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drzewo Brzoza [read all reviews]
Reviewed By The Chase [read all by] on 6th June 2018
Version reviewed: 1.0.3 on Windows
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I didn't know dirty FM was a niche I was looking for.

Brzoza has an emphasis on gritty, dirty sounds rather than 80's funky basses or soap opera keys. It's easy to run into delicious mush and you can make lots of great faux-distorted leads and reeces. It's not the type of FM synth to chase the clear, bright qualities of a synth like Dexed, or a passing DX7 emulation; it's more for metallic grime. I love it for horrific dissonance.

Tyrell Nexus 6 [read all reviews]
Reviewed By The Chase [read all by] on 6th June 2018
Version reviewed: 3.0389 on Windows
1 of 1 people found this review helpful.
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The developer isn't kidding about its Juno inspirations. You can test out its faithfulness by dialing in a hoover sound, which it excels in making.

The core sound quality of Tyrell is a mixed bag, as it is based on solid analog modelling, yet it isn't effectively antialiased so you can come across some harshness in the high registries. This sometimes makes me want to close it out and use something else, but the foamy/creamy textures you get when moving its filters over more complex sounds keep me coming back. Aliasing aside, the oscillators and snappy envelopes are brilliant. Be sure to turn on its oscillator drift to go from a DCO Juno sound to more of an old school VCO Juno sound.

Neon [read all reviews]
Reviewed By The Chase [read all by] on 6th June 2018
Version reviewed: 1 on Windows
0 of 1 people found this review helpful.
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Of course the sound doesn't stand-up, it's literally the first VST synth ever.

Respect your elders.

MAutoAlign [read all reviews]
Reviewed By RobinWood [read all by] on 5th June 2018
Version reviewed: 12 on Windows.
Last edited by RobinWood on 5th June 2018.
3 of 3 people found this review helpful.
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As I downloaded the installer for demoing MSpectralDelay I decided to take a look at other plugins too. Especially the ones that were hardly inspired by existing plugins since they often get attention and split opinions. I demoed MAutoAlign back then before there was a bigger update so I thought I'll give it a try again, especially because it's in sale right now. Its competitor is SoundRadix Auto Align.

Aligning recordings made with multiple mics is essential for true stereo experience and to minimize comb filter distortion. Unfortunately the smaller the delay is between 2 signals the more audible the effect gets. This means it's better to leave signals unaligned than to align them nearly. Both AA plugins offer a readout to see the results of the delay compensation. This made comparison between the two more easy.

Like many other users I experienced MAA to not work reliable on real projects. For example: I even got different results for the same audio signals depending on where I pressed play in the timeline or which DAW (FL Studio, Reaper, Studio One) I used. While SRAA compensated constant delay times every time, MAA jumped between multiples of the actual delay.
The worse the input material was the better were the results of the SoundRadix plugin in comparison to MAA. In this case worse means for example: different mics for overhead left & right or snare, noisy signals, mics containing more room, recordings with more bleeding.

Compensating artificial delays (test cases with clean signals like impulses manually delayed) got processed correct by both plugins. There were few inputs where MAA only nearly estimated the right delay resulting in the effect described above. But I will not take this into account for the rating since this is not a use case these plugins were made for.

MAA's spectral phase compensation is a nice idea but with a few exceptions made the sound worse here. It added an unwanted phasey character most of the time. I don't know if this was a try to merge the functionality of SoundRadix PI into it.

A pro of MAA I found was the routing.

In conclusion: SoundRadix Auto Align can cover the majority of audio signals with satisfied processing while MAutoAlign may or may not work. In most projects it unfortunately didn't work like it should. MAA only costs a third of the SRAA's price but that doesn't mean it should only work on one third of the material (little joke at the end) :-D.

It's hard to rate in my opinion but there aren't much aspects to consider. It's not a creative plugin but one that has to solve a problem. It quite often didn't. So 2 stars because SRAA (would give it 4 stars) shows what it possible.

Viper [read all reviews]
Reviewed By LL Cool Whip [read all by] on 4th June 2018
Version reviewed: 1.02 on Windows.
Last edited by LL Cool Whip on 4th June 2018.
1 of 1 people found this review helpful.
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Been waiting for the 64 to hit. Snapped it up after confirming some functionality with Studio One 4. Works as expected.

This VST from Adam has a wide, and deep (gene) code pool.

I also think Viper can be used as an example of a very elegantly designed GUI. It's all there and flows very well.

Now I just need to find more time .

TB Morphit v1 [read all reviews]
Reviewed By purelygrey [read all by] on 4th June 2018
Version reviewed: 1.2.8 on Windows
2 of 2 people found this review helpful.
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I was very skeptical about it when it just came out because I didn't think that headphone compensation is a worthwhile idea but it turned out to be a very useful plugin.

As sextonr3 I also have a pair of Beyerdynamic DT990s and Sennheiser HD280Pros, but I don't have studio monitors and I use HD280Pros at work and DT990s at home. They sound wildly different, and I figured that even though I know both pairs very well mixing the same material using both tend to mess up my mixing decisions, so making both pairs to sounds roughly the same started to look like a noble goal.

Luckily Morphit does just that and it works very well for the headphones I have. It's been in my monitoring fx chain for a month now and it's not going anywhere, it's just too convenient after you get used to the compensated sound. Mind you, it won't make your headphones "perfectly flat", but it doesn't need to, because there's no such thing as "perfectly flat" anyway. So if you're stuck mixing on headphones like me, give it a try.

Electra2 [read all reviews]
Reviewed By quilys [read all by] on 2nd June 2018
Version reviewed: 2.6 on Windows.
Last edited by quilys on 3rd June 2018.
2 of 2 people found this review helpful.
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♦ The Tone2 Electra2 is the sound designer's dream! It is probably the most complete synth I've ever seen. Four layers of synths, with three oscillators, two filters, four LFOs, four EG's, an ARP/Step Sequencer, an insert Fx on each layer, plus a master Fx slot. So, imagine stacking the four layers one on top of the other, and get a beast of twelve oscillators, eight Filters, four Independent ARPs/Step sequencers, four FXs, and a master FX on top of that! Wow.

♦ There are tons of synths out here these days, and which you gravitate to will really depend on how you like to work and your personal taste.Me, I like something that sounds great, is powerful, but no too complicated to use, tweak, and navigate. Electra2 hits each of those desires with ease. You don't have to be a scientist to use this synth and get a great sound, and to me that's a really powerful quality to have in a synth.

♦ Fourteen different type of synthesis can be used on any layer and/or oscillators. Pressing the Init button in the third row of main general interface will give you a drop down menu with all types of synthesis, allowing you to set it for all three oscillators at once. Later you can change that on any individual oscillator. We have almost all known old and modern synthesis modes along with one new unique one that Tone 2 added for this synthesizer: a Noise/Fractal mode. We even have good-old PWM and physical modeling for concocting some interesting hybrids between acoustic instruments and synthesized ones. Add to that the ability to import samples or to resynthesize wave and you have pretty powerful beast, especially considering that Electra 2 is very CPU friendly even with all four layers at work using different synthesis models, samples, vocoder or any other effect.

♦ This is a very powerful workhorse synth, with a distinctive fat, modern & creamy sound and a great palette of well-designed presets. There are all the synthesis modes that you can imagine, powerful sampler suitable for synthesis and a great array of implemented effects with dual fatty analog–digital filters. Add to that the user-friendly price, and you've got a summer-spring winner. It is not the power of different elements that makes this synthesizer so special; it is the unique character that can bring something new into your production, no matter how many synths or sounds you already have. We don't need just another synthesizer, we need something warm & fresh. And this one is definitively a modern, creamy, fat, analog & fresh sounding beast .

Viper [read all reviews]
Reviewed By moonchunk [read all by] on 2nd June 2018
Version reviewed: 1.02 on Windows.
Last edited by moonchunk on 2nd June 2018.
2 of 2 people found this review helpful.
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Its June 2, 2018 and Viper was just released in 64-bit. For someone like me that has dozens of VST synths, I occasionally spend money on something that ends up being little more than a waste of time and added clutter on my machine.


This synth has unusual sonic characteristics and an unusual response to tweaking that makes this baby stand out as a great addition - even for those who own Spire. The approach is just different enough, and the arp in particular is amazing.

Plus, many of the sounds are really extraordinary and so easily tweaked to get them working in new directions.

You really couldn't ask for a more powerful argument that hardware synths had that special sauce in them - and that's what makes VIPER occupy a unique position - it emulates THAT.

So I was waiting to review VIPER because as a 32-bit plugin it was still common to overwhelm my CPU with it when using a lot of voices and so on.

The 64-bit version comes through - and noticeably overcomes that issue.

Also, this version has a whole new bank of presets.

Thank you ADAM.

One senses this has been a labour of love. Not unlike what the guys at U-he or Reveal Sound would do if they dug back in from scratch with what they'd learned as machines and their processors have become more capable.

LaunchCraft [read all reviews]
Reviewed By Andy3252 [read all by] on 31st May 2018
Version reviewed: 4.99 on Windows
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I really wanted this to work, but no instructions, old YouTube videos, which don't help and an unstable product that keeps locking up Ableton Live. No presets just a text entry saying loading which it never does. A supposedly online preset library, again nothing appears. But the worst thing is that all it displays a message dead centre of the application stating "No Launchpad Connected", even though it is and setup as described and actually responds to pad pressure. Wish I had never parted with the money for it, total waste of money as its not cheap as such and appears not to be supported with any backup/tutorials/documentation. I can't mind read so some documentation would be nice other than a few lines on the website.

miniBit [read all reviews]
Reviewed By VSTj [read all by] on 31st May 2018
Version reviewed: 1.5 on Windows.
Last edited by VSTj on 31st May 2018.
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MiniBit : the spaghetti synth is back !

In the 80s, the Italian firm Crumar produced a cheap analog synthesizer with a digital interface, the BIT 01. 30 years later, another Italian, Carlo Castellano, brings us another hybrid making the way in the opposite direction.

I admit that initially, already owning Hypersynth's SIDizer, this umpteenth emulation of 8-bit retro synths, quickly tested in a limited edition for Computer Music magazine, seemed to me at first glance less successful and I didn't see much interest in adding it to my collection of plugins.

Nevertheless I was affected by the Gear Acquisition Syndrome when version 1.5 was recently released, seduced by the new skin and the promotional offer, and I decided to support this company that takes great care in the design and visuals of its plugins (I especially love the job done on the recreation of the Sound Master SR-88 and Latin Percussion drum machines) and its very reasonable pricing policy.

I don't regret my purchase: on the contrary, miniBit has become one of my favorite tools! Very easy to use, it looks like a small analog synth reduced to the essentials, whose controls you can handle with the mouse wheel by moving over them (they also display the value of the parameter being edited).

The secret weapon of miniBit lies in its very convenient step sequencer. In the full version, it has the ability to change the waveform of the oscillator while playing (wave sequencing) : there are 18 available, recreated from antique video-game consoles that the developer collects. This rather rare feature makes the humble miniBit a distant descendant of machines as prestigious as the Korg WaveStation, MS-2000 and Radias: not bad for a $20 synth.

The interaction of the different lines of modulation on each other, combined with this simplicity of use and the various randomization options available, make it easy to reach unsuspected sound territories that it becomes quickly addictive to explore.

The support is excellent, AudioThing fixed two bugs that I had reported within 24 hours. I would like afterwards the pitch envelope to become a modulation enveloppe that could shape the filter as well. Why not imagine a LFO – which can already alter the sample rate of the crusher – being able to change the time of the delay too? The addition of a reset switch for each sequencer line could also improve the exemplary workflow of miniBit.

Thomas Jaëck (aka VSTj) is a French musician inspired by the pioneers of electronic music from the 70's & early 80's. He loves vintage synths & computers, retro sci-fi movies & modern architecture. Enjoy the nostalgic hypnotic soundscapes he made over the years: https://www.youtube.com/channel/UCZritIdJGbgaAXXOStTFLMQ

Philosophy of design: An interview with Roland Lamb from ROLI