Radikal Technology now shipping Delta cep A desktop and eurorack synth modules


Radikal Technologies announces availability of DELTA CEP A paraphonic semi-modular synth following several successful showcases

MÜNCHEN, GERMANY: fresh from turning heads and opening ears on both sides of the Atlantic, having showcased Eurorack module and desktop versions of its DELTA CEP A paraphonic semi-modular synthesizer — serving up nine essential synthesis ‘modules’ melded together to form a potent yet straightforward starting point to the ever-widening world of the Eurorack small-format modular system — starting with an award-winning appearance at The 2019 NAMM Show in Anaheim, CA (January 24-27), followed by another head-turning, ear-opening Stateside showcase at Synthplex 2019 in Burbank, CA (March 28-31), then moving closer to home for an appearance at SUPERBOOTH19 in Berlin (May 9-11), before making its well-travelled way to support SynthFest France 19 in Nantes (7-9 June), cutting-edge sound synthesis specialist Radikal Technologies is proud to announce all-round availability of its latest creation through a growing global network of authorised dealers…
Radikal Technologies’ DELTA CEP A can function as a standalone synthesizer or — when removed from the chassis — a 68HP-occupying Eurorack module forming the centre of a powerful modular voice. Whichever way it is brought into play — purchasable as a desktop paraphonic semi-modular synthesizer or Eurorack paraphonic semi-modular synthesizer module, the deftly-designed DELTA CEP A is the perfect starting point for any modular user. Undeniably it lives up to the PARAPHONIC- MODULAR wording boldly blazoned across its featured-packed fascia.
For the benefit of the uninitiated, a paraphonic synthesizer is one where all of the notes generated go through a single filter and VCA (Voltage Controlled Amplifier) combination. “Paraphonic synthesizers can be played polyphonically, because their oscillators allow for independent pitching according to chords.” So states the DELTA CEP A owner’s manual, before positing: “Polyphonic oscillator control allows for multiple voices to be played simultaneously, which is ideal for pad sounds. The DELTA CEP A sounds particularly good in paraphonic mode, because it consists of two oscillators per voice, which provide a nice beating effect when two oscillators are detuned against each other.”
On the face of it, a semi-modular synthesizer has hardwired connections for its most essential sound generating and altering attributes — as opposed to a modular synth system, where the user has to establish all the connections between the separate modules with patch cables to generate tones and sound effects. “So much freedom can quickly become confusing,” claims that owner’s manual. “That’s why semi-modular systems such as the DELTA CEP A have pre-wiring, which greatly simplifies entry into the world of modular systems and, ultimately, electronic sound generation.” As such, users can play the DELTA CEP A right out of the box, but, of course, can boldly go a step further and add their own patching.
Perusing the DELTA CEP A’s featured-packed fascia from left to right immediately introduces its uniqueness when pitched headlong into a competitive world where Eurorack edges towards ubiquity. Underpinning that uniqueness is the INTERPOLATOR. In a nutshell, this intriguing section has an ability to store so-called ‘snapshots’ of sound creations into the DELTA CEP A’s internal memory; moreover, users can consequently play those snapshots sequentially, creating cool sonic sequences. Saying that, they can cleverly create smooth transitions from one snapshot to another, allowing for some stunning sound morphing effects! Independent from the INTERPOLATOR itself, the snapshot memories can also be used as preset memories, and are filled with wonderful sounds from Radikal Technologies’ team of skilled sound designers.
DELTA CEP A also packs a well-equipped MIDI (Musical Instrument Digital Interface) to CV (control voltage) interface in its aptly-monikered MIDI2CV section — significant when wanting to use the instrument in PARAPHONIC mode, meaning users can play chords, transforming the DELTA CEP A into the perfect pad and ensemble section. The MIDI2CV section helpfully has additional outputs for connecting to external Eurorack modules, and a dedicated digital bus for controlling Radikal Technologies’ radical-sounding RT-311 SWARM OSCILLATOR — an advanced DSP-driven oscillator Eurorack module that, as implied by name, goes far beyond the realms of standard oscillator fare, firstly thanks to two oscillators that can both build swarms of (up to eight) oscillator ‘clones’ capable of being pitched in musical intervals, chords, clusters, or fat detunes, dutifully backed by having all parameter settings saveable as interpolatable snapshots, enabling even more radical results — directly with notes and chords to layer additional voices in monophonic and chords mode.
Moving more speedily along, the LFO 1 section features five waveforms, MIDI and clock synchronisation, and an invertible DEPTH control for modulation purposes. Providing up to eight oscillator clones of its own, DELTA CEP A’s single swarm oscillator is accessed via the SWARM OSC section; PARAPHONIC play mode (allowing four voices to be simultaneously played), PITCH quantisation, and easy tuning (DETUNING) access are amongst its edited highlights. However, more familiar territory follows thereafter; the MIXER section mixes the outputs from the swarm oscillator and the noise source or an external signal for the filter. Familiarity continues with the powerfulVCF (Voltage Controlled Filter) section, centred around an analogue 12 dB multimode filter alongside a stereo digital emulation of that 12 dB multimode filter, plus a digital 24 dB lowpass filter. Furthermore, an ADSR section supplies an envelope generator with snappy-sounding curves, together with ATTACK and DECAY voltage control inputs. Its VCA neighbour can be controlled by either the ADSR envelope or GATE signal, while also providing external inputs for the following FX processor section — itself really representing the icing on the DELTA CEP A’s advanced audio engine with mind-blowing modulated stereo delay effects, as well as chorus, flanging, and phasing par excellence!
Encompassing no fewer than 23 knobs, 14 buttons, 28 RGB LEDs, 14 outputs, and 17 inputs straightforwardly spread across its feature-packed facia, DELTA CEP A duly delivers on its potent potential for serious synthesis — still further boosted by adding additional modules. Carefully chosen connectivity provides users with welcomed freedom to integrate it into their existing Eurorack small-format modular system. Or opt to use it as an independent standalone synthesizer with Radikal Technologies’ desktop-destined alternative, courtesy of the tailor-made chassis — complete with integrated stereo OUTPUT; stereo FX-INPUTMIDI INOUT, and THRU; and DC 12-19V, 2A DC-IN connections, plus onboard ON/OFF switch.
Those transatlantic trade show attendees who witnessed whichever version of the DELTA CEP A in action or even spent some time trying one out for themselves will surely be happy to hear that they can consider adding one (or more) to their own studio or stage setups now that they are available all over the world from Radikal Technologies’ growing global network of dealers.

DELTA CEP A is now available for purchase — priced at an RRP of 899.00 EUR/$999.00 USD (Eurorack) and 1,198.00 EUR/$1,298.00 USD (desktop) — through Radikal Technologies’ growing global network of authorised dealers.

For more in-depth info, please visit the dedicated DELTA CEP A webpage here: https://www.radikaltechnologies.com/delta-cep-a-2/
Watch Radikal Technologies Product Designer Jörg Schaaf’s sonically-stimulating DELTA CEP A video playlist here:https://www.youtube.com/watch?v=_YkvgTVZQ3E&list=PLysQPMsmJseFLtTQxGL9tJROrferQtfLs 
 

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Rob Papen releases new virtual analog vst B.I.T (back in time)


Rob Papen progresses back in time to bring B.I.T. into being as analogue-modelled soft synth fit for today


ECHT, THE NETHERLANDS: virtual instrument and effect plug-in developer Rob Papen Inspiration Soundware is proud to announce availability of B.I.T. — bringing namesake company founder and acclaimed sound designer Rob Papen’s persistent passion for subtractive synthesis into being as an aptly-named, analogue-modelled software synthesizer fit for today’s DAW (Digital Audio Workstation) workflow — as of June 11…
B.I.T. stands for Back In Time — an apt acronym for Rob Papen, collectively or otherwise. On the face of it, namesake company founder and acclaimed sound designer Rob Papen’s passion for subtractive synthesis remains as strong as when he first started working with synthesizers way back when, purchasing an analogue Korg MS-20 semi-modular monosynth and accompanying analogue SQ-10 sequencer at the tender age of 15 — more recently reaffirmed by self-publishing the publicly praised The Secrets Of Subtractive Synthesis combined book and DVD package based on his The 4-Element Synth© teaching method. Moving back to task — to the wondrous world of B.I.T. specifically and Rob Papen collectively, the virtual instrument and effect plug-in developer’s newest software synthesizer sets its inspirational sights solely on analogue-modelled synthesis, rather than combining the best of analogue modelling with hybrid synthesis techniques that have hitherto formed the much-admired musical backbone of the company’s classy creations.
What’s with the apparent change of musical direction, then? The concept behind B.I.T. comes down to this: classic analogue synthesizers still show an appeal that the renowned Rob Papen brand is perfectly positioned to tap in to. This is not surprising since Rob Papen himself still has a pristine example of Roland’s (former flagship) Jupiter-8 analogue programmable polysynth — purchased brand new back in the ‘dying days’ of analogue in 1983 (albeit now seriously sought after and astronomically priced) — taking pride of place in his studio setup; several other analogue classics comfortably reside there alongside it, including that ‘teenage’ Korg combo. Clearly inspired by backward progression, pure analogue-modelled synthesis is the order of the day when it comes to B.I.T. — no spectrum waveforms or samples required!
Really, making the most of Korg’s classic MS-20 requires patch cables, but B.I.T. does not need any as an analogue-modelled software synthesizer plug-in par excellence — despite demonstrating masterful modular-like attributes. An advanced MOD MATRIX makes for painless patching while a smart ADV (advanced) panel positioned below the oscillators offers a helping hand. Activating ADV allows users to quickly make useful connections, such as the LFO and ENV (envelope) to the oscillator parameters. Pushing further forward, B.I.T. also allows OSC 1 to modulate OSC 2 in several ways, which increases its sound palette to take in phase modulation, frequency modulation, and ring modulation.
Musically, of course, any Rob Papen software synthesizer would likely be viewed as being incomplete without an arpeggiator — as, arguably, would Rob Papen’s prized Roland Jupiter-8, and B.I.T. is no exception to this unwritten rule. Indeed, its fully-featured ARP can also work in sequencer mode and has an additional FREE row that can be used to modulate other elements of B.I.T. by using the MOD MATRIX.
Making it to the finish line, B.I.T. brings with it some superb-sounding effects, comprising CHORUSDELAYFLANGER, and PHASER, plus Rob Papen’s proprietary REVERB, so no need (necessarily) to turn to an external reverb of any kind to bring some space to the virtual instrument and effect plug-in developer’s newest software synthesizer.
So while B.I.T. stands for Back In Time it could conceivably stand for Be Inspired Today! After all, Rob Papen has added a 16-voice, authentic-sounding, analogue-modelled software synthesizer fit for today’s DAW workflow to its lengthening line-up of virtual instruments, intermixing innovative design, uncompromising sound quality, and musical, production-grade presets — over 950 this time — to make tracks truly shine. Still better, B.I.T. brings with it the secrets of subtractive synthesis, thanks to namesake company founder and acclaimed sound designer Rob Papen!

B.I.T. can be purchased from authorised Rob Papen dealers worldwide or as a download directly from Rob Papen for an introductory promo price of 79.00 EUR (including VAT)/$79.00 USD until the end of June 2019 — rising thereafter to 99.00 EUR (including VAT)/$99.00 USD — from here: https://www.robpapen.com/buybit.html

B.I.T. Stands for back in time and is a modern take on vintage analog synth modeling

Note that B.I.T. is included in the latest version of the eXplorer 5 bundle (https://www.robpapen.com/eXplorer-5.html), so existing owners only have to download the latest installer and run it to add B.I.T. to their Rob Papen virtual instrument and effect plug-in collection.
B.I.T. is available as a 64-bit AAX-, AU-, and VST-compatible software synthesizer plug-in for Mac (OS X 10.8 – MacOS 10.14) and as a 32- and 64- bit AAX- and VST-compatible software synthesizer plug-in for PC (Windows 7/Windows 8/Windows 10) — AAX for PT 12 or higher (PC).
B.I.T. uses a serial/license system with activation when registering. (A second serial for a secondary computer is available after registering the original.)
For more in-depth information, please visit the dedicated B.I.T. webpage here: https://www.robpapen.com/bit.html
Some superb-sounding audio demos made only with B.I.T. can be heard here:https://www.robpapen.com/dmdocuments/RobPapen_BIT_Classic_Synth_Demo01.mp3https://www.robpapen.com/dmdocuments/RobPapen_BIT_Classic_Synth_Demo02.mp3https://www.robpapen.com/dmdocuments/RobPapen_BIT_Contemporary01.mp3

T-RackS 5 tape machine collection released

IK Multimedia releases T-RackS Tape Machine Collection for T-RackS 5

New tape sim plug-ins recreate the iconic character of four classic tape machines

T-RackS Tape Machine Collection

June 12, 2019 – IK Multimedia has released the T-RackS® Tape Machine Collection for its industry standard T-RackS mixing and mastering software workstation. This new collection of plug-ins recreates the iconic sound and character of four classic tape recording machines from the 1960s, 1970s and 1980s: the Ampex® 440B, the Studer® A80, the MCI® JH24 and the Revox® PR99. In addition to finely detailed machine emulations, the collection also offers a selection of reel-to-reel tape formulas, variable tape speed, transport controls, and other tone shaping features.

Many of the world’s greatest songs were recorded on analog tape machines and featured the desirable and pleasing saturation, EQ and cohesion that could only come from a tape machine. Today, working with classic machines can be an expensive and time-consuming proposition. The T-RackS Tape Machine Collection offers this sought after warmth and character in a cost-effective package with a modern-day, practical workflow.

This new collection is the culmination of two years of full time research and development on real world-class machines. Each machine went through a complete electronic and mechanical renovation to bring it perfectly back “to specs” before IK’s DSP engineering team took each stage apart, studying and analyzing them to produce a model of the entire magnetic tape recording process.

This model works in symbiosis with a powerful dynamic convolution engine to capture the full essence of the real machine, and the T-RackS Tape Machine Collection faithfully brings all this magic right to any DAW.

Four pieces of history

The T-RackS Tape Machine Collection bundles together 4 new plug-ins, each also available individually:

Tape Machine 440: The Ampex 440B series dates from the late 1960’s and delivers an unmistakably soulful color that made this professional and historic mixing and mastering machine a legend. This superb blend of art and technology has the power to turn mixes into finished tracks.

Tape Machine 80: The legendary Studer A80 Mk II, in its various revisions, is an essential part of countless influential records. Engineered and manufactured in Switzerland from 1970 to 1988, it became the de facto standard for professional high-end multi-tracking. The A80’s sonic signature is a perfect blend between transparency and subtle harmonic enhancement.

Tape Machine 24: A model of the MCI JH24. First produced in 1980, the JH24 was a staple in US studios during the 1980s. This completely transformerless, high performance op-amp-based design delivers a pristine, phase coherent and remarkably true-to-the-source audio performance. This results in a moderate and elegant polish.

Tape Machine 99: The Revox PR99 Mk II is a stereo professional recorder produced by Studer in the 1980s. Engineered around a hybrid design that combines the best of discrete and op-amp topologies, this model offers a very smooth frequency response, especially on bass, with almost no trace of the typical “head bump” phenomenon. A standard for broadcast and classical music, this machine was appreciated by audiophiles for its exceptional sonic quality.

Four magic formulas

Each plug-in in the Tape Machine Collection offers a selection of four different tape formulations, each with its own unique tone.

250: Modeled after the 3M/Scotch 250 formula, it is the most colored of the four formulas. It went in production around 1974 and delivers a warm tone with slightly more distortion and saturation than the other formulas included in the package.

456: Modeled after the Ampex 456 formula, this model went into production around 1974. Perhaps the most widely used tape, it contributed the most to what is considered “the” tape sound. It offers a warm, round tone with a slight touch of saturation that greatly responds to the recording level.

GP9: Modeled after the Quantegy GP9 formula, this tape accepts higher levels of signal with minimal distortion and compression, is very punchy and perfect for modern high-quality analog recordings.

499: Modeled after the Ampex 499 formula, this tape is designed to handle a great amount of level with minimal distortion and compression. It also exhibits added high frequency definition that makes it perfect for printing “digital-like” recordings, while still maintaining an analog sound.

Comprehensive Controls
All Tape Machines Collection plug-ins share the same set of controls to enhance the ease of use and allow for quick A-B comparisons among them. Key features include:

Signal path selection: With “Input,” the signal only passes through the input and output electronic stages of the recorders, bypassing the tape. Depending on how the recorder is designed, the Input path can sound extremely transparent or just slightly more colored. “Repro” passes the signal through the entire analog recording system: input, recording amplifier, recording head, tape, playback head, playback preamplifier and output stage.

True Stereo: Even a perfectly aligned tape machine will have slight level, EQ and distortion differences between the left and right channels. The T-RackS Tape Machines Collection perfectly recreates these subtle differences to deliver the real experience. This feature can be disabled if desired.

Tape Speed: Select the speed of the tape transport between 7 1/2 and 15 or 15 and 30 inches per second (“ips”), depending on the tape machine used. The higher speed offers more fidelity, and the lower speed delivers a warmer, rounder tone.

Transport Modeling: Precisely models the behavior of the mechanical transport. Small irregularities in the movement of the tape create various degrees of sonic alteration to the audio, especially between the two channels. This control can also be disabled.

Record Bias: Ideal bias voltage settings provide maximum sensitivity and low distortion. Intentionally overbiasing is a common technique to produce a warmer, gently saturated sound. Underbiasing can be used to boost the high frequencies in a truly unique way and add distortion and other nonlinear effects.

Flexible use options
Like all T-RackS processors, the individual T-RackS Tape Machines offer two ways to work: as a single plug-in, or inside the T-RackS 5 shell.

The T-RackS Shell allows users to combine any of the 43 T-RackS processors in a single instance. Create custom combinations of processors, using both series and parallel routing, that take up only a single plug-in spot in any DAW and can be saved and recalled for lightning-fast workflows.

This Shell offers offers a unique, modular system with up to 16-processor chains, easy A/B/C/D comparison, up to 192 kHz / 32-bit floating point processing and much more, and works as both a plug-in and stand-alone mastering application.

About T-RackS 5
T-RackS 5 is the latest version of IK’s industry standard mixing and mastering software workstation that has been used on countless albums by top engineers for more than 20 years. This powerful modular system offers maximum versatility via 43 high-quality processors (EQs, limiters, compressors, etc) that can be used in parallel or series, in a variety of working environments. In total, T-RackS 5 offers everything needed to professionally treat and finalize audio from raw mixes to a perfect finished product. For even more professional results, each version of T-RackS 5 also offers free downloadable signature presets from some of the industry’s top engineers.

Pricing and availability
The T-RackS Tape Machine Collection bundle and individual Tape Machine Singles are available now in the IK Multimedia online store, Custom Shop and from IK authorized dealers worldwide.

For a limited time through June 30, 2019, the T-RackS Tape Machine Collection bundle will be available at a special introductory price of only $/€99.99*. Each Tape Machine Single will also have a special introductory price of $/€79.99*.

After June 30, The Tape Machine Singles will be offered for $/€99.99* each, and the T-RackS Tape Machine Collection featuring all four machines will be offered for $/€199.99* (a savings of 50% compared to purchasing individual models separately).

* All prices excluding taxes

For more information about T-RackS Tape Machine Collection, please visit: www.ikmultimedia.com/trtapemac

To see T-RackS Tape Machine Collection in action, visit: www.ikmultimedia.com/trtapemac/video

My Zaor Miza Jr bedroom set up

The Idea is simple… create a small bedroom set up to be able to create music, work on sample pack layouts, and have FUN with synths and samples WITHOUT my computer. I think with this set up I am off to a great start.

Everything sits atop the Zaor Studio Furniture Miza Jr desk. this helps keep the cables out of sight and the look matches the original 1960’s wall print in our bedroom. the Miza features a nice pull out tray designed for 61 key controllers and slim synths. here I have the jdxa on it which is admittedly a bit deep but, hey I just got it and wanted to feel it out. I will likely swap the Jdxa for the Deepmind 12 in the coming weeks. https://zaorstudiofurniture.com/index.php?page=miza

for monitoring I am using the Ik Multimedia iLoud micro monitors… whats great about these is that not only are they a sleek white that goes great with the wall, but they sound quite nice without being bulky or overbearing in the room. For added convenience they have bluetooth and the bluetooth MIXES with the incoming audio. so if you pair your phone to them you can still use them as monitors and a playback device. really nice!

The Arturia Minibrute 2s plus Rackbrute combo is allowing me to have a mini version of my larger modular rig for sample fodder. currently I am using the ReBach Catch vco-AB and VCF-AB along with the D-Env and TraniModule for the bulk of sound creation to add depth to the minibrute 2s sound engine. the onboard sequencer of the 2s is really quite powerful and allows me to get 3 melodic lanes of sequencing at once.

The main sequencer and overall scratch pad is the MPC live. This is a nice compact way to sample in my synth sources without having to rely on a laptop computer. Built in features like through put monitoring allow me to run all my gear through the mpc and jam in realtime. I then use the looper function to catch my sources in real time. often I like to work without midi to keep a loose human feel on the productions.

In the coming weeks I expect this set up to evolve with gear coming in and out of this set up but the goal will be for it to remain small and clean. pretty far opposite of my main studio set up.

Pittsburgh modular voltage research laboratory on kickstarter now

Pittsburgh Modular Synthesizers showcase completely different, organic analog synthesizer at SUPERBOOTH19


PITTSBURGH, PA, USA: musician- and sonic architect-attentive electronic instruments-maker Pittsburgh Modular Synthesizers is proud to debut Voltage Research Laboratory — a completely different, organic analog synthesizer, functionally influenced by the behaviours and systems of the natural world, with which adventurous users can explore the natural systems and lesser-known fringes of analog synthesis as a wildly experimental and extremely deep sonic playground — at SUPERBOOTH19 in Berlin, May 9-11…
As Pittsburgh Modular Synthesizers’ most ambitious and experimental synthesizer offering to date, Voltage Research Laboratory comprises three separate modules that are 100% compatible with the ever-popular Eurorack small-format modular system, housed together in a purpose-built, handmade Eurorack case. Collectively they are so much more than an assemblage of tools and functions, rather representing a unique modular synthesizer seriously designed to reward deep experimentation, encouraging the creation of unique sonic systems.
Central to Voltage Research Laboratory’s unique sound palette is its lifeforms voltage lab module. Musically or otherwise, it originates with a complex oscillator pair — primary oscillator and secondary oscillator — that utilise a wide range of shaping and manipulation options to move away from basic geometric shapes to more harmonically rich tones. There is also a custom wave folder with enhanced waveform warping, linear FM, amplitude modulation, ring modulation, waveform cycling, hard sync, and more besides — all available for serious sonic research.
More manipulation comes courtesy of a set of multi-function generators — function generator a and function generator b, which work as interactive voltage processing systems to create and modify complex control voltages. Acting as voltage-controllable envelopes, LFOs, slew generators, and more, these function generators give life to evolving control signals.
Thereafter, twin dynamics controllers — dynamics controller a and dynamics controller b — bring everything together. After all, as a unique circuit expanding on the classic low pass gate, the dynamics controller with variable response adds an organic depth to the lifeforms voltage lab module by simulating the natural behaviour of sound. Saying that, the multi-mode signal processor features a 12dB resonant filter, VCA, and percussive low pass gate modes.
Meanwhile, back in the natural world, sound interacts with its surroundings, so the lifeforms voltage lab module makes use of an analog delay to simulate this interaction and create an artificial sense of time and space. Sonic manipulation of delay time and feedback add depth and warmth through chorus-, Doppler-, echo-, flanger-, reverb-, and slapback-type effects.
Chaos can be found everywhere. Electronically, random gates and control voltages spark uncontrolled reactions, disrupt systems, and generate ideas. It is for that very reason that the lifeforms voltage lab module includes noise, stepped random CV, a pseudo-random sequence generator, pitched random CV, pitched random sequences, and random gates to add multiple levels of unpredictability to any patch.
Pittsburgh Modular Synthesizers’ Voltage Research Laboratory itself includes the lifeforms touch controller module. Intuitive and inspiring, it effectively overcomes the creative restrictions of a traditional chromatic keyboard with a set of fully-configurable, multi-dimensional touch pads as a duophonic touch controller. By bringing into play two sets of five touch pads, it offers a flexible and interactive performance surface, so performances can be interpreted with a unique combination of monophonic and duophonic responses. The lifeforms touch controller module’s channel animator also allows speedy generation of complex sequences or glitchy chaos — all in all, then, the perfect launchpad for any experimental journey, be it musical or otherwise.
As a Voltage Research Laboratory exclusive, the lifeforms utility module features a unity gain signal mixer/splitter along with stereo headphone and line outputs, rounding out the functionality of this completely different, organic analog synthesizer.
The three Voltage Research Laboratory modules are housed in a beautiful 96hp Eurorack enclosure, shaped with the warmth of walnut and the strength of steel. Suitably named, the Lifeforms Research Console case perfectly pairs classic desktop synthesizer ergonomics with a modern Eurorack form factor and a clean, reliable power supply.
Showcasing Voltage Research Laboratory for all to see and hear for the time first time on booth (O226) at SUPERBOOTH19 — Europe’s first and largest trade fair for electronic musical instruments — in Berlin, May 9-11, Pittsburgh Modular Synthesizers has launched its funding campaign on Kickstarter.

The SRP (Suggested Retail Price) for Voltage Research Laboratory is $1,599.00 USD — discount available to Kickstarter supporters; explore and support the Kickstarter campaign for Pittsburgh Modular Synthesizers’ Voltage Research Laboratory project here: https://www.kickstarter.com/projects/pittsburghmodular/voltage-research-laboratory-organic-modular-synthe

Note that Pittsburgh Modular Synthesizers will also be selling the lifeforms voltage lab and lifeforms touch controller Eurorack modules and Lifeforms Research Console case separately with SRPs of $899.00 USD, $399.00 USD, and $349.00 USD, respectively — discounts available to Kickstarter supporters, while the lifeforms voltage lab module will also be available as the Voltage Lab Blackbox standalone synthesizer with an SRP of $999.00 USD — discount available to Kickstarter supporters.
Watch Pittsburgh Modular Synthesizers’ intriguing introductory video for Voltage Research Laboratory here:https://youtu.be/fk2D0SAVtYU 

MicroFreak now available + update

MICROFREAK NOW AVAILABLE
Grenoble, France, May 2019
MicroFreak now available

Top sound designers have added their flavour, creating all the classic presets you’ll need from a synthesizer, with the addition of the unusual and crazy.

It’s time to pass the MicroFreak from our hands to yours – switch it on and see why it lives up to its name.
What is MicroFreak?
A 4-part paraphonic synthesizer with a twist, mixing wavetable and digital oscillators with a characteristic analog filter. There’s the unique poly-aftertouch flat keyboard, sequencers and arpeggiator, the matrix, and a host of connectivity options.

It’s been designed to be fun, naughty, easy-to-use, and a blank canvas for the sound designers. MicroFreak is here to break all the rules. It’s fun, inspirational, different, yet affordable enough to find a home in any studio.

It’s been designed to be fun, naughty, easy-to-use, and a blank canvas for the sound designers. MicroFreak is here to break all the rules. It’s fun, inspirational, different, yet affordable enough to find a home in any studio.
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Ik multimedia offers free Syntronik Bully Bass

iIK Multimedia offers free Syntronik Bully bass synth virtual instrument

Musicians can receive this stand-alone instrument from IK’s popular Syntronik series via newsletter sign-up

Syntronik Bully promo

May 14, 2019 – From now through May 23, 2019, anyone who subscribes to the IK Multimedia newsletter mailing list can receive the Syntronik Bully bass synth virtual instrument for free, with no purchase necessary.

A $/€49.99 value, the Bully is part of IK Multimedia’s Syntronik and Syntronik Deluxe versions for Mac/PC. To receive Syntronik Bully at no charge, new users can simply download and install Syntronik Free, which is a free plug-in from the IK Multimedia site. A pop-up will prompt users to sign up for the mailing list to register and unlock Bully. Existing customers can simply access their IK Multimedia account and follow the same steps.

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Motor synth from Gamechanger audio announced.

Gamechanger | Audio unveils revolutionary electro-mechanical Motor Synth at SUPERBOOTH19


RIGA, LATVIA: having presented an initial proof-of-concept prototype product at The 2019 NAMM Show in Southern California, January 24-27, uncharted music electronics territories explorer Gamechanger | Audio is proud to unveil the revolutionary Motor Synth — a digitally-controlled analogue electro-mechanical synthesizer that uses a system of electromotors (to convert electrical energy into mechanical energy) as its main sound source — in its finished desktop design at SUPERBOOTH19 in Berlin, May 9-11
Motor Synth really represents a new method of analogue audio signal synthesis since digitally-controlled electromotors have never been used as the principal sound source for a commercial musical instrument — indeed, nothing like it has ever been built before! But actions always speak louder than words. So how, exactly, does the revolutionary Motor Synth work?
Well, simply speaking, Motor Synth produces sounds by accelerating and decelerating eight electromotors to precise rpm (revolutions per minute) that correspond with specific musical notes. Needless to say, the instrument in question’s eight-electromotor configuration means that it is a four- note true polyphonic synth with two voices per key played.
Digging deeper, Motor Synth takes a two-pronged approach to producing its core sound, starting with magnetic pickups placed on each of its eight electromotors; those electromotors’ spinning coils result in a very industrial-sounding, ridiculously over-the-top analogue tone — think eight harmonious revving engines pumping out an intimidating noise! Next, specially-designed reflective optical disks have been attached to the shafts of each electromotor. Each disk contains a graphical representation of some standard audio wave-shapes. As the electromotors spin, the disks are set into circular motion, and each wave-shape is read by a dedicated set of UV (ultraviolet) sensors, then converted into an audio signal. So the wave-shapes on the reflective optical disks become precise musical notes, corresponding to the speed of the electromotors.
Elsewhere, Motor Synth still features familiar analogue audio processing circuits — filters, envelopes, et al — alongside arpeggiation, cross- modulation sequencing, and multiple polyphonic mode facilities, as well as an innovative looping system that allows adventurous users to layer rhythm and melodies, just like when using a loop station.
Manifestly, Motor Synth is a desktop design — unlike its initial proof-of-concept prototype predecessor, but it can still be played out of the box via eight built-in control keys and four floating tuning pots. Performers and composers can, of course, connect any standard MIDI (Musical Instrument Digital Interface) controller, like a keyboard or DAW (Digital Audio Workstation), while Motor Synth is also capable of tracking a monophonic audio signal, such as guitar or bass, via its 1/4-inch mono input. Interestingly, Motor Synth can be configured to act as a harmonizer for electric guitars or other melodic instruments, recognising the pitch of a musical tone and instantly generating a complimentary tone by operating an electromotor at a matching frequency. Furthermore, users can create intervals and chords based on the frequency of the incoming signal with no need (necessarily) for a MIDI controller or inputting preprogrammed musical information.
Whatever way anyone chooses to play Motor Synth, a stunning visual experience is guaranteed. Get this: Motor Synth’s see-through protective glass cover above its core sound system of eight electromotors enables users to receive visual feedback from the instrument itself by being able to see those spinning electromotors in action. But better still, the visual experience is enhanced still further by the also-visible set of reflective optical disks attached to the electromotors’ shafts being coupled to a set of eight mini strobe lights, so those spinning disks themselves turn into a hypnotic light show, courtesy of the strobe effect!
As an instrument that uses electromotors as its main sound source, Motor Synth inherently possesses many unique sound traits that will surely appeal to many musicians that favour analogue electronic instruments and synthesizers in particular. Put it this way: with its unusual tonal and timbral qualities, unlimited microtonal pitch adjustment and modulation abilities, and note attack and decay properties influenced by the acceleration and deceleration curves of electromotors, Motor Synth works well across a wide range of musical styles.
Showcasing its third revolutionary product, Gamechanger | Audio will be proudly unveiling Motor Synth on booth (H320) at SUPERBOOTH19 — Europe’s first and largest trade fair for electronic musical instruments — in Berlin, May 9-11. Thereafter, it will be following in the super-successful crowdfunding footsteps of Gamechanger | Audio’s PLASMA Pedal, perfectly realising a revolutionary approach within the realm of overdrive and distortion by transforming the connected instrument’s live signal into a series of continuous high-voltage discharges within a xenon-filled tube, thanks to achieving 921% funding on Indiegogo in April 2018 (https://www.indiegogo.com/projects/plasma-pedal-high-voltage-distortion-unit–3#/). No doubt the equally- revolutionary electro-mechanical Motor Synth will follow suit, successfully realising a new method of analogue audio signal synthesis. 

Explore and support the Indiegogo campaign for Gamechanger | Audio’s Motor Synth project here:https://www.indiegogo.com/projects/motor-synth/coming_soon
Watch Gamechanger | Audio’s automotive-assisted video for Motor Synth here: https://youtu.be/AaIhBu4adZ8
For more in-depth info, please visit the dedicated Motor Synth webpage here: https://www.gamechangeraudio.com/motor-synth/