The best new hi-tech music gear of the month: review round-up (May 2019)
Software and hardware for studio and stage
Whether it was a stage piano, an audio interface, a plugin or a whole new recording platform, it was on the MusicRadar team's test bench in April.
Let's take a look back at what was a plump package of reviews, starting with the Yamaha CP88.
MusicRadar's verdict:
“The CP88 feels like it’s been designed by players, for players. It might not be red, but this is a stage piano that has a bright future ahead of it.”
4.5 out of 5
FULL REVIEW: Yamaha CP88
(Originally reviewed in Future Music)
VPME Euclidean Circles V2
MusicRadar's verdict:
“While some will find the lack of CV inputs a problem, Circles is all about play and it certainly excels here. Easy and fun to jam with.”
3.5 out of 5
FULL REVIEW: VPME Euclidean Circles V2
(Originally reviewed in Future Music)
Steinberg AXR4
MusicRadar's verdict:
“Stunning audio quality with ultra high-resolution recording rates and gorgeous preamps designed with Neve’s involvement.”
5 out of 5
FULL REVIEW: Steinberg AXR4
(Originally reviewed in Future Music)
FSS Gristleizer TG Series
MusicRadar's verdict:
“The beauty of the Gristleizer lies in the peculiarities of analogue circuit design. It’s a wild, quirky beast with bags of character.”
4 out of 5
FULL REVIEW: FSS Gristleizer TG Series
(Originally reviewed in Future Music)
Focal Listen Professional
MusicRadar's verdict:
“Honest, transparent circumaural phones that cause little fatigue over long periods. A new favourite in the all-rounder category.”
5 out of 5
FULL REVIEW: Focal Listen Professional
(Originally reviewed in Future Music)
Akai Professional Force
MusicRadar's verdict:
“If you can stomach the price and eschew your existing setup, Force could become the centre of your studio.”
4 out of 5
FULL REVIEW: Akai Professional Force
(Originally reviewed in Future Music)
Nektar Technology Bolt
MusicRadar's verdict:
"Bolt’s streamlined oscillator design makes synthesis straightforward and fun, and delivers the goods sonically.”
4.5 out of 5
FULL REVIEW: Nektar Technology Bolt
(Originally reviewed in Computer Music)
Blue Cat Audio MB-5 Dynamix 2
MusicRadar's verdict:
"Not a radical departure from version 1, but still one of the most versatile dynamics-shaping plugins money can buy.”
4.5 out of 5
FULL REVIEW: Blue Cat Audio MB-5 Dynamix 2
(Originally reviewed in Computer Music)
Eventide Instant Phaser Mk II
MusicRadar's verdict:
"Whether you’re producing classic rock or cutting-edge electronica, Instant Phaser Mk II is as relevant and stunning as ever.”
4.5 out of 5
FULL REVIEW: Eventide Instant Phaser Mk II
(Originally reviewed in Computer Music)
Mäag Audio Magnum-K
MusicRadar's verdict:
"The miracle of software emulation gives every producer the chance to get their hands on Mäag’s incredible channel strip.”
4.5 out of 5
FULL REVIEW: Mäag Audio Magnum-K
(Originally reviewed in Computer Music)
Antares Auto-Tune Access
MusicRadar's verdict:
"Antares’ legendary plugin boiled down to just the essentials.”
4 out of 5
FULL REVIEW: Antares Auto-Tune Access
(Originally reviewed in Computer Music)
Waves CLA mixHub
MusicRadar's verdict:
"Turn your DAW’s mixer into a sonically authentic 64-channel SSL with this groundbreaking, workflow-boosting plugin.”
4.5 out of 5
FULL REVIEW: Waves CLA mixHub
(Originally reviewed in Computer Music)
PSP Audioware Twin-L
MusicRadar's verdict:
"For opto- and VCA-style compression of instruments, vocals, busses and mixes, Twin-L simply can’t be faulted.”
5 out of 5
FULL REVIEW: PSP Audioware Twin-L
(Originally reviewed in Computer Music)
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Tame Impala's new instrument company reveals Orchid, a chord-generating keyboard designed to help "songwriters and musicians find what’s on their mind"
“It sounded so amazing that people said to me, ‘I can hear the bass’, which usually they don’t say to me very often”: U2 bassist Adam Clayton contrasts the live audio mix in the Las Vegas Sphere to “these sports buildings that sound terrible”
Tame Impala's new instrument company reveals Orchid, a chord-generating keyboard designed to help "songwriters and musicians find what’s on their mind"
“It sounded so amazing that people said to me, ‘I can hear the bass’, which usually they don’t say to me very often”: U2 bassist Adam Clayton contrasts the live audio mix in the Las Vegas Sphere to “these sports buildings that sound terrible”