Envelopes provide more nuanced and engaging results. Switching oscillators and filters on or off like an organ would be very limiting. Oscillators and filters get your sound humming, but a little polish and refinement make it sing. The five models offer a wide range of different characteristics that fundamentally affect the overall sound, giving you a broad palette to start with for your next riff, bass and pad.Īll five share common controls: waveform selection, octave range, mix or independent output volume controls, a noise source and plentiful modulation options. Like the filters, Diva’s oscillators are also modelled on classic hardware.
All filters have modulation options and the traditional cutoff and resonance controls, but each has its character, quirks and options. U-he Diva models five different filters found in classic hardware synthesizers. (If you are interested, Urs wrote an in-depth blog post Link about ZDF.) With ZDF, the delays normally produced when modelling analogue circuits are vastly reduced, resulting in a much more authentic resonance behaviour. A combination of realtime circuit simulation and zero delay feedback (ZDF) design gives Diva its remarkable sound. The filters are at the heart of Diva’s analogue sound.
U HE DIVA VST SOFTWARE
This comes at the cost of quite a high CPU-hit, but we think it was worth it: Diva is the first native software synth that applies methods from industrial circuit simulators in realtime. But what sets DIVA apart from other emulations is the sheer authenticity of her analogue sound. The oscillators, filters and envelopes closely model components found in some of the greatest monophonic and polyphonic synthesizers of yesteryear. U-he Diva captures the spirit of various analogue synthesizers by letting the user select from a variety of alternative modules.
Host-syncable arpeggiator with continuous rate offset, swing, various progression options.