"1998 Ensoniq Fizmo Synthesizer, in perfect working order and in excellent condition. The Fizmo was the ultimate and short-lived attempt by Ensoniq to create a truly powerful and unique experimental machine. Transwave synthesis lies at the heart of the Fizmo, pulling from layers of varied loops within wavetables of sound data, allowing for real-time, dynamic response and decay modulation. Heard in use by bands such as the Faint and Eat Static, this versatile, hidden gem is perfect for creating ambient, atmospheric textures that are completely tweakable and interactive.
The Fizmo is a 48-voice synthesizer which uses 2nd-generation Transwave technology to create organic, interactive sounds unlike any other synth available at the time. Every programming function has its own dedicated knob or button, and there is a limited but useful four-character LCD display. The Fizmo features an Arpeggiator and 24-bit VLSI effects with 41 algorithms and a Vocoder. There are 2 oscillators available for each of the 4 presets allowing for 8 unique oscillators at the same time, each with individual LFO and Noise generators. The built-in Arpeggiator has 118 presets which can be easily edited to your liking, and 26 real-time control/editing knobs make mutating your sound a pleasure. All controls may be recorded in real-time to an external sequencer.
Generate sequences based on the patterns discovered in your MIDI files
CHAMPAIGN — June 12, 2019 — Symbolic Sound today released a new module that generates endlessly evolving sequences based on the patterns it discovers in a MIDI file. HMMPatternGenerator, the latest addition to the library of the world's most advanced sound design environment, is now available to sound designers, musicians, and researchers as part of a free software update: Kyma 7.25.
Composers and sound designers are masters of pattern generation — skilled at inventing, discovering, modifying, and combining patterns with just the right mix of repetition and variation to excite and engage the attention of a listener. HMMPatternGenerator is a tool to help you discover the previously unexplored patterns hidden within your own library of MIDI files and to generate endlessly varying event sequences, continuous controllers, and new combinations based on those patterns.
"DAVE ROSSUM is demonstrating his PANHARMONIUM EUro module that is featuring resynthesis with 33 oscillators.
In the very end of the video, Dave is also re-synthesising a snare drum sound with an interesting result!"
"Short preview of my upcoming SamPlight 2X+ VST which accurately model the whole Fairlight CMI IIX
The playing itself involves 16 Times oversampling and zero interpolation + analog circuit emulation.
All the quirks of the original are there, including some "JUSTIFY" glitches, loop points scanning artefacts etc..There were some refinement on the usability but do not expect a super fast modern workflow, I tried to kept it as close as can be for a reason!
What is currently done:
PAGE 2 - DISK CONTROL(done: load and save real original .VC files and attached .CO files, version 4.3 and 4.4 including MODE 1 params aka FFT, loading .IN aka Instruments files is in the works..)
PAGE 3 KEYBOARD CONTROL(almost done)
PAGE 4 HARMONIC ENVELOPES(done)
PAGE 5 WAVEFORM GENERATION(done but needs some additional GUI work)
PAGE 6 WAVEFORM DRAWING(done but needs some more work)
PAGE 7 CONTROL PARAMETERS(done)
PAGE 8 SOUND SAMPLING(done, include importing .WAV Files for resampling through the emulated circuitry)
PAGE D WAVEFORM DISPLAY(done, include some other views like POLAR view in addition to the iconics Fairlight ISO an LINEAR views)
PAGE F USER DEFINED FUNCTIONS(done but needs some GUI work)
Lot of things are added within the limitation of what the Fairlight could have done with some extra memory:
- FM Synthesis capabilities, including using waveform memory as a modulator.
- Spectrum Convolution (convolve between 2 spectrum)
- Spectrum Resynthesis manipulation(Harmonic Frequency bins offsets per Harmonic etc..)
- Two ways TimeStrech ( the CMI IIX allowed to increase the duration of the waveform memory only, now you can also reduce it)
"All of the sounds are coming from the rare and bizarre Technos Acxel additive synthesizer in multitimbral mode. Even the intro sound was resynthesized by the Acxel. We used an Elektron Digitakt as a sequencer to sequence six of the voices of the Acxel. The Acxel was designed in 1989 and was cutting edge technology at the time with its multiple voices which each have 32 additive "cells" and the ability to analyze four seconds of sound and resynthesize it.
See the Technos label at the bottom of this post for more. Pics and info via Perfect Circuit:
"The Technos Acxel Resynthesizer is an additive synth developed in Quebec, Canada during the late 1980s. Its architecture is based on sine-wave oscillators that are each assigned amplitude and pitch envelopes to form the component harmonics of a sound.
The major innovation of the Acxel was, according to Technos, resynthesis. The idea is to sample a sound and extract its harmonic content using the Acxelizer. This information is then used to assign parameters, including envelopes, to the oscillators.
The Acxel comes in two pieces: the Solitary and the Grapher. The Solitary contains the main guts of the machine, including the main CPU board, the oscillator boards, the sampling board, the Acxelizer board, the floppy drive, and the I/O.
The Grapher is the machine’s user interface and is what Technos highlighted in its advertising. It’s a vacuum-fluorescent display for status information and menus and a surface of touch-sensitive nodules, 2114 of which contain LEDs.
ACXEL FEATURES
256 ISC configuration, maximum 8-voice polyphony
Includes OS 1.099A and OS 1.12 disks
Includes copies of the original three Technos Sound Library disks
Includes Grapher to Solitary communication DIN cable
Includes flight case with casters for the Solitary"
"One of the things I am interested in adding to my hardware Synclavier is the Mono sampling option.
This and a processor upgrade will allow me to do sound resynthesis and Timbre frames. I started to look into this at the start of the year but as I was planning my trip to Europe it just was not possible at the time. Just over a month ago Arturia released the free upgrade of Synclavier V which not only brought sampling but the full resynthesis option! First of all.. to get this kind of upgrade for something I paid for 3 years ago is astounding!.. Thanks Arturia! What great times we live in for sound creation :D"
"Synclavier V has been updated to version 2.0. Now featuring a powerful resynthesis engine, vintage sample playback, all-new presets, and a great sample library to explore."
Synclavier V Tutorial Update 2
Published on Oct 12, 2018
"Get a quick overview of some of the most important new features found in Synclavier V update 2.0. In this video, Guy covers the new sampling capabilities, the resynthesis engine, and some of the new grid features."
"Originally released in 2016 as part of V Collection 5, Synclavier V gave a whole new generation of musicians access to the ground breaking sound and features of the revolutionary late-70s digital synth. Developed in partnership with the original instrument’s inventor, Cameron Jones, Synclavier V went above and beyond the capabilities of the hardware produced between the late 70s and early 90s.
However, New England Digital also produced many optional add-ons for the Synclavier, such as a sample playback module and a resynthesis engine, that were not emulated in Arturia’s release of Synclavier V 2.
Today, that changes.
With the release of Synclavier V 2, alongside many other workflow enhancements and improvements, Arturia and Cameron Jones are proud to announce that Synclavier now includes sampling capabilities and an exciting resynthesis engine for musicians, producers, and sound designers to explore.
Synclavier V 2 is available as a free upgrade to all owners of Synclavier V, or Arturia’s V Collection 5 and V Collection 6.
How to video:
Sampling with the PPG Wave System from 1982.
The video shows the sample analysis and programming of new wave and wavetables for the PPG wave 2.2 Synthesizer.
The Waveterm is the heart of the legendary PPG system and based on an old german computer called Eltec Eurocom II with Motorola 6809 processor.
- creation of Waves and Wavetables
- fourier analysis / resonator
- additive synthesis
- 8 bit Sampling for the WAVE 2.2
- sequencer / event generator
- storage of sounds on 8" disc"
"Spectral Analysis-Resynthesis and Granular synthesis are two of the most powerful music electroacoustic tools available.
In this video, the sounds from a Harrier jump Jet engine are turned into musical elements for my electronic composition 'Flight Sequence V' thanks to Michael Klingbeil's 'Spear' editor and Apesoft'
[Update: You can now find an order form on Auxren's website here for assembled PCBs minus the case.
Update2 via Koryo Williamson in the comments: "I'll post STEP and STL files for cases that more resemble the active UI version. Xometry, Protolabs, DIY 3D print and such."
Update3: Just a side not for those interested: the neural synthesis brings the Hartmann Neuron to mind, and the resynthesis aspect brings the Technos Axcel and the Axcel2 to mind.]
Playlist for the videos above:
1. Making music with NSynth Super
London-based producer Hector Plimmer, explores new sounds generated by the NSynth machine learning algorithm - using NSynth Super an open source experimental instrument.
2. Making music using new sounds generated with machine learning [featuring Robotspeak]
NSynth Super is an open source experimental instrument. It gives musicians the ability to explore completely new sounds generated by the NSynth machine learning algorithm.
"NSynth Super is part of an ongoing experiment by Magenta: a research project within Google that explores how machine learning tools can help artists create art and music in new ways.
"The Technos Acxel Resynthesizer is an additive synth developed in Quebec, Canada during the late 1980s. Its architecture is based on sine-wave oscillators that are each assigned amplitude and pitch envelopes to form the component harmonics of a sound.
The major innovation of the Acxel was, according to Technos, resynthesis. The idea is to sample a sound and extract its harmonic content using the Acxelizer. This information is then used to assign parameters, including envelopes, to the oscillators.
The Acxel comes in two pieces: the Solitary and the Grapher. The Solitary contains the main guts of the machine, including the main CPU board, the oscillator boards, the sampling board, the Acxelizer board, the floppy drive, and the I/O.
The Grapher is the machine’s user interface and is what Technos highlighted in its advertising. It’s a vacuum-fluorescent display for status information and menus and a surface of touch-sensitive nodules, 2114 of which contain LEDs.
Comes with printed manual, sound disks and latest OS. The Solitary sits in a transportable rack case. Serious buyers only. This is the holy grail and strictly for synthesizer collectors."
See the Technos or Acxel label below for more posts including videos.
Someone needs to make a watch version! ;) Sorry, when I first saw the image in this post it was a bit smaller and reminded me of a Casio watch.
PPG Waveterm A and Wave 2.2 Wavetable Synthesizer from the year 1982.
Only 500 Waveterm A&B are made in the early 80s
price WT-A: 15.000 DM
The Waveterm is the heart of the legendary PPG system and based on an old german computer called Eltec Eurocom II with Motorola 6809 processor.
- creation of Waves and Wavetables
- fourier analysis / resonator
- additive synthesis
- 8 bit Sampling for the WAVE 2.2
- sequencer / event generator
- storage of sounds on 8" disc
this demo video shows only a few functions (creation of waves, wavetables) of the Waveterm.
More coming soon."
Saga - Jim Gilmour Demo - Musikmesse Frankfurt 1993 1992 Published on May 12, 2013 MadSevenFilms
"Jim Gilmour ( Saga keyboardist) in a demo at the Waldorf stand during the musikmesse in Germany.
Humble Stance, Wind Him up, Don't be late, Careful where you step, On the loose,etc ...."
Update: according the swissdoc, these videos are actually from 1992. That would make the appearance of the prototype Wave in 1992, not 1993. This post has been updated to reflect that. Note swissdoc's write-ups are from 1993 as you can see in the datestamps for the links, and I believe the production model Wave was indeed released in 1993.
Here's a blast from the past featuring a bit of Waldorf history in via swissdoc. This may very well be the only Waldorf footage from the event. Check out the non-working prototype of the Waldorf Wave in the background. 1992 was the year it made its first appearance to be released in 1993. Note the Microwave rack was released earlier in 1989. Further below you will find some notes on Musikmesse 1993 (the following year after these videos) from swissdoc, followed by a transcription of the Wave flyer. This is a fascinating look back on synth history. But first, one more video from the 1992 Musikmesse.
Update2 via swissdoc: "In addition, for those who can read and understand German, there is a big series of three articles available for download (email has to be provided) from the German Keyboards magazine. Inside Wave. Amazing level of detail plus in part three an interview with developers and users plus additional interviews with the people behind the Wave.
Update3: The following scans have been added to the bottom of this post:
Messe.1992.TSI.Messeinformation
Messe.1992.Preliminary.Wave.Info
Messe.1993.TSI.Show.Information
Messe.1993.Wave.Flyer
Saga - Jim Gilmour Scratching the surface - Musikmesse Frankfurt 1993 1992
Published on May 13, 2013 MadSevenFilms
"Jim Gilmour ( Saga keyboardist) in a demo at the Waldorf stand during the musikmesse in Germany.
Scratching the surface"
---
The following is a Musikmesse 1993 recap via swissdoc aka George Mueller, who attended, from way back in 1993 (you'll find a transcript of the Waldorf Wave flyer text further below). P.S. for a quick look at the gear released at the 1993 Musikmesse see here and here, both from swissdoc.
"Before I go into this Wave stuff, I'd like to tell you a little about the Frankfurt Musik Messe. Those restless gear junkies, skip the next 24 lines.
The Frankfurt International Music Fair was held for the 14th time and was attended by a record number of exhibitors: 1194 from 40 contries. So it's the leading event for the music business.
The Messe Frankfurt has 10 halls of different sizes, three of them are used by the Musik Messe. Hall 9.0 is the most interesting, it's for electronic instruments, 9.1 is for guitars and amps, 9.2 is for stage light, sound and mixers. These halls are middle in size, rows range from A to F, with booth numbers up to 90 each. Hall 8 is for acoustic instruments and publishers; it's funny, all that noise from test-playing violins, flutes and so on. This is the biggest hall, rows from A to P. The monster booth of Yamaha is in the back of this hall with all their synths, FXs and personal keyboards. So it's a long walk to Yamaha. It's a bit risky in this hall, if you enter one booth, browse thru the pages of some book, after talking to the salesman you probably lost your orientation. Hall 10.1 is reserved for grand pianos and uprights. No elctricity allowed there.
It's funny, when you change from 9.0 to 9.1, all those long haired heavy metal guys. One amp or guitar company has a Hard Rock Cafe at their booth, evertime overcrowded with guys drinking cocktails or beer.
So, here we are, the promised report on the TSI shows WAVE MUSIC DEMO and INSIDE THE WAVE.
"The Hartmann Neuron is one of those synths that intrigues and seems full off possibilities. Somewhere between Sampler, modeller and resynthesis engine built for a short time in the early 2000’s
This is the VST based on Axel Hartmann and Stephan Bernsee’s creation that was also also for sale for a short time before the company folded. It came with a controller (Nuke) which also acted as copy protection. Fortunately Stephan Bernsee has updated the code as much as possible to make the Neuron no longer tied to the controller and it now is available for free via his website and the Neuron facebook group.
The VST is built around the older VST 2.1 SDK which means the code is not compatible with most DAW’s today. You will need an Intel Mac running a VST Host that supports the older system. A full list of supported clients & links to downloads are available at http://www.neuron-synth.com/
Unfortunately the windows code base has been lost and is no longer able to be updated.
The Clip was composed 100% on the VST and no effects besides some compression was used."
Impulse Modelling Synthesis (IMS) is far more than a marketing buzzword - it represents a radically new and different approach in sound generation.
Based on the latest research in psychoacoustics, Tone2 RayBlaster unveils a completely new and unique world of sounds that is exclusive to RayBlaster and not possible with other synthesizers.
What is Impulse Modeling Synthesis ?
Offering a new world of high quality sounds and limitless creative potential for all styles of music,
IMS goes well beyond traditional forms of synthesis. Conventional synthesizers employ what is known as subtractive synthesis, in which the oscillator source is a looped waveform that is filtered to create a sound. By contrast, RayBlaster utilizes an entirely new and fresh approach to sound generation and creates its distinctive sound from many short bursts of energy, which combine to form a more complex sound. In fact, this innovative approach to synthesis is very close to how our human inner ear perceives sound. Because of its radically new method of synthesis, RayBlaster offers a wide range of original sounds, sounds that have never been heard before.
"New features in the Kyma 7.1 sound design environment are designed to help you stay in the creative flow by extending automatic Gallery generation to analysis files and Sounds, keeping your sound interactions lively and dynamic with support for new, multidimensional physical controllers, while expanding your sonic universe to include new synthesis and control algorithms that can be combined with the extensive library of algorithms already in Kyma."
Press release:
"Kyma 7.1 Sound Design Software Release
More inspiration, more live interaction, more ways to generate sound
CHAMPAIGN — November 14, 2016 — Symbolic Sound today announced that Kyma 7.1, the latest major release of the world’s most advanced sound design environment, is now available as a free update for sound designers, musicians, and researchers currently using Kyma 7. In Kyma 7.1, you can automatically generate an extensive gallery of inspiring sound design ideas based on your own signal-flow patches, samples, or analysis files. From there, it’s easy to map any parameter to an external physical controller so you can perform live sound-to-picture and design new musical instruments. Quickly create unique, high-quality sounds by combining some of the newly-developed sound synthesis modules exclusive to Kyma 7.1 with the massive library of existing synthesis and processing modules already available in Kyma.
Published on May 19, 2016 ARTURIA - Update: new video uploaded May 30, 2016
Update: Clarification: the NED Synclavier is not an emulation but a port of the original software:
"this is not an emulation - it is the real thing, the real mccoy. Cameron Jones himself ported the original Synclavier code to run on PC/MAC/VST etc.
- you have the choice of playing each patch either in the original 8-bit depth, or change it to 4-bit (!), 10-bit, 12-bit, 14-bit, 16-bit, 18-bit, 20-bit, 22-bit or 24-bit depth.
- resynthesis: not implemented in the current release but there may be plans to put it in a future release. However some of the original factory patches included (83 total) are resynthesis-based
- the partials/timbre frame functionality was vastly expanded"
Video description:
"The new V Collection 5 is a giant leap forward in our quest to create the greatest legendary keyboards collection ever, including 5 new softwares instruments: Piano V, Synclavier V, B-3 V, Stage-73 V, Farfisa V.
Update:It's not clear if the Synclavier V supports sampling resynthesis (see above), although it does take the FM and additive synthesis with partials to a new level. For reference, you can find the history of features for the original Synclavier on Wikipedia here.
"Arturia announces the Synclavier V, the first recreation of the legendary digital synthesizer made in collaboration with Cameron Jones, the inventor of the original instrument.
The Synclavier V faithfully recreates the elite digital synthesizer/workstation that started it all, powering some of the biggest hits and film soundtracks of the early ‘80s with its unique rich, edgy sounds.
While the Synclavier V expertly brings this historic instrument to life, we’ve improved it dramatically by taking advantage of today’s processing power. We’ve also infused into it everything we’ve learned over 16 years of developing award-winning software synthesizers. The result is a thoroughly modern, cutting-edge instrument that stands alone among hardware and software synths alike.
Update: some details on the synth engine:
Timbres consist of up to 12 Partial Timbres
Much of the magic of the original Synclavier owed to the ability to build Timbres (presets) by creating and layering four completely different sounds or Partial Timbres to realize massive, complex sounds. With the Synclavier V, we’ve taken the number of Partial Timbres to 12, dramatically expanding the creative possibilities. Since each Partial Timbre is a complete sound, that means that you can stack many different sonic elements into electrifying Timbres resounding with rich complex textures brimming with subtleties.
Partial Timbres are each compete synth engines
Each of the 12 Partial Timbres has two digital oscillators that combine the principles of both additive and frequency modulation (FM) synthesis. Rather than using filters to subtract harmonics from simple oscillators, additive synthesis builds up complex sounds by selectively adding harmonics in this case. The Synclavier V goes way beyond that, combining these oscillators in an FM architecture where the carrier (main) oscillator is modulated by the second harmonic oscillator. The fusion of additive and FM technologies make for a stunningly diverse and unique universe of cinematic pads, epic leads, evolving bass lines and more.
Time Slices animate long passages
Time Slices allow you to specify up to 50 snapshots of the 12 Partial Timbres of additive and FM synthesis goodness, and animate through them over time. For each Time Slice, you can set the volume, pitch, FM modulation amount, and delay. The ability to set parameter crossfades of up to 30 seconds between Time Slices—over a total time of 5 minutes—makes it possible to create long evolving ambient pads and cinematic cues of incredible complexity.
Improvements make a great instrument even greater
We’ve made a lot more improvements beyond boosting the sound engine from four Partial Timbres to 12. Where the original modulation oscillator was only a sine wave, now you can also choose sawtooth, square, or triangle—or graphically build your own waves comprised of 24 phase-controllable harmonics. These enhancements allow you to create outrageous textures never possible before. Each Time Slice can now even have a separate FM modulator waveform. Variable bit depth between 4- and 24-bits, on-board effects, and a MIDI Learn feature are just some of the many examples of the new options available to you in Synclavier V.
With the Synclavier V, digital synthesis meets total creative and performance expression.
Sure, all synths have LFOs, but the vibrato section of the Synclavier V is exhaustive, giving you control over LFO attack, phase, quantizing, bias and more. Things get even more interesting when you apply the LFO to the FM harmonic oscillator that, in turn, modulates the carrier. Let that sink in for a minute!
Want to take your listeners on an animated journey? Add extra energy to your pads and soundscapes with the stereo modulation section. It actually takes the form of separate linkable tremolos for each channel, making for unique spatial animation effects that will have everybody’s heads spinning.
Imagine performing with expressive nuances never possible before. Press harder on the keyboard to change the amount of FM modulation. Ride the expression pedal to affect the frame speed of your Time Slices. Grab the mod wheel to rock the FM modulation ratio. These are just some examples of what’s possible when you use the modulation matrix to easily map any of your favorite MIDI controllers to dozens of sound engine parameters—discretely for each Partial Timbre."
Update: the official press release for the entire V Collection 5 [Note: The Analog Lab press release below was the first to go up. Apologies for the all the updates, but this is how it comes in, and posts here on MATRIXSYNTH are about capturing that]:
"Arturia advances industry-standard V Collection of virtual classic keyboards
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of V Collection 5 — the latest incarnation of its impressive industry-standard collection of authentic-sounding virtual instruments, expanded and updated to include five all-new additions alongside new versions of ‘old favourites’ (plus Analog Lab 2) — as of May 19…
With no fewer than 17 virtual instruments that recreate hard-to-source synthesizers and classic keyboards, V Collection 5 represents really remarkable value on many musical levels. At an attractive monetary level, it’s a no-brainer! Bringing something special to the 21st Century performance and production table, five all-new authentic-sounding additions lead this latest V Collection charge.
B-3 V beautifully recreates the distinctive tones of the B-3 tonewheel organ, one of the most iconic and influential instruments of all time. It truly transcends time and place by bringing this still-sought-after sound to the computer-based music-making masses. Meanwhile, Farfisa V virtually puts players in the driving seat of the sound that drove the hits of several decades as a superb software simulation of the famous Farfisa Compact Deluxe organ. Pushing the physical boundaries of an acoustic piano, Piano V meticulously models the sound and behaviour of one of the most important instruments history has yet thrown up — albeit not as one but rather nine virtual instruments rolled into one! An authentic-sounding software simulation of the Seventies-vintage Stage and Sixties-vintage Suitcase 73-key electric pianos, Stage-73 V is the sound of the Sixties, the sound of the Seventies… the sound of today, the sound of tomorrow! Thanks to Arturia’s close collaboration with original Synclavier® software developer Cameron Jones, Synclavier V takes everything the trailblazing Synclavier® could do as the most powerful additive and FM synthesizer ever created and makes it more powerful!
Put it like this: thinking about all those thousands of new sounds and styles in V Collection 5 that are available at the touch of a (virtual) button beggars belief, but Arturia’s aim is true… to create the tools that lend a helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow. The 12 remaining virtual instruments in V Collection 5 — ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V analogue synthesizers; Prophet VS digital synthesizer; Wurli V electric piano; VOX Continental V electronic organ; and Solina V string machine — do just that, too. All are updated with resizable (Retina/4K-compatible) GUIs that truly have to be seen to be believed! But digging deeper, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — naturally features across the board. As does AU, AAX, VST2, and VST3 compatibility, standalone operation, plus MIDI Learn (to easily map all parameters to a MIDI CC).
Continuing Arturia’s quest for absolute authenticity through TAE® (True Analog Emulation), physical modelling, and additional technologies, anyone prepared to dig deep into V Collection 5’s treasure trove of hard-to-source synth and classic keyboard recreations will be musically rewarded in kind. Conversely, Analog Lab 2 is a powerful yet painless way of accessing a broad selection of sounds from across V Collection 5 within a single application. As it supports Arturia’s many MIDI controller devices natively, it adapts to reflect their physical controls when they are connected… connect with V Collection 5, then, and accept Arturia’s helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow!"
The Analog Lab press release:
"Arturia advances Analog Lab composite virtual instrument to include V Collection 5 sound selection
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Analog Lab 2 — an all-new incarnation of its composite virtual instrument that gathers together a broad selection of sought-after sounds from its V Collection 5 software bundle — as of May 19...
Analog Lab 2 is a powerful yet painless way of accessing a sought-after selection of sounds from all 17 of Arturia’s authentic-sounding virtual instruments as a single application. Included are sounds from eight emulated analogue synthesizers (ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V), two digital synthesizers (Prophet VS and Synclavier V), two electric pianos (Stage-73 V and Wurli V), an acoustic piano (Piano V), and three electronic organs (B-3 V, Farfisa V, and VOX Continental V). Those virtual instruments recreate hard-to-source hardware synthesizers and classic keyboards of the past and conveniently transport them to the present-day desktop.
Analog Lab 2 invites instant exploration as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Its redesigned, resizable (Retina/4K-compatible) GUI (Graphical User Interface) is as easy on the eye as it is to use. Studio View shows the original historic hardware, helpfully bringing up the best presets from each instrument in question. But there’s a whole lot more to Analog Lab 2 than good looks alone.
Accessing those sought-after sounds at the speed of sound is simple, thanks to a new preset browser. Browse presets by TYPES, BANKS, sonic CHARACTERISTICS, and INSTRUMENTS (crossing categories). Create PLAYLISTS. Or simply Search for presets by NAME. Needless to say, with 4,500-plus presets to choose from there’s always a sound to suit every mood, every ambiance, and every music style — sounds that transcend time and fashion.
For those wishing to dig deeper then the dual-instrument MULTI feature with independent MIDI settings panel for each instrument will make their musical day. Drag and drop splits and layers of those presets to take ownership of the sound. Sounds and Multis can be organised in the PLAYLISTS area for instant recall via program change messages, making Analog Lab 2 a best friend in the studio and a pillar of live performance.
Put simply, Analog Lab 2 is so much more than just a sound library. It’s a substantial sound design tool and an amazing live performance instrument integral to immeasurably improving everyday workflow. When connected to one of Arturia’s many MIDI (Musical Digital Instrument Interface) controller devices, Analog Lab 2 will automatically adapt to reflect their physical controls. Generic MIDI controllers of course can also be used with MIDI learn to easily map all parameters to a MIDI CC (Control Change).
Changing the sound of Analog Lab 2 is even easier thanks to two EFFECTS slots with pre/post fader switch per instrument. Included Bitcrusher, Chorus, Delay, Destroy, Dub Delay, Eq4, Flanger, Overdrive, Phaser, Pitchshift, Reverb, Roundpanner, and Vocal Filter effects ensure that Analog Lab 2 always sounds the way you want it to.
Take your sound and workflow to another level with Analog Lab 2, an easily-accessible environment at an easy-to- swallow price point. What’s not to like?"
Arturia B-3 V Tutorial
Published on May 19, 2016
"The B-3 V delivers the most authentic tonewheel organ and rotary speaker experience you’ll find anywhere, plus customizations that open up new creative opportunities."
"Arturia pulls out all the software stops to realistically recreate tonewheel organ combo classic
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of B-3 V — an authentic-sounding software simulation of the classic B-3 tonewheel organ and Leslie rotary speaker combo — as of May 19...
B-3 V realistically recreates the special sound of the B-3 tonewheel organ. One of the most iconic and influential instruments of all time. One which has graced many of the greatest recordings of all time. Today Arturia brings this to its award-winning Analog Classics family of virtual instruments that recreate hard-to-source synthesizers and classic keyboards.
Keyboard players have made their mark in all forms of popular music with the B-3, back from its inception in the Fifties way past its discontinuation through to today. Procol Harum’s hit ‘A Whiter Shade Of Pale’ proved particularly memorable with a melancholic countermelody displaying an altogether softer side to the B-3. But raucousness remains the order of the day for the blues, jazz, and gospel genres with which it first found favour. After all, it had historically been aimed at churches as a more compact and affordable alternative to conventional pipe organs.
One saying springs to mind: Pulling out all the stops — to hold back nothing — is an allusion to organ stops being pulled out to turn on each set of sounds in a pipe organ. The B-3 effectively ‘emulates’ this with its drawbars. Doing this and a whole lot more is what B-3 V does best, thanks to Arturia pulling out all the software stops to make it happen!
Thirties-developed tonewheel technology originally made that special sound happen. An electronic current is created when rotating a metal tonewheel near an electromagnetic pickup and amplifying that signal. The B-3 has 91 of those tonewheels with each key connected to a fixed set of tonewheel outputs. Drawbar settings control how these are mixed together. The tube preamplifier subsequently shapes the sound a little further — filtering and distortion take hold here — while factoring the position of the expression pedal. This not only acts as a volume control but also affects the frequency response of the preamp which is connected to a speaker.
Speaking of which, B-3 V faithfully simulates the favoured Leslie tone cabinet, containing a power amplifier that drives a rotating horn and a stationary woofer firing into a rotating drum reflector. Spellbinding spatial and frequency-shifting effects above and beyond the sound-shaping effects of commonplace loudspeakers are all perfectly possible!
B-3 V brings this classic combo — complete with the inherent imperfections that made that tonewheel technology sound so unique — to the present-day desktop as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Visually, things couldn’t get clearer, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.
Under the hood, things couldn’t be better with MIDI control of many parameters and insert slots for ANLALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASE effects, as well as ADVANCED SETTINGS for upper and lower manuals and rotary speaker behaviour. B-3 V boasts a built-in step sequencer, allowing anyone to easily set an amount of modulation for each step of the sequence! Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) allows advanced integration with B-3 V.
All of the benefits of the original iconic instrument are available to modern music-makers with B-3V, but without the heavyweight hassles. Where anyone chooses to take it musically is anyone’s guess, but bet your bottom dollar that special sound will be being heard for many more years to come... courtesy of B-3 V!"
Arturia Stage-73 V Tutorial
Published on May 19, 2016
"The Stage-73 gives you actual authentic modeling of both Stage and Suitcase versions of the most popular electric piano on the planet —completed with unparalleled control of virtual mechanics, a complement of effects pedals, and built-in classic amps."
Update: And the official press release for the new Farfisa-V:
"Arturia augments Analog Classics collection with faithful Farfisa Compact series software simulation
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Farfisa V — faithfully modelling the famous Farfisa Compact Deluxe electronic organ with additional features from its Duo Compact series sibling — as of May 19...
Arturia’s award-winning Analog Classics family of virtual instruments recreate hard-to-source synthesizers and classic keyboards. As a worthy addition, Farfisa V virtually puts players of today in the musical driving seat with a still-sought-after sound that drove the hits of several decades: Farfisa’s famous Compact Deluxe electronic organ, one of a series of iconic instruments manufactured in Italy between 1964-1968. A staple of Sixties-produced popular music, they made their musical mark with a wider-ranging sound than that of their main VOX Continental competitor. With more bass waveforms and an expanded percussion and vibrato section sales soared.
Speaking sonically, Farfisa Compacts are almost more top octave synth-like than organ-like, thanks to a rudimentary envelope that allows for attack and decay control that went way beyond the typical organ sound of its day. Little wonder, then, that they proved popular with musicians throughout the Sixties (‘Sam The Sham’ and The Pharaohs, Percy Sledge), Seventies (Jean-Michel Jarre, Kraftwerk), Eighties (B-52s, Blondie), and beyond. But unlike heavyweight Hammond tonewheel organs, transportation to performances was trouble-free. For the fortuitous Farfisa form factor included integrated legs that could be folded up and stored within the body of the instrument itself, surely sealing many purchasing deals!
Today, though, finding and maintaining an original Farfisa has become both difficult and costly. Farfisa V solves such problems by bringing all the benefits without any of the hassles to the present-day desktop! Developed using an original hardware organ for reference, it meticulously models the original circuits and sounds of the famous Farfisa Compact Deluxe. Features from its Duo Compact series sibling are also included alongside an authentic combo amp simulation. Standalone instrument operation on Mac OS X and Windows is a given for performance purposes. Plug-in support for all major formats inside any DAW (Digital Audio Workstation) with easy MIDI-learn functionality provides hands-on control of many of its parameters and automation support for considerable creative control. Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — is there for the taking.
As always, recreating an instrument in software provided an opportunity to add a number of more advanced features fit for the 21st Century. Cue the special USER WAVE position, allowing anyone to create an additive waveform. Why not use the ToneDraw feature to create a new waveshape based on the graphical look of the sliders? Having modelled the original built-in spring reverb, Arturia added other reverb IRs (Impulse Responses). Reorder the additional ANALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASER effects. Easily-accessible individual voice tuning, PARA (paraphonic) and POLY (polyphonic) modes, ATTACK and RELEASE envelopes for upper and lower keyboards, BASS WAVE (waveform selector), TONE control for bass section, TREMOLO SYNC, and REPEAT SYNC round out this all-new Analog Classic. Hearing is believing. So is seeing, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.
Ultimately, then, whether you’re set on recreating a distinctive and powerful organ sound of the past or forging ahead with a new organ sound of the future, Farfisa V does it all. But best of all... legs no longer play a part in sealing this must-have musical deal!
Spotted this one on sequencer.de. Note this appears to be a one man personal project:
"Taymur Streng is working hard on a Synclavier that works on and with Max/MSP. This is still “work in progress” since it is a lot of work for just one person.
Seems like the Synclavier had the following concept on FM, please post if you know it better:
there is one OSC that modulates up to 36 “Harmonics” Oscillators. all of these OSCs have their own frequency and that modulating OSC has a ratio. All of them got an extended 6-parameter-envelope. There are 4 layers available.
there is more synthesis functions like 2 versions of resynthesis (the original has one algorithm). And of course the 36 OSCs are for additive synthesis as well. also there is a simple wavetable concept.
so much for the synth-section (not counting in samples, that are also possible).
I had only a short time on a real Synclavier, so just tell me if there’s something to add or correct. Taymur knows a lot – but we would love input (if helpful).
"I'm selling a 16-voice Synclavier II system. It is one of the super rare 2% of Synclaviers which has the Timbre Frame Resynthesis capability. Another rarity is the black ORK keyboard. The system has a lot of sound disks, the RealTime software disks, etc. comes with manual, extra floppy drive, etc. The unit worked fine in July 2015 when I recorded the Aloha Rhapsody with it. Now it won't load any OS disk, although it still starts up the good old way. The issue might be a simple $100 floppy snag of some sort for all I know. I only learned enough Synclavier know-how to understand, only seasoned experts with lots of spare parts should mess with a Synclavier's hardware.
So this system needs a new owner, someone who lives within easy driving distance of a seasoned tech like Synhouse in LA who did the last full overhaul of this unit in 2009, bringing it up to factory spec. Keeping a Synclavier system in the middle of Pacific as I tried, where diagnosing an issue will cost 10 times the repair in air shipping costs is not really financially sensible.
So, even though I spent close to $10K on this system, I'll put it up for sale at $2490, as is. From its arrival in 2009, it still worked fine 6 months ago, so whatever ails it now seems not drastic, but I am not making any promises. At such a bargain basement price, it is being sold as is. When it runs, it does awesome things.
For shipping,I'll put the dimensions below so you can check FedEx/UPS shipping quotes to your exotic destinations for yourself. Ebay's form only let me enter dimension / weight for one single box, as if the whole system were packed into one giant uber-heavy box. In fact, there will be 3 separate boxes.
The rack unit, boxed is: 72 lbs, 24 x 24 x 16 inch
The keyboard, boxed is 25 lbs, 42 x 16 x 12 inch
Drives, cables, manuals, etc. in one big box is 40 lbs, 16 x 16 x 24 inch
My zip code (if ebay doesn't say it) is 96815"
