Product Reviews by KVR Members

When the brand-new company KeyToSound announced the release of the rather innocuously titled Vintage EQ, with all the baggage that comes with the word "vintage", I was more than a little sceptical. Upon installation, I noticed the demo was 30-day unlimited, and I dig that, so that helped win me over a bit. Also Brian (botkiller) from KeyToSound has had a strong, friendly, professional presence on KVR, so that helped too.

At first glance, the interface (like all their stuff) is a little funky and rock'n'roll rustic-looking, but clear and understandable. The layout reminds me strongly of Waves' RenEQ, whose layout I really enjoy, and those familiar with that layout will enjoy Vintage EQ right away. You get 7 bands, each one selectable to 7 filter types, with Gain, Frequency and Q: straightforward, easy to use.

Now, since the first thing I expect from something called Vintage EQ is a sweet high end, so the first thing I did was turn on the high shelf band set to 10khz and gave it a crank, and I was thrilled to hear a soft, smooth boost on the signal; the kind of thing one expects to hear from much-loved, vaunted hardware. I find I was tempted to boost a little more than usual, just listening for when it sounded good, which is always. Very pleasing indeed, and I think many will enjoy the character of this EQ.

Next, I hesitantly glanced at the CPU meter to read the bad news, and it had barely moved. I started inserting like crazy, and as far as I could tell, I could use this EQ on literally every single track in a mix and not bottom out the processor! This EQ has to have the best sound-to-CPU ratio out there, I'm not sure what they did, but hats off to KTS for this feat.

There is full data-entry on each band, and those numbers can be click+dragged also, which is great, plus draggable nodes and even an FFT readout. Personally, I think the readout comes out a bit cramped, but it's generally useful, especially as it's adjustable to Pre-EQ/Post-EQ or off altogether. And they've included A/B and Copy A/B + B/A features, another must-have in my book.

There are no presets as of yet, but it does have its own internal preset system, which I'll count as a big bonus for the preset category. You'll always be able to port your presets, and share with other KTS users.

It seems like KeyToSound really set out to make the ultimate musicians' everyday EQ here, and I do't think they missed a thing. I started using this immediately in my projects and haven't looked back, it's been a complete pleasure to work with! And at the most reasonable price of $59 (you hear that, Mac guys?!?), you cannot go wrong with this. Even if you don't think this is the best vintage-style EQ ever, you can pick up a great, efficient track EQ for peanuts! Definitely one of the best purchases of 2007.

Oh my God, what's wrong with me? I haven't reviewed my #1 favourite delay! Right then, here we go:

I first stumbled upon Bionic Delay when I was frantically searching for a solid tape delay to get a Pink Floyd/Animals-style effect for a song. The interface is tremendously bright, and although I like the big sliders for the feedback and effect level, the controls on the bottom are a serious setback. They're simply too small and it's very hard to dial in just a little bit of modulation or flutter, but with trial and error you can get more subtle effects (I guess the developer wasn't shooting for that!)

Now I understand the main purpose behind Bionic Delay is to get that dub sound, and that it does extraordinarily well. But I've found this to be a superior day-to-day delay, with a thick sound that manages to "stick" to your material better than most VST delays, most of which I find too soft or downright nutty to use. There's something about Bionic Deay; it just works like some cherished vintage outboard gear, and I find myself reaching for Bionic time and time again, over high-end payware delays quite often!

It is very simple to use, and it isn't really necessary to consult a manual for this one. It is very limited in the times it can do, though, restricted to tempo-synced notes and percentages in between. That's generally fine by me - I usually use tempo-synced delays anyway, but it would be nice to have more control over the times. I find this puppy has a sweet spot between 30% and 60% feedback, where it sounds best and doesn't overload. Then, if you want the dub feedback, it does this very well after 60%, and really has a nice degradation of the delay line. WARNING: it gets out of hand quick, and some solid limiting is required if you want an infinite repeat without squealing at -0db.

The presets included are excellent, very useful, give a good idea of its capabilities and come in "insert" and "send" flavours.

Another helpful element is the include low and high pass filters. As you may know, as secret to getting a delay to sit well in a mix is cutting some frequencies so it doesn't bunch up in the mix, and Bionic Delay starts up with a (unknown) percentage of EQ knocked off the bottom and top, and I find this setting is usually just right already, but you have full control here and you don't need to insert an EQ after this puppy.

The CPU could be a bit better. This is an old Synth Edit plugin, and it shows. A few of these in your project, and the CPU meter will be significantly raised, and I find Cubase gets a little choppy when I'm running many of them. But it's not bad enough to worry about, it's worth it.

Because of its great sound, and despite any shortcomings, this delay is literally on every song on my album and will be used into the future, unless I find something very similar, with better modulation, controls and lighter CPU. Until then, I urge everyone to check out Bionic Delay. Truly a classic VST effect.

I'm surprised this is the first review of this wonderful little synth! Here we go then...

Monolisa was announced one day by designer Jörgen Arvidsson as his forray into synth design. After internally rolling my eyes at Y.E.T.A.N.O.T.H.E.R. Moog-type monosynth, I downloaded it and was immediately pleased with the beautiful, compact interface. Every detail is just right on this: a classic, well-designed interface that makes you want to reach out and tweak it!

Upon playing it, I was very impressed with the depth of the bass tone. I realise this is a representation of basic synthesis principles, but it seems to have its own sound, and a good one at that! Those looking for a strong, bread'n'butter bass synth need look no further than Monolisa for their needs.

The first few patches demonstrate Monolisa's bass strength quite clearly, like a "Best Of" bass synthesis, and are easily modified with the clearly laid-out interface. The leads are strong here too, many a great melody could come from these as well. I'd wager a blind test would put this synth up with some more high-profile favourites.

This is a synth that should be pointed out to all SynthEdit nay-sayers. Free, easy and great-sounding, we all owe Mr nBeat thanks for his hard work and great design. I'll be using this for years to come!

You know, I need another free, SynthEdit synth like I need another hole in the head! But something about iloSynth-1 compelled me to try it. And immediately, I fell in love with this little wonder. It's not a complex synth, but it manages to turn out great sounds with its own analog flavour.

The interface is pretty, good choice of colours and I really like the dials. The bright yellow is clear and easy to reference. I like the fact that the usual SE drop-downs, etc, have been skinned and the interface is large and easy to use.

It's hard to put my finger on it exactly, but iloSynth-1 just sounds good. I can give credit to the developer for including 60 useful presets that display the wide range of sounds you can make with this. What it seems to excel at is amplitude modulation sounds, but basses and leads are strong and prominent. A few twists and turns here and there and you'll be making new patches right away.

The chorus and delay sections sound great and easily had ambience to the patches.

There is no documentation whatsoever. Frankly, it doesn't need it; there's nothing earth-shatteringly different about this synth, and hey, it's free!

I've experienced no stability issues, and the CPU light and reasonable.

All together, a wonderful little freebie. I highly recommend all to try it out. I just can't stop using this loveable synth!

Very often on KVR we will see a thread where someone is pleading with us to help them get "that cool string synth sound" or the "ARP" sound. Well, look no further than this little secret. Well loved among those who know it, the AlgoMusic String Synthesizer is a bonafide KVR classic, one of those too-good-for-free gems that you wish was out there (and actually is!). Invented by KVR's venerable veteran Tim Conrardy, this synth was really designed with an obvious purpose in mind: to make great, phasey, analog synth string sounds, and that it does.

Upon opening it, you are greeting by a thin, soft, pleasing interface; it really looks like a gentle-sounding instrument. I think this is a fantastic and effective interface. I subtracted one point because it took me quite some time to figure out that you have to hit a button to switch to the delay section. I do like the overall size of this interface, very easy to work with in a host.

Then I started playing, and right when you hit that second preset, there it is: ARP Solina goodness! I can almost feel myself transported back to some post-apocalyptic 70's European Sci-Fi!!! The presets by TC and fellow KVR stalwart Ugo are outstanding, and this is one synth where I hardly ever need to change the presets; it's god such a good selection of sounds, it's really a set-up-and-go synth. It is very straight-forward though, if you are a tweaker, and the controls are immediately familiar to most synth users.

Really not much else to add to that! Oh yes, there is no documentation with this - but you don't really need any! - and the AlgoMusic forum here on KVR is excruciatingly helpful if you need guidance. This is a truly great synths, one of the top reasons to come to KVR.

Looks like we desperately need a review of version 3; and with the incredible indispensability of this plug-in, I regret not submitting a review sooner.

I first discovered CamelPhat via the free version - and even though that little plug-in was limited to mono, I was blown away by how it could instantly and effortlessly enhance the basslines, synths and drums. I downloaded the full demo and resolved to buy it as soon as possible.

Then, suddenly, version 3 came out.

Wow. What an update! I could not believe my eyes and ears with this one...not only did the GUI get a much-needed kick in the rear, but the features had expanded as well.

USER INTERFACE: This is a truly gorgeous UI, one of the best out there. This is an interface that you want to touch, tweak and explore; and the thick, gold look reflects the thick character of the plug-in quite while, I think. The only reason I haven't given the UI a full "10" is because I experience an odd graphics redraw problem where one can visibly see the interface blink out and redraw its elements. It doesn't affect performance, is just mildly distracting and the devs are aware of this issue (that seems to be almost exclusively with ATI cards - why did I buy one?) and I'm sure it will be fixed soon.

SOUND: Oh yes...the Big British Tone!!! This is what it all comes down to: CamelPhat has some of the best tube-style distortion and compressors you will ever hear. Merely turning up the Tube distortion just a couple notches will help drums and bass leap out of the mix, giving the track that non-linear perfection for carving out its own sonic space.

Now add some compression, and things really start pounding. The Compressor on this is remarkably transparent or beautifully crushing at higher settings, and you can select between normal and "Phat" modes, the latter being recommended for more aggresive material, where some extra punch might be welcome. I find you can get equally good results with either setting, which is something I like about this plug-in; it isn't 100% scientific; there is a turn-it-up-and-go factor that lends itself well to quick inspiration and enhancements, which one feels is the ethos at work here.

Also worth mentioning are:

The Magic EQ, a wonderful low-end enhancer that can really come in handy. I tend to use it most often on kick drums, but of course it comes into play with basslines and synths too.

The Xcita is a very sweet, tube-like exciter, has been really helpful for adding some sheen; a welcome feature indeed.

I use the BandPass filteres quite a lot, and the Multi-Mode Filters are excellent sounding, but I must admit I haven't had a chance to fully explore them, as I tend to use CamelPhat primarily for its warming/compression features.

The Flanger...well, I'm personally not sure why this is in here. I would have rather had something like a Chorus or Doubler, something more universally useful. But no harm done!

FEATURES: Really, what you've got here is a kind of channel strip plug-in; a one-stop-shop for beefing up your tracks, or with the filters, adding sweeps or craziness. It has the familiar "Randomize" function, which again, scores points for the plug-n-go feel. With all the feature available and the great sound, just about anything is possible here.

DOCUMENTATION: Top notch, friendly instructions that really help you get your way around. I appreciated that in the FAQ's, they even told you how to make the new one sound like the old, which I was curious about! One of the easier-to-use manuals I've experienced.

CUSTOMER SUPPORT: Full "10" here. Ben and Rob have been ultra-fast in responding to any questions or problems I may have, and the forum reflects that. One always appreciates great service from real people - real developers - that one can chat with on their forum. I recieved instant help when I submitted my report of problems with the redraw, and they are working with me to resolve in Beta-tests. Wonderful service!

VALUE: Come on. $80 for this. You must be kidding! The value is insane, and I'm glad I got in before all the "pros" realise what they're missing (actually, to be fair, tons of pros DO use this!) and they raise the price!

Seriously, this is one of the single best returns on investment out there. If you want to get some Big British Meat on your tracks, you simply MUST try this plug-in, or remain in cold, brittle, digital hell forever. :D

NOTE: Adventus 1.5 has come out since my review, and an Arpeggiator was added to sweeten the deal. Again, this fortifies it as a top choice for an "open-it-and-go" Techno synth.

This was one of two synths this year that within minutes of playing them I knew that I had to have. Immediately I was struck by its professional, colourful interface - reminiscent of a Juno crossed with an ARP - and its warm, large sounds.

The UI is very easy to read, with pleasing 3-D art for knobs, LED's, etc. One of the more novel things about Adventus is that it splits up its effects, LFO's and Options into different "pages" of the main UI; click the "FX" button and you get large displays to tweak the FX, which are very high-quality and have lots of parameters. I like how the delay has HPF and LPF controls, for instance - not often seen on onboard synth FX.

The filters are really high quality as well. These are the kinds of filters you want when doing slow filtersweeps, without getting annoying spikes and distortion, very impressive for a synth at this price.

You can get some cool FX with its two LFO's that have complex, assignable source-destination mapping. There are lots of possibilities there that I look forward to exploring.

And ultimately, this all gives you sounds that feel like they've been plucked straight out of your favourite electronic records. The well-programmed Presets leap out at you and, while I'm sure some purists would object to that much effect on a patch, the patches also sound good dry. The overall tone reminds me of early 80's synths such as Roland Juno/Jupiter or PPG Wave, with full bottom and bright highs. I can load several of these and still make out the individual instruments - despite all the FX - and it held up well in mono.

I assume because the author recognized that this could be the one and only synth needed to make electronic music, he made a "lite" version, included with the normal version, that has no FX and fewer internal connections. This is perfect if you just need a simple bassline, or if you need lots of instances (which you will!) or if you need to squeeze in that one more synth in your tune.

The only downside (as of this writing) was that I found it took unusually long to load up several instances in Cubase, I had to open the GUI to get playback from a MIDI track upon re-opening a comp, I'm not crazy about the knob movement where it seems you have to use very exaggerated circular movements to maintain sweeps, and there is no documentation yet (but it is very easy to use).

This is the best low-cost synth I've come across PERIOD. I was shocked that firstly, this was made with Synthedit and, secondly, that this cost only $30. With a focus on ready-to-go presets, I advise anyone who needs an all-in-one techno/trance/electronica workhorse to look no further. For all you users constantly inquiring about "that fat sound", get the demo today and I guarantee you'll be composing with it in no time.