Recording - April 2012 - 62
B Y M I K E M E T L AY
Rob Papen eXplorer
A collection of eXceptional virtual instruments and effects
It’s been way too long since Rob Papen’s software has been featured in Recording; Devon Brent looked at the Predator software synthesizer in our September 2008 issue, and lots has happened since then. Fortunately, Rob’s bundled a lot of his coolest products into an easy-to-install bundle called eXplorer, and in reviewing it we can cover a lot of ground and get our readers caught up on much of what this innovative designer has to offer.
eXplorer provides a single serial number and installer for a collection of four software synthesizers—Blue, RG, SubBoomBass, and Predator—and three effects plug-ins— PredatorFX, RP-Delay, and RP-Verb. That’s a lot of territory to cover, so let’s go! Generalities Installing the software is a straightforward process, involving a serial number and license delivered to registered users. One nice touch is that once you’ve registered, Rob Papen will provide a second license for free—perfect for users who have a desktop and a laptop and want to use eXplorer’s synths and effects in both. Each of the six programs runs in either 32or 64-bit mode on Windows XP/Vista/7 or OS X 10.5+; there’s a 32-bit version for OS X 10.4 Tiger as well. On Windows, each plug-in can be used in VST or RTAS format; on OS X, there’s also AU. (As of this writing, there is no 64-bit RTAS for OS X.) Blue We’ll start our tour with the venerable Blue. It’s been around since 2006, and at first glance, it looks like a traditional FM synthesizer, with six oscillators modulating one another in various algorithms à la the Yamaha DX7 and its ilk. But when you dig deeper, you discover that’s only part of Blue’s bag of tricks. The synth engine in Blue, which Papen calls “cross-fusion synthesis”, combines elements of FM, Phase Distortion (like the Casio CZ synths), Wave Shaping (popularized by the Korg 01/W and others), and traditional subtractive synthesis, all in one platform. Blue offers a treasure trove of options. If you’re in the mood for straight-up analog subtractive synthesis, work with the first two oscillators, which have pulse width modulation and wave symmetry controls to dial in a variety of wave shapes. But those are only two of six oscillators within Blue, each of which can be used as a modulator or carrier in an FM structure, with either phase distortion or wave shaping (you set the amount), and interactions like FM, ring modulation, or hard sync. With over 70 different waveforms to choose from, you won’t run out of sonic possibilities very quickly. (After all, the original DX7 only had sine waves!) Each oscillator can be run through one or both of Blue’s two multimode analog-modeled filters, or directly to the internal effects
62
RECORDING APRIL 2012
Recording - April 2012
Table of Contents for the Digital Edition of Recording - April 2012
Recording - April 2012
Fade In
Table of Contents
Talkback
2012 Winter NAMM Show Report
Sonodyne SM100Ak and SM50Ak Active Monitors
Shure SRH1440 Headphones
Noises In—Noises Out
Recording Fundamentals. Chapter 4: Introduction To Microphones—Part One (History and Design)
Reviewed and Revisited: iZotope Ozone 5 Advanced
Pelonis Model 42 Stereo Monitors
The Science And Art Of Ambisonics
Little Labs i-VOG Analog Bass Resonance Tool
Readers’ Tapes
Plug-In Outlet
Cerwin-Vega! XD3 Powered Desktop Speakers
Once Over—Reviews In Brief
Do It Yourself: Make Your Own Check Mix Monitor
Rob Papen eXplorer
Advertiser Index
Fade Out
Recording - April 2012 - Recording - April 2012
Recording - April 2012 - Cover2
Recording - April 2012 - 1
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Recording - April 2012 - Fade In
Recording - April 2012 - 5
Recording - April 2012 - Table of Contents
Recording - April 2012 - 7
Recording - April 2012 - Talkback
Recording - April 2012 - 9
Recording - April 2012 - 2012 Winter NAMM Show Report
Recording - April 2012 - 11
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Recording - April 2012 - 21
Recording - April 2012 - Sonodyne SM100Ak and SM50Ak Active Monitors
Recording - April 2012 - 23
Recording - April 2012 - Shure SRH1440 Headphones
Recording - April 2012 - 25
Recording - April 2012 - Noises In—Noises Out
Recording - April 2012 - 27
Recording - April 2012 - Recording Fundamentals. Chapter 4: Introduction To Microphones—Part One (History and Design)
Recording - April 2012 - 29
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Recording - April 2012 - Reviewed and Revisited: iZotope Ozone 5 Advanced
Recording - April 2012 - 35
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Recording - April 2012 - 37
Recording - April 2012 - Pelonis Model 42 Stereo Monitors
Recording - April 2012 - 39
Recording - April 2012 - The Science And Art Of Ambisonics
Recording - April 2012 - 41
Recording - April 2012 - Little Labs i-VOG Analog Bass Resonance Tool
Recording - April 2012 - 43
Recording - April 2012 - Readers’ Tapes
Recording - April 2012 - 45
Recording - April 2012 - Plug-In Outlet
Recording - April 2012 - 47
Recording - April 2012 - 48
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Recording - April 2012 - 53
Recording - April 2012 - Cerwin-Vega! XD3 Powered Desktop Speakers
Recording - April 2012 - 55
Recording - April 2012 - Once Over—Reviews In Brief
Recording - April 2012 - 57
Recording - April 2012 - 58
Recording - April 2012 - 59
Recording - April 2012 - Do It Yourself: Make Your Own Check Mix Monitor
Recording - April 2012 - 61
Recording - April 2012 - Rob Papen eXplorer
Recording - April 2012 - 63
Recording - April 2012 - 64
Recording - April 2012 - Advertiser Index
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Recording - April 2012 - Fade Out
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