If there's no keyboard to hand, you can create fantastic loops using the on-board arpeggiator, and you also have built-in Reverb, delay and chorus effects to add depth to your patches. The Peak responds to polyphonic aftertouch, and two "Animate" buttons completely transform your patches in an instant so that you can really pack a punch onstage. You can hook up to your favourite gear, via a CV modulation input or 5pin Midi-IO. In terms of performance, Peak offers a full variety of features and connections so that it can be a dynamic instrument in the stage environment.
#Polyphonic voice how to#
Each voice has access to 3 ADSR envelopes and 2 LFO's and more modulation controls under the hood.Įverything is within easy access so that you're never just sitting there scratching your head, wondering how to get things linking up. The modulation system on the Peak puts a 16-slot modulation matrix and 16 direct assignments in the main controls, so that you can start to design deeper and more intricate patches to really transform your tones. However, if you're ready for something new, you can create a linear FM source using either the analogue style NCO's or digital wavetables offering you even more creative possibilities to explore. So if you want that fully analogue feel, you can definitely get it. The main oscillator section is joined by a resonant multi-mode analogue filter on each voice, and three distortion points in an analogue signal chain. This gives the synth many more tonal possibilities than would be with a completely analogue system, however the synth's sound maintains that analogue tonal quality throughout. The oscillators sound completely analogue by being high-quality NCOs (Numerically-Controlled Oscillators), but they are combined with the flexibility of the digital domain using 17 digital wavetables.
The Peak's tone is produced from three New Oxford Oscillators for each voice.
#Polyphonic voice software#
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