Could this €1 soft synth change the VST plugin market forever?

They say that, if something sounds too good to be true, it probably is, but in the case of Genesis Pro, we find ourselves wondering what the catch is. Created by DJ/producer Ummet Ozcan under the Oz-Soft banner, this is a new hybrid soft synth plugin that’s going to be sold for just €1.

If this low price makes you worry that Genesis Pro is lacking in style and sophistication then fear not, because this looks every inch the contemporary electronic instrument. It offers subtractive, FM, phase distortion, multiwave and ROM synthesis, and comes with three oscillators that can be used independently or simultaneously.

We’re told that Genesis Pro can concoct a wide variety of sounds - you can stack the oscillators for massive patches or create split instruments that can be played on different sections of the keyboard - and you can use an ‘intelligent’ mode to play complex chords with a single finger.

There are 14 built-in effects, while two LFOs and two matrix slots with multiple outputs enable modulation possibilities aplenty. In fact, there are more than 100 modulation destinations. There are four envelopes, too - again, assignable to more than 100 destinations.

Oz-Soft Genesis Pro

(Image credit: Oz-Soft)

What else? How about eight analogue-style filters, master effects, and the option to use external audio to modulate the Genesis. You can keep track of all your tweaking on the multi-display, while up to 22 actions can be assigned to a single hotkey, of which there are eight.

Based on what we know so far, Genesis Pro sounds like a bit of a no-brainer - Ummet says that he decided on the symbolic €1 price because he wants everyone to be able to try it - but we’ll find out soon enough if it’s worth investing your time in. There are more details on the Oz-Soft website.

Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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