Stylus RMX Xpanded Buy
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More cool odd-time fun from Nick Manson...this one's in 13/8 and completely hand played (no loops). Nick sequenced the percussion and drums by manually performing the Groove Control patches to create the 13/8 feel. The Bass is the Modern Pick and Minimoog sub layer from Trilogy. The Rhodes is Nick's real-time EVP-88 jam. EP then added the Ambient section using Atmosphere and performed the opening pulsating "monk" melody line using the wonderful free Delay lama VST instrument which is running through the emagic EVOC-20 vocoder set to a sixteenth trigger in Logic. This demo is a cool blend of live playing and creative techno sound design that you don't hear too often. All possible because of Spectrasonics Virtual Instruments! (and Nick's considerable talents of course!)

© Spectrasonics and Nick Manson

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This is a cool track which has a very simple loop from Stylus RMX, and shows how effective simply taking out Groove Control slices is. The Cymbals and Scratching effects were done with Stylus RMX. David Abraham uses Sonar with Stylus BTW, the Windows VST version of Stylus works fine with the various DXi wrappers (not rappers) out there. Strings and Rhodes from Sampletank were reversed and treated in Logic by EP, with Logic plug-ins also beefing up the FM7 Bass.

© Spectrasonics and David Abraham Fenton

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Gundy is the Guitar "demo god" for Roland, and plays his butt off here in his first demo made with a virtual instrument. Great to hear Stylus RMX used in a more "headbanging" setting! The drums are all from Stylus RMX and bass is from a Roland 5080. The rest of the sounds are coming from Gundy's mastery of the Roland VG-88 Guitar synth and fx. Radical panning and EQ changes were done by EP at the mastering stage.

© Spectrasonics and Gundy Keller

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Chris has Stylus RMX firing away on this track. He's using the a bunch of Groove Menus in combination with effecting some of the Ride Cymbal Groove Control loops in Logic. The funky keys come from Michael Beardon's greasy "Keys to the City" sample library from ILIO. All created with headphones on a Powerbook....pretty good mix! Chris added the bass line and kept the track as a tribute to the great funk synth master Bernie Worrell of P-Funk/Talking Heads fame.

© Spectrasonics and Chris O'Brien

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This is a 100% Stylus RMX track created in Logic, that has that vinyl dub-plate pressing sound nailed. It's short and sweet, but all the horns and musical sounds are coming from Stylus RMX, which are arranged by instrument category that was scratched. This is one of our favorite demos for sheer fun factor! Great job Hans.....sure you weren't smoking something when you did this one, mon?

© Spectrasonics and Hans Joerg-Scheffler

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Hans shows off how realistically "vinyl" a vibe you can get with using Stylus RMX. The vinyl hits also come from the "vinyl brass scratching" section of Stylus RMX too. (Hans actually contributed a few of these for our product development ...Danke!) Old School Bass was sequenced on Trilogy and the gated synth is Atmosphere with MIDI volume gating. Really sounds like an old record....coool!

© Spectrasonics and Hans Joerg-Scheffler

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From the opening tape rewind sweep on, this demo shows a remarkable amount of Stylus RMX creativity. Every thing except the Bass and the Heart of Asia melody is coming from Stylus RMX. Diego works in Pro Tools and Cubase and you can hear some unique mixing and automation techniques in this demo. He does a lot of rendering with Stylus RMX to audio, and then editing and manipulation after rendering. The nice thing with Stylus RMX is that you can use it as a MIDI module, or equally well as an audio source for generating loops for further Pro Tools manipulation. The tabla-esque sounds are actually some of the congas in one of the more dense breakbeats. This track has always struck us as perfectly capturing the energy and mood of modern day Asia. Not too bad for a guy from Italy! Great one Diego...thanks!

© Spectrasonics and Diego Stocco

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This is one of the most unique uses of Stylus RMX on this demos page. It is 100% Stylus RMX and one Atmosphere module for the Noise and Pad morphing sound. Only a simply delay plug-in was used, all of the rest of the FX were created in Stylus RMX and a single Atmosphere sound. The sounds you hear in this demo really feature the synthesis capabilities of Stylus RMX. EP sequenced all the parts manually and went nuts with filtering and detuning and stacking sounds in Stylus RMX to get all the fx and impact sounds. Note the random resonant harmonic overtones on the ride cymbal hits. A great example of how Stylus RMX can be used in an utterly non-pop setting, with no loops at all. Remember, the loops are really just one aspect of what Stylus is all about....definitely opens up your mind to what is possible...not just for the Hip-Hop crowd!

© Spectrasonics and Eric Persing

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Adrian is not only our compatriot across the pond at Time & Space UK, but an accomplished producer/remixer with several major singles as a dance producer. This is a very clever track, and because of where it starts, the downbeat is entirely mysterious. Adrian made excellent use of programming 64th note buzz rolls in Cubase with the Stylus RMX loops. He added in the reverse cymbals, snare and scratching, all to a highly creative effect. The synth sounds in this demo come from Plugsound vol.5 from USB.

© Spectrasonics and Adrian Clarida

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This track really develops nicely, and shows how easy it is to turn any of the breakbeat style loops into a House vibe, simply by adding a programmed Kick and Hi-Hat part to a swung Groove Control loop. All the synth FX in the track are from Stylus RMX too....Adrian is doing real-time filtering on "buzz-roll" repeated notes from the scratch FX section....sounds like a synth! Love how this track explodes into high energy at the end, by adding several loops together and quantizing them via Groove Control. This track is all Stylus RMX except for the Bass Organ and synth sound, which come from Plugsound vol.5 from USB. Nice one from UK remixer Adrian Clarida!

© Spectrasonics and Adrian Clarida

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Skippy shows off his mix mastery by using Groove Control loops in combination with automating the pitch of the Djembe slices. A lot of the FX builds come from automating the Tape Delay parameters in Logic....nice work John! The scratches and additional kicks and hi-hats were added manually to build the track. The funny thing about the track is the "Gekko" bird sound is actually one of the scratch vocal samples tuned up with reverb and delay added to it. Never would have thought of that one! Excellent demo of the capabilities of Stylus RMX. 100% Stylus RMXwith a plug-in modified Bass sound from the Emagic ES-1

© Spectrasonics and John Lehmkuhl

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Here Adrian is using Stylus RMX to filter bits of the Groove Control slices differently and treating them with delay plug ins. He's changed the vinyl loops into an almost "Metamorphosis" vibe, which demonstates how flexible Stylus RMX is when digging into what the interface can do. This track is all Stylus RMX except for the Bass, which comes from Plugsound vol.5 from USB. Defintely got a "Rockit goes to Berlin" vibe!

© Spectrasonics and Adrian Clarida

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This track is 100% Stylus RMX. The idea EP has here is show off how flexible Stylus RMX is for creating your own unique rhythms and sounds. None of these grooves come this way on the product....it is actually using the interface to create radical pitch, envelope and filter modulations of standard percussion loops! The metallic filter loop was a basic triangle pattern, the bubbles were originally a bongo loop, and the zaps were an african Djembe loop. The noise sweep effects were originally turntable needle scrapes! The possibilities of working with Groove Control and the interface are nearly infinite for mangling and coming up with wild sounds.

© Spectrasonics and Eric Persing

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This is a brief except of a laidback pop remix that Skippy was working on with a Brazilian vocalist. Good example of how Stylus RMX can fit into a more straight ahead track with percussion, etc. The Guitar is real and synths come from Absynth, ES1. Not a context you would normally think of using Stylus RMX, but it works equally well here too.

© Spectrasonics and John Lehmkuhl

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EP shows off some of the faster 120 vinyl breaks in the Groove Menus and performs a real-time scratch solo with the Stylus RMX and a generous two octave pitch bend range. (Almost makes you feel like a turntablist!). That bending Ride Cymbal loop towards the end is one of the fun possibilities that Groove Control opens up with utilizing the pitch envelope for slice bends. The breakdown section demos some of the Percussion Groove Control loops nicely. Vocals all come from Vocal Planet, synths come from Juno X2 and the EVP-88 electric piano. Interestingly, the giant Bass Dive in the breakdown is -believe it or not- Stylus RMX!

© Spectrasonics and Eric Persing

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Skippy takes us through his dreams with Stylus RMX showcasing some of the percussion section and doing some really interesting half time/double-time stuff with Stylus RMX and Logic. The synths and FX are mostly coming from Absynth. This is such a nice vibe!

© Spectrasonics and John Lehmkuhl

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An unusual one in 9/8 built around Nick's EVP-88 Rhodes motif. Features all percussion elements and odd filtered elements from Stylus RMX. All the rhythms are hand played and sequenced...no loops used. Nick also played the Groove Control patches manually, since there are no 9/8 grooves presented in Stylus RMX. A great example of a really original way to use Stylus RMX in a non-pop setting.

© Spectrasonics and Nick Manson

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Diego's fast and furious track shows tons on Stylus RMX playing in rapid succession. He's basically got it all happening at once here: Grooves, Scratching, Percussion samples, Effects, programmed add-on drums, reversed cymbal add-ons, a flurry of bending effects created with MIDI programming and automation....you name it. The Guitar Wah is from a Bizarre Guitar Groove Control loop and the Bass Guitar lick is from Bass Legends. Takes a couple of listens to really hear how much is happening in here....wild!

© Spectrasonics and Diego Stocco

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This is another one of those tracks that's amazing because every sound is coming from Stylus RMX! Really creative use of retuning the vinyl FX into musical sounds. Bob programmed the fills with the percussion sound menus in Stylus RMX... Cool one that really shows the possibilities of using Stylus as a musical sound source too!

© Spectrasonics and Bob Wilson

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This is a really wild tune that is 100% Stylus RMX. Not for the commercially minded, but definitely a lot of fun and highly creative. Alexei reveals the Russian mad scientist that he is. Shows how effective using Favorites can be, since most of this was created in real-time by simply jamming with the Favorites. EP did some crazy edits and reversing on the mix to spice it up. BTW, that horrendously bad sounding time stretching effect on the vinyl brass fall effect at the end is intentional for comic effect and was done in Bias Peak. The reason Peak was used is that the tempo changing with Groove Control sounded too GOOD!

© Spectrasonics and Alexei Kharlamov

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Bob shows off Stylus RMX in just about every way possible here. All the effects, scratching Guitars and vinyl horns are Stylus RMX. Bob added in programmed fills, and played percussion parts and claps from the Sound Menus library. Bass is from Bass Legends on the EXS24 sampler in Logic Platinum, and the EVP-88 is in there too....everything else is Stylus RMX. He's got it all going here!

© Spectrasonics and Bob Wilson

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This is a good example of how Stylus RMX can be used simply as a "drum module", since this track is entirely programmed from scratch using some of the massive core library of drum samples. Mixed and processed with Logic and Pro Tools. Bob is a real Renaissance man...he's the creator of the Hans Zimmer Guitars libraries, much of Hans Zimmers personal sample library (including the infamous LSO library), a video game composer, a session guitarist, Producer for Sammy Hagar, and a longtime Spectrasonics cornerstone....Thanks Bob!

© Spectrasonics and Bob Daspit

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This demo is actually the backing track of MIDIhead's remix of the Fixx's "Deeper and Deeper" hit from the 80's. Massive!

FEATURES: Stylus RMX, Metamorphosis, Trilian and Omnisphere

© Spectrasonics and MIDIhead

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Check this out....this is ONLY Stylus RMX Core Library! No other synths used!

FEATURES: 100% Stylus RMX

© Spectrasonics and Diego Stocco

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MIDIhead really goes crazy on this demo, which starts with the famous Bizarre Guitar riff from RMX and goes off in many different directions. The Core Library is showcased with a solid 4 on the floor pulse. MIDIhead used Sound Menus for all the accents and lots of loop manipulation.

FEATURES: Stylus RMX, Trilian, Metamorphosis and Omnisphere

© Spectrasonics and MIDIhead

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Ignacio shows off a bunch of cool remix techniques using Omnisphere and the RMX Core Library in Euro Club style. Note the good use of the Cinematic Metals sound menus for transitional FX.

FEATURES: Omnisphere, Stylus RMX and Triian

© Spectrasonics and Ignacio Longo

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A gorgeous example of how Atmosphere and Stylus RMX can be used in Film Music cues. Tob uses the RMX add-on cymbals to great effect here and most impressive is the use of Omnisphere for the Piano type sounds (especially considering Atmosphere doesn't HAVE ANY pianos!)

FEATURES: Atmosphere, Stylus RMX and Trilian

© Spectrasonics and Tobias Marberger

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This track starts off in an abstract way with the detuned and filtered Needle Scratch sample and then builds with more and more Stylus RMX elements coming in and out. Note how effective the subtle real-time filtering of the percussion works in shaping the dynamics of the mix. The keyboard sounds are the FM-7 and EVP-88, and the Bass is the Modern Pick sound from Trilogy.

(Oh....and the great keyboard solo is not virtual, Nick played that in one pass....he's a pretty ridiculous player!)

© Spectrasonics and Nick Manson

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Kevin lays down a seriously deep Funk track with Trilian's Studio Funk Bass

© Spectrasonics and Kevin Keith

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Tob takes Trilian on a nasty little Hip-Hop spin. The clever thing here is that all the sounds are coming from Trilian, including all the blips, groovy arpeggiated sweeps and squeeky fifth lines too. Definitely shows Trilian's power to move the hind quarters! Some freaky Stylus RMX work here too....

FEATURES: Trilian and Stylus RMX

© Spectrasonics and Tobias Marberger

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This one comes with a built-in party! Tob brings back the glorious grease of the 70's by serving up the thick Old School Funk bass in a mix that Bootsy would surely dig.

All the synths and clav sounds are coming from quirky ways to use Trilian too. Really shows you how much fun can be had with just Trilian and Stylus RMX. Even the organ is coming from Trilian by running it through a leslie effect!

FEATURES: Trilian and Stylus RMX

© Spectrasonics and Tobias Marberger

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Tob cranks Trilian to "11" here with a great example of the Classic Rock Pick Bass, by running it through Amplitube. You get ultimate flexibilty in tone, since the amp sound isn't "locked" into the raw samples, so you can use Trilian's built-in amps or external ones. All the synth stuff and guitarish parts in the bridge are Trilian too.

FEATURES: Trilian Classic Rock Pick Bass, Stylus RMX and custom power chord samples

© Spectrasonics and Tobias Marberger

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Tobias whips up another batch of fun here that features Trilian's "Moogy" side. All the synths in this tune are coming from Trilian, it's a real showcase for how smooth, fat and analog Trilian can sound. In fact, if you didn't know that this was all virtual...I think it would be very hard to guess that this wasn't done with a bunch of vintage analogs. Love that Stevie Wonder style-ending too!

FEATURES: Trilian and Stylus RMX

© Spectrasonics and Tobias Marberger

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© Spectrasonics and Hans Joerg-Scheffler

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One of the most unique Basses in Trilian is the Martin Dreadnought Acoustic Bass Guitar, which is great in more exposed settings like this - perfect for those unplugged moments. The Guitar is live on this one, Stylus RMX for percussion and drums, and everything else (even the pseudo-Wurltizer) is from Trilian. 

FEATURES: Trilian Acoustic Bass Guitar, Stylus RMX and Live Guitar

© Spectrasonics and Tobias Marberger

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EP takes us on a late-night "Chocolate City" journey back in time, with a very good example of using the True Staccato technique to create a realistic repeated note Bass line using the "Old School Fingered" Bass. It's a cool and warm Fender/Music Man type of sound, and Eric played this primarily in real-time. The mellow Rhodes sound is coming from the Jaco Harmonic Tines patch (!), and the strings are coming from Omnisphere. Groovy!

FEATURES: Trilian, Stylus RMX and Omnisphere

© Spectrasonics and Eric Persing

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This unique and organic piece is a dialog between the Pattitucci 6-string Bass and the new Acoustic Bass in Trilian. Time Designer added the unique 6/4 feeling to the track in RMX and Omnisphere is covering the Theremin and Celeste accents.

FEATURES: Trilian, Omnisphere and Stylus RMX

© Spectrasonics and Nick Manson

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This track is all Trilian and really shows how it can be used as an amazing all around synth for Club tracks. You can hear the quality of Trilian's filters really well in this track. As usual, another highly creative, and mind-expanding track from UK remixer Adrian Clarida.

FEATURES: Trilian and Stylus RMX

© Spectrasonics and Adrian Clarida

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Cool "concept" demo from Tom (aka:Atlas Plug), that shows off the vast potential and beauty of having all three types of Bass all in one very powerful instrument.

The demo starts with some Electric Bass harmonics, and an Acoustic Bass line. Then a TB-303 "Acid" sound is added, and soon a Fretless counter line. Pretty soon, more an more synth textures are woven in to create a powerful linear force. Also shows how cool Trilian is for Synth lines very well. This demo is also a showcase for Tom's considerable Stylus RMX drum programming chops!

FEATURES: Trilian and Stylus RMX

© Spectrasonics and Tom Salta

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Created with 15 Trilian parts using many different fretless sounds, articulations and FX in creative ways, to create a rich tapestry and layered result. Hans makes very clever use of the Harmonics and Harmonic FX to use them as Chords and Melodic lines. He also uses the Fretless X-notes to build the groove subdivision. His programming of the Jaco True Staccato sound is very realistic too, as well as the multiple expressive solo lines that each use a different Bass. There's also a fat Minimoog Ballad synth Bass at the bottom of this mix, that really anchors everything. Great example of how you can really compose with Bass sounds using Trilian.

FEATURES: Trilian and Stylus RMX

© Spectrasonics and Hans Joerg-Scheffler

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Big, Dark and just a little bit scary! Diego shows a whole bunch of different Basses in this track, starting with the Blown OSCar sound. He then adds some of the Finger Funk Electrics and ends with building into some of the radical sync shreds that Trilian can do. 

FEATURES: Trilian, Stylus RMX with Backbeat

© Spectrasonics and Diego Stocco

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Mind-expanding demo showing some really unusual ways to use Trilian as a synth. The "sub kick" sound is super, super low (you won't hear it on small speakers at all) is actually a Trilian Bass sound.

FEATURES: Trilian and Stylus RMX

© Spectrasonics and Adrian Clarida

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© Spectrasonics and Hans Joerg-Scheffler

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Tobias gives a great example of using Trilian, Omnisphere and RMX together in a modern scoring setting - nice variety of Synth tones and arpeggiation lines from Trilian in a convincing "action cue" kind of setting. The percussion and drums are all coming from Stylus RMX, and the ambient vocals and granular textures are coming from Omnisphere....everything else is Trilian.

FEATURES: Trilian, Stylus RMX and Omnisphere

© Spectrasonics and Tobias Marberger

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Showcasing Trilian in a more "Zimmer"-style cue, Tob creatively features the Picked Electric Basses by using delays and then accenting the main part with Drones and Pulses from Trilian's synth section. This is a good example of how effective Trilian can be in a non-pop setting. Everything is Trilian, except Omnisphere for the strings and RMX for the percussion and Noise FX. 

FEATURES: Trilian, Stylus RMX and Omnisphere

© Spectrasonics and Tobias Marberger

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A little bit of Sunshine! Alex creates a short demo of a nice little reggae track, using the Classic Muted Electric section. nice and beefy too.

FEATURES: Trilian, Omnisphere and Stylus RMX

© Spectrasonics and Alexei Kharlamov

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All synths coming from Trilian in this high energy track. Drums were programmed in Kit mode in Stylus RMX, with a bit of suspenseful fairy dust from Omnisphere sprinkled on top.

FEATURES: Trilian, Stylus RMX and Omnisphere

© Spectrasonics and Adam Hawk

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In this track, acclaimed New York session keyboardist and recording artist Philippe Saisse uses only Spectrasonics instruments and features Trilian. Philippe starts right off showing the warmth and smooth triggering of Trilian's Moog and Oberheim synth Basses. The beautiful "Air Pad" is from Omnisphere. Once the B section kicks in you'll hear the "Marcus" style melody from the Modern Funk bass, which is mixed with some Trilian synth doubles for the lead. Believe it or not, the cool Rhodes sound is the "Jaco Harmonics" from Trilian. The Electric Funk lines are doubled with another track of the "Old School Funk" bass too.

FEATURES: Trilian, Omnisphere and Stylus RMX

© Spectrasonics and Philippe Saisse

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Great example of the original Trilogy Rock and Roll bass which is also in Trilian, which has heavy overdrive in the samples and some serious attitude! Notice also how well all the synths sounds work together here....they are all from Trilian too. The Classic Pick Bass is used in the bridge.

FEATURES: Trilogy legacy sounds in Trilian, Stylus RMX and Backbeat

© Spectrasonics and Chris O'Brien

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Adam takes us way back and showcases the Trilian Retro 60's Bass.

FEATURES: Trilian and Stylus RMX

© Spectrasonics and Adam Hawk

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*All other manufacturers' product names used in this instrument are trademarks of their respective owners, which are in no way associated or affiliated with Spectrasonics. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Spectrasonics sound development.



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INTERFACE
Avard
QUOTES
"Unquestionably the most powerful loop-based drum machine on the market….A must-have instrument for anyone looking to take their loops to a whole new level of flexibility."
-Computer Music

"The first time I heard RMX the grooves just knocked me out. Once I started getting into Chaos, it was really incredible; There's such a variety."
-Herbie Hancock

"An astonishing instrument. …incredibly versatile and well-featured instrument that will change the way you use loops and grooves forever. Essential for all computer musicians."
-Music Tech

"Very impressive …RMX helps me to sketch a song in seconds and it sounds great... This is how I produced songs for the movie Slumdog Millionaire."
-AR Rahman

"Probably the most intuitive software I've ever worked with, and is a constant source of ideas and inspiration. I'm a very satisfied user."
-Bob James

QUICK LINKS
Stylus RMX Tutorial Videos
Stylus RMX Reference Guide
Spectrasonics Xpanders
ILIO Xpanders
New Orleans Strut
Omnisphere
Trilian

AWARDS
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