In the 1980s, Yamaha had a big hit on their hand with the release of the Yamaha DX7 synth.
Yamaha developed a new way of shaping sound that was radically different from the traditional analog synths. The Yamaha DX 7 synth used something Yamaha called FM Synthesis. There were no traditional VCOs or LFOS, envelopes or filters as we are used to on the traditional analog synthesizers. On the DX7, there were “Operators” that could be stringed together in a certain way to create sounds. I am pretty versed in programming your everyday analog synth but when it came to programming a DX7, it definitely got me stomped.
That lack of easy programmability however did not keep the classic DX7 from being a major sales success and the signature FM Piano sound of the DX7 made it unto just about every R&B ballad for at least ten years following the release of the Yamaha DX7. The FM Piano sound was absolutely unique but the rest of the sounds that these FM synths could generate were not exactly very useful or impressive. The method of FM synthesis lent itself perfectly to creating some bell-like sounds but for the rest, for pads, brass and string sounds, the FM Synths were far from ideal.
For today’s producer, there are a variety of FM style VST Synths available but these also suffer from the limited range of possible sounds that can be produced using FM Synthesis.
So when Tone2, one of the world’s leading producers of VST synths approached me to test drive their newest creation, the Nemesis Neo-FM synth, I was more than curious. Tone 2’s products have been used by some of the biggest names in the music industry and their VST synths like, for instance, the ElectraX had won enough accolades from the industry that I had very high expectations.
Neo-FM they call it, beyond FM. It did sound like Tone 2 did plan to break through the limitations of traditional FM synthesis. And did they ever….!
By combining FM synthesis with more traditional synthesis and waveshaping,. wavetable and formant synthesis, Tone 2 created a truly unique sounding synth with simply outstanding sonic quality. With an arpeggiator, a trancegate and a large array of effects, this synth is in a league of its own.
The Nemesis Neo-FM synth comes standard with 1,065 nicely categorized patches and additional patch libraries are also available.
So, how does it sound?
The first thing I noticed was the crystal clarity of the sounds. The Nemesis is definitely not designed just to be an instrument for 80s Retro Pop but it is truly a synth that fits any style of music. From serious high-tech dance oriented patches to some of the smoothest pads that I have ever heard from a VST synth…..it’s all there.
I can only congratulate the sound designers at Tone 2 because the sound design of the Nemesis is truly excellent. You can hear that every single one of the 1,065 patches had been meticulously crafted and fine-tuned to perfection. Right from the first patch on the list you’ll come to realize that this is a different kind of animal. A synth that can expand your sonic arsenal and give you tools that you simply did not have before.
It’s not hard to program the Nemesis to create your own patches or to simply tweak and fine-tune the existing ones. On the other hand, you can be blissfully happy with the over 1,000 patches that are already pre-programmed for you. The visual interface is nicely designed and easy to use.
The Nemesis is an absolutely perfect addition to your synth arsenal no matter what style of music you plan to record. There are a good amount of traditional sounds found on the Nemesis. For instance, the Hammond Organ patches are just super. Crystal clear, yet with a good amount of “soul” and warmth. On the other hand, there are some truly way-out FX sounds and Pads that will get your attention the minute you touch a key. And for the dance producer….Nirvana! So many crystal clear synth patches to choose from. You’ll never run out of musical inspiration.
I do a lot of cinematic music, soundtracks for movies and documentaries and for those projects, the Nemesis really shines. It’s easy to create the most complex soundscapes with just the Nemesis. For producers of cinematic music, this one is a no brainer. The Nemesis is definitely my top pick for creating cinematic music and soundscapes.Alan Steward is a Producer, Engineer and Musician with over 30 years experience in the music business. He worked with Grammy winning artists from the Temptations to the Baha Men. His music has been used in TV shows and feature films. He is also well-known as a producer of loops for music production and owns a recording studio in Germany.[/author]