Arturia Oberheim SEM V Review

To read the full detailed article with sound samples see:  Arturia Oberheim SEM V Review

Arturia has been launching a myriad of products since early 2012. Among the new products you’ll find an Oberheim SEM emulation with new custom features. Let’s have a look at the beast…

Something is for sure: Arturia’s team never stops working! They are constantly updating their existing products and have launched Analog Experience, Oberheim SEM V and MiniBrute in a very short time. The Oberheim is the latest addition to the series of legendary synth emulation plug-ins that started in 2003 with the Moog Modular V, followed by the Minimoog, CS-80, Prophet 5 and Jupiter-8 simulations. Arturia even attempted to create a virtual version of another legend of Tom Oberheim’s company, but they didn’t succeed…

It’s probably not necessary to present Oberheim, a mythical company that has had its successes and troubles after being bought by Gibson and Viscount. The SEM (Synthesizer Expander Module) was the first synth officially presented by its inventor in 1974. It was brought to life again in 2009 with a Patch Panel providing all 33 internal connections as mini-jacks and a Midi to CV Converter. These new features certainly gave customization ideas to Arturia: their virtual version also has many new features.

Introducing Arturia Oberheim SEM V

Test System:

• MacPro Xeon 3.2 GHz
• OS 10.6.8
• Logic Pro 9.1.6
• Arturia Oberheim SEM V 1.0, later 1.1

Out of curiosity, and because I always read that all Arturia synths sound similar, I compared the Minioog V and SEM waveforms (in this order) as well as a filter setting at 3,406Hz with maximum resonance (the release parameter settings are different but they have no effect on the sound in our example). Look at the screenshots and listen to the sound: No similarity…

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Conclusion

Let’s be clear: I have no ’74 SEM in my studio. So a one-to-one comparison is impossible. I have only my memories of when I played the instrument and the many records where it is used… Therefor, it would make no sense to say this plug-in is an exact and faithful copy of the original. However, the virtual synth does share many things with the original synth: the features, the spirit, the typical Oberheim sound (soft filter clearly different from Roland and Moog filters). In short, don’t hesitate to add this tool to your synth library if you’re looking for SEM sound.

However, we also found a few problems: the envelopes/effects extend to the next preset, audible steps in some modulations. But considering the huge possibilities, the sound and the wonderful modulation section, we can only praise the quality of this synth. The ease-of-use, that doesn’t limit the sound possibilities, makes it the ideal tool to start in the world of sound synthesis.

Advantages: 

• Same sound DNA as the original hardware synth
• Design
• Ease of use
• Faithful to the original concept but more comprehensive
• Modulation section
• Amazing 8-Voice Programmer
• Almost fully synced
• Good product manual
• Excellent Midi Learn function

Drawbacks:

• Some bugs
• Envelopes/effects extend to the next preset
• Some audible modulation steps
• Maybe the price, compared to similar products (DIVA for example)

To read the full detailed article with sound samples see:  Arturia Oberheim SEM V Review

Propellerhead Reason 6 Review

Each new Reason version brings a bunch of surprises with itself, meeting some of the demands of its users. Here you have the new features Propellerhead added to Reason 6.

Like every other serious piece of software, Reason has been updated many times since its launch back in 2000. Each update has brought improvements, bug fixes (plenty compared to other DAWs) and new features, especially in terms of modular elements. Version 2.0 (2002) introduced the Malmström and NN-XT, version 2.5 (2003) included three new effects (Scream 4, RV7000, BV512) and two routers (Spider Audio and CV). Version 3.0 (2005) added the MClass Mastering Suite and the Combinator. More recently, version 4 (2007) impressed the audio world with Thor (an excellent polyphonic synth that combines different sound synthesis technologies), as well as ReGroove and RGP-8. Finally, version 5 (2010) included instruments like Kong and Dr. Octorex (full review here).

As you can see, each new version provided real new features (and we only mentioned Reason’s virtual instruments, effects and routers), making the sequencer and its standalone virtual rack more powerful every time. However it never quite fulfilled the demands of some users (the others are really satisfied with the current features) in terms of audio recording and external plug-in support. The real audio sampling feature of Reason 5 was seen as a sign for the upcoming addition of audio data management features, especially considering that Propellerhead had already proved to have the skills for multitrack audio recording with the introduction of Record in 2009.

Finally the time has come! In version 6, Propellerhead combined the two software programs and added some other functions and elements. Detailed overview.

Introducing Propellerhead Reason 6

Reason 6 is sold in a box including a DVD, the Ignition Key (containing the authorization key for the program) and some other documents. Unfortunately, I can’t give you more details because I received Reason as a download (3.68 GB) for the review. The installer still includes a Reason folder to be copy-pasted into the Applications folder (on a Mac). This folder includes the documentation (the printed version disappeared with Reason 5), the application itself and two Refills required to use Reason (Factory Sound Bank and Orkester).

Test system MacPro Xeon 3.2 GHz MacBookPro i7 2.3 GHz OS 10.6.8 Reason 6.0.2 Reason Essentials 1.0.2 Balance

The online authorization process uses the Ignition key and the Authorizer server. Since version 4, it is not possible to use all Reason features without this key anymore, which isn’t good. Instead of a proprietary key (which means one USB port less), the manufacturer could use a Syncrosoft/Steinberg-like key, an iLok or nothing at all, which would be better…

However, Propellerhead allows you to use all features in Reason without the key if you have an Internet connection and have previously registered the product on their website. Or you can use the Demo mode, which allows you to record and save your songs but not to open them.

Besides combining the features of the two software packages —which means adding to Reason the multitrack recording capabilities and some modular elements (Neptune, ID-8, Line-6 models) from Record—, the manufacturer also added three new effects (Pulveriser Demolition, The Echo Delay and Alligator Filtered Gate), enlarged the content of the factory bank, implemented Record’s mixing console (presented as an SSL 9000K emulation), and introduced 64-bit support (also for ReWire) as well as other improvements.

Now let’s take a closer look…

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Conclusion

Like every new release, this Reason version brings a lot of new features with itself — and we must point out that Propellerhead really pampers its users with this 6th version. To have a multitrack recorder within a reliable, familiar, powerful and stable environment is a huge advantage. All the more considering that it compromises nothing in terms of philosophy and ease-of-use. The new modules (Alligator, Pulveriser and The Echo) are without a doubt on the same level as their predecessors.

To wrap it up, Propellerhead has struck a decisive blow once again. We could even expect them to exchange technologies with other manufacturers —like UA does with other famous brands—, not to add plug-in formats that would make Reason less reliable (don’t forget that this piece of software is a paradigm of stability), but to bring together different skills to improve this closed environment that keeps on getting better and better every time.

Advantages: 

• Original philosophy unchanged
• Ergonomics
• Stability
• More standalone every time
• All the power of Record within Reason
• Internal audio inputs management per channel
• Powerful new modules
• More CV connections…
• We finally get a real mixing console
• 64 bit audio summing
• Creative and powerful Pulveriser module
• Original Alligator module
• Alligator’s pattern and manual control systems
• The Echo, a powerful delay
• Analog-like behavior
• Ducking function in The Echo
• Dry/Wet balance in all three modules
• Comprehensive manual with search engine and hyperlinks

Drawbacks:

• No possibility to change the level meter display in the tracks
• No drag-and-drop audio import
• Different quality and performance of the time-stretching tool
• Always more difficult to use with only one screen, specially if you have a notebook
• I missed the possibility to choose form several distortions/saturations in Pulveriser and Alligator
• Not enough vertical zoom in the sequencer window
• Proprietary Ignition key: one USB port less…

To read the full detailed article with sound samples see:  Reason 6 Review

Native Instruments Komplete 8 & Komplete 8 Ultimate review Unpublish

Native Instruments has been offering a selection of its software products grouped under the brand “Komplete” for several years now. The selection is updated every year with the latest versions of several products plus some additional tools. And it offers a rather unbeatable value for money ($499).

Considering that products like Kontakt or Reaktor are sold for $399 each, it would be a huge mistake to ignore Komplete and the 26 other tools it includes for only $100 bucks more. You would be missing synths like Massive, FM8 and Absynth, effects like Reflektor, The Finger and Transient Master, drums like Studio Drummer and Abbey Road 60′s, as well as Guitar Rig Pro and some acoustic and electric pianos. The full product list is available here. Add to this a $25 voucher and you get an extremely appealing product.

People who already own a previous version of Komplete (v2 or higher) can upgrade for $199, which might be especially attractive for those thinking about buying Studio Drummer ($149). People who own Maschine, Kontakt, Reaktor, Kore or Guitar Rig Kontrol can crossgrade for $369.

The Ultimate Pack

Komplete 8 marks the arrival of a new version sold for $999, which includes nothing more than all 50 Native Instruments software tools available right now. If you’re not sure which version of Komplete 8 is right for you, take a look at the comparison chart on this page. The most interesting products included in the Ultimate version (and missing in the normal version) are Session Strings Pro (it’s a pity that Komplete 8 doesn’t include a “non-pro” version!), the VC 2A, 76 and 160 effects, Abbey Road 70′s and 80′s drums, Modern Drums, Scarbee bass, Funk Guitarist, Alicia Keys piano, and George Duke Soul. That’s a lot, all the more considering that some of these tools are very interesting (look up their reviews on AudioFanzine). It’s up to you to decide if you need them or not…

List of the programs included in Komplete 8 and Komplete 8 Ultimate already reviewed on AudioFanzine:

• Solid Mix Series
• Transient Master
• Scarbee Funk Guitarist
• Studio Drummer
• Vintage Compressors
• Razor
• Abbey Road 70′s, 80′s and Modern Drums
• Reaktor Spark
• Alicia’s Keys
• The Mouth
• George Duke Soul Treasures
• Reaktor Prism
• Reflektor
• Vintage Organs
• Abbey Road 60′s Drums
• Scarbee Pre-Bass
• FM8

To read the full detailed review see:  Komplete 8 & Komplete 8 Ultimate Review

Native Instruments Guitar Rig Pro 5 Review

Within a few years, Guitar Rig has become a reference in the world of guitar amps and effects simulation. The fourth version, which saw the light of day about two years ago, already brought major sound quality improvements with itself thanks to the new –however limited— Control Room feature… Can the German manufacturer surprise us with this fifth version? Read on…

Guitar Rig Pro is one of the pioneers in the history of guitar amp simulation and thus it is now a pretty mature product. This fifth version doesn’t introduce major improvements but rather fills some gaps in the features list. As usual, this new version includes new amps and effects, an improved Control Room (which first integrated convolution technology into Guitar Rig, see the Guitar Rig 4 Pro review), and some new features that will be useful to certain users…

Let’s start with the two new amps: Van 51 and Hot Solo+.

Two Amps for a Wall of Sound

One thing must be clear: if you don’t like distortion, the two new simulations aren’t for you. The first one is an emulation of the famous Peavey 5150, the amp of Mr. Van Halen, famous for his high-gain sound, palm muting and tapping, and his drop-D tuning. This amp, appropriately named “Van 51,” has two channels. The rhythm channel features two switches: Bright and Crunch, while both channels share a 3-band EQ, a Post Gain control (master volume), a Resonance control (low frequencies), a Presence control (high mids) and a Hi-Gain switch. Even if the amp wasn’t conceived with clean sounds in mind, we tried it out with a 335 and a Telecaster, and the results are quite ok even if not jaw-dropping. With an ESP or an Ibanez in the lead channel, the amp was much more convincing. The tone is accurate but not too artificial. Moreover, both guitars sounded different, meaning that the software stays faithful to the instrument, which is often not the case with amp simulations. The addition of this amp is good news because Guitar Rig was quite convincing with clean and crunch sounds, but distortion was not at the same level.

With our Les Paul the difference between the two channels is pretty evident. The Rhythm channel sounds very heavy, but the sound is nice! With a Telecaster you can hear the twang of the instrument, which is a good point. In short, the Van 51 isn’t limited to heavy metal guitars with high-output pickups. This is a nice surprise that enriches the software’s already comprehensive amp collection.

The second amp is the Hot Solo+. Based on the Soldano SLO (Super Lead Overdrive) 100, which is not an amp for dance balls but is considered the ultimate amp by many guitar players. This high-quality boutique amp is eagerly waiting for your high-speed solos! It provides two channels (Normal and Overdrive) with independent gain settings, 3-band EQ, Master, Presence (high mids) and Depth (low frequencies) controls. The good news is that the Hot Solo+ is available with two very different speaker cabinets. We recommend you to combine both cabinets for your guitar recordings because they complement each other very well, allowing you to fatten your sound. We recorded the same takes with the same settings but changing the cabinet so that you can hear the differences. With the 335 and the Telecaster in clean mode, the amp gives better results than the Van 51. The sound is deeper and definitely useful, even if we might prefer some other amps available in Guitar Rig Pro. With the Telecaster and the Les Paul in crunch mode the sound difference between the speaker cabinets is obvious. You’ll notice that the second one is more hollow. In high-gain mode, the Hot Solo+ is very convincing regardless of the guitar (Les Paul, Ibanez RG or ESP).

Check out the sound samples and make your own opinion…

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Conclusion

The new Guitar Rig version has more than one trick under its sleeve and is a great tool for users who like to tweak their sound and to make the most of their gear. Containers, side chain and effects like Resochord and Filterbank allow you to get very creative. But Native Instruments didn’t forget standard users: you get a more versatile Control Room Pro and many more speaker cabinets. The two new amps are high-gain specialists, but they sound very good and complement the amp collection precisely where it was lacking the most. If anything, we regret that there are not too many new amps and, as always, bass players will feel neglected with only one amp! The update price is quite affordable considering the new features. And if you are still hesitating about changing to Native Instruments, this new version adds some new arguments to the debate.

Advantages: 

• More versatile Control Room
• 23 new speaker cabinets
• The two new amp models sound good
• 6 new effects
• The container is very practical
• Guitar Rig Pro is still a reference on the market

Drawbacks:

• Only two additional amps
• Still only one bass amp
• Some new effects won’t be of interest for every user

To read the full detailed article with sound samples see:  Guitar Rig Pro 5 Review

Native Instruments Maschine Mikro Review

Two years ago, Native Instruments introduced Maschine, a kind of hybrid MPC combining software and hardware technologies. The software is now in version 1.7 and the manufacturer has also introduced Maschine Mikro — a simpler but cheaper version.

Besides being a huge success, Maschine marked an evolution on the hardware and software levels. First of all, the reader should refer to the user reviews. You’ll surely notice that some cons that we pointed out in our Maschine 1.0 review (in French) have been already fixed. But let’s start with the hardware of Maschine Mikro and the applications for which it has been conceived.

Mikro But Powerful

There is more than a family resemblance between Maschine and the Mikro version, but their dimensions are slightly different: the smaller brother is 12.6″ x 7.7″ x 2.2″ big (against 12.6″ x 11.6″ x 2.4″). This means that the Mikro version is about 6″ shorter, which is not bad considering a small desktop already fully packed with the computer keyboard, a MIDI keyboard, a mouse, controllers, etc. With a weight of 2.6 lbs (1.3 lb lighter than the “Makro” version), the Maschine Mikro is easily transportable in a backpack.

The first visible change is that the Mikro has only one display (instead of two) with a lower resolution (half as many pixels). Second major change: it has far less encoders! From the 11 encoders available on Maschine you get only one, placed above the display. The backlit switches are also decimated: you get only 28 from the 41 present on the original Maschine. Luckily, the number of pads is still the same (16) and the software is identical.

The transport console is almost the same (Loop is replaced by Restart) but there is no more direct access to the groups. With Maschine Mikro, you’ll have to push a Group button and then one of the pads. Two steps instead of one; slightly less practical. Also note that you can select a group using a keyboard shortcut as well, which is the lesser evil.

Generally speaking, it’s more difficult to browse through effects, sounds, patterns, plug-ins, and projects using only the hardware, due to the smaller display and the single rotary encoder. As we expected, Maschine Mikro makes the user more dependent on his computer mouse, screen and keyboard… This is not necessarily an issue if you use your DAW at home with your sequencer, but it might become a problem for live musicians because they don’t have the possibility of storing parameter automation data directly unto the hardware unit nor adjusting several values simultaneously. They’ll have to use an additional MIDI controller, which is not the case with the original Maschine. The last hardware difference is that Maschine Mikro has no MIDI connections on 5-pin DIN connectors!

Now let’s take a closer look…

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Conclusion

Maschine is back — smaller and more affordable ($349 instead of $599). The difference with its bigger brother concern mainly the hardware unit and the fact that it is more difficult to make music without putting your hands on your computer mouse and keyboard. In fact, Maschine Mikro is designed for musicians who work at home with a sequencer and want to use the hardware controller mainly for groove programming. In this case, Maschine Mikro fulfills its role very well because grabbing to your mouse is not an issue. If you want to use Maschine for live performances, real-time sound tweaking and parameter adjustment, and also if you want to control everything from the hardware unit, try the “complete” Maschine version, which thanks to the frequent software updates has become more and more powerful every time.

Advantages:

• Price!
• Reliable and comprehensive software (version 1.7)
• More than 6GB of sounds provided
• Very affordable additional sound banks
• Komplete Element for free
• A real inspiring tool
• Hardware quality

Drawbacks:

• Not as powerful as Maschine for live applications
• Recording automation data directly from the hardware unit is impossible

To read the full detailed article see:  Maschine Mikro Review

 

Native Instruments Transient Master Review

The Studio Effects Series by Native Instruments just got expanded with the Transient Master plug-in, which ought to be faithful to its inspiration made by SPL — the perfect occasion to try it out (in its software version).

Although the principles of controlling dynamics are easy to understand, dynamics processing is a field where the experience of the user is as important as the processor itself. Choosing compressors and similar tools for a setup or a mix can be a real pain because of the number of questions or problems that may arise.

When German manufacturer SPL launched the Transient Designer rack processor, many sound engineers in the music and movie industries (as well as many musicians) immediately saw it as the perfect solution to two very frequent problems: the attack (due to too soft or harsh transients) and the (too long or too short) sustain of a signal, especially for field recordings where you can’t control natural reverberations.

To achieve that, SPL and its senior engineer M. Tilgner (who would later leave the company to start elysia and develop other famous compression tools) envisioned a new analog technology based on VCAs and envelope generators, called Differential Envelope Technology, by cleverly and efficiently playing with addition or subtraction of both generators in order to boost or cut the attack and sustain. But we won’t dive deeper into details (you can find very clear explanations on the manufacturer’s website) because the most important thing is the result and the incredible simplicity of the user interface: two controls, Attack and Sustain.

Before launching its own plug-in range, SPL collaborated with Universal Audio to create a UAD-1 and UAD-2 version with an additional volume control. Many software manufacturers also presented their version of SPL’s classic tool, for instance Voxengo’s Transmodder, Waves’ Transmod, Sonnox’ Transmoder, DigitalFishPhones’ Dominion (free plug-in for PC and Mac OS9), and SSL’s Drumstrip (non-exhaustive list).

It’s now the turn for Native Instruments to present its own version, the Transient Master.

Introducing Transient Master

Test system MacPro Xeon 3,2 GHz OS 10.6.8 Logic Pro 9.1.5 Guitar Rig 5 Pro 5.0.2 Transient Master UAD-SPL Transient Designer

As usual with Native Instruments, just download the Mac or PC version after buying it (see NI’s website), install and authorize via the Service Center with your serial number. After the installation, it was impossible to find the folder (usually added to Native Instruments’ directory) to read the (rather short) user’s manual. But you can download it from the product page on the manufacturer’s website.

You can use the plug-in within Guitar Rig Pro 5 or the free Guitar Rig 5 Player (the free version includes an amp and several effects), and you will find it in the Dynamics category. Drag and drop into the empty rack and it is immediately ready to use. However, before using it, check if the Noise Gate is active and if the stereo mode in the guitar amp / effect host is active (click the R button next to the input level indicator).

The user interface is extremely simple, like the original, but with an additional Gain control inherited from the UA version and two additional Smooth and Limit buttons. Limit avoids clipping caused by level boosts of one of the two processed signal components. Smooth is more original: the processing has a smoother curve specially designed for distortion guitar.

Now let’s take a closer look…

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Conclusion

Maybe you think that using a compressor, an expander and a noise gate properly could replace the Transient Designer and its software emulations. This is not entirely wrong but this would be very difficult to do and the resulting quality wouldn’t be always worth the time invested doing it, especially regarding the complexity of following the envelope of the input signal. The plug-ins, as well as the original hardware processor, require that you turn only two controls…

Both plug-in versions —UA’s original version approved by SPL and NI’s Transient master— do a good job at what they are supposed to. And both have their drawbacks: UA’s plug-in with extreme sustain settings on some stereo files, and NI’s plug-in because of this noise-gate effect that is sometimes too present.

Perhaps your choice will depend on whether you already own an UAD-2 (or 1)… Guitar Rig 5 Player and its free components are certainly a plus, even if sometimes it would be more convenient to use the plug-in without Guitar Rig, just by inserting the plug-in into a channel strip, for example (because Guitar Rig’s GUI takes a lot of place on the screen). However, we appreciate the consistency of NI’s Studio Effects series, and we look forward to try out the Solid Mix series inspired by a famous British brand.

Advantages:

• Sound
• Integration in a coherent environment
• Rather subtle Smooth function
• Integrated limiter
• Reasonable price
• Free Guitar Rig 5 Player

Drawbacks:

• Pretty obvious “noise-gate effect”
• Too subtle Smooth function?
• Watch out for the damages the limiter can cause

To read the full detailed article see:  NI Transient Master Review

IK Multimedia T-RackS Black 76 & T-RackS White 2A and Native Instruments VC 76 & VC 2A Review

The (almost) simultaneous launch of the 1176 and LA2A software versions by IK Multimedia and Native Instruments is a good opportunity to make a quick comparison. Let’s go!

Some hardware products —instruments, signal and effect processors— have a kind of Holy Grail status. Among studio processors —and regardless of their denomination: limiting amplifiers, leveling amplifiers or just compressors— the Teletronix LA-2A and Urei/Universal Audio 1176 LN, as well as the legendary Fairchild 660 & 670, which are extremely rare to find (we saw a unit sold for $42,000 on ebay…), are highly regarded pieces of gear you’ll still find in big studios either as original or reissue versions. Many recording studios also use more or less faithful replicas of the originals designed by manufacturers ranging from Studio Electronics to Purple Action that (mostly) have a great sound quality. It’s simple: these legendary tools can be heard on almost every album ever produced since they were first introduced.

As expected, the software world also has its own interpretation of these legends. Since the early attempts by Bomb Factory to the latest products by IK Multimedia and Native Instruments in collaboration with Softube, and including the existing Universal Audio, URS and Waves products, the market is packed with software simulations.

We do not intend to review all software versions (they are too many) nor to compare them with vintage or modern hardware products. We just want to compare two manufacturers and use the same plugins for Universal Audio’s platform UAD-1/2 as a reference, without neglecting the performance of the original processors and some hardware replicas. Note that Native Instruments’ Vintage Compressors bundle also includes the famous dbx 160 compressor, which we won’t take into account for this review.

Introducing the Plug-ins

Test system

MacPro Xeon 3.2 GHz

OS 10.6.7

Logic 9.1.4

IK Multimedia T-RackS3 Black 76 and White 2A v.3.5.1

Native Instrument Vintage Compressors VC 76 and VC 2A

UAD-2 UAD 1176 LN and UAD LA-2A v.5.9.1

Native Instruments decided to collaborate with Softube, a manufacturer that has launched quite exceptional plugins — I can’t seem to get enough of — like the Acoustic Feedback and the Tubetech CL 1B. I haven’t had the opportunity to try out their reverbs and amp simulations yet, but other user’s feedback is very promising. So let’s start with the Urei 1176 LN and Teletronix LA-2A emulations (VC 76 & VC 2A) conceived for Guitar Rig 4, like the other Studio Effects of the manufacturer. The good news is that the Guitar Rig 4 player is free. The bad news is that you can’t use the plugins unless you have the manufacturer’s guitar multi-effect. Available for Mac (Intel only) and PC in 32-bit and 64-bit versions, the bundle —including the host (GR4 or GR4 Player) plus the plugins— supports AU, VST and RTAS formats and includes a standalone version. As always, activation is done via the Service Center.

As their name already implies, IK Multimedia’s T-RackS Black 76 and T-RackS White 2A were conceived to work within T-Racks 3, but also as individual 32-bit or 64-bit plugins to be used directly in any DAW that supports AU, VST or RTAS. As usual, to activate them you’ll have to use the Authorization Manager.

As for Universal Audio’s UAD 1176LN and UAD LA2A plugins, they are only available for the DSP cards developed by the manufacturer, from the UAD-1 to the UAD-2 Quad. Our card uses OS 5.9.1. The plugins are Mac and PC compatible, they support 32-bit and 64-bit operation (only the card drivers actually work in 64 bits, the plugins still operate at 32 bits and require a bridge), and work with AU, VST and RTAS.

Did you ask for the 1176…?

All software manufacturers took their inspiration from the LN version of the FET 1176 compressor. LN (for Low Noise) means that the product includes a modification made by Mr Plunkett, engineer at Urei, who wanted to reduce the noise. You can recognize it by the famous black front instead of the traditional burst aluminum front with blue stripes around the VU-meter. These versions, referred to as C, D and E, are the most venerated. From a technical and audio standpoint, FET compressors contributed the principle of adjustable ratio, as well as much shorter attack and release times compared to competitors using Vari-Mu or optical designs.

IK Multimedia designed its plugin based on an E model. Neither Native Instruments nor Softube give any information on this matter. However, Softube’s experience developing the FET Compressor was certainly an advantage for Native Instruments. UA doesn’t give any information about the model either. Anyway, all three have a very similar sound character, just like signal processors that use only analog components (don’t forget that every unit sounds slightly different than the other, even if it’s the exact same version).

As for the features, except for the major innovation in the form of a stereo version (we’re talking about the 1176, not the Urei 1178 stereo version), UA stays faithful to the original. Thus, you get all the original features users like so much for their ease of use: a pair of big controls for input and output adjustment, two smaller Attack and Release knobs, four Ratio buttons (4:1, 8:1, 12:1, and 20:1) including an All-Buttons mode, and four VU-meter buttons (Off, +4, +8, and GR). However, you don’t have the possibility to set the Attack control to Off, which would switch the compressor to ratio 1:1, meaning you could process the signal without compression in order to get only the device’s sound character. All three manufacturers reproduced the (confusing, at least in the beginning) operation of the controls: the fastest attack time is not hard left (1) but hard right (7). The same applies to the release. Attack times range from 20 to 800 microseconds (yes, micro!), while release times range from 50 to 1,100 milliseconds.

Native Instruments and IK Multimedia added some modifications. IK Multimedia added four snapshots, taken from T-RackS’s architecture, plus L/R and M/S buttons allowing the user to choose between one of the two operating modes (well done!). Three additional buttons (L, R and =, where L and R become M and S in M/S mode) allow the user to process the two channels of a signal separately or together. IK Multimedia’s version also displays the setting values, but they don’t quite match reality, at least for Attack and Release, which is a pity. What’s the use of adding values if they have no meaning… The All-Buttons mode is accessible via a dedicated knob. Ratio 1:1 is available clicking the Off button under the Attack control. You also have Bypass and Reset buttons.

In Native Instruments’ version, a Ratio slider replaces all four original buttons but offers all usual values (4:1 to 20:1 plus All-Buttons mode). The 1:1 ratio replaces the bypass button under the Attack control. The VU-meter management also changed: you can display the input level, output level and gain reduction. The plugin comes with a preset menu accessible via the advanced settings. The side-chain input (great for techno/electro fans) comes with a slider that allows the user to adjust the amount of direct signal so that parallel compression is possible by adjusting the output level (which has no effect on compression itself). Unlike Softube’s FET Compressor, note that you get no continuous Ratio setting.

Now let’s take a closer look…

…

Conclusion

So, what should you choose, Native Instruments or IK Multimedia (UA doesn’t count because it was only used as a reference)? It’s a difficult question because both options provide advantages and good sound results. Will these plugins replace real 1176LN and LA-2A hardware processors? No. Does their performance match the original hardware versions? Yes, except for some applications (All-Button mode, transients management in given situations, settings and/or VU-meter calibration). Is it possible to do a good job with them? Yes. Software manufacturers benefit from the ever-increasing computer performance and offer more authentic emulations every time. Take for example the 24/7, which was considered a really good plugin when it was launched…

And these tools are affordable, which is not the case of the hardware gear they are based on. Each IK Multimedia module is sold for €89.99 and can be used in T-Racks. The Native Instruments bundle (including the three compressors) is sold for €199, while single plugins go for €99; and Guitar Rig Player 4, which is required for their use, is free. Moreover, both manufacturers offer fully-usable demo versions, which is an excellent way for you to expand on this comparison.

To read the full detailed article see: Vintage Compressors Review

Synthogy Ivory II Upright Pianos Mini-Review

After Grand Pianos, it’s the turn of the Upright Pianos bank to be ported to Synthogy’s new audio engine. Let’s give it a try.

A Snap Shot: Mini-Review

 

Old Timer…

 

Chronologically, the first instrument is the genuine Tack piano. Synthogy states that this piano was manufactured in the early 1900′s, it is not perfectly tuned and has metal tacks inserted into its hammer felts.

Let’s listen now to some sound samples…

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Conclusion

A brief reminder before wrapping up: each of the 88 notes uses its own samples with up to 16 velocity layers. The samples are not looped so you get nice-sounding resonances (you “hear” the wood).

It’s difficult to find more cons than the ones already mentioned. Once again, Synthogy succeeds in offering the most comprehensive upright pianos bank in the market. The price makes it quite affordable, considering the rich and detailed sound of the samples. Needless to say, this product is very specialized and there are other options out there.

But for professional musicians and producers who look for exceptional pianos requiring almost no setup time (the instruments are almost ready to play and you’ll just have to adjust the sensitivity to your master keyboard), that sound great across the whole keyboard, and are easy to add to a mix, there won’t be much to think about.

Advantages:

• Everything except…

Drawbacks:

• … mechanical noises sometimes too regular at high velocity levels
• The loading time of the plugin and the standalone version is too long
• Still no 64-bit Mac version

To read the full detailed article with sound samples see: Synthogy Ivory II Upright Pianos Review

Tech Gear Roulette

Live by these 7 rules if you want your budget to survive technological changes.

I met Billy Bumluck at a video store in the early 80s. We were both proud owners of new VCRs; he was browsing in the Beta section, I was looking at VHS. “You use VHS?” he asked. When I nodded, he said “Too bad, man. Beta is the only way to go — better picture, more reliable, and it has Sony behind it. Your VHS machine will be a doorstop next year, so enjoy it while you can!”

We talked a bit more, and I found out he was a guitarist and technology fan, so we kept in touch. A couple years later, I got a call. “Hey, you gotta check out this new Amiga computer! It has separate chips for graphics and audio, does sampling better than a Fairlight, and has some great games.” So I went over to his house, and sure enough, it ran circles around the Macs, Ataris, and PCs of its day. “No more Beta mistakes for me,” said Billy. “This baby’s made by Commodore, and considering they’ve sold 6 million Commodore-64s, I don’t think they’ll be going out of business any time soon.”

Well, after the Amiga died, Billy had enough. “Okay,” he said, “I’m getting a Mac. There’s a fantastic program called Vision, it’ll wipe the floor with your Master Tracks Pro. It will be the perfect complement to my Sequential Circuits and Oberheim synthesizers.” And for a while, it looked like Billy made the right choice, especially when Opcode added hard disk recording to MIDI sequencing. “Craig, nothing’s going to stop those Opcode guys. No one else is doing hard disk recording and MIDI, I’d buy stock in them if I could.”

 

Then Opcode was sucked into the BHDC (Black Hole of Dead Companies). Billy was pretty shaken this time, and had heard stories of Apple going through problems. So about a year ago, he decided to switch to a PC. “There’s a billion of ?em out there. This is one standard that won’t die on me.” I told him Apple wasn’t going anywhere, but he was adamant. “Nope, no more obsolete stuff for me, and no more little companies. I’m going out right now and getting Logic Windows!”

 

Billy never was the same after Emagic dropped Windows support. Last I heard, after his savings evaporated with the collap

se of Enron and Worldcom, he went to a back-to-nature commune in Montana, with no electricity or television. Oh yes, and with an acoustic guitar to replace his Yamaha G10 MIDI guitar.

There’s a little of the Billy Bumluck magic in all of us. My Commodore CDTV sits alongside some other ill-chosen relics of technology past, each one representing a costly mistake. But they seemed like such good ideas at the time…

 

With technology changing on a seemingly daily basis, you don’t just buy gear any more — you have to be a soothsayer. How can you protect yourself? How can you stay ahead of technology and bankruptcy court? Here’s the scoop.

 

Rule #1: You will Make Mistakes

Resign yourself to it. If huge companies can make mistakes after spending zillions of dollars on focus groups and product research, so can you. Maybe you got sucked in by the ads, maybe you just got taken by something that didn’t pan out. The object is to minimize these mistakes so they don’t devastate your checking account.

 

Some people end up with Purchasing Paralysis, where they won’t buy anything out of fear that something better is coming around the corner. Well, something is, so get used to it. The secret to avoid getting burned is not to lose money on an investment.

 

For example, suppose you bought an original, 16-bit Alesis ADAT for $4,000. As you sit mousing around with your shiny new DAW, that might have seemed like a mistake. But if you did projects on it that earned you $10,000, it was a wise investment indeed — you more than doubled your money (better than what you’d get from a bank, for sure).

 

Always consider return on investment (ROI). I was debating whether or not to buy a Minidisc when it first came out, because they were pretty expensive back then, and the survival of the format was in question. But I did, and wrote enough articles about MD and how to use it that I made money on the deal. MD could disappear tomorrow, and my buying it would not have been a mistake.

So the question is not “Am I buying something that will become obsolete?” because you know that you are. The correct question is “Can I amortize the value of this investment before it becomes obsolete?” If buying something will make you more money than not buying it, get out the checkbook. Simple as that.

Let’s take a look at the other rules to follow…

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Rule #7: The best way to cope with technology is to put it in its place

I have a hammer that’s 20 years old. I’m sure that since then, the metals used in them have been improved, the handles have become easier to grip, and the weight is now distributed more ergonomically. But you know what? It drives nails just fine.

 

My main hardware synthesizer is 16 years old. My DAT deck is a TASCAM DA-30 (the original one). Then again, I have some fantastic soft synths, and two flat screen monitors. The point is, I don’t let technology rule me (“You have to buy a better DAT, you must go surround”). I rule technology: I pick and choose those things that are going to help my music.

 

I also either jump in as an early adopter, pay the premium price, and milk something for all it’s worth, or get in on the tail end of a technology when it’s proven, reliable, and inexpensive. I bought one of the first Panasonic DA7 digital mixers, and now you can buy them on blowout at a fraction of what I paid. Do I mind? Not at all: I’ve gotten so much use out of it, and made so much off of projects done with it, that not buying it would have been a major mistake.

 

I’ll leave you with this: when it comes to technology, you’re the boss. Fulfilling your needs is all that should matter. Good luck making the right choices!

To read the full article see: Tech Gear Roulette

Vocals Processing Tips: Part 2

Hard disk recording techniques have affected every aspect of recording, including vocals. Although overdubbing vocals has been a common technique for years, today’s programs let you do multiple tracks of vocals, and make a “composite” with all the best bits. We’ll cover how to do that, then talk a bit about compression and reverb.

Composite Vocal Tracks

Cutting and pasting has benefited vocals, as you can do multiple takes, and splice the best parts together to make the perfect “composite” vocal. Some producers feel that stitching together vocals doesn’t produce as natural a “feel” as a take that goes all the way through from beginning to end, while others believe that being able to choose from multiple takes allows creating a vocal with more range than might occur with a single take. If you want to try composite vocals, here are the basic steps.

Record the Takes

Record enough takes so there’s plenty of material to piece together a good performance (loop recording is particularly handy for doing vocals). While you’re in a recording mood, record a little bit of the track without any input signal. This can be handy to have around, for reasons described later.

Audition the Takes

Audition each take, and isolate the good parts (by cutting out unwanted sections). I recommend setting loop points around very short phrases.

Solo each take, one after the other. If you’re not going to use a take, cut the phrase. If a take is a candidate for the final mix, keep it.

Pick the top 3 or 4 candidates, and remove the equivalent sections from the rest of the tracks. Now repeat this procedure, phrase by phrase, until you’ve gone over the entire performance and found the best bits

In Sonar, several takes of vocals have been recorded. A mute tool has muted portions of each track (the waveforms are shown as shaded), with the remaining parts making up the final vocal.

Next, listen to combinations of the various different phrases. Balance technical and artistic considerations; choose parts that flow well together as well as sound technically correct. Sometimes you might deliberately choose a less expressive rendition of a line if it comes just before an emotional high point, thus heightening the contrast.

Once you have the segments needed for a cohesive performance, erase the unused parts. If you want to archive everything “just in case,” go for it. But if after putting the part together you think it could be better, you might be better off re-cutting it than putting more hours into editing.

Several takes of vocals were recorded into Cubase SX, and edited to create one final vocal. The program shows the elements that make up the final vocal by highlighting them in green.

Bounce the Takes

This isn’t absolutely necessary, but converting all the bits into a single track simplifies subsequent editing and processing.

Before bouncing, play the tune through from start to finish and match the segment levels as closely as possible. Also check the meters for any send bus or master bus the tracks are feeding, and adjust levels (if needed) so there’s no distortion. Generally, the bounced track will be derived from a bus or master; if there’s distortion, the bounced track will have distortion too.

This is also where the recorded noise might come in handy. Sometimes I’ve had to do a quick fade on the end of one segment, and a fade in on the beginning of another, leaving a dead silent gap between phrases. Layering in a bit of the noise signal gives better continuity, and keeps the part from sounding too “assembled.”

After everything’s set, implement the program’s bounce or mix to hard disk function. You can typically bounce to an empty track, or “render” the audio to disk and bring it back into the project.

Edit the Composite Track

At this point, I bring the composite track into a digital audio editor for clean-up. Here are some typical processes:

• Phrase-by-phrase gain adjustments. If a phrase has mismatched levels, use the program’s level change DSP or mix automation to fix the problem.
• Fix breath noises and inhales. There might be “flammed” inhales from combining two different takes, so cut one. However, don’t eliminate all inhales and breath noises — they keep things “human.”
• Add overall dynamics control, reverb, EQ, echo, etc. if needed. Do not add these while cutting individual takes; it will be much harder to match the effect, and in the case of reverb, tails might get cut off. Adding processing after optimizing the entire track will give the best results.

Tidy Up Your Hard Disk

After the vocals are done, check how your program deals with deleting unused segments, as this can reclaim significant space from your hard drive.

Now let’s take a look at compression…

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Reverb Tips for Vocals

Nothing “gift wraps” a vocal better than some tasty reverb. My favorite reverb for voice is a natural acoustic space, but as reverb rooms are an endangered species, you’ll likely use a digital reverb. Reverb settings are a matter of taste, but two parameters are particularly important.

A reverb’s Predelay and Diffusion parameters are crucial to getting good vocal sounds. This reverb, the RVerb plug-in from WAVES, offers an exceptional amount of control.

Diffusion: With vocals, I prefer low diffusion, where each reflection is more “separated.” Low diffusion settings often sound terrible with percussion, as the individual echoes can have an effect like marbles bouncing on a steel plate. But with vocals, the sparser amount of reflections prevent the voice from being overwhelmed by too “lush” a reverb sound.

Predelay: This works well in the 50-100 ms range. The delay allows the first part of the vocal to punch through without reverb, while the more sustained parts get the full benefit of the reverberated sound.

To read the full article see: Vocals Processing Tips Part 2