Wizoo Latigo

First Things First

Let me start out by saying that this is a great instrument to use. Everything about Latigo screams of a professional effort to provide the most comprehensive and best sounding set of Latin-based percussion options possible, and it succeeds. Moreover, I came to this conclusion after testing demos of both Latigo and Darbuka, some time before I knew that I would be writing a review. What follows is based largely on my initial opinion of these products, tempered here by my daily use of the full version of Latigo. . Additionally, you can read about Latigo’s sister product, Darbuka, here.

Yes, But How Does It Sound?

If you are currently testing the download demo from Wizoo - and I recommend doing just that - then you’re no doubt missing out on the incredible range of instruments and styles available in the full version. After all, these are what establish this virtual instrument as a comprehensive Latin-based percussion and drum collection apart from other offerings. Simply put, Latigo constitutes performances by the best in the business, on a wide range of superbly recorded instruments, and, as I have found, with a sound that is virtually impossible to achieve using my existing collection. As an ensemble, Latigo’s instruments work together cohesively in both tighter, intimate arrangements where the instrument are placed in close proximity, and it retains this nice sonic relational quality when moving the tracks around, as with a bigger sound. Try getting that from individual samples.

And of course Latigo allows for adjustment to the reverb and other sonic properties toward creating this user-defined space. In a mix, each instrument delivers the best percussive presence I have heard, including other smaller instruments I have previously struggled with (either overdone or too subtle) like maracas, shakers, the caxixi, and the guiro. Congas and bongos don’t compete, but complement with the varied styles. And while some might miss triggering single instrument hits via MIDI, I personally welcome working with these brilliantly assembled styles as a starting point. On this point, Latigo provides maximum flexibility in controlling its “grooves” with a very intuitive and versatile set of features that I will explore below.

If this review doesn’t convince you, be sure to check out the demos at WIzoo.com. There is also a Quicktime overview that can be downloaded from both the Wizoo and M-Audio sites. Because additional information is available via these options, I’m going to focus my particular attention on those features that make Latigo intuitive and extremely musical from my vantage point as a keyboardist

A Quick Run Through For The Manually Reluctant

I realize a lot of people don’t take the time to study the manual before firing up a program for a test run, so this is for you. As I found out after selecting a style and then triggering a random pattern, this was one beast that would need to quickly be tamed. Of course the fact that I chose the busiest, and one of the more complicated patterns, was a little overwhelming with pandeiros, repeniques, and timbale, playing at a frantic pace, but it was also a great way to immerse myself in the full potential of this instrument nevertheless. And as powerful as this random approach was, it was just as easy to begin trimming things back, immediately, a glimpse at just how subtle Latigo could be as well.

If your trying out Latigo from the online demo, or for the fist time, bear in mind that Latigo’s default tempo is synced to your host, so if you want to sample a slow Samba, for example, and you want to hear it at a traditional tempo (90 BPM), it might be worth your time to glance through the included glossary that briefly describes Latigo’s playing styles by origin, as well as listing the classic tempos for each style. For a quick overview of these styles, take a peek at Latigo’s product page. The beautifully illustrated manual is also a great tutorial and introduction to Latigo’s incredible array of instruments and comprehensive styles, if not a great primer on Latin instruments as a whole. The bulk of this collection originates from Afro-Cuban, Caribbean, and Brazilian roots, with some other inferences to later, more hybrid styles as well. Did you know that the Cha Cha Cha has its roots in the Danzon style, and was made famous by Cuban band leader Enrique Jorrin in 1953?

For those not into manuals, and especially for those who want to get straight into fine tuning and arranging the individual instrument tracks, I found that a quick look at the brief tutorial on page 48 was extremely helpful in getting a grasp on Latigo’s editing capabilities, particularly as a primer on how to get a diverse and more spontaneous performance from each track. Incidentally, “track” is the Wizoo term for what I would otherwise call the individual instrument, though also referencing all the recorded patterns for that particular instrument as well. And as I found out, these variations in the track performances are what makes Latigo so versatile.

Up And Running

As for installation and authorization of Latigo on my G4 (933, 1.5g), running OS 10.3.8, I did not find this process to be as straightforward as I would have liked, even though I followed the manual to the letter. The issues, though since resolved, came down to some confusion from disparate instructions where authorization information on an included postcard (and not mentioned in the manual), was actually slightly different from email instructions that I later received.

Anyway, in Latigo’s setup window I entered the serial number as indicated, and then chose to authorize or “certify” online. This process opens a web browser where you enter your personal information (after creating an account), and, where a code is generated as well. In turn, Wizoo sends the certificate file via email for authorizing the software. As in my case (an OS X thing?) this certificate had to then be physically copied into Latigo’s data folder for it to run. For multiple host users, each version (AU, RTAS and VST) has to be installed individually, though you only have to go through the certification process for the first one.

Installation of the data folder is also handled separately as a matter of copying that folder to the desired drive, and then launching a setup application in the folder to tell Latigo where to find the files. The manual does not describe this process at all, but rather, directs the user to the Read Me file on the DVD for further instructions. I could not get Latigo to find its own data folder the first time, and for whatever reason, I finally got things to work only after reinstalling everything from scratch, and, by performing the often-touted OS X permission repairs. In all, I would prefer an authorization and installation procedure similar to NI products where registration actually does occur in real time, and where file paths are determined from within the program (or installation) itself, and not via a separate application. In all, it took me a couple of hours to finally sort this out.

In the interim, I contacted Wizoo directly, and received a kind reply the next day (from Germany). Their suggestions, however, included repeating many of the things I had already mentioned, and by that time, I had already resolved the issues.

While I discuss Latigo’s main “pages” below, here is a good place to also mention the Setup page (accessed by clicking below the styles list) for setting up all of Latigo’s parameters including outputs, how the MIDI keys will trigger the patterns (toggle, release, hold, and velocity), syncing options (to the host – advised for starting out!), MIDI CC, and knob behavior. Of course this can all be setup or changed at any point. As I will discuss later, however, the ability to select multiple outs, or to configure for surround, is a feature that is currently only available in the VST version of Latigo.

An Overview Of The GUI

Latigo is divided into three well-conceived main pages, whereby the various styles and tracks can be selected for further editing and arranging. Briefly (but not exclusively), these include the Play page for determining how complex and varied your styles can be, the Mix page for setting parameters for individual tracks (instruments), and the Edit page for adjusting and arranging the individual track performances. As mentioned, Wizoo refers to the individual instruments, and their subsequent range of performance grooves, as “tracks.” Similarly, “pattern” is the grouping of tracks that form an ensemble performance for a specified period of time, similar to that of a loop, but infinitely more versatility, since random variations and complexity can also be determined as well.

Each of these three pages boasts a host of features for controlling every aspect of the patterns and tracks, from dynamics to ambience to quantizing. And though the VST version of Latigo can support up to fourteen outputs, every aspect of the mix is accounted for in the plugin itself, including a very intuitive grid, or virtual “stage” in the Mix window, where icons for each instrument can be moved on a horizontal or vertical axis to determine level, pan, room placement, and ambience. This graphical feature alone makes Latigo one of the more intuitive pieces of software I’ve ever used, especially when combined with a MIDI controller. And it looks great. Surround users will also appreciate the ability to choose from fifteen different room settings from within this stage grid as well.

As with any well-designed program, there is some redundancy between these main pages, making for quick navigation when accessing many of the more prominent parameters. I also found it helpful to familiarize myself with key commands that allowed me to navigate through the three main pages instantly. Incidentally, since host applications may also use some of Latigo’s own key commands, it may be necessary to set host preferences to pass on these commands to the plugin, or reassign these altogether. Such was the case for me when trying to navigate using the arrow keys in Latigo’s Edit matrix window, with Logic Pro as my host.

And speaking of key commands, one thing to be aware of with Latigo is that certain functions are only available by key commands, so, even if you don’t read manuals, it’s imperative to get a grasp on these in order to delve into the program more deeply.

Play, Mix, Edit

By now you’ve probably figured out that Latigo’s patterns, are triggered via a MIDI keyboard. First I selected a playing style, and then watched as the instruments for that particular style were loaded, along with their corresponding dynamic controls. It’s all very intuitive and logical, particularly as each instrument can literally be seen as a little icon on the Play page, or floating on virtual grid that represents the above mentioned room placement “stage” found on the Mix page. The familiar keyboard motif for triggering patterns is there also, though in a non-traditional multicolored “keyboard” graphic at the bottom of the window.

This spectrum of colors is, in fact, keyed to specific patterns, including variations, fills, mutes, and two keys for either ending a specific pattern or stopping Latigo altogether. In a sense, it’s a reference map for quickly locating these things while playing. Patterns are also displayed in a vertical format, in the Pattern page that sits nested behind the Styles page. It’s admittedly a little confusing at first, but the great thing about Latigo’s interface is that the patterns are highlighted alongside the keyboard when you press a key, and in no time, the relation between the various patterns and their corresponding tracks becomes evident as you start pressing keys.

User styles can also be created and the key colors can be defined and stored as well, which is useful for creating a color-coded map for future reference. And of course, all the performance information itself is recorded in the host sequencer as MIDI data.

Working with these default styles and their referenced patterns will keep you busy for a while, and provide endless combinations grooves and fills for completing whole songs. Beyond this, however, is the heart of Latigo’s Edit page where each pattern is broken down into a grid that displays the individual instruments and their corresponding groove file names. As with the Mix page, tracks are displayed with the same color-coded scheme, and this reference is extremely useful for identifying what the track does (whether a groove or a fill). Clicking on a pattern also highlights all the tracks in that pattern, or in essence, all the instruments of the ensemble for that pattern. When a specific track is selected in the Edit page, a host of functions is presented below the matrix for adjusting almost any aspect of that track’s sound qualities, including things like tuning and quantization of its beats.

Real World

As for Latigo’s flexibility, the level to which I could define these individual tracks is what I found most compelling. For example, I didn’t like the Hi hat performance for a particular pattern. But rather than change the entire pattern, control clicking on the track revealed a sub menu of all the other performance grooves available for that track. Sweet. Similarly, I wanted my bongos to play a different beat on a specific measure as well, and was able to access its submenu of options just as easily. My Timbales also sounded slightly out of tune with my piece, so I was able to adjust that as well using the controls under the matrix window. This is especially useful for quick and easy access for things like timing, quantization, tuning, and dynamics (to name only a few options), when you don’t want to stop the performance. Unfortunately, none of these controls can be accessed via MIDI CC while in the Matrix page. This is also where using the mouse with key combinations is pivotal, particularly in being able to navigate through the matrix more efficiently, while also “calling up” variations on a track’s grooves.

The Bigger Picture

While all of Latigo’s features are readily accessible and highly intuitive, it still takes a little getting used to. This is particularly true where changes in patterns are desired, and in more complex situations where tempo changes may also be needed. There is also a complexity feature in the Play page that allows you to add or subtract instruments by family groups, so you can build up an arrangement with the skin instruments, for example, and then add and/or subtract all the metal instruments from the pattern, and so forth. Like other programs, Latigo can be told when to trigger patterns (at the next 1/4 note, for instance), and timing can be adjusted to keep your groove sounding tight or loose.

I found that toggling patterns at unexpected times, or on the off beats, produced some interesting and unexpected results. I also found myself wanting to trigger single hits, at random, and this can be accomplished in a couple of different ways depending on your needs (triggering the end note with certain patterns, for example). Even with all this “flex groove” versatility, however, single hits (aka Cachao-like in feel) took a little effort in determining just the right combination of instruments by selectively muting the appropriate track and adjusting some decay. Incidentally, control clicking the pattern name itself also brings down a menu allowing the user to redefine that pattern’s function (as a fill or an ending beat, for example).

What Latigo Is Not

If you are like me, switching metaphors between different programs can sometimes be confusing, and with Latigo, I initially found myself wanting to do things in a Live (as in Ableton) way, or as with a sample library, only to realize that this was the wrong approach. These are not “loops” at all, nor are they “samples,” but rather, Latigo draws on it’s so-called “flex groove” to mold the varied performances to suit the need, and it does so convincingly. In some ways, it’s like Groove Agent, but perhaps far more versatile with the ability to define individual instrument track “performances” apart from the defaults for that pattern.

Like other groove based instruments, Latigo’s Play page allows you to you adjust not only the tempo, but also designate complexity of the pattern (busy or simple), set quantization according to note value, and a select a swing variation. The swing setting itself (where the default 50% reflects the original performance) actually moves the groove toward or away from the beat while giving it a more triplet feel. I don’t understand the mechanics of this exactly, and to be honest, I found this feature to be more subtle with some styles than with others.

Get On Board

While performances properties such as quantizing and swing can be altered to taste, Latigo’s own version of EQ, ambience, and Punch (like compression, though not exactly), can all be applied to an individual instrument tracks. These not only sound terrific, but they also provide absolute control over every aspect of the mix, especially in conjunction with the ability to place, or locate each instrument in within the various sonic considerations previously mentioned. The Punch feature in particular functions like a compressor by providing four very specific (power, snap, hard, and soft) types of dynamics where needed. This is great for giving the kick more power, or for softening a timbale or giving the bongos that extra “snap” in the mix. Control over individual percussion instruments is something I am accustomed to setting up in my projects (via designated channels), and Latigo’s intuitive and accessible interface makes selecting an individual instrument an immediate and familiar task. It’s all laid out in a nice set of tabs, where each tab brings up the dynamics settings for that instrument.

Since many sound parameters (except in the Edit page) can be assigned to receive MIDI CC data, a controller makes Latigo even more intuitive, and, for live performance, a must. I was glad to see the implementation of a “learn” feature for this, as I hate assigning commands manually. I also found my UC33e the perfect companion for this task, easily setting up commands for each instrument in seconds. The practical application of this is apparent for live musicians, but I found Latigo’s MIDI capabilities in this respect to be more tactile when mixing, particularly in assigning an actual knob and fader for precise control of the x/y axis (level and pan). You can get precision with a key command and the mouse, but without the knob, it’s just not the same. All of these parameters can be automated too, and the visual effect is pretty cool, like something akin to the old Space Invaders game. All of these parameters can be saved with the project.

Only One Way Out?

While the above dynamics sound fantastic (it’s more than a “decent” EQ, by the way), I was enormously disappointed to find that Wizoo, as of this review, has not yet included multiple output capabilities for Audio Units and RTAS. In fact, there are duplicate disclaimers in the manual stating that there is but one default stereo out for AU and RTAS versions, something which is only evident after reading the manual. If you are like me, I prefer to route each part of a kit to auxiliary channels (in Logic) for applying my own dynamics, including some of my tried and true presets. Wizoo confirmed that this feature, as well as surround capabilities, is not currently possible with the AU version, citing “limitations” in Logic. I was able, however, to test the implementation of this feature in the VST version with Cubase SX 3 with great results. For VST users, Latigo provides up to 14 separate outs.

For some users the lack of multiple outs may not be an issue, and arguably, Latigo has everything you could possible need for adjusting each instrument’s placement, ambience, level, and dynamics exactly as you want it in the mix. Wizoo indicated to me that they hope to have this update available for AU and RTAS users sometime in Q2. I think it is worth pointing out, however, that there is no mention of the default stereo output and the lack of surround capabilities in any of the advertised specs, and, this distinction between plugin standards with regard to this issue is not apparent in any of the promotional materials I have seen, or on the product packaging. I have, however, urged Wizoo to footnote this information on their website, but as of this review, that has not happened. In any event, both AU and RTAS users who want to isolate and apply a delay to a single djembe, or for those who want to surround themselves with Afro-Brazilian madness, will have to wait for the yet-to-be-released update. In the meantime, it’s fair to say that the onboard controls and effects in Latigo are excellent for generating a great stereo mix.

Beyond The Manual

With all of the intuitive and musical possibilities of Latigo, I found myself wanting to push things in the craziest directions possible. Sure, all the traditional styles are great, but Latigo is also fun to use when triggering performances at odd times, or combining patterns and tracks in unpredictable ways. The key here is to think of the basic styles starting points for inclusion into your own genre, and then experiment from there.

The Basics

As for CPU-sage, Latigo provides the option of choosing either the default “normal” audio quality, which they say is a lossless, compressed form of the original files, or the original XXL files themselves. I did not hear any significant difference between the two when using Latigo by itself in Logic, but should point out that for some, the real issue may be seen in load times or RAM limitations. Latigo taxed my system at about 30% when loading the more instrument heavy Afro-Brazilian style. This was true with both the “normal” and XXL files. As with any program, experimenting is key when determining what an individual system can handle. Similarly, the manual says that the data folder can be placed on any drive, but I would caution using too slow a drive as with any audio and sample based work.

Of great interest to anyone considering purchasing Latigo is the inclusion of a fully functioning, 30 day version of Darbuka, which includes it’s entire 2g performance library. Keep in mind that this “demo” version of Darbuka differs from the downloadable version because it does contain the full set of instruments, so anyone wanting this fine Middle Eastern collection should plan accordingly (I still haven’t activated mine as I’m waiting for vacation to get the most out of it).

Finally, but not least important, is the integration of Latigo’s manual with the interface. I know a lot of people say they don’t care about the “look” of a plugin as long as it’s intuitive and sounds good. Not content with this fact, Wizoo goes one up in also providing the same appealing graphic overview for each instrument that appears in the manual (option click on the icon), as a tool for informing the user of its unique properties. The various instruments and styles are far too numerous to detail in this review, and, as mentioned, the manual can be downloaded from Wizoo. Personally, I like the look and feel of this product, and I think it speaks volumes about Wizoo’s attitude toward creating an instrumental experience that is detailed and complete in every way. It also hints at making the virtual just a little more organic, if such a thing is possible.

Final Thoughts

After working with these varied styles, Latigo could perhaps more aptly be called an Afro-Cuban/Carribean/Brazilian virtual instrument. Geographical considerations aside, Latigo’s brilliant design and incredible versatility breaks the dependency found in other groove-based software, not to mention perfecting the genre of virtual Latin instruments (Darbuka does the same for its genre).

Clearly Latigo sets out to do one thing well, which is to provide a specific and comprehensive collection of very musical Latin American percussion performances, with full attention to detail, versatility, and outstanding sound quality. Aside from the minor installation quirks (and the more regrettable AU and RTAS output and surround limitations) I think Latigo stands apart as the most definitive virtual “Latin American” percussion option available.

Furthermore, behind Latigo’s percussion and drums are the bios of three-world class Latin American musicians, each award-winning producers and percussionists in their own right. In a very real sense, you’re getting their finesse combined with incredible flexibility for making it distinctly your own. The integration of these performances with such a diverse and progressive interface makes this product unique and a must for anyone wanting to employ a wealth of Latin sounds into any traditional, experimental, or dance music project. But don’t just take my word for it. Try out the demos, and see and hear for yourself what I’m talking about.

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