LuSH-101 is D16 Group’s new multi-timbral polyphonic synth plugin, and it is actually eight synths in one eight really, really good synths. Find out more in this close-up look. Good Motherboard For Amd Phenom Ii X4 955 Black Edition on this page. By Rob Mitchell, Mar.
2014 D16 Group are the makers of many quality software plugins for music production, such as the Sigmund delay, Drumazon, and Decimort bit crusher. LuSH-101 is their multitimbral polyphonic synth plugin, and it is actually eight synths in one. With the latest version (v1.1.2) it now boasts multicore support, as well as small and large sized interfaces. It has already won the Music Radar’s award for Software Instrument of the Year, Future Music’s Platinum Award, plus Computer Music’s Performance and Editor’s Choice awards.
Its basic design was taken from the monophonic SH-101, but D16 has taken it way beyond what that hardware synth could do. The look is similar, and its basic sound can be a lot like an SH-101. But if you are comparing the features of the two, that’s just about where the similarity ends. D16 Group has added another LFO, an additional envelope, polyphony, and many other features and effects to bring it more up to date. Once you check out some of the presets, you’ll see that this new version has taken the SH-101 to new heights. Installation was easy, and just takes a minute or two to get everything prepared once you start the install. Copy protection is simple; just load the key file it asks for, and you’re ready to go.
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Oscillators LuSH-101 is a subtractive synthesizer with four oscillators. There is one waveform for each of the first two oscillators; a Square wave on one, and a Sawtooth on the other. You can modulate the pulse width of the Square wave, and both of the oscillators have hard sync. It is not possible to load any other waveforms with these two oscillators. The third oscillator is a Sub-oscillator, and has more waveform options. Three of them are variations of a Square wave with different pulse widths, and they are either one or two octaves below the base frequency. The other two are Sawtooth waveforms, with the choice of one or two octaves below the frequency.
The fourth oscillator is a Noise generator that has three different settings: White, Pink, or Brown noise. It can be used in combination with the other oscillators to add more depth to the sound. You could also use them on their own for percussion sounds, or to design various atmospheric presets; such as wind or ocean shore types of sounds for example. Each of the four oscillators has a slider for its volume level in the “Source Mixer” section. In this same area, you can pick the different settings for the Sub-Osc, and choose a Noise type for the Noise generator.
On top of all this, there is a Supersaw option you can enable, which can give the impression of many saw waveforms all playing at once. After you have turned up the Saw oscillator to the level you want, you then just click on the Supersaw LED to enable it. Using the Amount slider, you can control the level of gain on the Supersaw sound. The Detune slider lets you control the amount of the tune spread for the Supersaw, which fattens up the overall sound. Anytime you change a setting with a knob or slider in the synth, you can see a readout for it at the bottom left. This is especially useful for when you need to get an exact amount for a certain setting, such as the Pitch bend semitone amount, or the LFO rate for example. Filters, LFOs, and Envelopes The first of the two filters we’ll go over here is a Multimode self-resonating filter (Low-pass, Band-pass, or High-pass) with cutoff and resonance controls.
The other is a passive Hi-pass filter which has just one control; the cutoff slider. In that same filter section are sliders ENV1, ENV2, LFO1, LFO2, and KYBD (Keyboard Tracking). These control how much of the filter is sent to each Envelope or LFO, and is thereby shaped by the Envelope or LFO slider that is used. The KYBD slider works a bit differently: It controls the amount that the cutoff is affected by the pitch.
The two Envelopes each have identical controls. They include slider controls for attack, decay, sustain, and release. The sliders let you shape the audio the way you’d like. One common way to use an envelope is for a pad preset, where you would usually have a slow attack and slow release for the amplitude settings. The Polarity control is a nice feature they’ve added, as it basically flips the envelope upside down. You can just click the LED to the left of the ADSR slider to change its setting. There are also controls to change the retriggering that the envelopes use.
“Trig mode” triggers it for each note, while “Gate mode” doesn’t re-trigger if the notes overlap each other. For each of the two LFOs, there are six different waveforms to pick from.
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