Prodyssey review - translated

[redroom1410]

Found some German to English online translator, but not so sure about results. For example mixer was translated to bartender etc. Anyway, have fun.
Here it is:


// TEST: CREAMWARE PRODYSSEY ASB
02.10.2006 - Axel Jungkunst

After some weeks ago the Creamware Prodyssey was introduced within the scope of a short Previews, I would like to describe with this Review the device a little further. After some time of the living together with the little machine one a little more exactly could study the play device. It is often in such a way that one has filed the enthusiasm about a new tool something after the first days and weeks if one has lost them not completely. I can send on ahead to this whole report only so much that I have not become tired to work with the Prodyssey. Namely without hectic rush, in all rest which rescues a good entertainment with a friend in itself. GOOD friends have character, and they have her own rough edges which they make so unique. Whether the Prodyssey hears objective esteem to this group after mine anxiously, I want to betray in the following lines.



Installation

…must also become something, namely the Remote software. You take the system requirements please from the details given below.

In my case a Pepperbox PC with Windows XP SP2 was used to the test (importantly because of USB). Inevitably the Remote software, around the certain parameters which have found no place on the hardware surface is to be edited. To the play and sound bend you do not need them rather, in the end, everything is found in the hardware.
Besides sound benches with the ASB can be also exchanged and protect. Also for an any update of the operating system the Remote software is essential. For the sound programming she is helpful in this respect that it shows the opposed values of the Prodyssey precisely. The hardware is not equipped with Motorfadern what is not to be seen, however, if only for that as a minus point because the price structure of the instrument could be thereby held in a suitable frame.
The device does a robust impression in his metal case, the wooden sides parts give the ASB a nice atmosphere. The Schieberegler and pressure tracer have done on me in the whole time a good and stable impression.


Synthesizer
…even is described quite roughly also as fast. He offers subtractive synthesis and works how many other compact devices with the usual VCO-VCF-VCA-Verkettung. However, just, this synthesizer has to offer in spite of his compact appearance with precise looking some things which most of his competitors could not serve at her time. The biggest competitor, (one could call him also real market leader of this group), the Minimoog, had to the ARP Odyssey do not press in the matter of technology a lot against, however, was live substantially easier for it to use. On these quite rather complicated circuits I would like to come with pleasure closer, because they are it which remove the device of others beside the good basic sound of the Prodyssey clearly.
Both oscillators make available pulse and saw tooth as a wave form. As an other sound spring one more Noise generator stands, switchable between White and Pink, for the choice. The second oscillator can be synchronized to the OSC 1. These signals are mixed in the mixer whose product is supplied to the filter. In the mixer one also selects the wave form of the oscillator, the Noise entrance is switchable on the ring-modulated signal of Osc 1 and 2. The filter is eligible between the regular filter ARP (emuliert here 24 dB filters became the Mk. II - generation) and the Minimax filter and is to be noted as a specific feature that the filter ARP lets pass only the frequency shares to approx. 12 kHz with open cut out of vision. No mistake of the ASB, but exact showing of original Odyssey-Filters ARP. The fact that here emuliertes Moog filter is offered, an extension of the Prodyssey is of course compared with the original.
Thus it is finally possible to the musician to provide the complicated sounds of Odyssey still with the timbre of a Moogs. Still a high-pass filter filter capable of modulation and not capable of resonance is connected at the outlet side here. The filter signal runs in the VCA. In Hüllkurven are available to the Prodyssey AR-and the ADSR EC. These are not assigned firmly, but can be used as modulation springs for frequency modulation as well as also for amplitude modulation. A LFO with pulse and sine is likewise available for this purpose. Here is to be mentioned, that also the OSC 1 by switching as a saw tooth or Puls-LFO in the area of the sample & hold mixer can be used. Then he is excluded from the "CV control" (here of course technically from the mark On/Off order) of a keyboard or Sequencers. The ADSR-Hüllkurve as well as the LFO can be pulled up for the pulse wide modulation of both oscillators and the pulse wave is also adjustable by hand.

This sample & hold mixer is a specific feature of the Prodyssey, works sample & hold nevertheless, not in the usual restrictive form in which only a Random signal is measured at a certain time. The respective wave forms of OSC 1 (as a LFO or OSC) can be selected in an electoral counter, the pulse by OSC 2 or Noise in the other pressure tracer. These signals are mixed and can be even still smoothed about an output Lying, thus that become not too violent the jumps. Getriggert become these decreases either about the real LFO or a mark On order.
Thus interesting controls tensions can be composed to the sound modulation and pitch modulation. Nevertheless, more deeply I might not in the technical description of the device abdriften, precise descriptions let themselves take any time soon on the Creamware website to the download being ready manual.


MIDI/USB

The device is equipped with the 3-stars MIDI IN, OUT and THRU, in addition, the option still exists to build up the MIDI connection above an USB interface. The parameters have a steady allocation to controllers MIDI, so that the Prodyssey about a master keyboard, a tasteless box and/or a MIDI Sequenzer can be defeated any time by the complete control. The More tasteless and pressure tracer movements can be taped, indeed, the issue can be also switched off by data MIDI from the box. The Remote software is NONE within the software Sequenzers callable authority like a VSTi! If the Remote software is begun before the call by Cubase, no matter whether MIDI-or USB connection exists, however, the Remote software can be used in the running Sequenzerbetrieb. At least I had with Cubase SX 3.1.1 in this regard no problems.

In use

…one notices fast how important real tasteless and tracers can be if it goes in details of the sound. My approach since the first walking attempts with the Prodyssey has not changed till this day. The beginning of the sound programming, outgoing from an INIT sound furnished for my needs, I carry out always in the Remote software because just there the sound parameters are to be seen on grounds of the clear surface on a blow.
This counts naturally also to the adaptation available Presets. If the sound is put roughly, I go over to the hardware as I did it years ago in my old Odyssey (who hopefully is alive somewhere in Holland still). And the old feeling is there every time again, above all if one starts to "hum" to open the filter, to strengthen the influence of the Hüllkurve on the synchronized oscillator and and, nevertheless, then and ?, however, exactly, besides, I had to note two small negative points.
The Sync function which is offered with the Prodyssey reveals with the modulation of the oscillator by means of ADSR and/or sample? Hold-Mixer/pedal small tonal weaknesses, it sounds squalid a little bit or "noisy" compared with the original. At this point I would immediately like to mention that one has already taken care with Creamware of this problem, the update will probably come in not all at distant time.
I wanted to prepare the next big joy for myself, while I the LFO for the purpose of tonal sample? Lovely images (this section has really succeeded, synchronizes already since 1970) to MIDI, for me a quite normal process in the MIDI world. The Remote software offers as a choice hertz or MIDI with the LFO, only the setting MIDI reacts only to BPM setting Belonging to Prodyssey, from outside hereinströmende MIDI Clock data do not interest the ASB at all. And I do not find this good! I would have wished that at least for the LFO and the Delaytime, and, in addition, still for the OSC 1, as soon as he is used as a LFO.
Nevertheless, there the lower lip has turned itself slightly outwardly!
Indeed, I can store the speed in the sound, only I do not know before in which musical context I use him at last, so that I must program the tempo if necessary anew.
Well, with percussionartigen sounds one just takes the Key Trigger for sample? Sweetly, but what do I do, if I my surface sound subtly with the help of the LFO, directly or indirectly about sample? Sweetly would like to modulate? Clear, controller's values of filter cut out of vision on the Sequenzer would be to be put down a solution, but this applies more to the draftsmen among us, the live player would have it with pleasure more automatically and simply synchronizeable as it is included in many other Synths.
If a Clock comes, is synchronized, otherwise the internal tempo comes for carrying. I think, should be worked at this point once again after! And also there Creamware takes care after their stating already of a short-term solution. Of that in spite of you will be able to ascertain which wealth of liveliness you can bring with these possibilities in her sounds.

A small wish for my part would still be a built-in vocal tone. In the Standalonebetrieb the device can be tuned with the programmation faster straight (ver-).

If the sound of the device and him remains is still indisputable authentic, full of pressure and able of penetration. The effect section which offers set possibilities for Chorus / Flanger and a Stereodelay (cross or Dualdelay) is a nice Dreingabe, the raw sound of this box would have persuaded me also so. What I have written in the Preview, counts equally even today.
Another point worth mentioning is the option to connect a pedal to force modulations. With the help of these controls signals it is possible to modulate the OSC2 (properly, the " "Gesyncten") and/or the cut out of vision point of the filter. Believe me, quite a lot of guitarist will be only astonished what you arrange with this machine in his district.


Conclusion

The Prodyssey ASB is with certainty because of her authentic sound and the ausgefuchsten operating surface an enrichment of the synthesizer market, whether as Lead-, as a bass synthesizer or as an effect synthesizer. The design is not new, but the humanity has anyway further grown two generations and many young musicians do not know this surface really. The device is to be recommended to everybody which is not afraid of getting involved in a little more complicated machine and a clear and present sound picture looks. The appealed vermouth drops concerning the missing synchronization possibilities and the slightly squalid Syncs are puttable down by software updates and therefore for me absolutely no K.O. criterion.

The spa factor with the play and programmation is indisputable high, the Prodyssey anyway has this inviting operating surface and one does not leave the fingers of it. What happens if I draw up this regulator? Time check this pressure tracer! I think that in spite of prominent software instruments always a need exists in intuitively serveable instruments, and the Prodyssey might play an important role within the scope of this desirability.
A device really interesting for high has come thanks to Creamware now also as a hardware emulation in 2006, and about such achievements we should be glad.

We have also become oh yes, good friends!

[Mr Arkadin]

Ooh, i do hope they fix those squalid syncs