Wish their preset system was different. Am finding some amazingly unique sounds in the Polymoon and Enzo but there is no Save As function, only Save to current preset where, usually, is another sound I want to keep.
Picked up an Enzo recently. Initial thoughts FWIW. And in case it matters I'm using this on keys rather than guitar
Very interesting pedal with a lot of possibilities. If it's a keeper, I'd probably be using this in a parallel chain to modify loops. I am using an infinite jets for that and this seems like it could perform a similar function.
Like everyone else, I think the labelling could be greatly improved. The alternate functions are pretty integral to the pedal and should be clearly labeled. (See Infinite Jets for examples.) Similarly, when knobs are selecting different alt parameters based on where they are set (e.g., filter type) there should be something visually depicting that. I like clean graphics as much as the next person, and I'm not a fan of text menus. But there should be a catchy way to provide the needed info.
If you're not trying for 80s synth sounds, you'll definitely want to spend some time with the alternate functions - particularly the filter and waveform.
At first I thought the filter was super bland, but there is a width control (alt + filter env) that can get some nice sounds. Ideally I would like a different taper on this control, as it seems to be pretty bland from min to noon, and then it gets super resonant very quickly. I'd rather have the higher resonant part spread out over more of the knob - but then maybe that's just me.
The polyphonic tracking is great, and the arp is pretty amazing in its ability to take a dense cluster of notes and sort them out.
The gliss/portamento control seemed a bit wonky. It didn't seem to do a smooth glide from one sustained note to the next. Instead, the starting pitches for the gliss seemed to be almost random. Maybe I'm misunderstanding something about how it works. But putting that aside, it's still a nice sound. Ideally, I'd like a different taper on this too - a longer range overall, and then compress the short gliss settings into the first part of the knob range. But that may also just be me. EDIT: Just re-listened to the Knobs video - he was using it in mono and the gliss sounded fine; can't recall if I was trying it in poly but will explore further.
I'd prefer to have a dry volume control, or at least a more easily accessible dry kill switch + wet volume. Like many pedals with strong filters, wet/dry levels often needs a lot of tweaking to keep them balanced, and I don't find a simple wet/dry mix to be a great way to handle that.
I personally don't find a need for presets. Although it can do a lot of stuff, I feel like the range of controls is within the scope of what I can manipulate on the fly. At least once I get the alt functions memorized or labeled...
The alt functions are what they are, not super intuitive but I apprecuate the whole form/function choice and with pedals this complex there's always going to be some level of compromise.
I do have to say that with the Enzo I am struggling to get sounds that aren't total cheese so far. I'm sure that's down to me but I was able to get a decent version of Chameleon going so that's something.
I think somebody has got a midi editor going for the Meris line which might be worth looking into. I don't really want to start down that road but the Enzo certainly is so deep it would probably be worth it.
So I got an Enzo over the holidays, and I found something I thought was worth sharing. Hopefully I'm not just rehashing shit someone else said in here. Since the tracking is pretty solid, the Enzo actually handles having a little bit of dirt in front of it really well. I've got a fuck running into it at a hair above unity but with a decent amount of clipping. This completely changes how the envelope follower mode reacts, way more that you would expect. I've been able to get these crazy water droplet ring mod sounds and in poly you get much bigger chords that sometimes have kinda weird but fun tones thrown in. It might be worth experimenting with if you're trying to get away from the 80's synth sounds.
I'm curious about that, since the clipping is compression. I have a feeling that the added harmonics are also playing a role here, but I could be wrong!
Chankgeez wrote:Yeah, it may be all that. Anything that'll change the envelope is worth a try. Modulation?
Modulation does some sexy things in Mono mode for sure. I ran my Shallow Water in and it tracked like a charm. I remember poly mode being less awesome, but that was a long while ago. I think it'd be rad to run some kind of phasing/flanging ahead of the arp mode though, you could probably get some sick evolving arpeggios based on frequencies being highlighted/cut in the modulation sweep.
baremountain wrote:
Modulation does some sexy things in Mono mode for sure. I ran my Shallow Water in and it tracked like a charm. I remember poly mode being less awesome, but that was a long while ago. I think it'd be rad to run some kind of phasing/flanging ahead of the arp mode though, you could probably get some sick evolving arpeggios based on frequencies being highlighted/cut in the modulation sweep.
Yeah, not all modulators are created equal and not all envelope-dependent devices are either. Always takes a little experimentation to find out how things react to each other. Sometimes simpler modulation works better just because it's less complex. Tremolo usually works pretty well. Although, sometimes complex modulators will mess things up nicely.
Enzo: Really needs a Save As feature. And it is really annoying that every time you turn a knob with Alt pressed, it saves over the current preset. I'm losing some great sounds.
I came across this great lead sound last week. Think "She Don't Use Jelly" era octave sounds with Coyne singing "Na" behind every note. Or at least that is what it sounds like to me. But I can't recreate it, exactly.
Does anyone truly understand the Decay/Attack knob? It never seems to do the same thing twice. On this lead sound, the Ring Mod is turned to just so: A point where the two voices are heard almost simultaneously but not quite. With the Ring Mod turned up, the Decay/Attack knob only seems to affect what part of the signal is ring modded. If the knob points to decay, the back half of the signal is ring modded. If the knob points to attack, the front half is. But without the Ring Mod turned up, it sometimes affects the ADSR of the waveform, and sometimes not. The manual doesn't really explain anything about it, surprisingly, given Meris manuals seem to take joy in explaining their work.
Anyone have any observations on the Decay/Attack knob that might help illuminate wtf it is doing?
manymanyhaha wrote:
I came across this great lead sound last week. Think "She Don't Use Jelly" era octave sounds with Coyne singing "Na" behind every note. Or at least that is what it sounds like to me. But I can't recreate it, exactly.
If you can, you should post a clip. I'd love to hear it.
manymanyhaha wrote:
I came across this great lead sound last week. Think "She Don't Use Jelly" era octave sounds with Coyne singing "Na" behind every note. Or at least that is what it sounds like to me. But I can't recreate it, exactly.
If you can, you should post a clip. I'd love to hear it.
Only if you agree to forgive the shitty playing Still trying to figure out wth I'm doing with this song
Not sure how to post soundcloud but I think you can follow the link.
Tremolo usually works pretty well. Although, sometimes complex modulators will mess things up nicely. 
Still trying to figure out wth I'm doing with this song
So, "shitty" playing forgiven. 
