Review: Battersea Audio’s Polygrade Tape Synth
A chaotic, beautiful synth library from industry newcomers’ Battersea Audio
Every time we see a new VST synthesizer plugin does it beg the question - what more could possibly be done?
Everything from perfect analog emulations (Aka Diva synth by U-he) through to modern powerhouses like Serum, it can be a challenging concept to break new ground in the world of synth libraries & plugins. But after encountering POLYGRADE online via ads, our curiosity was once again peaked enough to give it a try.
Put simply, Polygrade is a bit of a hybrid synth plugin. While it has a lot of the regular controls and features you would expect from a regular VST synth, the power lies in it’s oscillators - which are really (hold for it!) analog synth waveforms, run through cassette and reel-to-reel tape, which are then distorted and damaged. So the key difference with Polygrade is it’s ‘baked-in’ unpredictability that comes with these really degraded source sounds. And this in itself is an unusual set of features for any digital synth. Also, unlike other synth libraries made for Native Instrument’s Kontakt platform, it actually has a fair amount of control over the sounds themselves - it feels like a synth rather than a ‘sound pack’ with limited controls, which is often the case with Kontakt 7 libraries.
On to the presets themselves. Polygrade comes with over 100 presets as standard, which range from classic analog, to electronica bliss, to straight-up wild. The tape distortion and warble is very noticeable even on the more subtle patches, with Polygrade’s ambient noise controls adding additional hiss and environmental background noise. The sounds themselves are beautiful, melancholy & chaotic - but need to be reined in to be used effectively - the ‘Noise’ module can often add too much, and the chaotic nature of Polygrade means ADSR times need to be carefully controlled.
Polygrade is a truly exceptional set of sounds which are inspiring, creative, and fill a gap unfilled by traditional ‘analog’ emulations like Diva or Repro-5. It can be dizzying, beautiful, and ultimately a great tool for any music maker, producer or composer.
5/5
Exploring Universal Audio’s Verve Analog Machines
An All-in-One Saturation Powerhouse from UA
Universal Audio (UA) is renowned for its superb analogue modeling plugins, often known for detailed emulations of specific equipment with numerous control options. With Verve Analog Machines and its simpler version, Verve Analog Machines Essentials, UA offers a new approach. These plugins provide a variety of emulated devices with minimal controls, available for both Mac and Windows desktop systems, though not compatible with UA DSP interfaces or accelerator cards.
Verve Analog machines offers a diverse set of modelled saturation effects within a single plugin with a simple interface. The first thing that stands out is the pure range of options available - unlike many of UAD’s offerings, which are typically limited to a single, high-quality model of an existing audio unit. With Verve Analog Machines, you can choose from four saturation models with the ‘Essentials’ option, or an expanded collection of up to 10 models with the full version (currently on sale at $49 USD).
It’s refreshing to get such a range of sounds within such a simple interface. Some of the tamer sounding patches (such as 'sweeten’) do a great job of creating a mixing essential - a ‘go-to’ tool for adding warmth and grit to drums, vocals - or even on the mix buss. Similar to Universal Audio’s Studer A800, there’s always a temptation to throw it onto every track, as it can feel versatile. All without the requirement to spend hours knob-twiddling in order to get an acceptable sound.
Each model either emulates a tape machine or preamp module. While ever-sceptical of after-the-fact preamp emulations, Verve Analog Machines certainly adds a range of distinct colors. The additional effects knobs included in the full version adds an additional bucketload of character with the tape warble and tonality controls.
While the lack of complexity certainly works within it’s favour, some obvious missing features do make it less action-packed than other in-the-box saturation plugins. For example, no EQ or mix knob controls. However, this in itself might ruin what makes Verve Analog Machines so great. It’s beginner-friendly, sounds beautiful, and is another success in UAD’s vision to get the sound of high-end gear into the hands of regular musicians. This unique plugin is a valuable tool for music producers looking for an efficient way to add warmth and character to their tracks.