Where it gets interesting though, is that Typhon has a mini sequencer built in that you can program, which keeps it highly portable with a Usb powerbank.
The Erebus (any version) needs midi/cv in to actually start humming, which makes it more of a studio piece than a take everywhere sketchpad / FX box in that sense.
You get a deeper synth with deeper capabilities with the Erebus for sure but the Typhon looks like great standalone fun.
An alternative would be Medusa which is pretty much an Erebus coupled with Digital oscillators and a Polyend sequencer.
Anyways I digress, the Typhon is set to hit the stores end of July in north America, I spoke to a retailer closeby yesterday.
Everyone talking about how cheap it is made me think itās maybe priced at $200 US or something but itās $380ā¦ ah, not quite impulse territory for meā¦ but maybe once theyāve released a more mature firmware I can get a good deal on one in the winter.
Yes, i figured that tooā¦ it needs time to learn the sweetspots, which are definitivly thereā¦i Just donāt had the patience for it. A reason i am not getting a Hydrasynth tooā¦
The Envelope behaviour of a Synth is Part of the Secret, some have it different implemented, plus the way the oscillators are implented to. The Medusa digital Osc sounds very raw and brittle, and you really need to work to tame them. The dreadbox osc seemed fine, so they will in the Typhon. But i am curious how the whole behaviour and Interactions of the components with each other are. There are Synths that are very very refined and musically tuned in that Register. Moogs, Vermonas, newer DSI/Sequentials, Analogue Solutions, Novations, newer Elektrons, Korgs have it. Its like when you change a Parameter, all the other Parameter seems to get changed somehow too, so that a slight Twist of a knob can completely Change a sound. Its like an Interaction between the circuits. I didnt feel this on the Medusa nor on the Monomachine, and a couple of other Synths i owned. Those were rather analytical. Not Sure If you understand what i mean.
From my explorations of the factory patches and tweaking them slightly so far, the Typhon does this, and very much so. This is thanks to the note sequencer and then the three modulators, which can be either random, sequencers, envelopes or LFOs with up to 12 simultaneous destinations each. Add in the clever design of the sweepable waveshapes, and it makes everything feel right.
(RTFM answers will be accepted without complaints) I m also wondering about how an external signal is mixed in for fx processing? Does the amp need to be triggered with a note?
This had me up late last night trying to figure it out; patch C1 is Ext In, and works fine for continuous external input sound (and is lovely to play with), and itās evident that it is being run through the filter as turning cutoff to 0 removes the external sound.
However, trying to get external audio into an init patch is much trickier; Iāve RTFM several times and it doesnāt help. I shall continue exploring as and when I get some time away from making generative patches with the S+H modulators sent to all those different destinations at varying probabilities and the modulation sequencer doing something even more wildā¦
There are some peculiarities in the implementation right now. To get the Typhon to process external audio with the sequencer off, the following must be set:
To keep the VCA open, one of the modulators must be set to Step mode with a length of 1 step, the step value set to max (100) and the destination set to VCA with the amount controlling the signal level. This will also result in the oscillators constantly play, so the VCO level must be set to 0, in the last tab of the encoder-accessible menu (M1|M2|M3|FX1|FX2|FX3| SET ).
The external signal taps in before the VCF and can be processed with the filter, effects, and the remaining modulators.
Makes sense. Many synths with external input work like that.