Resonance, cutoff frequency, and destination can be set for each of these. There are two filters with six different types of curves: Lowpass 12dB and 24dB/octave, Bandpass, Highpass, Bandreject, and Peaking, for different types of filtration. You can change any waveform’s detune, width, pan, volume, and vibrato settings. Wavetables can be further edited, by changing their phase, position, how they are looped, etc. In addition, you can load up your wavetables by saving the WAV file of that audio in the same directory as others. You can also load up a wavetable and choose a waveform from that table. The two main oscillators in the Hive2 can generate the following waveforms: saw, square, sine, triangle, half pulse, and narrow pulse, along with pink and white noise are of high resolution.

A browser is also available for you to search the presets by their names and navigate through them. You can also save your presets and organize them by adding their tags (bright, dark, clean, phat, etc.), features (mono, poly, chord, etc.), and categories. With about 2300 presets, from categories like basses, poly leads, mono leads, keys, pads, plucks, etc., the plugin packs a versatile range of sounds for different genres and purposes. All these differences bring about a change in the fundamental characteristic of the sound. You can choose from three different synth engines: Clean, Normal, and Dirty, each of which varies in its internal circuitry, envelope, oversampling, and detuning algorithms, and the choice of models of filters that are used. Yes, the plugin is light on CPU, given its vast functionality. It has two main oscillators on which a standard waveform or a wavetable can be loaded, with up to 16 voices of unison, two sub oscillators, three different synth engines, and most importantly, low CPU usage. Years later, in 2015, they launched Hive 2, with some upgrades and improvements, including the wavetable functionality. U-he launched Hive as a soft-synth with a synthesizer architecture similar to Sylenth and Spire, adding their twist & innovation to this incredible software. The signal whose waveform is used to trigger is modulated accordingly, with extreme precision and character. The variations can be tracked down and edited in the most creative ways possible. The audio modulator kicks in when you have an audio signal or a parameter being varied and brings much more personality to your tones. This way, you can add more expression to your sound and make use of dynamics the way you’re used to. If you have a ROLI keyboard, a Linnstrument, or other MPE-compatible gear, Vital offers full support and controls. This enables you to instantly automate certain modulation parameters in relation to whatever notes are being played. It’s possible to create key-tracked bass lines with this LFO setting, combining it with an audio-rate modulation and using your LFO as an oscillator modulation source. This expands not only how you’ll play notes and frequencies, but also how to sample and interact with one another via the oscillators. A brand new tuning system can unlock new possibilities regarding how the samples are performing. kbd files – which can alter and configure how the tuning’s used will perform – and play in a microtonal setting without any troubles. So, in order to overcome this, a higher quality sampling is sought after on synths like Vital – and a cut-off might be the simplest tool you’d ever need. “Nyquist” means that each periodic signal should be periodically sampled at a rate twice the size of your audio signal.

These oscillators have a shallow low noise floor and a sharp cut-off at Nyquist for almost no aliasing, creating the cleanest sounds with the best quality possible.

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