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Ana Sonic Academy Vst Plugin full. free download. ANA by Sonic Academy (@KVRAudio Product Listing): Oscillators ANA comes with 3 OSC types, Analog, Advanced Noise and Attack, containing 133 waveform shapes to choose from. These Include fundamental analog, modern digital and sampled string and voice waveforms. Click on below button to start Sonic Academy ANA v1.5 Free Download. Aug 24, 2019 Sonic Academy - ANA v1.5 + Presets (VSTi) Download. Mac OSX - VST & AU 32/64 Bit Sonic Academy ANA 1.5 Preset Pack Vol.1, Vol.2 Volume 1 uses all the new features of ANA to create over 200 new presets. Sonic academy ana ableton. Sonic academy ana au download. Sonic academy ana mac audioz. Sonic academy ana synth audioz. Sonic academy ana warm saw add on win/mac-matrix. Sonic academy ana v1.5 win and osx. Sonic.academy.ana.warm.saw.add on.win-matrix. Sonic academy ana warm saw add on. Home of the Best Electronic Music Production Tutorials in Ableton Live, Cubase, Logic Pro, FL Studio & Reason - Music Production Video Tutorials in Ableton Live, Cubase, Reason, Logic Pro and Traktor Pro - Recommended by Top Professional DJs and Producers. Review – ANA 2 by Sonic Academy. When it first appeared the ANA synth was a favorite of EDM producers. Now that ANA 2 is on the scene, it’s become an even bigger favorite, and not just with the EDM contingent. The original version of ANA was my first review for SoundBytes Magazine. Ever since Sonic Academy released it there have been other.

We take an up-close look at the ANA software synth and see how it uses Analog, Noise and Attack to accomplish its purpose.

by Rob Mitchell, May 2013

The software synthesizer market is vast, filled with all types of useful plugins. Not all of those are top notch; some are mediocre at best, while others become legendary over time. With so many synths already available, new synth plugins have to stand out from the crowd.

Recently I checked out Sonic Academy’s ANA 1.5 (Fig. 1), which is named using an acronym for Analog, Noise, and Attack. That name is derived from the structure of ANA itself. It has a total of 6 oscillators. The first 3 are of the analog type. The fourth and fifth are noise oriented, and the sixth one is for the attack section.

Oscillators and Filters

In the Virtual Analog section, you can choose from over 60 different waveforms for each of the 3 oscillators (Fig. 2). There is a great variety of sounds to choose from. Some of the ones included are pulse waveforms, sine, saw, triangle, comb filtered, and many digital types. There are up to 8 voices per oscillator, and they have detune and width controls, among others. One of those controls is called Filter Out, and is used to send the signal to either of the 2 filters, or to both of them. Turned all the way left sends it to Filter1, and to the right, Filter2. If it’s in the middle, it will be sent to both.

There are 38 different waveforms for each of the 2 oscillators in the Noise section. This part of the synth has many useful sounds, not just the usual pink or white noise types, though they are included as well. There are choir sounds, bells, chords, and many more to choose from.

In the attack section, you can pick from a whole different set of 31 waveforms. These are great for the “attack” part of the sound, where you might want to beef up the sound a bit. For instance, you can use the “Kick Click” to give a kick drum sound you’re designing a bit more punch. Or add a guitar sound to the beginning section of your preset’s design. There are many other useful ones included: a few of them are strings, bass, bell, EP, and a pizzicato (plucked-string) sound.

ANA 1.5 has 23 different filter types (Fig. 3), including 2 and 4-pole (plus HP and BP versions), and 4 different Formant filter types, just to name a few. For the filter called LP + Dist, there is a distortion built-in to it, and it uses the Res knob to control the amount that is added. The filters can be run in series or parallel.

Each envelope section has standard ADSR controls, and there are 3 selectable envelope curves for the Filter, Amp and Mod Envelopes.

Modulation, FX and More

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The G-Env is an envelope you can edit and assign to the Osc attributes, LFOs, EQ, Filters, and even the FX. You just right-click on the envelope to create a new point and then drag that point where you want. You can add up to 16 points. It’s great for getting even more control over the sound than you would using the ADSR envelopes alone.

With the 2 LFOs, you can assign them the same way as the G-Env, but they each have 2 targets available, versus the one target of the G-Env. The LFOs have 14 shapes available. There are Monopolar and Bipolar versions of Sine, Triangle, Saw Up, Saw Down, Pulse, Random, and Sample and Hold.

Mod1 and Mod2 can be assigned a source and a target. You can pick (for instance) the Mod Wheel as the source, and have it point to reverb amount as the target, or any other of the same targets that the G-Env and LFOs have access to. In addition, you can assign the G-Env as the source, and give it yet another target. The Mod Env also has the same target choices as the others.

ANA ships with 6 different effects: phaser, chorus, distortion, compressor, delay, and reverb.

These all work well, but I especially liked the improved reverb included in version 1.5.

A nice addition is the option to just have the wet signal of the effect go through. Like I mentioned before, the effects can be modulated from within ANA. I really like this feature, and wish it was implemented in every synth I have.

When you want to save a preset, you can make different banks and categories (leads, pads, FX, etc) within those banks. It works great, and helps to keep everything all organized.

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One more cool feature built in to ANA is the “Chord Hold”. This lets you pick certain notes to make up a chord, and save it to a preset. You just click “Learn”, and then hit the keys you want one after the other. You could also just hit a chord all at once. Then unclick “Learn”, and it will remember that chord you have entered, and save that setting with your preset. It will then play back the chord if you hit a key on the keyboard.

If you want to use a sound in your preset that uses a chord already built-in to it, (the “Noise” section has many of those) you can turn off the Chord Hold feature just for that particular oscillator if you’d like. That way, it’s not playing a different chord on top of the chord you setup, which can get a bit messy sounding. Of course, it depends on the chord you are using. A bit of dissonance can sometimes be useful in a preset.

Settings

In the “Settings” section, you can change the amount of the filter sampling quality. Usually you would probably just leave this on the high setting, unless you’re having some CPU issues, and want to lower the setting to help it out a bit.

ANA has a randomize feature that works pretty well. Just like with any synth with a randomizing button, it might not always get a usable sound. There is a section in “Settings” however, where you can have it keep certain parts of the sound that you don’t want the randomize feature to change. This is very useful if you find you like what is going on with the oscillator section, but then want to change others. Click “Hold OSCs”, and click Randomize again. You can also change the G-Env control in “Settings”, so instead of a right-mouse click to add a point to the envelope, you can set it to double-click or alt-click. This can be helpful, especially if you have a Mac with no right-mouse button.

Conclusion

For now, there is no pulse width modulation, sync, or FM, but I was informed by Sonic Academy that they may add one or more of those in the next major update. It is nice that they included a goodly amount of pulse waveforms of different width settings, since the pulse width can’t be changed. I would like to see an arpeggiator added, but don’t want to be too greedy.

One other item I thought might be handy is a type of “solo” button for the oscillators. It would be nice to have, so you wouldn’t have to turn down the volume on all the others just to hear one you want to fine tune. Maybe a right-click on the “Osc 1” label for instance (up at the very top) would change the color of the label/title for that Osc, and then solo it.

There isn’t too much negative I can say about this synth, except maybe the aforementioned features I’d like.

ANA’s CPU usage wasn’t too bad in my testing. I checked it out on an older dual core PC, and most presets weren’t CPU killers, though some can get a bit high on the CPU usage. That’s basically how it is with many other synths released in the past couple years, so there’s no huge surprise there. You can also use its “Poly” setting, which lets you limit it to say, just 4 notes if needed. That way, if you’re hitting chords over and over that have a bit of a longer release time, the number of voices doesn’t just pile up, and totally take over your machine. The Poly setting can be adjusted from 1 all the way up to 32.

ANA 1.5 ships with over 400 presets, and it costs less than $80.00, which these days is a bargain. It is available in 32/64 bit versions for both PC and Mac OSX (VST and AU).

I really like the structure they designed for this: three main oscillators with the options of two additional noise oscillators, plus attack waveforms that come in handy for adding punch to the sounds front-end. It’s well-rounded for sure. Also, it’s very intuitive; everything is on one screen, so you won’t get lost looking for a certain control.

With its large number of waveforms, excellent modulation, big sound, and great price, I think it will definitely be a hit. ANA easily stands out from the crowd.

Website with more info for ANA:

In this video, Marcus Kruse dives deep into a review for the ANA 2 Synth by Sonic Academy.

ANA 2 is a hybrid virtual analog and sample based synthesiser plugin, and a powerful one at that.

Boasting 3 wavetable oscillators, each with their own slaved sub oscillator, and 3 sample playback oscillators, ANA 2 is a powerful synthesiser.

Sonic Academy has designed the GUI to be flexible and fast, having all essential parameters on one page. However, parameters of the synthesis engine such as the wavetable/sample menu, and the Graphical Envelopes, benefit from a larger working space when needed, as ANA 2 will shift it’s interface to create more working real estate.

Modulation is powerful feature in the new ANA 2. Sound designers are given access to 4 freely assignable ADSR envelopes, 3 Graphical Envelopes that function in the same way to a Multi Stage Envelope Generator and finally 3 LFOs. Modulation can be assigned by right clicking on the parameter you wish to modulate, however depth must be set either at the modulator itself, or within the Modulation Matrix.

Possibly the most impressive features of ANA 2 is the Chord Memory Device (CMD) and polyphonic Arpeggiator (ARP), especially when used together. The traditional ARP has been improved upon, giving you control of the order the notes will sequence (arpeggiate) in, over three separate octaves. As this is a polyphonic ARP, you can stack notes to create chords. In the future, I would like to see some control over the the volume of the separate three octave sequences, as it can quickly become muddy in the bass end, and possibly lead you to run separate instances of ANA 2 in your DAW. The CMD saves a selection of chords, that are able to be recalled via presets and played by a single keypress. It works exceptionally well in conjunction with the arpeggiator, and Sonic Academy has provided some great CMD presets to dive right into. Hopefully, this feature will be supported in the future, with additional CMD/ARP sound sets added in the future by the developers and the community.

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The inclusion of 3 Graphical Envelopes is a welcome addition to the humble EDM synthesiser, giving you greater control over modulation. The envelope points can be snapped to step through the modulation.

The filters are excellent, with 46 in total, giving you a range of sound to choose from. There are 4 hardware modelled filters, aptly named, Roly, Mogy, Corgy, EMS & Ober. Each filter has a difference response to drive and resonance. I do not know if the filters are designed after specific units, or instead capture the spirit of analog, nor is it mentioned if they are 2 pole or 4 pole but they are a very welcome addition. There are 46 filter types in total, including vowel, combs, all pass and various other analog designed filters such as Low Pass & Distortion.

The effects are excellent quality, and routing is flexible, allowing you to have multiples of the same effect in series. Effects have control over input, wet/dry blend and output, and can be bussed through another.

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Unfortunately I couldn’t find a way to select between Bi-polar or Uni-polar modulation and I hope to see this feature added in the future. I’d also like to see a way to control the stereo width of the sample playback oscillators. As for our regular oscillators, stereo width can be controlled only well unison is enabled.

I wouldn’t hesitate to recommend ANA 2 if you were looking for a bread and butter synth. It offers many new features for that we have been waiting for, without sacrificing what we have come to know and love.

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Check out ANA 2 –AS/Ana2