![]() ![]() But most significant is the SuperSaw option, which multiplies up the sawtooth oscillator and adds detune. D16 also added a choice of noise types (white, pink and brown) and additional sub-oscillator types. I'm not going to list all the differences, but at the most basic level the oscillator section is enhanced to include sync (dubbed HardSync) between the square and saw. So D16 essentially approached the LuSH-101 as a new design inspired by the SH-101. Even so, by today's standards a monophonic, monotimbral design with a single oscillator (albeit with three simultaneous waveforms-sawtooth, pulse/square and sub) looks pretty archaic. It was also portable (and could be battery powered), so along with a guitar strap and its attachable pitch bend and modulation handle, it epitomised the 1980s keytar in all its questionable glory. The layout and slider controls were easy to programme and easy to perform with. ![]() The combination of oscillator and filter design could deliver amazingly edgy sounds, great effects and deep bass. ![]() The original SH-101 had a number of things going for it. Poland's D16 Group have already impressed with their recreations of three classic Roland drum machines (Drumazon, Nepheton and Nithonat) and the TB-303 (Phoscyon), so the SH-101, in the form of the LuSH-101, was a logical next step for them. There have already been a few SH-101 emulations, including TC's Powercore 01 and TAL's BassLine-101, and both stuck to the monosynth design of the original. Thankfully, they haven't been particularly aggressive in preventing other developers from producing software emulations of their famous machines. You'd think it was perfect for soft synth emulation, but Roland have been slow to embrace the format. In its day, Roland's SH-101 was an immensely popular synth, and it still commands good money secondhand. ![]()
0 Comments
Leave a Reply. |