While Goliath may not appeal to more left-field samplists seeking to use their own snippets and warp them beyond recognition, it does provide top-flight sounds that are ideal for use in songwriting projects and filmscoring.
Pounding through the patches rapidly reveals a wealth of well-recorded and cunningly processed patches equipped with useful, velocity-switched variations and bags of opportunities for applying your preferred MIDI controllers. Rather than bog the product down with whizzy extras, such as EQs and compressors, Quantum Leap appears to have concentrated on the quality of the basic sounds. Articulation keyswitches are highlighted in blue on the keyboard at base. But what's really useful is that you can readily see any patch articulations, thanks to a panel at bottom right, and even switch them off or unload them. The Envelope section is more generous, with control over Attack, Hold, Decay, Sustain and Release. ADT, with modulation, features, as does a minimalist filter with just Resonance and Frequency knobs. Sound-sculpting options are limited in that the delay only has only Time, Feedback and Level controls, while Reverb presets are limited to a lone Level rotary. Multiple patches can be loaded into a single instance of the Goliath interface and routed to nine stereo audio outs, although any pair can be made mono.
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