Product Reviews by KVR Members

ClassicTone-560 by TriTone Digital
is fantastic emulation of the famous 1970s API 560 EQ. This convolution (authentic IRs), 10-band, graphic re-creation is extremely easy to use and helps to create a big, fat, punching sound — guitars and drums (esp. snares and toms) really come to life. The CT560 provides sweeping band corrections that make it perfectly suited for mixing duties and global mastering enhancement.

THOUGHTS

• Straight forward, simple, yet powerful interface band sliders.
• Shines on mids.
• Fat, punchy, and warm.
• CPU friendly.
• Innovating developers.

CONCERNS

• Will my g/f kill me if I get TriTone's bundle?

CONCLUSION

This virtual version of the API 560 is extremely musical and great sounding. It's priced right and is produced by an excellent developer. I highly recommend it to any eMusician, producer, sound designer, film and game scorer, DJ, etc., who is looking for a vintage EQ that delivers! When used wisely, this plugin provides sonic glue for audio tracks. Tommy Zai gives ClassicTone-560 two vintage thumbs up. Thank you, TriTone Digital for developing a sweet EQ.

CURIO by Impact Soundworks is an extremely versatile Cinematic Toy Piano. Wow! I knew the quality would be good because everything these guys make is high quality and innovative. Yet, I was still surprised by this sample library. I expected it to sound like. .. well. .. a toy piano — you know, the kind we beat on when we were kids. Obviously, I'm a bit ignorant about miniature grands and kinderklaviers. Even so, this library is so much more than basic plucked mallet sounds. They have mangled and deconstructed it into haunting ambiences and textures, whooshes, sweeps, and percussive things! This library surprised me with a vast wealth of sound design tools.

FAVORITE FEATURES

• Interface is simple, fun to use, and looks cool.
• Inspiring patches, especially the booms, basses, and ambiences.
• Excellent developer communication and support — nice guys.
• Price! Cheaper than most toys.

CONCLUSION

Perhaps I should have noticed the word CINEMATIC. This is not a toy! I highly recommend Curio to any eMusician, producer, film or game scorer, DJ, sound designer, who is looking for patches that inspired and sound phenomenal (I had to look this work up for correct spelling. .. and it was worth it). Tommy Zai gives Curio two youthful thumbs up. Thank you, Impact Soundworks, for creating such a BIG little sample library. It's great; no kidding.

SoundSoap-3 by Soundness is superb audio noise reduction software that comes in both application and plugin (VST, component, and RTS) form. Upon launching, I was immediately struck by a visually pleasing interface. The next thing I discovered was how straightforward, user-friendly, and intuitive it is to use this software. This is one of the rare audio editing tools that are easy to use, yet powerful. It does everything it claims to do, and it does it really well. There's plenty of control without any of the bloat that is often associated with editing software, i.e., you won't find a ton of unheard of features that make you scratch your head and ask,"What the?" SoundSoap-3 is easier, faster, and way more effective at removing noise than the filters and EQs that I've tried. It's a great product that is a pleasure to use. I no longer cringe when I discover audio noise on my tracks.

THOUGHTS:

• Slick, clean GUI.
• 64-bit compatible.
• Effective algorithms.
• Also useful with video files.
• Hiss and Buzz — SOAPED.
• Hum and Rumble — SOAPED.
• Clicks and Crackles — SOAPED.
• Background noise and unwanted voices — SOAPED.

CRAZY THOUGHTS:

• Next time I record I just might turn up the amps, turn on a fluorescent lights, and crank the A/C just so I can soap them clean before mixing.
• Users can throw out the dirty bathwater and keep the baby.
• My old sample library will soon be made clean.

SUMMARY

I'm a clean freak, and nothing bothers me more than dirty audio tracks. SoundSoap is my mop; it's my broom; it's my sponge; it's my. .. you get the idea! Best of all is the price. It's a super value for what it does and how well it does it. If I only used it on a couple tracks I would feel compensated for my investment. If you are a well-paid pro, working in a top-notch studio, I'm sure there are more powerful options that do more; yet, for everyone else, this probably does what you need for a fraction of the cost and without the headaches. I highly recommend this software to any pros or hobbyist, who is working with recorded audio and needs fast and effective results. Tommy Zai gives SoundSoap-3 two squeaky clean thumbs up. Thank you, Soundness, for developing such a useful, rewarding, and satisfying audio noise reduction software.

VERSION 4 RELEASE USER REVIEW THOUGHTS

Soundness just released a significant update to SoundSoap. Without hesitation I upgraded to the new version v4, and I have no regrets. The latest release adds some cool features. The Loudness Maximizer is sweet — the perceived auto signal is boosted without any added noise, distortion, or other goop. This is very nice. The Declipper is a feature that makes me wonder how I got along without it. I've had countless tracks along the way that suffered from a distorted spike or two. In the past, my options were limited. I either used SoundSoap to remove some of the unwanted stuff and then normalized the peak and lived with that rough segment of audio. Whatever algorithm they are using to declip is top notch (pun intended) and effortlessly corrects nasty spikes. The update/changes list includes several other improvements and fixes that I'm sure I will uncover as I soap up additional dirty tracks. Yet, the Loudness Maximizer and Declipper feature were enough to make me smile and increase my user review rating. Fanstastic! SoundSoap is evolving. I can't wait to see what v5 looks and sounds like!

Update Conclusion: SoundSoap v4 remains user-friendly and will continue to appeal to home studio musicians, and with the new features, seasoned professionals will find it hard to resist.

VERSION 5 RELEASE USER REVIEW THOUGHTS

This latest release boasts some serious new features, most notably Automatic Noise Detection. Users are no longer required to manually scan for the best noise location to build a profile. This can now be accomplished automatically. The A.N.D. is used to find the noise and the users can visually adjust it. The algorithms are top-notch, and my experimentations have led to great results. I was a little apprehensive at first as I apparently have some audio control issues. I usually prefer diving in and doing the work myself, but after a few rounds I gained trust and let SoundSoap do the work for me.

MP3 support has been added, which is very sweet. I have a ton of low-fi audio files that I use for various projects. I no longer have to convert them into .AIF or .WAV for cleaning. I also dig the new metering. I tend to use my eyes when working with audio, and this makes it easier and more fun. The new and improved hum removal goes beyond an add-on feature. It's now a powerful element of the larger whole.

In the end, I went with SoundSoap+, which offers much more control for not much more money. I've heard great things about the Broadband Range control feature. I need to spend more time noodling with it. I also look forward to uncovering the coolness of the other bonus features found in the + version (Downward Expander, Enhanced Enhance, control over the threshold setting used in the Track control, etc.).

Comparisons: I have less experience with the other noise reducers on the market, but I did a great deal of research, demoing, noodling demo versions, and checking-out friends' copies before going with SoundSoap. I chose SoundSoap for the following reasons:

• Great value.
• Interface is simple, yet powerful.
• Shallow learning curve. I like to work fast and furious without getting bogged down by what's under the hood.
• This all began with the developer, BIAS. Their app called Peak was my favorite software of all time. The original SoundSoap was a bit of a cool add-on, but since being taken over by Soundness, it's become a serious force.

Why didn't I buy iZotope RX? Their Spectral Analysis remain a great feature — spectral "replace" function is very cool. Yet, I couldn't afford it, steep learning curve, stability concerns, and some features are more complicated and difficult to use, i.e., the denoiser.

Why didn't I buy Waves Z-Noise? More complicated and requires more fiddling to get results. Unable to scrub away enough noise. X-Click and X-Crackle are easier to use, but they are more specialized.

Why didn't I buy Sony's SpectraLayers? It's a very serious application, and I was not able to quickly dive in and get anywhere. Having a manual for this beast is a must.

Update Conclusion: SoundSoap v5 offers several excellent improvements. In my opinion it's well worth the initial purchase or an upgrade. There is still nothing comparable at this price. The floating soap bubbles on the transport section of the interface still make me smile each time I launch — fun stuff. Tommy Zai continues to highly recommend this upstanding audio app to anyone working with audio files, whether he/she be an amateur or professional.

*I give Blade a 9.5 rating and expect to upgrade it to a solid 10 after the next update is released.

Blade by Rob Papen is a flexible additive synth with an sharp, yet human edge. When I first picked up this synth, I was scared — not because it was called, "Blade," and I feared it would cut me, but because it's an additive synth. I'm comfortable with subtractive synths, but my experience with additive or anything that has to do with partials or even mentions "FM" instantly triggers PTSD. I still have nightmares about programming a DX7 and wavetable synth patches. Blade breaks it all down and makes it easy to program without loss of sleep. In short, Blade is musician friendly.

One of the key features that makes additive synthesis unique is the ability to control harmonics, overtones, and partials; however, many argue that the sound is usually thin, lacks humanity, and is limited by on-board algorithms. Enter Blade! With this synth, you not only have control over the filter and volume, but you have global and micro control over essence of the waveform itself that goes way beyond slight adjustments to an individual partial (BTW, Blade contains 96 partials). There is something called a "Harmolator." It is a means of creating new waveforms and gaining total control over the oscillators. According to Rob Papen, "The Harmolator allows oscillator spreading, fattening the sound and also square / sine wave sub-oscillator." Every Harmolator parameter is spectrally displayed on the giant XY pad to give visual feedback, which enables global real-time manipulation of partials and live recording of cursor envelop/filter paths. I'm a visual person, and it really helps me to see (as well as hear) what I'm tweaking. This is where you can make instant sweeping changes.

Blade is capable of producing many timbres; yet, I mostly use it for sweeping, evolving ambient soundscapes and FX. It's easy to modify existing patches and create your own from scratch with Blade. Once you get familiar with the Harmolator and other parameters, it's like programming a virtual analogue-style synth. Blade makes additive sound design a fast, fun adventure.

FAVORITE FEATURES

• Cool blue GUI that is scalable to 150%
• 14 filter types
• Ability to add sub-oscillator
• Standard envelope generators
• Advanced page for deep editing
• 2 effects processors
• Step sequencer style arp that syncs to host
• Easy to access banks and some fantastic factory presets (of course, it's a Rob Papen synth)
• Responsive developer (the gang at RPCX respond to inquiries and update plugins frequently)

THOUGHTS

• This synth does a lot and does it in a new way, so there is a steeper learning curve, but once you get the hang of it. .. you will be unstoppable! It's certainly easier than programming the DX7.
• Why does Blade remind me of Wesley Snipes?

CONCLUSION

Blade has all the features of a basic additive synth and much, much more. You will not be limited by multiplying sine waves and a few algorithms. You will have the freedom and ease to create sounds that range from light and wispy to heavy and haunting. And, thanks to the XY pad, you can make the overall sound as human as you are! I highly recommend Blade to any eMusician, producer, gamer, sound-tracker, DJ, or sound designer, who is looking for an inspiring way to add an additive flavor to their audio. Tommy Zai gives Blade two very sharp thumbs up! To quote another reviewer, "Blade is certainly ready to cut through your mixes." Thank you, Rob Papen et al, for creating such a versatile and fun synth.

Kratos Maximizer by Kuassa is a dynamic, color-free brickwall limiter that is designed to prevent clipping while maximizing loudness during mastering. I do not like digital spikes and unwanted distortion, but I do like pushing audio levels to the absolute fullest. Kratos Maximizer controls levels without adding much (if any) color, squashing, and unwanted artifacts. It's easy to use and provides instant results. The interface is neat, clean, and straightforward, featuring a big Maximize knob and four other knobs to fine-tune (texture, release, knee, ceiling). It also includes a good-sized, easy-to-read, responsive, accurate meter.

FAVORITE FEATURES

• Straightforward interface.
• Shallow (short) learning curve.
• Smooth, responsive knobs (I disagree with users who claim otherwise).
• Useful presets.
• Good price.

WILD THOUGHTS

• More presets, please.
• These guys make excellent audio plugins, but are they also an airline that flies to New Zealand?

CONCLUSION

Throughout my demoing I was able to accomplish a pleasing amount of transparent punchiness without nasty volume spikes. This is what I was after, and Kratos Maximizer did not disappoint. If you want to add overdrive or analog simulated warmth to a track or mix, this would not be the best fit for you. However, if you want a good mastering brickwall limiter/maximize, this may be what you are looking for — especially for the price. I highly recommend Kratos Maximizer and give it two LOUD and clear thumbs up. Thank you, Kuassa, for creating a fantastic mastering plugin.

Metaplugin by DDMF is an easy to use, yet powerful modular plugin chainer. It's accurately called, "A plugin that loads other plugins." A good workflow is vital for doing eMusic, especially me. I'm a teacher, who uses music in class. My students have the attention span of a housefly — so I need to work fast or I lose them. I can't afford to fumble around trying to locate, link, launch, etc. Metaplugin rescues me! It helps keep my system simple, fast, and powerful.

My workflow is as follows: Launch DAW, load Metaplugin (instrument or effect), drag the plugins I need into an area of the interface, drag cables between them to make the desired connections (audio and midi), adjust wet/dry ratio/level, and create music.

FABULOUS FEATURES

• Re-sizeable interface.
• Custom built chains can be saved.
• Host VST and AU plugin together — in one place.
• No noticeable CPU hit.
• Responsive, friendly developers.

THOUGHTS

• Amazing price considering what it does and how well it does it.
• Adding VST3 support would be a nice update.

CONCLUSION .

If there is such thing as a man's man, then Metaplugin is a plugin's plugin! Connecting plugins is effortless with Metaplugin, and the possibilities are only limited by the user's own collection and creativity! It is visual, customizable, and lets you focus on creating music instead of being lost in a tangled web of virtual cable madness. I highly recommend Metaplugin to any eMusician, mixer, producer, sound designer, DJ, etc., who uses more than one plugin at a time. Tommy Zai gives Metaplugin several side-chained thumbs up. Thank you, DDMF, for creating such an innovative, time saving plugin.

MRhythmizer by MeldaProduction is unique and versatile time manipulation audio effect. When I first demoed it I expected it to be a simple trance gate effect. I was stunned when I scrolled through the presets, which included the following catagories: default, general, pattern, scratching, and on the beat. MRhythmizer can gate, but it can also glitch, stutter, scratch via a slider, etc. — and you can add tons of modulation, if that's the sound you're looking for! There are many built-in sequencing options (up to 36 per) that really can "bring your music to life," and everything can be automated and sync-able to host. I usually use gate-ish effects on my eBow guitar lines, pads, and all the dreamy stuff to sync to the beat. With MRhythmizer I can also add a nice filter to create an evolving texture.

FAVORITE FEATURES:

• Randomizer (to spark unexpected rhythmic effects).
• Pitch detector.
• Fantastic sound quality.
• Safety limiter to prevent overload and volume spikes.
• Good price, especially if purchased as part of their bundle.
• Free, lifetime updates.

THOUGHTS:

• MRhythmizer is much more than I expected for the price.
• Interface looks like me after binge drinking, but more organized. .. Still, not the prettiest! BTW, I really don't drink, but I liked the imagary.
• Since this plugin offers more than I expected, the learning curve is steeper.

CONCLUSION

I highly recommend MRhythmizer to any eMusician, producer, sound designer, DJ, etc., who is looking for an inexpensive, yet powerful tool for adding a variety of rhythmic effects to their audio, not just trance, but anything with a beat! I give MRhythmizer two thumbs up (in perfect sync). Thank you, Melda, for creating such a versatile rhythmic tool.

*Disclaimer: I'm a songwriter, producer, and educator. My writing style may read like a billboard ad, but my user review is sincere and authentic. I only appraise a product I consider extraordinary, hence the high rating. I don't work for the developer. In fact, I rarely work at all. :-) I hope you find my review useful. — Tommy Zai

Premier Outfits 54 Kit - Kontakt 5 Pack by Drumdrops "is a must have for anyone wanting the sound of a classic sounding British 1960s kit." They weren't lying. How could I pass up the chance to have the authentic drum sounds that launched Beatlemania? * I couldn't and I have no regrets. The vintage tone is all there, and it's packaged in a really clean, user friendly, yet powerful Drumdrops Kontakt interface. The kit sounds great out-of-the-box and it easily customizable and adjustable. To quote a review featured on Bedroom Producers Blog, "I really like the fact that Drumdrops decided to include impulse responses of the studio room which was used during the recording process, as well as some cool vintage reverb units such as the EMT 240 plate reverb and the Fairchild 659A spring reverb."

THE KIT

• 20" x 14" kick drum.
• 14" x 5.5" snare drum.
• 16" x 16" floor tom.
• 12" x 8" rack tom.
• 14" Zildjian New Beat Hi Hats.
• 22" Zildjian K-Custom Medium Ride.
• 8" Zildjian K-Dark Thin Crash.
• 16" Zildjian and CIE Vintage Crash.

FAVORITE FEATURES

• Nice GUI with mixing section (EQ, reverb, Transient Master, etc.).
• Randomization feature.
• Recorded in London, using vintage gear, not recorded in someone's garage using the latest stuff.
• Authentic, timeless well-balanced sound with slight, tight, warm, pleasing room ambience.
• 16 velocity, multiple round robins, and lots of samples.
• Inspiring.
• Fantastic quality vs. price ratio when compared to other vintage packs.
• Excellent developer (communication and frequent updates).

THOUGHTS

• I now have one of my dream kits. If I ever find a Ludwig and Gretsch kit I will run out of excuses for not making music.
• If Drumdrops added a groove library to this drum pack, I would probably play so much that my fingers would fall off.

CONCLUSION
Over the past couple years, I have written several VST user reviews, but rarely a sample library review. Back in the day, I was somewhat of a sample guru. As a result, it takes a lot to impress me. You could say I'm a bit of a sample snob. However, this library not only impressed me, it caused me to have more than one sleepless night. I couldn't wait to get up, load up, and play! I highly recommend Premier Outfits 54 Kit to any eMusician, producer, sound designer, film or video sound-tracker, video gamer, DJ, etc., who digs the early 60s Brit Invasion sound. You don't need to be a vintage rock buff to slide these fine drums into a track. They will sit well in the mix without overpowering the other tracks. Ringo served a song; he didn't dominate it! This kit is also well suited for funk, soul, folk, country, hip-hop, etc. Tommy Zai gives Premier Outfits 54 Kit - Kontakt 5 Pack two loud rim shots! Thank you, Drumdrops, for resurrecting and brings back to life one of my dream kits.

* Ringo originally purchased his Premier drum set in 1960 (Hamburg, Germany) and later used it during the early Beatles performances and recordings. For more info, go to: http://web2.airmail.net/gshultz/drumhist.html

Gater-Pro by SPC Plugins is a useful and inspiring stereo trance gate effect. Each time I launch it and create a gated sequence I discover something unique that sparks my creativity. Naturally, it's perfect for trance, but it can also help drive any other kind of rhythmic-based audio. If you're not looking for a robotic sound simply engage the swing feature and bring some humanity back into the mix. I plan to use it on pads, drones, and eBow'd guitar lines to help create a pulse and shimmer that is in sync with the track. While researching, I found a useful suggestion from a fellow user, "You don't need to have the gate at 100% wet, but a hint of Gater-Pro on an effect return can provide some lift to the mix."

PROS

• Simple, neat and clean interface.
• Cool features: swing control, switchable rates, three gate shapes, etc.
• Bypass switch.
• CPU friendly.
• Stable.
• Inexpensive.
• Responsive developer (good communication and frequent updates).

CONS

• I can't think of any, but adding a zillion presets would be nice.

CONCLUSION

I highly recommend Gater-Pro for any eMusician, producer, sound designer, DJ, etc., who is creating rhythmic music. It's an excellent little plugin that can make a BIG difference if used wisely. Tommy Zai gives Gater-Pro two perfectly sync'd thumbs up. Thank you, SPC, for creating such a cool audio tool.

LevelView by Grimm Audio is a comprehensive real-time rainbow (arc) loudness meter. It comes in both plugin and application form. The package also includes LevelViewS, which is a simpler version with less information. Both versions can do it all, but LevelView is more visually suited for extended files like film scores, classical music, etc., and LevelViewS is more suited for sound bytes, trailers, pop tracks, and so on. I am using this metering system for educational purposes, mixing, and mastering; however, it has recently become mandatory that television broadcasting (both in Europe and the US), use loudness meters like this to comply with an array of new standards.

The cool blue color is easy on the eyes. It clearly displays headroom and overloaded signals. I prefer LevelView's rainbow display over bar, the old style VU, jellyfish, and radar. This certainly is VU meter 2.0! It's easier for me to read and follow. Using LevelView can be aurally and visually addictive. It provides an excellent reference and indicator over time to help users to make the necessary adjustments to optimize volumes and create the best sounding track.

I quickly discovered the following:

1. Outside Arc: fast momentary loudness.
2. Outer Arc: maintains up to three seconds of audio.
3. Inner Arc: displays longer times (tripled).

PROS

• Easy to use, yet powerful.
• Looks great and helps make audio sound great.
• Automatically follows DAW's transport activity.
• Excellent developer support and communication.

CONS

• None to speak of. LevelView is beyond what I expected.

CONCLUSION

LevelView is a fascinating loudness metering system that is hard to go without once you try it. Compared to the other high-end volume metering systems available, this one is a great value. If there is such a thing as a "loudness war," once it's ended LevelView will help make sure your audio is still standing! I highly recommend LevelView to anyone who is serious about seeing, hearing, and feeling their production (tracking, mixing) and post production (mastering) audio levels and then making the necessary adjustments to optimize their creation. Tommy Zai gives LevelView two LOUD thumbs up. Thank you Grimm Audio for creating a plugin/app that helps me create music that sounds (and looks) so cool.