Get Nemesis by Tone2 and learn how to use the plugin with Ableton Live, Logic, GarageBand, and FL Studio for free. Download free Nemesis v1.0 incl. Keyfile Win x86 x64. VST software for PC and Mac • Download VST Plugins • VST Instruments • Samples • Libraries • Effects • Loops • Native Instruments • Free VST •. Virtual Studio Technology and its acronym VST refer to an interface standard for connecting audio synthesizer and effect.
I had the chance to work with Nemesis as a beta tester and sound designer for the factory patches and I have to say that Nemesis is one of the most interesting synths of the last years. What makes it particularly interesting to me is the ability to create sounds for a wide range of musical styles; this was already possible with other instruments (for example ElectraX, one of my favourite synths ever), but Nemesis is a little step forward from this point of view.
In this review I'll try to give a short explanation of what I consider the most important peculiarities of Nemesis.
SOUND QUALITY:
Awesome. This is one of the first things I've noticed when I put my hands on Nemesis for the first time. Unlike many other soft synths that, to my ears, have a muffled sound that needs to be corrected with the EQ, the sound quality of Nemesis is comparable to some of the best hardware synthesizers. The overall sound is balanced and well defined.
As for the previous Tone2 synths is possible to enable the psychoacoustic processing (I really like it), which adds more freshness to the overal sound and helps to make the sounds stand out in the mix, if needed.
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There are also several other options in the 'configuration' tab which help to better shape the sound of the instrument: Bass Boost, High Boost, two different 'Punch' modes (light and heavy), a low cut and hi cut EQ. It's also possible to enable a softclip or a soft limiter (or a combination of both) for the master out, this is very useful when working on modern sounds/songs.
From this point of view the Tone2 synths are the only ones, as far as I know, to provide a wide range of options to shape the overall sound. I consider it an invaluable tool for sound design and when working on my own songs.
WORKFLOW:
Not much to say here. Just like for the previous Tone2 synths the workflow is very intuitive and easy to understand. The user interface is clean and tidy, this makes it much easier to understand how the synth works.
SOUNDS:
The factory library contains more than 1000 sounds well organized in categories that can be selected in the new patch browser. The quality of the patches is very high and is well suited for many different musical styles: during my tests I've been able to create dance, rock, orchestral and atmospheric music using only the factory presets and with the minimum effort.
The most interesting sounds are those which uses the NeoFM synthesis. It's not so difficult to find some sounds reminiscent of the classic sounds of the FM synths from the past, but at the same time they have something 'new' and the overall feeling is more modern and fresh. I really like its ability to recreate also those sounds typical of the sound expanders of '90s, and not necessarily FM based boxes. From this point of view I think that the ability to reproduce a wide number of sounds has been increased further in Nemesis.
The arpeggiated/sequenced patches are also in my favourite list. The new arpeggiator offers a lot of new possibilities and it's very fun to use.
The atmospheric sounds are simply fantastic and combined with the pads are an excellent tool for New Age/Atmo songs.
Being an FM synth the organ and bass sounds are excellent.
There's no need to say that the more modern oriented sounds are top notch and make the most of the new synthesis types.
SYNTHESIS AND PROGRAMMING:
Here's where the fun begins... Nemesis offers 22 different synthesis types! 8 of them are based on the new NeoFM concept but the synth features also classic FM synthesis, wavetable, PWM, formant and more.
The great advantage of the new NeoFM synthesis is that, unlike in classic FM, it's possible to use a wide range of waveforms, and not only sines. Until now any attempt to use different waveforms in FM led to results of little interest from a musical point of view. With Nemesis is possible to explore new possibilities in the realm of sound design, without necessarily cross the boundaries of experimental music.
The NeoFM knob can be used to select the FM amount for each oscillator. This is the most important control for the OSC section and it's also where the magic happens. Usually I like to set a value for this parameter and leave it as is or apply just a bit of modulation (with the LFO routed to it, for example) to let the sound 'move' and make it more organic. By the way there's no need to say that it's possible to contol the NeoFM knob in realtime to create a lot of interesting effects, from sounds that resemble a filter opening to the most wild things. The NeoFM knob reacts in different ways depending on the synthesis type, so there are a lot of possible combinations and sound variations that can be played and tested.
Clicking on the oscillator waveform display gives access to the popup menu from where is possible to select the waveform to be used (or load a custom waveform). But the real interesting thing is the Additive Spectral Editor (that can be selected from the same menu): from here it's possible to edit the waveform harmonics and this means that the possibilities to sculpt the sound are endless considering that the synth features 4 oscillators (coupled as carriers and modulators). The Spectral Editor is one of the funniest things in Nemesis for a sound designer, here's where you can really play with the sound and create a unique waveform to be used as a starting point for your patch.
The modulation matrix is one of the most important aspects of this synth. The right choice of sources and destinations can really make a huge difference. I've found really useful to use the second envelope, in addition to the main one, to control the main volume to create powerful bass sounds with an incredible punchy sound, for example. Another interesting trick is to create different waves for each oscillator, with different harmonic values, and then automate their volumes and pan positions in the matrix: the result are some fascinating organic sounds difficult to obtain with other instruments.
In addition to the usual top notch reverbs and delays the FX section has been expanded with some new effects and new routing options (serial, parallel, L/R split and more). One of the most important new options here is the 'duck' option that can be selected as a destination in the modulation matrix to control the duck level by the modulation source. Among the new effects is worth to mention the reverb feedback: this new reverb model sounds fantastic! I like it a lot for atmospheric sounds and long pads.
Last but not least Nemesis features a new stereo trance gate, very useful for rhythmic stuff.
PERFORMANCE:
Given the nature of the instrument the CPU load is reasonably low even in my old computer. The software is stable and I never experienced any crash so far.
CONCLUSIONS:
It's been a long time since I enjoyed a synth so much! I'm very picky when it comes to choose an instrument to be used regularly in my setup, especially with soft synths. My preference goes to those instruments that can be programmed very fast and that have a great sound and playability. The last time I enjoyed a synth so much has been with ElectraX. Now I'm more than happy to have added Nemesis to my synth collection.
If there is still room for improvement I would like to have an additional LFO (an additional LFO is always welcome, eheh!) and a third envelope generator. Other than this I think Nemesis is a very stable and powerful synth with his own character and peculiarities with unique sound shaping options.
Vote: 10
Read moreIn the 1980s, Yamaha had a big hit on their hand with the release of the Yamaha DX7 synth.
Yamaha developed a new way of shaping sound that was radically different from the traditional analog synths. The Yamaha DX 7 synth used something Yamaha called FM Synthesis. There were no traditional VCOs or LFOS, envelopes or filters as we are used to on the traditional analog synthesizers. On the DX7, there were “Operators” that could be stringed together in a certain way to create sounds. I am pretty versed in programming your everyday analog synth but when it came to programming a DX7, it definitely got me stomped.
That lack of easy programmability however did not keep the classic DX7 from being a major sales success and the signature FM Piano sound of the DX7 made it unto just about every R&B ballad for at least ten years following the release of the Yamaha DX7. The FM Piano sound was absolutely unique but the rest of the sounds that these FM synths could generate were not exactly very useful or impressive. The method of FM synthesis lent itself perfectly to creating some bell-like sounds but for the rest, for pads, brass and string sounds, the FM Synths were far from ideal.
For today’s producer, there are a variety of FM style VST Synths available but these also suffer from the limited range of possible sounds that can be produced using FM Synthesis.
So when Tone2, one of the world’s leading producers of VST synths approached me to test drive their newest creation, the Nemesis Neo-FM synth, I was more than curious. Tone 2’s products have been used by some of the biggest names in the music industry and their VST synths like, for instance, the ElectraX had won enough accolades from the industry that I had very high expectations.
Neo-FM they call it, beyond FM. It did sound like Tone 2 did plan to break through the limitations of traditional FM synthesis. And did they ever….!
By combining FM synthesis with more traditional synthesis and waveshaping,. wavetable and formant synthesis, Tone 2 created a truly unique sounding synth with simply outstanding sonic quality. With an arpeggiator, a trancegate and a large array of effects, this synth is in a league of its own.
The Nemesis Neo-FM synth comes standard with 1,065 nicely categorized patches and additional patch libraries are also available.
So, how does it sound?
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The first thing I noticed was the crystal clarity of the sounds. The Nemesis is definitely not designed just to be an instrument for 80s Retro Pop but it is truly a synth that fits any style of music. From serious high-tech dance oriented patches to some of the smoothest pads that I have ever heard from a VST synth…..it’s all there.
I can only congratulate the sound designers at Tone 2 because the sound design of the Nemesis is truly excellent. You can hear that every single one of the 1,065 patches had been meticulously crafted and fine-tuned to perfection. Right from the first patch on the list you’ll come to realize that this is a different kind of animal. A synth that can expand your sonic arsenal and give you tools that you simply did not have before.
It’s not hard to program the Nemesis to create your own patches or to simply tweak and fine-tune the existing ones. On the other hand, you can be blissfully happy with the over 1,000 patches that are already pre-programmed for you. The visual interface is nicely designed and easy to use.
The Nemesis is an absolutely perfect addition to your synth arsenal no matter what style of music you plan to record. There are a good amount of traditional sounds found on the Nemesis. For instance, the Hammond Organ patches are just super. Crystal clear, yet with a good amount of “soul” and warmth. On the other hand, there are some truly way-out FX sounds and Pads that will get your attention the minute you touch a key. And for the dance producer….Nirvana! So many crystal clear synth patches to choose from. You’ll never run out of musical inspiration.
I do a lot of cinematic music, soundtracks for movies and documentaries and for those projects, the Nemesis really shines. It’s easy to create the most complex soundscapes with just the Nemesis. For producers of cinematic music, this one is a no brainer. The Nemesis is definitely my top pick for creating cinematic music and soundscapes.
Links:Nemesis | Tone2.com
[author image=”https://www.producerspot.com/wp-content/uploads/2014/02/alan-steward-avatar.jpg” ]Alan Steward is a Producer, Engineer and Musician with over 30 years experience in the music business. He worked with Grammy winning artists from the Temptations to the Baha Men. His music has been used in TV shows and feature films. He is also well-known as a producer of loops for music production and owns a recording studio in Germany.[/author]