![]() While there are obviously dedicated instruments (synths, drum machines, and so on) in the world of hardware instruments, there's also a breed of device known as the workstation, which bundles samples, synthesis and effects into one easy-to-use and immediate system. This leads to a situation where you need to have a handful of different instruments loaded in order to put some ideas into your sequencer, which isn't necessarily a bad thing but this practice forces you to create a set of templates that preload certain instruments when you need to start writing. Most software instruments usually dedicate themselves to offering one particular method of creating sound, so you might have a synth, a drum player, a sampler, and so on, all running as separate VST Instruments. At the time, Steinberg supplied Cubase with the Neon synthesizer, a simple subtractive synth that didn't sound so great, and used most of the processing of my humble G3 for a few notes, but was still exciting because of the technology and working method it promised! Neon was soon followed by Steinberg's own LM4 sample-based drum module, then other developers started developing VST Instruments and technology to incorporate software instruments into their products, and the rest, as they say, is history. ![]() While the idea of a computer program that generated sound was nothing new, VST Instruments represented the first time such a program could be integrated so tightly within a sequencing environment, using the same VST plug-in technology that was already popular for software effects. The use of software instruments is almost ubiquitous in music production today, it's easy to forget that less than five years have passed since Steinberg released the first versions of Cubase with support for VST Instruments. If you could have one VST Instrument that emulated a hardware workstation, giving you enough polyphony to produce a complete arrangement with a fairly standard computer, would you be interested? Steinberg and Wizoo think you would. ![]()
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