![]() from Moog to Roland or Korg) from the golden age of analogue synthesizers here. However, the sound of all filters is just one-of-a-kind character, so do not expect the whole historical range of analogue filters (e.g. The sound of the filters and resonance is always smooth and musical, and operates without any disturbing glitches at any settings. Beyond this range you will hear just more and more out-of-tune randomness. This is not a continuously fluctuating analog drift (however you can easily simulate this behaviour as well using the the modulation matrix buses, see below), just a simple per-note pitch randomization, which - in my experience - works musically in its very low range (0.2-2%). ![]() ![]() You will find the Rnd Pitch knob at the header, which can randomly vary the pitch in the +/- 6 semitone range. instant machine room sound!Īs in case of Retrologue we are talking about analog emulation, there should be something that deploys the 'random factor'. Use overtone rich waveforms, combine them with their sync or cross modulation, move their pitch while increase the ring modulator. Finally there is a ring modulator: you have to activate both Osc 1 and Osc 2 to get some sounds from it. The Noise generator offers not just the basic white noise and pink noise, but their bandpass variants as well, which may produce a more refined blend in tempered musical sounds. You'll also find a Sub Oscillator which is fixed one octave below the overall pitch, but you can select from three different waveforms (triangle, saw and square). For me this is the crucial point of the Retrologue signature sound! Perfect for all kind of cool wild metallic sharp sounds. Try moving the Shape knob and you get a different FM-like sound at each different position. It may be obvious for the youth, but it was not usually the case in old synthesizers.Ĭross modulation is my favorite here: again the invisible master-slave configuration, where the master oscillator modulates the pitch of the slave oscillator at audio rate. if you want to use Oscillator 1 in sync mode for that tortured lead sound, you do not have to sacrifice Oscillator 2 for being a slave, you can use it for whatever else you want. The Sync mode (hard-sync actually) is being realized by using a hidden internal oscillator: by moving the Shape knob you adjust the pitch of this hidden oscillator, thus giving you a sound rich in overtones. The rectangle comes with a well scaled Pulsewidth Modulation, where you get nice transitions without loosing the wave at the edges. ![]() The Single mode resembles the old stuff: you get the basic single waveforms (sine, triangle, saw, rectangle). You can use the oscillators in four different modes: Single / Sync / Cross and Multi. There are other popular VSTis' (like the top quality UVI Falcon) that has this same rolloff behaviour with these waveforms, so this is not a sign of quality but certainly a design decision (probably to decrease CPU consumption, reduce aliasing effect, or just to mimic some kind of vintage waveforms - devs could certainly answer). There is no audible aliasing by listening to the normal musical pitch range of the raw waveforms at 48 kHz, you can hear some minuscule artifacts at the square and triangle wave in the highest registers but it is very unlikely to reach those pitches during normal 'music use'.ĭuring the tweaking and testing period I noticed that the basic Saw and Square waveforms played at C3 seems to be rolled-off at around 17kHz. Don't get me wrong, this gear is still capable of creating these kind of sounds, but the slight movement will always be felt even in cases when it is not desirable (e.g. Months later when I bought the 6.5 update and started using Retrologue I had to realize that now this one is a completely different beast, a distinctly higher level in its concept and quality compared to its predecessors.īoth oscillators are free-running, so it is not possible to fix their start phase that somewhat limits the creation of steady percussion sounds or stable basses. As the Cubase 6.x series was completely unnecessary for me, I did not update at all. In July 2012 Steinberg introduced Cubase 6.5, with a new embedded synth called Retrologue. So when I run into some irritating bugs while using them they gradually faded out of my everyday work. Their user interface were elaborated, but the overall experience was somewhat strange. They all had their strong points: the special oscillator set of Prologue or the spectrum editor in Spector and Mystics offered a lot of unique and interesting sounds. I thought 'ok, let's give them a chance' and started using all three. Later they introduced some new in-house developed VST synthesizers called Mystic, Spector and Prologue. I remember Steinberg first licensed the technology from 3rd party company (Waldorf A1) and it was a great sounding synth at that time. Being as a Cubase user I've always run across the built-in instruments of their DAW. ![]()
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