MusicRadar Verdict
This is a unique and outstanding reincarnation from Cherry Audio, packed with character at both the vintage and contemporary ends of the spectrum. It’s also incredible fun to play and experiment with, and nothing short of a bargain.
Pros
- +
Superb reincarnation of the Korg KR-55A and KR-55B beatboxes
- +
Huge number of programmable features, for both patterns and sounds
- +
Laden with onboard backend effects
- +
Beautifully styled; it jumps out of the screen
Cons
- -
There are no chunky hardware buttons to press, as it’s software (We’re struggling here)
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What is it?
From the early days of beatboxes for home organists to the gigging guitarist’s drummer-in-a-box, we revere these vintage drum machines with huge affection. They sound immensely cool, but while we can all reel off a list of the commercial classics, there are still a considerable number of models that remain fully untapped.
Enter the KR-55C, from Cherry Audio, a software reincarnation of the Korg KR-55 (aka Rhythm 55), originally released in 1979. Adopting all of the usual kitsch bossanova and cha-cha favourites, the original packed a sizeable punch in the sonic department, and it didn’t take long for commercial artists to realise its potential. A case in point: that pulsing rhythm with highly identifiable hi-hats, from Joe Jackson’s ‘Steppin’ Out’, supplied by the KR-55.
The original machine was updated in 1982 to the model 55B, offering a new selection of patterns and fills, along with a sleek redesign of the graphics. Cherry Audio’s KR-55 now climbs to revision ‘C’ in software, offering vintage charm alongside a raft of new and programmable features.
Pricing
- Full price: $49
We were lucky enough to get hold of a copy of KR-55 prior to the official launch so we could bring you our review on the day of release.
Unlike other plugin releases of late, the KR-55C isn't announced with a special introductory offer, but at just $49, few can argue with the price.
Performance
We have become very accustomed to the extraordinary levels of detail supplied by Cherry, particularly when it comes to graphics. The KR-55C seems deeply three-dimensional when on screen. The fully resizable interface is available in plugin and standalone formats, with the ability to quickly switch from the A/B machine revisions through the flick of a switch at the bottom of the window.
As any early drum machine aficionado will tell you, the machine-like tendencies of the original drum patterns have an allure all of their own, with patterns presented from both A & B revisions, totalling 240.
Blow your x0x off!
If Bossa’s aren’t your thing, a quick flick to User mode will present a highly familiar x0x-style programming format, allowing the creation of any pattern you like. You can create patterns up to 32 steps, utilising the familiar process of chaining two 16-step patterns together, and you can also move into triplet territory, working in a format up to 24 steps. In Song mode, you can chain up to 99 patterns, or if you prefer, simply trigger sounds from within your DAW. There is a unique charm and immediacy to creating patterns on the KR-55C interface, though, which we really like. Your patterns can then be dragged and exported into your DAW as MIDI, or you can sync the KR-55's sequencer to your DAW’s clock, if that’s your preference.
BeatBox palette
Creating patterns is one thing, but they’re not convincing without good sounds. The basic sound set is nothing short of sublime! Oozing vintage character, these sounds were popular with Mute recording artists, such as Fad Gadget and Depeche Mode. Regardless of your knowledge of synth-pop history, they will still sound instantly recognisable and really very classy!
There are 11 sounds available, which are immediately editable from the main front panel. The instrument channels offer a useful set of parameters to adjust each sound to suit your own cause. The thud of the Bass Drum (which is a beautiful thing in itself) can be fine-tuned in both decay and tuning, should you wish to move in the direction of an 808 kick. A see-saw pot allows the blending of timbre between the upper click and the lower body weight. It’s a similar story with the snare, with the tone parameter allowing adjustment between the attack element and the supporting noise.
Steppin’ out, hats off!
There is something about the sound of the KR-55 hats that we find incredibly endearing! Its metallic-but-electronic make-up has been beautifully modelled here. It seems to meander, much like an analog circuit. The closed and open hats are programmed individually, with control over the decay of the open hi-hat.
The sound palette continues with low and high toms, low and high congas, rim shot, cowbell and claves. Of course, these descriptions can be stretched to the max, particularly with instruments such as the cowbell. With the decay elongated, it sounds very bleepy indeed!
Each instrument channel is also equipped with a cut and boost EQ pot, with an accompanying frequency pot above. This can be useful for removing or endorsing certain frequencies at the source, although for our money, we really did enjoy the sounds just as they were, all be it with some fine tweaking in tone, tuning and decay.
Mix and FX
Two further pages provide Mix and FX parameters, which can extend each sound considerably. The Mix page provides the requisite volume and pan controls for each sound, with useful mute and solo buttons, too. There are 4 further FX buttons, which divert the signal path for each sound, toward reverb, echo, modulation and overdrive. A quick switch over to the FX page reveals these elements, although each of the effects is shared across all sounds. There is also a wonderfully effective Bus Limiter and Compressor (equipped with a classic VU meter) to help keep the backend output under control.
You would be forgiven for thinking that the addition of these backend effects are just a bit of an add-on. That would be a serious error of judgment because they bring so much to the sonic party. Even the basic construct of an open-decay bass drum, with added Overdrive, completely changes the character of what’s an offer. It can be truly aggressive and easily extend to the avant-garde.
To fully understand this, you don’t need to go much further than the patch browser. Each patch saves both the edited sounds and accompanying pattern, and Cherry supplies a wealth of diverse patches way beyond the original humble beatbox. Should we need any further evidence, it supports the concept that the KR-55C extends considerably beyond the original remit, providing a highly contemporary palette from vintage designs.
Verdict
It’s fair to say that we are completely smitten with the KR-55C; with our nostalgic ears, we found ourselves programming and enjoying the original sounds of this underrated classic. But in full production mode, the KR-55C turns into a total beast! The bass drum is a total bad-ass, while the potential for Aphex-style bleeps and mayhem is available with full-on MIDI control.
Hands-on demos
Cherry Audio
Specifications
Key features | 11 onboard original KR-55 sounds All sounds programmable in tone, EQ, decay. FX routing for all sounds Pattern and Song mode programming available Drag-and-drop MIDI pattern export Focus mode allows quick and easy zooming, for close-up editing |
System specs | MacOS and PC Windows; AU, AAX, VST, VST3 & Standalone formats |
Contact | Cherry Audio |
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