KV331 Audio One

single-cycle waves (drawing on the same
sources as the waveforms) – a diverse wealth of
static tonal starting points.
Tables for tables
Scanning through the wavetables is done with
the Index knob at the bottom left of the
Oscillator panel, which becomes the
waveshaper Tone control when a regular
waveform is loaded, partnered with the
adjacent Phase knob. Using the menu above,
one of 13 waveshaping algorithms is loaded
into the oscillator, directly processing its raw
output with a range of iltering, syncing and
waveform warping and distortion treatments.
While Tone always controls ilter frequency,
Shape operates diferent parameters depending
on the algorithm – but with no contextual
naming, it can be pretty confusing. For example,
the Lowpass Spectrum algorithm sees it shifting
the phase, while LowShelve assigns it to gain;
and under the Sync algorithms, it sets the sync
frequency. If Tone can change to Index for
wavetables, surely Phase could be renamed
appropriately to the selected algorithm. That
aside, the waveshaping section is incredibly
useful for sharpening up, skewing and enriching
those raw shapes. Incidentally, if you’re
wondering what happens to the Tone parameter
when a wavetable is loaded, it’s still available in
the Modulation Matrix, where it’s assignable to a
macro knob for manual adjustment.
SynthMaster One doesn’t hold back in the
unison department. Each oscillator stacks up
to 16 voices with variable detune (including
detune curve control) and stereo widening,
and a Free mode that randomises the phase
of each new voice for a more organic vibe.
The oscillators are also partnered with sub
oscillators, able to output all the non-wavetable
“The diferences
between the
four modelled
ilter types
are profound”
As well as navigating SynthMaster One’s 500 factory presets, the browser takes you to the SynthMaster shop
With six insert slots drawing on a roster
of 11 efects, SynthMaster One has
plenty of signal-processing and
polishing scope. The efects share a
tabbed space in the interface’s centre
with the Arpeggiator, the six modules
are reordered by dragging and dropping,
and the whole rack can be bypassed
with a click of the FX On/Of button.
The efects themselves are clearly
lifted from SynthMaster 2.8. Despite a
few controls having been trimmed of
along the way, they still make for an
impressive and colourful bunch. The
highlights for us are the Distortion,
which is an instant toughener; the tidy
six-band EQ; and the Delay, which
retains 2.8’s shelving EQ and ping-pong
mode, but loses the distortion.
As well as those, there’s iltered digital
distortion (sample rate and bit depth
reduction) with LoFi, modulated delay
action with Chorus and Ensemble, and
LFO-based channel ofset with Phaser.
Apart from the lack of sidechain input,
Compressor is identical to its surprisingly
well-equipped 2.8 counterpart (it’s
even got variable Knee), and Reverb
retains the vast majority of its original
functionality and parameters, too.
Finally, the 16-band Vocoder requires
loading as a MIDI-controlled efect, and
Tremolo features independently
adjustable speed and phase for the left
and right channels. It’s a very solid
turn-out, then, marred only by the
inability to load more than one of each
efect into the rack at a time.
Big effects
You can insert up to six
of the excellent onboard
efects, but each module
can only appear once
Waveforms, as well as a variety of noise types,
and deployable as audible voices or for amp,
ring, phase or frequency modulation of the
associated main oscillator.
Fully filtered
The two zero-delay feedback ilters have 13
modes and types in Ladder, Diode Ladder
and State Variable categories, modelling
Moog, Roland TB303, Oberheim SEM and
Korg MS20 ilters respectively. Input Gain
and Drive knobs push and warm up the signal,
while the Acid and Boost buttons connect
cutof and resonance, 303-style (so that
resonance increases as the ilter opens up),
and counteract the volume reduction of
high resonance in Ladder and Diode Ladder
modes.
The ilters are conigurable in three
routings, each one fed by its same-numbered
oscillator; both receiving the mixed output
of both oscillators; or with both oscillators
feeding Filter 1, which then feeds Filter 2.
The particular routing scheme is selected
in the Routing panel, where the oscillators,
ilters and amplitude envelopes are all
graphically represented, and can be switched
on and of.
SynthMaster 2.8’s ilters are famously
wonderful, so it comes as no surprised that
One’s are every bit as good. The diferences
between the four modelled types are profound,
each bringing its own character to the table and
doubling up on the versatility already
established by the oscillators.
June 2017 / COMPUTER MUSIC / 91
kv331 audio synthmaster one / reviews <
CMU243.rev_synthmasterone.indd 91 3/31/17 1:44 PM