Found this cool comment by KeepitABuck2025 on Loopop's G2 One/Key37 video & had to share it:
MPC One G2 vs MPC Key 37 G2 // & OS 3.9’s Wild New Oscillators // MPC G2 Review
loopop
https://www.youtube.com/watch?v=WqmIaAly6LM@KeepitABuc2025
-“I do own a key 61 The *ASM Hydrasynth* is legendary for its digital "Wavemorphing" engine, massive 32-slot modulation matrix, and highly complex Mutant modifiers (like Pulse Width Squeeze, Linear FM, and Wavefolding).
With the *MPC 3.9 Keygroup Oscillator* update, you can simulate many of the Hydrasynth's core concepts. While the Hydrasynth has specialized hardware "Mutants," the MPC’s new synthesis architecture allows you to mimic its complex, shifting digital waveshaping. The layout maps to the Hydrasynth's core features in the following ways:
### 1. Simulating Wavemorphing & Mutant Engines In the Hydrasynth, you select a starting wave or a set of 8 wavetables and morph between them.
In MPC 3.9, you can achieve this heavily modulated digital texture using specific oscillator models: * *Wavetable Engine:* The MPC 3.9 *Wavetable* oscillator allows you to import custom wavetables. By routing an LFO or an envelope to the *Osc Position* parameter, you can duplicate the Hydrasynth’s signature scanning/wavemorphing sounds.
* *The "Mutant" FM / Ring Mod Emulation:* The Hydrasynth uses Mutants for FM and Ring Modulation. The MPC 3.9 architecture features dedicated *FM2* (2-operator FM) and *RM3* (3-operator ring modulation) oscillator types. You can map parameters like FM Level, Feedback, and Decay inside the MPC to mimic the metallic, bell-like, and aggressive industrial tones typical of a Hydrasynth.
* *PWM & Squeeze:* The MPC's *Pulse* oscillator features variable pulse width control, allowing you to replicate standard PWM textures directly at the oscillator level before hitting the filter.
### 2. Mimicking the Massive Mod Matrix The Hydrasynth's primary workflow revolves around its expansive Modulation Matrix. Because MPC 3.9 upgrades the Keygroup architecture with a deep **32-cell Modulation Matrix**, multiple LFOs, and advanced envelopes per voice, you can replicate complex patches: * You can route an LFO to modulate the crossfade (xfade) or position of a wavetable layer, while a second LFO slightly modulates the pitch (Per-Voice Drift LFO) to simulate the organic drift of analog or high-end digital hardware.
### 3. Exploiting Multi-Layering (Going Beyond 3 Oscillators) The Hydrasynth features 3 oscillators per voice. Because an MPC 3.9 Keygroup track allows you to layer up to *8 independent oscillators* simultaneously, you can build sounds that are structurally even more complex than a standard single-patch Hydrasynth: * *Layer 1 & 2:* Set to Wavetables for the shifting morph pads. * *Layer 3:* Set to an RM3 or FM2 oscillator for a metallic, transient "pluck" at the attack phase. * *Layer 4:* Set to Saw/Square or Warm Sine to act as a solid analog sub-bass foundation.
### 4. Polyphonic Aftertouch Expression One of the Hydrasynth's defining physical traits is its Polyphonic Aftertouch keybed. If you are playing your MPC 3.9 Keygroup via an *MPC Key 61* (which features a keybed with aftertouch) or an external MPE/Poly-Aftertouch controller, the MPC 3.9 engine can receive that data. You can map *Aftertouch* as a Source in the MPC's Modulation Matrix to control filter cutoff, wavetable position, or FM depth per-note, matching the exact expressive playstyle of the Hydrasynth hardware.”
