The Kontakt version of Adam Monroe's Slap Bass is cross-platform, and is maintained by Native Instruments, all the programming and effects being done through them. Some simple scripting is done by us. The VST, AU, and AAX versions are another beast entirely, and the programming falls entirely on AdamMonroeMusic. The goal in any sample library that is also a VSTi (virtual instrument), Audio Unit, or AAX plugin is to attempt to match the performance of the Kontakt Player. With this library, we feel like we have done just that.
The VST, AU, and AAX versions include updated, high-performance algorithms that have been improving with each new virtual instrument released by Adam Monroe Music. For example, the buffering algorithm is double-buffered and multithreaded, which means that buffering performance is fast, even on slower computers, and even in lower latencies. Voices are held and iterated over in a pure, C-Style array. Memory use is comparable to the Kontakt version. Because of the solid VST/AU/AAX code base, you can feel confident that the VST, AU, and AAX versions will
work just as well as the Kontakt version. Mac VST, AU, and AAX versions are 32/64 universal builds, and the the Carbon GUI framework have been replaced with Cocoa, compatible with OSX 10.9 and later.
This library now includes sample rate conversion for the VST, AU, and AAX versions. Sample rate conversion is automatic and real-time and supports 44.1, 48, 88.2, and 96 kHz sample rates. Why develop native VST, Audio Unit, or AAX versions at all? Although a great piece of software, the full version of Kontakt (required to run 3rd party sample libraries) is expensive. Developing VST, AU, and AAX versions that anyone can use does not add significant time to the development of a Slap Bass library - most of the time is spent sampling and processing the samples - so it's a real no-brainer.
Audio engineering is a large part of creating a VST/AU/AAX plugin, but the sound of this slap bass has barely been processed. Slight eq tweaks were done here and there, mostly so that the instrument would have a similar sonic footprint note-to-note. Some noise was removed to level out some of the "hotness" associated with bass guitar circuitry and pickups.