Snakebite Synth for Reason
· Triple oscillator with variable shape and morph controls
· 18db highly resonant low pass filter
· Venom control for filter overdrive
· Pre-filter bitcrush for extra harmonics
· Bucket Brigade Device (BBD) delay
· Binaural sub audio bass (8-15Hz)
· Flexible matrix LFO / CV routing
· Low DSP usage
· Glowing snake eyes
· Full polyphonic mode
· Retrig mode
· High pass filter
· Band pass filter
· Filter tracking
· Pitch bend amount
Download the Snakebite Manual
When we decided to create a new synth, we spent months researching all the classic mono synths and decided they were all very nice.
So we decided to be a bit different and make something nasty. Thus Snakebite was born…
We started with a digital oscillator, but used ‘sum of sines’ to create the shapes rather than perfect saw and square waves. The oscillator can fade smoothly between all the shapes using LFO, envelope or CV control.
Then we figured why just have PWM on a square wave – let’s do it on all shapes, and thus the morph control was added – again with smooth real time control.
Filter choice was difficult – a squelchy 18db filter was created and then abused by pushing it far past what would be possible in the analog world. To make things more interesting, a bit crush effect was added just before the filter to enhance the resonant spikes.
Binaural sub bass was added to abuse anyone daring to listen to this thing on headphones. Snakebite makes use of a psychoacoustic phenomenon to give the impression of sub audio frequencies – the results range from pleasant stereo effects to nausea.
Gritty digital saturation is used everywhere, including the harsh distortion effect. Rather than use a high quality digital reverb or tape echo, we opted for an emulation of a classic BBD device with limited bandwidth and resonant anti-aliasing filter.
Finally a simple matrix control system is used to allow almost every control to be controlled by LFO, envelope or external CV without needing a degree in computer science.