![]() Each of the waveform shapes can be skewed with dials beneath the faders which also bring in shape modulation from LFO Mod1, 2 or the filter envelope (selectable from a drop-down menu). ![]() ![]() There’s a fourth slider for bringing in a square-wave sub-oscillator or white noise (switch between the two with a button to the right). ![]() The levels of the first three – sine, sawtooth and square – can be adjusted by moving the first three faders up and down within each oscillator panel. You get two identical oscillators at Super 8’s core, each of which generates up to four waveforms at the same time. We love a good interface here at MusicTech, especially those that do it all in one go, without the need for expansive tabs and deep menus, and that’s what we have here with Super 8. Super 8 is Native Instruments’ first poly-synth release since Pro-53 – which seems hard to believe – and while it offers lots of the sound and feel of synths gone by (notably Sequential and Roland), it’s very much its own beast, with a very distinctive design and a no-nonsense approach to programming. Pro-Five eventually became Pro-53 in 2002 which pretty much became a classic soft synth in its own right (yes, we’re all old enough and far enough into the history of synths for software synths to start having a ‘classic’ status), but the synth was eventually discontinued a mere decade ago. One of Native Instruments’ first-ever synths was the Pro-Five, a software take on the classic Prophet-5.
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