FXpansion – DCAM: Synth Squad
Price: $248
Web: www.fxpansion.com
Format: AU,
VST, RTAS
While the rest of our recommended synths
adhere to an all-in-one design, DCAM: Synth Squad is the complete opposite,
comprising a set of three totally individual synths connected by a master combo
plugin called Fusor. The synths in question are named Strobe, Amber and Cypher,
and each one addressed a different aspect of the analogue synth heritage.
Strobe is the simplest, with a typical
subtractive design, but its single oscillator is still capable of
simultaneously generating saw, pulse and noise waves, coupled with sine,
triangle, saw and pulse sub-oscillators. Factor in five layers of oscillator
stack with detune and you’ve already got rich, solid sounds without even firing
up the Unison mode. The filters are also rather tasty (there are 22 types) and
are designed to be driven hard, making Strobe ideal for screaming lead sounds
too.
DCAM:
Synth Squad is the complete opposite, comprising a set of three totally
individual synths (Strobe, Amber, Cypher) connected by a master combo plugin
called Fusor
Amber is heavily influenced by the classic
polyphonic ensemble synths, so it’s unsurprising to find two slightly different
oscillator sections: Synth and Ensemble. The Synth section passes through a
regular multimode filter, while the Ensemble goes via a format filter and
chorus. Both signals are then combined at the output mixer. The result is rich
pad and string machine-like textures.
Finally, Cypher handles the analogue FM end
of the spectrum, and each of its three oscillators includes a Wave knob that
sweeps smoothly from triangle via saw and square to pulse. Additionally,
Oscillator 3 can frequency-modulate Oscillator 2, and the latter can modulate
the wave shape of Oscillator 3. Add in various sync options to Oscillator 1 and
you’ve got an analogue synth that can create digital sounds, though with the
character of analogue oscillators. Rounding things off are two filters and two
wave shapers, which you can position pre- or post-filter, and an overall
analogue control for simulating circuit noise. Each of the synths also includes
a categorized preset browser and many good presets.
We think you’ll like the variable focus of
these three separate synths, and when you consider the combined price, each one
represents good value. And if you do want to combine them (complete with insert
and auxiliary effects), there’s always the Fusor shell.
Rob Papen – Predator
Price: $192
Web: www.robpapen.com
Format: VST,
RTAS, AU
Rob Papen is responsible for some of the
most respected soft synths available, including Albino, BLUE and, most
recently, Blade, but it’s Predator that expresses what he does best. Packed
with all manner of presets, filters and rich core oscillators, this is one of a
handful of synths that can give even the best hardware a run for its money.
However, when you first load it up, Predator appears almost deceptively
straightforward. The top half handles the three oscillators, two multimode
filters, filter LFO, amplifier section and main envelopes, while the bottom
half includes three effects slots, pitch modulation LFO, Play mode, modulation
matrix and arpeggiator.
Not
only have you got 128 waveforms to choose from but each oscillator also has
dedicated pulse width modulation and a dedicated PWM square sub-oscillator
So, what makes this seemingly
run-of-the-mill design so good? First up, the oscillators. Not only have you
got 128 waveforms to choose from (including spectral synthesis, additive, noise
and analogue types), but each oscillator also has dedicated pulse width modulation
and a dedicated PWM square sub-oscillator. Oscillators 2 and 3 can both be
synced to Oscillator 1 and feature frequency, ring and phase modulation, so
there’s loads of potential for oscillator tweaking at root level.
Much of the rest of the layout is so
straightforward that you might wonder how sound creation can be this easy, from
the lovely, fluid-sounding filters and simple modulation slots to the powerful
arpeggiator and other nice touches, such as chord memory with strum speed. In
essence, Predator is a doddle to program.
Maybe this explains the 3000+ presets,
which thankfully are available from the full-window file manager, as well as
directly in the interface, so you can get a better handle on what’s available.
Patches are categorized into many contemporary music styles, and the
fundamental patch type is includes in the name (bass, pad, lead, arp and so
on), so you can use the Find option to locate the right type of sound. It’s no
less than we’ve come to expect from ‘preset king’ Rob Papen, but it’s
impressive all the same. And if all that really doesn’t float your boat, you
can always drum up some fresh sounds via the onboard Variation function.
Native Instruments – Razor
Price: $89
Web: www.native-instruments.com
Format: VST,
AU, RTAS, AAX, standalone
The
GUI is presented in traditional format, with two oscillators, two filters,
three envelopes, two LFOs and three effects sections
Razor is a Reaktor-based additive synth
designed by Berlin-based electronic music producer Errorsmith, and is arguably
the most successful Reaktor ensemble yet. Its additive engine extends to 320
partials, and the manipulation of these partials at source achieves everything
from filtering to detuning. The GUI is presented in traditional format, with
two oscillators, two filters, three envelopes, two LFOs and three effects
sections – though of course, you only have to scratch the surface to find all
sorts of crazy oscillator shapes and filter types. Combine these with the
effects section and you can conjure up everything from edgy sounds and effects
to atmospheres and leads. But for us, it’s the Safe Bass and Spectral Clip
options that do the real business, helping to deliver deep, hard bass sounds to
drive your track.
There’s something wonderfully immediate
about Razor, both in its punchy sound and in its quick, intuitive interface.
Oh, and it’s pretty good value too.
