Download BOSS TONE STUDIO for ME-25 1.0.0 for Mac from our software library for free. This Mac download was scanned by our built-in antivirus and was rated as malware free. The actual developer of this free software for Mac is Roland Corporation. The software lies within System Tools, more precisely Device Assistants. Download BOSS TONE STUDIO for ME-25 1.0.0 for Mac from our software library for free. This Mac download was scanned by our built-in antivirus and was rated as malware free. The actual developer of this free software for Mac is Roland Corporation.
Finally, a truly polyphonic guitar synth that you can use with any standard electric guitar — with no need for a hex pickup! Until recently, polyphonic pitch–tracking guitar synths required a separate pickup for each string and that meant using a special guitar or having a ‘hex pickup’ installed on a regular guitar. While the hex–pickup approach can work pretty well it also poses a few problems, which I’ve discussed in the ‘Guitar Synths: A Brief History’ box. Boss’s new SY‑300, reviewed here, takes a very different approach that means it requires no special pickup. It’s not the first polyphonic guitar synth to work with a conventional guitar — Electro–Harmonix’s HOG2 and organ–emulation pedals, and Jam Origin’s MIDI Guitar 2 Mac/PC/iOS software all do this too — but it is the first that I’d consider to be the guitar equivalent of a full–blown analogue polysynth, complete with effects.
Having played with it for a while now, I’m convinced that the SY‑300 points the way for future developments in this area. Clearly, this device’s blue paintwork and name tip a nod in the direction of the Roland’s old GR–300 but, with the assistance of DSP and four on–board effects engines, the range of sounds it makes available is far wider. The engineers at Roland/Boss are understandably a little secretive about what’s going on inside the SY‑300 but, given the way other devices work and some knowledge of recent advances in polyphonic real–time pitch extraction, I have a good idea of the essentials. As you’d expect, some form of polyphonic pitch–extraction is used to control the sound processing but, unlike with most such systems, there’s no latency between plucking/strumming the strings and hearing the sound.
This is because the sound you hear actually starts life not as a sample, but as the waveform that comes directly from your guitar’s pickup, just as with any conventional effect. You might not recognise it as such because its harmonic makeup is augmented and re–arranged to produce the familiar square, pulse, triangle, sine, sawtooth, and noise waves used in basic analogue synthesis, but that’s what it is — the processed sound from your guitar.
This approach overcomes the problem of latency, of course, but it also means what you hear is directly affected by the way you play or the guitar’s pickup; the SY‑300 restores that organic connection between player and instrument that previous guitar synths sacrificed. Graphics performance dialoge box autocad for mac. Some form of digital pitch–shifting is then used to detune or retune the individual oscillators by up to 24 semitones (in either direction), and synth–style envelopes, filters and modulations can be applied. So you have plenty of control over the sound before the signal even enters the effects section. The effects include all you’d expect in the way of overdrives and distortions: there are half a dozen or so models from mild overdrive to full–on fuzz, along the lines of those you’d find in other modern Boss multi–effects units. The same can be said for modulation, delay, rotary speakers, reverb, EQ, T–Wah and so on, but there are some more unusual effects too. The Slow Gear effect, which has been available for a while now, allows you to create slow attacks, and Isolator lets you rhythmically chop out a selected part of the audio spectrum.
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