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The Modor NF-1K is a 16-voice polyphonic digital synthesizer manufactured in Belgium. Its structure with three oscillators with ten waveforms each, ring modulator, multimode filter, formant filter, good-sounding effects, four envelopes and all kinds of modulation options give it a unique selling point. The NF-1K makes no secret of its digital nature. It sounds like the 90s in the best sense of the word, covers a lot of what was popular back then and is still popular today. Thanks to the 7-stage envelope and a few special features in the oscillator section, the NF-1K is able to reproduce authentic sounds of the Roland Alpha Juno (1986). If you know and love the old Hoover sounds of PCP, TMF, Dominator (Human Resource) and Thunderdome, you've come to the right place. And yes, the NF-1K is a guarantee in the here and now for basslines, chords, pads, strings and everything else.
The asymmetrical control panel of the NF-1K may seem unfamiliar at first glance, but after a short time you will be creating your own sounds as the control structure and signal flow are logically structured. As the oscillators and envelopes share the same control elements, the same parameters can be set by activating several buttons simultaneously. Thanks to full MIDI implementation including MPE MIDI, arpeggiator, 448 memory locations for sounds and 64 presets for multi-programs, the NF-1K is ideal for live and studio use. Thanks to the solid wooden side panels, it even has a vintage charm.
The NK-1K is the keyboard version of the NF-1. The 49-key Fatar keyboard is weighted and very comfortable to play. In addition to velocity, the keyboard generates polyphonic aftertouch. Instead of the classic handwheels, the NF-1K is equipped with ribbon controllers. The touch strip for pitch bend measures a full 50 cm, so you can really let off steam expressively. The other two are dedicated to the modulation wheel and CC3. All three can be assigned as desired in the modulation matrix (Wires). The K version of the synthesizer has 16 voices, twice as many as the desktop version. In addition, the NF-1K 2-Part is multitimbral, so you can create two different sounds at the same time. The voice architecture allows you to choose between polyphonic, mono (with/without legato), chord and unison with detune. Poly and unison can have up to 16 voices if you exclude the second part. Finally there is a programmable arpeggiator that can do more than the usual Up & Down modes. The transpose buttons cover a total of 7 octaves with the neutral position.
The three oscillators have an identical structure and each offer ten waveforms. These cover the common waveforms such as sawtooth, square and triangle and can even handle algorithms that would require a whole arsenal of additional functions. Operation is extremely simple. The waveform and pitch can be modulated directly by LFO and envelope or via the modulation matrix. The following waveforms are included:
All three oscillators together with the noise generator and the ring modulator are combined in the mixer. Mixer levels can be modulated via the modulation matrix. There are two buttons for the two FM modes that determine the frequency ratio between FM carrier and FM modulator. Users of old Yamaha FM synthesizers will certainly recognize some similarities.
The filter section of the NF-1K shines with two different filters that are probably a rarity in this combination. The first is a resonant 12 dB multimode morphing filter with lowpass, highpass, bandpass and notch characteristics as well as all intermediate stages and downstream distortion. LFO, envelope and tracking are pre-wired for modulation, and as these controls are bipolar, negative modulation or waveform inversion are no problem. The second filter is a formant filter that works with three definable vowels and appears in parallel or in series with the multimode filter in the signal path. The results are highly dependent on the incoming audio material and range from subtle bandpass filtering to vowel-like sounds and strong crosstalk between the bands.
The signal path is completed by the two effects units with comb filter and delay. The comb filter primarily produces all variations between chorus and flanger. In extreme settings, a short tap on a note is enough to turn the effect completely upside down. The more subtle chorus settings are particularly suitable for strings, pads and chords. The delay effect with 750ms delay time can run freely or be synchronized to the clock. The sound is very musical and dub chords in particular benefit from this. Of course, every effect parameter can be animated via the modulation matrix!
This wide selection makes screwing new sounds even more fun! Most of the modulation sources are already permanently linked to various destinations (oscillators, filters) on the control panel. Four loopable envelopes with 7 time/level elements can be shortened to ADSR level. Two LFOs can be synchronized to the clock and offer four waveforms each. The third LFO with triangle waveform is linked to the modulation wheel on the master keyboard. Sample & Hold is also on board and has its own tempo control. The modulation matrix - called "Wires" in the NF-1K - offers 7 entries that connect 19 sources with 86 destinations! Even modulations within the mod matrix are possible.
These videos partly show the desktop version, both models are identical in terms of synthesis features.
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