CHRIS STONE: Now, here's another cool trick: [CHRIS STONE PLAYS DVZ REALTIME STRINGS]. It's got vibrato [CHRIS STONE PLAYS DVZ REALTIME STRINGS]. Back down to normal [CHRIS STONE PLAYS DVZ REALTIME STRINGS].

Now, you can also go in between notes. If I want to play slur-dot-slur-dot [CHRIS STONE PLAYS SLUR-DOT-SLUR-DOT], I can do that or [CHRIS STONE PLAYS ANOTHER SLUR-DOT-SLUR-DOT PASSAGE]. Okay.

Now, here's another cool feature. What we have is our own mic lead simulator. This is the front of the stage, this is the back of the room and side to side. So, what this gives us is the ability that if I'm playing -- if I hear this viola over here, actually the first violins are picking up a little bit of that viola; that's mic lead simulation. A real orchestra, don't forget, every instrument in the orchestra will be picked up by every single microphone; that's what's missing in overdubs. That's why an overdub sounds like an overdub, and that's why when you try to take the strings and record like a little string pass, do another pass, and then it starts to sounding pinched like this, that's the Haas effect that you get by having the same players in the same spot in the same room playing the exact same stuff over and over again. With this, it gets rid of that. As a matter of fact, if you wanted to use live strings you could. We provide you with external inputs into our space algorithm so that you can actually play like vocals or drums or guitars through our space algorithm and actually incorporate that into this environment. This will also be coming soon. This will be available as a separate plugin that you can use with any of your other stuff. To get rid of that -- You can say goodbye to that overdub sound forever with this thing.

Alright. So, we can also change the room environment by picking or giving us a lot of mic leads. It's very much like a reverb in its sound but it's actually really mic lead simulation [CHRIS STONE DEMONSTRATES MIC LEAD SIMULATION]. So, I'm able to do some really cool stuff like if I were to use harmonics, for instance. I can get these really nice, interesting kind of [CHRIS STONE PLAYS EXAMPLE] a very X-Files you know. I want to bring that down into normal land, everything back down to here, and now we're back to normal [CHRIS STONE PLAYS PASSAGE NORMALLY], or I can even make a really tight room. Another really good trick here is to give yourself a very, very small room, and you can use your conventional reverb on top of that [CHRIS STONE PLAYS EXAMPLE]; yeah, it's really small room. Very tight [CHRIS STONE PLAYS EXAMPLE], make it a little bit brighter [CHRIS STONE PLAYS EXAMPLE], or a little bit bigger room. Keep in mind that you're not having to load or unload your different rooms tones. It's all completely adjustable right in real time [CHRIS STONE PLAYS ANOTHER EXAMPLE]. It's kind of one of my favorite settings right there.

We also have some cool performance tools here. Let me show you our pattern sequencer. For instance, if I want to, I've armed the two violins to follow this pattern [CHRIS STONE PLAYS PATTERN], but now I can play everyone without that pattern. [CHRIS STONE PLAYS EXAMPLE]