set, and there’s an extensive tutorial on using OSC and Reaktor on his Noisepages blog:

Loupe 1.5 for Reaktor – now with bidirectional OSC mappings for TouchOS [Modulations @ Noisepages]

Even if for some bizarre reason you’re not interested in this patch, the article above is a must-read for any Reaktor user hoping to experiment with OSC.

Via the ever-prodigious Synthtopia comes three other free Reaktor ensembles. For free ensembles, they’re really polished – there’s a 4-oscillator atmospheric pad synth, a 3-oscillator bass synth, and 2-oscillator “pluck” synth. If you don’t own Reaktor, there’s even a free 3-oscillator bass synth instrument for Windows VST. The results produce dreamy, dense layers of sound:

The trio, entitled “The Colorspace,” is the work of Italian-based musician Dario. He makes music under a number of identities, but I’m partial to his ambient projects Kiis and “need a name.” A Kiis release is available as a name-your-price EP on Bandcamp:

There’s also some seriously chilled-own, pleasantly-ambient (even when beats make appearances) music as “Need a Name.”

Whether this music is specifically your cup of tea or not, it’s great to actually hear some music from the person making the tool. You can take it as further inspiration, a chance to be closer to the person who makes the Reaktor patches you use, or even a challenge to make your own work with the same sonic arsenal distinctly your own.

The Reaktor patches, for their part, are available free:
http://www.thecolorspace.net/software.html

Bonus – back in glitchland… As I write this, I see that there’s an updated TouchOSC control layout for Richard Devine’s GrainCube, a free Reaktor patch built by DevSnd, Rachmiel, TwistedTools, and Antonio Blanca. See previous coverage here on CDM from last year; a different video below, and a picture of the new layout (which looks nice). Of course, no reason you can’t use this same tool to make something that sounds very different…

More downloads: http://devinesound.net/

Update info / TouchOSC update [devsnd Blog]

Game makers and (particularly Mac) utility developers have joined forces to do various bundles of their software. I have to say, I generally like the model – particularly the fantastic Humble Bundle of indie games. That collection not only encouraged people to try adventurous (often experimental) independent game titles, but gives some of the proceeds to relevant charities. Linux users have been buying up the bundles disproportionately, contrary to the idea that they won’t spend money on software, and some of the developers even set a goal to earn enough money to open source their tools. (The open source software had a tangible benefit for gamers, too: it improved compatibility and performance on Mac and Windows.)

If you’re an independent music developer wondering how to make it work with an increasingly-commoditized, crowded marketplace, it could be worth investigating.

The Indie Dev Collective is one such effort for music developers. The model is a bit different: you buy music titles a la carte, not in one giant bundle. That means you only get what you really need, though, and titles still get some steep discounts, some up to 50-65% more. They’ve found a really talented group of developers, as well: H.G.Fortune, whiteLABEL, UGO Audio, Xoxos, ManyTone Music, Nuclues SoundLab, and others are participating. There are synths, effects, and soundware all on offer (and even one host).

Some stand-outs for me: IMEA Sequencer, pictured at top, is a 64-bit-ready Windows sequencer designed for live performance, complete with useful modules and VST compatibility. It looks fantastic – and it’s about time people found some alternatives; I love Ableton Live, but it’s boring if it’s the only thing you ever see onstage.

In effects, I like Amboea, a powerful set of stereo delay lines with “algorithmic crossfading.” Yeah, you could more or less finish an entire track with this one if you wanted.

There are a number of deep synths and drum machines, the most interesting I think being the M-theory physical modeling – hybrid instrument, bundled here with arpeggiators and MIDI tools. There’s also a fascinating-looking strumming plug-in bundled with multi-band effects and filtering, Mildon’s Strummer 2 and M4GIQ. Both those instruments are found here:
MIDI Effects

Windows users will find many, many more options than Mac owners, though Mac fans will find some good plug-in choices and plenty of soundware. (And they might have some goodies to use on a dual-boot system.)

All the tools here:
http://www.indiedevcollective.net/index.php

Sale ends May 23, or 23 May if you live in civilization. So, what do you think? Finding any good deals here? Favorite tools? And how could this model work elsewhere?