 |
|
|
sound qual |  50% | | interface | 25% |
| keyboard |
50% | | ease of use |
100% |
| build qual |
75% |
|
| bass | 50% |
| brass | 50% |
| strings |
50% |
| accoustic |
25% |
| pads |
50% |
|
| perc | 25% |
| organ | 25% |
| digital |
25% |
| analog |
50% |
| noises |
25% |
|
|
Tobias Schmitt (suspicion@bigfoot.com)
writes:
|
| The best thing about this machine first: It has an audio-input, so you can use the VCF and VCA for all kind of sources. Even if the multimode filter (12db high/low-pass 6 db band-pass) won`t treat your sounds beyond recognition you can a warmth to them. Nice for smooth modulations on drums. The LFO offers even sample and hold which is a nice addition. The LFO can modulate quiete a lot of the sections, but as it`s just one you have to use the same modulation on everything. One VCA is given. The VCO gives you a pulse and sawtooth wave. Both can be used the same time. Third poti in the mixer section is dedicated to noise/external input which can only be use alternatively. Using it with a midi-interface is the same problem with KORG synths like the MS20. As the machine can be triggered by the external signal it`s most useful as an effect. Just buy one if you can get it really cheap.
Comments About the Sounds:
As it has just one VCO and a lush 12 dB-ilter, don`t expect anything extreme. It`s just a synth for nice sounds
|
(Thanks to Tobias Schmitt for this info.)
and Fredric Tirheden for the pic
|
Released:early 80`s
