Also worth mentioning are the awesome Oscillator FX, bringing various forms of spectral processing to bear and the effects grid, which enables flexible routing through 21 lively processors – EQ, delay, compression, reverb, chorus, etc.Įven after a decade and a half, Zebra 2’s stripes show no sign of fading. Modules are racked up in the left (Generators) and right (Modulators) panels as they’re added, while the bottom panel houses the oscillator wave editors (up to 16 per wavetable), multi-stage envelopes, arpeggiator controls and other editors. The central grid/mixer lets you freely connect up a wide variety of modules, including wavetable and FM oscillators, noise generators, multimode and comb filters, ring modulators, distortions and mixers while the modulation matrix affords access to a similarly broad array of mod sources. So what makes Zebra 2 such an indispensable cinematic sound design tool? In a nutshell, supreme versatility and knockout sonics. Indeed, all the patches used in those two classics are available in Hans Zimmer and Howard Scarr’s add-on sound pack, The Dark Zebra, which also includes a Zimmer-customised version of the synth itself, ZebraHZ. Launched in 2007, Urs Heckman’s timeless semi-modular was one of the original plugin ‘power synths’, and is particularly well suited to large-scale movie work, as most famously demonstrated by its pervasive presence in the soundtracks to Christopher Nolan’s The Dark Knight and The Dark Knight Rises.
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