{"id":29855,"date":"2014-09-08T14:48:18","date_gmt":"2014-09-08T14:48:18","guid":{"rendered":"http:\/\/greatsynthesizers.com\/?post_type=test&p=18311"},"modified":"2019-03-26T17:24:16","modified_gmt":"2019-03-26T17:24:16","slug":"mfb-dominion-1-a-deluxe-analog-synth","status":"publish","type":"post","link":"https:\/\/greatsynthesizers.com\/en\/review\/mfb-dominion-1-a-deluxe-analog-synth\/","title":{"rendered":"MFB Dominion 1 – a DELUXE analog synth"},"content":{"rendered":"

To tell the truth, I’ve stolen the expression DELUXE from someone else. I stumbled over the idea that the MFB Dominion 1 synthesizer should actually be called “Dominion Deluxe” while reading a short description on the Schneiders Laden<\/a> website. And Andreas Schneider kindly gave me permission to spread this idea among our faithful readers. So the new MFB offspring will now be called DELUXE – a noble attribute it well deserves.<\/p>\n

\"MFB-Dominion1-01\"<\/a><\/p>\n

H<\/span>ow did MFB come to build such an impressive synth? Let’s turn the clock back a few years. 35 years, to be exact. In 1979 Manfred Fricke began producing synthesizers, sequencers and drum computers, which is to say he began building electronic music instruments. His small company in Berlin has since brought out many interesting products, notwidthstanding the trials and tribulations of time. Dominion 1 appeared on the market in the summer of 2014, after an imposing 3 years of development by Manfred Fricke and Uwe George Giegler (aka yapacc).<\/p>\n

Our earlier\u00a0report on the MFB Dominion X \/ X SED – the OSCar effect<\/a> included an in-depth discussion of the Dominion desktop version. Many of the nice little details discussed there are still relevant, of course, but the keyboard version has some new little niceties as well.<\/p>\n

\"MFB-Dominion1-02\"<\/a><\/p>\n

Our songs of praise for the Dominion 1 should be underscored, considering the scanty range of new analog synthesizers on the market today. Yamaha and Roland don’t feel any necessity there and have no analog synths in their program. Korg does go along with the fun, but their analog groove instruments (Volca Series<\/a>) are rather small, aside from those diverse MS-20 clones. So, let’s cast a glance not at the BIGGIES, but at the LITTLE ones.<\/p>\n

Moog is still clinging to the successor-of-the-successor-of-the-successor-of-the-Minimoog concept. Voyager, Little Phatty, Sub XY – … for those of you who still don’t have a synth with a cascade filter: you can choose amongst the many! Tom Oberheim’s SEM modules are well know and reliable. And Dave Smith has remained loyal to his Prophet-line – Prophet-12, Pro-2: old classics in new cloths – at least according to their name (the technical part, of course, is brandnew and up to date). Arturia’s hardware synth-debut with MiniBrute<\/a> and MicroBrute<\/a> is a promising start on the analog side of things.<\/p>\n

\"MFB-Dominion1-05\"<\/a><\/p>\n

So the world market is more or less flooded with new analog synths based on the names<\/em> of old classics (but without the instrument’s original sound quality), with a few exceptions here and there. However, innovation is something else, more a domain of the modular\/Eurorack field (Endorphin.es, Make Noise, Cwejman, Doepfer, Verbos …) and of the stand-alone synth-area (MacBeth Elements, Dreadbox Murmux, Vermona PERfourMER MKII<\/a>, Elektron Analog Four …). Be that as it be …<\/p>\n

MFB’s\u00a0Dominion 1 is in many ways just the ticket. This analog synth (3-octave- keyboard, MIDI, CV-patch field) with its vast sound architecture and its many controllers is the product of an unusual concept. Dominion 1 is one of those rare instruments that completely covers\u00a0studio analog sound-and-performance requirements. Add a polyphonic synth, a drum computer and a notebook (for recording) and you’re all set! Nothing else is needed – the Dominion 1 fullfills your every wish. That’s its job.<\/p>\n

[Ok, ok … the new Arturia MatrixBrute<\/a> surpasses the Dominion 1 in many ways. But while Arturia synthesizers (generally) sound a little clinical and straight, the Dominion 1 offers an amazingly warm<\/em> – deeply analog – sound.]<\/p>\n

\"MFB-Dominion1-03\"<\/a><\/p>\n

The hardware
\n<\/b><\/h2>\n

T<\/span>he Dominion 1 is suprisingly heavy. A well-built metal case, solid wooden panels – no complaints there. It’s great that it has an integrated power supply (not to be taken for granted these days). The big knobs are comfortable to use (don’t worry – we’ll get to some criticism later). Those white (or black) dots watching you from the buttons are lovely remeniscences of the vintage RSF Kobol synth. The various color combinations allow for a quick overall survey of the sound architecture.<\/p>\n

Whereby dreams are allowed. To be honest, the “ideal” Dominion 1 would be somewhat larger. The closely positioned knobs have resulted in miniscule printing. A little hard to read, a little hard to adjust. Font size 8, we would estimate. And that is not very large. Affording good lighting and exacting glances, if you want to keep everything under control.<\/p>\n

Which is to say a larger Dominion 1 would allow not only for more room between the knobs, but also for larger font size (8.5 – smile). Not to mention that there would be room for a 3,5- or 4-octave keyboard, along with an extra pitch bender \/ mod wheel unit in addition<\/em> to the existing ribbon controllers. That would be luxury pure.<\/p>\n

\"MFB-Dominion1-08\"<\/a><\/p>\n

Be that as it be, the Dominion 1 knobs are very good. You can get a good grip on them, they are large and stable. We can’t say the same for the faders. They are one of the very few weak points of the instrument. They sort of sprawl and wiggle. Which is just a little dent in the excellent impression Dominion 1 has made on us. Something we can live with. And something you can certainly make excellent music with.<\/p>\n

And then there are those little black switches – for selecting sounds (a grand total of 128 can be saved!), and for various system functions. They do a good job. The two ribbon controllers are of high quality and the cv-panel jacks are well-attached to the chassis. So, aside from the faders, the overall hardware quality is on a high level.<\/p>\n

A small but very remarkable new aspect deserves to be mentioned here. The printing on the back appears doubled: normal and upside down. Which is something you also find by the diverse Manikin- and Jomox-instruments (shall we call this a Berlin nicety?). Very useful when changing MIDI connections, for example. Slightly upending the instrument gives you a full view of the rear side connections.<\/p>\n

\"MFB-Dominion1-14\"<\/a><\/p>\n

The concept<\/h2>\n

B<\/span>efore taking the individual parts of the Dominion 1 into consideration, let’s take a quick look at the overall concept of the instrument.<\/p>\n

It didn’t take long for the Dominion 1 to gain its reputation as the epitome of monophonic analog synthesizers with keyboard, MIDI and CV\/Gate. That is to say the epitome of monophonic analog synthesizers with keyboard, MIDI and CV\/Gate along with all its inherent creative possibilities. To say it in a nutshell, the perfect (monophonic) analog synth many musicians have been looking for.<\/p>\n

As far as hardware design is concerned, we would certainly welcome an expanded version of the Dominion 1 (more distinct lettering, better faders and an extended keyboard). But wishful thinking aside, what are we really looking for? There is nothing spectacular missing on the Dominion 1. It has everything<\/em>. And it can do everything<\/em>. All modulations, all thinkable connection possibilities, all kinds of filters, lots of controllers … its concept is nearly perfect.<\/p>\n

Taking it from there, let’s look at the Dominion 1 in detail …<\/p>\n

3 versatile VCOs<\/h2>\n

\"MFB-Dominion1-17\"<\/a><\/p>\n

T<\/span>he 3 VCOs<\/strong> are – more ore less – identical:<\/p>\n