8/15/2023 0 Comments Native instruments kontakt demoSince most of the crackles, fizzes and other glitches in the waveforms occur in the higher frequency range, you can strongly accentuate these features by creating a core sound with Osc 1 and then adding extra high-pass-filtered dirt from Osc 2 and Osc 3. Oscillators 2 and 3 have High-Pass Filter circuits built in: these are great both for creating band-pass effects, in conjunction with the main low-pass filter, or for simply cutting the weight out of one or both of these while leaving the air, crustiness and dirt intact. But if you prefer, the three LFO rates and waveforms can be Sync’d with a single button-press, making it easy to dial in traditional tremolo and vibrato effects with all the LFOs locked. The LFOs can be patched to Pitch or Amplitude, allowing very complex, evolving patches to be created when the LFOs are freerunning. It’s great for adding extra graininess and air to your patches.Įach Oscillator section has its own LFO, switchable between Sine, Saw and Randomised waveforms. On top of this there’s our favourite Korg 770 Scale Noise available as well: this follows the pitching and envelope settings for Oscillator 3, but can be mixed in separately. With the pushbuttons on the left of the interface you can, for each oscillator, engage three separate and distinct versions of Sawtooth, each with their own character and complexities plus Square and Triangle waves plus a pure analogue Sine wave for useful depth and body. In its most basic sense Dark Machine takes a single-oscillator monosynth and turns it into a 3-oscillator poly – but that’s really only one sixth of the story, since each of those three oscillators can in fact access 6 waveforms all at the same time. You can almost smell the hot circuitboards…! The constant background interference and crackle makes even the simplest patches sound aged and sepia-toned, while stacking up all the sawtooth flavours simultaneously and tweaking the Detune control yields an instant headrush of thick analogue power. Layered one on top of the other, the result is eerie and beautiful one moment, coarse and raging the next. Played polyphonically, the uncertainty of those uneven oscillators translates into a strange, unpredictable lushness. While in other (saner) hands this might have become a fun restoration project, we were far more interested in capturing the soul of the synth in all its crackling, buzzing, humming goodness. The waveforms are grainy with interference and noise, occasionally fading in and out, crackling as the key contacts sputter, or slewing in pitch. Capacitors have leaked solder nodes have dried and cracked the keyboard contact points have corroded and become intermittent tuning is now unstable across the entire machine. Time, though, has not been kind to this little Cold War soldier. With crude components and basic point-to-point wiring, our source instrument was once a fairly simple monophonic keyboard – though with a quite ambitious range of waveform options, including various filtered sawtooths, a squarewave and a triangle. The heart of Dark Machine comes from a damaged, abandoned ex-Soviet transistor synthesiser which was clearly handbuilt at some point in the early 1970s. Over 100 factory patches, plus awesome Glitch control for randomised new sounds.Stackable, detunable waveforms for insane levels of thickness – up to 19 oscillators at once!.Powerful, comprehensive controls including LFO Sync, Overload and multiple Filters.Broken, erratic waveforms and randomised start-points ensure that every note is unique.Contact corrosion, capacitor failure and stability issues throughout.Ex-soviet handbuilt synthesiser with 3 flavours of sawtooth and considerable damage
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