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Vermona | '14 |
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Description | With the completion of the ’14 Analogsynthesizer, a long fostered dream becomes true: The design and realization of an uncompromising synthesizer for instrumentalists. Equality of haptics and sound To us, expressive play means a balanced relation between melodic virtuosity and sound shaping. In our ’14 Analogsynthesizer, these factors unite in full equality: Keyboard, pitch- and modulation-wheels are incomplete without the additional controls and switches of the remaining control surface. These offer direct access to each individual sound shaping parameter of the synthesis engine. The ’14 Analogsynthesizer is perfectly suited for distinctive solo and bass sounds including dynamic and individual sonic variations which are completely under your control at any time. Uncompromising circuit implementation The components being responsible for the sound-generation and -shaping are based upon our proved and tested circuits of PERfourMER MKII and Mono Lancet ’15. However, we did not just carry over these circuits but have adapted and refined these specifically for the ’14 Analogsynthesizer. Besides stability and musicality, we paid great attention to an intuitive and practical scaling of each and every sound parameter. The ’14 Analogsynthesizer follows the classic subtractive synthesis structure: a versatile lowpass molds the sound-source being created by two powerful analog oscillators. Typical for Vermona instruments, the sound is warm, round, classy and offers musical authority in the mix. Handmade in our electroacoustic manufacture in Germany There a hundreds of work steps from the assembly of the circuit boards to the final, rigorous quality assurance of the finished instrument. Without exception, these steps are carried out with skilled craftsmanship and expert precision in our Elektroakustische Manufaktur in Erlbach, Germany. Each ’14 Analogsynthesizer is an outstanding instrument and leaves our manufacture as one of just 222 units. |
| Brand | Vermona |
| Model | '14 |
| Device | Synth |
| Type | Keys |
| Engine Type | Analog |
| Engine | VCO |
| Voices (max) | 1 |
| Multitimbral | 1 |
| Sub | 2 1 Sine, 1 Square |
| LFO | 1 Saw up, saw down, square, triangle, sine, sample & hold. |
| Noise | Y |
| Engine Detailed | 2 VCO, sine, saw, rectangle, PWM |
| Filter (VCF) | 1 12, 18, oder 24 dB/octave, low pass, resonance |
| Envelope (VCA) | 2 ADSR |
| FX | Vibrato(Sine, Trianlge) |
| Arpeggiator | Up (1, 2 and 3 octaves), Down (1, 2 and 3 octaves), Up & Down (1, 2 and 3 octaves), Alternate Up, Alternate Down, Random (1, 2 and 3 octaves), Order forward, Order backward. User |
| Keys | 44 |
| Key type | Keys |
| Velocity | Y |
| Aftertouch | Channel |
| Midi | I-O-T |
| CV-gate | CV/Gate out |
| Produced: | 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. | |||
