As such, the included sound bank sports many big, booming leads and basses. The Monark, as you may have guessed so far, is built to be a lead/bass synth. Featuring 3 low pass filter modes, including a 24 dB/Octave low-pass filter, and a band pass filter. There is even an option switch that lets you choose between two different feedback treatments.Īnd, of course, the filter sounds wonderful. I was particularly pleased with the Mixer section, which is completely built around the idea that you want to overdrive the hell out of this synth. It sticks with its Mini-Moog-esque behavior wonderfully and really fills in any track that you place it in. And, while the synth is only monophonic, that's okay. The Monark features three oscillators that sound big and bold. Once I dropped Reaktor on to an Ableton Live track, the Monark sat in the side bar patiently waiting. Weighing in at a whopping 29.2 Mb, downloading the synthesizer took mere seconds.
Like many of the Reaktor-based synthesizers, Monark is tiny. Recently, I got a chance to spend a lot of time with the Monark. Recently, Native Instruments shocked us all with the release of the Monark, a Reaktor-based synthesizer that is a clever, and simple virtual homage to synths like the Mini-Moog.
But, it's been a while since a major company did a bread and butter subtractive synthesizer. Granted, Korg has released plenty for the iOS, and so on. This is especially true from the major companies. In recent years, these plug-ins have been released less and less. In the early 2000s, it's what everyone wanted, and many companies stood up and said, “Yes, we will make subtractive synthesizer plug-ins just for you!” There was a time when there was a plug-in subtractive synthesizer being released almost every week.
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