Albino 3 review

Since it was first introduced two years ago, Albino (a collaboration between software developers LinPlug and sound designer Rob Papen) has been quietly - and deservedly - attracting a cult following.

Now with the introduction of Albino 3, that following looks likely to swell.

Even putting aside the immense creative inspiration offered by the 2000 genre-hopping presets supplied, the list of new features in Albino 3 offers compelling reasons for upgrade or purchase. Up to four layers can now be combined within a single setting, which means that complex sounds can be built up layer by layer to create one simple, monster preset for easy recall. What's more, you still retain deep control over each individual layer. Very cool.

There are also several new effects, such as wah-wah, compressor, lo-fi bit-crushing and enhanced reverb, and up to four FX units can be used per layer. Also, the modulation speed of certain effects can now be synced to the host sequencer tempo, so flangers, delays and the like can lock perfectly in time. A further extension of the FX theme is Oscillator 1's new Audio Input routing, such that you can pipe audio from a sequencer track to a Midi track hosting Albino and use the onboard effects to mangle, say, an acoustic guitar inside Albino.

On the subject of oscillators (Analogue, Digital or Noise types), Albino now has Spread controls to fatten up sounds, to the extent that you can have the equivalent of 20 oscillators per layer. That's one fat sound. Oscillators also now have a Free-run mode and the Analogue oscillator additionally features a sub-oscillator with adjustable intensity for some real low-down vibrations. Furthermore, Oscillator 2 can now be used to modulate the cutoff of Filter 1, while Oscillator 4 can modulate the cutoff of Filter 2.

Elsewhere, the ADSFR Envelope now has four additional slope and curve settings, while both envelope types (ADSFR and 5-Stage) have acquired Sync controls. In the Filter section, the Saturation control now has four different modes, but even better is the addition of two all-new filters to join the appropriately named Silk and Cream. Scream has, as you would expect, a very aggressive sound (particularly when used in conjunction with the Resonance control) while Comb equally lives up to its name by its actions.

With all this creativity on tap, it's not surprising that Albino puts out such a great sound and is such fun to use. Pads, leads, basses, weird noises, bell tones, FM-style purity or analogue grit - Albino can do the lot. In this respect, it could conceivably be the only soft synth you need. Add in the excellent and addictive 32-step Arpeggiator and the ease by which Midi control can be implemented and Albino 3 is sitting pretty. There's even support for microtonal tunings for the more esoteric composers among us; an adjustable Precision setting, should anyone crave the 'warmth' (ie timing and tuning drift) of analogue hardware; and a neat randomise function for creating instant presets on the fly.

Only Albino's CPU demand is a slight concern, but even then it's considerably lower than several big-name vintage emulations. The fact that it is modular means that you can always turn off any elements you're not using.

Overall, Albino 3 is nigh on the perfect upgrade, taking an already excellent instrument and adding sufficient new features to enhance its multi-faceted personality, while managing to leave its original soul intact.