Hybrid 3

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Hybrid 3

Hybrid 3.0 is the next generation in synthesis. This high-definition virtual synthesizer combines the coveted warmth of analog synths with a full range of futuristic digital manipulation capabilities. The result is the best of both worlds — a virtual instrument with a comprehensive set of precisely adjustable parameters that can sound like a synth you remember or something no one has ever heard before. 1200+ Built-In Sounds: Hybrid 3.0 comes with over 1,200 inspirational presets designed to jumpstart the creative process. Over 200 new patches, designed by the acclaimed AIR sound designers, include everything from wobbles, synth pads, arpeggios, poly synths, basses, leads, sequences, and much more. Hybrid veterans will be pleased to find that the familiar Hybrid 2.0 presets have been completely reworked, allowing users to experience their favorite sounds with all the sonic improvements of Hybrid 3.0. If you’re prone to tweaking, Hybrid 3.0 is loaded with a comprehensive set of user-adjustable parameters that let you create unique sounds and fine-tune them to taste. With support for two simultaneous parts (i.e. a powerful combination of two separate, 3-oscillator synthesizers), you can layer, split, or spread sounds to produce deep, complex, and wide patches. Plus, the simple patch browser makes it easy to find the preset you’re looking for and allows you to load two presets simultaneously, one into each part, for experimenting with rich timbres and playing multi-patch sounds.

Hybrid 3.0 is the next generation in synthesis. This high-definition virtual synthesizer combines the coveted warmth of analog synths with a full range of futuristic digital manipulation capabilities. The result is the best of both worlds — a virtual instrument with a comprehensive set of precisely adjustable parameters that can sound like a synth you remember or something no one has ever heard before.

1200+ Built-In Sounds

Hybrid 3.0 comes with over 1,200 inspirational presets designed to jumpstart the creative process. Over 200 new patches, designed by the acclaimed AIR sound designers, include everything from wobbles, synth pads, arpeggios, poly synths, basses, leads, sequences, and much more. Hybrid veterans will be pleased to find that the familiar Hybrid 2.0 presets have been completely reworked, allowing users to experience their favorite sounds with all the sonic improvements of Hybrid 3.0. If you’re prone to tweaking, Hybrid 3.0 is loaded with a comprehensive set of user-adjustable parameters that let you create unique sounds and fine-tune them to taste. With support for two simultaneous parts (i.e. a powerful combination of two separate, 3-oscillator synthesizers), you can layer, split, or spread sounds to produce deep, complex, and wide patches. Plus, the simple patch browser makes it easy to find the preset you’re looking for and allows you to load two presets simultaneously, one into each part, for experimenting with rich timbres and playing multi-patch sounds.

High-Definition Oscillators

With three versatile oscillators and a sub oscillator per part, Hybrid 3.0 is capable of stacking multiple oscillators together for huge pads, leads, basses, and more. Two multifunctional oscillators can recreate the classic subtractive-synthesis waveforms for a dose of analog nostalgia. In addition, these oscillators feature algorithms for digital wavetables. As a result, users can choose from nine different modes, including the Multi-Square waveform, Saw Sync, Saw Cross Modulation (which modulates the pitch of a saw wave with the output of a triangle wave for complex tones), Saw Multi (a stack of seven saws in unison), Square Sync, Square Cross Modulation, Square Pulse Width Modulation (PWM), and Wavetable. Hybrid 3.0 offers 100 wavetables with up to 64 single-cycle waveforms each. A third oscillator includes saw, square, or triangle waves, plus a noise generator and a sub oscillator for deep bass effects.

Dual Filtering and Saturation Modes

Hybrid 3.0 features two multi-mode filters that can run in series or in parallel. In addition, the filters can be assigned one per channel to the stereo outputs, or set so that Oscillator 1 feeds Filter 1, with the remaining Oscillators being routed to Filter 2. Both of the filters offer your choice of DCF (Digitally Controlled Filter) or VCF models. The vintage Voltage Controlled Filter (VCF) makes it easier than ever to achieve those fat, retro synth sounds of the ’70s and ’80s. This sound filter brings the legendary soft and fat warmth of classic analog synth hardware filters to Hybrid 3.0.

Use the revolutionary multimode filters to control the tone color of a part by removing or accenting certain frequencies. Choose from an extensive collection of 23 modes. Then dial in the filter cut-off, velocity, and key tracking. Use the resonance dial to change the tone from a nasal sound to a ringing tone by emphasizing frequencies around the cut-off and generating self-oscillation. A blend of the third oscillator and noise generator can serve as an audio modulation source for filter cut-off, producing distinctive electronic audio effects.

To add some serious edge, adjust the filter saturation. Hybrid 3.0 offers the original Overdrive filter, which creates a soft tube-like clipping and includes five additional filter saturation modes: Distort, which creates a harder, brighter clipping; Hard Clip, which creates a very hard and bright transistor-like clipping; Rectify, which creates a gentle distortion that retains the character of the input signal; Bit Crush, which creates deliberate aliasing by reducing the bit depth; and Resample, which creates deliberate aliasing by reducing the sample rate.

LFOs

Hybrid 3.0 includes four LFOs per part: two monophonic, one polyphonic, and one special Pump LFO. Use the LFOs to modulate pitch, loudness, or cut-off to produce vibrato, tremolo, or electronic sweeps. Choose from eight modulation types, ranging from sine and triangle waves to random, “drift,” and sample-and-hold modulation. Change the depth, rate, phase, and sync mode to quickly and dramatically alter the sound.

Pump is a special type of envelope that simulates studio side-chaining to create the pumping-and-breathing effect. In the case of Hybrid 3.0, this rhythmic effect can be applied to much more than the overall mix. The Pump LFO can be routed to create a rhythmic effect on a variety of specific parameters, such as pitch or filter settings.

Envelope Editors

Use the four envelope editors to easily sculpt the filter, amplitude, and any two other modulation envelopes. Adjust velocity, attack, decay, and key tracking, and then type in the envelope rate.

Hype Algorithm

New to Hybrid 3.0 is Hype, a quick way of enhancing the low- or high- end of any patch. Beef up wobbles, basses, and kick-drum sounds with deep, sub-bass by adjusting the Hype Low parameter, or turn up Hype High to polish off the high end with shimmer and sparkle; the latter sounds great on pads, strings, brass, and percussive sounds.

Doubling

Hybrid 3.0 offers a new way of making your patches sound enormous. Two Doubling knobs, one for each part, are built into the Common tab for additional widening and thickening. Turn up the Doubling knobs to full for a dramatic response or mix it in subtly for a slight thickening effect.

Performance-Oriented Features

Whether you use it in the studio or in a live situation, Hybrid 3.0 is built to perform. Use the step sequencers for arpeggiation or phrase generation. Set the modulation matrix to easily map modulations from sources to destinations. And set up “morph” groups to modify sounds on the fly, from the interface or a MIDI controller.

Step Sequencers

Hybrid 3.0’s onboard 16-step sequencers have been revamped for more programming and sequencing flexibility. Now, steps can be linked together to vary sequencer rhythm, manipulate note dynamics, and create advanced modulation patterns. Like before, both step sequencers can function as a composition tool or an extra modulation source, making it easy to create patches that move and evolve. You can set note values, velocity, and modulation, and then pick from nine playback options to use the sequencer as a step sequence, arpeggiator, or MIDI phrase generator. Plus, you can even import your own MIDI phrases for complete customization.

Modulation Matrices

Hybrid 3.0 also offers flexible and easy-to-use modulation matrices with 16 assignable modulation sources and more than 20 destinations each. Assign modulations to an oscillator or filter. Hybrid 3.0 allows multiple assignments of sources and destinations, all with adjustable intensities.

Morph Groups

With Hybrid 3.0, you can assign any rotary control or fader on the plugin’s interface to one of the four “morph” groups. Assign pan, filter, or amplifier envelopes to a morph group to alter sounds from your controller while recording or playing live. Each morph group can control several parameters simultaneously. You, in turn, can control morph groups from the dials on the interface or from a MIDI controller.

Effects

Hybrid 3.0 provides two insert effect sends per part, each with more than 40 effect types, so you can quickly change the sound of a part. A separate master effects section lets you select reverb, delay, and chorus effects to enhance — or warp — any of the sounds at the patch level. Easily adjust effect parameters and sync effects to a chosen tempo.

Seamless DAW Integration

Hybrid 3.0 is available in VST and AAX plugin formats for both 32- and 64-bit operating systems and in AU for 64-bit operating systems. With its rich set of analog and digital sounds and a large array of adjustable parameters, Hybrid 3.0 gives musicians, arrangers, composers, and sound designers the qualities and character of a unique hardware synthesizer with the convenience and flexibility of an integrated plugin.

AIR Music Technology is a trademark of inMusic Brands, Inc., registered in the U.S. and other countries. All other product or company names are trademarks or registered trademarks of their respective owners. Product features, specifications, system requirements, and availability are subject to change without notice.

AIR Music Technology is a German music software company that started out under the name of Wizoo Sound Design. They’re a member of inMusic Brands, which is a family of companies that includes some big names in the music industry. Some of those companies are Alesis, Numark, Akai Professional, and M-Audio.

AIR Music is the creative force behind many plugins for Avid’s Pro Tools. Some of AIR’s many products include Vacuum Pro, Loom, Xpand!2, and The Riser.

Hybrid 3 is their versatile six-oscillator synthesizer plugin.  It’s basically subtractive in its nature, but also uses wavetable synthesis, and a bit of FM is included as well. They’ve added over 200 new presets with this latest release, and they have also revamped over 1,000 presets from Hybrid 2.0.  The synth plugin originally was only available to Pro Tools users, but they have just recently started to sell it separately.

Installing Hybrid 3 was simple, but it does require the PACE copy protection, and it will be installed if you don’t have it already. You will also need a serial number that they send you after ordering the product.

For the PC, you’ll need Windows 7 or 8, and at least a Dual Core 2 GHz CPU (an i5 or i7 is recommended).

For the Mac, you’ll need at least OSX 10.8, and a Core Duo Processor (an i5 or i7 is recommended).

 

Oscillators

Hybrid 3 includes three oscillators in each of its two layers. The first two are the main oscillators, with controls for tuning in semitones (+/- 24) and cents (+/- 50). The Shape control will change the resulting sound, and how it works depends on which waveform you have selected.

The first two oscillator’s waveforms include Saw Sync, Saw CM (cross modulation), Multi-Wave, Square Sync, Square CM, Square PWM, and Wavetable. The two buttons in the upper right let you select between the oscillator controls and a modulation section. We’ll take a look at the modulation section later in the review.

To check out the oscillators, I used the “Default” preset. This preset has initialized settings, and makes for a good starting point when creating your own presets from scratch. The only thing that was a little confusing for me was that they have it set with the third oscillator’s level turned up, but the first two oscillator levels turned down. I thought the initialized preset should be set with the first oscillator’s level turned up, and not the third.

For the Saw Sync and Square Sync oscillator types, adjusting the Shape control will change the pitch between the master/slave of the sync oscillator. With the Saw CM and Square CM, the Shape control will change the carrier and modulator’s pitch ratio.

When you select the Multi-Wave and turn up the Shape control, it will increase the detuning between the multiple waves in the oscillator. If you set it to about 50% or higher, you can get a huge, supersaw kind of sound. Below the Multi-Wave waveform display, you can switch it from the Saw to a Square waveform.

If you are using the Square PWM, the Shape control adjusts the pulse width. For the Wavetable, adjusting the Shape control will morph between the different wave shapes of the wavetable index. There are 100 different wavetables included, giving you plenty of sounds to choose from.

The third oscillator includes sawtooth, triangle, and square waveforms.  They’ve also included a sub-oscillator in this section of Hybrid 3. It uses a square waveform, and it’s tuned one octave lower than the third oscillator. A noise generator rounds out this section of the synth, and it has four different types of noise available.

The three other oscillators are located in part B, and you just click the “B” at the top of the screen to get there. Part B is basically a duplicate of part A, with all the same controls. Each part can be saved separately if you’d like, and they have included a generous number of part presets ready to use. You can load these by clicking the “Part Presets” button at the top of the interface. Either part can be quickly turned on or off by using the buttons at the bottom of the screen.

 

Modulation and Filters

At the top right of each of the three oscillators there is a tab labelled “MOD”. This is where you can set the modulation sources for certain targets. You could modulate the oscillator’s pitch with the Step Sequencer for example (more on the Step Sequencer later), or change the Shape setting using an Envelope or an LFO. The targets include the oscillator pitch, Shape control, and level. Some of the other modulation sources include velocity, after touch, and key tracking.

The filter section is located in the middle of the interface. Hybrid 3’s filters have two modes included. There is a DCF mode (Digitally Controlled Filter), which has a sharper, edgier sound to it, and a VCF mode (Voltage Controlled Filter) which mimics a smoother, analog type of sound.

There are two separate filters, and each of them has a whopping 23 filter types to choose from. They’ve included the standard cutoff and resonance controls (self-oscillation is possible), and each filter can have its own saturation effect added on to it. In total, there are six different types of saturation/distortion available: Overdrive, Distort, Hard Clip, Rectify, Bit Crush, and Resample. A slider control lets you adjust the amount of distortion effect that is added.

Finally, there is the Gain control, which increases the level going to the filter, and the Env (envelope) control will adjust how much the Filter envelope affects the filter cutoff.

You can route the filters in different ways, such as setting them to parallel or serial modes. Another way you can set up Hybrid 3 is to have the first filter going to left channel, and the second filter going over to the right channel. “Osc” mode configures it so the first oscillator will go to the first filter, and the second and third oscillators will feed into the second filter.

The filter section also has a Modulation tab, similar to the oscillator section. The sources you can pick from are the same as those in the oscillator section. What’s different is the choice of destination, which include Cutoff, Resonance, and FM amount.

 

LFOs

There are a total of four LFOs in each part. The first three have eight different waveforms, and one of them is actually a “drift” effect instead of a regular waveform. This can work well when you’re trying to simulate a bit of that old analog oscillator drift, where the tuning can vary slightly over time. Others shapes included are sine, triangle, sawtooth, square, sample and hold, and a random shape.

The waveform is displayed on the screen, and to adjust its speed, you click and drag a little white dot right above it. You are also able to adjust the phase, turn on sync (with five different settings), and the LFO depth can be affected by many different sources.

The third LFO has a little trick up its sleeve. It is identical to LFOs 1 and 2, but it can also have its rate modulated, as well as the depth.

The last LFO is called “Pump”, as it creates an effect similar to side-chaining. This kind of effect is used much of the time in EDM (electronic dance music), and it has an off-beat, breathing type of character. In Hybrid 3, you can use this effect on other parts of the synth, not just the overall volume. The envelope shape has controls for attack, hold, and release. It can be found in each of the Modulation tabs I had mentioned earlier, so it can be used in a multitude of ways.

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