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SOMA LYRA-8 Organismic Synthesizers

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    Unique analog organismic synthesither for soundscapes, FXs, pads, complex textures. The term "Organismic” means that all its modules are intertwined by many nonlinear connections and work in an entangled state, modifying each other, much like organs and systems in live beings. That allows for getting complex, diverse, fluid textures from a relatively simple construction.

    In the full mode LYRA is analog FM synth with direct control of each operator feedback with two-channels delay, all it can be modulated by complex LFO + distortion. Final output signal can appear as an additional FM operator, close LYRA to one complex structure.

    Main units:

    - 8 organ type tuned voices, shaped by individual envelop generator, driven by an individual sensor. Voices divided on four groups, each has wave shape knob, adjusting it from triangle to square, release switch (fast - slow), modulation\FM depth knob and modulation\FM source switch.

    - Each of 8 voices can works as FM operator, FM algorithm can be dialed in by four three-way switches, allowing for 81 variations of FM synthesis.

    - There are two common modes of FM here, selected by an additional switch. The first mode divides eight voices into two groups and feeds each of the two back to themselves, and the second one unites all the voices into one structure. All of that makes for over a hundred of FM algorithms.

    - Each voice has its own LFO tuned to a dedicated frequency. That allows to avoid that primitive sinusoidal vibe you hear when only one LFO is used on all the voices. The LFO can be switched off.

    - Four groups of voices folded into two parts (4 voices each), each part has a HOLD knob for a continuous sound, and a TRANSPOSE knob to set the pitch or the key for the whole group.

    - HYPER LFO unit, consists of two separately tuned low-frequency oscillators from which a complex waveform is synthesized. There are four synthesis structures here, selected from by two switches.

    - MOD DELAY unit has two independent delay channels with individual time adjustment and an option of modulation by one of HYPER LFO's waveforms. The delay time can also be modulated by the delay's own output signal, which enables many effects, including a mode where the delay section itself works like a synth.

    - DISTORTION section has DRIVE and MIX knobs. The MIX control sets the balance between pure and distorted sound.
    Type: Analog
    Synthesis: Divide Down, Frequency Modulation, Subtractive
    Oscillators: 8
    Waveforms: Square, Triangle
    Osc Modulation: Input, Knob, LFO, Oscillator
    LFO: 10
    LFO Parameters: Sine
    Polyphony & Tuning
    Polyphony: 1
    Timbrality: 1
    Tuning: Atonal, Micro, Standard
    Modes: Mono
    + Delay
    + Distorion
    Case: Desktop
    Case Details: 8 keys
    Keyboard: Touch Plates, Metal
    Controls: Knobs, Switches
    Display Type: LED
    Audio Output Connections: 1/4" Phone Jack, 1/8" Phone Jack, Mono Out, Stereo Headphone
    Audio Output Count: 3
    Inputs: 1/4" TR
    CV Ports: CV IN, Gate In
    Power: 12V DC
    Year Released: 2016
    Design Notes:

    Designed by Vlad Kreimer

    The story and philosophy:

    I spent years explore brain and nervous systems, one of my interest was how the such simple structure like a brain of smal insects can produce such complex behavior, which we still can't imitate by our powerful computers.
    One of the answers i have found - brain is ANALOG system with great part of noise, chaotic process, highly nonlinear. It can't be modeled by contemporary digital machines, cause some important is missed.

    Later i decided apply this discovery in a synths - my other love. The secret of LYRA is not in modules itself - all of them long been known , but in the way how them connected and interact with each other. The circuit of LYRA is not linear structure like classical subtractive synth, all of the modules depend of each other by many ways, often nonlinear.
    LYRA is a structure which responds to your touch, menders under your finger like a strange animal. That is why i called it 'organismic synth"

    Next part was exploration of traditional instruments, like violin, and the question - why an artist can spent whole life with piece of wood with four metal wires + stick with horse tail, but be bored with a versatile synth having tons of controllers and features after a couple of months. The answer is - the best instruments have shortest connection between artist body and "tone generator" which gives him maximum of control and possibility to express his soul motion. That is why violin is "Live instrument".

    Insight was "synths will acts the same if we restore missing connection" In view of this theory the right was the very first synth - Theremin, which is actually just one generator with just one wave-shape but are attached to artist body motion !
    And take a look - Theremin is may be the only one synth, that did't change its structure despite of huge progress of radio engineering ! It says - the principle was exactly right.

    I rolled back synths circuitry history and picked archaic solutions that gives to artist maximally raw control with maximum affecting of sound. And made ready-to-play instrument, where any position of the controllers is good soundscape. Direct non tempered control of voices pitch allows to go beyond the chromatic scale and create unique modes, working with quarter tones, just intonation etc. unleash your personal hearing of music intervals.
    Manuals & Documents

    Product Links
    Company Product Sites:
    [+] somasynths.com
    MSRP List Price: $600 - convert
    Patch Sheet
    YouTube Videos
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