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At the very simplest level, Alchemy<\/em> has four \u2018sources\u2019, each of which has its own sound generator, triple filters and amp. These are arranged in a quadrant that can be panned over by a \u2018joystick\u2019 and then fed into a master dual filter and amp, then on to effects. In this simplified guise it can be a virtual analogue, with some comparison to the Prophet VS. The sound generators could be single waveforms from the Prophet \u2013 but they can actually be any multi-sampled sound you would like.<\/p>\n\n\n\n The filters include all kinds of Moogs, MS20s, Xpanders, combs and so on. Given that you can have as many as five filters in a row that\u2019s plenty to start with. But each sound generator can be many things: Additive, Granular or Spectral. Describing these is redundant so I\u2019ll mention some things I have done:<\/p>\n\n\n\n In other words \u2013 you know that crazy shit they used to do in large music research labs? Yeah, sounds like that.<\/p>\n\n\n\n Rather than try to keep listing the features which you can see for yourself, it\u2019s more interesting to ask \u2013 if this thing can do just about everything, why use anything else? Which brings us to Lawler\u2019s Law<\/strong> that, optimally, each single surface should represent a single workflow. An LP record is a single album of music. A moog has a single sound signature. When a thing does too many things it becomes less usable. I\u2019m not 100 percent in agreement with this (because e.g. who uses a phone as a phone), but I can say that when I start up Alchemy <\/em>there\u2019s at least a moment of confusion where I\u2019m unsure what the hell I am doing. It\u2019s easy to stagger around without getting anywhere, and be disheartened.<\/p>\n\n\n\n I actually think the problem is the same for most software synthesisers that have many preset sounds \u2013 they smother your own small steps to get somewhere. Why be satisfied by a single step when there\u2019s 1000\u2019s of complex patches ready to go? You have to delete them, it\u2019s the only way.<\/p>\n\n\n\n Alchemy <\/em>does actually have a sound signature. It\u2019s a remarkably complicated sound but it\u2019s there. Whereas the tendency is for additive synthesisers to sound like meta mouth organs, Alchemy is more of a \u2018glow\u2019, like many small coloured lamps at once. That\u2019s how I\u2019m using it, as an atmosphere surrounding all the bleeps and blorps of the hardware. And in a way if you are using hardware this is the necessary dynamic opposite \u2013 the antithesis to hardware.<\/p>\n\n\n\n I actually HATE modular synthesisers where there a many modules on screen at once (e.g. the software Moog Modular V<\/a>). The grid of controls actually makes me nauseated. If you can add modules as required, fine, no problem, and hence I prefer software. If I had a real eurorack, I would have to cover it with a sheet concealing the modules not in use.<\/p>\n\n\n\n Alchemy<\/em> is complex, but it is after all just four sources through two filters. Just see what it is needed to see – that is a good approach to Lawler\u2019s Law.<\/p>\n\n\n\n![\"\"](\"https:\/\/i0.wp.com\/nilamox.com\/mancave21\/wp-content\/uploads\/2021\/08\/apple_alchemy.jpg?resize=640%2C412&ssl=1\")
Doubt<\/h3>\n\n\n\n
Sound<\/h3>\n\n\n\n
Hear It In Action<\/h3>\n\n\n\n