This restriction to using three catch-all controls for every synthesis type can occasionally make it feel like MiniFreak is only offering a simplified version of each concept. Users can play with complex synthesis concepts, via an easy-to-use interface Sound shaping is handled by the more vaguely-titled Wave, Timbre and Shape controls, the exact functions of which change depending on the current oscillator type being employed. The most fundamental of these are simple enough – Type controls the oscillator mode itself, while Tuning and Volume are self-explanatory and act the same for all oscillator types. The quirk of cramming such a variety of approaches into a single synth is that these often disparate methods of sound creation are required to share a unified set of controls. There’s also an abundance of more esoteric approaches to sound generation, such as noise, speech, formant and Karplus–strong synthesis modes.Īs with the MicroFreak, there’s a healthy dose of influence from the modular realm here too, including several oscillator modes developed in conjunction with US brand Noise Engineering, as well as some that make use of Mutable Instruments’ open-source code. These include straightforward synthesis approaches such as basic waveshapes and virtual analogue modes, plus a variety of classic digital approaches such as two-oscillator FM, waveshaping and stacked super waves. Each is an individual digital oscillator with a total of 22 modes available. Having dual voice engines is another major upgrade from the MicroFreak.
The Hydrasynth is one of the best digital synths in recent years, and this smaller sibling brings its basic workflow into a more affordable instrument.
Its price has come down recently too, making it something of a steal overall.
Korg’s modern take on an FM synth also uses a multitude of digital sound approaches. If you can live without the polyphony, effects and proper keyboard, the MicroFreak offers the same basic sounds – and at half the price.
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