Monday, 28 November 2011

7 String Guitar Lesson

7 String Guitar Lesson
Paket Ekslusif utk 7 String Guitar Player

Rock House - 7-String Fretribution Rhythyms & Leads (2011) DVD  
Language: English | 1:50:00 | 720 x 480 | VOB | 29.97fps | Mp3 - 192Kbps | 5.39 GB

Belajar main gitar 7 senar atau 7 string oleh gitaris band heavy metal terkenal Buz McGarth dari band Unearth,gitaris yg permainan gitarnya sgt terinspirasi oleh Paul Gilbert & Yngwie Malmsteen.

Belajar mulai dari Tuning, Excercise, Scale, Rhythm Technique dan Lead Scale and Licks, String Skipping, Sweep Arpeggios, 7 string Minor Seventh Arpeggios, Hammer Pull off runs and Shred Riffs dll.

Buz bakal ngajarin jg teknik menulis lagu dan cara utk membuat harmony & pivoting lead techniques.
Belajar jg cara utk membuat lagu dengan kombinasi single note riffs dan power chords ditambah harmony guitar counterparts utk membuat full rhythm yg keren.

Belajar jg utk memainkan 7-string syncopated and odd time rhythms, speed thrash dan rhythm codes yg merupakan ciri khas dari seven-string sound. Semuanya dibagi menjadi 34 Bab atau Lesson.

Jadi dengan begitu banyaknya pelajaran yg di ajarkan so pasti bakal bikin kamu jago main gitar 7 string!!

Buat Gitaris & Owner 7 string gitar jangan sampe ga punya dvd ini apalagi buat yg pengen beli 7 string gitar tp masih ragu2 beli krn takut ga bisa pakenya, skrg ga usah ragu lagi,ini udah ada dvd buat belajarnya.

Buar seller 7 string gitar jg lebih bagus klo jual gitarnya ditambah jg dgn ngasih bonus dvd ini supaya gitarnya jd cepet laku & buyernya jd seneng!

Paket ekslusif ini terdiri dari 2 buah DVD5 (dvd movie) plus Pdf Booklet / Tablature, iPod-ready video, di kemas dlm kotak dvd plus covernya.

Utk memesan lihat di Tab Cara Memesan

Sunday, 27 November 2011

Paket 40 Spectrasonics Trilian PC MAC

Paket 40 
Spectrasonics Trilian PC MAC 
10dvd 130rb
Hemat 20rb !!!

Big bass sounds!

Got bass? If you're rockin' Trilian from Spectrasonics you do! There's enough low end here to shake you all the way down to your foundation — and then some! Boasting a huge load of intestinal-rocking bass frequencies in the form of 34GB of instruments and samples, Trilian adds low-frequency support to any song or track. A follow up to the hugely popular Trilogy, Trilian picks up where its predecessor left off, giving you all the sounds from Trilogy along with a bevy of new bass sounds. Any virtual instrument worth its salt not only sounds good, it sounds real. Here, Trilian again triumphs gloriously. Using a special "round robin" approach to sampling (it plays subtly different version of the same samples for repeated notes), your basslines sound like you've got a real bass player sitting in the back line. (Notice the emphasis on "real.") Plus, there are integrated FR racks that let you add those little touches that add authenticity to the performance. And all this power becomes useless if you can't find the right bass sound. But Trilian sports a built-in sample browser, making locking in the bottom end a snap. Who needs a bass player? With Trilian, you don't!

                                                                        Fig. 1: Trilian’s default screen.
Instruments appear in the lower portion of the browser, and above that you can refine your search with a selection of criteria within four menu slots. It’s helpful that the criteria adapt to content. For example, loading an arpeggiated synth bass brings up the pattern filter, whereas selecting an acoustic bass calls up relevant filters such as Technique. You aren’t constrained to the criteria the program chooses for you, though. Other filters include Author, Category, Complexity, Genre, Model, Pattern (Trilian hosts a prodigious arpeggiator), and Type.
If you’d like to refine your search even further, you can filter choices by the Trilian library, the Trilogy library (Trilian’s excellent predecessor which constitutes about a tenth of the collection), or Bass Legends, Spectrasonics’ collection of instruments from acclaimed musicians such as Marcus Miller, John Pattituci, and Abraham Laboriel. You can also define your own search criteria. For old-school type searches, you can click on the Directory button and search through folders—a useful mode when you are developing your own patches and want to choose from different component layers for your sound.

                                                                  Fig. 2: The browser view.
Point of View

You aren’t restricted to the arrangement of filters and files that the default view places. Instead of having the criteria listed above the files, a click of the button rearranges files on the left with criteria vertically listed on the right. The default view presents an information display on the right that offers up details of the sound sources, suggested playing techniques, the author of the patch, and more. If you need to see more patches at once, you can toggle the information window off.
Of all of the browser’s useful features, however, I found the Preview Load button to be the biggest time saver. When it’s engaged, a simplified version of the patch quickly loads so you can run down the list of patches and audition them without committing to an instrument. That saves lots of time, as some patches consume nearly 2.5GB and take some time to load.
And if streaming samples from disk is too taxing on your computer, the browser holds an option to load “Lite” versions of the patches. After loading your patch, once you dismiss the browser, you are returned to the last page you have selected.
Dialing In

A return to the main panel foreshadows Trilian’s inner workings and the depth of expression that the STEAM engine provides. Laid out across the front panel are the series of knobs and switches that bring Trilian’s patches to life. Change patches, and you’ll probably notice that the controls have new assignments. One knob may alter the level of the mic sound and another might vary the level of the pickup. Still other knobs may govern filter cutoff or resonance. More than that, all controls are customizable—from the names to their actual functions.
Assigning knobs and switches to your hardware controller is as easy as it gets. On the Mac, a simple Control-Click brings up a menu that includes hardware controller assignments and MIDI learn utilities; you can change a knob to a button, enable host automation, and even initialize a button’s assignments.

The Edit page takes you deep into Trilian’s capabilities as a synth (see Fig. 3). At the patch level, you get two layers, which define an oscillator—its modulation routings and its signal flow. A tab over the panel of parameters lets you toggle between layers A and B. If you want to create identical parameter settings, just click the Link button.

                                                                      Fig. 3: The Edit page.
Sensibly, you can still choose independent waveforms (or Soundsources, in Trilian-speak) for each layer. Clicking the graphic of the Soundsource opens up a browser with the same style user interface as the patch-selection menu, complete with filters arranged by various criteria. The Soundsource Zoom button is handy when you want to ease up on a patch’s sample count, change an articulation, or tweak legato performance. From either layer, the mix sliders can change the balance between Layer A and B. Mute and Solo buttons for each layer appear at the bottom left.
Next to the mix sliders is the modulation section. The top level is deceptively simple and allows you to create multiple modulation routings from the menu. Sources are at the top and destinations appear just below. Sliders control the amount of the source, and below that, another slider controls the destination’s sensitivity. You can easily mute or invert the modulation.
You’ll probably find all of the sound-shaping tools you need, but you can dig deeper using each section’s Zoom button. For instance, at the initial level you can access ADSR controls or a nice selection of preset multi-stage envelopes. But a click on the Zoom button brings you to a graphic envelope interface, where you can tweak envelopes in a variety of ways, such as lock them to tempo, loop them, double or halve the envelope speed, or randomize the envelope by hitting the chaos button. Similarly, clicking on the Modulation Zoom button opens up a clear, all-at-once view of either layer’s formidable modulation matrix. The filter section’s Zoom button displays a wealth of additional filter options, including setting up each layer’s filters in series or in parallel.
Spectrasonics’ STEAM engine holds a few interesting sound-shaping tricks up its virtual sleeves. For example, the Timbre slider alters the sample map of a Soundsource by moving its root key up or down. Generally, shifting the sample map downward produces a darker tone, whereas an upward shift makes for a brighter tone.

Perhaps STEAM’s most unique tool is Harmonia, a sort of additive technique that creates as many as four versions of the same Soundsource, which you can tune at different intervals and remix relative to the original waveform using its controls—detune, pan, mix, and modulate. You can create some dramatically thick and animated timbres with this feature.
In Full FX

Continuing with the bass rack metaphor, The FX page is replete with grilles, rack screws, and up to four effects per rack (see Fig. 4). You can load as many as 29 racks (assuming your computer is up to the task), consisting of insert effects, aux effects, and a rack of master effects.

 Fig. 4: A view of the virtual rack.

Effects range from bread-and-butter types such as dynamics processing, reverb, delay, and modulation to amp models and intriguing hybrids of saturation and filter effects, with tempo sync attached to all relevant processors. Practically everything is automation-ready or can be attached to MIDI Learn functionality.
Valve Radio is a particularly satisfying effect that emulates tube distortion combined with filters and a gate. Smoke is an amp modeler with microphone simulations, speaker arrays, and a choice of amp types, all of which adds warmth and depth to the instruments. You can load presets for each effect from a pull-down menu on the left of the effect, or choose an overall setup of effects for each rack from a menu at the rack’s upper-left corner. Of course, you can create and save your own effects presets, and those included in the factory library provide excellent jumping-off points.
Bass Desires

Robust architecture notwithstanding, Trilian’s strongest lure is its massive library of gorgeous basses, so before getting any deeper into the instrument’s architecture it’s worth talking about the sounds. I’ve heard a lot of high-end sampled basses in my time, but Trilian, by a huge margin, offers the most animated, lifelike, and expressive basses created from a sampled instrument.
The stars of the lot are the two upright acoustic basses. Their realistic artifacts and articulations bring these instruments to life, and you can animate them as you choose. The controls fall under your fingertips in very musical ways, whether through Velocity crossfades, release samples, key switches, and round-robin alternating, among other techniques. The Velocity switching is clean and realistic, with plenty of layers to avoid abrupt timbral transitions. I’m particularly fond of the “Character” samples, which bring in a sweet, singing vibrato.
Another very musical feature is polyphonic legato behavior, which lets you strike consecutive notes without re-triggering the envelope. Lest your pitches sound too spot-on for an upright bass, you can dial in just a smidgen of randomness for a more convincing performance. (The developer clarifies that Trilian has both "Envelope-style" monophonic Legato, just like Trilogy, as well as the newer polyphonic "True Legato,” which uses actual legato hammer-on-style samples.)
Electric bass is well represented with instruments ranging from industry stalwarts by Fender, Yamaha, and Epiphone to boutique, hot-rodded instruments, and they’re played with techniques suitable for a number of musical genres. The Jazz bass and P-bass samples have plenty of low-end growl, the Musicman Stringray has loads of attitude and aggressive buzz, while the Epiphone viola bass evokes the rounded, mellow tone of the Hofner “Beatle” bass. The Doubled Full Range fretless bass is a wonderfully lyrical instrument for solo ventures, and the Marcus Miller Expressivo, culled from the Bass Legends collection, still holds its own. Don’t overlook the Bass Legends patches; they sound great and are especially useful when you have memory constraints.
I was delighted to find a Chapman Stick in the collection, which makes for great pianistic soloing due to its extended range and its percussive, tapped sound. Again, the polyphonic legato capability enables realistic hammer-ons, pulloffs, and trills.
Some of the basses are upwards of 2GB of data, but you can pare down the sample count in a number of ways, including reducing the number of samples or articulations. You can also load individual articulations and create a Stack (more on that in a moment).
Synth You Asked

The depth and breadth of synth-derived basses in Trilian is mind-boggling. Lots of familiar sources appear here, including Moog, ARP, Oberheim, Korg, Yamaha, and Roland, as well as lesser-known noisemakers and those of more recent vintage such as Waldorf, Oxford, Cwejman, and Metasonix. Here, Trilian’s deep synthesis architecture comes into play with a vengeance.
A couple dozen filters provide plenty of tone shaping, and the arpeggiator and effects kick everything into high gear. The Control Voltage SEM patch is a delightfully demented piece of work, featuring a busy arpeggiator, pseudo circuit-bending effects, swirling flange, filtered delay, and swooping portamento. Lest you think it’s all ear candy, there are plenty of fat, bread-and butter monophonic basses, too.
It All Stacks Up

Trilian provides plenty of ways to customize sounds beyond the patch level. Entering Stack mode lets you easily map out combination sounds or mix and match articulations. Separate horizontal bar-graph depictions of Velocity, keyboard range, and Control Change messages for each instrument eliminate confusion and visual clutter. If your needs are more spontaneous, use the Live Mode page to switch between different basses or play different articulations on the fly.
Trilian is 8-part multitimbral; all parts are accessible from the header panel, which contributes to Trilian’s ease of use. With it, you can easily load multiple basses and edit them while staying focused on the same group of parameters. For instance, you can build envelopes in detail for one synth, and jump to the next part without leaving the envelope editing section.
Owners of Omnisphere and Stylus RMX enjoy some additional amenities. Groove Lock synchronizes the feel of Trilians’ arpeggiators with any loops driving patches in the other programs, and Trilian patches can load into Omnisphere and access the synth’s waveshaping and granular capabilities.
Basses Loaded

Trilian is head and shoulders above any bass collection I’ve yet seen. The detailed, careful sampling and painstaking capture of every note and noise is evident in each of these eminently playable instruments.
But Spectrasonics didn’t stop there. Trilian’s dazzling array of programming options, presented in a logical and intuitive fashion, lays out the wealth of sounds for your own creations. This could easily be the only virtual bass instrument you’ll ever need, and I recommend Trilian without reservation.
Pros: Excellent sound quality. Deep editing capabilities. Easy to use.
Cons: No standalone version.

 Spectrasonics Trilian Bass Virtual Instrument Plug-in Features at a Glance:
  • The long-awaited successor to the award-winning Trilogy software plug-in
  • Larger core library includes multiple new Acoustic, Electric & Synth Basses
  • Includes enhanced versions of all the original Trilogy patches
  • Based on powerful STEAM Engine technology — like Omnisphere
  • Arpeggiator with Groove Lock for instant bass line syncing to any RMX groove or MIDI Files
  • Omnisphere library integration: use any of the Trilian sounds inside Omnisphere
  • Integrated FX racks, including all effects from Omnisphere
  • 8-part multitimbrality allows access to multiple articulations in a single plug-in
  • High-definition streaming sample playback with multi-channel audio architecture allows easy Mic, DI and Release soundsource mixing within a single layer
  • Extensive "Round Robin" sampling for natural sounding bass lines with repeated notes
  • Expressive Multisampled dynamic slides – realistically slide from one note down to another
  • Live Mode allows 8 dynamic bass articulations loaded at once with instant, seamless key-switching
  • Stack Mode allows user configurable key/velocity/controller articulation mapping
  • New Custom Controls main page for rapid editing, access to the most useful controls and user interface customization for each patch
  • State-of-the-art new Browser with Searching, Attributes/Tags, Images
  • Edit Page offers very powerful sound manipulation features including Timbre Shifting, FM, Flex Mod, Modultable FX, Dual-voice Harmonia and more
  • Mac Universal Binary VST/AU/RTAS support – Windows VST, RTAS
  • 64-Bit native support

 Spectrasonics Trilian Specs:            
Software TypeBass Synth
Supported Computer FormatMac, PC
Supported Plug-In FormatsStandalone, RTAS, VST, AU
Hardware Requirements - MacIntel Dual Core 2.0GHz CPU or faster, 4GB RAM
Hardware Requirements - PC2GHz CPU or faster, 4GB RAM
OS Requirements - MacMac OS X 10.5 or later
OS Requirements - PCWindows Vista or later

Utk memesan lihat di Tab Cara Memesan

Paket 39 LA Scoring Strings Library

Paket 39 
LA Scoring Strings Library PC MAC
10dvd 130rb
Hemat 20rb!!!

Audiobro is a relative newcomer, but their first product, L.A. Scoring Strings, is an impressive, professional library that raises the bar in several key areas. Billed as “five libraries in one,” LASS (for short) was recorded on a real film scoring stage, and provides a range of section sizes, letting you produce stunningly convincing unison and chordal passages. In this regard, LASS is the most adaptable string library I’ve ever worked with.
LASS is the brainchild of composer Andrew Keresztes, who, after years of frustration with the shortcomings of other libraries, set out to create his own that addressed the limitations that composers typically face when working with a virtual orchestra. So does it deliver? Read on.

Getting Started
LASS is formatted for Native Instruments’ Kontakt sampler, version 3.5 or higher, and Kontakt Player is included for users who don’t already own Kontakt. The content is on five DVDs, and weighs in at a mere 40GB when installed—a relatively small footprint. That’s good news if you want to run LASS from its own solid-state drive, as these days you can pick up a small SSD under $200. Samples are provided in 24- and 16-bit format, letting you maximize your system’s resources. Two authorizations are allowed, so you can spread the library across two computers. Additional authorizations can be arranged by contacting Audiobro.

Sound Concepts
Audiobro hasn’t disclosed exactly which scoring stage was used to record LASS, but the sonic signature is a clear, rich, and detailed sound. There’s a hint of early reflections from the room, but otherwise this is a drier collection that requires a quality convolution reverb to achieve a polished sound.

A collection of 150 impulse responses (IRs) by noted developer Ernest Cholakis comprises separate early reflection and tail IRs, complete with a variety of tonal characteristics from clear to dark. You can mix and match to dial in exactly the sound you’re after. In my tests, loading the supplied IRs into Audio Ease Altiverb sounded great.
Although the concept of sampling string sections of varying sizes isn’t new, Audiobro takes it to a new level by sampling each section in full, plus three smaller sections, as well as solo “first chair” players—hence the “five libraries in one” tagline. Sections are organized into groups A, B, and C, where A and B each have a quarter of the full number of players, and C has half. Different players are featured in each smaller section, so when you layer these patches to build chordal, unison, or divisi parts, the sound is incredibly lifelike and expressive. You get the sense of a true section playing together versus the synthetic texture you sometimes hear with other libraries.
I did note some minor intonation issues with some of the smaller sections, but this wasn’t a major distraction, and when layering multiple sections, the slight tuning offset actually created a more natural blended sound. Other developers have intentionally left similar tuning “warts” in their libraries for this exact reason.

Several sophisticated scripts process incoming MIDI data to produce different articulations, and even rhythms. The Real Legato script, for example, triggers sampled intervals between two notes as you play, so you can easily perform true legato passages. Some patches include legato, portamento and glissandi intervals, with velocity determining which type of sample is triggered. This produced fantastic results ranging from slow, languid, romantic lines to fast runs.

Other scripts include the Automatic Rhythm Tool, or A.R.T., which triggers rhythm patterns with staccato and spiccato patches, giving you the kind of driving phrases typically heard in sci-fi, suspense, and action scenes. Keyswitching lets you trigger different patterns, and you can program your own. There’s even an Auto Arranger (see “Divisi Explained” below), which intelligently splits chords across multiple patches loaded on the same MIDI channel, letting you create divisi parts on the fly. All of this is, in a word, brilliant.

Divisi Explained

Divisi (Italian for “divided”) is written in the score when notes in a chord are divided among players in a section. For example, 12 violinists might play a two-part harmony with six players for the upper voice and six for the lower. With virtual orchestras, hitting a key for the second voice would normally double the number of virtual players, resulting in a too-thick, obviously sampled sound. Now, developers such as Audiobro, Audio Impressions, and EastWest are offering divisisections, and tricks such as the Auto Arranger script shown at left, to translate your keyboard chording into proper divisiplaying.

PROS Expertly programmed presets with clever scripting. Can produce a wide range of textures from small and intimate to epic and sweeping. Impulse responses included for use with third-party convolution reverbs.
CONS No “non-vibrato to vibrato” crossfade presets (Audiobro is reportedly releasing an update with these patches in the future).
CONCEPT Kontakt-based string library designed to emulate the “Hollywood film score” sound.


L.A. Scoring Strings is an impressive library, both sonically and technologically, and sets a new standard with regard to the degree of flexibility and ability to create a vast array of articulations and playing styles with minimal effort. In fact, as I was working with the library, I was struck by how easy it was to realize and execute musical ideas. This is due largely to the built-in scripts, which makes LASS respond more like a true musical instrument, not just a collection of sounds that need to be chiseled into a believable performance via tedious MIDI editing.

FORMATS Mac and PC. AU, RTAS, VST, and standalone.

MINIMUM SYSTEM REQUIREMENTS Mac: OS 10.4.x or later, G4 1.4GHz or Intel Core Duo 1.66GHz. PC: Windows XP or Vista. Pentium or Athlon 1.4GHz. Both: 1GB of RAM, 40GB free hard drive space.

Utk memesan lihat di Tab Cara Memesan

PAKET 38 Mixosaurus Expert Virtual Drums

Mixosaurus Expert Virtual Drums
425rb 35dvd
Hemat 100rb!!!

Mixosaurus Expert Virtual Drums Vst Dxi Rtas Au Win/Mac [35 DVD] | 123 GB

MIXOSAURUS DAW Drums released Mixosaurus Expert Virtual Drums, a new 122 Gb Virtual Drumset, powered by Native Instruments Kontakt Player 2, that aims to provide “virtual drum authenticity“. It comes pre-installed on its own FW800 / eSATA Hard Disk Drive which you simply plug in to your computer. No sample installation or copying of huge sample data files required.

MIXOSAURUS comes as a customized version of Kontakt Player 2 software and extensive use of scripting functionality allows you to apply changes or effects at virtually any point in the signal flow – if you want to. If not, you turn off all that jazz with a single click and have the GUI cleared.

Mixosaurus Expert Virtual Drums features and details:

122 Gb Virtual Drumset powered by Kontakt Player 2.
Comes pre-installed on its own FW800 / eSATA Hard Disk Drive.
14-piece acoustic drumkit (played with sticks), 20 available mic tracks.
Recorded at Teldexstudio Berlin, Germany.
Comes pre-installed on its own plug & play hardware unit.
Unprecedented number of available articulations.
100% authentic reproduction of drumset dynamics.
7 alternating samples available for each and every sound throughout the entire library.
More than 80,000 stereo samples, all true 24-Bit through the entire production process – no reduction, nowhere.
Signals pre-processed using the best analog and tube gear.
3 completely different overhead mic setups and 2 different Hi Hat mic setups to choose from.
Stereo PZM tracks massively compressed by tube gear.
Stereo Teldex Reverb Chamber tracks – dial in REAL, Hi End reverb with one fader movement.
All single hit samples, allowing you to play your own, great sounding rolls, flams, crescendos, even cymbal swells.
Unique combination of controls manipulating the drummer’s interpretation of incoming MIDI.
Unique set of envelope, filter and distortion controls for each drum/cymbal.
Many useful grooves and fills onboard.

Levels Page

The Levels Page holds volume, balance and pan controls for Close, Overhead, PZM and Teldex Room mics – for each drum/cymbal individually. This allows you to e.g. move an instrument’s room signal to the left while leaving the pan of the Room Channel in your DAW centered (and thus all other instruments’ room signals unchanged).

Dynamics Page

We’ve included a feature that will save you hours of tedious programming and adjusting grooves: the unique MIXOSAURUS dynamics section. It allows you to manipulate the drummer’s interpretation of incoming MIDI, to play more or less expressively, or just as well plain softer or harder – without making changes to the MIDI sequence.

Envelopes Page

MIXOSAURUS’ envelope controls let you alter the attack, length and release for each instrument individually. Moreover, you can control the release times of the close and distant mics separately (e.g. create gated room effects or shorten the close mics while leaving a longer release on the distant mics). Hi Hats have separate controls for closed and open Hi Hat sounds, Cymbals have separate controls for stick and mallet sounds.

Delay Page

MIXOSAURUS offers you a built-in MIDI delay that is capable of producing standard delays, repetitions, accelerating (+/-) delays, even buzzing effects with ascending or descending frequency.

The screenshot below will soon be replaced by a movie so you can see and hear the MIXOSAURUS delay features in action.

Filter Page

The MIXOSAURUS filter page, with filter type, frequency and resonance controls. However, that’s not all: to allow for creative engineering, you can set the degree of filter application on close and distant mics individually – and you can swap the order of filter and distortion algorithms in the signal flow.

Distorsion Page

Just like the filter page, the distortion options include separate controls for the degree of application on close and distant mics – and remember, each of the drum kit’s instruments has its own set of controls. Three distortion algorithms are available to create anything from a hardly noticable growl to white noise.

Help Page

MIXOSAURUS features instant help functionality by offering built-in descriptions of every GUI knob or button. The info label at the bottom of each instrument’s interface immediately jumps to a brief summary as soon as you touch a control. The Options/Help menu at the lower right corner of the GUI lets you activate a larger box that will have more detailed information on the knob you move.

Minimum system requirements:

Mac OS 10.4 or later, G4 / G5 / Intel Core Duo CPU, 1.4 GHz or faster
Windows XP SP2, Pentium IV / Athlon CPU, 1.4 GHz or faster

2 GB RAM minimum, more strongly recommended

If you dream of the ultimate sampled drum kit, and you have a cuttingedge computer to run it, Mixosaurus's Kit A might be your Holy Grail.

Utk memesan lihat di Tab Cara Memesan

Total Pageviews