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Report Offensive Content. Select type of offense: Sexually explicit or offensive language. Advertisements or commercial links. This is an illusion: Still, although NNXT might be more conceptually complex, thanks to all those samples with all those individual sets of synth parameters, Thor is a monster, visually. I can get used to it — the more knobs the better, right?
Newcomers may be daunted, but anyone with experience of other synths, soft or hard, will see that layout is logical and sound creation just seconds away. Thor is a deep synth and could, as you can see from the screen dump, stand its own full review. You need do nothing to start programming save enable the desired modules and tweak away. To save rack space, Thor has three levels of unfolding. It can be extremely minimal, showing just a patch-selection display, or it can have just its controller module showing, which adds a handful of assignable controls and some playback parameters.
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With Thor fully expanded, you get an eyeful of the knob—laden main programmer panel. At the bottom of the rack is the step sequencer. This was a bit of a surprise, but one that pleasantly references many true modular synths, which often have such a device as much for automating general control voltages as for controlling oscillator pitch. The main programmer is divided, via subtle colour—coding, into two sections, Voice and Global.
Envelope generators and LFOs in the voice section are polyphonic, with each new voice played in a chord, for example, triggering a new cycle, without cutting off any previous cycles. To start from the beginning, a Thor voice can have up to three oscillators, two filters, three envelope generators and LFO, with waveshaper, mixer and amplifier thrown in. In the end, though, this fixed audio and control signal path is moot, since the modulation matrix allows you to configure your own connections in your preferred order.
Check out the helpful notes, too. Gates and CVs are similarly configured — both to play the synth and to move control signals in and out of a given patch. Each oscillator can choose from no fewer than six oscillator types: Analogue gives you a choice of sawtooth, pulse, triangle and sine waveforms, with PWM on the pulse or square wave, plus tuning and keyboard response controls. The wavetable option offers 32 wavetables, each with up to 64 separate waveforms.
The control set remains simple, but complexity abounds. Two waveforms are modified to create changing timbres and different filter—like characteristics. Genuine FM is also present, with the FM pair oscillator. In this, one sine—wave oscillator is a carrier and the other a modulator, and a surprising range of complex sounds can be generated.
The Multi Osc is related to the analogue option, with sawtooth, pulse, triangle and sine waveforms, and its big trick is detuning — adding measurable intervals though with a random option to the overall sound. The full range of colours — white, pink, red and the rest, with all the in—between bits — can be generated. Interaction between the oscillators includes amplitude ring modulation of Osc 1 by Osc 2, and oscillator sync.
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Each oscillator has its own routing to control each of the two filters. The first two will self—oscillate in an authentically analogue fashion, and the formant filter is particularly welcome from my point of view. These two filters can be operated serially or in parallel. The shaper module is fed from filter one, so if activated it treats the signal before the signal is processed by filter two.
The waveshaping offered by this module could be thought of largely as distortion, but the changes it makes to basic waveforms can range from quite subtle to full—on destruction. The outputs of the two filters is mixed, gain adjusted under velocity control, if desired and pan position set.
The global filter is identical in function to the other two, save that its envelope control is, initially at least, wired to the single—triggered global EG.
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That EG may just be single—triggered, but it has a few tricks worth playing with: The two effects are simple: I found it rather disappointing that only 13 patching busses were provided. Seven offer a straightforward source—to—destination routing, with a modulation amount parameter.
Typical sources and destinations can be seen in the screenshots peppered around this review. This configuration lets you, for example, assign LFO source to oscillator pitch destination , under the control of modulation wheel scale parameter , in which case LFO modulation will only be heard when the mod wheel is tweaked. Four more busses work in the same way, except that the source is routed to two destinations, effectively doubling their effectiveness.
The last two modulation busses have one source and one destination, but two scale parameters, allowing complex cross—modulation effects to be produced. Finally, we come to the step sequencer — and its 16 step knobs are just the start.
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One row of 16 steps? Steps can be muted, and playback is one step each time Play is pressed, all steps in one go, or a looped playback. The steps can be played forward, backward, at random or in two pendulum modes. Start making music: Beatmaking in Reason.
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