“If you wanna make that sick late 90s, early 2000’s hardcore techno, you are covered here.”

“Man you’re gonna have a lot of fun with this, if you’re making that early 90’s, or trying to recreate that 90’s synth sound, this is it! This is the key.”

“This thing is nostalgic; written all over it, written into its code, at its core, at its heart, unbelievable stuff, indeed.”

(Emlyn in the Mix)

“It’s one of those virtual instruments that has a really musical vibe about it. It actually feels like it belongs in your tracks, especially if you’re producing lo-fi, jazz, R&B, or soul. It’s really got that vibe.”

“I think E-Upright brings a distinctive upright electric bass sound that may well be missing from your library. I certainly found it really easy to use and navigate; those very musical presets made my life really easy. I think my takeaway from it would be that it feels like I’m adding to the music rather than just dumping in another bass track.”

(Real Home Studio)

“So, what do I think of Argent? Honestly, I wasn’t 100% sold on it at first, but the more I’ve gotten to play with it, I think, the more I’ve sort of warmed up to and now prefer it over Hydra. I think that the DI has a really nice dark tone to it, and you know, I don’t really tune as low as this thing can go, but being able to have a guitar that can play that low if you really want it without having to transpose it and mess up the performance and all that stuff; it’s nice, you know. The guitar doesn’t sound warped or strange playing that low, which is definitely a step above Hydra, where the only way to play it lower was to just down tune it through Kontakt’s natural sample transposition.”

“I’m mostly going to be talking about its applicability to writing heavy riffs for the purpose of creating argent metal, and for that, I think it excels. It has a lot of range; like I said it’s able to tune super low, especially compared to Hydra. And I mean honestly, even though I’m not using some of the presets in here, they’re not bad; it comes with a good amount of brutal presets.”

“Pretty dark, pretty smooth, pretty clean.”

(Krys Polezoes)

“The strapline for this offering from Impact Soundworks is ‘An unconventional, whimsical collection of handmade instruments.’ Never has a description been closer to the truth.”

“There’s quite a pallet of textures included with this library. From the tonal to the atonal, from sound design to straight-up playable instruments, and even Leonard’s very own kazoo!”

“So, what can this be used for?…Animation. Comedy. Light-hearted, whimsical material. But this could also work exceptionally well with darker, more dramatic material, especially with some well-placed reverbs and delays. It also has a clear and useful place in sound design. There’s nothing else quite like it!”

Wayne Taylor (Rekkerd.org)

“[Shreddage 3 Stratus] is honestly the most realistic Strat-style virtual guitar I’ve found. I’ve tried many others, but they often fall short in authenticity. Stratus nails it, especially with the poly input and amp-ready presets. The tone and responsiveness make it effortless to drop into a session and just play—no tweaking, no second-guessing.”

“Saga Acoustic Trailer Percussion has been a staple in my scoring template. I’ve used it on trailer work for Netflix, Universal, and Amazon. The sounds are crystal clear, punchy, and massive—ready to go with zero processing. The oil drums and silo booms in particular are incredibly fun and inspiring to play with, adding unique character to my cues.”

“Pearl Concert Grand has been a go-to for me. As a session musician in Los Angeles, I’ve spent years recording on real Yamaha C7s—one of the most frequently used pianos in major studios. Having that same iconic sound instantly available at home allows me to stay in the creative flow and focus entirely on performance. It’s helped me land placements with a range of artists and in film projects.”