All Reviews by x_bruce

By x_bruce
On 12th March 2007
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Cakewalk Rapture

User Interface:
Rene and company have done a good job at Cakewalk. Rapture's interface is quite functional although it may take some time getting used to it.
Having done so, you will be pleasantly surprised at the amount of data squashed into this multitimbral or single channel instrument; you decide as you work with it.

Sound
I was somewhat concerned when I saw the word wavetable synthesis as part of Rapture's features. The synthesis is wavetable based, but the wavetables are frequently single and relatively tiny.
The good news is the wavetables are well designed and enable a large number of sounds, mostly of the synthetic type, and frequently used as a performance based synth.
Many of the presets use two or more of the six channels available. They are similar to Korg's Combination patches and fairly similar to the Korg Radias' implementation of its various synth engine's techniques. The major difference being the Radias has 128 waveforms, one per sound, and a huge synth engine beyond, but both use extensive splits, layers, Mod Matrix expressions that some synths just don't feature.

Lastly, the synth engine, besides being compact but brutally capable, features many forward-looking ideas such as large, changeable controls of envelopes and functions such as pitch, filter cutoff and resonance ala Absynth.
Unlike the prior reviewer, I don't feel Absynth and Rapture are all that similar. Their approach is not at all similar. Also, comparing Rapture to M42 isn't exactly fair.
Keep in mind I'm a big fan of M42 and it's cousin M41, but they too work differently and can't get the same ammount of sounds per patch, nor can they work multitimbrally. They have two oscillators whilst Rapture has up to six, and they are heavily editable in comparison.
They are different synths and that is the only reason I point these things out.

Features
Though it took me a couple of weeks to really get the idea behind Rapture I'd have to say it is a massive synth!
The presets sometimes didn't serve it well, nor did the somewhat skimpy manual - though it should be pointed out that while skimpy, the manual is exceptionally good and if read, will teach you the synth's 'way' of making sound.
When I say the sounds are sometimes a disservice, I don't mean the quality. In fact, there are some star sound designers and Cakewalk has released two new sets.
Also, you can import your own samples. They are meant to be small, but I experimented with wavetables as I know them and got PPG/Wavetable type sounds. That said, you can get those sounds once you understand the way Rapture works.

One of the most pleasant things about Rapture, and this is where the synth programs can confuse, is that it can make perfectly simple, deep synth sounds as well as sizzling leads and patches that range from tepid to non-stop undulating and changing.
And to me, that's the beauty of Rapture. As a lot of people go for the incredible and flashy things it can do, I like synths of this type to be able to do everything, particularly since they have the capability to.

The arpeggiator is excellent, consider using it over several channels. The LFOs have over 100 waveforms. There is an X/Y controller and waveshaper ala' Z3ta.
There isn't a sound you can't make in here, but that speaks for digalog sounds, not rompler stuff.

Documentation
Great manual in many languages but short. Though short it is fact filled and that is better than most any hard or soft synths out there.

Presets
As mentioned, the sound developers and patch designers are like a who's who of great quality work. There's about 400 patches in a nicely designed database that helps you find what you are looking for.

Customer Support
Cakewalk and RGC audio have always offered great service to me. I'd expect nothing to have changed.
Value For Money
The first week I got it I questioned Rapture's value. There are a lot of killer synths at the $200 /$300 range. But once I learned to use it, the value is very, very reasonable.

Stability
I have yet to have a crash with Rapture and I'm using it on a Athlon XP2400 with 1 gig of ram. It does use considerable ram so don't bother if you don't have a gig minimum.

Conclusion
Slick design, smart interface with many options and excellent quality sound.
Pros: can take the place of a few synths
Cons: you probably have those synths
Realization: You may have a lot of the sounds Rapture can do all over your synth library, but there is a nice syncronicity to Rapture's sound.
It is in the Native Instruments, VirSyn range of sound quality and should be a serious contender as your next synth.

By x_bruce
On 31st July 2005
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

EastWest Colossus

First, let me state, I'm doing a full review that will be available at musicFAQ, http://www.musicfaq.net in conjunction with TraxMusic where I also review, http://www.traxmusic.org
Having gotten that out of the way, here's a little bit about Colossus you might want to know.

If you want a General Midi library that is the last word on real, this is it. At first I thought, "great, just what the world needs, another GM synth." But that opinion changed the second I heard what East West was trying to do, which is, create a complete selection of sounds that are way beyond what we've come to expect from other libraries. These sounds are an order of magnitude above anything I've heard in a good sample based synth and at times is shocking how detailed and damn musical it is.

There's 16 gigs of GM based sample data. Ok, pianos...There are two gigabytes of acoustic piano. I don't care how it's marketed, that's a lot of piano and I'm happy to say it's the finest sounding piano I've heard. No matter the controller used, the pianos played and sounded great with percussive high end notes and thundering lower notes.

I suppose part of Colossus is a GM synth as long as you take all you've thought of previous General Midi and had a new look with the blinders off.

This is the most incredible collection of meat and potato sounds you will likely hear. That's because everything is played in real instrument ranges using techniques from actual players, all instruments are in the correct key and in range, so you will be changing sequences more than you might think. Your arrangement may change a little, but if you want reality, you'll find it here. It's GM but at it's absolute truest presentation, and unlike anything you've come to expect of GM libraries.

The electric pianos are nothing short of spectacular. Wurlitzer, Fender Rhoads and a to die for Yamaha CP electronic grand piano.

Orchestral instruments are courtesy of EWQLSO. The massed and solo strings have a wonderful quality which is closer miked than the Silver or Gold libraries, but this is sensible within the sound of this set and can be easily manipulated in the Kompakt front-end.

Choral sounds are also familiar, from the "Voices of the Apocylypse" collection and Guitars from the fairly recent guitar library release.

Especially nice are the percussion and ethnic instruments. I play many of these instruments and it's good to hear their actual playing technique. Will it change your GM sequence, hell yeah! And you'll find yourself thinking of changing things because these instruments are in their natural keys and note ranges. It is a shocking to hear this 24 bit, no compromise library of music that isn't insultingly lacking in depth of performance. And best of all, there's not one bad sound to be found! Every patch has a natural quality and many articulations as well as those you decide to create with the Kompakt GUI.

A bit about Kompakt now. I've written about the Kompakt specialty interfaces for several synths at this point along with the Intakt interface.

Within Kompakt you get amplitude, filter, 2 LFO and modulation envelopes. It is possible to create thick, beautifully expressive timbres with minimal programming. Best of all, Kompakt is laid out like a synth and makes sense to anyone familiar with synths. It's easy to learn if not.

So, if you like your marimbas a bit hotter and with more emphasis on the initial impulse hit, no problem, there's a 4 band eq or filters available that can be assigned AHDSR envelopes. The extra hold function is especially useful on drums and percussive sounds. If you program, you'll want to give this interface a spin. It is simple, yet highly capable.

As Kompakt has a total of eight multitimbral channels and each channel can easily handle 32 notes polyphony, your arrangements can be huge. Your old general midi files will recieve recessitation through the first dead serious treatment of General Midi instruments. To get the most out of Colossus, you'll end up rearranging your GM files, but it is worth that extra time and effort.

There are many old school organs, from hammond to farfisa.
The acoustic and electric guitars range good to outstanding, and there are the truly ingenius programs such as the Stormdrones; multiple synths at the touch of a mod wheel, and incredibly creative in the programming department. There's even a 'Lost' Stormdrum library that is of exceptional quality.

That is the wonderful thing about Colossus. 32 gigs of sample data that, I dare say, has no filler material. While some of the set has been part of other libraries, a great deal hasn't and the mix isn't noticible in the least.

There are many categories of sounds, some with duplications, but in a senible way. Why trudge through GM setups to find traditional pads as the library has many extra timbres to their catagory, and it's consistant in Colossus.

Colossus isn't inexpensive, but if you want the absolute best at what it does, here it is.

By x_bruce
On 31st July 2005
Version: 2.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

IK Multimedia SampleTank

I am amazed there are so few reviews for what is the best example of a company paying attention to their users.

IK Multimedia had a good product with SampleTank XL and XXL 1.0. The samples were of excellent quality and blended in well with other developers who worked within the SampleTank engine.

It did have two downfalls. First, the interface which for some, myself included was impossible to view and second, although the sample data was downright beautiful to useful at worst, ST1 wasn't very programmable.

Well, things have changed, and the changes have been nothing short of fantastic; WAV, AIFF, SDII, AKAI S-1000/3000 and SAMPLECELL are all supported. Name a feature, like the multiple filters, incredible effects, envelopes or all major functions, great filters, and you decide how to use them, although I suspect, many users will be pleased with the sample/patch set right out of the box.

I wanted a synthesis section worthy of the massive number of additional libraries and got my wish. Look at the features and seriously consider what can be done in ST2. How much more do you need? If it's complete control get a modular.

As I view it, SampleTank 2 is a niche product, a rather large niche product, but one, none the less. But as we'll see in this review, there is use for ST2 on virtually any synthesist's setup.

The way you look at ST2 will depend on how you work. Are you a tweaky type? Do you need to design, mangle, get the perfect quality to the sound you are working with and it's just not quite where you want it?

If so, SampleTank 2 has gone to exceptional lengths to help you out. No longer is ST2 a sample playback engine with a few user controls and excellent effects section, which in itself was capable of major changes for any given sound. But all that has changed with ST2.

Besides being a world class instrument, the sample import features are a major boon. SampleTank 2 is the real thing now. It's a sampler with a impressive 8 gig library of smartly thought out samples that are easily categorized with it's database functions. Beyond that, the sample quality is excellent which would be a necessity for a sample playback device, but have a look at the new, wonderfully customizable interface. Can't stand that red motif? Change it to anything you like and take in the clean lines and smashing synthesizer that SampleTank 2 has become.

Yes, it is a sample playback, subtractive synthesizer, but compare it to hardware of the same quality. Actually, strike that; compare ST2 to hardware with similar features. Hmm, scratch that too, there aren't any 8 gig sample synths that offer hundreds of exemplary multi-sampled sounds. Actually, make that closer to 128 mb or so, maybe expandable to 512 mb, assuming you'd even want the expansion libraries that'd cost you about $200 a shot for something between 16 to 64 mb of data and a few patches.

In a comparason like this, well, there isn't a fair one. SampleTank 2 and it's huge library of additional sounds, for example, the mellotron set which, while far from the G-Media virtual mellotron, M-Tron and it's 2 gig library at around $150, or slightly more than the AMG library for ST2, is still miles ahead of traditional libraries although the samples have been cleaned up and looped unlike M-Tron, which keeps to the mellotron tradition, but you get the point.

SampleTank 2 is loaded with wonderfully useful samples of "so-called" real instruments along with wonderful synth and effects sounds. And if 8 gigs of a well balanced, all you could want library doesn't do it for you, and considering that ST2 is now a serious synth with all the power of many other synthesizers and front ends for other libraries, it's hard to figure out why anyone would not like what ST2 has to offer, nor it's efficient 8 gig library. Efficient? An 8 gig library called efficient is like calling Jabba the Hut slim. These sounds which occupy a good deal of space are large, there is no doubt, but they are also filled with expression and to my delight, in areas that might have gotten in the way with other excellent libraries such as Sonik Synth 2 which share some similar "real" sounds, they are like variations on a theme, like comparing a Steinway to a Bosendorfer. Yeah, they're both pianos, but that's as appropriate as saying a Porche and PT Cruiser are automobiles. They are, and while the price/quality function isn't germain here, the idea of any two visions of sample/patch developers ideas of a great piano patch being identical are silly.

I'm a guitarist by trade. If you tell me a Gibson Les Paul is same sounding to a Fender Telecaster, I'll say check your hearing, 'cause the only things in common are they use pickups and are called guitars. Beyond that the sound, and SampleTank 2 has it's own sound as does any fine quality sample library, is one you will find useful again and again. Speaking of again, ST2 is a great companion to Sonik Synth 2, also in ST2 format, plus it's own wonderful GUI.

A must buy!

By x_bruce
On 20th December 2004
Version: 1.2

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Image Line Sytrus

Sytrus is Fruityloops most complex and best quality synth to date. Combining equal parts Native Instruments FM-7 and Big Tick Rhino 2 for inspiration it finds an equal balance between the two and brings a very strong analog sound, particularly in it's basic programming mode.

Likes:
* excellent sound and equally excellent synth programming that shows off the capabilities of Sytrus
* well designed interface that makes programming FM easier than the prior champ, FM-7
* DX-7 sysex import that is very faithful
* easy interface that is sufficient for many users to program without getting involved in FM synthesis programming.

Dislikes:
* non-resizeable interface which is on the small side on screen resolutions 1024x768 or higher.
* too many knobs on the easy interface makes programming a bit difficult at times
* try as I have, and by looking at my ratings I think highly of Sytrus, but feel it is a bit too inspired by Rhino 2's feature set

The last I'll mention is *I* feel Sytrus is so fundementally good it didn't need to seemingly "borrow" so much for Rhino 2. I felt this way when I first tried it and still do having learned the Sytrus way. It is obvious the programming is exemplary and makes me wonder what we could have looked forward to without this influence.

Now, for the great news; Sytrus sounds fantastic and if you at all were waiting to purchase Fruityloops XXL this is reason enough. Sytrus has an amazing capability of sounding nothing like what you'd expect of a FM synth. All of it's digital nature can be tweaked out of it making for a great sounding analog in digital clothing. And yet Sytrus is currently the best implementation of FM synthesis. Imported DX-7 sounds are excellent in translation which means you have thousands of patches ready to get for free and able to be supercharged by Sytrus' enhanced sound engine.

My favorite use for Sytrus is to use some tired old FM sounds, I'm not enamored of the DX-7 sound until you can do more modern signal processing, and Sytrus has the goods. There are multiple onboard effects including distortion, delay and modulation effects. Beyond this there are some wickedly good filters that are quite suitable towards the digital nature of sound that FM exudes.

Besides giving FM a pair of balls, there is a lush sound due to the flexible delays and simple programming of FM that makes it so much easier to get sounds that FM was always known for as well as those it wasn't, like sweeped filters, airy blown sounds or flat out analog-styled saws.

You can go from etherial and delicate to harsh and squelchy via FM synthesis, effects or filters. There are many ways of getting to what you want in Sytrus, a feature I expect of any synth that I take seriously. And at it's $179 asking price you better be in a serious mood as this is a lot of scratch for a synth; putting it into z3ta, Rob Papen's Albino (1400 patches and some 3rd party extras to make you wonder what synth was being used); you get the idea. That's why it's a no-brainer to consider Fruityloops Studio XXL. It's the most effective means of purchasing and has come a long way. Now at 5.0 and sporting all kinds of new, included synths, not to mention a studio to work Sytrus through, you have a pretty damn good setup.

I can't help think this was part of Sytrus' pricing. Spend a bit more and you have a lot of kit besides Sytrus to work with. And since FL is both host and client ReWire as well as a VST host and synth, you can use Sytrus anywhere you might not have considered as well as Fruity and whatever features excite you, or perhaps Fruity will become your favorite host.

So is Sytrus a pawn in the Image Line desire to take over your musical chores? In some sense yes, and if you like cutting your nose to spite your face just by Sytrus. Otherwise spend a bit more and get lots of fun things to work with. The bottom line is Sytrus is a serious synth that can justify it's cost. It is $179 good and for FM programming you will get no better unless you prefer FM-7's interface. If you do you'll get less synth for your dollar but an amazingly small CPU footprint compared to Sytrus which is good in its own right.

The X/Y controller is helpful in getting sounds moving and waveshaping is excellent at creating warmer sounds than traditional FM. Waveshaping can also be used to go beyond anything you've thought you heard in digital for you FX and noise freaks.

My prior exception noted and suggestion you try the other synths, FM-7 and Rhino 2 which Sytrus owe lineage to you'll find one of those three to be what you're looking for.

A good synth that misses greatness - barely. I need glasses to work with Sytrus and that's enough to slow me down when working. Workflow is good on Sytrus beyond that and could easily be your main synth.

I use Sytrus for evolving pads, soundscapes and leads mostly. It has a great bass sound and does excellent percussion sounds; it is a FM synth after all!

Last edited : 21st December 2004

By x_bruce
On 9th December 2004
Version: 2.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

reFX Slayer

Let's keep this simple; if you like heavy electric guitars, crushing riffs, big powerchords and wailing leads you need reFX Slayer 2.

What is it?
Slayer is a guitar, amplifier, cabinet and stomp box effects module in one. Lets go with what it can't do as that is much easier to cover.

Slayer is not the last word on clean electric or acoustic model guitars. It is however, very convincing as a electric guitar, from crunchy riffs to massive chords and lead lines that can utilize a lower octave effect, a fuzz box going into a fully distored amp and still have room for tonal manipulation.

Guitar models have a sliding pickup for either single or humbucking pickups and a plethora of tones thanks to placement of effects pre or post amp, or both. It is possible to get clean tones and even aggressive acoustic sounds. It has to do with where your distortion is and what you do with the various combinations.

Pros: many sounds real guitars make, lots of choices in how to create sounds, from infinately sustaining acoustic to mutes that Rock Godz play a mile a minute.

Cons: no matter how good the sound you have to learn to play and think like a guitarist/bassist

I was set to dislike Slayer. Just the name brought me back to big hair and spandex. Sure, there's lots of closet metal fetishists who play keys and wanted to have the fun their guitarists had and those people will love Slayer. However, if you walk into it with the ability to be fair if you are like me, you will be dumbfounded at how good a guitar synth can sound.

Let's discuss what's under the hood, so to speak.

Let's start with the guitar body first. You'll notice a pick across the strings. Move the pick to the neck and bridge positions and listen to the changes. They range from massive to subtle.

There are controls like slap and dynamics along with delay and release you'd never find on a real guitar, but these are crucial to creating the guitar model's nuisance. There are controls for type of material and size of the guitar's body. These alone give great flexibility but there are even bigger ways of making the right sound. The menu with strumming and arpeggiating styles has a lot to do with the final sound as does the guitar hue slide.

You'll also notice many styles of picking and coils. A rule of thumb; no coils means acoustic or clean sound, one coil means a more single pickup or single coil sound and two pickups means fat guitars ready for getting loud with. Still, if you look back at the picking styles you'll notice some are designed for bass and like guitar, while a bit unweildy you can get some terrific bass sounds out of Slayer.

Then there is the amp; there is a collection of amp types and speaker cabinets. When mixing and matching pay lots of attention to the feedback and distortion controls. They can create some very exotic sounding instruments but they are heavily connected to each model and a feeding back acoustic with a bit of fuzz just sounds odd, probably cool, but not always what you want. The modes are self evident, pay attention to the bass, mid and treble controls as they too can easily change the amp from mild to wild.

Last and far from least, there are sixteen effects, all looking like and for the most part acting like a stomp box pedal. The rotary and chorus pedals are lovely as are the delay and harmonizer.

Many of the presets were same sounding, going for that metal sound that is bigger than life and twice as loud. They guitar sound was still good but generic, and like a good player if you understand which pedals go in the right order and pre versus post amp you wil need time to learn.

I'm a guitarist and play frequently. I play synths out necessity. When I learned keyboard there were no midi guitars. They were 10 years away. I'm very impressed as a guitarist and wouldn't mind the rig that the Slayer 2 guitar has.

Your best bet towards true character from guitar is learning it while paying attention to how a guitar is mixed, the kind of solo equipment and the note selection. If you can come close to this you'll find Slayer 2 invaluable unless you use real guitarists or loops (hiss, boo!)

Well worth the ~$90 price tag. Not only is it accurate within it's musical styles, it is capable of more styles than people may be aware. From a personal level, guitar is an important instrument, one that is usually terribly sampled or so pristine you wonder if the player or sample developer had a clue as to how difficult they were making it for skilled players to actually sound remotely close to real guitar. Every brass player I know feels similarly about their instrument.

I like reFX's virtual guitar because it sounds like real guitars within the style it is modeled after as well as the crazy weird sounds that even guitarists would be thrilled to be able to make. I wish there was a reFX guitar effects processer. It would be on my wish list in fact.

If you like the kind of sound Slayer, still don't like the name, is a gem.

By x_bruce
On 9th December 2004
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

White Noise Audio Zero Vector

WhiteNoise Audio has complteted a hatrick by unleashing ZeroVector, their third high quality synth since they started.

Impressions:
Great sound quality, wonderful filters and a good deal of twittering, chirping, massive sweeps, evolution of sound and of course, great traditional sounds like basses and leads. Even traditional patches have a sound that slices through a mix. ZeroVector has that intangible quality that is appealing. It's interface is a thing of workflow bliss.

Sounds:
If you think a analog wavestation that isn't tied completely to vector synthesis would be a good instrument to have, ZeroVector is it.

Pros: x/y pad assigned by mod matrix, vector pad with recording and variable speed playback of movements, modulation matrix, clean design, a unique sound that manages to feel familiar.

Cons: perhaps cost, but you pay for quality which is something that should be abudnantly clear to those who shop for new commercial and shareware synths.

The balance of this review discusses the GUI, controls and to a degree how to program ZeroVector.

ZeroVector is a killer synth. You won't be starving for sound in this exceptionaly well designed synth. Each of the three oscillators has a total of 35 waveforms to chose from including none (or off). Oscillator one has semitone, detune, clone and volume controls. This is the "small" oscillator set. The 2nd one has an invert, sync and key off button with additional frequency modulation controls and oscillator three has invert, ringmod, sync and key off.

Of interest is the vector section, a triangle facing towards the right side of the compact interface. There are controls for recording and rate. When recording you can do so freehand in which case every movement and nuiance is captured. You can also draw straight lines but after a bit of practice you'll get to love the freehand mode. Once you finish recording you have developed a relationship with whatever has been assigned to the vector controller. At it's minimal the oscillators are noted at each junction. The speed of the traveling controller is modified by the control with the same name.

There are also envelopes for amplitude and filter. The envelopes are five part ADSRV types. In terms of filters there are two located on the interface's top right with several filter types including three formant styles. Cutoff and Resonance are available as well as Envelope, Key Scale and Drive. Filter two has Cutoff and Filter with an A:B switch that allows either or both oscillators to work as well as a link button. You design the two filters and based on their arrangement use the Mix button to fine tune.

There are also global conrols such as skin change, global volume, bend, pan, amount of polyphony and choice of polyphonic or three different mono modes; fingered, retriggered and plain old normal mono.

The Arpeggiator mode has the standard up, down, random, etc. controls but is spiced up with 16 patterns and up to 4 octaves. There are length and swing controls as well.

What we've got here is a fairly powerful synth that has a cool feature in it's vector pad. However, this is the first of two pages. The fun stuff starts on page two.

There is an eight part modular matrix that features sixteen modulation destinations including page 2's X/Y pad, a stock feature so far on WhiteNoise synths, and a welcomed one. There's also destinations for the multi-envelopes, pad and volume along with controllers that can be assigned to the vector pad. Now things are getting interesting, and indeed there's the 14 routings in the modulation matrix including filters, amp envelopes, filters and so on. Wisely the envelope 1 set is next to the mod matrix. It too is ADSRV.

There are two free envelopes that are graphical and multi-point, or in their case, multi-bar. It is possible to save presets besides the ones supplied and create complex types of envelopes that can be applied as desired in the mod matrix. Another great feature is the scalability of each envelope. The solid bar below the envelope can be set to any combination from a small segment to the complete envelope, besides that, each envelope has a horizontal length slider. This changes how long the envelope takes to complete one cycle. There are also buttons that set how the envelope will behave! It is so deceptively simple that newbies will approach this synth and simply try things out. And what a surprise they are in for! Little things can cause major changes. There's also a series of effects either on or off based on buttons. They include a brilliant distortion, chorus, phaser, delay (with sync), reverb and EQ. Several of these effects can be controlled through the mod matrix making for subtle complexity. Finally, there's the x/y control which sends midi.

In all, Zero Vector is a major synth with tons of capabiliies and tons of personality.

Strongly recommended

Last edited : 13th December 2004

By x_bruce
On 8th December 2004
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Synapse Audio Poly-850

The Synapse Audio Poly-850 is a teriffic and unique synthesizer. It is a 2 or 3 trick pony and as such is worth it's somewhat high priced synth.

Your purchase is fairly easy to decide. First, there's a demo; download it and try some of the factory patches. They will clue you in on the sound of the Poly-850. If you are new to synthesis this may be a good start although it is slightly different from synths you'd find in similar prices. If you are growing tired of the overused Juno / JX3P sound the Audio Poly-850 will be a welcomed alternative from those 80s style synths still held in high esteem.

Modelled after the Korg Poly 800 synth the Synapse Poly-850 comes very close and is actually a bit more interesting. The oscillators are beautifully reproduced and have the character of a classic synth, the reason why you might want one in your synth arsenal.

The design is simple yet sophisticated; two oscillators with multiple pitch assignments, a feature that is somewhat unique on this synth and plays a big part on not only pitch but timbre as well. The synthesis may be new to those who've worked with traditional analog synths and skipped the digital and mixed analog and digital component based synths.

There are two envelope generators which are more flexible than many of the contemporary synths of it's time and in a historical way, bringing about the envelopes used to create amplitude (volume for the non-technical) as a source of higher controlled capabilities. The six part envelopes help create more complex sounds and with more complex sound comes what was in the day, a unique kind of sound, at once warm and also capable of taking otherwise cold sounds. The result as witnessed in the Audio Poly-850 sound great.

The LFO and filters were also different with partial filter envelopes and modulation. It was and is a synth that demands to be thought of differently.

With simple chorus, chorus/delay, noise and volume used as sources of oscillator change and modulation and filter effects. This is a synth that is still unique and in it's day caused a real sensation as the sounds were often alien and because of DCOs, aka Digitally Controlled Oscillaors, the days of drifting tone generation were solved even if the oscillator sounded different. Similar things were said of the Juno and JX series and their digital oscillator(s) and digitally controlled filters.

Lest you think this foreshadowed FM synthesis or additive this was far from correct. These were simple digitally controlled components interacting with analog circuitry and subtractive synthesis. Still, with the Poly 800 new ground was broken although Synapse has created a better Poly 800 with the Audio Poly-850.

As for Synapse's choice to develop the Poly-850, it may seem out of character and somewhat expensive with today's super-complex synths, however, this has as much charm as the more complex and rarer OSCar and it's virtual transformation by G-Media/Ohm Force into the brilliant impOSCar. The 850's sound is, as a user said to me a few days ago "charming."

You can get similar sounds from synths like Rob Papen/LinPlug's Albino 2 which is part analog, part digital and in general a big synth with tremendous capability and bigger cost.

Synapse kept the price of Audio Poly-850 to $80 USD which as said before, may find some users asking why such a simple synth would cost this much.

The answer is self-evident. We're not supposed to say it here but the Poly-850 rocks! It has a different etherial sound that can get fairly ballsy. The 850 does beautifully rounded and breathy flute type leads that are nothing like a real flute other than the way flutes sound when played. This is what you are paying for if you like these types of sounds. They sound good and they have that feeling of being "right" when playing. In that respect Synapse has created a synth that is in the top eschelon of design.

Even better for Synapse, they had nothing at all similar to Audio Poly-850 which makes it a great fit in it's all-in-one studio, Orion Platinum and with it's dissimilar sounding VST instruments known more for their bass and lead sounds.

If you use words like etherial or soulful to describe patches you'll like Poly-850. If you want a big sounding synth start with Vanguard or Pentagon or even Synapse's own Scorpion, a wonderfully large sounding lead synth. As for a different take of the 80s, Audio Poly-850 is highly recommended.

The one bone I have to pick with Synapse are the 64 presets included with this great synth. It would not have killed them to offer something closer to 256 at this price point. Should you buy Poly-850 you'll be able to get Kriminal's excellent patch sets for free. Thankfully anyone moderately into synth programming will get the feel for this unique and underappreciated blast from the past.

Get it if you want the alternative to the Roland sound and an extension towards Korgs DW8000.

This will be on a lot of forward thinking studio's computers.

By x_bruce
On 8th December 2004
Version: 1.03

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

reFX Vanguard

With a simple synth interface, familiar to anyone who's programmed a synthesizer and not terribly hard to figure out for those new to synthesis, Vanguard is an excellent synth for virtual analog sounds that remain being popular.

If assigned a score for smooth and suave vs. hard and nasty Vanguard leans a bit towards the hard sound, say a 6 or 7 with 10 being a 303 in full squelch mode. The instrument has the character of an 80s synth with 70s mono-synth sensibility. The sounds are fat and big. In a war with Pentagon which is my standard bearer for high output, big sounding synths it was a tie with Vanguard.

Quite a bit of preset and the synth engine is spent on arpeggiation and the now famous "trancegate". There is a bit of remembering to consider here. It may seem petty but Vanguard was the first synth to seriously entrench the easy to program step sequencer that became known for it's name "trancegate". Also of historical importance is a unfair backlash on the synth for jumping from a pleasant Alpha Juno clone to a further extended synth. The jump into a "large" synth puts Vanguard into a new class of synths.

No longer a somewhat simple mid-priced synth it was playing with the then new z3ta, Albino and Rhino synths. And to be blunt, it does not beat any of these semi-modular synths in terms of flexibility, but it comes close to competing at a considerably smaller price and with a much simpler interface. In fact, it's the easiest of the "big" sounding synths and also the least expensive.

Money matters as you can only expect so much at certain prices and to ReFX's credit, the price was closer to a more limited synth which has shown over time to be a smart move.

There are three oscillators with 31 wave choices, octave, semitone and minor detuning all routed to a "fat" control. :) There are 11 filter types from LP to Formant which give a good deal of diversity to them. Vanguard enables velocity and keyboard tracking which makes for some beautifully complex leads and pads. There are also two highly controlable analog style envelopes, LFO with retrigger for each oscillator along with filter and PWM fixed controls. The amplitude section works similarly.

There is the combination of arpeggiation and trancegate, something that's quite enjoyable considering you can set up the synth to modulate several different possibilities rather than what may seem the fixed resonance that so many Trance tracks have made this chopped up, highly note gate controlled sound. Going past it's Trance roots this is a very useful and easy to work with 16 step stepsequencer. Also, each assigned part can be chopped at different timing values for great sounding analog sounding evolving timbres, great for almost any sound you decide to use, and although Vanguard is a big sounding synth it isn't as complicated nor expansive as rgc:audio's Pentagon.

The question to ask is, is this necessary for you? If so, you'll probably be happier with Pentagon and that's about that. But Vanguard has it's own character and it's a bit more fatter and harder than the other large scale VA VST instruments.

Basically, Vanguard ends up being a very good sounding, very fat and typically pleasing sounding synth. Take away the trancegate and remove that whole element and you have a modestly powered big sounding synth that makes sense at it's price point, about $100 USD. If you want the gated sequencer you'll want Vanguard over some of it's similarly priced competitors and the unchanged in 4 years Pentagon which is the synth that shares the most sound qualities with.

If you want harder you've got your decision again, Vanguard. Similarly, if you want that smooth sound like a LinPlug you're going to pay for that, about $100 extra.

Presets are techno based but that can easily be changed. If you're learning this is a good synth to learn on. What it comes down to is ReFX's very good customer service vs less expensive synths with unproven track histories. In terms of patch banks you'll need to select if you aren't using Vanguard for techno. Still, it is an elegant design that makes learning easy and most likely fun. Like all great synths there are all kinds of patches available for free and purchase. This is a important feature for seats at a studio or a producer's DAW.

Try the demo if you like VAs, it's not whether you'll like it, whether it fits your needs or not. Pay attention to what works well with your setup and decide that way.

Vanguard is certainly worth the money but is in a price range that is highly competitive and viewed as a serious purchase. Only you can decide what is best for you.

By x_bruce
On 8th December 2004
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Code Audio BeatBurner

This is one incredible idea that is credibly built and features a great, easy to work with interface. This is the kind of ensemble you'd want Reaktor to do but it doesn't have the filters for them nor the excellent user interface.

In terms of sounds, there's not much you can't do with BeatBurner other than going for ambient soundscapes. You can get execptional ambient sounds, but not the kind used as most musicians use it. Still, if you want throbbing bases, massive drum parts, a predictable, self-controlled bass and drum setup or threatening to eerie ambiences.

It all depends on what you use as a sample to get things started. Based on the 300+ mb sample library of drums and bass patterns you'll get some of the nicest changes of pace in what drums sound like or what bass to lead tracks can work. It's a wonderful sound that trancends styles. Ask yourself if you like synths that evolve or do unique things that are different but still useful? If so, you need to consider BeatBurner as part of your music arsenal.

It has crashed a couple times out of 100 but in general is well behaved. The presets are good ideas of what can be done with BeatBurner, a Code Audio product distributed by G-Media. If you like experimenting in any way this is your beat oriented synth....and you don't have to use only use drum samples. Anything with a well defined pulse will do. The results are up to you although Greg from Code Audio suggested working with the balance of the sample vs the synthesized sound. It's great advice as some sounds will sound unexciting until you do some tweaking of the two, and that goes for each part of the synth. The synthesis engine is unique and will be somewhat detailed in discussion.

BeatBurner is essentially a sample playback synth that is optimized for drum loops. You load a sample which shows up in a lane. It runs and you can see the transients available to you. The track itself is set up so you can apply as much or none of the original signal to the synth sample which too can be as quiet or loud as you please.

The synthesis part of BeatBurner is simple but sophisticated. Below the sample display are pitch (broken into many tiny individual segments, similar more to something that can be easily worked from on the pitch to several octaves in either direction off and for short to as long as the sample sequence goes. Below is a multipart envelope that controls the filter and LFO. Visual tools like these make the number of controls more worthwhile of exploring than some programing phobic souls will learn to put up with.

The pitch controller graphical window allows you to create pitch slides, create modulations like moving the pitch wheel on a controller might if you were good at carefully moving it up and down.

There are two pre-filters, meaning the filters are first in the chain rather than down the signal flow which is typically where it would be found. The synth engine is actually a five band waveshaper, similar to a EQ but controlling the signal rather than effecting it. There are also a more traditional 4 control synth engine that controls decay, detune, glide and mix. Fully counter clockwise there's no sound, the further clockwise the more effect on the signal chain. There is also a simple but great sounding delay effect and flanger.

Each pre-filter is available with a linear control for either or degrees of both available. This is similar to many synths that use oscillator faders if that helps you get a handle on things.

Below that and paired to the multi-stage envelope are additional(!) multi-envelope filters. If you are familiar with filters you get an idea how sounds can quickly be changed into something very unique by working with them. If you don't it will take you less than a few minutes to figure out how to use them. Beyond this is a distortion algorithm that is quite good, from subtle to woofer shaking into a multiple envelope LFO that is simply deadly for basses and transmuting drums into secondary, drone like sounds or at other times like having a sub-oscillator. And at the end of the chain, in case we haven't had enough fun with filters there is a post-filter.

This is a simple design, in some ways a precursor to monolithic synths like Symptohm:Melohman and being part of the G-Media family it's not all that surprising the whole system sounds like a fantastic drum mega-filter VST. Yet it is the ability to go the extra few small steps that makes BeatBurner so interesting. It has a lot of use as a drum synth or a rhythmic synth, even a synth line generator.

Pros: read the beginning of this review if you need more pros.
Cons: you need to save your stuff as it sometimes can crash. This may vary with computers.
Verdict: if you make beats and want rhythmic things to work with, this is itn and at an attractive price. Don't think tweaking works? Try hitting the randomize button, not only do you get changes but they're almost always good sounding and on of the best things found in 04!

By x_bruce
On 6th December 2004
Version: 1.4a

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Wusik EVE - Electronic Vintage Ensemble

Nusofting/Dash have created a wonderfully simple yet powerful sample playback synth that acts more like an analog synth in EVE. EVE is short for Electronic Vintage Ensemble. It is priced at $90 which is quite attractive considering it's capabilities and additional libraries, one of which we will discuss in this review. That library is an additional cost but in my case one of my favorite reasons for using EVE.

The included samples are exceptional sounding, my favorite being the Yamaha CP-70 electric grand piano. It is a favorite not only because of the sample quality, which is excellent, but because of the the synth design itself. With all the EQ, filter, LFO and modulation capabilities it's easy to tweak a preset to work with a mix or get serious with EVE and program something vastly different within seconds. This means that after following the synth engine, which is a bit different in design than some synths you may have worked with but quite powerful. It is also a quick read of the excellent manual.

Secondly, I was able to get the incredible HQS1 FS1R sample module which is in essence a greatest hits multisample package of the famed Yamaha FS1R. Briefly, the FS1R introduced a new way of looking at FM synthesis. It was as capable as reveered synths like the Kawai K5000 etc. The HQS1 and EVE bring back a synthesizer I miss even to this day.

Looking at the synth interface, mixing and controlling samples are the abilities of turning on or off, free, sync and invert to the LFO section. whatever controls are used. This makes for a very small CPU footprint and runs well on less powerful computers.

EVE uses up to three samples per patch. And so we are clear, a sample can be anything from a loop to a highly functional multisample. Per oscillator you have all the typical synth capabilities with a few interesting choices for how the interface is designed. Besides an envelope section there are also 3 band EQs with on/off buttons which can be instrumental in developing well designed patches. Besides this is a individual mod-matrix using send/returns to the LFO similar to a mixing console. This may be confusing to some but the manual will explain what you need to know.

Furtheremore, the large readout offers information as to what section of the interface you are at. The way the synth works it doesn't seem to have a modulation matrix. I suspect some people are so turned off or afraid of messing with the mod matrix that they never bother. In EVE it is like fooling a person into manipulation of the sound engine with it's very different modulation matrix explained above. But there are more excellent touches such as drawn or knob controlled sample start and end points. This makes it easy to create traditional layers, or more complex configurations as you'd expect from a digital synth, set up to behave like a analog synth. It's somewhat hard to explain without pictures but have a look at the one at the top of this page, you'll see what I'm talkingabout quickly. I know I appreciate how quick this interface is. When I am working and have the basic sound I'll end up with, I just want to work, not spend time trying to zip around multiple menus or screens. There is only a single screen on the synt which is wonderful but there are a number of helpful right clicked menus.

There are modulation type effects including chorus, flange, phazer and rotary. The detail is admiriable and similar to most studio quality setups. The other effect is echo although it can produce anything for modest reverbs to long delays which are perfect for pianos, that CS-80P or the Rhodes and other EPs. There are several traditional synths and a lot of useful multisampled waveforms that allow the user to create excellent pads, leads and meat and potato sounds like organs and pianos.

Now a bit about the HQS1 FS1R module. While a bit short on voice (something that was incredible about the FS1R) the samples are well designed and near perfect replicas of the FS1R which was doomed from it's 1 unit rack and massive 8 operator, and format filter. The synth was a DX7 cubed and with lots of great features, most covered in this wonderful sample set. I use EVE frequently, besides the HQS1 library there are half a dozen others available by 3rd parties and Nusofting/Dash. Because of the types of useful samples and strong synthesis capabilities EVE is the kind of synth that becomes the artist's secret weapon. In some ways it doesn't get the respect it deserves as EVE is capable of stunning sounds.

I would recommend EVE and a few soundsets to any electronic, rock, blues or pop producer or end user. It has a beefy low end without being tubby and loose with a nicely balanced overall sound that will almost certainly cut through a mix effortlessly and with minimum post production issues. Not only that, but EVE is unique in similar ways to some of the EMU hardware synths. EMU had a great engine and some kick ass sample libraries. EVE is similar at a fifth the price!

By x_bruce
On 6th December 2004
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

ConcreteFX Kubik

Kubik is the cumulative work by ConcreteFX. It incorporates a new level of sophistication and unique features seldom found anywhere but CoFX products. I was a part-time beta tester and perpetual nag, trying to get my ideas heard. Were they? No, they were developing before I could say to Jon, "hey can we have an individual dialog box for each of the 64 note waveshapers, and so on.

The interface is a lovely, easy on the eyes flat design. It screams functionality and lives up to it's promise. Each oscillator is exceptionally modeled with filters that are warm to pliantly thin. Kubik is about sound possibilities and uses several approaches to it, in particular wavetables, many of them, all as simple as you want it to be and capable of massive complexity that I wouldn't be happy with in a ConcreteFX design.

Patch designers will love the wavetable designer which works like a microWave on steroids yet can make the funky, weird little sounds PPG Wave users have grown fond of. More importantly, Kubik takes on the wavetable design, makes it dead simple (providing you read the included manual) along with a slew of analog beauty in the filter department straight through to near FM by way of implited FM sound matched to a beautiful timbre reminicient of Big Tick Rhino 2 and even parts of VirSyn TERA 2. These are not idle comparisons, for as good as the wavetable theme is addressed, and it beats Waldorf's PPG Wave 2.v VSTi which was quirky and a tad confusing compared to Kubik's clean lines and direct programming capabilities, Kubik ups the ante and throws a "diga-log" style synth at you as well.

Hybrid synths are more the norm than specialty item they were in 2003. Users are expecting more and they are getting a full compliment in this exemplary synth. For those who ever wondered if the Waldorf sound could be improved upon and driven in different directions that have a truly unique synergy, the answer is yes.

Kubik can sound like the virtual (no pun intended) Chaeleon. Big thick leads, pads and basses are available. Even bigger, expansive pads and evocative synth sounds are shown in full ardor. Kubik is one bad ass synth that does a lot of things well with less firepower than some may expect.

While the effects are excellent and of course have gating capabilities that will make a trance head get moist, the thing that keeps impressing is how broad the range and how high the quality Kubik exudes. In a recent discussion I asked Jon at ConcreteFX if he felt Kubik was his masterwork. It is obvious Jon has confidence in his work, and of the existing developers, none have been as neglected as ConcreteFX; most likely because, like Kubik, selling at $90. The line is kept ascessible in price with wonderful package deals and frequent updates.

While Jon may be too polite I'm not; Kubik is one of the best synths of 2004 and on a budget that Mother Theresa could have found the cash for.

Customer support is excellent with potential bugs taken serious as a heart attack. ConcreteFX has run the gammut of virtual synths but in Kubik have found ways to uncrown several FM synths (used with external effects!!), the venerable PPG Wave 2.v and other wavetable synths.

There are many available single cycle waves to work with. Just like a real PPG you add the waves to create a wavetable. In terms of control you have 64 waves per table and those left blank are interpolated, meaning in essence morphed, for that classic sound we've grown to love (and in some sad souls, hate) but even in the wavetable itself there is enough control between the modulation and LFO routings and envelopes to take the typical moving sound and make it more undulating and liquid. It's a neat trick and when employed with the modulation matrix can do some remarkable sounds that are refreshingly unique.

Though often thought of as a "role player" synth, there is plenty of sonic firepower for the average user to experienced developer.

There are many hundreds of presets available in Kubik's library. More will show up as I think this will become an important synthesizer, not just for 2004, but in years to come.

The craft and complexity of Kubik are trademarked ConcreteFX staples, but on Kubik there are many areas that are simpler to use than previous "concept synths" such as Adder, Ensembler, Etherial and Digital. For the first time ConcreteFX extend the audience by creating an exceptionally full and rich synth that can be learned as one goes along and has the presets to make all audiences happy.

At $90 it is a steal. Support shareware developers, they like to eat. Download and hear for yourself how wonderful the overall sound is.

Kubik is my pick of the year. It is amazingly deep while remaining fundementally easy to learn and outright fun. It's only down-side is how easy it is to get lost in the many traditional and expressive sounds capable...and at such a reasonable price!

By x_bruce
On 6th December 2004
Version: 1.09

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Wusik Wusik Station

As most people have covered the features and you can read about the specifications, I'm going to discuss general impressions, real world capabilities and a small rant.

First off; if you've wanted a Wavestation but never could afford one you're almost there with Wusikstation. I say almost because Korg owns the sound samples of the Wavestation. They make a almost literal clone of that wonderful old instrument leaving nothing changed other than a pretty user interface. And that's the first reason to start considering alternatives such as Wusikstation. It's a better synth than Korg's. If you think multiple filter algorithms and controllable resonance are even the tiniest bit important than Wusikstation is your choice. If you want a more diverse and vastly better sound quality sample set that you and 3rd party developers can add to, well you get the point, you want a Wusikstation.

But do you need one? Considering that you have hundreds upon hundreds of available multisamples, similar numbers of professional presets and Wusik's excellent customer service it seems silly to go elsewhere. And of course, there is the price. The Wusikstation has been in group purchases but goes regularly for $100 which is quite reasonable considering sample content and the wonderful library provided. If you own Nusofting/Dash's EVE you should be able to use these libraries as well. They were available as add on's only a year ago.

Hopefully you aren't buying Wusikstation to trigger samples as any synth can do this. No, we will figure you have some desire to program Wusikstation and as such will be delighted with the options available. Particularly nice is the wave sequencing section which allows TWO wave sequences. You can create simple rhythmic sections to full blown melodies and do so in a friendly near-analog style editor. Wave sequencing is taking a sample, triggering it's pitch and length. You can us multiple samples, polyphonic pitches and in general you can put it together in a friendly, intuitive way.

The sample synth engine is also intuitive while allowing for as much complexity as you wish to use. Do you need all the routings available? Probably not, but sound developers and producers will be thankful they are there.

Wusikstation is a cheery reinvention of a classic design that takes it to considerable lengths. The quality is wonderful and easy to adjust on the fly, a plus when mixing. It's layout is utilitarian but is skinnable and some of the skins are absolutely stunning in both form and function and because they look beautiful. Whether you think beauty matters is your own consideration. I care about the utility of skinning and further refining a well designed interface and it doesn't hurt that the synth is fun to look at.

One issue to seriously consider is "Is it exactly like a Wavestation". No; it's not and can't be. Korg owns the sample set and does not license it. You may be able to find copies of the sampleset but it is not legal to use unless you have the hardware and did the job. Consider that my "I said what had to be said" section. The Wusikstation is also not a Wavestation in terms of performance. Frankly, the old WS is weak in performance, programming and upgradability. If you want the themes behind the original, they're in Wusikstation and that should be the reason you'd want to shell over your hard earned money. But it's not a clone. It is vastly more synthesizer and but for a few overused sounds you can do almost everything the classic synth did and all the things you pleaded to see but were never paid mind to.

Rarely would I recommend a synth like this as a first synth but it is capable of doing traditional synthesis as well as exotic and neither are much more difficult from the other.

I can't see a person seriously consider the Korg product in comparison to Wusik's superior in all respects synth. WilliamK has been in the virtual synth world for nearly a decade and knows how to get things accomplished as shown on this, his exceptional debut. When somene wants to see something I expect; no, I demand to see the quality and you can do so with the lavish demo of Wusikstation.

For a first product of a new company there is a maturity that is impressive and pleasant. Wusikstation is a well designed, excellent sounding VSTi that will bring back fond memories of 1991 or so where it seemed sample playback synths were going to actually interesting.

It took soft synths to remind us of how fun sample based synths could be and Wusikstation is a reminder to those old and new on how a good design makes a good sound.

It is also a warning to hardware companies that hide behind mini-keyboards and clutter to keep nasty humans from ripping them off. You have a choice and it should annoy you as well. You pay for the synths you use, you shouldn't be forced to screw up your studio to make some company's paranoia slaked. If it isn't obvious by now, buy Wusikstation, save money, make music!

By x_bruce
On 26th November 2004
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Prosonus The Orchestral Collection

Prosonus - The Orchestral Selection comes in various formats. As a plugin you get almost 400 presets, a clever but uninspired interface from UVI and some cool sounding "real" orchestral sounds that sound (even in all formats) like the missing link between the mellotron and a library like Garritan Personal Orchestra or East West Silver Orchestra.

To clear up the contenders. GPO is the bargain. It comes with scoring software, a big library that is smartly designed for lots of articulations and actual orchestral playing feel. If you aren't a good keyboardist or don't need the much denser and more capable set you might want to skip it. You'll need to learn how to think like a orchestral instrumentalist when learning it. East West is a beautiful library but is lacking in things like smaller sized ensembles or solo instruments. Yes, there are solo instruments, but they are meant for use with a larger orchestra.

And here is where we come back to The Orchestral Collection. Honestly, I like it because it sounds so trashy yet real! The sounds seem to slide off whatever instrument you play; they have a greasy near wild kind of sheen. Don't even bother if you want to hear your latest symphony, unless you wanted to do it in lo-fi or punk classical...not that these wouldn't be cool things to do.

I see The Orchestral Collection as essential for film and television or rock bands that need cutting, slamming orchestral sounds. Don't overlook the generally overcompressed sound, it fits well with a lot of different music, just don't think of it as a serious orchestration tool.

Consider who markets it; BigFishAudio! These guys are known for some pretty wild stuff. I love their collections and have several. If you like big beat, nu-skool hip hop and techno, well you're getting the idea. The Orchestral Collection has all the subtilty of Webern on a particularly drunken day. But really, I love this collection for it's colorations to so many kinds of music and it's representational sound of orchestra while noises are going on all around.

Here's it's serious failing, and it's big imo. The UVI engine version has lots of fun stuff padding the presets but if you want to build your own sounds get the GigaSampler version. It's still lo-fi but with better clarity, even better for what you'll probably use this collection for.

I'm not sure what happened but it sounds like someone really screwed up on several patches in the UVI version. It's Limited beyond sense with sample flaws and what sounds like digital noise. Sometimes that's a cool effect but not when you can't get rid of it. In comparison the Giga version by way of Kontakt was much richer sounding and barely using any of the cool features you can apply using Kontakt or even Kompakt's truncated engine. There are still problems with samples scattered around this collection, but they aren't as offensive, and with a bit of your own creativity, you can clean things up so you could do some typical orchestrations. Listen to the violins in the upper range. If that grit makes you happy buy this kit. If not, consider moving on.

Pros: Exciting with a capital "E". While I love this collection I do find it almost offensive trying to market it as a all in one solution. It's interesting, it sounds great and blends well, or as they say, "sits in a mix!". This is the orchestra on drugs (or what people will say if you do a good job) and the effects in percussion, individual instruments and ensembles are effective. You can live your neo-classical fantasies, minimalism in post WWIII Canada where they eat people for protein, the would may go but carbs will stay avoided.

This is as much a synth as a orchestral collection and if you accept that you are going to have a great time with this set. I like it so much for it's style and near mellotronesque charm that I can't help but highly recommend it with the following caveats

Cons: Sample quality is more like 12 bit which is fine, but it's not for serious studies unless you can justify the purchase for classes and go and do your thing when you get home. While there are lots of effects and variations in sound and articulations the quality of the basic samples seem flawed. The UVI version is messy when working with 15 - 20 tracks. A regular sampler will keep things in order but some samples are missing. Many solo effects are gone and that's a drag. Compared to the UVI version the Giga is missing about 140 presets, most not available. It is a serious sin when libraries ahve different sound sets, albiet on the novelty patches, but it's a pet peeve of mine. When I get the hot shot format, and recommended by BigFishAudio, I expect that to be the big set, not the UVI library which is considerable lesser fidelity in a not so enjoyable way.

Still, I forgive BigFish, in fact, I love these folks. They make funky libraries that are fun to use.

Don't bother for "serious" classical.
For any other direction worth a try and amusing for fun's sake.

By x_bruce
On 26th November 2004
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Garritan Personal Orchestra (GPO)

I've been involved in reviewing the three major orchestral libraries in the Garritan Personal Library. Of the three Garritan gets thumbs up on quality, quantity and expressiveness of sounds. I'm on the Win XP version and it's too bad Tennessee Vic is having problems on the Mac though I have not seen others with the problems he's experienced. Even Macs are getting to the point where any given 'non-factory' component may play a factor in how well your synth will work. Then again, there seems to be a continual problem with Macs and N.I.'s Konakt based sound engine on some machines.

Actually, a major thumbs down on the unimpressive Kontakt interface. I understand the idea was getting the included software to work and while that is certainly a good thing, I miss Kompakt's more capable and otherwise similar synth engine. I'm a Kontakt user and was very disapointed with the front end of Garritan. Kompakt is a more appealing front end and easier to work with as it's set up to be a multitimbral synth. Still, the samples are excellent for the sub $300 range and have more than their share of capabilities.

Another quibble boardering on annoyance are the arpeggiations being midi files. Most libraries I've tested including the 32 mb Siedleczeck EMU ROM kills GPO for the number of harp glissandos and techniques. Similarly Prosonus - The Orchestral Collection and East West Silver's musical sounding though limited glisses.

Here's what it boils down to. You get variety and the need to learn how to play orchestral instruments the Garritan way. It's actually a good way, but can be so insistant that at times it's frustrating, especially depending on your mod wheel which is used to control volume and timbre at times. The good side, ride the mod wheel and you can articulate notes wonderfully well, but you will have to aquire this skill, or at least a lot of people will. It's not hard, so it's not that big a problem.

Sound quality and overall gesthalt goes to East West Silver. What it lacks in articulations and instruments it makes up in lush, wonderfully recorded samples in place within the orchesra and with the instrument's acoustic character with hall reverberance. It's the heavier hitter and not as capable at all around sound as GPO. But East West raise the hair on the back of your neck and the sounds are absolutely wonderful if working with emotionally charged material, and of course, film. While I prefer it's sound, I need GPO's variety. You can't do small orchestrations well in East West and forget quartets, quintets, etc. This is where GPO can really shine, but of the libraries I've played, it's the one you actually have to do more work to get the sound.

If you don't want to have time to do so this is a problem. Prosonus and East West do a better job of getting an instrument to sound right and both are very dramatic, more so Prosonus but at a sound quality loss.

And that's what we're here for, to judge how easy/hard GPO is to use, how good it sounds au natural and what you are using a orchestral library for. No offense to the demos but I dislike most of them. I don't use this to listen to demos or other people's work though and if that's your reason just go general midi and don't waste your time. This isn't meant as a eletist, smug comment. The way I see it, you work harder in GPO for a sound, you think more too. And once you get it right, there is nothing in this price range that comes close for many kinds of composition.

If you are positive you'll be doing film there are options you should look into. I prefer East West Silver for broad film work and Prosonus - The Orchestral Collection for it's genuine charm and absolutely wild orchestral effects. If sonic purity is an issue you're back to East West Silver or GPO. But if you are working as a rock musician, film/soundtrack or even ambient with an occasional ochestral vibe, I'd go East West.

If you want to create symphonic works or listen and or write your or other's scores you won't get a better package to work with - period. GPO is as good as Devon says, but only to the degree on which you use it.

For the classical composer on a pipsqueak budget GPO is astonishing and rewarding. It's great for film, even if I went off about East West Silver. In fact, GPO is the most serious program of the lot as it does it all - well.

You can't go wrong with GPO considering what I've outlined, and really, it has so much value added things like scoring software. The only thing that really annoys me is the terrible representation of Kontakt's capabilities, which are vast. I use GPO more than East West Silver, but only because Silver is not currently diversified enough. A new upgrade will change that, at $300 or so extra. That may make East West more useful for a large enough area of works for you, but as a musician you will have to make that decision. All anyone here can do is point you in the right direction.

By x_bruce
On 20th September 2004
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

AlgoMusic M42 Nebula

M42 Nebula was the the first SynthEdit creation that really convinced me the platform had come of age. Except for some extreme individuals the following will be true; M42 is a wonderful, advanced pad and spacy sound synth.

Based on a soundfont oscillator and traditional oscillator through a signal chain of digital oscillator to filter, to amplitude filter, to mod envelope and into the interesting stuff - the LFO, Pulsar (a specialized arpeggiator) and finishing with a mod matrix. Replace the DCO on oscillaor 2 and put a soundfont front-end with nicely selected samples and followed by a effects engine featuring chorus, cross delay, pan controller, synth mixer and finally, the warp control which enables you to program functions to a x/y controller. Not to be forgotten, the global section allows for splits, layers and variable pitch control per oscillator.

I often have concerns about soundfonts. It's not that the format is bad, more that most sets I've heard are not well designed and often are a hodgepodge of sounds made as a "thrilling experience of REAL sounds". Fortunately, the set included with M42 are chosen for use within M42's thematic standard with high quality samples that bring out the most in M42's design.

Don't forget the non-sampled oscillator. It also has lots of character and a quality that lends itself to evocative sounds. Combined with the generous soundfont library and the modulations, arpeggiations and general synthesis capabilities available in M42 it is a testimant to good synth design.

More importantly, there is vision as to what a pad synth does. M42 is based on proven techniques in synth design with one hidden weapon, a generous set of presets by Tim Conrardy. In it's own way Tim's programming and mastery of M42 Nebula make this similar within context to synths like Albino, where a developer works in concert with a synth designer and sound programmer make for a synergism that makes learning and playing M42 Nebula vastly easier than the wealth of controls available.

At $45 this is a steal if:
* you actually enjoy pads, spacy sounds and overall capability in synthesis
* keep an open mind as to what this synth's purpose is
if you long for the synths of old where all sounds seemed possible and probably were

If a more established company's name was on it the price of $99 wouldn't be unexpected nor unreasonable. At $45 it's a killer synth.

I put M42 Nebula in the same special catagory of synths like Rhino, Albino or z3ta+. Yes, each is a monster synth whereas M42 is more focused on one area but it is priced suitably and is testimate to what a motivated SE developer and excellent patch designer can do when working together.

Note: M42 is not a harsh sounding synth and as such might not work for those looking to do industrial. Listen before buying. The demo is very good and will give you a good idea of what awaits you in the full version.

Highly recommeded!

By x_bruce
On 31st May 2004
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

EastWest Symphonic Orchestra

If you are looking for a realistic sounding orchestra you've found it. Dr. Johnson has a flair for recording orchestras and you get to play with a truncated version of his vision. Truncated is an important word here as you get less of everything and you will notice it. If you want to do quartets look elsewhere, there are no solo Viola timbres.

While short on articulations the reason for purchasing the Silver library is because of it's taste of the symphony orchestra. You get Native Instrument's Kompakt synth. For most situations you probably won't need it or want it. The oarcestra is set in the stereo width and depth fields. It is a stunning sound if you want a hall sound as part of the orchestral instruments. Look elsewhere if you want dry sounds.

In genereal the lack of articulations may send you to the synth parameters to fake some perfomance articulations. Still there is a charm to this library and in part it is the recording and that hall, the beautiful hall that just screams play it fff or for the rest of us, play it loud! Good for film and punchy enough for rock, electronic and dance.

Weaknesses, several important articulations missing, some instruments missing. No single instrument pizz. Still, if you are writing for orchestra you can get your sound. This is a great learner's set and is affordable. It is big sounding and for the positives, gorgeous sound. The expressive instrument naming convention is true. Heartbreaking violas that can run though all types of expressive instrumnets. Sections include 10 and 18 first and second chair violins. 10 violas, 10 cellos and 9 conrabass strings. Winds feature 3 clarinets, 3 oboes and 3 flutes. Each of these have varying playing styles with the strings more articulated. Solo instruments include Alto Flute, Bassoon, Bass Clarinet, Clarinet, Conra Bassoon, English Horn, French Horn, Concert Flute, Piccalo Flue, Oboe, Trumpet, Trombone and Tuba. Some with varations and different articulations. Solo strings include Violin, Cello and full Orchestra pizz, a disappointment, not to have individual pizz instruments ar stacatto. There are work arounds but it's a work around! More instruments though, concert Organ, several Choir sounds that are quite impressive. a great sounding Steinway B piano, a large battery of percussion and Harp.

As you can see, this isn't exactly light on sounds, but it is far from generous. Thankfully the quality is uniformly excellent. For personal work Silver does the job but does miss some timbres that I would gladly have lost the Organ, Harp and even the great choirs. They do contribute however so it's a hard call. And that is problaby exactly what East West had to deal with. What can the "budget" orchestra do without. Keep in mind there is a Gold and Platinum library that get more complex and detailed. You can upgrade for the price you paid for sliver, still, it's $700 upward to Gold and $3000 for platinum.

All said, a great set of instruments for a very reasonable price.

By x_bruce
On 31st May 2004
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Zero-G Morphology

Zero-G wins with this simple and ready to go soundscape and ambient sound generator. There area 3.2 gigabytes of data to work with in Kompakt's synth engine. The engine features a great deal of visual feedback, better than average synth features and acceptable effects, if you even bother.

There are hundreds, if not thousands of atmospheres and rolling, boiling, moving sounds that are easy to assemble your own patches and MULTIS. A MULTI is nothing more than using any of the 8 channels available polyphonically. They can be set to all one channel or eight different ones. There are many strategies you may try. In any case the MULTI strategy is a good one as you can set up animated sounds with each sample you use. While not much for leads or basses Morphology is great for mood. At $160 street price you aren't going to do much better and for the price of a few loop libraries you can do your own and best of all, since the CPU use is light you can do so with very great detail.

A must for film, ambient, even harder music styles that need drones and sounds that make impact they are here and they are super easy to program. In terms of value, incredible value. In terms if you need it, ask yourself if you can make similar sounds. If you have a lot of synths and time to make perfect loops then you dono't need Morphology. If time is valuable to you then Morphology is close to essential. Keep in mind this is not phenominal sampling, more like great taste in general.

And if you are a Kontakt user, you will be able to work with Morphology providing you purchased the 1.5 upgrade. It is a worthwhile synth even when it becomes apparant the samples are highly developed. Forget that and listen to what you have to work with. It can be a humbling expeience.

Here's what it comes down to. There are sounds, even pitched ones, that are of use in many styles of music and you can do a good amount of your own programming. If that worries you a day with Kompakt and reading the manual and you'll be much more confident. Unlike the loop libraries so many people purchased, you don't have to sound like everyone else as you can find your own voice within the aether of floating sounds and jackhammer noisescapes.

Recommended for anyone interested in all types of ambience, new programmers wanting to learn without messing up - it's hard to do so in Morphology. If you like this kind of abstract work Morphology will keep your work fresh and unlike others, even other Morphology users.

Simple, but simplicity is often the makings of vastly complex sounds. This is a specialized synthesizer but Morphology could easily be the one synth you need to compose with. As a composer I like changing timbres around and can strongly recommend Vapor by East West as a companion synth. As a specialist Morphology is wonderful, as anything other than it's specialty Morphology is two dimensional. If moods of all sorts is your thing you will be very happy and lost in Morphology's depth of sonic worlds.

By x_bruce
On 31st May 2004
Version: 1.03

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

EastWest Vapor

Vapor is a 2.2 gigabyte sample collection bound to two volumes on your CD and will only work in the Kompakt instance designed for it. This is how most of these libraries, if not all, work. Kompakt is a decent synth engine with about as much to more synth power than Sampletank 2, but Sampletank 2 absolutely kills it in the effects department. Most effects are very simple with as little as one parameter to change (chorus). Where this interface shines is the hands on approach to envelopes. Again, because I'm a Kontakt user it seems slim in terms of flexibility but for a $100 synth with 2.2 gigs of samples you can't expect more. Want to really work with it, consider purchasing Kontakt, it is vastly more capable and very difficult to learn. Intensity of programming seems to create complexity in tweaking.

So, we have an acceptable effects section, a good midrange priced synth engine and a bunch of really good sounding samples. Unlike some sample programs that let you use one channel get ready to layer, split or tweak existing MULTI patches. Kompakt has 8 channels of instruments. The typical MULTI uses 3 patches but not a lot of CPU. Think of Vapor as a hipper, vastly cheaper rompler that has lots of presets, some easily capable of use alone. They are in catagories of
ARP, 56 samples
Bass, 52 samples
FX, 125 samples
Lead, 95 samples (may have 16 duplicates but it probably not)
Pad, ~350 samples

Quite simple really. Vapor is very much a modern synth that takes old style samples and mixes them with newer technology samples that are not on your average workstation or mid level keyboard. In return, don't look for great pianos, organs or drums. If you need this on Vapor pass. Look at the more expensive Sampletank 2, Atmosphere (which is a specialty synth in it's own right, Sonik Synth and so on. Keep in mind you can but 2 to 3 of these synth libraries for the same price. So, although there is a lot of sound capability and sounds hin Vapor, color it a specialty synth. And while it ain't analog, it's not icy cold either.

The presets are deep with lots of arpeggiations, many with sustained segments that turn into arpeggiations. A bit of work with the ADSHR in the amp and you have a really nice backing sound for a textured, moving pad or lead. In particular, there is nothing stupid or painfully dated here. This is a great alternative to hardware type synths minus the meat and potato sounds but insanely high on the useful pad, lead and bass sounds. Kompakt is almost idiot proof and anyone can learn it. The included 30 page manual will have you up and running quickly. Should you want to keep safe harbor with MULTIS there is at least a full bank of them.

A simple and highly effective synth that does for electronic what Triton did for meat and potatos. There's no drums or beats but for electric music or even for flavoring a track, look no further. A clear bargain at $100 and one you should take advantage of.

Verdict: must buy for electronic music artists.

Last edited : 31st May 2004

By x_bruce
On 24th March 2004
Version: 1.0

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

FXpansion BFD

BFD is the cumulation of what a sample based drum VST instruments can be.

fxpansion has created an organic drum machine that can be played/programmed, and is the first serious drum synth to address programmed grooves that aren't hackneyed.

A drum kit is pictured in the upper middle part of the interface. Click on it and you see the kit outline you will design. You have choices, tons of them. The easiest is to load one of 7 preset 'kits'. These kits contain a typical studio drum setup with layered, ultra-high quality drum samples. You can make your own kits by selecting each drum/cymbal. When loaded, the included kit samples are astonishingly detailed with hundreds of samples. Each drum has enormous sound potential with samples cross layered using velocity maps. Any given drum can contain four or five musical techniques. This provides for extreme realism. BFD offers total control with stero, all drum tracks and all mikes for each drum. Nothing comes close to BFD's attention to detail.

There is a section for microphone settings including direct, overhead, room, pzm and master sliders. These settings enhance realism and sound shaping. On each side of the interface there are icon buttons. The left has icons of various drums such as hi-hat, snare, bass, toms, cymbals (3 including either ride or crash). It's important to emphasize BFD's character demonstrated in these individual drums. You can play selected drum to hear it's timbral changes. Pan, pitch, dynamics, trim and tune controlss are available per drum.

To the right are many options for control of drum kits including key mapping, system options, play options, quantizing and humanizing for velocity and timing. The options are stylishly graphic and at times fun (a beatnick turns into an alien as you change velocity/timing). And for automated use you can select grooves, fills and shuffle...and this is just setting up the drum kit and how it will play. If you have drum pads or a kit like V-Drums you get an even better feel for the quality of BFD's multisamples. Playing live, the articulations have a 'real' feel to them. Add that you can save your own kits and we've covered only half of what BFD does.

There are hundreds of grooves and fills in all kinds of musical styles. You drag and drop, program or edit grooves too. While pre-programmed grooves may sound like the cheesy drum machines of old, BFD is vastly different. You can use these grooves as is or create your own gooves and fills which save as midi files.

CONCLUSION
The drum kits are beautifully sampled with many noted drummers playing or programming the grooves. Think of a style/kit and you'll find it. There are several ways to create performances. Play them, use grooves or a mix of both. Even if you are rhythm challenged BFD delivers with great sounding drums and styles that work better than any drum solution available. It is a must have if you take you drum tracks seriously. BFD offers many features found nowhere else.

Last edited : 24th March 2004

By x_bruce
On 24th March 2004
Version: 2.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Rob Papen Albino

Albino 2 is one of the best virtual analogs to be found. It's approach to making sound is direct and elegant. Although a semi-modular design Albino 2 doesn't go overboard with features, it stays focused on what makes a good virtual analog synth.

In terms of sound Albino 2 is clean and beautiful. There is a smooth and liquid sound that most synths lack. That's not to say you can't get squelchy and huge with Albino 2 but in general it's a great all around synth. A one trick pony Albino 2 is not. Furthermore, Albino 2 has it's own signature sound. Think of signature sound like you would a Prophet or Jupiter or Oberheim. In terms of quality Albino 2 sounds as good as any hardware synth on the market.

Albino's features include up to 4 oscillators, 2 filters, 4 LFOs, a great arpeggiator and modular matrix. The design is in partnership with LinPlug who've been using mod matrixes in their synths from day one. Buttons represent oscillator pairs although they can be used from 1 to all 4. Similarly there are button banks for the 4 LFOs, arpeggiator and mod matrix, a tidy way of keeping everything on one page while staying cleanly designed.

Other nice features are the analog/digital/noise options per oscillator. Digital oscillators have 60 waveforms from sine and saw to 50 spectral waves. The analog oscillator features a wave and spectral dial for many combinations per oscillator. There are 6 LFO waveforms, and 27 routings of 33 synth functions in the mod matrix. There are more complex mod maxtrixes but few built to function as gracefully.

Included are 5 stage envelopes for amplitude, each oscillator, the 2 filters and modulation. There are 8 effects from modulation to delay and an excellent effects based filter. You can do everything in Albino 2, exprssive leads, phat basses, pads, FX and extressive soundscapes not to mention the arpeggiator which is available in the mod matrix.

Being in the middle price range ($199) users will expect reasons for purchasing of Albino 2 and there are many.

First, there are over 1000 presets in 22 smartly classified catagories programmed by Rob Papen, world class sound designer. Another benefit is getting to have a look at how a in-demand synth programmer makes his sounds. You can use them 'as is' or as starting points for your own creations. Make no mistake, these patches are superb, several reminicent of Papen's work on EMU's Orbit 3. The difference between the Orbit and Albino 2 being a VSTi specifically built to accomodate Rob's vision of how a synth should work. In return you get top notch, ready to use sounds. Patch libraries of this quality often cost as much as Albino 2's price.

Everyting about Albino 2 represents quality. It sounds good without the effects which speaks highly for the LinPlug based synth engine. Due to it's intuitive design you will be up and running quickly. Whether a novice or pro, Albino 2 offers good value.

The overall quality makes Albino 2 a must have for your studio.

By x_bruce
On 21st March 2004
Version: 2.7

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

ConcreteFX Ethereal

Now maturing nicely ConcreteFX's Ethereal is taking on a life of it's own. If you didn't read the specifications let's discuss them. The oscillator can be one of 22 well designed waves along with 6 storeable user waves for pad, effects, soundscapes and the one note wonder type of patch that are so much fun to play with. It is also possible to store up to three samples per patch. Fortunately you can use wav files and the ones included in Ethereal.

ConcreteFX have been using multi-form interfaces within the shell of a modest sized master VSTi form. This enables access to the formidable sound engine without making a mess of programming.

One of ConcreteFX's first synths there are familar interface aspects, labeled tabs with specific controls to that tab such as envelopes 11 in all, 8 for the available waveforms and 3 extra for the samples as needed, LFO, modulation matrix, effects, 8 sequences and additive manipulation of sample data. Once again ConcreteFX shows depth of features while maintaining an easy to learn synth engine that yields quick results.

Etherial is best suited for pads, effects and evolving timbres. It is a nifty pad machine and at a bargain price, $40.

The patch library is indicative of the styles of patches you can create with Etherial. One interesting feature is the Evol or evolve area where the original patch sits in the middle of the form with eight different sounds based on the patch. This is a great way to look for new ideas as well as learning the signal flow and engine of Etherial.

Another nice touch are the effects sections where different types of similar effects can be selected. You'll find a number of chorus, modulation and delays, all that can be adjusted in the interface.

Sounds are thin to lush and with the addition of samples they can be just about anything you want. The sophistication of ConcreteFX's work is impressive let alone at a pocketbook friendly price.

If you like pads, need unique sounds or want seemingly endless evolving sounds Ethereal does the job. As the name implies, the sounds have an etherial feel to them so if you want a simple pad synth you may want to go elsewhere....or perhaps not. Ethereal's sound is clear and somewhat digital with a nice amount of warmth thrown together via ample timbral choices such as filters including comb and ring modulation.

Ethereal is a deep synth with a fun interface allowing for exploration. It is hard to imagine anyone not finding use within their music unless they aren't interested in atmospheric sounds and in today's music that is precious few.

Try the demo, it speaks for itself. One of the more mature ConcreteFX synths, one wonders why they aren't spoken of more frequently. Of late that seems to be changing which is good. This is one value packed synth worth your time to try.

By x_bruce
On 21st March 2004
Version: 1.2

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

ConcreteFX Digital

What is less appealing that an 4 operator synthesizer? Days of cheesy (in the worst sense) game cards or last gasp Yamaha DX27/100 clones. You name it, it doesn't sound all that good. If nothing else, I hope this review convinces ConcreteFX to change it's marketing strategy and give it a sexy re-write on it's information.

If unike me, you actually had a look at the feature set then you'd know Digital is anything but a throwback to boring FM synthesis. Instead Digital is an exciting synthesizer in all senses. Yes, there is a 4-op FM engine but it goes in directions far beyond a lot of FM synths try to do and this is something that is great about ConcreteFX in general. They make solid synthesizers at reasonable prices with feature sets that make one wonder how they got into that modest sized interface.

Interface:
Everything you need is on the interface or one of it's multiple tabs. Click on a tab and you're at the FM algoithym page, move to another and you're at a 8 track step sequencer. Everything is in one screen and it's easy to learn and easy on the eyes.

Synth Engine:
4 operators with 15 algorithms, phase distortion synthesis and waveshaping, 10 filter options, one per the four oscillators available. 18 waves to run the FM OSC through, 8 envelopes, an extensive modulation matrix, excellent effects and high quality sound. No one can say Digital is lacking for features.

Sound:
Excellent and expansive come to mind. There are multiple synthesis techniques that expand upon another while not getting in the way, simplicity to complexity in ways that make 6-op FM seem almost simple but most important, the sounds are there to get and they are easy to get to. Don't go into Digital expecting to program a masterpiece in 15 minutes, make no mistake this is a programmers synth but also a generous one with 160 patches to learn from. They are good representitives of Digital but it is your sound that will matter once you get the engine down. And the sound engine is pretty easy for such a complex synth.

And So?:
Recommended on all fronts. Moderate learning curve, lots of features, a good amount of presets and of course great sound make Digital a easy to like synth. At $65 it's a whole lot easier to afford as well.

ConcreteFX have created their own interface which has been used successfully in all their synths with some variations as neeeded. Learn Digital and you have a major advantage on other ConcreteFX synths.

This is a winner in a lengthly winning streak for ConcreteFX. If you like digital sounds they are here. If you like the way you can take digital and soften it up and do twisted things normally thought of with samples, it's here. Either two features would make any competent synth worth your purchasing attention. To have so much firepower at your disposal for such a reasonable price is extrodinary.

Try it, learn it, this and most ConcreteFX synths I am familiar with are equally worthwhile, a fact many are starting to realize.

By x_bruce
On 21st March 2004
Version: 2.5

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Ugo Motion

Whatever the composite number for Ugo's Motion 2.5 ends up being you should check this out.

First, although the interface a bit too blue and monochromatic it is still somewhat striking and highly functional.

There is an element of surprise to Motion 2.5 in that you know what to expect from Motion's interface and you get it but often a bit differently than you expected. That too can sound negative but it's not, it's a pleasant surprise. There is a responsiveness to Motion's interface that makes it feel comfortable very quickly.

It's use of phase distiontion and virtual analog with FM make for a nice sound palate. The things that add to the sound quality are the waveshapers, multiple LFOs, 16 step sequencers for pitch, filter and gate really liven up the programming and create some very complex and useful timbres.

If this weren't a free synth it would be worth considering purchasing within the $50 range and goes up well against synths like Space Synth in sound quality and creative use of interface. Great for pads, phrase type patches, evolving timbres and effects Motion is a must for the budget minded (free) user and for those able to afford interesting synths like this.

SynthEdit synths are widely available and as users we sometimes take these people for granted. Ugo has done a teriffic job here and his praise is well earned.

By x_bruce
On 21st March 2004
Version: 2.0

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Odo Synths A-Pad

Odo's A-Pad is a very competent and getting better VSTi. Although stated as a pad synthesizer to my tastes many of the presets are a bit harsh and may fit some styles of music. This sounds bad but it's actually good because A-Pad is a easy to program synth that can make lots of things well. It's good for basses but of course it does pads well.

The timbres available with the feature set are quite useful if you know how to program traditional subtractive synths. If not, this is a nice place to start. The basic sound engine has a hard sound with a metallic quality yet with some attention to A-Pad's filters you can warm it up considerably. There's a demo song I put up from the 1.0 version at http://artistlaunch.com/elektronique called, 'Green Sky After The Storm'. It uses several instances of A-Pad, no outboard effects, just the synth.

There is a 'floaty', 'spacey' sound to A-Pad that makes any timbre style you choose appealing for ambience. While not the absolute best it is good and deserving of your time.

People are often critical of SynthEdit based VST instruments but synths like A-Pad prove you can make good sounds with it.

The interface is attractive and well thought out. If there was documentation I missed or failed to bother reading it. Although useful for different sounds A-Pad is to a degree an intentional one trick pony. As a free synth the only thing lost are a few minutes to download, set up and try it which you should consider if anything in this review sounds appealing to you.

By x_bruce
On 21st March 2004
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

GForce impOSCar

In all fairness and for those who feel my discussion may be tainted, I was a beta tester on impOSCar.

Quite simply the impOSCar synth is as close to the difficult to find British made OSCar synthesizer. Made in the 80s the OSCar had an extreme range in terms of frequency range and timbral capabilites. The impOSCar emulates this tradition and goes a few steps better. The basic waveforms are all represented with a twist, you can edit your own and save them. Keep in mind this was novel in it's day and is still fairly novel in a virtual analog.

The filters, like the original have a wide range, it screeches, snarls and squawks if you want it to, in fact the impOSCar would be a great synth for just about any style of music electronic or otherwise. Unlike me, there may be people that don't enjoy a full spectrum of timbres and like a filter that focuses on a sweet spot that sounds very nice, very polite, perhaps a bit on the boring side...that however is not the approach taken on the original or GMEDIA. Having worked with the developer of the hardware I think he gets the last word on whether the virtual emulation does right by his synth which is the case.

There are many sweet spots in impOSCar. Although frequently used as a lead synth because of impOSCar's polyphonic take on the original there are all kinds of additional uses for the synth. The pads are smooth and rich with or without effects. Although a proponent of a synthesizer design being the cumulation of all it's parts, including effects, impOSCar is one of the few synths that just sound great without extra help. Mind you, the chorus and delay effects are excellent.

Sound quality is excellent, clean and with the character of the OSCar. impOSCar ups the ante with a huge range of timbral qualities. Need it to do leads, they are silky smooth to nearly out of control - but the user definately has the choice as the layout is highly functional and fun to use. Although some traditions are slightly different in the end it's 20 minutes of your time learning them.

There is also a top notch arpeggiator that allows for several functions that make it useful for composing rather than a traditional up/down/random kind of unit. Small things like gating make substantial differences in tone or rhythm. Which brings us back to the filters. They have a wide range. This allows for a lot of sonic exploration. Besides that the two oscillator simplicity and lfo's are simple and yet lend complexity.

Don't take any of our word for it, try the demo. When using it listen for the character of impOSCar's sound. It's there in spades, and that's why you buy a synth and why some synths become legends. Like the Oddity, GMEDIA have scored an impressive emulation of a great instrument with a few improvements.

The timbre range is generally smooth, almost sauve with phat basses and beautiful pads. The presets are a good indication.

I rave about impOSCar to friends. Try it, see why so many people love this synth.

By x_bruce
On 27th January 2004
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Camel Audio Cameleon 5000

Camel Audio went all out with Cameleon 5000 in creating their vision of additive synthesis. In this case additive should analyze one shot or multisampled instruments and be able to create an additive version of the sample. The good news is Cameleon 5000 succeeds in marrying analyzed sample data to morphing. In this case we aren't talking of morphing from one distinct sound to another, the morphing that takes place is calculated in the additive domain creating new instruments in the literal sense.

That might take a second to get your head around. What's the big deal? Here's the big deal. Rather than making the sum of two or more samples Cameleon 5000 is computing the structure of the waveforms as they change and creating a literal instrument from these calculations. There is a substantial library of sampled and analyzed samples including around 200 patches with sections available for making your own creations. The quality of the analysis is good though not perfect, nor is that the point to Cameleon 5000. You get impressions of "real" timbres combining and mutating. As a result it's easy to get a singing horn much like one would expect from a modeled synth.

You are able to use up to four instruments although it is often unnecessary to sample more than one. You also are able to program the Harmonics and Noise with the familiar bars used for representing frequency and multi point envelopes for time/pitch relational data. Also included is a flexible modulation matrix with values that can be edited in ranges helping to further refine your work. Two LFOs are included along with two morph envelopes that are multi point as well. By adding points a line can be changed, in the morph's case creating some drastic shifts to subtle crossover effects. In the morphing area is a morph square that enables you to arrange the complete patch in x/y coordinates or refine it further by using morph points for amplitude, harmonics and noise. More complexity but easily accomplished thanks to CA5000's highly functional interface.

Included is an easy mode for timbre, LFO, amplitude envelope and output. It should be mentioned that there is also a nicely functional randomizer on several pages including the Morph, Easy, and Effects pages, speaking of which you will find, distortion, multi- filter, chorus, stereo delay and reverb. The quality of the effects are excellent across the board, and of course, there is a multi-point formant filter to be found as well.

The Cameleon works well with pads, evolving soundscapes, swirling leads and deep basses. Use of your own samples is a pleasure. I tend to take short phrases or soundscapes (drum beats don't analyze well) and work on the subtle shades and overtones that make additive synthesis and Cameleon CA5000 so powerful. At times the sound is like recycled samples yet there is so much more that is available and in a friendly interface. Don't be fooled though, you will need to read the manual.

Highly recommended.

By x_bruce
On 26th January 2004
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

ConcreteFX Adder

Adder is another excellent VSTi from ConcreteFX. As many others have
ConcreteFX have tested the waters of additive synthesis with their
contribution, Adder. First, Adder follows in it's siblings footsteps with
a
clean, two dimensional interface. Sections of the synthesizer are clearly
marked and easy to learn quickly.
The sound engine for Adder consists of four possible places to load
data or analyzed sample data. With adder it's bet to keep the samples
mono and short. You want to look for what makes the sound and upload
it for conversion to additive format. This section allows you to phase,
several frequency modulation controls, additive and sample effects like
reverse. You don't need to use samples, in fact, on the opening screen
there are several traditional (for additve) settings such as vocal,
analog,
bells, and other pre-built waveforms to plug into a sound. In use they
are excellent ways of working without converted samples to create rich
sounding timbres.

An area that may be of debate and confusion regarding Adder is its
designer's choice to us 32 waveforms rather than the typical 128 or
more found in other additive synths. There is a reason however. Rather
than set up higher numbers of waveforms ConcreteFX has chosen to let
samples or internal preset waveforms have dramatic effect as you
manipulate the frequency ranges within Adder. It's very powerful and
can, as additive is so capable of doing, rip apart an semblance of the
original timbre, creating EBM style sounds all the way to soothing
ambient timbres. Leads and basses are strong as well although the
overall sound of Adder is a bit more digital than some of it's
competitors. As with this new breed of additive synths, Adder is it's own
idea, using additive theory in several ways and because of this
sounding and behaving differently than other additive synths to date.

There are enormous programming possibilities with eight LFOs, eight
variable step sequencers, a mod matrix, FM matrix, the previously
mentioned sample area where converted samples become additive
building blocks for timbres. There's also delay and modulation effects, a
slick randomizing section - you can go from subtile to wild and that's
just one section. You also have a section of the interface that allows for
two multi-filters with cutoff Q and and distortion on filter 1 and cutoff,
Q,
distortion and ring modulation on filter 2.
Above these controls are tuning and additional controls for filters and
other timbre shaping.
Wave manipulation is in the upper left site and controls individual
volume, harmonic, semitone, volume, pitch, wave response and filters,
all that can be graphically set up. In effect you have 32 oscillators to
work with, each harmoncially different to start with and capable of
having substantial synthesis applied to each group.

ConcreteFX took a promising additive system in Ethereal and unleased
a new way of thinking additive.

Highly recommended.

By x_bruce
On 26th January 2004
Version: 1.2

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

White Noise Audio WNAdditive

2003 has been a good year for additive synthesizers. Include WhiteNoiseAdditive to the list. Taking a page out of programs like the Mac only Metasynth and PC only Coagula which enable sound to be structured through the use of drawing and reading of bitmaps WhiteNoise come through with a new and interesting interface for sound creation with a real-time graphic to sound interpreter. Unlike many programs that attempt this, Additive does a fine job of implementing the interface.
What it basically means is drawing with a toolkit and import of bitmaps that generate sound, formant filter and spectrum information. Ok, so it's a fancy program with a lot of graphical input, but how does it sound?
We're not supposed to say but it rocks. The methods used to paint your timbre allow for organic voices, organs, analog style synths and noise/industrial squelches that will find you playing with Additive for the fun of squeezing out sounds that are at once familiar yet a bit on the weird and wild side.
There are two oscillators that work this way, an x/y pad that does a good job of vector emulation, a sensible spread of effects, mostly modulation based and time based. There are also compression and distortion available as well. Also included, two LFOs, a nice little modulation matrix. And beyond the visual controls for each oscillator a general section including frequency modulation, ring modulation, pan and volume. Also cool are the adjustments you can make within each picture to sweep or change timbre in real time.

WMAdditive may sound difficult but it's easy as there are a large number of visual sections useable for the oscillator/formant/spectrum/noise generators. A large number of changes can be made using just these controls, yet like any other great synth, there is more and most important, there is variety. Although not sample based as several other additives are WNAdditive delivers sonically for PWM, microWave, and evolving timbres and does so with a minimum of screen space to boot.

This is one side of additive, more are available and they have their own charms, but in terms of overall fun and useful sounds WNAdditive is a bargain and fairly light on CPU. Customer service is excellent and responsive to requests.

One area I'd like to see change are in the numeric controls. If you are at 24 steps (2 octaves) above the base frequency there is no way other than to click 24 times. A better way to do it would have been scrolling on the control and/or clicking on the readout and entering data.

These are minor functional quibbles. Additive is the big story for new technology synths and looks to have a brighter future in 2004.

Highly recommended.

By x_bruce
On 22nd June 2003
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

VirSyn Cube

For disclosure purposes, I was a beta tester for CUBE.

Having gotten that out of the way I must say CUBE is everything I had hoped for and a few things beyond what I expected.

CUBE is based on additive synthesis. There are a number of segments that additive oscillators can be edited with. The method of editing most intuitive is graphically. Draw the envelope that comprises the additive frequencies that make up an oscillator. Change a few around, it is easy to hear the change in timbre. Consider that you have envelope control as is typical of any synthesizer but that you also have the ability to have up to 512 LFO's that can modulate one another using the "ensemble" control. There is also noise and filter controls. And that's one of four available sound sources.

Beyond multilayering or zones you are able to manipulate sound using what VirSyn call "spectral morphing". Here you create envelopes that are multisegmented. On the main view screen you see them drawn. They can be manipulated by traditonal controls or by mousing on various segments of a line. The effect ranges from subtle to impossible to describe crossfades of sound sources, filter behavior and other simple things such as pan. Best of all, you can play around and see just how easy it is to make sounds.

Speaking of the main view screen, CUBE itself is one screen, you go to the main screen view to change each sound sources editing properties. These include partials (the sound source), attack, decay, pan, filter and noise; all graphically.

On the main screen there are also a setup and effects buttons that take you to the main view screen. Below that interface section you will find the envelope areas which is also hand drawn, similar to Absynth, z3ta, Rhino and Crystal. You can set up morphs in the 'x' and 'y' axis' along with additonal editing features in use. There is a randomize function and highly functional arpeggiator.

CUBE has 8 channels of polyphony. CUBE is a large scale and processor intensive synth although for what it does it is fairly light and the sounds you get are so substantial you won't be playing slabs of chords although CUBE can certainly provide the ability for simple sounds to do so.

It is the cleanest, most impressive sounding software synth to date. It's timbres go beyond describing other than to say if you liked the Kawai K5000 you will probably love CUBE. The bells, percussive, sweeping, resonating, modulating pads and more percussive sounds are exceptional, and you get 300 out of the box to play around with and tweak to your heart's content.

This is a digital synth and sounds like just about the most perfect one you will hear. It is more flexible than FM and far more intuitive. CUBE is an extrodinary pad synth with striking leads, syncopated percussive grooves and morphing that beats the Wavestation.

It is not the ultimate in analog but it does a fine emulation.

Highly recommended. CUBE is now the VSTi quality standard.

By x_bruce
On 9th April 2003
Version: 1.1

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Native Instruments (NI) FM8 (was FM7)

Make no mistake, FM7 is a great plugin and when it first came out it was beyond anything in this type of sound really available. For DX-7 emulation and enhancement you won't find anything better. But almost two years after release independent developers like Big Tick and it's excellent Rhino, fellow NI Absynth, almost ready to be released at 2.0 and to a degree rgc:audio's z3ta+ all cover a similar range with Rhino and z3ta+ and the VirSyn CUBE on the horizon being more flexible in their own sonic signatures.

But that is the issue to consider. Do you want a DX-7 that is super-sized with filters, effects and a modulation matrix that really allows for some outstanding timbres or do you want a synth that works differently but achieves similar timbres? That is the central question to ask about FM7.

The manual will not teach you how to program FM synthesis, and this is the real deal, not a analog subtractive emulation as many FM implementations attempt to use. To seriously program you will need to study. To convert DX-7 patches and mess with them FM7 will rock, but it is something to consider especially when looking at the price.

I like FM7 and some of the timbres that are included are exceptional although one wonders why NI couldn't have included more banks of DX-7 freeware and spent more time exploiting the synthesizer they unleased. And it is important to take a historical consideration to FM7 because it was one of the first new breed VST instruments, one that was able to emulate and beat the hardware hands down.

So, I appreciate what FM7 can do although it's time for a new version, maybe one with a step sequencer, formant filters or a similar design to Yamaha's FS1r which had incredible potential and a horrible interface. It would also be good if NI took a look at the SY77/99 as sample import and/or interpolation would make FM7 2.0 a top of the list synth.

As FM7 stands it is pricey but worth having if you like FM synthesis. Being able to work exactly like you did on a hardware synth only with a vastly better interface may be priceless to the right user.

Casual users spend time with the demo and see if you are happy with the programming options. There is a simplified mode but you get simplified results from it.
Considering other 2 year old synths FM7 has aged well, but it 'has' aged. At the $69 deal it's a no brainer purchase. At it's normal price you will need to give some serious consideration.

Recommended.

By x_bruce
On 22nd March 2003
Version: 2.11

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Mark Henning AnaMark

I was not a fan of the original AnaMark synth, it worked well but wasn't my cup of tea. However after a recent thread about version 2.11 I decided it was time to try it again and am I ever glad I did. :)

While still a bit harder sounding than my tastes it is easy to warm the sound up with the filters. Beyond that the programming choices are updated with bezier curve user adjustable multi-point envelopes. It is worth mentioning that AnaMark II uses a unique (for synthesizers) implementation of bezier curve adjustment with the curve handles similar to a drawing package. It's a nice touch and very sensible.

There are 53 oscillator waves to work with ranging from the typical sine, saw and triangle and getting more complex along the way. Each oscillator can contain 2 waveforms which can be balanced to taste. There are three oscillators in all with graphic envelopes for filter, filter modulation, a combiner which works similarly to a control matrix, 19 effects of the delay, modulation, crossfading and stereo variations.

The synth uses a modest amount of screen space with 8 pages of controls divided into logical groupings.

The filters deserve special mention, there are seven different ones sorted by visual representation of the waveform. They are quite different from older versions of AnaMark.

All this control enables a wide variety of timbres. Because of the flexible envelopes and combiner lush pads and evolving soundscapes are easy to program. The effects sound very good and add to the overall character of AnaMark II but like any good synth they are not necessary to get great sounds.

AnaMark II doesn't get the publicity some other synths do but it should. At it's price point it stands alone and is closer to a traditional synth interface compared to synths that do similar things.

The most reasonably priced complex synth available, AnaMark II holds it's own regardless of price. The presets are a good representation of it's sound too.

By x_bruce
On 22nd March 2003
Version: 2.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

LinPlug Free Alpha

The freeAlpha is one of my favorite Juno/80's sounding synths. The feature set is actually substantially better than the Juno but it has a warm character that fits well in literally any type of timbre.

In particular synth strings, basses, synth swells and synth pianos are easy to program and have a certain 'rightness' to them. You have nothing to lose trying freeAlpha, it's free and a small download.

Although far from being a programming monster freeAlpha is fairly simple which is in it's favor. In a cluttered arena of analog-like synths and one synth does everything freeAlpha is refreshingly direct and highly effective for the style of sounds it was developed to create.

High marks because I turn to this over shareware and commercial synths.

By x_bruce
On 19th March 2003
Version: 2.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Big Tick Rhino

This is an update and adds to the comments below.

Rhino is now at 2.0 and has seen several improvements ask for by users; are you listening Steinberg? Key words here, update, new features, improved, listened to customers.

As a user I care about these things and can't imagine anyone spending a reasonable amount of money not caring.

Changes: a user database that lets you search for patches and describes them by a three letter prefix. Would that all synths do this or Albino's bank system that tells you what to expect when you load patches in it. Either way is good, as long as more developers offer this. Since Rhino now has a lot of patches available it is important as Rhino 2 is a large-scale synth that has tons of possible timbres to be made from it.

Rhino 2 has been optimized and is easier on the CPU, everyone likes better CPU useage. It's like asking if you like mom and dad; most people sure do after their teens.

The base patch library is larger. When Rhino debuted it was what some considered a difficult to learn synth with not many patches. Anyone purchasing Rhino 2 can't make that complaint. Not only that but Daniel Maurer and the developer have gotten better with their understanding of this great synth.

It is possible to import sampled waveforms in Rhino 2. Previously you had to have a developer's kit and it wasn't as easy as this version's importing. How important is this? You can convert most timbres and then work with them in Rhino's sound engine (very good) and create some timbres Rhino wasn't as adept at before (fantastic!)

The look and feel has changed for the better and is easier to navigate around. The actual sound quality has improved. Before it was difficult to keep sounds quiet, now the opposite has happened to the point where a volume increase update is available to those who feel it necessary.

Verdict? The great synth got better. More along the lines of non-sexy updates that deal with function and quality rather than lots of new features, Rhino just got better sounding and more stable.

Sytrus users; have a look at how that synth is designed and think a bit before getting upset when I say there is more than a bit of influence is Sytrus' design. It goes about trying to be an analog sounding synth on the outside to a digital (more FM based than Rhino) on the inside.

These things happen and I'm not saying anything bad about Sytrus, it too is an excellent synth, but give the one that influenced it a try as well. Rhino 2 has it's own sound which is something to love about it. It's never going to be a DX-7 but will always give a great impression of the sysex it can import. There is a natural warmth to Rhino that started at 1.8 and is now beautifully paired with the otherwise digital nature of the synth's engine. This is on my desert island list with TERA, CUBE, Albino 2, Absynth and some spaces left empty because of all the great new synths made.

Sound banks are available from Daniel. They are stellar, check them out.

NOTE: I was a beta tester for Rhino.

Rhino is a synthesizer that has a wide diversity of sonic capabilities. With use of FM, AM and subtractive synthesis along with interpolated, proprietary sample based waveforms along with a waveshaper there is a lot of variety the user has at their disposal.

Rhino features six oscillators, two filters and a constantly available modulation matrix. It is fixed but allows for some interesting capabilities not available in other synths. You can mix timbres per oscillators or have them effect one another. The filters include low pass, hi pass and band pass, the filters have their own envelops as well.

Envelopes are multi-point with user defined breakpoints. This is particularly nice if one wants to create expressive pads.

There are several effects including choruses, reverbs, delays, and a few killers like the octaverb and quad phase. The octaverb is a combination of reverb and pitch control that can make a couple of simple, bland waveforms sound great. Most important, Rhino sounds good without effects too.

The 16 step sequencer is graphical which make it easy to create rhythmic patterns and movement style sounds.

The sound character of Rhino is warm yet digital. It's the kind of thing potential users will need to try.

One area some might be intimidated by is the interface. There are a lot of controls and perhaps some synthesis features people are unfamiliar with. The good news is this interface is very intuitive and well described in the manual. Also of importance are the 64 presets which cover a good range of timbres. If you like very strange sounds this is your synth although the presets are along the more restrained side.

The only downside is the 64 patch bank. It's not a big problem but you should expect to be programming Rhino. As of now it is not a preset machine. The upside, programming is rewarding and dramatically simple with a small learning curve.

One of the top synths available.

Last edited : 20th December 2004

By x_bruce
On 7th March 2003
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

FXpansion DR-008

DR-008 is the most flexible drum synth/sample playback instrument currently available. If you looked at the features you will see several drum synthesis modules, several pattern and fill creation tools and a rock solid performer as a VSTi.

Most everything has been said about DR-008 so I won't add too much more other than mentioning the smart idea to make a development kit available for people to create new modules for DR-008. This extends the use and purpose of this VSTi. Using something like the 3rd party Slicy Drummer module with DR-008 and you have a formidible rhythm section.

It is nice to see pattern sequencing in a drum VSTi. In fact, it's the biggest negative I have towards DR-008's competitors. It is especially nice to be able to set up a kit set up your drum rhythms and assign to a midi note. In effect you can get as simple or complex as you want and with tools for creating fills and shifting textures you've got an all inclusive kit.

The only negative (if you want to call it that) are the lack of high quality samples. That said there are good samples on the net for free and available at reasonable prices. If you have LM-4 you are in luck because you can import any LM-4 kit, very nice. I haven't seen the Battery kit conversion - been too busy creating and experimenting.

On the final note, DR-008 is great because it allows for simplicity but can be complex. It allows for working fast or with great precision. Although lacking Battery's sample editing tools DR-008 makes up for it with it's ease of use and different approach to how a drum VSTi should work. Attack users note, Attack is a good synth and different from DR-008. That said you can do a lot with what is provided and what will be.

BTW, there is a generous library of over 1 gb of drum samples available free in highly comressed kits. They range from good to excellent - tastes depending.

The reigning king of drum plugins.

By x_bruce
On 1st March 2003
Version: 1.0

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

GForce Oddity

Oddity tries and completely nails the look and more importantly, the sound of the Arp Odyssey. The colored faux plastic tips on the sliders have even been reproduced. Interface wise Oddity is incredible, especially since it is in effect a model of a historic synthesizer.

Many do not remember the Arp synths the way they do the Moog but in their day they were the alternative, the Pepsi to Coca Cola, the Mac to PC. You get the idea.

Sound wise I sat there and remembered just how wonderful the Odyssey was. The character of the sound is different from Moog. It's a little thinner and more brittle. But it has features the Mini Moog didn't have.

The Oddity like it's namesake has the ability to play duophonically meaning you can create some interesting drone type leads. It was cutting edge in it's time and is still quite useful.

The filters sound great as does the sample and hold function. Need weird and wild sounds? This is one of the Oddity's best suits. The S&H is part of the LFO section which too can create expressive timbres.

The Arp sound is unique and once you hear and play this VSTi you will come to appreciate how flexible it really was. The most important aspect though is the logic to making sound and the interface is flawless. The Odyssey was a reasonably easy to program synth. So is Oddity.

The sound quality is incredible. There are many less expensive sounding synths that try to do what Oddity does. They sounded good but compared to Oddity...well, there is no comparison. Even the dirt has a pristine quality that translates well in a mix.

It's impossible to convey one's emotions in words. When I looked at Oddity I thought, 'wow! if this sounds close to the Odyssey I'll be impressed'.

Well, I'm impressed.

The level of detail is astonishing. Try this synth out, it may initally seem different but it is based on a classic, one who's sound you will hear trying the excellent presets.

Highly recommended.

Last edited : 1st March 2003

By x_bruce
On 8th February 2003
Version: 1.0

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Steinberg Plex

There seems to be a backlash against so-called 'large' companies and their products. N.I. experiences this problem as does Steinberg. In Steinberg's case some of their entries in the VSTi world have deserved negative attention.

Plex is different though. It is a 90's rompler workstation with the brain of a mad scientist. At times Plex sounds like the Wavestation's cousin.

Plex works with a bit more than 90 processed samples that work as data for various color coded segments of the instrument's character. Yellow = filter, Red = base sample and Green = Top component. The forth component is the simple but effective LFO and ADSR envelope areas.

Designed by Wolfgang Palm this instrument cleverly combines simplistic control while associating timbre and sound functions with colors on a interface that at first look seems daunting but is very simple. Read the manual, it is well written.

The principle of Plex's synthesis engine boils down to this; you have restructured waves as your virtual instrument's basic tonal character, it's color (or overtones) and it's physical characteristics. Restructured waves are based on traditional instruments, synths and a few novel but interesting artificial objects and for lack of a better way of saying it, realities.

The LFO is simple yet powerful and depending on how you construct your instrument can be anything from a simple lead to something wildly exotic. Plex is digital sounding due to some seemingly uninteresting samples, but looks decieve.

If you're buying Plex as your virtual rompler keep looking. Plex is more than the sum of it's samples. They are constructs that come to iife when the patch is designed.

Great sounds can be made with Plex. It's samples are designed for synthesizing, not realism. Think of wavetable synths, would you judge the microWave based on the sound of it's wavetables? Similarly, why judge Plex by bland samples. It's not a sample playback synth!

Plex is unique and has a lovely sound.

Last edited : 8th February 2003

By x_bruce
On 30th December 2002
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

MHC Synthesizers and Effects Space Synthesizer / Effect

Space Synth is somewhat of a one trick pony but it's trick is substantial. The main timbres produced by Space Synth are ambient, spacy sounds that fill sonic spaces quite nicely.

If you enjoy old school electronic/space music you will find Space Synth to be much your cup of tea. The interface is a bit difficult to get around and much of the sounds depend on the onboard effects, a lush chorus and delay.

The basic timbres are not terribly warm but work in a PPG Wave kind of cold way. As a synth the feature set is limited but not to the point of frustrating.

Bundled with the spate of effects the $39 cost is minimal and well worth the purchase.

By x_bruce
On 30th December 2002
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Native Instruments (NI) Dynamo

Dynamo is in essence a stripped down version of Reaktor with the sound engine of Reaktor 2.3 (Reaktor is currently at 3.06) and the premium library that is also available for Reaktor.

There is good diversity in the synths you get and when first introduced Dynamo was a reasonable value. However in 2002 it is poor value as it is based on the older Reaktor engine and has minimal support, nor did Native Instruments live up to the promise of new ensembles. A few were released but for the most part what you bought was what you got.

Admittedly the quality of sound and the diversity of ensembles are good ranging from several drum and synth sequencers, a few excellent subtractive synths - in particular the Uranus ensemble which has a smooth and big sound. Also, the hints of sampling and granular sampling are at times spectacular if somewhat abstract.

If you find the package priced around $100 get it and known you will be able to upgrade to Reaktor Sessions which allows import of all Reaktor 3.x ensembles, effects and instruments.

For most people this will amount to a substantial upgrade and a most worthwhile one. Many Reaktor users put together preset synths and hardly ever get into the depths of programming it.

So consider Dynamo if you can find it on sale. It will give you a taste of the Reaktor sound from a couple years ago and provide you with a reasonable upgrade path to the much smarter designed update.

Otherwise pass on this package and look for one of the better software synths such as z3ta+ or Albino. They are better synths and have substantial feature sets.

By x_bruce
On 17th December 2002
Version: 1.0

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Cakewalk z3ta+

Read the feature list, there are simply too many to discuss here. What we have is one of the most versitile, well designed and implemented VSTis of 2002 if not to date.

rgcAudio has a deservedly good reputation for sound quality and great customer service. This is important when dealing with z3ta+ as it is a programmers synth. It is even marketed as such and honestly to get the most out of z3ta+ you need to understand how you make sound on a synthesizer. But even if you don't there are 400 ready to go patches which cover a good array of sounds.

z3ta+ excels at motion type pads and effects sounds although it does an equally top notch job of leads and basses, it's also a terrific drum synth.

The features I most appreciate are the modulation matrix which is especially powerful when dealing with the LFO and filter options available in z3ta+. Taking into account the six oscillators all fully controllable it is easy to create more organic Wavestation like timbres including a different way of approaching wavesequencing.

The effects are also top quality with a very important compessor. You need one when you have a lot of sonic information happening. The reverbs are rich, the delays are stellar. And then there is the waveshaping capabilities available in a pop up window (on all 6 oscillators). You might wonder, 'does waveshaping really matter?' to which I'd say try playing a note while changing the waveform, you'll hear it right away.

Think of z3ta+ as a more digital take of rgc's Pentagon 1 - on steroids.

At $150 it is not a inexpensive synth but if you want high performance and almost limitless quality and options the only thing that comes close is VirSyn TERA at an even higher price tag.

Some other nice features:
arppegiator
x-y controller
fantastic interface
an all around synth with killer sound capabilities in all the major synthesis timbres

There are no bad points about z3ta+. Download the demo and be amazed.

Last edited : 17th December 2002

By x_bruce
On 6th November 2002
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Ichiro Toda Synth1

Synth 1 seemingly came out of nowhere. It is a simple but functional interface design that leaves some room for improvement. As it stands you can redesign background and text colors and resize the interface which are nice touches.

Sounds included are of all things General Midi however some are quaint. This is the first analog VA to include such a thing and they are not as uninteresting as one might think. There are 10 banks of 128 patches available and already resources for additonal patches here at K-v-R, get them, they will show off the instrument's capabilities more effectively.

Read the specifications above. This seemingly standard synth with nice features but nothing earthshakingly new to add packs quite a punch. It's more on the digital side of analog meaning it's easier to get harsh sounds rather than lush analog. That hardly matters as the range of Synth 1 is huge. Great for leads, pads, effects - especially effect and some basses are all there and in a easy, fast interface that a novice could experiment with and get good sound.

What's missing? No footpedal sustain support, ocasional grainy and crackling sound while moving controls. There is a popup bar for each control, convienient but sometimes annoying as it stays active until you click elsewhere to dismiss it.

Download it, marvel at it's sonic character and go nuts filling up the remaining 896 patch locations. And don't forget the patches at K-v-R. If you need a starting place or just a more convincing idea of how good Synth 1 is load these presets.

Synth 1 does for VA analog/digital what Crystal did for exotic FM implementation. With these two, a lead synth like Triangle and a soft sampler found in most hosts these days you have an effective studio for next to nothing.

Although there is room for improvement Synth 1 beats many commercial synths for sound quality and character.

Last edited : 6th November 2002

By x_bruce
On 27th October 2002
Version: 1.1

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Big Tick Angelina

Everyone has certain sounds that they enjoy using. Some find the Mini Moog irresistable. For me it has been voices.

There is something about the voice that is evocative and commanding for leads and pads. At first I used samples of choirs, mellotrons, and synths that had decent synthesized voices. But I could never find a timbre I designed on a DX7 that sounding etherial, synthetic and yet very much like a human voice.

Well, I found a much better implementation of it in Angelina.

The design of Angelina is simple. There are four voices available in two pairs within a patch. You are able to morph between these two voice sets which have a distinct FM like sound, digital, crisp but very, very realistic.

In part this is because of the use of formants, giving the vocal sound a lifelike character. Each pair of formants consist of various ranges of the voice using "a, e, i, o, u" sounds to create a wide range of expressive timbres manipulated by the morph knobs or the Wavestationesque x-y pad. It is easy to design patches that center as a choir and mix out to individual voices.

Controls include Osc 1 and Osc 2 main volume and FM, Osc 2 has a detune control as well. Both oscillators have shape controls. The third oscillator is called Breath and creates a breathing type of sound, from a huff to sounds like exhalinig. Controls include mix and color.

Each envelope is graphically represented on a LCD readout style screen. Envelopes are six points with bezier points to curve segments. Each envelope is graphically editable as well as numerically or by clicking on buttons. Other controls include Granular, a type of slicing effect, Chorus, Reverb and Velocity Mod, enabling you to model most any synthetic choral or vocal timbres that are convincing whether a lead, choir or pad.

Angelina is a great pad machine. From Eno like stark voices to rousing choirs and shapeless angelic soundscapes.

Angelina is a steal at $39. It has many uses especially moody timbres.

By x_bruce
On 4th September 2002
Version: 2.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

VirSyn TERA

update 1/27/04

TERA 2 is out and the improvements are massive, instead of faded out controls there are multiple interfaces including such standouts as formant, spectral, FM, analog synth and more. Think of them as templates that make the job of creating patches in this magnficent synth more direct and simpler than the 1.x interface. Beyond this the sound quality has actually improved, a feat in itself as this is one of the best sounding synthesizers to be found. There is more of everything yet it is easier to work in TERA 2. Without hesitation I can recommend this synthesizer as just about all you will need in synthesis. If you can afford the $230 street price this is the synth to start with and build from there.

I should also note, I have and like a lot of VSTis out there. There is a large spectrum of sounds and how to make them. While TERA 2 won't cover all, it will cover a lot of areas, some not yet touched by other synths. The review below is mostly specific although everything is much easier

VirSyn is perhaps the most flexible all around synth available . It is flexible - check out the stats at the top of the page. It sounds great and is exceptionally capable in it's routings through it's modulation matrix.

The interface is functional and mostly straight forward. The term modular refers to the sections of VirSyn Tera you actually use and what configuration you use them in. Smartly only the actual sections of the synth used are computed which is good because VirSyn Tera is somewhat CPU intensive.

On a test system of a Athlon XP1700 w/512 ram VirSyn Tera played 32 notes of polyphony using about 60% of CPU power.

There are around 800 (1200 in TERA 2) presets most being useful ranging from leads, basses and pads. There are few synth sounds Tera can not accomplish although with an additive oscillator it's really down to sample playback.

Drums sound great from electronic squelch to near realistic. The filters are well designed with an elegant sound that can get as rough and dirty as you like. Creating one oscillator pulse waves are but one of the luxuries to Tera's feature set. FM and a host of other synthesis forms are another. There is a nifty 12 channel, 64 step polyphonic step sequencer. This is part of a four page interface, 8D Access - 4 2d controls for fast user programmable synthesis changes, Synthese - the main window where all modules exist and are patched, Mix - a 16 channel mixer with excellent reverb and chorus models along and the step sequencer.

VirSyn Tera occupies the space between synth monsters like Reaktor and VSTis like Z3ta+ or Rhino. In TERA 1 I disagreed with those that compared it to Absynth. While taking different approaches TERA 2 meets Absynth head on although Absynth still owns the soundscape/exotic/otherwoldly timbres, especially with Absynth's 2.0 sample capabilities.

The manual is clear although you will need to spend time with it. Currently othing touches VirSyn TERA 2 for versitility.

Last edited : 27th January 2004

By x_bruce
On 4th August 2002
Version: 3r4

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

GForce M-Tron

I wish reviewers would update their reviews, problems mentioned were fixed...

If you like the Mellotron M-Tron is THE VSTi to get.

Installation is simple, you even have choices whether not to install various tape libraries. Install all of them if you decide to buy M-Tron as they are all good. I got the two additional libraries with M-Tron. They too are worth the cost. In particular Volume 2 has a bunch of custom sets and Chamberlin samples as well.

I've read of problems with M-Tron and I do have an intermitant one, on D4/Eb4 the same note plays on two different patches. This is a bummer but the vast majority of patches do not exibit this behavior. Most of the performance news is good. On a Celeron 600 playing 5 notes I couldn't get CPU useage past 5 - 9% in Orion Pro and Cubase VST 5.1. The quality of sounds varies greatly, sometimes within the same set of samples.

This however is accurate as volume, tone and noise issues plagued Mellotrons and other tape based keyboards. The samples for M-Tron have been cleaned up while leaving the essential Mellotron sound intact.

Choirs, violins, piano! and a host of other 'tron samples are dead ringers for the original Mellotron.

Another restriction which is accurate to the Mellotron design is the sample length of 8 or less seconds. This is a good thing as it becomes too easy with traditional looped samples to play the Mellotron like any other traditional synth. The thing is the Mellotron was it's own unique instrument with it's own unique playing style. Patches range from 23 - 36 notes. These seeming restrictions are exactly how the real instrument was played. It is the details that make M-Tron so appealing.

There aren't many controls, attack and release faders, volume, general tone and pitch knobs and a multi purpose 3 way switch for different operation modes. It's a simple yet beautiful system and the closest one will come to a real Mellotron in mint condition.

A must buy for any fan of the Mellotron.

Last edited : 22nd October 2002

By x_bruce
On 28th June 2002
Version: 2.0

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Sonic Reality Sonik Synth

UPDATE, Sonik Synth 2

Fixed are the interface issues, in fact, the new interface is stunning and tremendously functional. Sonik Synth 2 is not a simple upgrade, it is a comprehensive exploration of areas, especially synthesis, which was not the focus of SS1.
While there are some overlapping sections, the samples are new and improved, the sound quality is astonishingly good for a product at this price point.

Sonik Synth 2 is a no-brainer for any user, from home setups to major studios. Products like Sonik Synth 2 are developed to find sounds to use that are ready to go, and the programming of sounds are excellent. Need a Moog sound? It's there, need an Arp, Oberhiem, PPG Wave, you name it, it's there. But so are wonderful pianos, strings, basses and a large distribution of drums.

Furthermore, the interface based on the SampleTank 2 engine, absolutely the best upgrade of a product I've seen ...period. And now, you have control over multiple envelopes from amplitude to filters, modulation and effects. This is a synth now, not a very good sample playback unit it used to be. Featured are, MULTI patches that demonstrate the capabilities of Sonik Synth 2 and the vast sound design engine, challenging top quality samplers with a 8 gigabyte library of high quality that challenge more targeted synths like Atmosphere for the number of samples that enable the user to not only develop pads aplenty, and they are plenty to be sure, but because of the new engine, synthesis capabilities, even better effects than the already impressive SampleTank 1, which are still dynamic and wonderful sounding, you now have a living, breathing synthesizer in Sonik Synth 2. If you can't find a patch, particularly in the synth side of the arena, you aren't looking hard, nor using the available functions for locating sounds.

I am and probably will always be a pad freak and SS2 does not let down. Nor does it let down in synth lead, bass or "real" instruments with a huge showing of the Sonic Reality library of bread and butter sounds. Consider that Sonic Synth 1 had a plethora of sounds, mostly in the meat and potatos range.

With a healthy 3 plus gigabyte library in Sonic Synth 1 people raved about it's usefulness, myself included (see below). But this time out, the samples have more 'oomph' and are open to more articulations which allow for realistic playing.

Another excellent feature about the new all-purpose sample set, leaning heavily, but far from exclusively, on synths this time out, still has everything you need for modern recordings. It isn't a complete Orchestra, but MIROSLAV PHILHARMONIK should fill that bill and SampleTank 2 has another 8 gigabytes of data focusing more on the "real" instruments, but still hitting on all product points with a truly beautiful thing, two completely different libraries that have minimal splill-over, and in sections with similar timbres, there are very different, yet pleasing timbres in these similar areas.

A fantastic buy and must have synth!

Like almost everyone else there is little to fault in Sonic Synth. The engine, Sampletank LE has a difficult color scheme of black print on red which is hard to see at times. Because it is the LE version there is a single stereo output and four voice multitimbrality. Since Sonic Synth is so light on processor resources it's easy to open many instances for multiple audio outs.

The sounds can be manipulated using four controls programmed by Sonic Synth. The type of controls vary between patches so one patch might have filter frequency, resonance, pitch and touch settings while another might have attack, decay, filter cutoff and pitch. There are four programmable effects slots that can be used with one of 28 different effects ranging from reverb, delay and chorus to Lo-fi, many BPM effects and even AM and FM filtering.

Sonic Synth comes with 2 gigabytes of samples in over 500 patches. When using other's sample based timbres I am happy when 30% of the patches sound good. Here almost everything sounds great although for my tastes I might not use 10-15%. For me this is outstanding value for money. Sound programming and quality are excellent.

I come from a create your own sounds way of thinking and initially was skeptical of all the favorable reviews. Recently I decided to go all software and needed something with good overall sounds. Sonic Synth filled the bill. In fact it went far beyond my expectations.

As a Kontakt and VSampler user I do not lack for the capacity to create my own instruments but I can say without hesitation that Sonic Synth has so many useful sounds and of great quality, that I can not imagine a majority of users not finding this excellent collection useful. Having a large variety of useful timbres that are substantially editable is of tremendous value to me not to mention cost effective.

Customer support is incredible, not just for problems but keeping users informed. Huge bang for the buck and a real time saver. In a word, brilliant!

Last edited : 31st July 2005

By x_bruce
On 16th June 2002
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

XT Software Energy PRO

Energy Pro is for me the right synth at the right time. Let's examine it's two components.

As a synth there are several analog style waveforms, two oscillators, blend, several filters, LFO routings and the usual compliment of sound making tools that make for a good sounding synth, not exceptional, simply good.

As a pattern sequencer/programmable arpeggiator Energy Pro rocks. You can create your patterns on the grid which is monophonic or polyphonic. You can make the sequence shorter than the 16 steps or longer, up to 128 steps I believe. And if you want you can render your creations to .wav audio. Besides that you can program many sequences within one instance of the VSTi and do so through midi too.

If it were only a synth Energy Pro would be a decent deal at the $19 cost but with it's great pattern sequencer it's a steal. Besides that it's an awful lot of fun to work with.

There are expansion packs available, in essence saved sounds and patterns which can be found at the web site. Obviously you can save your own as well.

This, I'm hesitant to call it just a synth, this piece of kit is great for those old school electronic arpeggiations as well as anything current. The sound of Energy Pro works well with the sequencing which also lets you create a filter envelope that evolves with the sequence, there are also gate and other controls that make for highly expressive arpeggiations/sequences.

There is a synergy between the synth and sequencing engines which makes Energy Pro quite effective. It's a great tool, check out the free version to get the vibe of this instrument, it's well worth your time.

By x_bruce
On 16th June 2002
Version: 1.1

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

AudioNerdz Delay Lama

Delay Lama is a fun plugin, if you want correct pitch a keyboard is necessary although fun can be had mousing around.

Sound wise Delay Lama is a simple formant shifting implementation. In this case the formant, a filter for those unaware, sweeps based on voice characteristics such as the sound of "A" or "O" etc. applied to some kind of waveform.

In Delay Lama that waveform is basic but quite effective.

This is a one trick Lama :) but it's a good trick, giving the impression of a singing style timbre.

Style points for being freeware and asking for donations in a respectable manor towards a cause the authors feel important.

Works well in Cubase VST 5.1 and Orion Pro 3.02, it's easy on resources and has a distinct sound that's perfect for the ocasional lead or counterpoint line. It's also a great toy.

The score may be lower than the value of Delay Lama. I've used it on a track and can find other uses. Try playing with filtered delays and DL, it sounds great.

By x_bruce
On 29th May 2002
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

SK Vivaldi

Vivaldi was a pleasant surprise. 4 OP FM synths can sound weak and boring but Vivaldi - in particular because of it's user interface - is easy to program and creates interesting timbres.

It has a fairly warm sound (for a digital synth) once you start working with the various tuning capabilities and can create fairly complex motion type pads along with good FX and simpler FM style sounds.

The down side is CPU useage which is pretty high when using up to 4 operators. It should be noted you can use as little as one although you can't expect much diversity unless using a minimum of 2 operators.

The presets are ok but you will be better suited programming your own.

Don't let the FM tag scare you off. The programming features are fairly narrow but in a good way.

It's free, it has an interesting sound to it.

By x_bruce
On 28th May 2002
Version: 2.1

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Green Oak Crystal

Updated 1.7.03

Crystal, an already feature laden freeware synth has developed a lot in one version. 2.1 finds wavesequencing and sample loading. The later enables some warmth that is missing using the highly flexible synth engine. The well designed (though sometimes cluttered feeling) interface is easier to program than it might first appear.

Eight stage drawable envelopes with multiple lines and curves make for some fantastic modulations and modulations are a key here. Almost anything can be modulated, one voice can sound huge. You get up to three voices per patch so it is possible to do things that were impossible prior to (you guessed it) Absynth.

For pads Crystal is a monster as is it's CPU load. Beyond pads Crystal works well for leads although I personally don't use it for bass oriented sounds.

I find myself using Crystal mostly for ambient effects, pads and evolving, twisting mono synth lines.

For free there is nothing in it's class. It is of terrific value for all the things it does. The sound is of high quality and useful in many compositional styles. Slowly Crystal is becoming an alternative to synths like Absynth and shareware synths that while taking a different approach are not a lot further ahead on the technology curve.

Crystal is a synth worth paying for which makes it all the more astonishing that it is free. It is robust, has yet to crash in Cubase 5.1 or Orion Platinum and fits well in the kind of music I work with. If it doesn't fit for you add a sample and start creating.

Check out Crystal, the presets are excelent examples of what can be done with it. Other than the time to download and install you have nothing to lose and quite possibly you'll be amazed.

Performance improves substantially with a faster CPU but even as a monophonic synth there are timbres that can fill almost an entire mix.

Crystal is a must have synth

Last edited : 8th January 2003

By x_bruce
On 8th April 2002
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Smart Electronix GalactiX

update 12.30.02

It struck me that there have been revisions to the interface and additional presets that give insight into the power of GalactiX and make no doubt about it there's plenty of power. Looking back having six oscillators was a taste of the future while using preset envelopes actually made programming more intuitive.

Also keep in mind this is freeware and makes some lovely sounds more in the lush 80's synth area. GalactiX deserves more attention as many of the ideas here found in simplified form have made their way to expensive shareware.

- - - - - - - - - - - - - - - - -

Although the user interface is somewhat different from traditional synthesizers after a few sessions it starts to make sense. I agree with other reviewers that it could use improvement. Another area of some concern are the preset filter envelopes. In one sense they simplify programming but it would be nice to have more control.

Currently there are few presets but they are quite good and help to teach how to program GalactiX. It is difficult to determine how far this synth can go because of some of it's design choices but some of the timbres I got out of it will make their way onto future recordings.

I like GalactiX a lot and hope it continues to develop. It is great for pads - in particular voice styles which are some of the osc. types found in GalactiX.

It's free and useful if you like spacey timbres. Don't let that stop you if you like meaty basses and good lead sounds, they're available as well but require learing the quirky interface.

Last edited : 30th December 2002

By x_bruce
On 3rd April 2002
Version: 1

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

rgc:audio Triangle II

Triangle II is one of if not the best monosynths available. In terms of programability, intuitive user interface and great sound there is nothing out there that beats it.

Best of all it is free.

As stated below, Triange II is vastly expanded from Triangle I. Try this synthesizer out for basses and some incredible leads. Even though it's a monosynth there are FX and pad type sounds as demonstrated by the presets which make this synth far more than a one trick pony.

rgcAudio has set the bar for this type of synth let alone value. Once you hear what Triangle II can do you'll appreciate why Pentagon users have been so happy with their purchases....and Pentagon expands capability beyond T2.

A great synth that does more than you'd expect.

Last edited : 4th April 2002

By x_bruce
On 1st March 2002
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Image Line Wasp

I purchased Wasp as a Fruityloops add-on. The VSTi is mostly similar with added effects and well designed presets. To FL's credit the upgrade was free.

I like the built in effects and EQ. The organized presets are good jumping points for programming your own sounds. In this sense it makes working with the interface less difficult. That said, I have never liked the interface and after a couple of years still don't. Although simple in my very subjective opinion the UI is unintuitive.

In general the Wasp sounds hard although it does a good job with pads and can sound warm especially when using the EQ. Pads are good but lack a certain character that is found on other synths in it's price range and below.

Amplitude envelopes are a concern. Moderate release times create a lot of CPU load. They stay active well after any sound is audible (and well beyond when they should have faded). Compared to other VST instruments this is a serious issue. In general CPU use is substantial.

In a test Reaktor running Dash's daVectorFX Wavestation clone (a fairly processor intensive ensemble) took up less resources. Three instances of Pentagon 1 took up the same resouces as Wasp playing a 3 sustaining notes. You get the idea.

This isn't meant to slight Wasp VST but it seems odd that most of the VST instruments I have are more efficient with resources.

So, where are we? I like Wasp's sound and use it occasionally in Orion Platinum - this version has better filters, envelope setting and tons of useful patches. Still the value for money for Wasp VST is reasonable. Although I am not a fan of the UI Wasp still delivers sonically.

Docked stars for CPU useage.

Check this synth out, it has a good range of timbres for a reasonable price. If you have a fast computer the resource issue probably won't be important.

Freeware is catching up to this venerable synth. Try Synth One as an alternative.

Last edited : 21st February 2003

By x_bruce
On 14th February 2002
Version: 1.22

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

neXoft LoopAZoid

Considering LoopAZoid is free, uses little resources and is stable you've got to love it.

It's not going to be the end all of drum VST instruments but from a functional level it's good. Load up a bunch of instruments, you can't go nuts with layers, that's what your primary drum VSTi is for.

LoopAZoid is good for setting up samples and triggering. It gets the job done with minimal fuss. Orion's native drum machine is better but if you just need something simple and don't run Orion this is an excellent alternative.

I find that using Battery, my primary sample playback drum VSTi I tend to spend more time layering and tweaking. That's a good thing but sometimes you just want something simple to do simple tasks. All the outputs are extra, welcomed features.

LoopAZoid lets me work quickly. That makes it invaluable.

Last edited : 14th February 2002

By x_bruce
On 12th February 2002
Version: beta

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

XT Software Synthetic II Pro

I like the interface on Synthetic II, it may seem a tad simple but that's a good thing. The chorus/flanger really helps out on the brittle timbres. Mind you the timbres are interesting and as stated below this will be a good synth for FX, noises, etc.

But it makes musical sounds as well. I found myself programming a bunch of presets. That's why I like the interface. It's inviting to play with. It could be better and hopefully will but as a (free) synth Synthetic II stands on it's sounds quite well.

It's an interesting synth that's modest on resources but able to create useful timbres.

Last edited : 13th February 2002

By x_bruce
On 3rd February 2002
Version: 1.2

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

rgc:audio Pentagon I

All I can say is wow. I read a lot of people comparing Pentagon 1 to Pro-52 and PPG 2v. I have the luxury of comparing. Bottom line, different synths, unfair comparison.

Which is better? None, but I like the Pentagon 1 more than the Pro-52 because P1 has a great sound that ranges from Moog/Oberheim to Supernova/Virus territory. The PPG 2v shouldn't even be compared.

The flexibile, modern meets classic theme isn't groundbreaking as a synth. It really reminds me of a Nova II I used to work with. Both featured creamy sounding, fat basses, interesting pads and great leads (P1 wins here, the Nova II was more polite, P1 is both polite and rips in ways the Novations don't).

The presets are very good at demonstrating what the Pentagon 1 can do. I think I understand why people love this synth. It is easy to use.

I know there are a lot of extras in this synth but the simple fact is the most important editing functions are right in front of your face. Th newe interface functionally brilliant.

The U/I is easy to see, not too big, skinable and the sound... I'm not a big analog freak but the P1 really captures the feel and character when such a sound is desired. The FM addition makes for some great hybrid timbres. Again, this reminds me a lot of the Novation synths.

I use a fairly old system that's underpowered. I doubt I'll be able to get more than 12 notes of polyphony out of the Pentagon but that's ok because the timbres I'll be using will mostly be pads and basses, maybe occasional melody lines.

Note to Orion users, I had 6 instances running with fairly intense patches and the P1 worked fine with a 70 - 85% load. In Cubase it was a bit better.

System used:
Celeron 600, 384 mb ram, 40 gig HD, not a high end system.

So for those of you concerned, test this synth first. At $99 it is a bargain.

Last edited : 26th February 2002

By x_bruce
On 3rd January 2002
Version: 2.10

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Native Instruments (NI) Battery

update 12.27.04

With the release of Battery 2 Native Instruments had a lot to live up to. Drum synths like FXpansion's BFD and LinPlug RMIV went far beyond the original drum synths or sample playback programmers.

Good:
* lots of new capabilities for editing the actual sample
* 3.5 gb library of extended drum sounds including a fantastic sine wave kit and orchestral percussion as well as the standard all around useful drum kits.
* you can program kits or even specific drums; say all your snares in the 72 cell interface. the cells can be reduced to a row of 12.
* easy drum open, previously used and import/export handling
* cell, map, mod, filter, compression and loop windows in a tabbed area of the interface
* more import options like Rex and Intakt files loading as individual drums

Bad
* still no drum programmer!
* sometimes hard to find where you are in the interface

The thing that makes Battery 2.0 vastly better than it's prior version is the depth of editing one can use. If the list of features weren't enough the cell area has improved as well. Mouse over a kit and you get the basic information on each drum including assigned key. Right click and there are many utility and workflow capabilities.

The sound is better as well which is good because everything is exceptional from Battery's competitors.

What it comes down to is how you work.
BFD has a 3 part system, drum selection, studio modeling and grooves. It also has 2 expansions, the 22gb BFD XFL which adds to the real sounding drums in a huge way, and the 12gb 8 bit kit, the latter a great combination of African and Latin percussion mixed with truly inspired TR808 and 909 samples, some played through studio speakers and the room miked. The 8gb of original sounds are also wonderful and deeply designed with four to six different articulations and many humanizing controls which can be abused to make wild sounds.

RMIV has a similar GUI to Battery but features more drum sounds of high quality but less layering. That is made up by the generous library of beats available along with a great output section with a very respectable distortion that sounds warm to mean.

However Battery has stuck to their guns and developed the apex of drum tweaking. You can use a sound as a pitched instrument or drum kit. Sampled sounds are still 128 levels, do you hear each one? No, but your audio software can prove it. If you want to tweak, think differently or want to be the master of your drum's domain Battery 2 is for you. It is a wonderful tool for making songs using looped segments or just triggering song parts and with the addition of more cells, the ability to play a song or kit that essentially gives you a song in a system.

Samples are 24 bit and able to use all kinds of bit configurations and imported formats. This will end up being a big area of contention in 2005 I suspect.

The review before is similar but still mostly is true of the Battery concept. The time spent on the competition was spent out of respect, as they have their own unique features, but Battery has made a comeback. The once neglected drum kit is now a bit ahead in it's sample editing functions with a good set of features and quality sounds. It will appeal to it's old audience and should pick up a few new drum mavens.

The only serious omission is a drum programmer. I can't think of a drum kit more deserving! Ah well, at least N.I. has a contender again.

- - - -

update 2.21.03

An excellent drum sampler but much more, battery can do a number of smartly developed sample based effects including looping, sample manipulation, pretty much everything you'd want from a drum synth, better yet Battery can be far more. You can set up pitched sounds over as many intervals as you want, you can use huge samples, you can layer and modulate at will, and you are doing so at the sample level.

The interface is good if not a little like a spreadsheet but it's very functional and simple to learn. There's enough here to appeal to users at the novice to pro level. As time moves on Battery has some serious contenders to deal with, particularly Fxspansion's DR-008. The thing serious drum designers will love about Battery are it's huge number of layers per cell. The included samples and kits are impressive as are the new sample libraries.

Pros: good interface, smart selection of editing and effect tools, low system resources
Cons: a bit large but with 54 cells, aging quickly and seemingly neglected

I've created orchestral sequences, rendered to .wav and mixed classical music fragments in Battery, pretty cool for a sampling drum machine. :) You can easily develop entire songs in Battery.

Depending on your sampling needs this may be all you need. Not to be too harsh but user requests have been requested yet a year has passed and no improvements have been made. Smaller companies are able to dedicate their resources so even though Battery is still a fine drum sampler some users may feel abandoned.

Last edited : 27th December 2004

By x_bruce
On 26th December 2001
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Smart Electronix OnePingOnly

You set up ping relationships, weird as that sounds what it means is you get a percussive kind of synth that can get impressively complex. Good for dnb but begging to be used in experimental tracks, OnePingOnly has a different kind of learning curve although once used to it has high fun factor.

Pros: unique sounding, unique means of developing percussive sounds
Cons: no GUI, supposed to be coming soon :)

It's a hard call, some people I've suggested get this free VSTi simply hated it. I played it in the context of a song the same people liked it.

Maybe I'm a easy touch but when creative ideas are made free for me to have fun with I'm greatly appreciative. Cool idea, thinking differently will get you used to the OnePingOnly world.

By x_bruce
On 26th December 2001
Version: not sure

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

JXPlugins JX220

I have a lot of commercial or shareware synths but it always amazes my when a synth like the JX220 comes along and makes some great sonic noise.
Smooth filters, fat sounding and good filters that make the JX220 useufl for pads, leads an bass.
Lacking in programming features but good for basic building block type sounds.

Pros: free and a GUI, creamy high quality sounding timbres, low processor resouces
Cons: limited feature set

This won't make you sorry you bought a Pro-52 but great for quick sounds that work in mixes.

By x_bruce
On 26th December 2001
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Steinberg Universal Sound Module

edited 10/14/02
Latest impression, not so terrible.

One big thing going for USM is it's efficent use of CPU. 16 tracks took under 10% on an Athlon XP1700+ with 512mb ram. It's sample qualities are still questionable but for checking out the occasional GM sequence it's worth having and it's free with Cubase VST 5.1.

Let's put it this way, I use it now and then whereas at the time of my prior review it seemed a waste of disk space.

- - - - - - - - - -
First impressions, bleh.
Second impression, bleh but I see some possibiities for net collaborations and jamming which is cool.

First off, it's free but this synth doesn't sound like it uses 70 mb of samples. Not horrible but come on, you can do a lot more with so much sample memory.

GM was ok until every manufacturer's designs were incompatable and sometimes didn't even meet the GM design. USM (which isn't even GM 1 compatible) might change things for the positive but the timbres are lacking character and with 70 mb of samples that's a real shame.

Pros: it works, the jam and collaboration potential is unique
Cons: 70 mb of samples? You'll never be able to tell

Several years ago there was an ad in the U.S. regarding hamburgers at fast food restaurants. An elderly lady looked at a bun and seeing little to no meat says, "where's the beef?" I expected much more out of USM.

Well intentioned and if the net jams are working possibly a good first step for Cubase 5 users.

Last edited : 21st February 2003

By x_bruce
On 26th December 2001
Version: not sure

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Steinberg VB-1

Guitar is my first and primary instrument. I've been playing synths and teaching electronic music for 20 years now and think we live in incredible times.
The VB-1 is impressive, there are enough controls on it's nicely designed UI. The actual sound is decent, you can make interesting tracks.

Pros: interesting sound capabilities, free, big fun factor
Cons: if you aren't familiar with playing a bass it will take learning the ideas behind bass playing to get interesting patterns (more below), minimal controls

Here's the deal, real instrument VAs depend on understanding the instrument that is modelled, that said anyone can learn much of this by ear, just listen to music with the instrument you're trying to emulate and you'll pick it up.
A lot more could have been done with VB-1 and in time we will see VAs that do a better job. For now the VB-1 is an interesting start.

By x_bruce
On 26th December 2001
Version: not sure

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Steinberg Neon

Some people don't think much of Neon but here's how I see it. It's simple to use encourages people to play around and (maybe) learn something about subtractive synthesis.
Neon lacks in performance features but makes up for it by sounding good and for free sounding good works for me. Capable of good pads, modest leads and pads, not good for Fx and weird, typical analog weirdness.

Pros: good sounding, free, simple but effective editing
Cons: could have been more feature laden, doesn't do many of the fun features associated with subtactive analog (of VA)

It's free with Cubase, maybe even free on Steinberg's site. Worth checking out. Good for meat and potato synth timbres.

By x_bruce
On 26th December 2001
Version: beta 0.7

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Tobybear SickSynth

edited 10/21/02...

The new version is nicer just for the GUI. More to come as I update but this is a weird synth that will bring a touch of strangeness to any project you're working on. Effects like delays, filters and distortion really synergize with Sick Synth

.....................

I was working in the studio when my bandmate of 10 years walked in for the session and said, "wow, that's a sick sound" which was meant with admiration. That is the essense of Sick Synth, it makes really weird noises as easily as the mouse twist of any given paramiter you touch.
It just gets more twisted as you play with the non-interface. You can get normal sounds from Sick Synth but the reason it gets use here is because it's one of the few synths that makes you want to see how weird you can get while enjoying yourself.

Pros: wildly creative on it's own terms, useful timbres result from playing with the synth, free
Cons: no interface, more documentation would be helpful

Leave it at this, if you like weird noises and making sounds for the fun of it you can't ask for much more without rolling your own in a Reaktor or similar virtual modulars. Of limited use but a 10 for what it does.

Last edited : 22nd October 2002

By x_bruce
On 26th December 2001
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Image Line DX10

Although there are no presets with the DX10 there are plenty on the net and many of them are great. Since they are in essance 3rd party you can appreciate how powerful DX10 is.
I use it for frequent FM-ish kind of timbres. A full DX7 this is not but the timbres it produces are useful. The Fruity version looks intereseting, a interface will help DX10 considerably.

Pros: interesting sounds, simple to use, free
Cons: no manual, no presets (but readily available)

If you are looking for bells and sharp digital sounds look no further. If nothing else you will get an idea of how a subset of FM synthesis works.

By x_bruce
On 23rd December 2001
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

mda ePiano

This isn't a $100 VSTi or huge multisample, it is a simple electronic piano synth that does a convincing job of emulating the Wurlizer and Rhodes sound, you can get a tine, FM kind of thing but surprisingly the emulations go more toward vintage gear.

My keyboard player from years ago had a Wurlitzer. Within a few minutes I was able to get his sound down with mda ePiano. Again, like other mda synths they are tweakable enough to sit well in almost any mix.

Pros: excellent sound, easy on the processor, works well in mixes, it's free
Cons: an interface would have been nice and worth paying for.

Love the distortion, very creamy. Try it, it's free and most probably given some time playing it will find it's way into one of your recordings.

Last edited : 26th December 2001

By x_bruce
On 23rd December 2001
Version: 2.7

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

SpeedSoft VSampler

Update 4.21.03

16 months later and with Kontakt as my main sampler I still use VSampler. It is easy on resources, easier than Kontakt, and I have a large library of AKAI and personal samples that have been saved as presets. What makes VSampler most impressive to me is that it's value has not depreciated. In fact it has increased! As of this update version 3 is in the last stages of beta testing. The test was substantial and explains why there has not been more features added to version 2.x. To be honest this version is very solid and should be judged in it's own right. All developers should follow this example and take their time before releasing their work. VSampler is still a great sampler at a great price - read below for more details. As for stability, the machine used on the original review was a Celeron 600. On a Athlon XP1700 VSampler is rock solid stable. Good things not mentioned:
multitimbrality
VST plugins can be used within VSampler
VSampler is also a DXi
can be used as a stand-alone unit

Simply put there is nothing of greater value for traditional sampling. The interface is excellent using tabs to save space, good filters, good manual and support. Also a ton of samples available online.

I tried .sf2 files without trouble but there may be problems on certain libraries. I tend to use other formats with VSampler.

I have had a few crashes as a VSTi and in stand alone mode but they could have been my mistakes, still a good program protects users from crashing it.

Pros: flexible and good sounding, total package is good, good value for money
Cons: occasional crashes on my computer

Last edited : 21st April 2003

By x_bruce
On 23rd December 2001
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

mda Piano

A good sounding acoustic piano with enough tweakability to make it useful in lots of different mixes.

The sound is good quality. Having any control over it is a bonus. Since it's free the mda Piano is worth your time grabbing. I use other samples, I have highly detailed multisampled pianos that are better but not by much.

Pros: great value for money, good sounding with just enough sound editing to make it useful beyond it's modest design
Cons: none

Last edited : 21st February 2003

By x_bruce
On 23rd December 2001
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

mda JX10

Great synth, simple to use, simple design and a good thing as there is no U/I. In return you get very low resouce use.

The sound has a Roland early 80's timbre although preset programs give a hint at how much can be done with this free synth.

Pros: low resources, great sound, good editing capabilities, it's free
Cons: no interface

If they made an interface I'd pay for it providing it wasn't unreasonably priced. You can't be hurt trying the JX10 so do so and have fun with a good synth.

My score was a bit uneven but if given an overall number by my standards this would be a solid 8.

Last edited : 26th December 2001

By x_bruce
On 23rd December 2001
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Steinberg LM-4

FEH!

Everyone says what were (Steinberg) thinking. I'm thinking what was I thinking. Horrible value for money, the Wizzo kits are nice.

Not being able to easily create your own kit? What was I thinking? Shareware kicks it's ass. Freeware does too. I realize this was about all that was available initially but that's no excuse for the stupid design. What was I thinking when I actually bought this?

Pros: it works, Wizzo kits are worth some of the cost
Cons: terrible value for money, bad design for making new kits, arrogance to charge substatial money for new kits, beaten in quality and ease of use by freeware.

Editing a text file to create kits. Come on, for those of us that bought this we're almost as much to blame as Steinberg. I feel like a chump admitting I bought this plugin.

By x_bruce
On 20th December 2001
Version: 1.x

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Big Tick Cheeze Machine

If you like string synths this is a great little synth to add to your collection. The sounds are crisp to warm, brittle to lush. For a free plugin you get a nice interface and effective but limited editing.

Pros: great synth string sounds, easy on the processor
Cons: a one trick pony, not much depth for editing

I'm glad I downloaded this VSTi, it was useful almost immediately.

Update...

The more I use Cheeze Machine the more I like it. It's one of the best freeware plugins available even though it's limited to string sounds.

Last edited : 26th February 2002

By x_bruce
On 11th December 2001
Version: 2.5

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Big Tick Rainbow

Revision:

The more I've used Rainbow the more I learn about it. Unfortunately this is not a simple synth and by today's VSTi standards to some might not have a sexy interface (although I like it and once you understand what you are doing it is very functional). Rainbow finds it's way into a lot of mixes because of it's animated sounds and basses that can sound ferocious.

Also, the stability issues change with the system you use. On the Celeron 600 box it was orignally tested on stability was an issue where as on a Athlon XP1700 box - using the same midi/audio interfaces - there are no stability issues. Also, patches are available at the company site.

- - - - - - - -

I judge how much I like a synth in part by concept and execution along with how well it sits in a mix. Whether you consider it difficult to learn will depend on your background in subtractive synthesis, the less familiar the more the Rainbow2 most likely will be simple to work with.

After a few hours work on the demo I was able to make useful sounds from killer to sublime, enough to purchase it for the studio immediately. This is really an extrordinary synth for a reasonable price. Some will find the FM/AM based synthesis engine somewhat difficult but it's very flexible and a good compromise between classic 6 opperator FM and VA analog.

Pros: expressive and varied timbres, decent manual
Cons: slightly different than analog VAs, depending on the program can get resouce intensive

Not a N.I. FM-7 killer but a great sounding and easier to program FM oriented synth. Anyone that doesn't think FM can be warm needs to check out the Rainbow synth.

Last edited : 22nd December 2002

By x_bruce
On 15th November 2001
Version: 1.10

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Waldorf PPG Wave 2.V

edited 10/21/02...

This and the Pro 52 are the first VSTi plugins I purchased and still one of my favorites. The PPG 2.3 was a deep and expensive synth that happened to be important in defining a new kind of sound and form of synthesis. It is digital yet has subtractive controls and a gritty but pleasantly warm filter.

The plugin is faithful to the synthesizer with a few improvements for making programming easier. Still this is a complex synth and while the manual tells you what every control does it doesn't explain how to program the PPG Wave 2.v.

Having 8 channel polyphony is fantastic and was one of the first VSTis to do this.

You have heard the sound of this synth if you were listening to pop music in the 80's, watching TV or film as the PPG sound was frequently used.

The sounds are excellent at what they do. Some may miss the point based on the stock presets. Try to get past them. The PPG 2.v can do fantastic pads, weird FX sounds, solid leads and bases too. The idea of working with wavetables, literally many different waves strung together as a 8 bit sample is a bit different from traditional synthesis, it was one of the first synths to use sample data. This is also the reason the PPG Wave 2.v is so capable of unique sounds.

There was an article about the making of the PPG Wave 2.v. It detailed how the actual synth was tested against the VSTi along with users who participated in beta testing the VSTi against their PPG 2.3 synths. The beta team agreed the PPG Wave 2.v was a software clone. So it is safe to say you will not get much close than this to a groundbreaking synth from the past, one that literally changed how designers thought about synthesis. In the same sense the PPG Wave 2.v did the same for VST instrument plugins as did the Pro 52.

There is much to learn which isn't addressed in the manual. That the PPG Wave 2.v is still popular after 2 years, a small eternity for software, tells you how fresh a 20 year old design can sound.

Last edited : 22nd October 2002

By x_bruce
On 15th November 2001
Version: 1.01

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Waldorf Attack

I originally wrote, "Do you need Attack? Probably not." I was wrong. It is totally useful as a drumsynth and for basses, leads and to some degree pads.

Some comments have been made about Attack not being as flexible as some other drum synths. Perhaps it isn't but truthfully Attack is much more than a drum synth and as such should be considered so.

You can create complete songs within Attack. It is easy on your CPU and has a distinct sound to it's synth and drum timbres.

Since it is synthesized timbres (the hi hats as sampled) you'll get a huge variety of drum sounds. Think Korg Electribe ER1 with more programming control but missing a step programmer.

Attack is one of the most used plugins in my setup. Almost any music can benefit from a bit of Attack in the mix.
Generous polyphony, a good synth engine and good presets help you get past the uninspired manual.

Pros: a must have for electronic percussion tweakheads, it sounds great and makes a good synth that sits well in mixes.
Cons: The manual is confusing, interface takes some getting used to.

Revised 3.1.02

Last edited : 1st March 2002

By x_bruce
On 14th November 2001
Version: 2.0

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

LinPlug CronoX

Updated 1.8.03

CronoX 2 is a interesting concept, one you might expect to design in something like Reaktor or SynC Modular. The manipulation and use of any combination of VA analog, Time Stamp (sample playback), Loop and Schrader sample slicing in concert with multiple filter types, shared ADSFR envelopes for amplitude, filter and modulation along with LinPlug's now famous modulation matrix makes CronoX a great choice for pads, leads and strangely, percussion sounds.

The filters have a warm sound although I haven't been able to self-oscillate them, but this is a minor quibble. The sound is punchy but not huge compared to something like Pentagon. On the other hand the filters have a nice 80's sound along the Roland Juno synth line. There are 12 & 24db LP, BP and HP filters along with several effects choices. You can use only one effect although using a bit of programming creativity you can cover things like chorus and many modulation effects.

In my first review I said CronoX reminds me of wavetable synths. Well, with the Schrader module and a bit of modulation you'll be able to get microWave type sounds if not quite as in depth editing wise. But for the price, who cares?

The layout is intuitive and the manual is straight forward. It will take some time learning how to get the most out of CronoX 2 but it is realatively easy to learn and has the capability to do just about anything you want.

To say I am totally impressed with version 2 would be an understatement. Sure, you can find similar features in modular synths and even in Orion's 'Ultran' with it's deeper (and more difficult to learn) programming environment, but what may be missing in CronoX 2 is more than made up for with it's smart interface, easy functionality and flexiblity of sound.

It's even economical on the CPU.

A no brainer upgrade and totally worth checking into if you want a taste of more expensive VSTis.

Last edited : 8th January 2003

By x_bruce
On 14th November 2001
Version: 2.08.004

Was this review
helpful to you?
Yes | No

GUI

Sound

Features

Docs

Presets

Support

VFM

Stability

Dr SynC SynC Modular

A deep and musical sounding modular synth. Similar to N.I. Reaktor but a bit more complex. Great if you have the time to dig deep and still worthwhile because of the terrific user base and user synths.
Rich sounding pads, impressive capabilites at modeling sound and a decent visual presentation. For the $49 USD there isn't competition. It's a shame there will be no further development. Still, SynC Modular is like a great instrument, it has lots of capabilities that make it worthwhile.

Pros: fairly low CPU useage, excellent sound and effect capabilites
Cons: no longer in development, fairly steep learning curve

Last edited : 14th October 2002

Latest 73 reviews from a total of 73