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Arturia SparkLE

Tue, 18 Jun 2013 10:13:00 GMT

Read more about Arturia SparkLE at MusicRadar.com

The latest version of Spark, named SparkLE, utilises version 1.6 of Arturia's Spark Creative Software. It houses a powerful sound engine fusing analogue and physical modeling with samples of electronic kits, acoustic drums and user sample import capability to a step sequencer driven by eight velocity/ pressure sensitive pads. Said pads have 64 writeable patterns each with 64 steps available over four banks that can be chained to form arrangements in a similar way to an MPC or Maschine.

"The sound engine and functionality is retained from the original Spark software but the hardware controller has been stripped down"

Thankfully, the sound engine and functionality is retained from the original Spark software but the hardware controller has been stripped down, aimed at travelling producers, live performers and those low on studio space. When using the software there's the option of using the original and more complex Spark controller skin, or the new and simpler SparkLE version.

The biggest downside is that the dedicated MIDI in and out ports have gone, along with the 27 real-time controller knobs, making the SparkLE controller less capable when controlling the Spark software and as a generic MIDI controller.

Even though this means you lean on your computer screen a little more, it doesn't feel like it has lost too much compared to the original Spark and the overall workflow is still fast and intuitive. Notably, the software is stable with no crashes occurring during the review period.

Sound to go

"We love how the controller doesn't have to be connected to use the software"

Like Native instruments Maschine, we love how the controller doesn't have to be connected to use the software. That means, if you're on the move there's no need to bring the controller along if you don't want to.

This is a significant advantage over the Akai MPC Studio, though SparkLE is designed to be more of a dedicated drum synth and thus doesn't offer the deep sample manipulating and chopping facilities the Akai has. That said, you can layer up to six .wav samples on a pad (with several trigger modes) but any sample chopping will have to be done in other software before importing.

The neat looking USB powered sparkLE controller has been logically laid out and mirrored exactly by the SparkLE software. It's a shame they missed the shuffle (swing control) off the hardware but the swing itself feels great. Made of tough textured white plastic with a metal bottom, the controller is well made and we actually prefer its compactness to the original. The dials are made of an inviting, soft touch plastic and feel as though they will stand up well to plenty of abuse.

The buttons and eight square trigger pads are made of translucent rubber, feel good and are backlit just like the MPC studio and DSI Tempest. Overall, a feeling of quality flows throughout the SparkLE and it's important considering its low price point.

From classic to acoustic

To test the MIDI controller capabilities, we hooked up the SparkLE controller to Motu BPM via Logic in order to trigger BPM's sounds. This worked well and you can reassign the dials and pads to whatever MIDI functions you require using the MIDI Control Center application.

You can also drag and drop MIDI info (and export audio) from SparkLE into your DAW and send it to other MIDI instruments. The only pain is that the initial set-up takes a while on a Mac, involving cabling in Logic's environment and the set-up of the IAC driver in Audio MIDI Set-up.

"SparkLE ships with a decent array of sounds including samples of classic Linn and Roland Machines"

However, it's all detailed in the well-written manual. It's also worth noting that you can also use the software in standalone mode without having to use your DAW.

SparkLE ships with a decent array of sounds including samples of classic Linn and Roland Machines, acoustic kits and more besides. The analogue and physical modelling engines sound authentic and offer up plenty of control over the important details of sounds including timbre, tone, envelopes and the tension of snares on a snare drum (for example).

Plus, there are some very respectable sampled and modelled synths and effects onboard that increase the sonic scope nicely. Even without dragging in your own samples there's plenty to keep you occupied, but Arturia also offers expansion packs (some of which are free) specialising in different types of sounds (think vintage and dubstep) to keep things fresh.

The quality of the included content is excellent throughout and most of the sounds sit well in tracks without much further processing. That said, there are plenty of excellent effects onboard and a simple mixer with effect sends/returns, panning and volume.

Pick, hit and play

Working with the SparkLE software and the new LE controller is a rewarding experience - it flows nicely and logically. There's seldom any head scratching to do, leaving you free to make beats. To do so, pick a kit, hit record and play live on the pads before going into the step window to tweak, edit and automate parameters.

SparkLE truly comes to life when using the real-time effects triggered from the X/Y touchpad. Even though it's £1,000 less, the workflow and feel reminds us a lot of our DSI Tempest (that should speak volumes). SparkLE's sound is a little harder/digital as expected yet still nicely soulful.

For this kind of money, SparkLE is a steal when you consider its deep programming and real-time capabilities, fast workflow, small learning curve and superb results. The only significant thing it lacks is deeper sample editing/ chopping, so if you're considering Maschine Mikro or the new MPC software, you should seriously think about SparkLE as a worthy alternative for your beat-making tasks.

Read more about Arturia SparkLE at MusicRadar.com

Echo Audio Echo 2 USB Interface

Mon, 17 Jun 2013 10:03:00 GMT

Read more about Echo Audio Echo 2 USB Interface at MusicRadar.com

Audio interface designer Echo Audio has unveiled a new two-in, four-out USB compatible Echo 2 interface that shuns conventional controls for a touch based design.

The impact of touch based devices has rippled way beyond the realms of the telecommunications industry.

We took for granted how our phones and tablets shed most of their buttons some time ago, but the truth is that the majority of hardware audio devices still pack a collection of switches, sliders and knobs.

Echo Audio has clearly decided that enough is enough, seeing how its new Echo 2 USB interface shuns conventional controls for a touch based design. The question is, does this represent pure gimmickry or a trail blazing road map for all interface designers henceforth?

Critical specs

"As soon as the connections are made, operation is simple"

Echo 2 is slick and compact with a mini jack headphone port on the end facing toward you, and input and main outputs on the back panel. While the touch screen design ensures Echo 2's neatness, its box supplies assorted cable-based extras in the form of the all-important USB connector and two 1/4" to female XLR cables to facilitate microphone connections.

Echo 2 is buss powered but you will need to connect the provided power supply to the mains if you want to use phantom power. Drivers for PC are available from Echo Audio's site. Mac-wise, the device is fully plug-and-play with no drivers required. Once you're operational, Echo 2 offers recording clarity at up to 192kHz at 24-bit and the onboard signal conversion is of the high quality you would expect for an interface at this kind of price.

As soon as the connections are made, operation is simple. Touch to select an input source then use the In1/2 buttons to pick an input before the long-throw Level control to manipulate input strength. Click the speaker icon to select output volume then utilise the Level dial to tweak to taste.

There's a Monitor button in the bottom left-hand corner to control listening level, an automatic 'optimal' level set option, and, most brilliantly, a neat bracket in the box that lets you attach Echo 2 to a microphone stand.

Touchy feely

"The Echo 2 has the connections as well as the internal components to do a quality job both in the studio and as part of a live set"

There's no doubting the Echo 2 has the connections as well as the internal components to do a quality job both in the studio and as part of a live set, but does its touch-sensitive nature cut the mustard?

Broadly speaking, yes, but with a couple of caveats. While the touch technology certainly works, in some cases it does so with a short delay. For instance, if you're switching input types for Input 1 or 2 you will need to touch the Input button and hold it before it switches over. Obviously this ensures you don't switch by accident, but it's a tad disconcerting at first because there's little in the manual to explain it.

Equally, the audio conversion is of an impressive high quality and the upper panel's buttons self-explanatory, but we would like more colour coding in the LEDs to help differentiate between settings in low-light conditions. The phantom power light should be the standard red while output options, for instance, could be lit orange to differentiate them from the inputs.

The lack of protruding buttons, dials and sliders makes Echo 2 a compact solution that's emminently baggable and with its audio interfacing credentials, Echo's latest is capable of a great sounding job. But is it for you? Well, that comes down to whether you're happy with touch controls. Like them - love this.

Read more about Echo Audio Echo 2 USB Interface at MusicRadar.com

Denon MC2000 DJ Controller

Fri, 14 Jun 2013 10:46:00 GMT

Read more about Denon MC2000 DJ Controller at MusicRadar.com

The entry level controller market is fast becoming a crowded place. With so many vying for your attention, wouldn't it be nice to have a definitive 'best of the bunch'? You know, one that digital DJs can trust to handle their performance needs at the right price too? People, in the Denon MC200, we may have found that controller!

The Denon MC200 is a two-channel digital DJing hardware unit bundled with, and tested on, Serato's DJ Intro software - MIDI-mapping also allows it to run on other platforms like Traktor and Virtual DJ.

"The first noticeable feature is how sturdy this thing is, both in terms of weight and design"

The first noticeable feature is how sturdy this thing is, both in terms of weight and design. Its metal casing and resilient knobs and faders are designed to take the kind of knocks an item routinely lugged about on DJ travels is prone to.

As for the uncluttered layout, the vitals are in the places you'd imagine: left and right sides house pitch, cross and line faders, hot/sample cues and loop buttons with FX dials spread above. Unbalanced RCA in, mic input and the RCA line out are round the back. A 1/4" headphone jack is on the front.

The pressure sensitive jog wheel platters are solid as a rock and feel responsive beneath your fingers. Line and pitch faders offer more resistance than some other controllers, which is sure to help withstand accidental nudges.

The cross fader, on the other hand, is quick and loose with a tight curve of up to three mm (adjustable in DJ Into's setup). Other performance adjustments are handled by the various rotary knobs on the unit. These are sturdy and the ones that require it have a centre click. They're also quite tall, making them easy to find in the heat of a mix.

The four cue buttons are hard plastic and responsive, recognising your actions immediately. Sync and Key Lock buttons take pressure off the mixing part and let you get on with blending your beats, while the bank of FX across the top of the controller offer the usual range of delays and filters.

Simple and clear

"It's intuitive and simple to navigate with a feature set that packs in what you need without gimmicks"

Spec aside, the MC2000 just works. It's intuitive and simple to navigate with a feature set that packs in what you need without gimmicks or button claustrophobia. Its main rivals at the moment include Pioneer's DDJ-WeGo, Novation's Twitch, and the Vestax Spin 2, but the MC2000 is a clearer, simpler, and stronger sounding device.

The only gripes come from the excellent yet limited DJ Intro software. The lack of a recording function, boring one to eight bar looping and a lack of post-fade effects can all be addressed by upgrading to the full fat Serato DJ software... For a price, naturally. As for the hardware, we would like to have seen line meters chugging away for a visual volume reference but auto gain has done away with that need these days.

The Denon MC2000 is playable, fun, sturdy and more robust in sound and design than any other controller hovering around its price range (and a few above). It's a must for newcomers and podcasters, and will prove essential for warm up, house party, bedroom and bar DJs. If you're in the market and on a budget, be sure to make this your first port of call.

Read more about Denon MC2000 DJ Controller at MusicRadar.com

UVI UVX-3P

Thu, 13 Jun 2013 10:31:00 GMT

Read more about UVI UVX-3P at MusicRadar.com

Running in the UVI Workstation ROMpler engine or MOTU MachFive, UVX-3P is a 6GB multisampled JX-3P - a low-end (but very capable) 80s Roland analogue synth.

"You can't help but be impressed by the richness of the samples"

Take a tour of the 150+ presets and you can't help but be impressed by the richness of the samples and the fatness and warmth of the synth itself. Control-wise, UVX-3P holds no surprises, much like the pared-back original: a multimode filter (HP/LP/BP), amp and filter envelopes, various Stereo options and a few simple effects.

Beyond the envelopes, there's a hardwired LFO (Pitch, Drive, Volume and Filter) and step sequencer (Volume, Filter), while the mod wheel can be simultaneously assigned to Vibrato, Tremolo and Filter cutoff.

There's also an arpeggiator, but it's uneditable - thankfully, UVI Workstation has a much better one built in.

Read more about UVI UVX-3P at MusicRadar.com

Tronsonic/Synth Magic System 1000M

Wed, 12 Jun 2013 10:48:00 GMT

Read more about Tronsonic/Synth Magic System 1000M at MusicRadar.com

A multisampled Roland System 100m modular synth for Konakt 5, System 1000M channels just under 500MB of captured waveforms into one of the more epic scripted Kontakt synth emulations we've encountered to date.

"One of the more epic scripted Kontakt synth emulations we've encountered to date"

With a single oscillator hosting fabulously wonky saw, triangle and pulse (square, narrow and wide) waves, a noise oscillator, and a single multimode filter to shove the results through, the raw materials might not seem like much; but with three LFOs and two envelopes bringing plenty of movement, System 1000M is big on modulation.

Envelope 1 even features a variable randomiser control for each stage, while below it awaits the global Random button, for instantly generating new patches. There's also a dual Interval section, enabling triple oscillator sounds, an arpeggiator and a couple of effects.

Read more about Tronsonic/Synth Magic System 1000M at MusicRadar.com

FL Studio Mobile for Android

Wed, 12 Jun 2013 10:46:00 GMT

Read more about FL Studio Mobile for Android at MusicRadar.com

The problem with Android music-making is well documented: due to the way the OS is designed, it's very difficult to create real-time audio applications for it (you'll often hear a distinct lag between pressing a note on an onscreen keyboard and hearing it sound, for example).

As a result, very few of the big-name iOS apps have made it over to Google's mobile platform, so when Image-Line announced that it was to release FL Studio for Android, a lot of users got very excited.

Overview

In terms of look and feel this is very similar to the iOS version of FL Studio Mobile, which itself is derived from Xewton's Music Studio. It's a self-contained music production platform that enables you to create projects using a selection of built-in sounds (there's no audio recording option). The app's various windows are accessed via tabs displayed across the top of the interface.

These enable you to open up a touchable and resizable keyboard or a bank of onscreen drum pads; an instrument browser; a Tracks display (which is also your main note editing hub); an Effects panel; and windows for managing your projects and making general app setup changes.

The soundbank (which comprises 133 instruments, drum kits and sliced-loop beats) leans towards the electronic, though it's just presets that are on offer, and these can only be edited to the extent that you can adjust attack and release times.

Tracks can be created by using the familiar FL Studio step sequencer, by inputting notes on a piano roll or, in theory, by recording in real-time using the aforementioned onscreen keyboard or drum pads.

In use

We say 'in theory' because, perhaps unsurprisingly, FL Studio Mobile for Android still suffers from that latency problem. Using our test device, a Sony Xperia U, recording parts in real-time was pretty much impossible, though better results could be achieved by slowing down the tempo and using the auto quantize option.

Image-Line tells us that the latency level varies from device to device - it quoted us a figure of around 70ms for a Google Nexus 4 - but it's clear that there's still an issue here, and you may have to accept that your projects will have to be constructed by drawing notes in rather than playing them live.

This is hardly Image-Line's fault, but it is a shame that there's no demo version available so that potential users can test the app on their device before paying £12.95/$19.99 for it.

Once you've got over the latency hump, the good news is that FL Studio represents one of the better music making experiences that Android has to offer. The sounds are fine; there's no way to add more as things stand, but an in-app purchasing store is on the way, we hear, as are the options to import .instr files created with FL Studio or FL Studio Mobile for iOS, and to create custom drum kits from samples.

"It's a shame that there's no demo version available so that potential users can test the app on their device."

As for the workflow, once you've got used to the way the sequencer works, getting a song together is relatively straightforward. There are a few quirks, and certain features have been tucked away in areas that you wouldn't expect to find them, but the workflow in general is smooth, and the interface looks pretty slick. Inevitably, it's better suited to tablet-sized screens, but you can just about get away with using it on a phone.

And of course, any projects that you do create on the go can be imported into the desktop version of FL Studio, so there's a chance that you might actually turn those commuting doodles into fully-fledged productions.

Summary

FL Studio isn't the game-changing music-making app that a lot of Android users were hoping for, then, but it stacks up reasonably well against the competition. We're assured that updates are on the way, though it the software is ever to fulfil its potential, Google will have to get its act together on the audio front.

Read more about FL Studio Mobile for Android at MusicRadar.com

Techné Media Different Drummer

Tue, 11 Jun 2013 10:33:00 GMT

Read more about Techné Media Different Drummer at MusicRadar.com

When Different Drummer was first released in 2012, it carried a ridiculous £200 pricetag. Now down to a more sensible £35, it's a much more viable release, albeit one that still sits at the higher end of the App Store price range.

"An innovative eight-channel drum machine, Different Drummer eschews conventional step sequencing "

An innovative eight-channel drum machine, Different Drummer eschews conventional step sequencing in favour of what Techné call Cyclophone Technology. A DD 'patch' is called a Wave Set, and it comprises eight Drum Waves, which are triggered samples (from the built-in library or imported), the playback timing and pitch of which are governed by five Control Waves.

These are basically touch-controlled sine wave LFOs, each generating a fundamental wave and six partials that enable complex rhythmic shapes to be designed. It's hard to describe but great fun to use, and Wave Sets can be strung together to make complete 'songs'.

The interface is fairly intuitive but slightly awkward in places - standard iOS On/Off switches to activate sounds, for example. Plenty of graphical feedback is given, with the effect of the Control Waves clearly visible in the central Wave Display and the overall pattern laid out at the top. It's also packed with randomisation such as automated random sequence morphing.

Different Drummer certainly lives up to its name - there's nothing else quite like it. It's very much about rhythm and pitch, though, with little in the way of sound-shaping onboard - ie, no filter or effects beyond a rather crummy global reverb.

However, the Cyclophone concept works really well, and with the app able to export MIDI files (as well as recording it's own output to WAV and feeding other apps via AudioBus), it could be a powerful rhythm design tool in conjunction with your DAW. It's just a shame it doesn't have any kind of synthesis or sample manipulation.

So, is it worth the money? Well, if it was a desktop app, no one would question the price, so it could be argued that it is, yes. In the inescapable context of other iOS music apps, though, it feels about 15 quid too high to us.

Read more about Techné Media Different Drummer at MusicRadar.com

iZotope Nectar Elements

Mon, 10 Jun 2013 10:30:00 GMT

Read more about iZotope Nectar Elements at MusicRadar.com

A cut-down version of iZotope's £209 Nectar vocal processing plugin, Nectar Elements is aimed at the 'home' user (ie, non-technical singer-songwriters, video producers, podcasters, etc) looking to get their recorded vocals sounding great with a minimum of manual involvement.

While the full Nectar offers the wealth of options and parameters that you'd generally associate with iZotope's plugins via its Advanced mode, Elements is essentially Nectar's Overview window minus a few bits and pieces. It boils the full Nectar experience down to the essentials, with ten under-the-hood processors controlled via seven modules (with a few pop-outs).

"The six main modules comprise Levels (saturation and compression), Space (reverb), De-Esser, Gate, Pitch Correction and five-band EQ"

In fact, sometimes, simply calling up one of the 100-odd Style presets will be all the user input required. These are divided up into 12 genre-based categories, including Dance & Electronic, Pop, Rock, Voice Over & Dialog, etc, and the library can be expanded with add-on packs, of which there are currently three available for free.

The six main modules comprise Levels (saturation and compression), Space (reverb), De-Esser, Gate, Pitch Correction and five-band EQ. The seventh is context-sensitive, depending on the current Style preset, making available two parameters from a fixed bank of under-the-hood effects, including the descriptively named likes of Sizzle, Decade, Intensity, Tape Echo, Fidelity, Presence and many more.

As you can see from the screenshot, the parameters on offer for tweaking are few, but the engine running in the background adapts to cater for each Style preset, adjusting the compressor response or saturation style, say, or the reverb algorithm used by the Space module.

Nectar Elements fulfils its promise of balancing ease of use with just enough depth and flexibility to make it a serious and versatile tool for vocal production. It is, of course, quite severely hobbled in the 'details' department in comparison to its big brother, but the Style presets are well designed and relevant, and, most importantly, that legendary iZotope sound quality is fully evident.

Read more about iZotope Nectar Elements at MusicRadar.com

Sinevibes Sequential 2

Fri, 07 Jun 2013 10:43:00 GMT

Read more about Sinevibes Sequential 2 at MusicRadar.com

The latest Audio Unit effects plugin from Sinevibes (still no VST or Windows support, sadly) is a redesign of one of its previous successes, and while ease of use has always been a tentpole of the Sinevibes philosophy, Sequential 2 is probably its most intuitive device yet.

An effects sequencer with an understated appearance and a minimalistic control set, there's really not much to it: 16 effects processors each get a lane on a sequencing grid, which can be up to 32 steps long and run at speeds up to 1/64 per step. By activating a step on any lane other than the Dry one at the top, the effect on that lane is applied to the incoming audio signal, enabling tempo-synced 'hocketing' between effects. It's as simple as that.

"The effects comprise the usual filters and bitcrushers, as well as some more intriguing modules"

The effects comprise the usual filters and bitcrushers, as well as some more intriguing modules. Circuit-bent Filter is a deliciously broken low-pass, while Glitch Oscillator seems to be some sort of sample-and-hold oscillator, and Sine Shaper and Dual Sine Shaper are a characterful pair of waveshapers.

Each effect has just one control - Cutoff for the filters, Curve for the waveshapers, Speed for the Phaser, etc - and all have been tuned to a specific range in order to give consistently usable results. Don't misinterpret "usable" as "always pleasant", though, as Sequential's output ranges from gently edgy to spectacularly aggressive. A dry/wet mix control helps to keep things under control.

Sequential comes with just shy of 50 presets, but the whole sequencer can be randomised at a click, which - given the highly source-dependent nature of the plugin - is a great way to get started with a new patch.

It's also worth noting that it's 'monotimbral', in that you can only activate one effect per step - obviously, we'd love to see the ability to combine multiple effects at once.

Read more about Sinevibes Sequential 2 at MusicRadar.com

MuTools MuLab 5 UL

Thu, 06 Jun 2013 10:31:00 GMT

Read more about MuTools MuLab 5 UL at MusicRadar.com

MuLab is designed and built by Jo Langie, the veteran developer behind Muzys and Computer Music's own CMusic - once the sequencing hub of our suite of free software. The MuLab series is the successor to the former. We're looking at the top-of-the-range UL edition, but there are also XT (€29) and Free versions.

"The MUX modular audio engine blurs the line between plugin host and graphical audio programming environment "

The archaic-looking interface is a far cry from the polished front-ends of its rivals, but it does offer the same basic functionality: MIDI and audio recording and editing, VST instrument and effect hosting, mixing and so on. Where MuLab differs, though, is in its MUX modular audio engine, which blurs the line between plugin host and graphical audio programming environment (think NI's Reaktor, et al).

For MuLab 5, MUX has been beefed up with some new features and improvements, including Sequencer Player and Note Key Ranger modules, an improved audio filter algorithm and an increased number of metaparameters. There are now also more options for fine-tuning the appearance of MUX front panels, so it's possible to create instruments and effects that look better and can be tweaked more easily.

Other improvements include MuClips (preset files that combine a sequenced part with its target sound module), the Extended Shortcut System that lets you map QWERTY keys or MIDI notes to menu functions, and an integrated browser that, combined with the enhanced drag and drop, makes adding and moving effects and instruments more streamlined. Automation has been improved - curves between two points can have more shapes, such as sine and saw waves.

One of v5's big new features is multicore processor support - pretty much all other DAWs have had this for years, though, highlighting the product's general outdatedness. Similarly, setup on a Mac seems old school, involving manually locating your VST plugins folder and making an aggregate device so that the computer's built-in input and output can be used at once; every other DAW we've tried does this all by itself.

Key issues

The default key assignments are lacking - for instance, you can't transpose MIDI via the usual method of selecting notes and using the up/ down cursor keys, and to access typical MIDI functions, you have to use the right-click menu's submenus (which have to be re-opened with a click each and every time). You can't type in values for things like fader levels either.

"Our overriding impression of MuLab 5 is that it feels like a product of another, simpler era"

Setting up to record audio is fiddly, involving a settings page rather than the one-click 'arm track' approach of other DAWs. And there's no plugin delay compensation, which is forgiveable given the price, but without a simple track delay offset, you can't easily apply manual correction.

Our overriding impression of MuLab 5 is that it feels like a product of another, simpler era. From the garish, chunky interface to the reliance on menus, it's an effort to get to grips with. Even when you do, the interface feels idiosyncratic and long-winded alongside other DAWs, lacking much of the functionality we've come to expect.

On the plus side, MuLab seems stable, and there are neat touches like the adjustable pre/ post fader point. The software is not "broken" in a fundamental way, but a rethink of some facets of the interface and the implementation of standard DAW paradigms where appropriate (eg, record arming) is needed to bring it into line with modern expectations. The improvements for v5 indicate that things are moving in this direction, so hopefully this will continue.

We can absolutely appreciate that MuLab has its fans, thanks to its unorthodox approach and modular architecture, but for music production, it's hard to recommend over more rounded and capable rivals. If you like the sound of MuLab, it's worth trying the free version, but most musos would be better off with a more professional DAW, like the cheaper and far slicker Reaper.

Read more about MuTools MuLab 5 UL at MusicRadar.com

Focusrite Scarlett 18i20

Wed, 05 Jun 2013 10:40:00 GMT

Read more about Focusrite Scarlett 18i20 at MusicRadar.com

Focusrite's Scarlett audio interfaces are now a well established range, and using the same mic preamp design as the FireWire Saffire range, it's a given that the front end is going to be at least as good as any at this price.

"It may not appear to be a big step up from the 18i6, but they're worlds apart in terms of physical connectivity"

The 18i20 has 18 inputs and 20 outputs, and is effectively a Saffire Pro 40 with USB 2.0 rather than FireWire (though there are a few notable differences, such as word clock only being on the 18i20 and no optical S/PDIF option for the 18i20). Although it may not appear to be a big step up from the Scarlett 18i6, they're worlds apart in terms of physical connectivity.

Two front-mounted mic/line/instrument inputs are joined by six rear-mounted mic/line inputs (all on combo connectors). All eight mic preamps feature individual front panel gain knobs, along with 48V phantom power switched on/off in two banks of four. Inputs 1 and 2 get manual switchover for high impedance instrument input and a 10dB pad switch.

There are ten analogue outputs on balanced TRS jacks, the first two of which are labelled 'Monitor'. The front panel also has two dedicated headphone outputs with individual level controls.

The other ten inputs and outputs are digital, with stereo S/PDIF via RCA and eight further channels on ADAT lightpipe. The latter can also handle S/PDIF or four channels of SMUX at 96kHz.

Lastly, there's MIDI In/Out, word clock out and a mains input socket. The 18i20 can also run as a signal mixer in standalone mode. Display-wise, the front panel hosts eight 5-part LED input meters as well as USB Active and clock Locked indicators.

There's also a monitor level control with Mute and Dim buttons. The 18i20 uses Focusrite's Scarlett MixControl software, so although input gains are hardware-controlled, the monitor, Dim and Mute controls can be accessed via software, too.

Finally, the 18i20 comes with Focusrite's Scarlett Plugin Suite (EQ, Compressor, Reverb and Gate), 1GB of Loopmasters samples, Ableton Live Lite, and Novation's Bass Station soft synth.

Seeing red

"Like many current audio interfaces, the 18i20 tackles the 'studio hub' role successfully"

At 3kg, the 18i20 is a hefty unit, and although the Scarlett series' red livery has been carried through to the case, the black front panel is a far more serious and professional-looking affair. It all feels very solid, and while we prefer the rubberised black mic preamp knobs to the shiny silver monitor and headphone knobs, that's obviously not a deal breaker.

Like many current audio interfaces, the 18i20 tackles the 'studio hub' role successfully, bringing together input, output, software monitoring and hardware monitoring. Having two separately configurable headphone feeds, for example, is very useful, as are the physical Mute and Dim buttons and additional software monitoring options (including mono).

The combo inputs automatically switch between mic and line sources based on plug type, and the 60dB of gain handles low-level signals well. The input LEDs do the job, although there's no option to switch them to output monitoring. One minor issue: in some circumstances, the monitor mute and level can be a bit slow to respond. Focusrite say it's a software problem that'll be fixed soon in an update.

In use, MixControl delivers the near zero-latency monitoring you need when recording without a hardware desk, and non-destructive solo (PFL) is a useful inclusion. The mix software, however, isn't as fancy as equivalents from the likes of MOTU and Metric Halo. Notwithstanding, the 18i20 is competitively priced for a unit that delivers such excellent results.

Read more about Focusrite Scarlett 18i20 at MusicRadar.com

Kirnu Cream

Tue, 04 Jun 2013 14:29:00 GMT

Read more about Kirnu Cream at MusicRadar.com

It would appear that the death of the MIDI effect has been greatly exaggerated. We've only just wrapped up our Xfer Records Cthulhu review and along comes Cream, a super-charged version of Kirnu 1, Arto Vaarala's awesome donationware arpeggiator plugin.

Cream is a VST/AU plugin for PC and Mac, available in 32- and 64-bit versions. Experienced AU users will know what's coming next: since Cream works as a MIDI effect, you'll have to do a little extra work to get it working with your Audio Units instrument plugins, and you'll suffer a nominal hit in latency for your efforts. The developer recommends using the VST version where possible.

"To call Cream simply an arpeggiator or even a pattern sequencer is to do it a disservice"

To call Cream simply an arpeggiator or even a pattern sequencer is to do it a disservice. While it can do those things (and function as an auto-chord player, too), it's more interactive than a standard arpeggiator or step sequencer.

A Global section sits at the top of Cream's architecture. Here you can set the volume, the Scale to which the output will adhere, the way patterns are switched (on the next step, every fourth, eighth or 16th), and whether the pattern is restarted immediately when all notes are released.

Down a level, we get to the Tracks section. There are four tracks, each one hosting its own Pattern Data section (see below), arpeggiator and Pattern Sequencer. You can assign each track to a specific note range and MIDI channel, enabling different sounds to be played on a multitimbral synth or multiple MIDI instruments simultaneously.

One particularly neat feature is Arpeggio On Note Count, which delays the start of the arpeggiator until a specified number of notes are played, allowing you to play a regular melody line before the arp kicks in.

Pattern recognition

"Cream's powerful Pattern Data section is the heart and soul of the device"

Cream's powerful Pattern Data section is the heart and soul of the device. You can create and store up to a dozen patterns per track (of up to 32 steps each) and trigger them manually, via MIDI or using the wicked onboard 16-step Pattern Sequencer.

Each pattern controls a number of discrete functions, tabbed at the top of the display. You can create patterns governing note order, chord memory playback, step length, gate, accent, note division, transposition, note shift, the note sequence of the held chord, and even MIDI CCs (up to eight of them, user-assignable).

What's more, each of these sections is independently loopable. As you can imagine, this level of data control results in a vast amount of manipulation potential for each pattern and Track. It's a simple matter to transform even the simplest chord into a complex musical passage that you'd have been very unlikely to come up with without Cream. On the downside, some of the control adjustments seem a bit fiddly, but that's a minor quibble in light of the power on offer.

Cream of the crop

Sometimes it feels like the music software industry is slowly creeping towards genericism. Cream reminds us of a time when developers were wildly experimental, cobbling together tools that were outside the norm, yet fun and inspirational to use.

Unlike your standard arpeggiator, Cream offers enough programmability to ensure that, with a bit of effort, the results are yours and yours alone. That's a pretty big promise to make, but Cream delivers, and for a ridiculously low price.

Read more about Kirnu Cream at MusicRadar.com

Yamaha MX61

Tue, 04 Jun 2013 10:30:00 GMT

Read more about Yamaha MX61 at MusicRadar.com

As the newest edition to Yamaha's synth series, the entry level MX range is priced to sell. We've already seen the MX61 going for as low as £499 at some retailers - great news for those wanting a wide range of Motif XS based sounds for a minimal outlay.

At just 4.8kg's (10lbs), it's one of the most portable 61-note boards around and regular giggers will no doubt welcome this. Build quality isn't bad for the money but the case is plastic throughout, you'll probably want to grab a flightcase to protect your investment. The overall tightness of the switches and dials is certainly fine and the synth action keybed feels good for playing both synth and piano sounds.

Complete control

"The controllers are great for making real time changes when playing live or in the studio"

In terms of onboard controllers, there are the standard issue, hard plastic pitch bend and mod wheels, four multifunction knobs, a data dial and 47 buttons for selecting functionality. The four knobs not only access different functions according to the knob function button (including filter cutoff/ resonance, part volume, panning, envelopes and FX send levels), but are used for DAW functions when the MX61 is in DAW Remote mode. These controllers are great for making real time changes when playing live or in the studio.

For visual feedback, there's an old school red on black number display illustrating the performance number (a performance is a 16-part multitimbral set-up) and a two-line blue backlit screen for displaying voice names and editing tasks. It's intuitive to use and super easy to set up 16 different sounds and flick through them with the left/ right cursor keys while performing without having to menu dive.

There's also no audible cutoff when switching sounds (which really helps in live situations). To alter sounds in real time, reach for any of the four knobs and tweak the filter, envelopes or FX levels. The 16 category select buttons simplify choosing from the 1,106 voices and 61 drum kits onboard (plus 128 user writeable voices). Categories include piano, keyboard, organ, guitar, bass, strings, synth lead, synth comp, sound EFX, ethnic and more.

Splitting and layering these sounds is simple: hit the layer button to layer parts one and two or hit 'split' to split part one to the left and two to the right. To change the split point, hold the split button and hit the key where you want the split to feature.

Polyphonic sound spree

"There are definitely sounds we recognise from the original Motif and the EX5 before it"

The MX61's 128-note polyphonic sound engine is based on the Motif XS' waveform/preset library, and there are definitely sounds we recognise from the original Motif and the EX5 before it. Many are a tad dated compared to Korg and Roland's current offerings, and there isn't much in the way of real time performance control or anything as powerful an FX section as on the Motif so the sounds aren't quite as vibrant.

That said, the overall sound quality is good (except for the nasty distortion and stepping that occurs when using the filter at high resonance levels) and all of the sounds will fit quite nicely into a mix in any style of music from Electronic to Classical. There are some good acoustic pianos and electric pianos present, and some quality synth pads and synth basses/leads. There are also some surprisingly nice acoustic drum kits, ethnic instruments, percussion and sound FX.

Sadly, there are also weaker sounds onboard. The tonewheel organs lack a sense of authenticity (though the rotary speaker effect isn't bad) and the clavinets sound dated. Yes there are some decent strings onboard but some have a really annoying vibrato sampled with them, making them less useable.

The sound editing is basic too - there's no DAW synth editor and you can't change the filter type or edit the voices at element level. There are the usual filter and amp envelopes onboard, plus an LFO, panning, mono/poly modes and portamento present. Thankfully, the VCM effects are pretty good and liven things up. There's a Global Reverb Block and separate Chorus Block, along with a good range of quality insert effects (maximum of four inserts per performance) including delays, phasers, distortions and more.

On top of this, there's a built in Midi-syncable arpeggiator that can be applied to up to two parts in a performance at once. The arpeggiator Midi info can be outputted to your DAW and there are 999 presets to choose from to suit all styles. Also, let's not forget the Rhythm Pattern mode that provides access to 208 patterns for you to jam over.

Even though you can't record your own, you can playback WAV files (no MP3's) directly from a USB stick (and save settings). Plus, you can route an iPod or any other audio device through the auxiliary input (phono) for jamming.

Wrapping up

All things considered, the MX61 is a competent board with some handy features. It will particularly appeal to those shopping around for their first synth or those who want a no-nonsense 'board with a solid range of staple sounds/FX for gigging and for studio work. The portability is an absolute godsend, it's a good basic controller for studio/DAW tasks, and is perhaps a perfect 'board for schools to use during teaching due to its ease of use and simple computer integration.

Remember, the MX61 is ultimately a preset playback machine with some basic synth editing onboard. It's therefore a great starter and introduction to the world of synthesis without forcing anyone in at the deep end. A great price and decent range prepare you for the fun (and complexities) to come.

Read more about Yamaha MX61 at MusicRadar.com

eaReckon EARebound

Mon, 03 Jun 2013 14:34:00 GMT

Read more about eaReckon EARebound at MusicRadar.com

EARebound is a fully featured multitap delay plugin (VST/AU), comprising 15 discrete delay lines, which, along with the input signal, are activated and edited via a horizontal pad layout reminiscent of a drum machine sequencer.

"Every parameter is individually editable for each delay tap, as well as for the input signal"

The editable parameters/effects comprise Saturation (seven types), filters (Lo Cut and Hi Cut), modulation (Quad Tremolo and Quad Chorus), Output level, Feedback, Delay time and output panning. Every parameter is individually editable for each delay tap, as well as for the input signal. It's powerful stuff - but it doesn't end there: there's also an additional global delay line that collectively processes all active taps, either with or without the input signal.

An important point to note is that, because you can process the source signal, it actually becomes part of the 'wet' signal too. Thus, for flexibility, it gets its own processing bypass and Mute buttons, as well as a Send FX Mix control.

Rather cleverly, the last gives you control over how much source signal processing is applied to the delay line feed (0-100%). The raw source signal (dry) is then mixed back in with all of this at the end, using the Dry/Wet Mix fader. EARebound's routing setup also features multichannel and low frequency (LF) options.

Finally, the parameters of all the delays can be viewed collectively - as opposed to the per- delay, contextual presentation of the main view - in the Timeline (delay timings) and Mix (parameters) page views.

Delay line

"There's lots going on, but EARebound is very easy to use"

There's lots going on, but EARebound is very easy to use. If you do need a starting point, there are over 40 categorised presets on board, as well as an excellent randomise option with the ability to lock individual parameters.

The default patch loads with the delay lines synced to successive 16th-notes reducing in level, but you can set each tap to any division you like. Synced delays combine a time division (16ths being the shortest and a dotted bar the longest) and a multiplier (x1-16), so x3 in 16ths results in a delay interval of three 16th-notes. This gives you the potential to create very long delays indeed, but we'd like to see smaller divisions made available too.

Of EARebound's three main effects, the filters behave as expected, while the seven Saturation types offer plenty of flavour, including four valve sounds. These are great for tailoring delay degradation overall or just for selected taps.

However, it's the modulation section that's most impressive. This uses four modulation lines (two on the left and two on the right), with basic Rate and Depth controls augmented by Unsync, Offset and Width parameters. Using these, we were able to come up with some beautifully rich sounds - particularly effective on guitars, pianos, synths or anything where a smeared delay effect is called for.

The layout encourages real-time control, switching taps in/out on the fly, and it works pretty smooth when used like this. Although EARebound is great for the creative stuff, it's also very quick at calling up simple, precise, tailored delays - on a lead vocal, say.

We do have a few things we'd like to see added, including an 'edit all taps at once' option, smaller time divisions and solo, but we understand that at least some of these will appear in future updates. Even as it currently stands, though, this is clearly another triumphant winner from eaReckon.

Read more about eaReckon EARebound at MusicRadar.com

HDAnywhere 4x4 Multiroom+

Mon, 03 Jun 2013 10:39:00 GMT

Read more about HDAnywhere 4x4 Multiroom+ at MusicRadar.com

So you want a fantastic video to accompany your gig or DJ set. You've got movies sync'd with Ableton Live and camera's, laptops and video gear coming out of your ears. Thing is, unless you can get it all out onto multiple screens and projectors it'll stay cooped up. HDAnywhere's kit is industrial strength gear that takes HDMI ins and sends them down Cat 6 networking cables. At the far end of each a small box converts the signal back to HDMI for a TV, projector, 150ft jumbotron, whatever.

"HDAnywhere's 4x4 has four HDMI ins (ready for laptops, Blu-ray or DVD players, cameras – whatever) and four Ethernet outs"

Slinging HDMI leads around in a gig environment is a no go due to their limited length and flexibility, but Cat 6 (ie, computer Ethernet cable) can go 100m and is cheap, bendy and ultra reliable.

HDAnywhere's 4x4 has four HDMI ins (ready for laptops, Blu-ray or DVD players, cameras – whatever) and four Ethernet outs. A simple push button system on the front (or the supplied IR remote) denotes which video input appears at which output.

Switching is fast and reliable, meaning a lighting/visual accomplice can cut between the sources sending any one to any or all of your displays. And the receivers at the end of the lines will even return the IR control for switching sources (or even starting and stopping DVDs and the like), so you can orchestrate your video show from any of your displays.

Go for the new (£500 extra) 'power over Ethernet' option and the remote converter boxes get their power down the Cat 6 cable, forgoing the need for supplies and sockets, making rapid builds, breakdowns and awkward installs a breeze.

If you need simpler systems HDAnywhere make single source/many display options for any budget.

Read more about HDAnywhere 4x4 Multiroom+ at MusicRadar.com

HDAnywhere 4x4 Multiroom+

Mon, 03 Jun 2013 10:39:00 GMT

Read more about HDAnywhere 4x4 Multiroom+ at MusicRadar.com

"HDAnywhere's 4x4 has four HDMI ins (ready for laptops, Blu-ray or DVD players, cameras – whatever) and four Ethernet outs"

Slinging HDMI leads around in a gig environment is a no go due to their limited length and flexibility, but Cat 6 (ie, computer Ethernet cable) can go 100m and is cheap, bendy and ultra reliable.

If you need simpler systems HDAnywhere make single source/many display options for any budget.

Read more about HDAnywhere 4x4 Multiroom+ at MusicRadar.com

Waves Manny Marroquin Signature Collection

Fri, 31 May 2013 14:26:00 GMT

Read more about Waves Manny Marroquin Signature Collection at MusicRadar.com

Mixing hitman Manny Marroquin spends his life in the studios of LA, sorting out the sounds of the cream of today's pop stars, and with time at a premium, he likes to be able to dial up his key sounds quickly and easily. To that end, he's teamed up with Waves to create a cover-all set of simple but effective plugins (VST/ AU/RTAS) that prioritise quick results over precise control. Each of the six comes with its own particular twist...

Delay

"What makes this one stand out are the processors you can switch in after the delay"

At the top of the Delay plugin are the regular controls that you'd expect to find on any modern delay unit: left and right tempo-synced delay times, feedback, filters, mix and a switch for linking the two channels.

The delay itself sounds OK, but then it doesn't purport to be a vintage tape emulation or anything like that. No, what makes this one stand out are the processors you can switch in after the delay. These are the sort of effects Manny routinely adds to his delay chain using individual plugins or hardware, and here we have them very much 'in a nutshell', with simple 'more' or 'less' controls and immediate sonic wow factor.

For example, the reverb section, with its Size slider and Level knob, sends the delay off into a generic digital hall, and sounds great doing it.

The other effects are Distortion, Doubler and Phaser. It's rude, simple and brash but enables interesting, high quality sounds to be made in no time at all. A trick has been missed by not adding a compressor sidechained from the dry input to give the option of reducing 'delay confusion', but otherwise, it's a joy to play with and comes with plenty of presets to get you started.

Distortion

The Distortion plugin doesn't have much in the way of additional multieffects, but it does include a basic EQ for controlling the shape of the signal going into the distortion engine. Actually, it's more of a tone control than an EQ: high and low shelves, a semi-parametric mid band and a low-pass filter. There's no mention of frequencies unless you refer to the manual, with the knobs simply ranging from 0-100. Positively anti-geek!

The big central Drive knob applies the actual distortion - the higher it goes, the angrier it gets. Attack and Release controls break the distortion in and out gently if you need it. The sound is a full-on dirty fizz with no subtlety, and it's always quite a bright distortion, but that's clearly the overall vibe with this whole collection. A loveable rogue.

EQ

"The EQ plugin has been cobbled together from all the best bits of the EQs that Manny uses"

After the unorthodoxy of the Delay and Distortion, EQ at first comes as something of a disappointment, looking like a thoroughly ordinary EQ, despite the hippy print background. But look under the bonnet and the irreverence continues, for essentially, the EQ plugin has been cobbled together from all the best bits of the EQs that Manny uses.

The cutoff points and Q shapes have all been lifted from the following units: Neve 1073, Quad Eight (used at Motown), SSL 9080 XL K, API 550B and Avalon 2055. The high frequency band, by way of example, is modeled on the Avalon, because Manny loves its silky 'air'.

There are four bands available, each with five notched centre frequencies and up to 10dB of cut or boost, plus low- and high-pass filters. Some of the bands overlap for extra flexibility: you can cut at 250Hz on band 2 and boost at 110Hz on band 1 to create a heavier bottom end without clouding. Even the cutoffs are mixed and matched from the source models - the upper mid band actually borrows from three different units, for example. The results are impressive, particularly at the top and bottom ends.

Reverb

The reverb, despite its broad range of types, sounds mediocre at best, and you'll almost certainly already have better in your arsenal. But what makes it a worthwhile inclusion in the collection is, again, the chain of effects that come after the reverb itself.

Your options this time around are Phaser, Distortion or Compressor (or any combination thereof), and you can quickly and easily pile them on to create interesting and unusual sounds that would normally take an age to set up. The compressor over the reverb path is useful to pump energy into the ambience, but what's missing here is the facility to route the dry input signal to the sidechain. That way, you could get some much more interesting pumping and breathing on the reverb tail.

Triple D

"Triple D is the most interesting conceptually, and possibly the most useful"

Of the six effects in this collection, Triple D is the most interesting conceptually, and possibly the most useful, too. It's a dynamic EQ that allows you to take down three problem tonal areas when they reach nuisance levels. Those three areas are boxy mids, harsh presence frequencies and sibilant high frequencies.

The three Ds, then, are DeBOXY, DeHARSHER and DeESSER, and each band has a threshold control to set the level at which its problem frequencies begin to be attenuated. Each comes with its own Listen button, allowing you to hear each band in isolation and tune into the particular problem frequencies of the mix you're working with.

Exactly where those frequencies lie is determined by the Freq sliders, and as with all the other plugins in the collection, the range is relative, from 0-100 - you have to go to the manual to find the actual frequency ranges. Interestingly, and maybe inadvertently, this is actually a good thing, as it makes you use your ears more than you might normally.

Engineers commonly fall into 'frequency habits', always going to certain frequencies to cut or boost. 400Hz is a common one for cutting, as is 250Hz, while 2kHz is a common one to boost, especially for newer engineers. Relative sliders, like the ones here, force you to use your ears to find the tone you do or don't want.

Tone Shaper

Tone Shaper is Manny's multiband parallel compression beast, designed to tweak the tone of a sound in a way that EQ can't. There are four bands, each with a choice of three different frequency centres around which to focus the compression. Each band is compressed more as the slider is moved up, with the effect of lengthening the release tail. Auto-gain brings the balance back, and the end result is a more dominant band.

To all intents and purposes, it's EQ via a different process, and it's particularly good at delivering bottom-end weight and mid-range punch by compressing those bands and mixing them back in with the dry signal.

Conclusion

The Manny Marroquin Signature Collection avoids being the jack-of-all-trades that it might appear to be on paper by taking an irreverent attitude to classic processors, with the extended effects chains of Delay, Distortion and Reverb working quite brilliantly.

They're certainly not subtle, and there's little finesse to be had, but all six plugins inspire invention and deliver immediate, brash and spectacular results. All hail the thug!

Read more about Waves Manny Marroquin Signature Collection at MusicRadar.com

Waves Manny Marroquin Signature Collection

Fri, 31 May 2013 14:26:00 GMT

Read more about Waves Manny Marroquin Signature Collection at MusicRadar.com

Delay

"What makes this one stand out are the processors you can switch in after the delay"

For example, the reverb section, with its Size slider and Level knob, sends the delay off into a generic digital hall, and sounds great doing it.

Distortion

EQ

"The EQ plugin has been cobbled together from all the best bits of the EQs that Manny uses"

Reverb

Triple D

"Triple D is the most interesting conceptually, and possibly the most useful"

Tone Shaper

Conclusion

They're certainly not subtle, and there's little finesse to be had, but all six plugins inspire invention and deliver immediate, brash and spectacular results. All hail the thug!

Read more about Waves Manny Marroquin Signature Collection at MusicRadar.com

ESI UDJ6

Fri, 31 May 2013 10:25:00 GMT

Read more about ESI UDJ6 at MusicRadar.com

The UDJ6 is a mini monster, offering six channels in a package the size of a large matchbox. It provides six outputs for DJ software, like Traktor, Djay or Ableton, with two RCA outs per channel and a stereo 1/4" jack for headphone cueing. Light yet sturdy, there are no inputs but this has been designed for use as a middleman between your software and mixer.

"The UDJ6 allows you to separate decks A and B into two stereo channels on the mixer offering flexible routing for effects and EQ"

The NI Audio 2 DJ is similar in size and price, so let's compare it to that for the sake of this review. The main difference is that the Audio 2 DJ only offers four channels: a stereo master out and a stereo cue, both via 1/4" jack.

The UDJ6 allows you to separate decks A and B into two stereo channels on the mixer, for example, offering more flexible routing for effects and EQ. If you're used to an external mixer or prefer the EQs on a certain board than those inside the software, the UDJ6 is the better option.

Unlike the Audio 2 DJ, the UDJ6 has no volume control. This is its main downfall as if you did decide to use the UDJ6 to cue, you'll need to map a MIDI controller to the software to control mix and cue volume.

Finally, the plug-and-play and bus-powered nature means there's no faffing.

Read more about ESI UDJ6 at MusicRadar.com

ESI UDJ6

Fri, 31 May 2013 10:25:00 GMT

Read more about ESI UDJ6 at MusicRadar.com

"The UDJ6 allows you to separate decks A and B into two stereo channels on the mixer offering flexible routing for effects and EQ"

Finally, the plug-and-play and bus-powered nature means there's no faffing.

Read more about ESI UDJ6 at MusicRadar.com

DMGAudio EQuilibrium

Thu, 30 May 2013 14:33:00 GMT

Read more about DMGAudio EQuilibrium at MusicRadar.com

Giving an immediate indication as to the sort of depth and flexibility it offers, EQuilibrium (VST/AU/RTAS/AAX) runs a setup wizard when you first launch it. A setup wizard! For an EQ plugin!

"EQuilibrium could redefine your expectations of what's possible with a software EQ"

Until now, we've often talked about surgical EQs, vintage EQs, mastering EQs, etc, as separate entities, but EQuilibrium could redefine your expectations of what's possible with a software EQ, enabling you to essentially build your own device from the ground up, using a variety of modeled curves or starting from a preset. So, you could make a pure Pultec EQ emulation, a surgical parametric EQ, a broad mastering EQ or a combination of all three.

The wizard walks you through establishing the default interface and processing setup that best suits the way you want to work and the CPU power you have available. If you're looking to use EQuilibrium as a mastering EQ, for example, you can set up a high-latency, processor-intensive default suitable for detailed work.

Or if you're mostly going to be using it for tracking, design yourself a low-latency setup with a slightly less detailed response. Needless to say, all of this is reconfigurable at any time in the Setup menu.

Flexi time

With all this promise of versatility and flexibility, it comes as a bit of a shock to open your first instance of EQuilibrium and be greeted by... an empty window. If you find this unnerving (which, we must confess, we did a little at first), you'll want to head straight to the preset library and load up one of the many prebuilt setups. These cover specific units, including models by Pultec, SSL and API, as well as EQs for specific instruments and scenarios - see It's all about the curves.

To build your own EQ, double-click in empty space to call up a band. Depending on how you've got the display set up, this will appear as a node on the frequency/gain graph and/or a band strip with knobs and legending. It'll also appear as a marker on a piano keyboard, if you've activated that option. This last novel feature simply relates the frequency of each band to pitch, and dragging the marker along the keyboard snaps the frequency to each precise note. If you know the key of the song you're working on, you can use this for all sorts of advanced tonal work - notching up 'in-key' frequencies in drums, for example, or, conversely, notching out dissonant ones. A fantastic feature.

Bands on the run

EQuilibrium can load up to 32 simultaneous bands, each with up to +/-36dB of gain. In stereo mode it supports mid/side and independent left/right stereo operation, and surround configurations up to 7.1 are covered, too.

"The very colourful frequency analyser looks great and is highly customisable"

Every band offers a choice of curve/filter types - peak, low shelf, high shelf, high-pass, low-pass and notch - and each curve/filter type divides down into numerous modeled and original options. The modeled ones have names that thinly veil the hardware they emulate.

Gain, frequency and Q can all be adjusted in the band strip or the graph, and in the latter, mouse wheel adjusting/zooming and key modifiers cover all the functions you'll need. A particularly notable interface feature is that right-clicking a node solos that band for easy tuning. Another ingenious design touch.

A couple of the curves host additional custom parameters. For example, on the proprietary DMG peak curve, the Gain-Q control determines the interaction between resonance and gain changes, while the Flat Top peak curve's Soften parameter eases back the peak level and, consequently, resonance. The very colourful frequency analyser looks great and is highly customisable via its own drop-down menu. It does a good job of leading you to obvious tonal issues.

Finally, a couple of operations can be applied to all bands at once: gain scaling up and down, and frequency shifting left and right.

Ahead of the curve

If you're familiar with DMG's other EQ, EQuality, you'll already know that EQuilibrium's sonic pedigree is beyond question. DMG CEO Dave Gamble has years of experience under his belt with companies such as Sonalksis and Focusrite, and he has brought it fully to bear on the development and sound of his plugins.

"The depth of control is astonishing and the range of EQ curves truly luxurious"

As mentioned earlier, you can adjust EQuilibrium's CPU/RAM consumption to suit the task at hand: for everyday tracking, the low-latency IIR engine gives good quality and response, and it can be enhanced by introducing additional delay compensation in the Setup dialogue for critical sounds like vocals and solo instruments.

For mastering, where processing delay isn't an issue, there's the FIR engine, with phase linearity and many other precision options. This opens up a whole new world of geekery where you can choose the EQ's phase response characteristics (global minimum, analogue, zero-latency analogue, linear phase and free), with the Free option letting you design your own. There are also twelve Window Shape options, and control over the Impulse Length - longer lengths are more precise but more demanding on your CPU.

The concept of a plugin so versatile and sonically impressive that it renders all others in its category secondary might sound faintly absurd, but with EQuilibrium, DMG might have actually succeeded in making such a thing. The depth of control is astonishing and the range of EQ curves truly luxurious.

Apart from its resounding success as an all-purpose EQ that makes no compromises in terms of sound in order to achieve its incredible flexibility, the (immense) joy of EQuilibrium lies in comparing the effects of the various curves and creating your own custom EQ to suit your particular needs. Highly, highly recommended.

Read more about DMGAudio EQuilibrium at MusicRadar.com

DMGAudio EQuilibrium

Thu, 30 May 2013 14:33:00 GMT

Read more about DMGAudio EQuilibrium at MusicRadar.com

Giving an immediate indication as to the sort of depth and flexibility it offers, EQuilibrium (VST/AU/RTAS/AAX) runs a setup wizard when you first launch it. A setup wizard! For an EQ plugin!

"EQuilibrium could redefine your expectations of what's possible with a software EQ"

Flexi time

Bands on the run

"The very colourful frequency analyser looks great and is highly customisable"

Finally, a couple of operations can be applied to all bands at once: gain scaling up and down, and frequency shifting left and right.

Ahead of the curve

"The depth of control is astonishing and the range of EQ curves truly luxurious"

Read more about DMGAudio EQuilibrium at MusicRadar.com

Korg KingKORG Synthesizer

Thu, 30 May 2013 10:35:00 GMT

Read more about Korg KingKORG Synthesizer at MusicRadar.com

Leading up to the Winter NAMM show, images leaked of a new high end synth from Korg designed to combine multiple Oscillator and modeled filter types and be just as well suited to the stage as the studio. Social networking rumours grew and, sure enough, here we have the boldly named KingKORG.

Not too long ago, we remember having the Moog Voyager XL for review and describing it as the kind of synth you'd design if you had nothing but photos of Moogs to cut up and paste together in Photoshop. Fast forward to early 2013 and those memories are jogged by the synth that now sits before us. So, is it the sonic equivalent of a giant ape scaling the side of the Empire State Building?

Performance ready

"Billed as a Performance Synthesizer, the KingKORG's is designed to stretch from studio to stage"

Billed as a Performance Synthesizer, that suggests the KingKORG's appeal is designed to stretch from studio to stage. Of course, your desire to use it in either capacity will depend entirely upon how it sounds.

Fortunately, Korg knows its onions in this regard and its latest toy uses a new XMT (Xpanded Modeling Technology) engine to provide sound sources across a wide range of tones from accurate sample based models to rich, analogue hybrids. KingKORG is a three oscillator model enabling each of these sources to draw from four different engines that are Analog, DWGS, PCM or Mic In.

Setting these up for each Oscillator is a joy. To do so, click on the Oscillator you're tweaking and either scroll through the waveforms sequentially or press the Type knob to jump from one to the next. Meanwhile, the dedicated Oscillator screen keeps you updated with your choices. All of this is available 'twice' if you choose to Layer or Split the keyboard, with up to two Timbres that can be played simultaneously.

The Filter section adopts a similar approach with a number of modelled Types. There are 18 available, including MS-20 replicas and Acid options that represent thinly veiled references to the TB303 filter. Indeed, SEM, Minimoog and Prophet 5 filters are also modelled here. Filter Cutoff, Resonance and EG Amount dials are offered, letting you configure the majority of filter settings on the fly.

To the right, you will find Amp controls including a Level dial, plus Unison and Vocoder buttons. The latter of which utilizes the XLR mic input on the rear panel and the mic Level dial on the far left-hand side to provide 16-band vocoding. Programs 196 to 200 provide instant Vocoder ready Programs and are a lot of fun. We should point out that while KingKorg provides 300 Programs in total, only 100 of these locations are yours to 'save to' with Programs 1-200 providing factory sounds - not as generous a split as it might be.

Elsewhere, the panel's right-hand side is completed with twin LFOs and ADSR envelopes with ready access to Filter/Pitch and Filter/Amp assignments.

Effects aplenty

"The upper left-hand side of the panel is taken up with effects and, in this respect, KingKORG is well stocked"

The upper left-hand side of the panel is taken up with effects and, in this respect, KingKORG is well stocked. Effects are divided into different modules with Pre FX, Mod FX and Rev/ Delay sections available for Timbre A and Timbre B if you're using Layered/ Split programs.

The Pre FX section provides Amp and Distortion settings, the Mod FX offers doubling effects including Flanger, Chorus and Tremolo, and the Rev/Delay engine offers a range of Echo types or Plate, Room and Hall Reverb algorithms.

The coup de grace is a Tube Driver circuit through which all sounds pass. This option includes an On button, a Drive dial and, if you're feeling nasty, a Boost button - hold onto your hats if you choose to activate this bad boy!

What's most pleasing is how hard KingKorg's design has been considered. You can reach for most of the functions you'd want with 'critical' settings for each section of the synth clearly labeled and readily available. Of course, there's a more comprehensive list of parameters onboard selectable via countless Pages. Some of which, including designing Arpeggiation patterns, are welcome, if not quite as intuitive as the rest of the synth's layout. Bearing in mind how great the Arpeggiator sounds, we'd like to be able to edit it directly from the front panel, especially as there's (just about) enough room above the main screen.

Anniversary presents

2013 marks Korg's 50th anniversary and, in some ways, the KingKORG is the ideal instrument to mark the occasion. Its synthesizer roots draw influence from a long line of Korg classics including the MS-20 and MS2000, and its physical modeling echos pioneering products such as the Z1 and Prophecy.

Though it has been designed as a hybrid instrument - in terms of its studio/stage credentials and through the nature of its sonic engines - there's a pleasing uniformity to the KingKORG's sound in that it definitely has its own sonic identity.

A warm, consistently rich instrument, whether you want it for piercing leads or smooth pads - and in an age where too many synths try to be everything to everyone - it's pleasing to find an instrument with its own character. Our gut feeling is that it's a little too expensive and while we can understand that, relative to buying the equivalent hardware from which it draws its sounds, KingKORG is a steal, meaning those purchases aren't a viable alternative for many.

That said, if you're looking for a synth with a well-designed interface, cracking sounds and scope to create your own, get in front of this instrument and judge for yourself.

Read more about Korg KingKORG Synthesizer at MusicRadar.com

Korg KingKORG Synthesizer

Thu, 30 May 2013 10:35:00 GMT

Read more about Korg KingKORG Synthesizer at MusicRadar.com

Performance ready

"Billed as a Performance Synthesizer, the KingKORG's is designed to stretch from studio to stage"

Elsewhere, the panel's right-hand side is completed with twin LFOs and ADSR envelopes with ready access to Filter/Pitch and Filter/Amp assignments.

Effects aplenty

"The upper left-hand side of the panel is taken up with effects and, in this respect, KingKORG is well stocked"

Anniversary presents

That said, if you're looking for a synth with a well-designed interface, cracking sounds and scope to create your own, get in front of this instrument and judge for yourself.

Read more about Korg KingKORG Synthesizer at MusicRadar.com

Audio Technica AT5040

Wed, 29 May 2013 15:06:00 GMT

Read more about Audio Technica AT5040 at MusicRadar.com

With a new large diaphragm condenser mic there's rarely anything unusual to discuss. After all, the focus is typically on the general frequency response, pick up pattern, build quality and sound. Audio Technica's new AT5040 ticks all the boxes of a typical high end phantom powered condenser mic with its discrete component design, low noise, high SPL handling and decent shock mount.

"The noise figure is exceptional and the quick release cradle beautifully designed"

Look closer, however, and you will find some special touches. The noise figure is exceptional and the quick release cradle beautifully designed (more later). Also worth mentioning is the advanced internal capsule decoupling mechanism and the fact that it's 100 per cent hand built and inspected.

The really big deal here - bigger than that whopping price tag - is the capsule: a four-part rectangular design delivering over ten square cms of surface area (roughly twice that of a one inch capsule). Put into perspective, a circular design with roughly the same area would have a diameter of 3.6cm.

The science

Why is that such a big deal? Well, the idea was to gain the benefits of a larger diaphragm (namely higher sensitivity and lower noise) without succumbing to the limitations of a single large diaphragm (namely limited high frequency response).

As such, Audio has opted to use four matched rectangular elements, summing the outputs together. The technique essentially uses one pair for the hot side of the signal and one pair for the cold, resulting low self noise (5dB A-weighted) and great sensitivity (56.2 mV/Pa).

This company is renowned for using pre-charged electret capsules and the AT5040 is the same. So rather than tapping into the phantom power for the DC bias, it makes use of it to improve peak SPL handling (142dB SPL).

Worth the effort?

When it comes to that cradle, yes. The C-shape design makes it visually similar to some of the Brauner cradles, and coupled with the magnetic clips and locking makes it both quick and reliable. As for isolation, it's effective in listening tests but if you stamp the ground with the mic mounted a noticeable subsonic frequency shows up on the scope (around 20Hz).

"This works great on vocals and, when positioned carefully, on acoustic guitar, percussion and drums"

As mentioned in its literature, the AT5040 does have reasonably smooth off axis response for higher frequencies (5kHz to 20kHz). Even so, the cardioid polar pattern is tight for this frequency range and when moving off axis horizontally we noticed a tail off from 30 degrees, and certainly by 45 degrees you're losing high frequency content.

Watch this in the vertical plane too, although the difference is less marked than with other rectangular capsule mics like Sweden's Pearl ELM-C. This is something to be aware of when working with animated vocalists.

So, how does it sound? Pretty neutral. There's no real evidence of a big high frequency lift and the subtle peaks and troughs in the frequency response aren't obvious. That said, there's a wonderful openness to the sound. This works great on vocals and, when positioned carefully, on acoustic guitar, percussion and drums.

The sound also responds well to EQ. The high output is very noticeable and we found ourselves trimming the mic pre down considerably from our typical settings. All in, this is a lovely, well made mic even if does cost a lot.

Read more about Audio Technica AT5040 at MusicRadar.com