I have to double down on this, I am really impressed by it. I went through the presets yesterday, favouriting things I thought might be handy. Before I got even half-way through, I started passing over patches that, in any other synth, I'd have been favouriting or giving top ratings to. There are just so many great sounding patches in this thing, I have to keep reminding myself it's just two layers of a single oscillator.
Another amazing thing I discovered is that, even though it's a really good effect, adding distortion ruins a patch as often as it improves it. Normally a bit of subtle tube distortion can really lift a patch but this thing has such a big sound that it doesn't need it. One of the things I like about the distortion effect, though, is how the TONE parameter allows you to really zone in on a specific frequency range. It works better than any other tone control on any other distortion I've used. It's really good.
Unusually for me, I read the manual. The synth has a few unique bits that I wanted to understand better, like the Resonators and Growl. It is so well written I ended up reading it from front to back, just for entertainment.
I'd been aware of the real thing but I always dismissed it, as it was only a preset machine with very little control over timbre. I never knew that it has aftertouch. You gotta think it was the first commercial synth ever to offer it, 6 or 7 years before the CS-80. This VSTi opens it up so you can patch it however you like, which gives you a good insight into how cleverly and precisely the original was made. On the face of it, it's just two layered monosynths, each with a single oscillator to work with. Without any cross-modulation, it's not as versatile as, say, a MiniMoog but Jesus H. Christ!, it can hold it's own against pretty much anything.
Another amazing thing I discovered is that, even though it's a really good effect, adding distortion ruins a patch as often as it improves it. Normally a bit of subtle tube distortion can really lift a patch but this thing has such a big sound that it doesn't need it. One of the things I like about the distortion effect, though, is how the TONE parameter allows you to really zone in on a specific frequency range. It works better than any other tone control on any other distortion I've used. It's really good.
Unusually for me, I read the manual. The synth has a few unique bits that I wanted to understand better, like the Resonators and Growl. It is so well written I ended up reading it from front to back, just for entertainment.
I'd been aware of the real thing but I always dismissed it, as it was only a preset machine with very little control over timbre. I never knew that it has aftertouch. You gotta think it was the first commercial synth ever to offer it, 6 or 7 years before the CS-80. This VSTi opens it up so you can patch it however you like, which gives you a good insight into how cleverly and precisely the original was made. On the face of it, it's just two layered monosynths, each with a single oscillator to work with. Without any cross-modulation, it's not as versatile as, say, a MiniMoog but Jesus H. Christ!, it can hold it's own against pretty much anything.
Statistics: Posted by BONES — Wed Oct 16, 2024 12:06 am