STEINBERG WARP VST

Warp VST (Win; $299) is Steinberg's entry into the arena of guitar-amp-modeling plug-ins. The software offers three classic amp models and three virtual speaker cabinets. Latency is negligible when the plug-in is used with ASIO.

The plug-in delivers simulations of the Roland Jazz Chorus, the '60s Plexi Top, and rectified amps. Speaker cabinet simulation gives you an open-back combo amp with a 12-inch speaker; a British-style cabinet with four 12-inch '80s-era speakers; and a model of the Greenback cabinet with four 12-inch speakers. You can mix and match amps with cabinets.

If you want to use Warp VST, you'll need a Pentium ll/500 MHz computer with 256 MB of RAM, a VST 2.0 host program, and, of course, a low-impedance input device, such as an electric guitar. Steinberg North America; tel. (818) 678-5100; e-mail info@steinberg.net; Web www.us.steinberg.net or www.cubase.net.

YAMAHA SO8

The SO8 ($1,495) from Yamaha has a weighted, hammer-action keyboard and offers 64 notes of polyphony. The instrument holds 16 MB of sample ROM, which yields 25.2 MB when converted to 16-bit linear format. (Some of the samples use a proprietary data-compression scheme.) The SO8 is 16-part multitimbral, and it offers 493 XG sounds, 128 presets, 128 user memory locations, and a total of 31 drum kits, 2 of which are programmable. It also offers 24-bit effects, including 17 reverb types, 17 chorus types, and 49 additional effects such as delay and distortion.

The SO8 can load and play back type 0 Standard MIDI Files. A slot for SmartMedia cards lets you store as much as 128 MB of voice data or sequences. Yamaha bundles its SQ1 sequencing software and SO8 Voice Editor software for editing and storing patches, along with Card Filer (Mac/Win) for porting data from your computer to the SmartMedia card.

A rear-panel USB port allows the SO8 to send and retrieve MIDI data. MIDI In, Out, and Thru ports are included, as well. Left and right analog outputs are located on unbalanced ¼-inch jacks, and there are also ¼-inch TRS jacks so that you can hook up a footswitch and an expression pedal. Yamaha Corp. of America; tel. (714) 522-9011; e-mail info@yamaha.com; Web www.yamaha.com or www.yamahasynth.com.

TERRASONDE DIGITAL AUDIO TOOLBOX

The Digital Audio Toolbox ($2,499) from Terrasonde assembles a host of troubleshooting utilities for digital-audio systems in a handheld device. It offers dual inputs and supports 24-bit, 96 kHz audio.

The Digital Audio Toolbox has four sets of digital-audio I/O connectors: AES/EBU, S/PDIF (optical and coaxial), and ADAT. Word-clock I/O and a serial port are also provided for sending data to computers. There are balanced ¼-inch and unbalanced RCA mono analog outputs for monitoring the digital input signal and test tone output. You can also monitor through the ¼-inch headphone jack or the built-in speaker.

More than 25 test, analysis, and utility functions are available in the Digital Audio Toolbox. The test functions include Transparency, which can detect modifications to the data stream; Lock, for testing phase lock between signals; a Jitter Meter that measures any jitter caused by the digital-audio interface; and Cable Quality, which checks for jitter induced by a faulty cable.

The Bitstream Analyzer displays bit depth and header information, and the Digital Watchdog detects errors. Tools include a sampling-rate converter and a Digital Generator, which provides a variety of digital-audio test signals. You also get a tool for measuring digital signal levels in a variety of formats.

So that you can monitor and generate machine-control signals, the Digital Audio Toolbox includes a Sony 9-pin jack. The unit also comes with a rechargeable battery system, serial computer interface cables, and a foam-lined hardshell case. Terrasonde; tel. (888) 433-2821 Or (303) 545-5848; Web www.terrasonde.com.

BIAS PEAK 3

Peak 3 (Mac; $499) is a fully native Mac OS X version of BIAS's digital-audio editor. It supports carbonized VST plug-ins and takes advantage of other Mac OS X features, including the Aqua user interface, protected memory, and CoreAudio support for multiclient hardware. However, Peak 3 will also run under operating systems as early as Mac OS 8.5.

BIAS's Vbox plug-in-processing matrix has been integrated into Peak 3, allowing you to create complex multi-effects patches using VST plug-ins. Vbox is also integrated into the playlist, so you can control routing, level, mute, bypass, solo and effects presets for each playlist event. Other features include built-in high-quality MP3 encoding and dithering algorithms. User interface enhancements comprise a cursor-palette tempo calculator and an expandable Contents window.

Peak 3 offers unlimited Undo and Redo functions with a graphic edit history and automated Red Book CD burning. The package comes with more than 25 VST plug-ins, including BIAS's new Freq 4-band EQ. (Owners of Peak 3 can upgrade to the SuperFreq 10-band EQ plug-in for $49.)

Peak 3 requires a PPC G3/200 MHz Macintosh with 64 MB of RAM. With operating systems earlier than version X, users will need Apple Sound Manager 3.3 or later. BIAS (Berkeley Integrated Audio Software); tel. (800) 775-BIAS or (707) 782-1866; e-mail sales@bias-inc.com; Web www.bias-inc.com

ROLAND XV-5050

The XV-5050 synth ($995) is a 1U module from Roland that features the same synthesis engine as Roland's XV-5080. The XV-5050 gives you 64-note polyphony, combines four stereo oscillators for each program, and can accommodate two SRX-series expansion boards for additional waveforms and programs. The module also offers 11 filter types and two LFOs per patch.

The XV-5050 includes all of the XV-5080 presets, adds a batch from the Fantom workstation, and also offers a host of new presets. The module has five independent effects processors, including 24-bit reverb, chorus, delay, and guitar-amp modeling. You can also assign 3-band EQ to each output.

The front panel's USB port offers direct MIDI communication with computers and allows the module to serve as a 16-channel MIDI interface. Roland also bundles a CD-ROM (Mac/Win) with USB drivers.

On the rear panel, you get MIDI In, Out, and Thru ports. Analog outputs are a pair of unbalanced ¼-inch jacks for individual outputs and a second pair for a stereo mix. The synth features coaxial and optical S/PDIF digital output jacks. Roland Corp. U.S.; Tel. (323) 890-3700; Web www.rolandus.com.

ENSONIQ HALO

Thirty-two MB of sample ROM and real-time controls lead the feature set for Ensoniq's 61-key Halo ($1,295). The 64-note polyphonic instrument includes three slots that can hold a maximum of 128 MB using E-mu Proteus ROM cards. The synth delivers its 16-bit, 44.1 kHz sound set through a built-in 24-bit dual-stereo effects processor and 24-bit D/A converters.

Halo holds 640 factory and 512 user presets along with 64 user-programmable multitimbral slots. A single patch can consist of four oscillators. Sound-shaping capabilities include more than 50 different digital filter types and more than 100 synthesis parameters. The dual-effects processor offers a host of parameters that sync to MIDI Clock.

Four real-time control knobs let you control synthesis parameters, and the top panel of the keyboard has an array of 16 buttons that can trigger MIDI sequences or any of the unit's programmable arpeggiators. According to the company, the instrument's MIDI response time is several times faster than that of the Proteus 2000.

Four unbalanced ¼-inch analog outputs are divided into two stereo pairs. You get a ¼-inch TRS stereo analog effects return. Quarter-inch TRS jacks accommodate a footswitch and an expression pedal, and MIDI In, Out, and Thru ports are provided. E-mu/Ensoniq; tel. (831) 438-1921; e-mail info@emu.com; Web www.emu.com.

BITHEADZ UNITY SESSION

BitHeadz Unity Session (Mac; $649) has a new plug-in architecture that lets different synthesis and sampling types interact under one hood. Unity Session includes the AS-1 and the DS-1 software and adds physically modeled clarinet and flute, as well as hammered- and bowed-string, models. Oscillators from one synthesis type can interact with other oscillators in real time. For example, you can use a DS-1 sampled oscillator as a carrier or modulator for an oscillator with a Retro AS-1 waveform.

MIDI and audio effects processors in Unity Session appear as plug-ins. Audio effects processors include standards such as reverb, chorus, delay, and flange; an assortment of dynamics-processing tools; Degrade for bit reduction; and Pitch Bend.

The DS-1 can play samples loaded into RAM while simultaneously streaming larger samples from the computer's hard disk, and support for GigaSampler files has been added. The program can automatically map Akai S1000, DLS, SoundFont 2.0, and SampleCell II Instruments. The package ships with several gigabytes of samples and programs to get you started. Unity Session now provides an enhanced keyword-search function; you can quickly locate and load samples stored on networks and on removable media. Unity Session can automatically detect MOTU Audio System, VST, Real Time AudioSuite, or DirectConnect.

Unity Session requires at least 128 MB of RAM and a PPC G3/333 MHz computer. The program is optimized to run on Macintosh OS X, but you can use versions as old as OS 8.6. BitHeadz; tel. (401) 886-7045; e-mail info@bitheadz.com; Web www.bitheadz.com.

BIAS SUPERFREQ

SuperFreq ($79; upgrade from Freq, $49) is a VST plug-in for Macintosh. The software provides ten bands of parametric EQ and is driven by OS X Carbon events to work within any Carbonized VST host application. SuperFreq can also work under Mac OS versions 8.5 through 9.2.x, but the interface will have a brushed-metal look rather than the aqua look of the OS X version.

SuperFreq offers -18 to +18 dB gain values and a bandwidth Q that's adjustable from 0.1 to 30. You can sweep frequencies from 20 Hz to 20 kHz and bypass individual bands. Onscreen up and down arrows allow you to shuttle through your library of presets. Clipping is indicated by two rows of virtual LEDs.

The filters include high and low shelving, peak, notch, high cut, and low cut. You can also launch SuperFreq as a 4, 6-, or 8-band parametric EQ. BIAS (Berkeley Integrated Audio Software); tel. (800) 775-BIAS or (707) 782-1866; e-mail sales@bias-inc.com; Web www.bias-inc.com.

PRESONUS DIGIMAX LT

The PreSonus DigiMax LT ($999.95) is an 8-channel mic preamp featuring dual-servo preamps with 48V phantom power and a -20 dB pad. The unit offers ADAT Lightpipe digital output and handles sampling rates of 32, 44.1, or 48 kHz.

The front panel provides controls for gain, pad, and phantom power, and LEDs that indicate the presence of signal. The DigiMax LT sports Neutrik combo connectors for each channel, and you can select line or microphone level input.

The 1U device also includes ¼-inch TRS inserts for each channel and a pair of BNC connectors for word-clock In and Out. The DigiMax LT is housed in a steel chassis and has a built-in power supply. PreSonus Audio Electronic; tel. (800) 750-0323 or (225) 216-7887; e-mail presonus@presonus.com; Web www.presonus.com.

APPLIED ACOUSTICS SYSTEMS LOUNGE LIZARD

Lounge Lizard (Mac/Win; $199) from Applied Acoustics Systems uses proprietary physical models to replicate the sounds of classic electric pianos. The manufacturers claim that the software replicates all of the mechanisms in the real instruments, including hammers, pickups, tone bars, and tines.

Lounge Lizard comes with a variety of presets for vintage electric pianos; in addition you can create sounds outside the realm of vintage instruments. Classic presets emulate several varieties of Rhodes, Wurlitzer, and RMI electric pianos. All controls respond to MIDI Control Change and other messages in real time. Onscreen knobs let you adjust parameters for mallet, fork, and pickup.

Built-in effects processors include wah-wah, a six-stage phaser, tremolo, and delay. You also get knobs for main volume as well as bass and treble adjustments. The software supports adjustable bit depths and sampling rates.

Lounge Lizard can be used as a standalone synthesizer, but it also supports DXi, VST, DirectConnect, MOTU Audio System (MAS), ASIO, EASI, DirectX, and WDM. Macintosh users will need a PPC G3/300 MHz computer with at least 32 MB of RAM. For Windows, you'll need a Pentium III/450 mhz processor with Windows 98SE, ME, 2000, or XP, and at least 32 MB of RAM. Applied Acoustics Systems; tel. (888) 441-8277 or (514) 871-4963; e-mail info@applied-acoustics.com; Web www.applied-acoustics.com.

ROLAND MMP-2

Roland's MMP-2 ($695) microphone preamp offers two channels of built-in microphone modeling; 4-band EQ with nine types of filters; modeled tube compression; an enhancer; a de-esser; and digital and analog I/O. A/D/A conversion is 24-bit with selectable sampling rates of 44.1, 48, 88.2, and 96 kHz.

The MMP-2's mic modeling feature is optimized for input from the AKG C 3000 B condenser mic, Roland's DR-20 dynamic mic, and four additional microphones. Mic models include a dynamic type suited for vocals, a large dynamic, and large and small diaphragm condensers.

The MMP-2 ships with a plug-in that models nine types of vintage mic preamps. The preamp uses Neutrik combo jacks for mic inputs, provides 48V Phantom power, and has -20 dB pads for each input. The rear panel sports a pair of XLR analog outputs. You get an AES/EBU and a coaxial S/PDIF output jack as well as S/PDIF In, so you can process digital audio through the MMP-2. A rear-panel switch lets you change the output level from -16 to + 4 dBu.

The USB port allows you to edit the MMP-2's EQ and compressor settings. Roland bundles editing software for Macintosh and Windows and promises that future updates, including new effects plug-ins, will be available for download. Roland Corp. U.S.; tel. (323) 890-3700; Web www.rolandus.com.