Zynaptiq – WORMHOLE 1.41 Crack With Full Keygen Free Download [Latest]
Zynaptiq – WORMHOLE 1.41 Crack is gorgeous shimmering guitars and glass ambient tails to surreal atmospheres, space drones, monsters, and robots, WORMHOLE is a new multi-effect for sound engineers, music producers, and composers. By combining ultra-clear pitch/frequency shifting, eccentric spectral warping, double lush reverbs, and unique morphing, WORMHOLE creates sounds so ethereal that you’d think they’re from a parallel universe.
- High-quality processing with multi-effects from almost imperceptible to extreme.
- Modes of deformation and spectral inversion.
- A unique combined module of a shift in height/frequency SHIFT with DETUNE and TIGHT modes
- Randomized double lush hall reverb.
- Unique dry/wet morphing.
- Very wide + – 4-octave pitch shift and + -4000 Hz frequency offset range.
Features of Zynaptiq WORMHOLE:
- High-quality multi-effects processing ranging from the sublime to the extreme.
- WARP spectral inversion & warping module.
- SHIFT unique topology combined pitch-/frequency-shifting module with SMOOTH, TIGHT, and two DETUNE modes.
- Dual lush randomized hall reverbs.
- Unique dry/wet morphing.
- Very wide +- 4 octaves pitch-shift and +-4000Hz frequency shift range, fully aliasing free, with
- 96dB/oct (!!) carrier and side-band attenuation.
Supported OS: Windows 7/8/10.
Processor: Pentium IV or higher.
RAM: 1 GB RAM (2 GB recommended).
Free Hard Disk Space: 200 MB or more.
System Requirements For Zynaptiq WORMHOLE Crack
- Operating system: Windows XP / Vista / Windows 7 / Windows 8 / Windows 8.1 / Windows 10
- RAM: 526 MB of RAM is required.
- Hard Drive: 320 MB of free space is required.
- Processor: Intel Pentium 4 or higher
Zynaptiq WORMHOLE Crack sounds like is a bit like explaining the workings of the Space Shuttle to the Wright Brothers. It covers a huge amount of sonic ground, and none of what goes on behind its enigmatic GUI is straightforward. Fortunately, driving it isn’t that difficult and there’s a vast library of factory presets to get you started, as well as a weighted randomisation feature to help create meaningful variations. I suppose the easy way to start is by saying that Wormhole comprises a linked array of sound processing sections that can be brought to bear in many different ways, some of them musical and ethereal, others best suited to movie sound design and some just plain weird. If you want shifted, reverb-drenched shimmers to add to your guitar parts, it can do that, but it also excels at alien robot voices, alien machinery drones, pitch-manipulation effects, sound morphing and many other kinds of sonic mayhem. New technology is at work in the pitch-manipulation algorithms, which are capable of a massive four octave range in either direction, and can also perform frequency shifting of up to 4kHz free of aliasing and other undesirable side-effects. The names give you a good idea of what most of the sections do, but it is important at the outset to establish the difference between pitch-shifting and frequency shifting. Pitch-shifting is the process we all know and love, whereby the shifted sound retains its internal pitch coherence but moves up or down by a musical interval such as a third or fifth. Frequency shift, by contrast, adds or subtracts the same offset in Hertz from every frequency within a signal, which usually means that unless you’re working with a sine wave, a pitched sound becomes enharmonic as its individual partials are no longer musically related.
Zynaptiq WORMHOLE Crack is available in all the usual Zynaptiq-supported Mac and PC plug-in versions and is authorised using the iLok system, either to a physical iLok or an individual computer. A time-limited free demo is also available. Although Wormhole introduces a noticeable CPU overhead, it isn’t nearly as hungry as Zynaptiq’s Adaptiverb, and on a modern iMac, a typical preset takes up perhaps 25 percent of one of Logic’s CPU meter bars. A MIDI Learn facility is available for all the controls, but note that mappings are saved on a per-preset basis, so if you need more global control, it is best implemented from your DAW. The GUI bears a passing resemblance to that of Adaptiverb, and provides control over the main processing sections: spectral warping, pitch and frequency shifting, dual random-modulated hall reverbs, delay and wet/dry morphing or blending. A row of small icons near the top left of the screen access various useful functions, including the aforementioned MIDI Learn, plus tooltips, a manual and a signal flow block diagram. The last of the five icons, a die, is a parameter randomiser. This is designed not to change too many parameters at once so the results are more likely to be variations on the initial theme, rather than random chaos. It actually works well, and I came up with a number of very usable new treatments by using it. Poles emphasises resonant peaks within the Warped sound, while the large Tilt knob in the centre of the screen works like a fader with a positional halo around it. This changes the timbre of the sound rather like a formant shifter, though what it actually does is more complex. Higher settings can cause deliberate glitchiness in the signal, and there’s no anti-aliasing, so any ‘rogue’ frequencies generated become part of the effect. There is also a filter, which can be switched pre- or post- the Tilt section. Smoother results are achieved in the latter configuration.
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