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Jack Hertz

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  1. Jack Hertz

    Korg minilogue xd module

    The long-awaited desktop module of KORG’s next-generation analog synthesizer minilogue xd module is the new desktop module version of minilogue xd, the four-voice polyphonic analog synthesizer with a customizable digital multi-engine and built-in stereo digital effects. The desktop module is equipped with the same controllers as the keyboard version, making it a great choice not only as an additional sound module for your keyboard or DAW but also providing excellent performability, giving you an easy way to include an analog polyphonic synth in your setup. It's also equipped with a poly-chain function that lets you connect it with another minilogue xd or minilogue xd module so that the two units can operate as a polysynth with a total of up to eight voices in your studio or on stage. Equipped with an analog synthesizer circuit and a digital multi-engine Voice structure of minilogue xd is 2VCO + MULTI ENGINE, 1VCF, 2EG, 1VCA, and 1LFO. In addition to the distinctive circuits found in the series, such as wave shaping to shape the overtones of the oscillator and a sync/ring switch, there's also cross modulation, a two-pole filter that can be both sharp and fat, and a drive switch that adds thickness and drives signal into minilogue xd’s filter. Every parameter has been tuned in detail based on what musicians want out of their synth. The sounds range from the warm pads typical of analog to fat basses and crisp lead sounds, covering every situation. The additional sound design possibilities of digital sound are delivered by the multi-engine: the third oscillator in addition to the two analog VCOs. This engine, which is equipped with three different types of sound generator (noise, VPM, and open-source user oscillators) lets you take advantage of a sonic character that's different than analog, and use it at the same time as the analog engine, infinitely expanding xd module’s potential through hybrid sound design. High-quality digital effects minilogue xd’s high-quality digital effects use 32-bit floating point DSP processing, adding a finishing touch to its deep sound design platform. The three types (modulation effects, reverb, and delay) can be used simultaneously, letting you choose from a wide range of variations including chorus, ensemble, warm tape delay, and a diverse variety of reverb. The user effect slots allow you to load your own effect programs that you've created. User customization brings out infinite potential The minilogue xd features a customizable open-source environment. The unit comes with 16 user oscillator slots and 16 user effect slots that you can customize. Oscillators and user programs that you’ve created with the SDK (Software Development Kit) can be loaded into the minilogue xd via the dedicated librarian software, as well as oscillators other users share online. What sounds can you create using the fusion of expanded digital oscillators with analog synthesis? Create original programs, share code, and participate in the user community. KORG even provides sample code to get you started. Polyphonic Step Sequencer One of the major features of the minilogue xd series is its 16-step step sequencer. Each of the factory-preset programs has an embedded sequence pattern created with performance in mind. The step sequencer provides 16 steps, and supports both realtime recording and step recording. You can use the 16 step buttons to select a step directly, allowing quick editing to replace the pitch of a step or to mute it, or even improvisatory performances. Motion sequence lets you record the movements of up to four knobs, adding time-varying change to the sound, and you can record not only smooth changes in value but also values that change precisely at each step. You can use this to have different parameter values at each step; for example, you might create a drum pattern or sound effect from just a single program. This allows countless ideas to be unleashed. When you turn Keyboard mode on, these 16 buttons operate as a keyboard of more than an octave, providing a convenient way to check the sound. Poly chain support The minilogue xd module can be used in conjunction with another unit (*2) in the minilogue xd series (*1) for poly assignment settings. Specify one unit as the master and the other as the slave, and they will play as an eight-voice polyphonic synthesizer (*3). This supports a variety of uses, such as a voice-expansion module for the minilogue xd or as a sound module for a DAW-based production system. *1: For keyboard-equipped models, supported in system ver. 1.10 or later. *2: Any combination of the xd and xd module can be used. *3: The two xd units can each play four voices, for a maximum total of eight voices. The master unit takes priority for producing notes, and the fifth and subsequent voices are assigned to the slave unit.
  2. A powerful bass synth with a sound source based around a vacuum tube oscillator. The acid bass machine with the pinnacle of modulation and distortion. Even today, when digital technology allows electronic musical instruments to simulate any sound imaginable, people seek the warm harmonics and distortion produced by analog vacuum tubes. This distinctive sound has a quality beyond words that sets it apart, and cannot be captured by a response curve; it's the unmistakable sound of tubes. The volca nubass is the first analog synth to be equipped with a Nutube new-generation vacuum tube in its oscillator. Vacuum tube plus analog means that the sound is warm, thick, and rich. The familiar transistor ladder filter gives it the character of a classic bass machine, along with overdrive, and huge-sounding distortion. An acid bass machine for a new generation combines classic sound with the power of modern synthesizer design. It's the volca nubass. The fusion of a newly developed vacuum tube oscillator with a classic ladder filter A vacuum tube oscillator circuit forms the heart of volca nubass, utilizing groundbreaking Nutube technology The Nutube is equipped with two vacuum tubes; one is used in the oscillator to generate a sawtooth wave or square wave. The other vacuum tube is used in the drive circuit of the sub oscillator, adding depth and warmth one octave below the oscillator. This oscillator and sub oscillator provide a circuit structure that brings out the harmonic character that only a real vacuum tube could provide. A transistor ladder low-pass filter that produces a distinctive sound The low-pass filter defines the sound of this bass machine; it uses a transistor ladder design found on classic analog bass synths. This filter is uniquely dynamic in the way it affects a sound more than just ranging from bright-to-dark. Its wide range of timbral possibilities makes it ideal for a broad variety of dance music; you can use it to create the distinctive modulation that can be heard in acid house, or increase the resonance to bring out a sharp character that's appropriate for techno. Analog driver circuit nubass is equipped with overdrive that uses an analog circuit reminiscent of a classic stompbox. Turning the knob toward the right compresses the volume while causing mild distortion, adding thickness to your bass sounds. The tone knob also lets you adjust the crispness of the high-frequency range. A 16-step sequencer that lets you automate parameters The volca nubass is equipped with a full-fledged 16-step sequencer with a variety of functionality; by using it in conjunction with a rhythm machine, you can construct rhythm tracks or loop music. You can use the 16 buttons for step input just like the rest of the volca series, or play the buttons as a keyboard for realtime recording. The chain function lets you play back multiple sequence patterns in succession, allowing you to loop up to 16 sequences. The motion sequence function can record knob movements, applying parameter changes over time to the sound. This can be used when creating loops, or for live performances that are dynamic and original. Up to 16 sequence patterns together with motion sequences can be saved in internal memory. There's also an active step function that lets you skip steps that you specify during playback; sequence patterns become more dynamic and exciting when they can be edited in real time during performances. Three functions to create grooves on volca nubass The sequencer of the volca nubass provides three functions that add the slap and slide performance techniques that are distinctive of acid bass: these transpose, accent, and slide functions are accessible and controllable through the step sequencer. Transpose is a function that plays a note one or two octaves higher; it adds movement to the bass line while staying within the original scale. Accent emphasizes a note, creating dynamics that make the rhythm expressive. And the slide function that's indispensable to acid sound creates a smooth transition to the next note. Use these functions to add a sense of groove, and volca nubass will come alive in your performances and compositions. Randomize settings can be applied to each of these three functions. In addition to generating unpredictable patterns, you can update the randomize settings to keep varying the patterns, bringing out more unexpected and exciting ideas from the sequencer. Excellent playability Connectors that allow synchronized performance and external control Since this unit provides a sync jack for easy connection to Korg groove machines, you can connect it to another volca series unit or to equipment such as an electribe or the SQ-1, and enjoy synchronized playback with the sequencer. There's also a standard MIDI IN connector, so you can use the volca drum as a sound module for your DAW.
  3. By using a nonlinear feedback system, patterns are created that exhibit chaotic properties like attractors, bifurcations, etc. Second, the filter also uses a nonlinear feedback system that can go into ranges where bifurcations occur, which results in the creation of ‘undertones’, where the period doublings create harmonic partials that are lower in frequency as the signal fed into the filter. The chaotic behavior of the Blippoo Box reveals itself through the repetitive nature of the sound patterns it produces when in a stable state. When a control know is changed to a new position, the box will soon go into an apparent random state and then will find a new balance in a new stable state where it repeats another sound pattern. Tiny changes in a knob setting can sometimes produce dramatic differences in pitches and durations for new patterns. By careful tuning and changing the amount of modulation by the resonator, many timbral structures can be given to a pattern. Still, the particular design of the resonator and how it reacts when excited by the chaotic core of the Blippoo Box will impose a certain sonic character on the final sound, giving the instrument its own personality.
  4. An architecturally unique and sonically characterful looping toolkit for producers and live performers, inspired by both modern looper pedals and vintage tape-based setups, Enso combines elegant and intuitive UI design with a deep but accessible feature set and stellar sound quality. Enso’s operation will be immediately familiar to users of hardware looper pedals or plugins such as Ableton Live’s bundled Looper. Start playback of the host DAW, hit Enso’s record button and capture your instrumental performance into a loop of whatever length you like, up to ten minutes (five minutes on iOS). Then, without stopping playback, overdub further passes to create layered grooves, complex harmonic textures, or dense, evolving soundscapes. Beyond those basics, though, Enso takes software looping into new territory. Two Overdub modes configure the plugin for conventional looper pedal behaviour or Frippertronics-style ‘dual tape deck’ manoeuvres, affecting the handling of the Feedback parameter for an endless range of layering possibilities; and up to four Sectors can be effortlessly defined, each with its own start and end points, for on-the-fly rearrangement of the loop. With Enso, time and motion become truly fluid, as speed and direction are handled completely independently for playback and recording, the ‘through-zero’ bipolar Speed controls smoothly transitioning from forwards to backwards, and vice versa, in real time. Want to record forwards at half speed, while simultaneously playing the buffered loop in reverse at 1.25x? Of course you do… Onboard tape-style saturation, filtering and chorus effects bring dirt, frequency-shaping and stereo thickening to the party; and a comprehensive MIDI assignment system makes it a snap to set your MIDI pedal or button controller up for operation of all Enso’s buttons and switches. With its animated play and record heads, meanwhile, the looping waveform display provides a clean, clear visual representation of the potentially mind-bending temporal acrobatics taking place, letting you get a handle on exactly what’s happening at a glance. Giving you everything you need for limitlessly creative looping, on stage and in the studio, Enso is one of Audio Damage’s most beautifully realized plugins yet, and an empowering addition to any musician’s arsenal of effects
  5. Pick from 180 built-in patches — or design your own. Start with additive synthesis, wavetables, or a sophisticated mix. Add rich modulation, effects and filters, controlled by powerful LFOs and beyond. Make vibrant leads, vast soundscapes, compelling basses, warm bath or deep sea pads, and so much more. The sound is complex, but the controls are not. Synth engine and UI both offer clarity and power — you’re holding in your hands a miracle of touch-screen technology, why limit it to the switches and dials of decades-old hardware? Mitosynth takes a simple approach: With a tap, almost any dial can be switched out for a graph with automation controls, including LFOs, 5-stage DADSR envelopes, ingenious noise generator, step sequencer, BPM sync — and MIDI, of course. Plus XY pads for the hands-on approach. And you can combine them. Use one automation to control which (or how much) of two others affect a setting. Many of the automation controls are themselves automatable. You can repeat this, going to deeper levels. LFOception! The flexible FX chain means no messing with complicated routing tables, or stringing cables around until your screen looks like a plate of pasta: Slot the distortion, filter, delay and other effects you want, in the order you want. Simple! Powerful like a modular synth. Clean and straightforward like a modern iOS app. Quick List of Things You Might Want To Know Mitosynth Supports: • Core MIDI • Virtual MIDI • Background Audio • Audiobus • Inter-App Audio • AudioCopy/Paste • AudioShare • Performance Recording • Universal App • Drag and Drop (iPad) • Enhanced for iPhone X Super Retina screens Also features: • Filters, crushers, distortion, warm fuzz, flanger, phaser, echo, tube resonance and chorus. Install up to four in any order — plus a high-quality reverb • AM, PWM, Phase Mangulation, Supercharger unison mode • Mono and Polyphonic glide, and Regular, Toggle and Latch sustain, customisable keyboard • Slick patch and audio management with search and tagging • Easily share patches with friends, including any additional audio they require • Complete manual built-in, and available for download too ...and far more features than can be listed here. Check out the website for the full details!
  6. Poseidon Synth - The Ocean of Sound For all creatures in the ocean of sound - Sonic textures from other worlds, Analog signature sounds, Cut-through-the-mix leads and silkily smooth pads: Poseidon sets a new standard for sound design and ease of use. All of this was made possible through a combination of the familiar, conceptual simplicity of the analog synthesis and our frequency domain based Spectral modelling synthesis technology. Spectral model oscillator Select a basic sound model from over hundred delivered with Poseidon. The basic sound model determines the sound characteristic you want to start: taking a artificial model like “Sawtooth” gives you analog style sounds. Use complex models from analyzed samples for earth shaking ambients and evolving pads. Model parameters High level controls allow for changing the spectral shape, the harmonicity and balances the level of residual noise and spectral amount of the oscillator model. F-Domain Filter The newly developed F-Domain filter allow for drastic changes in the resulting sound spectrum. Five filter types including lowpass/highpass characteristic can be used to shape the sound. They have the usual controls like cutoff but also very unusual ones like a variable slope ranging from 0 dB to 72 dB / Octave and independent controls for resonance and bandwidth! This kind of controls are only possible in the context of our F-Domain synthesis technology. This results in an extremely clear filter sound with breathtaking fast modulation possibilities.

The filter type “Inverse” interprets the sound model as a "Source" and a resonant body "Filter". The cutoff parameter shifts the filterbase - this is the equivalent to making the instrument body smaller or bigger. Spatializer This simple control gives your sound a distinctive moving distribution in the stereo panorama. Every atomic sound particle has it´s own path through the space ! Sound browser The sound browser in Poseidon gives you a fast selection of sounds based on category and timbre. Spectral modelling synthesis • Harmonic/Inharmonic/Noise sound models • 512 oscillators per voice • 300 Sound models / 600 factory presets Unique sound control • Pitch modulation / Harmonicity control • Time machine • Timbre control • Frequency Domain Filter • Spatializer Arpeggiator • Uses programmable sequences with up to 32 steps. • Can trigger single notes and chords. • Unique randomiser generates Arpeggios with 100% usability. • 32 Arpeggios included, unlimited user arpeggios possible. • For each step you can program tie, accent, transposition and note order Effects • Chorus • Phaser • Flanger • Distortion (aliasing free!) • Equalizer • Echo/Delay • Reverb Global • Audiobus 3 compatible (Input slot) • Inter-app audio compatible (Instrument/Generator) • CoreMIDI / Virtual MIDI / Tempo Sync / MIDI Learn • Audio recorder with Metronome. • Audio pasteboard / File sharing. • Ableton Link support • Bluetooth audio A2DP
  7. Explore new sound spaces with Tera Synth that go beyond the emulation of synthesizer legends. Use the power of analog and digital synthesis combined with new modules for physical modelling. Wireless patching of modules combined with an intelligible modulation routing simplifies the development of new synthesizer designs from scratch. Distortion effect, Delay/Chorus/Phaser and Reverb effects give your sounds the final polishing. Tera Synth gives your music an individual character with its unique fat sound. The well-designed algorithms and the economical modular structure provides you with a comparatively high voice yield. Precise timing with the unique built-in Arpeggiator let you feel the rhythm. Tera Synth supports Audiobus and Inter-App-Audio for integration with other Music Apps. Modular Analog Synthesis • Modular synthesizer with free connections between modules. • 25 Sound Modules • 4 Low frequency oscillators • 4 Standard ADSR Envelope generators. • 4 Multi Segment Envelopes with tempo sync. • 64 time/level segments per envelope • Monophonic or polyphonic with up to 32 voices. • More than 920 factory presets, unlimited user presets can be shared. FX • Chorus with four delay lines. • 8 pole Analog Phaser. • Distortion effect with Tube/Tape emulation • Stereo Echo/Delay effect. • Hi end reverberation unit. Live • Play melodies live with the onscreen keyboard. Drag fingers for slides and vibrato. • Optionally use CoreMIDI* compatible hardware keyboard. • Dozens of scales selectable • Variable Keyboard layout for scale optimized playing Full featured programmable Arpeggiator • Uses programmable sequences with up to 32 steps. • Can trigger single notes and chords. • Unique randomizer generates Arpeggios with 100% usability. • 32 Arpeggios included, unlimited useer arpeggios possible. • For each step you can program tie, accent, transposition and note order Global • Audiobus 3 compatible (Input slot) with Preset saving. • Inter App Audio • AudioUnit AUv3 with parameter automation • Ableton Link compatible • Audio pasteboard. Copy audio recordings to Clipboard for use with other Apps • Exchange user presets with File Sharing in iTunes. • Support for MIDI input/output connections. • MIDI learn functionality.
  8. Zeeon is a virtual analog synthesizer, powered by an advanced analog circuit modelling engine. We spent a lot of time analysing iconic analog synths, both vintage and modern, to find out which parts of the circuit contribute most to their specific character. We used this knowledge to create a unique synth, with focus on what’s most important - the pure, organic and detailed sound. Many analog synth emulations sound dull. Not Zeeon. We take care of the entire spectrum range from deep lows to sweet highs. All audio and modulation signals are processed at 176 KHz (4x oversampling). Full manual and audio demos available at the BeepStreet website. Features • Audio Unit v3 and standalone application with a simple polyphonic step sequencer • 2 oscillators with continuously variable waveforms, hard-sync and sub-oscillator. Carefully simulated analog drift and PSU influence. • Filter: 3 models available: Transistor ladder low pass, OTA cascade low pass and State Variable Filter with continuously variable LP-HP + BP mode. • 2 low frequency oscillators and envelope generators per voice. • Overdrive: diode clipper, transistor saturation, wave folder, pre and post filter. • Up to 2 layers per voice. Layers can modulate each other. • Powerful modulation matrix offering self-modulation and cross-layer modulation, 8 modulation slots, 17 signal sources and 41 targets available, both from modulation modules and audio signal path. This takes Zeeon into semi-modular territory. Imagine oscillator waveform, panning, filter cutoff, resonance or LP-HP mode modulated by oscillators or another layer! • Effects unit: Circuit modelled BBD chorus, bass booster, zero-delay Phaser, Stereo delay and Reverb. • 144 presets and Tutorials bank. More presets and exciting features in upcoming updates.
  9. Moog Matriarch is a patchable 4-note paraphonic analog synthesizer with a built-in Sequencer, Arpeggiator, stereo Ladder Filters, and stereo Analog Delay. Create rich evolving chord patterns immediately with “no patching required”, then tap into an abundance of inspiring textures, new sounds, and an endless supply of happy accidents through Matriarch’s 90 modular patch points. Based on the vintage circuitry of classic Moog synthesizer modules, Matriarch is a catalyst for creative ideas and a medium for multidimensional expression. Matriarch is an analog synthesizer with an emphasis on imagination. The pinnacle of Moog’s semi-modular family of synthesizers, Matriarch’s patchable architecture and vintage Moog circuits reward open exploration with endless sonic possibilities and unparalleled analog sound. Easily create rich harmonic shapes with up to 4 notes of paraphony that can be sequenced, saved, and shifted with Matriarch’s intuitive 256 step sequencer, or stack the analog VCOs to play on a massive 4 oscillator mono synth. With a deep assortment of synthesis modules based on Bob Moog’s original circuit designs, Matriarch’s 100% analog signal path spans a dynamic sonic vocabulary – from overdriven monophonic bass to gently evolving paraphonic plucks that cycle through waveshapes into a wash of infinite delay trails. Coupling the power of vintage stereo ladder filters, dual Envelope Generators, stereo Analog Delays, and stereo VCAs, Matriarch delivers a multidimensional sound that empowers the sonic exploration of space and time. Though Matriarch’s semi-modular design requires absolutely no patching, 90 modular patch points are easily accessible throughout the panel via the included 3.5mm patch cables. This powerful electronic instrument is a highly-versatile addition to any stage or studio that can effortlessly transform from a performance keyboard to a fully modular analog synthesizer at a moment’s notice. In addition to its standalone function, Matriarch is also an ideal processor of external sound sources and a powerful keyboard front-end for expanding a DFAM, Mother-32, Grandmother, or Eurorack modular system. **Matriarch Semi-Modular Analog Synthesizer begins shipping in Summer of 2019.
  10. True stereo analogue synth / sonic realiser. Perfect for melodic and percussion loops. Very easy (and fun!) to create modular style analogue loops. It’s a complete sound track all by itself! It’s wrong to call it a synthesizer (in fact a new word needs to be invented) because then you get preconceived ideas about what it does. It’s a whole lot more than a synth. It’s also part drum synth, part pattern generator, part modular loop producer. All its unique features plus the 2 independent LPFs give this machine the ability produce stereo loops that sound like multiple synths playing at once. Special features: + Analogue synth: analogue audio and modulation circuits + Stereo / dual filters + This synth can sound like multiple synths all at once + Stereo digital effects (reverb and delay) + 16 step analogue sequencer + 16 step MIDI Note sequencer + Dynamic internal patch system + ReOrder! feature to create new melodies from the sequencer + Dynamic VCO mix levels + Semi-modular + High quality build Impulse Command is a compact true analogue synth in a neat, smart, package. When we say ‘real analogue’ we mean that the entire audio path (aside from the post effects of course!) and all modulation are entirely analogue, using circuits based on awesome sounding vintage 1970s designs. Their circuits are not locked down by CPUs. Controls are not quantised and read by CPUs. With the exception of the essential digital elements (that is MIDI conversion, sequencer control and digital delay/reverb), Impulse Command really is analogue and the sound benefit is immediately apparent! We get many good comments about how good Analogue Solutions products sound. How wonderful, warm and full of character they are. The synth has been designed by Tom Carpenter, a musician and a big fan of electronic music. He knows how to program a synth and what should be expected. It was not designed by an engineer or steered by committee or men in suits. Design wasn’t constrained in order to bring maximum profit to share holders! So, the modulation choices and range of sounds they produced have all been carefully thought out and quickly give you those sounds you want: huge bass, synth leads, percussion, effects, modular style sounds. Circuits: + 2 Analogue VCOs + 2 24db analogue LPFs + 2 Analogue LFOs + 2 Analogue ADSR envelopes + 16 Step analogue CV sequencer + 16 Step MIDI note sequencer + Stereo output / dual filter+VCA + Sequencer ReOrder feature + Dynamic VCO levels + Special internal dynamic patch system + Analogue noise + Sub Osc + Stereo effects + 4 VCAs + Modular jack sockets + MIDI In
  11. Universal Music will next month issue In Search of Hades: The Virgin Recordings 1973 – 1979 a massive 18-CD and 7-LP Tangerine Dream collections. Tangerine Dream were pioneers of electronic and ambient music and this box set features newly remastered versions of the albums Phaedra, Rubycon, Ricochet, Stratosfear, Encore, Cyclone and Force Majeure all drawn from the original first generation master tapes and and new Stereo and 5.1 Surround Sound mixes of Phaedra and Ricochet by Steven Wilson. In Search of Hades includes eight CDs of previously unreleased material including two CDs of Phaedra outtakes, three London concerts in full (Victoria Palace Theatre in 1974, The Rainbow Theatre in 1974 and Royal Albert Hall in 1975) along with the previously unreleased full soundtrack to ‘Oedipus Tyrannus’, recorded in July 1974 (which is also on the blu-ray remixed in 5.1 Surround Sound and Stereo by Steven Wilson). Due to what multi-track tapes were available Steven Wilson could only create stereo remixes of two tracks from Phaedra (the title track and ‘Sequent C’). Therefore for the 5.1 mix on the blu-ray, the other two tracks – ‘Mysterious Semblance at the Strand of Nightmares’ and ‘Moments of a Visionary’ – are Penteo upmixes (i.e. not ‘true’ 5.1 but according to SW these still sound “very good”). Steven explains his approach below: “My role was to create new stereo and 5.1 mixes of whatever could be found of the original album multitrack tapes, but that turned out to be only Ricochet and 2 tracks from Phaedra. However, a number of reels of unreleased music were also found, such that ‘In Search of Hades’ also includes a generous 8 CDs of previously unreleased material. Perhaps most notable amongst these is the previously unreleased full soundtrack to ‘Oedipus Tyrannus’ (75 minutes) recorded in July 1974. Extracts from these recording sessions have previously been included on Rubycon, Encore and the Virgin sampler album ‘V’, but the full 75 minute recording has for the first time been mixed in stereo and 5.1 for the box set.” As well as the 5.1 mixes of Phaedra, Oedipus Tyrannus and Ricochet, the two blu-ray discs offer visual content in the form of a 1976 German TV performance and BBC Old Grey Whistle Test broadcast of Tangerine Dream at Coventry Cathedral. The record label are calling this the “definitive statement of this period in Tangerine Dream’s history” and in terms of packaging this is presented as a hardback book featuring new sleeve notes, rare photographs and images of memorabilia. In Search of Hades: The Virgin Recordings 1973-1979 is released on 31 May 2019.
  12. NOTE: This is based on leaked information and should be considered a rumor until officially confirmed by Behringer. The Behringer SYNTHI VCX3 is a clone of the Legendary Analog Synthesizer with 3 VCOs, VCF, LFO, Ring Modulator and Reverb. Features of the Behringer SYNTHI VCX3 are rumored to include the following, but are subject to change. + Legendary analog synthesizer with triple VCO design allows for insanely fat music creation + Authentic reproduction of original “VCS3” circuitry designed in 1970 + Pure analog signal path based on authentic VCO, VCF and VCA designs + VCOs featuring multi-turn knobs for precise frequency control + Variable oscillator shapes with variable pulse widths for ultimate sounds + Classic 24 dB low pass filter with resonance for legendary sound performance + 16 x 16 pin patch bay serves as signal routing matrix by inserting pins into holes + Ring modulator adds insane spice and edge to your sounds + Dedicated and fully analog triangle/square wave LFO + Noise generator dramatically expands waveform generation + Two-axis joystick serves as performance controller + 42 controls give you direct and real-time access to all important parameters + External audio inputs for processing external sound sources + Comprehensive MIDI implementation with MIDI channel and Voice Priority selection + 3-Year Warranty Program* + Designed and engineered in Germany
  13. Jack Hertz

    Behringer K-20

    Jeff Ford had the following to say about the K-20: I'll be honest, I love Korg mono synths. One of my all-time favourites is the Korg 770, this little guy's older sister. First off I'm amazed at the form factor in such a small footprint. This thing sounds awesome. Having a high pass and low pass with adjustable peak is amazing for fine tweaking tones. My 770 doesn't have that. One could get lost for hours just patching to different places and finding an endless sea of sounds. I never had an MS-20 so this was a learning experience of wonderment and at times pure awe. What a flexible little monster. Most definitely a generator of sounds from outer space. Add some tape delay and I'd go missing for hours on end. Wonderful job on this guy
  14. Analog Replica 3340 voltage controlled oscillator and classic 4-pole OTA VCF with discrete envelope-- It’s exactly what you think it is. Connectivity USB, MIDI, and CV/gate input and output allow for simple musical interfacing with other synthesizers and modular gear. Keyboard The SB-1 utilizes a newly-developed full-size keyboard based on tactile rubber dome switches for a fast and responsive feel. Portability A precision engineered chassis enables a new form factor that is thinner than one inch, yet rugged enough for everyday portability and use. Recharging The SB-1 is the first ever analog synthesizer to incorporate a rechargeable battery, allowing all-day playability between charges. Sequencer A new dual-layer sequencer allows for synchronized control of a second instrument via CV/gate or MIDI for a dynamic synth duet.
  15. TherapSid has a kid! TherapKid is a powerful & affordable duo-phonic synthesizer inspired by the mighty therapSid. Best of Both The first generation of SID (6581) had a wonderful gritty distorted filter but the later 8580 had a much stronger filter (more resonance). TherapKid offers a digital take on the best of both worlds with a strong filter resonance and 6581-like gritty tone. Monophnoic, Duophonic, Chords & Drones TherapKid has 2 voices, each voice consisting of 4 oscillators. In duophonic mode you can play 2 notes at once, in mono mode you can detune them. But you can take things further by detuning each of the oscillators individually to form chords or drones. LO/HI-Fi While the wavetables are 8Bit, they are processed by a powerful 96MHz 32BIT processor and put out of a 16BIT DAC with oversampling and filtering. This formula of retro sound generated by modern hardware allows for plenty of summing headroom, a rich sounding filter, and complex modulations. Features: + Set the volume of the 8 waveforms independently* + Tune each of the 8 waveforms independently (chords, drones!)* + Sine wave for pure tones and deep sub bass* + Muti-mode arpeggiator + Ring modulator + Duophonic or monophonic modes + Hybrid 6581/8580 inspired multimode filter (Low pass, High pass, Band Pass, Notch) + Dual therapSid style LFO with up to 48 connections that can be made a a push of a button. + 50 Preset memory with wild random preset generator + USB-MIDI + Sturdy powder-coated steel case + Hardware MIDI via included 3.5mm >Din5 cable + USB Powered (can be battery powered with a USB battery brick) *can’t be done on a real SID
  16. Blackbox is a portable sampler and groovebox that lets you record, save/load, apply effects and edit one-shot samples and beat-sliced loops. Create sequences with samples by tapping on pads, playing a virtual keyboard, using external MIDI controllers or by drawing-in notes using a standard Piano Roll editor on a fast touchscreen interface. Sequences can be played back to create song sections and entire compositions. Finish your song by mixing it, adding stereo effects and by saving it as a Preset for fast and easy recall. Perform songs live and trigger samples on the fly. Blackbox makes it easy to create and perform music anywhere thanks to its compact and rock-solid hardware design. Just throw it in a backpack and hit the club. Record hours of song ideas, jam sessions, and performances thanks to a microSD slot that enables you to expand internal memory. Blackbox comes with gigabytes of premium samples and loops by SoundTrack Loops and Loopmasters to let you start making beats right out of the …box. See their overview at https://www.youtube.com/watch?v=tXa5u2SfoFo. Blackbox – Your own personal sampler. Features: Record/edit samples and sequences to create songs via a fast, intuitive touchscreen interface. Expandable microSD memory slot for importing WAVs, hours of audio recording/playback time and saving samples and Presets. Combine loops with different tempos using built-in BPM synchronization and beat-slicing. Play one-shot samples and loops from pads and/or a virtual keyboard. Create and edit sequences using a standard Piano Roll interface. Connect external hardware via USB to expand performance and control capabilities. Make music anywhere thanks to a compact and nearly indestructible design. Includes a sound library of beat packs with loops and one-shots by SoundTrack Loops and Loopmasters. Input/output connectors to easily integrate with other studio and live sound tools: MIDI IO and Clock via USB and TRS, one 1/8” Audio In, three 1/8” Audio Outs plus a 1/8” Headphone/Stereo Output and USB power.
  17. The Nord Grand features a premium weighted keybed with advanced triple sensors that capture the movements of the hammers with exceptional precision, delivering the smooth and natural feel of an acoustic grand piano. Incorporating our award-winning performance features and hands-on user interface the lightweight Nord Grand not only provides an extraordinary playing experience, but is also an elegant new approach to our stage piano series. THE GRAND EXPERIENCE The Nord Grand is our first stage piano to feature triple sensors that track the movements on the hammers rather than the keys delivering the smooth dynamic touch of an acoustic grand. Kawai Responsive Hammer keybed with Ivory Touch The well balanced and responsive triple sensor keybed features an advanced mechanism providing extraordinary control both when playing percussively as well as pianissimo with fluent repetitions and retriggering without lifting the key completely. The addition of an Ivory Touch surface gives the keybed an optimal feel and authenticity. PERFORMANCE The Nord Grand has dedicated knobs and buttons for all essential functions required in a live performance situation. Creating Layers and Splits, adding effects or transposing the instrument can be accomplished on the fly. Seamless transitions when changing programs while playing. Layers and advanced Split Points The two sound sections can be combined in a layer or split over the keyboard. Each of the sound sections can have specific effects, Volume Pedal and/or Sustain Pedal assigned to them. The Nord Grand has 7 Split Points indicated with LED lights and the Split Point Crossfades offers smooth transitions between two split zones. Choose from 3 different crossfade widths (Small, Large or Off) as indicated by different LED colors. PIANO SECTION The Nord Grand contains a wide selection of unique Grand, Upright, Electric and Digital pianos from the exclusive Nord Piano Library. Factory Bank The Nord Grand factory bank includes 10 Grands, 9 Uprights, 10 Enhanced Electric Pianos, Clavinet, Digital Pianos and more from the exclusive Nord Piano Library - all handpicked for their unique character! Nord’s state-of-the-art sampling techniques capture the extraordinary nuances and real character of the source instruments with breathtaking realism. All sounds can easily be replaced using the Nord Sound Manager. Our exclusive Nord Piano Library is constantly updated with new unique world class sounds - always free of charge. Advanced String Resonance Our unique Advanced String Resonance reproduces the intricate interplay of piano strings resonating at their fundamental or harmonic frequencies when other notes are played on our Grand and Upright piano sounds. It also adds the rich resonant ambience of a real piano when playing with pedal down. Creative Piano Filters Providing an additional level of sonic control, the Piano Section features dedicated piano filters for Acoustic and Electric pianos accentuating softness, mid or brilliance. The EP filters also include unique Dyno filters based on the legendary preamp delivering the characteristic punchy, bell-like sound that was an essential part of the classic West Coast sound during the 70s and 80s. Read more about the dedicated EP filters here. Nord Triple Pedal with Dynamic Pedal Noise The included Nord Triple Pedal features Soft and Sostenuto Pedals in addition to a unique Dynamic Sustain Pedal. The Triple Pedal also enables our Pedal Noise feature that dynamically simulates the mechanical sounds of lifting and releasing the damper mechanism. Soft Release A Soft Release-mode adds a slightly longer release, more suitable for legato playing, emulating a looser damper tension in an acoustic or an electro mechanical instrument. Keyboard Touch 3 dynamic curves are available to suit your playing style, from Light to Heavy. SAMPLE SYNTH SECTION The Sample Synth Section features a broad selection of Strings, Brass, Synths, Choirs and many other high quality sounds from the Nord Sample Library 3.0. The extensive selection of sounds from the Nord Sample Library 3.0 includes the exclusively licensed sounds of the legendary Mellotron and Chamberlin. All sounds can be quickly replaced using the Nord Sound Manager. The Sample Synth is equipped with essential controls for attack, decay/release and dynamics (filter/velocity) and dedicated Category buttons for quick navigation and selection of sample sounds. It is possible to create your own samples using the free Nord Sample Editor software for WIndows and Mac. EFFECT SECTION The Effect section has a wide range of instantly tweakable high quality stereo effects modelled after classic stomp boxes. All effects can be assigned freely to the Piano or Sample Synth section. Effects 1 - Pan, Tremolo, Wah-wah and Ring Modulator. All effects can be controlled with a Control Pedal. Effects 2 - Phaser, Flanger, Chorus, Vibe effect and two selectable depths for each effect. Delay - Stereo delay effect with Tap Tempo button Equalizer - Three band EQ, with sweepable mid Compressor/Amp - Twin, JC, Small, Compressor and a Tube Overdrive effect. Master Effects Reverb with three modes - Room, Stage, Hall each with a Bright option. MONITOR INPUT Connect your MP3 or CD player to the rear panel Nord Grand monitor input to play along, rehearse to or jam with previously recorded music without the need of an external mixer or sound system. The signal is also routed to the main outputs. COMPATIBLE WITH NORD PIANO MONITOR The Nord Piano Monitor speakers can be connected directly to the Nord Grand (using the optional Montior Brackets) for the ultimate nearfield listening experience.
  18. To celebrate twenty years of Ghostly, we’ve teamed up with Teenage Engineering to create a very limited edition PO-33 K.O.! The micro sampler features custom sounds and patterns by Ghostly artist Steve Hauschildt — all made while Steve was on tour. Pocket Operators are small, ultra-portable music devices, with studio quality sound and the flexibility to make music on the go. Each can be synced to each other or to external gear. Watch a demo. Made in unique collaboration between Teenage Engineering and Ghostly International. We hope you will enjoy and start making your own music too! Pocket Operator PO-33: Ghostly Edition Details: Includes 2 PO-33 Pins (1x black, 1x pink) Featuring sounds by Steve Hauschildt exclusively for Ghostly Microphone for sampling 8 melodic sample slots 8 drum slots 40 seconds sample memory 16 effects 16-step sequencer 16 patterns Step multiplier Parameter locks Built-in speaker 3.5mm audio I/O Jam sync Animated LCD display Battery powered (2x AAA) 1 month battery life Folding stand Clock + alarm clock L 10.5 cm x W 6 cm Battery life: 1 month in normal use (1h/day) 2 X AAA batteries
  19. West Coast dweller, Jack Hertz, presents a new suite of sonic paintings inspired by the plethora of varied colors, textures and atmospheres created by the sea. Listen to 10 tracks ranging from high on Moon to the deepest murky depths.
  20. KQ MiniSynth is a powerful polyphonic modular synthesizer. This app lets you create tones with module patching. You can add/remove up to 100 modules freely as you want. (Oscillators, Envelope Generators, Filters, and so on) Of course it depends on your device's ability. Modular system is also good for education use. You can learn the role of various modules while patching those. The Patch-Editing view supports zooming. You can connect modules with taps easily. 70 Presets are included. External and Virtual MIDI is Supported. MIDI over Bluetooth LE is Supported (Act as a Central device). Inter-App Audio is Supported. Audiobus is Supported. Ableton Link integration. Includes an Audio Unit Extension (AUv3 Instrument). This app implements the follow modules. Oscillator - Oscillator Type A (Frequency Modulation) - Oscillator Type B (Pulse Width Modulation) - Super Saw Oscillator - Low Frequency Oscillator - LFO Type B (Tempo Synchronization) - White Noise Generator Mixer/Amplifier - 4 Channel Mixer - CV Mixer - Crossfader - Voltage-Controlled Amplifier - Sample-and-Hold Amplifier - Booster Envelope/Logic - Envelope Generator Type A - Envelope Generator Type B - Toggle - Inverting Circuit - Logical And (Series Switch) - Logical Or (Parallel Switch) - Polyphonic Or Gate - Maximum/Minimum Selector Modulator - V/Oct Vibrator - Keyboard Level Scaling - Ring Modulator Filter/Effector - Voltage-Controlled Filter (LPF/HPF/BPF/BEF) - Delay Effector - Modulated Delay - Reverb Filter (KQ) - Reverb Filter (FreeVerb) - Compressor - Chorus Effector - Flanger Clock - Loop Gate (Tempo Synchronization) - 8 Step CV Sequencer - 8 Step Gate Sequencer Stereo/Mono Converter - Mono To Dualmono - Stereo To Mono - Panner Miscellaneous - Custom Controller - Const Value If you feel it sounds noisy, slow or stuttering, try to decrease polyphony, increase buffer size and reduce connected modules.
  21. Made for Touch TF7 is a polyphonic frequency modulation synthesiser that is made for touch. Beneath it’s user-friendly pad interface lies a sophisticated synth engine that is based on the algorithms from famous FM synthesisers. From sweet syrupy trebles to grungy bass, TF7 has it covered. It’s FM Synthesis made easy. A powerful yet user-friendly FM synthesizer! - Play music by playing shapes across the pad interface! - No need for music theory - try it and you will see why! - Comes with 20 high-quality free sounds! - Morph pad allows you to morph your sounds while playing! For the pros who want flexibility : - 32-bit algorithms and dsp routines - Inter-app Audio : use TF7 in DAW apps like Garageband, Cubasis and Beatmaker 2! - 7 high quality FM algorithms to tinker with - Access to every component in the algorithms - 10 pristine effects consisting of Stereo Reverb, Delays, Pitch-shift Delays and more - Supports Core-midi compatible keyboards like the Korg Nanokeys 2 - Works with Audiobus out of the box - NEW! In-app purchase Expanded Algorithms bumps up the number of operators from 4 to 6, and the number of algos from 7 to 39, with 3 new added effects. Made for Inspiration Create wonderful music by playing simple shapes using the touch interface and playing these same shapes across the pad. Embellish the shapes to play advanced compositions. Switch to chromatic mode to get the notes that you need. Break out of your compositional rut by playing visually! Try it! Made for Control Choose from 7 different algorithms and 10 different effects to sculpt your sound. Effects include : Delay Flanger Filter Sweep EQ Rotary Compression Chorus Stereo Reverb Pitch-shift Delay Auto-whamy Works with your midi keyboard as well via the Camera Connection Kit.
  22. G2500 is the virtual version of the classic ARP 2500 first created and released in 1970 by Alan R. Pearlman. The G2500 is made from in-house developed proprietary and optimized virtual analog modules, to reproduce the unique and fat analog sound of the original, bringing it to your desktop. All the original control features from the ARP 2500 are there, and because you can save your carefully programmed patches, the G2500 is even better than the real thing! Ten different virtual modules also found in the original: 1002 Power Control 1004-T Oscillator 1005 Modulator Amplifier 1006 Filter Amplifier 1016 Dual Noise / Random 1027 Ten-Position Sequencer 1033 Dual Envelope Generator 1036 Sample & Hold / Random Voltage 1047 Multimode Filter / Resonator 1050 Sequential Mixer Other Features: A new 1102 I/O Control virtual module not found in the original A virtual version of the 3001 Keyboard also found in the original Play notes using 16 keys on the computer keyboard and selecting octave with two additional keys Audio input from any system sound input device selected in the Preferences Audio output to any system sound output device selected in the Preferences MIDI input from any MIDI input device connected to the computer and selected in the Preferences Recognizes MIDI All Notes Off, Note Off, Note On, and Control Changes Save pieces of audio directly to disk in WAV format by the push of a button Setup is fully user configurable, in order to choose which and how many of each module to use Choose between two skins, Vintage and Black Option to display tooltips for many controls Use patch cables for even more connections than possible using the upper and lower matrix Load requester to load new patches from disk Save requester to save your own patches Patches are stored as text-files in directories on disk, to be easily manageable with operating system tools Zoomable user interface to easily go between a full overview and a detailed view of modules and controls Choose between windowed or fullscreen mode Studio quality 24bit/96kHz audio in and out (*) Audio is easily sent to e.g. a software DAW (Digital Audio Workstation) using software such as "Soundflower for Mac" The G2500 is easily controlled from e.g. a software DAW using the IAC Driver found in the MacOS "Audio MIDI Setup" Five banks to store patches in memory, which is a benefit when creating new patches Choose between Even Temperament and Bach-Lehman Temperament Toggle bandlimiting on and off to stay below the Nyquist frequency (half the sample rate of 96kHz) An optional post-filter for more smooth acoustic transients (*) Audio is actually 32-bit floating point, and as values goes from -1.0 to +1.0, it is comparable to 24bit audio and is easily converted to 24bit by the operating system, if that is needed in the further signal chain.
  23. "Plantasia" is a super rare and criminally neglected masterpiece of modern music that was made for plants. Literally. It's electronic music for plants to grow to. It was written by genius composer/arranger/instrumentalist/moog-master Mort Garson in the mid-70s under the moniker "Mother Earth". Most of Garson's releases during this period are difficult to get your hands on. Given Mort Garson's use of weird pseudonyms, strange subject matter, and the utilization of smaller, independent pressing plants, many of his original records cost a pretty penny. But "Plantasia" is different. Due to a bizarre (and possibly very dumb?) promotion which paired the record as a giveaway if you bought a Simmons mattress in 1976, authentic copies often remain hidden away on thrift store racks, garage sale driveways, or dusty attics. Because of how difficult it is to find this record, the resale market on mint condition copies is astoundingly high. Buying a clean copy of "Plantasia" at a record store could easily cost upwards of $300 USD. In Finding Plantasia, Tim and Morgan hit the road to search for this forgotten musical treasure in its natural habitat. In this documentary film, Tim and Morgan will be speaking to fans of this record and digging through the stuff society has discarded in search of a true gem. The road trip story provides a great framework to get into the nitty-gritty history of "Plantasia" and the niche culture that has sprung up around it. But, much like tiny baby seeds need water, Tim and Morgan need your help! About Tim and Morgan Tim Mahoney and Morgan Evans are real-life best friends and writer/producer/director/comedy people. Between the two of them, they've worked for companies like MTV, Netflix, The Onion, Nickelodeon, YouTube Premium, Comedy Central, VH1, Discovery Channel, and many more. They're also deep music nerds. Before they started working in entertainment, Tim & Morgan were big into the local Phoenix, Arizona music scenes, performing in experimental performance art projects and punk bands as early as 15 years-old. That was around when they both became obsessed with "Plantasia." More About Mort Garson Starting off as songwriter/arranger, Garson worked with artists like Bobby Darin, Santo and Johnny, Dorris Day, Cher, Paul Revere and the Raiders, Bobby Vee, Ruby and the Romantics, Jimmie Rodgers, Carol Burnett, Joanie Summers, the list goes on and on, crossing genres left and right. Near the end of the 60's, Garson was one of the first composers to begin working with the new Big Moog synthesizer. And the rest is history. As early as 1968, Mort started to release interesting and strange electronic music under pseudonyms. 1968: "Wozard of Iz," a bizarre electronic re-telling of the Wizard of Oz released under The Electronic Odyssey. 1969: he released Electronic Hair Pieces, an electronic version of the hit musical HAIR. 1971: under the name Lucifer, Garson released an experimental electronic record called "Black Mass." 1971, under the name Z, "Music For Sensuous Lovers." 1975, under the name Ataraxia, "The Unexplained (Electronic Musical Impressions Of The Occult)." 1976 he released "Plantasia" under the name Mother Earth. 1978, under the name Captain D.J., he released a a spacey funk record called "Disco UFO"
  24. The Behringer Crave is a radically new synth combines the best of some of the most famous historical synths of all time - including the celebrated oscillator of the Sequential Prophet 5, the famous Ladder Filter from Moog and the modularity from 1970 modular synths, together with a modern sequencer and arpeggiator. Crave is sure to be a superb addition to any synth enthusiast's setup. Legendary synthesizer design. Classic analogue sound. The Behringer Crave Synthesizer is an excellent introduction to semi-modular and analogue synthesizers. And an even better addition to your set up if you're a synth veteran. Emulating a legendary and celebrated oscillator from the heyday of analogue synthesizers - the Behringer Crave is a sonic marvel. As well as its powerful oscillator, the Crave also features an incredible ladder filter based on a vintage design. This helps to round off your sound design process with a beautiful finishing touch. The Behringer Crave features an extensive patchbay that will offer incredible depth during the sound crafting process. The modular patchbay provides huge scope to the already rich sound creation process capable from the Crave's excellent oscillator and filter. Taking notes from the legends of synthesizer design, the Crave's attractive price point makes it an essential asset to your synth set up - beginner or otherwise.
  25. The C15 is a keyboard instrument made for performing musicians. Its character stems from a puristic digital engine which produces a unique palette of sounds seamlessly spanning from organic and acoustic to experimental and electronic. With its top-quality keybed, dual full-length ribbons, special pitch bender, and four pedal connections the C15 is designed for real-time performance, making it more like a traditional musical instrument than a typical synthesizer. It is resolutely an instrument to be played by musicians, not machines. Therefore it has no MIDI and does not contain LFOs or internal sequencers. Like many classical instrument builders, we have chosen wood for most of the housing. The rest is made of steel or aluminium. The concept features a two-part design. The compact base unit is for playing and includes all performance elements as well as the sound engine and audio components. It can be easily detached from the panel unit and played autonomously. The panel unit is for detailed parameter control and sound design. Its haptic layout is based on the principle of muscle memory. In addition, a graphical user interface can be displayed and edited on any device that has a browser and Wi-Fi. This interface is optimized for touch screens and can be intuitively zoomed and panned with common gestures. Two-Part Construction The housing of the C15 synthesizer consists of two detachable parts: the base unit and the panel unit. The compact base unit contains all of the instrument's processor and audio components; it can be used without the panel unit in "play only" situations. The panel unit is an haptic user interface, mainly for sound design, but it can also be useful to control a more complex performance. Play Interface For the 61-note keyboard we have chosen the best semi-weighted model from the quality manufacturer Fatar. Experienced musicians will appreciate the long key arms for their improved play feeling. Unlike with MIDI, the velocities of the keys and the values of the other physical control elements are precisely resolved into thousands of steps, and there is no loss of precision on the way to the sound engine. The musician can make use of up to 8 physical controls: aftertouch, a pitchbend lever, two ribbons and up to four pedals. A coefficient matrix gives full flexibility for their mapping to the Macro Controls. The pitchbend lever is a special design using magnetic forces for fast and natural horizontal movements from a center position. The most prominent control elements of the C15 are the two long ribbons. Each of them includes an indicator bar of 33 LEDs showing the control position. The ribbons can be used for performance as well as for parameter editing. You can choose if they work in relative or absolute mode, with an optional return-to-center behavior. A small control panel with an OLED display (128 x 32 dots) provides control over the ribbon functions and is also used for note and octave shift. If the panel unit is not mounted, this panel together with the ribbons will give access to preset selection and morphing, parameter editing and global settings like tune or velocity curves. Pedals are the best way to control sound parameters while playing with both hands. Therefore the C15 allows up to 4 pedals to be connected. Footswitches are also supported, but for expressive playing we recommend continous damper/sustain pedals instead of switches - for this purpose we are also developing special pedal units. Sound Editing Panels The idea behind the panel unit is to provide a large area with many haptical controls, so that the functionality can be learned by the motoric memory, like the playing of a keyboard. Panel Interface Four of the five panels are equipped with 24 high-quality buttons and corresponding state-indicating LEDs. Their main purpose is the selection of parameters. The labeling and grouping of the buttons is realized by exchangable magnetic overlays. This makes the user interface flexible. When fast switching between sounds becomes crucial the selection panels can be re-defined as direct access to presets. Future development will also bring new synth engines to which the user interface can be adapted. The central panel - with a crisp OLED display (256 x 64 dots), an incremental encoder, and 18 buttons with dedicated functions - is the place where parameter values are displayed and edited, preset banks can be browsed and new presets can be stored. Many other functions are accessible here. The Graphical User Interface In addition to its hardware user interface, the C15 provides a visual access to its parameters and presets on computer screens and mobile devices. This unique approach is described here. The Synthesis Engine The C15 is a polyphonic instrument based on digital sound synthesis. The purpose of the audio engine is not to model analog machines of the past or to play back samples or complex waveforms. Instead, we have chosen a puristic approach. Based on elementary mathematic algorithms, the signals are generated, modulated, shaped, and filtered in realtime. Therefore the sound can be dramatically influenced by the dynamic playing of a musician. The signal processing structure is the result of years of evolution and has been condensed down to an essential, yet powerful arrangement of carefully chosen components. The only signal sources are two sine wave oscillators. They are connected to each other and to a feedback bus for phase modulation and their signals are processed by two wave-shapers, a comb filter, a multi-mode filter, and a chain of five stereo effects. Diagram Block diagram of the synthesis engine. Click to enlarge and to see use cases. Two mixers combine the signals from different points in the structure and forward their sum to the effects section and to the feedback bus. The sonic results of the feedback can become very complex and organic. With the Comb Filter running as a tuned resonator, the sound approaches that of acoustic instruments. Our goal was not to create a universal sound engine or the most realistic imitation of existing instruments. Instead, we set out to create a sound source with a unique character, which at the same time offers endless variation and produces surprising results even after long periods of intensive exploration. All possible sounds are reached without switching between different waveforms, filter types, effects, or signal path configurations. Everything can be continuously modulated, crossfaded, or morphed. Read more about the engine on the Synth Engine page. Open for New Sound Engines The C15's sound engine is based on software running on an embedded computer. This means that the C15 can evolve without falling into obsolescence. Improved and new sound engines will be available in future. This also explains why we have chosen a generic parameter selection interface that can be re-defined by magnetic overlays. Control As a pure player instrument, the C15 is built for human control. You will not find modulation sources that create rhythmic patterns. We leave this to the musician. Instead, the C15 offers a large range of sensitivity thanks to the dynamics of the keys and extensive mapping possibilities for the signals coming from the two ribbons, the bender, the aftertouch and the up to four pedals. LFO-type of control signals can be easily produced by the specially designed lever of the bender. The physical controls are routed to the Macro Controls, which are the main elements for influencing the sound of a preset. Each of them is freely assignable to up to 86 target parameters. The Macro Controls are the sources for an intuitive modulation system, where the effect of a modulation is directly shown as a movement of the target parameter. After assigning a Macro Control and adjusting its effect the sound designer also can give it a label that helps to understand its function. The Preset System Besides performance, the second important interaction with the C15 is sound design. The creations are stored by an advanced preset system which makes it easy to find and compare presets, to modify them, and to store new versions. They can be organized in a set of user-defined banks by intuitive copy, move and sort functions. The number of banks and presets per bank is not limited. To help the user to find the right sounds, the preset system supports tagging and additional information that can be used for searching. In a future update the C15 will also offer voice splitting and layering for two presets, and morphing as a powerful method to vary the sound in a transition between two presets. Undo The C15 provides virtually unlimited tree-based undo/redo functionality for all user interactions including parameter editing. This means you can always return to a sound that you had created some minutes ago. You can also jump between different branches of the undo tree which are automatically created when you undo and edit again.
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