Korg Monotron Delay

The music world was taken by surprise in 2010 when Korg announced the release of a new pocket-sized synth. Could this really be Korg - committed digital hardware manufacturer - releasing its first new analogue synth for nearly 30 years?

Even more surprisingly, was such a forward-thinking company really basing parts of the circuitry on designs found in their MS-10 and MS-20 synths of the 1970s? The hype turned out to be true and - despite its quirks - we loved the original Monotron, fiddly ribbon controller, noisy output and all.

"For such a simple unit, there's a surprising range to the effects which can be created and the results are excellent."

The Monotron synth engine was included in this year's Monotribe groovebox, suggesting that Korg was gradually working towards something bigger and even more impressive, so it came as another surprise when it was announced that two new models were being added to the Monotron range, the Duo and Delay. Korg obviously isn't quite finished with its analogue heritage just yet.

What's new?

The Delay is based on the same form factor as the original, right down to the position of the five knobs and three-way slider switch on the front panel. Both Duo and Delay feature the same basic setup - ribbon controller, integrated speaker, headphone output, auxiliary input and compartment on the back for the supplied pair of AAA batteries.

The differences start to become apparent when you check out the controls. The Duo (blue case, regular keys) adds another oscillator and a cross-modulation control to the original Monotron design. Meanwhile, the Delay (black case, reverse keys, funky Sci-Fi paint job) adds an analogue-style delay circuit.

FX-y beast

The Monotron Delay's name should immediately give away its unique selling point. The main attraction here is that Korg has crammed a small but perfectly formed delay circuit into the Monotron's case, but there are a number of other small changes.

The VCO produces the same reverse sawtooth wave as the original Monotron, but the LFO now offers a square wave in addition to the original model's standard triangle. The LFO is used to modulate VCO pitch and can't control filter cutoff.

The four-octave range of the ribbon means that the Delay is practically impossible to play melodies on with any degree of tuning accuracy. This version of the Monotron seems to be designed specifically for FX, with the analogue-style delay circuit playing a major role in sculpting the sound.

Delay time is adjustable from a few milliseconds to around one second. The feedback control can effectively bypass the delay at its lowest setting, but turning it up moves gradually from tight slap-back echoes to dub-style spacey, never-ending repeats.

With the delay time at its shortest setting and feedback around half way, the unit can even produce a twangy sound similar to a spring reverb. For such a simple unit, there's a surprising range to the effects that can be created, and the results are excellent.

A quick look inside reveals that the delay is based around Princeton Technology Corporation's cheap PT2399 echo processor chip. In true Monotron style it's not particularly quiet, with high feedback settings resulting in a rising swell of white noise along with the signal, but for a special effect tool it's not really a problem.

Plenty of old analogue delay units are noisy, and it didn't do them any harm. If you're looking for clean delays, the Monotron's not for you, but you'd be missing the point. This is meant to be dirty and nasty. The auxiliary input will even enable you to add a bit of filth to external signals.

Surprisingly, the one weakness of the Delay is its filter section. The feedback control feeds the delayed signal back into the filter for extra tone shaping before it hits the delay circuit again, but the only adjustment comes in the form of a cutoff control.

Given that the MS-20-based low-pass filter was the main selling point of the original Monotron, it's very surprising to find that the version included on the Delay omits the 'peak' (resonance) control. The MS filter really comes alive as the resonance gets cranked up, turning from a mild-mannered tone shaping control to a self-oscillating monster at higher levels.

The only logical reason I can see for its absence is that the Monotron front panel and PCB are designed for a single slider switch and five rotary pots. Adding resonance to the Delay's filter would therefore mean ditching one of the other controls or retooling to produce an entirely new case and PCB design. It's a real shame it's not adjustable as standard, but I have no doubt that the modding and circuit bending communities will come up with a solution before too long.

Tron legacy

I'm absolutely certain that Monotron owners will decide to add one or even both of the new models to their collection. The Delay is the more immediate of the two units, but gets marked down slightly on versatility since it's really a dedicated FX box.

At an RRP of £99, we're expecting a street price somewhere around the £70 mark, making the new models pretty good value. The classic Monotron is still on sale too (now at a bargain price of £42) so if you'd prefer switchable VCO waveforms and an LFO to modulate the filter go for that.

Our only real complaint is with the way Korg are drip-feeding us new features with successive Monotron and Monotribe releases. The company now has four different analogue devices on the market, each with slightly different feature sets.

We know Korg can make stable analogue oscillators, awesome MS-style filters, step sequencers and analogue drum circuits, so doesn't it make sense to bring all those ideas together in the same unit? Modders will relish the idea of hacking Monotrons and Monotribes together to create insane custom synths, but the rest of us are desperate for Korg to cram all that technology into one box and release the brand new analogue synth we suspect the company's hinting at.

So, Korg, what's it going to be next? Polytron? Drumatron? Or Monotron Pro? We can't wait.

Arturia Oberheim SEM V

The Oberheim SEM is an undisputed classic. On sale for five years from 1974, its popularity remains so high that its septuagenarian designer re-established production just over a year ago.

When we tested the re-issue in October 2010, we noted that nobody had yet designed a decent software emulation and hoped that someone would come up with a digital clone. French software experts Arturia must have been reading our pleas, because the SEM V virtual instrument is exactly that: a faithful reproduction of the SEM sound, with a few modern twists to make it even more versatile.

"Switching the SEM V to Poly mode instantly creates the sound of up to eight SEMs hooked together."

Architecture

The SEM is legendary precisely because it does things differently to most other synths. The basic synth architecture is fairly standard: the SEM is a monophonic synth with two oscillators (pulse and sawtooth waves), two ADSD envelope generators and a sine wave LFO.

The main selling point is the highly unusual voltage-controlled filter. Having set out to design a synth that would complement the bestsellers on the market - Minimoogs, ARP 2600s and so on - Tom Oberheim settled on a unique filter to set the SEM apart.

The 12dB/oct design is switchable between low-pass, high-pass and band-pass modes. Multimode filters are fairly common nowadays, but the SEM's state-variable design allows it to blend seamlessly from low-pass to high-pass through every possible shape of notch filter in between.

Needless to say, the SEM V's architecture is an accurate recreation of the SEM's set-up. Tune the VCOs, apply some envelope modulation to the filter and you're immediately in classic SEM territory, wallowing in fat basses and warm, funky leads.

A knob-for-knob recreation of the SEM would have been enough to please plenty of Oberheim fans, but Arturia has taken the concept to another level with the SEM V, adding numerous features in order to bring the basic design into line with modern expectations.

A second LFO adds further sine and square waves; a sub-oscillator provides sine, saw or pulse waves at -1 or -2 octaves; and portamento and a simple arpeggiator section provide additional performance options.

The tweaks don't make the basic emulation any less authentic - you can ignore them if you want the original experience - but they certainly expand on the sonic range of the SEM while retaining its distinctive character.

Poly technique

Speaking of expanding the SEM's range, did we mention that the SEM V is polyphonic? In some cases - most notably Minimoog emulations - we're not entirely convinced by the effectiveness of turning ballsy monophonic synths into overpowering polyphonic monsters, but it makes perfect sense with the SEM, because the original module formed the basis of Oberheim's two-voice, four-voice and eight-voice polysynths. Switching the SEM V to Poly mode using the button in the main editing window instantly creates the sound of up to eight SEMs hooked together.

One of the main quirks of the four- and eight-voice synths was that their modular design - each synth was constructed from multiple SEMs - could lead to slight differences between the timbres of each voice. The SEM V is effectively multi-timbral, with the eight-voice programmer in the upper panel allowing voices to be edited independently.

With Poly mode activated, each additional note triggers a new voice, either in set order (forward, backward or forward-backward) or at random. Given the general similarities between the SEM and the voice architecture of early Oberheim polysynths, Poly mode is effective for creating a huge range of classic Oberheim sounds, from belting brass patches to silky retro strings.

With the sonic basics in place, the level of detail in the SEM V's design helps to maximise flexibility and versatility. Modulation routing is handled via the matrix in the hidden upper panel, but it's the keyboard follow section hidden alongside it that really deserves a special mention. The intuitive graphical interface allows complex keyboard follow curves to be created for parameters such as VCF cutoff and resonance, oscillator tuning and LFO rate. In conjunction with the mod matrix, it facilitates some seriously creative setups.

Preset party

We don't often focus too much attention on presets, but the SEM V's whopping collection of 500 factory patches - plus 14 init settings and basic templates - deserves closer inspection. Arturia's sound designers have coaxed a staggering range of tones from the software, and there are sounds that could slot straight into just about any style imaginable, from West Coast Hip Hop to a good waltz.

The presets are mainly helpful, however, because they can be used to explore the SEM V's more advanced options.

Some of the software's editing features - notably the eight-voice programmer - might have even the most experienced SEM synthesist scratching their head, but a quick tour of the presets reveals how everything works and ably demonstrates the huge range of fantastic sounds which can be produced. All credit to Arturia and their team for creating a factory preset bank which genuinely shows off the potential of the software.

Conclusion

The eight-voice programmer can be used in Mono mode, enabling different timbres or tunings to be triggered with each key press. With subtle variations in each voice, analogue-style inaccuracy can be created.

Alternatively, more substantial differences in voice tuning or filter settings can be used to create step sequencing or sample-and-hold-style effects. Finally, basic overdrive, chorus and delay effects are also edited in the upper panel, with their respective wet/dry mixes adjusted in the main window. Purists may bemoan Arturia's inclusion of effects on vintage synth emulations, but they seem like a harmless addition to us. After all, you don't have to use them if you don't like them.

As a straight emulation of the classic SEM sound, the SEM V ticks all the boxes, but the software has so much more to offer when you explore it in greater depth: small but effective additions to the SEM design, advanced voice editing features and, of course, an excellent polyphonic mode. The range of sounds available is much greater than the SEM name might suggest, covering classic Oberheim ground and much more, and this makes the SEM V a great synth in its own right.

Performance Percussion PP142 Cajon

Performance Percussion's PP Drums division has been offering great value, low-cost drum kits and a host of percussion instruments for a while now, and most recently has included a highly affordable cajon in its widening catalogue.

The company's PP142 Cajon is a good-looking entry level model that springs a few surprises with its wide sound potential.

Build

This classy-looking, honey-stained cajon stands 48cm tall by 30cm wide and 31cm deep, and considering that it's a 'budget' model, it really looks the business.

The first thing that strikes you is just how light it is when compared to some more costly versions and this is because of the type of synthetic material from which the surround is formed. You get a traditional-looking cajon with a rear sound-hole and four small rubber feet that keep things grounded nicely while you're playing.

The snare mechanism consists of four vertical (non-adjustable) guitar-string snares that do an admirable job of providing just the right amount of snap to your strokes, and this effect can be further adjusted via a removable horizontal Velcro strip. The rear sound-hole sports an attractive PP swirl motif but overall this cajon's look is definitely a classic example of understatement.

Hands on

The frontplate has a satisfyingly yielding quality and as such is extremely comfortable in performance. As this particular cajon is firmly aimed at the novice, this aspect will be greatly appreciated because you'll be able to play for extended periods and not 'feel it' as with models with a thicker (more substantial) frontplate.

The bass tone is really satisfying and easy to achieve and the finger tones and slaps complement the rich bass response nicely. The snare wires' snap effect rounds out the overall sound characteristic really well, meaning this cajon will have an immediate overall appeal to players of all levels.

This is a great excuse to explore the world of the cajon. If you've been curious about investing in one of these fascinating instruments but have previously been put off by having to shell out for even a modest mid-range model, then this could certainly offer a solution. PP also generously includes a decent padded carrying bag (with handle and shoulder strap) into the bargain.

Pearl Masters Premium Legend Kit

Pearl's Masters Series has been in production for nearly 20 years and the Masters tag now covers two Pearl ranges, Masters Custom and Masters Premium.

Masters Premium (where this kit is located) is further divided into two sub-ranges, Masters Premium Maple (MMP) and Masters Premium Legend (MPL). Pearl's system of nomenclature might suggest that MPL is the better of the two Masters Premium options; in fact both ranges are identically priced. What separates them is the shell construction.

Build

MMP drums are built around 4-ply maple shells with reinforcement rings while the review MPL kit is made with straight-sided 6-ply shells. Despite the difference in ply count, the MPL shells are only 0.4mm thicker than the equivalent MMP drums.

This is owing to the MPL plies being 0.9mm thick (with six making 5.4mm) while the MMP shells use alternating 0.9mm and 1.6mm thick plies (two of each ply totalling 5mm). Pearl has a long history of using the alternating ply technique so, by its own admission, creating thin shells from sheets of uniform thickness of ply is something of a new concept for the company. The 5.4mm shell is consistent across all the drums, including the bass drum and snare.

Pearl describes the maple used as A-class and as being "sourced from the best maple available", but other than this, few details of the wood are available. Certainly the look and feel of the maple confirms Pearl's assertion, as the grain is both tightly packed and smoothly flowing.

The standard of shell construction is also unquestionably high, with each drum being as close to perfectly round as could be expected. Pearl's overlapping scarf joints are a beautifully executed detail.

Although a more involved method of joining wood, there are solid technical and aesthetic reasons for incorporating scarf joints and it's a pleasure seeing such a technique used. The shell's interiors are sealed with a clear lacquer while the bearing edges are precisely cut at 45° with a smaller 45° back-cut.

Five stock lacquer finishes are available with a further 27 special order options, making 32 choices altogether. The Navy Blue Sparkle of the review kit is one of three new colour schemes, along with Matte Natural and Brooklyn Burst.

Pearl's reputation for lacquer finishes is well deserved - the quality and depth of the lacquer is difficult to describe without getting into the realms of drum fetishism. Matching wooden hoops glitter at each end of the bass drum while the rest of the drums are fitted with Pearl's new Fat Tone hoops.

A clever hybrid of triple flanged and die-cast hoop, they claim to offer the best of both worlds by taking a fairly standard flanged hoop design then folding over the top edge and welding it. The result is light (the hoops are 1.6mm thick) but the thicker top edge has the stoutness of a die-cast hoop.

Pearl reckons that Fat Tone hoops hold their tuning, add clarity to rim-shots and cross-sticking, but don't influence the overall sound to the same degree as die-cast hoops.

Hands On

Elsewhere across the kit, details abound, such as the huge bass drum claws, telescopic spurs and Pearl's chunky tom Opti-Mounts.

Another new design concept found on all of the drums is the Golden Ratio air hole. The Golden Ratio is an ancient mathematical principle based on proportions and Pearl has interpreted the formula in the positioning of the air holes.

In practice this means that the air holes on toms and bass drums are found closer to the resonant head to increase low frequencies, while for snares the holes are nearer the batter head to accentuate attack.

The review kit is based on a shell-pack made up of a 22"x18" bass drum, 10"x7" & 12"x8" toms and a 16"x14" floor tom, augmented by an additional 14"x12" floor tom and 14"x6 " snare. For such a large, thin-shelled drum, the bass drum produces very little in the way of overtones. With no dampening - only Remo Powerstroke 3 batter and ported front heads - it's deep and punchy but unwanted frequencies are minimal.

With the heads tightened the sound becomes quite bright and buoyant, but the drum's power remains obvious. At lower tunings the note stretches out to Olympic dimensions but there is still an unmistakably taut feel to its response - it's all muscle and no flab.

The toms are fitted with clear Ambassadors top and bottom and this combination produces almost velvety tones that are gloriously resonant. The sound of each drum can be picked out in isolation, even during flurries around the kit. Each note lingers on, fading cleanly, and by the time the larger floor tom is reached there is a near crescendo of toms humming in sympathy.

When the kit was miked up and gigged, we had to apply a tiny bit of dampening to both floor toms to stifle some of the ringing, but in all other scenarios (including recording) these toms could be left wide open. Played softly they murmur, while increasing the dynamics reveals more richness and body. Here the Fat Tone hoops add a degree of attack as well.

Swapping the supplied heads for coated Ambassadors dilutes some of the sheer presence in favour of a thinner, woodier sound. Twin-ply clear heads, meanwhile, saturate the already fat notes even further.

In contrast to the other drums, the snare sports Pearl's all-new swivel tube lugs, sourced from the company's Reference Pure Series. The drum gives a similarly polished performance, possessing the sharpness of a metal-shelled drum with the added warmth of a wood shell. The Fat Tone hoops undoubtedly encourage its aggressive presence while also allowing the shell to breathe.

With tension ratcheted into the head the drum is crisp and loud enough to loosen your fillings. Backing off the tuning relaxes the sound into a super-fat crunch that is equally penetrating.

Again, only token amounts of dampening is required (if any) as the snare is finely balanced on the line between having an edge and being too uninhibited. Quieter playing is also well catered for, with gentle brushstroke and cross-sticking carried faithfully.

Olympus LS-3

We've long been fans of Olympus's superb LS-5 recorder - it's a stalwart of studio session and artist interview alike here at FM. The LS-3 offers perfect evidence as to what a further couple of years of refinement can do.

We've always loved the LS's pro-aimed 'proper hardware button for everything' policy. While the LS-3 is much smaller, it's still covered with buttons - and a big screen keeps you up to speed with easy to understand displays of vital info.

There's an incredible 4GB of storage on board, an SD card slot for more and the same full 24-bit recording as its bigger brother. Compromises come in the size of the mic capsules, but the difference in sound is negligible.

Apogee Jam

Apogee and Apple's bromance continues to benefit us lowly consumers in the form of their newest iOS/OS X interface, the Jam. It's of slender form, looks the part and we're happy to report that it's accurately priced.

The Jam is aimed at guitarists with a single ¼" input, clip, power and status LED, volume control with 40dB of gain and a bespoke connector to either a 30-pin iDevice connection or USB for Mac. We tried it with GarageBand for iPad - it worked first time, no questions asked.

With most lower-priced interfaces, latency is frequently an issue, something guitarists are not as forgiving of as more technical folk. Thankfully the Jam reels it in to a very slight delay - nothing that will incur any frustration.

The Jam did clip a little easily - it was hard to get the volume right so hard strumming and picking were both within the dynamic range we wanted. But when we found it, the sound quality was excellent - it was as if the Jam wasn't there at all.

A treat to use, and a no-brainer for guitarists looking to maximise the value of their iPad.

KRK Rokit RP10-3

Home studio owners are spoilt for choice. KRK is just one of the many manufacturers that have flooded the market with accurate, revealing near-fields at attractive prices.

Strangely, affordable options are much more limited in the three-way monitor market. KRK's new Rokit RP10-3s aim to address this discrepancy, bringing three-way monitoring down to an affordable new price point.

Rokit don't stop it

The RP10s bear significant similarities to the rest of KRK's Rokit range, featuring front-firing ports, a vinyl-coated MDF enclosure, glass/aramid low-frequency driver and a one-inch soft dome tweeter. The major difference is the presence of a third driver; where the rest of the Rokit range are two-way designs, the RP10s are a three-way design with a 10-inch woofer and 4-inch mid-range driver.

For our test I borrowed a pair of RP8 G2s in order to make a direct comparison. The difference in physical stature between the two monitors is obvious, and on setting them up together and trying them side-by-side it's clear that the sonic difference is equally dramatic.

The RP10 is significantly better in every respect: the bottom end's tighter and deeper, there's no honkiness from the port at any listening level, the mid-range is more detailed and transparent, and the top end is smoother and more revealing. The RP10s don't sound hi-fi in the hyped, flattering sense, but there's an enjoyably involving character to the sound that's missing from the smaller models.

Fat bottoms

The RP10s' low-end frequency response is seriously deep, with a bump at around 40Hz followed by a gentle roll-off down to the -3dB point at 31Hz. Needless to say, you won't need a subwoofer with these.

Strangely, KRK has chosen not to offer acoustic space settings to tame the bottom end. Instead, you'll have to make do with adjusting the LF level switches, but the maximum of 2dB low frequency attenuation might not be enough to compensate for placement near a wall or other equipment.

Soffit mounting is also out of the question, but horizontal placement is made possible thanks to a rotating sub-baffle which houses the tweeter and mid.

Given that most of the competition costs at least twice as much as the RP10s, it's inevitable that there must be compromises in the design. Like the smaller monitors in the Rokit range, the frequency response of the RP10s isn't the flattest we've ever heard.

Likewise, they certainly aren't the most powerful three-way design you'll find, with a 30W class A-B amplifier for the highs, 30W for the mids and 80W for the bass. Even so, they're relatively efficient and there's plenty of clean power before the amps break up.

Conclusion

The RP10s are highly capable monitors that compete favourably with products twice their price. Whether as a near-field with an incredible low-end response or as a dedicated mid-field to supplement an existing pair of monitors, I see no reason why they won't be popular with producers working in absolutely any genre.

Our only major concern stems from their size and imposing bottom end. The list price of £1,098 is likely to translate to a street price just over £800, and by pitching such a large monitor at a project studio-friendly price, KRK runs the risk of attracting customers whose rooms really aren't big enough or sufficiently treated for the RP10s to work properly.

That's not a criticism of the monitors, per se, but a warning. Assuming your room can handle them, the RP10-3s have to be considered an attractive option at this fantastic price.

Vertigo Sound / Brainworx VSC-2 Plug-in

VCA-based compressors are probably the most commonly available units worldwide.

Most manufacturers have at least one VCA-based unit in their product range and, consequently, they span the complete price spectrum. German manufacturer Vertigo Sound fits very much into the high end of that spectrum, both in price and quality.

"This little beauty doesn't just deal with any sound you throw at it; it excels with all of them."

The analogue version of the VSC-2 has a big reputation in studios all over the world. At nearly £4,500 it still manages to twist the arm of many audio pros that try it into buying it: quite something in these cash-strapped times.

Fortunately for those with shallower pockets, Vertigo have teamed up with FM favourites and recent UAD companions Brainworx to bring us a software plug-in version.

Blue for you

With its bold blue front panel and black and white knobs and meters the VSC-2 is reminiscent of many late '70s and early '80s devices. It has a straightforward but comprehensive control set.

Starting on the left is the continuously variable threshold. Next comes the ratios and here it's a bit more complex.

The stepped controller starts at Soft and steps through 2:1, 4:1, 8:1, 10:1 and then to Brick. The Soft setting certainly does what it says on the tin and provides a very gentle soft knee response even if you really hammer the input.

As you step up the ratios, the VSC-2 'pulls' much harder, right up to the Brick setting where basically nothing is going to get past it.

Next come the attack and release sections, both controls being stepped. As you can see from the picture, these are all but identical to the attack and decay settings of the SSL Buss compressor, among others.

Those values have certainly proved themselves popular with plenty of engineers worldwide - so if it ain't broke… The final knob is a continuously variable gain make-up.

The VSC-2 is also able to work as a dual mono device, so you get separate left and right switches for in/out and for the sidechain filters. These are there to prevent excessive pumping of low end, particularly when used on program material, by removing some of it from the detection circuit. They're set at a very useful 60Hz and 90Hz.

On the level

In operation, the VSC-2 proves itself to be a very versatile beast. Although big, expensive stereo units such as this are normally aimed at the mix buss or drum groups, the mark of a truly great compressor lies in its ability to deal with many and varied sound sources. This little beauty doesn't just deal with any sound you throw at it; it excels with all of them.

Starting with a stereo drum group you can go from a small amount of subtle compression to savage limiting - and through every stage in between. Even when being hit really hard, the VSC-2 doesn't lose the clarity of the source sound.

With minimal choking of the high end and judicious use of the sidechain filters, the low end won't start to pump the signal too much.

On the mix buss it's the same thing: great sounding compression that you can take much further than you'd expect without the signal collapsing into mush or just becoming very one dimensional.

Lower ratios give a really pleasing tightening of the overall sound, and higher ones grab hold of the peaks and put a real energy and drive into anything with strong percussive or groove elements.

With acoustic instruments, its subtle side takes the fore. Acoustic guitars lose none of their air but gain a powerful presence in the track. Attacks can be tamed or enhanced and auto release helps to provide some really smooth results. Pianos can be given the high-energy treatment or brought under control without losing their sense of dynamic.

Bass is a very different animal altogether and often requires quite a heavy hand to make it behave. With both synths and bass guitar the VSC-2 stands for no nonsense.

It keeps the sound big and fat while ironing out the peaks and troughs without any hint of trouble. On subtle warmer basses it enables you to leave the low end plenty of room to breathe with no compromise in the level control department.

Vocals also benefit from the VSC-2 treatment. Because it doesn't trash the high end with extreme settings it's possible to pull a very dynamic vocal into line. We tried it with the old trick of chaining two together, the first one set to Brick to knock off the peaks and the second set to 4:1 and pushed hard to give the sound.

The combination added real excitement to the voice without losing transparency, and the nasty peaks of the original were tamed without the obvious choking you get with some units.

On softer voices it's possible to get just the right amount of gain control while adding some warmth and strength. All in all, great for vocals.

Whatever you want

The VSC-2 could very easily become your 'go to' compressor: subtle and smooth when required, but fat and ballsy when you need it, too. Its excellent transparent quality coupled with its innate ability to pump up any sound that passes through it makes it one of the most versatile and desirable plugs available right now.

In short, this is a fabulous analogue compressor successfully transported into the digital domain at one-twentieth of the price of the original unit. Hats off to Vertigo Sound and the Brainworx team.