{"title":"Image Line","description":null,"products":[{"product_id":"fl-studio-12-signature-bundle-retail-boxed","title":"FL Studio 12 Signature Bundle - Retail Boxed","description":"\u003cp\u003eThe \u003cstrong\u003eImagine Line FL Studio 12\u003c\/strong\u003e is a complete software music production environment or Digital Audio Workstation (DAW). Representing more than 18 years of innovative developments it has everything you need in one package to compose, arrange, record, edit, mix and master professional quality music. FL Studio is now one of the world’s most popular DAWs and is used by the most creative artists.\u003c\/p\u003e  \u003cp\u003eBuying FL Studio not only gets you the latest version but all future FL Studio updates free. imagine Line believes you should have the functionality you paid for, bug-fixed, developed and updated for as long as they develop FL Studio. 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With the addition of a warm, analog-modeled filter and set of built-in effects, the Toxic concept remains one of convenience, simplicity, and superb sound quality.\u003c\/p\u003e  \u003cp\u003eToxic Biohazard includes following enhancements:\u003c\/p\u003e  \u003cul\u003e \u003cli\u003eOptimized engine. Improved the sound quality, with even more accurate waveshapes, and quicker rendering times\u003c\/li\u003e \u003cli\u003e\"Physical\" envelopes (amplitude and filter) physical  of how sounds in real world decay \u0026amp; resonate, for example, the sound of a water drop. Further, physical envelopes are rendered\u003c\/li\u003e \u003cli\u003eReal-time without any interpolation, avoiding noise artifacts and allowing Toxic Bio to deliver fast, accurate envelope times.\u003c\/li\u003e \u003cli\u003ePack of new effects: phaser, reverb\u003c\/li\u003e \u003c\/ul\u003e   \u003ch3\u003eThe FM technology\u003c\/h3\u003e  \u003cp\u003eOne of the ‘warmest’, crisp, and clear Frequency Modulation engines in the world, owes its sound to the precise calculation of the digital signal. Due to high-resolution DSP processing, it produces sound with an extremely low noise threshold; something that most FM engines cannot offer. The Toxic Biohazard sound was built from the ground up, via Image Line's own unique mathematical calculations and analog-modeling techniques.\u003c\/p\u003e  \u003ch3\u003eThe Oscillators\u003c\/h3\u003e  \u003cp\u003eCompletely alias-free, and well tuned for all sampling rates, they produce a rich, \"fat\" sound all across the spectrum. Due to the high quality of the anti-aliasing process, users will not encounter the shredding noise on high frequencies that has plagued FM synthesis in the past. Furthermore, the oscillators are calculated at extremely high speeds, keeping yCPU usage to a minimum. Toxic’s low CPU consumption affords the user plenty of room for external processing and running multiple instances. The oscillators also come equipped with Maxx Claster’s own powerful spectrum analysis technology. This allows the user to create his or her own waveforms, via the simple process of loading a WAV or AIFF format sound file. All of these features make the oscillators very flexible, and allow for the use of both synthetic and acoustic waveforms within Toxic. Each oscillator also comes with 32 built in ‘classic’ waveforms, each shown to be the most useful in FM synthesis.\u003c\/p\u003e  \u003ch3\u003eThe Effects\u003c\/h3\u003e  \u003cp\u003eMade to assure high quality and flexibility is built into the synthesizer its self, Toxic Biohazard aims to reduce the need for external processing altogether! The effect modules are designed to give the user access to several types of effects, from aggressive, tube-like distortion, to warm stereo delay, reverb, flanger, and phaser effects. With Image Line's own pro-quality tape delay emulation, based on non-fixed delay buffer sizes, instead of the usual methods incorporated within digital delays, their delay lines give you warm sound, with “true” feedback and modulation. Lastly, the signal chain features an analog-modeled, parametric equalizer to further shape your sound. The EQ provides access to crisp, clear high-end definition, creamy mid ranges and earth-shaking low-end frequencies. 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You can do this directly by adjusting harmonics manually or by taking any input sample and resynthesizing it into one of 4 independent voices.\u003c\/p\u003e  \u003cp\u003eAdditive Synthesis has been considered one of the most desirable ways to emulate real instruments or to create new sounds. 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Its modules will look familiar to subtractive synthesizer enthusiasts: oscillators, filters \u0026amp; phasers, these are featured in Harmor but, because performed through additive synthesis, offer more freedom. You don't just select filter types, you draw them.\u003c\/p\u003e  \u003cp\u003eYou wanted more, so also featured is the multipoint envelope editor of Sytrus fame, applied to over 40 parameters, in 2 independent parts. Through the same envelope\/mappings, randomize any parameter or link it to key or velocity, and even fine-tune each unison voice independently.\u003c\/p\u003e  \u003cp\u003eProcessing units can be rearranged in a semi-modular way. If you need one of the 2 filter units processed after the blur unit, that's no problem.\u003c\/p\u003e  \u003ch3\u003eImage synthesis\u003c\/h3\u003e  \u003cp\u003eBecause it typically requires manipulating large amounts (up to 500 per voice) of partials over time, additive synthesis is hard to handle. No human can (or even wants to) edit 500 envelopes, but editing 2D images. Get access to gain \u0026amp; pitch planes which you can tweak in the image editor of your choice, and import any bitmap, even if it wasn't designed to be turned into audio, it might still sound interesting.\u003c\/p\u003e  \u003ch3\u003eAudio resynthesis\u003c\/h3\u003e  \u003cp\u003eBeing an additive synthesizer, Harmor can resynthesize audio files as well. The reproduction will be faithful, not a vague sound-alike as in many additive synthesizers. Resynthesis can of course be tweaked, providing time stretching, pitch shifting, or less conventional manipulations of partials.\u003c\/p\u003e  \u003cp\u003eAnd of course, the result of the analysis can still be turned into an image for further editing.\u003c\/p\u003e  \u003ch3\u003eEfficient\u003c\/h3\u003e  \u003cp\u003eAdditive synthesis is generally very CPU-consuming, but not Harmor's engine. Its efficency is in fact, comparable to that of subtractive synthesizers. Voices may be generating hundreds of harmonics in parallel and still not overload the CPU. Processing being multi-threaded, extra CPU cores come in handy.\u003c\/p\u003e  \u003ch3\u003ePixels!\u003c\/h3\u003e  \u003cp\u003eResynthesis or image-synthesis, Harmor features both. Import a piece of audio and time-stretch or pitch-shift it (with formant and transient preservation). Convert this to an image and edit each partial individually!\u003c\/p\u003e  \u003ch3\u003eTwo parts\u003c\/h3\u003e  \u003cp\u003eTwo independent parts (or “layers”) for even more complex sounds. Parts can be imported from other presets.\u003c\/p\u003e  \u003ch3\u003eSFX\u003c\/h3\u003e  \u003cp\u003eIn the effects section you will meet all the usual suspects: distortion, chorus, delay and reverb, as well as the mighty Soundgoodizer based on the Maximus engine. Just like processing units, effect slots can be re-ordered. 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Or if you prefer, a subtractive synthesizer powered by an additive synthesis engine.\u003c\/p\u003e  \u003ch3\u003eNot just another subtractive synth...\u003c\/h3\u003e  \u003cp\u003eYou may ask: why?\u003c\/p\u003e  \u003cp\u003eFor several reasons. To begin with, there are too many subtractive synthesizers already, often bragging about being virtual analog. This one is digital, and proud to be. Everything is fake, the tone generator, the filter \u0026amp; its resonance, the phaser, all performed on the harmonics, before partials are computed.\u003c\/p\u003e  \u003cp\u003eNow, how it's synthesized shouldn't matter after all, if the result sounds subtractive. But Harmless is more than a proof of concept, it allows fine control that wouldn't be possible through classic subtractive synthesis. Filtering and phasing can be assigned unusual shapes \u0026amp; slopes, something normally only possible through offline digital filters. Filter slopes can even be defined in Hz instead of octaves. 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