![]() ![]() However, like many musicians, we don't use the same computer for music and the Internet. The program also offers conventional on‑line help (clicking items summons help boxes), and Internet on‑line help (clicking links in help boxes takes you straight to Arturia's web site and further information). Installation was quick and easy, and we were pleasantly surprised by the multilingual multimedia tutorial that launches after installation. The program also plays and records via the Mac's Sound Manager. As version 1.5 of Storm is ASIO‑compatible, its audio can be routed through a wide range of hardware to the outside world, and audio can be recorded into it via the same hardware. Storm runs as a stand‑alone application and also as a VST Instrument, and needs a moderately powerful computer (minimum 300MHz G3 Mac and Mac OS 8.6 or higher, or 300MHz Pentium II PC and Windows 9x/2000) to run. ![]() Kepler's function is to automatically transpose pitched modules so that, in theory, their patterns always work together. A slight Band‑In‑A‑Box feel is added by the Kepler module, which is always part of the studio. The program is largely mouse‑driven during pattern creation, but for other functions, including module parameter control, there are plenty of (computer) keyboard shortcuts. Songs are created by chaining patterns using a separate sequencer. Each sound module has pattern‑sequencing powers, and up to 64 patterns can be saved for each (per song), in overwritable memory locations filled with varied and generally high‑quality factory patterns. The sound makers comprise drum modules, synth modules, and those handling samples or digital audio Storm v1.5 comes with 12 of them, plus eight effects, and Arturia promise more for free download from their web site. This attractively designed program is essentially straightforward in concept, consisting of assorted sound and effects modules that you build into a custom rack. Not only has it inherited Arsenic's basic sound generator, it also has the dynamic waveform display. Note the dynamic waveform display - of no practical use, but attractive! Bass 52 is a modelling bass that's capable of synth sounds, while Equinoxe is a chord sequencer with an interesting interface. Arsenic is a TB303 clone which takes acid a few steps further. Note the 'joystick': the red vector shows an LFO acting on the two oscillators' wavetables. Orpheus is Storm's big synth, in sound and well as in size. Storm's four main synth modules are shown here. Comparisons with Reason are inevitable (see the Storm vs Reason box), but Storm has its own distinctive approach, as well as a lower price tag. In fact, Storm has been around since before Reason, but it's just made it to the Mac, being previously PC‑only. Hailing from a suburb of Grenoble, Arturia burst on to the music software scene with an ambitious first product, a bargain‑priced soft electronic music studio which seems to fit into the same niche as Propellerhead's Reason (reviewed SOS March 2001). But give Arturia's Storm a bit of a chance and you never know. A nation famed for its letters, kisses, revolutions, good food, wine, garlic, bolshie farmers, chic women, stripy T‑shirts, and software studios. Derek Johnson and Debbie Poyser find out if Arturia's Storm is a breeze and a blast.Īaah, France. Software instruments are now becoming commonplace, but it's still an ambitious software developer who attempts to model an entire studio. Note the basic level mixer (with bar‑graph meters), bottom right, and the dry/effect send controls to the right of each module. The sequence editing bar is to the top right, with Kepler to its right, and sound and effect modules below. Composition Window: When the studio is built, all the action takes place here.
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