Sinevibes releases 4 new effect plugins for Korg’s Logue multi-engine synths

Sinevibes Korg plugins
(Image credit: Sinevibes)

Sinevibes has released four new effect plugins for Korg’s Prologue, Minilogue XD and NTS-1 synths: Hollow, Isomer, Luminance and Vibrant.

Hollow is billed as a ‘space reverb’. It features a feedback delay network comprising up to 64 connections and promises a “lush, almost three-dimensional sound.” Tail times can reach 120 seconds with all settings maxed out, and there’s unison-style modulation via three phase-shifted sine oscillators.

Isomer, meanwhile, is an ensemble delay. There are two main stereo delays that feed into four additional ones - these have their own individual feedback lines and can have their times modulated by four separate LFO signals.

Luminance is another reverb, this time of the ‘shimmer’ variety. Its tail gradually pitchshifts itself upwards or downwards, and the plugin is based on a feedback delay network which incorporates a granular pitch shifter and chorus-style time modulation. Luminance follows the musical content you feed it, so you can use it to create a background sound layer of string- or organ-style ambience.

Finally, there’s Vibrant, a classic analogue-style phaser that connects six two-pole all-pass filters in series and has a global feedback loop. This produces three deep notches in the incoming audio’s spectrum, and there’s a built-in triangle LFO that sweeps the centre frequency between 800 and 3200Hz (exactly two octaves).

Hollow, Isomer, Luminance and Vibrant cost $19 each, and are also available in a bundle of all 21 of Sinevibes’ Korg effects. This costs $229, which is 43% cheaper than the cost of buying them all separately.

Find out more on the Sinevibes 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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