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Studiologic | Sledge |
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Description | The 61-key Sledge Synthesizer encompasses the heart of the latest Waldorf modeling technology, with sampling, and pairs up that power with an extremely intuitive user interface and a generous set of controls for hands-on interaction with its sound engine. What really distinguishes any synthesizer is its sound, and Sledge has the power to shake the foundation of your studio, with enough detail to create the richest analog pads you could ever want. Besides the classic analogue synthesizer waveforms, you will find a complete set of Wavetables, derived directly from the mother of all digital synthesizers, the PPG Wave. The sum of three fat oscillators, plus a Noise generator, is fed into Sledge's powerful multimode filter with selectable 24/12dB slope. The highly recognizable Waldorf filter algorithms enable a wide variety of sounds, from smooth to harsh, from fat to distinct, from pure HiFi to badass brutal. Ultra-fast, accurate envelope generators deliver ballsy punch. Two LFOs plus 1 extra Wheel-LFO are on board to offer huge, yet easy to understand, modulation capabilities. And two built-in Effect units deliver sophisticated synthesizer effects, such as Chorus, Phaser and Flanger, as well as a rich Reverb or an analogue style Delay. If you are familiar with the operation of classic analogue synthesizers, you won’t have to spend any time reading the manual. There are no double or multiple functions on any of the knobs or pushbuttons. All synthesizer parameters are clearly and ergonomically arranged in front of your eyes and directly accessible under your fingertips. This makes sound design a blast, and takes you back to the pure user experience. Version 2 Updates Sledge gets even better with 24 voices, sampling, dual timbre mode, looping options, and much more. |
| Brand | Studiologic |
| Model | Sledge |
| Device | Synth |
| Type | Keys |
| Engine Type | Digital |
| Engine | VA, FM, WT |
| Voices (max) | 16 |
| Multitimbral | 1 |
| Oscillators | 3 |
| LFO | 2 Sample & Hold, Saw Up, Saw Down, Square, Triangle, Phase |
| Noise | Y |
| Engine Detailed | 3 OSC, Pulse, Pulse Variable, ROM, Saw Up, Sine, Square, Triangle, Wave Table, White Noise |
| Filter (VCF) | 1 12dB Slope (2-pole), 24dB Slope (4-pole), Band Pass, High Pass, Low Pass, Resonance |
| Envelope (VCA) | 2 Initional Level, Attack, Decay, Sustain, Release |
| FX | FX1: Chorus / Phaser / Flanger. FX2: Reverb / Delay / Reverb + Delay |
| Memory | 999 |
| Arpeggiator | Up, Down, Alternate. Latch |
| Keys | 61 |
| Key type | Keys |
| Velocity | Y |
| Aftertouch | Channel |
| Midi | I-O, USB |
| Produced: | 2013 - 2014 |
| 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. | |||
