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Pylobolus where you'll find some audio demos.
From Sound Design to Instrument Design
ALKOVE is not just about shaping sound — it is about designing the instrument that will produce it.
On a computer, the musician builds the sound architecture from the ground up: defining oscillators, selecting and combining filters, organizing signal paths, shaping stereo space, phase relationships, and depth. Parts can be layered or split, voices distributed, and digital effects integrated as part of the instrument itself. The process is fluid and iterative — adding, removing, comparing, refining — until the desired structure emerges.
Every modification is instantly reflected on ALKOVE. There is no transfer, no separation between design and performance: the instrument evolves in real time, mirroring the creative process as it unfolds.
What is created is not just a preset, but a complete and purpose-built instrument — with its own structure, its own behavior, and a carefully defined set of parameters available for live interaction.
Build your instrument
ALKOVE provides a set of building blocks designed to shape sound at its core.
Sound sources combine traditional subtractive synthesis with classic and formant-based oscillators (VOSIM), allowing both familiar and unconventional timbres to emerge. From the earliest stages of sound creation, the instrument is built around an integral stereo architecture, where space, phase, and depth are part of the synthesis process itself.
Filters are not fixed structures, but polymorphic elements (Ladder, SEM, SVF, Comb) that can be combined and interconnected to create evolving signal paths.
Dynamics are shaped by three DADSR envelopes per voice. Attack and release stages respond to velocity, allowing articulation to adapt naturally to performance. One envelope is directly tied to the stereo analog VCA of each voice, reinforcing dynamic response and control at the core of the sound.
Modulation extends beyond simple movement. A flexible routing system allows parameters to interact freely, while both global and per-voice LFOs can be phase-shifted and distributed across the stereo field, shaping motion and spatial perception.
MPE support enables per-note control, extending the instrument’s expressive capabilities.
The instrument can be structured into up to three independent parts — layered or split — each with its own voice allocation and role within the mix.
Two synchronized arpeggiators introduce rhythmic and harmonic complexity, interacting with the sound architecture in real time.
A dedicated mixing stage and a modern effects engine complete the system, integrating processing directly into the instrument itself.
From Design to Performance
ALKOVE is designed to move seamlessly from sound creation to live performance.
Programs and banks can be browsed instantly using a large, tactile encoder or directly from the touchscreen, allowing quick navigation without interrupting the flow.
Each program exposes a set of immediately accessible parameters — eight customizable controls per part — giving direct, hands-on access to the most relevant aspects of the sound. Up to three parts can be used simultaneously, clearly identified across the entire interface through a consistent color system (blue, orange, green), making structure and role instantly readable.
The distribution of voices and the active part configuration remain visible at all times, both on the screen and through the color-coded interface. Modulations are not hidden layers: they are displayed in real time and can be adjusted directly from the touchscreen, maintaining a continuous link between gesture and result.
Beyond these primary controls, all parameters remain within reach through dedicated shortcuts and encoder-based navigation, allowing deeper intervention without breaking the performance flow. Global elements — LFOs, arpeggiators, effects, and performance settings — are permanently available and do not depend on the currently selected part.
A final mixing stage provides a clear and immediate overview of all active parts, with intuitive control over balance and spatial placement, completing the transition from instrument design to expressive performance.
