It builds on its predecessor's feature-set, heavily refines the interface, comes packed to the gills with a variety of diverse, demonstrative presets, and is hugely versatile, offering something for almost anyone. It should also be said that none of the individual effects modules are entirely groundbreaking (none claim to be), so don't expect a whole new paradigm in sonics. We think a more modern interface would make it even more friendly and less fiddly, but it certainly doesn't put us off.
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It continues the PSP tradition of imitating old school hardware interfaces, in this case the monochrome LCD screens of '80s and '90s digital hardware. If we have a criticism, it's that the GUI is a little stingy size-wise, considering how much information is packed in. If you're very much into the meat and potatoes aspects of production, it won't be such a boon but we suspect that if you give it a chance, you'll find N2O influencing your productions for the better. The dizzying number of routing combinations can make your head spin, but the large and exquisitely well designed preset collection makes N2O fun for all.
N2O is, crucially, also perfect for novices and hardcore programmers alike. Hip-hop heads will love what it can do to basslines and samples, and dance freaks will leap at the chance to mash up their breakdowns. Even rockers with a fetish for guitar pedals will be blown away by the combinations and power on offer, and their producers will savour the modulation options. There are very few people to whom we wouldn't recommend N2O. There are also mid/side and polarity inversion options tucked away in the Configuration sub-panel. At first glance it can be a tad intimidating, but it comes with a bunch of preset routings to get you started.Īs well as feeding each operator into any of the subsequent operators (or straight to the output) in any amount you like, you can also feed an operator back to itself or any lower-numbered one. This includes directly from other operators or even an external sidechain input.įinally, there's the Routing section, which enables you to control the signal path running through N2O. Furthermore, the Envelope Detector modulators themselves can take their input from a variety of sources, rather than just the plug-in's input. Put simply, almost anything can be routed to anything else, and multiple destinations are a possibility. The idea is simple - set your modulation source and destination on each row - but seeing something on this scale outside of a soft synth is pretty unusual. The central modulation matrix will be familiar to most of us. One of the most spectacular things about N2O is the sheer power that it offers in terms of modulation and routing.
And if you want some real-time mix-processing mayhem, then it'll sit beautifully on the master output.
If your vocal isn't cutting through the mix - again, N2O has your back. If you want to add a creative rhythmic effect like gating, look no further. If you have a musical part that lacks bite, presence or character, there's something here for you. What else do we need to know? Well, the most important thing is the sheer range of effects you can achieve, making N2O useful for countless applications. These can in turn be bound to MIDI controllers, making it an incredible live performance proposition. In addition to the Wet/Dry control (essential for live modulation), there are eight configurable knobs, which can be routed to just about any parameter you like (or more than one). The last major feature of N2O is its assignable knobs.
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