Arturia Producer Pack 61 Review - Part II
** VOTRE ATTENTION, S'il Vous Plait!
This review is lengthy and quite broad in scope. The Producer Pack 61 has so much "packed" into it that in order to do it justice, our report is split into four individual segments.
[ Analog Lab ]
Arturia’s “Analog Lab” could very well be one of the audio-production community’s best kept secrets – all while being ‘wide open’ to the public. *Yes, that was a deliberate use of an oxymoron. Please, let me explain. Although most synth lovers are familiar with Arturia’s pedigree, there remains those whom have not yet actually experienced the products for themselves. Generally speaking, home producers fall in to one of two camps: those who like to tweak relentlessly, and those who just want great sounds with minimal muss n’ fuss. Analog Lab is perfectly suited to the latter group. While adjustments can be effected, per preset, to the more mainline operations, deep editing is eschewed for the sake of convenience. On a side note, if a user has a *full* edition of one or more Arturia V synth(s), then he/she can open that particular module directly within Analog Lab and tweak to their heart’s content. Analog Lab now contains about 6000 patches culled from the complete Arturia V Collection of virtual analogue synths. At the time of this publication, the following are included: Software Inspection:
The most immediate advantage that “Analog Lab” presents is that you get the complete collection of Arturia's virtual analogue synth engines within a streamlined, easy-to-use package. The cherry on top is that It can be had at a fraction of the cost of its full-featured “V Collection” brethren. This is Arturia’s congenial, cost-effective option for value-conscious and/or non-tweakers to gain entry into the domain of Arturia's mighty synthdom. Ridiculously priced at only $89 (USD), it really is one of those items that you'll want to grab in a hurry while an accomplice "keeps the car running".
0 Comments
Arturia KeyLab 61 (Producer Pack) Review
AcousticSampleS Wurlie Review
Unlike the majority of Wurlitzer-based virtual instruments available, this is *not* still another tiresome interpretation of the now common “A200” model. Nope. This here, y’all, is delightfully unique in that it is a meticulously-crafted sample library of a model 206A ‘student’ Wurlitzer. Of course, being a “Wurlie”, it has that classic, definitive early 70s sound, but with just a teensy bit more attitude and vibe.
Wurlie from AcousticSampleS is a virtual instrument for the discriminating vintage-keyboard connoisseur. This is a superb sample library (again in UVI Workstation format) of a sexy little 64-key model 206A Wurlitzer®. The samples were recorded via studio-grade DI into a high end tube-powered preamp *and with a pair of high-grade microphones right above it – all at a sampling rate of 96 kilohertz and 24-bit, bit depth. This painstaking recording process has resulted in a VI (virtual instrument) that easily reproduces both the feeling and also the sound that we’re looking for; tube ampage with the direct mechanical sound intact. The tone is rich, well-balanced and precipitates with absolute opulence in the sympathetic response and resonance departments. If you’re looking to own a ‘Logical’ choice for authentic, characterful Wurlitzer realism in-the-box, it can be had for the reasonable price of 79€ / $87 (USD).
Ahh, the warm, harmonically complex tones of a classic Wurly in excellent repair; is there anything sweeter sounding to a collector’s ears? Well, not really, except maybe for a Rhodes of the same vintage. The trouble is, maintaining a Wurlitzer can be a rather daunting task that often requires the skill of an experienced technician. Why, even tuning a Wurly very often requires a soldering iron. EEP!
Fortunately for those of us whom have become well-acquainted and furnished with digital emulations, we need not shop around for a 40 year old instrument, pay big collector’s fees to buy it, and then have a climate-controlled space to keep it safe. We simply pop online, pay a small fee to a hard working developer, and conveniently download a VSTi or sample library to our hard drive. Subsequently, we have at our beck and call, the means to compare and scrutinize the assiduous results of the developers. Quite frankly, we’re rather spoiled. *Grin.
AcousticSampleS Mark79 Review
Fortunately for us, company founder & owner, Arnaud Sicard, and his team at AcousticSampleS, sonically capture some of the best-sounding instruments available in the world. Mark79 is such an example of Parisian craftsmanship, par excellence.
This engaging instrument is experienced within the proprietary “UVI Workstation” sample player format, freely downloadable from UVI.net. Definitely a qualifying contender for audio quality supremacy, the UVI format provides convenience, ease-of-use, and exemplary built-in effects (including a streamlined version of UVI’s fabulous algorithmic reverb, Sparkverb). As with other sample players, such as Kontakt, a user can configure disk streaming, RAM consumption, ADSR, and most nearly any other pertinent option thinkable. Personally, I really like the UVI platform and I find it very comfortable to use.
Mark79 may certainly be categorized as a classic, vintage instrument. Here, we are presented a superb sample library of a classic 73 key ‘suitcase’ Fender Rhodes® Mark II, circa 1979. The samples were recorded dry via studio-grade DI into a high end tube-powered preamp. From the moment you play your first chord or riff, your ears are greeted with authentic Rhodes character a-plenty. The tone is rich, full and very well-balanced. All of this sumptuous tines n’ tone can be had for the reasonable price of 79€ / $87 (USD)
If you read my earlier review of SonicCouture’s remarkable “EP73 Deconstructed”, you’ll know that I hold it in very high esteem. That said, standing proudly beside it is this equally impressive rendering of Rhodes sound. In all fairness, the two sample libraries can’t be directly compared; they are demonstrations of differing keyboard models. What can be compared, however, is the respective sound quality of each one, which is very good indeed. Where the “EP73” is a unique library capable of a divergent degree of sound creativity, AcousticSampleS’ “Mark79” is a more straight forward repository. This one is dedicated to accurately representing a Mark II Fender Rhodes® electric piano in as pure a fashion as possible.
As regards space requirements, there are close to three and a half gigabytes of uncompressed samples packed into this library - these generously feature TEN layers of sustained note *and* TEN layers of release samples. Thankfully, the samples have been compressed in lossless FLAC format and only require 1.46 GB of hard drive real-estate. By today’s large, multi-gig standards, this is a very manageable library size. The samples load quickly and are ready-to-go within just a few seconds, from a cold state. MemoryMoon ME80 2.1 Review
The title of this article is a deliberate phrase of irony and antonymic word play. RE: "Real Virtual"
This old-skool Synthedit creation was one of THE MOST authentic-sounding Yamaha CS80 emulations ever made. Wait! Stop! This delightful nod to the golden age of analogue synthesis has been unfettered from it's original development platform. That's right, this sumptuous creation of 'filtery' prowess is now a bona fide compilation of native 64-bit code. For backwards compatibility sake, 32-bit builds are still available. Ringing in at $40 when purchased directly from the developer, this scrumptious delicacy of coding is also bundled with Mixcraft Pro Studio 7.
The CS80 was an expensive unit when it was released in late 1976, costing upwards of $8000, but it could never actually be accused of being “versatile”. It had some very distinct sounds; notably the huge brass and delicate, ambient strings. MemoryMoon’s ME80 is verily dripping with those distinctive tones. ME80 not only emulates the sounds of the original hardware that it is modeled after, but it realistically reproduces the famous polyphonic “aftertouch” which the Yamaha CS80 was so greatly prized for.
EZdrummer 2 Review [Full Reveal]
Over the better part of a decade, ToonTrack has consistently been a “superior” presence in the sphere of ITB drum tracks creation. For good reason too! Their flagship virtual drumming application, “Superior Drummer”, and its welter-weight smaller brother, “EZ Drummer”, have persistently produced highly- realistic, believable-sounding drum tracks on a dizzying number of demo and pro-grade recordings. ToonTrack’s virtual drummers are regularly looked to as the drum VIs of choice by enthusiasts and professionals alike.
ToonTrack EZ Drummer 2 Review
EZ Drummer 2 takes the welter-weight championship belt respectfully in hand and steps up the game considerably. Sporting a new, alluring tab-based interface, the UI has undergone a “from-the-ground-up” makeover yet remains welcomingly familiar (akin to EZ Keys). The somewhat blasé pop/rock kit has been retired as the default kit in lieu of not one, but FIVE, new, characterful drum kits.
Categorized as both Modern and Vintage, the various pieces may be easily mixed n’ matched for “custom” kit configurations. These new kits are samplings of DW, Yamaha, Gretsch, Sonor, Tama, and of course, Ludwig. Taking a cue from vying drum VI contenders, EZD2 now hosts great-sounding percussion components as well: tambourine, cowbell, maracas, shakers and handclaps. EZD2 is not merely a pretty face with fancy-schmancy bells n’ whistles slapped on top – its audio engine has been completely overhauled and is now refitted with a much greater degree of AI and expressiveness. The new “Tap2Find” feature enables a user to quickly beat out a groove via a midi-controller or mouse; the software then takes off on a gallop to retrieve appropriately matched patterns. ToonTrack have proven themselves to be leaders in their field – ease of use, audio excellence, and innovation are but a few of the ToonTrack product-line attributes. Their well-established EZ Drummer product has broken even more barriers with this ponderous, 2nd generation version. EZD2 still rings the till at a comfortable $179 for new customers, while existing supporters can upgrade for a reasonable toll fee of $99. However, the question remains: "What can EZ Drummer 2 do for you?" FabFilter Pro-L Review
FabFilter Pro-L Review – Solid as a Brick!
Brickwall, that is . . . solid as a brick wall. It seems that we audio engineers are ever striving to achieve “the perfect” blend of punch, dynamics and loudness in our mixes. For many, this is an elusive science requiring a good deal of experience, a proper listening environment, a professional set of near-field monitors, and of course, premium equipment and software.
It’s safe to say that most nearly anyone whom has ever attempted to produce professional, modern recordings has found themselves longing for a mastering-grade brickwall limiter. Pro-L dons a price tag that aptly places it in the pro leagues, and it’s for sure that FabFilter are well known for their audio processing prowess. Still, there are similar products available, and how are we to know if the $229 Pro-L is actually able to get the job done – without making the final product sound as though it were squished under an audio steam roller?
We review it carefully and stay focused on our objective; that’s how! FabFilter Pro-DS Review
Nasty, ear-piercing, track-mangling sibilance! It’s been the bane of recording engineers since Harry Shure met Sally Tascam.
- Overt “Esses” and “Tees” ruining many a fine vocal track. - Sizzling cymbals bleeding through an otherwise dandy drum sum. Do either of these scenarios sound like familiar audio engineering challenges you’ve ever been incumbent with?
I have good, good news that can be imparted to you with a single word, my friend: Pro-DS! If you, dear reader, have need of a diamond-grade DeEssing tool that is easy to use, brilliant by design, and exceptional in terms of quality, then this article is definitely a needful read pour vous.
Purchased as a single plug-in, Pro-DS normally may be had for the moderately-weighted cost of $199. Considering that it’s a niche product, typically used for a single purpose, the cost could be considered by some to be rather steep. That is, until the product is carefully given a thorough trial run. To claim that Pro-DS is*Impressive* would be a gross understatement. SonicCouture EP73 Deconstructed Review
Uncontested . . . strong word; don’t you think? One would have to make sure that the claim could be substantiated or one would be considered brazen, or ill-informed, or rash, or gullible, or just plain stupid. I honestly hope that you don’t think that dear ol’ Brother Charles fits into any of those categories. *Smile.
SonicCouture have not simply raised the bar; they may even have ‘become’ the bar, as regards Rhodes MKI sample libraries. Man, this library rockZ. I mean it . . . this library abso-freakin-lutely RockZ! The depth and detail of SonicCouture’s sampling process is immense.
The level of realism is tremendous. The release noises, the pedal noises, the triple-layered Round Robin sampling, the attention to sonic detail, the inclusion of close and contact mic’d acoustic/mechanical sounds all contribute to making this perhaps THE MOST unique and authentic-sounding virtual Rhodes to date.
SonicCouture occasionally offer sales, but the Listed Retail Price of $129 is very fair in ratio to the sound quality. I have to be careful that I don’t brag this sample library up too much; we don’t want them raising the price . . . *Grin. SPL De-Esser Collection Review
Arghhh! The blessed vocal track is just about perfect. The tracking went well, the latest take is free of “pitchiness”, mic placement and EQ are bang on. You apply tasty compression by dialling up your favourite ’76 and 2A just right. That sweet vocal EQ couldn’t be better.
Then your ears are no longer being romanced – they’re raped by one of the recording vocalist’s most lethal foes – sibilance.
Nasty, in-your-face, brash, piercing SSSsibilance. You try the well regarded VST’s from yesteryear, you try EQing, you try a couple of current payware DeEssing offerings, but then the vocal ‘air’ is lost and the vocal track is very ‘flat’. . . . and at last, you find yourself carefully editing by hand in Wavelab, Sound Forge or Acoustica Premium.
It isn't any fun – editing out plosives and/or sibilance “by hand”. It’s time consuming and can result in audible editing clicks when the resultant editing is processed within your DAW. Sibilance has been the bane of many an engineer’s existence. Actually, nasty, piercing SSSs just plain suck! Wouldn't it be just wonderful if there were a way to easily remedy sibilance with just one or two knobs, and keep the quality of a vocal track intact? Guess what!? There is . . . The $199 SPL DeEsser Collection plug-in can be properly reviewed with one, simple word. “Necessary.” If I were to end this review right now, without typing another letter on the page, the review could be considered complete. This set of powerful, specialized plug-ins is a worthwhile investment for any serious home producer. Nevertheless, it’s no fun to be a professional writer and not actually . . . write. *Smile. Stay with me. I promise, I won’t keep you long, but I really am very excited to share my experience and findings about the SPL DeEssers Collection with you. *Quick Note: Until July 15th, 2013, this plug-in is on sale for only $149. |
NO SPAM! IK Multimedia Group Buy
FX Pick & Mix Group Buy - up to 16 for the price of 1
Will You Help?Web hosting is getting more and more expensive all the time, and Reviewer's Revival is NOT funded nor supported by any commercial enterprise or business. A donation of any amount is greatly appreciated. Even $2 or $3 for a coffee - every little bit helps. Thanks very much.
Legal BlurbAll of the articles published on Reviewer's Revival are undertaken to be purely objective, impartial reviews. Reviewer's Revival is not owned, funded-by, nor hired by any company or individual. Reviewer's Revival is the sole property of, and solely under the discretion and direction of Brother Charles. |