Most of the Quasar's numerous functions are accessible from single buttons, which is preferable to the convoluted parameter-access systems in use by certain manufacturers. On the whole, the buttons were straight-forward and easy to use. Although not incredibly large, its lettering is large and bold, and is infinitely better than the bog-standard LCDs of many other modules. The backpanel reveals that the Quasar has six outputs (always nice to see) and the 16 parts can be assigned to the four separate outs, or just spread across the stereo outs.Īnother commendable feature is the clearly-visible character display screen. It gives the machine an identity which is in keeping with its innovative features. It's nice to finally see a product of this kind with a name, rather than a load of numbers. The facade is tough and seems durable, but I found the knobs and controls a little plasticky. Tasty rear view: Quasar sports six audio outputs and two MIDI inputs.Īt first glance the Quasar looks modern, user-friendly, and exciting. The arpeggiator has parameters similar to a gate, and can give sounds a percussive dimension. Another interesting addition is the arpeggiator, which, when you hold down chords, plays a sequence of each single note either randomly, or with a choice of up or down scales. They can all can be easily edited on the 2 x 40-character display. There's 64 note polyphony and the Quasar is also GM compatible.Īside from this, the Quasar offers 2 independent digital effects processors, and a diverse range of treatments from panning to modulation effects such as vocoder. Like other synth modules, it has 16 parts, the 10th being the drum-part, and all can be used simultaneously. Not all the parameters are changeable, but if they were, the Quasar would be almost impossible to work with. Basically, when one of the 1000 samples is selected from the bank, it's automatically processed via these functions giving some of the strangest, most imaginative effects I have ever heard coming out of a mere box. incorporates many of the different synthesis techniques from the last decade or more, including Pulse Code Modulation, Frequency Modulation and Additive Synthesis. Codenamed M.A.S.S., or Multi-Algorithm-Sound-Synthesis, its mission is to simulate vintage analogue technology without the aid of an oscillator. The difference is, these ones haven't been bought off the shelf.īecause lurking within the circuitry of Quasimidi's new Quasar synth is a secret weapon. Or is it? A repertoire of 1000 on-board sounds and drumkits is getting to be pretty standard. He is her home, which leaves one wondering what awaits her in future Mass Effect games.OK so it's another 16-part multitimbral synth module. Crying before he ran off to meet his end, Tali tells Shepard she already has a home. She enthusiastically stands by Shepard in the fight to take Earth back from the Reapers, but she knows in her heart that they don't have nearly enough time together.Ĭritically wounded in that final battle, Tali begs Shepard not to leave her behind, but he tells her to go on living and make a home on Rannoch. They also have a number of quirky, romantic moments during the Citadel DLC that make their romance worth pursuing. Shepard and Tali fight side by side, right up until the final battle. Saving the Quarians and their homeworld inspires hope in Tali, and fostering the alliance with the Geth that Legion died to procure creates a new bond between the Geth and Quarians, one that could benefit them both in the future. This prompts Tali to commit suicide by flinging herself off a cliff, no matter how much she loves Shepard. The mission to save Rannoch becomes one of the most important missions for a Shepard romancing Tali'Zorah because siding with the Geth or promoting any other compromise with too low of a Paragon level endangers the Quarian Fleet. RELATED: Mass Effect: Saren's Evil Plan Was ALMOST Perfect
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