[Download] I purchased Adaptiverb to use in sound design applications for film work. It's excellent at that task. After some time with the manual and understanding the controls on the interface, I'm now using it for music production as well. The plugin is sonically very good. The interface does take some time to understand, but once you spend some time with the plugin it makes sense. In the meantime there are some great presets to get things started. DW John Landon Multimedia

[1 User] It's a hit for a reason!

[1 User] If you work in the orchestra field, these reverbs are mandatory.

[Download] Beautiful, lush, flexible reverb from Relab, whom I think are the best reverb developers outside of UAD at this point. The controls are simple but the tone-shaping abilities are robust. The 3 different algorithms each provide a different character of decay, and the ensemble modes provide absolutely gorgeous modulation on the tails.

[Download] I recently purchased the Lexicon PCM Reverb Bundle and I am in love. I have several other great and often-used reverb plug-ins, but to me these Lex's seem to sit in mixes nicely and in most instances, seem to be lighter on the CPU than most other units of comparable quality. I am primarily running these in Pro Tools 10.3 (RTAS) on a Win7-64 system without a hitch. They also run flawlessly in Reaper 32 and 64 bit as VST on the same Win 7-64 machine. Just for kicks I also ran them inside PT as a VST Rewire without a problem. I am hoping they will develop an AAX version at a reasonable cost to upgrade before PT releases 11. The high cost of these has always been the reason I put off getting these, but they are well worth it.

[1 User] This program was a long time coming. I had been an owner of one of the original mid 1960s Compact Combos for many years, until things started to break down. And of course, next to impossible to find parts. Or people that are able and willing to repair them. Some of the modern keyboards do have some of the Farfisa sounds, but in reality, only a small amount of them(like maybe 2 or 3 of them). In reality, there is more of a diverse amount of tones that the Farfisa produced. Even resorted to buying one of the Electro-Harmonix C9 organ emulator pedals, but that still wasn't enough of these particular kinds of tone for me. Then Arturia started coming out with these new virtual instrument programs. The dealers that I normally buy from carried the similar type of Vox Continental program(which would have probably worked fine, and would have settled for it) but knowing that the Farfisa program was also being made, I had to search to see who carried it. No regrets here. All the sounds that I was familiar with, and where they were situated on the virtual keyboard screen. What was interesting that they had the option of effects pedals in this program......and I would always run my Farfisa through a Phase Shifter and/or a Flanger when I had it. Also learned a few things that I did not know about my original instrument. There used to be this one controller that stuck out of the bottom, that you controlled with your knee. When I bought my original Farfisa(used, back in the mid-70s), that knee controller was missing, and it was something I never noticed. So, a bit more historical and technical information on the instrument you played regularly---but didn't know about. It's easy to get a keyboard that has the piano, Rhodes, and Hammond sounds, to name a few......but nobody seemed to get the Farfisa sounds right. Until now. Great timing, on the part of Arturia!

[1 User] I had a lite version with Edius 10 video editing software. It worked pretty good. So I bought the full version to run with Resolve 17 and Adobe Audition. It works really well on natural room reverb.

[1 User] The Arturia Mini V3 is incredibly cool. There is truly sooo much you can do over a standard Model-D from an extra LFO that doesn’t eat up oscillator 3 to velocity as a modifier to varying actual pulse widths static or modulated to individual amounts of any modifier on each oscillator all made possible by the eight slot mod matrix. The major failing that I take no points off from this synth is that it does not have the natural drift of the original Model-D. I’m pretty sure I have heard & seen oscillator drift in soft software synths so I’m not sure why it’s omitted here but as long as you detune your oscillators to taste you get a rich sound that in context will surpass a Minimoog in terms of sheer flexibility & enhancements every time. The built in chorus & delay sound good but really aren’t necessary for most patches. I never found a use for the vocal filter as I would have preferred female articulations or the motion recorder as it always restarts with each note press & isn’t free running like say a Moog 1125 which would have been an ingenious touch. Maybe in a future update. For sheer flexibility from enhancements such as polyphony & velocity to being able to automate sequences & performances to never needing to service your instrument the Arturia Mini V3 delivers in spades. I literally sold my vintage Model-D because the Mini V3’s features made me feel the vintage instrument is more of a collectors piece & not forward thinking. I see myself using the Mini V3 for a long time to come.