Chromaphone 3 by Applied Acoustic Systems (AAS hereafter) is a powerful, dual-apparatus software synthesizer that specializes in acoustic object modelling. Boasting eight physically modeled acoustic resonators and a dual-voice, multi-timbral engine, it allows a user to illicit highly convincing instrumental tones out of it, all the way through to creative, otherworldly sounds. Showcasing a fresh new interface design that is freely resizeable and 4k ready, Chromaphone 3 delivers an exciting, unique musical experience without sacrificing an iota of ease-of-use.

Chromaphone 3 computationally materializes eight physical modeled resonators. These being: strings, plates, drum heads, membranes, beams, bars, and two types of tubes. Any of these can be used in solo, pairs, or in duo-paired combinations to reproduce very realistic sounding real-life instruments. Not surprisingly, there is huge potential inconspicuously concealed under the hood that lends itself to also creating original sonic textures that defy physical instrument limitations.

Version 3’s predecessors, Chromaphone and Chromaphone 2, masterfully carved out their own physical modelling niche, and subsequently raised their own bar-of-excellence to Olympian levels. It’s not unreasonable to conclude that only AAS (Applied Acoustics Systems) itself could develop a third iteration of the instrument that behests a cautious shopper to seriously consider upgrading or making a first time acquisition. Priced normally at $199 (USD) for the synth by itself, or $399 for the Sound Packs Bundle (includes 16 deluxe expansion packs), Chromaphone 3 may well be considered a moderate purchase that the average plugin collector might not want to make whimsically. Fortunately, licensees of earlier versions can upgrade to version 3 for as little as $79 (USD).

In a manner of speaking, there are 16 of Softube’s most coveted plug-ins crammed into this collection. The mix and producing gamut is amply covered with kit pieces dedicated to Compression, EQ, Limiting, Summing, Amp simulation, Reverb, Delay, Echo, Flanging and Doubling/Chorus.

If that weren’t enough, Softube’s “Heartbeat” is an innovative, virtual drum machine that can handle most nearly any beat-making situation imaginable. Last, but far from least, the deluxe, expandable synthesizer, aptly named, “Modular”, attends a dizzying spectrum of flexible synthesis.

Purchased separately, all the included accessories would set you back a little over $2000 (MSRP)! Thankfully, a perpetual (lifetime) license for this crate-load of plug-in glory can be had for a reasonable $499 (USD). Monthly and yearly subscriptions are also available - $20/month and $200/yearly respectively.

Many of us are thankful for Switzerland’s Patrick Kunz and his full line of TAL (Togo Audio Line) virtual synths and plug-ins.

Very thankful.

Many DAWs have been blessed with TAL audio products over the past 6 years. There has been the illustrious TAL-chorus, the reliable, ear-pleasing Tal-Reverb (II and III), the fluid, silky TAL DUB-Delays, and the easy-to-dial in TAL Effects.

While we’re listing the wealth of products that TAL have blessed us with, let’s not omit the worthy VA synths, TAL-Elec7ro, TAL-NoiseMaker and the perennial U-NO-60.

After years of giving his hard work and exemplary programming efforts away for free, Mr. Kunz now offers the FINEST “Roland Juno 60” emulation that has ever been heard ‘In The Box’ for both MAC and PC. Originally slated for a MSRP of $70, TAL made U-NO-LX available for a paltry $17 as a pre-release offer. At present, the RRP is only $60 (USD).

I strongly recommend that interested parties hurry over to the developer’s web site to grab this VSTi now! Once the news gets out about just how “good” this TRUE-modelled VA synth is, I suspect that there will be a whole new generation of synth players who will consider the $70 price tag a small amount to pay.

** 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.

Cresting the ‘Everest’ of popularity resultant from their industry-changing virtual analog emulations of the Moog “Modular” and the prolific Yamaha “CS-80”, Arturia brazenly undertook the impossible – incredulously, they accurately modeled the Minimoog! Furthermore, Arturia not only veraciously cast the original instrument’s circuitry, filter modes, tonal characteristics, and etcetera, but they expanded the feature-set and value of their digital emulation exponentially. 

Arturia’s (Officially Moog-licensed) digital reproduction encapsulates the breadth of “Minimoog Model D” greatness. They’ve also revived the time-honored classic to be a modern, powerful appliance of synthesizer enormity, capable of maintaining a position of credibility on the digital compass. Many contemporary synthesizers retail at prices ranging from $149 to over $200.  At the time of this publication, “Mini V” sees its list price marked at only $99 (USD). In keeping with the situation of this multi-part review, it’s most gratifying that Arturia have kindly included it as part of the Producer Pack 61 bundle. 

** 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.

Read More >>

[ 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:

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".

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.

PolyKB, Diva, SynthMaster, Dune, Predator, Tone2 Saurus, ZT3A+; what do these all have in common? They are each industry-leading soft synths, that’s what. Most of these are not “dedicated” emulations of famous synths from yesteryear – albeit, each of these may certainly be considered a “new” classic. That’s not to say that products such as Dune, Synthmaster, Predator, and etcetera, aren’t extremely well suited to modern dance and electronica.

I would never be so bold as to try determining that any one of them is “The Best” because they are all very good. Of course, it’s generally understood that many synth players typically have a personal favourite or two; one of my absolute personal favourites just so happens to be the PolyKB II. And, this synth just so happens to be an emulation, but it’s not the standard fare – not by a long shot.

Are you one of those who like to visit a developer’s web site and keep “checking out” a favourite plug-in or VSTi? It’s ok to admit it; you’re among friends. *Wry, knowing grin. Long before I actually had PolyKB II in my possession, I would visit the XILS-Lab web site and listen to the remarkable audio samples of this fantabulous synth in action. It has a “vibe”, a sound, a character that is uniquely its own. It’s deep, lush, ‘alive’ and decidedly analogue-sounding. I am excited and more than a little bit happy to bring my review of the astounding PolyKB II to my friends and visitors here on Reviewer’s Revival.

I’m glad you dropped in. Grab a snack and a fresh cup of joe. Please settle in for one more peering investigation of yet another “must have” VA synth. We’ll do ‘er up in good ol’ Reviewer’s Revival style.

Rob Papen’s Predator has become one of the electronic genre’s perennial favourites for its wide breadth of sound types and synth flavours. This dynamic synth is not as easy to pigeon-hole as some of Mr. Papen’s other famous designs. Predator will pounce on its dance-floor prey with the agility of a hungry, West African Lion, or massage your cochlea with its soothing, analog-like purrs.


Predator is the Alpha male leader of the pride in two bundles available from Rob Papen; EDM and Urban. Each Limited Edition bundle only costs €199 | $239 (USD).

While Predator may be considered by some to be ‘Bigger Game’, where it is listed at €149/$179 (USD), the astute electronic musician will be duly wary to keep an ear out for it as a very worthy cross-platform all-rounder. This synth is elusive – difficult to trap into any one genre cage. Pred is as capable of emitting piercing, phat leads, as it is to peacefully lay down bedded layers of warm, comforting pads. What’s more, Predator is as likely to be seen prowling on a MAC desktop as on a Windows PC.

As always, I’m glad you’re here, dear reader. Reviewer’s Revival would be nothing more than lonely, empty chambers if it weren’t for my ‘netizen’ friends coming and making it a home with me. Please join me and let’s go on a little internet safari, without leaving the safety of our rooms, and hunt the “Predator”.