![]() ![]() You can see already, that without even reaching for a patch cable there is quite bit of interaction possible between the various audio sources. The FM control determines the strength of frequency modulation from Osc 3 to Osc 1 and 2. Like Osc 1, the pulse width can be modulated using patch points, but here you’ll also find a ‘supersaw’ wave that can come under PW control as well – and this alone makes for some very thick tones. The large tuning range of this oscillator allows it to extend down into very slow LFO modulation territory (with a cycle time of nearly two minutes). In other words, this is a form of audio rate amplitude modulation, and allows for a lot of scope in creating weird, clangorous, undulating and engaging tones – especially given the added flexibility of the multiple patching points. The separate Osc 3 section really makes a difference to the flexibility of ErebusĪn interesting addition though is the Triple Ring section, which allows you to use the pulse waveform from Osc 1 to switch between the triangle waveform of the Osc 2 and sine from a new additional oscillator section. Each also has a dedicated glide control (which sadly only works when the synth is under MIDI control). In terms of raw sound generation the Erebus is based around the two-oscillator design from before, with each oscillator getting its own tuning and waveform selection controls, and with a mix slider setting the balance between the two. While versions 1 and 2 of this synth were very similar to each other in terms of looks and functionality, the new Erebus has been expanded both physically and functionally – with the most obvious changes being an additional oscillator and envelope plus greater patching capability. Share your love as many as you can to reach the people.Here we look at the Erebus Version 3 desktop synthesiser. It´s great fun for me and I'll keep on making high quality music for you out there. When I was planing & expanding my studio, I refined the style of samplingtechniques and also helped some artists as a ghostwriter & producer not loosing their "pro-chains". Mostly using analog equipment, but also digital devices to express my ideas. Later I tripped deeper into sound design, designing patches for synthesizers & drummachines. I love making EDM music styles like: minimal, electro, 8bit, deephouse, glitch, goa, drone, bigbeat, lounge and also some weird industrial techno. Over to 2002, doing some local DJing and the legandary "Blackbox Studio Productions", I also played and worked with local Indie-Bands, being mostly the luxory of a free live event mixer for some. This was the time I began mixing in surround sound. ![]() In 1992 I began installing surround audio systems in sportscars by developing and calculating fitting car speaker solutions. These projects show my passion & dedication in years of living electronic music plus some genre bandwidth. ![]()
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