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Magesy® R-Evolution™

  • GS-201 Mk2 v1.0.0 WiN MAC-R2R
    4 September 2019

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    GS-201 Mk2 v1.0.0 WiN MAC

    Team R2R | 04 Sep 2019 | WiN: 6.3 MB | 10.4 MB

    WiN64 – VST/STANDALONE/VST3 | MAC – AU/VST/STANDALONE/VST3

    There was a time when the echo effect was made using magnetic tapes, and among the many units that the industry brought to the market, one model shone above all: the Space Echo RE-201. This was by far one of the most used and still today is one of the most sought after tape echo units ever made. The new GS-201 Mark II is the evolution of a project we started back in 2008 with the release of the old version of GS-201. The purpose is to capture the magic of the Space Echo and make it available to all, right there, into the computer. Not an easy task, but the experience we gained during the last 10 years in audio DSP development has helped us reach a result that sometimes can fool even ourselves.

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  • GS-201 Tape Echo v1.2.0 VST x86 x64 WiN
    20 March 2017
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    GS-201 Tape Echo v1.2.0 VST WiN

    R2R KGN | 15/10/2008 | 5 MB

    Tape echo effects were invented towards the end of the fifties. Presumably the very first tape echo machine was invented by Charlie Watkins of London, England, in 1958. It was based on a small loop of 1/4 tape onto hich audio was recorded by a magnetic head and then read by three separated heads. What was read from magesy download the tape was amplified by the internal all-valve circuit and eventually recorded back to the tape, creating the eedback or sustaining echo effect. The delay time of the unit was determined by distance of the write head from magesy download the read heads, in conjunction with the sd of the tape.

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  • GSi VB3 v1.4 VST VSTi WiN-ASSiGN
    17 October 2015

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    GSi VB3 v1.4 VST VSTi WiN

    TEAM ASSiGN | 29 JUNE 2010 | 7.23 MB

    VB3 is a virtual tonewheel organ which simulates an american electromagnetic organ of the old days, but it’s also capable of other simulations like the italian transistor organs of the seventies or the red-tolex organs played by famous pop bands of the sixties.

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  • GSi Shake Pad v1.1 VST WiN-ASSiGN
    13 August 2014
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    GSi Shake Pad v1.1 VST WiN

    TEAM ASSiGN | 02 MARCH 2010 | 3.82 MB

    ShakePad is a virtual multi-effect unit intended for real time sound manipulation via an X/Y pad. It includes 50 different high quality effect algorithms with full stereo operation.

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    6810 Views
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  • Genuine Soundware Plugins Pack WiN MAC-R2R
    3 May 2014

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    Genuine Soundware Plugins Pack WiN MAC

    TEAM R2R | 2014.05.02 | 800 MB

    KeyPerformer.v1.1, MilesTone.v1.0, ShakePad.v1.1, VB3.v1.4

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    7698 Views
  • Spring Reverb Type4 v1.0.1 AU VST UB WiN MAC
    11 March 2014
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    Spring Reverb Type4 v1.0.1 AU VST UB WiN MAC

    VST AU PC & MAC OSX UB REPACK-DYNAMiCS

    Team DYNAMiCS & AiR & NEMESiS | 01-26-2009 | 6 MB

    A spring reverb is a system to obtain artificial reverberation invented during the 40’s by Laurens Hammond (also inventor of the Hammond Organ). In a Spring Reverb pan, the audio signal is coupled to one end of the spring by a transducer (a device that can convert electrical energy into mechanical energy or viceversa). This creates waves that propagate through the spring in both directions. At the other end of the spring there is another transducer that converts the motion in the spring into an electrical signal, which is then amplified and added to the dry sound. Most spring reverb units use several springs together, with each spring having its own characteristics (length, dimensions, tension, etc.) resulting in a natural reverberation by summing several delayed sounds at fixed or random intervals. However, with real spring reverbs the user isn’t allowed to change these characteristics. A software simulation like Type4, on the other hand, allows you to adjust parameters like “decay” (reverb duration), the dampening factor, the virtual spring tension and other parameters that affect the overall timbre of the reverb effect. Why should you want to use a spring reverb rather than a precise and modern digital reverb? Spring reverbs have typical sonic characteristics that, nowadays, make them desirable mostly as effects on their own rather than simulations of an acoustic phenomena.

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