My first review here. I feel like this synth deserves some recognition.
This may seem like a bit of a "no-brainer" of a statement (heh heh)... but for me the sound of a plugin is always its main attractive force. I'm not easily fooled by fancy gui's and clever marketing schemes. It piqued my interest when I read that Corona had been updated with zero-delay feedback filters (maybe some of you are rolling your eyes right now because of my previous statement about clever marketing schemes, but bare with me :P). So I checked out the demo.
It actually wasn't immediately apparent to me how awesome this synth sounds. Like so many plugins, the presets don't really do it justice. I'm always in pursuit of a lively, present, and organic sound. And those are three words that I would certainly use to describe Corona. I swear I've coaxed the best sounds I've heard from soft synths out of this thing. I've realized that it is the combination of an unique and wonderful filter and very complex and flexible oscillators.
I've heard some people say that filters are not ultimately important in a synth, especially if you're not doing filter sweeps all the time. Well I beg to differ. Even if there is no filter modulation or movement going on, the filter is altering the harmonics in a significant way. The filter on this synth (of which there are two in serial) is very interesting, and very sensitive. It has a saturation circuit with several different curves available, and adjustable drive amount. By pairing the right drive settings with the right filter type, you can really get some wonderful tones. Running it in zero-delay mode (alt mode) is almost always preferable to my ears.
Then there's the oscillators, which are the most obviously unique thing about this synth. There are 3 osc's which can be 'combined' using several different processes. I don't really understand what the processes are. I just think of them as alternatives to FM or ring modulation. You can set how oscilator 1 and 2 are combined, and then you set how the third is combined with that signal (at least I think that's how it works). You can also adjust and modulate the phase of oscillators 2 and 3. There is a library of waveforms for each osc, or you can LOAD YOUR OWN FREAKING SAMPLES... tons of possibilities. Even with out the filters there are an overwhelming amount of tonal possibilities.
Both the filter and the oscilator section are very sensitive, which to me means you can dial in just the right sound. Combine this with a powerful modulation matrix, and you can create some very organic sounds. There are 2 random modulation sources, which is something every synth should have IMO. Dial in a sound, then use these two sources on osc tuning, phase, cutoff etc and see if you're not a bit shocked at the sound that you hear.
Also, overall I would consider this synth to be a good balance of flexibility and power: 3 lfos, 3 envs, 3 oscs, and 2 filters. Nothing too overwhelming, but you can really get a huge variety of sounds out of it.
OK other than the sound and basic features what else can I say... I like the GUI quite a bit. Simple, large, and not confusing. Easy on the eyes. It has a nice little chorus on it, and some simple delay, which I feel like are the only effects you really need built in. The unison mode is great too! Especially when using random modulation, because each voice will be modulated differently, combine that with the spread parameter and SUPER PHAT LEADS BRO.
I think that about sums it up. Check this synth out. It's thabomb.com
A wonderful synth. One of my very few main everyday synths. Tons of possibilities just with the tree oscillators (plethora of waveforms + ability to use SF2 soundfonts in EACH of the three oscillators + tons of mathematical algorithms of modulations between them) even before entering into the filters... which are or many types and themselves able to use many complex modulations. A very underrated synth.
About the vintage ('classic") waveforms embedded in this synth it is good to know that the Aeterphon is simply the original name of the Theremine. Léon Thérémine (who was French from Russian origins, named Lev Theremin for the Russians) never used the word "theremine" for his instrument. He named it the "Aeterphone"... to directly recall the impression of "sounds from the Ether". It is when the copyrights were sold to the firm RCA that RCA decided to rename the instrument under the name "RCA Theremin", the physician Albert Einstein having brought the proofs, the scientific evidence that the Ether didn't exist and that this word "Ether" was to forget energetically. Starting from this day the instrument began to be worldwide known under the product name 'Theremin" (or 'Theremine' for the French market) in the RCA catalog. And the name "Aeterphone" disappeared definitely and definitively at Leon Thérémine's death.