Free music software round-up: Week 24
Awaiting your attention this week are a synth that's influenced by a hardware model but isn't a direct emulation, a groovebox, a MIDI editor/pattern sequencer and a distortion unit that we're confident even your granny could use.
If you've got a new free music software release, make sure you let us know about it by emailing musicradar.pressreleases@futurenet.com with all the details.
Alterex ViSynth
Platform/format: PC/VST Download
ViSynth is another of those 'inspired by but not a copy of' virtual instruments - it's a monophonic synth based on MFB's Synth Lite. There are a couple of oscillators and a sub oscillator: we trust the sound is appropriately vintage.
Psychic Modulation Cerebrum
Platform/format: PC/VST Download
Now at version 3.5, Cerebrum is a groovebox-style drum machine that comes equipped with five drum synth modules, 150 drum sounds and a bassline synth. Each module has two 16-step pattern sequencers. The intention is that the software will be used in a live situation to create beats on the fly. The freeware version is the same as the full one except for the fact that multiple outputs are disabled.
AZ Audio PolyGrid
Platform/format: PC/VST Download
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Your DAW probably has its own built-in MIDI editor, but that hasn't stopped AZ Audio from releasing this plug-in version. It's also a pattern sequencer - you can use up to 64 patterns of variable lengths.
NoiseSoft Hard Line Industrial Distortion
Platform/format: PC/VST Download
Lots of developers claim that their plug-ins are easy to use, but few processors can be quite so simple as this distortion unit. It features just one knob: dial it fully to the left and the effect is bypassed; turn it fully to the right and you've got extreme distortion on a white noise level.
I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.