The Pulse has V. C. O.'s . It's true.

Wolfram Franke at Waldorf says: "the three waveforms are made differently, and only have one thing in common -- they aren't processed by a D/A converter. The oscillators are not digital, but analogue. The pulse waveform is controlled digitally; the clock stipulates when the pulse waveform has to be at its maximum or minimum point. If you use pulse width modulation or cross modulation, this is also generated by the clock itself. The clock has only a 0 and 1 position, so the Pulse's cross modulation is mathematically identical with ring modulation. The sawtooth waveform is voltage-controlled; the voltage is generated from the D/A-converted clock signal, with additional parts creating the ramp. The triangular waveform is the most complex one; it's a combination between the sawtooth waveform and additional parts that process the down-ramp. "

I think some people are under the impression that a VCO always sounds wobbly and "warm". Not so. If an OLD VCO synth sounds warm and creamy (like a Minimoog) it is because IT WILL NOT STAY IN TUNE! That is the only reason DCOs were invented - to stay in tune. It's not like a VCO on a mini has a gain control or something to make it "warmer". IT'S OLD and out of your control.

The PULSE sounds different because it is newly engineered for MIDI control of everything, pre-NRPN. It is far more stable than 70's analogs. Yet with correct programming this thing can sound HUGER THAN A MINIMOOG when you use the LFO's and MOD properly. The Pulse's VCOs are THICK.

Yes, the PULSE has it's shortcomings - the filter resonance produces too much volume drop and always has the same throaty character no matter how it's set...the envelopes suffer from software control, but they ARE snappy and fast, just not as flexible as say, a Pro One or a Mini.

But for the money...you can't lose.

The Pulse has osc./env. controls common to most analog synths. It's basic, making it possible to start making sounds without a 3 week course with the manual.

Some reviews have mentioned it's near to, but not quite, early analog synth sound. It is close, and perhaps can get closer after getting to know it's "sweet spots". However, finding it's "sweet spots" is not as easy as with older multi-knob, analog synths. The Pulse has six knobs/pots/encoders? that control all the synth parameters. The parameters are spread out on 6 six different step/levels. This constant level jumping does not help with the "sweet spot" search. In fact... it hampers it. In 1985 I bought a Moog Source for it's stored program feature. However, creating sounds was just too much work with it's "One!" control wheel/knob and keypad parameter access. I was used to a knob for every parameter. I was so dissapointed when I sold the Moog. A holy grail, wanting, not so holy. At least the Pulse has 6 knobs. It's midi/cv converter was a big selling point for me, making it a keeper.

Beware of the Pulse's knobs. They feel fragile. As if soldered to a cicuit board in back without being secured to the front panel.

The Pulse uses a wall wart power supply with a lead that plugs in the back. That's an accepted flaw. Having no power switch, front or back is not acceptable. Inside the Pulse are jumpers carrying the wart power that can be interupted. A 1/4" hole was drilled to front panel, a small profile toggle switch mounted and wire leads from switch to the internal power jumpers. An easy job for anyone with a little modification experience.

When I bought the Pulse I knew I was'nt buying a Mini Moog or a Pro One ect. Perfect analog "sweet spots" may prove allusive with the Pulse. It's in the ball park and able to knock a few homers.

And it's rare.... getting rarer..... ;)~

the Dr says .... "Play Ball...!"