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Archive for July 14th, 2010

Dave Smith Mopho Keyboard

[ 0 ] 2010/07/14

Since its release less than two years ago, the desktop module version of the Mopho has built a huge following. Back then we loved the sound but had reservations about the programming interface and the slow rotary encoders, so we're happy to see the arrival of the new Mopho Keyboard that aims to address some of these issues.

Unlike the tiny module, the keyboard version takes up significant desk space, but the benefits more than make up for it. Essentially, the Mopho Keyboard follows the same design as the module, but in addition to the obvious 32-note keyboard with pitch bend and modulation wheels, the most notable upgrade is the move to a much more intuitive programming interface.

Could this neat little mono synth really be the 21st century equivalent of the legendary SCI Pro-One?

Layout

From the moment you pull it out of its protective wrapping, the Mopho Keyboard oozes quality. Housed in a tough steel enclosure, the overall package is relatively small but reassuringly weighty. The striking paint job won't be to everyone's taste but it's in keeping with the Mopho module and works nicely with the wooden side panels.

The two-and-a-half octave keyboard is also nicely built, adding to the sense that DSI takes a great deal of care over fit, finish and quality control.

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Internally, the Mopho Keys is essentially the same as the desktop version with the exception of a few minor improvements. The overall synthesis topology is identical, with two oscillators (each with its own sub-oscillator), a noise source and a switchable 2 or 4-pole Curtis low-pass filter that self-oscillates when the resonance is cranked up in 24dB/octave mode.

There are a few minor upgrades, which we'll look at later, but the sound is otherwise just as tough and powerful as the desktop module.

Hands on

Whereas the Mopho module relies on dedicated knobs for pitch, cutoff, resonance, attack and release plus four assignable rotaries for programming, the Mopho Keyboard's interface is much more user friendly.

The DSI designers have taken customer feedback on board and used pots rather than encoders wherever possible, so the majority of knobs (all of those with line markers) are attached to pots with a 330-degree sweep.

"Editing parameters on the Mopho's front-panel will automatically adjust their equivalents on the Tetra"

The Mopho features revised software for encoder behaviour, speeding up the response of the few rotaries left on the front panel. As a result, all encoders are nicely responsive, sensitive and smooth, with no jumping or glitches.

Thankfully, the encoders display none of the erratic encoder behaviour which blighted early examples of the Prophet 08. DSI claims that the Prophet 08 encoder problem was primarily caused by oxidisation of the contacts, and all DSI products now use different components.

(3 pages; go to page: 2 3)



Korg Monotron

[ 0 ] 2010/07/14

Since the late 1980s, analogue technology has simply not been on the agenda for the Japanese hardware giants. Content to let other manufacturers fight for the retro market, Korg have focused instead on developing digital technology with the occasional nod towards their past in the form of analogue modelling synths and software recreations.

Synth fans clamour for modern versions of past favourites, but the results (which include the likes of Korg's MS2000 and Roland's SH-201) have never quite recaptured the magic of the classics.

Korg, whose vintage machines continue to rise in value on the second-hand market, have finally offered a hint that a new analogue range might still be an option. The Monotron, a bare-bones monosynth, is their first fully analogue product for nearly three decades.

"The ace up Monotron's sleeve is its ability to process external sounds via auxiliary input."

As far as we can remember, Korg's last truly analogue synth was 1982's Trident mkII - everything which followed used digitally controlled oscillators. Needless to say, we were pretty keen to see whether Korg still have what it takes to build a classic analogue synth.

Tiny terror

Even though we knew it was going to be small, it's almost impossible not to be surprised by the size of the Monotron. This is truly a palm-sized synth, powered by a supplied pair of AAA batteries and with a miniscule built-in speaker.

The Monotron's synth architecture is admittedly very basic, but the limited features mean that it couldn't really be any simpler to play and tweak. The single oscillator, filter and LFO make it easy to get started creating weird and wonderful analogue sounds.

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The biggest problem when trying to play melodies on the Monotron is the keyboard. You'll need the dexterity of a brain surgeon and tiny fingers if you want to hit perfect notes on the ribbon controller.

We're sure it's possible to develop precision with practice, but trying to play melodies is a lot easier said than done. If you're worried about precise tuning you're looking in the wrong place. We honestly couldn't tell you whether the oscillator's tuning was stable thanks to the imprecision of the ribbon.

The pitch control isn't really intended for fine tuning - it's primarily used for setting the keyboard's range. We found that using a stylus (not supplied) made things a little easier, but even so it's not easy to pick out melodies.

The simplest way to get interesting patterns out of the Monotron is to use the low frequency oscillator. Like the oscillator, the LFO can only produce an inverted sawtooth wave, which can be used to modulate oscillator pitch or filter cutoff.

(3 pages; go to page: 2 3)



Korg Monotron

[ 0 ] 2010/07/14

Since the late 1980s, analogue technology has simply not been on the agenda for the Japanese hardware giants. Content to let other manufacturers fight for the retro market, Korg have focused instead on developing digital technology with the occasional nod towards their past in the form of analogue modelling synths and software recreations.

Synth fans clamour for modern versions of past favourites, but the results (which include the likes of Korg's MS2000 and Roland's SH-201) have never quite recaptured the magic of the classics.

Korg, whose vintage machines continue to rise in value on the second-hand market, have finally offered a hint that a new analogue range might still be an option. The Monotron, a bare-bones monosynth, is their first fully analogue product for nearly three decades.

"The ace up Monotron's sleeve is its ability to process external sounds via auxiliary input."

As far as we can remember, Korg's last truly analogue synth was 1982's Trident mkII - everything which followed used digitally controlled oscillators. Needless to say, we were pretty keen to see whether Korg still have what it takes to build a classic analogue synth.

Tiny terror

Even though we knew it was going to be small, it's almost impossible not to be surprised by the size of the Monotron. This is truly a palm-sized synth, powered by a supplied pair of AAA batteries and with a miniscule built-in speaker.

The Monotron's synth architecture is admittedly very basic, but the limited features mean that it couldn't really be any simpler to play and tweak. The single oscillator, filter and LFO make it easy to get started creating weird and wonderful analogue sounds.

null

The biggest problem when trying to play melodies on the Monotron is the keyboard. You'll need the dexterity of a brain surgeon and tiny fingers if you want to hit perfect notes on the ribbon controller.

We're sure it's possible to develop precision with practice, but trying to play melodies is a lot easier said than done. If you're worried about precise tuning you're looking in the wrong place. We honestly couldn't tell you whether the oscillator's tuning was stable thanks to the imprecision of the ribbon.

The pitch control isn't really intended for fine tuning - it's primarily used for setting the keyboard's range. We found that using a stylus (not supplied) made things a little easier, but even so it's not easy to pick out melodies.

The simplest way to get interesting patterns out of the Monotron is to use the low frequency oscillator. Like the oscillator, the LFO can only produce an inverted sawtooth wave, which can be used to modulate oscillator pitch or filter cutoff.

(3 pages; go to page: 2 3)



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