By Pei J., Zhang X.
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I warrant they'd bring a smile to the impassive face of Vince Clarke himself. G7): 'Synth Brass Section' — analogue brass sounds that sound classy even when compared to those in my Oberheim Xpander. I can't think of higher praise than that. H6: 'Hybrid WurliRhodes'— One of several highly useable electric pianos. L2: 'Plastic Bass' — there are many chunky, powerful basses. This is a rather Jarre-ish example. L1: 'Short Wave Opera' — vocal textures with added noise making for an evocative pad. H1.
One drawback to the latter option is that the Workbench program does not currently support the ASIO protocol (only Direct X and MME), so you might not be able to achieve a latency low enough to make the live input feel particularly 'real-time'. You can change the number and size of the audio buffers in the preferences panel, but low settings will inevitably tend to make the output signal less stable. I was able to use 16 buffers of 128 samples each with my Echo Layla24, which did provide a relatively unslothly feel, albeit with the odd glitch on the more heavyweight patches.
This in turn can output MIDI data to a VST Instrument or hardware synth in the usual fashion. Alternatively, the output can be saved to a MIDI file. Usefully, Midifier also has a simple built-in synth that can also be used to monitor the MIDI output if required. Of course, the conversion process does take time (around 50ms according to Knzaudio). This is not an issue when the plug-in is used to process a prerecorded audio track, as the delay is compensated for. However, for real-time playing and conversion as a single process, unless the melody line is at a very slow tempo or uses a MIDI sound with a slow attack, this delay is really too long for comfort, and certainly much longer than the triggering process experienced with a modern MIDI guitar system.
1-Generator Quasi-Cyclic Codes by Pei J., Zhang X.