Analogue Solutions Leipzig

Synth midi controllable. One button one function, everything is facade, no menu and no memory, only the place or have been allowed knobs account!
VCO 2 syncronisables, 2ADSR, an LFO, FM, white noise, sub oscillator, glide. Progressive waveform by a single adjustable potentiometer for each oscillator. Sawtooth to triangle and triangle to silence (the waveform softens up the central position of the knob where the oscillator is then silent), then past the center of the oscillator switches Square (the pulse width is modulated through another button), and the waveform is intensifying as we approach the extreme, the same way as for the other side sawtooth.
This model is a rack so no keyboard, so you have the controller via an external keyboard, or any controller / sequencer midi ... This is a monophonic synth and monotimbral. One sound, but what's !

UTILIZATION

We can use simpler because everything is in front. It's going very well in the manual from the moment we already know the synthesis parameters is used. Otherwise, read the manual is essential to understand what happens when you touch a button.

SOUNDS

Big sound! Personally I mainly used to make percussive sounds, such snare or kick, he excels in both cases, but of course we can do a lot of other things! The filter and envelope are very effective, you can get sounds very mixed, very bright. The overall texture sounds pretty gross to one side, or even roaring! This is definitely a synth that has the peiche!
The syncro provides subtle harmonic oscillators between when the rule on different frequencies from each other (while synchronizing them), you can also use the modulation of the VCO1 VCO2, and it s 'is terrible! Many other type of modulation are possible in the modulation matrix. You can do three assignments of sources, one on one VCO1 on 2 and on the filter. That still leaves a lot of possibilities.
A small flat anyway, but this may be a default setting for my own model: The resonance of the filter has no effect on 80% of the stroke of the button, so when I want to hear I am obliged to approach very near the maximum of 1cm and play on, so it's not very practical, it must be adjustable though. But even so, the filter resonance is very beautiful and very effective, I can still to be determined quite accurately, that's why I still have not tried to fix the problem, I talk just in case I would not be the only one to have.
Oh and also another small problem: the LEIPZIG appears to be insensitive to velocity. It has never bothered in what I did, and it must be able to get around this easily by modulating the VCA by noon, but in any case the message south of velocity has no effect.

OVERALL OPINION

I use it for about 2 years, just before I was having a party on DOEPFER dark energy, I was looking for a synth to make big bass percussive, kicks etc., in the end I was quite disappointed with the dark energy, that sounded too "skinny" for what I wanted to do, and I finally came across the LEIPZIG and I understood nothing but the texture of sound that I had to! I got it like new for 600 euros at value for money so I really have nothing to complain about, I think it is normally around 800 euros, but even there I find it quite honest because we are dealing has a real big sound analog, it a big personality, and it does not coursing the streets, especially for a synth that can still buy new!

A fully analog synth controlled via MIDI.

UTILIZATION

Operation is simple and typical for a synth.

SOUNDS

The value of the instrument is its sound raw, wild, "uncivilized". Note the dramatic synchronization of oscillators.
Ideal for destroy-electro-punk-garage or to the Indus, the Leipzig has also done good service during sessions of improvised music. Very good dynamic. Very nice square wave "pure" sub-oscillator, which is rare for an analog one finds anyway modular home manufacturers among others. Many possibilities in terms of modulations. Do not miss the frequency modulation of the VCO1 VCO2, especially if the VCO2 is itself sync on VCO1. Anyway, the possibilities of this instrument are high.

Disappointed with the material aspects. The knobs do not inspire confidence. The pitch bend wheel often triggers a slight modulation of the untimely LFO2 the pitch when in position, making it difficult to play fair. This is due perhaps to a manufacturing defect in my model.

Be aware that the Leipzig makes a noise even when not trigger any sound. It's kind of leak VCO1 which produces a slight buzz.
This is a defect that does not make music but not just any. For rock, techno, noise, music cellar soundtrack of horror, etc.. Is very good. But the music softer, finer, the Leipzig is harder to solve.

OVERALL OPINION

My opinion is mixed.

On the one hand, the sound is very good. In the "analog synth with a keyboard", the Leipzig is characterized by its roughness, its brilliance. It often becomes corrosive. He roars, he yells but also a variety of sounds very sweet with an effective low-pass resonant filter (24dB) that sounds like the Moog Prodigy Moog Rogue or so it seems ...

On the other hand, the model I bought seems bad because I had a big problem with food. Not to mention other defects discussed above.
Maybe I came across a bad model.