Product Reviews by KVR Members

DISCLAIMER
This user review will not be comprehensive; It will be my impression and reaction to the evolution of Tracktion. .. and my journey with this DAW.

THEN
Tracktion Waveform Pro 12 is the most recent version of a DAW that has been around since 2002, initially developed by a cat named Julien in the UK. I first bought a copy when Mackie took it over. I loved it, mainly for the one-screen, straightforward, transparent layout. It seemed way ahead of its time at the time. Eventually, it became a bit buggy, and updates were infrequent (one word). I moved on to other DAWs (a story in itself).
Years later, Tracktion reappeared! The original developer reacquired the software and resurrected it from the ashes like a phoenix. I kept an eye on development and occasionally launched it. I even reviewed a version along the way with an add-on synth called BioTek. Although I did not entirely switch back to Tracktion, it remained special and unique, standing apart from competitors due to its one-screen layout and Workflow.

NOW
Wow! Traction Waveform has evolved into a workstation beast! This DAW is designed to be fast, efficient, and creative. It delivers all the tools needed for music production, especially when working in electronic music. I realize we are dealing with audio, but it helps when the software looks good and Waveform looks marvelous. It is crisp and clean but not bloated and cluttered. Much work went into the interface to provide users easy access to tools without sacrificing the streamlined approach.

MY FAV Features:

• Gorgeous Interface.
• Intuitive, Musical Workflow.
• Fast programming via MIDI and Step Clip.
• Powerful FX Rack.
• Micro Drum Sampler.
• Micro Sampler.
• Melodyne Integration.
• Antares Auto-Tune Access.
• CPU Efficient.
• Responsive Support Team.
• Price.

SUMMARY
Tracktion Waveform does what other DAWs do but uniquely. It has a sleek, ultra-modern IU and provides a slick workflow. For music producers who are new to DAWs, they will be able to dive in, explore, learn, and make music. Music producers migrating from another DAW must be more patient as this software behaves differently. They may need to adapt before uncovering the wonder of Waveform's Workflow. I highly recommend this workstation for anyone in electronic music production who is tired of the usual big box offerings and wants something ultra-modern, inspirational, and musical. The Price is relatively cheap for what it offers, and the free version has many features and no track limitations. Users can start with the free version and then add features they need for a reasonable price.

INTRO
Smooth Operator by Baby Audio! I finally got it! I have wanted this since its release, believing it was a potent resonance suppressor with a simplified "smooth" workflow. I was right. But, I soon after realized that it is much, much more. Smooth Operator is a beautiful multi-function, dynamic tone-shaping plugin that combines Resonance Suppression and Spectral Compression and Equalization to improve balance, clarity, fidelity, and tone. This audio plugin is a sensational sonic clutter remover.

FIRST IMPRESSION
Like all Baby Audio plugins, Smooth Operator reveals a lovely, minimalistic, inviting interface. Background color options include three eye-pleasing pastels (Baby blue, seafood green, and Baby pink). Using "baby" colors did not escape me. The preset browser is at the top/center, with a Baby Audio logo to the left and the right. I found the double logos odd initially, but soon after, I discovered a reason, which I will reveal in the next section of my review.;-) Other viewable controls include a Mute, Side-Chain for ducking, creating space, etc., and Reset icons, Solo button, Focus slider (globally increases the intensity of the frequency range throughout the nodes, Output slider, Peak button toggles between Peak and RMS, which is handy, especially when used on Mix Bus, and a little corner gripper to scale the interface. The main window has five nodes spanning a 20 to 20k range. And that's it! Nothing daunting. It has a simple yet powerful approach to selecting a frequency and determining how much to process. Smooth Operator is very approachable, so I approached. ..

IN ACTION
This Baby is easy to use. It comes with 64 presets that cover just about everything. These are user tweakable and savable. Most of the work is being performed under the hood by clever algorithms. The bypass control is conveniently engaged/disengaged by clicking on one of the two Baby Audio logos! The solo button isolates whichever node is hovered over. S.O. is extremely useful for adding or subtracting specific frequency areas, not just high ones. It's super at cleaning up mud and gluing things together. I have read somewhere about using this plugin for De-Essing; however, I have not tried it, but I might.;-).

THE NODES
There are five nodes on the 20/20k curve: two white, two green, and one red. The white behaves like a floating parametric E.Q., while the green at the sides provides fixed high and low shelf bands, and the red in the middle is where the sweeping global stuff happens, affecting the overall threshold control and scrolling to adjust the Q of these E.Q. nodes. All in all, this is similar to a 4-band E.Q. with two shelves and two parametric peaks. Manipulating the nodes is creative, but as mentioned by White Sea Studio, "This is not surgical." With only five nodes, three of which are moveable across the spectrum, this cannot be surgical, but that is the point. This musical plugin helps users stay in the flow, moving forward, quickly dialing in their desired sound without being overwhelmed by a zillion controls, features, and chaos. The nodes are incredibly responsive and might take a little getting used to, as audible changes can instantly range from subtle to broad. I experimented and discovered pleasant, surprising results. When used conservatively, Smooth Operator can reduce unwanted overactive goo without deadening the overall sound — it does not throw the Baby out with the dirty bathwater.

All the work is done in real-time; it does not learn and render, which helps keep things moving, enabling the user to identify and address out-of-kilter frequencies. It excels at creative sound-shaping. It uses an FFT-based algorithm that splits the audio into numerous bands for users to manipulate in a unique layout and manner. According to babyaudi.io, "The algorithm automatically eliminates harsh resonances and muddy frequency areas. .. The plugin analyzes incoming audio at the DAW's sample rate and adapts its settings tens of thousands of times per second to attenuate frequencies with excessive energy build-up."

I WAS SURPRISED!
I initially thought of this plugin as only an intelligent E.Q. that would use bands to eliminate unwanted frequencies, but soon after, I discovered its ability to compress. It works wonders on percussive loops.

IS THIS A "SMART" PLUGIN?
Yes and No. Yes! It is cleverly and intuitively designed to provide users with a fast and fun way to remove unwanted sonic garbage and enhance all the good stuff. No, it does not use artificial intelligence or machine learning, but it does use algorithms and a unique combination of processes and design.

WHO SHOULD GET THIS?
Any eProducers who want a tool to help them spend more time creating and less time tinkering by making adjustments but letting the tiny little engineers beneath the surface do all the heavy lifting.

WHO SHOULD NOT GET THIS?
Digital audio gurus who have time on their hands and live to process audio, controlling every facet.

MY ADVICE
I suggest that users approach this plugin with kid eyes and ears — having fun, playing in it and through it, letting go of obsessive control, and simply enjoying the creative musical process of improving the harmonics of tracks with the goal being to Make Your Music Sound The Best You Can.

WHEN/WHERE TO USE THIS
Anywhere in the F.X. chain. Do you want to balance the raw audio or after it is processed? Both? Why not? I suggest using this in the beginning stages of production, not in place of audio repair tools, but for getting things sonically smoother before getting deeper into the madness of the mix. It's also useful at the end stages of production to crosscheck.

WORDS THAT COME TO MIND
Organic. Seductive. Sculpting. Musical.

FAVORITE Features:

• Looks lovely.
• Easy to use, yet powerful.
• It's a fantastic set of presets. A professional took time creating these. Very useful as is or as a starting point.
• Sounds fantastic — no audible artifacts of any kind.
• Responsive controls, especially the nodes and sliders.
• Non-destructive.
• Enthusiastic, responsive developer and support team.
• Reasonable CPU when processing. Low CPU when set.
• Priced great in comparison to competitors.

SUMMARY
As I listed the features and functions throughout this review, I realized that Smooth Operator is a new kind of channel strip that is perfectly named. It's not an automatic fix for sonic issues but it provides lots of assistance. It's like having another set of well-trained ears sitting beside you while you dial in the sound you have in your noodle. It's educational and informative — providing a way to compress and E.Q. without worrying about parameters, which is vital to audio production, especially in the early stages. Smooth Operator is a grab-n-go tool for musicians looking to get things right quickly. It's a creative tone-shaper that is exceptionally effective at enslaving harshness and enhancing sweetness. Smooth Operator works swimmingly on individual tracks, busses, or even the stereo bus* mix. I found this little beast most useful on recordings that sounded off to my ears, but I couldn't figure out why. It's also excellent on tracks that sound great by either confirming greatness or offering a subtle suggestion to make it even greater. For the price, I could not and would not pass this up. The audio software market is overloaded with "snake oil" plugins that promise the world. Smooth Operator delivers what it promises and is fun to use. I wholeheartedly give this Baby two adult thumbs up! Excellent job, Baby Audio. Thank you.

Note: According to their website, Baby Audio offers a free trial, "Our trial versions output 5 seconds of silence every 60 seconds — until activated with a license key." I dare you to check it out.

*Sidebar Question: Buss or Bus?

Disclaimer: This is not a proper review; yet, I wanted to share my initial impressions.

Remix by Acon Digital is simple amazing. .. especially for the price. I used as a plugin with my DAW and inside Acoustica. In both cases, the results were mostly astonishing. I dropped an old rockabilly song in there. I figured that would be an ideal start-point as it was a 4-track recording with Drums, Bass, Guitar, and Vocals. I flew through the presets, i.e., Karaoke, Separate Bass, Separate Drums, Separate Piano, and Separate Vocals. Each preset worked perfectly. .. removing/isolating. The only place I struggled was separating the guitar. However, separating Vox, Drums, and Bass worked flawlessly. I was amazed at how each instrument completely vanished without losing the other stuff.

Remix boasts a neat/clean, easy to use/inviting interface with a responsive scaling feature. I will certainly make great use of Remix. .. so many exciting ways to utilize this tool for music production. I look forward to upcoming updates. I give it a 9/10 (so far) and a big fat thumbs up.

Disclaimer
I've written and posted over 200 user reviews in the past 10+-years. You've probably seen my name here and there. I have clearly spent too much time writing reviews and not enough time writing and producing music. I recently vowed to stop doing reviews unless I came upon something extraordinary. Alas, here we are.. .

De-Essers, in General
De-essing (also called de-sibilizing) is the process of reducing harsh and/or loud sibilant consonants, i.e., "s", "z", "ch", "j", soft "c", and "sh", in voice recordings. De-essers are similar to compressors but more focused on the high frequencies that cause "s" and similar harsh spikes. There are many software units available on the market. Some are more effective than others, but even the best options, have a tendency to make audio sound unnatural and cause artifacts. They affect the frequency balance with their dynamic processing, which is good and bad. The goal is to use a de-esser that is straightforward, accurate. and natural-sounding — one that will help smooth out abrasive high sounds. As modern-day producers strive to brighten-up mixes, it's even more important to tame loud sibilants to avoid blowing out listeners' eardrums.

Intro
T-De-Esser Pro is the expanded and enhanced version of Techivation's fabulous free T-De-Esser Plus release. According to the developer, "Our plug-in is meant to smooth out high sounds in a very natural and musical way." So, does it live up to this claim? Let's investigate.. .

Getting Started
There is a simple purchase, download, install, and authorization via a code. .. no iLok or dongle of any kind. No confusion. The plugin was recognized and launched swimmingly in Apple Logic Pro X and GarageBand, Cockos Reaper, MuTools MuLab, Serato Studio, Image-Line FL Studio, and Twisted Wave. The initial launch reveals a neatly designed, eye-pleasing, inviting interface with no clutter or chaos. Yet, this comes with more features than a standard de-esser.

Buttons, Knobs, Sliders, Menus, Gizmos, etc.
• In the center of it all is a big processing dial that regulates how much audio signal slides through before the effect is engaged. This is the threshold.

• Users can de-ess in a wide frequency range, which is easily selected via four presets scopes (Low-hi, Mid-hi, High, Hi-end) as well as a handy slider to dial in more custom, specific range via a slider (1kHz to 20kHz). The presets are fixed and the slider is smooth and responsive. This is an excellent feature when working with instruments like guitar, cymbals, and sound FX.

• The Intensity dial works in ratios (1.0:1 to 10.0:1) and is reminiscent of standard compressors. I like how these ratios have micro tunings beyond the standard 2:1, 4:1, etc.

• In my noodling, Sharpness seems to affect the smoothness of the audio. According to White Noise Studio, "Sharpness will set the crossover slope between the unprocessed frequency area and the de-essed."

• Attack (0.0ms to 30.0ms) and Release (1.0ms to 120ms) work as they should.

• Mix (0% to 100%) is a slick way to blend and fine-tune-adjust after the user has the desired effect. .. wet vs. dry.

• The Quality menu is something I found interesting and unique. This drop-down enables users to manipulate oversampling via the internal processor that correlates to aliasing (1x, 2x, 4x, 8x, 16x). If a user's processor was struggling, I would recommend rendering after tracking. On my system, the difference between 1x and 16x was almost exactly double within one of my DAWs (31% to 60%).

• Another feature that goes beyond standard de-essers is the Saturation (0 to 100%) "Filter" (orange when engaged). This drives the audio through virtual analog circuits to create a subtle form of distortion with harmonics. What I like about this particular saturator is how it processes the selected high-frequency range. Using Saturation also helps to smoothen the sibilants.

• Hi-cut (3kHz to 20kHz) reduces some of the overall annoying hi feq. harmonics, Mode (processing of stereo vs. side signals), Link (balance between L, R, mid, side), Undo/Redo.

• Lookahead is really nice to have. It allows the unit to get a jump on the input signal, thus resulting in more accurate processing. The manual warns that this feature "will increase latency." So, like the oversampling feature mentioned above, it's probably best not to use Lookahead for tracking.

• The A/B switch is invaluable for comparing and dialing in.

In Action
T-De-Esser Pro is extremely responsive, even without Lookahead engaged. The controls are all easily adjusted, with smooth transitions between parameters. The presets (available via download) provide a nice start-point, and if you've ever worked with compressor/limiters and similar hardware or virtual gear, it's not difficult working from scratch. I found it easy to go from subtle de-sibilizing "s", "z", "ch", etc. for vocals up to 10 kHz to more extreme editing/sound design with cymbals and screaming electric guitars. Harsh drum transients can also be warmed-up without sacrificing the overall punch. Users can also domesticate out-of-control snares without beating them into roadkill. By virtue of the Saturation feature, this unit has two ways to de-ess. For me, I need my de-esser to do a better, more natural job than editing manually with EQ, compressions, and de-amplification. Alas, T-De-Esser Pro does it for me! Words that come to mind. .. smooth, creamy, effortless, fleshy. Note: Users can click on "Filter" in the audition section to hear the side-chain input, and the "Diff" button allows you to hear what's being altered/removed.

Things I Like A Lot
• Eye-pleasing interface that scales nicely up to 150%.

• Stress-free workflow. .. easy to ascertain the desired effect. Fast.

• Hover tooltips, which are super helpful in getting to know the plugin and identifying numerical parameters.

• High-quality algorithms that yield a sweet sound - ranging from natural to FX. This de-esser is hard-working, but the results are organic and seemingly effortless.

• Extra cool features include Lookahead, Oversampling, and Saturation "filter"

• Amazingly complete for a v1 release.

• Lifetime License.

• No iLok or dongle of any kind is required.

• Enthusiastic, forward-thinking, responsive developer.

Thing's I'd Like Added/Changed
• Although this plugin is relatively CPU/latency efficient, I'm hopeful future versions will be even more optimized to keep performance up and consumption down.

• Ability to turn off hovering tool tips. Once a user knows the plugin well, this might become annoying.

• Here's a dream. .. a wish-list item. .. what about a built-in frequency analyzer to illustrate A/B of original vs. effected?;-) That would be cool! I, like many producers, use my ears and eyes when editing audio.

Summary
The developer claims, "Our plug-in is meant to smooth out high sounds in a very natural and musical way." So, does it live up to this claim? The answer is YES!!! Upon launch, it's apparent that T-De-Esser Pro offers more than most de-essers, including its little brother - the free version. This plugin crosses over into side-chain compression and is fully stocked with features, without being a bloated, chaotic mess. The Pro edition delivers more flexibility, versatility, and options. It keeps the sound musical and doesn't create artifacts. It doesn't just work as a repair tool but also as a creative tool that can help you be more creative while fixing the issues in the audio.

Techivation's T-De-Esser Pro is an extremely effective, hi-end plugin that delivers musical results, and best of all. .. it's fun to use.;-) The only question I think potential users need to ask is, "Am I a hobbyist, who simply wants to clean up spoken/sung word(s), or am I more than that?" Amateurs have the free versions (I think there are two options). Pros and pro-hopefuls have this spectacular version that comes with a lifetime license! The price is very reasonable considering what other hi-end units cost, but when you consider free lifetime updates, it's a fantastic bargain!! I highly recommend this sweet tool for any eMusician, producer, sound designer, DJ, etc., looking to improve their control of sibilances or for sound design and mixing. It delivers as promised.

For my final sentence, I'll quote Tory G, "T-De-Esser Pro is a freakin' beast!"

*I sincerely hope my user review has been helpful. .. or at least a fun read.;-).

Version Reviewed: v1.1.2 for Mac.

https://techivation.com/t-de-esser-pro/.

For several years I've been looking for a straightforward, yet powerful MPC-style drum sampler to replace AudioSpillage Ekektroid (abandoned), One Small Cue Poise (never developed for Mac OS X), Native Instruments Battery and Kontakt (many reasons), Geist, etc. I found all of these sampler-based options either missing essential features, way too bloated and complex, or ridiculously expensive. I yearned to have my sampled drum kits in one sweet place that was easy to use, with a smooth workflow that didn't get in the way of my creative process. I don't know about you, but once the momentum has stopped, it's difficult to get it going again. I avoid software that tangles me in a web of menus and madness. Yet, when I need to go deeper into some advanced features for editing, I need to know those tools are somewhere under the hood.

I am happy with my synth-based options like SonicCharge MicroTonic, D-16 emulations, etc., but I have a huge drum sample library and need a way to access, play, and tweak my kits. Note: Serato Sampler and Serato Studio show lots of promise. Still, it's nice to have a dedicated sample-based drum machine to drop into random DAWs. This is especially important for those of us who change DAWs like underpants. .. or perhaps even more often.;-)

Enter Apisonic Labs Speedrum, the pro version of Speedrum Lite. It's currently going for €49.00, which I feel is a bargain. .. way less than upgrading Battery. I just downloaded the very latest version (v1.20), and I'm loving it! Anyone else digging this little beast? Note: The free version is super cool and provides a nice gateway into the full version. I'll be leaning on the full version of Speedrum for my drum/percussion sampler needs.

Some of my favorite features:

• Easy to install, authorize, and get started.

• MPC Layout in 16 or 32 pads.

• Lovely clean interface.

• Resizable from 60% to 200%.

• Excellent pad control.

• Fast as lightning. .. appropriately named "Speedrum."

• Lots of sample layers, chokes, editing features, etc.

• Built-in transient shaper.

• Nice browser for sample selection with drag-n-drop.

• Small footprint and light on CPU.

• Sounds fantastic.

• Fun to use. Musical.

• Excellent developer responsiveness and support. I've sent several emails and all of them were answered quickly.

Things I'd like to see added

• Stand-alone version for DAW-less work.

• Include both round-robin and multi-layers with velocity mapping.

A couple of useful links:

https://www.apisoniclabs.com/speedrum.html.

https://www.youtube.com/watch?v=cYE13pBRksc&t=1s.

Note: One thing that blows my mind about this software is how amazing it is for version one.

Disclaimer
This is an update to my original review of CV-1.
These are my concise early thoughts about this new audio software as a music producer, educator, and equipment junkie.

Getting Started
As with all AAS products, the website is clear and provides an easy pathway for research, purchase, download, installation, authorization, and launch.

Upon Launch
Multiphonics CV-3 is a modular software synth that is unlike any other. It has a clear, well-organized interface with knobs and patch plug things that seem less daunting than many of the Eurorack synths and that messy Reaktor. This is a lovely-looking synth with organic elements that are crisp and easy to navigate. CV-3 is inviting and fun to use without the fear of making an unwanted mess (wanted messes are encouraged, of course as this is a modular "playground". The digital footprint (aka file size) is relatively small. The processing power needed is low to moderate with most patches. I'm on a Mac M2, and running this does not put a dent in %. It is extremely stable. Comes is AU, VST3, AAX, Stand-Alone. Scaleable interface. Drag-n-drop modules. The virtual patch cables are easy to grab, move, and snap into desired plugs.

Sound
The sound is so nice with lots of FM Synthesis on board. I no longer miss my old DX7. The sonic pallet ranges from clear-as-s-bell to dirty-as-hell and everything in between. It's easy and fun to create your own patches from scratch or use the generous factory library as is or as a starting point. I believe there are nearly a thousand presets, neatly categorized. The effects list seems nearly endless. This thing is packed with all kinds of cool goodies to manipulate patches. I especially like the basses. When combined with the gate sequencer and filters I get a groovy TB-303 thing happening. Connecting and stacking can become a fun addiction. I read somewhere about an auto-connect feature, but I have not explored it yet. .. sounds intriguing. And, as expected from AAS, there are some expansion packs available from groovy sound designers. Note, these often go on sale and I usually take advantage of their expansion pack bundle deals.

The Update
I used CV-1 quite a lot but had some issues that prevented me from diving deeply into CV-2. I'm all over this new version. It features added physical modeling elements, which is wonderful because AAS is the industry leader in physical modeling with a suite of established top-end soft synths like Lounge Lizard, Strum, Chromaphone, String Studio, etc. In this case, many oscillators and filters emulate real-world aural stuff. Multiphonics now has MPE compatibility. Admittedly, I have no idea what that is, but I noticed a lot of forum members mentioning it so it must be cool.;-).

Developer
I love these guys. I met them in person a few years back at NAMM. They are cool cats. They release frequent updates, respond to inquiries, and are very supportive of their users. They also price things fairly and often run sales. Also, there have been around a while and don't seem to be going out to pasture anytime soon.;-) They rock on and on and on, always brewing something in that Canadian lab.

Conclusion
I agree with the caption on Applied Acoustic Systems' product page. .. Multiphonics CV-3 is "Powerful Yet Easy-To-Use". This synth is fun, inspiring, inviting, and very, very musical. This synth has given me another reason to wake up and fire up my Mac.

Outro: So, what ever happed to Tassman?
Tassman used to be Applied Acoustics Systems' flagship synth. I loved it! Is this a new version of Tassman, renamed? Well, Tassman was discontinued a few years ago. I did some investigating and found this: https://www.applied-acoustics.com/tassman-4/faq/. Multiphonics is not a continuation of Tassman. This is a totally new synth. Both share the same modular philosophy and are closed systems (no third-party modules), but Tassman behaved a lot like Reaktor, whereby patches were created in a "builder" interface, which required users to switch into the "Player" interface to tweak and play — sounds were interrupted when changes were made in the patch. Multiphonics is more like a Eurorack (but better) with patching done with wires directly on the playing interface. No doubt, the Tassman's coding became outdated. Multiphonics CV-3 represents the latest in coding/tech, and in my opinion it's much faster, smoother, and more fun.

Please Note: This software has just been released. Therefore, my review is a concise introduction that focuses on what it is, why use/buy it, and first impressions. I did have a pleasure of doing a little beta-testing prior to release, but not enough to provide anything massive and in-depth. I sincerely hope my words prove to be useful. .. or at least. .. entertaining.;-).

INTRO
deCoda by zplane is a music practice and transcription software that enables users to swiftly learn and play songs on their instrument without being distracted by dealing with tech bloat.

FIRST IMPRESSIONS
Where's the software? Did they forget to include buttons, knobs, sliders, and menus? Nah! Everything is there, but zplane has cleverly arranged the interface to facilitate a fast workflow without the software getting in the way. It's clearly designed to help users get to the point quickly without being side-tracked. I drag-n-dropped a song into the empty window and POW. .. it loaded the audio file and analyzed it. I toggled between the light and dark view. .. I prefer the light, but it's nice to have that option.

WHAT I DIG MOST

Assistance: Help is available if/when needed and comes in various forms:

• Convenient tool-tips ranging from a basic help overlay that is activated by hovering the cursor over a tool to detailed help by double-clicking into a region. These are accessible via the top of the IU menu bar inside the question mark.
• Several video tutorials clearly demonstrate "how to get started" as well as a tour, navigation, etc.
• Support staff at zplane is highly responsive and happy to assist.

Interface
As before mentioned, it took a little time to get used to the streamlined GUI, but soon after I appreciated a clean, crisp look and feel. It's like a new canvas awaiting some paint from a pallet that is so easy to reach. There is a top bar that expands to view loop-able/loopview parts (in waveform or piano-roll) and a bottom bar that features: Edit time, key, bookmark (saves favorite parts), metronome, transport, focus on/off, octave, and playback speeds/BPM. Sidebar menus reveal bookmarks, parts, editing, mixing, export, etc. There are three lines, a.k.a burger menu, that show current project, project history, open file, and settings. The controls, functions, parameters, and settings are unobtrusive, yet easy to access. There is no clutter; no overstuffed nonsense to get in the way of doing what we do — music.

Workflow
Lightning-fast! You simply drop audio music file onto the interface, let those amazing algorithms work their magic for a few seconds, and voila — music is deCoded! From there, parts can easily be reorganized and parameters can be manipulated as/if needed (Key, time signature, BPM, chords, etc.). The zoom feature is handy and easy to use.

Slow-Down
zplane knows how to change speed without pitch change. Again, their algorithms shine. deCoda can be slowed (or sped) to help users learn and/or practice parts at their own pace.

What About My Instrument?
Most audio software requires users to have both hands glued to the keyboard, but deCoda minimizes computer time and maximizer instrument time. A one-handed keyboard nav creates an convenient, compact, ergonomic way for users to manipulate the instrument (on your lap) and software. This saves time and unnecessary movement that puts your instrument at risk. So, keep that guitar (bass, piano, etc.) close by and play on using it. deCoda is a tool designed to help you quickly learn and play songs.

File Management
All loaded files are neatly stored, automatically updated, listed, and loaded without navigation through a maze of files and folders. Users we not be slowed down by traditional file management, i.e., naming, saving and so on.

Accuracy
Oh, those zplane algorithms!!! Key, time, BPM, and song parts are usually spot-on. And when they're not, they're close enough to provide a solid foundation to work from.

FEATURE REQUEST
I'd like clearer automatic note-by-note transcription for melody lines and solos. Then I wouldn't need to load that other app.;-).

WHO IS THIS FOR?
You, me, and every other musician that wants to figure out a song or recording.

WHO IS THIS NOT FOR?
The extremes, i.e., Mozart and absolute beginners. However, Wolfie would certainly have fun with it, and once beginners better understand their instruments, this would become an invaluable tool for them to better understanding other people's music and improve their skills without the distracting of computer stuff.

SUMMARY
Most software, especially audio transcription software, is cluttered with stuff that needs to be defined and explained in detail. deCoda is remarkably minimalist, yet extraordinarily powerful. It simply works well. What can I say about software that defines itself? When I think of deCoda, these words come to mind: Time-saving, elegant, clever, powerful, fun, educational, invaluable and indispensable. deCoda is what every software should be. .. it does exactly what you want it to do and doesn't get in your way. It doesn't prevent you from playing your instrument; it enhances instrument time. This is one fantastic tool. deCoda quickly became an indispensable tool in my studio, and I plan on keeping it in my dock until my ears fall off my head. If you have a need for audio transcription to help you reverse engineer some music, I strongly suggest you check out deCoda.

Disclaimer: I wanted to give this software a 4.5 rating. I do believe future revisions will push it up to 5.0. However, 4.5 is not an option. I had to choose between 4 and 5, so I went with 5.

INTRO
Nuance v2 by New Sonic Arts is an inspiring compact creative sampler with a fast, intuitive workflow. There's no bloat. It's light on CPU and heavy on performance. It more than lives up to its joyous promise of being quick, capable and fun.

INTIAL IMPRESSION
Upon the first launch, seasoned sampler users might find themselves a little unsure about how to navigate around the interface. Luckily, there are helpful hints that pop up and the GUI soon after becomes intuitive and extremely inviting. It's minimalist, but it does all the right things and does them well. It can also consolidate, simplify and streamline a user's setup by assuming virtual drum machine duties. It's got the pads and kit features, including multiple layers per pad, round robins, choke, etc. The Pad View enables users to load and/or construct kits. The Piano mode returns the user back to a standard sampler with standard keyboard assignment and mapping.

IN ACTION
If it's what's inside that counts, Nuance definitely has a lot going on under the hood as evidenced by its performance. If looks do matter, well. .. this is a fine looking piece of software. Check out the website. It's elegant and ultra-modern, just like their software's GUI. Side note of little importance. .. I like their logo. The tilted N encapsulated in a ring is cool and catchy. .. easy to see in the dock.

WORKFLOW
I've come to realize that there is no one way to flow that work. Users can keep it simple by dragging in single samples (simple instruments) or drums into the padview. In this way, the file browser and My Samples database becomes workflow central. Or, more advanced users can get a bit more complex by building their own multi-instruments and relying more on the map editor and detailed editing functions. That flow might look more like this:

1. Drag sample(s) onto the interface
2. Loop and key assign/map zones via pulling edges around
3. Switch to the Mapping View to set key, velocity range layering, multi-sampling, adjust start/end points, fades and looping in the wave editor.
4. Layer as/if desired
5. Globally edit Pitch, Pan, Volume, FX and modulation in groups or layers. Note: Modulation can be manipulated and then dropped in.
6. Assign to Cycle Groups for sequential round robin triggering.
7. Save.

Nuance fosters a super fast basic workflow; yet, the advanced features and power is as needed.

FAVORITE THINGS ABOUT IT
• Neat (compact), user-friendly interface with a truly "effortless workflow"
• Small footprint and CPU friendly
• Loads all the common audio files, and saves patches in its own format with an option to embed referenced samples
• Drag-n-drop in and out
• Inspiring and Musical
• Sounds great
• Simple, yet powerful layering, Amp Env, Pitch, Modulation, and FX
• Modulation is flexible and assignable via a drag-n-drop features into the Modulation Matrix or onto target parameters. For many, this might be a game changer.
• Step/Table Sequencer provides rhythmic, tempo-synced modulation and the XY Pad connects between the Assignment Manager and the Modulation Matrix.
• Round robins for more realism
• Built-in Choke feature for hats and other choke-able instruments.
• Batch edit
• Batch tag samples and filter for lightning browse/selection. The database neatly organizes a sample library within Nuance, which speeds up usage.
• Quick loading of sampler patches
• Helpful speech bubble hints = shallow learning curve
• Stand-alone and plugin versions
• Responsive developer
• Priced right.

REQUESTS*
• Pitch detection
• Advanced time compression/expansion
• Crossfading between Zones
• Key-Mapping by filename
• Random round-robin
• Transport and/or audition button for stand-alone version
• Name or color option for pads
• Detailed video tutorials.

HEARTFELT THOUGHTS
If you love the feeling of falling in love as much as I do, you'll dig Nuance. It's like the best chocolate imaginable. .. a few simple ingredients. .. smooth, tasty, and not too sweet. So far, I see many positives and endless potential. Hopefully, this honeymoon stage is everlasting.;-) Nuance is a piece of software that I've been searching for. .. inspiring, fun to use, and not an overly complex mess. I don't foresee myself outgrowing this fine software. Like any good relationship, I hope we grow together. Nice job, New Sonic Arts. You won my heart; hopefully, that leads to some beats.;-).

SUMMARY
Will it do everything the mega samplers like Kontakt, HALion, and MachFive does? NO! Will it do a better, faster job at the most important thing. .. help users make music? YES, I believe so! The full feature set of Nuance will not be as deep as the mega samplers, but it will blow away standard samplers. Nuance combines simplicity to enable users to work fast, but does not have the limitations of some simple samplers. The power is there if/when needed. This baby is streamlined and will sample circles around the big bloated beasts!! Nuance is cleaner, less confusing, and enables musicians, producers, DJs, etc. to focus on what matters instead of wasting time being frustrated. Without hesitation, I give Nuance two pulsating thumbs up. Check out the free demo.

Note #1: I'd also like to check out their other offerings, i.e. Granite (granular texture generator), Vice (loop slicer), and Freestyle (stage and studio).

Note #2: If you cannot live without pitch detection and advanced time compression/expansion, I suggest complimenting Nuance with Serato Sample. They make a great team.

INTRO
VStomp Amp by Hotone pronounced, "Hot One," is a collection of realistic modeled legendary amp emulations. The range includes: Marshall, Vox, Black Twin, Silver Twin, Mark, Baseman, Mesa Boogie, etc. The software uses the same tech found inside of their XTOMP multi-effect pedal, CDCM (Comprehensive Dynamic Circuit Modeling) system. Okay, I have no clue what that is, but I know it sounds great. Under the hood. .. I'm guessing they employed one of the following:

1. Miniature effigies of Jimmy Page et al.
2. Cutting edge algorithms for amps that also manipulate loaded cab IRs.

After investigating, I discovered that CDCM is a special kind of circuit that helps to emulate/replicate all the parameters and tonalities of classic amps and cabs to achieve "the closes possible characteristics" of the actual circuitry. Hey, it sounds great!.

HOW TO USE:
1. Launch
2. Select an amp
3. Select a cab
4. Add delay, reverb, and boost.
5. Play
6. Save preset.

VStomp allows users to combine a wide variety of amps and cabs to create a unique custom sound. It includes countless clean, overdriven, hi-gain, and bass tones. I'm more into a 60s vibe as of late, so I favor the clean tones. I found an good preset demonstration: https://www.youtube.com/watch?v=9W3ZRn_luI4. It's good for a reference, but I think most of the examples sound better at home. .. less tinny. To quote Raphael Morgan from a KVR Audio post, "It sounds killer with Recabinet and some good IRs."

PROS
• Attractive, user-friendly interface.
• Fun to use.
• Sounds great.
• Nothing complicated, which = more playing.
• Built-in noise gate.
• Can be used as standalone (Mac OS X).
• Presets adjustable via MIDI controller in vivo.
• Priced right
• Free amp cabs frequently added.
• Enthusiastic developer with excellent communication.

CONS
• Needs more bass amps. Don't be stingy. Show bassists more love!
• Modulation FX
• VStomp is a bit buried in Hotone's website, but you can find it here: https://vstomp.hotoneaudio.com.

SUMMARY
There are countless amp/cab emulations out there. .. some good, some bad, and some are just plain ugly. VStomp is GREAT! In my opinion, VStomp nails the sound of the original hardware counterparts, especially Fender and Marshall. If you're looking for the deepest IR loader, look elsewhere. If you want to play and sound good for under $100, look here! VStomp is a software amp simulator that every guitarist and bassist should consider, whether you play a real or virtual axe. This thing rocks. Try the free demo. .. you have nothing to lose.

Note: If you pull the trigger, I highly recommend adding their Amps and Cabs bundle, which often goes on sale. This will ensure you have "all the real sounds of rock heroes past and present."

INTRO
Harvest is a MIDI plugin sequence generator that can produce note melodies, chords, and rhythmic patterns.

CHEATING?
Let's get right down to it with a pre-emptive strike against the opposition. Is using Harvest cheating? I'll answer a question with questions.

• Is using a word processor instead of a typewriter cheating?
• Is using a nail gun instead of a hammer and nails cheating?
• Is opening up a dictionary or thesaurus cheating?

Harvest doesn't complete a composition and market it. It's a tool, devised to "Unlimit your MIDI." Does it succeed? In my case, YES! Harvest has quickly become one of my favorite tools. The learning curve is shallow. In no time, I was up and running, navigating about and creating. In a word — INSPIRING!!! I particularly find it useful for developing unique melodic leads and basses. It's also great at tweaking melodies and blasting through songwriter's block via randomizing. Here's where I plagiarized my workflow: https://www.youtube.com/watch?v=thEsZGnA7No.

WORKFLOW
• Open a couple MIDI tracks, one for Harvest and the other for an instrument that Harvest controls.
• Select number of bars, note length, and quantization
• Input notes or select from a list of preset keys (scales/mode) and chords
• Use metronome to tap-out notes (all notes will be in key as per key selection)
• Lock-in desired notes and ReGen/randomize the rest. .. almost like playing poker. .. keep the good cards and ask for a few new ones. Only with Harvest you can keep asking for replacement notes until you nail it!
• Press record to print onto instrument track.
• Edit and shape as/if needed.
• Add more layers if desired.
• Add FX to taste.

FAVORITE Features
• Neat, clean, inviting interface
• Easy to use; fun to use; fast; musical
• Demolishes songwriter's block
• Subtly teaches music theory
• Interactive Piano Roll
• Humanize for some swag and swing
• Stable
• Updated frequently
• Responsive developer with good customer support
• Excellent video tutorials
• Good price.

FEATURE REQUESTS
• Stand-alone version
• Increase number of bars to 32
• Drag-n-drop
• Note locking issue identified by KVR Audio Member, Saffran: "Only two options to lock notes, click one note at a time or all notes. If you have 30 notes and want to lock 2/3, that's 20 clicks. Why can't any of them turn into lasso selecting when ctrl-clicked?"
• Streamline CPU consumption.

SUMMARY
Harvest has quickly become an indispensable tool in my virtual toolbox. No regrets whatsoever. It's extremely musical. If you're a songwriter of any genre, check this out. There's a free version, Harvest Mini. If you dig that, step up to big bro. unique workflow for writing music. Thanks, Harvest Plugins, for developing this amazing audio composition software.