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Looped samples often came off badly (loop points were usually thrown off kilter) and even mild speed variations could sound grainy and distorted, especially when slowing things down.Naturally, I tested Time Machine Pro with a variety of material, and found the results to be variable but generally impressive.For a list of the new filters, see the 'New Filter Types' box.The sampler engine receives three new playback modes.Also of special note are two new Formant filters that simulate the vocal tract, allowing you to morph through the vowel sounds all the way from 'ooo' to 'eee'.These will bring a smile of recognition to anyone familiar with the Delay Lama plug‑in instrument by Audio Nerdz (the animated singing Tibetan Monk with the inscrutably mobile Roger Moore eyebrows).Four Peak/Notch filters are a welcome addition, useful both for fine surgical EQ and for creating effects similar to phase‑shifting when modulated by an envelope, LFO or the mod wheel, for example.

TM Pro should prove very useful for fine‑tuning the duration of sampled special effects without altering their essential character, and since the speed parameter can be sync'ed to the host DAW's tempo, the speed of pre‑sampled musical phrases will always remain in step with any variations in track tempo.Amongst the new filters are three State Variable Multi types: LP/HP Parallel, BP/BP Parallel and LP/HP Serial, each with fully adjustable bandwidth separating the cutoff frequencies of the filter pairs.Shown also is Formant 1, whose Size parameter acts like a gender control, changing the size of the 'vocal tract'.Little clarification is given about these modes except that they degrade the playback quality of samples by replicating the sample rate and frequency range of each drum machine, as well as "changing the way Kontakt changes the pitch and basic handling of the sample playback engine”, according to the PDF manual — a somewhat cabalistic explanation.Curious to discover more, I compared the effect of the two engines on drum sounds.

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