User Manual

41
SPECTRALIS 2
Differences to other synthesizers
You may have noticed during playback of the sounds that the main voice of the
Spectralis - the Hybrid Synth - is very flexible and is free of compromises in its
soundquality.
Originally we were planning to make this a true analog section. During the design
process we did find however, that many Spectralis features were impossible to
implement without breaking the bank. The two filters however - a 24dB lowpass
filter with discrete circuitry and a 12dB multi-mode filter - are fully analog still. As
these two play a major part in shaping the overall sound the Spectralis has a truly
amazing "analog" sound. Combining the best of both worlds - digital technology for
maximum flexibility and analog technology for perfect filter technology - is what really
sets the Spetralis apart from the field and gives it is truly distinct character. Of course
it is not possible to describe the Analog-Synth in every last detail in the "first steps"
manual. We're sure though that the info contained in these paragraphs will motivate
you to experiment with the sound possibilites of the Spectralis even without a full
reference manual.
3.3.1 Difference to other synthesizers
There are a number of distinguishing features the Spectralis has, which we’d like to
point out right at the start, to improve the success-ratio for your initial programming
efforts:
a.) Each of the modules generating a signal for sound creation (oscillator, noise) has:
I.) it’s own amplifier with envelope
II.) independent level controls for the assorted modules changing the sound such
as the analog filter, the filter-bank and the FX-processors. This not only
allows for very flexible routing (connection to other Modules) and dynamic
changes.
Such luxury has one downside though – a large number of parameters, which make
the Spectralis extremely flexible but also somewhat complex. Rather than scaring
them, we are hopeful that this ”disadvantage” is likely to get an enthusiastic thumbs
up from all real synth-fanatics.
b.) Each sound-processing module also has:
I.) it’s own amplifier with envelope
II.) independent level controls for the assorted modules changing the
sound!
c.) The oscillators have a broad pitch range. You can pitch them up all the way
to a point where they become inaudible (it might get your dog’s attention
though), but also down low to a point where all you will hear is a slow cracking
noise from your monitors rather than an actual tone. This means you are able to
use the oscillators as LFOs.
d.) Because of the flexible and dynamic routing, you can even generate feedback.
For instance you could route an oscillator to the lowpass filter, then route the
This chapter deals with
Essentials!
You should definitely
take the time to work
through this chapter
undisturbed.
The reward for such
effort is one of the most
complex ”Analog”
Synthesizers ever
unleashed on the
public.