via Modor where you'll find some demos.
"There's a new upgrade for the NF-1 (OS013) and NF-1m (OS006), ready for download at our download page! What's new?
The Chorus/Flanger effect unit finally works entirely stable under heavy feedback, positive or negative. About time! No more ugly digital spikes or speaker-damaging noise bursts, you can safely turn up the feedback and enjoy comb filter self oscillation.
The active Osc and Env selection get saved with the patch (NF-1 only)
Osc phase randomisation can be selected. Before (and still the default), all oscillator phases got reset at the beginning of a note. Now they can be randomized to get some more 'life' in some patches. That's more or less the same as so-called free running oscillators
You can set your NF-1(m) to start from the last loaded/saved patch at bootup. The default is still bootup with the empty init patch, but you can alter this in the System Settings menu
And last but very, very far from least, Modor goes microtonal!
Microtonal? Oh boy ... That ear-torturing stuff for freaks and nerds desperately seeking for something to sound distinct. Really, do we need to go that way?
Well, not entirely ... There's much more than you might think. Listen to the following examples of a major C chord. First in standard 12-tone equal temperament tuning (most synthesizers' basic tuning), and then in Just Intonation. Quite a difference, isn't it? Does the first one have some chorus effect on it? No, not at all...
Most synths (and many, many other instruments) use 12-EDO (12 Equal Divisions of the Octave), also known as (12-tone) equal temperament. The octave just gets divided in 12 equal parts, the 12 semitones of the octave. But that's actually only an approximation of real harmony. On a just intonated chord like the one above, the three notes C-E-G have their frequencies in proportion 4/4 - 5/4 - 6/4, or 1 - 1,25 - 1,5. On an equal tempered chord that's 1 - 1,25992105 - 1,498307077. So that's only an approximation, the three notes are sounding close, but keep slightly beating. In a just intonated chord, the three notes grab each other close and sound together as an integer unity. Both versions do sound well, but you can't say they're equal!"
Click through for demos and additional details.
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