Bits and Pieces
Each channel consists of a simple true analogue type subtractive synth with a single VCO, VCA, Envelope, LFO and filter. It’s robustly constructed, as with all Vermona kit and sports an extremely sturdy metal case populated with heavy-duty chrome knobs (74) and push switches (9), five blue and four orange LEDs. Each synth channel has a trigger light (orange) to signal that it’s responding and a blue LED to show if FM is enabled, but there are no other status LEDs in the synth panels.
VCO up close
Featuring an 8 position wave switch waves available are:
32’ Sawtooth, 32’ Square, 8’ Square, 8 pulse (1/3), 8 Pulse (1/7), 8’ Sawtooth, Ext – audio signal, NG – white noise.
The waves can be tuned by sweeping over +/- 13 semitones unquantized for detune effects. Lastly, is the glide or portamento control, ranging from 0 – 3secs. When in the EXT position, audio from the two external (rear) inputs are fed into the VCA, ENV and FILTER,
The filter is a 4-pole lowpass filter which will happily self-oscillate when the RES control is wound up – the only other parameter is Keytrack (0-100%) It’s a real shame they couldn’t have squeezed some other filter modes in here somewhere any synth will benefit from High Pass or Band Pass and would really spice up any external filter processing, but there isn’t really much room on the panel. One nice feature – the mod wheel is mapped to filter cutoff over MIDI.
Again this is kept simple with a 4-position switch offering EG – the envelope controls the amplitide, GATE – note on/off control, LFO – modulated by the LFO and ON – the signal is always on – useful for patching into a second channel for using a single envelope with two VCOs or processing external signals.
A classic A(ttack), D(ecay), S(ustain), R(elease) envelope with additional VCF control depth. You can apply both positive and negative modulation either side of the centre dent, although rather confusingly the panel is printed 0-10 rather than –5, 0 (centre), +5 as one would expect.
VCA and LFO sections
Speed - ranges from 15 seconds per cycle to 15ms, Waves are Ramp up, Ramp down, Triangle and Square – shame there was no random too. Depth controls for both VCO and VCF which also double as FM (frequency modulatio) controls when in FM mode (more later).
So as you can see, it’s quite a simple analog type subtractive channel. Using the various modes of the Perfourmer it’s possible to stack up some fairly complex and hefty four oscillator sounds or complex four voice chords, with each note being a completely separate synth – which can be both good and bad – good in the sense that you can make some fairly unique sounds with each synth or voice being different and bad being it’s harder to make all four sound the same for classic four voice polyphony.