Korg nanoSeries: nanoKey £49, nanoPad £59, nanoKontrol £59 (PC/MAC)

The nanoSeries controllers finally arrives, but do they offer maximum bang for your minimal buck? Let's get twiddling and find out...

There's been an air of expectancy surrounding the nanoSeries here at cm ever since Korg announced the three tiny controllers over the summer. Each of these USB devices is bus-powered, available in stylish black as well as the standard white shown here, and should slot neatly in front of the average 13" laptop. And with a price to match their physical stature, they're certainly cheap enough to tempt you into snapping up the entire range in one fell swoop. But do you really want to be doing that? Read on to find out...

Key change
The nanoKey features 25 velocity-sensitive keys that can transmit either MIDI note or CC (Continuous Controller) data. Further buttons offer octave up/down, pitchbend, modulation and activation of the CC mode. Holding the pitchbend or mod button causes the appropriate MIDI value to automatically rise from the resting point to full (we're slightly disappointed that these buttons aren't pressure sensitive). Visual feedback comes courtesy of a trio of LEDs, the rightmost of which indicates whether CC Mode is active or not. The remaining two convey the current octave: when in the 'middle' octave (C2 to C4), they remain unlit, but show green, orange, red, and flashing red to indicate how far from the centre you are. With CC mode engaged, a green LED comes to life.

Bizarrely, the keys themselves are based on those of a laptop keyboard, as opposed to the ones you'd find on, well, a keyboard that's designed for playing music. They're a fairly good size for such a small unit, but the odd spacing (the black keys are the same width as the white) may baffle practiced keyboardists.

Anybody who's looking for piano-style control probably isn't going to be considering the nanoKey, then. Nevertheless, the feel of the keys - which are plastic, tacky, unresponsive and prone to an occasional 'click' when the inner mechanisms are forced past one another -didn't impress us one jot. Furthermore, the lowest key is directly adjacent to the control area, meaning that a couple of accidental slips onto the buttons is practically a certainty in the heat of a performance.

The nanoKey is adequate for programming

"Anybody who's looking for piano-style control probably isn't going to consider the nanoKey"

basslines, melodies and simple chord sequences, and the price point and portability are undeniably attractive - these factors alone will no doubt be enough for some. In addition, you get a free download of Korg's M1 Le soft synth, as well as an optional upgrade path to their Legacy Digital Edition.

Padding things out
The nanoPad, on the other hand, thoroughly wowed us. The 12 rubber percussion pads are of a decent size and are reminiscent of the famous Akai MPC range, not to mention Korg's own padKontrol. There isn't much travel, but there's enough dynamic response to render your drum programming with plenty of expression, and they feel sturdy enough to stand up to your dextrous drumming digits. The backlit Flam and Roll buttons give more options for rhythmical variation, enabling the easy triggering of their respective embellishments with a single press of the pad. Engaging the Hold button means that when a pad is struck, the MIDI note is held until you hit the pad again or turn the function off.

The truly excellent X-Y pad, which controls the rate of flam and roll in its default mode, is by far the best feature of the nanoPad. Once programmed with the freely downloadable Kontrol Editor software Csee boxout), however, things get much more interesting. Playing a beat on the pads whilst controlling various effect parameters on the X-Y pad is probably the most fun you can have with any of the nanoSeries.

Buying the nanoPad entitles one to a free download of Toontrack's EZdrummer Lite plug-in, with the option of upgrading to the fully-fledged EZdrummer for €79.

On cruise control
Last but not least, we have the nanoKontrol, which offers transport controls and a nine-channel 'mixer', with each strip comprising a slider, rotary knob and two backlit buttons. It's a configuration that lends itself well to a classic volume/pan/solo/mute setup, although you can configure each control to send any CC you like. The transport can send MMC or MIDI CC data.

The nanoKontrol is a surprisingly smooth operator, registering both tiny movements and large sweeps. It doesn't come with any free software, but, as is the case with the nanoKey and nanoPad, there's the option of saving €30 on Ableton's Live 7, LE or Suite.

At this price point (the street prices are even lower!), Korg have worked wonders in providing such an array of controllers, and when you factor their physical dimensions into the equation, you can almost consider the range as a sort of expandable, semi-modular system.

The nanoKey's poor keyboard is a huge letdown, and while it doesn't render it useless, it's definitely not what we were expecting. Why Korg didn't use similar mini-keys to those featured on something like the microKorg is beyond us. One other minor quibble is that while the devices were entirely plug-and-play on the Mac, we had to download and install Korg's USB MIDI driver to get them to work on our Vista PC.

These points aside, we were won over by every aspect of the series' design, and they're bound to appeal to anyone after a cheap, portable yet functional controller or two. cm

Contact: Korg, 01908 857100
Web: www.korg.co.uk
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Kontrolled explosion
The Kontrol Editor application is a free download that gives full access to the nanoSeries' functions. For the nanoKey, you can edit the CC on/off values sent by each key when using CC Mode and their behaviour (momentary or toggle). There are three velocity curves too, as well as fixed-velocity. You can adjust the slide rate when using Pitchbend and set the Mod button's range.

With the nanoPad, CC values and button behaviour can be configured for each pad, and you may stack up to eight MIDI notes per pad, for triggering chords. The funky X-Y controller can control any pair of MIDI CCs you like.

In the nanoKontroi's case, the attack/release time of the buttons can be altered, so that when pressed, the CC does not jump to the new value but glides smoothly - a neat touch! The upper/lower values of the sliders and knobs can be redefined and all controls mapped to the CCs of your choosing.

Crucially, the software enables you to configure up to four scenes for the nanoPad and nanoKontrol, switchable via a button on the device. This effectively gives 48 pads and four X-Y pads for the former and 36 channels and four transport sections for the latter. Complete setups can be saved, so you can create custom ones for your favourite apps or plug-ins.
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System requirements
(PC) Windows XP(SP2)/Vista, USB port

(MAC) OS X 10.3.9/10.4.7, USB port

Test system
(MAC) MacBook Air, 1.6GHz Core 2 Duo, 2GBRAM,OS X 10.5.5


Alternatively
Novation Nocturn cm124» 10/10 » £69
Compact controller with a crossfader, touch-sensitive knobs, LED feedback and Automap Universal 2.0 software

Korg microKontrol N/A»N/A»£259
Like having the entire nanoSeries in one package, with much better mini-keys and a funky four-way joystick control

Verdict
FOR
- Super-portable
- Ridiculously affordable
- nanoPad has a great X-Y pad
- Sturdy build of nanoPad/nanoKontrol
- Good sensitivity on nanoKontrol
- Kontrol Editor enhances functionality

Order Computer Music Magazine from:
http://www.computermusic.co.uk/

AGAINST
- Editing not easy for novices
- nanoKey's keyboard is pretty nasty

Each member of the nanoSeries is highly functional and extremely portable, with only the nanoKey's ropey keyboard letting the side down


MARK:
nanoKey 6/10
nanoPad 10/10
nanoKontrol 10/10
Order Computer Music Magazine from:
http://www.computermusic.co.uk/

cm133 - M-Audio ProKeys Sono 61 £259 (PC/ MAC)

In a world of 'me too' MIDI keyboards, this one has a feature set that makes it stand out from the crowd. Allow us to explain...

Its appearance might lead you to suspect ^ otherwise, but the ProKeys Sono isn't a typical MIDI controller keyboard. It's a cross between a stage piano and a controller keyboard/interface -a novel concept in the computer music market.

Available in 88- and 61-note versions (we're reviewing the latter here), this USB device offers velocity-sensitive, semi-weighted keys and standard controller features such as pitchbend, mod wheel, octave up/down buttons, MIDI jack and sustain pedal input. The Sono is also a 16-bit/44.1kHz 2-in/2-out audio interface - you get an XLR mic input, a %" instrument input and stereo RCA inputs round the back. There are two Vt" main outputs, with a pair of 14" headphone outputs conveniently positioned at the front.

However, this controller's unique selling point is that it's also a portable digital piano with five main sounds: Grand Piano, Bright Piano, Electric Piano, Organ and Clavinet. Each of these is accessed by pressing the relevant button on the top panel. Chorus and reverb effects can be called upon in the same way.

This device goes further still by throwing in a complete bank of General MIDI patches: 128 workhorse sounds for composing entire tracks.

Flying Sono
The keyboard is class-compliant and so was recognised by our test Mac as soon as we hooked it up. As far as the onboard sounds go, the grand piano, which was sampled from a Steinway, is the pick of the bunch, and the other four voices are very convincing.

Unfortunately, calling up the GM sounds isn't quite so straightforward, requiring you to go into Edit mode. Once there, you have to either enter the program number of the desired patch or reassign the octave up/down buttons so that they can be used to scroll through the bank. However, because there's no display, you never know which sound you've selected until you actually play it, which could lead to some comical onstage moments. Quality-wise, the GM bank is pretty much as you'd expect: fine in places, but decidedly 'hobbyist' in others.

As an audio interface, the Sono performs well. There are Instrument and Mic gain knobs (plus signal and peak LEDs), and a Direct Monitor knob to balance the incoming signal without latency.

This is the kind of product that could have ended up falling between several stools, so M-Audio have done wonders. It's not the most fully featured MIDI controller we've ever tested, but it plays well. And while the keyboard isn't hammer-action, the Sono is also a credible digital piano. Whether you use it with your computer or standalone, the ProKeys Sono delivers, cm

Contact: M-Audio, 01753 659590
Web: www.maudio.co.uk
Info: ProKeys Sono 88, £319
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Operation game
One of the ProKeys Sono's biggest strengths is its versatility. When it's hooked up to a computer, it's primarily a controller and audio interface, but you can also route the internal sounds directly into your sequencer over USB. OK, you might have better versions of these in your plug-in rack, but it's still good to have this option, which can be turned on and off with a press of the D:1 key in Edit mode.

It's also possible to send MIDI data from your DAW to the Sono's internal voices. All you have to do is select the 'ProKeys Sono Voices' destination on the appropriate MIDI track(s). This could be useful to anyone who wants to play back Standard MIDI files.

Sono's standalone features, including mic and audio inputs, makes it useful for singing pianists or for jamming with other musicians such as guitarists.
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System requirements
(PC) Pentium III/AMD K7 Athlon 1GHz,
512MB RAM, Windows XP (SP2)/Vista,
128MB graphics card, USB port

(MAC) G4 1GHz,512MB RAM, OS X 10.3.9, native USB port

Test system
(MAC) G5 Dual 1.8GHZ, 1.25GB RAM, OS X 10.4.11

Alternatively
Novation XioSynth 49 cm106» 8/10 » £269
Another controller keyboard/audio interface combo, with a synth rather than piano/GM sounds
M-Audio ProKeys 88 N/A»N/A»£469
No audio interface, but this is an absolute bargain of a hammer-action digital piano

Verdict
FOR
- Extremely versatile
- Can be used with or without a computer
- Decent grand piano sound
- Plays better than many other controllers

AGAINST
- Keys aren't hammer-action
- Can be a little fiddly to use

Perfect for songwriters who want to jam and record, this is a welcome addition to the MIDI keyboard market. Well played, M-Audio. well played

MARK: 8/10
Order Computer Music Magazine from:
http://www.computermusic.co.uk/

D16 Group Decimort €35 (PC/ MAC)

As a "high-quality" lo-fi effect we hope the latest SilverLine processor doesn't crush our dreams and leave us in bits

The latest addition to D16 Group's SilverLine range of affordable plug-ins aims to provide a high-quality alternative to lo-fi effects such as Cubase's BitCrusher, Logic's Bitcrusher, and Live's Redux. Pedants will scoff that the 'bit crusher' tag often associated with such digital lo-fi effects isn't too accurate, unless you consider crushing to be the same thing as reduction. More notably, it's not just the bit-depth that's tinkered with - the sample rate can be lowered too, a proces known as decimation.

The sample rate determines how many times a second a signal is digitally recorded - ie, sampled. The number of available digital volume levels that are used to describe each sample is dictated by the bit depth. Lowering the bit depth means that fewer values are available to represent the vertical position of each sample, leading to a 'stepped' waveform - the samples are quantised to a vertical grid. At moderate values, this adds a grungy hiss, but at extreme settings, the wave becomes very distorted.

All artifacts welcome
Though on the face of it these phenomena are undesirable, a little lo-fi can give some funky grit to a sound. Old school samplers from the 1980s were only able to sample at lower rates, giving many productions of the day a crunchy quality that today's technology doesn't impart, and many are keen to recreate such sounds.

Unlike the crude algorithms used in, say, Cubase and Live's bitcrushers, Decimort emulates how the circuitry inside analogue-to-digital and digital-to-analogue converters actually works. D16 tell us that, amongst other things, Decimort interpolates the incoming wave to reconstruct a more 'analogue' version, then applies noise to mimic the natural dither caused by circuitry.

The results are a grittier tone, without the harsh (sometimes constant) 'fizzing' artifacts of lesser crushers, albeit at the expense of higher CPU usage. Decimort really does sound like crusty old digital gear, though whether you actually think this is 'better' is a matter of taste.

Controls-wise, at Decimort's heart are the bit-depth and sample-rate reduction knobs, which range from 1-16 bits (or Off), and 0 to 44.1kHz respectively. Decimort can process left and right channels independently or together. There's also an anti-aliasing filter - see boxout.

Each channel also has a more conventional, tweakable multimode resonant filter with low-pass, high-pass, band-pass and band reject controls. These might not be anything out of the ordinary, but they have a quality sound.

Finally, there's a simple Preamp knob for overdriving the incoming sound. This is a useful effect in its own right and assists in further approximating the tones of old-school hardware. Speaking of which, the presets feature several patches based on classic bits of kit, including Akai's MPC60 and E-MU's SP-1200 samplers.

Decimort isn't groundbreaking, but it does give you very high-quality overdrive, lo-fi and filter effects in a single effect.

Contact: contact@d16.pl
Web: www.d16.pl
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No known aliases
To truly represent a signal, the sample rate must be at least twice the highest frequency present - otherwise, frequencies can be misinterpreted, creating (usually) unwanted artifacts. 44,100Hz gives a 'Nyquist frequency' of 22,050Hz; when sampling, frequencies above this are 'reflected' - eg, an inaudible sine wave of 32,O5OHz becomes an audible one at 12,O5OHz. As for playback, consider a sample rate of lOOHz: the signal level changes only 100 times a second, and each jagged 'step' is essentially distortion.

Decimort recreates these artefacts in all their filthy glory. A switch engages a reconstruction filter, smoothing the changes between output values to remove distortion, as any quality sampler would. It's not currently possible to have this filter placed before the decimator, for dirtying up synth sounds, soaring leads, etc, without introducing unmusical aliasing, but D16 say they'll be adding this in an update.
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System requirements
(PC) Windows 2000/XP, VST host

(MAC) Mac OS X 10.4.3, AU/VST host

Test system
(PC) AMD Turion 64 2GHz, 1GB RAM, Windows XP, M-Audio Fast Track Pro

Alternatively
SoundHack +decimate N/A»N/A»£Free This little freebie from SoundHack is an extremely basic bit- and sample-rate reducer

iZotope Vinyl N/A»N/A»£Free
A lo-fi effect with an analogue rather than digital approach: it makes your tracks sound like vinyl recordings

Verdict
FOR
- Very reasonably priced
- More authentic than typical bitcrushers
- Preamp is useful imts own right
- Built-in filters
- Easy to use

AGAINST
- No pre-filter anti-aliasing

Decimorts handy integration of overdrive, lo-fi and filter effects make it good value for money, and the sound is spot on

MARK:9/10
Order Computer Music Magazine from:
http://www.computermusic.co.uk/

Voxengo Elephant 3 $90 (PC/ MAC)

A focus on the user has earned Voxengo a good reputation, but can v3 of their tusked limiter survive in these wild times?

The kind of digital 'maximising' limiters that " came to the fore in the 1990s were something of a revelation in mastering, enabling one to increase the apparent level of a mixdown without unduly comprising its sound quality. Voxengo's Elephant limiter has earned a reputation as one of the finest such tools available today, and proven its worth as a mixing processor too. Now version 3 is here, with the most obvious enhancement being Voxengo's new interface style, last seen with VariSaturator (9/10, cm127), although the improvements are more than merely skin deep. Elephant is now Mac-compatible too.

What's in the trunk?
Elephant features ten presets, called 'modes', the parameters of which can be tinkered with 'under the hood' or not. You then choose between four algorithms, including a 'clean' clipping type. One of the most notable new additions is the EL UNI algorithm's Knee control, accessible via the Mode Editor. The knee determines the scale of a flexible threshold that will compress quieter sections of the signal at a lower ratio before reaching full-on brickwall limiting at the top. The result is probably the subtlest form of limiting you'll find. Other mode editing controls determine how transients are dealt with. The only thing we feel it's missing here is a wet/dry mix control.

While many mastering limiters might include a DC offset switch, Elephant 3 boasts adjustable filters with no less than 11 slope types and a finely tuneable high-pass cutoff with a range of 1Hz to 100Hz. There's dithering too, which can operate at bit depths ranging from 6- to 24-bit, and has two noise types and two shaping options.

Voxengo have clearly built this baby to be ready for anything, and to that end Elephant has been expanded to support multichannel configurations. For the very highest audio fidelity a linear-phase 8x oversampling algorithm is included. This might not be a practical feature for mix usage due to the increased CPU hit, but for critical applications like mastering, the additional clarity it brings means its not to be overlooked.

As well as changes to the internal aspects of the limiting effect itself, there have been a number of invaluable interface improvements. The new undo/redo system means you're free to experiment wildly, knowing that you can easily return to the original settings, and there's a slicker preset manager. Meanwhile, the internal routing panel enables you to set up sidechaining between multiple instances.

You might be forgiven for assuming that Elephant's forte would lie in forcibly squashing audio into shape. Ironically, though, this is a truly refined beast - even gentle, if you want it to be -and it's easy to achieve more transparent gain reduction than with most other virtual limiters. As far as sound quality goes, previous versions placed Elephant in the elite class, and v3 certainly upholds that sonic status.

Contact: Contact via website
Web: www.voxengo.com
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An elephant never forgets
Ever keen to enhance the pragmatic value of their products, Voxengo have included a system to help keep track of plug-in instances. After all, if Elephant sounds good enough to be used on a number of tracks within the mix and not just the master bus, the ability to immediately know which instance correlates to which channel is conducive to a good workflow - we've all accidentally reached for the wrong fader or adjusted the wrong plug-in instance at one point or another.

Elephant overcomes this by first allowing the user to input a name for each instance. It allows up to 18 characters and only requires the mouse to program as it features a virtual keyboard. You can also pick from one of five different colour schemes, which change instantly upon selection. There's no need to restart the plug-in for your changes to take effect and, thankfully, all the colour schemes look really good.
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System requirements
(PC) 2GHz dual core, 1GB RAM, Windows XP/Vista, VST host

(MAC) 2GHZ dual core, 1GB RAM, OS X 10.4.11, AU host

Test system
(PC) lntel Core2 Duo 1.86GHz,2GB RAM, Windows XP, Cubase 4

Alternatively
Blue Cat Audio Protector cm131»9/1O»€59
Boasts a range of applications, sounds great and is keenly priced

PSP Audioware Xenon cm124» 10/10 » $249
Sports exceptional versatility and a very transparent sound

Verdict
FOR
- Supreme transparency
- Highly customisable
- Auto-release option
- High-quality dither
- DC offset filter

AGAINST
- No wet/dry mix
- Only operates in lookahead mode

A mammoth update to this already-superb limiter proves that there's certainly no junk in Voxengo's trunk

Mark: 10/10
Order Computer Music Magazine from:
http://www.computermusic.co.uk/

cm133 - VirSyn Prism €199 (PC/ MAC)

The German plug-in maestros return with their own take on pitchshifting. Expect the unexpected!

Pitchshifting comes in both real-time and offline varieties, and is typically applied to the full frequency spectrum of an audio file. VirSyn's Prism takes a non-standard approach to this process, employing a multiband system that allows for greater control over the results. Much like their Bark multiband EQ/compressor (8/10, cm129), this relies on linear phase band-pass filters covering 27 bands, ranging from 50Hz to 17.5kHz, and enables band-wise real-time pitchshifting by 60 semitones up or down (note that, like Bark, you'll also need a Syncrosoft dongle to use the software). If that's not boggled your mind already, they've also included a level control and individually adjustable LFOs for each band, and the thing's rounded off with a global envelope follower.

Impressive stuff, but you may be wondering what you would use such a plug-in for. VirSyn suggest that you could adjust individual elements of a loop with it, such as a kick drum, but given the massive pitch range, we're thinking it may attract anyone into sound design or general sonic mashing. One thing Prism doesn't do is formant correction, indicating that vocals and speech aren't its primary target.

Form and function
Most of the action takes place in the multiband graphic display, where you have mouse control over the band parameters. There are three main screens - Level, Shift and LFO - and, in addition to the graphic EQ-style section, context-sensitive parameter values are indicated in the bottom right corner. Level settings are the most straightforward, allowing +/-12dB per band.

Adjusting pitch and LFOs requires use of both the graphic sliders and the global knobs below. For LFOs, each graphic band can have its own speed (OHz to 100Hz), while the global LFO knob controls the overall amount for all bands (0 to 100%). For pitch, the global knobs affect all bands, while the graphic sliders act as an offset against these (up to +/-100%). The global Range knob goes right up to 60 semitones, with the F-Shift control working up to this limit (plus or minus in single cent steps).

The envelope follower is a simple attack/release design with an amount parameter enabling the amplitude of the incoming signal to control the onset of the effect. Finally, there's a global mix blend and an output gain control.

In use, Prism feels like the slickest VirSyn plug-in yet. The graphic display means you can easily get sidetracked with producing crazy and wacky effects, rendering your original sound unrecognisable. But with a bit of care (and a more restricted shifting range), it's also possible to create rich chorused effects, which can be focused on specific frequency ranges.

With Prism's fixed frequency bands matching those found in Bark (50Hz, 150Hz, 25OHz, etc), the prospect of tuning individual elements of a loop seems dependent on the sounds coinciding with those bands. In practice, we found this repitching functionality to be less successful than we'd hoped. What's more, with only ten presets to demonstrate its charms, there's also a sense that VirSyn haven't quite nailed down Prism's true potential, either. Still, Prism is evidently a powerful plug-in offering a fresh perspective on an age-old process.

Contact: info@virsyn.de
Web: www.virsyn.de
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Get a shift on
As already noted, pitchshifting comes in real-time and offline forms, with the latter typically offering superior quality along with accompanying timestretching features. On the real-time front, options vary from simple, static (ie, fixed interval) shifting plug-ins to dynamic pitch correction efforts such as AutoTune. And some options (Melodyne, for example) can look like real-time plug-ins but actually buffer and replay re-pitched audio.

Prism is most definitely a real-time affair, and this makes it both responsive enough for live use and, to some degree, automatable, although in both Cubase and Logic we found that this only included the global settings and not individual band parameters.
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System requirements
(PC) P4 1.6GHz/AthlonXP/MP, 512MB RAM, Windows XP/Vista, RTAS/VST host

(MAC) G4 1.6GHz/lntel CPU. OS X 10.4, AU/RTAS/VST host

Test system
(MAC) Apple Mac Pro Dual 3GHz, 3GB RAM, OS X 10.4.11, Logic8, Cubase 4.5

Alternatively
Waves Soundshifter N/A»N/A»$800
Includes a simple real-time version and a more complex offline one

de la mancha Pitchfork N/A»N/A»$15
This tri-band pitchshifter includes an LFO and is Windows VST only

Verdict
FOR
- Simple, easyinterface
- Real-time, band-specific pitchshifting!
- Control of level and LFO speed per band
- Shifts five octaves up and down

AGAINST
- Few presets
- No formant correction
- Limited by fixed-frequency bands

Prism offers a twist on pitchshifting and is surprisingly easy to use, though the fixed nature of its bands is a bit of a kicker

MARK: 7/10

Order Computer Music Magazine from:
http://www.computermusic.co.uk/

cm133 - Sonalksis Mastering Suite £320 (PC/ MAC)

Sonalksis aim to master the fields of limiting, stereo imaging and dithering, but will they help your mix cut though the competition?

Sonalksis plug-ins have been firm favourites among the cm team for many years, so when we heard that the company were releasing a range of mastering plug-ins, we were excited, to say the least. And now they're here, available separately or as part of two packages. The full bundle, reviewed here, is called the Mastering Suite and consists of Ultimate-D, StereoTools, MaxLimit and MultiLimit. Each one comes in VST, RTAS and AU plug-in formats for Mac and PC (although only Mac for the AU ones, of course).

The big draw of the Mastering Suite is bound to be its pair of limiters, so we'll start with the MaxLimit program maximiser. This offers variable release time, down to 1ms, and an automatic mode, where the timing is dependent on the audio material. The Smooth knob isn't a typical limiter parameter - low settings are said to be better for all-out volume maximisation, whereas turning it up aids transparency. Finally, there's a clipping stage (with digital and analogue 'flavours') for increasing the level at the expense of added distortion.

A limiter lives or dies by its quality of sound, and our first problem with MaxLimit is that when pushed, the sound gets louder, as expected, but becomes too smooth and rounded, and you can hear the limiter working. It doesn't distort, but it never achieves the kind of weight, bounce or punch that the likes of PSP Xenon, Voxengo Elephant or Waves L3 Ultramaximizer can manage. However, the very thing that reduces MaxLimit's efficacy for mastering makes it superb at accentuating things like reverb and delay tails when used on mix elements. Funnily enough, we got more mileage out of MaxLimit as a mixing tool.

We have to say that we're not keen on the metering in MaxLimit. For example, the gain reduction meter goes all the way down to -33dB or so, but when mastering, it's common to apply far less - an average of around 3dB of attenuation is normal. Therefore, the useful range of the meter is tiny - an option to zoom in on the 0-10dB range would definitely help here.

What's more, with fast release times, the reduction meter is 'soft' when compared to other limiters, as though it's too slow to react to the changes. You have to push the limiter harder to see the same kind of meter action as with

"MultiLimit can be a great tool when used wisely, but may do more harm than good in the wrong hands"

competing limiters, and this leads to too much gain reduction if you go by the meters, and not enough meter movement when set correctly by ear!

MultiLimit is a more complex limiter that splits the signal into up to five frequency bands, applies limiting to each, then routes the lot through a broadband limiter. This enables you to apply more or less limiting to the bass, mid or treble, or even accentuate specific instruments.

MultiLimit has similar global controls to MaxLimit, as well as an optional soft knee for more gradual limiting. For each band, you can define the frequency boundaries, change the amount of limiting, set the release time as a percentage of the global release, and adjust the gain. You can solo each band to hear it in isolation, but you can't bypass it whilst doing this, which would've been useful for comparison.

As with any multiband dynamics processor, MultiLimit can be a great tool when used wisely, but may do more harm than good in the wrong hands, so it's not one for the novice engineer. It works well enough and has the basics covered, but ultimately suffers from the same limitations as MaxLimit: it's not the most transparent processor around and the metering isn't great. In use, we often achieved the most satisfactory results from MultiLimit with the meters barely showing any action.

Furthermore, it's annoying that the broadband limiter can't simply be disabled, though it seems that its action can be circumvented by setting a high global threshold and/or reducing the gain per band. This enables you to limit just the bass, for example, with the other bands untouched (incidentally, this technique works very well with MultiLimit).

Each plug-in is blessed with a clear, bold interface and chunky controls. The Sonalksis system of 'velocity sensitive' controls (slow movements give finer adjustments) is a great touch, making it easy to set precise values. Setup panels offer such goodies as different metering schemes and settings, adjustments for the steepness of MultiLimit's crossover, pan and balance law for StereoTools, and lots more.

Our only suggestion would be to move the digital/analogue clip mode switch to the front panel, as you might conceivably want to switch it mid-session.

The other two elements of the Mastering Suite are StereoTools and Ultimate-D - see the boxout for the lowdown on these.

So, should you buy into Sonalksis' mastering tools? We'd suggest trying them before you do. We're not fully convinced by the limiting algorithms, so while MultiLimit is clearly the big gun of the set, it doesn't sell the package alone. The lack of an EQ plug-in is also a tad disappointing for a mastering bundle - after all, dynamics and EQ processors are the staples of any finalising chain.

For all of our criticisms, remember that we're judging these plug-ins against the very best in the industry, and though not top of the league, they're in the upper tier for sure. They should certainly still knock the spots off the bundled equivalents in your sequencer.


Contact: Sonalksis, 0870 7660303
Web: www.sonalksis.com
Info: MultiLimit, £290; MaxLimit, £160; Stereo Tools, £130; Ultimate-D, £130; Mastering Tools bundle (MaxLimit and Stereo Tools), £200
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Ultimate-D will wrestle audio from DAW to CD by dithering according to the type of the music
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Stereo sounds aplenty: StereoTools is great for both mixing and mastering

Dithering in stereo
Ultimate-D is a tool for converting audio to lower bit depths; for example, when creating audio for compact disc, you'll dither down to 16-bit (check out Busting jargon on p15 for info). Ultimate-D is not the most glamorous of plug-ins, but it's certainly handy and has clearly labelled settings, offering options that relate to the style of the music -acoustic/electronic/hybrid - and whether the material is dynamic or compressed. This is in contrast to the selection of cryptically-named dithering schemes that many such products offer.

Next comes StereoTools, which offers buttons for phase invert, stereo flip and mid-side input mode, with sliders for balance, panning of both left and right channels, and the all-important stereo width. There's a 'zero width below' slider too, which sets the frequency (from IHz to 10kHz) below which audio will be converted to mono. This last function is undoubtedly StereoTools' killer feature, and is most useful for adding tightness and definition to the bottom end, while still enabling you to widen the treble.

Finally, there's an analyser section that can depict the stereo image in either a polar or Lissajous (goniometer) format. You can also activate a spectral analyser, for keeping an eye on the frequency distribution.

StereoTools is one of our favourites of the pack, and it's spot-on for mixing too, since the ability to widen, shrink and shift the stereo field of certain sounds is key to crafting a good mix.
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System requirements
(PC) 1GHz CPU, 512MB RAM, Windows XP/Vista, VST/RTAS host

(MAC) lntel/G4 1GHz, 512MB RAM,
OS X 10.3.9, VST/RTAS/AU host

Test system
(MAC) Apple MacBook Pro Intel Core 2 Duo 2GHz, 1GB RAM, OS X 10.5.2

(MAC) Apple Mac Pro Dual 2.8GHz Quad-Core Intel Xeon, 2GB, OS X 10.5.2


Alternatively
PSP Xenon cm124» 10/10 » $249
This limiter is very transparent and delivers a tough, punchy sound

Waves L3 MultiMaximizer N/A»N/A»$600
Waves' flagship multiband limiter lets you push things very hard

Verdict
FOR
- Bold, chunky interfaces
- Limiting is great on reverb and delay tails
- StereoTools is highly useful and versatile
- Ultimate-D is simple yet comprehensive

AGAINST
- Limiting not so transparent
- Metering can be misleading
- Can't defeat MultiLimit's full-range limiter
- No EQ in the bundle

Mastering Suite is undoubtedly good, though not as impressive a plug-in collection as we expected from Sonalksis

MARK: 7/10

Order Computer Music Magazine from:
http://www.computermusic.co.uk/

cm133 - Antares Auto-Tune Evo £280 (PC/MAC)

Vocal repitching is all the rage again, making the latest evolution ot this infamous tuning plug-in all the more relevant

When it first appeared in 1997, Antares Auto-Tune fast became a near-household name, which is unusual considering that audio plug-in technology was still in its infancy. Remarkably, despite a climate of growing controversy surrounding its use, Auto-Tune was rapidly accepted as an essential tool in studios around the world. It was heard applied to vocals on countless high-ranking chart releases, most notably Cher's Believe. Auto-Tune's abilities range from gentle tuning improvements to hard, robotic tuning that's anything but subtle.

Over the years, other companies have taken shots at creating alternative tuning products, to varying degrees of success. Antares have continued to develop a variety of (mostly vocal-orientated) effect plug-ins, including new versions of Auto-Tune, raising the bar a little each time. In recent months, Auto-Tune has enjoyed a surge in popularity, with artists such as T-Pain relying on it for their signature sounds.

A giant leap
Auto-Tune Evo represents a jump in functionality. All the familiar features remain intact, of course, including highlights from Auto-Tune 5 (8/10, cmi09), such as the Humanize and Natural Vibrato controls. Many features have been vastly improved, the most impressive being note-based graphical editing, which addresses the often fiddly nature of pitch editing in previous Auto-Tune incarnations.

Auto-Tune Evo certainly pulls no punches and is noticeably more accurate than previous versions, and over a broader variety of signal sources, too. For example, earlier Auto-Tunes sometimes had trouble with octave tracking, resulting in nasty side effects. While vocals are the main focus, other monophonic instruments are also catered for - including bass - by way of the Input Type control.

Time vs pitch
Working with Auto-Tune is much quicker in the classic Auto mode, but the improved pitch tracking is perhaps even more essential in the offline Graphical mode. Instead of snapping to a predefined musical scale, this plots a clear graph of time against pitch, known as the Pitch Graph. It shares many common controls with the classic

"AutoTune Evo represents a jump in functionality. Many features have been vastly improved"

Auto mode, such as the key/scale, throat modelling and transpose settings.

However, whereas in previous versions you edited a continuous line representing frequency, Evo can make musical sense of the content and present it to you as Note Objects - it's like a monophonic piano roll for audio, which will be familiar to users of Celemony's Melodyne. The editor has its own unique set of controls, which vaguely resemble Melodyne's.

To get started, click the Track Pitch button and play back the section of audio to process. The Pitch Graph generates Evo's interpretation of the pitch, represented by a red line. Clicking the Make Notes button creates Note Objects based on the original pitch contour, using bold white blocks to indicate where each note falls. You can then make virtually unlimited adjustments to the tuning using dedicated tools. Correction Curves and Correction Lines can also be used for wilder adjustments or for designing transitions between Note Objects. Once you've made your tweaks, you'll see three contours: the original tracked pitch, the Correction Object pitch and the actual output pitch (the latter is new for Evo).

Host with the most
Because Evo synchronises playback with the host sequencer, it's a lot like having an extra editing window in your DAW. Professional results are very easy to accomplish using this system, especially as it allows free copying and pasting of Correction Objects. This means that you can repeat corrections elsewhere in the project.

Simple pitch corrections are a doddle and unruly effects just as quick to accomplish. There's even a window resizing function for the Pitch Graph mode; unfortunately, like the synchronisation feature, this only works in compatible hosts. At the time of writing, our test host (Cubase 4) doesn't support real-time window resizing, although the default is reasonably sized and it's possible to configure custom sizes from the options menu.

Other key new features include an automatable transpose control for pitchshifting the output by up to an octave in either direction, and formant correction, which gives more natural results when shifting vocals by a large amount. There's also a throat modelling feature: activate the Formant switch to use the Throat Length dial. A smaller vocal tract sounds more feminine or child-like, while a larger one sounds more masculine. Slight changes in either direction go a long way, but insane creative effects can be had with extreme settings. Bizarrely, the considerably pricier TDM version (for Pro Tools HD) doesn't have the formant or throat modeling features.

It's clear that Antares have worked hard to make Evo compete with the rivals that have popped up over the years. Although Celemony's impressive-looking polyphonic Melodyne DNA technology is about to debut, it remains to be seen whether it can oust Auto-Tune from the monophonic throne, especially when it comes to handling those all-important vocals.

Celemony speculation aside, then, Auto-Tune Evo does its job remarkably well and sets new standards for vocal processing. It's stable, tidy, flexible and sounds simply awesome.

Contact: Sonic 8,08701 657 456
Web: www.antarestech.com
Info: Upgrade, $129; TDM version, £450
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Setting your vocals to a musical scale, throat modelling and wild effects can all be achieved with Auto-Tune Evo
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Tuning up is easy in Auto-Tune Evo's Pitch Graph mode, especially when using note objects

The numbers game
One of the finest new features of Auto-Tune Evo is related to note objects in the Pitch Graph mode. While other graphical tuning software packages have been known to demand a great level of skill and a significant amount of time, Antares have managed to simplify the process with the Number of Note Objects dial.

Essentially, this control enables you to define the level of detail with which you can edit Note Objects. With fewer Note Objects, you'll be working with big blocks of notes; with more, musical phrases are split into multiple chunks, with fewer wild pitch modulations within. It's readily comparable to working with the sensitivity control in a hit-point editor such as Recycle, whereby the higher the detail, the greater editing control you have over the audio.

Combine the Number of Note Objects tool with all the other editing features and it should be clear why we love Auto-Tune Evo so much. It's very easy to achieve quick results, but just as importantly, all the tools are there for fine surgical adjustments - you can even set the Retune Speed for each correction object. Particularly when working with vocals, where you're keen to maintain as natural a sound as possible, these tools are awesome.
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System requirements
(PC) Windows XP/Vista, VST/RTAS host

(MAC) OS X 10.4.11, VST/AU/RTAS host

Test system
(PC) Core 2 Duo 1.86GHZ, 2GB RAM, WindowsXP

Alternatively
Celemony Melodyne plugin cm110» 9/10 » £250
Auto-Tune's biggest threat, sporting many similar features

GVST GSnap N/A»N/A»£Free
Windows plug-in with the most basic automatic tuning features

Verdict
FOR
- Easier to use than ever
- More control over fine details
- Note Objects system is great
- Sounds impossibly good
- More creative applications
- Two MIDI input modes

AGAINST
- No formant mode included in TDM version

The best iteration of Auto-Tune yet offers great new features, easier editing and improved sound quality. Viva Evo!

MARK: 9/10
Order Computer Music Magazine from:
http://www.computermusic.co.uk/

cm133 - Steinberg CC121 £313 (PC/ MAC)

With Cubase now featuring advanced hardware integration, it's time to assess the spiritual successor to the venerable Houston controller

Hardware controllers - love them or loathe them, they've become a significant part of the computer music landscape. And although styles vary considerably, it's hard to argue that a unit purpose-built for a particular application doesn't have considerable benefits - thankfully, this is the path chosen by Steinberg for their new CC121 controller. Sporting the same 'Advanced Integration' tag as their new MR interfaces, the CC121 is the result of a synergy between the teams at Steinberg and their parent company Yamaha. Also like the MR, the CC121 requires the new Al-equipped versions of Cubase, meaning only version 4.5 or the included, slimmed-down Cubase Al will work with it. Unsurprisingly, given that the last dedicated Cubase controller from Steinberg - Houston - failed to take off, they've shied away from such a grand design this time around, and the CC121 is both compact and, at just over £300, reasonably priced.

Silver bullet
With only Cubase to cater for, the CC121's features are very specific. The left-hand side is dominated by a 100mm touch-sensitive, motorised fader, which is accompanied by a rotary pan controller. At the bottom are two Channel Select buttons for switching back and forth through mixer channels. Also on the left-hand strip are eight backlit function buttons that match Cubase's VST Channel settings: solo, mute, automation read and write, track arm,

"The CC121 is an extremely well conceived controller. It's compact and reasonably priced"

monitor, instrument edit and effects edit. The middle section of the CC121 is dominated by 12 rotary controllers and six buttons dedicated purely to Cubase's built-in Channel EQ. Below these you'll find the transport controls.

The controls we've mentioned so far are 'hardwired' and can't be reassigned. However, that's not the case with the right-hand section, the main feature of which is the amusingly named AI Knob. Although you can just use this as a jog wheel, its Al-specific feature is far more impressive - point at a control in Cubase with your mouse and the dial is instantly assigned to that parameter. What's more, by using the lock button, you can move the mouse cursor away and still keep the assignment. To round things off, at the top right are four configurable function keys and a single rotary encoder - see the Fully functional boxout for more details on these.

On the technical front, the CC121 needs a standard USB connection (ie, not via a hub or peripheral) and is bus-powered. However, the motorised fader requires more juice than the USB connection can supply, so there's also an additional PSU included. Round the back you'll also find the power switch and a socket for the optional footswitch (which can be assigned as another function - start recording, for example).

Colour by numbers
Anyone who has any experience of using hardware controllers will be aware that getting connected can have pitfalls. The first big positive for the CC121 is that there's a dedicated indicator in the top right-hand corner that flashes when you're properly hooked up, turning solid after you launch Cubase and get full integration. Next up and also a big plus are the backlit channel settings buttons, which are colour-coded to match those in Cubase's GUI.

In practice, although the colour coding is useful, the simple layout and dedicated buttons make it easy to feel your way around without taking your eyes off your software. This is particularly true for the EQ section, where working with the four dedicated bands is akin to using a traditional mixing console.

As mentioned, the fader is both motorised and touch sensitive, and the sensitivity can be adjusted. Because there's only one fader, channel selection is done either on-screen or by using the channel select buttons, but you might be surprised that there's no means to jump between channel types (eg, to quickly adjust auxiliary channel settings) or banks. As mentioned already, if you remove the PSU and run solely on USB bus power, the fader won't shift to match your settings. With no VCA-style offset mode, using it in this way is pretty pointless. Also, with no indicators or readouts of any sort on the unit, you have to look at the computer screen to be sure of which channel you've selected.

The point and control 'AI Knob' is a neat idea, but you'll no doubt be aware that Cubase already enable many parameters to be adjusted using a regular mouse wheel. It's the Lock mode that proves truly valuable here and is only limited by the fact that support is restricted to VST3 plug-ins and certain Cubase parameters.

In control?
The CC121 is an extremely well conceived box. It sits easily alongside your keyboard and mouse, working in harmony with them rather than competing. The construction is solid and the unit is heavy enough that it doesn't slip around on the desktop. The obvious limitation is that it's for Cubase only, but also, the dedicated EQ knobs seem a bit like overkill given that not everyone likes to use the Cubase's built-in EQ, and that there are no dedicated controls for any other plug-ins.

Whether the CC121 will meet your needs is going to depend on what kind of user you are, but its integrated design, easy learning curve and compact footprint easily outweigh its small technical limitations. Nice work, Steinberg.

Contact: Steinberg
Web: www.steinberg.net
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Mixing and matching the user-assigned function buttons, rotary encoder and optional footswitch couldn't be simpler

Fully functional
Although the majority of the CC121's keys offer fixed functions to match those in Cubase, it does include four configurable backlit keys and one rotary encoder. In addition, they've also included two pre-configured templates for Cubase's Studio Control and Monitor Control options. Accessible from the Remote Devices tab in the Device Setup screen, these options are self-explanatory, tying in with the Control Room to allow level control and monitor selection. One additional plus is that the encoder is also a push-button (it's the only one on the CC121 like this) that activates and deactivates the selected Control Room channels.

As well as those two ready-made templates, you can also go for the user-assignable option, giving you individual control over the function keys and rotary encoder. However, the rotary encoder is limited to four level-based options: metronome, main mix, CR volume and CR phones. The buttons, on the other hand, can be assigned to any of the hundreds of functions available in the category list, ranging from Tools to Edit to Save.

In practice, we found it worked well as a quick route to opening windows or selecting tools, and although many of these functions already exist as key commands, the convenience of having them to hand on the CC121 proves extremely liberating.
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System requirements
(PC) Pentium 1.4GHz, 512MB RAM,
Windows XP/ Vista (32-bit). USB port

(MAC) G4 1GHZ/Core Solo 1.5GHZ, 512MB RAM,OS X10.4,USB port

Test system
(MAC) Apple Mac Pro dual 3GHz,3GB
RAM, OS X 10.4.11, Cubase 4.5.1


Alternatively
Presonus FaderPort cm111» 7/10 » £159
The FaderPort offers good value but lacks full Cubase integration

Frontier AlphaTrack cm116» 9/10 » £149
Surprisingly flexible and supports many different applications

Verdict
FOR
- Easy to learn
- Mirrors Cubase features
- Compact, yet solid and weighty
- Useful AI Knob Lock option
- Configurable function keys

AGAINST
- No parameter readout
- EQ dials can't control anything else
-AI Knob limited in applications

Despite some drawbacks, the CC121 wins over in a number of important areas where many controllers come up short

MARK: 9/10
Order Computer Music Magazine from:
http://www.computermusic.co.uk/

cm133 - Spectrasonics Omnisphere £299 (PC/ MAC)

The creators of Atmosphere have finally unleashed their flagship synth, amid the sort of hype you might expect around a Hollywood movie

Unless you've been in another galaxy for the past year or so, you've no doubt witnessed the Omnisphere hype machine in full swing. From cryptic full-page adverts and online videos to tantalising hints on web forums, anticipation has been at fever pitch. But can it live up to all that? Yes, in short, for Spectrasonics have wrought something of a sonic masterwork in this, their new flagship product. It's bursting with a brilliantly conceived sample library and possesses a crackingly good synthesis engine.

Despite rumours to the contrary, installing Omnisphere is not a full day's work. Spread across six DVDs, getting to the playtime stage occupied just over three hours of our afternoon. Once you've got it installed, it's available as a VST, AU or RTAS plug-in. Do note that the stated system requirements are a tad heavy, demanding a minimum of 2GB RAM. Still, we tried it on a machine with 1GB RAM, just to see, and it was quite usable, if not sprightly.

Architectural digest
Making use of Spectrasonics' new synthesis engine - known as the Steam Engine - Omnisphere sports a familiar structure. A patch is composed of two layers, each housing a complete signal path consisting of up to five oscillators pumped through a dual multimode filter. Each oscillator can be based upon the much-lauded sample content or pure synthesis routines (see boxout for more on this).

At the most basic level, the Main Controls page offers quick access to global filtering, octave position, pitchbend range, velocity scaling and glide controls. You can select the desired sound sources and mix between the two layers.

Clicking into the Edit page brings up the basic synthesis parameters. All of the expected modulation sources are offered, including a sextet of LFOs and eight envelope generators. Though the latter appear at first glance to be of the four-stage ADSR variety, a click on the Zoom button reveals a thoroughly modern multistage affair, complete with loop points and the ability to sync. Likewise, clicking the modest Modulation section's Zoom button reveals a full mod matrix with no less than 28 sources and 64 targets.

This sort of hidden complexity is rife throughout the instrument's architecture. Rather

"Here's a multi-layered instrument in which each level offers still deeper sound control"

than befuddle us with a bevy of parameters and lofty terminology, the developers have presented a multi-layered instrument in which each level offers still deeper control over the sound. Many users will no doubt be happy to make a few broad tweaks and hone the presets.

Pause for effects
In addition, FX and Arp pages are present and correct. There are over 30 different effects - you can choose up to four per layer and another four 'common' effects to slather over the lot, plus four Aux FX racks and a Mastering rack. A selection of preset single and multi-effects patches are provided. All of the usual suspects are in play, including reverbs, delays and EQs, along with some groovy extras, like a Valve Radio effect.

Unsurprisingly, Omnisphere has a built-in arpeggiator for each patch. 32 steps are provided, and you can spread your burblings across four octaves. Naturally, there's a swing function. Less predictably, the whole thing can groove-lock to the rhythm of a Spectrasonics Stylus loop or that of any MIDI file.

You can also have up to eight patches on the go at once using the Stack Mode, which also enables you to set up keyboard/velocity/ controller splits and crossfades.

A sound design
Omnisphere's collection of samples is nothing short of astonishing, amounting to over 40GB of content. From classic synths to electric/acoustic instruments, virtually any and every sound source imaginable has been tapped. The 'psychoacoustic' selection contains not only the now-famous burning piano, but also melting circuit boards, human screams, light dimmers and bowed, well, everything. The sound designers have avoided obvious gimmickry and instead crafted their samples into inspiring, musically useful instruments. There are hundreds upon hundreds of sound sources here and it was hard finding more than a handful that didn't intrigue, inspire and engage our imaginations. Oh, and did we mention that the entire Atmosphere Core Library is included? You can download an update for all of Atmosphere's factory patches as well.

Omnisphere isn't without its faults, however. The default level of some of the patches is very high, even to the point of distorting the output bus, and the synth's demands on the host system can be considerable with some patches. Some users may also be fairly disappointed to learn that they can't import their own samples.

Nevertheless, it is a remarkable achievement, providing a wealth of material for both preset players and seasoned synthesists. Best of all, Omnisphere begs to be played, and it responds easily and naturally to MIDI control.

Omnisphere isn't the last word in virtual instruments. It won't give you The Perfect Piano or provide a 'band in a box'. It is, first and foremost, an evocative sound design tool, and we'll surely be hearing it all over movie trailers, soundtracks and advertisements in the coming months - for the professional, it's an obligatory purchase. The price tag might appear a little daunting, but anyone who coughs up the dough will get far more than they bargained for.

Contact: Time+Space, 01837 55200
Web: www.spectrasonics.net
Info: Upgrade from Atmosphere, $249
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Hidden beneath Omnisphere's simple ADSR envelope generators are flexible multistage monsters!
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Omnisphere's sample set is as cool as it gets, but don't overlook its dynamite DSP synthesis

Synthetic dreams
As noted, each layer in Omnisphere is equipped with up to five oscillators that can draw upon the sample library or synthesised waveforms. By selecting Synth rather than Sample in the oscillator section, you can choose up to four different waveforms, all generated in real time. There are, of course, triangle, sine and noise waveforms, along with hybrids called SawSquare Fat and SawSquare Bright, but that's only for starters.

When using synth waves, the oscillator controls adapt to include Hard Sync, Symmetry and Shape parameters, along with an Analog knob for adding a dash of desirable imperfection. Said controls give the power to create a wide variety of rich, complex waveforms that can be further enhanced by frequency and ring modulation, waveshaping, and Omnisphere's wicked unison functions.

There's also something called Harmonia, which brings in additional polyphonic oscilators, with panning, level, detune and waveshaping controls for each of the four voices (Unison and Harmonia are likewise available to the sampled waveforms, along with a keen granular synthesis function). All of this appears at the oscillator level, so you can, of course, pump it through the rest of Omnisphere's architecture and combine it with the provided samples.
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System requirements
(PC) 3GHz CPU, 2GB RAM, Windows XP
(SP2)/ Vista, VST 24/RTAS host, 5OGB HD space

(MAC) 2GHz G5/lntel CPU, 2GB RAM,
OS X 10.4.9, AU/VST 2.4/RTAS host,
50GB HD space

Test system
(MAC) 2.16GHz Intel Core 2 Duo iMac， 2GB RAM, OS X 10.4.11, Cubase 4, Live 7


Alternatively
Camel Audio Alchemy N/A»N/A»£127
Out soon, this employs additive, spectral and granular synthesis and has loads of sampled content

Dangerous Bear Prometheus N/A»N/A»$100
This Windows-only instrument caters to those with unusual tastes

Verdict
FOR
- Brilliant, creative sample set
- Excellent patch programming
- Deep synthesis functions
- Huge number of modulation options
- Atmosphere sounds included, too!

AGAINST
- Some patches too loud
- Requires plenty of RAM and speedy CPU

Omnisphere is a magnificent instrument and while it isn't easy on the wallet - or the CPU - you won't feel shortchanged

MARK: 10/10
Order Computer Music Magazine from:
http://www.computermusic.co.uk/

cm133 - Audio Damage Automaton $49 (PC/ MAC)

With the year coming to an end, isn't it about time Audio Damage wowed us with yet another processing plug-in?

Audio Damage are as consistent as they are prolific. At their most conventional, they put an exciting new spin on a standard effect; at other times, their plug-ins are downright unusual. Their latest falls into the latter camp.

Automaton is an 'effects sequencer' plug-in, with four different processors in series. However, the interesting thing about it is its triggering mechanism, which is an adapted version of the classic mathematical construction known as a 'cellular automaton'. Without going into too much detail, this is a grid of ceils that follows a few simple rules to create ever-evolving patterns - see the boxout for further info.

Automaton takes this concept and enables the user to insert trigger points into the grid. When the ever-growing pattern (shown in white) overlaps the user-defined points (blue, green, red and orange), the assigned effect is activated.

As for the effects themselves, we'd have to say they're every bit as good as Audio Damage's other efforts. Stutter repeats small sections of audio, creating buzzing and bleeping noises. Modulate is a ring modulator. Bitcrush is aptly named. And Replicate is a slightly watered-down version of Audio Damage's Replicant.

Each effect has its own sets of parameters, and certain control knobs also have two additional sliders labelled'?' and "P". The first of these offers additional random modulation of the adjacent knob, while P (Population) offers modulation according to the number of active triggers for that processor. For example, if the mutating white cells are currently covering several of the orange BitCrush trigger cells, the number of covered cells has an influence on any parameters in the BitCrush processor with their P slider turned up.

Automaton's main drawback is that for all its genius and innovation, it is a pretty unruly beast. Audio Damage have a reputation for occasionally producing plug-ins that are tricky to master (Replicant and Dr Device spring to mind), but we reckon Automaton takes first prize. Even after days of solid experimentation, we found it quite tricky to use in real-world projects. For example, what sounds good on one sample rarely works on anything else, as opposed to Replicant, where a bit of tweaking is usually all that's needed. Automaton is instead best used as a source of inspiration or the basis of a fresh composition.

Our other concern is that it does just one thing, albeit very well: it creates glitchy versions of whatever you put into it. With this in mind, we have to mark Automaton down a bit. However, if you make any style of music that utilises glitches and esoteric bleeps, then it's yet another must-buy from Audio Damage, cm

Web: www.audiodamage.com
Contact: info@audiodamage.com
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Life is the name of the game
Cellular automata are based around a grid, and, in Automaton, each cell in the grid can be in one of two states: dead or alive (lit or unlit). With each 'turn', the new state of every cell is calculated in accordance with a set of rules, which are typically related to the configuration of a cell's adjacent neighbours. In Automaton, each step occurs in sync with the tempo.

The most famous cellular automaton is without doubt John Conway's The Game of Life, and its rules are represented here. Others include Gnarl, Replicator and Serviettes, but there's a dead simple Sequencer one too, which makes the grid behave much like a typical step sequencer.

You can draw in the initial state of the grid, and either let the pattern to endlessly mutate, or use the Sequence Reset parameter to recall the original pattern (or a random one) at certain intervals, bringing a little order to proceedings.


System requirements
(PC) 600MHz, Windows XP/Vista, 512MB RAM, VST host

(MAC) lntel/G4/G5 CPU OS X 10.4, 512MB
RAM, AU/ VST host

Test system
(MAC) Apple MacBook Pro, Intel Core Duo 2.2GHZ, 1GB RAM, OS X 10.5.2

(MAC) Apple Mac Pro, Dual Quad-Core Intel Xeon 2.8 GHz, 2GB RAM, OS X 10.5.2

Alternatively
Smart Electronix SupaTrigga N/A»N/A»£Free
For conventional glitching that sounds great on just about anything, look no further

Audio Damage Replicant cm111» 10/10 » $49
More manageable and universally useful glitching with its own random element, this is a safer bet

Verdict
FOR
- Novel, graphical concept
- Creates unpredictable effects
- Perfect for glitch-orientated music
- Tried and tested Audio Damage quality

AGAINST
- Extremely tricky to master
- Not the most versatile plug-in

Overall it's a great plug-in, and very novel, but Automaton is quite tricky to master, even by Audio Damage's standards

MARK: 8/10

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