MATRIXSYNTH: Search results for Architecture


Showing posts sorted by relevance for query Architecture. Sort by date Show all posts
Showing posts sorted by relevance for query Architecture. Sort by date Show all posts

Thursday, September 13, 2012

D16 Group Announces LuSH-101 - Details and Demos


Launch the player above and read. The top two pics are what it would look like in hardware. Below is the virtual synth in software.

"LuSH-101 is a synthesizer created from modules that can be found in many modern virtual synthesizers, all combined into a single compact and logically intuitive design. However, this basic simplicity combined with its multilayer architecture turns it into an easy-to-use but extremely powerful instrument that can be programmed and tweaked quickly, almost effortlessly leveraging its maximum potential.

The multilayer architecture guarantees that both the sound design possibilities and number of unique situations in which LuSH-101 can be used are virtually limitless..."

"Full Features
Multilayer architecture with 8 independent Layers (per-layer properties)
Up to 32 voices of polyphony
MIDI channel
Keyboard zone
Audio output
Synthesis
Oscillators (Saw, PWM, Noise), with Supersaw and HardSync options
Sub Oscillator (5 waveforms)
Self-oscillating, high-quality, multimode filter
Passive high-pass filter
Up to 8 voice unison with Tune, Cutoff and Panorama spread
2 LFOs with optional tempo synchronization and re-triggering modes (Trig, Gate, Arpe, None)
2 envelopes with re-triggering modes (Trig, Gate, LFO1, LFO2)
Insert effect (selectable algorithms):
Chorus
String Ensemble
Phaser
Flanger
Distortion
Vowel filter
Decimator
Tremolo
Modulation Matrix (modulation sources):
Note velocity
Pitch bend
Modulation wheel
Expression pedal
Sustain pedal
Keyboard’s aftertouch
Note pitch
Arpeggiator’s output
Arpeggiator
Step sequencer (Gate and Tie per step)
6 Run modes (Up, Down, Up and Down, Down and Up, Random, Manual)
Chord mode (Gater)
3 Hold modes (Normal, Toggle, Trigger)
Shuffle
Tempo multiplier (Full notes, Dotted notes, Triplets)
Mixer
Parametric EQs (1 per channel strip)
Compressors (1 per channel strip)
Up to 11 freely-assignable stereo output busses per instance
Send FX’s (Reverb, Chorus, Delay with tempo sync)
Presets
Over 1700 factory presets
5 preset categories (whole synth, single layer, Arpeggiator, Reverb, Delay)
Advanced, file-based preset browser
Miscellaneous
Advanced MIDI learn
Parameter mapping for VST / AU automation"

See http://www.d16.pl/lush-101 for the full description.

Wednesday, January 14, 2009

NAMM: Kurzweil PC361

"PC361 Overview
The Ultimate Performance Controller Keyboard

With a sleek new look on the outside, and an arsenal of Kurzweil's latest cutting edge chip technology under its hood, the 61-note PC361 delivers 128 voices of incredible sound quality along with a host of powerful, easy to use features. The PC361 is Kurzweil's ultimate performance controller keyboard, with an enormous collection of stunning sounds combined with comprehensive real-time controller functions.

In addition to our renowned Triple Strike Grand Piano, the PC361 features hundreds of new sounds; basses, drums, guitars, and synths suited for every style and taste, along with a collection of flawless vintage keyboard emulations, KB3 Mode and over 250 orchestral and string section programs.

The PC361's new Dynamic V.A.S.T. architecture is a huge step forward in synthesis, the fruit of several major strides we've made in improving processing power, flexibility and user-friendliness. Good news for synth enthusiasts - we've seamlessly integrated our legendary VA-1 Virtual Analog Synthesizer into the new system!

For good measure we include an unlimited-track sequencer with 960 PPQ resolution and more effects processing power than our acclaimed KSP8 processor, making the PC361 a full blown music production workstation. Add in USB, flash xD card port, a newly designed keyboard action, and a new intuitive user interface, and you've got the next generation of Kurzweil instruments.

It's a performance controller. It's a synthesizer. It's a workstation.
What's Inside...

One thing which clearly sets Kurzweil apart from the competition is the fact that we design our own chips (called ASICs) for all Kurzweil products. Simply put, our chips are customized for optimum audio performance. What does this mean for the end user? It means that all of the processing power in a Kurzweil chip is devoted exclusively to sound. It means no noticeable latency - the performance is always lightning fast. And most importantly, it translates into that rich, full, glitch-free sound for which Kurzweil has become famous. Yes developing our own chips is more expensive and more time consuming. We think it's well worth it. Once you've heard the PC361, we think you'll agree.
The Kurzweil Sound...

The PC361 offers an enormous sound set of over 850 programs, raising the bar once again for both audio quality and variety. With the best samples in the industry, and a powerful, responsive synth engine breathing life into them, you'll feel like you're playing an actual instrument, not just playing samples. Of course there's the famous Kurzweil Triple Strike Piano, with dozens of variations to accommodate every kind of player. All of the basic sounds - basses, guitars, drums, horns and synths - have been painstakingly programmed to reflect the needs of today's professional players, representing a broad selection of styles and flavors from the '60s, '70s, '80s, '90s and today.

Also included is our Classic Keys ROM, which puts an impossibly large vintage keyboard rig at your fingertips. These are vintage emulations which actually sound like vintage instruments and classic recordings. The recognizable sounds of those classic electromechanical instruments, with all of their characteristic imperfections, have been faithfully re-created, along with pedals, amps and speakers. Lush Mellotrons, growling electric pianos, and punchy Clavinets are all there at the touch of a button, programmed to sound just like those classic albums.

For more vintage firepower, the PC361 is equipped with the most advanced version of Kurzweil's widely lauded KB3 Mode tonewheel organ simulator, which screams, sputters and sizzles just like the original. In addition to newly developed Leslie effects, and a new bank of B3 programs, we've also included sounds from the classic Vox and Farfisa combo organs. The PC361's 9 sliders provide real-time drawbar control.

The PC361 offers a full range of world class orchestral sounds, including our new String Section ROM bank, making it ideal for film-scoring and soundtrack projects. Every type of articulation, every nuance has been captured, with samples of full and divisi sections of violins, violas, cellos, and double bass. The details, the warm swells, animated pizzicatos and the sound of scraping rosin all add to the breathtaking effect of these string sections. You can plug and play with sounds worthy of a finished production - instant gratification with uncompromising sound quality.
Dynamic V.A.S.T...

Under the hood of the PC361 is simply the most powerful synthesis engine ever created by Kurzweil. Dynamic V.A.S.T. picks up where the K series left off. Having up to 32 layers per program means that emulations of real instruments can be extremely detailed and accurate, while the synthesized sounds can be extraordinarily large and complex.

Expanding upon our V.A.S.T. architecture, the PC361's new architecture delivers more power and flexibility combined with unprecedented ease of use. Users can now create and store their own DSP algorithms, with nearly limitless possibilities for routing.

In another huge development, we've resurrected the VA-1 Virtual Analog Synthesizer, having built it's synthesis engine right into the new system. Hear the VA-1's power-shaped, anti-aliasing oscillators (including supersaw, triplesaw, and hard sync oscillators) combined with a newer, larger set of V.A.S.T. filters (like the classic-style 4pole low pass w/ resonance) and non-linear processors and you'll understand why the internet is buzzing about this feature.
Cascade Mode...

Every layer in a program can be routed through the DSP of any other layer, in series or blended together, with up to 32 layers. It's the same concept as Triple Mode on our K26 series, without the 3 layer limit. You can run your sound through literally dozens of filters (which can all move independently in real-time) in addition to Kurzweil's signature DSP processors like Shaper, Wrap and Distortion, allowing for some truly dazzling results. This is one more feature which makes the PC361's synth engine so powerful and so different than anything else on the market.
User Interface...

While the PC361's user interface may look familiar to veteran Kurzweil users, major improvements have been made, allowing for a much more user friendly experience. The PC361's backlit 240 x 64 display conveys all the information you'll need, when you need it, in an elegant, easy to navigate environment.

Programs are categorized and can be selected by scrolling or by using bank and program select buttons. Further, user favorites can be organized into convenient "Quick Access" banks for easy one touch recall.

In addition to fast navigation, each preset sound is accompanied by an "Info" screen which can be accessed at the touch of a button. As every sound can have its own customized set of real-time, physical controllers (sliders, modwheel, switches, CC Pedals, mono pressure, etc.) , the Info button makes viewing the current assignments effortless.

Complimenting the PC361's killer soundset is the the Easy Audition feature, where every one of the PC361's presets is linked to a bank of "riffs", recorded sequences which demonstrate each sound in an appropriate context. Just hit the "play" button on the front panel and get a quick musical preview of the current selection. Program selection and navigation, fast and easy.

Helping to tap the system's full potential, the PC3 also sports a feature-laden software-based Desktop Editor with comprehensive, easy to use features. (free download- both Mac & PC platforms available)
Effects...

With up to 16 insert effects, two available auxiliary sends, PLUS a global Master FX section, the PC361 offers more than twice the processing power of our acclaimed KDFX engine. Effects can be chained together in series, or distributed among the PC361's 16 multitimbral channels. And these are simply the best effects in the business - burning distortions, transparent compressors, warm phaser and chorus effects, perfect reverbs - everything from flawless vintage emulations to concert halls which decay into complete silence. All parameters are assignable to any of the PC361's real time controllers - sliders, pedals, wheels, etc.
Sequencer...

The PC361 features a newly designed sequencer, with unlimited tracks and 960 PPQ resolution. Combining a set of powerful song editing functions like event editing, swing, and controller scaling with a new friendlier interface, the PC361 truly excels as a song writing/arranging workstation, ideal for music production on the fly. Chasing controls, input quantizing and a global "set song length" function are just a couple of the features we've incorporated.
Arpeggiators & Riffs...

The PC361 sports sixteen (yes, 16!) independent, fully programmable arpeggiators featuring 48-step programmable, pattern generators with both pitch and velocity controls - per zone (allowing for up to 16 patterns to playback simultaneously). These are accompanied by a thorough collection of modes, scales and pre-programmed patterns to get your juices flowing.

If that wasn't enough, the PC3 offers sixteen unique "Riff" generators, which permit the triggering of MIDI sequenced phrases, beats, or even complete multi-track arrangments from notes on the keyboard and/or any on-board physical controller.

Suggested Retail Price: $2395
Estimated Release Date: March 2009 (N. America)

All specifications subject to change without notice."

More details here.

Tuesday, March 01, 2022

Introducing Hapax by Squarp Instruments - Professional Standalone Sequencer w/ Up to a Million Notes


video upload by Squarp Instruments

Priced at $979 / 864€

"Genuine centerpiece of a setup, Hapax offers every tool needed to compose songs in the studio and perform them on stage. From vintage to modern synths, from modular systems to your favorite DAW, Hapax can sequence and synchronize all your gear, while bringing you carefully crafted tools, designed for maximizing creativity.

- 100% standalone, intuitive & fluid workflow
- 2 projects, 16 tracks per project, 8 patterns per track
- 8 real-time midi effects per track
- MPE compatible
- advanced piano-roll and automation editing
- high recording resolution
- independent BPM per track
- isomorphic keyboard & chord generator
- algorithmic tools
- undo/redo with history + snapshot
- independent patterns, song mode with chaining
- dual-project transparent loading & playback for song mixing
- extensive midi connectivity + CV/gate + USB
- 2 greyscale OLED screens, 128 rgb pads, 52 clic buttons"

Professional standalone sequencer
Genuine centerpiece of a setup, it offers every tool needed to compose songs in the studio and perform them on stage. From vintage to modern synths, from modular systems to your favorite DAW, Hapax can sequence and synchronize all your gear, while bringing you carefully crafted tools, designed for maximizing creativity.

Up to a million notes and events
16 tracks per project, 8 patterns per track.
Thanks to its dual-processor architecture, Hapax can record and transform tremendous amounts of data in no time, without a hitch.

MPE compatibility
Hapax is the first hardware sequencer that fully supports MIDI Polyphonic Expression. Record the finest gestures, slides and articulations of your playing, without compromising quality.

Around the clock performance.
Dual-project architecture

Hapax can handle two separate and independent projects, that can be played simultaneously. This lets you compose or load an entire project while the first one is already playing, enabling endless sets and seamless transitions.

Dawless is more.
Hapax offers broad connectivity options for perfect integration in any setup.

Adaptive workflow.
Several ways to write music
Writing a melody: use a polyphonic or MPE track and take advantage of the advanced step sequencer to quickly lay down notes or edit your live recording.

Composing a beat: control up to 8 different instruments with a single track. The drum sequencer is tailored for very easy rhythm writing and jamming.

Real-time midi effects.
Bring your synths to life
Hapax embeds multiple real-time, polyphonic, non-destructive midi effects, as well as project-wide assignable LFOs. Each parameter of these effects can be automated in the dedicated mode, and processed in the mod matrix, which provides even more ways of routing and modulating.

Powerful composition tools.
Powerful tools for offline note transformation and generation, right at your fingertips. Harmonically invert your motive, generate a controlled-random counter-melody, slowly ramp up the velocities, emphasize every fifth 8th note...

Hi-res recording
Hit the red button, and record from the encoders and 128 pads of Hapax, external midi instruments (included MPE controllers) or any incoming analog signal, at a high resolution of 192 ppqn. Looper style recording, count-down and metronome options, punch-in mode, you'll certainly find the options that best suit your workflow.

Time elasticity
Each track has an elasticity value which changes its playback speed, expressed in percentage of BPM. Quickly double or halve the speed of a track, or create slightly shifted tracks that will slowly drift out of phase with each other.

Fluid editing
Using hardware should never get in the way of creative flow. The undo/redo button lets you go back in time as needed, thanks to its extensive history. Additionally, the snapshot function enables you to save the state of a pattern and recall it with a single press. Together with dedicated copy, paste and delete buttons, Hapax offers a complete toolbox for the prompt editing of your tracks.

Harmony, simplified
For fast and intuitive chord building, the chord live mode brings harmonic capabilities to anyone, with or without deep theoretical knowledge. With its colorful interface, the chord mode displays a synesthetic melding of hearing, vision and touch.

Simple by design.
Trimmed to perfection
We designed Hapax from the ground up, deconstructing everything we knew about sequencing. We aimed for a high-end product, with dual arm processors for computation power and a rugged yet minimalist housing.

As music-making should remain an enjoyable process, we favored dedicated buttons over key combinations and imagined a clear-cut interface as well as a simple architecture. We have striven to minimize the importance of screens for live performing, but the dual grayscale display helps keeping track of things in a studio context.

Evolving firmware.
The Hapax Operating System has been written with extra care, prioritizing stable and fast operations. New features and parameters will be added regularly. Looking for the latest HapaxOS for your device? Follow this link.

Modal Electronics Announces the COBALT5S


video upload by Modal Electronics

Priced at $449 /€449/£379

"Founded on Modal Electronics’ next-generation COBALT synth architecture and housed in an ultra-portable go-anywhere footprint, the USB-powered COBALT5S is made-to-move and ready to spark your creativity wherever, and whenever inspiration strikes. Whether it’s a singularly authentic replication of classic analogue sounds, or the most contemporary leading-edge texture, COBALT5S’ extended virtual analogue sound engine delivers on all counts.

COBALT5S takes inspiration from the iconic sound of it’s analogue forebears, transcending any and all limitations to take a leading edge synth architecture, truly mobile – from sultry basslines, to expansive, mutating beds and everywhere in between, COBALT5S is not just modeling run-of-the-mill analogue sounds, this is Beyond Analogue, Anywhere."

COBALT5S Introduction



Kraft Music: Modal Electronics Cobalt 5S - All Playing, No Talking!

Kraft Music: Modal Electronics Cobalt 5S - Overview

video upload by Kraft Music

"Find exclusive Modal Cobalt5S Bundles at Kraft Music:
https://www.kraftmusic.com/brands/mod...

Kraft Music's Adam Berzowski Shares an overview of the Modal Electronics Cobalt5S virtual analog synthesizer."


Reverb: First Look at the Modal Electronics Cobalt5S 5-Voice Polysynth | Patch Work Ep. 3

video upload by Reverb

"The Modal Electronics Cobalt5S is a portable five-voice polysynth that packs a ton of features into its slim size."


Perfect Circuit: Modal Electronics Cobalt 5s : Portable Virtual Analog Around the World!

video upload by Perfect Circuit

"https://bit.ly/3vHgNi3 - Grab one today & check out more about the Cobalt 5son our blog Signal

We're taking a look at our new favorite "walkin' around synth" the Cobalt 5s ! This virtual analog monster packs the same punch as it's larger siblings in a much smaller and portable package!

Join our pals Jacob and Brian as they explore some sounds and the universe with this fantastic new synthesizer"


Starsky Carr: COBALT5s // Testing Modal's Metal // Review, Demo and Walkthrough

video upload by Starsky Carr

"A demo, review and walkthrough of Modal's latest release, the Cobalt5S. Its a great sounding little synth - sounds like its big brother/sister - but a reduced voice count an a couple less features, but not that you'd notice it sounds fantastic. The Oscillator groups are inspired.

0:00 what is it?
3:43 building the intro track
7:59 Navigating the Interface
12:09 setting up mod slots
14:12 what’s an oscillator group
21:12 filter
29:11 Effects
31:52 Arp & Seq
34:32 Envelopes
36:11 vs prophet 5
37:55 final thoughts
39:40 some sounds


Sonicstate: Modal Cobalt5S - New 5 Voice DSP Synth - Sonic LAB Review

video upload by sonicstate

"Modal today released another in the Cobalt range - the Cobalt 5S. This is a five voice version of the all DSP Cobalt engine with the same oscillator section using the Extended VA engine, modelled 24dB Ladder Filter, three Envelopes, 2 LFOs (reduced from 3), twin fixed FX (chorus and delay) and Sequencer and Arpeggiator.
We've uploaded a few patches as Decent Sampler (free plug-in) format to our Patreon:
https://www.patreon.com/posts/63217454

#soniclab #modal #cobalt5S

00:00 Intro and overview 4:04 Sounds and UI
7:45 Mod slots
8:20 Osc + Filter
10:30 more sounds
12:08 LFOs and Envelopes
14:00 Editor
15:55 XY pad
16:45 Wrap"


VCO USA: [No Talking] Modal Electronics Cobalt 5s Patch Demo

video upload by VCO USA

"Demo of 10 factory patches from the new Modal Electronics Cobalt 5s

0:00 Analog Breeze
0:42 Geometrip
1:27 TetherBall
2:09 Pushing Tin
2:35 BroCannons
3:26 Scatter Square
4:29 Stay Gold 5ths
5:04 Easy Street
5:54 Chameleon
6:24 Neon Factor"

And the press release followed by detailed pics:


MODAL ELECTRONICS ANNOUNCES THE COBALT5S EMPOWERING USERS WITH UNRIVALLED SOUND SCULPTING CAPABILITY, ANYWHERE

– Five-voice go-anywhere synthesiser powered by an Extended Virtual Analogue synthesis engine, a proprietary morphable 4-Pole Ladder Filter, MPE support and much more –
Bristol, UK - 1st March 2022. Modal Electronics, a leading global synthesiser manufacturer, has just announced a new addition to the critically acclaimed COBALT Series, the COBALT5S. Fusing Modal Electronics’ next-generation COBALT synth architecture and housed in an ultra-portable go-anywhere footprint, the USB-powered COBALT5S is made-to-move and ready to spark user’s creativity wherever, and whenever inspiration strikes

Supercharge any performance with COBALT5S’ built-in MPE support, 16 quick-access smooth rotary switch encoders, a premium 37-note compact-key keybed with aftertouch and an ultra-responsive X/Y/Z Touchpad for pitch bend, mod wheel and/or modulation assignments. Rounding out the control arsenal is a comprehensive realtime/step sequencer with four animation lanes alongside a built-in programmable arpeggiator. Like all Modal synthesisers, COBALT5S is fully compatible with the free MODALapp, the gateway to effortless editing and preset management available on Mac,Windows PC or mobile devices including iOS/Android smartphones and tablets.

The Create Anywhere Philosophy

Taking the legendary build quality synonymous with Modal Electronics’ synthesiser roster, and outfitting this with a 37-note compact-key keybed with aftertouch, COBALT5S is primed for user’s creative exploits wherever and wherever creativity strikes. Plus, with a USB powered specification, powering the COBALT5S from a Mac/PC or portable power brick couldn’t be simpler.


The Engine

Featuring five true polyphonic voices, two independent algorithm groups and up to 8 oscillators per voice, musicians, sound designers and producers are armed with a nefarious palette of sound that’s primed for any application. Fuse this with 40 complex algorithms, including Sync, Ring Modulation, Waveform Morphng, plus many more, and it’s easy to see why COBALT5S empowers creators with liberated sound sculpting capability without limitation.

Next-Generation Filter

Featuring the same self-oscillating 4-Pole Morphable Ladder Filter from the COBALT8, COBALT5S guarantees to texture the user’s sound with all the bite and warmth their performance demands. Four separate filter modes fuse with mainstay controls for Cutoff and Resonance, alongside a Morph parameter to musically manipulate the frequency response of the filter for a truly immersive experience

Shape Your Sound

With COBALT5S, everything the modern creator demands to craft the perfect sound in meticulous detail is thoughtfully included. Three envelopes complete with selectable types take command of the filter, amp or modulation destinations, furnishing users with unrestricted options when it comes to fine-tuning their sound. One Polyphonic LFO and one Global LFO provide extended power to control a plethora of modulation sources, selected via a sophisticated 8-slot modulation matrix.

Supercharged Performances

Fuse a 512-note realtime/step-sequencer, complete with 4 animation lanes, with a built-in programmable 32-step advanced arpeggiator and you start to scratch the surface of the performance capability COBALT5S heralds for the modern creator. Add to this MPE support for next generation creative expressions via a compatible MPE controller and COBALT5S is primed for any performance, production or sound design scenario imaginable.

MODALapp

The free MODALapp brings the comfort of screen-based editing on your computer or mobile device. Available as a standalone app for macOS, Windows, iOS, iPadOS or Android systems and in VST3 and AU plug-in formats, it is the perfect companion for synth enthusiasts looking to deep dive to all sound editing and performance parameters. Crafting the perfect sound, library backups and managing your patches & sequences couldn’t be simpler.

COBALT5S can pre-ordered via our wide network of authorised Modal retailers globally with an MSRP of $449 /€449/£379, with estimated shipping within the next 2 weeks.



Wednesday, December 13, 2017

Behringer to Re-introduce an EMS SYNTHI and More, Much More

The list:

WASP DELUXE
ARP 2600
Octave CAT
SYNTHI VCS3
Roland SH-101 (3 colors)
KORG MS20

Details on each (no new pics in yet, but you might remember the MS-101 here):

Tuesday, April 14, 2015

Modal Electronics Introduces New Mini Three Octave 001 Synth, 002R Rack & 008 Black Analog Synth

Update: pics of the 002R rack & 008 added below.
Update2: 002 press release added below. 008 should follow soon. These are literally just coming in.
Update3: 008 specs added below.
Update4: additional preliminary US pricing from the distributor:
002R 12 voice retail $2995. shipping in 2 - 4 weeks
002R 8 voice retail $2595. shipping in 2 - 4 weeks
001 retail $1995. shipping in 30 - 60 days
008 retail $5495. shipping summer 2015
Update5: 008 press release added below.
Update6: more pics added.

Thursday, January 28, 2016

Hawkeye - Mnemonic Mantra (C64 SID vs Ensoniq ESQ-1)


Published on Jan 28, 2016 Maelstroem3

"A late night live session with a pair of C64 SIDs (8580) and their spiritual successor, the Ensoniq ESQ-1/ESQ-m. Both synthesis engines feature three oscillators per voice, the ESQ-1 offers more waveforms, improved envelopes and modulation possibilities and an increased audio quality.

Bob Yannes (the creator of the SID and founder of Ensoniq) once stated, that he (given he would have had the time and resources) would have liked to put the ESQ1 architecture instead of the SID sound architecture into the C64. In a parallel universe, this has probably happened, hehe :-).

Used tech:
* MB6582 - DIY SID synthesizer by midibox.org with 8 SID chips, fully MIDI controlled for the chip arpeggios
* Ensoniq ESQ-m - rack mounted ESQ-1 for the lead
* Moog Little Phatty for the bassline
* Alesis Andromeda for the poly synth pad
* EMU E-SI 2000/4000 for the drums
* MBSEQ V4 - DIY MIDI sequencer for live sequencing this track. Pattern changes, filter sweeps and evelope adjustments are performed in realtime :-)
* no DAW was used or abused, directly recorded to a Tascam WAV recorder, only slight compression added afterwards :)

Thanks for watching and listening, hope you enjoyed it! :-)
Many greets,
Hawkeye/Maelstroem Records"

Saturday, November 22, 2014

The Room of Sound


The Room of Sound from musi_arch santacecilia_sapienza on Vimeo.

"From March 5 to 20, 1977, in the Rome National Gallery of Modern Art was held from the 14th Festival of Nuova Consonanza, an association of musicians and composers congregated around Franco Evangelisti, responsible for the practical organisation of the Festival was Vittorio Consoli, engineer, music lover and enthusiastic investigator of the relations between space and sound. For 15 days in the main concourse of the National Gallery, experimental studies were made on the interaction between space and music and between musicians and computer, using compositions by, among others, Mauro Bortolotti, Domenico Guàccero, Aldo Clementi, Franco Evangelisti, Luigi Nono, Alessandro Sbordoni, Edgard Varèse, Leo Küpper and Giorgio Nottoli. The concourse of the Gallery is an exceptionally reflective space, totally non-musical. A huge acoustic dome made up of 100 loudspeakers, fed by the same number of audio channels, was created by Vittorio Consoli, with invaluable assistance from Leo Küpper, and wrapped up in a cloud of coloured aerostatic balloons, which were not fully inflated, and which gave the hall the acoustic properties required and also lent to the event an extraordinary sense of festivity surrounding the musical experimentation; this spirit can perhaps still be seen in the old black and white photos of the event and is still visible in the image we have of the main protagonists – Franco Evangelisti, Leo Küpper and Vittorio Consoli. Given the date, this was no virtual experiment in spatialisation, but a real-time musical event: the sounds, generated by an impressive analog computer, could be transmitted towards each of the loudspeakers and switched from one to another by a hand-made mixer. The most famous precedent for all this was, of course, the Philips Pavilion at the 1958 Brussels Expo, the masterpiece of Le Corbusier and Xenakis, animated by the Poème Electronique of Edgard Varèse. However, the most striking precedent was without a doubt the musical sphere constructed for the 1970 Osaka Expo by Karlheinz Stockhausen. Here the composer established the iconic quality of contemporary absolute music, an icon which subsequently symbolically adorned his grave monument. The project we are presenting here, the Stanza del Suono (Room of Sound) can be seen therefore to follow the path of a great contemporary music tradition; today we can avail ourselves of the innovations of computer technology, which allow us to organise the emissions of sound in space in a genuinely contrapuntal fashion, as Vittorio Consoli would say. The spatial evolution of the sounds thus becomes part of the decisions that the composer arranges within his creative system, to quote Schumann. The musical scores are able to not only specify precisely the limitless paths through space traced by the sounds, but also to envisage the ‘unknowns’ involved in the immediate, real-time interaction between sound and space, and between the musicians and the computer program. In this way, this new project of ours is not merely a place for listening to music, but also a place for creating and processing music in a continuous interplay between, space, music, sound, musicians and audience. The project aims at producing a new, long-term, functional acoustic and spatial device that can be employed by all
those engaged in electro-acoustic music research. It was built upon a body of work consistently carried out at the Conservatory of Santa Cecilia in Rome, in its Department of Electronic Music, up till now directed by Giorgio Nottoli, and is the result of a close collaboration with two Departments of Rome Sapienza University: the Department of Architecture and Design, under Piero Ostilio Rossi, and the Department of Architectural History, Design and Restoration, directed by Paolo Fiore. The idea of setting up a permanent cooperative research area between musicians and architects, on the theme of ‘Music and Architecture’, and of including it in the agenda of Emufest, the International Festival of Electro-acoustic Music, originated in 2011 in the insights and enthusiasms of composer Fabio Cifariello Ciardi and architect Luca Ribichini...[...]"

via Francesco Synth Meeting Mulassano on The MATRIXSYNTH Lounge

Sunday, January 08, 2017

Yamaha CS-60 Restoration (Part 1) - Full Guide, Overveiw, Power Supply, Recapping


Published on Jan 8, 2017 GOLT !

"Full service guide for the Yamaha CS-60. How to calibrate the power supply and replace all electrolytic capacitors."

Some gems in this one. For example, I didn't realize the CS60 and CS80 had independent keyboard tracking settings for each half of the keyboard. Also a good warning regarding the risk of static damage to CMOS chips due to the lack of grounding on the CS60 because of its wooden case. Never knew the mod section case was made of wood for that matter. This is a wonderful video for synth enthusiasts curious about the inner workings of our little treasures. Huge thanks to GOLT ! for making these.

Update:

Wednesday, September 05, 2012

Raspberry Pi-MS Synth Controlled with KORG MS20ic


YouTube ublished on Sep 5, 2012 by Marc Nostromo

"Goofing around with a direct port of my synth architecture on a raspberry pi. Starting with the default sound and tweaking parameters. All done on a stock RPi. Audio recorded through the HDMI out.

Note that I am NOT trying to do a MS-20 clone, I just like the interface and the basic 2 OSC/2 Filter architecture. The Filters are slighly stripped version of the Tony Hardie-Bick's "Most Excellent" DFM-1."

See the Raspberry PI label below for more.

Friday, July 26, 2013

Spectrasonics AAX Support for Pro Tools 11


"Spectrasonics AAX Support for Pro Tools 11
64-bit Omnisphere, Trilian and Stylus RMX Virtual Instruments Updated to 'AAX' plug-in platform for? Pro Tools 11 Compatibility

BURBANK, CALIF - July 26th, 2013 - Spectrasonics today released an 'AAX Public Beta' version of the company's three popular virtual instruments Omnisphere, Trilian and Stylus RMX for Avid's new Pro Tools(tm) 11. Registered users of the Spectrasonics instruments can log into their user accounts to download the Public Beta versions. The new versions are available at no charge to registered users to test with the new 64-bit version of Pro Tools. Omnisphere, Trilian and Stylus RMX are all native 64-bit software instruments designed to work with Pro Tools 11 on both OS X and Windows.

'Pro Tools 11 is a major new version of the industry standard DAW - essentially a ground-up new 64-bit architecture application. Spectrasonics is fully committed to the Pro Tools platform and we want to support our cutting-edge users who have already begun upgrading to it,' says Eric Persing, Founder and Creative Director of Spectrasonics. 'This public beta of our 64-bit instruments offers AAX support to take advantage of all the new power in Pro Tools version 11. It's exciting for us to be at the forefront of the new 64-bit Pro Tools environment.'

The Award-winning Omnisphere Power Synth is Spectrasonics' flagship instrument featuring a hybrid architecture of high-resolution streaming samples as well as an extensive, fully programmable semi-modular synthesizer, which can be combined for thick, layered patches. Omnisphere ships with over 8,000 sounds. The Trilian Total Bass Module instrument is built on the same STEAM Engine technology as Omnisphere with immense flexibility in programming, while offering a vast selection of patches for Acoustic, Electric and Synth Basses. Stylus RMX, the Realtime Groove Module, is Spectrasonics loop-based plug-in for creating rhythm parts powered with the Spectrasonics Advanced Groove Engine (S.A.G.E.(tm)) and featuring REX file compatibility for importing loops for unlimited library expansion. For detailed product information and demonstration videos, visit: http://www.spectrasonics.net/products/

All three Spectrasonics instruments already work well in previous versions of Pro Tools as RTAS platform plug-ins. Registered users of Spectrasonics 64-bit Omnisphere, Trilian and Stylus RMX and Pro Tools version 11 can log into their user accounts to download the AAX Public Beta software in the Updates area.

About Spectrasonics
Founded in 1994, Spectrasonics is a leading innovator of world-class, award-winning virtual instrument software plug-ins, used by the top recording artists, producers, remixers and film composers on the planet. Key Spectrasonics products include its flagship synthesizer Omnisphere(r), the Trilian(r) Total Bass Module, and the popular Stylus RMX(r) Realtime Groove Module. For more information visit http://www.spectrasonics.net"

Friday, February 19, 2021

Analogue Solutions Announces Colossus #4



I almost skipped posting this as the only news here is there's a 4th production run of the Colossus. I guess it's interesting knowing how many are out there. What's also interesting is I always assumed the Colossus was either built in a limited initial run, or it was built per order only. This is a mammoth endeaver and each one costs 25,000 GBP which comes out to $35,000 US. It is $4500 less than this little Sennheiser VSM201 Vocoder!

Note, the images in this post appear to be stock. You can find demos of the Colossus in previous posts here.

Press release follows:
""Analogue Solutions announces forthcoming fourth run of Colossus supersized synth that trips back to the future of analogue

KINGSWINFORD, UK: following a showstopping showcase during its introduction at SynthFest UK 2019 in Sheffield, British boutique electronic instruments innovator Analogue Solutions is proud to announce a forthcoming fourth run of Colossus — its supersized synth that trips back to the future of analogue, albeit symbolising so much more than a powerful analogue ‘workstation’ with no fewer than 12 VCOs (Voltage-Controlled Oscillators) beating at its monumental musical heart, rather representing art, architecture, and superlative studio furniture at its hand-built best by taking its design cues from the colossal classic that is the EMS Synthi 100, although no Synthi circuit was cloned or copied in making the destined-to-be-classic Colossus fit for a new generation of high-flying owners — as of February 15…

Thursday, April 26, 2012

Native Instruments Introduces SKANNER XT

"Berlin, 26th of April, 2012 - Native Instruments today introduced SKANNER XT, a unique and highly distinctive KOMPLETE instrument, designed by the expert team behind REAKTOR. With a strong focus on unconventional tone and genuine musical expression, SKANNER XT is both an exceptional library addition for REAKTOR 5 users as well as an excellent sound resource for the free REAKTOR 5 PLAYER.

Part sampler, part synth, SKANNER XT utilizes a unique synthesizer architecture to create a wide variety of intense and cutting-edge sounds for contemporary electronic music production and sound design. Two oscillators 'scan' a sample, which at low frequencies deliver a scratch sound. At higher frequencies the oscillators, shaped by the sample waveform, become the dominant force. In this way, SKANNER XT provides a broad range of highly distinctive sounds - from heavy and dirty bass tones to morphing soundscapes and organic pads.

Developed together with NI synthesis mastermind Stephan Schmitt, SKANNER XT offers two interface views for different levels of interaction with the complex architecture under the hood. Besides a simplified page with a preset morpher and four macro controls, a second view provides access to more detailed parameters in order to further explore the sonic potential of the instrument. A morph control option allows for convenient switching between eight different snapshots - producing unpredictable, evolving sounds that range from the ethereal to the extreme.

SKANNER XT runs in the free REAKTOR 5 PLAYER or the full REAKTOR 5 version, and is also optimized for easy browsing from the MASCHINE hardware.

SKANNER XT is available at the NI Online Shop for $59 / 49 EUR. Users of the previous free version SKANNER, are entitled to crossgrade to SKANNER XT for a special price of $29.50 / 24,50 EUR until May 31st.

Additional information on SKANNER XT is available at
www.native-instruments.com/skannerxt"

Monday, January 15, 2018

Arturia Announces New MiniBrute 2 with CV/Gate Patch Matrix


Published on Jan 15, 2018 Arturia

Update: two user videos:

MiniBrute 2 Review - 48 point patch bay (!) explained

Published on Jan 15, 2018 loopop

"The Arturia MiniBrute 2 is an analog semi-modular synth with a MASSIVE patchbay that opens up very interesting synthesis options. This is a review of its top features."

MINIBRUTE 2 REVIEW – Everything You Need To Know!

Published on Jan 15, 2018 BoBeats


"Arturia are thrilled to announce the imminent release of a new synthesizer, one of three new products which will all be available at stores from late february 2018.

MiniBrute 2 is a 25-key analog monosynth with semi-modular architecture, bridging the gap between the traditional synthesizer instruments and the exciting world of modular. MiniBrute 2 shares many of the same iconic features that made its predecessor such a success, including mixable oscillators, the acidic Steiner-Parker filter, and the chaotic Brute Factor. While keeping many of its signature elements, the tone-shaping potential of MiniBrute 2 has been almost exponentially increased.

The reimagined MiniBrute now features semi-modular architecture, adding a comprehensive CV/Gate patch matrix that allows users to both rework its internal signal routing, but also expand into the blossoming world of modular. It also features the same high quality, aftertouch-enabled keybed found in their flagship MatrixBrute synth, making it a joy to play. Truly an instrument designed for musicians by musicians.

Arturia’s latest small-but-mighty monosynth is the successor to their debut analog instrument, the MiniBrute. The first incarnation was released in 2012, and turned the industry on its head, offering a unique, affordable analog synth experience with attitude.

MiniBrute 2 also features exciting new features that greatly expand its potential, both as the focal point of a creative studio, and as a road-ready performance platform. One of these features includes the new Arturia Link, an exciting innovation that will help unify and democratize your creative environment.

More information on the Link system and how it integrates with other devices will be released shortly. Stay tuned for more Arturia product announcements, and all of your questions shall be answered.

To get a good look at MiniBrute 2 in action, and to hear how it sounds, check out the official Arturia MiniBrute 2 announcement video, featuring London-based trip-hop act The Salvador Darlings.

To get hands on with all 3 of the new products, find Arturia at NAMM 2018. They’ll be at booth #11910."

Saturday, August 03, 2013

Korg 707 Early FM Digital Synthesizer / Keytar

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

via this auction

"This is one of the very first FM synthesizers Korg ever made, and it has the sought after sound of Yamaha's early FM architecture. You've got 4 warm/gritty operators and Korg's own special take on FM programming made easier (the interface is definitely designed with analog subtractive synthesists in mind). Aside from its underrated synthesis architecture, it also has a very high quality keybed and MIDI specs (and strap pegs on the sides) which makes it a great alternative to a regular keytar (much more understated stage look, but great playability when guitar-strapped on)..."

Thursday, June 13, 2013

DK Synergy II+ Synthesizer with Kaypro II PC SN 01272

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

via this auction

"The listing is for a Digital Keyboards Synergy II+ synthesizer with Kaypro II PC in great condition! One of the first premium digital synthesizers manufactured in the US , The synth is based on Dr. Hal Alles from Bell Labs synthesizer architecture.This model is the programmable version and has the solid wood casing which only came out with the very early serial numbers. The wood was replaced by tolex to reduce cost in following years. Approx 700 total Synergy units were made of which about 300 were said to be the upgraded programmable version.It is estimated that only 100 or so units are still operational today of which about 20% are the higher end wooden case version. When the Synergy II + hit the market in the early 80s, they were going for upwards of $10K for the wooden programmable version with Kaypro PC. The DX7 came out with their FM synthesis in 83 for $2500 and changed the entire synth industry. After that DK was dumping their units for under $7K with Kaypro and eventually went under in 1985. I payed $5,450 (including shipping) for this unit 8 months ago so for a 30 year old rare synth , it is still holding it's value.

The Synergy II+ 's Kaypro II PC is in great shape as well with two functional drives and the 1980s style green light screen resolution is still very prominent. You can find Kaypro PCs for sale on eBay should you ever need a back up. The sale includes everything you see in the photos- Synergy synth, Kaypro PC and keyboard, null modem cable to RS232 port ,original operational manual for the synth( not a copy), instructions for understanding the Kaypro and the complete Synergy library.The library includes close to 500 patches. It includes the L1-L13 FDs, VCART1-VCART6 FDs and Wendy Carlos Library( WENDY 1-WENDY3 FDs). All library, diagnostic, software systems and boot disks have been backed up with multiple copies, anywhere between 4-6 sets of each. The sale also includes a 2 hour video made by the original owner who purchased this synth as a floor model in 1983. The video on DVD is well thought out as well as his written start up instructions to get a new owner going. You definitely want to review the video and documents to understand the nuances using the synth and PC software . Included are the original documents listing the names and categories of the library disks and patches/voices in alphabetical order and by instrument or sound type. Other documents include synth schematics, pin schematics if you want to make your own null modem cables and addendum released by DK.

This synthesizer is definitely not for the touring musician or quick knob turning gratification player. This synth is typically purchased as a collectors piece or a programmers synth who enjoys sound sculpting for personal pleasure or studio recording. This synth has unique architecture and very sophisticated envelope control . What makes the Synergy II+ unique even to this day is that you voice each oscillator twice for both frequency and amplitude and you have 16 different envelope points for each envelope. So you get to control how each voice changes in response to velocity. For example, you might choose to have a phase modulated envelope that rises very sharply at low velocities and dies off fast, but at high velocity(loud notes) it rises less sharply and dies off much more slowly. Or you could do the opposite with the carrier envelope scheme which means the loudness envelope of the timbre operates normally with a sharper attack the harder you press the key but a shorter decay at louder amplitudes. Since you can define two 16 point frequency envelopes for each oscillator and you are dealing with phase modulation, you can have sound going from strictly harmonic overtones to inharmonic partials and back again over time or set it up to go inharmonic to harmonic and back again. And this effect is with just two oscillators. Typical Synergy II+ patches use 3-6 oscillators so you can also detune them to get chorus effects. Another reason to set up multiple chains of oscillators for a patch is to have different sets of overtones moving in and out of harmony against one another which gives you very complex timbral effects like you would get with real instruments. Another reason to use multiple oscillators is so you can combine additive synthesis with phase modulation to create some very realistic percussive sounds like bells or chimes using subharmonics of the fundamental of a note to create that low hum that is not harmonically related to the timbre ,but present in real percussive instruments.There is a reason that Wendy Carlos still has two Synergy GDS units among her gear of only 5 remaining keyboards.

For those not familiar with the Synergy, there is a good website if you Google DIgital Keyboards Synergy Preservation Page.Also there are several YouTube videos on this unit. However, here are the basics:

Saturday, April 30, 2011

Teenage Engineering OP-1 portable synthesizer


via this auction
"Synthesizers

Multiple Synthesizer Engines with exchangeable Architecture.
8 dedicated instant sound select keys

Sound Engines

Dr Wave – Raw 8-bit yupe sound engine
FM – Easy to tweak FM synthesis engine
Pulse – Square wave type engine
String – Physical modeling with a twist
Digital – Raw digital type of engine
Phase – Phase distortion engine
Cluster – Multiple Wave Cluster

Feature additions of Engines will be available with software upgrades

Sample Engines

Dedicated instant Synth Sampler with 6 seconds sampling time for each slot.
Dedicated instant Drum Sampler with 12 seconds sampling time for each slot.
With automated layout feature.
Instant sampling with built-in Microphone or Line in

Envelopes

Classic ADSR type of envelope
Dynamic Envelope for Drum sounds.

Future additions of Envelopes will be available with software upgrades

Effects

Multiple Effects with exchangable Architecture.
Delay – Classic delay type
Phone – Hacked phone effect
Punch – Adds punch to your sound
Grid – Grid based echo
Spring – Spring reverb type

Future additions of Effects will be available with software upgrades

Tape Feature

4 individual tracks with instant Solo
Instant variable Tape Speed
6 minutes recording time in Normal tape speed.
Up to 24 minutes recording time in Low tape speed
Loop function with movable region
Tape tricks for Break Tape, Bits and Reverse.
Memo 1 & 2 for instant memorizing Effects / EQ / Pan or Levels / Tape Speed
Reverse Recording
Classic Tape editing Features Lift / Split and Drop
Lift tape recordings back into Sampler for endless sound design."

Thursday, February 25, 2021

Roland MKS-80 Super Jupiter | The Prince of Analoge 80s Power!


video by Espen Kraft

[Clarification in case the synth police shows up: The MKS-80 is closer to the Jupiter-6 than the Jupiter-8.

Internal chips:
Jupiter-6: 12x CEM3340 VCO, 6x IR3109 VCF, 6x CEM3360 Dual VCA
MKS-80 (to serial #511799/early models): 16x CEM3340 VCO, 8x IR3109 VCF, 8x CEM3360 Dual VCA (4 for X-Mod)
MKS-80 (serial #511800 and higher/later models): 16x IR3R03 VCO, 8x IR3R05 VCF/VCA, 4x CEM3360 Dual VCA (for X-Mod)

The Jupiter-8 also used a Roland IR3109 IC for the VCF, BA662 for the VCA, and IR3R01 for Envelopes.

Via wikipedia: "The voice architecture is almost identical to the Jupiter-6 synthesizer, the service manual states that "The module board of MKS-80 features the following in addition to that of JP-6, its brother module. 1) HPF. 2) Low boost circuit in the 2nd VCA. 3) DC supply current boost circuit (IC50)." The unit is fully capable of producing most of the Jupiter-6's signature sounds, in addition to many sounds unique to the MKS-80. In February 1985, Roland started producing a new revision of MKS-80, known as "Rev 5", that had no ties with any previous Jupiter's hardware, as it used a new generation of both Roland VCO's, VCA's and filter. The Rev 5 filter was also used in JX-8P, JX-10 and MKS-70 synthesizers."

And the following which I thought intersting:

"Confusion with Jupiter 8
In 1998, UK magazine Sound on Sound published an article about MKS-80. It contained a critical typo. Instead of referring to Jupiter 6, the comment about the rack version constantly referred to Jupiter 8, leading to serious confusion and even spreading myths across various online forums. However, once we read that article and replace numbers 8 and 6, the whole part of the article suddenly makes sense: 'The MKS80 delivered the entire Jupiter 6 wish-list and more, including a much larger memory and upgraded internal electronics. Now let's get one thing clear -- despite a few commentators postulating otherwise, the MKS80 had nothing to do with the Jupiter 8. Although there were ultimately to be two versions of the instrument (one with the Jupiter 6's Curtis oscillators, the other with custom chips developed by Roland themselves) both retained the architecture of the Jupiter 6, sounded identical to the Jupiter 6 and, apart from their many enhancements, were the rackmount module versions of the Jupiter 6.'." Also see this post for The Story of the Roland JUPITER-8 & JUPITER-6.]

--- That said, here is the description for the video above:

"Roland MKS-80 - the Super Jupiter. Rolands last analog VCO synth and one that packs all the punch of the mighty Jupiter 8 and 6 into one box

With 8 voices, 16 VCOs, fast envelopes, cross modulation, sync, 2 ADSRs, a very flexible LFO and velocity and pressure sensitivity over Midi, the Super Jupiter was the professional musicians dream module in the mid 80s. Used on countless hit records.

Support this channel on Patreon:
https://www.patreon.com/espenkraft​

Through the years the MKS-80 came out in a Rev.4 and a Rev.5 and the debate over which one sounds the best never seems to stop. I don't care about that at all. The versions used in this video are both Rev.5, but as I actually compare these to a Jupiter 8 here, no one should tell me that the Rev.5 can't sound like it. It DOES sound like it, down to 99% and that's enough for me.

A big thanks to Joakim Tysseng for the loan of the Jupiter 8 and a big thanks to Brynjulf Blix for the one MKS-80 and the MPG-80 programmer. Anders Jensen has as always been very kind too and thanks for the other MKS-80 Anders, as well and for all the driving!

The other MKS-80 programmer I use here is from Retroaktiv and that's a new one. I did a demo of that just a couple of videos before this so check that out if you want to."

Wednesday, April 12, 2023

Bengal by Max for Cats - Version 2


video upload by max forcats

https://www.ableton.com/en/packs/bengal/
A free update for Bengal and Live 11 users.
Bengal 2.0 adds MPE and small usability enhancements.
Max for Cats crafts Software Instruments, Effects, MIDI devices, Sound Design and Samples for Ableton Live.



Combining the textural intricacy of FM with the freeform approach of a modular system, Bengal is a sound designer’s dream with its four operators, eight voices of polyphony, six audio effects and a flexible modulation architecture centred on an interactive virtual patchbay.

Bengal is a semi-modular synth, meaning that although its component modules (operators, filters, etc) are all fixed, they can be patched together in a huge range of configurations in the giant Patch panel at the bottom. Connect square output sockets to round input sockets by dragging virtual patchcords between them – it couldn’t be easier. Bengal is also eight-voice polyphonic, so it’s just as at home blasting out huge chords as it is one-finger basslines.

Serious FM

Each of Bengal’s four operators generates its waveform using a bank of 20 editable sine wave partials or a wavetable – over 40 are included, and external samples can be imported by dragging and dropping them directly into the GUI. Independent ADSR envelopes with Curve shaping and optional Looping are also in place for every operator, along with Feedback controls for really making them scream. The modulator/carrier routing is chosen from a selection of six FM algorithms, giving access to a variety of sonic starting points right out of the gate.

Dual filters

Bengal gives you not one but two multimode resonant filters. Filter 1 offers a choice of five switchable types – Moog-style ladder Lowpass, regular Lowpass, Highpass, Bandpass, Notch and Comb (with adjustable bipolar Feedback) – as well as Drive and wet/dry Mix controls for dialling in analogue-flavoured saturation and parallel processing, respectively. Filter 2 can be placed after Filter 1 in the signal flow or fed in parallel with it, and morphs smoothly between Lowpass, Bandpass, Highpass and Notch types.

Wild at heart

Modulation is key to Bengal’s architecture and sound. Running from 0.1Hz to speeds in the audible range, the two LFOs serve as regular parameter modulators or additional FM sources, while both the six-segment Breakpoint envelope and ADSR envelope can be looped and curved. The eight-step sequencer’s no slouch, either, outputting MIDI notes or modulation data, and featuring scale snapping, swing, and randomisation of pitch and velocity.

For even more movement, Bengal’s four Modifiers let you mess with its modulation signals in various ways, including smoothing, scaling, applying mathematical functions, and four-way mixing. There are also six audio effects onboard – reverb, delay, distortion, chorus, limiting and stereo widening – for processing and polishing prior to the final output.

Patching playground

With more than 50 modulation source parameters and 60 targets available, Bengal makes assigning the two easy and creatively rewarding with the Patch panel. Simply drag virtual cables from sources to targets as you see fit – each connection point can accept multiple cables at once, so you can really go to extremes!

Thursday, May 09, 2019

Novation Formally Introduces New Summit Flagship Synthesizer


Novation // Summit Performance Published on May 9, 2019 NovationTV

Update: higher res pics added below!

"Introducing Summit: our flagship two-part 16-voice 61-key polyphonic synthesiser.

With its multitimbral architecture and 16 voices of polyphony, Summit is like two Peaks in one instrument, enabling two completely independent patches to be split or layered across the keyboard, or switched between on the fly. And, that’s not the end of it: the addition of dual filters, greatly extended front panel controls, audio input and the same premium-quality five-octave keyboard introduced with our SL MkIII MIDI controller, put Summit in a creative league of its own.

Quite simply the best sounding, most versatile synth we’ve ever made, Summit gives you everything needed to design and play stunning basses, leads, arps, pads, effects, soundbeds and beyond."

Novation // Summit Overview

Published on May 9, 2019 NovationTV

"-CALC- takes you through the features of our flagship two-part 16-voice 61-key polyphonic synth, Summit."

You've seen the Novation Summit SUPERBOOTH demos. The official press release follows (pics below - be sure to click them for the full size shots).

"Introducing Summit: Novation's flagship two-part 16-voice 61-key polyphonic synthesiser

Novation are incredibly proud to announce the release of Summit, their new flagship synthesiser for studio and stage. Built on the same innovative foundations as the critically acclaimed Peak, Summit’s deep sound design capabilities, 16-voice two-part multitimbral engine and intuitive, tactile workflow add up to a synth that’s far more than the sum of its parts.

With its multitimbral architecture and 16 voices of polyphony, Summit is like two Peaks in one instrument, enabling two completely independent patches to be split or layered across the keyboard, or switched between on the fly. But that's by no means the end of the story: the addition of dual filters, greatly extended front panel controls, audio input and, of course, the same premium-quality five-octave keyboard introduced with our SL MkIII MIDI controller, put Summit in a creative league of its own.

At the heart of Summit is the digital New Oxford Oscillator, three of which are employed by every one of its 16 voices. They’re hosted on the FPGA (Field Programmable Gate Array) chip, which not only helps to generate authentic analogue waveforms at incredibly high resolution (24MHz), but also facilitates FM and wavetable synthesis for rich, complex and highly textural raw tones.

The FPGA feeds into a true stereo analogue signal path, comprising dual 12dB/octave filters (switchable between six paired combinations of low-pass, high-pass and band-pass modes), analogue VCAs and three stages of distortion (pre- and post-filter, and post-VCA). It’s the union of flawless analogue-emulating oscillators with genuine analogue filtering and saturation that make Summit sound so fabulously warm and fat.

Summit also boasts a wealth of modulation sources and assignment options, three stunning effects, audio input for routing external sources into those effects (while still using the other multitimbral part as a synth), and an auxiliary output. And the front panel expands greatly on Peak’s layout with the addition of dedicated controls for FM, all LFOs, effects and more.

Quite simply the best sounding, most versatile synth Novation has ever made, Summit gives the serious producer or performer everything they need to design and play stunning basses, leads, arps, pads, effects, soundbeds and beyond."

https://novationmusic.com/synths/summit



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