These switches have a middle ‘off’ setting - but when you choose it, you don’t get silence. On the panel are a number of three–way switches, and the behaviour of those responsible for oscillator waveform selection deserves a mention. The largest knobs are reserved for tuning the two VCOs, adjusting the filter cutoff and setting the output level. However, I’ll take that response over ‘light and easily disturbed’ any day. Several of the smaller variety are quite weighty - so much so that it was hard to move them quickly at first. Only a few are packed too close for comfort. It measures a substantial 225 x 160 x 55 mm, is edged in wood and populated with classic–style knobs of high quality and mixed size. The low–cost analogue market has never been more alive - so are these attributes enough to separate this attractive desktop synth from its rivals? Green Boxīefore me sits a rugged metal box painted in grey and a shade of green that suggests fluorescence (which, sadly, is not the case). Add to this a built–in MIDI-to-CV converter, distinctive filter, echo unit and patchbay, and you can dismiss any fears of Greeks bearing gifts. The Erebus has what I later perceived to be a carefully chosen blend of features, not least that it’s probably the most affordable duophonic analogue synth around. Dreadbox began by making boutique pedals, only branching into synths in 2013 with the Murmux Pedalsynth, a fat bass machine for players with nimble feet. Unlike Greece’s primordial god of darkness, after which it is named, Dreadbox’s Erebus synthesizer is not born of Chaos but of a chap called John in Athens. The Dreadbox Erebus is an unusual small–format synth with an inviting price tag.
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