“The library has a huge amount of great samples covering every nook & cranny of the electric guitar, and it really is of the highest quality… I could tell that they must have put in a gigantic effort into the scripting, sampling, and design… It’s easy to use, has extensive options for articulations, sounds even better with its effects, and yet it can have a pristine, clean sound as well. I highly recommend it… When they say ‘Absolute Electric Guitar’ on their website, those words are a lot to live up to [and] they achieved this with a brilliant product and awesome sound.”

Rob Mitchell (SoundBytes Magazine)

“[Celestia’s] convolution can perform all sorts of marvelous sound manipulation… with some impulses that have an almost magical effect. Of course there’s a selection of halls and rooms. But options like ‘Extra Shimmer’, ‘Raindrops’ and ‘Glittering’ are something else entirely and cannot be described in words… It’s utterly simple – so simple that no prerequisite sound design skill is needed to accomplish satisfying results.”

David Baer (SoundBytes Magazine)

“Impact Soundworks didn’t stop with the natural sounds of [Resonance]. Comprehensive scripted interfaces let you modify each sound, and add carefully chosen convolution reverb. ISW has also designed a further 49 new instruments using software processing. These include some truly atmospheric impacts and keyboards, inventive leads and basses, epic percussion and evocative textures and drones. If you’re looking for fresh and unusual instrumental inspiration, you should definitely put Resonance on your shopping list.”

Martin Walker (Sound On Sound)

“Sound wise, Archtop is impressive too. Not only does it sound very real (thanks in part to its use of eight round‑robin variations per articulation), but it also has a lovely mellow tone which still retains enough presence to cut through in a mix […] With a little practice, [users] should be able to fabricate very convincing and impressive guitar solos and chord‑based riffs to suit a great number of their compositions.”

Tom Flint (Sound On Sound)

“… a massive amount of power in such a small and affordable package. It’s amazing! […] It’s basically straight in your face, so there’s no mucking around. You can’t get lost… It presents itself as, ‘Here I am. Take me. This is what I am.’ … you can start playing as soon as you’re finished downloading and get brilliant ideas. Very unique especially for a library with just one articulation. It’s very, very diverse in its range of uses, its playability, and I highly, highly recommend it, […] It doesn’t matter if you have those [other] libraries. Still pick [it] up because it’s very useful.” Cory Pelizzari (Solonoid Studio)

“Impact Soundworks set out to develop an Orchestral Percussion Library that was of high quality and content but was ultimately more focused on malleability and workflow. Did they succeed? Yes. The sheer amount of instruments included is impressive and with no corners cut.

“[…] The price point for the full library is an absolute steal and makes this an attractive option for both newcomers and more tenured users that may have already invested in another option(s). This library can no doubt add to what you may already have in your arsenal.”

Ryan Scully (SCOREcast Online)

“I had a blast getting to know Shreddage 2 IBZ… It’s priced very low for what you get giving you the ability to create dead-on realistic heavy guitar parts! … It’s been years since my guitar chops were good enough for a face-melting metal solo but with the extensive deep sampling and attention to controls [IBZ] has me pumping my devil horns into the air and believing every note of my programmed guitar parts were real. With a beautifully sampled tone and ease of use […] any composer with some MIDI chops can shred as a metal god.”

Don Bodin (Sample Library Review)

“I am a big fan of Ensemble libraries. When I first heard about Rhapsody Orchestral Colors I couldn’t wait to check out the functionality … it did not disappoint. The samples themselves sound fantastic and I really love the dynamic range going from ƒƒƒ (pretty damn strong) to pp (very quiet) … [RSO] is a wonderful tool to sketch with and the samples sound so good you can use them without having to orchestrate out all of your parts. ISW has created a great sounding set of powerful orchestral ensemble & chord tools that anyone can afford AND quickly learn to use.”

Don Bodin (Sample Library Review)

“What Shreddage does, it does VERY well. If you need power chords, and don’t want the extra complexity that some libraries have, it’s a no-brainer… It’s affordable and you get a lot of sound and flexibility for the price … The value is tremendous if you need solid power chords to spice up your arrangements. The dry and consistent recordings allow you to create the sound YOU want … [It’s] a solid and fun library. Easy to play, light on resources… [it] will find it’s way into your tracks, whether they be scratch tracks for future live replacement, or final, render-ready guitar parts.”

Brent Randall (ProRec)

“So, in summary, what do I think of the Pearl Concert Grand? Well, I very much like the variety of sounds that can be achieved from the one instrument – this being the C7 Yamaha Concert Grand. The GUI is very well laid out and the option to change the lighting by clicking on the logo is also quite nice.”

Dan Cooper (Pro Tools Expert)