CronoX 3

As usual, let’s get the company’s promo tagged here and then run it through some tests and see if it stacks up to the claims:

The CronoX 3 Sample Synthesizer

Features

• Versatile architecture with 4 generator modules that are mixed into two filters.
• Generator types are Oscillator, Time-Sampler, Wavetable (Schrader) and Loop-Sampler.
• Analogue-modeled Oscillator Generator for real-time analog-style synthesis.
• Time-Sampler with independent real-time time-stretching and pitch-shifting.
• Wavetable (Schrader) Generator that offers wavetable-like operation using any sample.
• Loop Sampler Generator, capable of loading up to 64 samples.
• Loop Sampler Generator with individually modulatable loop-points and start-point.
• Easy-Edit panel allowing preset browsing and quick access to main synthesis parameters.
• Free Filter with new, continuously adjustable, modulatable filter-type.
• Powerful, editable arpeggiator with up to 32 steps.
• Stereo and 5.1 support (2 generators, both filters and 3 of the effects units can be mixed in 5.1 formats, stored as part of the preset).
• Sampler Generators support audio formats including WAV and AIFF up to 24bit/96kHz.
• 2 analog-style multimode stereo filters with modulatable cutoff frequency and resonance.
• 7 ADSFR-type envelopes for controlling output amplitudes and cutoff frequencies, as well as two freely assignable Modulation Envelopes.
• 4 independent LFOs with various waveforms and midi-sync capabilities.
• LFO Waves have adjustable delay, attack and decay time, and waveform-symmetry.
• Modulation Matrix with 10 routings for connecting 30 sources and 56 destinations.
• Fully recognizes Velocity, Aftertouch, Pitchbend, Modwheel and various other MIDI controllers, and includes a “MIDI Learn” function for easy controller assignment.
• 6 simultaneously available effect units, including various Delays, Chorus, Phaser, Filter, Flanger, Gator, Stereo Enhancer, Parametric EQ and Crusher.
• Mono/Polyphonic Portamento/Glide featuring "Fingered" mode, switchable Constant Time/Constant Rate and Auto-Bend Modes.
• 32-voice polyphony (CPU dependent), sample-accurate, settings are saved with the song.

Purchasing Information:

The CronoX3 is available in a box including a CD and a comprehensive 84 page printed manual (English) from your favourite store. The boxed version comes with more than 2100 presets. The suggested retail price is 199 US$ / 159 Euro.

The CronoX3 is also available directly from LinPlug as a download (about 400 Mb, optional on CD) and an English, French and German PDF-manual! It comes with more than 868 presets.

The license fee is 139 US$ / 109 Euro.

Ok, so now you have it. I don’t need to go on anymore…hehe.

CX 3 (CronoX 3) was developed by Peter Linsener of LinPlug.

Although it is described as a sample synthesizer, let’s be clear about this meaning. It is NOT a sampler, ie, it does not sample. It does, however, use samples (Wav) in it’s generators and loop and time samplers. You can use the preset samples provided or use your own, more on these features in a minute.

The main GUI is (below) very user friendly and easy to navigate. Even the choice of colour is refreshing. Sounds like I’m talking nonsense huh? You would be amazed at how important the GUI and it’s aesthetic appearance is, along with the navigational hierarchy, after you have spent hours looking at a screen.

The simplicity of the front end hides some serious tools. Instead of the ‘cluttered’ look, you are presented with a simple and clean interface, designed for long term use.

CX 3 works off a 4 generator engine with 4 generator types:

• Oscillator – Sine, Saw and Square waveforms. Full editing with pulse width control
• Time Sampler – Single sample load and edit.
• Schrader – Wavetable creation from single sample.
• Loop Sampler – Multi sample loads and edits. Restricted to first 2 generators.

Oscillator

Allowing full editing with the following controls:

Waveform, Symmetry, Spread, FreeRun, Track, Octave, Semitone and Cent.

Waveform is selected via the circular dial which when set all the way to the right, outputs a pulse wave.

Symmetry expands/contracts the waveform shape, much akin the PWM (pulse width modulation).

Spread controls the polyphonic unison mode. Some analogue synthesizers allow for unison mode, stacking of waveforms to a mono destination. CX polyphonic unison allows for unison whilst maintaining polyphony. Nice function, allows for thick layering with no compromise on polyphony.

Free Run controls the start point of the waveform cycle. Deselected, this sets the start point at 0. Selected, selects a random cycle start point.

Track determines whether the generator tracks the pitch of incoming midi data. If deselected then the pitch of input data is reliant on octave, semitone and cent.

Octave, semitone and cent are self explanatory.

Time Sampler

Allows loads of both WAV and AIFF samples. Single sample load but peppered with good editing functions notably time stretching using TIME as a modulation destination (COOL), pitch shifting whilst maintaining duration and key tracking whilst using Time plus all the usual editing functions: Sample, Start, Reverse, Track, Spread,

TimeTrack, Time, Octave, Semitone, Cent and Root.

Schrader

This allows for a single sample to be used to generate wavetables. Functions include: Sample, Start, End, Track, Spread, Speed Track, Speed, Octave, Semitone, Cent and Root.

Loop Sampler

Only generators 1 and 2 can use this function. Although this may look limited, it’s not. The loop sampler can load up to 64 samples WAV etc) and the editing tools supplied, both as graphical and settings, will keep you busy for time.

I particularly like this function as you can have endless fun with sonic mangling, and the sounds that can be designed can be esoteric, inspiring or bog standard manic.

Filters

Boasting two filters, CX has labeled each as having standard and free functionality.

Standard offers 4 filter types: LP 12 dB

( Low Pass 12 dB/Oct), LP 24 dB ( Low Pass 24 dB/Oct), HP ( High Pass 12

dB/Oct) and BP ( Band Pass 24 dB/Oct).

Free is a little more interesting, offering a full 360 degree spectrum of control with each degree point offering a different filter type. Starting as a band pass filter, each rotation through the degree offers varying filter types including high pass, band reject and low pass, and back to band pass.

Apart from all the usual cut-off, resonance and envelope ADSF (fade)R controls, you are afforded a Sat function which acts as a saturator giving an overdriven effect. You also have key tracking which allows the filter to track the mid note frequency.

The above functions for the filter section are very useful and when you add the morphing capabilities, available through the mod matrix, and the pan filter, which controls the filter’s output within the stereo field, you are confronted with a versatile filter section.

Effects

The CX 3 has 6 independent, simultaneously-available stereo effects modules.

Effects modules 1 and 2 can be set to one of 12 different effects, while Effects modules 3 to 6 can be set to one of four different effects from these 12 (the same effect cannot be used twice in effect modules 3 to 6).

The signal flow above clearly shows the path and order of the effects chain. The effects themselves are highly usable and have decent editing tools. Effects are as follows:

Each effects module contains 12 effects processors. These are: Delay, St (“Stereo”) Delay, Ping Pong, Chorus, Phaser, Filter, Reverb, Flanger, Gator, Stereo Enhancer, Parametric EQ and Crusher.

I quite like CX effects. They are quite fun and a few of them are of very good quality. The reverbs, delays and gator are highly usable and probably the cream of the crop. But you can enjoy all the effects here as they do provide some great morphing capabilities which can mangle your sounds to oblivion.

What I particularly like about the reverb is the lack of the metallic texture that you so often get with poorly coded reverb algorithms. We need to thank LinPlug’s team of developers for this.

I probably would have liked to see a little more in the way of modulation, but this can be taken care of through the matrix editor. However, some effects inserts would have gone a long way in allowing the user to have full control over the effects signal path. Particularly useful feature would have been a graphical editor for waveform edits like the parametric EQ. This can often be far more visually powerful that a numerical and bar metering.

I found that using the mouse to increment values was very irritating, but this is not the fault of the coding. However, a way to resolve this would have been to provide an inputting of values function whereby you can double click, or right click, on a value and input numerical data. This would have helped a great deal as trying to move a mouse for a bar on a meter can be a little annoying when dealing with small values, particularly when you are dealing with pre-delays and L/R time settings.

I would also have liked to have seen some sort of ‘save effects preset’ function whereby you can save templates that have been edited, or to simply have an import/load for third party effects’ templates.

On top of that, a random effect’s generator would have been extremely useful, bearing in mind so many manufacturers provide a random function for most settings. But then I am being picky here.

Modulation

For me, this is where CX comes alive. Having such detailed source and destination control, along with full ADSFR control over Gen1/2 and LFO shaping edits, gives CX a whole new dimension of control.

For sound designesr like me we love the Mod Matrix of a synthesizer. This is the heart of control and the engine that drives all the components together towards an ideal. CX does not fail in this department and where it really shines is it’s simplicity in both approach and execution, the GUI is testament to this.

Look at some of the destinations available: these are available by using a simple click on the desired location and using any destination from a drop down menu.

Add to that a basic yet highly usable arpeggiator, and you have a fully fledged matrix editor. It is important to note that at any time, and on any page, you can switch between keyboard mode and 5.1 surround mode. This can be very useful when trying to place sounds in the surround scape.

Finally, you have the Settings Panel, accessed by a simple click. Here, you can alter the standard global parameters.

Conclusion

I have tried to steer clear of an indepth review, outlining what I feel are the CX’s strong points and keeping the overall explanations simple. Of course, if you want a detailed explanation of all the functions, then I suggest a download of the manual and demo. For me personally, I really like CX. I like the GUI, the simplicity of it’s functionality and execution and the features offered.

I would have liked a more user defined effects section, a more detailed arpeggiator and more detailed routing options for both the effects and generator sections, but then I am being extremely picky. CX delivers exactly what it says on the tin, and then some. The quality of results that can be attained are excellent and the GUI is a joy to use.

The purpose of this vsti is not to promise the earth and deliver little. What it does offer, it delivers extremely well. If you appreciate sound design and like to tweak a sound then there is very little competition in terms of instant hands-on gratification.

Go and buy it!

Eddie Bazil (Zukan)

www.samplecraze.com