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Subdecay M3 Monophonic 3 Guitar Synth 合成器模拟 单块效果

基于Korg MS-20,M3带来了70年代单声道合成器的声音,没有模块化的复杂性。 与双振荡器不同,M3采用了3个数字控制的振荡器,用于超高质量的合成声音,永不走调。 11种振荡器组合包括弦乐、模拟低音、铃声、五分之一及更多。算法旋钮的11个设置进一步塑造了声音控制的一切,从过滤器,两个信封生成器,LFOs,portamento等。

  • 型号: M3
  • 价格: 1600
  • 产地: 美国

M3 3 oscillator monophonic guitar synthesizer

M3合成器模拟 单块效果器


图片关键词

70年代风格3振荡器吉他单声道合成器。

11个振荡器预设。

11个算法复位控制滤波器、放大器、线性调频器等。

带谐振控制的全模拟滤波器。


  • 70s style 3 oscillator monophonic synthesizer for guitar.

  • Eleven oscillator presets.

  • Eleven algorithm resets control the filter, amp, LFOs and more.

  • Fully analog filter with resonance control.


演示视频:


Monophonic Guitar Synthesizer

基于Korg MS-20,M3带来了70年代单声道合成器的声音,没有模块化的复杂性。

与双振荡器不同,M3采用了3个数字控制的振荡器,用于超高质量的合成声音,永不走调。

11种振荡器组合包括弦乐、模拟低音、铃声、五分之一及更多。算法旋钮的11个设置进一步塑造了声音控制的一切,从过滤器,两个信封生成器,LFOs,portamento等。


70s inspired-70年代的起源

20世纪70年代,电子乐器得到了大规模的发展。很像早期的电吉他,有些人不知道如何制作这些电子合成器。其中一些电子噪声发生器几乎可以负担得起。(如果你买得起卡车,你可以买得起合成器)


易用性和可移植性也得到了改善,但MIDI直到1983年才问世。保存补丁通常意味着把它们记在笔记本上。这仍然是一个巨大的改进,从早期的相互连接的橱柜在工作室,需要不断调整和维护,几乎不可能使用现场。


这个时代创造了一些有史以来最具标志性的合成器。我们已经把70年代模拟单合成器的精髓打包到了M3中。不要让简化的控件欺骗您。M3包含以下内容:(Synth Speak warning)


Control and structure -控制和架构

三个振荡器。

三个LFO(每个振荡器和滤波器的脉宽调制和螺距)

两个包络生成器。(过滤器和放大器)

压控模拟谐振滤波器。

压控放大器


这个时代的合成器很少有超过两个振荡器每一个声音。一个LFO是很常见的。许多合成器使用单一的包络发生器来控制滤波器和放大器。那么,我们是如何把70年代所有的美好事物都放在一个垃圾箱里的呢?我们借鉴了80年代的一些技巧,随着MIDI成为一种合成器标准,许多“模拟”合成器都使用数字控制。模拟包络跟随器和线性调频器被数字技术所取代。仍然是模拟的synth世界从压控振荡器发展到了数字控制振荡器。通常在计算机中发现的处理器在控制一切的合成器中也能找到。


User friendly for guitarists-对于吉他手的适用性

实际上,M3有121个可调整的补丁。振荡器旋钮在11个振荡器组合之间进行选择。算法旋钮选择滤波器、放大器和LFO设置。参数旋钮允许您以不同的方式更改每个算法。

Oscillators-振荡器

每一个M3的振荡器都能产生锯齿波或具有可变脉冲宽度调制的脉冲波。其中一个lfo控制PWM。另一个控制音高,并用于使振荡器失谐以产生合唱效果。

Controls-操控:

Oscillators: 此旋钮在11个不同的振荡器选择之间设置。
A B & C Saw wave ensembles: 过去弦机的基础。也可以捕捉一些喇叭声。
D E & F Basses: 低频声表面波和脉冲宽度调制波的混合。
G Fifth: 两个振荡器跟踪输入音高,其中一个振荡器的偏移量为经典的第五合成器声音的第五个音高。
H Major Triad: 这更像是对90年代电子音乐的颂歌,而不是对70年代电子音乐的颂歌。
I octaves: 叠加倍频程锯齿波。
J: 两个方波和上八度五度:这是一种常见的方式合成器试图捕捉钟和编钟木材,甚至电钢琴。
K Stacked Squares: 这三个振荡器都同时运行方波。

Algorithms: 这控制了一切。滤波器和放大器信封,LFO,portamento和音高跟踪滤波器。另外,可以使用参数旋钮调整一个或多个设置.
1 Wide open: 参数控制过滤器偏移。包络是大开的,有适度的释放。这是最简单的synth设置之一的示例.
2 String Envelope: 参数控制过滤器偏移。一种中等强度的攻击,具有很高的持续性和类似混响的释放。适用于弦振荡器设置.
3 portamento: 参数控制滤波器偏移。振荡器将平稳地从一个音符滑向另一个音符。一个经典的合成主音触发,永不过时.
4 Decay: 参数控制滤波器和放大器的衰减长度,从一个光点到两秒。
5 Decay/sustain 1: 参数控制滤波器维持。另一种常见的合成音。
6 Decay/sustain 2: 与#5相似,但速度较慢,亮度较高.
7 Fade: 参数控制衰退。宽向下滤波器扫描.
8 Vibrato: 参数控制滤波器LFO速度。滤波器调制慢衰减.
9 Fast Modulation: 参数控制滤波器调制速度到音频范围从大约2个八度到两个八度。这就产生了一种伪环调制效果.
10 Slow attack: 参数控制amp音头。像是反向或膨胀效应。音符淡入而不是淡出.
11 Filter Rise: 参数控制上升率。每一个音符都会触发滤波器的一个深上升扫描。放大器随着上升的高峰而逐渐消失.

Volume: 音量控制.

Resonance: 控制滤波器的谐振.

Parameter: 控制取决于算法设置.

图片关键词

图片关键词

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原文介绍:

  • 70s style 3 oscillator monophonic synthesizer for guitar.

  • Eleven oscillator presets.

  • Eleven algorithm resets control the filter, amp, LFOs and more.

  • Fully analog filter with resonance control.

Monophonic Guitar Synthesizer

Based on the Korg MS-20, the M3 brings the sounds of 70s monophonic synthesizers without the modular complications.

Instead of dual oscillators, the M3 employs 3 digitally controlled oscillators for super fat synth sounds that never go out of tune.

Eleven oscillator combinations cover string sounds, analog bass, bell tones, fifths and more. The algorithm knob’s eleven settings further shapes the sound controlling everything from the filter, two envelope generators, LFOs, portamento and more.

70s inspired

The 1970s saw a massive expansion of electronic music instruments. Much like early electric guitars some didn’t know what to make of these electronic synthesizers. Some of these electronic noise makers were almost affordable.  (insert if you can afford a truck, you can afford a synthesizer meme)

Ease of use and portability improved as well, but MIDI wasn’t coming until 1983. Saving patches usually meant writing them down in a notebook. This was still a vast improvement from earlier interconnected cabinets in studios that needed constant tuning and maintenance and were near impossible to use live.

This era created some of the most iconic synthesizers of all time. We’ve packed the essence of 70s analog monosynth into the M3. Don’t let the simplified controls deceive you. The M3 incorporates the following:  (Synth Speak warning)

Control and structure

Three oscillators.
Three LFOs (PWM & pitch for each oscillator, and the filter)
Two envelope generators. (filter & AMP)
Voltage controlled analog resonant filter.
Voltage controlled amplifier

Synths of this era rarely had more than two oscillators per voice. A single LFO was common. Many synthesizers used a single envelope generator to control the filter and the amplifier. So how did we fit all this 70s goodness in a stompbox? We borrowed some tricks from the 80s. As MIDI became a synthesizer standard many of those “analog” synthesizers used digital control. Analog envelope followers and LFOs were replaced with digital technology. The synth world that was still analog moved on from voltage controlled oscillators to digitally controlled oscillators. Often the same processors found in computers were found in synthesizers controlling everything.

User friendly for guitarists-

Essentially the M3 has 121 tweakable patches. The oscillator knob selects between eleven oscillator combinations. The algorithm knob selects filter, amp and LFO settings. The parameter knob allows you to alter each algorithm in different ways.

Oscillators

Each of the M3’s oscillators are capable of sawtooth waves or pulse waves with variable pulse width modulation. One of the LFOs controls the PWM. Another controls the pitch and is used to detune the oscillators for a chorus effect.

Controls:

Oscillators: This knob sets between 11 different oscillator selections.
A B & C Saw wave ensembles: The basis for the string machines of the past. Can also capture some horn sounds.
D E & F Basses: A mix of lower frequency saw and PWM waves.
G Fifth: Two oscillators track the input pitch with one oscillator offset by a 5th for that classic 5th synth sound.
H Major Triad: This is more of an ode to 90s electronic music than the 70s. We won’t judge you for using it!
I octaves: Stacked octave saw waves.
J: Two square waves and upper octave 5th: This was a common way synthesizers attempted to capture bell and chime timbers, or even electric piano.
K Stacked Squares: All three oscillators run squarewaves in unison. Perfect for synth leads.

Algorithms: This controls everything else. Filter and Amp envelopes, LFOs, portamento and pitch follow for the filter. Additionally one or more setting can be tweaked with the parameter knob.
1 Wide open: Parameter controls filter offset. The envelopes are wide open with moderate release. This is an example of one of the most simply synth settings.
2 String Envelope: Parameter controls filter offset. A moderate attack with high sustain and near reverb like release. Works well with string oscillator settings.
3 portamento: Parameter controls filter offset. The oscillators will glide smoothly from note to note. A classic synth lead trick that never goes out of style.
4 Decay: Parameter controls filter and amp decay length from just a blip to two seconds.
5 Decay/sustain 1: Parameter controls filter sustain. Another common synth sound. A quick decay that doesn’t decay all the way.
6 Decay/sustain 2: Similar to #5, but slower and brighter.
7 Fade: Parameter controls decay. Wide downward filter sweep.
8 Vibrato: Parameter controls Filter LFO speed. Slow decay with filter modulation.
9 Fast Modulation: Parameter controls Filter modulation speed into the audio range from roughly 2 octaves down to two octaves up. This creates a faux ring modulation effect.
10 Slow attack: Parameter controls amp attack. like a reverse or swell effect. the notes fade in instead of out.
11 Filter Rise: Parameter controls the rise rate. Each note triggers a deep rising sweep of the filter. The Amp fades out as the rise peaks.

Volume: You know what this one does, right? Turn it up to make it louder.

Resonance: Controls the resonance of the filter.

Parameter: Control varies depending on algorithm setting.


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