Rob papen predator mac 64 bit
The latest soft synth from Rob Papen is the successor to one of his established classics.
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Dave Gale powers up Predator 2 to see if this sequel is a killer update…. Rob Papen is a name that has become synonymous with virtual instrument plug-ins, following on from the legacy, set by the likes of Albino.
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Starting at the beginning, the oscillators of Predator 2 see the first major update; these three primary tone sources offer the selection of one of waveforms, which consist of basic classics and more advanced wavetable timbres. Added to which, each oscillator can now host two of these waves, and be blended, via the rather obvious Morph control — but going further, this control can be set to a number of other functions, such as FM and Ring Modulation.
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To compensate for any over-accuracy in the digital architecture, there are both Coarse and Fine tuning controls, plus a rather handy Spread control the result of which is akin to a super-detuned waveform. Factor in other useable features, such as a sub oscillator on each oscillator channel and the ability to change amplitude and panning, and you have a very comprehensive synth.
So this is all great and usable stuff, but what of the sound? Well, being very careful to make sure that no additional elements were at play, and with the filters switched off, I took a listen to the basic waveforms in isolation. Starting with the ubiquitous Saw, I got the under whelming feeling that it felt a little lightweight, which was a bit of common thread that seemed to run through all of my waveform selections.
I also discovered a strange trait: when adding in a second Saw and blending them together, as the super Spread parameter was invoked, a strange whistling digital artefact became present, which was revealed when played in the lower register. I must add this has nothing to do with whistling filters; instead, it seems to be something to do with the blending of two waves and the Spread. Putting this to one side, what is undeniable is the great choice of source timbre.
With these more complex waves comes a nice feature in the shape of Symmetry, which allows the user to define a point within the wavetable.
Again, there is a very fulsome selection here, with filters one and two sharing the available list of credentials. Apart from the obvious suspects, we have 6, 12, 18, 24 and 36dB options for both high- and low-pass varieties, with smatterings of notch and band pass thrown in for good measure. But where it gets interesting is with the inclusion of formant and comb filtering, the latter offering a cavalcade of glistening colour, which ascends in true comb style. Filters one and two can be switched on and off, allowing the user to switch from one to another, or they can also be linked in series to create a powerful combo.
When this is combined with the third utility filter, which is exclusively high pass, it creates a very potent combination. In operation, the filter feels a little vanilla until the resonance is brought into play, at which point, it can whistle like crazy. This seems to be a symptom of many soft-synth filters, and certainly not exclusive to the Predator 2. Thanks to the vast choice of filter, the usual low-end dropout can be avoided if you do want to crank the resonance. Talking of which, there is not surprisingly plenty of modulation available, from the usual sources.
Both two filter envelopes are fast and snappy;so much so, that I found the decay to tail off rather swiftly, in the sense that it ditches at the last moment, which I found irritating. Not surprisingly, this seemed to be amplified when routed to the filter cut off — but on the flip side, the front end is sharp and perfect for modern tones and percussive timbre.
A third envelope is assigned to amplitude, while a fully functioning LFO, separate to the oscillator LFOs mentioned earlier, offers considerable routing potential, as well as clocking to the DAW or freewheeling. A common feature of many Rob Papen products is the XY pad, which is implemented in Predator 2 for the first time. Linked with the matrix which nestles to the right of the pad, a bewildering array of parameters can be assigned to both X and Y, which include features from pretty much every section of the synth.
In turn, the inviting pad allows the user to drag the mouse around in real time, or record movements for playback, with control over speed. The fully functional arpeggiator also offers a bewildering number of functions, including basic arpeggios up to chordal-based sequences, but with this control comes a degree to complexity in programming, which is largely based around numbers.
This takes a little getting used to, but is largely intuitive, with additional features in the shape of swing and slide amounts.
User Waves can be created by simply drawing on to the grid, and then hearing your opus played back in real time. Note the dedicated filter envelope just below, placed right where you want it.
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Audio is your ultimate daily resource covering the latest news, reviews, tutorials and interviews for digital music makers, by digital music makers. Log In Create Account. A NonLinear Educating Company. Essentially it's a software plug-in host that stacks multiple synth plugins together. Rounik Sethi More articles by this author. Related Videos.