Artificial Audio Obelisk €99 (MAC)

Do you draw the line at traditional effects plug-ins? Then step right this way and let's get spectral...

If you're the kind of musician who shies away ^ from getting any more adventurous with effects than the occasional dash of delay and a bit of chorus, you can probably turn the page now. However, if you think effects are meant to do much more than just spice up tracks and should, in fact, be called upon to totally transform your sounds, then read on (and have that credit card handy). At the time of writing, Obelisk is available in VST and AU flavours for OS X, with a Windows version imminent.

Essentially, Obelisk splits the incoming signal into 256 or 512 individual frequency bands. Each of those bands can be processed with its own delay, filter and noise gate. That in itself ought to be enough to tantalise the tweaker in you, but it's only the start. Each effect is represented as a coloured line in the Analyzer Point View, which is a sort of spectral inspector that displays the incoming or outgoing frequencies, level, beat grid (for the delay) and more. Effects can be edited by creating and moving points on the coloured lines representing them. Because the frequencies are displayed in a graph underneath, it's quite easy to get a visual handle on what you're doing. There are also global editors for the various processors.

As you'd expect, delays can be synchronised to host tempo, though it's a lot more fun to let them fly wild and modulate with one of the 2D LFOs (more on those in the boxout). There's a dedicated Feedback line in the Analyzer Point View that can be manipulated with the same ease as the delay Time line. This is a great source of entertainment, though it can easily get out of hand. Thankfully, Artificial Audio have provided a Rescue button to clear the delay buffers, putting an end to any runaway feedback.

The filter is seemingly quite mundane until you realise that any filter mode or combination of modes can be created by clicking and dragging in the Analyzer Point View. In actuality, the filter is more like an individual volume control for each of the frequency bands. It's easy, intuitive and highly effective.

The Gate line offers, as you've probably guessed, a noise gate with individual threshold control for each band. Any signal above the threshold at a given point gets through. This is a fantastic sound-shaping tool that works incredibly well with sustained audio. Attack and release times are defined globally.

Finally, Spectral Shift enables you to move the frequency bands up or down before they're returned to the signal path. This is a very strange effect that will suit experimentalists well.

Spectrally for you
Obelisk is utterly infused with ingenuity. It's the sort of plug-in that can engender entirely new ideas from even the most mundane source material. Unlike some experimental effects, Obelisk is no mere mangier of material. The results can be both rhythmic and tuneful. Even the dullest drum beat can be transformed into a skittering trance pattern or dub rhythm.

There are a few niggles; some gate patches load slowly, so skipping through presets in real time isn't feasible, and the plug-in also has an inherent latency of 1024 samples. Still, these are minor complaints considering the complexity on offer, and latency is part and parcel of such spectral, FFT-based processing. Artificial Audio are fairly new to the game, but, with Obelisk, they now have our unbridled attention.

Contact: bernd@artificialaudio.com
Web: www.artificialaudio.com
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To another dimension
Artificial Audio's approach to modulation is as off-the-wall as the effects included in Obelisk. Where many developers would settle for an LFO with a smattering of modulation destinations, these developers have provided three LFOs that can be lashed to any point in the Analyzer Point View. More importantly, they're described as 'two-dimensional'.

To all intents and purposes, each of the LFOs is split into two, with each one controlling the movement of an 'LFO ball' on either the X or Y axis in a 'vector pad' form. You can snap the LFO waveform to adjustable beat positions for tempo-synced effects, defined internally or by the host.

Each 2D LFO can have five potential target points from the Analyzer Point View. Simply click Learn and the desired target point, then all you have to do is sit back and enjoy the show, as your effects dance and sway to the modulation's sources.
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System requirements
(MAC) 1GHz CPU, OS X 10.4 or above, AU/VST host

(PC) XP/Vista version imminent

Test system
(MAC) 2.16GHZ Intel iMac, OSX10.4.11, 2GB RAM, Cubase 4, Live 7, Logic Pro 8

Alternatively
M-Audio Spectron N/A»N/A»$130
Created by iZotope, offering band delay, morphing, panning and more

Soundhack Spectral Shapers N/A»N/A»$99
Quartet of spectral plug-ins, with gate, pan, filtering and morphing

Verdict
FOR
- Innovative approach to effects
- The results are surprisingly musical
- 2D LFOs are awesome
- Elegant filter design
- It looks gorgeous in action!
AGAINST
- Some inherent latency
- A few presets are slow to load

Spectral effects are nothing new. but Obelisk's implementation makes it a joy to use. and a musical one at that

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

Tone2 Gladiator 2 €149 (PC/ MAC)

Tone2 have pumped up their killer synth for another bout but can this Gladiator still deliver a knock-out blow?

There's an old adage that you're surely familiar with - if it ain't broke, don't fix it. This concept is sometimes ignored by companies that rework and revamp their products to the point where they bear scant resemblance to the original article. Still, other developers charge upgrade fees for little more than a new coat of paint and a few bug fixes. Tone2 have struck a near-perfect balance with the v2 update of their popular Gladiator synthesiser, though. It offers enough fixes and additions to tease open the wallets of hesitant buyers, but retains everything we liked so much about the original.

Enter the arena
If you don't already know, Gladiator is a cross-platform synthesiser for PC and Mac in both VST and AU formats. It makes use of Tone2's HCM synthesis, which essentially breaks a sound down into a collection of harmonic snapshots called a morphtable. We liked the approach before, and our opinion hasn't diminished with their second shot.

At first glance, it would seem that little has changed. However, a closer look reveals significant alterations, with more changes and additions hiding among its numerous menus.

Among the most obvious of the new tools are a quartet of pan knobs in the Mix section and a massively overhauled Osc 5 module (the Sample/Noise oscillator) that now offers Semi and Fine tune controls in addition to the original's Octave knob. Tone2 have added another 25 waveforms to Osc 5 as well, and you can now use it as a sub-oscillator to give your patches some extra grunt.

The old EQ section has been reduced in size (but not functionality), making room for a dedicated Feedback delay module to morph echoes and filter delay effects. Thankfully, the feedback can be tied to incoming MIDI controller messages for real-time control, or modulated by a source selected in the matrix.

A welcome inclusion is the 24dB Moog-style low-pass filter, which sounds excellent and is handy for adding vintage character. Less obvious changes include new Quality Modes (Ultra and Linear), increased polyphony (256 voices) and an additional 6657 waveforms. You can now toggle between LFOs 1 and 2 with one button. Ditto for a pair of new Aux Envelopes. There are half a dozen new Unison modes and new effects, including phaser, flanger and reverb. In fact, there are many more tweaks and enhancements than we can't possibly go into.

Clearly, Tone2 have pulled out all of the stops. They've improved the presets, the synthesis engine and the sound quality. For example, the glitches that occurred when changing presets in version one have been significantly reduced, though not removed entirely.

Gladiator was already a winner, but v2 simply exudes quality. And, considering the depth of malleability, it's remarkably easy to program. If you're looking for rich, evocative sounds, it's well worth €149, and owners of Gladiator 1 would be nuts not to upgrade for €69.

Contact: tone2@tone2.com
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The big tease
Tone2 are savvy chaps - they know that many users will be buying Gladiator 2 solely for the presets, with no intention of diving into the murky depths of programming. To that end, both versions of Gladiator have a faux expansion slot. Clicking this takes you to the Tone2 site, where you can, in theory, purchase expansion packs for your instrument. None were available at the time of writing, so we can't comment on them, but presumably it'll be a painless process.

Annoyingly, some of Gladiator 2's so-called new features are more tantalising than they are tweakable. Peppered throughout the interface are buttons that promise sonic delights such as vocoder effects, resynthesis and the ability to load waveforms into Osc 5. However, clicking these brings up an explanation about said function - it's only available as part of an expansion. We feel that's a bit much for an instrument that's already been paid for.
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System requirements
(PC) 900MHz CPU, 192MB RAM, 90MB _ HD space, Windows XP/Vista， VSThost

(MAC)700MHz CPU, 192MB RAM,OS X_ 10.3, 90MB HD space, AU/VST host

Test system
(MAC) 2.16GHZ iMac, 1 GB RAM, OS X 10.4.11, Cubase 4, Logic Pro 8, Live 7

Alternatively
Devine Machine Krishna Synth cmi15» 7/10 » €199
Modulations and resynthesis offer a path to sonic nirvana

Camel Audio Alchemy N/A»N/A»£179
A potpourri of unusual synthesis technologies

Verdict
FOR
- Knockout sound
- An arsenal of new waveforms
- Punchy new Moog-style filter
- Action-packed effects
- Powerful new presets

AGAINST
- Glitches when changing patch
- Some features sold separately!

Tone2 have turned their prize-fighter into a world-beater, though some functions are only available with expansions

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

Voxengo LF Max Punch $70 (PC/ MAC)

If you want maximum bass and the kind of punch that could floor an elephant Voxengo's latest might be the answer

Getting your low end right can be a tricky business. Voxengo's LF Max Punch covers similar ground to existing bass processors (Waves MaxxBass, for example), offering synthesised sub-bass enhancement and dynamics processing. In fact, it's the successor to two previous Voxengo plug-ins, LF-Max and LF-Punch, making both of these obsolete as it incorporates all of their functions along with numerous further improvements.

On the technical side, LF Max Punch works by splitting the signal at the input stage, processing the low frequency (LF) aspect only, then recombining the two signals at the output. The split or crossover point is adjustable from 20Hz to 3OOHz, and it's this setting that's the key to achieving the desired result.

Immediately following on, you'll find the 'punch' process, which ties in with the crossover, affecting the dynamics at that point. It ranges from -12dB to +12dB, and so is subtractive as well additive. Next up, the Saturator allows you to drive or distort the signal (-2OdB to +5OdB) in both normal (linear) and pumping (non-linear) modes. To keep things in check, this section also includes both low- and high-pass filters.

In the LF Output Mix section, each element of the processing has its own on/off toggle switch and gain control (+/-24dB), with a Mix Gain knob for blending the LF signals. Then there are a few more extras: the Sub Gain adds in a synthesised harmonic one octave below the input crossover point, the Mono option centres the entire LF portion of the signal, and the Monitor switch lets you hear just the processed signal.

In addition to some large, bold meters, the Out section includes overall level and separate Dry Mix controls for blending the original signal back in with the processed one. Finally, there's a selectable DC filter with three slope types (6dB, 18dB and 36dB) for removal of very low frequencies up to a maximum of 20Hz.

Boom box
The plug-in also enables you to level each process separately, which is enormously practical. And, if you really want to hear what's going on, the Monitor switch lets you hear each element in isolation.

In our tests, we started with bass guitar and found that, with a high crossover point, saturation of the majority of the low frequencies added solidity to the sound without touching the higher 'attack' frequencies.

The kick drum, with its fixed frequency range, was best treated with the punch processor. The crossover frequency was also critical here, with the Punch Gain acting like a transient shaper.

Overall, the hardest element to use was the sub bass processor, and it seemed to work best on fixed-frequency sounds such as kicks.

LF Max Punch offers an affordable take on the bass enhancement process, effortlessly producing results that are much harder to achieve in other ways. And the reasonable price makes it an even more attractive option, cm

Contact: via website
Web: www.voxengo.com
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Global domination
LF Max Punch incorporates Voxengo's global plug-in settings. We've mentioned the routing/grouping system before when reviewing recent Voxengo efforts, such as VariSaturator and Elephant 3, but to recap, it enables grouped editing for multi-channel signals (stereo, 5.1 surround, etc). But there are other global features...

First up, there's oversampling: 1x, 2x, 4x, 8x and Auto. This can be used to make the plug-in run at a higher internal sample rate, increasing the sound quality (and the CPU hit). The Auto mode runs the plug-in in the CPU-friendly 1x mode, unless you're bouncing down, whereupon it will jack things up to higher-quality settings.

For visuals, in addition to the five colour schemes, you can also scale the plug-in window to 80,100 or 125%. Finally, if you need a little help with the interface, you can activate context-sensitive hints, which will then appear on the bottom menu bar.
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System requirements
(PC) windows XP/Vista32/64, VST host Intel/PowerPC CPU, OS X 10.4.11, AU/VST host

Test system
(MAC) Apple Mac Pro Dual Core 3GHz, 3GB RAM OS X 10.4.11, Logic Pro 8

Alternatively
Waves MaxxBass N/A»N/A»$200
The clear interface is a bonus, and it's nicely priced for a Waves plug-in

Aphex Aural Exciter and Big Bottom bundle N/A»N/A»£310
It's TDM-only, but this one's based on Aphex's harmonic-exciting original hardware classic

Verdict
FOR
- Flexible and effective
- Useful Monitor feature
- Mono setting for centralising bass
- Voxengo's global options system
- Competitive price

AGAINST
- Not a 'must-have' processor
- Interface functional rather than stylish

It's a specialist processor, but LF Max Punch could be just what's needed to give your bottom end a kick in the pants

MARK: 8/10

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http://www.computermusic.co.uk/

Studio Devil Virtual Bass Amp $69 (PC/ MAC)

The virtual amp market is flooded for guitarists, but if you prefer four strings to six, this one will be of particular interest

When we reviewed Studio Devil's self-descriptive Virtual Guitar Amp back in crn122, we awarded it a perfect 10 score. That plug-in sports a great range of tones, is very easy to use and, best of all, can be had for around the price of a single hardware stompbox. Just over a year down the line and Studio Devil have released a bass equivalent, which is sure to appeal to those seeking affordable but effective bass tones.

Just like VGA, VBA has a simple, single-screen GUI. It's split into four sections, the first being the Preamp panel, which has Gain, Bass, Treble and Mids controls - this last has an associated Freq knob, to set the centre frequency. In addition, there's a Boost switch, as well as two blue buttons for engaging the Bright and Deep settings. Next up is the Power Amp section, featuring a Drive control and Limiter (ranging from soft to hard). There's a choice of two cabinet setups - 4x10" or 1x15" - or a Dl setting (ie, no cab emulation). Finally, there's a seven-band graphic EQ - see boxout.

Tone of voice
Studio Devil pride themselves on their analogue-style sound, and the first thing that strikes you about VBA is how warm it is. The bottom end is full and powerful, but the mids and top end are still very crisp. As good as the 'regular' sounds are, engaging the Boost takes things up a further notch or two. This drives the virtual amp circuitry hard and produces a natural overdrive that further exposes VBA's warm, valve-like tones.

The power amp's Drive control also pushes VBA into overdrive territory, though this is more aggressive and less natural-sounding than the Boost control - great for those looking for over-the-top, piledriving distortion.

Overall, VBA is very easy to use. The straightforward, amp-apeing layout means even inexperienced engineers will be able to generate great tones with an absolute minimum of head scratching. While there are only ten presets provided with VBA, they're all useable and range from classic, clean tones right through to aggressive, overdriven metal ones.

One small gripe we have is that the plug-in lacks a built-in tuner. Granted, it's a compact unit and space is tight, but, in practical terms, a separate unit has to be loaded to tune up while jamming or recording. However, this is a small point and it doesn't detract from the fact that VBA is an excellent bass amp plug-in that certainly fills a gap in the market.

While it's true that IK Multimedia's Ampeg SVX bass amp plug-in has performers and producers alike salivating over its 'as good as the hardware' tones, VBA comes in at a fraction of the cost and has pretty much no competition in its price range. With this in mind, Studio Devil have created another must-have plug-in for anyone recording bass guitar or using live samples. And, best of all, it's cheaper than the average stompbox pedal.

Contact: via website
Web: www.studiodevil.com
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Graphic art
In the modern world of computer music, where ultra-flexible parametric and paragraphic EQs are de rigeur, you could be forgiven for thinking that a seven-band graphic EQ is a waste of space on such a compact unit.

However, Studio Devil claim that the EQ is "tuned specifically for bass guitar" and we're inclined to agree with them. Boosting the 62 and 125Hz faders adds power to the bottom end without compromising clarity. The 2 and 4kHz sliders bring out just the right amount of fret rattle, without making the bass parts sound unnatural.

We also spent quite some time dialling in different EQ curves and found that even the most radical adjustments still sounded musical - no mean feat for a seven-band unit. Suffice to say, our initial scepticism about such a no-frills function has been quelled, as it's clearly one of Virtual Bass Amp's best features.
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System requirements
(PC) Windows, VST/RTAS host
(MAC) OS_X VST/AU/RTAS host

Test system
(PC) HP Pavilion 2.8GHZ CPU, 1GB RAM

Alternatively
IK Multimedia Ampeg SVX cm103» 10/10 » £269
Many more amps and cabs, with a selection of effects, too, but it's also far pricier than Virtual Bass Amp

Native Instruments Guitar Rig 3 cm120» 9/10 » £450
The Software Edition is £270, and while it's guitar-focused, it has a couple of good bass amp sims

Verdict
FOR
- Great value
-Thick, warm tones with definition
- Responsive controls
- Good EQ section
- Boost button works magic

AGAINST
- No tuner
- Not so hot without Boost engaged

Studio Devil have struck gold once again, and with bass amp sims thin on the ground. VBA could really hit the spot

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

Image-Line Gross Beat $99 (PC)

Prepare to scratch to the max with an effect that aims to put the power of the turntable into the hands of computer musicians

Gross Beat is by no means the first plug-in to emulate the functionality of turntables - in the past, instruments such as Bioroid Tumtablist Pro and effects like dblue Glitch (both freeware) have aped the extreme pitch manipulation of audio made possible by record decks.

Gross Beat takes the idea to a whole new level of complexity with a sophisticated graphical user interface, volume as well as pitch control, and comprehensive live performance abilities. The catch is that that's all Gross Beat does - you don't get any glitch effects here, just DJ-style volume and pitch manipulation. So, is it worth your $99, or would a free plug-in suffice?

Scratch the surface
The majority of Gross Beat's interface is taken up with the Envelope Mapping Panel, which is used to edit both the volume and playback position of the input audio signal, with icons for selecting Time or Volume mode.

Volume editing is the more straightforward of the two. The horizontal axis represents time -four beats to be exact, with no customisation possible. The vertical axis represents volume, with 100% at the top. Points are created on the display by right-clicking the panel, and by default these snap to eighth-notes and jump from one value to another, rather than ramping smoothly. However, it is possible to change the snap resolution or turn it off entirely, and also select a variety of shapes, including various curves with definable gradients.

Using the Volume mode of the Envelope Mapping Panel, you can emulate a DJ's use of a crossfader to create rapid on-off stutters and swift fades. This isn't a particularly sophisticated effect, but it comes into its own when combined with Gross Beat's Time manipulation mode. With this engaged, the Envelope Mapping Panel's vertical axis represents time, with real-time at the top of the grid, and two bars earlier at the bottom. Any deviation from the top will result in the virtual record needle moving to some point into the past. If you've used the Sample Offset parameter in Ableton Live's Clip Envelopes before, you'll be familiar with this concept.

A virtual 'spinback' is made possible by creating a steep slope that takes the virtual stylus to two bars earlier over the space of a single beat. Likewise, moving the record back and forth for scratching is doable, and, when combined with crossfader-style volume patterns, can mimic the effect fairly realistically. Alternately, using stepped points, the beat can be played from different positions, making it easy to perform cut-up effects.

Gross Beat is, essentially, a basic effect that does a few simple things well, without going overboard. Yet, it's customisable and care has been taken to make sure that it's useful both live and in the studio (see boxout). So, if you think it sounds good on paper, you'll most likely find it lives up to your hopes. It's no replacement for a real turntable, though, so there's no need to stick your 1200s on eBay just yet.

Contact: info@image-line.com
Web: www.image-line.com
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Live and direct
Gross Beat offers plenty of potential for those looking to utilise its audio-mashing effects on the stage. The Time and Volume processors have 36 pattern slots per patch, making it easy to swap between them on the fly. This is done by clicking the relevant scene on the main interface, by striking a MIDI note, or by using MIDI CCs to scroll through the various modes on offer.

If using MIDI, Gross Beat can be instructed to return to the previous scene as soon as the note is released, to go back after a new pattern has played through once, or to simply stay on the selected patch - handy for creating live fills and variations. It's also possible to control the wet/dry mix of both the volume and time effects, or even to use CC to manipulated the time offset parameter - 'scratching' with a knob on your MIDI controller! Using these features together, you can come up with effects that aren't possible with vinyl.
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System requirements
(PC) 2GHZ CPU, 512MB RAM, Windows
XP/Vista, VST host or FL Studio

Test system
(PC) lntel Core 2 Duo 6400,2GB RAM,
Windows Vista, Steinberg Cubase 4.5

Alternatively
Native Instruments Traktor Pro cm134» 10/10 » £170
Pony up £470 for the Scratch edition, and you get digital scratching using real vinyl!

Bioroid Tumtablist Pro N/A»N/A»£Free
A little long in the tooth, but if you're after simple turntable effects for no outlay, take it for a spin

Verdict
FOR
- Reasonably priced
- Good degree of customisation
- Fun to mess around with
- Very focused concept
- Convincing scratching effects
- Useful for both studio and live work

AGAINST
- Not for everyone
- The (less capable) competition is free

It's an acquired taste, but we suspect Gross Beat will please its target market no end

MARK: 8/10

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

Tone2 Warmverb €59 (PC/ MAC)

A fully-fledged multi-effects plug-in at a good price, but is it really as inviting as the name implies?

As modern DAW software becomes ever more flexible, the humble multi-effects processor faces extinction. Why pack lots of bite-sized effects into a single plug-in when an application like Ableton Live enables you to create custom effects chains of practically unlimited complexity? Warmverb does at least offer routing possibilities that make it stand out from the crowd - see boxout for more.

Each of the 31 included effects has a maximum of four parameters and a mix control, so you don't get a massive level of tweakability with each one. As such, it seems like Tone2 intend Warmverb more for creating intense special effects, as theory supported by the plug-in's bombastic, over-the top presets.

The effects are divided into seven loose categories: reverbs, delays, modulation-based effects, filters, distortion, a surround encoder, and a grab-bag of volume and pitch effects.

Add 'verb
The reverbs, which Tone2 describe as "reference class", are OK, but as the only available parameters are Size, Damp, Predelay and Modulate, they're pretty limited. The delays don't even take advantage of the four available parameter knobs, offering just Time, Feedback and either Damping or filter Cutoff controls, depending on which one you use.

The modulation effects are more interesting, and though the chorus and ensemble effects are basic, with only speed and depth, the flanger and rotary effects are great. The Superstrings unison-style module is the best of the lot though, sounding fantastic on synth sounds.

The filters include low-, high-, band-pass and phaser varieties, each of which has Cutoff, Resonance, LFO Speed and LFO Depth controls. Different pole settings would have been good, but they still sound tasty. There's also a superb talkbox mode with a choice of vowel sounds, This effect in particular would benefit from having more available parameters; for example, the formant frequencies are controlled exclusively by the LFO.

The distortion section is probably the least impressive area, with just Drive and Postamp controls - but it's fine for basic signal dirtying.

The Surround Encoder offers Dolby Pro Logic surround encoding that pans the signal to either the back, left, right, centre, rear left or rear right of the surround field. Finally, there's a mixed bunch of effects, such as a vocoder with built-in carrier settings, a pitchshifter that pitches down a lot better than up, and pretty standard tremolo, autopan and ring-modulation effects.

Warmverb is at times f rustratingly limited, and while it looks like it could be a handy box for live tweakage, not all of its parameters can be manipulated without noticeable sonic artifacts. However, it's more than the sum of its parts and can work magic on the right source. It's a neat tool for experimentation and is certainly inspirational, but for those in the business of complex sound design, it's a little simple, cm

Contact: tone2@tone2.com
Web: www.tone2.com
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Routes and culture
Warmverb's architecture enables the user to feed the post-effect signal back to earlier in the signal chain, with an overall wet/dry mix control for mixing the pre-effect signal into the final output. This functionality is at the very least awkward - if not impossible -to replicate in most DAWs. The plug-in has four slots, each of which which can hold any effect, and the routing is fixed but fairly flexible. FX1 is followed in series by FX2 and FX3, which are parallel to each other. These are followed by the EQ section, with its three fixed bands. FX4 is next, after which the signal can be fed back to FXI's input. The feedback can be sync-delayed by up to two bars, and has a mix control and clip mode button that turns the feedback clipping on and off. After the feedback tap is the mixer section, where the wet/dry balance between the processed and unprocessed signals is set before the audio is finally output from the effect.
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System requirements
(PC) 1GHz processor, 256MB RAM, Windows XP or later, VST Host

(MAC) 1GHz processor, 256MB RAM^ OS X 10.4 or later, AU/VST host

Test system
(PC) Intel Core 2 Duo 640O2GEI^RAM, Windows Vista, Cubase 4

Alternatively
Sugar Bytes Artillery 2 cm122» 7/10 » €149
Keyboard-triggered multi-effects

Audio Damage Automaton cm133»8/10»$49
Crazy multi-effects box that's triggered by cellular automata

Verdict
FOR
- Bags of effects
- Plenty of ear-catching presets
- Unusual feedback routing ability
- Straightforward to use
- Superstring and Talkbox effects arecool
- Good value

AGAINST
- Not many parameters
- Some effects aren't so impressive

Not particularly groundbreaking, but the clever architecture and some great effects make Warmverb a worthy buy

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

Overloud TH1 £185 (PC/ MAC)

For those in the know, this one has been a long time coming, but has it got what it takes to stack up against today's amp sim packages?

Italian developers Overloud have been promising TH1 for some time now, but with numerous software amp simulators having been and gone during its steady development cycle, can it cut the mustard in today's saturated market? Let's fire it up and find out...

TH1 offers virtual amplifiers, pedals and rack effects that can be chained together, with a graphical representation that looks like real hardware. First-time users will probably flick through the well-structured, genre-savvy factory bank, as we did. We were particularly taken with the Solo Y J preset, which is presumably an imitation of Yngwie Maimsteen's signature Marshall sound - it sure sounds like it!

The top of the interface offers, among other things, a tuner and Global controls. The latter are non-patch-specific and enable one to switch input sensitivity, apply gating, dial in bass/treble EQ, and set the general reverb and delay mix.

The aforementioned Overview panel depicts the signal path - to insert new modules, click a section of cable and choose from a menu. Reordering is achieved by dragging, and a dual amp/effects chain is possible because the cable splits and recombines with a simple mixer.

The Module View is for changing settings -click a module in the Overview to bring it into focus here, or drag the background to pan around. It's clear that serious thought has gone into TH1's super-slick interface - you can even resize it by dragging the bottom-right corner.

Amplifiers anonymous
Overloud don't say which amps are modelled, but we're guessing from the names that they're a Fender Twin, Vox AC30, Marshall JTM45, Marshall JMP 'Master Volume', Marshall JCM900, Peavey 5150, and Mesa/Boogie Dual Rectifier, with all the channels you'd expect. There's also one that appears to take after a Soldano design; this so-called SloDrive amp shouldn't be overlooked, as it offers a range of expressive tones. Sonically, TH1 is very impressive. We found convincing twangy Strat sounds and those sought-after 'just breaking up' tones readily available - tones that easily stand up to anything else on the market.

Cranking up the gain, we dare say that the full-on rock and heavy metal sounds surpass

"Sought-after lust breaking up tones are readily available"

those of AmpliTube Metal. Once dialed in, they're heavy yet clear, punch at the right frequencies and sound great in the mix. They're not as ballsy and grinding as a real amp, but this same criticism can be levelled at almost every digital amp simulation's hot-rodded tones, excepting perhaps those of (the CPU-intensive) ReValver Mk III from Peavey. Speaking of which, the only TH1 amp we didn't get on with was the HeaVy51, presumably a Peavey 5150 emulation -it's too 'fizzy' on the Lead channel for us.

Each amp module enables you to select two models and morph between them using the SLR slider, creating a 'hybrid' amp model depending on its position. We didn't find this as exciting as it sounds, but it's cool nonetheless and often best used with compression to even out the levels.

The extremely comprehensive Cabinet Model module lets you position two mics at any point in 3D space, as well as set the cabinet model (21 types), mic type (18 types), balance between mics and ambience type. The optional Respire mode emulates cabinet sound pressure, for a thicker, more lively tone.

Maximum overdrive
The 12 overdrive/distortion/fuzz pedals can push the amps in thrilling new directions. We enjoyed the Diode69's honking uberdrive and oversaturated, 'about to explode' effects. There are 15 phaser/flanger/chorus effects, ranging from deliberately digital shimmers to wobbly analogue emulations - all can operate in mono or stereo. The four delays include a tape variant, and the rack reverbs are based on Breverb technology, so their sound quality is assured, but, sadly, there's no spring reverb. Elsewhere, there's a phat octaver, a decent pitchshifter, four wahs, three compressors, tremolo, EQ box, two vibratos, volume pedal and even an acoustic guitar simulator.

TH1's performance is incredibly impressive. The CPU hit is astonishingly low, so using multiple instances simultaneously in a mix is totally viable, as is glitch-free live performance. TH1 didn't crash or misbehave once during our testing and even ran without a hitch on a dinky Samsung NC10 netbook!

As for criticisms, first, there's no undo function, which is exasperating if you delete a module by accident. And, as well as a lack of spring reverb, there are no dedicated bass modules (but good bass tones can still be had). It's been some time coming, but we applaud Overloud for putting the extra effort in to make TH1 a serious contender for best all-round guitar amp package, and we urge guitarists to put this one on their shortlist. Furthermore, we've had a sneak peek at the imminent v1.1 update, which is packed with new features, and there's a cutdown, affordable version called TH1 Triode about to hit the shelves, too.

Contact: Time+Space, 01837 55200
Web: www.overloud.com
Info: TH1 Triode, €69
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The cab modelling enables you to position the two mics at any position in 3D space -very swish!
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Smart Controls mean you can tailor your TH1 setup to your MIDI controller

Smart alec
Controlling amp software via MIDI can be tricky, but THI's implementation is bang on, we think. Presets are switched via MIDI program change, and, what's more, patch changes happen instantly, with no delay or drop-out - this is most desirable for live use.

Instead of directly controlling amp and effect parameters via MIDI (or host automation), you set up a maximum of eight Smart Controls - similar to the 'macro' knobs found in some soft synths. You can set each Smart Control to be a switch, a knob or a tap-tempo button, and give it a name. By dragging a module onto a Smart Control, you can assign a module parameter to it. In fact, you can pile on as many as you like, for doing things like turning up the drive on the amp, decreasing the speed of the phaser, and lengthening delay time, all via a single knob. For each one, you can set the minimum and maximum value and curve - the latter means you can, say, alter the response when binding an expression pedal to a wah.

Smart Controls are saved along with your presets, and the factory versions demonstrate how flexible they are.

In v1.O, the Smart Controls can only be adjusted by MIDI CCs 20-27, but Overloud assure us that vi.1 will enable mapping to any number, and there'll be new Smart Control types, too.
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System requirements
(PC) P4 2.6GHz/Athlon XP 2GHz,_ 1GB RAM,"windows XP/Vista
(32-bit-compatible environment needed
to operate under 64-bit versions),
RTAS/VST/standaiorie

(MAC) Intel Core Solo 1.5GHz/2GHz Power Mac, 1GB RAM, OSX10.4.a AU/RTAS/VST/standalone

Test system
(PC) Intel Core i7 920,3GB RAM,
Windows Vista 64Xubase 4, Live 7, Aria Pro IIRS Inazuma w/Dimarzio X2N,
Fender Yngwie Malrnsteen Stratocaster

(PC) Samsung NC10 netbook, Intel Atom N27O processor, 1GB RAM, Windows XP

Alternatively
Peavey ReValver Mk III cm132» 9/10 » £179
More convincing high-gain tones, but it's not half as slick as TH1

IK Multimedia AmpliTube 2 cm101» 9/10 » £265
It's been around a while now, but this one remains fiercely popular

Verdict
FOR
- Stable and very light on the CPU
- Slick, easy interface and patch browser
- Great-sounding amps and effects
- Smart Controls are very neat
- Immediate patch changes

AGAINST
- No undo function
- 5150 emulation is a bit fizzy
- No spring reverb or bass amps!

TH1 has so much going for it that it just might be the best all-round guitar software you can buy. Bravo, Overloud!

MARK: 9/10
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Sugar Bytes Consequence £149 (PC/ MAC)

Can inspiration be bottled and sold? Sugar Bytes are having a go with Consequence, their brand-new "Chord Synquencer"

You've gotta love Sugar Bytes, as they seem hellbent on offering something challenging and inspiring with each new plug-in they release. Their recent Effectrix (cm126,8/10) set our heads spinning with its combination of a multi-effects section and a sequencer for automation. They've turned once again to sequencing for Consequence, but this time they've combined a chord sequencer with a three-part multitimbral ROMpler.

While the implementation is quite deep and complex, the basic idea behind Consequence is simple. Three sample-based instruments are loaded up, along with some effects, and then subjected to sequenced, arpeggiated playback based on whatever chords you enter into the thing. It can even make the chords up for you, if you can't be bothered.

Available in VST and AU formats, Consequence packs a lot into little more than a single page. We say "little more' because the top third of the interface toggles between synth and effects editors, with the Master section being the only common element between them.

The Synth section comprises three playback instruments, each offering Octave, Pan, Level and Crush controls. An instrument can play all incoming triggers, or just arpeggios or chords.

There aren't many sound-shaping options available, though each instrument has independent ADSR envelopes. In addition, there's also a multimode filter section that's controlled by the sequencer, as well as a handful of effects that cover the usual territory: reverb, delay, chorus, phaser, etc. There's even an out-of-the-ordinary 'reverse' processor, too.

Pattern recognition
Consequence's sequencer is where all of the action takes place. Occupying a full two-thirds of the GUI, it includes no less than eight different pattern parameters, including controls for modulation, performance, gate, chord and more. The Modulation section is especially deep, offering separate patterns for each of the synth parts, the filter and the effects.

Sugar Bytes provide a multitude of playback options in the Performance Sequencer. There's Glide, Arp Mode, Tie, octave selection, Restart and Shift, which determines the starting voice forthearpeggiator.

16 chords can be stored in the Memory and arranged in the Sequencer. Alternatively, you can choose to play your own patterns via MIDI and let the sequencer shape everything. Consequence can also control external MIDI devices and plug-ins, too, except for the AU version (a limitation of AU, not Consequence).

This plug-in is a lot of fun, though there's room for improvement. For example, we'd love to be able to import our own samples, and the GUI is a little hard to follow in places. Still, these are minor complaints. If you love chugging, pumping, rhythmic music, Consequence could be the ideal sketch pad, providing inspiration aplenty, especially for VST users.

Contact: info@sugar-bytes.de
Web: www.sugar-bytes.de
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No need for quiet in this library
If you intend to use the AU version of Consequence (and hence can't use it for MIDI control), its value may well rest upon its included library. Fortunately, the collection features some 200 sounds.

The instruments range from punchy synthetic basses (sampled from classic analogue and FM models) to shimmering pads. There are guitars, organs, pianos and even a banjo. Percussion is our favourite category, given Consequence's adeptness at providing inspiring rhythms, though, we wish the list of drums was more extensive. Still, with many multisampled kits, there's a lot here to keep your beats pumping.

Sugar Bytes have wisely resisted going down the pure electronica route, as exemplified by the hefty number of strings, brass and other orchestral sounds. They're not on a par with dedicated symphonic collections, of course, but they can certainly add a touch of class to your cuts.
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System requirements
(MAC) Mac OS X 10.4or_higher^ 2GHz CPU, 512MB RAM

(PC) Windows XP or Vista.

Test system
(MAC) 2.16GHz Intel iMac, 1GB RAM, OS X 10.4.11, Logic Pro Studio 8, Cubase 4

Alternatively
Galleoneer Phrasemaster Mk1 N/A»N/A»€49
Complex sequencer that hosts VSTi's and maps phrases to keys

AlgoMusic Atomic N/A»N/A»$40
MIDI-outputting pattern sequencer plug-in that doesn't cost the Earth

Verdict
FOR
- Instantly inspirational
- Significant level of user control
- Decent sound collection
- MIDI output on VST version

AGAINST
- GUI confusing in places
- Can't make your own instruments

Another solid, forward-thinking effort from Sugar Bytes, this is one to try if inspiration and fun are high on your list of priorities

MARK: 7/10
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Line 6 Pod Studio UX2 £172 (PC/ MAC)

The UX2 hardware remains the same, so is the new Pod Farm software enough to take this package to the next level?

The new POD Studio line from renowned amp modellers Line 6 comprises the GX, UX1 and UX2 bundles, with hardware identical to previous versions, but with a black fascia instead of red. You get 24-bit/96kHz performance, two guitar inputs (one with a volume pad), two XLR mic inputs, a pair of assignable VU meters and a headphone socket.

Down on the farm
The older UX2 bundle came with the GearBox software, but this has been superceded by the all-new Pod Farm, which has a vastly improved GUI showing a 'carousel' of the units. You simply drag the unit you want into the signal chain display below. Like GearBox, some units can appear in multiple locations in the chain. Time-based effects can now be synced to the host DAW, but the most enticing new feature is the ability to use two amp setups in parallel.

Pod Farm lacks the MP3 player that Gearbox had, but it's unlikely you'll miss this feature. Overall, the look and functionality is now more tailored towards the guitarist, and while the modelling technology is basically the same, it's easy to see why Line 6 made these changes.

Amp-wise, you get 23 guitar and bass models, including emulations of Fenders, Marshalls and Mesa/Boogies, as well as versions of Line 6's hardware amps. For effects, there are 29 units paying homage to classics like the MXR Phase 90 and Ibanez Tube Screamer. There's also a free downloadable pack of 35 effects in the FX Junkie pack, and six mic preamp models.

Line 6 have long been leaders in amp modelling and you can hear why here. We're particular fans of the JCM800 emulation, which provides a heavy sound with bags of clarity, as do the crunchier Fender-style sounds.

At first glance, it seems that there are literally hundreds of presets; however, some of these feature amps that aren't included in the Pod Farm package - see boxout for further info. While you can select a substitute amp, you can't help feeling like you're missing out. Another small problem is that the tuner found in standalone mode is absent from the plug-in.

By including POD Farm, the UX2 has, as Line 6 intended, become more guitar focused. The new software, combined with pro hardware features like XLR input and phantom power, makes the UX2 a great buy for those looking to upgrade their basic setup, not to mention a strong first-time investment.

Contact: Line 6, 01327 302 700
Web: www.line6.com
Info: iLok version, £80; GX, £80; UX1, £114
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Increase your package
You can buy further amp models for the Pod Studio UX2 in the shape of downloadable 'model packs'. There are four available: Metal Shop (18 amps), Collector Classics (18 amps), Power Pack (20 amps, 26 effects) and Bass Expansion (28 amps) - prices vary from $50 to $100, with deals allowing you to buy multiple packs at a discount. A fifth pack, FX Junkie, is free with the UX2 and is used in the middle part of our audio demo. While users may experience a bit of initial disappointment at not having access to the full amp range straight away (and, therefore, not being able to make full use of the presets), the price isn't too bad and owning the full set puts you in command of a truly comprehensive arsenal.

Finally, while the version of Pod Farm bundled here requires the hardware to be attached to work, you can buy the software on its own in iLok-protected format for £80.
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System requirements
(PC) P41.2GHZ, 512MB RAM, 1GB HD
space, XP SP2/X64 or Vista 32/64

(MAC) G4 800MHz, 512MB RAM OS X 10.46

Test system
(PC) HP Pavillion 2.8GHz processor,
1GB RAM, Windows XP

Alternatively
Novation nio2|4 cm122» 8/10 » £165
Includes amp sim plug-ins, but they lack Pod Farm's quality

Native Instruments Guitar Rig 3 Kontrol Edition cm120» 9/10 » £450
The wide range of tones and included foot-pedal/interface makes live use viable

Verdict
FOR
- Great Line 6 tones
- 'Crunchy' sounds are particularly good
- Interface isn't only for guitars
- Extra FX bundle great for crazy sounds
- iLok version is rather good value

AGAINST
- Tuner in plug-in mode
- Some presets need upgrades towork

While not being a total overhaul, this refinement of Line 6's proven product line hits its mark more precisely than ever

MARK: 8/10
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Digidesign Pro Tools 8 £156 (PC/ MAC)

You'll have been eagerly awaiting this update if you're already a Pro Tools user, but if you're not, could it convince you to make the switch?

Until now, the choice was fairly clear-cut for pro producers: For MIDI-heavy work, Logic, Cubase and their ilk were the sensible options; if you were primarily concerned with audio, Pro Tools was the way to go. Version 8, however, is set to change that premise with a complete overhaul of its MIDI sequencing elements, as well as a raft of additional features that we'll be hard pushed to do justice to here. To give you an idea of the magnitude of this upgrade, the What's new in Pro Tools 8 HD PDF document on Digi's site runs to over 150 pages in length!

Note that we're looking at the full-on Pro ToolslHD 8 in this review and that the price given is for the upgrade (the HD software is bundled with Pro Tools hardware, so you can't buy it on its own). The HD version requires a Core System DSP card and a high-end Pro Tools rackmount audio interface - we're using the HD3 Accel system here. The Core card is used to power Pro Tools' TDM plug-ins, although it's worth noting that all the new plug-ins (see boxout) for v8 are RTAS format only, and so run on any computer. This means that users of Pro Tools LE (which requires a Pro Tools-compatible interface) and M-Powered (usable with an M-Audio interface) can take full advantage of these additions.

What's more, LE and M-Powered versions can now run a total of 48 stereo or mono audio tracks as standard. If you have a fairly recent, high-powered computer, crafting full-scale Pro Tools productions in the native environment is now a more appealing prospect than ever.

Looking sharp
The most striking change for v8, though, is the new look. It can be comfortably described as a makeover, because the only thing that's familiar is the general layout. The colour palette and fonts are all new, and object shapes and shading look much sharper. The default scheme is perhaps a little dark but can be lightened in the Colour Palette window, where you can also assign different shades to your selections. It looks much more solid now, but also has a more utilitarian look, not a million miles away from Apple's Logic Pro 8 or Ableton's Live 7.

The only new display feature is the Universe view, which sits above the Edit window and enables you to see the whole session in

"Pro Tools 8 sees a giant leap in the MIDI editing area, and now rivals both Logic and Cubase"

miniature. It also shows where the Edit window is currently focused within the session by highlighting that area. It's possible to drag this around to change the content and position of the Edit window but you can't grab the edges to zoom in or out, which is a shame.

MIDI magic
As anyone who's used a previous version will tell you, MI Dl was never Pro Tools' strong point. However, v8 sees a giant leap in this area, and now rivals both Logic and Cubase. The MIDI recording is pattern-based and a double-click opens a graphical editor window, where you can do all the usual note manipulations, as well as open lane views of other MIDI data in parallel below. It's straightforward, simple, intuitive and comprehensive. Why didn't they do this sooner?

There's a new Score editor, too, which works alongside the graphical MIDI editor, enabling similar manipulations. The resultant score can be printed out in parts, as a whole, or exported in Sibelius format for further refinement.

One extra feature that should speed your workflow along is track compiling. With the new 'playlist' track view option, all the layered takes are brought to view. A few simple key commands can now be used to audition and move highlighted segments to a 'comp' playlist. Although the key combos could be improved further, once you've got them under your fingers, it's much quicker and easier than the old mouse-intensive way. Track colour-coding extends to playlists, so when segments are compiled, they retain their original colour.

While we're discussing multiple lanes, automation views can all be dropped into simultaneous display below the main waveform, which is great for getting an at-a-glance grasp of what's going on. Additionally, the area below the automation contours is a darker shade, giving a sort of mountainous appearance that's easier to take in. It would be useful, however, if the exposure and size of the automation lanes was remembered in the Memory Locations window.

Elastic Time was a popular addition to Pro Tools 7, enabling audio to be quantised and adjusted just like MIDI data. In v8, we also get Elastic Pitch, enabling alteration of the pitch of audio by up to +/-24 semitones. You can do this in real time, but only after the segment has been analysed, which can take some time on longer files. Nevertheless, this gives the program the kind of mind-boggling flexibility that at one time seemed like mere fantasy.

Game plan
This upgrade is without doubt Digidesign's best yet, and they've greatly broadened the musical creation and production horizons of their industry-standard DAW. The bundled instrument plug-ins and associated effects from AIR, along with the vastly improved MIDI editing possibilities, bring a whole new aspect to the program. Some Pro Tools snobs might not like the new, more generic look, or the fact that the new plug-ins are RTAS-only, but these will no doubt give Pro Tools 8 far wider appeal and keep it at the forefront of the audio and MIDI production game.

Web: www.digidesign.com
Contact: Digidesign, 01753 655 999
Info: Pro Tools LE or M-Powered upgrade, £92 M-Powered full version, £190
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The intuitive MIDI editor, with its clearer display and useful two-tone backgrounds, is a highlight of PT8
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The new Vacuum synth has a convincingly analogue sound and warm tube emulation

Pro Toolbox
Pro Tools 8 comes bundled with the Creative Collection, comprising a number of new plug-ins courtesy of Digi's Advanced Instrument Research (AIR) department. And what a treat they've given us: six instruments and 20 effects, which are all RTAS-only.

The pick of the instruments has to be Vacuum, a vintage analogue-style synth that creates excellent bass sounds, as well as tasty lead and FX patches. Xpand!2 is a multitimbral sample-based synth that can be layered or split for performance - the rather orthodox 1.5GB library does, however, feature some vast pads. The DB-33 Hammond emulation is very realistic, with plenty of dirt and drive, and the Mini-Grand is a workhorse for pianists. Also, the Structure Free sample player and Boom drum machine have a very useful array of electronic sounds.

Among the more common effects -chorus, phaser, delay, f langer, reverb, ensemble, all of which are reassuringly impolite - are some more original jewels. The star plug-in is the Filter Gate that throws a tempo-based tremolo over the audio and adds synced filters. The gate time can be swung and the patterns adjusted with various accents. The Fuzz Wan does something similar with filter cutoff and beat sync, and is thoroughly dirty.
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System requirements
(MAC) 1GB RAM,OSX1O.5.5,
Digidesign-qualified computer
(see website), iLok USB Smart Key

(PC)1 GB RAM. Windows XP/Vista.
Digidesign-qualified computer
(see website), iLok USB Smart Key

Test system
(MAC) Dual 2.5GHz G5 PowerMac,
4GB RAM, OS X 10.5.6, HD3 Accel system

Alternatively
Apple Logic Studio cm119» 10/10 » £312
Comparable on the MIDI side, but Pro Tools has the audio edge

Steinberg Cubase 5 N/A»N/A»£539
It's not out yet, but Cubase 5 looks mighty good - see p9 for more info

Verdict
FOR
- MIDI editing finally comes good
- Creative Collection is exceptional
- Track compiling saves a lot of time
- Very good automation lane system

AGAINST
- New plug-ins are RTAS-only
- Takes a long time to import PT7 sessions
- New GUI may not be to everyone's taste

It could be time to go Pro thanks to this highly impressive update, which finally sees Digidesign shake off their DAW's 'audio good, MIDI bad' reputation

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