Electronic Musician (full review here) – September 2006
"String Studio delivers a variety of convincing stringed-instruments emulations, but that's not its real charm. It offers a huge sound palette, as its generous preset library attests. The library is spread across 17 categories, most named after stringed instruments, but the presets in those categories range from emulations to strange instrument hybrids to unstable sounds that you won't find in nature."

Electronic Musician – January 2006
Editors' Choice Award: Best Synthesizer (software)
"Virtual-instrument developer Applied Acoustics Systems has made tremendous contributions to the field of physical-modeling software, beginning with Tassman, its flagship modular synth. In 2005, the Canadian company introduced String Studio VS-1, a multiformat plug-in and standalone synth that simulates practically any instrument with strings: violins, guitars, basses, pianos, clavs, harps, sitars, shamiens, and even a few that don't exist in the real world. Among hundreds of included presets are unique pads, unusual sound effects, and amazing digital-synth arpeggios that other software can't touch. The sound is so organic that you might never know you were listening to a software instrument.
   Want to pluck piano strings mounted on a violin body with pickups and then process the sound through chorus and distortion? Now you can do that. String Studio VS-1 reproduces all the acoustical nuances of vibrating strings, soundboards, pickups, frets, and all the other details that make up stringed instruments, giving you control over parameters such as intonation, vibrato, body type, damper type, and whether motion is initiated by a bow, pick, or hammer. You also get effects such as chorus and delay, an arpeggiator with programmable patterns, and an audio recorder to capture your performances. Put all the elements together, and String Studio VS-1 delivers a timbral palette and advanced capabilities you won't find anywhere else."

Remix (full review here) – December 2005
"[String Studio] VS-1 is an exciting and powerful tool that goes beyond the realistic simulation of string instruments and puts forth a new approach to sound design by giving new meaning to the word virtual."
– Robert P. Oleysyck

Keyboard (full review here) – September 2005
"Being able to create the kind of unique sounds String Studio produces will more then justify the bucks to people who like the sonic equivalent of white-water rafting. I give a lot of points to software capable of creating sounds that cause heads to turn."
– Craig Anderton

Sound On Sound (full review here) – August 2005
"With practice, String Studio can provide some incredibly realistic virtual versions when we have to play in the parts via MIDI, but for me its most exciting aspect is the ability to create new monophonic and polyphonic stringed instruments that sound believable, react to your playing technique like acoustic equivalents, and can be pushed in directions that no other synth can emulate."

"You could download the demo version, skim through its presets and not be particularly impressed, but once you start playing this instrument seriously and experience the realistic way it responds to your performance (and particularly once you involve MIDI controllers), you'll be hooked. This is a unique synth that sounds like nothing else on the market."
– Martin Walker

Music Tech – August 2005 – 8/10
"An expressive synth with a well designed and easy-to-learn interface. String Studio VS-1 is at its best generating organic synth sounds that bring lead and bass lines to life."
– Mike Hillier

Sound On Sound (full review here) – July 2006
"I heartily recommend AAS's Ultra Analog to anyone who likes working with computer-based synths. The simple interface hides the heart of an analogue beast—from throbbing bass to supersonic leads, it's all here. If you only have money for one serious commercial synth plug-in, make it this one."
– Derek Johnson

Electronic Musician (full review here) – May 2005 – 4/5
"Fat, versatile, and easy to use, this soft synth brings classic sounds to the desktop."

"If you use a computer to make music but you crave an analog experience, Ultra Analog won't disappoint. It sounds very analog and has a wide range of voicing options, as shown by the hundreds of cool factory presets."
– Jim Aikin

Remix (full review here) – April 2005
"The basses are absolutely fantastic, covering just about all of the hot destinations, and there are some real gems in the poly, leads and arpgeggiator categories, too."

"Is it what I'd call ultra-analog-sounding? Unequivocally, you betcha!"
– Jason Scott Alexander

MM Musikermagasinet – April 2005
"Every synth has a character of its own and the Ultra Analog is definitely worth having a listen to. It has a fat sound with filters that have a very pleasant character. In short: a very good machine that definitely fits the bill if you're on the look-out for analogue subtractive sounds."

Future Music – March 2005
"Sonically, it truly befits its name, sitting right up there with the best in terms of analog emulation; and even its most advanced features are easy to negotiate thanks to the exemplary clarity of the interface."
– TJ Glover

Keyboard (full review here) – March 2005
"That got my attention&mash;and it should get yours too, if you're a fan of Stuff That Sounds Really Good."

"But bell and whistles are not what UA is all about, because the big factor here is sound quality."

"UA's factory presets deserve special recognition—they're superb."

"Ultra Analog joins the short list of analog emulators that live up to their marketing claims."
– Craig Anderton

Music Tech – February 2005 – 9/10 – Recommended Award
"Analogue heaven -- Ultra Analog is a joy to use. As an instrument, the patches are richer then some other re-creations... Simple yet powerful—an excellent way to create both classic and unique sounds."
– Hollin Jones

XLR8R – Jan/Feb. 2005
"If you don't have the cash to pony up for a used Juno, Moog, Rhodes, Arp or Sequential Circuits, the Ultra Analog is the perfect virtual synthesizer solution. Looks Like the digital age has caught up with the past."
– Jesse Terry

Grooves – January 2005
"(Ultra Analog) sounds liquid and alive, more so than most virtual analog synths I've played with. The bass end of UA was fantastic, and quite possibly one of the best I've heard from a plug-in... Those of you craving that ultimate analog sound in digital format should certainly take a look at Ultra Analog"
– Devon Brent

Keyboard – November 2006
"As a Logic user, I've been relying on its included plug-in, EVP88, for my electric pianos in recent years. But after some time with Lounge Lizard, I'm beginning to have second thoughts. There's something about the texture of this plug-in that's a bit warmer and more organic—to say nothing of its overall flexibility—that makes it an excellent alternative or addition to the competition. Of course, EVP88 works only with Logic, so if you use any other DAW and want killer classic electric piano sounds, Lounge Lizard EP-3 is a no-brainer that you really owe it to yourself to check out."
– Francis Preve

Remix (full review here) – July 2006
"All in all, Lounge Lizard 3 is as good as it gets, and the overhauled preset library demonstrates its inspiring potency. The best sounding Rhodes and Wurlitzer models on earth just got even better."
– Jason Scott Alexander

Electronic Musician (full review here) – June 2006 – 5/5 – EM Hot Pick
"Lounge Lizard EP-3 is equally at home in the studio and on the gig. It is CPU efficient and runs well on a reasonably fast laptop. It offers far greater programmability then sample-based electric pianos, and there are no streaming or RAM issues. If you're looking for a virtual electric piano, this is the one."
– Len Sasso

Music Tech – May 2006 – 9/10 – Recommended Award
"With improved modelling and increased flexibility in sound shaping, you can be assured that the EP-3's sound is nothing short of gorgeous. A clear winner. If theses are the sorts of sounds you're after, there's not excuse not to have the EP-3 as part of your virtual instrument arsenal."
– Joe Silva

Sound On Sound (full review here) – March 2006
"With Lounge Lizard EP3, I predict that many musicians may well desire it more than the acoustic instruments it models—it just feels so good to play, you forget within a few seconds that you're not playing a real acoustic instrument, and there are hundreds of variations and refinements available that don't involve a technician manhandling 73 tines and pickups! Lounge Lizard EP3 is quite simply the new benchmark against which all electric piano sounds must be judged."
   "If you like electric piano sounds and have a computer, you have to buy Lounge Lizard—it's as simple as that!"
- Martin Walker

Computer Music – March 2006 – 9/10 – Performance Award
"If you're a lover of electric piano sounds, Lounge Lizard remains a must-have. In fact, we reckon it's still one of the finest VST's you can buy."

Electronic Musician – April 2004
"Applied Acoustics has developed a wonderfully realistic Rhodes emulation with EP-2. Right out of the box, it offers plenty of parameters to tweak, good effects, and lots of great-sounding factory patches. If you want to add a Rhodes to your recording rig without the hassle and maintenance of the real thing, Lounge Lizard is worth a serious listen."
– Nick Peck

Macworld – March 2004 – 4/5
"The real fun lies in programming the piano's 'physical' characteristics (...)."
– David Leishman

Remix – February 2004
"If you want an electric piano, this is the only product you need. You not only save the weight and bulk of the genuine article but also gain controls and abilities that supersede real electric pianos. In addition to brilliant electric-piano emulation, you also get some nice effects right in the same package, not to mention the ability to snapshot that perfect tone you tweaked until 3 in the morning. The parametric controls yield a panoply of tones, from clean and bright for ballads to filthy and raunchy for blues to phasey and filtered for funk. If you're touring, you'll thank Applied Acoustics for this gift from heaven. But even if you're not, this instrument will inspire you to do things you didn't know you could."
– John McJunkin

Keyboards (Germany) – February 2004
"A better sounding and more flexible E-Piano simulation is not provided by any other virtual instrument".
"If you ask me if I prefer Emagics EVP88 or Lounge Lizard, I would clearly vote for the later one"
– Joerg Sunderkoetter

Music Tech – January 2004 – 9/10 – Recommended Award
"Connoisseur of the real thing may also stop to ponder the advantages of using Lounge Lizard over their temperamental space-consuming instruments, particularly for practising at home."
– Joe Silva

Future Music – November 2003 – Platinum Award
"The finest software electric piano emulation to date, simple as that. It even looks vintage too!"
– Chuck Piers

Keys – November 2003
"Wer authentische E-Pianos, aber auch abgefahrene Klänge sucht, der sollte den Lounge Lizard 2 unbedingt antesten, (...)."
– Alexander Schmidt

Sound On Sound – October 2003
"Lounge Lizard was already more verstile than any piano emulation had any right to be (...)."
"If you don't already own it (Lounge Lizard), version 2 provides yet more reasons to give in to temptation..."
– Sam Inglis

Mix – July 2003
"Beyond providing convincing emulations of vintage keyboards of yesteryear, its plethora of wide-ranging controls allows you to create hybrid instruments and even startling synth tones that venture beyond piano bars and soul trains. With a $199 list, Lounge Lizard is more than a class act, it's a bargain."
– Michael Cooper

Eq – March 2003
"(...) this is the plug-in to beat. (...) given the outstanding quality and flexibility of the emulation, it's no wonder Keyboard magazine gave it a KeyBuy award."
– Craig Anderton

Grooves – January 2003
"The interface is a thing of beauty (...). It feels like a living, breathing machine and inspires hours of jamming (...) the Lounge Lizard is a must."
– Scot Solida

Future Music – November 2002
"At this price Lounge Lizard is difficult to fault and should be up there on the old shopping list representing one of the best buys out there. A soon-to-be-realised classic."

Keyboard – November 2002 – Keybuy Award
"In the context of a mix, the Lizard sounded terrific: organic, punchy, and very playable. Having effects built into the modeling engine made setting up the overall sound of each patch a breeze (...). It.s quite the little beast."
– Francis Preve

De:Bug – October 2002
"Hier kommt ein klarer Gewinner nach Punkten (...). Der Lounge Lizard klingt Killer!"
– Thaddeus Herrmann

Canadian Musician – October 2002
"You may want to load this software when you have a fair amount of time because once you start to play around with it you may find it difficult to stop. Smart, sexy, and powerful, the Lounge Lizard EP1 is indispensible for anyone with even a passing interest in vintage keys sounds."
– Kevin Young

Sound On Sound – October 2002
"Lounge Lizard is one of the most impressive virtual instruments I've seen to date (...) it's a uniquely adaptable piece of virtual kit. It also represents excellent value for the money."
– Sam Inglis

MacUser – September 2002
"VERDICT: One of the most impressive, best-sounding virtual instruments we've come across."
– Paul Sellars

Mac Format – September 2002
"Which ever way you look at it, the Lounge Lizard represents better value for money than either of its competitors. It's a funky little number that will soon find its way into many computer music studios."
– Cliff Douse

Recording Musicien – August 2002
"Forces est de constater la réussite en termes d'émulation de Rhodes et Wurlitzer (...). Les possibilités de réglages placent la barre très haute, si d'aventure d'autres développeurs s'attellent à un piano électrique virtuel."
– Jean-Stéphane Guitton

Computer Music – Virtual Instrument Special 2002 – 4/5
"We found Lounge Lizard to be an inspiring, playable, flexible instrument that you can really work hard. As such—and at this price—It's an excellent buy."

Computer Music – July 2002 – 8/10 – Value Award
"It's when you pump the Lounge Lizard hard and dirty the thing up that you get the best results (...). As well as coming up with filthy tones that retro funksters will love, we managed to create plenty of sounds that bore little or no audible resemblance to those that would be produced by a 'traditional' electric piano, so there's no denying that AAS have produced a versatile instrument. (Lounge Lizard) does offer something genuinely different at a very competitive price. It may have a slick name, but this bad boy can be funky as the devil."

Computer Music – June 2002
Featured demo cd software.

MM Musikermagasinet – September 2005
"It's very convenient to build a nice sounding instruments with the components of Tassman 4. But if you prefer to start off with a preset and adjust it to your own liking, Tassman will definitely do the job. The Physical Modeling at the basis of Tassman also helps making this software a synth that is out of the ordinary—sound wise, there's nothing quite like it on the market."

Electronic Musician (full review here) – March 2005 – 4.5/5
"Tassman 4 retains its position as the top modeling program around."

"There's no soft synth on the market today that has as many unique sonic building blocks as Tassman, and the range of possibilities it offers is awesome."
– Dennis Miller

Sound On Sound (full review here) – November 2004
"Tassman v4.0 adds a rich layer of sophistication to its sounds, while its much larger library proves just how capable the AAS analogue- and physical-modelling modules really are."
– Martin Walker

Mac Format – August 2004 – 5/5 – Choice Award
"Overall, Tassman 4 is an exceptional music software package offering the user a fantastic selection of instruments and effects, and the capability of making new ones. It's a synthesist's dream!"
"A really powerful music tool. Essential for any composer who wants to get the most out of software synthesis."
– Cliff Douse

Computer Music – July 2004 – 8/10 – Performance Award
"Tassman has always been one of the easiest modular synthesizers to use, and it loses none of its user friendliness with this update."
"The results were terrific. Tassman's compliment of filters, resonant tubes and effects made for some serious loop mangling which will definitely find favour with fans of avant garde or IDM styles. If drums amazed, then guitars astounted. You'll find Tassman 4 to be an ideal tool for guitar treatments."

Grooves – July 2004
"Tassman 4 not only preserves but also expands upon the power and versatility of its predecessor, remaining an enjoyable sound design tool that amply rewards its user's experimentation and creativity. Its learning curve is still friendlier than Max/MSP while providing the same basic functionality, and its physical modeling features set it apart from the rest of the soft-synth crowd."
– Alex Reynolds

Music Tech – July 2004 – 9/10 – Recommended Award
"Tassman 4 is a very powerful piece of kit—in the true sense of the word. Being able to choose and configure so many modules is an experienced synthesist's dream and if you follow the tutorials, it's an excellent way for beginners to learn the basics of the craft as well. What's more, with so many new Performance presets now included, you can produce rich and complex sounds very quickly. But the real pleasure of owning and using an instrument like Tassman is in the creative possibilities it offers."
– Keith Gemmell

Muzyk FCM – July 2004
"Tassman captivates by its sound. The included acoustic models are excellently worked out and so allow to get really faithful and dynamic sounds. The analog instruments also sound great, warm but selectively (maybe a little less "plush" than the competition, but thanks to that—different). Worth using are also all kinds of sound effects useful in electronic and film music. Aside from instruments with Tassman we get a wide set of effects and great creation possibilities. The way of creation instruments and sounds is very transparent and intuitive, so even beginners shouldn't have problems with it."

Remix – March 2004
"There.s a warmth and fullness here that some other products just don.t have... If you have the need for a powerful yet simple way to create a huge diversity of sounds, musical or otherwise, I strongly recommend Tassman."
– John McJunkin

Electronic Musician – November 2003
"Tassman 3.02 is a unique program that can provide a huge range of unusual sounds. Any composer or sound designer would appreciate the high quality of its models and the extensive tweaking opportunities it provides, and if you're an instrumentalist, you might consider using it for your next gig. If you have any interest in physical modeling, Tassman is the place to start."
– Dennis Miller

Mac Life – October 2003
"Tassman ist eine echte Bereicherung der virtuellen Klangerzeuger. Das Program räumt mit dem Vorurteil auf, dass Software-Synthesizer keinen eigenständigen Klang haben können."

Music Tech – July 2003 – 9/10 – Recommended Award
"The sound quality of the software is nothing short of excellent."
"The supplied instruments and presets are impressive and the Player interface is a delight to use."
– Ian Waugh

XLR8R – July 2003
"The perfect Modular (...) Tassman is a synth lover's wet dream (...) a very good plug-in for those in need of realistic sounds."
– Jesse Terry

Sound On Sound – June 2003
"(...) anyone considering buying a modular software synth would be well advised to investigate Tassman 3.0's unique combination of physical and analogue modelling, especially now it's available for Mac for the first time, since there's nothing else quite like it. It certainly gets a thumbs up from me!"
– Martin Walker

Future Music – June 2003 – Platinum Award
"Tassman 3 works beautifully on a variety of levels. It's accessible enough to offer something to the beginner, yet has a degree of depth that will satiate the demands of the ardent fan.!"

Grooves – May 2003
"In sum. this is one amazingly powerful and verstaile sound tool (...). Instant fun results from tying (the module controls) to modulation objects or controllers while a sound is being generated in real time. It is this sense of play-of immediately rewarding your experiments-that makes Tassman such a thrill to use, and such an inimitable piece of software."
– Alex Reynolds

Keys – May 2003
"Klanglich ist Tassman nach wie vor eine echte Ausnahmeerscheinung, denn keine modulare oder nicht modulare Software bietet einen vergleichbaren Schwerpunkt mit vergleichbaren Klangmöglichkeiten."

Computer Music – April 2003 – 9/10 – Performance Award
"Tassman can go just about as deep as you want it to go...its analogue timbres are staggeringly authentic, and it is easier to program than Reaktor."
"VERDICT: Excellent sounds and lots of them."

Computer Music – Virtual Instrument Special 2002 – 4/5
"Tassman 2 is an exeptional instrument. It sounds great, it's surprisingly easy to use, and it's exceptionally vesatile."

Grooves – May 2002
"(...) the Tassman is very nearly the be-all and end-all of soft synths."
– Scot Solida

Recording – December 2001
"Bottom line, this instrument is a lot of fun to play with. The multiple function nature—plug-in, standalone, or sequencer based soft-synth—really extends its value as a useable and useful tool."
– Bill Stunt

Keyboard – July 2001
"Physical modeling algorithms have been around for a few years, but Tassman is the first program that I know of that puts physical modeling, in a design-it-yourself modular synth environment."
"Tassman performs well. It's best modules are in the physical modeling area: They can produce some evocative, detailed sounds, and there's nothing else on the market quite like them."
– Jim Aikin

Keys – July 2001
"Tassman bereichert die Riege der Software-Klangerzeuger und weiß klanglich zu überzeugen."
– Uwe G. Hoenig

MC2 – May 2001
"Tassman's physical modeling engine goes way beyond most other software synths... If you're a tweak head who loves sitting for hours making sick ass sounds, Tassman is the weapon for you."
– Petri Nauha