Not finding what you're looking for? Save d16 group lush-101 to get e-mail alerts and updates on your eBay Feed. D16 Group LusH-101 review Roland's classic synth gets beefed up in software form.

2012 marks the 30th anniversary of one of the most influential analogue monosynths ever made. Roland's SH-101 wasn't the most powerful synth on the market when it launched in 1982, but it was certainly affordable, it sounded great, and its simplicity and straightforward slider-based interface made it child's play to program. Consequently the SH-101's list of notable users is as illustrious as that of any synth in history. 'LuSH-101 is actually a monster stack of eight SH-101s: each is called a Layer and all are operated totally independently' Nevertheless, virtual versions of the 101 are pretty thin on the ground and for some time now D16 Group have been promising to fill this void - LuSH-101 has been in development for years on end. Rather than create a literal SH-101 clone, though, they've doubled the number of envelopes and LFOs, made it 32-voice polyphonic and added modern refinements and effects.

Oh, and, crucially, LuSH-101 is actually a monster stack of eight SH-101s: each is called a Layer and all are operated totally independently, brought together - along with a useful collection of effects - at the built-in final mixer stage. 101 by three The LuSH-101 interface is split into three main sections: Synthesis, Modulation Matrix and Master Mixer. Thanks to its enhanced parameter set, the first of these looks more like Roland's later JD-800 or JP-8000 synths, which isn't a bad thing at all, as both utilised the same interface style that made all three synths so intuitive and fun to use. It isn't all retro, though, and one of our favourite things about the interface is the excellent way D16 have kept the controls as simple and accessible as the original, while adding all the new, modern functionality we expect to find in a software instrument. Hinari Instructions Manual more. A good example is the LFO rate slider: in Free mode, it moves smoothly from 0.1Hz to 40Hz; but engage tempo sync and the same slider jumps from one sync'd note value to the next. We have two issues with the interface, however. First, D16 need to add an increased size mode to make some of the parameter legends visible on all screens - some of the text labels are absolutely tiny, being just a few pixels high.

Second, when altering some parameters (such as filter cutoff) via the GUI, the sweeps sound stepped rather than smooth. Hopefully this will be remedied in an update. Next comes the Modulation Matrix, which is visually at odds with the sharp, photorealistic Mixer and Synthesis interfaces. But in use, the no frills approach makes perfect sense. Pick a source, choose a destination and set the amount of positive or negative modulation with a large, clear slider. Pitco Pasta Perfect Manual there.