toxicant

Seriously powerful and versatile monophonic synth with programable arpeggiator and built-in delay. Although I bought it to use for bass parts (and the low rumbling sound it produces does not disappoint!) I have ended up applying it to a much wider range of uses. The built in distortion and delay really add considerable heft to the already impressive sounds this beast can produce. Extremely pleased with the textured and noisy territory these led me to explore and what was meant to be a secondary part of my sound assumed the center stage. After a bit of tweaking and exploration of the software included the potential for an "experimental" approach I hadn't expected this to have became apparent. That said, some people may balk at the need to employ a PC or tablet to fully utilize the amazingly flexible features of this synth. For size and cost sake the physical controls are limited and most of the knobs are doing triple duty. The same consideration led to the simplistic key layout which allows for quick scrolling to access the full range of octaves but lacks touch sensitivity and may be off-putting to keyboard players (a friend of mine who is one looked confused at first but quickly found his footing with some trial and error), although there is a midi in to bypass this issue if desired. For this price I don't think there's a better synth on the market and, provided you are willing to hook it up to a screen (and/or keyboard) then you will absolutely get more than you paid for.

Given my love for portable synths and unconventional design I knew the Kastle would fit right into my set-up. The synthesis modes it offers are all unusual and tend towards the noisy side, which I personally am always looking for in any synth I buy. This device doesn't just encourage experimentation it practically demands it! As for the build the casing and knobs are fairly solid, although the battery compartment is uncovered which seemed a little odd. Still it seems durable enough to make it a perfect travelling companion which is unique for such a tiny piece. Don't let the diminutive size fool you though, inside is a sophisticated engine capable of chaos and destruction several orders of magnitude greater than its container. A word of warning might be in order as there are times when it can prove difficult to reign in! Still, for my purposes this neat little machine is hard to beat and an endless source of inspiration. The built in step-sequencer has indeterminacy built in as it uses the actual data from the firmware, converting the code into a source of random raw material (a bit confusing but the results are delightful). I could go on about what a boon it's been to my noise project but instead a few quick observations about some slight drawbacks: It uses tiny patch cords and these are a little delicate, but when properly inserted they are sturdy and secure. The output/input function routes two inputs into a single 1/8 output but can easily be split back into separate signals if needed. Finally the knobs can be a little difficult to manipulate, especially the "Wave" knob which sits precariously close to the central intersections of the patch-bay which can lead to some obstruction from the cords when turning it. Otherwise I don't have any complaints about the kastle 1.5, any setting or patch on it does something interesting and it often surprises me with its depth and expansiveness. Steering it can be a challenge but it always goes in exciting directions.

This little box emits some earth-shattering, ear-splitting sounds ranging from a seismic rumble to a piercing spastic whine. Extreme is the byword and it's hard to dial in a sound that doesn't push the limits in some way. Ferocious in it's destructive power, but strangely beautiful at the same time, despite its simple design the switches do offer a wide range of potential settings to explore, also they add a dimension of quick shifting sporadic change in a live performance. As a noise and drone machine it really packs a punch, also the casing would probably survive a nuclear attack at ground-zero, so that's a plus. My only minor gripe is that sometimes the same settings will produce different results when unplugged and powered back on, but the internal workings are meant to fluctuate so it comes with the territory I suppose.

Of all my synths this one stands apart as a true work of genius. The company Ellitone clearly has a vision for its limited line of products. This and the complex randomizing workstation they also produce are not average instruments in their respective classes. There is a great deal of chance and accident built into both devices as a cornerstone of their workflows, and as a musician who values these elements highly I have benefitted immensely from the fertile indeterminacy of the multi-synth. It offers a series of related but completely distinct functions capable of being woven together any number of ways effectively transforming the entire device. Some of the sounds it produces are chaotic but just as often it can be striking in its erratic musicality. The possibilities are staggering and as the official documentation points out it is suitable for any experience level and will yield results with minimal user effort. Easily the most unusual instrument I own and that's saying something.

I previously had a CD player-jogwheel that was a very bare bones single wheel deck with a stereo out-put and no knobs or faders to speak of at all. As I mentioned it only played CDs and the overall impression I had of it was that it was old, and out-dated even for the time I got it (Around 2008) which made the $100 price tag I paid for it seem a little excessive. Anyway when I got this controller it was a total surprise, I had it gifted to me and had long sold off the previous one with no intention of replacing it. I wasn't sure what I would do with this and sort of expected it to be of limited use like the last one. I severely underestimated it! I think part of my impression (besides a less than stellar experience with my last jog-wheel) came from the build quality. When I got it my PC was in the shop for repairs so I couldn't use it right away (as this controller requires a PC with compatible DJ software to be hooked up to it via USB so it can load songs and to manipulate some of the features). So my first impression was just based on the build quality, which is maybe the worst feature of the device. It has a cheap feel to the materials and is surprisingly light. The "light show" feature was all that worked when plugged into the wall and it struck me as cheesy. Despite my misgivings I soon had my notebook back and hooked it up to try this baby out. Initially I was impressed by the wheels themselves which although small are very balanced and precise for scratching and running the speed up or down. Also the knobs and faders are solid and comfortable to use. What took me longer to appreciate was the features included as the sampling and looping capability of each deck was not something I had expected. These functions as well as the built-in filters and FX in the serato DJ software have proved indispensable in my production with the device. As a dual looper it works amazingly well and is flexible when used to build up loops on an external pedal. Sampling is limited but the pads are crisp and feel just right in terms of size. A total of Eight samples, or four cue points/loop lengths per deck can be mapped to them and again it's these functions that I have gotten the most out of in composition terms. All in all it is a well made and capable controller, perfect for live performance (as I had expected) and versatile enough as a loop/sample station to warrant all the space it takes up in my studio.

While I was searching through reverb pedals so ridiculously far above my price range I kept seeing people compare the super expensive boutique reverb pedals to this plugin. For example one reviewer said the only results that matched what the $500+ "Big Sky" reverb could do were the ones obtained with this plugin. Naturally that got my attention and the fact that it is FREE meant it was certainly in my price range (of $0 :[) so I got it. Am I ever glad that I did. For what I do (harsh noise) this plugin is almost perfect. The ability to get a delay sound paired with the regular reverb is also a great bonus and time-saver. The only potential downside I can see is the plugin tends to dominate the mix if feedback is too high, but the ease with which it can be decreased and the fast clean responsive quality saves it from spiraling out of control, assuming that you want the other parts of your song to stay audible.