No other drum plugin has the range and versatility of SSD 5.5. With tons of legendary and artist-modeled drum kits in every style, your creative options are limitless. Whether you’re into rock, metal, jazz, funk, R&B, indie, reggae, or experimental, SSD 5.5 has you covered. NEW SAMPLES & MIDI GROOVES SSD 5.5 adds tons of new kits and samples, including Steven’s previously unreleased OG one-shot samples that started his career. With over 2,400 MIDI grooves and over 400 instruments, you can quickly get the perfect drum sound and groove. Now, you even have the option to import 3rd party grooves using the updated Grooves parameters. The new Smart-Velocity Triggering algorithm makes any one-shot sample blend perfectly with the rest of your kit. INFINITELY CUSTOMIZABLE The updated GUI in SSD 5.5 makes customizing your drums easier than ever. You have total control over the dynamics, panning options, and ADSR settings of each instrument. Effortlessly mix ambient room mics and close mics with custom routing options. Did we mention you can even change the size of the plugin? SMARTER E-DRUMMING With smarter MIDI Learn & Map features, you’ll spend more time playing and less time mapping. The completely redesigned Map section lets you quickly customize your drum MIDI mappings on the fly. Editing your e-drumkit or drum pad mapping has never been easier. STEVEN’S OG ONE-SHOT SNARE SAMPLES You’ve heard them in tons of top records and for the first time, you can use them in your songs. These are the samples that put Steven on the map. Mix these snare samples into your kits and you’ll instantly notice how much character they add. Mix and match the OG One-Shots to create custom snares Zeus himself will envy. SSD 5.5 Overview – 148 Famous Artist & Legendary Modeled Drum Kit Presets– Over 2,400 MIDI Grooves– Versatile Kits For Rock, Metal, Jazz, Funk, Indie, Reggae, and More– Lightning-Fast MIDI Mapping & Learning– Steven’s Previously Unreleased OG One-Shot Snare Samples– 135 Snares, 112 Kicks, 58 Toms– 11 Hi-Hats, 14 Crashes, 6 Rides, 4 Splashes, 3 Chinas– Ultra-Sleek New Resizable GUI– New Smart-Velocity Triggering Algorithm for One-Shots– Analog Processed and Raw Samples Recorded to 2-Inch Tape– Import & Use 3rd Party Samples and Grooves

Designed to stand out Sometimes you need the intimacy and detail of a single voice to rise above the force of an orchestra. Reach for Spitfire Solo Strings, featuring exceptional first-call London virtuosos, ideal for adding individuality and definition to your scores and production. Solo Strings is designed to stand out, but also to fit in: this entirely new library sits perfectly alongside the Spitfire orchestral ranges, utilising the same location, peerless signal chain, mic positions and range of articulations that make up the DNA of our high quality orchestral packages. Single players, recorded in the acoustic luxury of The Hall at AIR Studios, captured on rich sounding 2” tape. Solo Strings In 2012, Spitfire released the original Solo Strings, one of our first ever libraries. Since then, we have clocked up over 2,500 hours of sampling experience, so we knew it was time we revisited these essential instruments. They can add individuality and definition to big string writing, as well as capture soaring solos for film, games or pop music. Think of the solo violin in John Williams’ score for Schindler’s List, Fratres by Arvo Pärt, John Corigliano’s Red Violin, or the cello carrying the Game of Thrones theme. The artists Soloists are exceptional players, and capturing them on a recording presented unique challenges. We needed to go beyond expectation, making each instrument versatile enough to match the emotional temperature of your music, offering a vast range of mic positions and articulations to blend perfectly with our Symphonic and Chamber libraries. Our new solo violin can be played in three distinct modes and was performed by three distinctly different players: Virtuoso, 1st Desk and Progressive, each containing not only their own range of articulations, but also a range of recording locations in the hall and different styles of performance. Virtuoso, with a standing player, captures the sound of a sonata, or a featured soloist out in front of the orchestra performing in a ‘concerto’ style. 1st Desk was recorded on the front desk of the first violins, perfectly placed for adding individuality and definition to a string line, while still able to blend in with the section. Our “1st Desk” performer plays “out”, leading the orchestra. Our progressive player was recorded further away from the conductor, designed to fit into larger string sections, or offer up solo passages in a more contemporary vernacular, opening the door to a modern, filmic sound of extended techniques including “Mandolin pizzicato” and “Tremolo whispers”. These three violins are joined by three exceptional string players on viola, cello and double bass, all with an equal attention to detail and depth of sampling. This gives us an exceptionally versatile set of tools that can create anything from a single searing cello line to multiple parts added to larger sections, providing added definition and personality and bringing together a very unique sextet of players with unprecedented control and malleability. For Solo Strings, Spitfire had the privilege of working with a group of internationally acclaimed musicians with a goldmine of experience as first-call soloists. These players can be heard all over major Hollywood films. Featuring Jack Liebeck (violin - Virtuoso), Clio Gould (violin - 1st Desk), Thomas Gould (violin - Progressive), Max Baillie (viola), Richard Harwood (cello) and Leon Bosch (double bass), Solo Strings is a no-compromise library, recorded in an exceptionally resonant acoustic space. The Hall As with many Spitfire libraries, we returned to the iconic Hall at AIR Studios to record Solo Strings. Scores such as Dunkirk, Beauty and the Beast, Wonder Woman and Paddington 2 were recorded there recently, as well as classics such as Harry Potter and the Philosopher’s Stone, The Dark Knight and Gladiator. Solo Strings was recorded by award-winning engineers, who captured each soloist using world-class equipment: priceless ribbon and valve mics through Neve Montserrat preamps, the largest 88R Neve console in the world, onto pristine 2” tape

Orchestras recreating classic synths A modern string orchestra imitating classic synth sounds, from the mind of Grammy-nominated composer, electronic music pioneer & technologist Brian Transeau, AKA BT, Polaris is a mesmerising aural innovation which tastefully pairs the worlds of synthesis and orchestra, an encyclopaedia of new and inspiring sounds with almost endless possibilities, perfect for taking your scores into 2022 and beyond. Massive multi-layers of complex yet accessible organic string orchestral recordings, resampled using an array of classic and rare synthesisers (Fairlight, EMU E-II and more), a cosmic collection of new string techniques has been specifically orchestrated to emulate electronic music production techniques. This sophisticated and eclectic sound library, performed by London's top tier contemporary players at renowned AIR Lyndhurst Hall, captures the future of blockbuster scoring. Resampling reimagined Polaris is perfect for creating the most modern and unique compositions possible, this sound library delivers an intricate layering of all-new extended string techniques imitating classic synths sounds, orchestrated by BT, brought together with synths and tape resampling to create dense and provoking new timbres, creating a widescreen cinematic sound world. BT, Spitfire and an amazing group of sound artists including BlankFor.MS, Deft Audio, Garth & Aric, resampled the organic and synth samples through classic and rare samplers including the EMU E-II, Fairlight (known for the Terminator 2 OST) and Ensoniq Mirage, as well as various cassette and VHS tape machines. Harkening back to the golden age of granular synthesis and inspired by films such as Terminator 2, Arrival, Logan’s Run, Blade Runner, and Dr. Who, these interstellar sonics usher in an array of epic futuristic sounds with a firmly retro grounding. The string techniques are available as organic techniques, the band (6,6,5,4,3) was arranged and recorded at AIR Studios Lyndhurst Hall, in a configuration complimentary to synth sounds, with basses, celli and viola in the middle, spreading violins wide left and right, which achieves a unique tonality, delivering a string sound hard to come by in other high quality string libraries. On top of all this there is a stunning array of classic synths at your fingertips - deep samples from classics such as the CS-80, Lexicon 224, Prophet T8, Oberheim OB-Xa, Matrix 12, Jupiter 8, and Prophet 5. Transformed & synthesised beyond belief Whether you are a tweakhead or time-conscious composer preferring presets, Polaris has what you need - Made up of three parts; the organic Strings Orchestra, Classic synths and Vintage Resampling including manipulated sounds via tape, VHS and more, there are endless possibilities for experimentation and customisation inside the eDNA engine as well as the new granular machine. The eDNA interface allows you to play and pair 2 sound sources from the incredible 129 articulations available. Manipulate, layer and blend sounds with FX, gates and much more to create a whole new personalised sound to fit your music. Go further with the all new granular engine inside this library allows further customisation, take your sounds to bold new places - Watch Christian’s Walkthrough for some out of this world examples. Discover 421 expertly created presets crafted by BT himself and the Spitfire team, perfect to start your own creation or for music producers working on a deadline - there are a plethora of modern sounds to discover. Features A modern string orchestra imitating classic synth sounds A massive multi-layering of complex synth sounds made accessible Endless customisation sounds using eDNA engine All-new Granular Engine for further sonic discovery 129 articulations, including 94 articulations including the original string performances 35 layered 'Synergy' patches for use in the eDNA engine 421 presets created by BT himself and the Spitfire Team 54 noise sources recorded by BTT Tech specs Mac system requirements Mac OS X 10.15 to OS 13 Minimum: 2.8GHz i5 minimum (quad-core), 8GB R

Unearthly sounds from Hollywood's secret weapon Mercury samples fourteen one-of-a-kind acoustic sculptures, hand-crafted by Hollywood’s premier instrument designer, Chas Smith. These creations painted the unearthly soundscapes of Dune and Interstellar, sang heroic anthems for Man of Steel and The Hunger Games, and textured terrors throughout the Saw film franchise. All told, this collection delivers 600+ textures, tones, and pads—organic and synthesised in Solar, our new eDNA-powered plug-in. Unearthly sounds from Hollywood's secret weapon Mercury samples fourteen one-of-a-kind acoustic sculptures, hand-crafted by Hollywood’s premier instrument designer, Chas Smith. These creations painted the unearthly soundscapes of Dune and Interstellar, sang heroic anthems for Man of Steel and The Hunger Games, and textured terrors throughout the Saw film franchise. All told, this collection delivers 600+ textures, tones, and pads—organic and synthesised in Solar, our new eDNA-powered plug-in. Cosmic textures, tones, and soundscapes In order to build your own sonic world, and to score the awe-inspiring, you need to discover sounds and instruments that aren’t easily replicated. Mercury takes the exceptional acoustic sculptures hand-crafted by Hollywood's premier instrument designer Chas Smith, and allows you to experiment and go beyond the usual and familiar. Mercury was built with the idea that truly unique instruments should sound organic, not artificial. A bespoke collection of the most amazing, transcendent, and haunting musical textures and tones that you will ever find. Chas Smith has managed to create artistic evocative metallic sculptures that also happen to be the secret ingredient in the iconic scores of Hans Zimmer's Interstellar, Dune and Dunkirk, and in Charlie Clouser’s Saw. Mercury’s Solar Orbit This library combines two dynamic forces: Mercury and Solar. One, a collection of pure, organic sounds; the other, a tool for reinventing them. The most up-to-date iteration of our eDNA technology, Solar is the host to Mercury’s organic ethereal samples and the eDNAs extensive warp and preset library. Within Solar, you will find the expansive soundscape Mercury, a world built around 14 unique handmade instruments like no other. The Bertoia, Sceptre, Pez Eater, and Que Lastas (just to name a few) have had lasting impressions on some of Hollywood's leading luminaries. The Que Lastas in particular has an entertaining story. Charlie Clouser upon hearing it for the first time was moved to tears. From the king of experimental instruments Chas Smith is the KING of real-world acoustic sonic experimentation. He does things the hard way, and the results speak for themselves. His experience is unmatched, his imagination is boundless, and the combination of his diverse talents is superhuman. Due to his position in the timeline of history, it would simply not be possible for any living human to duplicate his journey or his results. Chas wasn’t always a hotshot Hollywood musician. He started out as a union welder and fabricator, metalworking for the film industry, and received an Academy Award for Technical Achievement for the structural engineering of the Bulldog Motion Control Camera Crane. From Cal Arts to Image G, from Subotnick to Budd, from pedal steel to welding steel, his talents, influences, and abilities are truly one-of-a-kind. Tech specs Mac system requirements Mac OS X 11 to OS 14 Minimum: 2.8GHz i5 minimum (quad-core), 8GB RAM Recommended: 2.8GHz I7 (six-core), 16GB RAM Both Intel and Apple Silicon/ARM are supported 32-bit systems are not supported. PC system requirements Windows 10 or Windows 11 - (Latest Service Pack, 64-bit)Minimum: Intel 2.8 GHz i5 (quad-core) or AMD Ryzen 5, 8GB RAM Recommended: Intel Core i7 6th gen and later or AMD Ryzen 7, 16GB RAM 32-bit systems are not supported. File size ~762 samples 8.2 GB download size 8.29 GB disk space required during install

Tape: The First Effect While modern recording engineers and producers are used to the huge variety of effects options available these days, tape machines were the first devices used in the recording studio as effect processors. From echo and flanging to the warmth and saturation of the actual tape itself, the entire early history of music would sound completely different if these recording decks weren’t employed in this way. Vintage Soul The new Deco plugin doesn’t just give you the hyper-real sonic signature of these classic tape machines, it’s also unique in that it revives the forgotten art on how these decks were manipulated as a workflow in the studio. Even though there are currently a number of plugins that emulate entire tape machines down to the smallest degree, the Deco plugin stands alone as the only piece of software that accurately recreates the studio workflow of two tape decks working in tandem. It is the timed/speed relationship between these two decks that creates the phasing, true tape flanging, chorus, echo and double tracking effects that the Sun Studios and Abbey Roads of the world relied on for all of those famous early tracks, and it’s now available in an easy-to-use and utterly convincing plugin. Two-In-One Wonder Deco is not just one effect, but two distinct sides combined to create a studio workflow. Doubletracker The Doubletracker side controls the two interactive tape decks and has the power to shift your sound in many different ways, easily achieving psychedelic tape flanging, gorgeous tape chorusing, syrupy slapback tape echoes and anything in between, all by varying the timing relationship between the Reference and Lag decks. If that’s not “old school” we’re not sure what is! Tape Saturation The Tape Saturation side smooths out the response of your tracks with familiar tape compression and saturation, while fattening things up with subtle (or NOT subtle!) tapedriven transparent overdrive.

Rack To The Future Rack-mount digital delays of the 80s ushered in a new era of audio effects, where the innovative electronic designs generated clean delays that sounded altogether fresh and new, but with special and intriguing sonic characteristics. Decades later, these sounds remain as distinctive and inspiring as ever. Delay Doppelgänger The DIG plugin unearths the true soul of digital delay and doubles it — two simultaneous, integrated delays with captivating rack delay voicings from the 1980s and today. Instantly create intricate synchronized echo patterns, as well as hypnotic and atmospheric repeats that blur the line between delay and reverb. Each of DIG’s three digital delay voicings has its own distinctively inspiring personality: the early 80s adaptive delta modulation mode, the mid-80s 12-bit pulse code modulation mode, and the modern high-resolution 24/96 mode. Voices Of Digital Don’t all digital delays sound the same? What gives a digital delay its own unique personality? Digital conversion technologies in the late 70s were advancing rapidly, and clever electronics designers were on a quest to squeeze out the best possible performance specs with fidelity not previously available from tape or analog circuits. Their imaginative solutions to the limitations of the conversion process resulted in delays that possessed some unintended and unique characteristics. DIG beautifully reveals their individual personalities. ADM A one bit, high sample rate conversion technique that evolved from telecommunications voice coding. The conversion and supporting signal conditioning, limiting, and pre-emphasis/deemphasis create a percussive wide-band delay that adds more character as input dynamics increase. 12-Bit A 12-bit, 32kHz PCM conversion made possible by monolithic IC chips developed in the late ’70s. Pre-emphasis/de-emphasis and companding combine with the converters to produce a warm delay with a dimensional sense. 24/96 A clean, high-resolution, high-bandwidth delay with a hint of dynamics that allow the delay to sit nicely with the analog dry signal. 24-bit resolution and a 96kHz sampling rate ensure uncolored, artifact-free repeats. Features Two simultaneous, integrated delays, with unique digital rack delay voicings Each of the integrated delays provides true stereo for a total of four interactive delay lines Adjustable Modulation, Tone, and Dry Level for control over repeats Adjustable Time, Level and Repeats for each Delay engine One modern and two classic digital delay voicings: 24/96, ADM (Adaptive Delta Modulation), and 12 bit Up to twelve Delay 1 subdivisions: Whole, Dotted Half, Half, Dotted Quarter, Quarter (the default), Dotted Eighth, Eighth Triplet, Eighth, Sixteenth Triplet, Sixteenth, Thirty-second Triplet, and Thirty-second note Delay 1 Tempo Modes for project tempo Sync or TAP modes with subdivision options or Free mode Delay 2 can be locked to Delay 1’s Time/Tempo with its own optional subdivisions: Dotted Quarter, Dotted Eighth, Golden Ratio, Eighth, and Eighth Triplet Repeats Lock switch to provide independent or locked number of repeats for Delay 1 & 2 Selectable Free Mode for Delay 1 and Delay 2 disables subdivisions and synchronization Press and hold Circular Repeats effect Delay 1 offers a 20ms – 1.6s delay range. Delay 2 offers 7ms to 2.4s delay range (Ranges may differ depending on Sync or TAP tempo and subdivision selections) System Specifications AU (Mac) and AAX & VST3 (Mac and Windows) plugin formats for support with all major DAW host applications DAW host support for mono, mono-stereo, and stereo plugin instances and standard sample rates from 44.1 kHz to 192 kHz, at 16-bit or 24-bit resolution Support for DAW host automation of plugin parameters 32-bit floating point processing