With the Artemis, Dreadbox presents an analogue desktop synthesiser with six-voice polyphony and a great basic sound. In terms of concept, Artemis is somewhere between Typhon and Murmux Adept, but in terms of sound it takes an independent path that remains true to the beautiful vintage sound for which Dreadbox has long made a name for itself. The tidy control panel convinces with a Mix of easy-to-grip knobs and sufficiently long faders and largely follows the old basic rule of "one knob per function". Other features include a polyphonic step sequencer, memory locations for sounds, a modulation matrix for even more complex sounds and a digital effects section from the software company SINEVIBES software company. Anyone looking for polyphonic, assertive analogue sounds with character should take a closer look at the Artemis.
The architecture of the Artemis
The analogue sound generation consists of two oscillators that offer the usual repertoire of classic waveforms with intermediate stages. In addition, hardsync can be activated and glide, pulse width and oscillator FM can be controlled for both oscillators. The signal mixer has two controls; the control for the oscillators crossfades between the two sound sources and also covers a 50/50 mixing ratio. The second control adjusts the level of either the sub-oscillator or the noise generator. The mixer is followed by a powerful and, above all, super-fat-sounding 12/24dB Lowpass filter, which is followed by a high-pass filter. The VCA in the master section also includes stereo spread, which audibly widens the sound in terms of spatial perception. This is followed by a digital effects section from effects manufacturer SINEVIBES with four simultaneously usable stereo effects: distortion/bit crush, modulation (chorus/ensemble), Delay and reverb. Two ADSR envelopes are provided for modulation, which are primarily assigned to the filter and VCA, but are also used for the oscillators. The two LFOs have different ranges of effect. The voice LFO (1) is equipped with a fade-in envelope and behaves in line with the individually played notes; it is intended for vibrato effects and filter FM. The global LFO (2) affects all voices at the same time, but can be synchronised to Clock, controls Crossmodulation to LFO1 and is primarily assigned to the parameters Wave and pulse width. Hidden under the hood is a modulation matrix that links velocity, modulation wheel, Aftertouch (polyphonic!), LFOs, envelopes and Keytracking to the synthesis parameters, breathing even more life into the excellent sounds.
Moog Subsequent 37
Oberheim TEO-5
Oberheim TEO-5 Desktop
Moog Grandmother
Behringer UB-Xa