"Hosting AU microDAW is a micro-sized Digital Audio Workstation for Mac OSX that hosts Audio Unit instruments and effect plugins. It comes with 4ch+1 mixer with external audio input, 32-bit recorder, music-typing feature 'LazyKey'.
With a MIDI sequencer, you can make any type of music that focuses on simplicity (for dancing or whatever!) super quickly. I mainly recommend Hosting AU to those who are:
Beginners (and who wants to teach them)
As Hosting AU is the simplest DAW available today, you’ll need to learn nothing more than very basic things such as what a synth is, how recording works, what MIDI is, etc.
Mature Musicians and Developers
Hosting AU does the quickest job in every part, from launching until quitting. It can host even older plugins from Intel-era and works on every Mac OS version from Snow Leopard to the very latest one. I believe that you'll find a use for it:)
It does not "wrap" the plug-ins, things are connected and run directly, so you’ll have the best hosting results in terms of both sonic quality and cpu/memory efficiency. You'll also get the lowest latency possible.
Serious Music Listeners
As Hosting AU supports Cycling 74’s SoundFlower (check their website, it’s free to grab from here), you can virtually wire between Hosting AU and any other app that uses audio. Good thing is that you can insert effects after the input, so for instance, you can listen to internet radio in a better way, through your quality plugins;)
Other Info
Hosting AU is only about 600KB of size, surprisingly that could be stored on a 2DD floppy diskette:D. The app itself is self-contained, so you won’t have to worry about files scattered around your system, when you get it installed. Just grab your copy today, and give it a try! As Hosting AU hosts Audio Unit plugins, you can expand it with a variety of plug-ins. I recommend my Gimmick synth to be installed and if you like it, please buy it!
Compatibility
Mac OSX 10.6 Snow Leopard or later.
To host older plugins, open it in 32-bit mode (hit command-i and check the 'Open in 32-bit mode option in the Info Panel'). To host AUv3 plug-ins, run it on El Capitan or above in 64-bit mode."
"14 iconic vintage synthesizers, 10,000 samples and 175 unique patches; each expertly programmed and creatively combined into a single unified, incredibly powerful virtual instrument... Spectrum - coming soon to www.wavealchemy.co.uk"
"Over 18 months in development, our goal with Spectrum was to bring together under one roof the iconic sounds of the most sought-after analogue and digital synths in existence, with the ability to layer, blend and creatively transform patches, tones and timbres into fresh, organic, evolving sounds… Revolutionize the timeless sounds of yesteryear!
At the heart of Spectrum lies a beautiful, versatile collection of synth patches; each lovingly designed from the ground up using an impressive collection of iconic analogue and digital synthesizers:
Moog Minimoog Model D, Roland Juno-60, Roland Juno-106, Arp Odyssey, Korg MS-20, Roland JX8P, Moog Source, Roland Saturn 09, Roland SH-09, Moog MG-01, Korg Minikorg, Korg Poly-800, Future Retro XS and Yamaha DX5.
4 powerful oscillators are loaded with 175 characterful multi-sampled ‘waveforms’, which can be layered simultaneously and transformed into oblivion with Spectrum’s ground-breaking editing and processing parameters!
"The 900 Series Modular Synthesizer is the result of painstaking analysis and detailed modeling of classic, large format, synthesizer modules. Great care has been taken to make sure that both sound and operation is as close as possible to hardware modules. The hardware accelerated user interface supports arbitrary panning and zooming within the virtual rack, while interacting with controls. It is rendered at a high frame rate to ensure immediate feedback and smooth operation.
The P900 supports 4 different voice allocation modes for monophonic and polyphonic patches.
It has a configurable rack and a large set of installable modules:
MIDI/CV Converter (1X)
MIDI Clock (1X)
Oscillator Driver (1X)
Oscillator (4X)
Mixer (3X)
Filters: Ladder/Diode Ladder/OTA/SVF/Sallen Key (2X)
Envelope Generator (3X)
Attenuator (3X)
Voltage Controlled Amplifier/VCA (3X)
Noise & Filters (1X)
Ring Modulator (1X)
Low Frequency Oscillator/LFO (3X)
Sample & Hold (1X)
Voltage Store (3X)
Stereo Output (1X)
Analog Delay (2X)
Plate Reverb (1X)"
"LINKÖPING, SWEDEN: high-end plug-in specialist Softube is proud to announce availability of Modular as of June 15...
Modular — Eurorack For Everyone
Introducing Modular: the first truly expandable software modular system that looks, works, and sounds exactly like its hardware counterparts.
A Modular Synth For The Future
Softube’s award-winning modeling experts have combined their talents with the legendary Eurorack inventors at Doepfer and the top minds at powerhouses like Intellijel. With intricate measuring and circuit modeling, they’ve developed authentic emulations of original hardware that are as close to hardware as you can get.
Infinitely Expandable
Once you start customizing, you won’t want to stop — indulge your cool creativity, picking and choosing modules as you go, with new emulations from top hardware brands being released on a regular basis.
Expansive For Experts, Easy For Beginners
Both as an effect and as an instrument, Modular is simple to use, with a massive preset library and clever Utility modules. User- definable Performance modules collect the most important settings presented in a single patch. For the synth pro, Modular is completely compatible with existing hardware, infinitely expanding your creative possibilities.
In short:
Modular is a cross-platform modular synthesizer plug-in standard that features authorized emulations of modules from well-known hardware Eurorack brands.
True dynamic circuit emulation — looks, functions, and sounds like its hardware counterparts.
Basic system contains six authorized Doepfer modules (A-110-1 VCO, A-108 VCF, A-132-3 Dual VCA, A-140 ADSR, A-118
Noise/Random, A-147 VCLFO).
Basic system also contains over 20 Utility modules (such as MIDI to CV/gate, mixers, slew, sample & hold, switches,
multiples, delay, offset, sequencers, clock dividers, logic and signal tools, as well as a polyphonic MIDI to CV/gate module).
Additional authorized emulations from Intellijel are available as add-ons (uFold II, Korgasmatron II, Rubicon). Many more modules from other quality hardware Eurorack vendors to be released.
Simple design of your own interaction layout with the Performance modules in classic synthesizer style.
Softube Heartbeat drum channels and EQ can be used as separate modules for owners of Heartbeat.
More than 200 quality presets included, covering a huge range of styles and sounds.
Can be used both as an effect and as an instrument for your DAW and integrates beautifully with your hardware Eurorack modular.
High internal sample rate within system enables true feedback."
"Introducing Neuronoiz - where biochemistry, audio signal processing and art intersect! The bursting and spiking of brain cells is mathematically simulated, implemented as a sound synthesis algorithm, and then the synthesizer used to play all the parts in a short piece of music.
Download, and more information here: http://www.flexibeatz.weebly.com"
"Another fascinating method of sound synthesis is the 'sonification' of any natural process that displays periodicity. There are plenty of physical, chemical, biological etc processes like this - examples include coupled chemical reactions, geothermal eruptions, earthquakes, cyclical populations of predator and prey animals, and firing nerve cells.
Typically these processes are described by a differential equation or system of differential equations which are difficult, if not impossible, to find exact solutions to. For the purpose of 'listening to the processes' however, approximate solutions involving numerical methods are sufficient.
The 'sound of a firing nerve cell' is a concept which captured my imagination immediately, so that's what I've explored here. The result - NeuronoiZ"
The Mangle grew from years of experiments with granular synthesis. The goal was to 'play' with the stream of grains in a musical and expressive way. This led to some unique features: a large XY area with real-time grain display. Pitch and tempo locking. True stereo grains and multi-timbral layering.
Stretch out rich harmonics from acoustic sounds. Turn field recordings into ambient soundscapes. Or bring in synth sounds to be shredded, exploded and recombined with intricate patterns and cloud effects."
"FXpansion forges ahead with Geist2 beat production system
LONDON, UK - MAY 19: audio software developer FXpansion is proud to announce the availability of Geist2, an all-new incarnation of its award-winning Geist. Geist2 is a powerful sound-sculpting and beat production system with streamlined sample manipulation, arrangement, and modulation capabilities for intuitive and accelerated workflow. Available for Mac OS X (10.9 or higher) and Windows (7 SP1 or higher), as 64-bit only AAX, 32- and 64-bit AU and VST, and Standalone versions.
Geist2 is an advanced step-sequencer and sample-based drum machine realised in software and sympathetically styled so that creativity comes to the fore. First and foremost, it allows an elegant and ergonomic way to effortlessly build beats (although is equally well suited to work with all kinds of music material). Grooves and rhythms can be performed and programmed quicker than ever, thanks to its redesigned, resizable (Retina/4K-compatible) interface that’s as easy on the eye as it is to use.
There’s so much more to Geist2 than first meets the eye. Equally at home as a triggered sample player, loop machine, performance beatbox, production system, or all of these things at once, anyone can approach beat making in their own way with Geist2.
For slicing longer loops, the refined Slicer combined with up to 64 pads allows for fast, non-destructive chopping of beats with automatic pattern extraction — easily create custom loops, thanks to drag-and-drop MIDI and audio export functionality.
When capturing samples with Geist2’s Sampler, whether working with multiple loops or threshold-based single hits, the integrated browser and an ability to record directly to the pads provides an easy-going environment for creating custom kits to hit that perfect beat!
But what about taking things to an even higher level of interest, musical-sounding or otherwise? Geist2’s got it covered, thanks to the TransMod system. Automate almost any parameter with interacting modulators like LFOs, step-sequencers, envelopes, maths functions, and macro controls to morph and evolve sounds in new and creative ways.
Each of Geist2’s eight engines feature a 64-track Sequencer with 24 pattern memories — all with individual track lengths to create evolving polyrhythmic patterns. Event probability, micro-timing shifts for ‘off-the-grid’ organic grooves, and parameter step- automation for adding new dimensions to beats are also available.
When working in Song mode, building complex, evolving arrangements is easy and fun; record scene changes live in real time or just start playing — capturing it all afterwards and never missing an idea with retro recording functionality.
Finally, Geist2’s powerful sampling and effects engine can twist and transform sounds into something completely different. Layer samples with individual effects and use crossfaded loop point modulation alongside Zynaptiq’s ZTX — a cross-platform technology for high-quality time-stretching, pitch-shifting, and pitch-correction — to create new sounds and textures. New effects also include FXpansion’s own Bloom (creative delay and diffusion effect) and Maul (distortion and tone shaper) algorithms alongside low fidelity DAC (Digital to Audio Convertor) modelling, high-quality reverb, frequency shifting, granular freezing, classic DCAM (Discrete Component Analogue Modelling) compression, filters, drive, and much more.
With its inbuilt intelligent browser for navigating a superlative sound library from Splice Sounds — a passionate team of engineers, designers, writers, musicians, and music-lovers devoted to producing some of the best loops, samples, and sounds around — Geist2 is ready and able to take beats and grooves to the next level" https://www.fxpansion.com/products/geist2/
"Three new intriguing devices to tease out the music in you, pristine audio polishing tools, a thousand new sounds for a million new ideas and much more. Get ready for Reason 9!"
What's new in Reason
Always inspired
Set your creativity free with the new Player devices. Scales & Chords, Note Echo and Dual Arpeggio will take your Reason instruments to a new level.
Never short on great sounds
1000 new patches to ignite your creativity. Reason 9 adds a collection of cutting-edge sounds from professional sound designers.
Sound amazing
Polish your recordings to perfection with Reason’s new Pitch Edit. It doesn’t just sound good. It sounds Reason time-stretch good!
Other new features
Faster flow
Bounce in place to create audio clips from your instruments. Reverse MIDI and automation with one click. Split notes with the Razor tool.
More looks
Ever wanted to turn the lights down low in your Reason studio? Pick a visual theme that suits your mood: default, blue or dark.
Audio to MIDI
Sing your melodies, hum your bass lines. Monophonic audio clips can now be exported to MIDI with a single click."
Published on May 19, 2016 ARTURIA - Update: new video uploaded May 30, 2016
Update: Clarification: the NED Synclavier is not an emulation but a port of the original software:
"this is not an emulation - it is the real thing, the real mccoy. Cameron Jones himself ported the original Synclavier code to run on PC/MAC/VST etc.
- you have the choice of playing each patch either in the original 8-bit depth, or change it to 4-bit (!), 10-bit, 12-bit, 14-bit, 16-bit, 18-bit, 20-bit, 22-bit or 24-bit depth.
- resynthesis: not implemented in the current release but there may be plans to put it in a future release. However some of the original factory patches included (83 total) are resynthesis-based
- the partials/timbre frame functionality was vastly expanded"
Video description:
"The new V Collection 5 is a giant leap forward in our quest to create the greatest legendary keyboards collection ever, including 5 new softwares instruments: Piano V, Synclavier V, B-3 V, Stage-73 V, Farfisa V.
Special thanks to:
Altius Prod
Stéphane Schott (http://www.lyynkstudio.com/)
Studio Question de Son (http://www.questiondeson.com/)
Underground Records (http://www.undergroundrecords.fr/)
Garbage & Greg Kaplan (https://www.garbage.com/)"
Arturia announces the Synclavier V
Published on May 19, 2016 ARTURIA
Update:It's not clear if the Synclavier V supports sampling resynthesis (see above), although it does take the FM and additive synthesis with partials to a new level. For reference, you can find the history of features for the original Synclavier on Wikipedia here.
"Arturia announces the Synclavier V, the first recreation of the legendary digital synthesizer made in collaboration with Cameron Jones, the inventor of the original instrument.
The Synclavier V faithfully recreates the elite digital synthesizer/workstation that started it all, powering some of the biggest hits and film soundtracks of the early ‘80s with its unique rich, edgy sounds.
While the Synclavier V expertly brings this historic instrument to life, we’ve improved it dramatically by taking advantage of today’s processing power. We’ve also infused into it everything we’ve learned over 16 years of developing award-winning software synthesizers. The result is a thoroughly modern, cutting-edge instrument that stands alone among hardware and software synths alike.
Update: some details on the synth engine:
Timbres consist of up to 12 Partial Timbres
Much of the magic of the original Synclavier owed to the ability to build Timbres (presets) by creating and layering four completely different sounds or Partial Timbres to realize massive, complex sounds. With the Synclavier V, we’ve taken the number of Partial Timbres to 12, dramatically expanding the creative possibilities. Since each Partial Timbre is a complete sound, that means that you can stack many different sonic elements into electrifying Timbres resounding with rich complex textures brimming with subtleties.
Partial Timbres are each compete synth engines
Each of the 12 Partial Timbres has two digital oscillators that combine the principles of both additive and frequency modulation (FM) synthesis. Rather than using filters to subtract harmonics from simple oscillators, additive synthesis builds up complex sounds by selectively adding harmonics in this case. The Synclavier V goes way beyond that, combining these oscillators in an FM architecture where the carrier (main) oscillator is modulated by the second harmonic oscillator. The fusion of additive and FM technologies make for a stunningly diverse and unique universe of cinematic pads, epic leads, evolving bass lines and more.
Time Slices animate long passages
Time Slices allow you to specify up to 50 snapshots of the 12 Partial Timbres of additive and FM synthesis goodness, and animate through them over time. For each Time Slice, you can set the volume, pitch, FM modulation amount, and delay. The ability to set parameter crossfades of up to 30 seconds between Time Slices—over a total time of 5 minutes—makes it possible to create long evolving ambient pads and cinematic cues of incredible complexity.
Improvements make a great instrument even greater
We’ve made a lot more improvements beyond boosting the sound engine from four Partial Timbres to 12. Where the original modulation oscillator was only a sine wave, now you can also choose sawtooth, square, or triangle—or graphically build your own waves comprised of 24 phase-controllable harmonics. These enhancements allow you to create outrageous textures never possible before. Each Time Slice can now even have a separate FM modulator waveform. Variable bit depth between 4- and 24-bits, on-board effects, and a MIDI Learn feature are just some of the many examples of the new options available to you in Synclavier V.
With the Synclavier V, digital synthesis meets total creative and performance expression.
Sure, all synths have LFOs, but the vibrato section of the Synclavier V is exhaustive, giving you control over LFO attack, phase, quantizing, bias and more. Things get even more interesting when you apply the LFO to the FM harmonic oscillator that, in turn, modulates the carrier. Let that sink in for a minute!
Want to take your listeners on an animated journey? Add extra energy to your pads and soundscapes with the stereo modulation section. It actually takes the form of separate linkable tremolos for each channel, making for unique spatial animation effects that will have everybody’s heads spinning.
Imagine performing with expressive nuances never possible before. Press harder on the keyboard to change the amount of FM modulation. Ride the expression pedal to affect the frame speed of your Time Slices. Grab the mod wheel to rock the FM modulation ratio. These are just some examples of what’s possible when you use the modulation matrix to easily map any of your favorite MIDI controllers to dozens of sound engine parameters—discretely for each Partial Timbre."
Update: the official press release for the entire V Collection 5 [Note: The Analog Lab press release below was the first to go up. Apologies for the all the updates, but this is how it comes in, and posts here on MATRIXSYNTH are about capturing that]:
"Arturia advances industry-standard V Collection of virtual classic keyboards
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of V Collection 5 — the latest incarnation of its impressive industry-standard collection of authentic-sounding virtual instruments, expanded and updated to include five all-new additions alongside new versions of ‘old favourites’ (plus Analog Lab 2) — as of May 19…
With no fewer than 17 virtual instruments that recreate hard-to-source synthesizers and classic keyboards, V Collection 5 represents really remarkable value on many musical levels. At an attractive monetary level, it’s a no-brainer! Bringing something special to the 21st Century performance and production table, five all-new authentic-sounding additions lead this latest V Collection charge.
B-3 V beautifully recreates the distinctive tones of the B-3 tonewheel organ, one of the most iconic and influential instruments of all time. It truly transcends time and place by bringing this still-sought-after sound to the computer-based music-making masses. Meanwhile, Farfisa V virtually puts players in the driving seat of the sound that drove the hits of several decades as a superb software simulation of the famous Farfisa Compact Deluxe organ. Pushing the physical boundaries of an acoustic piano, Piano V meticulously models the sound and behaviour of one of the most important instruments history has yet thrown up — albeit not as one but rather nine virtual instruments rolled into one! An authentic-sounding software simulation of the Seventies-vintage Stage and Sixties-vintage Suitcase 73-key electric pianos, Stage-73 V is the sound of the Sixties, the sound of the Seventies… the sound of today, the sound of tomorrow! Thanks to Arturia’s close collaboration with original Synclavier® software developer Cameron Jones, Synclavier V takes everything the trailblazing Synclavier® could do as the most powerful additive and FM synthesizer ever created and makes it more powerful!
Put it like this: thinking about all those thousands of new sounds and styles in V Collection 5 that are available at the touch of a (virtual) button beggars belief, but Arturia’s aim is true… to create the tools that lend a helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow. The 12 remaining virtual instruments in V Collection 5 — ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V analogue synthesizers; Prophet VS digital synthesizer; Wurli V electric piano; VOX Continental V electronic organ; and Solina V string machine — do just that, too. All are updated with resizable (Retina/4K-compatible) GUIs that truly have to be seen to be believed! But digging deeper, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — naturally features across the board. As does AU, AAX, VST2, and VST3 compatibility, standalone operation, plus MIDI Learn (to easily map all parameters to a MIDI CC).
Continuing Arturia’s quest for absolute authenticity through TAE® (True Analog Emulation), physical modelling, and additional technologies, anyone prepared to dig deep into V Collection 5’s treasure trove of hard-to-source synth and classic keyboard recreations will be musically rewarded in kind. Conversely, Analog Lab 2 is a powerful yet painless way of accessing a broad selection of sounds from across V Collection 5 within a single application. As it supports Arturia’s many MIDI controller devices natively, it adapts to reflect their physical controls when they are connected… connect with V Collection 5, then, and accept Arturia’s helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow!"
The Analog Lab press release:
"Arturia advances Analog Lab composite virtual instrument to include V Collection 5 sound selection
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Analog Lab 2 — an all-new incarnation of its composite virtual instrument that gathers together a broad selection of sought-after sounds from its V Collection 5 software bundle — as of May 19...
Analog Lab 2 is a powerful yet painless way of accessing a sought-after selection of sounds from all 17 of Arturia’s authentic-sounding virtual instruments as a single application. Included are sounds from eight emulated analogue synthesizers (ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V), two digital synthesizers (Prophet VS and Synclavier V), two electric pianos (Stage-73 V and Wurli V), an acoustic piano (Piano V), and three electronic organs (B-3 V, Farfisa V, and VOX Continental V). Those virtual instruments recreate hard-to-source hardware synthesizers and classic keyboards of the past and conveniently transport them to the present-day desktop.
Analog Lab 2 invites instant exploration as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Its redesigned, resizable (Retina/4K-compatible) GUI (Graphical User Interface) is as easy on the eye as it is to use. Studio View shows the original historic hardware, helpfully bringing up the best presets from each instrument in question. But there’s a whole lot more to Analog Lab 2 than good looks alone.
Accessing those sought-after sounds at the speed of sound is simple, thanks to a new preset browser. Browse presets by TYPES, BANKS, sonic CHARACTERISTICS, and INSTRUMENTS (crossing categories). Create PLAYLISTS. Or simply Search for presets by NAME. Needless to say, with 4,500-plus presets to choose from there’s always a sound to suit every mood, every ambiance, and every music style — sounds that transcend time and fashion.
For those wishing to dig deeper then the dual-instrument MULTI feature with independent MIDI settings panel for each instrument will make their musical day. Drag and drop splits and layers of those presets to take ownership of the sound. Sounds and Multis can be organised in the PLAYLISTS area for instant recall via program change messages, making Analog Lab 2 a best friend in the studio and a pillar of live performance.
Put simply, Analog Lab 2 is so much more than just a sound library. It’s a substantial sound design tool and an amazing live performance instrument integral to immeasurably improving everyday workflow. When connected to one of Arturia’s many MIDI (Musical Digital Instrument Interface) controller devices, Analog Lab 2 will automatically adapt to reflect their physical controls. Generic MIDI controllers of course can also be used with MIDI learn to easily map all parameters to a MIDI CC (Control Change).
Changing the sound of Analog Lab 2 is even easier thanks to two EFFECTS slots with pre/post fader switch per instrument. Included Bitcrusher, Chorus, Delay, Destroy, Dub Delay, Eq4, Flanger, Overdrive, Phaser, Pitchshift, Reverb, Roundpanner, and Vocal Filter effects ensure that Analog Lab 2 always sounds the way you want it to.
Take your sound and workflow to another level with Analog Lab 2, an easily-accessible environment at an easy-to- swallow price point. What’s not to like?"
Arturia B-3 V Tutorial
Published on May 19, 2016
"The B-3 V delivers the most authentic tonewheel organ and rotary speaker experience you’ll find anywhere, plus customizations that open up new creative opportunities."
"Arturia pulls out all the software stops to realistically recreate tonewheel organ combo classic
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of B-3 V — an authentic-sounding software simulation of the classic B-3 tonewheel organ and Leslie rotary speaker combo — as of May 19...
B-3 V realistically recreates the special sound of the B-3 tonewheel organ. One of the most iconic and influential instruments of all time. One which has graced many of the greatest recordings of all time. Today Arturia brings this to its award-winning Analog Classics family of virtual instruments that recreate hard-to-source synthesizers and classic keyboards.
Keyboard players have made their mark in all forms of popular music with the B-3, back from its inception in the Fifties way past its discontinuation through to today. Procol Harum’s hit ‘A Whiter Shade Of Pale’ proved particularly memorable with a melancholic countermelody displaying an altogether softer side to the B-3. But raucousness remains the order of the day for the blues, jazz, and gospel genres with which it first found favour. After all, it had historically been aimed at churches as a more compact and affordable alternative to conventional pipe organs.
One saying springs to mind: Pulling out all the stops — to hold back nothing — is an allusion to organ stops being pulled out to turn on each set of sounds in a pipe organ. The B-3 effectively ‘emulates’ this with its drawbars. Doing this and a whole lot more is what B-3 V does best, thanks to Arturia pulling out all the software stops to make it happen!
Thirties-developed tonewheel technology originally made that special sound happen. An electronic current is created when rotating a metal tonewheel near an electromagnetic pickup and amplifying that signal. The B-3 has 91 of those tonewheels with each key connected to a fixed set of tonewheel outputs. Drawbar settings control how these are mixed together. The tube preamplifier subsequently shapes the sound a little further — filtering and distortion take hold here — while factoring the position of the expression pedal. This not only acts as a volume control but also affects the frequency response of the preamp which is connected to a speaker.
Speaking of which, B-3 V faithfully simulates the favoured Leslie tone cabinet, containing a power amplifier that drives a rotating horn and a stationary woofer firing into a rotating drum reflector. Spellbinding spatial and frequency-shifting effects above and beyond the sound-shaping effects of commonplace loudspeakers are all perfectly possible!
B-3 V brings this classic combo — complete with the inherent imperfections that made that tonewheel technology sound so unique — to the present-day desktop as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Visually, things couldn’t get clearer, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.
Under the hood, things couldn’t be better with MIDI control of many parameters and insert slots for ANLALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASE effects, as well as ADVANCED SETTINGS for upper and lower manuals and rotary speaker behaviour. B-3 V boasts a built-in step sequencer, allowing anyone to easily set an amount of modulation for each step of the sequence! Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) allows advanced integration with B-3 V.
All of the benefits of the original iconic instrument are available to modern music-makers with B-3V, but without the heavyweight hassles. Where anyone chooses to take it musically is anyone’s guess, but bet your bottom dollar that special sound will be being heard for many more years to come... courtesy of B-3 V!"
Arturia Stage-73 V Tutorial
Published on May 19, 2016
"The Stage-73 gives you actual authentic modeling of both Stage and Suitcase versions of the most popular electric piano on the planet —completed with unparalleled control of virtual mechanics, a complement of effects pedals, and built-in classic amps."
Update: And the official press release for the new Farfisa-V:
"Arturia augments Analog Classics collection with faithful Farfisa Compact series software simulation
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Farfisa V — faithfully modelling the famous Farfisa Compact Deluxe electronic organ with additional features from its Duo Compact series sibling — as of May 19...
Arturia’s award-winning Analog Classics family of virtual instruments recreate hard-to-source synthesizers and classic keyboards. As a worthy addition, Farfisa V virtually puts players of today in the musical driving seat with a still-sought-after sound that drove the hits of several decades: Farfisa’s famous Compact Deluxe electronic organ, one of a series of iconic instruments manufactured in Italy between 1964-1968. A staple of Sixties-produced popular music, they made their musical mark with a wider-ranging sound than that of their main VOX Continental competitor. With more bass waveforms and an expanded percussion and vibrato section sales soared.
Speaking sonically, Farfisa Compacts are almost more top octave synth-like than organ-like, thanks to a rudimentary envelope that allows for attack and decay control that went way beyond the typical organ sound of its day. Little wonder, then, that they proved popular with musicians throughout the Sixties (‘Sam The Sham’ and The Pharaohs, Percy Sledge), Seventies (Jean-Michel Jarre, Kraftwerk), Eighties (B-52s, Blondie), and beyond. But unlike heavyweight Hammond tonewheel organs, transportation to performances was trouble-free. For the fortuitous Farfisa form factor included integrated legs that could be folded up and stored within the body of the instrument itself, surely sealing many purchasing deals!
Today, though, finding and maintaining an original Farfisa has become both difficult and costly. Farfisa V solves such problems by bringing all the benefits without any of the hassles to the present-day desktop! Developed using an original hardware organ for reference, it meticulously models the original circuits and sounds of the famous Farfisa Compact Deluxe. Features from its Duo Compact series sibling are also included alongside an authentic combo amp simulation. Standalone instrument operation on Mac OS X and Windows is a given for performance purposes. Plug-in support for all major formats inside any DAW (Digital Audio Workstation) with easy MIDI-learn functionality provides hands-on control of many of its parameters and automation support for considerable creative control. Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — is there for the taking.
As always, recreating an instrument in software provided an opportunity to add a number of more advanced features fit for the 21st Century. Cue the special USER WAVE position, allowing anyone to create an additive waveform. Why not use the ToneDraw feature to create a new waveshape based on the graphical look of the sliders? Having modelled the original built-in spring reverb, Arturia added other reverb IRs (Impulse Responses). Reorder the additional ANALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASER effects. Easily-accessible individual voice tuning, PARA (paraphonic) and POLY (polyphonic) modes, ATTACK and RELEASE envelopes for upper and lower keyboards, BASS WAVE (waveform selector), TONE control for bass section, TREMOLO SYNC, and REPEAT SYNC round out this all-new Analog Classic. Hearing is believing. So is seeing, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.
Ultimately, then, whether you’re set on recreating a distinctive and powerful organ sound of the past or forging ahead with a new organ sound of the future, Farfisa V does it all. But best of all... legs no longer play a part in sealing this must-have musical deal!
"With the VocalSynth multi-effects plug-in, those sounds you’ve heard and the sounds you hear in your head are within reach. Shape and manipulate your voice to create electronic vocal textures, robot sounds, computerized harmonies, vocoder and talkbox effects, and thick octaves or doubles."
Ready for a transformative vocal experience? With VocalSynth, iconic vocal sounds from decades past and the wild vocal sounds you’ve only heard in your head are finally within reach.
Manipulate your voice to create electronic vocal textures, robot sounds, computerized harmonies, vocoder and talkbox effects, thick octaves or doubles, and everything in between.
Unique vocal effects have driven hit songs and launched careers. It’s time for your vocals to stand out, too.
Price: $199.00 $149.00 USD
Key Features
Four vocal engines: Get robotic vocals (Vocoder), organic harmonies (Polyvoice), glitchy digital speech (Compuvox), and singing synthesized sounds (Talkbox).
Specialized vocal effects: Add edgy or tasteful distortion, filters, speaker convolution modeling, beat-repeating madness, and wide stereo delays.
Pitch correction: Correct off-key notes in your vocals with real-time pitch correction with natural-sounding results.
Streamlined voice generation: Add harmonies, octaves, or unisons in Auto mode, or get the exact harmony voicings you want.
Presets: Quickly access classic sounds you’ve known and loved, plus distinctive new combinations of all four vocal engines."
The PG-8X is a virtual analog synthesizer, with the standard 2-DCO - 24dB/oct Filter design.
Features:
up to 12 voice polyphony
Two DCO's with Saw, Square, Pulse, Noise
Hard Sync and Ring Modulation
Two exponential envelop generators
24 dB resonant LP filter
HP filter (3 stages)
Stereo Chorus
Import and Export of JX-8P Sysex data
Credits:
VST is trademark of Steinberg
Programming framework: WDL-OL by Oliver Larkin
GUI by ENV1
"GRENOBLE, FRANCE: after almost a year of diligent development, music software specialist XILS-lab is proud to announce availability of V1.0 of StiX by Xils — a virtual analogue and multi-synthesis-driven drum machine with sophisticated sequencer plug-in for Mac (OS X 10.5 and later) and PC (Windows XP, Vista, and 7/8), inspired by a whole host of trailblazing drum machines that have helped make music technology what it is today, all adapted to the modern-day digital paradigm and fast-footed user workflow with ease — as of April 5…
35 years is a veritable lifetime when it comes to music technology. Today’s computer-based music-makers bombarded by staggering software developments on an almost daily basis may mock at the idea of hefty hardware blazing the trail back in the 1980s. But breakthroughs came throughout that genre-defining decade — often at a prohibitive price. Take the wonderful world of drum machines, for instance. Innovative American designer Roger Linn’s revolutionary Linn LM-1 Drum Computer was first to use digital samples of acoustic drums — albeit at 8-bit/28kHz — and also one of the first fully-programmable drum machines to boot. But back in 1981 most musicians could only dream about accessing a $5,000 USD digital drum machine, revolutionary or otherwise!
Only programmability in itself would be a dream come true for many musicians of the time, tied to realistically restrictive constraints when it came to auto-accompaniment budgets. But the technological tide turned in their favour that same year with the timely arrival of the STIX PROGRAMMA ST-305 from (now-long-lost) Italian manufacturer SoundMaster as one of the first affordable analogue drum machines to feature programmable patterns rather than just presets. Proactively, perhaps, the STIX PROGRAMMA ST-305 included individual outputs for several sounds — unlike its main competitor, the breakthrough Boss DR-55, though, similarly, ‘programmability’ was restricted to basic bar-based patterns, which would soon become its downfall. Within a year, Roland’s radical TR-606 Drumatix was a better buy as an affordable analogue drum machine offering a higher number of fully-programmable patterns and, crucially, an ability to chain them together into songs, such was the speed of technological change… before long, the advent of MIDI (Musical Instrument Digital Interface) and affordable digital drum machines changed everything. Endgame? Paradoxically, an ‘analogue renaissance’ is still being felt (and heard) today — a fact far from lost on XILS-lab CEO Xavier Oudin.
Obviously, times change as, of course, does technology — music and otherwise. Today, then, StiX by Xils takes the best ideas (and subtly-different, yet strangely contemporary-sounding sounds) from the likes of the STIX PROGRAMMA ST-305 and Roland TR-606 Drumatix — and many more notable drum machines besides — and successfully transports them to a virtual analogue and multi-synthesis drum machine plug-in for Mac and PC, pumped up for a truly 21st Century computer-based music-making experience that is second to none.
Central to the StiX by Xils workflow with fast-footed users in mind — and centrally positioned in a GUI that’s as easy on the eye as it is to understand — is its engagingly-expressive XoX Sequencer, boasting a multitude of fanciful features, including a multilane editor with customisable steps per beat; per step division trigger (for fills and stutters); customisable beats per bar; and global swing, as well as a single line editor (for in-depth editing of individual sequencer lines), plus pattern and song modes (for speedy song building).
Building upon traditional analogue drum machine design, several sounds — BD (bass drum), SNARE, HH CL (hi-hat closed), HH OP (hi-hat open), TOM L (tom low), TOM H (tom high), and CRASH — are always accessible — alongside additional user-definable PERC 1 (percussion 1), PERC 2 (percussion 2), and MISC (miscellaneous) ones — via the drum pads bar at the top of that intuitive GUI. There the similarity ends, though, as StiX by Xils takes things to another level entirely as an inspired piece of contemporary software design that leaves the historic hardware from which it took its initial inspiration standing (way back in the early-Eighties)! Fit for today, StiX by Xils comes complete with 10 full-featured synthesisers — one for each sound being hosted by those 10 drum pads, each of which can call upon several sound engines, including virtual analogue (with components closely modelled upon a selection of prestigious and rare analogue synthesisers for percussion and drum sounds with unmatched analogue authenticity) and FM sine oscillators (with wave shaping and a third oscillator that can load samples), as well as easy and advanced synthesis pages. Put it this way: yesteryear’s hardware drum machine users couldn’t have imagined such heightened levels of control in their wildest dreams!
Desirable StiX by Xils features well worth noting in that regard include MIDI output (for controlling virtual instruments or recording MIDI data within a DAW); MIDI learn (with full automation of all synthesis parameters of each drum pad and associated mixer, etc); multi-criteria database (for finding the right preset efficiently as well as creating custom tags); randomise (drum kits, sequences, and full patterns); live control (for chaining patterns, plus muting/un-muting tracks on the fly); multi outputs (with volume, groups, and pan preservation); high-quality effects (including natural-sounding reverb, analogue delay, and analogue phaser, plus per drum crusher and distortion); sample-accurate synchronisation and audio engine (to create the tightest beats imaginable); hundreds of simultaneous modulation targets; and gang mode (to edit sequencer lanes, mixer, and effects sends).
Stacked with 390 exclusive samples — including 15 drum kits sourced by production partner Wave Alchemy from classic drum machines of the past (including Roland’s revered TR- series as well as trailblazing digital dream machines such as the E-mu SP-12 and LinnDrum); 2,000 presets; 120-plus global presets; 720-plus patterns; 700 drum pads; and 60 drum kits, StiX by Xils means more sounds and styles are available to the modern-day discerning (virtual) drum machine user than ever… roll on some truly 21st Century computer-based music-making!
StiX by Xils is available to purchase as a USB eLicenser or iLok (soft or USB iLok dongle) protected plug-in for an introductory (30% discounted) price of €125.00 EUR until April 30, 2016 — rising to €179.00 EUR thereafter — from the XILS-lab web store here: https://www.xils-lab.com/products/StiX-by-Xils.html
StiX by Xils can be directly downloaded as a multi-format (AAX, AU, RTAS, VST), 32- and 64-bit-compatible virtual drum machine plug-in for Mac (OS X 10.5 and later) and Windows (XP, Vista, and 7/8) from here: https://www.xils-lab.com/pages/StiXbyXils_Download.html"
Softube makes both hardware and software products. Based on the teaser video above, this appears to be modular software that can be integrated with modular hardware similar to Native Instruments Blocks for external gear.
We have a new synth app from Madrona Labs, the maker of the Buchla inspired Aalto. This one uses audio to synthesize new sounds. The synthesis and effect can be subtle or extreme as you can hear in the demos above.
"Virta is a patchable toolbox for turning your voice or other instrument into wild new synth sounds."
And from the manual:
"Synthesizers and effects. In this crazy mixed-up world, what could be better? On and on, we tweak and twist, searching for something. Smiles creeping across our faces all the while. The roiling sea of knobs and buttons and lights are magnetic. We seek, pure of heart, to merge with the world of sound.
Alas, we sometimes find ourselves stopped short.
It can be a tall order to get the level of expression and immediacy that you crave with traditional synthesizers and processors. is goes double if you’ve got to work quickly, but want to maintain a satisfying amount of complexity and variance in your sound. Perhaps, in the heat of a creative moment, you have wished to simply dive into a synth or effect and command it by thought. There is no shame in that.
This, to a large degree, is why we’ve created Virta - a modular synthesizer and effects processor that responds directly to you.
When you route your voice (or any kind of audio) into Virta, the sound analysis engine precisely extracts information about its pitch, timbre, and dynamics over time. These new signals can control nearly any parameter in Virta, just the same as you can with MIDI or OSC.
Tis makes for an instrument that can easily follow your every twist and turn. Living the dream, really. Then again, Virta is modular, so audio-controlled synthesis is just one road you can travel. You can also make stuff like:
• Expressive vocal processing chains
• 4-voice MIDI-controlled pitch shi ers
• MIDI/OSC-controlled synths (with or without audio control)
• Drones for days
• First-ever faithful emulation of the mating call of the Space Pony
A Quick Overview
Virta’s interface has four main sections, from top to bottom:
• The header section, where you’ll nd the patch menu, along with the version and registration status of your copy of Virta.
• The signals and shapes section, where AUDIO and MIDI/OSC (KEY) signals ow into Virta, and where the oscillators (OSC1 and OSC2) and modulators (LFO, and ENVELOPE) reside.
• The patcher section, where connections between modules are made and unmade.
• The processing and output section, where the sounds you make are massaged and processed to perfection by the FORMANT, GATE, DE- LAY, and OUTPUT modules"
