HUROLURA « A beautiful analog hybrid »
Published on 09/05/12 at 23:41A little bulkier than its little brother the Shruthi-1, Ambika retains DIY philosophy, scalable and open source specific to this small French brand.
The slight overweight, it's for a good cause:
- Side polyphony moving from a mono to a solution that can offer from 1 to 6-notes polyphony according to the number of Voicecard that is integrated <div>
- Ergonomics side, we gain comfort while keeping the same philosophy: display 2 lines of 40 characters can display 8 parameters simultaneously accessed using the 8 surrounding potentiometer; settings pages are very speeds available using the 8 keys present in the lower part of the device (one for two oscillators and the mix, one for the filter, one for the 3 and 4 LFO envelopes, one for the modulation matrix, one for global settings and the arpeggiator / stepséquenceur, one for channel assignment and setting clock, for access to 8 user-definable parameters in performance mode and one for access to SD -card where patches are stored, multis and sequences)
Connections in addition to the external power supply connector and MIDI in and out, it has a monaural audio output overall and 6 separate outputs for each voicecard: when connecting a separate output, it leaves the overall mix that adds a external effect on different parts if needed.
Sound engine side, we are faced with one of a slightly expanded Shruthi both by adding two additional LFO and envelope 1 and many other small additions to both the level of the modulation matrix, of saturation and bitcrushing at the mix of the oscillators. Found against by the extent of the range of sounds that can provide waveforms traditional analog (sine, triangle, sawtooth, square, PWM), oscillators using phase distortion in the manner of casio CZ and wave tables in the manner of Transwaves Ensoniq or Waldorf Microwave.
The filter is for its analogue and three types according to the selected Voicecards has now proposed are based on those of Shruthi:
- The SMR4, which is the 4-pole standard Shruthi-1
- The FCS, which is 2-pole multimode also available on the Shruthi-1
- The 4P, which is an alternative to the standard 4-pole from the Shruthi 4PM but the choice of multiple modes
We can mix types Voicecard construction. </div>
UTILIZATION
Pretty simple to edit compared to most other synths organized around an alphanumeric display.
The reference manual in English is very well done, ditto for the installation manual that accompanies each step.
SOUNDS
The excellent sound but Shruthi polyphonic multitimbral 6 parts.
Side expression, the modulation matrix can make sounds very much alive.
OVERALL OPINION
15 days after assembly is completed (about ten hours of work for me), I'm still at the beginning of my exploration but it's a great synth with the warm sound of analog filters, a very large configuration flexibility and versatility that allows him to encroach on both the sonic territories of older analog types Juno 1, play at times with the CZ casio analog filter or make sweeping wave Ensoniq way or Waldorf.
Access to all parameters CC must allow him to appoint an external auditor to facilitate further editing.
Rate side, the budget for purchasing components revolve around the € 600 which should be added the time to pass to mount. A must for DIY enthusiasts.
Other types of Voicecard are provided with, among other modules more rhythm oriented digital or analog.
A choice I réfèrerais no problem, moreover, it is not impossible that I may have a second fast enough ...
The slight overweight, it's for a good cause:
- Side polyphony moving from a mono to a solution that can offer from 1 to 6-notes polyphony according to the number of Voicecard that is integrated <div>
- Ergonomics side, we gain comfort while keeping the same philosophy: display 2 lines of 40 characters can display 8 parameters simultaneously accessed using the 8 surrounding potentiometer; settings pages are very speeds available using the 8 keys present in the lower part of the device (one for two oscillators and the mix, one for the filter, one for the 3 and 4 LFO envelopes, one for the modulation matrix, one for global settings and the arpeggiator / stepséquenceur, one for channel assignment and setting clock, for access to 8 user-definable parameters in performance mode and one for access to SD -card where patches are stored, multis and sequences)
Connections in addition to the external power supply connector and MIDI in and out, it has a monaural audio output overall and 6 separate outputs for each voicecard: when connecting a separate output, it leaves the overall mix that adds a external effect on different parts if needed.
Sound engine side, we are faced with one of a slightly expanded Shruthi both by adding two additional LFO and envelope 1 and many other small additions to both the level of the modulation matrix, of saturation and bitcrushing at the mix of the oscillators. Found against by the extent of the range of sounds that can provide waveforms traditional analog (sine, triangle, sawtooth, square, PWM), oscillators using phase distortion in the manner of casio CZ and wave tables in the manner of Transwaves Ensoniq or Waldorf Microwave.
The filter is for its analogue and three types according to the selected Voicecards has now proposed are based on those of Shruthi:
- The SMR4, which is the 4-pole standard Shruthi-1
- The FCS, which is 2-pole multimode also available on the Shruthi-1
- The 4P, which is an alternative to the standard 4-pole from the Shruthi 4PM but the choice of multiple modes
We can mix types Voicecard construction. </div>
UTILIZATION
Pretty simple to edit compared to most other synths organized around an alphanumeric display.
The reference manual in English is very well done, ditto for the installation manual that accompanies each step.
SOUNDS
The excellent sound but Shruthi polyphonic multitimbral 6 parts.
Side expression, the modulation matrix can make sounds very much alive.
OVERALL OPINION
15 days after assembly is completed (about ten hours of work for me), I'm still at the beginning of my exploration but it's a great synth with the warm sound of analog filters, a very large configuration flexibility and versatility that allows him to encroach on both the sonic territories of older analog types Juno 1, play at times with the CZ casio analog filter or make sweeping wave Ensoniq way or Waldorf.
Access to all parameters CC must allow him to appoint an external auditor to facilitate further editing.
Rate side, the budget for purchasing components revolve around the € 600 which should be added the time to pass to mount. A must for DIY enthusiasts.
Other types of Voicecard are provided with, among other modules more rhythm oriented digital or analog.
A choice I réfèrerais no problem, moreover, it is not impossible that I may have a second fast enough ...