HexaChrom Adds Support for The Missing Link and OSC

HexaChrom - Somascape

"HexaChrom turns your iPad into a musical performance controller, enabling you to play your OSC or MIDI (#) electronic musical instruments — virtual instruments running on a laptop/desktop computer, or hardware MIDI instruments.

HexaChrom takes an alternative approach to the majority of MIDI keyboard controllers in that it uses an isometric note layout, where the notes are presented as a hexagonal matrix of keys. There are many such isometric layouts, though HexaChrom uses the Harmonic Table layout, which is a modern variation of the Tonnetz (tone network), devised by the famous mathematician Euler.

This note layout has particularly useful musical intervals between adjacent keys, ie along the 3 major axes : minor thirds, major thirds and perfect fifths. In the Western musical tradition, the intervals of the major and minor thirds dominate chordal structures. Consequently, this layout offers a number of advantages over the more conventional clavier-style keyboards : consistent chord shapes irrespective of key, the ability to span several octaves with one hand, and to play basic major or minor triads with a single finger. Together resulting in an easier learning curve.

It also encourages the user to approach music differently, just as the different note layouts of pianos and guitars engender different playing styles.

(#) HexaChrom can send MIDI data either via the OSC protocol (wirelessly), or via CoreMIDI (wired or wirelessly). When using OSC to control MIDI devices (whether hardware or software based) you will need to translate the OSC messages to MIDI, using either additional software (eg OSCulator on a Mac) or hardware (Jabrudian's Missing Link).

FEATURES :
- Isometric 'harmonic table' note layout keyboard, based on a 52-note matrix (just over 4 octaves).
- Play simple chords with a single finger.
- Consistent chord shapes irrespective of root key.
- Octave transposition provides a total span of just over 7 octaves.
- Dual view : Portrait mode offers a single 52-note matrix (easy play); Landscape mode has a 104-note dual matrix, with optional split channel operation.
- Assignable controllers (sliders and buttons).
- Control any software or hardware MIDI synthesizer, sampler, drum machine, etc. using OSC or MIDI protocols (additional software and/or hardware is required - see Requirements).
- OSC (wireless) support for both the 'M' data type (as used by OSCulator), and the Missing Link's proprietary message format. With automatic connection using Bonjour, or manual connection when Bonjour is not an option.
- CoreMIDI support (wireless or wired).
- Multitouch interface.
- iOS 4 multitasking compliant.

REQUIREMENTS :
- iPad running iOS 3.2 or later (4.2 is required for wired MIDI, whilst 4.3 is required for wireless MIDI).
- To use wired MIDI : A CoreMIDI compliant MIDI interface (eg Yamaha's i-MX1), or Apple's Camera Connection Kit along with a class compliant USB-MIDI interface.
- To use wireless MIDI : a wireless network with access to a MIDI Server.
- To use OSC : a wireless network with access to an OSC Server, eg OSCulator or a Missing Link device.
- A Mac running OS X 10.4 or later (if using OSCulator or wireless MIDI).

NOTES :
- HexaChrom is a dedicated iPad app and cannot be used with iPhone or iPod Touch.
- HexaChrom is a controller. It does not of itself produce any sound.
- OSCulator, Missing Link and Camera Connection Kit are 3rd party commercial products."

Note the bottom image if from Hans of The Missing Link who gave it a try. He had the following tip for others that might want to give it a spin: "When I tried it out, the "Connect to Missing Link" slide switch put the right numbers in the boxes but it gave me an error as if they weren't there so I had to slide the switch back to 'OFF' and enter them manually. Not a big chore, but it's not necessarily an obvious workaround."

HexaChrom - Somascape
iPads on eBay

Introducing the Novation BassStation 2 All Analog Synth

Novation // 21 Years of Innovation

Published on Apr 8, 2013 NovationTV·156 videos


"Bass Station II is an analogue mono-synth based on the classic original Bass Station but re-worked for the 21st century. It has two filters, two oscillators plus a third sub-oscillator, patch save and a fully analogue effects section. Add a step sequencer, arpeggiator, full sized keys and a powerful modulation section and you have the makings of a synth that is built for bass, but capable of so much more.

Bass Station II marks Novation's 21st birthday - find out more about Novation's early synths and how the technology evolved over 20 years"

What is it?

Bass Station II is an analogue mono-synth with a talent for bass, but a sound-engine that is versatile enough to kick out sharp leads and crisp arpeggios. It brings the best elements of the original Bass Station into a brand new design with re-worked modulation, effects, filters and more; like the Bass Station, but a much much bigger sound.
The signal path is pure analogue - including the effects section. The hardware has been laid out in modules with dedicated pots, switches, sliders and buttons for all major parameters. Critically, you can store and recall patches on Bass Station II. It comes with 64 killer factory presets, space for 64 of your own sounds on the hardware, and you can store more on your computer.

The key-mech consists of 25 full sized keys that are velocity sensitive with assignable aftertouch. It has been developed as a ‘synth-action’ keyboard, where each key is individually sprung so it is light to the touch and highly responsive to the synth engine. Bass Station II is a fully class compliant MIDI device with MIDI I/O on 5 pin din ports – for connecting to other MIDI outboard – and with your computer over USB. You can even connect an external instrument and run it through Bass Station II's analogue filter and effects."

"The Synth Engine: A Brief Overview

Oscillators: Bass Station II is built on three analogue oscillators and a noise generator. There are two fully independent oscillators plus a sub oscillator (which is the critical component in creating rich, analogue bass sounds). Oscillators One and Two are switchable between sine, sawtooth, square and variable pulse width, and Oscillator Three - the sub osc - can be set to one or two octaves below Oscillator One. It can be square, sine or narrow pulse width, delivering the characteristically ‘fat’ bass tone.

Filters: You can select between two discrete filters - ‘Acid’ or ‘Classic’ - each with a built in overdrive for pushing filter tones from dry, to warm, to nasty! The ‘Classic’ Bass Station filter can be switched between low pass, high pass and band pass at 12 or 24dB slopes. The ‘Acid’ filter is based on a diode ladder filter design that delivers a characteristically 303-esque sound that is designed to squelch!

Effects

Bass Station II has two effects (not including the filter overdrive). Analogue distortion drives circuit components to add new frequencies to the sound. Bass Station II’s Distortion function can add gentle warmth, filthy granularity and anything in between. The second effect is ‘Osc Filter Mod’ which creates a distinctive FM-type sound by using Oscillator Two to modulate the filter frequency. This is very good at crunchy, sound-mulching effects that substantially fatten up bass and lead patches.

Modulation

There are two envelope generators and two low frequency oscillators (LFOs). The first envelope is an ADSR amp envelope and the second is a mod envelope that can be used to modulate filter frequency, oscillator pitch and osc pulse width. LFO One is dedicated to pitch modulation whereas LFO is used to modulate osc pulse width and filter frequency. Although it looks like there are four LFO waveforms, the ‘LFO Slew’ function can be used freely to sculpt LFOs into smoother wave-shapes creating many more LFO possibilities.

Arpeggiator and step sequencer

Bass Station II’s Arpeggiator and Step Sequencer are killer performance and production tools. The Arp can be directed to run through 32 different rhythmic patterns in different directions with a switchable octave range. You can also engage the Step Sequencer. Up to four sequences can be played in – with legato and rests – and played back using any one of the 32 rhythmic patterns. As well as getting ideas down quickly and programming performance sequences, this is a brilliant way to preview patches while you are editing them.

This just scratches the surface of the synth engine. Bass Station II is a powerful little synth with a lot more than first meets the eye. There are many more oscillator, envelope, LFO and modulation functions that are too numerous to detail here. The best way to experience Bass Station II is to get hands-on!

Specs:

CLICK FOR MORE »

John Bowen Solaris Sound Samples

John Bowen has uploaded new audio samples of the Solaris, specifically the 'Weird Rotor' samples 5 and 6 in the player. The following is a description of what's in the player. Click here to check them out.

"Here's what I wanted to show:
1. AM example - Solaris_AM1.wav.
This is an extremely simple patch, made up of 2 oscillators, no filters, 2 envelopes, and 2 LFOs. Osc 1's amplitude is being modulated by Osc 2, whose output is shaped by an envelope. (The 2nd env is the Amp EG, of course). Since you can modulate each input of a mixer, I have a mixer with Osc 1 coming into 2 of the 4 inputs. The first input is getting modulated by Osc 2, and the second input is modulated by an LFO. Another LFO controls panning.

2. Lowpass filter with polymod - http://www.johnbowen.com/WavDemos/Solaris_LP11.wav.
This just because it's an old favorite of mine from my Prophet 5 days. 2 oscillators feeding the ladder-type Lowpass 24 dB filter, with medium resonance. The filter cutoff is modulated by 2 LFOs, one of which is tracking the keyboard, while the other a very slow sweep. A third input provides an envelope to the cutoff. Again a bit of Pan modulation by another LFO.
3. Panning Modulation at audio rates - http://www.johnbowen.com/WavDemos/Solaris_PanMod.wav.

Again, another very simple sound, using 2 oscs (sine waves), one with a slight bit of pitch EG (and no filter). The point here is to show how nicely audio rate modulation of the Pan position works - something you won't find on your typical synthesizer. As I hold down the F major chord a few bars in, I start to adjust the Coarse tuning of Osc 4, which is modulating the Pan. At first it's at -60 semitones (sub-audio range), and then I gradually (more or less!) raise it all the way up to +60 semitones. At the end, I again grab Osc 4's Coarse frequency and quickly drop it all the way back down while holding a higher chord.

4. Someone requested to hear something bright and buzzy, or lots of resonance.
Here's something using 2 filters in parallel - the MiniLP and the OB Notch filters: http://www.johnbowen.com/WavDemos/MiniLP+OBNotch2.wav.

5. Rotor FX - WeirdRotor1.wav.
This is a single note held, showing the Rotor module playing through the 4 oscillators. Each one is a bit different, with slow LFOs modulating the pitch of each. Osc 1 is set to the MultiMode osc, using the S&H waveshape. Changing the frequency of this oscillator varies the clock rate of the noise generator. Osc 2 is using the SuperSaw, Osc 3 the Morphing Saw, and Osc 4 is playing the (new) WAV Osc with a test sample. Everything is being fed through the (also new) Comb Filter.

6. Rotor FX polyphonic - WeirdRotor1Poly.wav.
Here's the same patch played polyphonically, at different ranges on the keyboard. I thought it might be interesting to have a 'non-traditional' example to hear.

The Solaris can produce very complicated things, but I wanted to start out with very basic, simple sounds. Now that I've got the basic recording process down, I'll get some more examples up within the next few weeks. (I'm also hoping to have some videos of basic operation available).

-John Bowen"

GPUAudio Major Synth In the Works

Pro Synth Network LIVE! - Episode 132 with Special Guests, GPU Audio! video upload by Pro Synth Network

Some initial pics and specs below. The above is talk with GPU Audio mentioning the upcoming software synth.

"Music Technology Discussion with Rob Puricelli, Ben Simpson & Kent Spong and our special guests, GPU Audio!

This week we're joined by Jonathan & Sasha from GPU Audio, a company that is shaking up the performance of computer-based music making with their Digital Sound Processing platform that unlocks a standard GPU to handle audio production with next-gen performance capabilities. Compatible with the VST3 standard, as well as custom software, GPU Audio dramatically enhances performance by offloading processing from a computer's CPU to its GPU.

And they will be showing a WORLD EXCLUSIVE of something very new and very exciting that has been made possible by their innovative technology. DON'T MISS IT!!!

Grab the GPU Beta Plugin Suite here... https://www.gpu.audio/prosynthnetwork

0:00 - Intros and welcomes
08:30 - GPU Audio Interview
47:08 - WORLD EXCLUSIVE Reveal of 'Major', the first GPU Synth!
1:09:10 - AcousticSamples V-Horns Saxophones - https://www.acousticsamples.net/vhorn...
1:33:25 - The Rise of Akai Professional Book Kickstarter - ttps://www.kickstarter.com/projects/1135238327/the-rise-of-akai-professional
1:36:57 - LABS Electronic Antique - https://labs.spitfireaudio.com/electr...
1:39:22 - Future Retro are back under new management! - https://future-retro.com/home/
1:42:23 - Guk AI Sistema Synth - https://guk.ai/sistema-ai-synthesizer
1:46:19 - UVI Falcon updates to 2.8 - https://www.uvi.net/falcon
1:52:41 - Arturia Rendez-vous Event - https://youtu.be/lw7Mj_9STYQ
1:53:38 - Synthfest U.K. 2022 Retrospective/Thoughts
2:09:22 - Thank yous and goodbyes!"



Major’s hybrid synth engine provides you with the best of both worlds - 8 synthesizer oscillators and 8 sample based oscillators, 8 independent layers with uniquer effects chains, envelopes and independent output routing. Built-in editable plugin chains save your resources and insert slots for the library of other GPU Audio powered effects. From rich, multi-layered textures to independent bass and synth lines all within a single patch - Major makes a statement as the world’s first GPU-powered synthesizer.

-Multi Layer Hybrid Synthesizer Virtual Instrument
- 8 Independent layers with mixed audio/midi routing.
- Flexible automation for most parameters using MIDI controllers, internal modulators or host automation
- MPE enabled
- Up to 4x oversampling and up to 64 bit length for real-time or individual "bounce mode"
- Per layer:
- 8 Synth-based + 8 sample-based oscillators
- 16 voices per oscillator
- OSC: 5 Alias-free waveforms incl White Noise
- OSC: Up to 128 voices per note
- OSC: PWM for all waveforms
- OSC: Detune, Stereo Spread, Panning and Filter Routing balance
- OSC: FM modulation between oscillators
- WaveOSC: Attack and Loop Wave players
- WaveOSC: Stereo Spread, Panning and Filter Routing balance
- Two 12,18, 24db/oct HP, LP and BP filters with resonance
- Two Host-Sync LFO with 5 waveforms
- 8 Envelopes with different curves
- Internal cascade of Distortion, Chorus, EQ, Delay and Reverb with variable order
- Up to 32-step Arpeggiator with swing
- Up to 32-step Gater with swing
- Two StepLFO with up to 32 steps and swing
- Two MultiControls for easy automation
- Spectrum analyzer
- 16 modulation lines per each modulation panel
- Legato, Polyphonic and Polyphonic Legato modes
- Incredible Mass-Preset for Random Patching across all parameters, effects, layers, oscillators etc.

Hex OSC Full -MIDI/OSC wireless keyboard for iPad- Force to scale demo session

YouTube via denryokulabel | August 18, 2010

"http://www.sky-light.jp/hex/?fts

Hex OSC Full is musical keyboard which has substantial 98 keys!
It is now able to transmit OSC(Open Sound Control) for controlling your MIDI devices.
-play a chord with one finger
-adjustable key layout, comfortable transposition
-transmit OSC
-more built-in sounds

Description:
Hex OSC Full is musical keyboard software for iPad, which has substantial 98 keys.Besides, the keyboard layout can be changed in order to extend tone range by a single shake while you play.
Hexagonal keys have certain note relationships like guitar chords. When you know the patterns, you can transpose smoothly.

Main Features:
-play with 98 keys (4 octave) on a screen without scroll
-play a chord (3 notes) with one finger
-play chords with up to 10 fingers
-glissando
-changeable tone range during performance
-adjustable key layout
-built-in 11 sounds; Synth1, Synth2, Tremolo Synth1, Electric Piano1, Organ1, Organ2, Funky Synth, Steelpan, Minimal Kit1, Bell1, Kokuritsu Kit
-transmit OSC
-transpose octaves when OSC is chosen
-available languages: Japanese, English"

HexOSC on iTunes:

iPad prices on Ebay

Hex OSC Full -play major and minor chord -Demo Movie

denryokulabel | August 18, 2010

"http://www.sky-light.jp/hex/hexoscful...
play a chord (3 notes) with one finger
play chords with up to 10 fingers"

New DRM1+X Expanded Major Drum

via Bugbrand

"Resplendent with a panoply of Banana Sockets and smattering of Control Dials, the DRM1X MD Expander truly opens up the synth-roots of the DRM1 Major Drum. This arrangement, the DRM1+X, combines the two in a 5FW powered case.

I/O / Functions from the top: (banana colours follow my Modular Standards)

-Envelope Outputs- Independent outputs for each of the four envelopes - range 0 to +10V
-Filter Input- Direct input to the filter (sums with Noise/Ext if selected on DRM1) - expects +/-5V audio signal
-Audio Outputs- Direct outputs of the Osc waveforms (Triangle & Square) along with White Noise - all +/-5V audio signals
-Osc FCV / ACV + FM2 / AM dials- CV inputs for the Osc side, each with bipolar attenuator (gives inverted anti-clockwise, centre off and non-inverted clockwise). The Amp Init dial manually controls the section VCA, allowing it to be opened for drones. The FCV can be switched to an internal 0.5V source so that the Osc FM2 dial becomes a Fine Tune control covering 1 Octave range - inputs expect typical 10V peak-to-peak signals, +/-5V or 0-10V.
-Filter FCV / ACV + FM2 / AM dials- As for the Osc controls above, but minus the fine-tune option.
-Sync- Allows the Osc to by sync'd to an external signal for rich Hard-Sync sounds. When switched to Mstr the Osc is sync'd by the Master Trigger inside the DRM1 (previously set with internal jumper on DRM1) - Syncs from any signal over approx +1V.
-Filter Mode- Replaces the internal jumper setting which selects Low-or-High-pass output from the filter (combines with Filter Output switch on DRM1)
-Filter Trig- Allows independent triggering of the Filter Envelopes (kind of makes the device a two drum system!). The Envs can be fired by the Manual push button or a signal to the FilterTrig Input, plus they can still also be fired by the Master Trigger from the DRM1 - Triggers from any signal over approx +1V.
For sounds - check the DRM1 page - most of the sounds there are made with a setup of one Expanded and one normal DRM1.

The DRM1+X is housed in a custom aluminium enclosure (7.5 x 5.25 x 3.5 inch) with PCB material front and side panels. The case holds a DC/DC converter which converts the 12VDC external supply (minimum 500mA, 2.1mm centre positive) to the bipolar +/-15V internal power. A 90-250VAC worldwide power pack is included with interchangeable plug socket adaptors.
As with the DRM1, the DC input & black banana Ground socket are mounted on the back of the unit.

The DRM1+X is covered by a 2 year parts warranty.
Price - £415 (+VAT in EU - £498) + shipping
Note - for now the DRM1+X combo does not have a stamped cardboard box like other devices"

Rob Papen Quad Introduction

Published on Oct 22, 2014 Rob Papen

"RE synthesizer for Propellerhead Reason 7.1 or higher.

QUAD is the first Rack Extension synthesizer built from the ground up for Reason by the Rob Papen team. It features two oscillators with a seemingly simple arsenal of classic waveforms. The sonic palette is huge though, through the vast modulation possibilities that QUAD has to offer.

The oscillators can be combined through many cross modulation functions – generating a wide range of harmonics. The next steps in the sound sculpting are the Phase Distortion and Wave Shaper. These tools are brought to life by four XY-Pads, which can be moved through an extensive modulation matrix. The movements can be recorded as automation directly into Reason’s sequencer.

QUAD’s oscillators are complemented by two top notch analogue modelled filters, an arpeggiator and two high quality effects processors.

Welcome to the new refreshing synthesizer QUAD – only in Reason!"

Reminds me of wavetable synthesis but instead of using pre-existing wavetables, they are generated on the fly.

Update: and the official press release:

"Rob Papen produces quick-fire QUAD as its first RE release built from the ground up for Reason


ECHT, THE NETHERLANDS: virtual instrument and effects plug-in developer Rob Papen Soundware is proud to announce availability of QUAD, its first Rack Extension synthesizer built from the ground up for Propellerhead Reason, as of October 28...

When Swedish music software application, interfaces, and technology standards specialist Propellerhead Software first unveiled its revolutionary Rack Extension — an ever-expandable, freely-routable rack of instruments, effects, and sounds — for its well-received Reason music-making and recording studio software solution, namesake company founder and synthesizer developer Rob Papen promptly pronounced it as being “...a brilliant concept.” Continuing, he then summarised its advantages as follows: “What we face as a developer is having to have a PC version and a Mac version, and if you run them in your regular host, you can crash your host. That’s a real big battle. People, if they use Reason, learn that things are connected. It’s cross-platform; everything works. It’s a major leap forward for Reason, and productions coming out of Reason will sound totally different. Reason remains Reason, but, now, it’s open.”

Open to the likes of Rob Papen to develop distinctive and desirable third-party Rack Extensions (RE) for Reason. Little wonder, then, that Rob Papen was amongst the first wave of developers to do just that, starting by porting over its popular ‘phat’-sounding soft synth Predator as Predator-RE, rapidly followed by its SubBoomBass-RE dedicated virtual bass synth, self-explanatory PR-Verb RE and PR-Distort RE virtual effects, plus PunchBD-RE, a versatile and easy-to-use bass drum synth.

Soft synths have always been at the core of Rob Papen’s productive business model, so it’s hardly surprising that they put some serious time and effort into porting some of their most popular products over to Propellerhead’s popular Reason platform. Yet what distinguishes QUAD from its aforementioned admired RE predecessors is that this time the company has chosen to build a Rack Extension synthesizer from the ground up. Why? Well, according to Rob Papen’s namesake founder, it “...offers a different and refreshing synthesis for your rack!”

Really? Really. “QUAD is still ‘subtractive synthesis’ like you know from Predator and so on, but the oscillator part has some interesting new features that vastly expands the sound options and makes QUAD very different from any other regular ‘subtractive synthesizer’,” reasons Rob Papen.

Put simply, QUAD has two oscillators (OSC 1 and OSC 2) at its sonic core, each endowed with a seemingly simple selection of classic waveforms (Sine, Triangle, Saw, White Noise, and Pink Noise), together with a SPREAD function (adding multiple oscillators with slightly higher and lower pitch to the main oscillators to fatten up the sound), and a SUB oscillator tuned one octave below with two selectable waveforms (Sinus and Square). Straightforward-sounding so far? Arguably yes. Yet those oscillators can be combined with many cross modulation functions, generating a wide range of harmonics. How so? “This is arranged inside OSC 1, where we also have several interesting modulation types. Also, OSC 1 can be shut down for going into the filter, so it can be exclusively used as a modulator for OSC 2.”

These already stunning sound sculpting tools are all brought to life by the four XY pads that dominate the main screen, giving OSC 1 and OSC 2 their distinctive PHASE DISTORTION and WAVE SHAPER capabilities — and also giving rise to the QUAD name. Notes Rob Papen: “For each we have several distortion or wave-shaping types. With the XY dials or XY field you can change this dynamic. The very cool thing is that with minimal effort you can quickly create a new sound and preset.”

Of course, Rob Papen himself is an internationally recognised sound designer of considerable standing, so it should come as little surprise to learn that QUAD is packed with wide-ranging Rob Papen-designed presets so you don’t have to (if you don’t want to). Those that do, of course, can delve deeper courtesy of an extensive MODULATION matrix; two effects processors (FX 1/2) that can be automated within the MODULATION matrix or via the ‘back panel’-positioned ‘external’ CV; LFO 1/2 and ENVELOPE 1/2 that can be tempo-synced; AMP section for controlling the volume contour; and more.

Moreover, QUAD offers no fewer than 28 filter types via two top-notch analogue-modelled filters (FILTER 1/2) with various routings, as well as an artistically-inspirational arpeggiator (ARP) with several playback modes. Maintains its co-creator: “It’s a big synth with many features!” For Reason users it really does offer a refreshing and different approach to synthesis, so why not extend your Rack right now?


QUAD can be purchased and directly downloaded for €99.00 EUR/$119.00 USD from the Propellerhead Shop here: https://shop.propellerheads.se/product/rob-papen-quad-instrument/ (Propellerhead operates a try-before-you-buy service for those wishing to test Rack Extensions.)"

Major OSC Live Stream

video by Major OSC

"Testing Out K-Board Pro 4 with Argon8. Poly Aftertouch, X, Y, Z(PolyAT)."

WatchBay Vocal Mix'

video by Major OSC

An all Roland Jupiter-X cover of the Bay Watch theme with "The Hoff" from supporting member, Major OSC.

http://majorosc.com/

ASM Hydrasynth Demos and Patches by Major OSC

Major OSC

You can find the patches at http://www.majorosc.com/

This above features quite a few videos, a few of which are pretty long. You can use the controls on the bottom of the player to skip around. You'll find tutorials, feature overviews, and demos.

Playlist
1. MajorOSC Special Presentation: Hydrasynth 1 Hour Review Special
2. Ignition 2 for Hydrasynth In Development
3. ASM Hydrasynth FM / PWM Slider Full Walk through Part 1 & 2
4. Free Ignition Patches for ASM Hydrasynth Now Available
5. Ignition Patch Bank for ASM Hydrasynth - Official Preview Part 1 of 3
6. Ignition Patch Bank for ASM Hydrasynth - Official Preview Part 2 of 3
7. Ignition for ASM Hydrasynth Official Preview Part 3 of 3
8. IGNITION Patch Bank for ASM Hydrasynth - Sneak Peak Patches 1-20
9. Hydrasynth Patches - Ignition Feb Progress Update
10. ASM Hydrasynth Presets: Ignition Patch Collection - MajorOSC
11. ASM Hydrasynth Performance Demo
12. ASM Hydrasynth Sound Design for Keys and Plucks
13. ASM Hydrasynth - 32 Mod Slots Filled ! What a Machine!!! - FULL Patch Bank Now Available

Major OSC VanHalen Patch for the ASM Hydrasynth

Major OSC

"Try out a demo of Ignition 2 in this special promotional mini pack. These presets contain:
Van Halen Tribute Patch (Expression Pedal required for full functionality)
A realistic sounding Piano, additional guitar tribute presets, and a cinematic pitch sensitive drum preset.
Download the link as a whole. Do not extract. It should be saved as a .Hydra file.
https://drive.google.com/file/d/1Oeks...

Enjoy!"

Roland Jupiter-X in there as well.

Hydrasynth Firmware 2.0 – Introduction & Performance by Dominic Au & Tutorials

Hydrasynth Firmware 2.0 – Performance by Dominic Au
video upload by ASM Ashun Sound Machines

"In this video, product manager Dominic Au demonstrates various new Hydrasynth 2.0 features.

#HydrasynthExplorer #AshunSoundMachines #Hydrasynth #ASM"



Playlist:
Hydrasynth Firmware 2.0 – Bit Redux
Hydrasynth Firmware 2.0 – Voice Modulator
Hydrasynth Firmware 2.0 – LFO / Envelope Quantize
Hydrasynth Firmware 2.0 – Step Advance LFO
Hydrasynth Manager 2.1 Tutorial

ASM adds features and functions to perennially popular Hydrasynth range with major (2.0) firmware update available for free

LOS ANGELES, CA, USA/HONG KONG, CHINA: creativity-sparking sensational products provider Ashun Sound Machines (ASM) is proud to add features and functions to its perennially popular Hydrasynth range — comprising the original Hydrasynth keyboard and Hydrasynth desktop, announced to widespread critical acclaim in September 2019, followed by the flagship Hydrasynth Deluxe and portable Hydrasynth Explorer models announced in September 2021 — with a major (2.0) firmware update available for free as of March 15…

As an appealing appetiser, ASM’s major (2.0) firmware update adds three more memory banks to the Hydrasynth keyboard, desktop, and Explorer models, matching the Deluxe’s existing eight banks for a total of 1,024 patches. Put it this way: all are cutting-edge digital wave morphing synthesizers that positively invite their respective users to get involved in designing sounds, so more memory makes sense. Speaking of sound design, each Hydrasynth oscillator — OSC 1, OSC 2, and OSC 3 — now includes a new BitRedux (bit reduction) parameter that allows users to choose between OFF, 16, 12, 10, 9, 8, 7, 6, 5, 4, 3, and 2 bits.

But — given that the 2.0 firmware update readily ranks as a major one — there is more, including more modulation options, thanks to a new modulation source called VoiceMod (voice modulator) that allows users to offset values for each voice that can then be applied in the Mod Matrix to vary chosen parameters per voice. Digging deeper, all five envelopes — ENV 1 through to ENV 5 — and LFOs (Low Frequency Oscillators) — LFO 1 through to LFO 5 — have new Quantize options, so adventurous users can quantize their outputs to achieve unique stepping effects. Excitingly, now it is possible to choose to advance through the steps with each new note on with the LFOs in Step mode, meaning users can play through the steps one by one with each new note press.

For flexibility in the studio or at home, Hydrasynth’s version 2.0 firmware update also allows users to bypass each of the (Pre-FX, Post-FX, Delay, and/or Reverb) effects globally in the system page — to record a dry signal without having to edit each patch, in other words. Thanks to the 2.0 firmware update, Hydrasynth users can choose how the sustain pedal operates. The three options available are: Sustain — traditional sustain (as it has always worked), Sostenuto — press and hold a single note while playing notes above it, and Mod Only — disables the sustain function, allowing users to then route it in the Mod Matrix.

Meanwhile, mention must briefly be made of other added features and functions, to include: Arp range expanded to six octaves; new Arp Step Offset parameter; Bank selection from browser window; ability to randomize all steps in LFO Step mode; new display Dim, On/Off options; Glissando mode added to Glide options; fine control for more subtle options offered by Vibrato; and Local On/Off status recalled (with in-screen reminder). As ASM CEO Glen Darcey duly concludes: “We hope you like the new features in 2.0. I would ask that you download the manual; there are some good tips and tricks on each of the new features and functions in there.”

Synthi In Euro (2013)

Published on Oct 11, 2016 VoltageCtrlRtv

"Synthi in Euro Patch:
Choices Y Out to Wiard Anti-OSC 1v. Oct In
Choices X Out to Wiard OSC EXP In, set attenuator to 12 O' Clock
Mult Choices X Out to Wiard 1v. Oct In
Wiard OSC Square 2 Out to Maths Ch. 4 signal In
Quantum Rainbow Pink noise Out to Anti-OSC EXP In Attenuator set to 1 O' clock
Maths Ch. 4 Signal Out (bottom) to ModDemix CV In 1.
Anti- OSC Triangle to ModDemix Signal In 1 Attenuator full CW
ModDemix Out to main mixer out ch.1
Maths Ch. 4 Out (top) to Positronic Transient Gate In A
PTG Out B- to Maths ch.4 rise in
PTG Out A- to Z2040 FM in
ModDemix Out 2 to PTG in B Attenuator at full CW
PTG Out B + to Z2040 Resonance In
Anti-OSC Mayhem out to Z2040 in
adjust Z2040 Frequency to taste
Z2040 to main mixer out ch. 2
Use Choices joystick to control the patch.
With a sprinkle of spring reverb.
The Steady State Fate Positronic Transient played a major role in this patch by FMing the filter and cving the resonance of the z2040.
Visit: steadystatefate.com for more info on the Positronic transient Gate module and Quantum Rainbow.
Links to other module manufacturers that were used in this patch:
makenoisemusic.com
tiptopaudio.com
malekkoheavyindustry.com
flightofharmony.com"

Synthi In Euro

Synthi In Euro from VoltageCtrlR on Vimeo.

Synthi in Euro Patch:

Choices Y Out to Wiard Anti-OSC 1v. Oct In
Choices X Out to Wiard OSC EXP In, set attenuator to 12 O' Clock
Mult Choices X Out to Wiard 1v. Oct In
Wiard OSC Square 2 Out to Maths Ch. 4 signal In
Quantum Rainbow Pink noise Out to Anti-OSC EXP In Attenuator set to 1 O' clock
Maths Ch. 4 Signal Out (bottom) to ModDemix CV In 1.
Anti- OSC Triangle to ModDemix Signal In 1 Attenuator full CW
ModDemix Out to main mixer out ch.1
Maths Ch. 4 Out (top) to Positronic Transient Gate In A
PTG Out B- to Maths ch.4 rise in
PTG Out A- to Z2040 FM in
ModDemix Out 2 to PTG in B Attenuator at full CW
PTG Out B + to Z2040 Resonance In
Anti-OSC Mayhem out to Z2040 in
adjust Z2040 Frequency to taste
Z2040 to main mixer out ch. 2

Use Choices joystick to control the patch.
With a sprinkle of spring reverb.

The Steady State Fate Positronic Transient played a major role in this patch by FMing the filter and cving the resonance of the z2040.

Visit: http://www.steadystatefate.com for more info on the Positronic transient Gate module and Quantum Rainbow.

Links to other module manufacturers that were used in this patch:
http://makenoisemusic.com
http://www.tiptopaudio.com
http://malekkoheavyindustry.com
http://www.flightofharmony.com

via Shiro Fujioka on The MATRIXSYNTH Lounge

J74 Volca Control - Software editors and control surfaces for the Korg Volca series

Published on Nov 27, 2013 Fabrizio Poce·36 videos

KORG Volcas on eBay

"The VKeys, VBass and VBeats are a set editors for the Korg Volca series. They allow you to control, store and modulate all of the hardware units natively implemented MIDI parameters, while adding a bunch of new features for synthesis and performance.

The devices come in the format of Standalone desktop applications for Mac and PC (integrating via MIDI communication to controllers and DAWs, no additional license required) and in Ableton's Live Max for Live format (integrating directly in Ableton Live, in this case a Max for Live license or Live 9 Suite version is required).

Here more information:
http://www.fabriziopoce.com/volcacont...

Here the FAQ section:
http://www.fabriziopoce.com/volcacont...

Here the user manauals:
http://www.fabriziopoce.com/VKeys-UG.pdf
http://www.fabriziopoce.com/VBass-UG.pdf
http://www.fabriziopoce.com/VBeats-UG...

Note: to use the software with the units you need MIDI communication and therefore a interface supporting traditional 5-pin DIN MIDI connector (as used by the Volca units).

Feature set:

Volca units standard functionality mapped via MIDI:
- VKeys: VCO (OSC) Modes, Detune, Portamento, Pitch Envelope
- VKeys: LFO Rate, modulation intensity for both Cutoff and Pitch
- VKeys: VCF Cutoff and Envelope amount
- VKeys: Envelope (EG) Attack, Decay/Relase, Sustain
- VKeys: Delay Time
- VKeys: Delay Feedback
- VKeys: VCA Volume
- VBass: VCO (OSC) Pitch tuning for OSC 1, 2 and 3
- VBass: LFO Rate, modulation intensity for VCF Cutoff
- VBass: VCF Envelope amount (on Cutoff)
- VBass: Envelope (EG) Attack and Decay/Relase
- VBass: VCA Volume
- VBeats: Part Level (Kick, Snare, LoTom, HiTom, ClosedHats, OpenHats, Claps, Agogo, Crash)
- VBeats: PCM Speed (Claps, Agogo, Crash)
- VBeats: Tom's Decay
- VBeats: ClosedHats Decay
- VBeats: OpenHats Decay
- VBeats: Hats Grain
- VBeats: Stutter Time
- VBeats: Stutter Depth

Additional features given by the VKeys, VBass and VBeats software:
- VKeys: Delay Modulation for Chorus-like effects
- VKeys: KeyTracking on VCF Cutoff
- VKeys: Additional LFO (LFO2) which is software-based and tempo synchronized
- VBass: OSC Pitch Tuning modes (unison, octave, third, fourth, fifth, major-chord, minor-chord and three auto-detune options)
- VBass: 3 note Polyphony emulation (paraphony), as OSC Pitch Tuning mode "poly"
- VBass: KeyTracking on EG/Cutoff level
- VBeats: MIDI velocity dynamics (emulates MIDI velocity support)
- VBeats: MIDI controllable pads with velocity emulation
- VBeats: Solo/Mute mixing controls
- All devices: X/Y Panel for modulation of two parameters simultaneously
- All devices: Parameter Randomizer
- All devices: Presets storage (load, save, recall)

What the VKeys, VBass and VBeats do NOT control:
- VKeys: VCF Peak (not hardware/MIDI implemented by Korg)
- VBass: VCF Cutoff (not hardware/MIDI implemented by Korg)
- VBass: VCF Peak (not hardware/MIDI implemented by Korg)
- VBeats: Kick click/pitch/decay (not hardware/MIDI implemented by Korg)
- VBeats: Snare snappy/pitch/decay (not hardware/MIDI implemented by Korg)
- VBeats: Tom's Hi/Lo pitches (not hardware/MIDI implemented by Korg)
- All devices: Any FUNC[tion] setting on the units (not hardware/MIDI implemented by Korg)"

Studio Electronics Introduces the SE-3X

STUDIO ELECTRONICS · SE-3X

Priced at $2199

"Three + Four = Heaven. The SE-3X: a three-voice paraphonic synth with four discrete, classic hardware filters.

Seen where the sound of success was heard, the SE-1(X)’s popularity with hitmakers, film composers and sound designers has spanned decades, and the 'X never quite rode off into the sunset. Now, it's blazing back with software sweetening and sweeping hardware refinements — innovations worthy of 30 years of rack time… and your time. Built attractively, built solidly, bringing you the bump 'n' thump and higher frequency clarity and warmth that has been the secret weapon of legends. ‘3X software available as an upgrade for ‘1X users.

CLICK FOR MORE »

Eurorack Modular Review by Hefix93 of Velvet Acid Christ

Hefix93 of Velvet Acid Christ sent the following review of his new Eurorack format modular synth featuring Doepfer, Plan b, Livewire and a Kenton Pro Solo for MIDI to CV. You will find samples at the end of the review.

"Kenton pro solo: Amazing midi to cv converter, its tight, real tight with logic sending it midi. i like the portamento and other things i can get out of it.. very good, worth every peny, also can do extra cv modulations with the aux out jack.

Plan b model 15 osc: The saw wav on this is simply mystifying. huh? i mean it is the meanest saw i have ever messed with. PWM is not so great, no attenuator and there is only active pulse on the pwm knob from 10 o'clock to 2 o'clock (don't know if this is standard on all modulars, as this is my first) this really irritates me [Update: this is addressed at the end of this review by Peter Grenader of Plan b]. I got neat fm sounds, and sync. the sine is pretty cool. The small frequency knob really kinda irks me, its so hard to dial in any kind of tuning, which makes this a real bummer for live use. I hope i can get the pwm to work how i want in the future, if so, this osc will probably me favorite of all time. Seriously rips. This thing is so mean. I want to have him build me a custom osc based on this model 15 with all the things i want. i hope he will. I want a osc octave switch, pwm attenuator and a bigger freq knob that isn't so overly sensitive and hard to tune (granted, these are the first modular oscillators i have used so). I seriously love this osc.

doepfer a-118 Noise/random: wow, i love the colored noise on this module. and the random voltage thing is kinda neat as a modulator on my filter and other things. nice.

doepfer a-138 mixer: Wow this sounds decent. if you over drive this past 7, it gets pretty aggressive, great for the kind of music i do. nice..

doepfer a-131 VCA: Again decent sounding, and man if you go past 7, it gets real mean. i love it..

doepfer a-143 quad lfo: nice to have 4 lfos, i like the speed switch, this goes real slow and nice and fast. i love it. better than most synth lfos i've had. Can go real fast in the high mode, fm audio. nice...

doepfer a-125: this is the best phaser i've ever had, and i haven't had many, makes the phaser in the virus ti sound like a toy..can sound real thick and heavy, very psychedelic. wow. this will make my psy trance tracks kick major butt..

doepfer a-188-1 1024 bbd: Very cool short delay that does chorus and flange ok, not the best i've heard, the modcan sounds the best so far. but for strange detuned rubber band delay modulation sci fi weird stuff, this thing really rocks, but it makes me wish i had room for the 188-2 instead.. hrmm... still really good for the money.

doepfer a-140 adsr: Very snappy. i mean this thing handled my 160 bpm bass duties at 16th notes very well. better than most stuff i have owned. i have not tried to make kick drums yet or other percussion, so i don't know how well it does there. but for bass and leas, out standing fast poppy envs. i have not messed with the other speed settings other than the m. and that suits my needs so far. i got two of these. and man, i'm loving it.... so fast tho, they can pop, you have to mess with the attack and release a tad, but man. it snaps..

doepfer 1-180 multiples: what can i say, they split the multiply a signal by 3. awesome. does its job well. i get 1 in and 3 out x2 per module, i got 2 of these..

Livewire Frequensteiner multimode filter: i saved the best for last. what can i say, this thing is aggressive, and man, it is simply the best multimode filter i have ever owned. The low pass is very aggressive, as is the bandpass, and the highpass, but man, the high pass is the best on this filter. it hisses and bites and cuts in a mix so well, i cannot explain how much i love it. But honestly i really like all the filter modes a lot. if i push the audio input past 7 or 8, it over drives and gets really mean, i mean super pissed. AMAZING. This thing is worth every penny, i love the knobs, and the nice big frequency knob is much loved here. What other multimode filters have i owned? nordlead, jp8080, virus up to the ti, the jupiter 6, the andromeda. This thing is sick, i mean so great, i cannot rave bout it enough. This is now my favorite synth filter ever. Even beating out my love for the minimoog and jupiter 8 filters.. i'm just into that aggressive exciting sound this thing gives me.

I sold my roland jupiter 8 for this [posted here]: i am not looking back, i love that old vintage lush instruments. but i needed something with more balls and bite and aggression, i got it. What i am able to pull of with this is amazing seriously mean bass and leads, that cut on all frequencies of the spectrum. And all the strange ufo sci blips and beeps that modulars are know for as well. This doesn't sound vintage, it has its own new sound, its stable and alive, but very precise and tight. zippy, and responsive. so much more so than i am used to. the modulations in the andromeda were sluggish and oogy, this is lightning fast and responsive, just how i like it. I am so glad that i took this big step. Sure i have some issues with the implementations on the the plan b model 15 with its pwm strangeness, but other than that, i love it all. I took back my virus ti and vsynths because they just didn't cut into my analog drum machine and monosynth dominated mixes. This thing does. it can get in there with my sh2, and future retro revolution just fine. as to where my virus would sound all faint and wouldn't cut, even with the high pass, it would kinda get lost and not stand out. that is not a problem here with this system. This is why i love analog so much more in the kind of music i make, i need stuff that has presence in the mix. digital doesnt. ANALOG DOES!

Sure after it was all said and done, it cost me about $2750. I bought it all from Analogue Haven .. please if you do buy stuff because of these sound demos, tell them that you heard the clips from velvet acid christ and read this review. I want a hook up for getting him business. I'm addicted to this modular stuff, and i need all the help i can get now.. :) Shawn really is the one who help me build this system. He and i go way back. I'm so glad his store exists now. really helped me out here. i've been lusting after a fat system with a multimode filter for years. I FINALLY HAVE FOUND IT.. i'm so happy..

Oh and by the way, i made a bunch of quick sound demos of the this system doing the typical vac arp lines and basses. Feel free to check em out. I hope this gets you interested in modulars.. They are not just for strange blips and beeps, they can be great musical instruments as well. not just for the weird sci fi. take care.

bryan aka hexfix93 aka phuckhead aka disease factory....."

Samples:
http://www.velvetacidchrist.com/synth/model15frequensteinera-125vcp.mp3
http://www.velvetacidchrist.com/synth/model15frequensteiner2lp125vcp1881bbd.mp3
http://www.velvetacidchrist.com/synth/model15frequensteinerlp3.mp3
http://www.velvetacidchrist.com/synth/model15frequensteinerlp4.mp3
http://www.velvetacidchrist.com/synth/model15frequensteinerlp5.mp3
http://www.velvetacidchrist.com/synth/model15frequensteinerbp6.mp3
http://www.velvetacidchrist.com/synth/model15frequensteinerhp7.mp3

Update via Peter Grenader of Plan b regarding PWM on the Plan b Model 15:"Morning...

The PWM construction is designed that way so that there are more possibilities for the VC input. I played around with this a lot while cooking the VCO, you're going to get some very interesting sounds when the manual offset is positioned to either the far left or right (either into the 'silent' zone) and a VC is applied to pull it back into audio that aren't availible otherwise. My PWM sound is unique, I wanted to keep it that way.

I think there is a misconception that by only having the square audible from 10 to 2 that you're loosing something. You're not - it's all there, it sweeps from full neg, through 0 to 100 duty cycle, then back from 100 to 0 to full positive. it just transverses that from the 10 o' clock pot setting to the 2 o clock pot setting. the balance of the pot regions, when the signal is zero is not wasted, it's there for VC possibilities.

If you own one of these, try it, you'll see what I'm speaking about. Move the pot to silence, apply and VC, then move the pot to so that the square isn't silent and apply the same VC. I didn't want to loose both effects.

hope this helps,

- P "

Novation Summit Versus ASM Hydrasynth - In Depth Discussion and Walkthrough (See description)

Major OSC

"Important Correction of Information: The Summit uses DIGITAL Envelopes, and DIGITAL LFO's. The Filter as well as the distortion unit are Analog. My apologies for the incorrect information.

A Special Presentation from Major Oscillator:
1 Hour of discussion comparing the Novation Summit and ASM Hydrasynth. What an incredible duo of polyphonic synthesizer bliss!
Spoiler: There's no winner in the end. But if you own one, and are interested in the other, this video might give you some valuable insight. Also I compare these 2 synthesizers to women. At the very least it's some synth related entertainment to keep you smiling while we're all stuck indoors. Stay healthy and happy. Check out http://www.majorosc.com for patches featured in the video.

Shortcuts times updated and now correct.

CHAPTER / SECTION SHORTCUTS
SUMMIT:
Demo
5:12 - How are the effects on Summit ?
6:27 - LFO's
9:24 - Envelopes
9:43 - Who the F*** is Spirit Catcher ? - Envelopes put to good usage...
12:39 - After-touch - It's all about position...

ASM HYDRASYNTH
13:42 - Demo
14:57 - Filters
18:04 - Envelopes
21:37 - Unrivaled abilities to sequence, despite having no sequencer!
22:50 - lead up to - Does analog really make a difference?
24:26 - Can this thing do lush, spacious analog pads? - Um, YES.

COMPARISON and CONTEXT: Feel and Touch
26:20 - INTRO - ASM arrives with features not seen in decades...
26:51 - Poly Aftertouch Support: 2 Synths can be even better when they're together...
27:52 - The Keybeds

A CLOSER LOOK:
Oscillators, Wave Forms, Wave Tables, Depth, Width, Tips for Modulations, and Sound Characteristics...
33:57 - SUMMIT
46:28 - HYDRASYNTH

59:13 - Are they worth their price?
1:01:34 - Presets... Good? Sort of Of. Bad? Some would say so. Great 3rd party banks available? YES

1:02:05 - Emails Received from Customers after the release of Ignition...

Greg Tripi - Composer -
"Really loving everything you’ve built in this release. A few of your sounds have already made it in to a film I am scoring. I even used one of the presets in a new Amazon series I’m doing with Cliff Martinez. We’re big fans of this sound."

Gerald Nahrgang -
"I am particularly surprised about the -bright piano- (025). Not that it sounds very authentic, but it feels very good to play."

MajorOSC Mayhem... Playing presets, talking a bit, make a few points, playing some more...
1:04:37 - PIANO - "Better than an old Casio Piano? F*** Yeah it is"

Playtime:
HYDRASYNTH
1:05:54 The Crunchy BroSteppy Trap-tactular Spaghetti Monster...
1:07:40 Mod Wheel Radio - Hydrasynth is the new king of Industrial
1:13:09 - Goin "Haywyre" with a vocal lead

SUMMIT
1:15:39 - I made a piano sound for a piano lesson, but mostly because I hadn't purchased a P45 (yet).
1:16:30 - Lovely Keys
1:17:52 - Summit can get you movin' and groovin'
1:18:13 - Summit is sort of like a lush polysynth from the 80's with a modern touch.
1:21:50 - My favorite lead: Major Oscillator (that's right, I named a patch after me)
1:23:42 - Bored In Canada - A great Multi from Dave Spiers
1:25:04 - more of Deckard's Ride - what a pad!

1:25:28 - Which one sounds the best (to me)

THE FINAL WORD: If these 2 synthesizers were women...
1:25:56

Corrections:
At 22:55 I meant to say extra LFO, not envelope"

The Modal Electronics Modal CRAFTsynth

It looks like Modal Electronics, makers of the Modal 002 and 008 line of flagship synth, is coming out with a new compact mini desktop synth. This comes as no surprise as one of the men behind Modal Electronics is Paul Maddox of Vaco Loco. I'm not seeing anything on their site yet.

Here are some details via Synth Anatomy:

"Easy Self-Assembly

The Modal CRAFTsynth Monophonic Synthesizer Kit allows you to build up the synthesizer from 5 separate boards, with its simple yet effective design making it easy to assemble. The assembly process requires no soldering, tools or specialist knowledge, everything you need comes straight out of the box and allows you to slot the pieces together with ease. You can assemble the synthesizer within 10 minutes, giving you a hands-on experience when it comes to building your synth.
Powerful Monophonic Performance

The CRAFTsynth features 2 oscillators per voice with a range of controls for in-depth manipulation such as detune and fine detune for OSC 2 as well as a selection of different waveforms including: Sine, Tri, Saw PWM, Noise and FM (OSC2 modulates pitch of OSC1). This versatile range of controls allows you to sculpt your own synth sounds with ease. The LFO features six destinations in total including: VCA amplitude, filter cutoff, FM amount, OSC mix, PWM amount and pitch/frequency. This wide range of parameters allows you to create your own sounds with extreme precision, giving you in-depth control over every part of the sound. There is also a mixer stage of OSC levels, allowing you to further edit your sound for added depth and clarity. The Unison/Spread mode splits the oscillators into four separate sub oscillators per oscillator, virtually expanding your synth to a total of eight oscillators which are also de-tunable for a massive sound. The Modal CRAFTsynth is also fully class compliant, meaning it can be controlled by a wide range of popular DAWs, offering seamless integration for your favourite programs and applications.
LFOs and Presets

The Modal CRAFTsynth features four LFO wave forms in total, with each LFO being invertible for added versatility. The LFO wave forms are as follows; Sine, Tri, Saw, Square. This standard range of LFOs allows you to create everything from atmospheric pads to in-your-face leads and more. The resonant low pass filter can become state variable when using the CRAFTapp (available end of 2016). The CRAFTapp that comes included with the synthesizer allows you to get in-depth with your synthesis, giving you the ability to control custom enveloped, low pass filters and more.
Intuitive Layout

The highly intuitive layout of the Modal CRAFTsynth places everything you need right at your fingertips. The eight front panel potentiometers offer unparalleled editing control with two pages of editing functionality, allowing you to control parameters with precision. The CRAFTsynth also features 16 path storage locations (expandable through CRAFTapp) as well as 16 recallable EG presets for ease of use (full editing control with CRAFTapp). The playable touch panel interface features five note keys plus controls for scale and glide time. The touch panel interface’s keys are clearly labelled with its primary function giving you the ability to change between scales and more. Delay and distortion effects are also included for adding harmonics and texture to your sound. A Headphone and Line output are included for direct monitoring as well as outputting the CRAFTsynth to speakers and other audio devices. The synthesizer itself is powered via a USB cable or an optional AA battery pack.

Modal CRAFTsynth specification:

Monophonic DSP based self assembly synthesiser, requires no soldering or electronics skills, tools or knowledge
Eight front panel potentiometers for editing control, with two pages of editing functionality
2 oscillators per voice (sine, tri, saw, pwm, noise plus FM (OSC2 modulates pitch of OSC1) - detune and fine detune for OSC2
Mixer stage for OSC levels
Unison / spread mode that splits the oscillators into four separate sub oscillators per oscillator
giving a total of eight oscillators, de-tunable for a HUGE sound
LFO with six destinations (VCA amplitude, filter cutoff, FM amount, OSC mix, PWM amount, pitch / frequency,
Four LFO wave forms, each invertibleSine, tri, saw, square
LFO auto syncs to MIDI clock if present
Resonant low pass filter
16 recallable EG presets for ease of use
Soon to be released, CRAFTapp will provide full editing control of EG’s for custom envelopes which can be stored within a patch
16 patch storage locations (manageable through Modal CRAFTapp)
Playable touch panel interface with five note keys plus controls for scale and glide time
Scale changes between major, minor, diatonic and blues
Delay and distortion (waveshaping overdrive, not bit crushing) effects
Headphone and line output
Class Compliant MIDI provided over USB connection to host computer or tablet
Powered by USB or optional AA battery pack
Modal CRAFTapp for iOS*, Macintosh and PC coming end of 2016 (subject to Apple AppStore conditions), Android support planned for Q1 2017.

Due to ship mid-December 2016, MSRP UK £79.99 including VAT, projected US and Euro pricing TBA. Pre-Order here: Gear4music.com" BTW, I included the Gear4Music pre-order link for you, but please do check with the shops on the right. They make this site possible. At the time of this post, Gear4Music does not.

Couple more pics:

CLICK FOR MORE »

Modbap Modular Osiris WavPak Volume 3 by Learning Modular’s Chris Meyer

Press release follows:

Modbap Modular announces availability of Osiris WavPak Volume 3, carefully crafted by Chris Meyer to integrate seamlessly with Eurorack module namesake

LOS ANGELES, CA, USA: Modbap Modular is proud to announce availability of Osiris WavPak Volume 3 — carefully crafted by Learning Modular’s Chris Meyer to integrate seamlessly with the black-owned electronic music instrument manufacturer’s own Osiris BI-FIDELITY WAVETABLE OSC (originally introduced to a captive audience at Knobcon Number Nine, Hyatt Regency Schaumburg, IL, USA, September 10-12, 2021), providing four banks of all-new custom 32 x 32 wavetables which have been meticulously curated and designed to expand anyone’s approach to wavetable synthesis using its Eurorack module namesake — as of November 2…

As the owner of Learning Modular, an online resource to help anyone master their modular synthesizer, Chris Meyer is perfectly positioned to help expand anyone’s approach to wavetable synthesis using Modbap Modular’s Osiris, operating powerfully in and of itself as a (frequency modulation- and phase modulation-including) seven-plus TIMBRE MODE 12HP BI-FIDELITYTM WAVETABLE OSC (oscillator) module, neatly-packed with an independent sub-oscillator, LOFI processing, extensive CV (control voltage) modulation capabilities, a PITCH quantiser, four banks of 32 x 32 wavetables, the ability to load user wavetables via Micro SD card (not included), and its own free open-source wavetable editor (OsirisEdit). After all, Chris Meyer is the talented individual responsible for creating the-then-trailblazing Vector Synthesis technology behind the 1986-vintage Prophet VS DIGITAL VECTOR SYNTHESIZER, supposedly intended to revive the flagging fortunes of US synth ‘giant’ Sequential for whom he worked in an engineering role. Subsequent stints at Digidesign, Music Maker Publications, and Tom Oberheim’s Marion Systems soon ensued, before becoming the Chief Engineer at the now-defunct Roland R&D US while serving also as Technical Chairman of the MIDI Manufacturer’s Association. A transition into the video and film industries followed thereafter as his storied career continued, coming full circle to ultimately end up where he originally started — playing with modular synthesizers.

Duly derived from Chris Meyer’s sizeable studio modular synthesizer — affectionately called The Monster, the four banks of all-new custom 32 x 32 wavetables included in Osiris WavPak Volume 3 are a result of undergoing a meticulous sampling process drawing upon the talents of one of the industry’s leading experts to offer Osiris owners a wide range of timbral possibilities catering to different sonic aesthetics: BANK A — otherwise known as the ‘East Coast’ bank — features wavetables that have been carefully crafted as a result of working with Livewire Electronics AFG’s Animated Pulses and Alien Saws waveforms, as well as Serge-filtered waveforms, using techniques such as audio rate waveform crossfading to offer a diverse palette of sounds, ranging from smooth and evolving textures to aggressive and cutting tones; BANK B — the ‘West Coast’ bank — incorporates techniques like Serge rectification, wave folding, and Serge resonant EQ, the resultinwavetables providing a more experimental and abstract sonic experience suited to those interested in pushing the boundaries of sound design and diving into harmonious tones and textures; BANK C — Formants — focuses on different vowel sounds with a sound design approach anchored around both digital and analogue formant filters for creating expressive vocal-like textures and tones that are ideal for adding a human touch to compositions or exploring more abstract and otherworldly sounds; and BANK D — Harmonics — utilises tube overdrive, filter banks inspired by both Buchla and Moog stylings, as well as featuring analogue and digital additive oscillators.

On the face of it, then, the results are all a testament to the expert craftsmanship involved in ensuring the highest-quality sound production possible. Put it this way: Osiris WavPak Volume 3’s four sound banks were sampled at 96kHz, perfectly aligning with the Osiris BI-FIDELITY WAVETABLE OSC module’s unique, high-quality 96kHz sample rate operation. Ultimately, users can enjoy pristine audio clarity, enabling exploration of full depth sonic landscapes.

Lending themselves a knowing nod in the direction of Chris Meyer’s trailblazing achievements, the X-axis in all the banks contain different waveforms, while the Y-axis introduces different harmonics for each X-wave; the harmonic series used in Osiris WavPak Volume 3 are: H1 (root up), H2 (one octave up), H3 (one octave, plus perfect fifth), H4 (two octaves up), H5 (two octaves, plus major third), H6 (two octaves, plus perfect fifth), and H8 (three octaves up). It is worth noting that in some cases — especially the filter banks, formant filters, and resonant EQ — the waveform also changes with ‘harmonic’ on the Y-axis, allowing for sculpting and refining patches with extraordinary detail thanks to this precise control over harmonic content. Modbap Modular encourages experimentation with different modulation sources patched to its Osiris BI-FIDELITY WAVETABLE OSC module’s WAVE Y to further enhance sonic explorations with the texture-rich Osiris WavPak Volume 3 — think velocity/accent from a sequencer or keyboard, a mod wheel, aftertouch, ribbon controller, or even a sample & hold triggered on each new note to create dynamic and evolving timbres that respond to playing style.


Osiris WavPak Volume 3 is available for free as a digital download exclusively from Modbap Modular’s online Shop here: https://www.modbap.com/products/osiris-wavpak-vol-3-by-chris-meyer

Watch Learning Modular’s Chris Meyer mentioning the-then-upcoming Osiris WavPak Volume 3 — while talking about Modbap Modular’s Osiris BI-FIDELITY WAVETABLE OSC module as a new way to wavetable — at Knobcon Number Eleven, Chicagoland, USA, September 8-10, 2023 here: https://youtu.be/tYkDT82wxx0

a NEW way to WAVETABLE! with Alias Zone & Osiris // Chris Meyer & ModBap at Knobcon 2023

video upload by DivKid

"Chris Meyer of Learning Modular & Alias Zone has A NEW WAY TO WAVETABLE!

Chris has been working on a new X and Y based wavetable systems that does two fascinating things, firstly it "samples" his whole large studio system while keeping that performable and responsive in the ModBap Modular Osiris and secondly he's using harmonics and interval sets to create morphing tunings within those sounds too.

The WavPak is out now through the ModBap site here // https://bit.ly/WavPak3-ChrisMeyer"