New Systems Instruments Introduces Triphase Oscillator Eurorack Module

video upload by New Systems Instruments

"A quick overview of the Triphase Oscillator. For more information, check out our website: https://nsinstruments.com/modules/tri... Patch notes below.

The Triphase Oscillator is a Eurorack Module from New Systems Instruments that lets you explore the space of phase interference. It is an oscillator with three independent phases, with modulation, and a bipolar mixer to combine them.

The first / last patch uses two Triphase oscillators. The lower Triphase is taking two outputs panned left and right and one panned center, with different LFOs modulating the left and right phase. This gives it a stereo chorus type of effect. The higher/melody Triphase has an envelope controlling one of the phases, and an LFO controlling the other two. This makes a square notch that is large at the beginning and then becomes smaller, with both the width of the notch and its position relative to the saw changing. End of chain reverb is added. There are no filters, VCAs, or other modules making or modifying sounds.

Most of the other patches should be pretty self-explanatory. They are recorded dry.

The melodic patch is sequenced from a keystep.

The FM patch is doing audio rate FM from the Inertia, which is configured as an oscillator here.

The hard sync patch is synced with an offscreen oscillator, and uses the Inertia as an envelope to control the pitch of the Triphase."

"New Systems Instruments announced today that the Triphase Oscillator is now shipping and available. The Triphase Oscillator gives you three sawtooth waves with independent control over the phase of each wave, combined with a bipolar mixer. This creates a comb filter pattern in the harmonics, emphasizing some harmonics and canceling others.

The Triphase Oscillator works with phase cancellation, combining three waves at different phases and polarities to remove or reinforce regularly spaced harmonics, such as odd harmonics or every third harmonic. With the bipolar mixer, you can control how the waves interact, canceling or reinforcing parts of the spectrum either fully or partially. Applying CV to the phases creates variable-width pulses, subtle detuning effects, and a continuously moving soundscape. Phase cancellation is related to pulse width modulation, but pulse width modulation only has one dimension of control instead of the multiple phases and polarities of the Triphase Oscillator. A closer relative is a chorus effect, which creates frequency-dependent phase differences by delaying a signal.

One way to use the Triphase Oscillator is to mix all three saws at the same polarity, modulating their phases to create a supersaw, similar to mixing multiple detuned sawtooth oscillators. This creates a classic thick analog sound, further enhanced by the internal CP3 type mixer—a discrete transistor mixer that reportedly gave the Moog IIIp modular system a good part of its sound. With the individual outputs, you can also use a full featured stereo mixer and pan the saw waves left, right, and center, giving a stereo supersaw or stereo chorus type of effect.

Apart from its unique phase modulation capabilities, the Triphase Oscillator is a very capable analog oscillator in its own right, giving a tuning accuracy of around 8 octaves and ranging from 1.5Hz–60kHz, well into the sub and supersonic ranges. In addition to volt per octave and CV over phase, it has a hard sync input, and a linear FM input. All the CV runs at audio rate as well, meaning the Triphase Oscillator can produce some interesting FM + phase modulation sounds.

New Systems Instruments is a modular manufacturer located in the San Francisco Bay Area, focusing on creating new analog designs based on different ways of thinking about music and synthesis.

The Triphase Oscillator retails at $385 USD."

New Systems Instruments: Quad LFO and Phase Expander Eurorack Modules

via New Systems Instruments

New Systems Instruments just released two new modules: the Quad LFO and an associated LFO Phase Expander. With four independent LFOs, each of which can have its own expander with three more outputs, this gives you a ridiculous number of modulation sources with a small HP footprint.

The Quad LFO is an 8 HP analog sine core oscillator, giving four independent sine wave outputs. Each of the outputs ranges from nearly stopped to about 23Hz, covering the full sub-audio range and just dipping into the low audible frequencies. Each has linear voltage control as well, meaning that an increase in control voltage gives a proportional increase in output frequency. While each LFO is initially configured as a sine wave, there are four jumpers on the back to switch between sine and pulse wave outputs. This can be handy for using one of the four LFOs as a clock, or if you just want a square wave LFO for some other reason.

The 6 HP associated expander gives you three more LFO outputs, in a controlled phase relationship with the LFO to which they are connected. That is, each of the outputs is delayed by a certain percentage of the LFO cycle. The first output ranges from 0–180º, or from unison to a half cycle delay. The second ranges from 90–2a70º, or from a quarter cycle to three quarter cycle delay. And the last ranges from 180–360º, or from a half cycle to a full cycle delay. The phase expander can be useful for creating interesting rhythmic modulations, or when the LFO is configured as a square wave, giving you three phases of a sine wave LFO synced to a clock.

The Quad LFO is quite capable. With the addition of the phase expander it does more than a lot of LFOs that are twice the size. While of course you can find features on the bigger LFOs that this doesn’t have, it’s hard to imagine doing more in this size without recourse to a digital design with menu- or button-controlled modes.

New Systems Instruments is a modular manufacturer located in the San Francisco Bay Area, focusing on creating new, analog designs based on different ways of thinking about music and synthesis. They are best known for Inertia, a complex function generator based on physical motion.

The Quad LFO retails at $239 USD.
The LFO Phase Expander retails at $99 USD.

https://nsinstruments.com/modules/qlfo.html

New Systems Instruments Releases Inertia, a “Universal Movement Simulator”

video upload by New Systems Instruments

https://nsinstruments.com/modules/inertia.html

"New Systems Instruments announced today that Inertia is now shipping and available. Inertia is a new take on a complex function generator. It models physical motion with analog electronics, adding a rise and fall "momentum" parameter to the more familiar rise and fall rate controls. This extra parameter radically expands on what a function generator can do, with the most obvious addition being lush, resonant filtering.

Inertia’s physical model produces exponential envelopes that are extremely natural, comparable to a vactrol ping but much more configurable. The inclusion of rise momentum gives an easy way to get an ADSR type signal from a gate input, with momentum adding a peak or accent to the initial rise. It has two types of output curves as well, with the second phase delayed from the first.

Unlike a traditional function generator, Inertia doesn’t generate LFOs by cycling its envelope. Instead, you just turn up the momentum until it self-oscillates. As an LFO, it has a useful skewed sine shape. It’s also very syncable, either with the trigger input or just by plugging another LFO into the input.

At audio rate, it makes an excellent VCO, tracking 5+ octaves. Plus it has a second interface mode that allows you to control the frequency and the skew independently, instead of having to fiddle with rise and fall to get a particular frequency and timbre. Skewed all the way to either side, Inertia is as bright as the best sawtooth wave.

Where this module really shines, however, is in use as a filter. It produces anything from subtle to squelch to glitchy scream, depending on how big you let the resonance get and—since it’s got a skew control—what waveshape you give to the resonant frequency. You can skew the resonance itself as well, making Inertia respond with different resonances to the rising and falling edges of an audio waveform. All of this makes Inertia into a filter with the same level of complexity and configurability as a complex oscillator.

The function generator space is pretty crowded in Eurorack, but Inertia is not just another DUSG clone. It stands out as a unique and capable implementation, giving you a huge variety of control curves, an excellent oscillator, and a wild and distinctive filter, all in a single module.

New Systems Instruments is a modular manufacturer located in the San Francisco Bay Area, focusing on creating new, analog designs based on different ways of thinking about music and synthesis.

Inertia retails at $329 USD."

New Systems Instruments Inertia, Harmonic Shift Oscillator, Babel & Quad LFO

video upload by Tom Churchill

"This video is about New Systems Instruments - one of the most innovative and underrated brands in Eurorack.

I’m looking at four modules: the Harmonic Shift Oscillator, a unique analogue VCO; Inertia, a ‘universal movement simulator’ or function generator that can be anything from an envelope to a filter depending on how you patch it; Babel, which is a one-of-a-kind analogue logic and intermodulation utility; and the new Quad LFO with Phase Expander.

I give a quick overview of each module before building some patches with various configurations of the modules to demonstrate a range of sounds and techniques.

Chapters:
00:00 Preview
00:56 Introduction
02:48 Harmonic Shift Oscillator overview
05:56 Inertia overview
11:15 Quad LFO and Babel overview
13:33 Harmonic Shift Oscillator: basic bass voice
16:22 Inertia as a waveshaping VCO with FM
18:54 Harmonic sequencing for techno loops
21:13 Drones with Inertia as a complex filter
24:32 Exploring FM on Harmonic Shift Oscillator
27:06 Experimenting with percussive effects
29:22 Complex wave combinations with Babel
32:00 Final thoughts

Find out more about the modules on the New Systems Instruments website (and do check out the manuals - they’re incredible!): https://nsinstruments.com/

Big thanks to New Systems Instruments’ distributor, Signal Sounds - https://www.signalsounds.com/ - who hooked me up with Harmonic Shift Oscillator, Inertia and Quad LFO to use in this video. All opinions are my own.

More stuff from me:
https://tomchurchill.bandcamp.com/
https://soundcloud.com/tomchurchill
https://www.instagram.com/tomchurchill/"

New Systems Instruments Harmonic Shift Oscillator

video upload by New Systems Instruments

Drone Piece (Harmonic Shift Oscillator)
video upload by

Note the New Systems Instruments Harmonic Shift Oscillator was featured back in April here.

Details via New Systems Instruments

"$355The Harmonic Shift Oscillator (HSO) produces harmonic and inharmonic spectra through all-analog electronics. It provides similar capabilities to FM synthesis, but with a more direct relationship between the parameters and the resulting spectrum. You can separately control the tuning, the level of the harmonics, and the harmonic stride—the spacing between consecutive harmonics. When the harmonic stride is integer valued, you can get tones that sound similar to the traditional sine, triangle, square, and sawtooth, although the waveform will be different. If harmonic stride is non-integer valued, you'll get a complex inharmonic waveform.

The Harmonic Shift Oscillator has CV control over all parameters, with carefully chosen ranges. It responds well to self-modulation. With frequency, harmonic stride, and harmonic level modulation available, even a single HSO can produce extremely complex, evolving soundscapes with no other input. See the drone video, below, for a demonstration.

The HSO produces two outputs with all frequency components one quarter turn out of phase, making different wave shapes for the same harmonic content. However, because they reach their peaks differently, they'll distort differently. At higher harmonic levels, the HSO itself will produce warm and gentle distortion. While you have to be a little careful of phase issues, these two outputs are a great starting point for stereoizing a signal."

Native Instruments Introduces 9 New Products Including Machine Micro MK3

Published on Sep 6, 2018 Native Instruments

"Whether making beats from the bedroom, designing sound in the studio, or moving crowds on the main stage, music making is about getting your ideas out. Our biggest release ever features nine new products and three major platform updates designed to help you do just that."

Playlist:
For the Music in You – 9 New Products and 3 Updated Platforms
Introducing KOMPLETE 12 – For the Music in You | Native Instruments
Introducing the New TRAKTOR KONTROL S4 – For the Music in You | Native Instruments
Introducing the New MASCHINE MIKRO – For the Music in You | Native Instruments
Introducing KOMPLETE KONTROL A-Series – For the Music in You | Native Instruments
Introducing MASSIVE X – For the Music in You | Native Instruments
Introducing the New TRAKTOR KONTROL S2 – For the Music in You | Native Instruments
Introducing KONTAKT 6 – For the Music in You | Native Instruments
Introducing the New KOMPLETE KONTROL S88 – For the Music in You | Native Instruments

CLICK FOR MORE »

Triphase Oscillator: an epic analogue VCO from New Systems Instruments

video upload by Tom Churchill

"The Triphase Oscillator from New Systems Instruments is a complex analogue VCO that’s based around the concept of phase cancellation, which is a key part of the sound of everything from chorus and phaser effects to PWM and supersaws. And as you’ll hear, it can sound absolutely huge.

Just like the other New Systems modules, the Triphase Oscillator is deceptively minimal on the surface - it’s essentially a triple sawtooth oscillator with voltage-controllable phase of each, and a bipolar mixer to combine them - but its relatively simple architecture unlocks a whole world of rich, complex sound design. In this video, I give an overview of its features and build some patches so you can hear what it’s capable of.

Thanks to New Systems Instruments for supplying the module. All opinions are my own. Find out more and check out the manual at https://nsinstruments.com/modules/tri...

More stuff from me:
https://tomchurchill.bandcamp.com/
https://soundcloud.com/tomchurchill
https://www.instagram.com/tomchurchill/"

See this post for an additional demo and details on the Triphase Oscillator.

New Systems Instruments - Harmonic Shift Oscillator

video by SchneidersLaden

"New Systems Instruments present a versatile VCO with simple interface and huge sonic capabilities. In this video we are going to have a closer look at this interesting new module. The Harmonic Shift Oscillator is a fully analog oscillator with precise control of harmonic components and two 90-degree phase shifted outputs for stereo effects. It allows separate control of pitch, amplitude and stride (interval between harmonics) via CV or manually. This allows you to create very complex waveforms that can sound both harmonic and dissonant. When the level parameter is set to a high value, HSO starts to distort wonderfully. With the second output phase shifted by 90 degrees, very broad and animated drones can be created in no time. It is also highly recommended to use the second output for feedback purposes.

This is no 'video manual' just a simple incomplete overview. Check out the great manual for this module or go to our website for more information – schneidersladen.de"

Note this is the first post to feature New Systems Instruments.

BAF 2024: New Systems Instruments - New Modules

video upload by sonicstate

"At Buchla and Friends 2024, Sonic State caught up with Evan from New Systems Instruments to discuss their latest modular offerings. Evan showcased three main modules: the Triphase Oscillator, the Harmonic Shift Oscillator, and the Inertia function generator.

The Triphase Oscillator offers three phases of a sawtooth oscillator with a bipolar mixer, allowing for extensive control and the creation of unique super saw sounds. On the other hand, the Harmonic Shift Oscillator provides control over level and stride which controls the spacing between harmonics, enabling users to create a wide range of sounds with non-integer spacing between harmonics. This FM-inspired oscillator introduces a unique twist by omitting negative frequencies typically associated with inharmonic FM. The Inertia function generator, with its rise and fall momentum controls, allows users to shape snappy envelopes, add peaks, and even function as an LFO at extreme settings. Additionally, it can serve as a versatile filter, producing squelchy filter sounds.

All of these modules are currently available on the New Systems Instruments website and selected stores. The Triphase Oscillator is priced at $385, the Harmonic Shift Oscillator at $365, and the Inertia function generator at around $345.

https://nsinstruments.com/"

New Systems Instruments Babel w 3 OSCs & 2 LFOs

video upload by New Systems Instruments

"Babel doing a rhythmic thing as the result of various interferences between 3 oscillators and 2 LFOs. See https://nsinstruments.com/modules/bab... for details.

Output is Babel’s XSOME to attenuator to mixer, with a bit of reverb.

Babel’s input is 1 triangle, 1 saw tracking the keyboard, and the Harmonic Shift Oscillator VCA’d with an envelope triggered by the keyboard. A second LFO feeds Babel’s center CV input."

via New Systems Instruments

"$135

Babel is a tool for creating massive intermodulation, and a workhorse for analog logic, depending on your use and interpretation of its function. It provides three inputs, which can be arbitrarily increased with the chainable expander (see below). For each of those inputs, Babel outputs the maximum value (ANY), the minimum value (ALL), and the balanced middle value (XSOME), which follows along the center values of the input waves. What CENTER means is adjustable via knob and CV control. XSOME is particularly interesting, as it has the same general shape as a multiplication function, but with sharper edges. What this means it that Babel will create ring-mod like intermodulation—but with extra harmonics like those produced with a wavefolder, and with an arbitary number of inputs, instead of just two.

When viewed as a logic module, Babel takes any group of truth values and tells you whether any of them are true (ANY, the equivalent of “or” with just two values), whether all of them are true (ALL, the equivalent of “and” with just two values), and whether some, but not all of them are true (XSOME, the equivalent of “xor” with just two values). Turn CENTER all the way to the right for 0–+5V logic, or leave it centered for −5V–+5V logic—handy when your “logic” modules are really LFOs"

Native Instruments Announces KONTAKT 4

"Berlin, September 1st, 2009 - Native Instruments today announced KONTAKT 4, a new version of the industry-leading software sampler. Taking the unrivalled performance and versatility of KONTAKT for music production, live performance and sound design even further, the fourth generation adds powerful "Authentic Expression Technology," unique sample compression, an extended studio-grade sound library complete with a convenient new database system, and much more.

Already based on the most versatile sampler engine on the market, KONTAKT 4 establishes the next level in sampling with the addition of exclusive new Authentic Expression Technology (AET). With AET, the dynamic tonal behaviour of original instruments can be replicated in new and highly expressive ways. The technology enables the seamless transformation between the spectral characteristics of different sounds, achieved via a phase-corrected convolution technique based on FFT analysis of the original sample. AET avoids the typical shortcomings of conventional velocity layer techniques, and gives additional realism to sampled instruments like strings, brass, woodwinds and choirs. AET also makes it possible to combine and blend the spectral characteristics of any set of sounds in real time, opening up vast new possibilities for creative sound design.

KONTAKT 4 also overcomes existing performance barriers through a unique sample compression technology that allows musicians and producers to get substantially more out of their setups. Specifically developed for KONTAKT, the new NCW compression format reduces sample size by up to 50 percent. During playback in KONTAKT 4, the sample material is decompressed to its exact original format with minimal CPU load, and without any loss in audio fidelity. This substantially widens the typical performance bottleneck of today's computer systems, and results in profound performance gains for complex multi-timbral arrangements and high-polyphony instruments.

The acclaimed sound library of KONTAKT has been enhanced and expanded once again in its fourth revision. A major addition is a full-featured chamber choir collection, recorded exclusively for KONTAKT 4 and equipped with AET-based vowel morphing controls. Further additions include solo strings and a concert organ from the acclaimed VSL library, as well as a painstakingly sampled Mellotron that complements the extensive "Vintage" collection in the KONTAKT factory library. A new professional impulse response library also expands the value of the powerful convolution effect integrated in KONTAKT. Now at 44 GB, the KONTAKT 4 factory library provides a comprehensive arsenal of acoustic and synthetic instruments for all areas of professional composition and music production.

To utilize the KONTAKT library in the most efficient way, KONTAKT 4 also introduces a new sound browser with greatly enhanced convenience. Users can search for instruments, multis, samples and even effect presets based on clear musical attributes, making it easy to find the right material for any application and context. Drag-and-Drop assignment and support for custom attributes allow to easily manage even the most diverse sound collections, and get the most out of the unparalleled range of KONTAKT-compatible instrument content on the market.

Other improvements in KONTAKT 4 include the unique Kontakt Script Processor (KSP), which now offers a whole new level of functionality through powerful "Multi Scripts." The new version also offers greatly enhanced design possibilities for Performance View panels, which brings improved usability and a more distinctive look to KONTAKT-based instruments.

KONTAKT 4 will be available in October 2009 for a suggested retail price of $399 / 379 EUR, and will also be part of the new KOMPLETE 6 bundle.

An update for owners of previous versions of KONTAKT will be available for $149 / 129 EUR.

More information on KONTAKT 4 including audio and video demos can be found at
www.native-instruments.com/kontakt4.info

About Native Instruments:

Native Instruments is a leading manufacturer of software and hardware for computer-based music production and performance. The company's mission is to develop innovative, fully integrated solutions for all professions, styles and genres. The resulting products regularly push technological boundaries and open up new creative horizons for professionals and amateurs alike."

NAMM 2013: SONIVOX INTRODUCES VOCALIZER PRO

"New vocal production synthesizer headlines list of updated virtual instruments.
Cumberland, R.I. (January 24, 2013)—Sonivox, a leading creator of premium virtual instruments and synthesis technologies, has announced Vocalizer Pro Vocal Production Synthesizer, the next-generation version of the amazing Vocalizer MIDI-controlled audio effect.

Vocalizer Pro brings a harmonic/melodic voice to any audio input, thus vocalizing the sound. Simply singing or speaking—or any type of vocalizing—can intuitively create deep and complex musical results. The patented technology delivers unparalleled signal processing, advanced vocoding, and powerful re-synthesis. In addition, Vocalizer Pro allows the creation of simple or complex vocal harmonies that can extend far beyond the natural limitations of the voice. Vocalizer Pro is excellent for processing any type of percussive or melodic audio track. One preset has the ability of producing thousands of different results. This is because Vocalizer Pro is not just for vocals.

'I’m more excited about what the end user is going to do with this, because I know what I can do with it,” according to Jason Jordan, Head of Soundware, Sonivox. “I can’t even fathom what someone else is going to come up with. The sheer number of sound design possibilities is near infinite.'

Vocalizer Pro provides two rows of pads for unique real-time control. One row allows multiple notes or harmonies to be stacked on each pad. The other allows parameters to be switched to new values. Snapshots provide instant switching of parameter controls, which can be triggered with the pads. For every pad, every automatable parameter can be set to a different setting. It’s almost as if every pad is a completely different patch, thus allowing you to switch instantly between different parameter settings. These pads also control the settings of the effects as well. Vocalizer Pro features also include pitch pitch-and formant formant-shifting, detailed envelope control, sync-able LFOs, and double the number of effects and filters from the original Vocalizer.

Sonivox Vocalizer Pro can be used as a standalone program or as an AU, VST, or RTAS plug-in. Vocalizer Pro is compatible with 32- or 64-bit Mac or Windows systems.

Sonivox has also updated five of their most popular Virtual Instruments to include an integrated patch browser and native 64-bit support. These Version 2 releases will be available as a free download to all registered customers. Updated instruments and improvements include:

Wobble 2.0 Dubstep Grime Generator
• Quickly create customized dubstep bass and synth sounds
• NEW! Improved step-sequencer graphics
• NEW! Easy on/off control of parameter modulation
• NEW! Integrated patch browser
• NEW! Native 64-bit
• Standalone, AU, VST, and RTAS
TWIST 2.0 Spectral Morphing Synthesizer
• Ethereal sound design instrument
• NEW! Improved step-sequencer graphics
• NEW! Easy on/off control of parameter modulation
• NEW! Additional envelopes and modulation control
• NEW! Integrated patch browser
• NEW! Native 64-bit
• Standalone, AU, VST, and RTAS
Eighty Eight Ensemble Grand Piano Virtual Instrument
• Exceptional embodiment of the Steinway 9’ D “Practice” Piano
• Layered patches featuring piano with strings, pads, or choir
• Adjustable split patches with bass, piano and lead instrumentation
• NEW! Updated user interface
• NEW! Improved EQ control and new reverb
• NEW! Integrated patch browser
• NEW! Native 64-bit
• Standalone, AU, VST, and RTAS
Big Bang Drums 2.0 Flagship Drum Instrument
• Meticulously sampled custom SJC drum kit
• Multi-velocity, multi-take round robin
• SONiVOX Intelligent Rhythm ControlTM technology
• NEW! Updated user interface
• NEW! Five new drum kits
• NEW! Integrated patch browser
• NEW! Native 64-bit
• Standalone, AU, VST, and RTAS
Big Bang Cinematic 2.0 Percussion Instrument
• Over 200 percussion patches
• SONiVOX Intelligent Rhythm ControlTM technology
• NEW! Updated user interface
• NEW! Patches
• NEW! Integrated patch browser
• NEW! Native 64-bit
• Standalone, AU, VST, and RTAS

ABSYNTH 5, GUITAR RIG 4 PRO, KONTAKT 4, and KOMPLETE 6 Now Available

"Berlin, October 1st, 2009 - Native Instruments today announced that ABSYNTH 5, GUITAR RIG 4 PRO, KONTAKT 4, and KOMPLETE 6 are now available in stores worldwide.

ABSYNTH 5 marks a new generation of the acclaimed semi-modular software synthesizer that is renowned for its unique evolving sounds and textures. The new version enhances the profound sonic capabilities of ABSYNTH with powerful additional synthesis and effects features as well as overall improved audio quality, and offers an ingenious new way to create complex sounds via "mutation" based on musical attributes.

ABSYNTH 5 is available in the NI Online Shop for a price of $199 / 179 EUR. An update for owners of previous versions of ABSYNTH can be purchased for $79 / 69 EUR.

More information on ABSYNTH 5 including audio demos can be found at
www.native-instruments.com/absynth5.info

With GUITAR RIG 4 PRO, Native Instruments raises the bar on sonic authenticity with new speaker emulation technology, and further expands on nearly all aspects that set GUITAR RIG apart as the most capable digital guitar solution. The advanced speaker emulation is also the basis for the versatile new "Control Room" module, which allows users to freely mix and match up to eight phase-aligned studio microphones for each cabinet, providing an unlimited range of high-end studio recording tones.

GUITAR RIG 4 PRO is available in various versions to accommodate guitarists and producers of all categories. The GUITAR RIG 4 PRO software is available for a suggested retail price of $199 / 179 EUR. Further versions of GUITAR RIG 4 include GUITAR RIG KONTROL with included foot controller/audio interface ($449 / 399 EUR), GUITAR RIG 4 ESSENTIAL as a more affordable software version with a reduced feature set ($99 / 89 EUR), GUITAR RIG SESSION which combines GUITAR RIG 4 ESSENTIAL with the SESSION I/O audio interface ($249 / 229 EUR), and GUITAR RIG MOBILE which now also includes the mid-range GUITAR RIG ESSENTIAL software ($119 / 99 EUR).

More information on GUITAR RIG 4 PRO including audio demos can be found at
www.native-instruments.com/guitarrig4.info

KONTAKT 4 is a new version of the industry-leading software sampler. Taking the unrivalled performance and versatility of KONTAKT for music production, live performance and sound design even further, the fourth generation adds powerful "Authentic Expression Technology," unique sample compression, an extended studio-grade sound library complete with a convenient new database system, and much more.

KONTAKT 4 is available for a suggested retail price of $399 / 379 EUR at authorized dealers and in the NI Online Shop. An update for owners of previous versions of KONTAKT can be purchased for $149 / 129 EUR.

More information on KONTAKT 4 including audio and video demos can be found at
www.native-instruments.com/kontakt4.info

KOMPLETE 6 is the latest version of Native Instruments' popular software bundle that has become a mainstay with professional musicians and producers. The new collection offers a veritable arsenal of acclaimed instruments and effects that cover all areas of modern music production. KOMPLETE 6 incorporates the latest ABSYNTH 5, KONTAKT 4 and GUITAR RIG 4 PRO versions, complemented by BATTERY 3, FM8, MASSIVE and REAKTOR 5. All included products offer comprehensive compatibility for current host software versions and operating systems.

KOMPLETE 6 is available for a suggested retail price of $559 / 499 EUR at authorized dealers and in the NI Online Shop. An update for owners of KOMPLETE 2/3/4/5 can be purchased for $169 / 149 EUR.

Furthermore, Native Instruments offers a special time-limited upgrade for owners of any version of KONTAKT or REAKTOR. These users can purchase KOMPLETE 6 at a special price of $339 / 299 EUR until December 31st 2009.

More information on KOMPLETE 6 can be found at
www.native-instruments.com/komplete6.info

About Native Instruments:

Native Instruments is a leading manufacturer of software and hardware for computer-based music production and performance. The company's mission is to develop innovative, fully integrated solutions for all professions, styles and genres. The resulting products regularly push technological boundaries and open up new creative horizons for professionals and amateurs alike."

Native Instruments releases MASCHINE STUDIO and MASCHINE 2.0 Software

Published on Oct 31, 2013 Native Instruments ·321 videos

Update: Additional videos below!

"Native Instruments releases MASCHINE STUDIO and MASCHINE 2.0 Software

Berlin, October 31, 2013 – Native Instruments today released MASCHINE STUDIO and MASCHINE 2.0 – the new flagship groove production studio and next generation of MASCHINE software. MASCHINE STUDIO joins the acclaimed family of MASCHINE products with expanded tactile control and two hi-resolution color displays. Powerful new MASCHINE 2.0 delivers a new mixer page, new audio engine, dynamic drum synth plug-ins, and much more to all three MASCHINE hardware versions. MASCHINE STUDIO is available now at the NI Online Shop and at retailers worldwide. MASCHINE 2.0 is included with MASCHINE STUDIO and all MASCHINE and MASCHINE MIKRO products shipped on or after November 1, 2013. Current MASCHINE 1.8 users can also upgrade to MASCHINE 2.0 for $99 / 99€ / ¥ 9,800.

MASCHINE STUDIO features the same highly-responsive, multi-color backlit pads as MASCHINE and MASCHINE MIKRO, a new Edit Section with jog wheel, and a dedicated Level Section. The unit's two hi-resolution color displays enable producers to focus on MASCHINE's tactile workflow with detailed visual feedback of software functions directly on the hardware. When editing, slicing, and composing, the displays show an overview of the full selection on the left screen while the right screen allows for detailed fine-tuning. Projects, groups, sounds, samples, effects, and instruments with KOMPLETE Instruments and Effects product icons are easily browseable directly from the hardware.

MASCHINE STUDIO's new Edit Section provides dedicated buttons and a jog wheel with LED indicators. The jog wheel allows quick adjustments to volume, tempo, and swing settings, and accelerates browsing and editing. The Level Section provides a convenient volume knob and a multi-purpose meter display for master, group, sound, and cue levels plus monitoring for up to four selectable input sources when a multi-channel audio interface is connected. MASCHINE STUDIO's dedicated sampler, arranger, mixer, and browser buttons allow fast switching between different stages of production. A highly sturdy, built-in collapsible stand provides the optimal angle for working with MASCHINE STUDIO.

MASCHINE 2.0 delivers powerful new features to MASCHINE STUDIO, and both generations of MASCHINE, and MASCHINE MIKRO. A tag-based attribute browser makes samples and presets easy to find while the new plug-in strip displays MASCHINE's internal plug-ins by their individual user interfaces – a faster, more accessible way to select and process sound. A brand-new mixer page provides detailed level adjustment and flexible routing of MASCHINE 2.0's aux sends, plug-ins, and unlimited groups and insert effects. A new audio engine with multi-core technology adds sidechaining and allows higher instrument, effect, and plug-in counts, faster load times, the latest advancements in professional sound quality, and more.

Also new and exclusive to MASCHINE 2.0 are five drum synth plug-ins capable of a wide range of sounds – from crisp and digital, to warm and analog, featuring accurate acoustic-sounding drums. Delivering a signature sound and a refined level of control, these plug-ins are fully-adjustable and automatable directly from MASCHINE STUDIO's hardware.

MASCHINE 2.0 comes with an 8+ GB sound library of professional, production-ready sounds and can host any VST or Audio Units plug-in. Also included are full versions of Native Instrument's acclaimed MASSIVE synthesizer, the unique synthesizer for percussive and mallet sounds PRISM, the powerful compressor SOLID BUS COMP, and the meticulously sampled vintage electric piano SCARBEE MARK I, providing a versatile setup ready for any production task. MASCHINE can be used as a standalone on either MAC or PC systems, but also loads as a VST, Audio Units or AAX plug-in in all major DAWs for seamless integration with existing production environments.

MASCHINE STUDIO is available for purchase at retailers worldwide and at the NI Online Shop for $999 / 999 € / ¥ 104,800. MASCHINE 2.0 is included with MASCHINE STUDIO and all MASCHINE and MASCHINE MIKRO products shipped on or after November 1, 2013. Current MASCHINE users can purchase MASCHINE 2.0 on the NI Online Shop for $99 / 99 € / ¥ 9,800. Customers who purchased MASCHINE or MASCHINE MIKRO between October 1, 2013 and November 1, 2013 will receive a free download for MASCHINE 2.0 on November 1, 2013."

Additional information on MASCHINE STUDIO is available at:
www.native-instruments.com/maschinestudio

A dedicated micro site showcasing the features of MASCHINE STUDIO
and MASCHINE 2.0 is available at: www.beat-these.com

Maschine Studio and V2.0 Software In Depth Review

Published on Oct 31, 2013 sonicstate·570 videos

"With two new AMOLED screens and a more integrated control surface, Maschine Studio is now the flagship hardware in the range, with a major software upgrade in V 2.0 which also is compatible with the existing Maschine Hardware, there's a lot to digest. Gaz Williams takes us for a deep appraisal of the two new components."

Maschine 2.0 Software Overivew

Published on Oct 31, 2013 SoundsAndGear·554 videos


Don't miss the preview tutorial videos by FluxWithIt previously posted here (scroll down to get to them).

Native Instruments announces MASCHINE STUDIO and MASCHINE 2.0 Software

Published on Oct 1, 2013

"Maschine is reborn: New flagship Maschine Studio, new Maschine 2.0 software. The ultimate groove is coming - get the full story: http://www.beat-these.com"

"Berlin, October 1, 2013 – Native Instruments today announced MASCHINE STUDIO and MASCHINE 2.0 – the new flagship groove production studio and next generation of MASCHINE software. Considerably bigger than the original hardware, MASCHINE STUDIO provides expanded tactile control and new hi-resolution color displays, setting a new precedent in intuitive, hands-on, computer-based beat production. As with the acclaimed MASCHINE and MASCHINE MIKRO, MASCHINE STUDIO is an integrated solution combining the latest software technology with a hardware-based workflow. MASCHINE 2.0 features a host of enhancements – including a new mixer page and dynamic drum synth plug-ins – designed to deliver more power and speed to all three MASCHINE production studios. MASCHINE STUDIO will be available at the NI Online Shop starting November 1, 2013. MASCHINE 2.0 is included with MASCHINE STUDIO and all MASCHINE and MASCHINE MIKRO products shipping on or after November 1, 2013.

Providing complete hardware control over virtually all software functions, MASCHINE STUDIO's workflow is centered on 16 highly-responsive multi-color backlit pads, a new Edit Section with jog wheel, a Level Section and two hi-resolution color displays – a major hardware advancement. The displays enable producers to focus on MASCHINE's hardware workflow, providing detailed visual feedback of the software's powerful features. When editing samples or working in MASCHINE's clip-based pattern sequencer, the displays show an overview of the full selection on the left screen while the right screen allows for detailed fine-tuning when slicing, editing, and composing. When browsing, the displays provide easy navigation and selection of projects, groups, sounds, instruments, effects, and samples with KOMPLETE Instruments and Effects product icons visible directly from the hardware.

A new Edit Section provides dedicated buttons and a jog wheel with LED indicators for visual feedback and enhanced functionality. The jog wheel allows quick adjustments to volume, tempo, and swing settings, and speeds up browsing and editing. The Level Section provides a convenient volume knob and a multi-purpose meter display for master, group, sound, and cue levels plus monitoring for up to four selectable input sources when a multi-channel audio interface is connected. Dedicated control buttons allow fast switching between MASCHINE STUDIO's sampler, arranger, mixer, and browser, and provide direct access to channel settings and an all-new plug-in strip. For producers already using external equipment, one MIDI input and three MIDI outputs allow MASCHINE STUDIO to function as a command hub, controlling all equipment from one comprehensive controller. On the underside of the unit, a highly sturdy, built-in collapsible stand provides the optimal angle for working with MASCHINE STUDIO.

MASCHINE 2.0 presents a major revision of Native Instruments' groove production software, delivering a host of powerful features to MASCHINE STUDIO, and both generations of MASCHINE, and MASCHINE MIKRO. A tag-based attribute browser makes samples and presets easy to find while the new plug-in strip make MASCHINE's internal plug-ins much more accessible by displaying their individual user interfaces instead of generic buttons and knobs. A brand-new, dedicated mixer page provides detailed level adjustment and flexible routing of MASCHINE 2.0's aux sends, plug-ins, and unlimited groups and insert effects. A new audio engine with multi-core technology adds sidechaining and allows higher instrument, effect, and plug-in counts, faster load times and more. High-quality 32-bit float internal summing delivers the latest advancements in professional sound quality.

Also new and exclusive to MASCHINE 2.0 are five drum synth plug-ins meticulously developed with Native Instruments' years of experience in software synthesis. Each instrument caters to a specific drum type, and delivers an easy-to-use interface. The plug-ins are capable of a wide range of sounds – from crisp and digital, to warm and analog, featuring accurate acoustic-sounding drums. Because they are based on synthesis, producers have a refined level of control over the sound of each drum. Not only are these plug-ins fully-adjustable and automatable directly from the MASCHINE hardware, they now add a signature sound aesthetic to the world of MASCHINE.

In addition to hosting any VST or Audio Units plug-in, MASCHINE 2.0 comes with an 8+ GB sound library of professional, production-ready sounds. Also included are full versions of Native Instrument's acclaimed MASSIVE synthesizer, the unique synthesizer for percussive and mallet sounds PRISM, the powerful compressor SOLID BUS COMP, and the meticulously sampled vintage electric piano SCARBEE MARK I, providing a versatile setup ready for any production task. MASCHINE can be used as a standalone on either MAC or PC systems, but also loads as a VST, Audio Units or AAX plug-in in all major DAWs for seamless integration with existing production environments. MASCHINE 2.0 software features batch export of full songs, groups, and single sounds in lossless WAV or AIFF formats in up to 32-bit/192kHz quality. Import of older MASCHINE projects, iMASCHINE projects, REX files, and MPC programs is also fully supported.

MASCHINE STUDIO is available for purchase at retailers worldwide and at the NI Online Shop from November 1, 2013 for $999 / 999 € / ¥ 104,800. MASCHINE 2.0 is included with MASCHINE STUDIO and all MASCHINE and MASCHINE MIKRO products shipping on or after November 1, 2013. Current MASCHINE users can purchase MASCHINE 2.0 on the NI Online Shop from November 1, 2013 for $99 / 99 € / ¥ 9,800. Customers who purchase MASCHINE or MASCHINE MIKRO between October 1, 2013 and November 1, 2013 will receive MASCHINE 1.8 with purchase and a free download for MASCHINE 2.0. They will be able to download the new software on November 1, 2013.

A video featuring MASCHINE STUDIO and MASCHINE 2.0 is available on Youtube at:
http://youtu.be/LXJ7e5vZ2nk

Additional information on MASCHINE STUDIO is available at:
www.native-instruments.com/maschinestudio

A dedicated micro site showcasing the features of MASCHINE STUDIO
and MASCHINE 2.0 is available at:
www.beat-these.com"

Happy New Year From MATRIXSYNTH! - A Look Back at 2015

Happy New Year everyone!  I want to thank you all for a great 2015 and I wish you all the best in 2016!

The following is my yearly round up for the year.  Feel free to dig into this post as much you like, or skip it and leave a comment at the bottom of the post. I'd be curious to hear what stood out for you in 2015. Do you like the direction the synthesizer world is headed in, or would you rather see more or less of any type of product?

CLICK FOR MORE »

Happy New Year From MATRIXSYNTH! - A Look Back at 2014

Happy New Year everyone!

I want to start by thanking everyone that comes to MATRIXSYNTH and helps make it what it is - the readers, the supporters, and of course all the sponsors on the right.

THANK YOU and have a GREAT 2015!!!

This site is a labor of love and a ton of work. This site is ultimately meant to be an testament to everything synth in the making. We have over nine years of daily synth history captured here, 119,983 published posts. I can't wait to see what the future brings us in 2015!

That said, here are a few interesting bits from 2014 in the longest post of the year. ;)

CLICK FOR MORE »

SunVox 2.0 Synths

"Demonstration of some synths (modules) that you can find in the SunVox distribution.
SunVox is a small, fast and powerful modular synthesizer with pattern-based sequencer (tracker). It is a tool for those people who like to compose music wherever they are, whenever they wish. On any device. On any system."

v2.0 (23 jan 2022):
* iOS 11+: SunVox Audio Unit (AUv3) can now send MIDI notes and MIDI CC to other AU modules;
* iOS 13.4+: full USB/Bluetooth keyboard support (like on desktops);
* multiple module selection (see changelog_details.txt) + ability to save several selected modules to a sunvox file;
* timeline: supertracks (see changelog_details.txt and simple_examples/supertracks.sunvox);
* improved import of old tracker formats (XM and MOD);
* new module - FMX: 5-operator Frequency Modulation synth;
* new module - FFT frequency transformator;
* sound engine optimization;
* the name of the current file is now visible in the title bar of the app window;
* module and timeline editor: "Select All" has been changed to "Select/Unselect All";
* timeline menu: new option "Vertical mode"; +shortcut
* timeline menu: new functions "Load" and "Save" to load/save selected patterns from/to a sunvox file;
* timeline menu: new function "Detach" to convert the clones to the normal patterns; +shortcut
* module editor menu: new function "Detach" to detach the selected modules from the rest; +shortcut
* module editor menu: new function "Make MetaModule" for packing the selected modules into a single MetaModule; +shortcut
* now it is possible to delete modules, but keep the links;
* pattern properties: X and Y fields - exact coordinates of the pattern on the timeline;
* module properties: X and Y fields - exact coordinates of the module;
* module visualizer: "Phase Sync" oscilloscope option has been added; activate it to see a single waveform cycle;
* module visualizer: new buttons "reset", "apply", "copy", "paste";
* ADSR->Sustain: new value "Repeat" (repeat the envelope until the module is stopped);
* ADSR->Smooth Transitions: new value "volume change" (the volume will change smoothly, but the envelope start is not smoothed);
* Amplifier: new controller "Bipolar DC Offset";
* Analog Generator: the "Freq2" controller has been ranamed to "Osc2" (pitch deviation of the additional oscillator);
* Analog Generator: new controller "Osc2 volume" - additional oscillator volume;
* Analog Generator: new controller "Osc2 mode" - mixing mode of the additional oscillator with the main one (add;sub;mul;min;max;bitwise AND;bitwise XOR);
* Analog Generator: new controller "Osc2 phase" - starting phase of the additional oscillator;
* Analog Generator: new option "Increased frequency computation accuracy";
* Delay: new controller "Delay multiplier";
* Delay: new "Delay unit" values: sec/44100, sec/48000, sample;
* Delay: max delay length has been increased to 60 sec;
* Delay: new controller "Feedback" (for sound and events);
* Echo: new controller "Right channel offset" (how much to shift the right channel relative to the left in time);
* Echo: new controller "Filter";
* Echo: new controller "Filter frequency";
* Filter Pro: new modes "stereo + smoothing" and "mono + smoothing" for additional parameter smoothing;
* Filter Pro: new types "LP 6dB" and "HP 6dB";
* LFO: new controller "Sine quality";
* MetaModule->Play patterns: new values "on (repeat, endless)" and "on (no repeat, endless)";
* MetaModule: number of user defined controllers has been increased to 96;
* MetaModule: controller color can now be changed by adding "@X" to the beginning of the name, where X is the group number from 0 to F; group colors (c_cgp0, c_cgp1, etc.) can be changed in sunvox_config.ini;
* MultiSynth: new option "Output port number = round-robin (cyclic)";
* Sampler: new option "Increased frequency computation accuracy";
* FM, SpectraVoice, Kicker, DrumSynth: clicks removal algorithm has been implemented - it is useful when the volume changes quickly or there are not enough polyphony channels;
* FM: the "M.Feedback" controller has been renamed to "M.Self-modulation";
* Vocal Filter: new controllers "Random frequency" and "Random seed";
* Vocal Filter: new controllers "Vowel1", "Vowel2", "Vowel3", "Vowel4", "Vowel5";
* effect 1С will work a little differently if you fill in its parameter as 10YY - this means that the velocity will be reset to 0 after YY ticks; (normal parameter 00YY means Note OFF after YY ticks);
* new pattern effects (column EE):
* 1A - fine velocity slide up/down (XX - up speed; YY - down speed); once at the beginning of a line;
* 33 - slot sync (for sv_sync_resume() in SunVox library);
* 34 - set (XX) or reset (YY) project options: 1 - no portamento on the first tick; 2 - no velocity slide on the first tick; (for compatibility with old tracker formats);
* 3C - copy track XX from from the pattern YY; for example, if XXYY = 0023, then the first track will be copied from the pattern named "23";
* 3D - write a random value to track YY; min value, max value and column must be in track 0, starting from line XX; see example "pat effect 3D random value";
(columns: 0 - NN; 1 - VV; 2 - MM; 3 - CC; 4 - EE; 5 - XX; 6 - YY; 7 - XXYY);
* corrected Mute/Solo algorithm for modules;
* OpenGL accelerated versions for Windows and Linux;
* new options in sunvox_config.ini: controller group colors c_cgp0, c_cgp1, etc.;
* new options in sunvox_config.ini: module layer colors c_layer0, c_layer1, c_layer2, etc.;
* new options in sunvox_config.ini: c_pbtn, c_pbtn_op, c_pscroll, c_pateditor_level, c_pateditor_cursor, show_sel_btn, show_sbars, edit_mode;
* new curves in curves/MultiSynth/curve3 for different equal temperament systems (for example, ET19 - 19 tones per octave);
* new modules in the instruments/ and effects/ folders;
* new examples (SunVox Compo 2021.02 winners): Logickin - Mech Haven, So_ingMachine - Some of our tracks cant be covered, kiberaver - electric dreams;
* new examples: NightRadio - Afterglow, NightRadio - Winter Is Coming;
* updated version of SunVox library for developers: https://warmplace.ru/soft/sunvox/sunvox_lib.php
* bug fixes.

Kyma 7: LinnStrument & MPE Support

Kyma 7: LinnStrument & MPE Support from Symbolic Sound on Vimeo.

"Champaign, Illinois — October 21, 2015 — Kyma 7 now offers plug-and-play support for Roger Linn Design’s LinnStrument and other MPE-enabled MIDI instruments.

Kyma automatically puts the LinnStrument into MPE mode when you connect it via USB-MIDI or MIDI 5-pin DIN (or via your computer, using Delora Software’s Kyma Connect). Once connected, any keyboard-controlled Sound in Kyma automatically sets the polyphony and responds to the LinnStrument — no extra controllers are needed, and you don’t have to select a special mode on the LinnStrument — it’s literally, plug it in and play.

What is MPE?

Traditional MIDI note events have two dimensions — pitch and velocity — neither of which can be altered directly with the fingers once the key has gone down. But musicians performing with live electronics are driving the demand for new electronic instruments — instruments whose touch, reliability, sensitivity, and responsiveness can begin to approach those of traditional acoustic instruments.

Over the last 10-15 years, more and more instrument makers have sought to incorporate continuous control over pitch and velocity and to add a third dimension of continuous control: timbre. One of the earliest entries in this new category was the Continuum fingerboard from Haken Audio (which has had plug-and-play support in Kyma since 2001). More recently, Madrona Labs (Soundplane), Eigenlabs (Eigenharp), ROLI (Seaboard), and Roger Linn Design (LinnStrument) have been offering “keyboard-like” instruments that provide three dimensions of expressive, continuous control per finger.

But how is it possible to send these three-dimensional continuous polyphonic MIDI notes to a sound engine? Haken Audio first used a FireWire protocol before switching over to a proprietary, optimized MIDI protocol. Symbolic Sound and Madrona Labs used Open Sound Control (OSC) for Kyma Control and Soundplane, respectively. But the growing proliferation of new instruments and proprietary protocols was threatening to become a nightmare for soft-and-hardware synthesizer makers to support.

Enter software developer Geert Bevin who, in January of this year, started working with key industry professionals on a new, more expressive MIDI specification called MPE: Multidimensional Polyphonic Expression. The new MPE standard has already been implemented on Roger Linn Design’s LinnStrument, the Madrona Labs Soundplane, the ROLI Rise Seaboard, and several other instrument makers are currently in the process of adding an MPE-mode to their instruments.

With MPE, the music industry now has a standard protocol for communicating between expressive controllers and the sound hardware and software capable of sonically expressing the subtlety, responsiveness, and live interaction offered by these controllers.

Kyma — Interactive, responsive, and live

Kyma, with its legendary audio quality, vast synthesis codebase and deep access to detailed parameter control, is the ideal sound engine to pair with these new, more responsive controller interfaces for live expressive performance, and Symbolic Sound has a long history of working with instrument makers to provide tight, seamless integration and bi-directional communication between these new instruments and Kyma.

In addition to its graphical signal flow editor, file editors, and Sound Library, Kyma 7 also provides several environments in which you can create an instrument where the synthesis, processing, parameter-mapping, and even the mode of interaction can evolve over time during a performance:

In the Multigrid (displayed on the iPad during the video), you can switch instantly between sources, effects, and combinations of the two with no interruption in the audio signal. Perform live, inspired in the moment, with infinite combinatorial possibilities.
In the Kyma 7 Timeline you can slow down or stop the progression of time to synchronize your performance with other performers, with key events, or with features extracted from an audio signal during your performance.
Using the Tool you can create a state machine where input conditions trigger the evaluation of blocks of code (for example, the game-of-life displayed on the LinnStrument during the closing credits of the video is being controlled by a Tool).
Kyma also provides a realtime parameter language called Capytalk where you can make parameters depend on one another or control subsets of parameters algorithmically.
It’s easy to add a new parameter control, simply type in the desired controller name preceded by an exclamation point — a control is automatically created for you, and it even generates its own widget in a Virtual Control Surface which can be remapped to external controllers (through MIDI, 14-bit MIDI, or OSC). This makes it easy to augment your live MPE controllers with other MIDI and OSC controllers or with tablet controller apps.
System Requirements

Kyma 7.04
Symbolic Sound Paca or Pacarana
Computer requirements
Operating Systems:
Mac OS 10.6 or newer or
Windows 10, 8.1, 8, 7 (SP1), Vista (SP2), XP (SP3)
Storage: ~1.7 GB
Memory: 1 GB or larger is recommended
Internet access is required
Availability

Kyma 7.04 is available today as a free update for Symbolic Sound customers who have a registered copy of Kyma 7.

More information

Multidimensional Polyphonic Expression (MPE)
expressiveness.org

LinnStrument
rogerlinndesign.com

Kyma 7
symbolicsound.com"

NAMM: Spectrasonics Omnisphere 1.5 & Omni TR for iPad

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

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

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

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

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

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

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

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


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

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

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

Highlights of Omnisphere 1.5

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

• Expanded Synthesis capabilities:

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

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

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

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


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

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

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

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

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

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

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

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

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

Namm Show 2011 - Rudess

YouTube via accordoTV | January 15, 2011 |

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