Erica Synths Fusion System II

F
ollowing in the
tradition of many Erica
Synths modules and
full systems, the first
thing you notice with
the Fusion 2 is the
solidity of the physical
object. It ships in a 104hp skiff, with
textured end cheeks and, although
the case is thin bent metal, it feels
tough enough to give you confidence
for live work.
The fascias similarly show typical
Erica Synths stylings, reminiscent of
something you might see in the prop
complete system – as that’s how
many people will buy them, with the
skiff and power supply as a package.
For many, the journey starts with
oscillators, in this case two single
voice, three waveshape, Fusion VCO
2s. These have the tools you might
expect, such as volts per octave and
audio inputs, as well as CV jacks that
include separate outputs for the -1oct
sub and triangle waves and an input
for modulating the pulse width. If that
was all that was in place it would be a
fine VCO, however Fusion 2 VCOs
have a bucket brigade-based short
delay driving the detune effect, which
sounds wide and glorious (or subtle if
that’s your thing). They’ve also
embedded a Valve into the circuit,
visible through a cutout on the fascia,
nicely lit by an orange LED for that
vintage glow. It looks cool and sounds
better. The more you engage the Tube
Crunch control, the more grit is
invoked. Further personality can be
added by cranking the FM knob,
which also sets an upper level when
using CV.
Sitting between the two VCOs is
the Filter module, a 24dB valve/
vactrol-based circuit, that also
includes a buffered mult and a
three-channel mixer. Sweeping the
filter presents a less wild result than
you might expect, although the
resonances scream into self
oscillation. The trick here is the big
button. Pressing this starts the
module recording your control voltage
changes, so you can preserve mod
setups. As a creative tool, this is
inspiring as well as downright fun,
which sound design tools should be.
It should be noted that audio range
mods aren’t applicable here due to
the limitations of vactrol circuits.
Jump the second VCO to land on
the modulator module, a larger device
that is home to multiple mod sources.
Two looping envelope generators (with
a manual trigger button) kick things
off, their attack, on, delay, off rotary
controls. These are both unipolar and
bipolar together, with CV control over
the decay time. These twin EGs are
core to the module; however, the fun
begins with the clockable sample &
hold section, that means creating
melodic drones and pitched textures
is a breeze, although there is no
quantisation on offer, so you might
want to think about an external
solution to that. It’s based on the
module’s noise source which has its
own output and sounds great; more
red noise than white. Patch points are
in abundance, across the lower part
of the fascia (nice to see them
grouped for control access when
cable clutter can block the way).
This brings us to the combo VCA/
Waveshaper/Ringmodulator, this time
with two miniature pentode valves on
show. This module operates in two
simultaneous circuits, allowing you to
patch dual CVs for the amp. In
practical terms you can use the
frequencies of VCA and ring mod as
waveshaping systems, in turn giving
you complex and versatile, yet
cupboard of a B-movie about a mad
scientist. Knobs and switches all feel
robust, with good resistance and the
patch points are well seated.
Erica Synths have a history with
aggressive modules that pack a
punch but nothing as yet has quite
the degree of warmth and grit as
these new offerings. Fusion isn’t a
new thing to Erica, however they have
adapted, upgraded and evolved the
concept so that sound designers can
access a new palette of possibilities.
Let’s look at this in terms of
individual modules in the context of a
THE PROS & CONS
+
Solidly built
Lots of patch points
Lots of analogue
warmth and growl
-
You can’t get the
sterile clarity of
other units
Delay effect is not
what you might have
been expecting
Erica Synths Fusion System II | Reviews
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FMU361.rev_erica.indd 77 10/08/2020 16:58