SM Pro Audio V-Machine Review

May 1, 2009 12:00 PM, By Jason Blum

           
 

Loading plug-ins into the V-Machine can be a chore, and the easiest way to minimize the pain is by using a VFX Info file, a small text file that tells the VFX software how to properly install the plug-in on the V-Machine without errors. Unfortunately, VFX Info files are not available for every plug-in you might own, and my experience installing VSTs without an Info file was a crapshoot at best. When I tried importing AudioRealism's ABL2 plug-in, for instance, the VFX software crashed hard and dumped me to the desktop. However, simpler, single-file VST plug-ins like Big Tick Audio's Ticky Clav installed easily, and I was able to get Arturia's Moog Modular V up and running flawlessly thanks to a VFX Info file available on the SM Pro Audio Web site (see the online bonus material at emusician.com).

Hands On

The V-Machine's clean front panel is great for traveling, and the lack of any knobs or faders means less stuff dangling off the unit and potentially getting snagged or broken in a careless moment. However, fewer tactile controls also means more difficulty when trying to tweak parameters; as a result, my hopes of using the V-Machine as a standalone effects processor for DJ sets were dashed. An external MIDI controller is absolutely essential for getting the most out of the V-Machine.

Once I patched in a good controller, though, the V-Machine was a breeze to use, and the large LCD makes it perfect for onstage use. Latency was so low as to be unnoticeable, even with large stacks of VST instruments. I never encountered a situation in which the V-Machine crashed or locked up. Its stability during hours-long sessions was comforting, leading me to believe that the V-Machine can be trusted to perform reliably in critical live-performance situations.

Are We There Yet?

The V-Machine is a valiant effort with a great deal of potential, but in its current form, its compromises are obvious. It is a well-built little box, clearly targeted at traveling artists and built to withstand the rigors of the road, and in many ways it's straightforward and easy to use. Hooking up USB MIDI controllers is a breeze, and the unit is rock solid at negligibly low latencies.

However, the V-Machine's lack of knobs or faders makes it a hard sell for anyone looking for an all-in-one standalone VST solution, and the omission of professional-grade I/O is a serious oversight. With a few minor upgrades — balanced audio, additional ¼-inch connectors, and a few knobs and faders — the V-Machine would easily find its way into stage rigs and DJ setups worldwide. SM Pro Audio does have a larger version that adds these features in development (the V-Rack), and pro studio users would be best off waiting for this more comprehensive unit.

Still, for basic VST playback and onstage work, the V-Machine performs solidly and reliably at a bargain-basement price. The pint-size powerhouse packs an impressive amount of storage and processing muscle into its diminutive frame, wraps it in a rugged metal chassis, and makes connectivity a breeze for quick setup at gigs.

Best known as a DJ and producer in the electronic group Deepsky, Jason Blum is currently focused on commercial mixing and mastering in his Los Angeles studio.