![]() ![]() Great gig for a wonderful player who's been in the industry for a very long time. ![]() That's cool, so he demos whatever AMS asks him to show off. Maybe it's that we're under the impression Rudess doesn't need these gigs because he makes enough money from Dream Theater? I dunno. Does Chris Martirano get shit for the plethora of demo gigs he takes with all the keyboard developers and dealers? Surely he dwarfs Rudess in this regard. I think there are a lot of guys here that would take endorsement deals and demo gigs if the phone were ringing. And I'm not even a fan of the style of music he focuses on, but it's not hard to give someone credit where credit is due. Successful musician, husband and father, lover of synths if you've ever seen his home studios (studio S, I believe he has an A and B studio at home). It's a pretty good run through of the software, regardless of Rudess taking the gig or not. Whether you want to just plug in and play, or delve deeper into designing custom patches, there’s much here to like.What would we do if Jordan Rudess wasn't around to tell us how "amazing" everything is? Whether you opt for the Regular or the expanded Max bundle, there’s a wide selection of very usable presets plus the ability to customise patches and build entirely new sounds both by layering and by swapping out waveforms and filters and adding complex modulation assignments. Syntronik 2 is a cost-effective way to bring the sound of a bunch of classic synths to your setup. The only thing you’ll want to watch out for is those library sizes, which could be an issue on smaller hard drives of 500GB or less. Even while running a couple of multi-layer instances inside Logic, each with 10-15 effects going on internally, we didn’t notice any significant load to our CPU meters. Multi layeredĬonsidering the amount of synthesis and potentially also effect processing going on, Syntronik is pretty kind to your CPU and system resources in general. It’s also disappointing that the system is stereo out-only both in standalone and plug-in mode, with no facility to route the four layers out separately for mixing or processing. The mixing tools available inside Syntronik 2 are also a little basic, being limited only to volume and pan. It’s more of an issue for standalone mode and less so for running in a DAW, where you could simply add another insert or two to achieve this. ![]() There’s no master FX slot, which is a bit of a shame as it would be nice to be able to sum everything through a gentle compressor or a limiter. The instrument can be set to use four different keyboard modes – mono, poly and legato 1 and 2. This makes creating multi-instruments where you have, say, a bass assigned to the lower octaves, a couple of layered pads in the middle and a lead at the top is simple to do. You can also control how and if each one responds to pitch, mod, sustain, and aftertouch input. ![]() There are four layers, each with assignable key and velocity ranges, mute, solo and level controls. It can be dynamically resized to suit your needs and respond to control changes even in standalone mode, making it suitable for use in a live performance independently of a DAW. The Syntronik application is what elevates it beyond being simply a selection of synths. There’s a ton of very usable and authentic-sounding synths with presets ready to get you started right out of the box, with some highlights being the OSCar, Prophet VS, Korg Trident and Oberheim OB-1. A breakdown of what’s available can be found on the IK website. The Regular version comes with 22 bundled synths, and 33 with the Max. ![]()
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