Recording - May 2015 - 63

chain includes Lo-Fi, Rage, Stack, Filter (multimode with adjustable slope and a bandpass
option not present in the primary filter), Delay,
Reverb, and EQ; each Layer's Effects chain
has Saturate (tape saturation), Motion, Drive
(overdrive), two Delays, Reverb, and EQ.
Samples used in these Instruments are
organized by instrument type. There are 27
instruments available, including various keyboards (piano, organ, Rhodes), guitars
(acoustic and electric), bass, flute, clarinet,
cello, Tibetan singing bowls, percussion
(glockenspiel, tympani, tongue drum. etc.),
ethnic percussion, drum set, sawtooth and
sine waves. These last two waveforms can be
layered with a more complex sample to give
it a bit of buzz and grit, or to emphasize the
fundamental and give it more low-end power.
So what's the difference between the
Instruments and the Timed Instruments?
Instruments have a global setting sample
playback start point, whereas Timed
Instruments always start at the same point but
can can be set for a quarter, half, or whole
note envelope. All other parameters and
available sounds are the same.
General impressions
The first thing that struck us about REV was
the quality and playability of the sampled
content. You wouldn't expect at first blush that
a library entirely constructed of backwards
sounds would be as musical and engaging

as REV is. On Recording's website at
http://is.gd/RECMagREVSong, you'll find
an 81-second track entirely composed by Jon
using nine instances of REV inside PreSonus
Studio One 2.5 and no external processing.

Jon commented, "This track came together
in under an hour; as you explore the sound
banks, you find little treasures like the beautiful woody bass tone that underlies the second
half. The rises and loops are inspirational and
handy for a game audio composer like me,
and by turning samples forwards, you get a
completely different set of Instruments and
Timed Instruments to expand your choices."
REV is a fantastic debut for Output, but it's
not yet perfect. I missed having the ability to

reverse Loops and Rises for forward playback, as you can do with Instruments and
Timed Instruments. There's a bandpass filter in
the Main Effects for the Instruments and Timed
Instruments, but the multimode filters elsewhere in REV offer only high- and lowpass,
which slightly restricts sound design possibilities. Jon wished for a larger selection of simpler presets; the ones that come with REV are
impressive, but even an over-the-top game
designer would have trouble stacking more
than one or two before overwhelming an
arrangement. "You can create an entire song
with REV," he said, "But normally, I wouldn't.
It simply takes up too much space."
However, Jon greatly appreciated the easy
programmability of REV's Engines. He had
no trouble stripping out what was unneeded
in his work and using the essentials of REV to
accent and embellish his music. I feel that
many composers will have the same inspired
response to REV as we have. You wouldn't
expect it from the description, but REV is a
fundamentally useful toolbox for the computer- based composer.
Output has knocked one out of the park
with its initial release; we are looking forward
to what they have in store for us next.
Jon Hillman (hillman@recordingmag.com) is
a game audio composer and sound designer living and working in northern Colorado.
Learn more at jonhillman.com.


http://www.is.gd/RECMagREVSong http://www.jonhillman.com http://www.realtraps.com http://www.realtraps.com

Recording - May 2015

Table of Contents for the Digital Edition of Recording - May 2015

Contents
Recording - May 2015 - Cover1
Recording - May 2015 - Cover2
Recording - May 2015 - 1
Recording - May 2015 - 2
Recording - May 2015 - 3
Recording - May 2015 - 4
Recording - May 2015 - 5
Recording - May 2015 - Contents
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