Phaedra is a Zero-G/Xfonic virtual instrument powered by Native Instruments' Kontakt Player 2 and featuring over 4GB of sounds, 20,000 samples, and 720 patches, making it a unparalleled virtual analog... Click To Read More About This Product
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Phaedra is a Zero-G/Xfonic virtual instrument powered by Native Instruments' Kontakt Player 2 and featuring over 4GB of sounds, 20,000 samples, and 720 patches, making it a unparalleled virtual analog synth.
Unhappy with the lack of raw sonic power in virtual emulations of VSTi analog synths, producer Sam Spacey set out on a three-year journey to make the ultimate synth. He ended up creating a monster in Phaedra. Constructed with the same attention to detail as a huge orchestral sample library, each of the 20,000 samples on Phaedra have been edited and looped by hand, with loops being very long so as to extract that lovely magic of analog randomness. Nearly every single preset has each separate note sampled so as to eliminate aliasing within the instrument's range. With Kontakt 2's engine being pushed totally to the limits, the result is a sample library that is a full synthesizer in its own right. And it is suitable for use with all types of music and would enhance any music producer's sonic arsenal.
Synths used (as described by producer Sam Spacey)
Mini Moog D: Was very hard work to sample due to the fact that if you looked at it, it went out of tune.
Welsh Moog: A prototype re-issue Moog made in Wales, that had a unique PWM mod done to it.
Yamaha CS5L: Very snappy and fast attack and surprisingly bass-y oscillators.
Yamaha CS-15: This one was delivered in a terrible and broken state, but sounded great for it.
Yamaha CS-30: Sometimes I stacked all 3 Yamahas up over CV voltage for a huge sound.
Korg Monopoly: Still getting to grips with this 4-osc howling beast.
Korg MS-20: Very quirky with a great filter.
Studio Electronics SE-1: Modern rack-mounted Moog that could store presets and stay relatively in tune.
Studio Electronics SE-1: as above but with filter input. I stacked these two a lot, as the sound combinations were awesome.
Roland SH-101: Wet and squelchy, a really good little workhorse.
Crumar Multiman: 70's string synth with Arp filters, surprisingly interesting palette of sounds.
Akai AX-73: Cheap and nasty but I love it for that fact; evil filter.
Analog Phaser: Home-made, based on the Small Stone that was modded and used by Jarre on everything he did.
Roland analog chorus pedal: Subtle but lovely.
Ensoniq Esq-1 (the only digital piece used): 8-bit grungy samples going through complete Curtis analog circuitry - I love this synth.
All the sounds were recorded and processed at 16-Bit resolution and 44.1 KHz sample rate.
The Instruments list groups the sounds into categories. Each category has a different colored GUI, for example the Synth category has a red interface, Leads are blue, Bass are grey, and Pads are green.
All programming has been carried out with the samples loaded into RAM. However, Direct from Disk (DFD) functionality is available thereby enabling the streaming of the samples direct from your hard disk drive.
Modulation Wheel Assignments
Every single instrument has the Modulation Wheel assigned to a function. This gives a lot of dynamic control over the character of the sound. Please try out the modulation wheel when playing each patch. The Mod Wheel may be assigned to one of several different controllers including Tune LFO, Filter Cutoff, Pan, and Volume depending on the patch in question.
All instruments have unlimited polyphony except for a selection of patches from synths that were originally monophonic and some bass sounds which have thus been programmed as monophonic. If you wish to increase the polyphony you can.
Up to 64 instruments can be combined in a Multi giving a vast array of possible combinations of the supplied single instruments. For example, try combining a couple of bass instruments for some really fat and thunderous sounds.
The exact CPU load of any given instrument depends on a myriad of factors - the power of your computer, notes played, complexity of the instrument, etc.
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