NAMM: Pacarana—Supercomputer for Sound

The Symbolic Sound Pacarana is here.
"Most powerful sound design workstation on the planet
That’s what Electronic Musician magazine calls the Kyma sound design environment. Future Music calls it the Holy Grail of sound design. Kyma's strength arises from its unique set of algorithms, the ease with which you can create endless combinations of those algorithms, and the unprecedented degree of real-time responsive control over the sound parameters.

You’ve already heard the sounds of Kyma in films like WALL•E, The Dark Knight, Master and Commander, Finding Nemo. And you've heard the interactive musical sounds of Kyma both on albums and in live sets by legendary musicians and producers like John Paul Jones, A.R. Rahman, Rich Costey, BT, and many others.

In 1990, Symbolic Sound revolutionized the sound design and music software industry with the introduction of Kyma, a graphical modular software sound design environment accelerated by the software-reconfigurable Capybara multi-processor sound computation engine. Symbolic Sound is committed to bringing the most advanced and flexible sound design technology to sound designers, musicians, educators, researchers, and creative professionals through its innovative hardware and software offerings.

What comes next?

A supercomputer designed for sound"

The flagship model Pacarana is 150% the power of a fully-loaded Capybara-320 for less than half the price. The entry-level Paca costs less than a Basic Capybara-320, but the new entry-level model is 5 times more powerful.

Falling in love with Kyma
What is it that people love about Kyma? For some people it’s having an unbounded environment for creating sounds that have never been heard before. Others cite outstanding technical support and the super-stability and reliability of the Kyma software during live performances. Still others rave about the continuous stream of free software updates full of new features and synthesis/processing algorithms. And everyone loves the legendary Kyma sound.

What’s the secret behind the ‘Kyma sound’? The secret is in the software. When you have a supercomputer dedicated entirely to capturing, processing, and synthesizing sound, you have the luxury of being able to do things right. We don’t cut corners, and you can hear the difference."


"On the back of the Pacarana—all the high-speed connectivity you want and need for digital audio production: two FireWire 800 ports, 2 USB ports, 100-base T Ethernet jack, and more…

A DC power plug connects the Pacarana to an external power supply that auto-senses voltage and frequency of the AC power source no matter where in the world you travel.

The Pacarana communicates with the Kyma X software running under Mac OS or Windows via FireWire 800 (IEEE1394B) or an 800-to-400 adapter cable.

Audio and MIDI input and output is handled via an external FireWire or USB converter or, for current Kyma owners, through a Capybara-320 with Flame FireWire I/O. Connect additional USB MIDI controllers like keyboards or fader boxes via the second USB port."

The above is just an excerpt. You can find more on the Symbolic Sound Pacarana website.

Update: the official press release came in at 4:33 PM:
"New Supercomputer for Sound:
Pacarana for Kyma Sound Design Environment

Champaign IL, January 12, 2009:
Musicians and sound designers for film, games and live electronic music now have a new supercomputer designed specifically for interactive sound exploration and live performance. The Pacarana and Paca are two new multiprocessor computers optimized for capturing, processing and synthesizing sound for the award-winning Kyma Sound Design Environment. Designed by Symbolic Sound Corporation to serve as a smaller, more affordable and more powerful replacement for the Capybara*320 sound computation engine, the new entry-level system is 5 times more powerful and costs $500 less than the older entry-level configuration. The power of the higher-end model exceeds that of a fully-loaded Capybara*320 but costs far less than half as much.

http://ssc-media.com/Pictures/Pacarana/Front%20(full%20res).JPG

http://ssc-media.com/Pictures/Pacarana/Nick%20Paca%20trimmed.jpg

Kyma, the Paca(rana), and backwards compatibility
Favored by sound designers for its unique set of algorithms, the ease with which one can create endless combinations of sound processing and synthesis algorithms, its reliability during live performances, and the responsiveness of real-time control over sound parameters, the Kyma sound design environment benefits from the new Paca(rana) platforms in the form of more polyphony, denser textures, faster loading times, more memory for live sampling and playback, enhanced portability, refinements in sound quality and the potential for future developments.

According to composer/performer and early adopter Phil Curtis of SoNu (http://www.sonusound.com):
I'm loving the new Pacarana. [M]ost of my old sounds just barely register on the meter, even sounds that just barely worked on the Capybara....I can already see that this is going to be a big leap in what I can do and paves the way for years of further development.

Sound designers who have been using Kyma X on the Capybara*320 can open and continue working on their current projects using the new hardware. Switching back and forth between the Capybara and the new hardware is completely transparent, and Symbolic Sound will continue to support Kyma X on the Capybara-320. Kyma users also have the option of keeping their Capybara*320 computer running alongside a new Pacarana, augmenting, rather than replacing, their current hardware.

Smaller, lighter, easily portable
With more sound designers going freelance, more musicians going on tour, and the airlines charging for each checked bag, Symbolic Sound decided to make the Pacarana and Paca small and light enough to fit into a backpack, laptop case or in a small rolling rack. The Pacarana footprint is the same as that of a MacBook Pro 15" (the Paca is about 3 inches shorter) and is 1 rack unit in height: ideal for live performances, working on the road, transporting from home studio to sound stage or from work to home.

Connectivity
On the back of the Paca(rana) are 2 USB ports, 2 FireWire 800 ports, and a DC power plug that connects to an external power supply brick (about the same size as the Mac Mini's power brick).
http://www.ssc-media.com/Pictures/Pacarana/Back%20(full%20res).JPG

The Paca and Pacarana communicate with the Kyma X software running under Mac OS or Windows via FireWire 800 (IEEE 1394B) or FireWire 400 (IEEE 1394A) using an 800-to-400 adapter cable.

Audio and MIDI input and output is handled by an external FireWire or USB converter or, for current Kyma owners, through a Capybara-320 with Flame FireWire I/O.

Additional USB MIDI controllers like keyboards or fader boxes can be connected via the second USB port.

More Audio and MIDI Input/Output options
Symbolic Sound decided to decouple the sound conversion from the sound computation functions in order to give customers more options for customizing their studio and mobile setups. Customers can now select from among a full range of high-quality third-party 1394TA AMDTP-standard FireWire and class-compliant USB audio converter devices available in nearly every size and price range. The growing list of qualified third-party converters includes the TC Electronic Konnekt series, the MOTU UltraLite-mk3, the Apogee Duet, and, on the USB side, the M-Audio Fast Track Pro and Logitech and Sennheiser USB headsets.

The Kyma Sound
Early reports from alpha and beta testers confirm that the sound quality of the Pacarana matches and, in some cases, surpasses that of its predecessor.

"People tell me that Kyma has an excellent word-of-mouth reputation for audio quality, and they usually attribute the quality to the Capybara*320 converters," says company president Carla Scaletti. "While it's true that the Capybara converters are excellent, the real secret to high-quality audio is in the algorithms. When you have a computer entirely dedicated to computing sound, you don't have to cut corners; we don't have to share our sound computer with a CPU-hungry operating system or a graphics subsystem; all Paca and Pacarana cycles are dedicated to computing high quality sound."

Live Control
You can use any USB or FireWire MIDI device or software for controlling sound parameters on the Paca(rana). Symbolic Sound has been working closely with Haken Audio (http://www.hakenaudio.com) to create seamless plug-and-play operation with the new MIDI-based Continuum fingerboard. Additional controllers with a high degree of Kyma integration include the Wacom tablet, the MotorMix, and the controllers supported by Camille Troillard's OSCulator (http://www.osculator.net) software, including the Nintendo Wiimote, the Jazz Mutant Lemur, the Logitech Space Navigator, and others.

Backpacking
The Paca(rana) fits perfectly into the hard-shell laptop sleeves made by Tom Bihn (http://www.tombihn.com) and Symbolic Sound is making the Tom Bihn Brain Cell sleeve and Brain Bag backpack available with the purchase of a Paca or Pacarana for hands-free transport of your laptop, Pacarana and other mobile audio gear.

Price and availability
Symbolic Sound is now shipping both the Paca and the Pacarana. The entry-level Paca is available for US $2970 and the professional studio model Pacarana is available for US $4402. To place an order, please visit http://www.symbolicsound.com or send email to info-kyma@symbolicsound.com

Summary
A lower entry-level price, a smaller footprint, and a whole lot of extra horsepower make Kyma X + Paca(rana) a supercomputer for sound designers and musicians!

Background
Symbolic Sound first revolutionized the sound design and music software industry in 1990 with the introduction of Kyma, a graphical modular software sound design environment accelerated by the software-reconfigurable Capybara multi-processor sound computation engine. The Paca(rana) is the fifth in a series of increasingly powerful sound computation engines designed and produced by Symbolic Sound to work in conjunction with the Kyma sound design environment (now in its sixth major release, not counting the hundreds of free updates between each major release). Symbolic Sound is committed to bringing the most advanced and flexible sound design technology to sound designers, musicians, educators, researchers, game developers, and other creative professionals through its innovative hardware and software offerings.

Symbolic Sound, the Symbolic Sound logo, Kyma, Pacarana, Paca, and Capybara and their logos are trademarks of Symbolic Sound Corporation. Other company and product names may be trademarks of their respective owners."

Symbolic Sound Unveils “Pacamara Ristretto” Audio Processing Unit (APU)

Pacamara launch from Symbolic Sound on Vimeo.

Pacamara explainer from Symbolic Sound on Vimeo.

Press release follows:



September 6, 2022

Symbolic Sound Unveils “Pacamara Ristretto” Audio Processing Unit (APU)

2.5 times performance boost, 20% lower price, expanded connectivity, and inter-application audio

CHAMPAIGN, ILLINOIS — Symbolic Sound announces a new Audio Processing Unit (APU) representing a giant leap forward in performance, energy efficiency, and connectivity over previous generation APUs. At less than half the size, the new Pacamara “Ristretto” delivers, on average, a 2.5 times jump in performance, a 20% reduction in cost, cooler operating temperature, expanded connectivity options, and seamless inter-application routing of audio and MIDI to/from applications running on a host computer.

Performance
Pacamara Ristretto’s compute-cycles and memory are solely dedicated to sound computation, delivering unprecedented levels of performance capabilities to sound designers for film and games, live electronic music performers, sound artists, educators, researchers, and audio professionals who require the highest-quality real-time audio, responsive live interaction, and unbounded creative flexibility from their tools.

“The Pacamara Ristretto represents a radical transformation, not just because it’s Symbolic Sound’s most powerful external APU yet, but because of the ease with which it communicates with the rest of the world,” said Symbolic Sound’s president Carla Scaletti. “Audio, MIDI, and OSC streams can be freely routed between Kyma and other audio applications on your computer and audio devices in your studio, including across LANs and out onto the Internet, creating a combinatorial explosion of sound creation possibilities.”

According to game/film sound design consultant and Pacamara field tester, Alan M. Jackson, “It’s the latest, most powerful revision of the most important audio DSP environment of the last 30 years.”

Powered by Kyma
Audio professionals can leverage the full Kyma 7 accelerated sound design environment for rapid prototyping, testing, creative exploration, and refinement of production-quality sound synthesis and processing algorithms to run in real time on the Pacamara Ristretto.

Kyma, described as a “recombinant sound design environment,” gives sound designers access to extensive libraries of unique audio synthesis and processing modules, along with tools for creating limitless combinations of those algorithms. Galleries of automatically-generated signal flow graphs help speed development, spark the imagination and boost the creative flow — providing creators with the advanced models needed to solve sound design challenges for games, film, live music, data sonification, voice processing, multi-sensor controllers, and more.

Deep integration between hardware and software has always been central to the Symbolic Sound approach. Hardware design is continually informed by software development and vice versa. As a result, the Kyma 7 sound development environment is optimally tuned to take full advantage of the huge increases in processing and memory bandwidth made available by the new Pacamara APU.

Sound designer and musician Cristian Vogel describes the Kyma software environment as “the best for innovating, prototyping and designing innovative digital sound processes… frictionless for ideation and research. Then, reliable and consistent at the outcome stage.”

The Pacamara Ristretto is as comprehensive in its connectivity as it is diminutive in size. The back panel of the rugged, roadworthy enclosure includes:

• USB-C port for audio and MIDI transfer to/from host computer
• Two USB 2.0 ports for connecting audio interfaces and MIDI controllers
• 3.5 mm jack sockets for mic input and stereo headphone output
• RJ-45 network port to connect via a gigabit Ethernet cable to a host computer
• Wi-Fi antenna jack
• USB-C power input port

An APU does for Real-time Audio what a GPU does for Real-time Graphics
Audio professionals require high quality, low latency, reliable real-time audio synthesis and processing. That’s what an APU can deliver.

“The question is not whether a CPU is capable of real-time graphics generation and processing. Everyone understands the advantages of offloading real-time graphics computation onto one or more GPU(s) running in parallel with your main CPU. Not only does it free up memory and computing resources on your CPU, a GPU guarantees the highest-quality, glitch-free interactive real-time graphic performance. The same is true for audio!”

“With the Pacamara you have high quality, configurable algorithms running on dedicated, uncontended hardware,” explains Jackson, “The result is that it sounds great and it’s reliable.”

Soft Hardware
Unlike traditional audio hardware, which has a fixed functionality that never changes, the Pacamara Ristretto can adapt to the evolving needs of users. Regular, significant software updates ensure that Symbolic Sound APUs continue to gain features and functionality so that they actually improve with time.

Jackson adds, “there’s a subtle and important difference between hardware that is upgradeable… and hardware that DOES get upgraded continuously and significantly. Kyma is [Symbolic Sound’s] only product and [they’ve] been working on it, passionately, for decades. [They] have a proven history of constant and significant upgrades.”

What’s in a Name?
The name, Pacamara, comes from a hybrid coffee plant bred to produce larger beans on smaller trees planted closer together — evoking both the ‘recombinant sound’ design philosophy of Kyma and the smaller size, higher-yield of the Pacamara APUs. According to Scaletti, “Coffee aficionados know that a ristretto shot delivers twice the caffeine per milliliter as a standard shot of espresso. The Pacamara Ristretto is actually 2.5 times more powerful and less than half (44%) the volume of previous generations, meaning that the computational performance by volume has increased 5.7-fold.”

Summary
The Pacamara Ristretto is an APU, designed from the ground up for real-time sound synthesis and processing; it works in parallel with your main computer to deliver high-quality real-time audio signal computation, freeing up resources on the CPU for managing your overall studio workflow.

Audio professionals can leverage the full Kyma 7 accelerated sound design environment for rapid prototyping, testing, creative exploration, and refinement of production-quality sound synthesis and processing algorithms to run in real time on the Pacamara Ristretto.

The Pacamara Ristretto APU is the most recent development in a consistent flow of innovation from Symbolic Sound — from Capybara, to Capybara 33, Capybara 66, Capybara 320, Paca(rana) — the sixth generation Pacamara Ristretto APU is groundbreaking in terms of raw compute power, delivering a 2.5-fold leap forward in performance, connectivity, and dependability backed by extensive field testing in real world performance environments.

Pricing and Availability

The Pacamara Ristretto is available today at https://kyma.symbolicsound.com/order-now
Initial supplies are limited due to ongoing (and inexplicable) global electronic component shortages.

The price for a 4-processor Pacamara Ristretto is $3,818 (US)
An entry level, 2-processor system is available for $3,302 (US)

The Kyma 7 software for macOS or Windows is included with the APU.

Spectrasonics Releases Major Omnisphere 2.5 Update

Note Omnisphere 2.5 is the update announced back in 2018 that introduced the ability to control Omnisphere software models with and based on various hardware synths. It is now available. The press release follows:

We are happy to announce the release of a major update of our flagship software synthesizer, Omnisphere®. With the new version 2.5, Omnisphere becomes the first software synth in the world to offer a Hardware Synth Integration feature, which transforms over 30 well-known hardware synthesizers into extensive hands-on controllers that unlock Omnisphere’s newly expanded synthesis capabilities. Simply put, this ground-breaking new feature makes using Omnisphere feel just like using a hardware synth! The extensive new FREE update also features a newly announced hi-resolution interface, support for Windows Multitouch, new Granular Synthesis capabilities and a stunning new sound library of over 1000 brand new sounds, bringing the total number of included sounds to over 14,000.

Hardware Synth Integration
This remarkable innovation bridges the physical experience gap between software and hardware, giving users intuitive control of Omnisphere by using the familiar layout of their supported hardware synth. The initial release officially supports over 30 popular hardware synthesizers from Moog®, Dave Smith Instruments®, Roland®, Korg®, Novation®, Nord, Access, Studiologic, Sequential® and more to come. The supported hardware synths cover a wide range of types and price ranges for different types of users.

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UVI Introduces Synth Anthology 4

video uploads by UVI

Note the above is a playlist featuring 4 videos. You can use the player controls to skip through them or just watch them all in order.

Details on Synth Anthology 4 follow:

The authentic sound of 200 synthesizers, from vintage to modern
4,000+ presets and layers deliver incredible sound with hardware soul
Feature-packed dual-layer engine with fx, arpeggiator and more

Synth Anthology 4 - A Synthesizer Tour de Force
https://www.uvi.net/synth-anthology-4

Rebuilt from the ground-up, Synth Anthology 4 now features the authentic hardware sound of 200 vintage and modern synthesizers, a fully redesigned engine with powerful features, fx, arpeggiator, smart sound suggestion engine, native MPE support, and more.
A dreamlike collection!

Also included in SonicPass ➡️ https://www.uvi.net/sonicpass

Video credits: Anthony Hak
Music Credits: Théo & Thomas

"The Best Keeps Getting Better

What's new in version 4?

Almost everything!
We've rebuilt the engine from the ground-up, added more synths, more presets, more effects, more filters, more modulation, a dedicated browser, a second fully-customizable layer for creating hybrid and blended timbres, an all-new smart suggestion engine that helps you quickly find similar sounds, a more powerful arpeggiator/phraser, bus effects, native MPE support, and more!

Real Hardware Sounds There is something unmistakable about the sound of a real hardware synth, from subtle differences between voice circuits and drift to the varied way filters bite into the sound; there's a distinct character and energy. Synth Anthology 4 delivers the authentic and uncompromising hardware sound with all the conveniences of a modern software instrument.

Every piece of hardware represents a unique creative vision, sonic character, innovations, and strengths. Whatever you're looking for, from analog to digital, vintage classic to future classic, you will find it here. Synth Anthology 4 delivers an incredible collection of hardware, every major manufacturer, every type of synthesis, every era, 200 synthesizers in all.

You won't find a more complete collection anywhere else."

The list:

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Thoughts on the iPad as a Synth and Controller

Every now and then I hear about people knocking the iPad in the synth world. Usually the criticism seems to be a reaction to the hype or the inevitable "it can't do this or that" sort of argument. Don't let the hype (negative or positive) influence you. Just see it for what it is - a piece of hardware with processing power, memory, and a multi-touch interface that can be used to turn it into a synth, audio processing device, controller or whatever else might come out for it. I thought I'd share my thoughts on why I'm particularly fond of it and why you see so many posts here. In short, I like synthesizers, and the iPad is as much a synthesizer as any of my other synths. I didn't get an iPad to replace my synths or controllers, I got one to compliment them, which BTW, is the exact reason I buy any piece of gear.

In regards to synthesis, unless a synth is analog it's digital, and digital is software running on hardware. Whether that's a PC, a dedicated hardware synth or the iPad, it's still software running on hardware, and hardware comes in all shapes and sizes. Like any other synth, the iPad has its advantages and disadvantages.

As for the interface, all hardware varies from being completely menu driven to one knob per parameter. I do have to say Moog's Animoog X/Y pad and PATH module trumps my Prophet VS for drawing vector type paths for manipulating sound in time. The visual feedback is useful rather than gimmicky and the customizable virtual touch plate is extremely expressive and responsive. As for complimenting and extending the interface of my current hardware, my FS1R was practically non editable until I made this TouchOSC template for it. I'm also less worried about the Prophet VS joystick going out now that I have my Prophet VS TouchOSC editor. I prefer the editor to the Prophet VS interface.

As for the iPad not being open, it's definitely more open than most other hardware synths when you think about it. Roland VariOS anyone? Not only was it Roland only, it faded long before new models came out for it. The Creamware Noah allowed you to install VSTs but is now gone as well. The beauty of the iPad platform is the support it receives outside of the synth community which means it's not going anywhere. Worth noting is the interface of the VariOS and Noah were also much more rigid than the iPad. Physical knobs? Sit the iPad on a synth or MIDI controller with knobs and have them compliment each other.

Simply put, the iPad is a chunk of hardware with processing power and memory just like any other hardware synth. It's interface is a multi-touch screen and it can be hooked up to any external MIDI controller. It can be used as a synth, a controller, or whatever else you want it to be. Some say the processing power isn't there yet. True for some applications, and the same can be said for other hardware synths. All of this seems so obvious that I almost did not put this post up, but I keep seeing and hearing things... Let's just say I put the two posts above when this went up because I'm more interested in them. As the saying goes, "nothing to see here, please move on."

Think of the iPad as a rack mount synth that can morph into anything with an added multi-touch screen just for the heck of it, and you'll be just fine. The apps will define it for you though. If you don't see what you like, move on. The same goes for all other hardware synths. And no, it never will replace everything, it will just compliment it.

You can find my initial excitement on the iPad and all tablets for that matter here:
A New World in Synthesis.

Superbooth 2019 Make Pro Audio Networked Controllers

Published on May 10, 2019 sonicstate

Previous posts.

New eurorack module:

"We all love Eurorack for all the infinite possibilities it presents to create new sound machines. However, when you aspire for more voices and more timbres within Eurorack, that usually requires a significant amount of space and budget outlay. That leaves you no viable options, other than to leave your Eurorack and attempt to connect with outboard gear that does not easily integrate. Now – with Dino Park – you gain access to a world of infinite sonic possibilities, while staying within your Eurorack!

Dino Park is not fixed synthesis architecture – it is as flexible as your Eurorack. It can load different “synth models” which feature radically different forms of synthesis – including vintage subtractive, additive, wavetable and FM – providing infinitely expandable and exciting sonic capabilities in every Eurorack.

Now increasing the sonic potential of your Eurorack has never been easier, or more affordable! . For newbies, Dino Park offers an easy, cost effective and gratifying way to start off their rack journey with a big sound foundation. For Eurorack veterans, Dino Park can close a lot of gaps and enrich any Eurorack performance. True “ best of” utility in big analog sound with the recall-reliability of digital.

We offer three Dino Park kits for the Eurorack"

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Introducing ALICE by Acustica Audio

video upload by Acustica Audio

From the makers of Thing 8.

"What if your synth reshaped reality?
Alice-9 is the next-generation sample-based synthesizer forged from the chaos of the unknown and built for creators who refuse to follow.

Powered by SCO technology, and infused with analog soul, AL9 isn’t here to emulate.
It’s here to change the rules.

🎛 Real movement, deep stereo placement, aging imperfection, and punchy compression.
🎶 Every preset is a twist. Every sound a move. Every session, your next breakthrough.

This isn’t just another synth.
This is the edge of synthesis.

Choose your sound. Be the one who rewrite the rules.

Alice-9 has just entered the game."

ALICE9 | Live preview!

video upload by Acustica Audio

Acustica Audio - Alice-9 (AL9) is a next-generation sample-based synthesizer in the digital domain.
video upload by 23dB Productions

ALICE: https://www.acustica-audio.com/shop/p...



Alice-9 (AL9) is a next-generation sample-based synthesizer in the digital domain, part of the Marea virtual instrument series, and powered by the innovative MUST (Modular Unified Synthesis Technology). Early testers have described it as an instrument with a deeply organic and varied sound palette — evocative of iconic synthesizers from the 1990s and early 2000s. AL9 redefines what a sample-based synth can be, merging analog realism, playable feel, and modern digital power into a single instrument. Available in VST3, AU, and AAX formats, ensuring integration with all major DAWs.
Use code: ALICESPECIAL at checkout for 41% off until August 31, 2025!

The first users compared AL9 to walking into a music store in the 1990s, hearing a synth that delivers something new and inspiring with each preset. That rare sensation of immediacy, depth, and musicality — the feeling of a “real instrument” — is the essence of AL9.

Made to Inspire
The architecture of AL9 goes far beyond sample playback or wavetable synthesis. Its sound engine is built around SCO (Sample-Controlled Oscillator), a high-resolution resampling system capable of reproducing natural analog behaviors such as frequency drift and evolving dynamics. Unlike typical static samplers or rigid waveforms, AL9’s oscillators breathe and shift like their analog ancestors.

This realism is further enhanced by the proprietary Superstereo system for natural stereo placement , the Age control that adds subtle imperfections, emulating the warmth of aged hardware and Integrated multiband dynamics processor inspired by the popular OTT compression paradigm, delivering musical glue and energetic punch.

Whether you're chasing nostalgia or forging new paths in sound design, AL9 provides an inspiring playground that rewards musicianship and creativity.

Beyond Emulation
The idea for THING originated during the development of Thing (TH8 – TH5) — an emulation of a classic 1980s DCO synth. During that process, a question arose: what if, instead of replicating digital waveforms, we could capture and reproduce the actual behavior of an analog VCO? What if we could push timbral diversity beyond the limitations of traditional synthesis methods?

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Arturia Introduces Virtual Polyphonic Buchla Music Easel, Fairlight CMI, DX7, Clavinet in V Collection 6

Published on Dec 5, 2017 Arturia

Playlist:

Arturia announces V Collection 6
Arturia announces CMI V
Arturia announces DX7 V
Arturia announces Buchla Easel V
Arturia announces Clavinet V

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Interview with Hexfix93 of VAC

The following is an interview I just wrapped up with hexfix93 of Velvet Acid Christ. As you know, this site is about the gear, namely synths, and the gear that helps drive and enhance synths, but ultimately the focus is on synths.

I was chatting a bit with hexfix93 and asked him if he would be interested in a slightly different take on an interview, one focused on synths and their impact to his world. We all have our story regarding how our obsession with synths first started, how we see and approach synths and what they mean to us. I thought it would be interesting to hear his story. The following is the interview.

Before it begins, I want to thank hexfix93 for taking the time out for this. We all have a different approach and a different story when it comes to our synths. This is his. For more of his music check out VAC and don't miss Toxic Coma. Cheers, matrix.


1. What was your first synthesizer, how old were you when you picked it up, and why did you pick it up?

"It was some kind of old yamaha cheap thing. i got it for my atari st, so when i played games like leisure suit larry that the music wouldn't come from the wimpy fm built in sound, but a general midi synth instead. it really didn't sound all that great. i wasn’t really a keyboard player at this point.

The first synth i got as a keyboard player was a roland w30 sampler workstation. And we made like 3 records with that keyboard. i remember gary slaughter an x vac member, spilled orange vodka drink on it. and i had to take it apart and clean every part of it by hand slowly, it took weeks. it was a pure nightmare.

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VIRTUAL ROLAND SOUND CANVAS PROGRAMMER - for APPLE LOGIC v4 > vX

Avialable on Reverb here.

"FOR USE WITH Roland SC-88 PRO, SC-88, SC-55 MKII, SC-55, SC-8850*, CM-64, etc. (*partial support only)


*Dust off and unleash the programming power of your venerable Roland SOUND CANVAS
*Press into service those fat and juicy Roland resonant filters
*Tweak all those pesky hidden effects parameters
*Easily dial in all those eminently routable continuous controllers for maximum expression and creativity
*Program unique sounds starting with the basic building blocks of the well-honed Roland GM sound sets
*Play all those old SMF files with a unique twist to your sounds, programmed by you
*These are just some of the things you can do with this new comprehensive Roland SOUND CANVAS programmer for Apple’s LOGIC DAW


This software is a virtual Roland Sound Canvas programmer for use with various Roland Sound Canvas synthesizers. It simulates a hardware programmer in a software environment within the APPLE LOGIC audio / sequencer program (formerly Emagic LOGIC). To use this software you MUST have a valid copy of LOGIC on your computer (see below) as well as a MIDI interface which connects your computer via MIDI cable to your hardware synthesizer (or you can use the built-in serial interface on some of these units). This software CANNOT be used as a stand alone application under any circumstances. It will not run in Reason, Ableton, AU, VST or any other plug-in format. It is created and presented through use of the LOGIC “environment” architecture.

This programmer is compatible with many different Roland SOUND CANVAS models to varying degrees. Completely optimized for Roland SC-88 PRO, it handles all possible editing duties in that unit with the single exception of micro-tuning, and the same for the SC-88. It will also support the earlier SOUND CANVAS models such as the SC-55 Mk II, SC-55, and a host of others using the GM standard and extras to the degree supported by your particular model’s architecture. This includes Roland’s PC computer products, Virtual Sound Canvas and many others - about 40 different units in all. Check this WIKI page if you want too see if your unit may be supported: https://en.wikipedia.org/wiki/Roland_Sound_Canvas

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PPG WaveGenerator Submitted to Apple & Death of Digital Hardware Synths

Wolfgang Palm posted the following on his website (see my notes below)

"The first time I thought about an iPad project was last autumn. The more I got into it and the more information I collected, it sounded interesting to me.

I first did a pilot project on PC, just to check out the possibilities of a creative wavetable construction system, where you draw your waveforms and spectra and hear the result directly. This is especially challenging with the touch panel on the iPad.

When I had done this and convinced myself that it is a great tool and gives fantastic audio results, I bought a Mac and an iPad, and started programming for the real device. I inducted Cornel Hecht into the project, and he helped with the cool graphics and had many great ideas as well.

Later I invited some very experienced people like Peter Gorges and Jay de Miceli to help me with beta-testing and sound design. We also have 'nachtsmeer' and Kenneth Abildgaard in the team who have also contributed countless ideas.

I am also very thankful for the help of Russ Hughes who runs Sociatech, a specialist marketing and PR company, his expertise in helping get the message out has shown amazing results. If you have any kind of tech product you need to tell people about, then I recommend him to you.

So yesterday the WaveGenerator app was sent to Apple for approval, and we hope that it will be in the Apple App Store soon.

It is good to be back and to be able to share my creative ideas with the world in these new ways – I had a vision and here it is, it has the DNA of my first baby, but this grandchild has a 21st century personality.

Thank you for your support!"

It's great to see him back and it's great to see him embrace the iPad.

------

On the Death of Digital Hardware Synths:
Traditional digital hardware synths that is. The iPad is hardware after all. (see Update2 below)

For a while I've been thinking the iPad will be the death of traditional digital hardware synthesizers for several reasons - lower cost, size, ability to morph into whatever you want it to be, and it acts and feels like real hardware because it is real hardware. It's just as much hardware as any other traditional hardware synth running digital synthesis software. The iPad should not be equated with running software emulations on the PC or Mac, it should be equated with hardware synths with touch interfaces like the Korg Kronos and Jupiter-80, or the PPG Realizer. All digital synths are software based. My lust for digital hardware diminished ever since I picked the first gen iPad and Sunrizer and compared it with my Roland JP-8000. I picked up the JP-8000 new for about $1100 back when it came out. I picked up Sunrizer when it was called Horizon Synth for $4.99. Think about that.  $4.99 for a full blown VA synth with a morphable touch interface and it sounds great. The cost of the iPad and Sunrizer was less than the JP-8000 and you have access to a plethora of other synths, sequencers and controllers. Hook it up to your MIDI keyboard of choice and with the likes of Animoog, NLogSynth Pro, Magellan, Cassini Synth, Peter Vogel CMI (a Fairlight for $50!!!), Korg's iMS20, SynthX, and now the PPG WaveGenerator and Waldorf & Tempo Rubato's upcoming synth, and you have a hardware synth. With the iPad in it's third generation, older models will only continue go down in price, so the ability to have multiple iPads for cheap isn't too far off. There is one concern I had lingering though. Battery life. Eventually I'm guessing the batteries in the iPad will die, but I say had, because with something like the Alesis iO dock this may not be an issue. You can power it and have all your IO available at the same time. I should note my first gen iPad battery is still going strong.

It will be interesting to see what hardware synth manufacturers do next. They will have to offer synthesis methods not available in apps for the iPad, and as time goes on those differences will only shrink. You can't replicate analog, so maybe we will see more of that including hybrid synths. As for full blown digital, I can see manufacture's having a flagship synth for the pro musician on the road, a flagship controller for the iPad, and apps to go along with it. I think there will always be an audience for each, but there is no denying the iPad has become a option for digital hardware synthesis.

Picked up on Synthtopia as well.

Update1 6/30/2014: And it happened with the iconic Akai MPC line.  Via @TomWhiwell of MusicThing modular shared via Twitter:

"The Akai MPC is dead; no more standalone hardware, just iOS apps and controllers: http://www.akaipro.com/category/mpc-series …"


Update2 6/30/2014: I wanted to expand on my initial commentary on the "death of digital hardware" above. If you read it, you might think I prefer the iPad to dedicated hardware synths when it comes to digital only. Far from it.  It was written from the perspective of the potential impact the iPad could have on the world of hardware synthesis.  It was a look into the possible future and not meant to be a look into the present or even the near future.  The thought was that if you had a portable hardware device capable of turning into any digital hardware synth you might need, at a fraction of the price of a full blown hardware equivalent, what would you do?  The answer?  It depends on your needs, preferences and funds.  Personally, I like the convenience and portability of the iPad but I love the feel and tactile relationship dedicated hardware instruments have to offer.  The iPad offers the engine, but lacks the body unless you're Synth-Project.  The new Akai MPC line tries to bridge some of that, but is it enough?

Expressive E Introduces Imagine - Physical Modeling Software Synth with Multidimensional Acoustic Tones

video upload by Expressive E

"Meet Imagine a playful world of unknown acoustic sounds

Imagine digs deep inside the body of real-life instruments, modifies, and combines their acoustic characteristics to create an imaginary acoustics landscape.
Thanks to a playful multidimensional approach, Imagine offers texture manipulations, mysterious unknown sound dimensions that still sound familiar.

multidimensional acoustic tones

Imagine digs deep inside the body of real life instruments, modifies and combines their acoustic characteristics to create an imaginary acoustics landscape.

Thanks to a playful multidimensional approach, Imagine offers texture manipulations, mysterious unknown sound dimensions that still sound familiar.
multi-stage envelope generators

For further expressive possibilities, Imagine contains MSEGs that pack a huge collection of modulations for your sounds.

intelligent modulation system

Behind the scenes, everything is optimized to provide you the best expressive experience possible: no dead zones; sensitivity curves and ranges are continuously scaled.

optimized macros

Significant optimization work has been carried out to allow you to modulate the sound of your instruments in real time, resulting in a unique expressive perspective."

🔥🔥🔥 special introductory price - 40%OFF - limited offer -⏳
https://bit.ly/3tyHNND

Update: the press release, just in, follows with additional details and some spectacular renders of a conceptual hardware version. Before you get to excited, Imagine is software only:

Expressive E and AAS Team Up on the Imagine Software Instrument: A Playful New World of Unknown Acoustic Sounds.

Imagine lets you easily play with a new variety of sounds—acoustic, organic, and alive from the resonant bodies of real-life instruments. 

Paris, France, September 9, 2021 — Expressive E’s new Imagine plug-in instrument captures the qualities of different real-life instrument bodies and modifies and combines their acoustic characteristics to create an imaginary acoustics landscape.

Thanks to a playful, multidimensional approach, Imagine allows you to have evolving textures, including several dimensions to explore for each preset. This unique approach produces mysterious, inspiring, unknown sound dimensions from familiar-sounding elements.

Imagine results from an exciting collaboration between Applied Acoustics Systems (AAS)—the foremost pioneer of acoustic physical modeling software instruments — who provides the sound engine — and Expressive E, a company grounded in the mission of improving the way musicians interact with sounds by creating a much more intuitive and powerful music-making experience.

“At the forefront of a new generation of controllers that provide multidimensional expression, Expressive E’s expertise proved to be a perfect match for our physical modeling technology,” says Marc-Pierre Verge, CEO of Applied Acoustics Systems. “They created a flexible and playful interface based around real-time manipulations that allow one to morph between layers of resonating objects. This inspired their sound design team to create a brilliant library of rich organic soundscapes to explore.” 

CLICK FOR MORE »

Roland Announces JX-08 and JD-08 Sound Modules

video upload by RolandChannel

"The compact-yet-powerful JD-08 Boutique updates the iconic JD-800 synthesizer for your modern workflow. Known for its extensive hands-on controls and an unapologetically electronic sound palette, the JD-800 helped define the sounds of the ‘90s and beyond. The JD-08 faithfully recreates the vintage instrument using the 108 original waveforms and advanced modeling techniques to deliver the signature JD sound design workflow. Plus, modern upgrades, including expanded polyphony and a two-part polyphonic sequencer, give you deeper music creation and editing freedom.

The compact JD-08 fits just about anywhere, and with updated USB-C audio/MIDI and full-sized MIDI jacks, you can play and synchronize with almost any piece of gear. There’s also an external clock input to sync to vintage analog instruments or modern Eurorack systems.

Add the legendary JD-800 experience to your modern studio with the JD-08 Boutique model.

More Details:
• Four-part tone structure, multi-phase time variant envelopes, and palette sliders
• Includes the original 64 presets plus 21 new presets
• Detailed recreation of the JD-800’s unique two-stage multi-effects section
• Editable distortion, phaser, spectrum, enhancer, delay, chorus, and reverb
• 64-step, two-part polyphonic sequencer with random pattern generator
• Onboard arpeggiator  
• Two-part multitimbral with expanded polyphony
• EXT CLOCK IN to drive the internal sequencer and arpeggiator

In this video:
0:00 – Intro
1:19 – Sound Demos
2:51 – Real-Time Control
3:47 – Sequencing
6:46 – Triggering"

Roland Boutique JX-08 Synthesizer: Overview and Demo

video upload by RolandChannel

"The JX-08 Boutique reacquaints you with the unique voice of the classic JX-8P synthesizer, with some major upgrades. A staple of the ‘80s, the JX-8P was famous for its warm pads, shimmery chorus, and crystalline tones. Now, you can add this iconic synth experience to your modern studio with the JX-08 Boutique model.

The JX-08 offers a range of powerful new effects, expanded presets, and a polyphonic sequencer. Explore over 100 new patches for a more contemporary sound or use the hands-on editing functions, included on the unit and ported over from the original companion PG-800 programmer, for the ultimate JX experience.

The compact JX-08 fits just about anywhere, and with updated USB-C audio/MIDI and full-sized MIDI jacks, you can play and synchronize with almost any piece of gear. There’s also an external clock input, so you can sync to vintage analog instruments or modern Eurorack systems.

More Details:
• 32 original presets, plus 111 new presets
• 17 new effect types including JUNO-106 chorus, LO-FI Comp, and Pitch Shifter
• 64-step, two-part polyphonic sequencer with random pattern generator
• Onboard arpeggiator
• Two-part multitimbral for playing multiple patches with dual and split capabilities
• Expanded polyphony compared to the original hardware
• EXT CLOCK IN to drive the internal sequencer and arpeggiator

In this video:
0:00 – Intro
1:44 – Sound Demos
2:46 – Real-Time Control
3:32 – Sequencing
5:17 – Triggering"

And the press release:

"The Roland Boutique lineup expands with new modules based on the vintage JX-8P and JD-800 synthesizers

Los Angeles, CA, November 9, 2021 — Roland announces the JX-08 and JD-08 Sound Modules, the latest additions to the award-winning Roland Boutique lineup of compact electronic instruments. The JX-08 offers a scaled-down recreation of the JX-8P, one of the last analog synthesizers produced by Roland in the 1980s and a highly sought-after piece for vintage synth fans. The JD-08 is a compact reproduction of Roland’s JD-800 synthesizer, an influential digital instrument from the early 1990s loved for its complex, gleaming sound and comprehensive hands-on control.

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Beat Kangz Beat Thang Mobile Music Production System with Original Box

Note: Auction links are affiliate links for which the site may be compensated. via this auction

"Beatkangz Beat Thang Mobile Music Production System in excellent condition. Includes manual, power supply and original box.

Fully portable and mobile music creation system, with a huge, studio ready sound library.

Create and Experience Music Wherever You Are
The Beat Thang Mobile Music Production Studio comes with everything you need to make your own original Hip Hop, Dance, Pop, Dubstep, Industrial or Electronic music productions.

Loaded with over 3,000 original, professionally mastered sounds, a sampler with waveform editing, built-in effects, chromatic keypads, and a fully portable rugged design, the Beat Thang simplifies professional music production down to its core by providing you with all the tools you need to make high-quality, radio-ready, club-friendly music right out of the box.

CLICK FOR MORE »

NAMM: Spectrasonics Omnisphere 1.5 & Omni TR for iPad

Don't miss the video at the bottom of this post.

"At the 2011 NAMM show, Spectrasonics made two product announcements and demonstrated both a major new version of their award-winning Power Synth Omnisphere® along with a new iPad app called “Omn TR” that allows wireless-remote control of Omnisphere. Many of the new capabilities in version 1.5 of Omnisphere are featured in the “Omni TR” app.

The company’s flagship synthesizer includes a host of new features, in particular a new interactive interface called “The Orb” offering stunning real-time synthesis manipulation capabilities (also a key element in the new “Omni TR” app) — along with many deeply expanded additions to the synthesis engine and user interface. The v1.5 update also includes many important user-requested features such as the new 5-Column Browser view and support for polyphonic aftertouch. The new version also includes a significant update to the factory patch library, taking advantage of all the new sound design capabilities and bringing the total number of included sounds to over 8,000. Omnisphere 1.5 is set to be released on February 15th, 2011 as a free downloadable update for all registered users.

'Our goal for Omnisphere has always been to make it the ‘best of both worlds’ – awesome sounds AND a dream instrument for sound design,” says Eric Persing, Founder and Creative Director of Spectrasonics. “As longtime synth geeks ourselves, we are just as excited as our customers to see how Omnisphere is growing and evolving as a synthesis platform. We’re really looking forward to hearing how our users explore the new sonic worlds this version opens up. I think it’s some of our best work yet.'"

At the 2011 NAMM show, Spectrasonics made two product announcements and demonstrated both a major new version of their award-winning Power Synth Omnisphere® along with a new iPad app called “Omn TR” that allows wireless-remote control of Omnisphere. Many of the new capabilities in version 1.5 of Omnisphere are featured in the “Omni TR” app.

The company’s flagship synthesizer includes a host of new features, in particular a new interactive interface called “The Orb” offering stunning real-time synthesis manipulation capabilities (also a key element in the new “Omni TR” app) — along with many deeply expanded additions to the synthesis engine and user interface. The v1.5 update also includes many important user-requested features such as the new 5-Column Browser view and support for polyphonic aftertouch. The new version also includes a significant update to the factory patch library, taking advantage of all the new sound design capabilities and bringing the total number of included sounds to over 8,000. Omnisphere 1.5 is set to be released on February 15th, 2011 as a free downloadable update for all registered users.

“Our goal for Omnisphere has always been to make it the ‘best of both worlds’ – awesome sounds AND a dream instrument for sound design,” says Eric Persing, Founder and Creative Director of Spectrasonics. “As longtime synth geeks ourselves, we are just as excited as our customers to see how Omnisphere is growing and evolving as a synthesis platform. We’re really looking forward to hearing how our users explore the new sonic worlds this version opens up. I think it’s some of our best work yet.”

omnitr.jpg
Omnisphere 1.5 Update
Expanded Synthesis
Omnisphere 1.5 includes new and expanded synthesis capabilities, with newly designed “zoom” interface views for the synthesizer’s Harmonia, Waveshaper and Granular synthesis areas. Harmonia can create extremely rich sounds by adding up to 10 oscillators per patch with new independent modulation possibilities on each oscillator. The Waveshaper now includes more extreme sound mangling capabilities with the new polyphonic “Crusher” and “Reducer” modules, which include ‘Animation’ and ‘Force’ parameters that can all be modulated. Omnisphere’s Granular synthesis area has been made significantly more powerful by including new ‘Speed’ and ‘Position’ modes, which create dramatic polyphonic shifts through the audio and time spectrums. At the center of the Granular Zoom interface is a new real-time ‘Granular Visualizer’ showing a colorful graphic model of the effect of parameter edits, all of which makes Omnisphere’s complex Granular synthesis easier to understand and more fun to use.


The Orb The innovative “Orb” feature of Omnisphere 1.5 is both a remarkable sound manipulation tool and an intuitive performance interface — it can be thought of as a ‘circular controller.’ Now with a single click of the mouse, the user can instantly customize the sound. Best of all, the Orb automatically works with every patch a user has, there’s no setup necessary.The user simply moves the Orb cursor with a mouse, a MIDI controller or in the case of an iPad, with fingers directly on the Orb itself. As the Orb moves around the concentric circles, it morphs between automatically generated parameter scenes in Omnisphere’s STEAM engine in a highly intelligent and musical manner — all patch dependent — manipulating the sound in subtle or radical ways appropriate to that particular patch. If the user doesn’t like what the Orb has created, a complete new set of manipulations can be chosen by simply rolling the “Dice” button, which instantly creates a brand new group of intelligent sonic modifications and effects to try. There’s no limit to how many serendipitous sonic variations the “Dice” can create – opening up the vast power of the STEAM engine to every user, regardless of synthesis knowledge.

For advanced synthesists seeking maximum flexibility, the Orb can also be setup manually and used as a new modulation source in Omnisphere’s sophisticated Mod Matrix.The Inertia slider of the Orb allows the user to create a ‘movement trail’ after letting go of the Orb, just like a ball might roll and bounce off the walls of a circular enclosure, adding a musical symmetry to the “performance” of an Orb interaction. Users can also Record their performance movements directly into the Orb and play the performance back in sync with their controller or host. The Orb’s movements and sonic results are saved within the patch, multi or the host’s session for later recall. The movement of the Orb can also be automated in the users host.The ideal control surface for Omnisphere’s new ‘Orb’ is the multi-touch interface of the simultaneously announced “Omni TR” iPad app, but the Orb can also be used with standard mice, trackpads and MIDI controllers.Hands-On Expression
Omnisphere 1.5 includes support for Spectrasonics new “Omni TR” iPad app, which provides wireless multi-touch performance control over the synthesizer. Alternate controllers that send multiple simultaneous MIDI channels have improved handling with the new “Clone Part” feature, making it easier to edit with multichannel systems like Guitar synths and the Eigenharp™ controller. Omnisphere 1.5 also adds support for MIDI keyboards and devices that send polyphonic aftertouch. A special new MIDI Learn mode enables hardware controllers that send a single channel to have all of their learned knobs, sliders and switches affect any parts currently selected in Live Mode – making Omnisphere even more intuitive when controlled from a hardware synth such as a Moog Little Phatty™.Version 1.5 of Omnisphere is set to be released February 15th, 2011. The update will be free for all registered users and can be downloaded from the Spectrasonics website. http://www.spectrasonics.net

Omnisphere is available now from all Spectrasonics dealers - MSRP $499US / 379Euro

Highlights of Omnisphere 1.5

• Innovative “Orb” ‘circular sound manipulation’ interface with Motion Recording and “Dice” button for infinite variations and one-touch sound customization

• Expanded Synthesis capabilities:

Harmonia: New zoom page shows all Harmonia parameters per layer adding up to 10 oscillators per patch with new independent modulation options for Levels and Fine Tuning on each Harmonia oscillator.

Waveshaper: New zoom page with extreme new processing modules including polyphonic ‘Crusher’ and ‘Reducer’ sections with ‘Force’ and ‘Animation’ controls that can all be modulated.

Granular Synthesis: New ‘Speed’ and ‘Position’ modes. New zoom page with new ‘Granular Visualizer’ showing a graphic model of the effect of parameter edits which makes Granular synthesis easier to use.

• Patch Library Update: Over 700 brand new patches created by renowned Spectrasonics sound development team gives Omnisphere over 5,000 patches and 8,000 total sounds
• New 5-Column Browser view displays more sound categories and attributes simultaneously
• New Online Video Tutorials for Version 1.5 capabilities
• Support for new ‘Omni TR’ iPad app
• New “Recently Added” Browser sorting option
• Added support for MIDI devices which send polyphonic aftertouch
• New ‘Clone Part’ feature allows easier editing/setup with multichannel MIDI controllers
• New MIDI Learn hardware control mode follows Live Mode selection
• Modulation Envelope points can be key-command snapped to semitone when modulating pitch
• User-assignable Legato Interval rule added
• V1.5 is a FREE update for registered users of Omnisphere!


The new “Omni TR” iPad app introduces Spectrasonics ‘TR’ (Touch Remote) concept - combining the tactile advantages of the iPad as a performance-oriented touch surface, with the company’s powerful computer-based virtual instruments – creating a true hands-on experience for musicians.“One of the big differences between software and hardware synths is the feeling of hardware that’s so wonderful,” says Eric Persing. “With the iPad and our new Omni TR app, we are excited to bridge that gap and bring the sense of touch to state-of-the-art virtual instruments like Omnisphere.”Omni TR brings Omnisphere’s interactive features closer to the music creation process with the ability to create setups and sound modifications very quickly. The user’s fingers can activate patches, tweak filters, re-mix, bend and spin amazing performance possibilities from the innovative new ‘Orb’ circular controller.With its high contrast interface, ‘Omni TR’ is perfect onstage for live performance or even in the studio where the iPad sits at the controller keyboard located away from the studio computer. Best of all, the Omni TR app is extremely easy to use, offering full two-way communication with Omnisphere with just a simple wireless connection to the computer running the plug-in.Main Page
The Main page mirrors Omnisphere’s unique Live Mode offering 8 patch slots with latching and trigger modes, individual mute and solo, and mixer faders. In this page alone, Omnisphere becomes a new performance instrument with the iPad sitting at the user’s controller keyboard. Patch names can be simply touched to be enabled, one or more at a time for layers and stacks. Users can also browse and select Multis and Patches directly from the iPad to instantly change sounds for a new song or live set.

Orb Page
Omni TR was designed to make the iPad the ideal control surface for Omnisphere’s innovative new ‘Orb’ feature. The ‘Orb’ is both a remarkable sound manipulation tool and an intuitive performance interface — it can be thought of as a ‘circular controller.’ Now with a single gesture, the user can instantly customize the sound in Omnisphere. Best of all, the Orb automatically works with every patch a user has, there’s no setup necessary.

As the Orb moves and orbits around the concentric circles, it morphs between automatically generated parameter scenes in Omnisphere’s STEAM engine in a highly intelligent and musical manner, all patch dependent — manipulating the sound in subtle or radical ways appropriate to that particular patch.

If the user doesn’t like what the Orb has created, a complete new set of manipulations can be chosen by simply rolling the “Dice” button, which instantly creates a brand new group of intelligent sonic modifications and effects to try. There’s no limit to how many serendipitous sonic variations the Orb can create – opening up the vast power of the STEAM engine to every user, regardless of synthesis knowledge.

The tactile experience of moving the cursor around the Orb space on the iPad with a finger to create variations in the sound is remarkably musical. Where standard controllers might change one or two simple parameters in a linear manner, the Orb morphs a host of parameters that are patch specific, and easily changed on-the-fly.

The Inertia slider of the Orb allows the user to create a ‘movement trail’ after letting go of the Orb, just like a ball might roll and bounce off the walls of a circular enclosure, adding a musical symmetry to the “performance” of an Orb interaction.

Users can also record their performance movements directly into the Orb and play the performance back in sync with their controller or host. The Orb’s movements and sonic results are saved within the patch, multi or the host’s session for later recall. The movement of the Orb can also be automated in the user’s host.

Controls and Jumbo Pages
The Controls page features a touch-based pitch ribbon performance controller and 8 touch sliders assigned to groups of the most useful performance/editing parameters for each Omnisphere layer. The Jumbo page shows large patch names on all 8 parts, easily seen in a live stage performance situation.

The new “Omni TR” iPad app is compatible with both Mac and Windows systems running Spectrasonics Omnisphere v1.5 or higher and will be available free from the App Store on February 15th, 2011 (pending Apple’s review)."

Namm Show 2011 - Rudess

YouTube via accordoTV | January 15, 2011 |

http://audio.accordo.it/articles/2011..."

Waldorf Introduces Microwave 1 Plugin

video uploads by WaldorfMusicChannel. Last two videos in the playlist above by Martin Stürtzer and James Dyson.

"Waldorf just released the Microwave 1 - as software! I am happy to present the plugin and compare it to my original Microwave 1 Rev A.
https://waldorfmusic.com/microwave/"

"35 years ago Waldorf Music released its first instrument, the Microwave, which took the hearts of the leading musicians and producers of the nineties by storm. Its vibrate and distinctive sound transported the early wavetable sounds of the eighties into the rising electronic dance music of the following decade. Massive base lines, enigmatic wavetable modulations, brutal attacks and pads smooth like silk have been inspired generations of musicians. Microwave’s unique interpretation of wavetable synthesis combined with analogue filters defined what hybrid synthesis is at its best.

Now’s the time to bring back this magical instrument in a software form to the digital workstations of producers and musicians world-wide. The Waldorf Microwave 1 Plugin was painstakingly recreated from the original hardware with all its idiosyncrasies and wonderful singularities.

A multi-year effort and a labor of love which analyzed and modeled the original instruments down to the finest sonic details of every aspect of the hardware. Only the first generation of the Microwave and also the Waldorf Wave were based on a custom developed integrated circuit called the Waldorf ASIC. In combination with the legendary Curtis filter chips and a very unique 68k CPU based controller software the ASIC defined a very special flavor of wavetable sound unparalleled to none. No one else than the inventor of Wavetable Synthesis of the eighties, Wolfgang Palm, helped to design this unique chip. Waldorf took a huge effort to analyze and recreate this integrated circuit within the plug-in. As the original, the plug-in runs the internal synthesis with the ultra high sampling rate of 250 kHz regardless of the DAW sampling rate. The recreated digital waveforms have been bit-by-bit compared with the original to be 100% identical.

Even the old-school digital-to-analogue converters of the original hardware were modeled with their non-linearities and tone shaping color which were leading into the two Curtis filter chips variants used for the revisions A and B of the original hardware. The plug-in allows further for artificially detuning and recalibrating of the analogue components. Brutal attacks, snappy decays and a plethora of wonderful transients define the sound of the first generation Microwave. But the Microwave 1 Plug-In goes one step further: Its modern and inviting graphical user-interface reveals many aspects of the synthesis engine which were hidden before in the original hardware by its sparse hard to use interface.

Its livelihood never sounding mechanical but always different was based on a very unique architecture to create the envelopes, LFOs and modulations which was painstakingly recreated by the plug-in down to the finest grains.

A fully scalable modern interface with readable high-contrast fonts supports an intuitive sound editing process with many graphical representations of the wavetables, envelopes and filter response curves using animations for modulations and playing positions. The Microwave 1 was never as close as this under your finger tips. A joy to edit sounds with.

But we stopped not here, for the first time the inner makings of the Microwave have been put to the surface. Based on the internal control tables the user can now easily edit existing wavetables and create new ones in a very unique and intuitive process. All the original wavetables are available with their control structures and the full original waveform catalogue. In addition to user wavetables, also user waveforms can be created within the plug-in. Additional randomization modes make wavetable editing fun and sonically surprising as experienced never before. The multi-mode becomes now a weapon of its own for sound design. Originally hard to edit from the panel, the plug-in UI allows now for quickly layering of single sounds to create the most complex and exciting sonic structures.

An easy to use mixer page lets you fine tune their sonic relationships. Even the more exotic feature like tuning and velocity tables have been implemented and can be edited in the UI. All the original factory single and multi-mode sounds are contained in the plug-in in combination with new and modern sound presets. Original MIDI and Sys-Ex dump files can be imported such you can load your favorites from the past. Moreover, the plug-in can be used to control the original hardware are a graphical editor. If you a lucky owner of an Microwave first generation, the plug-in allows you to take your beloved hardware virtually with you where-ever you like and keeping its magical sound. The Microwave 1 plug-in comes as VST, VST3, AU and AAX for macOS and Windows supporting the major digital audio workstations."