AIR Music Technology Loom II

Spectrals and subs
While Loom II’s modules work to change the
levels of the partials, the three hardwired
Spectral sections on the left manipulate their
frequencies. Spectral Distortion draws on a
library of 18 spacing algorithms to collectively
mess with the partial frequency spread, while
Spectral Modulation applies random per-partial
LFO modulation (centred on a user-deined
average rate) for cyclical frequency shifting.
New to Loom II, the Spectral Noise section mixes
noise in with the synth output, using a separate
bank of noise oscillators that output across the
same spectrum as the partials at any given note
pitch. Various ilters and dynamic controls are
on hand for shaping the noise, and the partial/
noise mix can be modulated.
Also new, the Sub Harmonics section simply
ofers a pair of additional, independently
levelled sine wave oscillators at one and two
octaves below the fundamental – just the thing
for adding depth and weight at the low end.
At the end of the signal path sit four efects
(Distortion, Modulation, Delay and Reverb) and
a Master section ofering stereo widening and a
limiter. Previously, the efects lived in a shared
panel, but now they each occupy their own
space in the interface.
Weave your spell
Loom II isn’t a revolutionary upgrade, but the
new modules and features certainly make it a
worthy one. The highlights are the Spectral
Noise and Sub Harmonics sections, and the
Double Wave module, all of which bring even
more spectacle and interest to this already-
spectacular and interesting synth. Spectral
Noise, in particular, can’t help but have a
profound efect on the sound, even at low levels,
making it unfailingly gratifying.
Being an additive synth, Loom II is very
clean, precise and ‘digital’; but it’s surprisingly
versatile nonetheless, specialising in pads,
textures and ‘sound designy’ type stuf, but
also making a ine ist of basses, leads and keys.
The simplicity of the modules does limit the
depth of control somewhat, but we appreciate
the efort to which AIR have gone in making its
complicated behind-the-scenes architecture
easy to use. We do, however, wish we could
freely edit all macro assignments. Also, Loom II
still doesn’t include any kind of manual. Tooltips
and info pop-outs for the various modules and
sections give suicient explanation to get the
experienced synthesist up to speed, but there
really needs to be at least a ‘get started’ guide
for novices.
With its admirably straightforward modular
worklow, easy morphing and impactful sound,
Loom II is a ine and quietly innovative synth, the
odd technical and creative brick wall aside.
Web www.airmusictech.com
Verdict
For Intuitive and sonically impressive
Massive and excellent preset library
Rewards experimentation
Polyphony increased from 6 to 8 voices
Against No manual
No choice of macro assignments
Limited modulation of each module
Despite some niggles, Loom II is a shiny,
modern-sounding synth that excels at
scintillating pads and animated textures
8/10
Alternatively
Native Instruments Razor
165 » 9/10 » £89
Stunning and similarly ‘boiled
down’ additive synthesiser running
in NI’s Reaktor Player
Rob Papen Blade
178 » 8/10 » £95
Another simpliied additive, this
one features the powerful
Harmolator partial group editor
Loom II’s Morph page enables manual
and automated transformation of the
sound over time via a bank of macros
that are automatically and “smartly”
assigned to certain spectral, module-
speciic, efects and modulation
parameters in the Edit page. The macro
knobs are grouped into Sound
(Character, Complexity, Tone, etc),
Dynamics (Punch, Length, Time FX),
Modulation (Depth, Speed) and Master/
FX (the Mix setting for each efect, and
Width) categories, and while the
inability to reassign them, carried over
from v1, is as frustrating as it sounds,
we do at least now have a single freely
assignable User macro.
A macro state snapshot can be
stored for each corner of the XY morph
pad below the Sound macros, and
dragging the ‘puck’ around smoothly
blends and transitions between them.
Alternatively, you can draw a node-
based playback path in Auto-Morph
mode, for key-triggered automation.
The whole system is largely the
same as it was in v1, but you can now
store paths (a collection of preset ones
is included), and path nodes snap to
grid on the X axis for precise rhythmic
morphing. Also, while macros in Loom
II aren’t available for automation in the
host DAW, the useful new ofset sliders
above them are.
Macros and morphing
With so many parameters onboard, the new Double Wave module gets its own dedicated editor panel
The descriptively named macro knobs are auto-assigned
“A graphical
representation of the
partials in every
module makes it easy
to keep tabs on each”
February 2018 / COMPUTER MUSIC / 91
air music technology loom ii / reviews <
CMU252.rev_loom2.indd 91 07/12/2017 11:09