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We’ll get to how those are defined momentarily. Wave sets can be a collection of up to eight user defined waves. Rounding out the options are the possibilities for Ring, Frequency and Phase modulation, wave B being the modulator. At 0% only Wave A’s Partials are used, and as you increase the Morph Amount more of the lower Partials of Wave B are used to create the Oscillator’s Wave. The Partials of Wave A & Wave B are combined by Partial number. For example, L Morph does this (quoting the documentation): When two are loaded, then there are five modes of transitioning from the A wave to the B wave that will give different sounds during the transition based on which mode is employed. We can load two waveforms in A and B slots in the oscillator. Below are images of Spec 50, 51 and 52, just as a randomly selected sample. These are all over the map and are arraigned somewhat arbitrarily. More than half of the waveforms are labelled Spec nn, “Spec” being short for “spectral”, I presume. The available waveforms have multiple variations of standards like saw waves, square waves, composite saw/square waves, and so forth. If two individual waveforms are loaded, the oscillator can morph between them (under control of the topmost oscillator knob). There are 128 factory waveforms supplied, and there is a provision for user-defined waveforms as well. All Predator (1) presets use only the one slot. An oscillator can load one or two individual waveforms. All three oscillators are much alike, but Oscillator 1 is a little different, lacking the FM and Sync options found in 2 and 3. To the right you see one of the three oscillators. As long as that is clear, the documentation will make sense even on the first reading. A “wave set” or “wave table set” means multiple single cycles in an array accessible to an oscillator. A Predator 2 wavetable means a single cycle of a waveform. But Predator 2 actually can do morphing between single-cycle waveforms in an array, so it can behave at times like a wavetable synth in modern parlance.Ĭonfused? Please don’t be. This is important to understand because the documentation of Predator 2, documentation that is generally quite good by the way, does use the earlier meaning. Wavetable synths (using the original meaning of the term) have been around a lot longer than wavetable synths using the more recent connotation. However, an early use of the term “wavetable” was to describe a mechanism by which a single cycle waveform could be represented as data. The position in the array is often controlled with modulation, offering all kinds of possibilities for animated sound. In modern synth discussion, the term “wavetable” synth has come to imply an instrument that can load an array of single-cycle waveforms and play them while morphing seamlessly (or not) through them. However, before we get into details, we need to discuss terminology. We still have the three oscillators, but have they ever gotten more sophisticated. In the original, there were three, all them having 128 single-cycle waveforms available for playback. The remaining images seen here use the default darker skin.Ī big part of the Predator 2 story, and a big part of the enhancement story as well, are the oscillators. The UI image at the top of this article uses the new “white” skin.
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Right before publication deadline, an upgrade version of Predator 2 was released that included several new features and an alternate skin. So, let’s see why.īut one quick note first. Make no mistake, Predator 2 is a deep and powerful instrument.
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Predator 2 has many more controls, a larger main panel and a section of that main panel that is a tabbed area containing a wide variety of further control options. The original Predator had a fairly straightforward interface with all controls visible on the main panel. Predator 2, being backward compatible with the original, leaves the starting gate with an already more-than-generous number of sounds on board. While somewhat conventional, it was nevertheless a real workhorse whose factory preset list grew into the thousands before it was all over. That was a fairly conventional subtractive synth: three oscillators, a full-capability filter and another not-quite-so-robust filter, modulation effects and an arpeggiator. But just as a bit of background, let’s start by talking about that original instrument which originally appeared on the scene almost ten years ago.
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In this review of Rob Papen’s new software synth, Predator 2, we will assume the reader is new to the instrument and has no familiarity with the original Predator synth. Predator 2 is latest synth offering from the prolific Rob Papen following the original Predator almost ten years later, we think you’ll find it was worth the wait.