Special offer: 25% off on XILS 3


UPDATE: the special offer is now over.

At ANR we love offering our readers the chance of getting great new gear at a fraction of the original price.
This time we've partnered with XILS-lab to offer a 25% discount on their XILS 3 (inspired to one of the most-sought vintage synthesizers, the VCS3).
Thanks to its peculiar warm and organic tone, XILS 3 is one of the best and most creative soft synths available today, as you can read in our recent review (it also got a Computer Music award, and some more love on forums like this). Definitely recommended, and this is not marketing bullshit!

How to get the discount?

  1. Go to XILS shop clicking here and add a copy of XILS 3 to the cart (you'll need to choose the authorization method, iLok or eLicenser - ex Synchrosoft)
  2. Register a new account
  3. IMPORTANT: during the checkout process paste this code in the "Redeem a Coupon" field:********* (offer expired, sorry)
  4. You'll get a confirmation message, and the total price will change accordingly to 111.75 euro (instead of 149).
  5. Proceed to payment and you're done!
Please note: it's a limited time offer, act now! ;-)
Feel free to share this article with your friends (also using the tools below).
Enjoy your XILS 3 and don't forget to offer us a beer next time!

P.s: is there a product you'd like to see on offer here? Let us know, we'll do our best to make you happy!

Goldbaby FatJuno-6 review

The Roland Juno-6 is a 6-voice polyphonic synth and was the first in the Juno series of synthesizers released in 1982. It has digital oscillators with analog filters and it soon become a legend for its warm, full sound and lush analog chorus. Having owned one of these in the past along with the Juno 60 it was clear that this was an ambitious project from the start, due to the general nature of the synthesizers make-up in regards to the different oscillators, types of chorus and the ability to mix these to taste.
However the actual Goldbaby FatJuno 6 sample pack comes with several types of multi-sampled instruments allowing you to get a broad pick of the abilities that this classic synth can throw at you.

What do you get?
For the price of a mere $49 USD, you get both an EXS24 and Kontakt 3 multi-sampled instrument. The EXS-24 version contains 140 patches in all, dispersed through 5 main folders/instruments (Mono, Poly, Layered, Raw, SingleCycle Osc), giving you a total of 1630 well recorded 24 bit WAV samples. The Kontakt version offers an additional Arp instruments folder.

Made the Goldbaby way
Most of the instruments are multi-sampled, but there is the single cycle oscillator patches which are not, much to my relief. This means you can really get to play around with those different oscillators on their own. These being of course Pulse, Saw, and Square wave oscillators - although these are not labeled within the patches correctly and there appears to be a Triangle single cycle Oscillator sample which does not exist on a Juno 6!

Goldbaby states that "every sound has passed through the UBK Fatso to give you that super sweet analog tone!", which I really like. The Fatso has the same tone-sweetening characteristics and harmonic thickening, tape-like saturation, and independent ‘warmth’ control to soften high frequencies but the one used for this sample pack has the 'UBK mod' done by Kush Audio.
For a bit of variation some of the samples were recorded with extra processing as well as the Fatso. The Mutronics Mutator was used in places to give some of the samples that stereo analog 'swish' that this tool is famous for!


Goldbaby also states that the majority of the Goldbaby FatJuno 6 sounds were captured with the chorus on. This proved to be problematic when creating sustain loops, but well worth the effort! Some of the sustain loops aren't as perfect as I would like because of this, but the payoff is that the developer was able to capture the wide, warm, wonderful chorus sound and utilise this within the pack. Again I am glad to see he has done this, however the Juno 6 offers 2 different types of Chorus with the ability to have them both on together for super chorus!
This is the problem with sample packs like this - the inability to merge the various elements of the original products in the way you could as if you was sat in front of the synth. A little more sub oscillator here, a little more resonance and so on. However the 140 patches do utilise so many variations of the synths abilities that it is fair to say that they have most bases covered here.

When testing this in the EXS24, the various patches all come taylor made with additional settings on the soft sampler itself, taking advantage of more ability to add LFO, additional filtering and modulation to suit. Remember though - these effects are being added to the samples and do not interact with the signal path the same way as they do on the actual synth. But still - it all works well for me and I am in no way disappointed. I really like driving the filter on the EXS24 to dirty up the samples up some more, and when I played these out through a guitar cab I was very impressed with the depth and texture present in the samples.

Conclusion
It's fair to say that with this Goldbaby FatJuno 6, the developer has supplied enough patches to give you a good feel of what is possible with these samples and a generous feel of what the original synth could deliver. The combination of the original modulation within the samples along with the functions from the EXS24, makes for a very dynamic palette of sounds to call on. A lot of patches use the Mod Wheel to control the filter or velocity straight out of the box, which means as a performance tool they are very user friendly. The overall sound is of a high standard and I think this pack could be used widely, from screaming leads to monstrous sub-bass and all the modulation you can imagine in between.
Goldbaby says "Be warned that using this product may make you want to buy a real Juno-6 and UBK Fatso!" and again, if you are like me and that lust for analog sound is there, then this is too true. I was looking on eBay within minutes to see how much they both go for!

Price: $49 USD/38 Euro (approx.)

...from screaming leads to monstrous sub-bass and all the modulation you can imagine in between

Product page

PROS
  • Warm, rich and accurate samples
  • Cheap!
  • Huge variety of different sounds within the pack

LOVE-IT OR HATE-IT
  • With this library you can cheat your friends telling them you got a perfectly working Juno-6 off Ebay. Just be ready when they'll ask to see your beautiful new toy!

CONS
  • Not able to mix the different oscillators to taste like on the original
  • Cannot choose the different types of Chorus to taste

by Matthew Hodson

(photo cc by xxooox and frigante)

Demystifying Firewire

If you've asked yourself questions like: "I have a Fw400 device, can I plug it into a Fw800 port?" or "how does it work putting several Fw devices in chain?", this is a must-read.
Metric Halo guys have just published a helpful tech-note. In their words: "there is a lot of "wisdom" on the Internet regarding Firewire and how it does (and doesn't) work. Unfortunately, much of it is incorrect and leads to a lot of confusion"...

Read the full document here.

Audio player for the iPad era: jPlayer

Known fact: you cannot use Flash-based applications when browsing the web on the iPad/iPhone/iPod Touch. That means that most audio players that we see and use everyday on the web (magazines, artists' websites, myspace, etc.) are useless on those devices.

Solution: you've probably heard of HTML 5, as Wikipedia puts it "the next major revision of HTML (HyperText Markup Language), the core markup language of the World Wide Web".
HTML 5 will let our browsers deal with audio and video contents without the need of proprietary tools like Flash, Silverlight and so on.
Good news? Well, yes. Unfortunately things are not ready for prime-time yet. But the commercial/social impact devices like the iPad are having is pushing companies and developers to move quickly towards the new standard. Youtube and Vimeo are testing their HTML 5 players since a few months.

But what about audio players that let users listen to your latest album on your website when browsing on your couch with your brand new iPad?
An interesting (and elegant) solution comes from a small Italian/Scottish web company, Happyworm.
Their player is called jPlayer and it has already reached a quite mature 1.1.0 version.


In a few words jPlayer allows you to:
  • play and control audio files in your webpage
  • create and style an audio player using just HTML and CSS
  • add sound effects to your jQuery projects
  • stream faster using HTML5 and alternative ogg format support
All of this with HTML5 audio support for compliant browsers that allow mp3 or ogg format, while supporting other browsers using mp3 format with no visible Flash.

Even better: jPlayer is an Open Source project, released under the MIT license. So, feel free to download, tweak things and contribute to the development. Donations are also welcome.
A Google group is available to discuss the project.

Did you find out about similar projects? Please share them with us...

(Photo CC by Na' on Flickr)

Value for money: EQuality, Syntorus, Toraverb

The plugin market toady is fairly saturated. Here are some plugins (new, or not so new, like Toraverb) that stand out from the crowd, with a balance of value for money, combined with that little something that sets them over some of their competitors...

DMG audio EQuality

DMGAudio’s creator, Dave Gamble, has worked for prestigious Pro-audio companies for most of his career, such as Focusrite and Sonalksis, on most of their major product line.
With the EQuality plugin, Gamble’s aim is to make the ‘only EQ you’ll ever need.’ Pretty ambitious stuff!
EQuality is certainly an excellent step towards achieving such high aims. From the outset, it’s a very good looking, easy-to-get-around GUI. It’s a 6–band Parametric EQ, with additional high and low pass filters.
Straight away, I found the sound quality is very high, and as of last week (10th april), has been further improved, with a tweak to the highpass filters. The low consumption processing power lives up to the creator's claims, and doesn’t drain. The plugin is fully automatable within your DAW of choice.

There are several elements to the EQuality plugin that you might only find on higher-end EQ plugins, that make it stand out from the competitive crowd. The auto-listen function is very useful: as you select a band with the mouse, the other bands are all automatically muted until you let go of the mouse button. VERY useful when you’re looking for that renegade frequency to remove.
I also liked the frequency shift slider – you can move all the bands frequency points at once, saving you a potentially large amount of time. Also, the frequency range slider allows you to increase or decrease the full eq range to increase the response of the EQ – again a useful time-saver.
There’s also a good quality and fairly responsive spectrum analyzer, which sits directly behind the EQ, so you have a clear visual representation of how your tweaks are affecting the sound.

Here are some additional features as advertised on the website:
  • Linear/Analogue/Minimum phase modes for master and special channels
  • Digital+ mode, to help turn awesome into perfect.
  • Generates super-high-quality prototypes. Clear undistorted top.
  • Three different UI modes to taste - full, graph and knobs.
  • K-metering
  • M/S processing modes
  • extra HPF, to kill rumble.
  • 8 A/B banks.
The only slight niggle I had with the plugin to start with, is with the presets. There aren’t many of them, but as you tweak and mess, they get saved automatically, which means that you lose the original presets. Not to matter, as it’s so easy and intuitive to create your own useful presets.

Compatibility: EQuality comes as a VST, AU and RTAS plugin, for Mac OS X and PC.
Price: It’s normally priced at $150, but there’s a 25% discount until the 20th of April, which will set you back $114 – a very good price for such a workhorse EQ.
Check out the website for more details.

D16 Toraverb and Syntorus
Syntorus is the latest plug-in from D16 group, and it's a double analog delay line chorus, designed to provide the user with, "..a rich analog chorus similar to the effect found on classic synthesisers like the Solina, Synthex or Juno."
The plug-in is built around two delay lines, each syncable with the host. Each delay line has the same self-explanatory parameters to tweak – Depth, Offset, Waveform, Stereo Phase, and Volume. That different waves are available is nice – creating the possibilities of both warmer sine-based modulations, and harsher, brighter triangle or square wave modulations. They both sync to host tempo, so in extreme forms can create some nice rhythmic patterns not normally possible with chorus effects. The second delay line can sync up with the first, which provides an even tighter cleaner sound if necessary. There is a BBD (Bucket Brigade delay) button, which (at the cost of a little CPU) takes the sound from clean and precise, to warmer, and fuller.

Emulating an (unnamed) high quality analog delay line, Syntorus is designed to give that warm vintage chorus sound, and I think it delivers well. I’m not one to use much chorus on anything. But I have to say that I was very impressed with the sound of this one. It really could be used to subtly add warmth and width to the sound. It could also create the wacky detuned mess that I normally associate with chorus effects.
The low cost of this plugin makes it an absolute steal (see below for more info), for the versatile and rich sonic palette it can produce. Syntorus is definitely recommended as another tool for sound design tweakery.


Toraverb is a reverb that takes a slightly different look at the usual reverb setup – it is based around ‘early’ and ‘late’ reflections, instead of just one reverb with pre-delay. Both sections have their own parameters, such as EQ, SIZE, and ATTENUATION. The late reflections have a couple of extra parameters, namely the FEEDBACK, which gives you the length of decay, in seconds.
There are parameters controlling both of the reflections, with BALANCE, PRE-DELAY, WET/DRY mix and a MODULATION function. Some of these parameters are slightly atypical, and can create some really interesting effects. The Balance plugin gives control between the balance of early and late reflections. You can have entirely one or the other, and any balance in-between. The modulation control was perhaps my favourite aspect of this plugin. It adds slight modulation to the reverb signal, giving the tail a slight ‘wobble’. I’m not sure if it’s supposed to be emulating something analog, but it adds something extra, bringing extra life especially to drone, or pad sounds.
I like the reverb – it provides a different sound to other reverbs I use, and the way it’s set up makes you think a bit about how you use reverb, which could be really useful when you want ideas to freshen up a stale mix, or sound. If you were looking for a huge hall setting, then you’d probably be better off using a decent convolution reverb (Altiverb, Space designer for Logic, etc), but for more effect-type uses, and creating rich ambiences that makes sound really stand out, this reverb is brilliant, and an absolute bargain!

On the highest setting, the reverb sounds very rich, and full, but you have to be careful here. Admittedly, it is a reverb plugin, but it used an incredible amount of CPU when on the highest (of 4) quality settings. And there is quite a difference in sound quality between the lowest and highest quality settings. I probably wouldn’t use it on the lowest setting.

Compatibility: VST, AU, for Mac OS X and PC.
Price: Syntorus and Toraverb are part of the Silverline bundle, a selection of 6 plugins for mix and sound design, at a price of 169Euro (or roughly $230 at today’s exchange rate). They can also be bought separately, for the ridiculous price of 35 Euros (just under $50)
Check out more details on the products here


by Andy Dollerson

Thesys, a midi sequencer

It's not new, but we think it's worth it. Thesys, from Sugar bytes, is a VST, Audio Unit (PC and Mac) midi step sequencer plug-in. It is used to create midi patterns and is designed for use with third party midi instruments (but includes a basic but usable internal synth too). Imagine it as a sort of steroid-pumped arpeggiator for anything that accepts midi signals, but with a lot extra on the side. If that just confuses you, there is a good amount of information on the company’s website that can help with understanding the plug-in. There are several helpful video tutorials (like the one below) to help you get over the initial learning hump of routing the plug-in to other instruments, and the plug-in comes with a very clear and concise manual.


There are three main midi sequencers that control pitch, velocity and gate. It’s easy to enter values on each sequence. They can be input directly into the sequences with mouse clicks, or stepped in with a midi keyboard. There’s a copy, paste and random button to experiment with, and a reset button to start over. The pitch can be further controlled with a scale function that allows the user to choose what mode the pitches are in – from the usual chromatic (all notes), major, and minor modes, to more unusual modes such as Bebop, and Balinese. Each of these sequences can be saved within a larger pattern of up to 16 sequences that can then be repeated up to 16 times.

There are two more sequences that really take the plug-in to a more flexible and interesting level. The first is called the Performance sequence, and contains five levels of different set subsequences – Octave, Bend, Chord, Roll and Random. These sequences are all fairly self-explanatory – you can raise or lower each step in the sequence by one or two octaves, you can add a variety of different pitch bend patterns to each step, a variety of different chords, a variety of different roll patterns, and you can choose to randomize 17 different specific aspects of each step, such as pitch, gate time, velocity and so on.

The fifth and final ‘modulation’ sequencer is where the plug-in gets really interesting. It contains 8 sub-sequences, each of which can be set to any CC number. In other words, through this modulation sequence, you can control any parameter that can be affected by a midi signal. The limits are seemingly endless! Applying the sequence to a cutoff filter, for example, could create a really interesting sound other than the usual sweep.
I didn’t try, but presume that there are no issues for using this plug-in on hardware synths that are connected into the DAW that you are using too.

These five step sequencers linked together provide an almost limitless supply of options for delving into some really deep arpeggiations and patterns that would be impossible to play live, and really time-consuming to program in otherwise. Sugar Bytes are definitely living up to their claim of ‘doing more stuff with less buttons’! If all this 'sequencing' talk is too daunting to start with, there are 4 banks of preset patterns to give you a jumping-off platform.
If that's not enough, on top of the midi sequencing available, there are several live performance triggers, creating even more variations, such as slowing down, half speed, looping specific portions of the sequence, muting, velocity gating and more. The sequences can also be pitch shifted, and triggered through midi hardware (keyboard, or other controller) This adds another dimension to the usefulness of Thesys and it would be interesting to see this in live use.
I had a lot of fun using Thesys to trigger sample programs such as Battery or Kontakt, and create some interesting grooves with atypical samples. Unfortunately Logic users, due to Apple's AU implementation, are likely to be disappointed by Thesys' performance (if used to control external v.i.). I'd recommend using it with Live or other VST capable hosts.
A demo version is available.

Price: 99Euro/129 USD

This plug-in presents an almost limitless supply of options for delving into some really deep arpeggiations and patterns that would be impossible to play live, and really time-consuming to program in otherwise.

Product's page

PROS

Very flexible and simple step sequencer that can create some very organic and evolving patterns.

Great addition of live performance triggers for further manipulation

Great value for money

LOVE-IT OR HATE-IT

If you don’t own a decent arpeggiator (and even if you do), this brings new life to synths, providing ways of creating that weren’t possible before. If you don’t like midi, stay away.

CONS

There is no Midi Learn for performance triggers.

Little bit fiddly – some of the aspects of the GUI are a bit small.

Not really usable in Logic, due to Apple's AU implementation


by Andy Dollerson

OhmStudio: let's play together

We knew the OhmForce guys were crazy, but not THAT crazy.
They decided to enter one of the biggest, if not the biggest, today's challenge in music making technology: a tool for real time music collaborations.

Their solution is called OhmStudio, and it's, in their words, "a fully fledged DAW/sequencer, a standalone real time collaborative music making application for Windows and Mac, in addition to a web based collaboration platform and music driven online Cohmunity". Actually, only a few details have been revealed, more info are coming in the next weeks/months.

The software
So, there's a DAW with most of the features you would expect (MIDI/audio editing, envelopes, a piano roll, audio effects, and support for VST virtual instruments), but the difference here is that OhmStudio lets you use these tools together with your collaborators.
How does it work? Ok, a few tech words from the Ohm guys "Using an audio core made from scratch, of course, an adaptive audio transfer protocol, a transactional document management engine, some Ohm-style interface innovation, an integrated web Cohmunity, server based projects and much more…".


If you're asking, no, OhmStudio won't have all the features of Live, Logic, etc. According to the press release "however, the Ohm Studio has its own strengths and innovations in term of usability and ease of use".
We'll see what these strenghts and innovation are. Just guessing, OhmStudio could be a sort of social Garageband on steroids, and that's not bad in my opinion. Most DAWs have even too many option we'll never use. Limitations may improve creativity and make us work (and collaborate) faster.


The community
As said, OhmStudio is more than a suite of tools. Its social side is as important as the software counterpart. "When searching for music partners, you will now be able to search for musicians from around the world. Through the Ohm Studio Cohmunity you will discover collaborative projects that appeal to you and find new people with whom to make music, search- ing by style, mood, skill, city, country and more.
The Cohmunity is the place where all Ohm Studio users will gather to find partners to make music with, view others profiles, create groups with others, share ideas on the forums or post projects mixdowns.
Mixdowns can be posted on the group’s profile, as demos. It will be possible to access the Ohm Studio’s Cohmunity features from the application itself or from any web browser."

State of the art
Ableton Share is still vaporware, Logic Rocket was ahead of its time, Reaper features Ninjam but it seems its development is on standby since a long time, there are a few web collaboration-based services (like Indaba, etc, but it's either Flash or Java, and both formats are a poor choice when it comes to pro music making).
We'll see what OhmStudio will bring to the table (expected release: Q4 2010). By the way, if you want to be part of the beta program, register at www.ohmstudio.com.

PolyKB is out

UPDATE: read our PolyKB review

Lately we've covered XILS-lab's work in a couple of articles: a review of their VCS3 emulation, XILS 3 (by the way, they're offering a special deal to ANR readers, 25% off the regular price, read more here) and an interview with its founder, Xavier Oudin.

As mentioned in the interview, a new product has just been added to the company's catalogue. It's called PolyKB, in their words "a recreation of a very rare, very powerful, polyphonic synthesizer released in the 80's by the french company RSF. Because of the unique sounds, the RSF Kobol synthesizers were used by J.M Jarre, Hans Zimmer, Depeche Mode, Vince Clark, Vangelis, and many more. In true XILS-Labs fashion, the PolyKB is true to the original sound but with a very modern twist.
The PolyKB is a subtractive synthesizer based on two waveform morphing, aliasing free oscillators and a self oscillating 4 poles low pass filter.
The oscillators create a large part of the sound of this synthesizer. But along with the help of of very complete modulation section and the filter recreating a standard analog  chip of the 80's, the PolyKB creates incredible sounds. Ranging from gorgeous bass to a warm slowly evolving pad, through aggressive leads and thin crystal keyboards along with a huge range of special effects."
 

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