IK Multimedia UNO

mini-jacks for MIDI in and out, with
DIN adapters included. Finally,
there’s also a mini-USB port for MIDI
and power. Users can select whether
UNO is powered via USB connection
or AA batteries.
Under the hood, UNO features an
all-analogue two-oscillator synth
engine. Sound editing is handled by
a neatly laid-out matrix which uses
four buttons and four rotaries. Each
VCO has a continuous waveshape
control ranging from triangle through
saw and square waves, with pulse
width modulation introduced towards
the right of the dial, ranging from
50% up to 98%. As with quite a few
features of UNO’s sound engine,
pulse width modulation only has a
limited level of front panel control
but a number of deeper confi guration
options available via MIDI CC or IK’s
free software editor.
Each oscillator also gets a
bi-directional tune control, which
can be used to make fi ne detune
adjustments and, at the extremes,
amount. The resonance doesn’t push
into self-oscillation, but it is capable
of some really aggressive rasps and
squeals, and can add resonant bite
without destroying the low end –
great for acid-style basslines. The
drive control is a nice touch too,
allowing for a little extra saturation
and grit, although it doesn’t quite
distort things as much as I’d like.
The next two rows of the matrix
are dedicated to modulation. There
are envelopes for the fi lter and VCA
as well as a single LFO, which can
be routed to fi lter cutoff and
oscillator pitch. The two envelopes
adjust the oscillator tuning by
semitone increments. These two
oscillators are joined by a noise
generator, with a second tier menu
offering control over mixer level for
all three sources.
UNO’s fi lter is a multimode
2-pole OTA design. Handily, fi lter
cutoff is one of the few parameters
with its own dedicated rotary, which
sits along the top of the interface.
The rest of the fi lter parameters are
accessed via the matrix. Here we can
control fi lter mode – switchable
between low-, high- and band-pass
– resonance, drive and envelope
SEQUENCER AND ARP
As well as its two-octave keyboard, UNO packs a multi-mode arpeggiator and 16-step
sequencer. The arpeggiator has ten patterns, including a random mode and user-defi ned
‘as played’ mode. It has a four octave range too, and it’s easy to adjust the range and
pattern while the arp is playing, for quick pattern variations. A keyboard hold button
means it’s possible to trigger the arp and keep your hands free for making sound edits.
The sequencer, meanwhile, can be programmed either on a step-by-step basis or by
recording in real time. With record engaged, UNO can also record automation for all synth
parameters, which considerably adds to the power of the sequencer. It also offers three
directional modes, allowing
the sequencer to run
forwards, backwards or in a
back-and-forth mode. It’s
easy to program and edit,
and makes for a decent
tool for playing around with
riffs and ideas.
UNO also features a
scale mode for the
keyboard, where the lower
row of ‘keys’ can be set to
one of 13 predefi ned
scales – handy for
experimenting with
patterns without needing a
working knowledge of
music theory.
THE ALTERNATIVES
Korg
Monologue
£215
The Monologue is
similarly spec’d but
the build feels more
high-end. It lacks
UNO’s portability,
and its character is
slightly tamer
www.korg.com
Arturia
MicroBrute
£230
The MicroBrute has
nicer hands-on synth
control, plus a micro
patchbay, but there’s
no arp and its
sequencer is a little
bit basic
www.arturia.com
Roland TB-03
£324
UNO does a good job
of 303-like acid
basses, but if you’re
after an offi cial take
– albeit a digital one
– the TB-03 is the
place to look
www.roland.com
While UNO might look and
feel rather ‘budget’, its sound
is anything but
Reviews | IK Multimedia UNO
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