TAL Software

Dub is my primary genre, and whenever I need a good delay (which is often), I turn to this wonderful little tool. It doesn't take up much CPU, the drive function is just amazing, the modulation sounds great, it can do the feedback loops that dub is known for with the press of a button...I just love this plugin.

TAL-Sampler is probably my favourite virtual instrument. I have a strong preference for synths over samplers, yet TAL-Sampler is the big exception because I can approach it like a synth.

I record samples of my hardware synths (usually with the filter open and/or through various distortions) and I load them into TAL-Sampler as if they were complex oscillators, then I can mangle them by pitching them up/down the keyboard (like in the past, when multisamples were not common because of memory limitations), I can make delayed layers to build complex sounds, I can pre-filter (low and high pass) those layers, I can add the layers using the modulation wheel (by routing it to the layer gain in the modulation matrix)...

I have a lot of fun with it because I can do things I can't do with my synths (or they would sound differently).

The interface is quite simple (compared to the big software samplers) and it's quite fast to use. The only thing that takes a while is working on loop points (to be honest, finding the perfect loop points has always been a consuming task with every sampler), but once the loop is perfect you can save the sample as sfz and load it later already mapped across the keyboard with the correct loop points (I always do this when I record/import a new sample, so I can use it again later on other patches).

I really love it this plugin.

A broken Juno. That's what this is. Because this synth has a critical bug in its voice allocation system.

Basically, if you use TAL-U-No-62 polyphonically with long release times, there will be occurrences where previous notes are overwritten in an unpredictable, antagonistic manner.

TAL U-No-LX does not have this problem in either RR or N voice allocation modes. In fact, I've never found a synth that intentionally implements the strange behavior TAL-U-No-62 does. Surprisingly, the predecessor version TAL-U-No-60 doesn't suffer from this issue, so long as "Save CPU" is turned off (if on, it severely compromises polyphony in a completely different manner).

Unfortunately, this freebie is unlikely to ever be updated or fixed, as it's immensely old, and it's existence stands in competition with TAL U-No-LX, despite the fact that this old freebie is not as accurate or as feature-rich.

Again, this problem only appears to affect long release times on released keys, when subsequent notes play when a release tail is active. This should not affect chord or pad type sequences, only arpeggios that use long release times as a feature. If you are using gated polyphonic sounds or monophonic sounds, this is a non-issue. So I give it 2 stars for that, but it's still a lacerated synth, and it saddens me that it was left this way.

TAL-U-No-62 had potential. It had a solid foundation, and its DNA would live on to TAL-Elek7ro (which doesn't have this bug) and eventually TAL NoiseMaker, and likely TAL's commercial synths to some degree as well. But I can only recommend it fully if you restrict it to gated mode, or in monophonic mode, or otherwise rely very little on the release time parameter.

So, polyphonic leads with overlapping release tails? Don't bother. Expect buggy, randomly cut release tails. Just use gate mode with delay/reverb, or try TAL-U-No-60.

I've been consistently impressed with Tal's products since first trying their free Juno chorus emulation plugin (still the most accurate in my personal opinion). The J-8 is equally exceptional. It can go from ethereal flutes to incredibly thick grinding bass with a few slider tweaks. That is another quality of note - the UI. While still skeuomorphic enough that you won't mistake that you are looking at a Jupiter style synth, but the graphics are clear flat vectors. Their UI's are in my own opinion how all retro synth plugins should look.

But what is most important is the sound and the sound is great. The per-voice modeling helps to create a truly analog and organic feel (something Arturia is only finally starting to do!) You also have the ability to edit those per voice parameters through the 'service control' button (or randomize them) so you can dial in the amount of organic 'character' you want.

I can't say if this is a 1-1 accurate reproduction of a J-8. But I do know that Tal's UNO-LX plugin sounds the closest to my Juno-6 of all the Juno emulations I've tried. And I do know that the J-8 sounds thick and lush. Just go grab the demo and give it a try, you won't be disappointed.

The tool for make your sounds crispy.

The Dry/Wet mix parameter let you blend the perfect amount.

Disadvantages: Tiny interface (from the old low rez days). Audio cannot be processed while tweaking the dials. (Tip: If you use Ableton Live, Device parameter can be tweaked without audio drops).

But 5/5 for the sound.

This plugin is fantastic! I love using it to decimate breaks into stuttering messes great for IDM. Play around with the flexible gain structure and read up on the conversion modes to really get the most out of the plugin.

This is hands down one of my favourite plugins for breathing life into boring digital sounds..

This plugin is my little "Boards of Canada machine": throw some sample or meticulously resampled/bounced audio into it on Akai S1000 emulation, mess with the emulation parameters, and I quickly have a pleasantly somewhat degraded sound that has a lot of character, where the sonic characteristics are convincing and doesn't sound like some cheap digital emulation of a vintage sampler.

One of my favorite plugins ever.