"!EARLY BIRD SPECIAL! Quanta is US$7.99 until Sept. 1st!!
Quanta is a six-voice granular synthesizer for iOS11+ in both standalone (with Inter-App Audio) and AudioUnit V3 formats. Quanta for iPad is fully compatible with the full version of Quanta for macOS and Windows; visit audiodamage.com for a PDF manual, audio samples, and video demonstrations.
Quanta will work on any iPad that can run iOS 11, but keep in mind that it is a feature-heavy desktop quality synthesizer, and would prefer a 2017/2018 iPad, or an iPad Pro. If you're experiencing CPU issues on lower-end machines with the standalone, try changing the main display to FEG or FLFO, which don't require redrawing and which will be significantly lower in CPU usage.
"Quanta is a ten-voice true-stereo hybrid subtractive/granular synthesizer with dual filters, four FEG (flexible EG, essentially a 99-stage totally arbitrary breakpoint generator), two FLFO (arbitrary waveshape LFO), two multi-mode filters, a virtual analog oscillator, full modulation matrix, and over 120 factory presets from yours truly [Chris Randall], Richard Devine, Joseph Fraioli, Chris Carter, and Marcus Fisher."
The iOS version will be along in approximately 2 weeks.
Granulate!
Quanta is a full-featured ten-voice true stereo granular synthesizer, with up to a hundred 1000ms grains per voice, and full control over the grain state, with direct randomization and modulation of most parameters. Drag-and-drop a sample (WAV, AIFF, Ogg, or FLAC) on to the window and go to work.
Synthesize!
With two multi-mode filters (with LP, HP, BP and notch in 2-pole and 4-pole topologies), and a "sidecar" virtual-analog oscillator and noise generator that can be used in addition to, or injected into, the grain engine, Quanta is a fully capable subtractive synth in its own right, and will work as a granular or subtractive (or both) synth without any sample at all.
Modulate!
Quanta has mod coming out its ears. First up are four of our new FEGs (Flexible Envelope Generator), a 99-point looping function generator with optional host tempo sync. Then add two arbitrary-waveshape LFOs, a multi-source sample-and-hold module, and fully user-controllable MIDI assignments, with nearly every control on the panel as a destination.
Control!
Quanta is customizable to your taste and playing style. With full MPE support, it can take advantage of the extended control set of your Linnstrument, Seaboard, Soundplane, Continuum, or other MPE controller, and support for TUN files lets you use tuning tables. The resizable Hi-DPI GUI lets you adjust the size to match your visual needs, and the cross-platform preset mechanism lets you share your creations with you.
Physical pre-orders from the planet-mu store and bandcamp will receive a FREE limited edition 19 track bonus album on CD-R and will be automatically entered to win a modular starter kit by Tiptop Audio which includes a Z3000 MKII Smart VCO, Happy Ending Kit as well as a 20 percent discount on a one time purchase of additional modules.
Sequencers used are the Industrial Music Electronics Stilton Hammer MKII (SHMKII), Tiptop Audio Circadian Rhythms (CR) and Intellijel Metropolis.
Chords: Make Noise tELHARMONIC sequenced by the SHMKII which is synced to the CR. clock is internally divided by 8 on the SHMKII. The change in chord harmonics is by way of increasing the level sent to the Tiptop ZDSP which is running the shimmer verb card by Valhalla DSP. Filtering fun with the Cwejman MMF-1.
Bass: this is the Roland 521 and 512 sequenced by the SHMKII and processed through the L-1 Stereo Micro Compressor.
Lead Melody: Intellijel Atlantis Sequenced by the SHMKII and processed through the Qu-Bit RT60.
Acid: Intellijel Rubicon with Cwejman MMF-1 sequenced by the Intellijel Atlantis which is synced to the SHMKII. modulation to filter and envelopes from the XOAC Batumi with Poki, Maths and Tiptop z8000. (happy fake 303 day ;)
Kick: Blue Lantern Asteroid BDv4 sequenced by the CR.
Snare: Hex Inverter Mutant Clap sequenced by the CR. FX throws to the Mungo D0, Make Noise Erbe Verb and SSF/WMD DPLR
Metallic Clangs: Noise Engineering Basimilus Iteritas sequenced by the CR with FX throws to the Modcan Dual Delay in dual tap which is synced to the SHMKII. Modulation from the XOAC Batumi.
Percussion 1: hex Inverter Mutant Snare sequenced by the CR.
Percussion 2: ALM Dinkys Taiko Sequenced by the CR.
The melody starting at :40 seconds is the TipTop Audio ZDSP running the "Grain de Folie" card which is processing Mutable Instruments Elements thats being sequenced by the Circadian Rhythms and z8000 with voltage quantization by the Intellijel µscale. The program used is #6 "Six Grains Stereo". Modulation to grain sizes 1 and 2 coming from the Modcan Quad LFO.
///// from the manual /////
Granular Synthesis uses small slices of sounds (‘grains’) to compose new sounds from existing material. By combining multiple grains of differing lengths, amplitude, pitch and speed creates very characteristic sounds of modern music.
patch basics:
sequencers used are the tiptop audio circadian rhythms (CR), z8000, modcan touch sequencer (TS), intellijel metropolis and 2x make noise pressure points with brains.
CHORDS: make noise tELEHARMONIC sequenced by the CR and two pressure points. processed through the tiptop audio ZDSP reverb.
LEAD MELODY: intellijel atlantis sequenced by the intellijel metropolis and processed through the qu-bit electronic RT60 reverb.
KICK: blue lantern asteroid BDv4 sequenced by the CR.
SNARE: noise engineering BI triggered by the CR and processed through the make noise erbe verb and synthesis technology e580 delay.
HAT: SSF quantum rainbow MKII purple noise with maths expo envelope sequenced by the CR.
SUB KICK: tiptop audio BD808 triggered by the CR.
MID SECTION PERCUSSION: mutable instruments elements sequenced by the CR and Z8000.
MID SECTION TO END HARMONY: modcan triple osc through the modcan multimode filter sequenced by the modcan TS and processed through mutable instruments clouds.
my brother says:
'Sounds like some kind of scale in the key of F minor. the chords are Bo dominant 7th first inversion followed by Dd major first inversion, Ab major then another Ab major an octave higher.'"
"Tiptop Audio is proud to introduce a new project for 2015: Tiptop Audio Records.
In the recent years musical productions have seen a remarkable return to the use of hardware through analog synthesizers and digital control interfaces. This trend has proven so strong that it prompted a rebirth of modular synths in a new format (eurorack). Tiptop Audio has made a name producing sophisticated but easy to use modules, designed to form a complete system that is especially effective for dance-oriented productions and live sets.
Tiptop Audio Records selected for its first issue some of the most groundbreaking artists using such systems, to present a range of artists who, through their tracks, explore the landscape of dance music in a very fresh perspective. These are the artists who inspire the Tiptop team to make more innovative devices, which in turn make new music (a nice feedback loop).
ANGLE, BLAWAN, CHRISTIAN BURKHARDT JOAO CESER, JOHN TEJADA, JOSEPH FRAIOLI, MOE ESPINOSA (DRUMCELL), KINK, RICHARD DEVINE and SURGEON each contribute a track stamped with their own style and vision. Tracks range from Surgeon’s trademark hard minimal beat, to Kink’s gauzy dreamscape, while Richard Devine and Joseph Fraioli explore the outer reaches of beat based music. The Phase VI team (John Tejada and Moe Espinosa AKA Drumcell) produces an endlessly shifting set of percolating rhythms, Christian Burkhardt and Joao Ceser put some 21st century twists on classic dance floor patterns, ANGLE lay down effortless, sophisticated Continental style and Blawan adds some industrial toned menace.
The release will initially come as a double vinyl edition, with a cover painted by the artist Matteo Giampaglia, and a digital download version will follow.
An original video teaser will introduce the compilation, then other videoclips of the individual tracks will be realized by exciting new visual artists."
"a patch focused around the tiptop audio circadian rhythms (CR) as the heart of the system that provides the main clock source and triggers for events.
the programming was done on all 8 channels of the CR in 2x32 mode. fills are set to 16th note. mutes, fills and additional programming are performed on the fly.
patch basics:
CR ch 1: main kick sound source is the blue lantern BDv4 going through the modcan frequency shifter.
CR ch 2: snare sound source is the make noise mysteryon who’s pitch is being modulated by the mod can quad lfo who’s synced to the CR main clock output. the output was split into a separate VCA who’s being opened by the sound machines light plane and sent to the mungo d0 with macro machines storage strip. the storage strip is being sequenced by the CR main clock output.
CR ch 3: closed hat sound source here is the SSF quantum rainbow blue noise.
CR ch 4: open hat sound source is the SSF quantum rainbow white noise though the intellijel µfold and then a bit of delay from the synth tech e580.
CR ch 5: glass percussion as well as delayed bass and end melodic thing glass percussion sound source is the noise engineering BI. pitch modulation from the tiptop z8000. delayed bass is an intellijel dixie square run through the cwejman res-4 and.end melodic thing is the harvestman piston honda MKII.
CR ch 6: chord bursts this is the intellijel/cylonix shapeshifter in sequence mode then run thorough the qu-bit electronic RT60 reverb.
CR ch 7: tonal accents sound source is braids in meta mode. also being sequenced by the CR and pith modulated by the tiptop z8000.
CR ch 8: sub kick sound source is the tiptop audio BD808.
acidy bass: trigger source for the acidy bass is the intellijel metropolis that is synced to the CR via the clock output. sound source is the intellijel rubicon thats being FMed by a DIXIE sine, then put through the cwejman MMF1 in low pass.
tonal drones: trigger source here is the divided output of the intellijel metropolis into two make noise pressure points that have been micro tonally tuned. the sound sources here are synth tech e350 and make noise DPO that share a common mutable instruments peaks ADSR. the sounds are then processed through the serge resonant equalizer and tiptop audio zdsp with halls of valhalla reverb card.
hi plucked melody in mid section: this is the qu bit nebulae playing back a sample of mutable instruments braids in PLUK mode playing a melody sequenced on metropolis then fed to the mungo d0. the nebulae is then processed through flame FX6 reverb.
no computers or external hardware were used in this performance :)"
"trigger shifting using the delptronics triggerman and 4ms SCM as trigger sources with shifting modifications coming from the SSF propagate and 4ms SCM breakout.
slight changes to the parameters of these modules slowly change the shift of the patterns over longer periods. this is achieved by modulating the SSF propagates master delay modulation and enable inputs then outputting those triggers to the 4ms SCM to be further shifted using the SCM breakout and then fed into the 4MS RCD for additional triggering.
kick: blue lantern asteroid bd v4
snare: make noise mysteron modulated by the mod can quad lfo > Make Noise erbe verbe moded by an intellijel dixie.
hats: SSF quantum rainbow > Modcan Dual Delay. dual delay moded by an SSF ultra random analog.
acidy bass: Noise Engineering Basimilus Iteritas in bass mode >make noise MMG> mungo d0 with macro machines storage strip sequenced by the 4ms scm. pitch controlled by pressure points which is triggered by the 4ms SCM and pitch quantized by the intellijel upscale. modulation sources from a doepfer a147 and modcan quad lfo.
sparse melodic bass thing in first half: make noise DPO >Make Noise MMG > TipTop ZDSP with halls of Valhalla card. pitch sequencing by the TipTop z8000. modulations from a make noise maths channel and SSF ultra random analog.
end ambience: qu-bit nebulae > RT60. WMD SSM used as a mute. granulated sound source is a piano melody.
no computers or external hardware were used in this performance :)"
"a patch focused around using modulated trigger delays via the steady state fate propagate module.
the main trigger sources are coming from the deplhtronics triggerman and 4MS RCD, the outputs are fed into the SSF propagate where the delay input on each channel is then modulated by the modcan quad LFO with different synced waveforms.
modulation sources: modcan quad LFO SSF ultra random analog make noise wogglebug make noise maths v2 make noise function tip top z8000 synthesis technology e355 intellijel dixie doepfer a-147
processing sources: mungo d0 with macro machines storage strip modcan dual delay tiptop ZDSP with halls of valhalla card make noise erbe verb synthesis technology e560 make noise MMG intellijel ufold serge resonant equalizer
no computers or editings were using in this videoness."
"A patch built around the new Grayscale Algorhythm and Binary modules.
Main clock source for this patch is the Livewire Chaos Computer. The gate out is feeding the left most Algorhythm module, which is in random mode. The top row of outs is going into the left Binary module in OR mode. The output of the Binary is then triggering the Tip Top BD808 kick drum that is then fed into the Modcan Dual Delay.
The same Chaos Computer clock source is multed to the right Algorhythm with the same process applied to the Binary. The Binary output here is triggering the Mutable Instruments Braids in Meta mode. The output of Braids is multed into a mixer as well as a VCA. By manually triggering the a pressure points pressure output, the signal is sent to the Qu-Bit Electronix RT60 for reverb throws.
The main clock source is then multed into the 4ms shuffling clock multiplier and outputted to the Cylonix Shapeshifter via the x 2 output though a channel of the Make Noise Maths v2. A synced LFO from the Modcan Quad LFO is triggering the cycle input as well as another sine LFO is modulating the fall time.
The center Algorhythm is in seq mode and clocked by a divided by 8 of the original clock source via the 4ms Rotating Clock Divider. The eight outputs are triggering eight tuned vocal samples on the Qu-Bit Electronix Nebulae in one-shot mode. The Nebulae output is then run through the Serge Resonant EQ and the Tiptop Audio Z-DSP with the Halls Of Valhalla reverb card.
The Make Noise Wogglebug, DPO, Maths and MMG provide acidy baseline.
The outputs of the Shapeshifter and DPO are put through the WMD Sequential Switch Matrix to use as a simple mute system for performance.
At around 3:17 I got a call from my cat food delivery guy.
No computers or editing were used in the making of this performance."
"A simple patch using the Macro Machines Storage Strip along with the Mungo d0 to create a swarm of metallic micro percussion.
Sound Sources:
Micro Percussion - The Harvestman Piston Honda MKII > Mungo d0 with the Macro Machines Storage Strip. Storage Strip contains 16 delay presets which are stepped through via the SSF Ultra Random Analog random pulse output.
Drone Melody > Qu-Bit Electronix Nebulæ > Qu-Bit Electronix RT60 (verb 2) source is an original piano recording. (loop mode)
Trigger Sources:
main clock source is the Livewire Chaos Computer. Micro percussion and additional Percussion are being triggered by a multiplication of the clock by way of the 4ms SCM with an attenuated CV on the rotate input of the breakout. kick is being triggered by the SSF URA which is random and unlocked. snare is triggered by the 4MS RCD.
The WMD Sequential Switch Matrix is being used as a simple mute system for manual control of bringing various sounds in and out of the performance."
"A patch exploring three new modules, the SSF Ultra Random Analog, Qu-Bit Electronix RT60 and Macro Machines Storage Strip.
SSF Ultra Random Analog (URA):
The URA is the main clock source by way of random pulse output. the pulse density is being modulated via the Synth Tech e350 in LFO mode for more sporadic gestures and events. The Pulse out is also simultaneously dictating the pitch of the two sound sources - the Make Noise DPO and Cylonix Shapeshifter. Additionally, the sound source for metallic hi hat thats comes in mid way are from the URA as well. this is achieved by running an osc into a sample input (in this case a Hertz Donut MKII into sample input b) and outputting via the toggle output. This feature is very useful for creating analog bit crushed timbres as well as FMed analog bit crushing type sounds when using both sample inputs. for further sculpting, a synced and attenuated LFO (Modern Quad LFO) is going into the clock cv input which creates a filter of sorts to the hi hat sound. this is then put through the Flame FX6 reverb.
Qu-Bit Electronix RT60:
The RT60 is the main reverb source you can hear on the DPO LPG plucks in the patch, additionally it is the source of the flanger, chorus, pitch delay and tremolo whose parameters are being modulated by the Synth Tech e355. the presets are being stepped through via the SSF URA, with the same trigger that is sequencing the oscillators pitch. The RT60 has 7 sequence modes for switching between effects, in this patch i am using mode 1 (top to bottom)
Macro Machines Storage Strip:
Here i created 16 different presets for the Mungo d0 who's delay times are somewhat in tune with the overall piece. the presets are sequenced in random mode via the SSF URA random pulse output. various slew settings on the d0 causes interesting artifacts between delay settings when being sequenced.
Performance notes:
To create the effects throws and gated effects gestures i set up an aux/send system that i can control in the performance via make noise pressure points outputs. going straight into a VCA with the effect on the audio input for gated effects as well as instances with an envelope for one shots with decay trails. pressure amount also determines how the effects are performed - swells, volume etc.
Pressure Points pressure out channel 1 - DPO/Optomix through Qu-Bit RT60 as a gated effects send.
Pressure Points pressure out channel 2 - DPO/Optomix though the Modern Dual Delay as an effects send for throws.
Pressure Points pressure out channel 3 - Cyclonix Shapeshifter though the Mungo d0 and Macro Machines Storage Strip set up as a gated effects send.
Pressure Points pressure out channel 4 - Cylonix Shapeshifter though the Tiptop Zdsp set up as an effects send for throws.
Ambient melody is the Qu-Bit Electronix Nebulae playing an original piano recording in loop mode through the Make Noise Echophon and MMG."
"A patch utilizing the WMD Sequential Switch Matrix as a routing switch for incoming gates. Gate sources are four channels of the 4ms SCM which are routed to the Cylonix Shapeshifter, TipTop BD808, Mutable Instruments Braids and Harvestman Hertz Donut MKII. Another output of the 4ms SCM is sequencing through the matrixes via the SSM step/gate input which results in complex and evolving percussion patterns.
Ambient melody is an original piano recording played back via the Qu-bit Electronix Nebulae in loop mode with various time and pitch manipulation, This is then fed through the Serge Resonant Equalizer and Modcan Dual Delay for further modulation.
Additional accent melody coming from the Synthesis Technology E350 though the Flame FX6 reverb and Modcan Phaser with an envelope being triggered by another channel of the 4ms SCM.
"Using the WMD Sequential Switch Matrix as an effects routing matrix. The four outputs of the SSM are routed to four different effects chains. Slow sequences route the four different inputs to different combinations of effects in the outputs.
SSM ins:
1: Intellijel/Cylonix Shapeshifter
2: Mutable Instruments Braids
3: TipTop Audio BD808
4: Q-Bit Electronix Nebulae (one shot mode - 5 channels of samples are being triggered)
SSM outs
1: Modcan dual delay
2: TipTop Audio Zdsp Dragonfly Delay with Modcan Dual Frequency Shifter in the Feedback path
3: Flame FX6
4: Mungo g0 > Modcan Dual Phaser
Drone - The Harvestman Piston Honda MKII and Hertz Donut MKII > Serge Resonant Equalizer > Make Noise Echophon > Cwejman MMF1 > Eventide H8000FW reverb."
"A patch exploring the shifting of trigger start points to create complex evolving patterns with preset sequencing of mutable instruments braids and the cyclonix shapeshifter .
"patch designed to utilize preset sequencing as a percussion element with the intellijel/cyclonix shapeshitfer in percussive mode. the shapeshifters presets envelopes were further controlled by use of an additional envelope and VCA. this way the percussion can be tight and small as well as opened to reveal accents that are generated naturally in sequence mode if the preset is not perc enabled. manual modulation of the envelopes decay creates changes of tight and more open percussive accents...
clock source and main modulation source is coming form the livewire chaos computer. clock sources are multiplied, divided, and additionally modulated by the 4ms RCD and SCM, make noise wogglebug, pressure points, brains, tiptop z8000, SSF propagate and pamelas workout.
"a simple way to use the make noise maths v2 (2013) as a delay.
PATCH:
• shut cycle off on both channels of maths
• mult your trigger source into trigger in of CH1 on maths and strike of optomix CH1
• maths CH1 output to maths CH4 cycle input as well as optomix CH1 control in.
• maths CH4 out to optomix ch2 strike input
• signal into optomix CH1 input
• optomix CH1 output into optomix CH2 input
• optomix CH2 output to mixer
SETTINGS:
>maths CH1 response curve to linear
>maths CH1 attenuvertor all the way up
>maths CH4 output to expo
>maths CH4 attenuvertor all the way up
>optomix - all controls set counter clockwise except for CH1 control atteunator. this is variable depending how much feedback level you want.
FUNCTIONS:
// maths CH1 fall is feedback amount
// maths CH4 fall is delay time
// optomix CH1 control atteunator is feedback level
// optomix CH2 output is the main output
• in this particular version of the patch i am using the make noise DPO as the sound source and manually triggering pressure points. i wanted to keep this demo really simple so you could hear the delay trails but you can get all sorts of crazy variations by modulating the delay time etc with external sources.
• the tonal drone is the SSF quantum rainbow through the cwejman MMF-1.
• there is a slight bit of verb coming form the eventide H8000fw.
• yes there is a cat hair properly stuck to the fall knob of maths CH4."
