Product Reviews by KVR Members

INTRO
LiquidMusic by WaveDNA is an inspiring MIDI music performance designer software that enables users to quickly create melodies, harmonies, and chords by "painting." It's effortless, visual, and perhaps even revolutionary.

FIRST IMPRESSIONS
The purchase, download, install, and authorize process is straightforward with no surprised. To setup this plugin, launch your DAW, create a MIDI track, assign an instrument, and then load LiquidMusic as an effects plugin. Note: Multiple instances may be used, and there is a built-in system that keeps CPU optimized. Upon launch, users will instantly notice a clean, modern interface that is intelligently arranged.

CHEATING?
Let's get right down to the question at hand — is using music composition software cheating? My opinion — who cares? Whatever it takes to translate creativity from your brain to mixer or to jolt your noodle out of songwriters block is fine by me. Let's not blame the tools for the overwhelming percentage of terrible music being produced today. Plugins don't kill music; "musicians" kill music! Yeah, the digital audio world has made it easier to produce generic junk, but it has also made it easier for talented people to realize their golden potential. The fact that so many traditional musicians and producers are upset about this software clearly indicates how fantastic it is! Having said the above, plugins do tend to create more producers than musicians. Is using a chord book and reference chart cheating?

IN ACTION
I was going to clearly outline my workflow and illustrate the main features one-by-one, but half way through writing I realized that WaveDNA does a much better job. Please notice the video tutorial and the section at the bottom of the webpage that lists the layers and tools (Sketch, Key, Chords, Voices, Rhythm). You can manipulate and "evolve" song ideas in real-time using these layers of control:

https://www.wavedna.com/liquid-music/.

There are many ways to use LiquidMusic — it can suit various workflows. The Harmony Builder provides a powerful set of tools that have a moderate learning curve, but the rewards are great. A common approach is to create a chord progression as a framework for the note painting. Chord Roots, Types, and Modifiers help create and refine chords. The chords within the selected key are clearly indicated and distinguishable from dissonant or out-of-key chords. Keys may be changed (major, minor, dorian, phrygian, lydian, etc. Arpeggiators may be added. I consider LiquidMusic's workspace a canvas. I can begin with presets or freely splatter notes and see what sticks. If the painted notes are inspiring, I edit. If not, I wipe the canvas clean and start over. There are also ways to change chord progression with or without adjusting the melody. If the Key Layer is locked, none of the chords are changed. This allows users to construct progressions and then add cool stuff, like melodic rhythms. The Voice Layer helps add harmony to melodies and chords. All in all, this is a very visual, tactile virtual process that is unique and rewarding. By using a Chord Tracks along with the Rhythm Editor of Liquid Rhythm, users can sketch out rhythm, chords, melody, and harmony.

THINGS I DIG
• Looks sweet
• Fast and easy, yet powerful with an excellent workflow
• Syncs perfectly with DAW
• Inspiring — bust through songwriters block
• Experiment freely without going out of key
• Small footprint
• CPU Efficient
• Forward-thinking developer.

THINGS I WANT
• More video tutorials I'VE BEEN ASSURED MORE VIDS ARE ON THE WAY. "With the release of 1.7.0 after a long period of development we intend to now focus on user experience by improving our website and YouTube channel, and more tutorial videos are very much a part of that!"
• Standalone version! I'd like to launch and compose with this powerful MIDI music composition environment without going near my DAW. I wouldn't be surprised if an updated version is in the works because LiquidRhythm has this feature.;-) I'VE BEEN ASSURED THAT THIS IS BEING WORKED ON.
• Max for Live users can take advantage of a cool feature called Import Wizard that analyzes a MIDI performance to interpret the key and chord progression. I've heard that this feature is often spot-on, and when it isn't, users might just get a pleasant surprise or at the very least — a start point to work from! Unfortunately, this feature is only available for Ableton Max for Live users. "For VST / AU users: Unfortunately, the import feature is currently in development and as of yet unavailable." DONE! THANK YOU FOR RESPONDING! "This feature is now vastly improved upon in Liquid Music 1.7.0, with the introduction of Project Clips, as now multiple Liquid Music clip ideas can be managed and switched between with ease, bringing the VST and AU plugins much closer to the Max For Live plugin experience!"
• MIDI Event Editor.

SUMMARY
To quote a YouTube poster, Daniel DeMayo, "This is a dangerous tool — smart as hell, but now everyone and their grandma will be acting like they are Mozart." Well, Danny, what's wrong with having more Mozarts? LiquidMusic can help users get what's in their heads down on tracks. It also provide an excellent environment for eMusicians and producers to discover happy accidents. This software is way beyond an arpeggiator; it's an artistic pallet for creative composers of all genres. Some words that come to mind are: VISUAL! FUN! INSPIRING! UNEXPECTED! If you are an old school composer who values the traditional music composition process, this software is not for you — close your browser NOW! However, if you believe the ends justify the means, and only the music matters— grab this gem and never look back! If you're not sure, check out the 30-day full access demo. My entire user review is based on the expectation that soon all the features will become available to all DAW users and even non-DAW users. At present, only Ableton Live for Max users can completely enjoy this beast. With that expectation in mind, I hereby give LiquidMusic two guilt-free thumbs up! Great stuff.

UPDATE: Version 1.7.0 has delivered some excellent improvements and exciting new features, most notably the Import MIDI, Project Clips, and Track Selector. These features help make it possible to quickly create multiple variations within a single instance of LM or to employ multiple instances of LM and navigate between them easily. I am happy to bump-up my user review rating to 5 Stars. Way to go, WaveDNA!.

https://www.wavedna.com/wavedna-releases-liquid-music-v1-7-0/

INTRO
Sundog Scale Studio by FeelYourSound is a fantastic song composition tool that helps song writers of all levels quickly and easily build chord progressions, harmonies, and melodies. It's a stand-alone application that transmits MIDI note data to digital audio workstations. According to the developer,"The main focus of Sundog lies on writing harmonic songs from scratch without having to worry too much about music theory."

FIRST IMPRESSIONS
The purchase, download, install, and activation process is simple. Upon launching, users will notice a flat, modern, neatly designed GUI. The color scheme is an eye-pleasing mix of creamy grays, white, yellow, and red. The interface is not intimidating; it is well thought out and inviting. It can be resized to accommodate various screens, workspaces, and needs. There is also a reset UI to default command. The top red bar houses the following selectors: tempo (30-299), swing (%), chords (viewed as text or on a KB), bar length (1-16), basenote (root note), and scale. The yellow Pattern Trigger box is for playing individual notes and chords. The light gray Pattern box at the bottom is for creating rhythms over sixteen steps. Users can even use up to 64 steps by setting the Length to anything from 1 to 64 steps. The arrow in the pattern box is used to go from one 16-step-page to the next. There are Instrument blocks in the middle of the screen that transmit MIDI to different channels. Users can create a limitless number of song parts. Each song part consists of 15 instrument boxes, and each instrument has an own pattern trigger area and a pattern box. Users can create parts (1-16 bars) that can be linked together to create an entire song. The free-standing area on the right includes: solo, mute, source (scale notes, chord notes, etc.), octave (0-9), channel (1-16), instrument (general MIDI assignments), fixed note (general MIDI note assignments for drums), velocity (0-127), and a pattern area with many pattern presets. The transport bar is on the top and features MIDI, a timeline, play and record.

SETTING UP
The setup process can be a little challenging for those less experienced with configuring Audio/MIDI connections on their computer. It requires that a virtual MIDI cable be connected to a DAW. A quick-start video tutorial illustrates how to achieve this in each of popular workstations:

http://feelyoursound.com/sundog-quickstart/.

In some cases, users will need to access the Audio/MIDI Setup found in Applications/Utilities. There are step-by-step instructions:

http://feelyoursound.com/setup-midi-os-x/.

There is also a clear and concise user manual:

http://feelyoursound.com/sundog-manual/.

Once setup is completed, the fun will begin! Note: The entire setup process took me 11 minutes, so it's either easier than it sounds, or I've been doing this stuff for a long time — probably both are true.

WHY DO I NEED/USE THIS SOFTWARE?
I'm lucky, or perhaps blessed. .. or maybe cursed — I always have melodies bouncing around my brain, but converting what's in my head into a song is another story. After several college theory classes and lots of ear training, I still can't get it right. Even if by some miracle I accurately work out the correct notes, it's nearly impossible for me to choose the appropriate key and create a chord progression. My songs usually sound nothing like my original inspiration. Sometimes they are better, but most of the time my translations are a flop! Sundog is one of the rare pieces of software that can help get struggling composers like me from point A to B to C. For the more fortunate and gifted, Sundog will increase workflow, thereby speeding up the creative process. The Scale Finder feature is one of my favorites. It identifies possible scales for notes entered.

The main Sundog interface is the key element to allowing users to freely work within a scale without fear of going off-key and dissonant. It somehow keeps all notes within the chosen chords and/or the scale. This feature reminds me of bowling with bumpers along the side rails that prevent the ball from going in the gutter. When it comes to creating music, I'd like to hit the right notes as much as possible. Note: Advanced users may over-ride in-key protection to add odd, off-key chords:

http://feelyoursound.com/sundog-manual/#chromatic_chords.

For times when the creative juices are dry, Sundog helps provide instant inspiration through experimentation with new harmonies and melodies. Users may also choose from over 300 scale presets that include everything from major and minor to suspended pentatonic and all in between. Most modern Western music is in major and minor; yet, experimenting with non-traditional progressions could lead to something new and exciting. Swapping chords in an existing chord progression is a great way to generate more interesting, original songs. An added bonus — Sundog is also a very educational software — subtly teaching composition and theory along the way.

WORKFLOW
The basic way Sundog works for creating new compositions from scratch:

1. Launch Sundog
2. Launch DAW and assign appropriate instrument to track (s)
3. Choose a scale and a base-note. All notes can easily be auditioned along the way
4. Users may also choose from an extensive collection of scale presets
5. Preview possible chords, all of which will automatically fit chosen key
6. Create a chord progression, which serves as the "harmonic base of the song"
7. Parts may be combined to create a "song"
8. Melodies can then be created. Note: If you go back to the chords view and change some chords all your melodies will simultaneously update to suit the new chords
9. Once you have some ear-pleasing chord progressions and melodies, simply hit the record button on your DAW or export a song part or the entire song to MIDI and then Drag and drop into the DAW
10. Arrange, edit, mix, master, and become famous.

FAVORITE FEATURES
• Neat, clean, modern GUI
• Easy to navigate interface
• Intuitive workflow
• Excellent online video tutorials
• Over 300 scales presets
• Scale finder
• Fantastic for generating unique arps with the Pattern box
• Standard MIDI export for drag and drop into DAW
• Small footprint (45MB)
• CPU friendly
• Great price and never have to pay again — "Buy once, get updates forever"
• Enthusiastic, responsive developer.

FEATURE REQUESTS
• GUI has different scaling levels available with a reset to default, but scaleable would be even sweeter
• Helpful hints that pop-up when hovering the cursor over a feature
• Be truly standalone — include a built-in piano for times when I'm too lazy to launch my DAW. In the meantime, I setup GarageBand with a simple piano track. Others might not mind launching their big DAW
• Additional swing percentage options
• MIDI Import via drag and drop. This would make the DAW integration more symbiotic and fruitful. Unfortunately, this is probably a very difficult feature to incorporate.

SUMMARY
Sundog Scale Studio is designed assist in the process of generating compelling chord progressions, marvelous melodies, brilliant bass lines, and sizzling sequences. It's simply a indispensable, must-have tool for songwriters. It's fun, fast, and furious. It turns an often labor intensive chore into creative bliss. For some it will be an amazing sketchpad; for others it will open up new harmonic and melodic possibilities. It's extremely useful for anyone creating music on a computer, regardless of theory level. There are more complex options available for harmony assistance, but for the price range, Sundog is hard to beat. If concerned about compatibility, suitability, or workflow, I suggest trying before you buy. There's a fully functional demo available on the FeelYourSound website. I highly recommend this software to any electronic composer, working in any genre. I give Sundog Scale Studio a big thumbs up. Great stuff.

NOTE: The following user review is based on the Mac version 2.4.0.

INTRO
ArcSyn by SPC Plugins is a virtual analog modulator synth that is not based on any particular vintage hardware, but successfully captures the essence of that era of beasts.

The purchase, download, install, and authorize process is simple and smooth. There are no dongles of any kind i.e., iLok, SmarkKeys, etc. Upon launching, the first thing users will notice is a striking interface. Some will consider it strikingly ugly, while others will find it simply striking. I fall into the third camp — it grew on me! The GUI is original-looking and has the SPC vibe, a la shades of gray with yellow and a touch of white. There is certainly contrast! The color scheme is similar to Gater-Pro, which is one of the most popular plugins in its class. Regardless of aesthetic appeal, ArcSyn's interface is cleverly designed. Having said that, it can be a little confusing and intimidating at first. However, after a short time it should make sense. Everything is exactly where it should be, and it's easy to navigate. The knobs and sliders are responsive. I have no difficulty turning or sliding with my mouse or trackpad. There is an online manual, but I have yet to peek at it. The developer has an excellent attention to detail, so I'm sure it's well-written and easy to understand. According to SciFiArtMan,"Reading the online manual for this synth is almost mandatory if you want to truly understand it! There's definitely some outside-the-box thinking here!"

Most importantly, ArcSyn sounds great. I'm a synth purist — not a big fan of hybrids that mix different kinds of synthesis with samples. ArcSyn uses waveform synthesis. "All oscillator waveforms are generated from scratch." There are over 70 one-of-a-kind waveforms on board, my favorite of which is the sub-harmonic for the low overtones. There are several LFOs and a mod arranger that can be used to sequence up to 16 waveforms. Additionally, users will find an ADHSR, two routing modes (Series and Parallel), and mod matrix with 16 slots. There are many modulate filter options and modifiers to expand the madness.

One of the biggest reasons I installed and use this plugin are the self-oscillating filters that are based on the Oberheim Matrix 12. Back in the day, I was the proud owner of a few Oberheim keyboards and rack modules. Anything that delivers a pinch of that old sound is okay by me. Why oh why did I sell them? Anyway, I'm not sure how ArcSyn would hold up in a direct comparison, but several of the presets bring back fond memories. Speaking of which, there are more than 350 presets, many of which are usable and/interesting. My favorite patches are the drones. They are pure SciFi paradise. One of my favorite features is the Randomiser, which quickly generates patches. I found this to be the best way to discover the perfect sound. In less than a minute more than a hundred patches can be generated, and most of them will be duds, but there's an excellent chance that at least one will be explosive. Every synth should have this feature ArcSyn also has an excellent preset management directory system.

FAV FEATURES
• User-friendly
• Amazing quality sound; Unique wavetables
• Versatile
• Useable presets — some are inspiring
• Randomize feature is addictive and really useful
• CPU friendly
• Stable
• Great price
• Talented, creative, responsive developer with proven track record. Gater-Pro is in my favorites folder.

OTHER THOUGHTS
• This would be the perfect synth for alternate skins
• Key-sync?
• I look forward to 3rd party soundsets.

SUMMARY
ArcSyn is an excellent virtual synth that is capable of sounds that range from silky smooth to rough rumble. I agree with Ave Mcree, who wrote,"[ArcSyn] is one of the best synths that came out this year." In the right hands, any and all genres will benefit from this VSTi. It produces everything from creamy pads and textures to punchy plucks and anything in between. I love the subs! The flexible modulation options make ArcSyn perfectly suited for genres using textures, pads, and drones. This may or may not be the "workhorse" or "go to synth" for all users, but it should easily justify its existence in plugin folders by filling voids and getting plenty of playing time. The bang per buck ratio is really good. It's certainly worth the price. As advertised,"unexplored sonic territory" is more or less possible; yet, what I dig most is the vintage vibe with the unique modern twist of seemingly endless modulation possibilities. Without hesitation, I give ArcSyn two strong thumbs up. Great stuff.

RATING
I'm rating ArcSyn a 9 at this time. It's a new release, and there are a few little things that could be improved and/or added. I'm certain my rating will increase to a perfect 10 after the next release or the one after.

INTRO
Monique by Monoplugs is a fantastic monophonic subtractive synth plugin that has all the sound, features, and flexibility needed to bring bass-lines and synth-lines to life.

The purchase, download, and install is simple. There is an authorization that can be done with or without an internet connection. Thankfully, there is no other protection required, i.e., iLok, etc. Upon launching, the first thing you will notice is a refreshing and slightly haunting GUI that is different enough spark interest and familiar enough for comfort. The learning curve is shallow. Anyone with prior synth experience will be able to dive right in and navigate around the basic parameters of the interface. There are little helpful hints that pop up when the cursor hovers over a feature. This certainly reduces the need for a manual. The area that may require extra investigation is the morphing region.

The sound engine features several osc/filter routing options that inspire creativity, and any sound can be custom morphed to evolve up to eight-fold, which provides an incredible amount of movement within a patch. Filter modulation is a combination of an envelope and LFO with the ability to mix between the two with a mod mix. Oscillator waves can be changed with the wave selector (sine, square, saw, noise and all points in between). The morphing area itself is divided into four groups that control various parameters: 1. Oscillators, 2. Filter (LP, HP, BP, Cutoff, resonance), 3. Arp, 4. FX. Each group can be assigned to two data sources with four LFO's each. Presets and user patches can be morphed into otherworldly spirals of sound that somehow find their way back to the root. The oscilloscope provides excellent visualization of the oscillators and the filter envelopes in real-time. A 16-step arp includes all the good stuff (quick step arrange, adjustable tune and velocity, glide, shuffle, etc.). This deep, effective arp should be no surprise as Monoplugs is also the developer of B-Step Sequencer. Additionally, there is a filter EQ bank with 7 Resonant bands; 20 Envelopes; stereo Effects (chorus, delay, distortion, loop, reverb, etc.), and an UI Remote.

The "flat, puristic" interface is the gateway to a surprising complexity of sound. Monique is deep and rough on the low end and bright and bold on the high end. The timbres span from digital pure to analog raw and everything in between. There are over a hundred presets that highlight the organic nature of this beast, most of which are either useful or interesting. I successfully created a few cool patches, but found it much easier to use a preset as a start-point. Users will have no difficulty creating beastly basses that will drive the beat and leads that will cut through the mix without shattering your windows.

FAVORITE FEATURES
• Neat, clean, mysterious interface
• Easy to use, yet powerful
• Morph XY pad
• Sui Generis (class of its own) osc/filter routing options
• Fun to use — easy to spend hours tweaking
• Kinetic (def: 1. Relating to or resulting from motion. 2. Work of art that is dependent on movement for its effect)
• Stable (no crashes after several hours of noodling and tweaking)
• Solid bang for the buck, especially if purchased on the introductory deal or special sale
• Cool developer (B-Step Sequencer is also fantastic)

OTHER THOUGHTS
• More presets please, especially basses. I also hope 3rd party sound designers whip up some good soundsets
• GUI could benefit from a touch more contrast
• Morphing, in general, can create a lot of evolving pad and texture excitement. Monique also brings surprising morphing movement to basslines
• I wrote the developer and inquired about the possibility of morphing several bass patches from one to the next to the next to the next throughout an arp line (a sequence). He has placed this on the list for the pro version. Cool!
• UI Remote? I'm guessing this would open up lots of live/jam possibilities.

SUMMARY
Monique is perfectly designed to deliver growling basses and stunning leads. It's monophonic, so by nature, it's designed to live or die one note at a time. Fortunately, this synth lives! If I needed to describe the flavor of this synth in one word, I would choose a word that fell somewhere between ASSERTIVE and AGGRESSIVE. For me, the morphing is a bonus, but for others it might become a favorite feature. With so many soft synths on the market, it takes something unusual to get me excited. This captivating little lady is well worth checking out. She's a bit quirky, like the art major you dated in college. I agree with Korgi, who wrote,"The synth is really wicked." Monoplugs provides an indefinite demo. They are clearly confident that users will grow fond of this alluring siren and pull the trigger. It's a great value — an excellent bang for the buck. I highly recommend this sexy little beast to any eMusician, producer, sound designer, DJ, game scorer, etc., who is looking for a go-to bass and lead synth that is great for recording, jamming or gigging. If you're looking for a VSTi with a bit of bite — look no further. Tommy Zai gives Monique two raw, throbbing thumbs up.

RATING
I'm giving Monique a 9 for the time being. I wish i could give it a 9.5, but that's not an option. It's a new release with some room to develop. I'm confident future updates will raise this score to a perfect 10. Great stuff.

Note: I'd like to give score this a 9.5, but that's not an option, so 10 it is (9 would be insulting).

INTRO

Chromaphone-2 by Applied Acoustics Systems is an extremely versatile and dynamic virtual synth that is capable of an astounding array of timbres. It's the biggest little virtual synth I have ever used.

Chromaphone-2 does not use samples or waveforms, nor does it utilize FM, subtractive, or additive synthesis. It's based on physical modeling whereby algorithms emulate the specific vibration of instruments and other objects. The results yield an unparalleled array of realism and clarity of sound. AAS initially called v1 a "percussive synth," but it soon after proved to be capable of much, much more! As expected, it shined when creating one-shots, plucks, etc., but it easily produced lovely strings, pads, and ambient textures as well. The second version is called an "acoustic object synthesizer," which is more accurate — especially considering all the additions and enhancements. This is by far one of the most versatile virtual instruments ever created. The range of timbers is vast. I mostly used the previous version for ambient wah-wahs to add a hypnotic pulse to my tracks, but I plan to use v2 for just about everything! Be sure to check out the basses, pads, kicks and snares. The overall sound of this synth is fantastic — expressive, crisp, clear, and pleasing to the ear.

The redesigned interface is divided into three sections: Play, Edit, and FX. It's easier than ever to navigate around this lovely beast. There is a streamlined keyboard strip that is excellent for previewing sounds. The multi-effect processor contains all the groovy stuff needed to spice up patches: chorus, delay, distortion, flanger, notch filter, phaser, reverb, and the previously mentioned wah-wah. The filtering section has greatly been improved. It now has pitch bend and a really cool arp! There is also a very useful compressor and EQ on board. The new version contains over 600 patches that sound great as is or serve as an excellent start point for creating new patches.

FAVORITE FEATURES

• Easy purchase, install, and authorization.

• User-friendly, eye-pleasing interface.

• The sound! As nearly every reviewer states,"crystal clear"*.

• I love the compressor, which truly delivers "distortion-free dynamics"

• Excellent collection of presets with a convenient management system.

• Improved resonators.

• V1 presets can be converted.

• Easy to tweak and/or program.

• Fantastic built-in arp.

• Physical modeling = Small footprint (10MB for standalone version)

• Stable.

• Excellent developer — innovative and responsive. They are also great people. I met then in person at NAMM.

OTHER THOUGHTS

• *In general, the sound is crystal clear, but with a little creative processing the possibilities are endless.

• CPU friendly considering the quality of sound. More complex sounds are naturally hungrier. My favorite patches seem to range between 5 to 15 percent.

SUMMARY

Chromaphone-2 is a joy to launch. Don't expect synth to be a one-trick-pony bell-like mallet machine; it's capable of just about anything, either straight out of the box or with a touch of processing. A few words that come to mind (besides clarity): Alive! Dynamic! Real! I highly recommend this fine software synth to any electronic musician, producer, sound designer, etc., regardless of genre! Tommy Zai gives this new version of Chromaphone an extra thumb up! Great job Applied Acoustics Systems. You are creating a clear path to the future of sound.

INTRO
AVOX-4 by Antares is an inspiring vocal pitch-processing effects plug-in bundle featuring 11 creative modules. The modules are eye-pleasing, well organized, easy to use, and perhaps more importantly — fun to use.

IMPRESSIONS (after a little experimentation, research, and tracking)
This collection is capable of a wide variety of vocal effects, ranging from slight hair-splitting adjustments to full-blown otherworldly madness and everything in between. There's a great deal of musicality to AVOX-4, which is rare for audio effects software. Some of the modules work within the vocals, some wrap around, and some work along side as an instrument.

As with most AVOX-4 modules (Warm being a possible exception), users must use wisely and sparingly if they are after a realistic vocal expression for mainstream genres. However, alternative music maniacs will have plenty of freedom to twist, turn, and slide parameters into gut-wrenching vocal mayhem. In addition to cutting edge FX, this collection offers cool vintage options like Mic Mod EFX and Warm. Antares' analog tube modeling has been considered one of the best for years, and this module features that technology. I could see myself using a little of this on every track. It provides just enough rich saturation without the unwanted artifacts. Harmony Engine Evo is capable of realistic harmony generation and arrangement. This module is not surprisingly a bit more complex than the others. There are some useful presets to work from that feature basic chords and inversions. It's very possible to ascertain a convincing harmony that sits well in a mix; yet, I wouldn't recommend using it up front for most genres. Mutator Evo is capable of all kinds of special FX and creative sound designing. It's extreme! Articulator Evo cleverly imposes syllables on sound, yielding the robotic voices that have found a common place in many forms of EDM. Note: Talk Box is not a vocoder. Vocoders use a number of envelope-following bandpass filters in which the voice or other instrument acts as a modulator signal that is then filtered by a carrier like a synth — full of voice-like harmonics. Talk boxes, in general, are more basic, but nevertheless sound cool. Articulator Evo sounds very cool. I need to fight the urge to squeeze it into each track. Aspire Evo and Throat Evo modules are good for micro adjustments of breathiness and raspiness. The presets offer start-points for a variety of voices and vocal styles. Throat Evo is a bit more complex than most of the other modules, and I've had mixed results so far. Yet, I'm not discouraged as it shows promise. Duo Evo doubles vocal parts. I need to spend more time with this. It's my hope that this will serve as an ADT a la John Lennon/Abbey Road. In addition to doubling, Duo has other controls that adjust pitch, timing, vibrato, etc. It's an intriguing and potentially useful module. It may not replace a perfectly sung double track, but it can certainly replace a less-than-perfect one! So far, I've discovered a range from extends from a tight echo to a two singers and everything in between. I quickly realized that Choir Evo isn't a chorus effect. It's a choir generator. What was I thinking? Choir Evo turns a single voice into many. I need to experiment more with this module as it's capable of producing four-part harmonies. So far, it seems a bit tricky to get the combination of these voices to sound realistic, but it's certainly worth additional noodling. This particular module has received high praise from several online bloggers, reviewers, and friends. One buddy of mine swears by it and emphasizes the importance of placing it in the appropriate reverb space to maximize the effect and realism. Punch Evo is a simple, yet powerful compressor combined with an enhancer. It helps vocals to cut a bit more through the mix by increasing dynamics. Sybil Evo is a time-tested, straight-forward compression-side chain freq-based de-esser. Like most of the modules in this set, if used wisely produces great results.

BE WARNED! With great power and freedom comes great responsibility. It's very easy to become seduced by a cool effect (or suite of effects) and overdo it. I have countless yesteryear recordings of my original tracks that sound like the aural equivalent of Elvis sideburns, shag carpeting, and mullet hairdos — dated and embarrassing. I wish I could go back in time and minimize some of the little tricks that I thought were so clever at the time. Please forgive my preaching. In short, what I'm trying to say is this. .. with AVOX-4, less is more, and more could be annoying unless of course that's your goal.

FAVORITE FEATURES
• Neat, clean interfaces.
• User-friendly with shallow learning curves.
• Versatile, inspiring, and sometimes even musical at times.
• CPU friendly.

FAVORITE MODULES
• Articulator Evo digital talk box
• Warm tube saturation generator
• Duo Evo vocal modeling auto-doubler
• Punch Evo vocal impact enhancer.

OTHER THOUGHTS
• iLok is a security plus for some and an inconvenient minus others.
• Not limited to vocals.

SUMMARY

AVOX-4 is a fantastic suite of vocal manipulation tools that has three great uses:

1. Subtle adjustments to clean-up and sweeten vocal tracks.
2. Special vocal FX.
3. Sound Designing for vocals and anything and everything else.

They work smoothly on my system; They suit my workflow; They breathe life into my projects; Is this set of plugins right for you? I believe there are modules in the collection that would suit anyone working with vocals. The question is. .. would you love at least one or two enough to make it a worthwhile. In my case, the answer was yes! My overall production benefits from launching these babies. If you work with vocals of any genre, I highly suggest that you check out the online tutorials and download the demo. This just might be the secret weapon you've been looking for! I give AVOX-4 a big fat pair of thumbs up. Thank you, Antares, for creating such a creative vocal effects package.

INTRO
Breverb-2 from Overloud is a high quality, crystal clear, flexible algorithmic reverb plugin that has an elegant, inviting interface and sensible workflow. It's a good-looking effects plugin that is extremely lively and unexpectedly musical. To quote another reviewer,"Breverb has a sound to match its sweet appearance." I'm astonished by how fast it is to find the perfect space for my tracks. Within the collection of algorithms there is a versatile selection of spaces that range from small, tight rooms to expansive caverns. This is not a convolution reverb, therefore is doesn't have natural world limitations. Users have the freedom and flexibility to create virtually any space imaginable. Although I would classify this reverb as "modern," it's surprisingly capable of producing a vintage-esq sound. I actually discovered this by checking out a YouTube video: https://www.youtube.com/watch?v=NMmwoNw_bsg

There are loads of well-managed, useable presets that sound good out-of-the-box and serve as a excellent start-point for tweaking. It also has an well organized user preset management system with import, export, and sharing. The presets are accessed via a drop-down menu per each algorithms. Users will find all the standard reverb parameters as well as a dedicated EQ and gate. Most controls are located on or through the main screen. Included are easy to read, accurate meters. There is a Extended Nonlinear section for creative shaping and Motion parameters to add. .. movement. The Regen feature makes this even more interesting. All sliders, knobs, buttons and drop down menus are responsive and enable simple, fun tweaking.

Throughout my musical career, I shied away from using much reverb. I mixed and mastered in fear of overdoing it. Yet, I was always envious of other projects that boasted a clear, yet rich, spacious sound. Breverb-2 is one of the few reverbs out there that encourage you to crank the dials and turn up the sliders. With this reverb, it's really a question of what sound you're after. The overall tone is appealing regardless of the algorithm. It's clean, but not cold and sterile. Any harmonic overtones are pleasing, and I am unable to detect any unwanted artifacts. The sound is wide and truly does seem to wrap itself around the music. Many verb aficionados measure a units worth by the quality of the tail. In the case of Breverb-2, the tails have a silky smooth, uncolored fade at all millisecond increments. The combination of fullness and clarity carries a most any mix instead of sinking it in mud.

FAVORITE USES
• Post-production via the Source algorithm, which provides full control over early bursts/refections, reverb field, and tail parameters.
• Drums, vocals, and pads.
• Chambers, plates, and large rooms really stand out.

FAVORITE FEATURES
• Simple purchase, download, install, and authorize procedure.
• Small virtual footprint.
• Slick, alluring, scalable GUI.
• Many great sounding presets.
• Tremendous sound quality.
• Easy to use, despite its power.
• A-B comparisons.
• Pre-delay increments indicated in milliseconds for precise BPM tempo sync.
• Extraordinary ratio between sound quality and CPU usage.
• No added latency.
• Stable.
• Creative, responsive developer.

OTHER THOUGHTS
• I heard there are preset mix packs available.

SUMMARY
I highly recommend Breverb-2 to any e-musician, producer, sound designer, etc., who is working with digital audio of any genre. Download the demo, and then sit back and brace yourself for something sweet. This fine reverb plugin might very well become your go-to workhorse. If you're looking for natural spaces or particular environments, there are other options out there, but if you are after an excellent algorithmic reverb — this just might be the one! I've read that it's modeled after "the most sought-after hardware units." If so, I'm not sure which models, and I'm not sure it matters — this virtual unit sounds smooth and sweet! Without hesitation, I give Breverb-2 a pair of thumbs held up high! Thank you, Overloud, for creating this amazing piece of audio software. Fabulous.

INTRO
Navy by Acustica-Audio is an excellent EQ, preamp, console channel strip plugin that is inspired by famous British hardware.

This virtual unit comes with several switchable in/out preamp emulation options. The inputs include: B73, B81, B73+B81. For those who are unfamiliar with these preamps, the B73 (Neve 1073) has a vintage vibe and works really well to gently ease tracks to the front of a mix without becoming harsh. The B73 favors vocals, guitars, and synths. The B81 (Neve 1081) has a more modern sound. It's pristine and transparent and provides remarkable sensitivity and response. The B81 favors drums, bass, and percussion. Yet, they both add a variety of ear-pleasing overtones to the signal and can be mixed with the output preamp options to further enrich the tonal harmonics and overall timbre. The output amps are also inspired by legendary British hardware.

This virtual unit also has four EQ bands, cutoff filters, meters, etc. There are two modes, one regular and one zero latency, which is more CPU intensive and offers better performance. I use the regular mode to sketch out basic settings and then switch to zero latency mode. I have been using Navy on an assortment of tracks; yet, it really shines on vocals, but I may be partial to the B73 preamp. I have no problem adding resonance, welcome harmonics, depth, presence, etc.

Overall, the EQ and preamps sound fabulous. It wasn't that long ago that I was using high-end hardware, and Navy seems close, if not better in some ways. There's a good chance a blind audio test comparison would baffle me. .. and maybe you, too. ;-). And, the knobs on the interface do a good job of "faking" physical controls. They are very responsive.

FAVORITE FEATURES
• Sleek, user-friendly interface.
• Innovative and quite possibly revolutionary.
• Navy standard version and NAVY ZL version (zero latency).
• Smooth filters.
• Stable performance.
• Fairly priced.
• Cutting edge developer.

OTHER THOUGHTS
• Some excellent presets, but with there were more.
• As with most pro gear (hardware and software), especially anything with EQ and/or filters, users need some general knowledge, experience, and overcome a product learning curve — Navy is no exception. It's powerful, and if used wisely can help create lovely tracks; however, if used haphazardly tracks could become an ugly mess.

SUMMARY
Navy is an extraordinary professional virtual channel strip plugin that provides excellent control via EQ, preamp harmonics, and filters. This is indeed a "powerful mix tool." After a few days of intense demoing, I cannot say for sure whether this plugin "can replace a standard console EQ and filter," but from what I've heard so far — why not? I highly recommend this plugin to any eMusician, producer, or sound designer looking for a pro channel strip for shaping their tracks. Tommy Zai gives Navy two seaworthy thumbs up. Thank you, Acustica-Audio, for developing such an amazing plugin.

Forgive my writing style, which often seems like a billboard ad. I can't help myself. — Tz.

INTRO
Decimort-2 by d16 Group is even more fantastic than it's predecessor. It boasts several new features, improvements, and extra control over the bit crushing process.

The technological limitations (low sample rate, bit depth, etc.) of vintage samplers helped to create their charm. I owned them all — Emu, Akai, Roland, Sequential Circuits, Ensoniq, etc. and this helps ease the pain of buying and selling those beasts. D2 brings back to life all the quirky, idiosyncratic noises, pleasing grit, grind, thickness, overtones, and harmonics without any ear-piercing shrillness. The vintage AD/DA converters tone is all there! Also included are analog-ish filters with resonance that are much wetter than most of the before-mentioned hardware samplers.

This plugin is often categorized as a bit crusher, but I think of it as a sound sculpting tool that offers high quality low quality color. As with all d16 offerings, this also has a cool name, sharp-looking user friendly interface, fantastic sound quality and functionality a la top-notch algorithms, and the support of an amazingly creative development team.

FAVORITE USES
• Low end and leads. I am loving this thing on bass lines, drum loops, and NIN-esq lead lines.

FAVORITE FEATURES
• Sleek GUI with size options.
• User-friendly.
• CPU friendly considering the serious crushing power.
• Excellent low-fi sound quality.
• Zero internal aliasing and no unwanted artifacts.
• Lots of control without the confusion.
• Re-sampler module provides deep shaping.
• Jitter enables ear-pleasing harmonic distortions.
• Price!
• Gotta love the D16 Group development team — they are cool, creative cats.

OTHER THOUGHTS
• Great sampler profiles/presets. Please add more! I could never have enough.
• Independent stereo channel processing has been dropped in a favor of adding the extra features like (advanced quantizer, images and approximative filters). D16 chose to go with advanced processing instead of independent stereo. I process in mono, so this is not a concern for me. Those who process in stereo will need to use two instances of Decimort-2 on separate channels within their DAW.
• After a week of noodling, I haven't looked at the well-written manual.
• Controllable dithering reduces quantization errors, which allows users more freedom to crush audio to bits and bits.

SUMMARY
D2 truly is "The highest quality low-quality effect you can buy." And, the price is great. I highly recommend this fine piece of audio software to anyone working with audio, who wants a bit of that vintage vibe. Used sparingly, this could become more than a tool — it could become a secret weapon! Tommy Zai gives Decimort-2, two mighty thumbs up that are ready, willing, and able to crush some audio. Thank you, D16 Group! Great stuff.

Note: I'd like to rate this audio software somewhere between 9 and 10, but that's not an option. So, in this case I'll go with 9 until there's a standalone version. ;-).

INTRO
TAL Sampler by Togu Audio Line is a hybrid virtual analog synth driven by a simple, yet powerful sampler engine. For many years, Togu Audio Line gave away excellent plugins. Now, they offer a pro line at a bargain price, and this sampler is the most recent addition. This developer has always supported us starving eMusicians, and I've hungry for a bit of vintage. When I launch this little gem, I'm reminded of the initial inspiration I felt back in the mid to late 80s with the hardware workhorses, e.i., S900, S-550, etc. To emulate some of the various popular vintage samplers, TAL provides some tweak-able sampler models and allows users to choose between different DACs. The interface is simple, attractive, and scalable with an option to customize colors and fonts. It's easy to navigate. It's not bloated. It's not stuffed with unwanted features. It's inviting and sparks creative juices. Hence, the learning curve is shallow. And not surprisingly, sample patches load fast, which helps keep the flow flowing. IMO, there is nothing more frustrating and detrimental to one's creativity than endlessly waiting for a basic piano to load. The sample engine itself features four layers that can hold multiple key-groups. Audio import (WAV, AIF, MP3, etc.) via drag-n-drop. Also included is a vintage real-time time stretcher that is far from smooth, and that's the point. There are also many familiar parameters, including effects, a responsive mod and filter section. Actually, the mod section is quite extensive. Overall, this unique sampler does about 90% of what I could ever hope for, and it's being sold at about 20% of other options out there — very favorable percentages, IMO! But mostly, it sound great and sits wonderfully in most mixes.

FAVORITE FEATURES
• Simple, inviting GUI.
• Inspiring.
• Fast loading.
• Easy to use.
• Expressive.
• Vintage feel and appeal.
• Excellent modulation and filter options.
• Efficient sample browser.
• Stable.
• CPU friendly.
• Great price.
• Honorable developer with a generous track record.

OTHER THOUGHTS
• I never thought I'd miss "clock noise" and artifacts.
• More presets?
• Standalone version?

SUMMARY
TAL Sampler is straightforward, and by today's standards would not be considered a "monster" sampler; yet, it brings the monster samplers of yesteryear back to life with newfound zest. I've been waiting for something like this to be developed ever since I sold my last hardware sampler — I believe it was an Emu Systems Emax. I highly recommend this plugin to any eMusician, producer, or sound designer looking for hybrid virtual analog synth-sampler for creating tracks. It fosters a wonderful, productive workflow. TAL Sampler is not for tweak nerds, who enjoy hours of digging deep into the architecture of audio software. It's also not the best choice if you're looking for a pristine player of huge sample libraries. This piece of audio software is clearly designed for the rest of us cats, who simply want to bust out some music before our muse gets impatient and takes a flight out of town.Tommy Zai gives TAL Sampler two resonating thumbs up. Thank you, Togu Audio Line, for developing an amazing modern re-creation of yesteryear samplers.