It's a shame it doesn't work in a similar way to Rob Papen's RG, where, say, one octave of the keyboard can be used to switch between several sequences.
ROB PAPEN ALBINO 3 REVIEW PLUS
General features include adjustable swing and glide time, latch (like holding a sustain pedal), locking of the sequence (so that changing presets doesn't trash your carefully crafted pattern), plus setting of the number of pattern steps and the speed (from a quarter to four times the tempo).Īs cool as the sequencer is, it only has 16 steps, and you can only have one sequence per patch. Most novel, though, are the rows labelled Osc1 and Osc2 - with these, you can change the waveform of either oscillator on the fly to radically alter the timbre as part of a sequence.
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ROB PAPEN ALBINO 3 REVIEW MOD
There's a Free row for modulating parameters of your choice within the synth via the Free Osc panel's Mod Matrix. You can play in a tune step-sequencer-style, via your MIDI keyboard, too. Moving on to that step sequencer, the Tie, Slide, Tune and Velocity rows can be used to enter one-key basslines, complete with slides and rests, etc. A neat touch is the Amount Ctrl knobs for each modulation, which, like all SubBoomBass knobs, offer MIDI Learn via a right-click menu.
ROB PAPEN ALBINO 3 REVIEW MODS
The central panel can display either the step sequencer or the Free Mods section, which offers a further envelope and LFO to be assigned to parameters of your choosing, plus a four-slot mod matrix. Two panels at the bottom of the interface conceal further options. The F stands for Fade, and enables the user to specify that instead of holding the signal at the sustain level following the decay stage, it will instead rise to 100% (or fall to 0%) over the specified time period. The amplifier section uses the same ADSFR envelope as found in the filter and modulation sections. The second filter is simpler: it has low-pass and high-pass varieties in 6dB, 12dB and 24dB modes, a cutoff knob… and that's it. It also has a dedicated envelope and LFO with various waveshapes and tempo sync - the LFO is handy for making wobbly bass noises, and the phase can be reset on each new note. The first filter has low-pass, band-pass, high-pass and notch modes in 6dB, 12dB, 18dB and 24dB flavours, as well as comb and vowel filters. Filter and amp sectionsįollowing the oscillators is a simple distortion stage - you can drive the signal to warm it up, or slam it to create new timbres - then a dual-filter setup, running either in series, parallel or split mode (ie, a filter and effect for each oscillator).
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You can even use the sync and ring/frequency modulation with them, for extra grind and growl. These have been created by pitching down samples of various instruments, mostly of the percussive variety, with sources including kick drums, toms, xylophones, congas, djembe, bass guitars, etc. More unusual are the 39 sample-based waveforms that are unique to SBB. "Sound generation begins with the synth's pair of oscillators, and these are the biggest selling point of SubBoomBass."