ONE-SHOTS
Jul 1, 2006 12:00 PM, By Jason Scott Alexander
APPLIED ACOUSTICS SYSTEMS LOUNGE LIZARD 3 (EP-3)
NOT YOUR UNCLE'S BAR PIANO
EP-3 realizes several major enhancements made to the acclaimed Lounge Lizard sound engine. For starters, two new pickup types are now available: electromagnetic (Rhodes) and electrostatic (Wurlitzer). Whereas previously you could simulate the difference using the pickup distance and symmetry controls, a new R-W switch toggles between discrete models of the two with clearly identifiable results that sound much more authentic than before. Now when you lean in and hammer on the keys, you can really distinguish the honk and bite. A new and improved fork model adds crucial upper-harmonic content for an even more authentic and present sound. An impressive new damper model closely interacts with the fork parameters and can add noise to a note's attack, release or a blend of both using the new balance control. The damper provides a superb-sounding (and feeling) dynamic response as you play, unmatched by any other emulation I've tried. The EP-3 interface sports a new panel revealing a healthy triple-processor multi-effects section with wah, filter, chorus, flanger, phaser, distortion, ping-pong, DDL and tape-style delay algorithms, as well as a dedicated reverb unit. Tremolo remains on the main page and is next to a new 3-band EQ. A simple audio recorder has been integrated to capture inspired moments, and micro tuning is now possible with support for Scala files. All in all, Lounge Lizard 3 is as good as it gets, and the overhauled preset library demonstrates its inspiring potency.
APPLIED ACOUSTICS SYSTEMS (DIST. BY ILIO)
LOUNGE LIZARD 3 > $249; UPGRADE $49 FOR CURRENT LOUNGE LIZARD OWNERS
At a glance: The best sounding Rhodes and Wurlitzer models on earth just got even better. PC and Mac. Stand-alone, VST, DXi, Audio Units, RTAS.
Contact: www.applied-acoustics.com
AUDIO DAMAGE 914 FIXED FILTER BANK
BAND AID BY THE DOZEN
Audio Damage has followed the success of the 907A plug-in — based on the legendary Moog Modular synthesizer's exquisite filtering facilities — with this faithful re-creation of the larger 914 module. Like its hardware ancestor, the 914 Fixed Filter Bank is a true stereo graphic EQ that uses knobs instead of sliders to adjust gain around several set frequencies. Rather than the 907A's eight bandpass filters, the 914 supplies a full dozen, along with 4-pole (24dB/octave) lowpass and highpass filters, a globally adjustable bandwidth control and separate wet and dry controls. Like the original hardware, the 914 plug-in's bandpass filters only cut the signal; there is no boost because the path is entirely passive. Obviously a fair bit of attenuation can result from that, which is why there is a healthy 15 dB of makeup gain provided on the wet level.
Because the 914 is essentially a formant filter configuration, any audio passing through it typically picks up a vocal quality, though the possibilities reach far beyond this trademark sound. The 12 bands range from 125 Hz to 5.6 kHz, and each can cut to silence, which is powerful for sound-carving fun. Through host automation, I smeared heady curtains of swirling vowels into drum loops and instrument grooves, hauling frequency voids in and out around the beat. Scooping bands in procession while dialing swells across all bands simultaneously invoked wonderfully rich and animated spectral luster from ambient loops and synth pads like nothing I'd ever experienced. The real beauty of the 914 Fixed Filter Bank, though, is that it doesn't sound superfluous in the mix like an unnecessarily overt filter effect. Rather, it's a flattering extension to any instrument, including vocals, and a flexible sound-design tool for any musical style.
AUDIO DAMAGE
914 FIXED FILTER BANK > $39
At a glance: Faithful re-creation of the Moog Modular 914 module. VST for Windows; Universal Binary Audio Units/VST for Mac OS X.
Contact: www.audiodamage.com
CHANDLER LIMITED EMI TG12413 LIMITER
A BRICK OFF ABBEY ROAD
A longtime maker of elite boutique outboard, Chandler Limited has teamed up with London's Abbey Road studios to release the EMI TG12413 classic limiter/compressor plug-in for Pro Tools systems. It's actually two independent plug-ins in one. The 1969 instance emulates an unmodified transistor-based limiter that was built into the EMI desk designed for Studio 2 at Abbey Road and used with The Beatles and many Pink Floyd albums, including The Dark Side of the Moon. A revamped 2005 version models Chandler's own TG1 reissue limiter, which has a beefy input gain stage for extra slam. Both mono/stereo plug-ins feature authentic vintage styling with vertical VU metering and chicken-head knobs for selecting compressor or limiter operation, input/threshold, release and output. In compression mode, attack is fixed at 47 ms, while in limiting mode it's a snappier 8 ms. Compression ratio is fixed at 2:1 in both modes.
I'm somewhat partial to the 2005 version for its more aggressive sound. The combo gain/threshold control behaved much like that of Universal Audio UAD-1 1176LN; in other words, the more gain the merrier. By really cranking it, I could drive the limiter to achieve fantastic pumping action for breathing, Ringo-style drums. Setting recovery time is intrinsic to getting drums to swell between beats, but it would be better if that were continuous, rather than indexed at only six positions, to provide tighter control in contemporary loops. The lush compressor sounded particularly good on electric guitars, thanks to its warm, pillowy distortion when pushed. It also gives even the tiniest of vocals immense size, color and character while being smooth and openly transparent up top. Chandler's emulation is brimming with nostalgic vibe and is one of the most exciting-sounding analog dynamics plug-ins.
CHANDLER LIMITED
EMI TG12413 LIMITER > $675 TDM; $475 LE/RTAS
At a glance: Two emulations of the Abbey Road studios EMI limiter module. TDM, RTAS. iLok key required.
Contact: www.chandlerlimited.com
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