The Best Software Instruments for Industrial Music, Part Three: Rob Papen Predator

Rob Papen Predator
Here's a software synthesizer that has shown up in probably every Dead When I Found Her track, often more than once per track. It's probably my most-used software instrument after the Korg Legacy emulations (see my blog about the amazing Mono/Poly emulation in the first installment of this series). There's a lot to love about this thing, aside from the great (and all too appropriate for the industrial genre) name.

First the details: Predator is a modern "virtual analog" subtractive-style softsynth that could arguably be viewed as a MiniMoog-on-Steroids. I compare it to the MiniMoog because, like that most classic of classic synths, the main structure of the Predator is built around three oscillators that feed into one filter and then onward to the amp (technical point: the Predator has a very simple second filter as well, but it's fixed serially after the first filter, so there's no parrallel filter action going on here). The Predator features plenty of modulation options; more, in fact, than you are likely to make use of for any given patch. There are four envelopes (two dedicated as the expected filter/amp envs, and two free to be assigned wherever) and three LFO's, plus a very generous selection of onboard FX and, maybe the real prize here, one of the best step-sequencer/arpeggiator combos I've ever come across on a softsynth, if not the best. I say this because of it's enormous flexibility and furthermore its ease-of-use, which is second to none.  Each of the three oscillators can load from a large number of waveforms that go well beyond the standards. Lastly, the Predator comes packaged with presets numbering in, no joke, the thousands, and even more surprisingly, the majority of them are really great sounding and very usable. Which means this synth works wonderfully both for from-scratch programming and also preset-tweaking.

What makes it industrial? Well, perhaps my own songs can explain this better than any words can. The plucked-style, tap-delayed, arpeggiated melody lines that feature prominently in "Lost House" (from right when the song gets going after the intro drums) and "Taking Shelter" (during the New Order-style mid section of the song) were done with the Predator (and with the same patch in fact, though altered slightly), using quick attack/decay envelopes and extensive use of the step-sequencer-as-arpeggiator. And that chorused-bass that comes in during the same part of "Taking Shelter" -- the one reminiscent of the classic Mentallo & The Fixer bass style of quick 16th note punches on a single note, transposed up and down -- was also done with this synth, again using the arpeggiator.

I should also note that I'm very fond of the Predator's GUI -- I'm a real sucker for a GUI design that puts as much information as possible on a single screen, without much if any tab/menu switching, while still managing to look sleek, attractive and organized. Predator excels on this point. The arpeggiator is pretty much the only item tucked away here, which is no big deal; otherwise you've got all your knobs for the filters, oscs, lfo's and envelopes visible at all times, and meanwhile looking very sleekly industrial with the black/silver/red graphic design.

Programming Tips:

I tend to use Predator as a "bread and butter" type instrument: it supplies melodic lines, punchy basses, and smooth pads for my songs; whereas I leave more complex layered sounds to the likes of Rapture and Absynth. This approach seems in fitting with Predator's relatively straightforward VA Subtractive approach to synthesis, though the wide selection of non-standard waveforms and multiple modulation routings certainly could be employed for crazier types of sounds.

My main tip here is simply to make special note of the sym, sub and spread knobs located on each of the three oscillators. Sym is like having a Pulse Width Modulation control that isn't limited to Pulse/Square waves: it modifies the symmetry between the two halves of the wave cycle for any given waveform. This is a great, rarely seen parameter that can result in huge changes to the harmonic content of the wave with just small changes of the knob. Sub is a more commonly seen (but always extremely useful) parameter that adds a square wave pitched one octave below the oscillator's frequency, lending low-end oomph. Spread functions like a unison mode, doubling the oscillator and de-tuning it slightly. All three of these allow you to seriously fatten up the sound of each oscillator, making Predator ideal for thick bass and lead sounds -- again, making this a great "bread and butter" synth for song elements that cut through the mix and play a prominent role in your compositions.

Lastly, use the step-sequencer+arpeggiator to full effect: this thing is perfect for programming elastic, quick, snappy bass patterns in the vein of Leatherstrip, making it an ideal tool for harder-edged EBM style music.