Kaivo Sequencer Overview

video upload by Madrona Labs

"Overview of Kaivo's Sequencer

Kaivo is a software instrument combining two powerful synthesis techniques (physical modeling and granular synthesis) in an easy-to-use semi-modular package. It’s laid out a bit like an acoustic instrument; the GRANULATOR module acts like the player’s touch, exciting one or more tuned objects (here, the RESONATOR module, based on physical models of resonant objects) that come together in a central resonating body (the BODY module, also physics-based)."

https://madronalabs.com/

Chapters
Intro: 00:14
Outputs: 00:30
Output Delays: 00:46
Glide: 01:31
Clock/Rate: 01:36
Steps Dial: 01:55
Loop Button: 02:01
Internal/Host Button: 02:21
Audio Rate Modulation: 02:37
Offset: 03:11
Gate Width: 03:20
Range: 03:27
Quantize Button: 03:41
Steps Buttons: 04:01
Preset Waveforms: 04:17
Sequencer in use: 05:11

Kaivo: Key Overview

video upload by Madrona Labs

"Overview of Kaivo's Key Section

Kaivo is a software instrument combining two powerful synthesis techniques (physical modeling and granular synthesis) in an easy-to-use semi-modular package. It’s laid out a bit like an acoustic instrument; the GRANULATOR module acts like the player’s touch, exciting one or more tuned objects (here, the RESONATOR module, based on physical models of resonant objects) that come together in a central resonating body (the BODY module, also physics-based).

https://madronalabs.com/
Linnstrument/Aalto Video: [posted here]

Scala: https://huygens-fokker.org/scala/

00:00 Intro
00:26 Scale/Mode Menu
01:00 Voice Control
01:33 Bend
02:22 Glide
03:04 Unison Button
04:14 mod cc#
05:42 Output Overview
09:09 MPE Settings
10:04 Outro"

Morton Subotnick & Steve Horelick @ Brooklyn Synth & Pedal Expo (October 21-22)

Details follow:

"The Brooklyn Synth & Pedal Expo, a free for all interactive display of synthesizers and pedals of all kinds, will return to Brooklyn on the weekend of October 21st and 22nd in a new, larger venue in Greenpoint.

Hosted in a 6k sq ft warehouse in the heart of one of Brooklyn’s most musical neighborhoods located between Williamsburg and Queens, this year's event is expected to be attended by around 2k visitors. Pictures from previous editions can be found here [you can find some video coverage in previous posts here].

Morton Subotnick and Steve Horelick VIP Guest Speakers
The organizers are excited to announce the involvement in this year's expo of two legendary NY synthesists who will be hosting talks and a performance on Sunday 22 in the 70-seat theater embedded in the venue

"Buchla Focus" on Sunday October 22
The two presentations will be part of a 3 hour block from 12pm to 3pm on Sunday 10/22 dedicated to Buchla, which will also feature a Music Easel product presentation and an industry panel featuring the company owner Eric Fox among others.

The full program of talks and workshops can be found here.

Morton Subotnick, one of the pioneers in the development of electronic music and multi-media performance, is best known for his 1967 composition Silver Apples of the Moon, the first electronic work commissioned by a record company, and for his creative output linked to Buchla synths. He will host a talk about synthesis on Sunday October 22 in the early afternoon (schedule to be released soon). He will be the event's keynote speaker.

Steve Horellick is a tireless educator and acclaimed soundtrack composer (he wrote the Butterfly in the Sky song from PBS's Reading Rainbow). He is also known for his immersive, textural surround performances. At the Brooklyn event, he will perform using a hybrid setup of synth and pedals in surround sound. Steve will be hosting a talk/performance involving several synths (including Buchla) and some guitar pedals.

Eurorack Classes and GSG.live workshops
The schedule of the presentations will be also integrated by two Eurorack classes hosted by Ben Atchouel of the New York Modular Society and two workshops about online performances curated by the team at GSG.live.

Confirmed Vendors
Visitors will find a varied mix of companies, over 70, with almost all the heavyweight synth and pedal brands and several boutique builders, and also a selection of Eurorack and many pedal builders. Full list below.

Please find attached the event's flier.

This is a free event, anybody can RSVP here.

LIST OF PARTICIPATING MANUFACTURERS:

CLICK FOR MORE »

The Blue Marble Synthesizer Project Plans to Put a Music Synthesizer Controller in Space

video upload by Physical Synthesis

Blue Marble Synthesizer Project: Andrew Huang


Physical Synthesis, the makers of Cicada, wrote in to let us know of a new project soon to be seeking funding on Kickstarter.

I asked them what the platform would be based on. They replied:

"The web-based interface will be an adapted version of Patatap to which we’ll add a video feed and other interactions that will be possible to trigger inside the space capsule (i,e agitate the marble by turning on a fan, LED array, microphone, speaker, etc).

The space capsule has a set of different elements that allows to change the position of the physical marble floating inside the zero-gravity chamber (a set of sensors that calculates the position, a fan that agitates the position of the marble, a microphone that records those interactions, etc). All that data is then being sent back to us on earth (or in reverse sent to the capsule from earth using the Live mode). In other words, the web-interface receives data/interactions from the capsule and the Live mode allows to send data/interactions directly to the capsule. Lastly we’re building a VST plug-in allowing to receive MIDI and hook up data directly into your DAW or other synth."

In short the interactive hardware controller w/ microphone to capture audio is in space, while the synth engine and processing is done on earth.

Addtional details from the Kickstarter/Press Release follows.



The Blue Marble Synthesizer is the first-ever music synthesizer that can only work in space and that is playable from here on earth. It’s a synthesizer for making music and experimenting with sound. The system consists of a pressurized capsule in a low earth orbit satellite, a network of sensors, and a web-based interface for people to play with here on earth.

1. The Blue Marble Synthesizer Capsule consists of a pressurized CubeSat module configured with a control computer, camera, sensor array, fan, LED array, a microphone, and a speaker. It measures the behavior of a marble floating in a zero gravity synth capsule and sends sensor data, audio feed, and video feed back to us on earth.

2. The Web-Based Interface is an interactive and self-contained web audio synthesizer designed for everyone. Through a collaboration with the creator of Patatap, this application blends interactions from the Blue marble Synthesizer Capsule data with a traditional interactive music synthesizer. This web-based interface is a way to explore the interactions between the Blue Marble Synthesizer Capsule and people’s own musical creativity.

● When does the space mission start?
The Kickstarter campaign is set to start on Wednesday, October 4 for 30 days until the rocket launch which is set for Wednesday November 1 aboard the SpaceX Falcon 9 Rocket. Once in orbit, the Blue Marble Synthesizer Space Capsule will be rotating around earth every 90 minutes.

● Why does this project matter?
The Blue Marble Synth Project is intended for all those who share a passion for space, music, and the intersection of science and art. Music has always been a universal language that transcends cultural barriers, connecting people on a deeply emotional level. By introducing a music synthesizer to space, we expand the horizons of artistic expression and create a new dimension for human creative endeavors off-planet.

● What is the experience like for supporters?

1. Two primary ways: people will have the chance to make music with the audio and the data captured by the Blue Marble Synthesizer in two primary ways: through an interactive web-interface or via a VST-plug-in. Some supporters may also have the chance to play and interact with the system directly in space.

2. The Blue Marble Web-Interface: is a self-contained web based application that works from here on Earth. Inspired by Patatap, this application blends interactions from the Blue Marble Synth Capsule Data with a traditional interactive music synthesizer.

3. The Blue Marble VST Plug in: this feature allows to receive MIDI and control data from the Blue Marble Synth Capsule to use with other digital synthesizers and digital audio workstations such as Ableton LIVE, FL Studio, Presonus Studio 1, etc.

● Who are the artists involved?
Andrew Huang, Benn Jordan, Trovarsi, and MAYSUN, are invited artists who will compose original music with the Blue Marble Synthesizer during this orbital mission. They each possess the adventurer's spirit that we believe is at the heart of this project.

Andrew Huang
We are thrilled to have Andrew Huang, the YouTube phenom and Toronto-based artist join the Blue Marble Synth Project. As a highly acclaimed music and video producer, Andrew's unique ability to seamlessly blend diverse musical styles with captivating visuals aligns perfectly with the innovative vision we seek to bring to life. His creativity, coupled with his commitment to pushing artistic boundaries, makes him an invaluable addition to this project

These 4 artists will compose original music using the Blue Marble Synthesizer and the resulting tracks will be released for project supporters on an exclusive LP post-mission.

● What else can supporters get by supporting?
Beyond accessing the Web-Based interface and Artist Album, supporters also get access to a range of branded Blue Marble Synthesizer merchandise designed by Physical Synthesis. The collection features a sticker and mission patch, hoodie, t-shirt, cap, tote bag, and more.

● What goes inside the Blue Marble Synthesizer? Technical Breakdown
The Blue Marble Synthesizer Capsule consists of a pressurized CubeSat module configured with a control computer, camera, sensor array, fan, LED array, a microphone, and a speaker. The module allows supporters to receive data so they can control other synths and interfaces as well as initiate actions that affect what happens inside the capsule

1. Zero Gravity Dynamics: to make the Blue Marble Synthesizer an instrument that can truly work in space, it requires harnessing the power of zero-gravity. To do this, the synthesizer relies on interactions between a spherical piece of glass – the blue marble – and an array of accurate laser sensors that measure the distance and location of the marble as it floats around a small pressurized chamber.

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RedSound Darkstar XP2 SN 00813

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

via this auction

"Revamped version of the Dark Star MK1 - MK1 vs XP2 differences: XP2 features 1/4" instead of RCA outputs, 1/4" stereo headphone output, chorus, and special SINEWAVE mode (for OSC2).

British company Red Sound System's first synth, the DarkStar is a table-top 8-voice polyphonic synthesizer suitable for anybody who wants affordable analog sounds for use in most any style of electronic music. Analog sounds are created by DSP-based analog modeling which means you'll get reliable and clean analog-type synth sounds in an economical and professional instrument. The DarkStar features 2 oscillators per voice, 5-part multitimbral set-up, joystick mixing for oscillators, ring modulation, filter resonance and pink/white/blue noise generators.

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Groove Synthesis Introduces 3rd Wave Desktop Wavetable Synth Module

Press release follows.

Orinda, CA, Sept 21, 2023 — Groove Synthesis, an electronic musical instrument startup founded by music industry veterans from Sequential and Oberheim, has just introduced a desktop version of their acclaimed 3rd Wave, 24-voice, 4-part multitimbral wavetable synth.

The compact, keyboardless version has all of the power, features, ins and outs of the full keyboard and retains a nearly knob-per-function front panel, which makes it just as easy to program and use.

The 3rd Wave has 3 oscillators per voice, analog low-pass filters, a digital state-variable filter, 6-stage wave envelopes per oscillator, and an industry-first Wave Maker™ tool that allows users to create custom wavetables in a single step through its proprietary sample-to-wave technology. Each of its three oscillators can generate a classic PPG-era wavetable, a modern high-resolution wavetable, or an analog modeled waveform.

While the 3rd Wave has roots in the classic digital wavetable synths of the past, it brings the concept into the 21st century with a lush, warm sound defined by its expanded wavetables and analog filters. It boasts a Dave Rossum-designed 2140 analog low-pass filter with variable saturation and resonance compensation, and a second, SEM-style state-variable filter (low-pass, high-pass, notch, and band-pass) for additional tone-sculpting. Both can be used in series for harmonically intricate textures.

With 24-voices, the 3rd Wave can handle note-intensive performances as well as layer up to 4 parts or create 4 independent split zones — each with a completely different sound and pattern-based sequence of notes, songs, and parameters. Each part has independent panning, volume, dual effects, and a dedicated physical stereo output. Each of its 3 wavetable oscillators per part/voice has its own 6-stage, loopable wave envelope, which can create evolving soundscapes of extreme complexity.

The rest of the 3rd Wave’s sound-shaping tools include four ADSR envelopes (filter, amp, and two auxiliary) per part, four LFOs per part, and a 28-slot mod matrix per part.

The 3rd Wave Desktop Module is slated for release in November of 2023. and has a US MAP price of $3495 USD. It will be available through the Groove Synthesis network of domestic and international dealers. For more details, visit www.groovesynthesis.com.

Technics WSA1 Alien Lanscapes

video upload by Snupps Synth channel

"A experimental ambient impro with the first sound i made on my newly bought Technics Wsa1. Utilizing physical modeling synthesis of the machine."

Technics WSA1 Sewers Beneath (Physical Modeling demo)


"Experimental sound demo of some of my Physical modeling sounds on the Technics Wsa1."

FLUX prototype demo (SOMA lab)

video upload by Vlad Kreimer

"FLUX brings forth the musicality and expression of classical instruments, such as violin or vocals, enriched by new timbres and the flexibility of postmodern instruments, harnessing the power of current technology.

FLUX is a high end professional synthesizer with expressive possibilities, an innovative interface design with top quality digital-to-analog converters and analog components.

FLUX features a unique continual touchless keyboard that offers seamless control over a number of sound parameters without quantisation.

In many ways, FLUX is inspired by the Theremin, which offers the unique opportunity of controlling sound by moving your hands in the air without touching any object, all of which lends the performance a special plasticity and beauty.

Unlike the Theremin which works by virtue of the capacitive coupling of hands and antennae, FLUX is based on magnetic principles. Two magnetic bows are pressed between your fingers, and the interface is a multipolar magnetic sensor, registering the bows’ positions and movements. The X coordinate of the artist’s right-hand bow controls the note’s pitch, while the Z coordinate controls volume. The left-hand bow’s X, Y and Z coordinates control the various synthesis parameters.

Since a magnet has two poles, FLUX not only detects the bows’ spatial coordinates, but also the bows’ angle. This means that flipping the right-hand bow on the Y-axis changes the octave, which allows a range of six continuous octaves without transposing the keyboard. With transposition you can get a range from sub-bass all the way to ultrasonic. The left-right tilting of the right-hand bow on the X-axis controls two independent modulation parameters.

The left-hand bow controls the timbres. The timbral sensor, placed in the left part, has six poles, and independently registers positive and negative magnetic fields. This lets you change which parameters you control by flipping the bow, allowing you to control up to twelve independent sound parameters. Together with the pitch, volume and two additional tilt parameters on the right-hand bow, you have access to a total of sixteen sonic controls that you can use during performance, without ever touching the surface of the instrument.

Summing up the concept of FLUX: the most direct and immediate way to play with a large number of synthesis parameters in a musical way, creating a dynamic timbre composition. Different synthesis algorithms (engines) will be created as complete musical instruments for direct timbral control. All engines will be available in a single firmware and any engine can be launched in a fraction of a second. Presets will allow the user to save and recall the entire state of the synth including engine and all tunings.

We developed FLUX with the aim to create a modern instrument for academic music, offering powerful sonic tools such as distortion, complex FM and physical modelling of non-existent, surrealistic musical instruments. We invite modern performers and composers to use FLUX in their work.

FLUX works in monophonic, duophonic and polyphonic modes. Staccato-enabling and quantisation modes are available. The quantization function has an adjustment parameter for vibrato. FLUX has a stable, even, and clearly marked note scale. This makes FLUX much easier to learn and to intone cleanly than on the Theremin.

FLUX’s synthesis is DSP-based. It features built-in spatial FX. The digital-to-analog converters and the analog circuit are based on our in-house designs using Hi-End principles.

FLUX is under development. We will inform the community about the progress."

via SOMA Lab

Introducing the Woovebox micro music workstation; pocket groovebox, synth, sequencer, sampler

video upload by Woovebox

"Discover the Woovebox; the smallest all-in-one micro music workstation on the planet."

via Woovebox

"The Woovebox is a workstation/ groovebox that does more with less. It aims to make music production simpler, cheaper and more portable by condensing a powerful music workstation/studio into a small pocket-sized device - all through aggressive hardware and software optimization. Pocketable, powerful and economical

The Woovebox was designed for those who love creating tunes away from a desk or studio; whether it's on a couch, on a bus, in a coffee shop, or in bed. No space, no hassle, no cables. Just plug in your headphones and go! And when you are ready, the Woovebox plays nice with DAW and other gear; physical MIDI and sync out, wireless MIDI in/out over Bluetooth, audio in, .WAV song and dry/wet stem export - it's all here. Featuring a variety of synthesis algorithms, filters and effects, the optimized engine - quite literally - punches far above its weight; despite weighing only 68g/2.4oz/0.15lbs, the Woovebox offers deep sound design, real-time synthesis, sonic abilities and advanced features that are absent from grooveboxes many times its size and cost.

A fast workflow that inspires

The Woovebox workflow is a rethink of song building; it is fast, it fits a compact device, and it avoids "empty DAW project" paralysis. It was built to reduce friction and make the time from 0-to-head-bobbing to your own track as short as possible. You do not have to memorize endless obscure button combinations, and menu-diving is kept to a minimum.

The workflow centers on quickly setting up and filling out distinct building blocks, where each block quickly combines to create a whole that is more than the sum of its parts. Tempo, rhythm and chord info is re-used throughout the song, interface, playback options and even the synthesis engine. This is combined with conditional triggering and conditional modification of elements and tracks. The results are complex, intricate compositions that sound refined, intentional and planned. If you wish, even just a single 16-step pattern for each of the 16 tracks, is entirely enough to make a complex song that keeps the listener's attention.

Built from scratch using close-to-the-metal programming

In hardware engineering, size restrictions mean power limitations. And power limitations mean DSP (Digital Signal Processing) limitations. Starting off as a personal challenge during the days of lockdowns by a veteran signal processing engineer, the Woovebox' DSP engine was built from scratch to be as "close to the metal" and optimized as possible.

It is a style of programming that focuses on extracting every last drop of raw performance from the hardware, at the cost of easy development. The hardware, firmware and DSP code were hand-crafted in assembly and optimized over the course of three years, to perfectly balance frugality with power, audio quality and features. As a result, your Woovebox synthesizes full, complex tracks and effects in real-time, yet the small built-in battery still lasts 10h+ on one charge. In all aspects the Woovebox project embodies doing more with less."

CLICK FOR MORE »

Designing Joy: an Interview with Korg.Berlin CEO Tatsuya Takahashi

via Perfect Circuit

"Tatsuya Takahashi, widely known as 'Tats', is a name that resonates loudly among sound synthesis enthusiasts and professionals. Over the last decade, his innovative mindset has been instrumental in resurrecting the popularity of analog synthesis, crafting a unique sonic landscape that blends tradition with novelty. Takahashi was been the creative engine behind some of Korg's most celebrated modern instruments, including the Monotron, the Volca series, and the Monologue and Minilogue synthesizers."

You can find the full interview at Perfect Circuit.

The following a few excerpts.

"I do have a guiding philosophy. I need to talk about the values that are present now, and how different they are from when I started. Obviously, I was naturally drawn to music tech, I have always loved circuits, instruments, and synthesizers. So initially, when I started working at Korg, which was my first "real" job after working in restaurants and bars, I was entirely focused on doing my job well.

As you mention, this period coincided with the revival of analog synthesizers, and I like to think that I played a role in that amongst other members of the industry. However, back then, it was more about doing well in my job and fulfilling my passion. The vision or the philosophy wasn't as defined then as it is today.

Now, at 40, I have a different perspective. I look back at the 23 products I worked on while in Tokyo and try to understand what made my job fulfilling. Apart from my affinity for design, art, music, and the very act of creating—of being and doing, I realized that there was also an important external element that stimulated me, and that was the joy that the users derived from my designs." "If you look at the MS-20, there were very few people involved in that project. The people responsible for the specs, the electrical design, the mechanical design, and the manual were probably the same two or three people. They just operated using general design principles.

Such an approach brings a certain consistency and purity to the product. Of course, if you are working on a complex product like a workstation keyboard, you need a large team to cover all the layers. However, I romanticize this early era of hardware design where everything was unified. If you look at an old Siemens mic pre, everything from the latch that takes it out of the rack to a three-dimensional puzzle of transformers and vacuum tubes to electrical, mechanical industrial design—all these considerations combined together. It is the same idea here, we try to break the boundaries between different disciplines and just see it as one thing."

"Korg.Berlin is nearly three years old, and we are a subsidiary of Korg Inc. Our function is to conduct R&D for new musical instruments. We diverge from the main office in that we have a different product planning procedure. We work directly with things, and we try in physical form what ideas might work. By the nature of that, we are a bit more explorative.

Our operation specifically aims to do things differently from the way it is currently done in Tokyo and Asia as a whole, including the manufacturing infrastructure. Having spent a wonderful decade building mainly analog synthesizers, it was important for me personally to do something different here. The team in Tokyo carry on with that work, and they are super good at it. So there is no point in us doing the same thing. That is why we need a different approach, a different technology, a different appeal, and consequently, we need a different branding. That is why we have our own logo, and we identify ourselves as Korg.Berlin. These are some of the things that make us different.

Looking into the future, we feel that some form of this acoustic synthesis that we unveiled at Superbooth this year will be at the core of our forthcoming products, or even multiple product lines."

Kaivo: Patcher Overview

video upload by Madrona Labs

"Overview of Kaivo's Patcher Section

Kaivo is a software instrument combining two powerful synthesis techniques (physical modeling and granular synthesis) in an easy-to-use semi-modular package. It’s laid out a bit like an acoustic instrument; the GRANULATOR module acts like the player’s touch, exciting one or more tuned objects (here, the RESONATOR module, based on physical models of resonant objects) that come together in a central resonating body (the BODY module, also physics-based).

https://madronalabs.com/"

Kaivo: A Brief Introduction

video upload by Madrona Labs

"techniques (physical modeling and granular synthesis) in an easy-touse semi-modular package. It’s laid out a bit like an acoustic instrument; the GRANULATOR module acts like the player’s touch, exciting one or more tuned objects (here, the RESONATOR module, based on physical models of resonant objects) that come together in a central resonating body (the BODY module, also physics-based)."

Physical Modeling in Kaivo

video upload by Sormena Project

"Last but not least we look at Kaivo. Kaivo is what I call experimental physical modeling. The instrument itself is fully customizable (modular) and when you combine that with a granular sound engine and a physical modeling section you’re going to get some wild results. As you’ll see in the video what you select for the resonator and for the body (the physical modeled modules) has a huge impact on the final timbre that’s produced. Note that unlike PianoTeq or String Studio this instrument requires you to use samples. Therefore physical modeling is just one aspect of this instrument and is used more like an effect that you can blend to taste rather than a dedicated method."

Granular Synthesis | Explanation & Tutorial

video upload by Sounds Good

"I try to figure out all the things that granular synths can do with the help of the granular synth daddy himself, Barry Truax.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
0:00 Intro
2:05 Time Stretching
5:09 Barry Truax's Granular Synth
7:49 What Is Granular Synthesis Actually
12:25 Outro"

Kaivo - Presets and Dials

video upload by Madrona Labs

"Overview of Kaivo's Presets and Dials

Kaivo is a software instrument combining two powerful synthesis techniques (physical modeling and granular synthesis) in an easy-touse semi-modular package. It’s laid out a bit like an acoustic instrument; the GRANULATOR module acts like the player’s touch, exciting one or more tuned objects (here, the RESONATOR module, based on physical models of resonant objects) that come together in a central resonating body (the BODY module, also physics-based)."

Qithesizer - Powerful Multi-Engine Hybrid Software Synthesizer

video upload by Robkoo Official

Press release follows:

Robkoo releases Qithesizer as advanced hybrid soft synth designed to work with wind controllers like the Chinese company’s cyber-like Wind Synthesizer R1


SHANGHAI, CHINA: digital art-facilitating software and hardware company Robkoo is proud to announce availability of Qithesizer as an advanced multi-engine hybrid software synthesizer for iPad, iPhone, and Mac (AUv3) — creatively combining physical modelling, virtual analogue, and wavetable synthesis, while working wonderfully with MIDI (Musical Instrument Digital Interface) wind controllers like the Chinese company’s critically-acclaimed Wind Synthesizer R1 (https://official.robkoo.com/#/wind-synthesizer-r1), and, obviously, others also available from various competing sources such as Akai and Roland, for instance — as of June 30…

An appropriate name choice can quickly play a part in helping shape an appreciation for a new product, something Robkoo readily appreciates by effectively combining Qi (气) — commonly known as the circulating life force whose existence and properties are the basis of much Chinese philosophy and medicine, originating from the mandarin dialect and translating to English as air or breath — with elements of synthesizer — typically defined as an electronic musical instrument producing a wide variety of sounds by generating and combining signals of different frequencies — to create Qithesizer.

Working with wind controllers like Robkoo’s revolutionary Wind Synthesizer R1 — released last year to widespread critical acclaim as a futuristic, cyber-like MIDI wind controller instrument with responsive RGB light bars, motion control, Bluetooth® connectivity, customisable hotkeys, onboard sound banks, and a dedicated app allowing amateur and professional players alike to directly (and literally) light up their performances to audiences for the first time in history, having mastered its intuitive panel design in a matter of minutes and achieved gig-readiness within weeks of first musically making its acquaintance — and, obviously, others also available from various competing sources such as Akai and Roland, for instance, is integral to the design ethos that brought about Qithesizer as the digital art-facilitating software and hardware company’s latest product. Providing users with the possibility of mapping their MIDI (Musical Instrument Digital Interface) hardware controller of choice to any Qithesizer parameter to facilitate real-time dynamic effects, enabling MIDI Learn synchronises all displays with their performance. Perhaps this move may well go some way towards securing Qithesizer a firm foothold in an already- oversaturated marketplace. But by creatively combining various synthesis technologies — to include physical modelling (with multiple physical models), virtual analogue (with basic waveforms), and wavetables (with hundreds of digital waveforms) — to form a powerful multi-engine hybrid software synthesizer with waveform and dynamic visualisations, bolstered by a 16-step SEQ (sequencer) section with a powerful pattern editor, Qithesizer clearly has what it takes to hold its own, no matter what.

With two wavetable OSCILLATORS, four physical MODELING instruments, three NOISE generators, three classic FILTER types, two (FILTER and AMP) ENVELOPES, and two Low Frequency Oscillators (LFO1 and LFO2), plus a well-specified MODULATORS section — with eight modulation slots, 11 sources, and 18 destinations — to its name, there is much scope for crafting original sounds with Qithesizer. No need, necessarily, to rely heavily on any prior synth-centric knowledge since Qithesizer, of course, comes complete with an extensive Factory library of pre-programmed patches.

Put it this way: while Qithesizer positively encourages experimentation by effectively rolling its multiple sound engines into one easy-to-use interface, it also brings the same level of sound design and portability — playing the onscreen keyboard means that there is no need, necessarily, to work with any external MIDI hardware controllers — to Apple’s iPad and iPhone; its compatibility with AUv3 — itself a newer version of the AU (Audio Units) plug-in format for Mac with additional features, and the only format currently available on iOS — considerably broadens its already wide-ranging reach and appeal.


Priced at $12.99 USD, Qithesizer is available for iPad (requires iPadOS 15.0 or later) and iPhone (requires iOS 15.0 or later), as well as AUv3 (requires macOS 12.0 or later and a Mac with Apple M1 chip or later), via Apple’s App Store here: https://apps.apple.com/us/app/合成氣/id6444722040

For further information, please visit the dedicated Qithesizer webpage here: https://www.robkoo.com/en/qithesizer

Baloran The River

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

via this auction

"Truly one of the best polyphonic synths out there.

8 voices inspired from the classic Moog The Source, but eight times more powerful. Has an onboard chorus (The Triko) & digital FX. Very lush sound.

100% subtractive analog synthesis
Polyphony with 8 voices, each voice card being a changeable physical card.
2 VCO, 1 VCF, 2 envelopes, 1 VCA, 1 LFO per voice, hardware routing for the modulations."

CLICK FOR MORE »

Superbooth 2023: Lambda Synthetics - PolyPulse

video upload by sonicstate

"We spoke to Ward from Lambda Synthetics about their new product, PolyPulse, which is a live performance workstation. It follows unconventional and algorithmic routes that offers five tracks, each with a polyrhythmic sequencer on one side digital synthesis on the other. Currently, the digital synth has FM and additive synthesis, and several forms of sampling, but more will be added in the future. The sequencer is based on polyrhythms, mixing time intervals which combine to create complex rhythms and melodies, while the touchpads on each track provide expression while on stage.

PolyPulse is currently in the production prototype stage, and there is still a lot of software to be done. It is expected to be released in Q3 or Q4 of this year. External integration can be achieved using clock signals for modular gear, and there are eight balanced outputs on the back. Poly Pulse has a sampling engine that can create new melodies using pitch-tracked bass samples, a drum synthesizer, and various synthesis engines that can have up to 20 tracks of polyphony depending on synthesis engine.

Price: TBC

https://lambdasynthetics.com/"

The PolyPulse

... is an unconventional standalone performance workstation for the musician who isn't afraid to experiment.

Key features

5 track standalone performance workstation
An intuitive interface to create complex (poly) rhythms and melodies
Sound morphing interface controlled by touchpads
Multiple polyphonic synthesis/sampling engines
Multichannel audio effects
The instrument is still under development. The feature set and physical construction is subject to change.

Superbooth 2023: Pittsburgh Modular - Taiga

video upload by sonicstate

"We spoke to Richard Nicol, CEO of Pittsburgh Modular at Superbooth 2023. While they are not presenting anything new, they are proud to show Taiga, which is only a few months old. The three-oscillator monosynth with dedicated wave folders and unique waveforms. They call the initial wave shape seeds, and their wave folder allows them to hit it in fascinating ways and create unique sounds that are not found elsewhere. They aim to innovate at the same pace as digital synthesis, adding unique features to analog synthesis. Richard also talked about their dynamics controller, which is similar to a low-pass gate, providing organic plucky sounds that decay naturally.

Pittsburgh Modular is sneaking in a few new things, including their local parks oscillator and the toad phase shifter, which is a 12-stage analog phase shifter. Richard's favorite panel is the toad, which has a red toad with the LFO as the eye. They also have the Narwhal module, which is their take on analog physical modeling, using analog resistors and capacitors to create something that sounds real. The cymbals produced by the Narwhal sound authentic, but they can be tweaked to fall apart and become very digital and synthetic. We also got a look at some experiments including the Local Parks Oscillator and the Toad 12 stage analogue phase shifter, and Richard hinted there may be a drum machine on the horizon.

Taiga Price: 799 USD"

MAKEN0ISE Introduces the Spectraphon!

Brett Naucke performs on the Spectraphon! video upload by MAKEN0ISE

"Brett Naucke performs new patches at Drop of Sun!

Asheville-based musician and Make Noise Records alumnus Brett Naucke performs three new patches on our brand new module— the Make Noise/soundhack Spectraphon— at the great Drop of Sun Studios here in Asheville, NC!

We are THRILLED to finally share our latest collaboration with Tom Erbe (soundhack), The Spectraphon! For more information on this dual spectral oscillator, head to: https://makenoisemusic.com/modules/sp...

For more info on Brett and his work, be sure to check out:
https://www.bnaucke.com/
https://open.spotify.com/artist/2MFjL...
https://brettnaucke.bandcamp.com/

This video was filmed at, recorded by and mastered by Drop of Sun Studios here in Asheville, NC. For more info on Drop of Sun, head to:
https://dropofsun.com/
https://www.instagram.com/_dropofsun_/"

via Make Noise

The Make Noise/soundhack Spectraphon is a dual Spectral Oscillator coded by Tom Erbe of soundhack. It uses real-time spectral analysis and resynthesis to create new sounds from those that already exist. It is inspired by classic electronic musical instruments of the past, including spectral processors, additive synthesis, vocoders, and resonators especially the Buchla 296 and Touché, but it takes a physical form more resembling the classic analog dual complex oscillator in the lineage of the Buchla 259 and the Make Noise DPO.

The Spectraphon is the first module to be built by Make Noise on its new digital hardware platform. This hardware, engineered by Jeff Snyder and Tony Rolando, provides more i/o at higher resolutions, and a lower noise floor than we have ever had access to in a digital module, allowing us to unleash Tom Erbe’s DSP code to a previously unattainable degree.

The Spectraphon has two nearly identical sides, A and B, which oscillate in one of two ways: Spectral Amplitude Modulation (SAM), or Spectral Array Oscillation (SAO). In SAM, instead of oscillating at all times like an analog VCO, sound at the Spectraphon’s input is used to modulate the amplitude of a set of harmonics. In SAM the Spectraphon can be sequenced and frequency modulated like any VCO. At any time the current spectrum can be used to create an Array for later use in SAO mode where the Spectraphon oscillates at all times, with the spectrum at the Odd and Even harmonic outputs being drawn from those stored Arrays.

The Slide and Focus controls are mode-dependent: in SAM, they determine how the Spectraphon responds to sound at the input for Spectral AM, while in SAO, they are used to modulate the Array. In either mode (SAM or SAO), the Partials control works as a combined amplitude and timbre gate for the Odd and Even harmonic output and the FM Bus will create high definition internal frequency modulation from the opposing side of the Spectraphon. The two sides can also interact via the internal FM Bus, the Follow and Sync modes, and by patching them together.

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Introducing Objekt Modeling Synthesizer for Reason!

video upload by Reason Studios

"Synthesize reality with Objekt, a physical modeling synth for new and unique acoustic sounds. Discover the character of organic instruments and real-world materials. Dynamic, playable, and easily customizable.

Producers and beat makers are on the hunt for new sounds with an acoustic flavor. Sounds that can’t be easily duplicated by just any plugins or samples. That’s why Objekt doesn’t play back pre-recorded instruments, it synthesizes them.

Explore hundreds of patches ranging from bells, mallets, percussion, stringed instruments and more. Move any parameter to see what happens. Where you end up might sound familiar or like an imaginary instrument that doesn’t exist. Until now."

Learn Physical Modeling Synthesis with Objekt from Reason Studios

video upload by Reason Studios

"Objekt Modeling Synthesizer for Reason is a whole new type of synthesis for most people but that's why we packed it into the form factor that would be both easiest to learn and most powerful when you've got it down — a classic Reason Rack synth.

In this deep dive, Ryan will show you how to get started with physical modeling synthesis and how you can either build sounds from scratch if you're a sound designer or modify existing sounds in entirely new ways if you're a musician looking to get inspired.

Contents of this video:

0:00 - Introduction
1:53 - Real world sounds
3:16 - Basic Objekt patch
7:12 - Objekt’s mixer
8:38 - Exciter Impact section
13:55 - Exciter Noise section
18:40 - ADSR vs CPDDD
24:27 - Randomizer
27:41 - Tuning offset"

Objekt is an open-ended physical modeling synthesizer, meaning it models the properties of acoustic instruments and gives you control over those as parameters. Instead of choosing between pre-made options, it opens the hood to the inner workings of physical modeling synthesis so that you can experiment and approach it like what it really is: a synthesizer.

At the heart of Objekt are three resonating objects, think of them like the instrument itself, with in-depth control to create anything from a string or bell to a skin or something yet unheard. The instrument is then set in motion by the Exciter section. From the short impact of a stick to a wash of noisy static, the Exciter lets you play the instrument in dynamic and wonderful ways. Tweak the sound to suit your needs or invent entirely new instruments with just a few parameter changes. Objekt generates all sound in real time without relying on pre-recorded samples which makes it dynamic, playable, and easily customizable—but also fast and lightweight.

Need somewhere to start? Explore over 500 expertly crafted patches covering a wide range of sounds. Objekt excels at both realistic reproductions and new imaginary instruments that doesn’t exist. Until now. Move any parameter to see what happens. Use the powerful randomizer to slightly alter a patch or morph it to a brand new direction. Start from scratch and see where you end up. Objekt’s designed to be explored on your terms.

Objekt is perfectly integrated into the Reason Rack workflow with the familiar browser, native undo, CV and audio cables, and more. You can even connect any audio signal to the External Input and use any sound to excite the instrument’s resonators to incredible effect, think of it like an “acoustic vocoder”.

Features
Open-ended physical modeling synthesis for unique acoustic sounds
Dynamic, lifelike, and easily customizable
Powerful randomizer for instant variation and inspiration
Over 500 included patches
Included with Reason+
Requires Reason 10.1 or later. The included Combinator patches require Reason 12.

Playing the Anyma Phi - Carlo Mezzanotte

video upload by carlomezz

"A few sound examples from the Anyma Phi, a 3-oscillator monophonic/paraphonic desktop synthesizer from French manufacturer Aodyo - one of the very few hardware synthesizers based on Physical Modeling technology. This demo includes patches that use OS 1.1.0, a new release that gives the Anyma Phi a substantial feature boost. It now sports 45 oscillator types, 47 modulator types and 34 FX module types.

To manage its complex synthesis architecture, the Anyma Phi comes with a computer editor, but it can also be programmed using the front panel only. A nice addition is the inclusion of a piezoelectric pick-up, allowing the musician to play percussively just tapping on the panel.

A polyphonic version, the Anyma Omega, is in the works."

Yamaha VL1 Version 2

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

via this auction, also on Reverb

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