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excruciatingly titled Twerk section, with its
Tweak/Mutate/Target knob. In Tweak mode,
the knob adjusts all modulation depths in the
matrix collectively, and applies a ‘via’ mod
source selected from an extensive menu
of signals (various MIDI, all of Factory’s
Modulators and Audio Out) to them. Mutate
mode does the same but with a degree of
randomisation. And in Target mode, the via
mod source is shuttled through the matrix
using a knob, letting you shift the via
modulation around between assignments in real
time – odd, but kind of cool.
The mod matrix can be randomised in two
ways. Clicking the die button at the end of the
source or target row/column randomises the
contents of the slots in that row/column, while
dragging on the larger die icon, top right,
progressively adds more randomised
modulation depth dots to the matrix the higher
it’s raised.
Factory’s two ADSR envelopes, two LFOs
and sample and hold module are housed in
the Modulators tab. The LFOs work in mono
or polyphonic modes, while the S+H module
features separate input signals for the trigger
and sample source, opening it up to all sorts
of complex burblings.
Maximum effect
Factory is no slouch in the efects
department, either, with three freely
reorderable insert slots hosting a selection of
17 modules – reverbs, delays, ilters, phaser,
chorus, and more. Every efect has a concise but
transformative bank of up to four controls,
and they all sound great, as you’d expect from
the creators of the fabulous Turnado. All of their
parameters can be modulated, too, as
mentioned, although you can only target
each efect as a single unit, turning modulation
on or of for each of its parameters, rather
than discretely pointing, say, an LFO and an
envelope at two separate knobs in the
one efect.
Finally, Factory’s Morph fader enables
interpolation between two complete
parameter states, and is assignable to a MIDI
controller for even more internal movement.
The enormous preset library uses a deep
and informative tagging system, and does a
superb job of showcasing what the synth is
capable of.
Factory records
As you might expect, Factory is most at home
making the kinds of highly mobilised, animated
noises that only a synth with this level of
modulation lexibility can. Highlights are the
well thought-out oscillator models, the intuitive
modulation matrix, the sequencer and the
efects, but everything here comes together
brilliantly in an instrument that’s surprisingly
easy to use – given how complicated it
invariably sounds – and a whole lot of fun.
While we wouldn’t recommend it as the irst
choice for anyone seeking a general purpose
workhorse synth to cover all the basics, for
enormous, weird, heavily modulated and
rhythmic sounds of all kinds, it’s a winner, with
a character all its own.
Web www.sugar-bytes.de
Verdict
For Powerful, interesting oscillators
Amazing & intuitive modulation system
Brilliant Sequencer & Arpiculation sections
Quality efects
Sounds genuinely ‘diferent’
Against Many presets are too loud
No numerical mod depth display
An innovative, esoteric synth that’s still easy
to use and quick, Factory is one that sound
designers and modulation nuts will love
9/10
Alternatively
Xfer Records Serum
213 » 10/10 » $189
One of the greatest synths ever
made, Serum outclasses Factory
but isn’t as easy to use
Native Instruments Massive
107 » 9/10 » £129
Native’s stone-cold classic
is very big on modulation
Factory’s most exciting modulation
source is its four-track sequencer. Each
track sequences a pattern (looped or
one-shot) of up to 32 steps, with step
lengths from one bar to 1/64, and the
Global Swing control applies shule to
all tracks. Every step in the sequence is
illed with one of 36 envelope shapes,
from the basic lat line to a variety of
curves, ramps and multi-triggers.
Seriously intricate sequences are the
order of the day, and if you can’t be
bothered to program your own, the
Random button can do the job for you.
The Arpiculation tab, meanwhile,
combines Pitch Factory, Intonation and
Arpeggiator sections. Pitch Factory
contains the standard global Tune,
Transpose, Glide and pitchbend range
controls, as well as scale and root note
selectors for snapping MIDI input to a
particular key, and unison detune. The
Intonation section applies an upward
or downward pitchbend leading into
each note, tweakable in terms of speed,
depth and random variation, and with
three shapes to choose from. Lastly, the
Arpeggiator turns chords into melodic
lines with all the expected functions
(Direction, Range, etc) but furthers
Factory’s wildly creative agenda with
sequencer gating, random note
dropping and selection, and note
ordering via the modulation matrix.
Sequencer and Arpiculation
The preset browser uses a visual tagging system to
show the relative proportion of sounds in each category
With 36 step envelopes to choose from and four tracks, the mod sequencer is jaw-droppingly groovy
“Factory’s Morph fader
enables interpolation
between two complete
parameter states,
and is assignable to
a MIDI controller”
Autumn 2016 / COMPUTER MUSIC / 93
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CMU235.rev_factory.indd 93 22/08/2016 17:19