Dave Smith Instruments Evolver

I'm using version 2.0 of the operating system.

The Evolver is surprisingly easy to edit from the front panel, despite initial reservations. I don't think it could have been made any easier given the space limitations and the price and it really isn't that hard if you know what the parameters mean. Sometimes it is difficult to work out which modulation source is in effect without turning them all off but thats where the software comes in handy........

I have also bought the software which really opened up the machine in a new way. Anyone who has an Evolver should really have this software, especially those who are having trouble editing the machine. Aside from all the obvious parameters there are a few "extra" features. The genetics section allows you to mix and mutate different patches together in different ways to create new patches, and this function can yield surprisingly cool results. There are also extra handy functions that apply to the sequencer that are nice to have.

Having said all that, the Evolver seems to be a machine prone to "happy accidents". Often you will be trying to create a specific sound and will come up with something entirely different but better along the way.

Again, given the price and size this machine is by no means short on features and these are all very well implemented. I think others have summarized these sufficiently. It might be worth noting that version 2.0 of the software allows the sequencer to work with external midi instruments which is quite nice.

My only complaint about the Evolvers sound is that it makes all my other instruments sound like rubbish.

Budding noise musicians note : If Merzbow had heard one of these before ditching his VCS3 for a laptop then I'm sure he'd have one of these little blue boxes instead. Open up the VCA, turn up the feedback, modulate the delays. Nothing comes close in extreme noise terror land.

Absolutely. Solid as a Frostwave resonator.

Prompt delivery to Australia. Never had any problems.

I'd get another one for sure. I don't think I'll bother with a Poly though as I can imagine there might be such a thing as "too complex".

I know that I'm late to the game on this, but have finally grabbed an Evolver after playing with it at a couple of NAMM shows. I don't know if I'm adding anything that isn't already known, but it works for me so here goes..

-Fatter bass/pad sounds

Set the same sound in both channels (detuned saws, for instance). With the filters at the 24dB setting, increasing resonance cuts the passband as on the Moog filters. Set Envelope 3 to minimum attack, maximum decay and release, and sustain to maximum. This "creates" an offset, a continuous "on" signal while the keys are gated. Modulate one filters' resonance up (just one), or of the overall resonance level is high, us it to modulate one filters' resonance to its minimum. You get the resonant character plus the size of the non-resonant filter. Use Tri and Sine waves on that side too.

Set Pan to Non for center.

-I don't find it to be really punchy, but this is easily dealt with by setting the envelopes to linear, and using a Mod to modulate AmpEnv All by itself (lin through log responses with positive and negative self-modulation).

This is of course fun on the filter envelopes as well.

-More vintage character

Oscillator Slop, set at 5, doesn't come close to the Moog and other old-timer movement, so add slight (1 or 2) LFO to pitch modulations, with individual LFOs per oscillator, and a touch of LFO to LFO rate modulation. A tad of Envelope 3 to pitch helps as well.

-Don't miss out on the 12dB filter setting.

The 24dB setting has much more resonance, but the 12dB setting can sound nice and plucky, and do nice slightly fuzzy pads etc.

This is only approaching the instrument as a keyboard plus tone source device; I haven't touched the sequencer yet, and note many excellent factory programs using it for multiple-part harmony and timbrality. Some folks did some killer work here.

-Inside the Evolver

The PCB, Rev 1.5, has "Yeee-Ha!" on it :-)

There are Analog Devices OP275 opamps on the output section. This is a surprise; they're not cheap but have great specs, so Dave has paid attention to sound quality (I think that it's a good-sounding instrument, even with overall digital conversion involved).

-Oscillators

Yes, I know that there is digital involved, but I've been a fan of digital waveforms through analog filters for a long time. The analog-waveshaping oscillators have a nice character and a wide pitch range as well, and a nice hard sync tone. The PWM isn't quite as sweet as the Juno, IIRC. The digital oscillators alias more than I'd expected in a 24-bit DA system, so I use them at lower frequencies with the analog-waveshaping oscillators for hf stuff such as Triangle waves to add harmonics etc.

The instrument sounds clean, but not clinical, and lacks (thankfully) the "brazz" of somem DCO synths.

There is a touch of noise, but that's okay.

Clavinets and bells just pour out of this thing. I usually don't program clavinets either (ION found me making some brass patches, and I don't usually go for those either; interesting how different synths have different "voices" depending upon all of the different tonal and parameter aspects). This is a great device for pads, percussive tones, filter sweeps, leads, bass, SFX, etc. It has a wide range of strong results.

Fear the PolyEvolver! If you like the Evolver, start saving now.

Software 2.0. Some presets are outstanding. Patches are a hair difficult to edit until Dave told me that the Shift button acts like a computer mouse (double-click to "hold" the shift). The manual is well-written and complete.

The dual voice paths with individual modulation potential per path sold me on this unit (along with the sound).

Using the dual paths as individual tone layers is great fun, and several of the factory programs go even further. My only gripe would be that the HPF Fcs aren't idividually available as modulations, as I'm interested in running a sound out of the left side into the right side, and not enveloping the right side at all, but using the filters on the modwheel etc. to process the left side's synth tone. (Don't know if this is possible, if the external ins can be used one side at a time etc., haven't checked the manual).

This unit has some intriguing modulation routings and enough envelopes and LFOs to keep me happy (until there's a lagged Random waveform). Kudos for such a well thought-out instrument.

Modulating the resonance via envelope level and velocity in the 24dB mode gives a bit of the Moog filter response (but not exactly its sound; the resonance on the Moog decreases with frequency and it won't self-oscillate below about 130Hz).

Modulating the envelopes with velocity and with their own outputs with a linear slope, to provide continuously-variable envelope slopes from exponential through log, is a lot of fun and should be on more analog instruments. It's on ROMplers.

This is well-built! Only two issues so far: the encoders seem to require slow movement or they get jumpy at times, and the power supply input doesn't have a tie-off like the Korg Electribes, so if you're not careful, it might get pulled out.

I'm not worried about that too much.

Dave was amazingly fast and informative every time I made an inquiry.

I'd get another one, and want the Poly :-)

I'm using software 1.0. The presets range from atonal, poly-sounding metallic roaring patterns to classic analog timbres. Editing patches has a learning curve, but once you get past that it's really no biggie. It all depends on how deep you want to go. The endless rotarys make sure you don't do anything unpleasant. There is a patch editor on the dsi webpage, but I've not felt the need to download it yet. I've read that the editor will allow waveshaping, maybe I'll download it later. The manual is good for getting started, once you've got the basics, just experiment!

The Evolver is monophonic, but with two analog and two digital oscs and the layout of the synth, it's easy to believe it's polyophonic. Built-in fx include nasty distortion, "input hack" and delays that are really cool. Endless rotary dials make editing so much funnier. The new os means an extra bank of memory, other than that I don't see any direct need for expansions. MIDI-wise, you can control just about anything with anything, to great results.

This synth is like having many of the greatest synthesizer ideas all combined in one small box. It's easy to tell that Dave Smith is involved; many of the presets evoke sweet memories of Wavestation and Prophet sounds. The Evolver is very much alive, and it is extremely rewarding; the more you put into it, the more you get out of it. At the same time, it's hard to make it sound anything but great. Just about any kind of adjustment to a sound is at least interesting, usually pleasantly surprising. That is if you like getting spanked by an analog synth! Anything from aggressive metallic sounds to sweet analog chords is possible.

One strange thing is that the Evolver doesn't seem to go out of tune - the oscillators are extremely stable - and at the same time it sounds warm and alive, just the way I like it. I'm not really sure whether to call this a gigging synth or not, but I have no doubts about reliability. I haven't had a single problem in over six months of use, transporting it between studios.

Upon ordering, I recieved an email from Dave Smith. I neither care nor know whether he sent it himself, but it made me feel really cared for. In the 2.0 upgrade, DSI seem to have included loads of things from the wishlists users sent in. I've also read that a four-voice rack mount expansion box is coming out, sweet!

Come on, at $499 this is a steal! Look at the other monophonic analog synths out there (don't even mention the plug-ins!), and I you can tell this is the one to have. I've been playing for years and years, owning far too much hardware, but this is one purchase I'm glad I made. If you want a monophonic analog synth, this is the way to go! Yay!

This is very easy to use, once you figure how the sequencer is working. Once you do, you find it *very* easy and intuitive. All modulation sources, parameters and sequencer accessible on a cleverly thought matrix. The manual is good, nothing more. It lacks IMO some details about how the sequencer is exactly working because it took me some time to know how it was working, even after reading the manual several times (but maybe it's me ?).

It's a monophonic synth, but each patch can use from one to four oscillators. There are two analog-style osc, and two digital ones. There are four LFOs (extremely welcome !), and each LFO can be redirected to virtually every parameter. In addition, there are four sequencer tracks (from 8 two 16 notes), and the length of each track can be different, giving birth to some wild and ever-changing sequences. Each sequence can also modulate the same destinations as the LFO. One could imagine the power of such a synth. The effetcs include a very nice stereo delay, and a distortion. The midi specs are quite good. Several evolvers can be linked together.

Wow ! It's the word that will come out of your mouth the first time you will use it. And the more you'll use it, the more you'll love. The Evolver is capable of very different patchs, going from haunting sci-fi sounds, to very analog 70'ish sounds, or more digital sounds. I cannot see a limit to this synth. Given the variery of sounds, I can see it used in a lot of music styles.

It seems very nicely built. The knobs and switches are of good quality.

Dave promptly answered to the mails I've sent hims. Very friendly and helpful.

Overall an incredible instruments with a lot to go for it. Capable or extreme sounds and wild sequences or more conventional sounds, and can be easily programmed. Would suit a lot of styles. I'd definitely buy another one if it was stolen. Get it, I'd bet very few of you would be left unsatisfed. Requires an overall good undestanding of the sound synthesis before getting the best out of it.

this is not your bread and butter synth.
Presets are good and useful but needs to be sexed up by you.
editing the sounds is easy but its quite hard to edit the secuences.
it always turns out cool however.

ONE voice were talking monophonic but wait...It sounds like a massive modular..it blurps and rattles ...its alive!
Only delay but it can sound like a flanger.or a chorus.Now it sounds like a reverb.AAAAAGH!feedback in my ear!Now its a delay again.Phew!
Oops now its distorting!AC/DC in a box?
no expansion(we got Rumsfeldt for that)But yes a onboard sequenser.Wich is quite hard to program if you want to make ...melodies?Really easy if you want to make a whooping delaydrone with a chorus of falsetto frogs in unison with a dragon in heat.

Realistic sounds?Sure it sounds like the buzz comming out of Ken Keasys hippiemobile if you know what i mean. This baby together with a sampler and a midiclock and you can create wierdness galore.Or just on its own for thoose lonly hours at the psychiatric care facility.
Just add headphones.(and a Y cable).This is all the analog sounds you need.And it will rip right throu any mix.And it will utterly destroy all sanity.

Thou shalt not have any synthzisers next to the evlolver.
Do not mistrust in Evolver your Lord.For she will guide your music in all your misdeeds.Look at the other keyboards.Weak they are.You shall utterly destroy them with the saudering iron,and then rejoice!
For the Evolver is your synth and its name is jealous.

Dave is a great guy!
Buy direct from him,its the best way!

This will never leave your studio once you get to know it.
It sounds like nothing else in its price group or size for that matter.Maybe it would compare with a modular synth of some kind.
But its not bigger than a videocassette!And so cute!Maybe it could have bben easier to program...but its just a few knobs and buttons so there is bound to be some cutbacks.Still a great score if you like analog sounds.

Presets really show some of the cool stuff the Evolver is capable of; the only problem is that you can't see how it's done. The aforementioned shift functions work fine for me. In terms of ease of use, this synth goes right in between my other synths, of which the Nord Lead 3 is the easiest to navigate and the Roland MKS-80 the hardest.

The fact that you have four oscillators really opens new doors. The built-in delay lines are great, and the smoothed midi controllers work like a wonder. The aux inputs and the ability to trig the sequencer with audio means all kinds of possibilities; the sequencer is a wet dream! If only the filters had multi mode and serial patching on the feature list, this would be a clear 10.

The VCO:s are nice and warm with a lot of prescence, the filters are really warm and smooth sounding, which can be needed for taming the wild sounds this little beast can produce. When self oscillating, the filter sounds wonderful. You can actually do very good Minimoog emulations by using one of the digital oscs as a sub osc. For what it does, it's great; anything from warm, round basses and singing leads to raunchy, distorted digital mayhem and chaos, and anything in between, is possible.

I've had it for two weeks, and not a glitch. I think it's sturdy enough for most applications, however I believe the power cable may fall out easily. It hasn't happened yet in the home studio, but on a stage I'm not so sure. I would use it on a gig after making sure I secured the power cable somehow.

The Evolver arrived two days from ordering, including overseas shipping. This makes me feel comfortable that they'll be there if anything was to happen to it. I won't rate this since I don't feel I have enough info.

This is really fantastic value; compare it to the ATC-X or SE-series, or the Macbeth or Minimoog Voyager synths, and you'll see just how cheap this is. If it would ever leave me, I'd get another one right away. I've been gigging for 10 years, and this is exactly what I want from a synthesizer manufacturer; great new ideas, thinking and craftsmanship. I really love the Evolver, and it fills a void amidst my synths that I did not even see before. Gear: Rhodes 88 stage mk II, Nord Lead 3, Roland MKS-80 Super Jupiter, Nord Electro 2 key, Korg Triton rack, Nord Electro 2 rack, Studiologic SL-161, Roland A-50, Line6 Delay pro, Akai MPK-80 MIDI patchbay, Fostex line mixer, MoogerFooger MF-101 lowpass filter, Small Stone phaser, Vox wah-wah, Mac G4 and DIGI 001.

the software do a magic here. the evolver have a very bad interface
and some times it can be a problem to tweek and kicks.

very versatile for this tiny box you get almost everifing you need for
your spacific sound

god sound a mono analog synth thats realy rocks. a reverb can do somthing here but this synth realy can move your body.

bugs free.

dave smith is a sweet man.

for what i paid for it is not the best buy of my life. in israel everything is expensive and some times when you think vintage you can get amazing things. still it is a very good synth and i keep it close
to me.the seqencer is not a easy to use but you can get a very strange result if you use it with the input.

The evolver's matrix-style UI (described by a previous reviewer), is certainly not as nice as a fully knobbed-out UI, but it's very well thought out, and in practice I don't find it hard to use. In particular, the arrangements of parameters into rows is such that you can keep editing on a single row for a while, just using the knobs. The parameter diagram is quite clear and uses simple graphics to separate out the parameters for various components in a way that makes it fairly easy for your eye to quickly find what you're looking for (and since the synth has many many parameters, this is important).

I find this UI fully as easy to use as some of the recent `kinda-knobby' VA interfaces (for instance on many of Novation's VAs, you must share a single set of knobs among all the oscillators/lfos/whatever, and end up constantly switching between them).

The sequencer is also very accessible: you can toggle the matrix between voice-editing and sequence-editing with just a single button press (though if you forget to press that button, the results can be ... surprising!), and each sequencer step in all 4 sequencers have its own location in the matrix.

I do find the way the shift key works to be a bit annoying -- you must double-click to `lock' the shift, which I find often to be slightly a pain. I'd much prefer a single click to toggle the shift-lock, unless you modify a parameter while holding the shift key, in which case it wouldn't lock (many calculators with shift keys work this way).

It's only a monosynth, of course, but it's very full-featured for one. The analogue functionality is pretty simple -- two VCOs (with hard-sync) and two analogue low-pass filters (they're normally used as if they were a single filter duplicated for each stereo channel, but their cutoff frequencies can be decoupled to a degree, and this can be useful). It's well integrated with the digital side, and the latter is just crazy, with lots and lots of cool stuff that I've never seen on a (non-modular) synth before. There's an external audio input which gets injected into the signal path alongside the oscillators, and a noise source. The external input has an envelope follower which you can use to trigger the envelopes based on the external input.

The digital functionality includes 2 more, sample-based, oscillators (which use one-cycle sample-loops, 96 from the prophet VS, and 32 user-downloadable), which can do osc FM and ring-mod of each other (in both directions simultaneously!), high-pass filters, multiple feedback loops, delays, and distortions, all very much part of the voice architecture instead of just something tacked onto the output like most synth effects units.

For control, there are 3 envelopes (VCF, VCA, and assignable), 4 LFOs (all assignable to many destinations, with a fair number of waveforms, and cool syncing functionality), a four-entry mod-matrix, dedicated modulations for a fair number of midi-control inputs (mod-wheel, aftertouch, etc), and best of all, a 16-step 4-channel sequencer, which can control anything that's modulatable. Each patch has its own set of sequences, so it's easy to just go nuts with this.

In general, the design is quite elegant, taking advantage of the strengths of both analogue and digital components, and combining them seamlessly.

The midi capabilities seem pretty decent, allowing the all the usual sorts of things and having a variety of filter modes to control exactly which midi events are sent or interpreted. Currently the sequencer doesn't send any midi output, but Dave Smith has said he will provide this in a future update. The OS is midi-updatable, incidentally, so any OS improvements should be simple to install.

There's a `midi overflow' mode which allows multiple evolver's to be linked via midi and used as if they were a single polyphonic instrument.

The power supply is an `all voltages' wall-wart, that comes with a variety of different adaptor plugs so that can be used just about anywhere in the world.

Basically it just sounds wonderful. The VCOs and filter can sound very sweet and clean and have a nice `deep' sound at low pitches. The digital oscs can be used for rougher or more clangorous tones (though they can sound pretty sweet too), well controlled by the filters. The feedback can be used for both subtle thickening and wild out-of-control screaming. The distortions sound great and crunchy. The delays also sound good, and can be synced to the clock.

The overall tone palette is very wide, from thin pure sounds to utterly absurdly huge and complex ones that you will NOT believe are coming from a monosynth without effects. The deep modulation possibilities and the sequencer make it easy to create dynamic ever-changing sounds (the name `evolver' is well-chosen indeed). Because the oscillators sound great individually, it's quite reasonable to have all 4 of them playing separate melodies, something which the factory presets take great advantage of (some of them will really make your jaw drop).

This is an instrument you simply don't need to put effects on, it just doesn't need them.

A good tag-line for this synth might be `I can't believe it's a monosynth.'

It seems physically very robust and well-made: the case is all steel, and the knobs solid, with a good feel. The OS is simple and straight-forward, and seems unlikely to be a problem.

I haven't need support so far, but I've exchanged email with Dave Smith (the company, as far as I know, is only one guy!) and the response was quick and friendly.

I've heard stories from others about needing something fixed, and apparently he was extremely supportive and helpful.

This is just one of those synths that just clicks.

There are a lot of simple analogue monosynths currently on the market that sound pretty good, but I've seen nothing that's as inspired (and inspiring) as the evolver, which takes a sweet analogue core and adds layers of digital sound mangling and control that vastly expand its repertoire. It sounds great, and despite the relative complexity of its voice architecture and low-end user-interface, is fairly simple to use. I see it as an elegant compromise between analogue and digital synthesis, which manages to combine the strengths of both.

Not only would I buy it again if stolen, I'm seriously thinking about buying more of them; I wish he'd release a polyphonic version!

Fairly straightforward, and will get easier with extended use. Sound Diver adaptation makes it a breeze - edit iton the PC and then tweak live - mmmmmm!!!

Awesome - this is one feature packed monophonic synth. It invites musicality, not just tweaking...and it sounds awesome in a mix - just the right mix of power and subtlety.

Incredible array of sounds. Ive never heard one analog based machine have so many different sounds, and the sequencer is the best feature on ANY synth I own or have ever owned...this baby rocks!!

Brand new, built like a brick sh..outhouse!

Great company, excellent personal service - double thumbs up.

Overall one of the best synths Ive ever bought. So many features, yet so easy to use. This baby will go down as a future classic, snap one up before its too late.