The Medusa arrived yesterday — a bit late, box damaged, but synth intact.
It’s the sort of synth where, if I tried it for five minutes at Knobcon or something using its factory presets, I’d almost certainly have walked away and not looked back. Probably in under five minutes. The presets are, for the most part, awful.
But once I figured out what I was doing with both the synth section and the grid, and started exploring a little… this is one extremely cool piece of gear.
I understand why so many of the demos and several presets are bland: the analog oscillators only do the classic simple shapes, the digital ones are raw and basic but not in a particularly gnarly or exciting way, and the filter doesn’t have much character of its own. It’s a clean slate and you have to do your own color mixing, to mangle some metaphors. With judicious tuning, use of the oscillator sync, FM, copious modulation sources and all sorts of clever tricks available with the grid sequencer/performance controller, if it sounds boring it’s the musician’s fault. Synthesis means the assembly of smaller parts into a whole, and that’s what has to happen here. It can certainly do beautiful, brutal, quirky or scary, and it’s not even difficult to get there. It can’t do everything, but that’s why I have more than one synth… 🙂
As with most synths it really benefits from some reverb or delay. Every other Dreadbox synth has one of those built in; this doesn’t. This is not a problem for me at all, but it does contribute to some of those lackluster demos since people seem to think it’s “cheating” to add external FX.
The grid is brilliant. Note mode lets you select (or create) a scale, and also set the layout to the interval of your choice (or a “guitar” mode); it’s a combination that is really great for jamming, thinking differently about intervals and chords, or playing runs that would be (almost?) impossible on a piano-style keyboard. The velocity setting doesn’t work very well with the onboard synth and honestly is best turned off, but pressure and X/Y movement can be assigned to various parameters. Grid mode is a sequencer that’s mostly intuitive (with a couple of odd quirks) and lets you assign not just notes and chords to any individual step, but ties, steps that randomize on each playthrough, and parameter settings. Between that and the paraphonic modes — and the way those modes interact when you’re using FM or sync — it’s definitely got some unique capabilities.
The Lyra-8 was inspiring and influential, leading me toward the 0-Ctrl and certain techniques. But I do think the Medusa is the better choice for me now and for the future.