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Spectral Audio | Neptune
The Neptune is an all-analog mono-synth with built-in MIDI and CV/Gate features in a 2-space rack-mount module. It features three true analog oscillators for a very fat Moog-type sound, and even has a Moog-type cascade filter to match! And in truly classic analog fashion, all parameters and controls are available from the knobs and switches on the front panel in an intuitive and clearly labeled layout - bringing old-school analog synthesis to the modern MIDI studio.
The Neptune is actually a lot like the ProTone, except that the Neptune achieves its third VCO by substituting the LFO as an audible oscillator (Osc 3 can be switched between LFO--slow--and Oscillator Mode--fast) and by adding a dedicated ADSR envelope to the 24dB/oct cascade filter. The Neptune also includes an audio input for processing external signals through its filter and LFO. Like the ProTone, it features both MIDI I/O and CV+Gate I/O and can handle MIDI-to-CV+Gate conversion (across a 5 octave range), making it an ideal synth for old-school and modern MIDI studios. It also features MIDI controlled filter cutoff and modulation control as well as velocity sensitivity. The original Neptune model debuted in 1999 and came in Violet, Silver or Gold colored panels.
The Neptune models represent a truly analog synth with an all analog signal path - nothing digital - which unfortunately, also means no patch memory storage. But it's such a breeze to use, and with every knob available, it's truly a synth tweaker's machine, capable of fat bass and synth sounds to weird bubbly and resonant noises. Yet despite its MIDI capability, the knobs do not transmit MIDI data for control of real-time data in to a sequencer. It does, however, respond to MIDI controller data for the filter cutoff, modulation, portamento, sustain and velocity. There is a Learn button for MIDI Channel and Reference note and the MIDI Thru signal is regenerated, not amplified, for a reliable through-put. The Neptunes are definitely unique, their sound is authentic, and their cost is incredibly reasonable. They make an excellent alternative to older vintage synths.
|LFO||5 Shapes (Sawtooth, Triangular, Rectangular, Random and Noise); VCO 2 can also be a Modulation Source, LFO MIDI Clock Sync; 4 Modulation targets: VCO 1 and 2, Cutoff and Mixer|
|Engine Detailed||3 very stable VCOs; 1 & 2 offer Sawtooth and Pulse Waves; VCO 3 can be switched between LFO and Sub Oscillator Modes; White Noise Generator; Ring Modulation and Sync Features for VCO 1 & 2|
|Filter (VCF)||24 dB precision cascade Filter with Highpass and Lowpass Modes with dedicated ADSR with Positive or Negative Modulation.|
|FX||Distortion and 'Fuzzer' Effect; Slide Function, switchable by MIDI Controller 65 (Portamento)|
|CV-gate||CV/Gate (switchable I or O)|
|Produced:||1999 - 1999|
|Legend:||Obvious||Y: Yes, N: No, N/A: Not Applicable|
|VCO||Voltage Controlled Oscillator||DCO||Digital Controlled Oscillator|
|LFO||Low Frequency Oscillator||Sub||Sub Oscillator|
|VCF||Voltage Controlled Filter||VCA||Voltage Controlled Amplifier|
|Velocity||As with a piano, the harder you hit a key, the louder the sound, unlike most organs which always produce the same loudness no matter how hard you hit a key.||Aftertouch||Pressing a key after you activated it. Channel Aftertouch, no matter which key, it will send a Channel message. Poly Aftertouch, sends the pressure per key instead of the whole channel.|
|Values for OSC, LFO, Filter, Envelope are per voice unless stated otherwise.|