At times, the VCOs sound weighty, but sometimes feel thin compared to other polysynths on the market. There’s also the capacity for frequency modulation, with which you can create fantastically colourful audio-rate beating.īoth VCOs are blended through the mixer section, plus there’s the option to add white noise via its own pot. VCO 2 has the same waveform credentials but the Metalizer here is replaced by a sub-oscillator that can be increased in amplitude via the designated pot. Doing so will grant you instant access to gnarly, aggressive starting points. In the menu, there’s an option to apply the Metalizer to all waveforms. The Metalizer brings a harsh metallic colour to the triangle wave, and tuning can be moved up and down by a single octave either side of the note played on the keyboard. VCO1 is equipped with a see-saw pot that shifts from saw to triangle wave, while another pot allows you to shift to a pulse or square wave whose pulse width can be modulated too. The synth offers two VCOs per voice, each presenting slightly different operational elements. All of its elements are placed under digital control, meaning that the pots and fader positions can be saved, as well as exploited via the use of a computer-based editor.Īnyone who has used an Arturia synth before will feel at home with the PolyBrute. Rest assured: this is a proper all-analogue polysynth, with the exception of the effects on the backend. All polysynths come with a degree of expectation: they should have a couple of oscillators per voice, a filter and at least a few envelopes.
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