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Virtual Studio Technology (VST) is an audio plug-in software interface that integrates software synthesizers and effects units into digital audio workstations. VST and similar technologies use digital signal processing to simulate traditional recording studio hardware in software. Thousands of plugins exist, both commercial and freeware, and many audio applications support VST under license from its creator, Steinberg.
Overview[edit]
The Vintage Channel Strip consists of three plug-ins, the EQ 601, the Compressor 260 and the Compressor 276, reproducing the sound characteristics of several classic hardware EQ and compressor devices from the 1970s.
VST plugins generally run within a digital audio workstation (DAW), to provide additional functionality, though a few standalone plugin hosts exist which support VST. Most VST plugins are either instruments (VSTi) or effects (VSTfx), although other categories exist—for example spectrum analyzers and various meters. VST plugins usually provide a custom graphical user interface that displays controls similar to physical switches and knobs on audio hardware. Some (often older) plugins rely on the host application for their user interface.
VST instruments include software simulation emulations of well-known hardware synthesizers and samplers. These typically emulate the look of the original equipment as well as its sonic characteristics. This lets musicians and recording engineers use virtual versions of devices that otherwise might be difficult and expensive to obtain.
VST instruments receive notes as digital information via MIDI, and output digital audio. Effect plugins receive digital audio and process it through to their outputs. (Some effect plugins also accept MIDI input—for example, MIDI sync to modulate the effect in sync with the tempo). MIDI messages can control both instrument and effect plugin parameters. Most host applications can route the audio output from one VST to the audio input of another VST (chaining). For example, the output of a VST synthesizer can be sent through a VST reverb effect.
History[edit]
Steinberg released the VST interface specification and SDK in 1996. They released it at the same time as Steinberg Cubase 3.02, which included the first VST format plugins: Espacial (a reverb), Choirus (a chorus effect), Stereo Echo, and Auto-Panner.[2]
Steinberg updated the VST interface specification to version 2.0 in 1999. One addition was the ability for plugins to receive MIDI data. This supported the introduction of Virtual Studio Technology Instrument (VSTi) format plugins. VST Instruments can act as standalone software synthesizers, samplers, or drum machines.[3]
Neon[4] was the first available VST Instrument (included with Cubase VST 3.7). It was a 16-voice, 2-oscillator virtual analog synthesizer.[3]
In 2006, the VST interface specification was updated to version 2.4. Changes included the ability to process audio with 64-bit precision.[5] A free-software replacement was developed for LMMS that would be used later by other free-software projects.[6][7]
VST 3.0 came out in 2008. Changes included:[8]
- Audio Inputs for VST Instruments
- Multiple MIDI inputs/outputs
- Optional SKI (Steinberg Kernel Interface) integration
VST 3.5 came out in February 2011. Changes included note expression, which provides extensive articulation information in individual note events in a polyphonic arrangement. According to Steinberg, this supports performance flexibility and a more natural playing feel.[9] Chat camera celular.
In October 2011, Celemony Software and PreSonus released Audio Random Access (ARA), an extension for audio plug-in interfaces, such as VST, allowing greater integration between audio plug-ins and DAW software.[10]
In September, 2013, Steinberg discontinued maintenance of the VST 2 SDK. In December, Steinberg stopped distributing the SDK.[11] The higher versions are continued.
VST 3.6.7 came out in March, 2017. It includes a preview version of VST3 for Linux platform, the VST3 part of the SDK gets a dual license: 'Proprietary Steinberg VST3' or the 'Open-source GPLv3'.
As VSTi virtual instrument technology was under development at Steinberg, a platform for virtual instruments using DirectX engine technology was being developed by Cakewalk, famous for its Sonar DAW. However, the format did not gain much acceptance beyond instruments bundled with SONAR. Currently, almost all virtual instruments on the market use Steinberg's VSTi format.[citation needed]
VST plugins[edit]
There are three types of VST plugins:
- VST instruments generate audio. They are generally either Virtual Synthesizers or Virtual samplers. Many recreate the look and sound of famous hardware synthesizers. Better known VST instruments include Discovery, Nexus, Sylenth1, Massive, Omnisphere, FM8, Absynth, Reaktor, Gladiator, Serum and Vanguard.
- VST effects process rather than generate audio—and perform the same functions as hardware audio processors such as reverbs and phasers. Other monitoring effects provide visual feedback of the input signal without processing the audio. Most hosts allow multiple effects to be chained. Audio monitoring devices such as spectrum analyzers and meters represent audio characteristics (frequency distribution, amplitude, etc.) visually.
- VST MIDI effects process MIDI messages (for example, transpose or arpeggiate) and route the MIDI data to other VST instruments or to hardware devices.
VST hosts[edit]
A VST host is a software application or hardware device that VST plugins run under. The host application presents the plugin UIs and routes digital audio and MIDI to and from the plugins.
Software[edit]
Many VST hosts are available. Not all of these support VST 3 plugins.
- Acon Digital Acoustica
- Acoustica Mixcraft (VST3)
- Ardour (open source)
- Audacity (free and open source, VST support works on Windows, Mac OS X and Linux[12])
- Digital Performer (version 8 or higher)
- Psycle (open source)
- Reason (version 9.5 or higher)
- vMix (VST3 Only)
Stand-alone dedicated hosts provide a host environment for VST plugins rather than use the plugins to extend their own capabilities. These are usually optimized for live performance use, with features like fast song configuration switching.
VST plugins can be hosted in incompatible environments using a translation layer, or shim. For example, FL Studio only supports its own internal plugin architecture, but an available native 'wrapper' loads VST plugins, among others. FXpansion offers a VST-to-RTAS (Real Time AudioSuite) wrapper that lets VST plugins run in Pro Tools, and a VST-to-Audio Units wrapper lets VST plugins run in Logic Pro.
VST instruments include software simulation emulations of well-known hardware synthesizers and samplers. These typically emulate the look of the original equipment as well as its sonic characteristics. This lets musicians and recording engineers use virtual versions of devices that otherwise might be difficult and expensive to obtain.
VST instruments receive notes as digital information via MIDI, and output digital audio. Effect plugins receive digital audio and process it through to their outputs. (Some effect plugins also accept MIDI input—for example, MIDI sync to modulate the effect in sync with the tempo). MIDI messages can control both instrument and effect plugin parameters. Most host applications can route the audio output from one VST to the audio input of another VST (chaining). For example, the output of a VST synthesizer can be sent through a VST reverb effect.
History[edit]
Steinberg released the VST interface specification and SDK in 1996. They released it at the same time as Steinberg Cubase 3.02, which included the first VST format plugins: Espacial (a reverb), Choirus (a chorus effect), Stereo Echo, and Auto-Panner.[2]
Steinberg updated the VST interface specification to version 2.0 in 1999. One addition was the ability for plugins to receive MIDI data. This supported the introduction of Virtual Studio Technology Instrument (VSTi) format plugins. VST Instruments can act as standalone software synthesizers, samplers, or drum machines.[3]
Neon[4] was the first available VST Instrument (included with Cubase VST 3.7). It was a 16-voice, 2-oscillator virtual analog synthesizer.[3]
In 2006, the VST interface specification was updated to version 2.4. Changes included the ability to process audio with 64-bit precision.[5] A free-software replacement was developed for LMMS that would be used later by other free-software projects.[6][7]
VST 3.0 came out in 2008. Changes included:[8]
- Audio Inputs for VST Instruments
- Multiple MIDI inputs/outputs
- Optional SKI (Steinberg Kernel Interface) integration
VST 3.5 came out in February 2011. Changes included note expression, which provides extensive articulation information in individual note events in a polyphonic arrangement. According to Steinberg, this supports performance flexibility and a more natural playing feel.[9] Chat camera celular.
In October 2011, Celemony Software and PreSonus released Audio Random Access (ARA), an extension for audio plug-in interfaces, such as VST, allowing greater integration between audio plug-ins and DAW software.[10]
In September, 2013, Steinberg discontinued maintenance of the VST 2 SDK. In December, Steinberg stopped distributing the SDK.[11] The higher versions are continued.
VST 3.6.7 came out in March, 2017. It includes a preview version of VST3 for Linux platform, the VST3 part of the SDK gets a dual license: 'Proprietary Steinberg VST3' or the 'Open-source GPLv3'.
As VSTi virtual instrument technology was under development at Steinberg, a platform for virtual instruments using DirectX engine technology was being developed by Cakewalk, famous for its Sonar DAW. However, the format did not gain much acceptance beyond instruments bundled with SONAR. Currently, almost all virtual instruments on the market use Steinberg's VSTi format.[citation needed]
VST plugins[edit]
There are three types of VST plugins:
- VST instruments generate audio. They are generally either Virtual Synthesizers or Virtual samplers. Many recreate the look and sound of famous hardware synthesizers. Better known VST instruments include Discovery, Nexus, Sylenth1, Massive, Omnisphere, FM8, Absynth, Reaktor, Gladiator, Serum and Vanguard.
- VST effects process rather than generate audio—and perform the same functions as hardware audio processors such as reverbs and phasers. Other monitoring effects provide visual feedback of the input signal without processing the audio. Most hosts allow multiple effects to be chained. Audio monitoring devices such as spectrum analyzers and meters represent audio characteristics (frequency distribution, amplitude, etc.) visually.
- VST MIDI effects process MIDI messages (for example, transpose or arpeggiate) and route the MIDI data to other VST instruments or to hardware devices.
VST hosts[edit]
A VST host is a software application or hardware device that VST plugins run under. The host application presents the plugin UIs and routes digital audio and MIDI to and from the plugins.
Software[edit]
Many VST hosts are available. Not all of these support VST 3 plugins.
- Acon Digital Acoustica
- Acoustica Mixcraft (VST3)
- Ardour (open source)
- Audacity (free and open source, VST support works on Windows, Mac OS X and Linux[12])
- Digital Performer (version 8 or higher)
- Psycle (open source)
- Reason (version 9.5 or higher)
- vMix (VST3 Only)
Stand-alone dedicated hosts provide a host environment for VST plugins rather than use the plugins to extend their own capabilities. These are usually optimized for live performance use, with features like fast song configuration switching.
VST plugins can be hosted in incompatible environments using a translation layer, or shim. For example, FL Studio only supports its own internal plugin architecture, but an available native 'wrapper' loads VST plugins, among others. FXpansion offers a VST-to-RTAS (Real Time AudioSuite) wrapper that lets VST plugins run in Pro Tools, and a VST-to-Audio Units wrapper lets VST plugins run in Logic Pro.
Hardware[edit]
Hardware VST hosts can load special versions of VST plugins. These units are portable and usable without a computer, though some of them require a computer for editing. Other hardware options include PCI/PCIe cards designed for audio processing, which take over audio processing from the computer's CPU and free up RAM.
Some hardware hosts accept VSTs and VSTis, and either run Windows-compatible music applications like Cubase, Live, Pro Tools, Logic etc., or run their own DAW. Other are VST Hosts only and require a separate DAW application. Origin from Arturia is a hardware DSP system that houses several VST software synthesizers in one machine, like Jupiter 50/80 from Roland. Using appropriate software, audio data can also be sent over a network, so the main host runs on one computer, and VST plugins on peripheral machines.
Standard[edit]
The VST plugin standard is the audio plugin standard created by Steinberg to allow any third-party developers to create VST plugins for use within VST host applications. VST requires separate installations for Windows, Mac OS X and Linux. The majority of VST plugins are available for Windows only due to Apple's competing proprietary Audio Unit technology being used on OS X (Audio Units is a core part of the OS X operating system). The short history of commercial environments for Linux means few developers have targeted this platform.
Steinberg Vst Plugins
Presets[edit]
VST plugins often have many controls, and therefore need a method of managing presets (sets of control settings).
Steinberg Cubase VST introduced two file formats for storing presets: an FXP file stores a single preset, while an FXB file stores a whole bank of presets. These formats have since been adopted by many other VST hosts, although Cubase itself switched to a new system of preset management with Cubase 4.0.
Many VST plugins have their own method of loading and saving presets, which do not necessarily use the standard FXP/FXB formats.
Competing technologies[edit]
- Apple's Audio Units
- Avid's Avid Audio eXtension
- Digidesign's Real Time AudioSuite
- Digidesign's TDM
- LADSPA, DSSI for Linux
- LV2, a cross-platform, open source, liberally licensed audio plugin standard
- Microsoft's DirectX plugin
- Mark of the Unicorn's Motu Audio System
- JACK Audio Connection Kit, an open-source sound server allowing flexible audio routing between apps
- Reason Studios' Rack Extensions
Programming languages[edit]
Steinberg's VST SDK is a set of C++ classes based around an underlying C API. The SDK can be downloaded from their website.
There are several ports available, such as a Delphi version by Frederic Vanmol,[13] a Java version from the jVSTwRapper project at Sourceforge,[14] and two .NET versions – Noise[15] and VST.NET;[16] this open source project also includes a framework that makes creating VST plugins easier and result in more structured code. VST.NET also provides support for writing managed host applications with a managed class that allows loading an unmanaged Plugin. A notable language supporting VST is FAUST, considering that it is especially made for making signal processing plugins, often producing code faster than hand-written C++.
In addition, Steinberg has developed the VST GUI, which is another set of C++ classes, which can be used to build a graphical interface. There are classes for buttons, sliders and displays, etc. Note that these are low-level C++ classes and the look and feel still have to be created by the plugin manufacturer. VST GUI is part of the VST SDK and is also available as a SourceForge project.[17]
Many commercial and open-source VSTs are written using the Juce C++ framework instead of direct calls to the VST SDK because this allows multi-format (VST, Audio Units and Real Time AudioSuite) binaries to be built from a single codebase.
See also[edit]
- LADSPA and LV2, similar open-source standards.
- SynthEdit, a VST/VSTi editor.
References[edit]
- ^'Our Technologies'. www.steinberg.net.
- ^Steinberg Cubase 3 (article), Sound on sound, Jul 1996.
- ^ abCubase 3.7 (article), Sound on sound, Sep 1999
- ^KVR audio.
- ^Steinberg.
- ^'vestige.h'.
- ^'aeffectx.h'.
- ^News, KVR audio.
- ^VST 3.5 a milestone in VST development (News), Steinberg, 2011-02-10.
- ^'Celemony introduces ARA Audio Random Access - Extension for Plug-in Interfaces'. KVR Audio. Retrieved 2018-06-05.
- ^SDK for VST 2 software interface discontinued (News), Steinberg, 2013-12-09
- ^VST plug-ins
- ^VST, Axi world.
- ^jVSTwRapper, Source forge.
- ^Noise, Google code.
- ^VST.Net, Codeplex.
- ^http://sourceforge.net/projects/vstgui
By Yuya Watanabe, November 17, 2015 Osx leopard lion.
Virtual Studio Technology or VST is a standard plug-in format for native DAWs. Developed by Steinberg, the technical information for this plug-in format was made available to the public as an open standard without any licensing fee involved, which resulted in the format rapidly spreading throughout the digital audio world. Although VST was originally a plug-in format for effects, version 2.0 enabled reception of MIDI data from external sources, therefore evolving into a software sound source platform. VST-compatible software sound sources are referred to as VST instruments, and, similar to the effect plug-ins, they became an industry standard right away.
Icon.jp talked in depth with Matthias Quellmann, Senior Marketing Manager, and Yvan Grabit, Technical Lead, about VST instruments and the technology behind them.
Would you mind introducing yourself and tell us a little about your background?
Matthias: I started working at Steinberg just over four years ago, it was about the time of HALion version 4, I think. Before coming to Steinberg, I worked in production at a record label. Currently, I am involved in the development of VST instruments and sound libraries, and recently I was spending most of my time with the HALion development team.
Yvan: I am originally from the south-east of France, and I worked in an image processing company in France before moving to Germany about 18 years ago when I started at Steinberg. The first thing I worked on at Steinberg was the development of Nuendo for Silicon Graphics: I was in charge of VST support, surround, and off-line processing. As you probably know, Nuendo was originally our professional-use DAW software that was developed for the Silicon Graphics platform. This was around 1997 to '98. When I joined the company, VST had already been implemented into Cubase, but work on VST 2 was under way and I became deeply involved in its development. The centerpiece of VST 2 was that it enabled the use of VST instruments which are software sound generators and sources, so I was also part of the development of LM-4 and HALion, which were the primary VST instruments. Also, one of my most important jobs at that time was maintaining relations with third-party developers. VST is an open platform so collaboration with third parties is essential to the dissemination of the VST standard. My job was to provide technical support to companies that showed interest in the development of VST plug-ins and instruments. I am currently performing these same duties.
Today, I am involved in the development of all VST specifications. As the foundation of our products, VST is a very important technology, so I must keep in close communication with the Cubase and Nuendo development teams, and I am responsible for sharing technical information between the VST plug-in and instrument development teams and the development teams of host applications.
Matthias: Yvan, why did you come to Germany?
Yvan: My girlfriend got a job at a company in Hamburg. I thought 'me too' and ended up following her to Germany. So when I was looking for a good job, I happened to see that Steinberg was hiring. I had a look at what they did and my hunch that this could be the perfect job for me turned out to be true.
VST 2 enabled us not only to use effects but also software sound sources as plug-ins. This is a major evolution, isn't it? Did you have the idea of developing plug-in capability for software sound sources in the early days of VST standardization?
Cubase Vst Plugins Free Download
Yvan: Before talking about VST instruments, it might be better to start with how the VST standard was originally created. Actually, VST was first developed as a 'closed standard.' During the development of Cubase VST 3.5, a group of engineers led by Charlie [Karl Steinberg, co-founder of Steinberg] thought that if we equipped the audio mixer with processors such as channel EQ and dynamics, then it would probably be best to standardize such processing. This was the starting point of VST development. Since we would be updating the version in the future, we thought it would be troublesome to always be revising the source code of the audio mixer each time a new processor was added. For that reason, we ended up making it a standard, so that we can easily add new functions. That's how VST came into being, as a standard used by in-house programmers in order to achieve smooth development of the audio part of Cubase. Since we had standardized the technology in such a clearly defined way, it would be a waste to only use it for Cubase development, and therefore we decided very early on to make it an open standard. The response and feedback we received from users and third parties when we published VST as an open standard was far beyond our expectations.
After that, we and third parties started to focus on VST plug-in development. This was the period when computer processing capabilities were improving at an extremely fast pace, so it didn't take long for us to get the idea that it would be good to not only develop effects, but also software sound sources that ran off VST. It came about rather naturally: Charlie wrote the DSP algorithm for Model-E, the world's first commercial VST instrument, and I did the GUI programming to complete the interface.
The Pro-Five (later to become the Pro-52/Pro-53) developed by Native Instruments as the first third-party produced VST instrument was released at nearly the same time as Model-E. Did Steinberg first reach out to Native Instruments?
Yvan: We had a very close relationship with Native Instruments at that time. They have become quite large now, but back then they were a small software developer company.
Matthias: While Pro-Five was certainly the first third-party produced VST instrument, we were very involved in the development.
Yvan: We also did sales for the Pro-Five. Since we had worldwide distribution channels, we thought we should be responsible for sales too. We also provided support for Propellerhead with the distribution of ReCycle! in the same manner. That was a model case where they could concentrate on software development and we performed sales on a global level.
VST plug-ins and VST instruments are in the same folder location. Is this because the only difference between VSTi and other VST plug-ins is that they can produce sound?
Yvan: Since both are made using the VST standard, there is basically no problem in treating them the same. Of course, there is a difference because VST instruments must be able to receive signals of MIDI notes and program changes, while other VST plug-ins only need to handle audio input and output. We didn't divide the standards for effects and software sound modules in order to provide a degree of freedom for functional aspects. Applying the same standards allows us to develop software sound sources that, for example, are equipped with side-chain inputs.
VST instruments and host applications are not connected by a MIDI cable like in hardware. In terms of factors such as the timing of notes, I think that not using MIDI as the protocol for transmission between VST instruments and host applications is wise, but isn't MIDI data actually exchanged in the same manner as in hardware?
Yvan: Although the transmitted data is MIDI, it is handled in a slightly different manner than with hardware. As you probably know, the MIDI data is sent and received by using serial transfer, and this could cause bottlenecks when exchanging musical performance data where timing is very important. For this reason, recently, MIDI data is handled in packages to prevent problems caused by serial transfer. For example, if you play a project in Cubase, the MIDI data is already present in the track so you can 'look ahead' if you wanted to. It's just like a limiter with a look-ahead function. It's a technique based on the idea that if you can look ahead in the data, then such data can be converted into a package and transmitted beforehand.
While I think MIDI is an excellent standard, it was established many years ago, so the general feeling these days is that its resolution and other capabilities are not completely sufficient for current needs. To resolve this, the communication between Cubase and VST 3 plug-ins uses a more enhanced data format than MIDI. As a result, VST plug-ins and effects allow you for unprecedented control compared to conventional hardware connected through cables.
I am very interested in this 'look-ahead' playback of data on tracks you mentioned.
Yvan: In Cubase, 'look-ahead' processing is performed not only for MIDI data but also for audio data. This is the technology known as ASIO-Guard. ASIO-Guard is groundbreaking technology that efficiently uses limited CPU power to provide flexible processing.
Matthias: Before ASIO-Guard, data recorded in tracks was processed in real time. Accordingly, a project that consumed nearly the limit of a computer's CPU power could result in an overload if you played a VST instrument in real time during project playback. For this reason, the starting point for ASIO-Guard development was to reserve the CPU power for real-time input. The data recorded in the project can be analysed ahead of time, so the idea was to process the recorded data in advance. allowing for sufficient CPU power to be reserved for the processing of real-time input, which cannot be processed in advance. ASIO-Guard enables users to utilize CPU power more effectively than before, and I think it nearly completely eliminates an overload even if a large amount of data is suddenly fed into the input.
Can you tell us some more about the VST 3 standard?
Yvan: The last version of VST 2 is quite a good one, and its high degree of freedom allows one to pretty much create whatever one wants to do. Being a standard that is nearly completely free of restrictions has allowed for the development of many interesting plug-ins, but that high degree of freedom also results in compatibility problems and similar issues. Accordingly, we aimed to maintain the same level of freedom for the standard as much as possible, while also restructuring the specifications and establishing minimum rules to apply to. This resulted in the new VST 3, a standard that partially uses the idea of COM Microsoft technology, such as DirectX.
We constantly paid attention to maintaining compatibility with the current VST 2 in designing VST 3. Although it would have been easier to create a completely new standard, like Avid did when moving from TDM/RTAS to AAX, we didn't think it to be good if the technology and know-how created by the numerous developers who graciously provided their support to VST could not be passed on. I think that developers who contributed to the current VST 2 can also develop plug-ins in the same manner for VST 3.
Matthias: AAX and VST 3 are different standards, but their contents are similar.
Yvan: VST 3 has evolved in regard to VST 2, and I'd like to just tell you about three representative features. The first is the extension we added to MIDI which will allow more precision and flexibility. This extension eliminates the 16-channel limitation on the number of channels and allows a unique ID to be assigned to each MIDI note. Due to this, you can apply a different pitch bend to each note in the same MIDI channel. We call it Note Expression. Steinberg VST instruments, HALion, HALion Symphonic Orchestra and similar software already support Note Expression.
The second is that the user interface for VST 3 has been extremely refined. You can now re-size windows that you couldn't before, or maybe not so easily. The plugin's parameters could be now organized in a convenient way for the user. For example, there are over 4,000 parameters provided for HALion but if you need to display them in a menu in the current VST 2, the poor interface only allows these to be displayed lined up in a long lengthwise row. With VST 3 structured parameters the user can easily navigate through the list by using sub-menus, for example.
Matthias: The integration of plug-ins and host applications has also been deepened in VST 3. For example, you can control some functions in the host from the plug-in side; for example, open an automation track related to a given knob in the UI of the plug-in.
Yvan: The third feature is the optimization of processing in order to save CPU resources. Also, if you are inserting a plug-in into a track lacking an audio signal, the plug-in will be informed about it and can, if possible, disable some internal processing so that CPU power is not wasted.
How has VST 3 been received?
Yvan: We are currently working very hard on raising the awareness of third parties. If we are contacted by someone saying, 'I'd like to hear more about VST 3' we provide a detailed explanation about the development of the supporting software. We have also received requests from third parties suggesting ways for improvements, and we listen extremely closely to this type of feedback.
You mentioned that there were also compatibility problems with VST 2. Would you say that, if using VST plug-ins and VST instruments, the most stability is provided by using Steinberg host applications such as Cubase and Nuendo, as Steinberg is the creator of VST?
Yvan: That's a difficult question to answer because there were certainly compatibility issues depending on the host application and plug-ins that were used, I think Cubase and Nuendo were the most stable ones. After all, we know everything about the VST standard..
Matthias: There are surprisingly few developers who work on developing both host applications and plug-ins. Since we are one of the few companies developing both, I think our ability to resolve any issues that might arise on either side far exceeds companies that only develop on one side. Cubase and plug-in programmers both work on the same floor, so it is very easy for them to communicate with each other, if anything occurs.
Pokemon tcg update apk. Yvan: However, it isn't good for a standard when differences emerge due to various host applications and plug-ins. For this reason, we established the new VST 3 standard that strictly defines the specifications.
Can you discuss some of the milestone products throughout the history of VST instruments?
Yvan: One would be HALion, released in 2001. For one I was deeply involved in the development [smiles], but HALion was the first full-scale VST sampler, which was ground-breaking with a direct streaming function that directly played samples from disk, and a high-definition sound library similar to a hardware sampler.
Following that, HALion 4 is probably an example of another milestone instrument. Although HALion 4 has the HALion name, it is equipped with a sound engine that is completely different from the one in HALion 3, and really exceeds the boundaries of a sampler to function more as a workstation or synthesizer. From this version forward, HALion is being considered as the foundation of new Steinberg software instruments, with all products appearing after it, such as Padshop and The Grand 3, being developed by using HALion as a base.
Is there a chance that the HALion platform will be made open to third parties in the same manner as Native Instruments Kontakt and UVI Engine?
Matthias: It is not currently being disclosed to third parties. However, there might be some new developments in the future.
I thought that Steinberg was no longer making an effort to develop individual VST instruments, but I see that this has changed with the comeback of Groove Agent last year and libraries being released at almost a monthly pace.
Matthias: Yes, that is true. Our company's internal organization has changed and the number of programmers has increased to form a powerful team. For these reasons, I think that we will be making an effort to develop VST plug-ins and VST instruments from now on.
Yvan: Previously we announced a new package called Absolute 2 that bundles all of the Steinberg VST instruments. Absolute 2 provides a discount that is about half the price of what it'd cost if you were to buy each product separately, and AU is supported in addition to VST. Although the library volume is quite large, the installer is provided on a USB stick so that it can be used immediately after purchase.
Since you will be making an effort in the future to develop individual VST instruments, I'd like to see the return of Virtual Guitarist and Virtual Bassist, which are very popular in Japan.
Matthias: That's certainly a good idea. Last year, we brought back Groove Agent with modern specifications. Groove Agent is an optimal instrument for quickly creating a drum track, but there might be some value in creating guitar and bass versions of it also.
VST instruments and processors
From HALion to Padshop Pro to the RND Portico plug-ins, there's a large variety of premium instruments and FX to discover.
Steinberg innovations
VST is only one of many technology standards introduced throughout the company's impressive history.
