Get rich, phat and warm in virtual form
with Atmosphere, Trilogy and Stylus RMX.

By Steph Jorgl

Audiohead Interviews Tech Tips Events Goods and Gear Featured Music

When it comes to real-sounding software instrument modules, Spectrasonics falls in the upper echelons. On par with companies like Native Instruments when it comes to virtual modules that sound phat, loud, rich and warm; comparable to software like Ableton Live in the category of including awesome-sounding onboard effects within its Stylus RMX module; and leaving many a composer drooling with the sonic hues within its Atmosphere Dream Synth, Spectrasonics is definitely a name to put in your plug-ins folder.

Trilogy Lets You Throw Out Your Bass
When I first unwrapped the Trilogy box, I didn’t have any idea what I was getting into. I wrongly assumed it was just another bass module. After complaining to myself about how long it was taking to install the five CDs, I must now attest: Every second spent installing this sweet bass module is well invested.

After firing up my computer to work on some newer tracks, I quickly found myself turning to Trilogy instead of my real bass every single time. No tuning required, no finding a good setting on the Pod, no having to run my bass through any tube compressors, distortion pedals or other effects... Trilogy gives you everything you need.

Never before have I personally used a bass module that sounds so much like a real bass — so rich and warm and convincing. When I mentioned it to some friends, I got the same unanimous response: “Of course, it’s from Spectrasonics.”

Mac Audiophiles

Read up on these Mac-using audioheads (featured in the Interviews section) for insights on what they use and why.


Chris Vrenna

Trent Reznor

Liam Lynch

Hans Zimmer

Butch Vig

Keith Hillebrandt

Richard Devine


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Spectrasonics Trilogy Bass Module

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Spectrasonics Atmosphere Dream Synth

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Stylus RMX
Spectrasonics Stylus RMX Drum Module

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New Orleans Strut

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Spectrasonics Deployed

When Grammy-winning songwriter, composer, drummer, programmer, engineer, remixer and producer Chris Vrenna is working on tracks for Tweaker, or video game scores like American McGee’s Alice, Enter The Matrix, and Quake, Area 51, The Sims 2 and Tabula Rasa, he primarily uses plug-ins and apps from Native Instruments, Arturia, Antares and Spectrasonics.

“I’ve really been getting into Stylus, Trilogy and Atmosphere,” says Vrenna. “It’s really good, super efficient, really cool sounding and gives you tons of good, raw material to start with.”

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