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It’s still one of the finest synths around for generating ear-catching modular arps and percolations, widescreen pads, cone-rumbling basses, futuristic keys and retro-tinged sci-fi FX. Also worth mentioning are the awesome Oscillator FX, bringing various forms of spectral processing to bear and the effects grid, which enables flexible routing through 21 lively processors – EQ, delay, compression, reverb, chorus, etc.Įven after a decade and a half, Zebra 2’s stripes show no sign of fading. Modules are racked up in the left (Generators) and right (Modulators) panels as they’re added, while the bottom panel houses the oscillator wave editors (up to 16 per wavetable), multi-stage envelopes, arpeggiator controls and other editors.
U HE ZEBRA2 REVIEW MOD
The central grid/mixer lets you freely connect up a wide variety of modules, including wavetable and FM oscillators, noise generators, multimode and comb filters, ring modulators, distortions and mixers while the modulation matrix affords access to a similarly broad array of mod sources. So what makes Zebra 2 such an indispensable cinematic sound design tool? In a nutshell, supreme versatility and knockout sonics. Indeed, all the patches used in those two classics are available in Hans Zimmer and Howard Scarr’s add-on sound pack, The Dark Zebra, which also includes a Zimmer-customised version of the synth itself, ZebraHZ.
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U HE ZEBRA2 REVIEW MOVIE
And if they don’t interfere with dialog, that means they leave room for your own melodies.Launched in 2007, Urs Heckman’s timeless semi-modular was one of the original plugin ‘power synths’, and is particularly well suited to large-scale movie work, as most famously demonstrated by its pervasive presence in the soundtracks to Christopher Nolan’s The Dark Knight and The Dark Knight Rises. The patches were programmed to be easy to use, and they’re designed to sound like a film score and sit in the mix and around the dialog right out of the box.
U HE ZEBRA2 REVIEW PATCH
This patch library includes find deep and thumping basses, disturbed and emotional pads, simple and effective pulses, dark drones, quirky keys and mallets, as well as a vast array of driving “tickys” to keep up the pace. There are crimes, investigation, suspicion, interrogation, action, drama, and always the ticking clock in a race against time.
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There is mystery, suspense, tension, sadness, despair – but also hope and relief. These sounds may be designed for crime shows, but they can also paint a lot of other picturesĬrime Fundamentals is a dark and cinematic sound set of 188 patches for u-he’s popular Zebra 2 software synthesizer, inspired by shows like Marcella (Lorne Balfe), Blacklist (Dave Porter), Broadchurch (Ólafur Arnalds), or The Sinner (Ronit Kirchman), and also the works of John Powell (Bourne Series) or James Newton-Howard (Parkland).