How do you make the Moog legacy of instruments accessible — assuming you can’t afford a studio full of vintage gear? One choice is to model the instruments virtually, as developers like Arturia have done. That provides real-time control, but models may not be perfect, and if you want more than one instrument, you really need more than one model. Others have reimagined some of the Moog sound designs on more modern instruments, as Craig Anderton did recently with Cakewalk’s Rapture.

IK Multimedia, working with veteran sample house Sonic Reality in collaboration with Moog Music, have taken the “museum” approach — put samples of everything in a single box. And what an ambitious collection they’ve got, as we noted when the product was announced. But can you win over even someone who owns some of the real gear? We put that question to our own Lee Sherman, who’s been diving deep into the tool. Mindful of the tradeoffs, he’s got some insight into just how useful they were able to make that sampled content.

SampleMoog can’t help but be greeted with some degree of skepticism. Even virtual analog synths like Arturia’s Minimoog V don’t go all of the way in reproducing the Moog experience. How can something based on samples even come close?

Wormhole2 is a powerful, cross-platform (Windows + Mac) VST plug-in capable of transmitting audio between computers over networks. It allows effects chain routing between networked computers, boasts low-latency performance on LANs, and even works over WiFi or Firewire. But Wormhole2’s niche audience kept it from catching on more widely, and we hadn’t heard much from it lately, leaving some users worried Wormhole had fallen into a black hole.

plasq, the wonderful people who brought us Skitch and Comic Life, have been giving their audio tools new lives rather than orphaning them. We’ve already seen plasq’s live performance-savvy instrument and effects host Rax show up as an Audiofile Engineering product, and AE in turn recently promised in comments that great things were coming for Rax.

Now, we have some great news for Wormhole2: it’s gone open source:

Wormhole2 @ Google Code

Product Page and Features (still up at press time)

Discussion at plasq.com Forum

End users can just download AU (Mac) and VST (Windows) binaries, plus a PDF manual. It’s even a Universal Binary for Intel Macs.

Developers: because VST isn’t an open-source format, you have to download Steinberg’s VST SDK to use it, but plasq will actually go the trouble of sending you the files once you agree to Steinberg’s license agreement. (AU isn’t either, but Apple ships all the developer tools you need with the OS.)

I’m really hopeful someone will build something cool with this. You’ll need something else to route MIDI (though the Mac does that over networks out of the box, cough, Windows). But there are powerful audio-over-network options here which would be hard to work out on your own. It’s unclear how useful Wormhole2 will be to the existing, open source JACK audio project, which is also capable of routing audio between apps and (via netjack) networked computers. JACK uses a client/server model as opposed to Wormhole’s plug-in approach. But for end users, having both tools available free is a very good thing, and the price tag is an extra incentive to be brave and see if these tools can help power up your rig.

Awhile back, we reviewed Wave Editor, and deemed it one of our favorite audio editors for Mac OS X. Our friends at Audiofile Engineering have ushered in the holiday season with a complete site redesign and numerous application updates, including the highly anticipated Wave Editor 1.3, and Leopard-ready updates to apps across the board.

You may also recall that Audiofile Engineering recently rescued the excellent instrument and effect host, Rax - formerly developed by our friends at plasq. It is clear that Apple borrowed heavily from Rax’s design choices and intentions with their new MainStage application (bundled with Logic 8) but with its impressive features, custom interfaces for audio units, cool visualizer support, and active development, Rax is still the application to beat in this domain.

Competitive upgrade, crossgrade and educational pricing, sleek new icons, one of the finest audio application suites in the industry (and did we mention a simple, non-draconian form of authorization?) - Audiofile Engineering has definitely brightened the days for Mac users this season!

Sound modules of yesteryear rarely earn much love today: now that we’re spoiled for choice with soft synths, ROMplers are unlikely to inspire the same passion. Not so with the E-MU Proteus. These rack modules of sounds were virtual candy stores for sound lovers, beloved by composers and musicians for their broad range of perfectly-crafted sound sets. If you’re an E-MU lover, there’s just no real substitute for some of these sounds.

That means the latest news from Cakewalk should get your attention, whether you’re an old Proteus pro or discovering these for the first time:

E-MU Proteus Pack

For a trip down memory lane:
Proteus 1/2/3 modules at Vintage Synth Explorer
Cakewalk actually got the producer of the original Proteus sound set, Timothy Swartz (now of Digital Sound Factory), to do the sound design. The library uses Cakewalk’s Dimension Pro sampler, so it runs on Mac, Windows, VST, AU, RTAS (for Pro Tools), the lot — and supports 64-bit Windows, as well. If you buy a module, you even get a download of the quite-nice LE flavor of Dimension free.

In the lineup:

• Proteus 2000: Multi-Purpose Professional Sounds
• Mo’ Phatt: Hip Hop / Urban
• Xtreme Lead 1: Dance/Electronica
• Planet Earth: World
• Virtuoso 2000: Orchestral
• PX-7: Drums Percussion

Pick any one a la carte for US$79 or get the whole set for US$299.

I’m downloading these now to review them. Since I get to talk about this before the review, I’d love some feedback. Anything you’d like me to look at specifically for the review? Any sound libraries you’re interested in? Or have you moved on from E-MU to bigger and better things? (Or maybe you’d rather eBay some hardware…)

Rax, the clever audio effect and instrument host for Mac, got a major update last year with performance rigs, custom visualizer support, and a slick UI designed by plasq. It’s an ideal tool for loading up some instruments and effects and playing on your Mac, especially if you want software that gets out of your way while you play another instrument or sing and don’t need a full app like Logic or Live onstage. But it never caught on with Mac users, even after I wrote a glowing review in Macworld. And it has certainly been overshadowed by more popular plasq products for the general Mac market, like Comic Life and the upcoming Skitch. So it was clear this unknown gem needed a new home.

Happily, Rax has now changed hands to another of our favorite small developers, Audiofile Engineering. Their Wave Editor has won over CDM’s game composer / contributor Brent, so we’ll be curious to see how they handle Rax. They’ll be supporting existing customers (few of them as there are out there, I expect there’s a good chance they’re reading this). Their 2.1.0 update is a minor release to bring Rax into the AE fold:

Ed.: Our friend Wallace wanders in search of truly transcendent software use, and he’s taking the leap to GURU. Expect a review soon, but here’s why we’re interested — especially with a welcome update arriving free. -PK.

FXpansion has released the long-awaited Guru 1.5 update, which fixes numerous outstanding bugs and incorporates almost 100 new features. What’s amazing is that they’re offering this update for free to existing users. Again, this is another case of a company that could have slapped a major new version number on it and charged at least a modest fee for the update to existing users, and it’s evidence of FXpansion’s generosity and commitment to their customers that this update is being offered for free.

Among the new features:

• Expanded audio export options, with options to render pads, tracks, engines or full mixes, with drag n drop to the host application or even back inside Guru for further mangling. I can see this being seriously useful for loop slicing and mangling
• Expanded slicer functionality with greater precision and a new velocity implementation
• Adjustable randomizer with options to control the amount and depth of randomization
• New sample options for reversing samples, new layer modes and pre delays for fine tuning
• Improved file browser functionality
• Expanded sample library
• Windows Vista & multi-core support
• Expanded keyboard support so every function in Guru can be almost completely controlled without the mouse
• Widely expanded MIDI implementation, with much more control over UI elements
• Drop-out free audio engine, allowing for seamless transitions between kits while previewing

In short, not a whole lot of radically new functionality, but the workflow enhancements and expansion of existing functionality make this update a must-have for existing users, and will likely be enough to tip the fence sitters. I’ve used Guru on a friends machine, and while I really dug it, it just seemed to be missing a few things here and there. With this update, they’ve addressed all those problems by listening to their users on what could (and needed to be) improved. Consider me officially off the fence. When Guru was first announced, it held the promise of becoming the ultimate software beatbox. With the 1.5 update, Guru has officially arrived.

New in 1.5

Finding exotic software instruments is rarely a challenge. A lot of users stumble more quickly when it comes to the basics. Cakewalk has unveiled a new set of soft synths called Cakewalk Studio Instruments, and a number of things about it are immediately interesting:

It’s dirt cheap. US$49.99 for the whole package.

It focuses on a few basics. There are four modules: Drum Set, Bass Guitar, Electric Piano, or String Section.

It’s available via mass-market outlets. Music tech stuff only trickles into the mass market, as a rule. Cakewalk says you’ll be able to pick this thing up at Apple, CompUSA, Fry’s, Micro Center, J&R, and Amazon.com.

It does phrases. There are included, pre-recorded phrases. Might be redundant in the age of GarageBand, but potentially useful to have.

It has a slick interface. The UI is pretty, provides lots of visual feedback (the bows on the strings even move), and puts controls where you’d expect them in the real world — so electric piano effects show up on a stompbox, for instance, rather than floating in softwareland.

Sibelius 5 is a big upgrade to the notation tool, now part of Avid. The biggest change of all: real VST and Audio Unit plug-in support on Mac and Windows. This merging of audio software and scoring software has been a long time coming. We saw limited support in Finale, but Sibelius actually fully supports racks of VST and AU instruments and effects to use on your scores, integrating with the Sibelius mixer for playback control, and merging into groups for control of sections of your orchestra/ensemble. There’s even MIDI control: the Sib site says “… if you have an M-Audio keyboard you can use its own faders and transport buttons to control Sibelius’s playback.” Wow, terrific! (Um, I’m guessing that will work for any MIDI keyboard once you assign the proper controllers, not just M-Audio hardware — but still good news.)

In case you want out-of-the-box instruments and not just plug-ins, Sibelius now includes 2 GB of orchestral, band, and other instruments from Garritan and others.

Also new in this version:

How many times can you hear the same delays and filters and reverbs over and … over … again? The developers at DaevlMakr promise a more “organic” quality by employing unusual combinations of techniques and adding a little chance to the flow in their Daevl.Plugs suite. I’ve been meaning to talk about their work for some time (and, of course, they’re evidently CDM readers). I’m adding them to some projects now, but in the meantime, here’s an initial preview. And I’ve gotten some additional feedback from our recent contributor addition, Liz Knight aka Quantazelle, who has met the developers and been toying with the sounds.

First, the lineup:

Daevl.Plugs (Info, sound samples, screenshots)

1. daevl.cerberus: “Three delays in a feedback network, with distortion via self frequency modulation plus time-shifting on each channel.” Think multi-tap/delay feedback with a timbral twist.
2. daevl.cubedriver: Bitcrusher + pitch shifter + stereo delay = swirling digital mayhem. You’ll know the effect when you hear it, but it’s still not something you’ll find included in a Pro Tools bundle.
3. daevl.hilbertspace: “Three Hilbert-Transform ring modulators in a dual mono delay network.” Glitchy, digital ring mod.