Wallander Instruments WIVI v2 (PC/ MAC)

This virtual brass and woodwind system has been upgraded, so we take up a listener's position and judge the performance

This is an update to the synthesised brass software we reviewed back in cm117, giving it a respectable 7/10 at the time. In addition to the 12 orchestral brass instruments (three trumpets, three trombones, four horns, two tubas), we now have a range of woodwinds in three packs; the basic set (several examples each of flutes, oboes, clarinets and bassoons), extended woodwinds (piccolo, bass clarinet, etc) and more exotic varieties (oboe d'amore, bass flute, etc). Only traditional orchestral instruments are included, so you'll find no saxophones, cornets, flugelhorns or euphoniums.

The sound engine has an installer but each instrument is simply copied onto your hard drive - there's no messing around with dongles or challenge codes. The interface doesn't have a built-in help file and there is no supplied manual. You can double-click features to get a brief description, butthe only serious guidance you're going to get is the comprehensive documentation on the Wallander website. Understanding is quickly reached, however, and basic operation of the app isn't complicated.

Once loaded into your VST/AU host, the WIVI Universal Player (included with each set of instruments) appears as a stage upon which may be positioned a virtually unlimited number of instruments. The latter, the auditorium walls and listener may be re-positioned to your liking, which has an audible, if subtle, effect on the acoustics. Version 2 gives even more venue possibilities, and these may be considerably adjusted in the leftmost panel, as may the details of how each instrument sounds and responds to MIDI in the right. Instruments can be tweaked using conventional mutes (for brass) or rather less conventional formant shifting to create otherworldly sonorities.

The screen grab above shows a French horn and bass clarinet in a church acoustic setting with the listener a moderate distance away and this combination is used in the sound file on the DVD, firstly solo and then embedded in a Reason string texture. This is followed immediately by the same passage played with Reason's Orkester instruments alone for comparison.

Virtually there?
Wallander's offering is a good one, and certainly well up there in terms of creating realistic instruments. The problem remains of inputting notes, especially for expressive sustaining passages, from a keyboard that is intrinsically unable to output appropriate data. Ideally, parts should be played in with a MIDI wind controller, but these require nearly as much expertise as a real-world wind or brass instrument. Let's be realistic, though: the gap between a Wallander Instruments performance and a real one is small enough that perhaps only experienced real-world arrangers would notice it, especially when it's mixed down in a track. This leaves only the question of price: this is quality software and the price reflects this.

Web: www.wallanderinstruments.com
Info: Brass, €449; Extended Woodwind €219; Basic Woodwind, €299; Exotic Woodwind, €219
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Control yourself, please
Playing a wind or brass instrument is difficult. It takes years to learn to master minute gradations of control over lip and air, especially when it comes to the many ways of connecting notes. Players are able to shape sounds from the raucous to the demure, but achieving the same level of expressiveness using a traditional MIDI keyboard is almost impossible.

Wallander strongly encourage you to use a breath controller if you have one to hand, which gives more expressive volume and timbre and will set you back around £50. Failing this, you can do a fairly good job by re-mapping essential parameters to some other MIDI controls, such as the modulation wheel, which will then adjust both volume and timbre simultaneously.

If your technique at the keyboard does not permit an expressive real-time input then you may have to resort to drawing in automatic control curves.
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System requirements
(PC) P4/Athlon 64,256MB RAM,
290MB drive space, VST 2.4 host

(MAC) G4/lntel Mac. 256MB RAM.
290MB hard drive space, VST/AU host

Test system
(PC) Core 2 Duo 1.86GHZ, 1 Windows XP SP2, Live 7, Sibelius 5

Alternatively
Synful Orchestra cm91» 7/10 » £426
Modelled orchestra, with strings as well as brass and woodwinds

Garritan Personal Orchestra cm76»9/10»£97
Garritan also offer marching band and big band libraries

Verdict
FOR
- Flexible
- Sensible learning curve
- Brass sounds are good
- Modest system requirements

AGAINST
- The price!
- Woodwind sounds are less convincing
- No PDF pr paper manual
- Mixed results

WIVI v2 is a sound improvement on the first version, and is a flexible alternative to hard drive-munching ROMplers

MARK: 7/10

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Stanton DaScratch £199 (PC/ MAC)

They might be latecomers to the virtual DJ party, but the latest in Stanton's SCS range looks to be very much ahead of the curve

Stanton have been in the DJ gear business for as long as most of us can remember, but a lot has changed in the industry in recent years. The product we're looking at here is a real departure from cartridges and turntables, and indeed, from your average DJ controller.

DaScratch is a rather unusual device, based around a set of touch-sensitive controls: there are two standalone faders (Gain and Pitch), four 'buttons', and a scratch/jog wheel-style pad, which has extra faders running through the middle. The advantage of this, apart from looking cool, is that there are no moving parts or fragile controls to break. Having said that, the inclusion of four conventional push buttons as transport controls at the bottom of the unit seems out of step with the rest of the device.

Connection is made via a USB cable that connects underneath the unit, featuring a clever cover system to hold it in place, with the cable emerging out of either the top, bottom or sides. Once wired up, you can install DaRouter - see the boxout for further info.

The Gain and Pitch sliders each work differently. Gain acts like a fader, so that if you place your finger halfway up the pad, the value will leap to this point. The Pitch control, on the other hand, is designed to be more sensitive, so that as you slide your finger up or down from the centre, its value moves by a relative amount. You may need to repeatedly stroke it to reach a desired value, and for visual reference, a line of LEDs represents each control's present setting.

Touchy feely
Actually, there are another six touch-panel buttons that aren't for direct MIDI control, but are instead used switch between two virtual decks (each of which transmits the same MIDI commands, but on two different channels), and select from one of five operational modes for the circular pad.

The EQ and FX buttons activate Slider mode,

"With Abieton Live, it worked very nicely indeed, proving particularly apt for controlling effects"

which offers up three vertical zones, with LED bars to show their current values. The Circle mode is used when the Vinyl button is selected, and allows both jog and scratch manipulation.

The Button mode is useful for triggering samples or loops. It divides the circular scratch pad up into individual response areas, which are all highlighted by red LEDs; however, it's still hard to make out exactly where each one begins and ends.

In use, this is actually a very clever system and it's very easy to put to work after a little experimentation, although the scratch function isn't quite as effective as the other controls.

Looks-wise, we reckon DaScratch will divide opinion. It's certainly colourful and well lit, and the lack of switches keeps things uncluttered, but the actual touch areas are quite hard to spot in dim light (they're not lit). The mode buttons are clearly labelled, though, making for quick and easy reference.

As for the layout and controls, everything is nicely spaced out and well placed, but to be honest, it's all a touch too small. There's a reason for volume and pitch faders often being on the chunky side and that's because, if they're not, you don't get enough travel to make delicate adjustments. Also, in some ways, it's easier to get fine control over a parameter with a physical fader tip to grip, even with the pads' LEDs to show the position of the control.

Scratch that
Of course, as well as controlling DJ software such as Native Instruments Traktor, the unit can be used to control anything that responds to MIDI. We tried it out with Abieton Live and it worked very nicely indeed, proving particularly apt for controlling effects. And, as we mentioned, it's designed to control two virtual turntables, so pressing the Deck button gives you two separate button profiles to switch between. These could be used for controlling two channels, two effects units and so on.

So, should you buy one? It's a tough one. If you like the look and fancy something decidedly different, DaScratch might well appeal. It's quite ruggedly built, and you can use more than one in conjunction (the magnetised strips at the edge lock into one another when two units are placed side by side). The way DaScratch offers a variety of modes that are appropriate for different aspects of our music software is very clever indeed, and it's hard to think of a controller that offers such a wealth of control options in as compact a package.

Nevertheless, we must reiterate that the controls are quite small, the touch-sensitive pads are often difficult to control and it can be fairly tough to see them in dim lighting.

Objectively, this is a highly innovative and cleverly executed product. Its size and the dark colour scheme will displease some yet on the flip side, it offers extreme versatility and compactness.

Our advice is to try this one out before laying down any cash. And keep at it, as it takes a while to scratch the surface of DaScratch!

Contact: dj@stantonmagnetics.com
Web: dascratch.stantondj.com
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There's certainly little to be baffled by with the minimal DaRouter software

Route finder
As we've seen, DaScratch's controls can be configured in many of ways, and the beauty is the way it can be set up to suit both the way you work and the software you want to control.

On installing DaScratch, you fire up the DaRouter software, which lets you switch between different presets, including single- and dual-deck setups designed for Traktor, Serato Scratch Live and a generic MIDI setup that should work with any decent music app. The potential for multiple presets is huge, so it's worth checking the product website from time to time in order to see if there's a new one for your preferred software.

But what if the presets don't quite suit you? The brains of DaRouter comes from Bome's MIDI Translator, and owners of MT Pro can load presets for direct editing and running. At the moment, however, DaRouter cannot load presets you've made with Bome's nifty app - it'lll only load specially encrypted ones created by Stanton. However, it's said that the forthcoming MT Pro vi.7 will be able to produce DaRouter-compatible presets.

Our only criticism is that although Bome's MIDI Translator is undoubtedly incredibly powerful, we expect that many users would find a dedicated graphical editor much easier to grasp.
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System requirements
(PC) Windows XP/Vista, USB port

(MAC) G5/lntel CPU, OS X 10.4

Test system
(MAC) MacBook Pro Intel Core2Duo 2GHz, 1GB RAM, OS X 10.5.2

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

Alternatively
Novation Nocturn cm124» 10/10 » £90
Great compact controller, complete with crossfader

M-AudioX-Session Pro cm108»6/10»£79
Not as versatile or fun, but it has won a fair few fans

Verdict
FOR
- Durable
- Extremely versatile
- Very compact
- Innovative

AGAINST
- Some controls are quite small
- Can be hard to see pads in dim lighting
- Touch sensitivity can be fiddly
- It's quite pricey!

Price and size are our major concerns, but this bold product stands out from the pack of humdrum DJ controllers

MARK: 8/10
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http://www.computermusic.co.uk/

Image-Line Ogun $79 (PC)

The power of additive synthesis is well known, but have Image-Line got their sums right with this shimmering synth?

Compact. That's the word that springs to mind when describing Ogun, the new additive synthesiser from Image-Line. Size, as they say, isn't everything, and while it might not have the most mighty of interfaces, the asking price isn't going to break the bank either. Fortunately, Ogun doesn't come up short on sound nor features.

The pedigree of this instrument is clear for all to see from its design, with Ogun sharing the tight, subdued graphical interface of the Image-Line stable. Unlike some recent offerings from the company, it's currently only available to Windows users, though it does come in both VST and FL Studio plug-in formats.

Adding up
This is an instrument with a purpose: metallic and shimmering textures via a massive additive synthesis engine, without the hair-pulling befuddlement usually associated with this technology. Additive made easy? Well, not quite. Ogun does put the heavy stuff out of the way until you need it, focussing instead on familiar functions and instant gratification via a click 'n' drag interface that encourages you to experiment. Familiar stuff includes an X/Y pad, multimode filters, unison section, EQ and a trio of effects processors (reverb, chorus, delay).

As with all additive instruments, Ogun produces its sound by piling sine waves upon sine waves - up to 32767 of 'em, in fact! Fortunately, there's a resynthesis engine to help circumvent the tedium of the technique. However, if you want to do the work, you can design the sounds from the ground up, clicking and dragging in the Articulation Editor, which serves as a canvas for everything from partials to envelopes. Speaking of which, fans of the nifty multipoint envelopes found in Sytrus will be glad to see them return in Ogun. There's also the super-cool Envelope Sequencer for adding plenty of motion and vitality to your patches.

In summation
In practice, Ogun performed splendidly in all of the hosts we tried, with the exception of Sonar 8, where it exhibited some graphical dead areas -closing and reopening the GUI cleared this up.

At $79, Ogun should do well. However, there have been a lot of similarly-priced synths released of late. Unsurprisingly, its tone tends towards cold, metallic, spiky timbres. It won't be your first call for a searing analogue lead (though such sounds could be programmed, if required). Cymbals aside, Ogun does not lend itself well to 'natural' sounds.

If anything, the sound brings to mind classic FM synths, rather than the sprawling additive instruments we've seen recently. This is by no means a bad thing, especially when you toss in the instrument's penchant for experimental soundscapery courtesy of that slick resynthesis engine. Ogun also excels at hard, gritty basses and raspy stabs reminiscent of the PPG Wave (Depeche Mode fans take note). If your tastes run to clean digital tones, harsh percussive blasts, or unusual and evocative textures, you'll find much to love about this synth. If you want a taste of additive synthesis, but don't want to take a course in higher-level physics, Ogun has your name all over it.

Contact: info@image-line.com
Web: www.image-line.com
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Metallic smart alec
The first sound one hears after opening Ogun is, somewhat unexpectedly, a cymbal. It's a rather convincing one at that and while it may not be the sort of glamorous opening volley one expects from a modern synth, it certainly sets the tone. The cymbal in question is not, technically, a sampled sound, at least not in the traditional sense. Instead, this is a patch with all of the malleability one expects from a synthesiser. Undoubtedly, it was created via the resynthesis engine, which enables any sampled sound to be analysed, broken down into harmonic parts and put back together as a synthesised waveform.

Also, Ogun can examine the harmonic content and amplitude of any sound and then apply them to a patch. While working well with metallic sounds, it's not limited to them. And, we were quite pleased with the fact that audio files can be dragged into Ogun for instant resynthesis. Sweet.
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System requirements
(PC) 2Ghz AMD/Intel Pentium III CPU
with SSE1 support, 512MB RAM, Windows XP/Vista, 130MB HD space

Test system
(PC) 2GHz AMD Turion 64,1GB RAM, Windows XP, M-Audio Fast Track Pro,
FLStudio, Sonar 8, energyXT2,
Xlutop Chainer

Alternatively
discoDSP Vertigo cm67»8/1O»€75
An underrated additive synthesiser with resynthesis and a great price

Image-Line Morphine cm117» 9/10 » $159
Image-Line's own Morphine is a cross-platform additive beauty

Verdict
FOR
- Compact GUI
- Cool additive engine Drag 'n' drop resynthesis
- Brilliant sound
- Great value

AGAINST
- Minor graphic issues in Sonar
- Additive synthesis is never easy

There's nothing groundbreaking about Ogun, but it's a solid additive synth that proves its mettle when put to the test

MARK: 8/10
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Solid State Logic Vocalstrip £229 (PC/ MAC)

The latest plug-in for the Duende platform promises to take your vocal tracks into the big league, so let's wax lyrical

Tricky to get right but easy to overdo, mixing vocals can be the bane of a mix engineers' life. While there's definitely an 'x factor' at work in some of the best vocal recordings, it doesn't always come from studios with gear worth millions of pounds (although that's not a bad starting point) and with relatively modest audio tools, it's possible to take a somewhat mediocre vocal performance and boot it up several notches. Solid State Logic's latest addition to the Duende system plug-in stable claims to be able to give your vocal tracks that professional touch, so let's see if it's really got what it takes...

Testing, one, two
Like all of the Duende plug-ins, the Vocalstrip GUI is extremely clear and easy on the eye. The processor itself is split into four distinct sections: De-esser, De-ploser, Equalisation and Compander. You can read more about the first two in the Pop till you drop boxout.

The Equalisation section features three bands tailored specifically for vocal use. There's a low-pass filter for knocking out rumble, a notch filter for reducing resonant frequencies and a high peak (with narrow Q) for sweetening the top end. Everything as it should be, then.

Vocalstrip offers both a compressor and an expander, seeing as they're vocal-processing staples, but SSL have tidily combined them in the Compander panel. Going through the controls, the expander threshold governs what is basically a noise gate, with a fixed ratio of 1.5:1. It gets any extraneous noises under control and tidies everything up before the compression stage. Just as you'd expect, the Compander delivers top-notch compression in typical SSL style. The most notable feature is the drive button, which activates a tube-like overdrive processor. It's capable of effects similar to SSL's LMC-1 plug-in and can either warm the sound up or totally smash it to bits. The amount of drive depends on cranking the make-up gain control.

A real-time graphical display on the right-hand side of the GUI lets you see exactly what's going on and is extremely handy for accurate tweaking of both the Equalisation and Compander sections. And, as we've said, you can reorder these to have, for example, equalisation after compression, or any. While the manual warns that only six instances of the Vocalstrip can be run at once, this shouldn't prove a problem unless tracking a band with seven or more vocalists - perish the thought!

Our one gripe is that, while there is an A/B function for comparing settings, it still hasn't got an A-to-B copy function. And, we made the exact same criticism of the Duende system's X-EQ and X-Comp reviews back in cm124.

Nevertheless, with all-in-one vocal processing units very thin on the ground (or just downright lackluster), you generally need to break out a long chain of plug-ins to cover all the bases for any given vocal mixdown. With the introduction of the excellent Vocalstrip, this is no longer the case, at least for Duende owners.

Contact: 101865 842300
Web: www.solid-state-logic.com
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Pop till you drop
Many will be familiar with the ear-bending noises that result when someone speaks in close proximity to a microphone, resulting in explosive pops with B's and P's (plosives), or over-accentuated S sounds (sibilance). Either of these can seriously mar a good take, but fear not, for Vocalstrip is well equipped to deal with them.

Vocalstrip's De-esser section is extremely simple to use, comprising an Active lamp, Threshold and reduction Amount controls and an Audition button. The latter enables you to hear in isolation the parts of the audio that Vocalstrip is removing. However, tread carefully, as it's easy to over-process the signal, which equally results in some wacky drop-outs and noises!

The De-Ploser panel works in much the same way. However, it is easier to tame, due in no small part to the less frequent instances of plosives when compared with sibilance in most vocal material.
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System requirements
(PC)1GHz CPU, 512MB RAM, Windows XP,80MB HDspace, SSL Duende platform, VST/RTAS host

(MAC) G4/G5/lntel CPU, OS X 10.4.10,80MB HDspace,
SSL Duende platform, VST/AU/RTAS host

Test system
(PC) Intel Q6600,4GB RAM, Windows XP, Cubase SX3

Alternatively
SSL Channel Strip N/A»N/A»£Free
Comes with Duende, but doesn't quite work the same vocal magic

Voxengo Voxformer N/A»N/A»$60
An affordable, comprehensive, vocal-specific channel strip

Verdict
FOR
- Very easy to use
- Awesome audio quality
- Drive function is great
- Some handy presets

AGAINST
- It's mono-only
- Still lacking A-B copy function

This is one of the best vocal plug-ins we've tried - Duende users who deal with the human voice would be foolish to miss out!

MARK: 9/10
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http://www.computermusic.co.uk/

GForce M-Tron Pro £139 (PC/ MAC)

GForce's original Mellotron emulator was great but basic. Does its successor have enough extras to make it a worthwhile buy?

Following on from the success of Virtual String Machine, GForce software have updated their venerable M-Tron instrument, the most obvious improvement being that it now uses the same G:sampler interface/engine as VSM. This has allowed them to improve overall playback and synthesis options, but they've also remastered and extended the existing library. The tape bank count now stands at over 200, stacking up to around 3.5GB of content. This includes not only the original M-Tron tape banks (remastered at Abbey Road), but also a host of extras from Chamberlin, Birotron and Optigan. However, there's also over 700 patches, including a bank from renowned 'tron users.

Where the original software was pretty much a faithful emulation of the Mellotron, the transfer to the G:sampler gives the original content a massive boost. Most fundamental is the two-layer system. This enables you to blend two source tape banks, with individual or linked control over many parameters. With the majority of controls following a straightforward colour-coded system - red for layer A, green for layer B and blue when they're linked - the interface is extremely easy to use. Beyond the layer-specific parameters, you'll also find a global effects section. This includes stereo syncable delay and the classic ensemble effect (2,4,6 and 8 voice). Finally, rounding things off at a global level are pitch fine-tune, global pitchbend limit, volume and MIDI controller assignment for most parameters.

'Tron guy
M-Tron Pro has a number of 'tron-specific features. First up, for individual layers in addition to level, pan and tuning, you can instantly switch 'tape' playback to both half speed and reverse. To tie in with the second option there's also an adjustable start point (attack), enabling you to shift samples forward by up to two seconds in the loop. The sounds on M-Tron Pro are pretty much as they are on the original source " instrument, so each note is individually sampled and key ranges are limited (eg, 35 notes for a Mellotron). One aspect where they've deviated slightly is looping, with some of the one-shot originals now available in looped format.

M-Tron Pro ticks all the right boxes sonically. From the instantly recognisable Strawberry Fields flute to the crazy bossa nova set from the Optigan, it's a stunning array of sounds. Some of these are presented warts and all (including drop-outs and pitch wobble) and others are bizarrely cheesy. But they all have the kind of character often lacking from modern synth sounds. However, what takes M-Tron Pro beyond these basic mono building blocks is the G:sampler engine. The ability to layer, pan and shift the timing of the basic sounds brings them smack-bang up to date, and many of the patches show this off. We were very impressed by Virtual String Machine, but M-Tron Pro is even better - if you're a 'tron guy', don't miss out!

Contact: M-Audio, 01923 204010
Web: www.gforcesoftware.com
Info: Upgrade, €68
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Old school loop machines
The M-Tron Pro mines a rich seam of sound creation started by the Chamberlin Music Master and made famous by the original Mellotron in the 60s. The basic idea was to use individual prerecorded tape loops to play back in response to specific keys. This proved mechanically cumbersome in practice, but 'tron fans weren't put off, and the resultant slightly creepy and ethereal sounds produced became very popular. What's more, with access to choirs, strings, brass and woodwind, musicians found themselves with a simple way to play the sounds they wanted to use via a keyboard.

As time progressed, the tape system made way for optical discs (the Optigan) and, eventually, the appearance of string machines and samplers changed things forever. Even so, the sound of the early machines remains instantly recognisable and their existence most certainly paved the way for digital sampling.
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System requirements
(MAC)1.25GHzG4,512MB RAM,
5GB hard drive space, OS X 10.4

(PC) 1GHz CPU, 512MB RAM
5GB hard drive space, Windows XP/Vista

Test system
Apple Mac Pro dual 3GHz,
3GB RAM, OS X 10.4.11, Logic Pro 8

Alternatively
IK Multimedia SampleTron N/A»N/A»€25O
This uses IK's Sampletank system, giving it more flexibility

SONiVOX Mellotron Vintage Synth N/A»N/A»$30
Much simpler and cheaper, though doesn't have as many sounds

Verdict
FOR
- Extended sound set
- Flexible G:sampler interface
- Tape reverse option
- Remastered Mellotron sounds
- Additional lopped versions
- Easy to use

AGAINST
- Quite a specialist instrument

There's little to fault here, and much to get excited about, making this a worthy successor to M-Tron. Great work. GForce!

MARK: 9/10
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http://www.computermusic.co.uk/

SPL Transient Designer £189 (PC/ MAC)

They previously collaborated on a UAD-based Transient Designer emulation, but can SPL's own in-house effort better it?

Users of Universal Audio's UAD DSP system have been able to indulge in an official emulation of SPL's famous Transient Designer fora little while now. But, judging by SPL's recent move into native plug-in development with their Analog Code series, it's no surprise to see them launching their own entirely self-produced emulation of their classic hardware device.

The real test, of course, is how it fares against the original hardware version. Although it was introduced over twelve years ago now, the SPL Transient Designer was revolutionary in its concept: a level-independent dynamic processor that allowed one to adjust the attack and sustain portions of an audio signal. There were just two controls per channel and it took just about as many seconds to work out what it did. Throw it across a loop and the huge range of its abilities was staggering. Minimum sustain settings would be tight and punchy with any ambience sucked right out; maximum settings would yield pumping and breathing like the rudest compressor, but without the attack inconsistencies. It was a godsend for dance producers everywhere and many others beside.
Gone soft
The software plug-in is visually modelled on the latest hardware version found in SPL's RackPack. There are still just the two controls - Attack and Sustain - plus an output gain pot going from -20 to +6dB. Bypass and Link controls complete the main panel, with the latter offering ganged or independent operation on a stereo track. Beside the main panel are four 'settings' buttons, for storing and recalling different combinations with a click of the mouse.

A/B'ing it against the hardware version, it's clear that the essence of the original has been captured in the plug-in. Pull the Sustain back and any reverb on the audio starts to fade away. Turn it up and you get that satisfying pumping with the accompanying bottom-end breathing. If anything, the shape of the bottom end on pumped loops is more appealing with the plug-in than the hardware. Turn the Attack up and the impact of any blunt performance is enhanced. Turn it down and any hard, spikey parts sink softly into the mix.

There are one or two blots on its copybook, but nothing major. The Attack response, particularly with high frequencies, doesn't seem as controlled as the hardware. In our audio demos, you can hear the hi-hats spitting in the processed loop under software control, whereas with the hardware, the attack is completely smooth. A lookahead feature might have helped with this. Also, without an input level control, there's a danger of overloading the plug-in at the input if you're upping the attack on an already high-level signal. You can get round it with a trim plug-in beforehand, but an Input control would make more sense. Oh, and what about a sidechain facility? That could be fun.

The software version has lost none of the excitement that its hardware parent engendered. The sheer variation of attack and sustain characteristics created here is still astonishing, and all from just two knobs. With automation, the musical possibilities from subtly building up and dropping intensities using the Sustain control are particularly exciting.

Contact: info@audiopros.eu
Web: www.soundperformancelab.com
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Transient appeal
So what might you use the Transient Designer on? Drums are the obvious choice, as this processor is at its most useful on rhythmic material. If you're having trouble with a snare not cutting through in the mix, a touch of increased attack can give it the edge you need. If a torn is booming beyond its useful time, reducing the sustain can shorten it out of harm's way. If you have too much spill on a drum track, again, reducing the sustain can do the job of gating, but more quickly and efficiently - remember that, unlike a gate, it's not level-dependent.

To change the character of a loop over time, you might gradually lower the attack and increase the sustain (which is much easier with the software version) to give the impression of rising intensity. If a loop is pretty good but has too much reverb, pull the sustain level back and it should dry up.

You can, of course, find uses for it on guitars, bass, synths and, well, the lot!
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System requirements
(MAC) G4/lntel CPU. OS X 10.4. 256MB RAM, RTAS/AU7VST host

(PC)1GHz CPU, Windows 2000/XP/Vista, 256MB RAM, RTAS/VST host

Test system
(MAC) G5 2.5GHZ PowerPC, 4GB RAM Pro Tools HD3

Alternatively
Schaack Transient Shaper 2 cm127»9/10»€59
Easy to use, with adjustable attack/ release times and a great sound

UA SPL Transient Designer N/A»N/A»$199
Looks the same but the code has been done by UA, not SPL

Verdict
FOR
- Stunning dynamic shaping Sustain section on a par with hardware
- Automation works a treat
- A genius concept in software form!

AGAINST
- Could do with an input level
- Attack control can lead to treble spitting
- No copy/paste between settings

There's no shortage of transient-shaping plug-ins, but this one has a real pedigree behind it and a sound to match

MARK: 8/10
Subscribe to Computer Music Magazine:
http://www.computermusic.co.uk/

SPL EQ Rangers Vol. 1 £219 (PC/ MAC)

Three of the inhabitants of SPL's hardware RackPack system get the software modelling treatment. It's time to talk tone!

Graphic EQs are a rarity in the studio. They're something you associate more with PA tuning or car hi-fis than precision tone-shaping in the control room. However, SPL (Sound Performance Labs) have been successful with the EQ Ranger hardware series by designing a graphic equaliser from a musical standpoint, rather than a technical one. Traditional graphic EQs have equal octave or third octave bands that don't bear any relationship to the subject material, but the concept of the Ranger series is to devise bands that relate to the character of the sound in question. Now, they've translated them to native plug-in formats under the guise of their new Analog Code software range.

Lone rangers
The Vox Ranger is an eight-band passive-style EQ model, with most of the bands centred around the presence and midrange frequencies between 22OHz and 4kHz, giving 15dB of cut and boost on each band. The great thing about graphics is that you can very quickly try each band to hear its effect. For vocals, where the tonal nuance is everything, the smallest tweak can have a profound effect. In all cases, the bandwidth of each control feels good in that it's not too narrow to create an ugly notch, but not so wide that you lose precision. There aren't the bands available to help with extreme top-end air or rolling off rumble, but the idea is that this module is used in conjunction with the Full Ranger to cover all bases. It's not just useful for vocals either and is equally valuable on any mid-range instrument - see the boxout.

The Bass Ranger is also an eight-band passive graphic, with all bands below 2kHz and five at or below 500Hz. The key bands are 65Hz for trouser-flapping tones, 95 and 170Hz for tight bottomend and 23OHz for clearing out low-mid cloudiness. An even lower band at 30Hz is there to sort out excessive sub energy. Again, the bandwidths are sensible, but a tighter notch can often be useful for characteristic bass sounds.

The Full Ranger is, as you may have predicted, another eight-band passive, covering the entire audible range from a subby 40Hz right up to 16kHz at the top. The bands aren't entirely equidistant harmonically (40,90,150, 500Hz, and 1.8,4.7,10,16kHz) as they're tuned to frequencies that are tailored to complement the other two more specialised Rangers.

All the units sound excellent and the Vox Ranger is particularly useful, with very musical results. However, they could all benefit from having an input level control - to avoid distortion with a hot recording. The four settings buttons, which let you quickly try out different shapes, could be more useful if they enabled you to copy and paste between them for comparisons. Being able to bypass individual bands would also help the setup. Nevertheless, this would make an excellent addition to your tonal armoury and it's much quicker than the conventional parametric approach.

Contact: info@audiopros.eu
Web: www.soundperformancelab.com
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Try using it on...
The Full Ranger is suited to a wide range of applications, but the other two are suited to more uses than their names might imply.

The Vocal Ranger is made especially for vocals, from adding presence and sheen to shaping the body and dialling in warmth. Obvious vocal uses aside, when mixing guitar, for example, you could use the 1.6 or 2.8kHz bands to add bite, and 560 and 800Hz for fullness. As for piano, you can control the brightness of the percussive attack with the 2.8kHz band and sort out any woodiness with the 42OHz control.

Aside from sorting your low-end out, the Bass Ranger comes in handy on kick drums, with the 65Hz band ideal for weight and 95Hz slider bringing in chest-thumping tones. For guitars, it could be useful in gluing the low-end of distorted numbers to the bass and kick drum. It's also good for mastering, where precise shaping of the lower bands could help your mix.
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System requirements
(MAC) G4/ Intel Core Duo CPU, OS X 10.4,
256MB RAM, RTAS/AU/VST host

(PC) 1GHz CPU, Windows 2000/XP/Vista,
256MB RAM, RTAS/VST host

Test system
(MAC) G5 2.5GHZ PowerPC. 4GB RAM, Pro Tools HD3

Alternatively
Waves API Collection cm118» 9/10 » $1000
Contains the API 56010-band graphic EQ plug-in

URS M-series N/A»N/A»$200
Recreates the 7-band graphic EQ of Motown's Hit Factory studio

Verdict
FOR
- Quick and easy to use
- Musically complementarybands
- Precise low-end shaping
- Natural sounding

AGAINST
- No input level control
- No individual band bypass
- Can't copy and paste variations

This is a solid effort from SPL. and the tone is right on the money, although a few tweaks could make the pack more usable

MARK: 8/10
Subscribe to Computer Music Magazine:
http://www.computermusic.co.uk/

Sonic Charge Synplant $105 (PC/ MAC)

The creators of the thumping μ Tonic drum machine branch out into synths with a product that will literally grow on you!

We love our virtual analogues, ROMplers, hybrid synths and all the power that they bring, but let's face it: synthesisers haven't changed that much over the last 20-odd years. Oh sure, there are different algorithms and methods of sound generation, but the approach has rarely stepped off of the familiar path of oscillator, filter and amp. You can understand, then, why our interest was piqued when we first set eyes on Synplant; with absolutely no faux wood panels or incandescent VU meters, it offers little in the way of familiarity.

Seedy business
Synplant's developers have devised a cross-platform plug-in that sheds the usual synthesiser paradigm in favour of a "genetic approach" to sound design. The seemingly simple GUI hides a deep instrument capable of providing a wide variety of interesting sounds.

It all starts with a 'seed' that floats in a pool of darkness. The seed is encircled by a so-called 'key ring' that is divided into a dozen segments, each representing one of the 12 notes comprising an octave. 'Branches' can be dragged from the centre of the seed to the surrounding edge of the key ring. As the branches change and grow, so too does the sound. Each note has a different sound, depending on the branch associated with it.

When you have a sound you like, you can take that particular branch as a fresh starting point. If you'd like each of the keys to play the same timbre (like a normal synth), you can 'clone' a particular branch. There's an option to save a preset at any point, and Synplant's undo and redo functionality comes in handy if you wander down a path that proves to be sonically unfruitful and wish to return to an earlier point and investigate alternative sonic avenues.

The 'bulb' described above is encircled by a quartet of sliders. Tuning does what you'd expect. Atonality is a little more interesting: In the minimum position, sounds are generally (but not always) tonal; cranking it up results in increasingly far-out sound effects. The Release slider tailors the time of the release envelope, while Effects enables one to dial in Synplant's built-in effect, described as a "chorusing reverb". All of these do what you'd expect with the caveat that they have a direct relationship with the state of the 'genome' (see boxout).

Three more sliders affect the scaling of the mod wheel, velocity sensitivity and the master volume, and that's your lot. We told you Synplant's interface was restrained...

The sound, however, is anything but restrained. Synplant is at turns metallic and clangourous, evocative and atmospheric, searing and stabbing. That there are tons of presets hardly matters, since Synplant is all about making new ones. But, the presets that are included do a good job of demonstrating that just about any sound is possible, from snare drums and basses to rich, glimmering pads.

Synplant is new, engaging, and, most of all, inspirational. We especially enjoyed automating the Key Ring for pseudo wavesequencing. The developers have gone out on a limb with this instrument that makes the user think differently, and it's paid off, resulting in the most fun we've had with a synth in ages. There's also a great interactive tutorial to get you started. Excellent work, Sonic Charge!

Contact: support@soniccharge.com
Web: www-soniccharge.com
Info: Synplant + μ Tonic. $186
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Genome genie
Beneath Synplant's austere facade lies the 'genome' itself. Represented as a DNA double helix, each 'gene' corresponds to a parameter, with an associated slider to adjust the value. There are 37 genes, granting access to things like FM amount, envelope times and LFO balance, etc.

Of course, there's a synth at the core of it ail, with a pair of oscillators that generate simple waveforms, along with filters, noise generators, envelope and effects.

If you think the genome editing will take the mystery away, think again. See, changes to the genome only affect the seed itself, which is, in turn, the basis for the sound produced by the branches. Modifying the genes might produce the effect you expect, but don't bank on it!

Our only grumble is that, as obviously slick as the genome editor is, the parameter names are pretty cryptic, and all the values range from 0 to 1.
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System requirements
(PC) XP, 20MB HD space, VST 2.4 host

(MAC) PowerPC/Intel, OS X 10.4,
30MB HD space, VST 2.4 or AU 2 host

Test system
(MAC) 2.16GHZ Core 2 Duo iMac, OS X 10.4.11, Cubase 4, Live 7, Logic 8 Pro

Alternatively
U&I Software Metasynth cm86» 9/10 » $499
A Mac-only synthesis studio with a graphics-oriented approach
Anarchy Sound Software SwarmSynth N/A»N/A»£60
Another bizarre graphics-heavy synth, for Windows only

Verdict
FOR
- Superb sound
- Gorgeous, inspirational interface
- Easy to use
- Encouraging results
- Key Ring automation is awesome

AGAINST
- Can be highly addictive!
- Slightly cryptic genome parameters

It could have ended up in the little shop of synth horrors, but Synplant has flourished into a superb, prize-winning specimen

MARK: 10/10
Subscribe to Computer Music Magazine:
http://www.computermusic.co.uk/

Sony Acid Pro 7 £245 (PC)

It now has more bundled plug-ins and an improved mixer, but is Acid still playing catch-up with its rivals?

Originally designed for simply arranging sampled loops, Acid has evolved over the years into a full-on DAW with MIDI tracks, VST hosting and multitrack audio recording. Despite this, the ability to quickly create arrangements by importing loops (which are automatically synced to the project tempo) and drawing them onto the sequencer track remains Acid's staple mode of operation. Furthermore, and its ease of use has arguably yet to be surpassed by any other sequencer.

In recent years, however, Acid has been eclipsed by the all-singing, all-dancing Ableton Live, which offers a more sophisticated approach to loop sequencing, can beatmatch seamlessly in real time, features an array of dedicated effects and instruments, and is cross-platform (Acid is PC-only).

Acid Pro 7 ups the ante with numerous additions both big and small. The most important of these is the new mixer. In previous versions of Acid, the extremely basic mixing section displayed just the master and bus channels, with the volume levels and other parameters of audio tracks only available via the tracklist on the left hand side of the sequencer window. Quite how Sony managed to get away without having a proper mixer in their software for so long is anyone's guess, but we're sure that Acid Pro users will be overjoyed to finally have such an elementary feature added to their DAW.

Overall, the new mixer makes balancing, routing and other fundamental tasks that much easier, so we'd say that it's a success. Most notably, the zoom function that enables you to change the size of all tracks simultaneously with a single slider works a treat and is something that we can imagine cropping up in other DAWs.

Extra stretchy
While we've first dealt with the most obvious improvements, there are others that further help Acid hold its own as a serious piece of music production software. These include the addition of multiprocessor support, MIDI track freeze, a new plug-in bundle (see Bundle of joy boxout) and the introduction of zplane's elastique Pro timestretching algorithm, which complements Acid's original timestretching mode. Ableton Live uses elastique efficient, a

"The new mixer makes balancing, routing and other fundamental tasks that much easier"

less sophisticated (though more CPU-friendly) version, so this is one area where some may feel that Acid Pro has one over its rival.

For those intending to use Acid's multitrack recording abilities, the addition of input busses and real-time rendering will surely appeal. These enable the user to record external devices with effects, mix a variety of audio sources within the project and perform real-time input monitoring - all of which helps Acid feel more like a thoroughbred DAW.

Tempo changes within a project are now possible, and the software has also gained support for the FLAC, AAC, AC-3 Studio, and MPEG-2 formats, thus making it a more credible multimedia production platform. Also, Acid's beatmapping now allows for tempo variation in audio, which isn't before time when you consider the flexible warping abilities that Live has had for years now. However, it has to be said that Ableton's software is still a much more efficient solution when you're working with non-sequenced material.

Look and learn
An addition aimed more at Acid newbies, rather than experienced users, is the suite of interactive tutorials. These are a great touch for anyone who isn't au fait with the software, and use overlaid graphics to make their points as plainly as possible.

They're not perfect, though. New users might wonder why there's no Paint Clip Selector displayed on their selected track, and there are no visual clues to suggest that zooming in or increasing the size of the track will make it appear. Despite these small niggles, though, the tutorials work well and do a great job of making the software inviting for new users.

These enhancements are all very useful, but whereas Acid was once a genuinely innovative product, it seems that Sony are now playing catch-up with other developers, rather than breaking new ground. The software is great for beginners, although they'd be advised to plump for the much cheaper Acid Music Studio 7 (£38), which has the basic functionality of Pro but misses out on the majority of the new version 7 features. However, it does contain the interactive tutorials, and if you go for the boxed version, you get the same library of over 3000 high-quality samples that Pro users get.

If you're already an Acid-addicted producer, this one is definitely worth the upgrade fee, but if you're looking for a loop-savvy DAW, then Ableton Live 7, which is arguably a more accomplished piece of software, can be picked up for around the same price. Still, Acid's straightforward presentation and clear, easy interface are sure to be highly attractive to those who are put off by Live's plethora of advanced features. What's more. Acid is a convenient tool for multimedia audio production, and users of Sony's Vegas video editing software will feel at home right away.

Taken as an update, Acid Pro 7 is very good, but Sony still have work to do if Acid is to catch up with the current crop of do-it-all DAWs.


Contact: SCV, 0208 418 0778
Web: www.sonycreativesoftware.com
Info: Acid Music Studio 7, £38
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Aside from the addition of Tempo Curves, Acid's Beatmapping Wizard is the same as previous versions
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There are plug-ins aplenty with Sony's Acid Pro 7, as well as some treats for guitarists

Bundle of joy
Acid Pro 7 comes with a bundle of third-party effects and instruments that complement the Sony plug-ins included with previous versions. The iZotope-powered Acid Pro Effects Rack gives you basic chorus, f langer, phaser, delay and dynamics effects that sound great, while the inclusion of Native Instruments' Guitar Rig Combos is a fantastic touch for six-stringers. This last item includes more than 100 preset effects that, while not directly editable, have a few customisable settings, and are useful for non-guitarists, too.

Submersible Music's KitCore is a drum sampler that features eight kits and hundreds of MIDI loops that can be dragged from the interface onto Acid's main sequencer tracks. It isn't as sophisticated as fully-fledged virtual drummers, but it provides a convenient way to program rhythmical parts.

There's also a basic ROMpler based on Garritan's Aria engine, featuring a selection of patches taken from the popular Garritan range. This makes a great alternative to the rather limited DLS Soft Synth and its generic General MIDI sounds, and is ideal for those after realistic acoustic instruments.

While some kind of synth would have appeased electronic and dance music producers, the bundle definitely adds value to the Acid Pro 7 package.
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System requirements
(PC) 1.8GHZCPU, 1GB RAM, Windows XP
(SP2or later) or Vista

Test system
(PC) Intel Core 2 Duo 6400,2GB RAM, Windows Vista

Alternatively
Ableton Live Suite cm121» 9/10 » £550
This bundle contains Live 7 and a load of extras, but you can get Live on its own for around half the price

Steinberg Cubase 4 cm107» 9/10 » £504
Not specifically for loops, but has tons of features and plug-ins

Verdict
FOR
- proper mixer, at last!
- New plug-ins are a boon Good multimedia capabilities
- Multicore support
- Interactive tutorials

AGAINST
- Beatmapping inferior to Live's
- Still no built-in audio editor

Balancing ease of use and power, this is a great update to a solid app, though it's not likely to convert users of other DAWs

MARK: 7/10

Subscribe to Computer Music Magazine :
http://www.computermusic.co.uk/

Behringer U-Control UMA25S £80 (PC/ MAC)

This MIDI controller/audio interface appears to offer everything a computer musician needs for not much moolah. So what's the catch?

This "ultra-slim" USB controller keyboard and audio interface packs in an awful lot: 25 keys, mod/pitch wheels, eight knobs, a few buttons (including transport section), LED display, stereo RCA line-in and outs, expression and sustain pedal inputs, MIDI out, mini-jack headphone and mic sockets (which 'mirror' the signals on the RCAs) and direct monitoring controls. It can be powered by USB, battery, or PSU (though one isn't supplied).

All of which is not bad considering the 18.1"x8.7"x1.8" footprint! Plus, the unit looks a million bucks, with shiny red casing and a smart design. To top it off, there's a carry case, strap (for keytar-style playing), headset and a software suite thrown in (see boxout). But for 80 sheets, surely it's too good to be true?

While initial impressions are good, the experience is soured by the Windows ASIO drivers for the audio interface element. They'll only install the device on the USB port the keyboard is plugged into during installation, and won't allow you to either change ports without reinstalling or use another audio interface on that port. Though these deficiencies are detailed in the driver's ReadMe on the bundled CD-ROM, they're not mentioned in the installation procedure.

In fact, the latest version of the driver on the Behringer website doesn't have any documentation at all!
The latest Driver download for the UMA25S includes instructions within the ZIP file:
http://www.behringer.com/EN/Support/U-Control-Downloads.aspx

We ended up using ASI04ALL instead, and this seemed much more satisfactory. And on the Mac, it works perfectly well as a plug-and-play Core Audio device.

Control issues
We also had a few problems with the hardware itself. The level knobs around the back are fiddly to get at, and the keys have little travel, which makes accurately inputting velocity levels tricky. More crucially, it was all too easy to distort the headphone out, even at low levels.

On the plus side, the RCA inputs worked fine, and the eight MIDI knobs felt solid. The included peripherals are also genuinely useful.

Our feelings on the UMA25S are mixed. It certainly looks the business, is well built and full-featured, but the headphone output and ASIO driver issues make the audio interface element less useful than it might have been.

We can't recommend the UMA25S unreservedly, but those after an extremely cheap all-in-one solution to their mobile music-making needs will find it offers good performance for the price, as long as they can live with the issues we've raised.

Contact: via website
Web: www.behringer.com
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The soft option
The UMA25S comes with a surprisingly comprehensive software bundle. The jewel in the crown is energyXT2 Behringer Compact, a cut-down edition of the DAW that's limited to eight audio, instrument or drum tracks, two global sends and two inserts per mixer channel.

While these limitations mean that you're restricted to working on simple projects, it's still a great bonus and will give novice computer musicians a fine introduction to working with audio and MIDI.

There's also the grandly-titled U-Control Ultimate Software Package Volume 1, which is actually a collection of rather old hat freeware hosts and plug-ins. Some of these are still useful (Audacity and the Kjaerhus Classic collection are particularly good), but a lot of it has been superseded and the majority is Windows-only. Still, it's better than nowt, and it could inspire newbies to check out more recent freeware offerings.
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System requirements
(PC) 1.4 GHz CPU,512MB RAM, Windows XP or later

(MAC) 1.4GHZ CPU, 512MB RAM, Mac OS X 10.4

Test system
(PC) Intel Core 2 Duo, 2GB RAML Windows Vista, Cubase 4

Alternatively
M-AudioOxygen8 v2 cm44»8/10»£69
It has no audio interface, but for low-cost MIDI on the go, it's top notch and dirt-cheap to boot.
Novation X-Station 25 N/A»N/A»£35O
If you're seeking compactness and features, this has the lot, including DSP effects and phantom power

Verdict
FOR
- Extremely affordable
- Dazzling looks
- Solid build
- Decent RCA inputs
- Handy software bundle
- Carry bag, strap and headset included!

AGAINST
- III-conceived ASIO drivers
- Headphone output distorts easily
- Keyboard action isn't amazing

The UMA25S is a workable audio and MIDI solution, though a few improvements would make it a stunner

MARK: 7/10
Subscribe to Computer Music Magazine:
http://www.computermusic.co.uk/

KarmaFX Synth Modular €95 (PC)

Available as freeware for years, KarmaFX's modular synth has finally been released commercially. We find out if it's been worth the wait

Regular readers of cm will no doubt recognise KarmaFX Synth Modular, as the instrument has made countless appearances in various cm tutorials thanks to its flexible modular nature and the fact that, until recently, the beta version was given away free on the company's website. Now, creators KarmaFX have brought their magnum opus up to v1 with this fully fledged commercial product. Notably, it's still more affordable than most of its contemporaries, such as Helix, Sylenthi and Massive, and, unlike those instruments, it's truly modular, too.

Routin'tootin'
Using the supplied synth building blocks, you can create your own unique virtual synth setups, free from the limitations of a fixed architecture. Want to use another filter? Fancy adding a few more oscillators? With Synth Modular, it's all possible with a few mouse clicks. If you're a preset-lover, there are plenty of supplied patches to get your teeth into, which make fine starting points for your own creations, though we imagine that most synth heads will want to create their own setups from scratch.

Making a new instrument is easy - simply right-click the synth's interface and select the New Patch menu. You'll be given the choice of a completely initialised patch or several basic setups that save you the trouble of putting together the first few fundamental modules. The simplest functional synth can be created with three modules: a Generator, an Amplifier, and a Controller. Each basic type of module can be set to various modes that change how it works, and Filter, Effect and Modulator modules are also available, for creating more advanced and functional patches.

Generator modules create the raw sounds in KarmaFX Synth Modular, and seven modes are on hand: Osc1, Osc2, Sampler, Additive, Pad, Noise and Input. Osci is a simple analogue-style oscillator with a choice of sine, square, triangle, saw and ramp (ie, inverse saw) wave shapes. Pulse Width, Phase, Detune and Freq (aka coarse-tuning) controls are available, and like most of the instrument's knobs, these parameters can be modulated using modules

"There are plenty of supplied patches to get your teeth into, which make fine starting points"

such as LFOs and envelopes. It's also possible to reset the phase during note-on events.

Osc2 is more comprehensive, with the ability to mix between two waveforms, each of which can be detuned separately, and it also boasts hard sync and ring modulation features. The Sampler mode enables the user to load up multiple samples, and both the sample selection and position parameters can be modulated - a neat touch. It can sync audio to the host's tempo and also has a Delta knob for controlling the pitch and tempo of the audio simultaneously, a little like scratching a record.

Good additives
The Additive mode enables the user to draw their own sounds using three modes: waveform, magnitude and phase. This is potentially extremely powerful, as it gives you a great degree of control over the frequencies created by the generator. Pad mode works much like Additive mode but includes the ability to edit a so-called harmonic profile that applies a random factor to the phase of frequencies, creating a slowly evolving waveform.

The Noise mode offers white, pink and even brown noise generators, all of which have low- and high-pass filtering built in.

Finally, the Generator module's Input mode facilitates the processing of audio from an external source and is ideal for using the plug-in as an effect rather than an instrument.

Of course, these various sound generators wouldn't be much fun without ways to sculpt their output, and that's where the Filter, Controller, Effect and Modulator modules come into play. There are too many of these modes for us to cover them all, but with eleven filter types, FM abilities, unison detune and sophisticated envelopes and sequencers, there's plenty for even the most devious of sound designers to explore.

The main problem we encountered with KarmaFX Synth Modular is the CPU time demanded when playing some of the more complex patches such as pads - turning up the polyphony on some of the presets and playing big chords was simply too much for our Intel Core 2 Duo 6400-based test machine. Tellingly, many of the pads have their default number of voices set to 2 or 3. Hopefully the situation will improve with future versions, because being able to run multiple instances of Synth Modular with decent amounts of polyphony would be quite something. Still, some compromise is always expected when dealing with modular beasts like this, and fixed-architecture synths and effects will always have the edge since they're inherently easier to optimise.

However, as long as you're willing to be sensible and keep an eye on CPU consumption, Synth Modular is a highly useful instrument, not to mention a rather stonking sound-design tool. The large number of available module modes gives it a great deal of flexibility, combining the best of virtual synths and samplers into a package that remains fun and easy to use. It sounds great, too, and with such a reasonable price tag, we suggest you check out the demo as soon as possible.

Contact: karmafx@karmafx.net
Web: www.karmafx.net
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There are sound design options galore in Synth Modular, with numerous modulation and filtering modes
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Synth Modular may look complicated, but it's actually fantastically easy to learn

Module in the crown
So, how does KarmaFX Synth Modular fit into the hierarchy of modular sound design environments? Well, it's certainly more flexible than Moog Modular V, which has a fixed architecture. And, despite not bearing the official name, it can deliver decent Minimoog-style leads, as amply demonstrated by many of the presets. It's also significantly cheaper than Moog Modular V (£170).

Compared to the ridiculously comprehensive Reaktor 5 (£340), Synth Modular seems shallow. However, when you consider Reaktor's stupendous level of depth, a little more simplicity isn't necessarily going to be a bad thing for a lot of users. KarmaFX Synth Modular's straightforward interface makes it quicker to get to grips with, and the system of switchable modes makes it suited to swift experimentation.

It's worth noting that Synth Modular can also be used as an effect plug-in. There's no standalone mode, but if you desire this kind of functionality then you can, of course, use something likeMiniHost.

If you're looking for a modular synth that works well in a sequencer environment, then we have no hesitation in recommending this one, especially as it's so reasonably priced.
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System requirements
(PC) 1GHz CPU, 256MB RAM, Windows 98 or later, VST host

Test system
(PC) Intel Core 2 Duo, 2GB RAM, Windows Vista, Cubase 4

Alternatively
Native Instruments Reaktor 5 cm88» 9/10 » £340
Incredibly deep graphical sound design environment that works in standalone mode and as a plug-in

Arturia Moog Modular V2 cm79» 8/10 » £170
This blast-from-the-past will certainly excite Moog-maniacs

Verdict
FOR
- Easy to learn
- Great modulation capabilities
- Plenty of module modes
- Superb sound
- Loads of presets
- Very reasonably priced

AGAINST
- Can tax your CPU heavily

KarmaFX Synth Modular is a great buy, especially for synth fiends in danger of outgrowing their current instruments

MARK: 9/10
Subscribe to Computer Music Magazine:
http://www.computermusic.co.uk/

Audjoo Helix $149 (PC/ MAC)

Jonas Norberg's cross-platform synthesiser goes commercial at last but would you have to be round the twist to pay for it?

Since early 2007, Helix has been a sort of 'secret weapon' for a select few savvy synthesists. It spent a great deal of time in beta and was freely downloadable. Those users who availed themselves of the developer's largesse found Helix to be a powerful ally, capable of everything from warm analogue timbres to steely digital sweeps. It was very much a synthesist's synth, but its busy interface could be too much for the uninitiated.

Along with its new price tag of $149, Helix comes with a fine set of new clothes, which goes a long way towards remedying the interface problems, and it has numerous additional features too. Still a cross-platform VST plug-in, it also works with FXpansion's AU wrapper.

Helix redux
Helix's signal path begins with four oscillators, each of which can be used in one of four modes - all with control over the pitch, pan, phase, amplitude and stability. Additional knobs appear depending on which one you plump for, though there is a Morph control that's common to three of the oscillator modes - it can operate as a modulation destination, to be wobbled by LFOs and shifted by envelopes.

The Analog oscillator type is a simple pulse wave affair, sporting a single Morph knob to adjust the pulse width. Also included is a Noise generator, which only offers a Stereo button.

The String oscillator offers more options for tweaking and deviates from the norm by modelling a pair of strings (think 12-string guitar). A Damp function imparts a muted sound while a Frequency Spread knob detunes the strings. More familiar are controls for Low Pass and Pulse Width Modulation (attached to the Morph mod destination). Finally, there's a Crosstalk knob that determines how much energy from one string 'leaks' into the other.

Setting the tables
Helix's Waveshaping oscillator is by far its most impressive and appealing feature. Imagine the flexibility of a waveshaping oscillator such as those found in Z3TA+ or Absynth but with the built-in motion of a classic wavetable affair, a la the PPG Wave. For each voice, Helix gives you the ability to pick from around 30 basic

"This is a synth of singular style and class, on a par with any we've heard"

waveforms - or even import your own - before twisting the shape via a plethora of controls. Once you've defined two waves.the Morph parameter is used to glide between them. This is truly powerful and inspiring stuff!

Helix also sports a stupendous Unison function that piles the waveforms 16 high for each oscillator. It's possible to offset the initial phase of each unison voice, too.

The shape of things to come
After you've wrangled with you- .va.eforms, you can shuttle them through free stages apiece of filtering and shaping Incstiy distortion, though you get bit and sample-rate reduction, too), using serial or parallel routing.

There are eight filter types, including the usual low-pass and ladder filters, along with a keen Delay filter (read 'comb7) and, new for the commercial version, a String filter and a crafty Phase Modulation Delay job. Everything we threw at the latter sounded as if it had been trampled by the BBC Radiophonic Workshop, which we mean as a compliment, of course!

Additional sound sculpting comes in the form of the obligatory effects bank. The beta version had delay, reverb and a limiter, but now you also get phaser, chorus, distortion and EQ. There's also full control over the processing chain via a nifty drag 'n' drop FX Order panel.

To get things moving, there's a comprehensive modulation system - see the boxout for details. As you may surmise, Helix is very deep, approaching the complexity of modular instruments, and is likewise possessed of an in-depth, intricate and articulate sound. A brief trundle through the 800+ presets (organised into banks and categories, such as lead, pad and so on) makes it clear that Helix is a world apart from the usual analogue emulation or average ROMpler. This is a synth of singular style and class, on a par with any we've heard.

Naturally, it's not perfect; not all of the waveshaping functions can be manipulated without causing audible artifacts - you only get the Morph function for crossfading the waves. Still, to get too hung up on this would be churlish in the face of the pure sound quality on offer.

Helix spent over a year as an open-source freeware beta plug-in, and while it isn't available via Audjoo's site anymore, it's still out there, if you want to use it. For this reason, Helix may be its own worst competition. However, you can take it from us that the commercial version is worth far more than the asking price, and there's plenty here that you won't find in the free one. Highly recommended!

Contact: jonas@audjoo.com
Web: www.audjoo.com
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Helix offers numerous effects to sweeten the sound, and you can drag and drop them into any order you like
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Twist your sonic reality by jumping into the matrix - the modulation options are exhaustive in Helix

Modulation sensation
Much of Helix's power lies in its multitude of modulation options. There are eight envelope generators, providing control over both the level and rate of the ADSR stages. And there's a second release stage thrown in for good measure. Editing these was confusing in the beta version, but thankfully there's now a graphical display of the envelope contour.

Elsewhere, you'll find six LFOs: four are polyphonic and applied per voice, the remaining two global. There are 18 waveforms to choose from and you can adjust the phase and period/length (ie, rate) of each. The latter is defeated when the LFO is locked to the host tempo and replaced by a menu of note values. The four independent LFOs have attack, hold and release controls.

And, if that wasn't enough to twist your timbres beyond all hope, there's also a pair of bipolar sequencers, which can run free or in sync mode. The Lag (glide) is adjustable, and you can set it to run (and loop) for up to 16 steps.

More modulation is provided by MIDI CC and MIDI Learn functions. All 29 mod sources can be assigned in the Matrix, using the 42 modulation slots. Each slot allows for a single source, two destinations and a scale source. There are 57 destinations, though delay time isn't one of them, unfortunately.
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System requirements
(MAC) 1GHz, 1GB RAM, OS X 10.5

(PC) 1GB RAM,WindowsXP/Vista

Test system
(MAC) 2.16GHz lntel Core 2Duo iMac, 2GB RAM, OS X10.4.11,Ableton Live Cubase 4

(PC) 2 Ghz AMD Turion 64, 1GB RAM, Windows XP, Sonar PE 8, energyXT2 Core, Xlutop Chainer

Alternatively
Native Instruments Massive cm107» 9/10 » £170
Hybrid synth influenced by wavetable-scanning instruments

u-he Zebra 2 cm108» 10/10 » $199
Semi-modular masterpiece with waveshapers galore

Verdict
FOR
- Modulation options galore
- Waveshaping oscillator is a knockout!
- Effects routing is terrific
- Imports user waves
- Excellent presets

AGAINST
- No AU version
- Some parameters unsuitable for real-time control

A superb synth, boasting in-depth programmability and a sound to rival any other, Helix has got us in a spin!

MARK: 9/10
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