let's get modular! Vostok Review part 2.

Matrix patching pros and cons:

So this is my first fully modular instrument and also my first music review so I'm kind of doing this by the seat of my pants but I want to talk more about the matrix panel and the external patchability of this synth. Having only had it a few weeks I think this is its best feature. If it had only the matrix panel it would be harder to figure out for a beginner (at least this beginner). From months playing an MS20 I'm used to seeing cords and having a good idea of where the current is going right in my face, with the matrix panel I've got a steeper learning curve. However the fact that each module also has patch points I've been able to experiment with cables and try to re-create the effect in the matrix. On the other hand I have also become sort of reliant on those outputs and inputs and perhaps it's slowed down my learning process, another con of this particular instrument is that the external ins and outs are sort of spotty, particularly on the upper half of the mult where I've regularly had to jiggle the cable a few times to re-establish a connection. I've also come up against some other bugs in the instrument which I'm not yet certain are fault of the synth or my cheap, old, midi keyboard. So for now the only major glitch I've found is the sometimes uncertain wiring in some of the jacks.

These relatively minor issues aside I want to address the best feature on the whole synth the combination between matrix and external jacks means that every module is capable of redundant patching. For instance I can put a sample and hold into the CV input on the filter, create an envelope on the same part of the filter and control that same parameter with the joystick and only use one patch cord (and a lot of pins) Basically, everything that is accessible on the matrix is also externally controllable with cables so everything can multi-task. There can be some signal attenuation when too many things are patched into the same place and some pins do this more than others because of the way the two types are designed. But over all the signal loss is minimal, it probably won't ruin your night.

I wanted to go through each module individually and be really comprehensive about it all but seeing as how I'm reviewing the instrument as a whole and how I've already had to break it into two parts I think I'll give you a run down of the basic features and their highlights most of these aren't on the matrix panel.

I've already talked about the matrix so let's start from the top (literally): The midi to CV converter has two inputs one for "Allegro" and one for "Legato". I've never heard of this before but basically what these do is give you keyboard control over the sequencer, you can trigger it to play, stop or step through it's cycle based on how fast or slow you play when the sequencer is patched into this, kind of a cool idea but I haven't used it much yet.

VCO 1 has a ring modulator on the bottom corner and it also has a triangle wave output, it's pitch is higher than the other two and it's sub octave is built into the tuning knob. And speaking of the knobs many of them perform two functions when pulled out, I think this is a great feature because it gives you as many parameters as possible within the limited space.

VCO 2 and 3 are identical in construction, saw and pulse outputs as well as three sub octave outputs, the lowest one is almost LFO speed. and they are good for frequency modulation.

LFO 1 and 2 are pretty standard, saw, ramp, triangle and sine outputs controlled by two of those knobs that you can pull out. An 8 step CV/Gate sequencer (all with push/pull knobs) it's fun to play and with an led for each step it's nice to look at too.

The joystick is really sturdy and it's not spring loaded. It does a good job of staying in its place as well, I've left it over night at an angle and come back the next evening to find it in the same place as I left it, this is a very nice feature. The joystick is also controllable via the matrix and patch outputs simultaneously allowing for nicely complicated blends of sound and filter sweeps. There are more complex and ornate joystick controllers on the market but this one does really well and I use it a lot.

Voltometer: There's a voltometer below the joystick, I haven't found a really practical use for this yet and the manual clearly states that it's not a precision device however it's nice eye-candy and it suits the old-school soviet aesthetic that the design is aiming for.

Envelope Generators, there are two of them each with a repeat function (go knobs!) The repeat setting is fun, last night I fluked on a patch that sounded very much like the Dr Who theme and I owe it to the repeating envelope. I have had some difficulty getting them to work on the matrix and with patch cords but this may be due to those aforementioned wiring glitches.

Sample and Hold/noise generator: I love sample and hold. I think the sound this module makes is one of the reasons I first got into making electronic music with analog synthesizers. I was disappointed when I was reading the specs on this instrument and under "noise generator" it only had white noise listed, sure it makes a better sample and hold sound but I like the chunky gritty pink noise output on my MS20 and I was worried that the Vostok would let me down with only white noise available.

It hasn't let me down.

The noise level is controllable and really ballsy, turned all the way up it will almost drown everything else out in the mix, that's a good noise generator.

the mixer is a standard 6 in 2 out mixer, one of the outputs is polarized voltages and it will mix both CV and Pitch (though not at the same time), for the size (it's only 4hp wide) it's probably the best and most basic mixer commercially available, if you want it done with no special features and you want it done easily this is a good mixer to have. These, like everything else in this suitcase, are available as stand-alone modules. If and when I start to build my expansion I will be using these mixers again.

I've already talked about the mult, but the Filter is something to rave about, it's based on the MS20's filter, it has a resonant highpass and resonant lowpass, both love being driven into oscillation and there are even knobs which only control the resonance/oscillation (that's one up on the korg).

The sound is very similar to the MS20 though I think the Vostok has a slightly thinner tone when oscillating. I'd have to break them both out and do a comparison but it's close enough that I have trouble telling them apart in use. The MS20 filter section is one of my favourite filters and if this synth didn't have one I'd be tracking down a good clone (and I might still).

This is a really great filter.

There's not really much one can say about a voltage controlled amplifier, it's got two outputs one for mini jack and one for 1/4 inch patch cords, and the Vostok also has two more external outputs and inputs so you can theoretically play external sounds through it's filter but not as elaborately as the ESP section on the MS20.

All in all I'm pleased that I bought it, and it was well worth the price. I think it's a great instrument for learning with and it has some very valuable features which make it both distinct and more complex than you would guess, I'm going to have to take it over to a friend's place and get a second opinion about whether it needs to be sent back to Big City Music under warranty to get the kinks ironed out but over all I am really happy with it and with the company which makes them, I was able to talk at length with Tom Carpenter at Analogue Solutions and his advice and help. If you are looking for a basic system to start out with, and you like the sound dirty and harsh this is the sort of thing you might want to consider. It's got a softer side as well but it really excels at at metal/industrial and heavy bass riffs that will break your heart to pieces.

Luckily that's just what I was looking for.