May 21, 2011

The Perfect Monosynth...

by Chris Randall
 

While it's generally accepted as a truism that either the Korg MS20 or the Moog MiniMoog is the perfect monosynth, in this modern world we live in, both are horribly behind the times.

The reason I bring this up is that a side project I'm working on in my spare time involves creating a monosynth. The platform is fairly limited, so I can't put in every feature under the sun. As such, I have to limit it to about the same number of features as a MiniMoog, give or take a few. I've used the Source as the starting point of my topology, so two multi-wave oscillators plus a noise source through a LPF. Envelopes for LPF and Amp, and a single LFO.

What would you add to/remove from this topology to make it t3h awesome?
 
 
 

58 comments:

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May.21.2011 @ 11:31 PM
Bronto Scorpio
Sync and PWM are very important in my opinion.
Audio rate filter FM would be nice too, but that could be a bit to much for a small CPU.

Cheers
Dennis
 
 

 
May.21.2011 @ 11:47 PM
Dale
I always thought the multiple feedback paths of the DSI Evolver were a unique and fun part of it's architecture. It even has 'clip' light.
 
 

 
May.22.2011 @ 5:17 AM
snk
Filter FM, a second LFO with "one shot" feature (so it can act as an envelope too)
 
 

 
May.22.2011 @ 5:23 AM
Taxist
instead of 2 envelopes and an lfo, make it three envelopes that are loopable, and make them freely assignable.
 
 

 
May.22.2011 @ 7:51 AM
Trackdriver
A distortion before the filter is nice
 
 

 
May.22.2011 @ 8:56 AM
Mad Al
An idea I've been toying with... an amp stage that can be overdriven by the envelope (so the attack stage can be told to go to the usual 100% or driven higher).

CZ-101 style 8-stage envelopes. Well, maybe just one...

On the "more than a little ridiculous, but as long as we're wishing" side: I want something like the function generator on the E-mu Morpheus, with it's dependent step jumps and 63 different transition curves. And a flying car.
 
 

 
May.22.2011 @ 11:27 AM
Peppe
a) noise as a modulation source
b) saturation/coloration before LPF and VCA
c) ridiculously snappy envelope
d) sub osc switchable to post-filter (or add a sine wave sub to post-VCF)
e) PWM via envelope
f) sawtooth waveshaper (convex/concave, whatever, but with saturation this is my fave trick on a modular)
g) please make LFO go audio rate if possible (ok, this is a bit too much already)

Immediate purchase if those are in. ;-)
 
 

 
May.22.2011 @ 1:29 PM
stretta
Moving from the minimoog, realistically add:

osc sync
pulse width modulation
dedicated LFO (and noise as a modulation source)

I think beyond this, you move deeper and deeper into edge cases. I see a lot of good ideas here, but I'm feeling a very distinct line being crossed.

Or you could just save yourself a lot of trouble and just mimic the Pro One topology. I think it is the right size 'feature wise' as what you're looking and addresses the most egregious limitations of the mini, which, generally speaking, people like due to the sound, not the feature set.

I like arpeggiators on monosynth hardware as it allows you to have the arpeggiator burble away while you use both hands to explore the panel. If this factor isn't applicable in this product, then it can be safely ignored.
 
 

 
May.22.2011 @ 4:11 PM
Cutter Filtoff
I'm with boobs.
 
 

 
May.22.2011 @ 4:24 PM
somethingbig
In addition to the Source starting point, I'd say a freely routable and loopable envelope generator. Or you can go the way of the EDP Wasp and have all envelopes loopable.
 
 

 
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