PreSonus Lead Architect.
I’ve been reviewing Studio One for SOS since version 3, and in every review since, I’ve lamented the lack of new instruments from PreSonus since Mai Tai, which was nearly 10 years ago. Well, guess what they snuck into version 6.6? That’s right, it’s a brand-new and sparkly virtual instrument: Lead Architect.
Overview
Lead Architect is a sample-based virtual instrument featuring synth-style filtering, modulation, and effects. With a stylish, sci-fi-looking front end and additional depth hidden behind the scenes, it resembles one of those Kontakt-based instruments that come with a large library of sampled sounds and an impression of synthesis. Lead Architect builds its sound through the combination of three parts, each with its own editable synth engine. It includes over 140 presets, made from a selection of around 100 individual sound parts. The marketing indicates that the sounds come from sampled vintage synths, field recordings, and more.
Presets
The presets are bold and full of crackling energy. They feature high velocity, dramatic sounds, and are very loud, designed to deliver aggressive hits, stabs, strikes, and other acts of synth violence, all underpinned with dirt and distress. While the presets are somewhat dry and lack movement, they certainly pack an impact, making them suitable for producing the latest club bangers. The Arpeggiator section adds some liveliness, and many pads are deep and pendulous. Although I expected more mystery and spacey meanderings, as a synth for crafting leads, it certainly fulfills its role.
The instrument comes with several ‘musicloop’ files tailored for specific presets. You can find them under Files / Sound Sets / Lead Architect. Dragging them into your project automatically loads the corresponding preset, giving you instant lead lines, bass lines, and EDM-style loops that can be arranged and edited into your tracks. These loops are quite funky and provide an excellent way to familiarize yourself with Lead Architect.
Front End
On the Global page, most of the action centers around the translucent triangular panels in the middle of the window, forming a three-sided X/Y pad. You can move a small floating white triangle to create a mix in a vector-synthesis style between the three loaded parts, with each part represented on one side of the triangle and color-coded yellow, red, and blue. This triangular arrangement effectively guides you toward interesting ratios between the parts. There are also three small triangles at the inner triangle's points that solo the corresponding part. This design works effectively for me.
To the left, there’s a macro filter control that globally adjusts the filter cutoff for all three parts. To the right is an envelope that shapes the amplifier envelope for each part, either individually or globally. Both of these controls extend from the part editors, providing quick adjustments without navigating through the parts.
Sample Shift
Next to the cutoff control, the Sample Shift feature is designed to trick you into thinking you’re...
