11/6/2022 0 Comments Behringer s styleHaving passed through the VCF, the signal enters the overdrive section which adds variable amounts of distortion. Perhaps we’re just being greedy, but we’re sure space could have been made by employing a smaller LFO Shape control. Our only disappointment is that there aren’t two independent LFO generators on Neutron. Key Sync re-triggers the LFO cycle with each new note, and turns it into a pseudo envelope generator if required. With a highest frequency of 10kHz it is capable of audio rate modulations that create the aforementioned side-band frequencies. These synth chips were also used in the Oberheim OB-Xa, a clone/ tribute of which Behringer has touted as one of its future products.Īs mentioned briefly above, the Neutron has a (bi-polar) LFO, and like the main oscillators, has multiple wave shapes that can be blended seamlessly from one to another. On its site you’ll find the V3340 (oscillator) and 3320 (filter) among others (including bucket brigade delay ICs). Music Group, Behringer’s parent company, has been making ICs through its Coolaudio subsidiary for more than 15 years, with a customer base that includes Dave Smith Instruments and Elektron. To complicate things further, there are a number of modern clones that take advantage of the fact that the original Doug Curtis design is out of copyright. Originally produced by Curtis Electromusic, they are back in production today. One great example of this is the CEM3340. However, while some only rate a synth using fully discrete circuitry, these early ICs have become revered in their own right. As well as offering cost savings, these chips allowed for better stability and improved calibration and control. In the later half of the 1970s, synthesisers began employing integrated circuits (ICs/chips) as a replacement for circuits employing a larger number of discrete components. A dedicated level control for each oscillator would have been beneficial here. In fact, it required routing the signal via one of the attenuators in the patchbay to bring it within a sensible range. Even with the overdrive section dialled down completely, the level from the oscillator section was hot enough to ruin the tonality of some sounds. It’s great to be able to access the dirtier side of things, but this shouldn’t be to the detriment of more conventional tones. One issue that was particularly frustrating was the way in which even small amounts of resonance pushed the filter into saturation territory. For fast to medium sweeps this works well, though it would have been nice to have longer maximum attack, decay and release times. Envelope 2, a straightforward ADSR, is also routed to control filter cutoff (via the Envelope Depth control). The patchable nature of the synth comes into its own when modulating the LFO rate and depth to control the strength and tonality of these newly created side-band frequencies. At fast LFO (audio) rates this creates some further interesting tones. In this case the LFO is routed to control filter cutoff, and a Mod Depth control in this section determines its overall strength. There is a secondary filter output on the patch bay which allows the creation of a notch filter alongside the switchable band, low and high-pass types.Īs the Neutron is a semi-modular design, there is a normalised routing for the various modulation sources. Turning the resonance up pushed the filter into self-oscillation which, with keyboard tracking engaged, generated a tone that was in tune across the keyboard. Although a little less abrupt than most 24dB/octave designs, it provides quite a bit of bite. Fed by a simple square wave, we tested the filter in low-pass mode, and it shaped the sound in a largely satisfying way. This has three primary filter modes all based around a 12dB/octave design. Once combined, all these elements are routed through the filter section.
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