Lastly and most importantly, this thing sounds great! Last are stereo spread control, master output and panning controls. You can also choose the number of Unison Voices independently, and using the Unison Spread Parameter, they can be detuned relative to each other. Global controls include polyphony and voice settings (1 – 32 voices). In most cases, clicking and dragging on a waveform or envelope will directly affect it, and double-clicking on it will expose additional controls for tweaking. There is a nice catalog of Preset sounds intelligently organized, as well as a menu for Delay presets.
The Modulation Display section can be replaced with a Keyboard Display with Bend and Mod Wheels for experimentation and auditioning purposes, if you don’t have a controller accessible. Each point in the LFO is movable and you can add new points after a shape is created making this an extremely versatile modulator. They offer some unique possibilities in terms of LFO shapes, including up to 16 step sequence points, predefined rhythmic beats, and a heartbeat among others. The Modulation Section is extensive and the user can add modulators as needed including: The Output sections give controls for Dry and Wet level and panning. Again there are plenty of click and drag key options that enable fast and intuitive control. The Delay section in the Twin 2 allows for stereo delay, cross feedback, sync or free settings, two delay filters (identical to those in the dedicated Filter Section mentioned above) and variable routing between delays and filters (serial, parallel, per delay). So you don’t have to duplicate effects chains in other sessions to get the same the sound.
The benefit of having effects in the instrument itself as opposed to external plugins, is that the effects stay with the preset. This is not always obvious to the first-time user, but it’s quite clear in the Twin 2. As with most synths, one of the envelopes is hardwired to amplitude, but can also be used to modulate other parameters simultaneously. The Main Amplitude Envelope is displayed and adjustable in the top signal path window, as well as in the Modulation section, which makes sense. You can adjust the cutoffs independently or move them together by dragging the link icon in the interface. There is a “Filter Characteristic” menu that seems to add various flavors of distortion. The Filter Section provides two multi-mode filters (LP, HP, BP) with adjustable slopes (12, 24, 48) and adjustable routing (serial, parallel, per osc). Using key modifiers like the command or shift keys will change functionality and everything is described explicitly with well-conceived mouse-over pop-up hint windows (which can be toggled off as well). You have easy access to tuning and wave shapes by clicking on the waveform icon itself and dragging either vertically or horizontally. The sound generation section includes three oscillators with all the basic wave shapes plus white and pink noise generators. Since I’ve been writing a lot about synthesis lately and just released my Synthesis 101 course, I thought I’d take a deeper look at the FabFilter Twin 2. If you haven’t tried them, I suggest also looking at the Pro-C, Pro-Q 2, Pro-R, and Saturn ( FabFilter tutorial playlist here). Admittedly, I’m a big fan of the FabFilter plugs in general and find their sound to be top-notch and their GUIs elegant. The FabFilter Twin 2 subtractive synth may be the most underrated of all the plugins in the FabFilter collection.
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