What is it?

Acoustica’s Mixcraft DAW is one of those quietly successful applications that doesn’t seem to blow its own trumpet, yet scores consistently well whenever it’s reviewed on these pages. In short, it does the job well, so doesn’t need to shout from the rooftops about it!

It might also not be on your radar because it’s a PC-only DAW, but if it is on your radar, you’ll know it comes packed with enough features to be a serious PC contender, and at just $199 for the top-end Pro Studio version on test here, it’s a bargain to boot. (There’s also a cut-down Recording Studio version at $99 that lacks the Celemony Melodyne integration, a lot of the included plugin instruments and effects and other features, so we think Pro Studio is well worth the extra 100 bucks.)

Mixcraft has always offered a welcoming music production environment with a claimed ‘great ease of use combined with raw power’, and it’s hard to argue with this. It’s a traditional DAW in the sense that tracks go top to bottom and arrangement flows left to right. 

There’s a well-featured mixer where you expect it to be and the UI is very welcoming indeed and easy to interact with, so the workflow is almost second to none on this platform. These refinements and a series of pro features have come through regular updates over many years that have seen the software mature to its current ‘Pro Studio’ status, and its Computer Music scores have grown accordingly (from a not so great 6/10 for its debut to 9/10s from version 5 onwards).

This latest 9 Pro Studio version has a wealth of additions, like a new suite of plugin effects and instruments including Cherry Audio’s marvellous Voltage Modular Ignite, plus there are additional automation and mix features and the ability to detach and attach UI panels.

Performance and verdict

After buying, you’ll download the main 9 Pro installer (around 540MB) and unlock it with a serial code. You’ll also likely have to use a separate code and download to unlock the aforementioned Voltage Modular.

It’s a very easy process and the installer takes you through all of the extras so you’ll soon be up and running. What we’ve always loved about this DAW is the smooth resizing of Windows so the mixer, for example, invades your arrangement just to the level you wish, and track width and height adjustments, along with zooming, are all slick and precise.

The panel detachment feature is new to v9 – you could only do it with the lower panel in v8 – and it adds a great level of customisation to how the software is laid out, and you will want to use it, as taken as one block, Mixcraft can initially feel daunting. However, once you get into it, this feeling soon passes; loading instruments and effects, resizing, and customising all become second nature.

So to the newcomers and Cherry Audio’s modular synth system needs no introduction to regular readers as a version of it is featured in the Plugin Suite. Here you get 45 software modules – including oscillators, effects and arpeggiator – so you can quickly experience the joys of hardware modular synthesis in your DAW. 

The new TB bundle of multi effects (including MultiFX, Reverb, Parametric EQ, BusCompressor, Barricade, De-esser and Compressor), is, of course, welcome but finds itself in a crowded field that already includes Mastering Essentials from iZotope and dozens of other mixing and creative effects that are very good indeed. 

However, the new additions mean that the library covers just about every mixing and mastering function you could wish for – this side of Mixcraft really is very well featured indeed. Back to more instrumental plugins and Acoustica Vocoder allows you to get some robot vocal action into your music; not essential, you might say, but useful for some genres.

Perhaps more welcome is the additional functionality within the mixer – with new Gain, Drive, Compressor and other effects as standard along the channel strip – plus the automation features which allow curved, tempo and pitch automation and are very easy to implement and offer some excellent and precise control (not to mention optional LFO control) over your mix movement and evolution.

Mixcraft 9 Pro Studio might have only had a single-figure number of improvements and additions, but they are all pretty major ones. We love Cherry Audio’s Voltage Modular, but really you should be upgrading for features like the new suite of plugins and the additional workflow enhancements. 

These really do add a pro sheen to an already pretty slick environment (and upgrades from v8 Pro or Recording cost from just $29 to $99).

As to whether you should take the leap from your existing DAW, that is always the harder question to answer. Certainly just shy of 200 bucks (and actually on offer at just $149 as we write this) is a great price to pay for such an extensive feature set and friction-free workflow. 

It runs slickly on a PC, and offers this smooth music-making experience with enough extras – including a large and well-implemented sound library – to help you make pretty much any genre of music you could wish for. 

The only question is: are you brave enough to close one DAW to open another? Certainly Mixcraft will feel like a familiar change, no matter what your existing platform, and it punches right up there with the best of them.

MusicRadar verdict: Mixcraft 9 Pro Studio feels like an app that could easily go toe-to-toe with DAWs twice its price, and v9 brings welcome additions.

The web says

"Each track now has its own built-in gain, compressor, and drive. What has attracted most of my attention is the handy 'one-knob' compressor for taming transients. At lower settings, it works especially well for vocals, guitars, and bass, and great crushing drum loops at higher settings."
ProducerSpot

Hands-on demos

Mixcraft

Fans of Mixcraft

Products Explorer

Specifications

• Type: PC DAW
• Key features: Unlimited recording of audio/virtual instrument tracks, library with over 7,500 loops and samples, MIDI scoring and editing, Step Recording, enhanced mixer with built-in effects, dock/undock windows, Melodyne Essentials, video editing, Voltage Modular Ignite, Pianissimo Grand Piano plugin
• System requirements: Windows 7 SP1, 8 or 10 (64 or 32-bit), 8 GB RAM, 1.8 GHz Dual Core CPU (Quad Core or higher recommended)
• Contact: Acoustica

What is it?

Tone2 are known for their expansive range of big, bold supersynths, including Electra 2, Gladiator 3, Nemesis and Icarus. The last of these has just received its first full version update, the headlines of which are the addition of an onboard drum machine, two multistage envelope generators (MSEGs) and a ten-module ‘Glitch’ effects sequencer.

For this review, we’ll focus on the new goodies in Icarus 2 (VST/AU), but first, a quick recap on the instrument as a whole. Icarus is a three-oscillator ‘multi-technique’ synth, with a focus on wavetables and resynthesis. 

A sizeable selection of wavetables is included, and you can import your own single-cycle waves, complete wavetables and samples. Last year’s free v1.6 update added to the copious existing resynthesis methods with the option to have the melody of the imported sample programmed into the Arpeggiator or Step LFO.

A built-in editor facilitates manipulation of wavetables by directly ‘drawing’ the waveform itself, or adjusting the amplitude and phase of individual partials. And the all-important wavetable position control is joined by a Morph knob, which affects the playback and shaping of the wavetable based on a Morph Mode selected from an extensive menu of filtering, FM, AM, waveshaping, voice stacking and other options.

The oscillators feed into a pair of superb filters with a vast array of types and nine distortion modes; and modulation (prior to v2) comes in the form of four AHDSR envelopes, three LFOs with 48 shapable waveforms, a 16-step sequencer and the velocity output of the (excellent) arpeggiator. 

Finally, 60 effects processors (reverb, delay, chorus, distortion, dynamics, etc), plus a dedicated Limiter, three-band EQ and Feedback section, present a wealth of alteration and polishing possibilities.

Performance and verdict

The most attention-grabbing new feature of Icarus 2, then, is the Drum Sequencer, with which rhythm tracks can be triggered alongside your synth lines. One-shot samples (around 250 are included) and/or loops (automatically synced to tempo) are loaded into five tracks and sequenced in the usual X0X-style way. 

Per-step Velocity sliders govern volume, while pitch can be tweaked directly and modulated by velocity; DSR envelope sliders shape the dynamics of each sample; and an effects send routes individual tracks to one of the three FX modules. The global sequencer rate and length are adjustable, and the bipolar Swing/Shuffle parameter brings the groove.

Given its ‘secondary’ status, the Drum Sequencer is appropriately simple but effective. It’s just a shame you can’t change track rates and lengths independently of each other to create polyrhythmic percussion lines.

Providing the means with which to design intricate rhythmic modulation shapes and sequences, we suspect the two host-syncable MSEGs will prove far more useful than the Drum Sequencer for most Icarus users. Any number of breakpoints can be clicked in, and the lines between them curved by dragging. 

Adjustable grid resolution and snap-to-grid make detailed editing easy, and further niceties include separate start and loop points, delay and fade-in. It’s as solid and flexible a multistage envelope as we’ve seen in any synth – great stuff.

Tone2 suggest that Icarus 2 now qualifies as a ‘workstation’, but we’d take issue with that. Yes, the new drum sequencer and ability to use the MSEGs (and Arpeggiator) to ‘sequence’ individual oscs enables it to create simple tracks in a single instance, but that’s a long way from the true multitimbrality – ie, layering and keysplitting of multiple patches, and/or assignment of them to separate MIDI channels – that defines a workstation synth. 

In fact, though the drum sequencer is capable enough, we could take it or leave it – we’d always rather program our beats in a dedicated plugin rather than a sub-section of a synth. That hardly makes its inclusion a bad thing, though, of course.

Icarus 2’s other big new features are unarguably transformative. The MSEGs bring a welcome increase in modulation scope, enabling a greater degree of complex parameter movement than is offered by the Step LFO. And the Glitch sequencer is an endlessly inspiring tool, upping the fun factor and introducing a wildly creative new string to Icarus’ bow.

There are heaps of other additions with version 2 as well, including 566 new presets (taking the total to over 1600), over 40 new waveforms, five noise LFO types, a preset browser, patch randomisation, MPE support, arpeggiator MIDI out, and a completely overhauled GUI with expanded scaling and sizing options (but still no animation of knobs in response to modulation, alas). 

Sonically, it’s really a case of ‘much more of the same’, and while you will still either love or be indifferent to Icarus’ hyper-vivid basses, leads, pads, arps, keys, sequences and FX, there’s no denying the punch and spectral range of the synth, nor the staggering versatility of its architecture. 

Ultimately, it’s an amazing instrument – particularly for producers of EDM, DnB, trance and other in-your-face styles – that’s priced right for newcomers and well worth the £72 upgrade fee from version 1.6.

MusicRadar verdict: Tone2’s wavetable synth spreads its wings with a raft of new features, the best of which are the MSEGs and Glitch Sequencer.

The web says...

"Icarus 2 has a huge feature set, including the manipulation of wavetables, adding drum or glitch sequences, a multitude of filter and synthesis types, and powerful modulation.  It is one tough product to beat."
SoundBytes Magazine

Hands-on demos

tone2

Ave Mcree

Specifications

• Type: Synthesizer/Workstation 
• Key Features: Drum sequencer, Glitch sequencer, resynthesis, MSEGS, arpeggiator, Step LFO, 3 LFOs, Wavetable (viewable in 2D or 3D), AHDSR Envelopes, Morph, dual filters, Vocoder
• System requirements: PC: Windows XP / 7 / 8 / 10 / Vista  (32 bit or 64 bit); PC formats: 32-bit VSTi, 64-bit VSTi, standalonel; Mac: Mac OSX 10.7 or higher; Mac formats: 64-bit VSTi, 64-bit Audiounit
• Contact: tone2

What is it?

Cableguys’ Shaper effects line has been around for a few years now, and has proved popular with electronic producers from many a genre. This is thanks largely to its ability to add complex, custom modulation to any sound source in your DAW, and all via its easy-to-understand interface. 

Originally released back in 2016, ShaperBox is the logical evolution of the range, placing all of these sibling processors into a single, semi-modular multi-effect plugin. There are five processors included here – available to purchase either as a bundle or individually – all of which have been updated for the launch of ShaperBox 2.

For those keeping track, versions included here are, VolumeShaper 6, TimeShaper 2, FilterShaper Core 2, PanShaper 3 and WidthShaper 2. The applications of each of these should, hopefully, be pretty obvious from their names – modulating volume, pan position, filtering and stereo width. The only device that isn’t self-explanatory is TimeShaper, which is a kind of virtual tape looper that samples a buffer of incoming audio and then modulates the ‘playhead’ position to allow for all sorts of glitch, stutter and reverse effects.

Broadly speaking, the overall design of ShaperBox 2 hasn’t changed that dramatically from version 1. As before, the plugin has five slots that can be loaded by one of each processor. 

These can be rearranged so that the effects run in whatever order you like, although sadly there’s still no option to have more than one instance of any effect, which means that you can’t, for example, have two filters running in series. 

Of course, there’s nothing stopping you placing multiple instance of ShaperBox onthe same track in your DAW, but the resulting combinations can’t be saved as you might a single preset.

Layout-wise, each processor is focused around a central space for creating and adjusting the shape of the modulation. Shapes can either be drawn manually from scratch or selected from a handy range of predesigned curves, patterns and sequences. 

The modulation grid itself can be adjusted using controls to set the length and rate, which can be sync’d to host tempo or free-running, with plenty of options for creating polyrhythmic movement and using odd time signatures. 

Modulation shapes can be triggered and switched via MIDI too, and it’s here that the plugin becomes really powerful – the ability to change patterns of modulation across the course of a track, or depending on the note played in a melody, can create some really interesting results.

Performance and verdict

The range of drawing tools used to design and adjust modulation shapes has been expanded for version 2, adding specific pen tools for quickly creating lines, curved arcs and ‘s’ shapes. Selector tools allow for multiple automation points to be shifted around, and curves can shifted left and right on the grid, doubled and randomised. 

With these new tools ShaperBox is easier to use than ever; creating both extreme and subtle modulation feels intuitive as a result. Each processor can be applied across up to three frequency bands individually using a band-splitter found to the top left of the UI. 

Two sliders are used to freely divide the low, mid and high frequency bands. These can be placed anywhere from 20Hz to 20kHz with band-split curves that can be set at 6, 12 or 24dB. Effect types and modulation shaping can then be set individually for each of these three bands.

There are some other new effect-specific features here too. The latest versions of FilterShaper Core, PanShaper and WidthShaper add envelope followers, allowing for dynamic modulation relating to the incoming audio. These are available for each of the defined frequency bands and are adjusted with Attack/ Hold/Release controls along with Threshold, Amount and Depth options. These can follow either the main incoming signal or a sidechain input and the envelope follower can be blended with the ‘shaped’ LFO too.

VolumeShaper, meanwhile, gains a compressor, which works particularly well for transient shaping on drums. Paired up with complex level adjustments that could already be achieved in VolumeShaper, it makes for a very powerful tool – it’s especially handy for carving up drum loops and old vinyl samples to help them sit with an electronic groove. Again, the compressor is multiband and can accept sidechain signals too.

Version 2 also adds new modes for some of the effects. FilterShaper has a selection of phasers in its already generous list of filter types. PanShaper gains a Haas mode as well, adding a new way to create spacial effects. 

Finally, there’s also a new ‘fine’ timing mode for TimeShaper, which adds the ability to emulate the inconsistencies of vinyl or tape by introducing subtle modulation. Taken as a complete package Cableguys’ ShaperBox 2 makes for a very powerful multieffect tool, and one that makes adding detail and complexity to tracks feel simple and intuitive. 

While there are ways we’d like to see it develop further – the ability to add multiple instances of an effect inside the plugin, options for routing effects in parallel as well as serial – ShaperBox 2 offers a deep well of creativity that more than justifies the price of the Shapers sold separately, let alone its low bundle price.

MusicRadar verdict: ShaperBox 2 is a slick multi-effect update that adds depth and power without losing the ease-of-use and intuitiveness at its core

The web says

"ShaperBox should be an essential companion for anyone working with loop-based music. Purely on a time-saving, functional level, it gives you quick tools that can be used in place of fiddly editing and automation, and you can breathe new life into static audio loops."
MusicTech

Hands-on demos

Plugin Boutique

Producing Bonedo

Specifications

• Type: Effects plugin
• Key Features: Six Cableguys' effects (Time, Crush, Volume, Filter, Pan and Width Shapers), user-designable LFO, Pens tools for designing LFO, flexible envelope followers
• System Requirements: Windows (Windows 7, 8 or 10, VST host sequencer
  32/64-bit), Mac (Mac OS X 10.8 or later
  VST or AU host sequencer)
• Cableguys

What is it?

Versions 4, 5, 6, 7 and 8 of iZotope’s Ozone mastering suite all scored 10 in their near yearly reviews. This isn’t hugely surprising, as there’s no denying the sonic and functional excellence of this amazing application, which has become the de facto software mastering standard in pro and home studios alike. 

It also, of course, makes the conclusion of this review somewhat predictable, as, unless iZotope have actually downgraded anything or really messed up the new stuff, realistically, Ozone 9 can’t fail to maintain its ‘essential’ status.

Before we get started on those new features, though, a summary of the basics is in order for those new to this particular game. Ozone is a standalone app and plugin, into which one each of a wide range of processing modules (Dynamics, Equalizer, Spectral Shaper, Exciter, etc) are instantiated in series to create the ideal mastering chain for your track.

As of version 8 (10/10, 251), it also includes the AI-driven Master Assistant, which creates genre-targeted ‘starting point’ presets for you, based on analysis of the input signal or a reference track.

As with previous versions, Ozone 9 is available in three versions: Advanced (reviewed here), and the cut-down Standard (£222) and Elements (£115). One of the main differences is that only the Advanced version also includes all the Ozone modules as separate plugins, but see the iZotope website for a run-down of the rest. The upgrade from v5-8 Advanced to Ozone 9 Advanced costs £177, incidentally.

Performance and sounds

The first thing upgrading users will notice is that the GUI has been overhauled for visual and workflow parity with stablemates Neutron 3 (9/10, cm265) and Nectar 3 (9/10, cm265). That means EQ control panels overlaid on the main display rather than racked up below (but with the All Bands view still available to the main and Post EQs, which are now called Equalizer 1 and 2), much smoother spectrograms, and – yay! – free ‘corner-drag’ resizing.

It all looks and feels fabulous, and CPU usage has also been quite appreciably reduced in comparison to Ozone 8.

The two (Advanced-only) headline features this time round are a pair of very straightforward new spectral processing modules designed to give effortless control over specific elements of the mix. Master Rebalance is the most impressive of the two: simply click the Vocals, Bass or Drums button to target that component within your full mix, and slide the slider to apply up to 8dB of cut or boost to it. 

It just works, every time, making it genuinely possible to bring out undermixed parts or suppress overly dominant ones to a greater degree than you might expect, without any detrimental effect on the surrounding material. Truly spectacular, and we look forward to more instrumentation options in Ozone 10.

The other new module, Low End Focus, is intended for emphasising or blunting transients between 20Hz and anywhere from 49-300Hz, as determined by the adjustable crossover. Two base algorithms, Punchy and Smooth, govern the general aggressiveness of the effect, while the Contrast slider brings it to bear, attenuating non-transient elements when raised and pushing transients down when lowered. 

The Listen function solos the difference between input and output, so you can hear exactly what the process is doing; and in Mid/Side mode, the controls are doubled up for independent processing of the mid and side channels.

Although not as jaw-dropping as Master Rebalance, Low End Focus works very well indeed, providing an intuitive and effective tool for restoring low-frequency definition and impact, or reining in excessive transient peaks.

Master Assistant has been improved in Ozone 9 with the addition of a, er, new Vintage mode, which draws on the Vintage EQ, Comp and Limiter modules rather than their modern equivalents. Producers of rock, jazz and other ‘live’ genres will certainly appreciate that, and the results are every bit as good as they are in what’s now called Modern mode. You can also now choose from LUFS targets in Streaming mode as well as CD mode.

We’re not sure how much under-the-hood work has gone into Master Assistant in terms of the choices it makes and its confidence in them, but the configurations it arrives at seem to be less… conservative than in Ozone 8, and perhaps even a bit more conclusive.

Ozone 9 also includes version 2 of the Tonal Balance plugin, which brings together the EQ controls of all running instances of Ozone 9, Neutron 3 and Nectar 3, and displays the spectral distribution of your mix relative to a mastering curve based on analysis of thousands of commercial tracks. Nine genre-based reference targets have been added (for 12 in total), output gains of linked modules are now accessible, and the GUI is resizable.

As predicted, we have no hesitation in once again awarding top marks to iZotope’s incredible mastering system. Master Balance is one of the most powerful spectral processors we’ve ever used; Low End Focus is useful; the Master Assistant, Imager and Match EQ improvements are great; and none of the ‘unimproved’ tools have lost any of their lustre in the last year.

In summary, for mastering in the box, nothing else comes close to Ozone 9’s dazzling combination of user-friendliness, depth, feature richness, and – most importantly – knockout sound.

MusicRadar verdict: Almost worth the upgrade fee for Master Rebalance alone, Ozone 9 Advanced easily retains its crown as the ultimate all-in-one ITB mastering solution

The web says

"All three Ozone versions, but particularly Advanced and Standard, have been improved significantly and are well worth an upgrade or an outright purchase. If you can spring for it, go with the Advanced version, as it offers the most comprehensive processing options."

Mick Levine, MIX

"If you’re upgrading, then it depends on whether you think you’ll get any use out of the new features. It’s not a total game-changer, but engineers who often find themselves working with stereo tracks featuring vocals will love the Master Rebalance module"

Alex Holmes, MusicTech

Hands-on demos

iZotope

Sweetwater

Sonic Scoop

Specifications

• Price: $499 Advanced [as reviewed], $249 Standard, $129 Elements
• Mac/PC: OS X 10.8.5 – 10.14, Win 7 – Win 10
• AAX (64-bit), AU, RTAS (32-bit), VST, VST3
• Master Rebalance [Advanced only] allows for real-time volume adjustment in any tracks
• Low End Focus [Advanced only] to set Boundary region to adjust contrast.
• Imager to add stereo mix, featuring two newly designed stereoize modes
• Equaliser featuring fluid metering and revised HUD
• Track Referencing for looping specific regions of your references, load up to 16 simultaneously into Ozone with Master Assistant to match tone of reference tracks
• Maximizer with Intelligent Release Control to reduce distortion and pumping, True Peak Detection to stop clipping after export, and Threshold Learn mode to set loudness to target LUFS level
• Spectral Shaper for removing harshness.
• Dynamic EQ
• Exciter to mix/match up to 7 different types of distortion
• Dynamics with ability to compress up to 4 bands with Detection Filter Mode
• Vintage Modules including Vintage Tape, Vintage Limiter, Vintage EQ and Vintage Compressor
• Ozone Utilities inc. Codec preview and Dither
• iZotope

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Percussion sounding pitiful? Beats not big enough? Then you need Computer Music Special 56: The Ultimate Guide to Drums.

Design rhythm tracks like a pro
Whether you're looking to record a human drummer playing real drums, emulate the same using plug-ins and MIDI, or program hard-hitting electronic beats for your dance and electronic productions, this comprehensive guide takes you through everything you need to know. From the basics of recording and MIDI programming, through humanising, mixing and processing, every aspect of rhythm track design is covered.

Buying advice
There's also plenty of buying advice on offer, as we present our pick of the best virtual drum kits, virtual drum machines and MIDI pad controllers on the market today.

On the CD
As if all that wasn't enough, the included CD comes with a collection of 1193 incredible drum samples from Loopmasters, Quantum Loops and Wave Alchemy, as well as all the examples and files you need to follow the tutorials in the magazine.

Computer Music Special 56: The Ultimate Guide to Drums. Don't miss it!
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Digital editions: 3 October 2012
Print edition:
UK & mail-order: 3 October 2012
Europe: 10 October 2012
North America: 31 October 2012
ROW: 14 November 2012
(*overseas dates are approximate due to factors beyond our control)

STOCKISTS
Newsagents: WH Smith, Borders, Chapters and good independents
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For many years, reverb was arguably software’s weak spot, with the average plug-in e­ffort being a cold, metallic cousin to its rich, lush hardware relations.

You could say that space really was the ­final frontier for plug-in developers, but it’s one that they’ve well and truly conquered in recent times because there are now scores of excellent reverb plug-ins to choose from.

Not so long ago, convolution reverb was all the rage - this essentially uses samples of real spaces or other reverb devices, as opposed to simulating a space mathematically, which is what algorithmic reverbs do.

But algorithmic reverb has fought back hard, proving that both approaches can offer stunning results.

In this round-up we’re looking at some of our favourite algorithmic reverb plug-ins. Make room…

Next: 112dB Redline Reverb

This one blew our mind upon its release with its single ­flexible algorithm and quick interface.

Read the 112dB Redline Reverb review

This impressed us with its natural spaces. It was marked down slightly for not having any really big halls, but this has since been rectified in an update.

Read the eaReckon EAReverb review

With a GUI inspired by Lexicon’s LARC remote control units, it’s not hugely surprising that this one delivers quality digital reverb.

Read the Softube TSAR-1 review

Only functional niggles held this lush ’verb back from higher marks, but swift updates have seen some of these issues laid to rest already.

Read the ValhallaDSP ValhallaRoom review

We awarded v1.0 a five star score and it quickly became one of our top reverbs. v1.5 took it to the next level.

Read the 2C Audio Aether review

…Or, to give it its full title, the PCM Native Reverb Plug-in Bundle. This brings the famous PCM96 hardware’s algorithms to plug-in form. And no, the price isn’t a typo.

Read the Lexicon PCM Native Reverb Plug-in Bundle review

A painstaking UAD‑2 emulation of the first ever digital reverb, the EMT250. It still sounds terrific, although it can’t match the ­flexibility of modern reverbs.

Read the Universal Audio EMT 250 review

This one offers three algorithms: two plates and the cavernous Superhall. Incidentally, all are designed by ValhallaDSP’s Sean Costello.

Read the Audio Damage Eos review

Liked this? Now read: 8 bangin' drum synth plug-ins

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Jazz musicians tend to give their vocalists a lot of space - and we’re not talking about the distance between them in the studio. Because classic jazz tracks tend to be gentle, textured and soft, it’s a lot easier to pick out the subtle qualities of a singer’s voice. In other words, if a vocal is treated poorly, the listener is certainly going to know about it!

Getting a classic jazz vocal sound isn’t too difficult, provided you stick to a few basic principles. The first thing to be aware of is that you’re trying to keep the singer’s voice as natural as possible. When you do add processing to it, you’re trying to bring out - rather than mask - its natural qualities.

So when you’re adding, say, reverb to the vocal, you’re going to want to stay away from the more intense settings. If you think the listener will be consciously aware of the added reverb, dial it back.

It’s by no means a concrete rule, but try to steer clear of any plug-ins that actively colour the sound. For example, a transparent EQ is better in this case than one that adds its own character.

Better, but again, not essential: as long as you’ve got a decent EQ that doesn’t actually advertise that it adds colour to the sound, you’ll probably be OK.

Compression is a consistently thorny issue in jazz mixing, with some engineers arguing that it shouldn’t be used at all. By avoiding it, they say, the natural dynamics of the performance are preserved. We say, use your ears: if you think your vocalist would benefit from a little compression, go for it.

Next: Five steps to flawless jazz vocals

Step 1: Let’s EQ things first. Our plug-in here is the linear-phase Slim Slow Slider LPGEQ, but you could use any transparent EQ. To begin with, there’s a tiny bit of low-level hum here - something you’ll find prevalent in a lot of jazz vocal material - so we cut everything below 50Hz to smooth things out. You might want to lose some off the top, too.

Step 2: You’ll rarely want to boost the highs with jazz vocals - doing so can make things a little too hot, and what you’re aiming for is smoothness and clarity. Here, we create some gentle boosts in the midrange. We also boost a couple of decibels between 1.3 and 3.5kHz, which will help to lift the vocal out of the overall mix.

Step 3: We choose to use some compression here, just to catch the peaks of the vocal. We’re extremely light-handed, though, opting for high Threshold, low Ratio, and generous Attack and Release. We’re not looking to fatten the vocal; just to keep it at a consistent level throughout.

Step 4: Instead of compression, you might want to use some warming with an amp or distortion plug-in. In some cases, this can be very beneficial to the sound and the overall ambience you’re trying to create. We insert a TAL-Tube plug-in and disable our compression; running both at once would colour the sound a little too much.

Step 5: Although we don’t really need to use it here, reverb on jazz vocals is one of the best ways to enhance the sound. However, it’s also one of the easiest things to overdo. One good tactic is to mix in a natural-sounding, noticeable reverb, then bring down the Dry/wet setting until it’s only just audible.