![]() 2 oscillators, noise generator, a 4-pole resonant lowpass filter, 2 envelopes with velocity, one LFO, voice & wheel mod and voice detune. Urs Heckmann and his team did not try to implement new extraordinary features in the Repro-5 but focused only on the core points of the original instrument. The result of long developing is called Repro-5 and is an emulation of the Sequential Circuits classic poly synth with modern features.Īll The Features The Prophet 5 Had And More Although Urs Heckmann and his team often try to break the boundaries of software instruments (features, sound quality…), they have not reinvented the Prophet 5 Synthesizer with this plugin. Whether this is a success or not, you will discover this in this review. After releasing the Repro-1 last year, which is based on the Sequential Circuits Pro-One, it’s time to go polyphonic. ![]() With U-he, another software developer has now ventured on a Prophet 5 Synthesizer emulation. This was followed by emulations from the French company Arturia (Prophet V) or Sonic Core (Creamware). The latter was developed for the first time for the large audience by Native Instruments named Pro-53. Among them you will often find the Minimoog, the Oberheim SEM or the Prophet 5. Many of the well-known analog classics have been recreated in software in recent years by well-known companies such as Arturia, Native Instruments or U-he from Berlin. There was a particular setting of the Wasp filter that created this cool warble and noise on one note.One type of software Synthesizer grows and grows, that of the emulations. I made this track with a single sample from my larger modular. The nice thing about sampling analog monosynths and modular systems, is that all sorts of motion and coloration can be baked into your sound. Andrew Simper (Cytomic) wrote the filters in Simpler/Sampler, and they hold their own with the Prophet-10 filters, and sound much better than other analog polysynths I have tried. The sounds I can get out of recording 1 or several long modular notes, and then shaping them using the envelopes and filters in Sampler/Simpler, are STUNNING. The next best polysynth I've owned, and probably more versatile: Simpler/Sampler in Ableton Live, playing back samples of long notes I generate with my analog modular system. So much better sounding than the Rev 3.3 Prophet-5 I owned in the 90s. Great to noodle around as a solo piece, for sure, but in a track, very difficult to fit or to make a part stand out with a bit of originality.Īgain, each to its own, my personal experience and so on. Unless you go for really basic bread and butter sounds, the kind of tones I expect from a poly, either with pads or chords, usually need more complexity im the OSC section than what an analogue poly usually provides, either Fm, wavetables, or even the various less classic waveforms that a Rompler can provide. YMMV.įurthermore, I agree with the vanilla comment. So much needs to be EQed out in order to fit them in a track that it's a bit of a "waste of fatness", for lack of a better word. I found I'm personally a bit bored with vanilla analog poly sounds, but then my musical taste is anything but vanilla.Īnd yes, there is good and bad analogue polysynths (I won't go into a list of my personal bad eggs here). So the extra mojo that you (ideally) get with analog is wasted to some extent in a polyphonic context.Īnd obviously it's a matter of taste as well. The thing with polys as opposed to monos is that you can't really have each individual voice sounding too fat and juicy if you are going to play chords.
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