MusicRadar

The Kraftzwerg's semi-modular design means that it can make a sound without a single patch cable being plugged in.

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• Review

Each of the three oscillators and the noise source has its own volume level – these route into the filter and on to the VCA. Turning the gain past five opens it up and gradually lets the sound through without triggering it with a volume envelope.

Envelope 1 is routed to CV cut on the filter. This is joined by a second CV input that uses a small pot to set the amount, and is normally linked to key-tracking.

Both LFOs have predefined functions – LFO 1 is assigned pitch modulation duties. It can be switched between all the oscillators or just OSC 3 and, as mentioned before, LFO 2 automatically goes to the VCA section.

The triple VCO features three identical oscillators, each with triangle, pulse and saw waves. They all have a three-position octave switch, and the third oscillator goes an octave lower than the others.

This is useful for bass duties, but also because it's the default oscillator for sync. This can be substituted with a different source via the sync input and a rocker switch selects whether either one or both of the other two oscillators get the treatment.

"To understand the normal signal flow, all you need to do is examine the patch points and their associated knobs up close."

The digital ring modulator is the only bit of the signal chain that isn't analogue. This has its own output, and so needs to be patched into the VCA mixer to be heard, but can be also used as a modulation source.

The ADHSR envelopes are an interesting alternative to the norm, and supply an extra 'hold stage'. By default, they are exponential, but either one can be switched to a linear response. This is good enough for tight zaps and some percussive sounds, but not quite the right shape for sophisticated kick drums.

Filter

It's been suggested by some that the 24dB low-pass filter has a 'Moogy' quality to it, and there is some truth in that statement.

One of the classic Minimoog tricks is to plug the output of the filter back in to the external input in order to introduce a little bit of feedback. This in turn has the effect of beefing up the sound, making it thicker, and at higher settings, muffling the resonance so things can get good and grungy.

When the output of the VCF is fed back in via the top input, the Kraftzwerg exhibits the same quality. In fact, it can sound much more alive cranking this right up along with the resonance maxed out to restore some of the lost high end. The filter is capable of self-oscillation, and it begins to overload when the emphasis control is more than half way. This imparts a grungy and aggressive character, which is distinctly different from the softer, Moog sound.

Part of this also comes down to the way that it doesn't seem to roll off the highs as much. The lack of mellowing can sound more present or piercing, depending on the situation. However, it's a really useful and simple addition to the sound canvas nonetheless.