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Vacuum Pro [read all reviews]
Reviewed By jzero [read all by] on 6th August 2018
Version reviewed: 1.0 on Windows.
Last edited by jzero on 6th August 2018.
1 of 1 people found this review helpful.
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My experience is similar to that conveyed in BONES review. This thing is a BEAST for warm, fat, in-your-face analog sound. The randomization options are superb, as is the ability to add saturation in multiple places. I purchased my copy from pluginboutique for $1.00. Yeah, F-in ONE DOLLAR?!!! The modulation options are thorough and the sound is killer. Get it now.

Mono/Fury [read all reviews]
Reviewed By Jedele [read all by] on 6th August 2018
Version reviewed: 2.1.2 on Windows
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Very good sound!!! A GUI one can work on without glasses!!!

And also the straight forward Learn Function for the knobs and sliders on my KORG TAKTILE is a breeze.

Why can't KORG themselves produce such a top GUI???

Shame on Legacy Collection for this failure from the word go...

ShinyDirt [read all reviews]
Reviewed By gridsleep [read all by] on 5th August 2018
Version reviewed: 666 on Windows
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Just from the patch names. Anyone with a resilient sense of humor in this dark end of the world deserves credit. Also it sounds like a Korg Prophecy.

Zebra [read all reviews]
Reviewed By rasputin [read all by] on 4th August 2018
Version reviewed: 2.8 on Windows
1 of 1 people found this review helpful.
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If you're new to Zebra and research a bit you'll notice that it is over 10 years old. The last update (before 1/2018) was in 2015.

That is said not to imply that its sound is in any way dated. As you'll see over and over from reviews the sound engine is powerful and infinitely flexible, along with the modulation capabilities.

A huge advantage of a supremely well-designed synth of this age is the terrific number of sound banks available. In fact there may be TOO many and you'll have to spend some time picking through them to find the best ones.

Some people go overboard and design patches that have infinitely complex evolving sounds that are entire compositions in 120 sec; and it's great to know this can be done, but better are the incredible pads, basses, leads and incidental sounds you can create with Zebra. They asset themselves in a mix without being overbearing. Amazingly light weight in terms of CPU/RAM use; I am using an 8GB Windows 7 system and can load a stack of these up in Ableton without it even noticing.

Really, try the demo. 15 minutes is admitted too short a time to really get into it, but it's a chance to try a bunch of presets and get a handle on the power of this amazing too.

The most recent (2.8) demo even further improves the already excellent manual.

Viper [read all reviews]
Reviewed By eyezermusic [read all by] on 4th August 2018
Version reviewed: 1.0.3 on Windows
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Great synth. Viper clearly emulates hardware (the Virus TI and possibly Virus C) very well, way better than my expectations. I have a weakness for pads and supersaws. With Viper you can make really phat supersaws and pads, by far better than any other soft synth I've tried (and I've tried many...). You can make all kinds of sounds with Viper of course but the two mentioned sounds are in my opinion what makes Viper stand out.

However Viper only gets 4 stars out of 5 from me because there are a few things that are less good with Viper. It's a slower soft synth, particularly loading it up and browsing the presets (the rest functions well). Despite the measurements taken to optimize CPU and the fact that I have a pretty powerful PC, I still get CPU spikes after running a couple of Viper instances in a project. This can of course be bypassed through bouncing, which is what I recommend doing if you plan on using many instances. These mentioned things makes the workflow less comfortable though. Overall, I'd say sound wise it's 10/10. Performance wise 4/5. The GUI is very good and easy to understand because it's well organized. The only thing a little bit confusing with the GUI at times is at the filter section with the F, M and A buttons. The one you click on will get darker and the one not in use is lighter. I personally think it would have been less confusing if it was the opposite. But maybe it's just me :P.

T-RackS Stealth Limiter [read all reviews]
Reviewed By doubleslash [read all by] on 3rd August 2018
Version reviewed: 4, 5 on Windows.
Last edited by doubleslash on 3rd August 2018.
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I was confused at first; the output ceiling is also a level control. When the input level matches the output, the gain is linear (and will cleanly null out) until you do hit the ceiling, and then the clipping is nice and natural).

I frequently use this in place of the stock limiter on Reaper's track input chain (instead of a channel strip) when I want peak protection without coloration because level-setting is as simple as it gets.

Polaris [read all reviews]
Reviewed By n2077 [read all by] on 2nd August 2018
Version reviewed: 1.9 on Windows
1 of 1 people found this review helpful.
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Wow this reverb is something else, its phenomenal for sound design but also a superb reverb with heavenly shimmer effect, I have yet to try out the echo section more but for now putting it one a synth and just going through the presets and twisting some knobs gives me instant great result. This is my first plugnin from auditory, and they seem to do a exceptional job updating their plugins, every update seems to add more stuff to the table.

+
Lovely sound
Possiblity to go very in depth.

-
Sound is lovely but still a bit grainy
can get bit out of control.

Hive [read all reviews]
Reviewed By snigelx [read all by] on 2nd August 2018
Version reviewed: 1.1 on Windows.
Last edited by snigelx on 2nd August 2018.
2 of 2 people found this review helpful.
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One thing to bear in mind about Hive. It is designed by synthesizer specialists AND professional well-known sound-designers for use in productions, bearing Focus and Efficiency in mind. It is obvious after some dedicated use that careful planning went into all aspects. (with continued refinement/development in the form of a significant update -a new kind of OSC- coming in the very near future)

The immediate power lies in its straight-forward Focused interface and Efficient use of on-board computer CPU. It it invites simple non-obstructive creativie-flow type patching as well as more complex sound-design enjoyed by synthesizer enthusiasts. The interface does not overwhelm and each module is clearly identified so anyone with basic synth knowledge can jump right in and program.

I find the 2 Dual Stereo OSC design makes for a quick effective production-centric tool. Here is the first point of efficiency. It keeps me focused for production. Right in front of me I clearly see OSC1 and its hardwired (configurable) routing on the Left and then an exact copy of this for OSC2 on the Right. For example, without tabbing back 'n' forth to different screens, one can effectively patch a sound with two-layers in about a minute for quick 'n' dirty use then refine it later. Hive's (currently) 9 switchable waveforms are more than sufficient for patching many creative and popular sounds used in modern and yesteryear's music.

Note: Hive is an excellent synth to begin one's journey to learn substractive synthesis. The concise yet enjoyable user guide (authored by Howard Scarr, a well-known synthesist himself) is an easy read and is interspersed with Tips 'n' Tricks for the curious who wish to take patching one step further. Getting familiar with Hive's general routing architecture and controls is a super-quick process Even Without the manual, but when one feels the need to dig deeper you can quickly access it from a menu.

Other things I personally appreciate about Hive are found below in the form of brief points off the top of my head. Note all these are not necessarily Exclusive to Hive, BUT it is U-he's Implementation of the feature that I find special in some of these cases. Buckle-up, it's a beefy list.

– 3 switchable (on-the-fly) "Synth Engines", each providing a purposeful character/behaviour for certain modules, incl FILT and ENV. (explained in the u.guide) These are "Lockable" when changing presets and available to host for automation. In fact, most controls on the interface are able to be locked – an Excellent feature. Try this in the mod matrix for some Randomisation-like behavior on other presets besides the current patch.

– Nearly All controls available to host for automation. Incredibly useful these days.

– Ability to Save MODULE presets for each of the main synth modules, incl. Arp/Seq and the Effects module.

– Beautiful-sounding Effects units, with an amazing Reverb capable of smooth infinite times and a warm crisp Saturation/Wave-shaping unit to get body or add harmonics. The routing of the Fx chain can rearranged via dragging 'n' dropping fx in the desired order. Super-quick. Also the parameters of each module are accessible as Modulation Targets in the MM.

– 2 beautifully designed resonant multi-mode filters (incl. peaking filter and band-reject modes), drive-able pre- and post- (in fact, All on-board gain stages seem to affect the signal depending on the Engine setting). Makes it feel like the audio is being affected by live components. Also appreciate the way switchable 2-way bipolar modulation depths are setup here, super-quick and to-the-point. (the switch b/t 1and2 mod sources on ea. filter is host-automate-able)

– The OSC's have a "Flow" phase behavior control. In my experience I notice this sounds 'more natural' on Arps/Seq or any fast patterns/motifs. It's one of those things that the ave ear won't hear...but maybe 'feel'. I definitely do.

– Sub-OSC on ea. Master is tunable down Or up, based on the Master setting. (3 oct) And if slaved to the Master, the "sub" can be phase modulated as well.

– A separate "solo" switch can be found on each Master- and Sub- OSC module. AS WELL as each Filter. (and Yes, these are available to the host for automation)

– "LINK" switch which when activated enables all parameter adjustments on side 2 of the interface to be adjusted in relation to side 1's current position. Great for fast patching or performance.

– The LFO's and ENV's have multiple triggering options which greatly increase potential behavior of a patch, esp useful when used in conjunction with Arp/Seq or a host Seq. They also have a not-so common Unipolar switch for forcing the LFO to output only positive values. Very useful in certain instances.

– HIGHLY-CONFIGURABLE Arp/Seq module with a killer ability to link them, yet run them at Different tempos relative to one another. SERIOUS potential to be uncovered here for a variety of uses (and abuses). One can Record his seq data via MIDI input for Hive's Seq AND Hive's Seq can record back in its own Arp-triggered MIDI notes. This module enables some fancy grooves. In fact, Hive is unofficially a beastly groove machine in the hands of a patient programmer. Listen to some of those rhythmic presets to get a basic idea of how it can groove. Presets CAN be saved for this module

– A Super Versatile 12-bay 2-source 2-destination DRAG 'n' DROP style Modulation Matrix (Love This) which IS CAPABLE of several times Recursive modulation + Mod Targets can often be modulated OVER their original parameter value constraints.. Serious weirdness (and practicality) is available here. The Mod Matrix Source menu offers hidden control Sources "ControlA and ControlB. These are assignable to any MIDI CC, incl the usual MW, PW, Expression...blah blah. This opens up a world of practical use like patch mod control via MIDI from the host or Other Control surfaces. Mod Targets have Modifiers available to 'shape' any applied modulations. There are also Mod Target Modifiers used to affect the modulation of a target in increments or various other ways (Nice to have this for 'tuning' modulations to a specific purpose). Presets can be saved for EACH MM bay (BIG time-saver!)

– SEQ can operate in MOD mode... Extra configurable 16-point LFO?

– Graphical KEYS with latching and velocity; great assistance for building sounds

– Ability to set a Default Mod Matrix setup for MM page 1 And 2 separately.

– Very cool options for MIDI CC setup with a separate highly-configurable MIDI control table available in the Prefs. Endless MIDI control potential.

– Poly-Pressure MIDI control (each voice gets unique value). Very nice.

That's not all the goods by a long shot, but in closing, there's lot's of potential to be uncovered in this instrument, and a lot of what is not available in Hive's synthesis engine is either not available due to keeping CPU resource use at minimum (to jive with one of Hive's overall missions) Or because inclusion of such functionality would entail cluttering the well- laidout interface. I find this a super-efficient production tool. Hope you will as well. Happy patching.

Krush [read all reviews]
Reviewed By alexandredesroches [read all by] on 1st August 2018
Version reviewed: ? on Windows
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probably the best sounding bitcrusher I heard. it is characterful, looking good, easy to use, automatable, free, what more to expect?

SGA1566 [read all reviews]
Reviewed By alexandredesroches [read all by] on 1st August 2018
Version reviewed: ? on Windows
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This plugin sounds amazing but comsumes enormous loads of CPU when at max quality. rendering is the solution. sounds perfect.