![]() Arpeggiator with wide patterns for great sound effects.Xylophones, Glockenspiels & Keyboard Percussion.Cabled & Bluetooth/Wireless Controllers.Portable Recording & Hand Held Recorders.Busker / Portable / Battery Powered Amps.This article was definitely not written by Marc Adamo. Thanks all the same but I’d rather Behringer turn their attention to cloning a Mac. Sure, it’s got a couple of chorus modes lifted from the Juno and a distortion unit, but without a mix knob, we are back to the land of take it or leave it. Out of principle, it’s a hard pass for me. So what does it sound like? Given the deception with the name, and it’s not a real poly, I don’t care what it sounds like. ![]() Even for around £700, I’m not getting the poly synth that I want or is advertised. So again, it’s a case of buyer be aware.Ĭould I rant on for another few paragraphs about the extremely limited modulation options or the weird stuff that happens when you try to use Osc 4 as a modulator in poly mode? Possibly, but I will concede that I do like the lighting on the pitch and mod wheels but just not enough to buy the damn thing. Without individual filters and envelopes for each voice, we get the same issues as we did with the amp section. The problem with having a single envelope continues with the filter section. So Auto-Damp kind of works for chords, but can make a mess out of anything that has a bit of legato. So, how about a workaround then? Sure, just engage the ‘auto-damp’ mode, and this will sustain any of the secondary notes until you release the initial note, at which point the Amp envelope will move to the release section and all notes will fade out. How do you like that then? This is because it just uses a hard gate to trigger the secondary notes. If you hold a note down and then quickly play other notes over the top, they will just cut in and out, completely unaffected by the release section of the amp. Remember when we said it only has one amp and one filter and one filter envelope? Well, if you have the amp envelope set to a slow attack and long release, then the second note you play will start without the slow attack.Īnd that’s just the beginning of how the limitations of paraphonic compare to the freedom of true polyphonic. Now, it’s not just voice allocation that makes a difference. It works as expected.Įven for around £700, I’m not getting the poly synth that I want or is advertised. Mono mode works like a four oscillator synth, switch on whichever oscillators you want to hear, tune to whatever intervals you like and play single notes. To work around this, the Poly-D has three playing modes Mono, Uni(son) and Poly. So what’s the difference then? The short answer is, para is more limited and doesn’t sound the same as poly, otherwise we wouldn’t need the different terms to describe them obvs. It begs the question: did someone at Behringer say “honestly…guys…we should call this the ‘para-d'” and everyone in the room laughed at them and replied “but that’s exactly what we are doing! We’re producing a parody of the real thing”. In contrast, a paraphonic has four oscillators, but only one filter and one amp, etc. A true four-voice poly has four of everything, four filters, four amps, four modulation envelopes etc. To clarify the difference for those who haven’t come across a paraphonic synth before (and to be fair, there aren’t many paraphonic synths out there to come across), it’s all in the way it sounds when the notes overlap. Because after all, if you fall for the marketing trick, you wouldn’t want to be disappointed when it arrived and it didn’t work the way you expected it to now, would you? So let’s be clear, there’s a big difference in what you can do with a polyphonic vs a paraphonic synth. Even a paraphonic for $700 is great value. I know, I know, some people will say I’m knit-picking. But that hasn’t stopped them calling it the “Poly-D’ in a vain attempt to distract you from the fact that it is actually a 4 voice ‘paraphonic’ synth. How could Behringer make a 4 voice polyphonic analog synth based on the Moog Model D for under £700? Well, spoiler alert, they can’t. Here’s a question for you: when is a polyphonic synth not a polyphonic synth? Answer: when it’s a Behringer Poly-D.ĭeep down inside, we all knew it was too good to be true.
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