|Erica synths unveils fusion vco v2 |
|Fusion VCO V2 is designed to deliver earthshaking basslines and drones, along with flexible, distinct featuresRiga, Latvia, May 6, 2019 — Erica Synths announces the latest addition to its Fusion series lineup of Eurorack modules, the Fusion VCO V2. The Fusion VCO V2 functions as a full analogue sound source, packing a lot of distinct features. The core of the module centers on a highly stable AS3340-based VCO with three simultaneously available waveforms, transistor-based suboscillator and detune function. There are two BBD delay lines which can function as a frequency shifter, which can be mixed back to the principal oscillator in order to emulate two detuned VCOs. Meanwhile, tube crunch, a distinct tube overdrive, is added on the top of the mix. Furthermore, the Audio input feature enables users to mix an external audio signal with the principal oscillator — resulting in a crazy sonic experience. If you are looking to get really low frequencies and have a sound that sets your modular system apart from mass, Fusion VCO V2 is exactly what you need!Features: Full analogue designGreat tracking over 8 octave rangeDetune function for thickening the sound-1 oct transistor based suboscillatorTube overdrive circuitExternal audio inputVCO synchronizationSimultaneous waveform outputs|
To learn more about the Fusion VCO V2, please visit the Erica Synths product page.
|Kurzweil Introduces PC4 Performance Controller and Production Station|
PC4 Has 256-Polyphony, Fully-Weighted, Velocity-Sensitive Keyboard, Powerful Processing and Intuitive Controls Kurzweil Music Systems’ all new PC4 packs patented FlashPlay® technology, 256-voice polyphony and powerful DSP into a highly-portable performance controller and production station designed to meet the needs of performing artists, studio musicians, song-writers and producers.
The PC4’s simple and intuitive user interface begins with a large color display with six soft keys and includes dedicated front-panel transposition and tempo controls, nine programmable knobs, sliders,and switches, instrument category selection, and dedicated arpeggiator and sequencer transport controls.The 88-note, hammer-action keybed is fully-weighted and velocity-sensitive offering the feel of an acoustic grand with the added benefit of keyboard aftertouch.
The PC4 excels as both a performance controller and production station with its 2 GB of factory sample content and another 2 GB of user-loadable space with up to 16 Zones in Multi Mode. Access a broad library of more than 1000 factory programs, versatile FX with full editing capabilities, a 16-track sequencer, 16 arpeggiators, 16 riff generators, versatile MIDI control with 16 MIDI CC step sequencers and full native V.A.S.T. editing capabilities. The PC4 also showcases a powerful six-operator FM Engine that imports 80’s/90’s FM SysEx files. Along with its MIDI I/O, the PC4 has versatile analog I/O connections including a stereo audio input with FX. Add up to four switch pedals and two CC pedals. A second USB port accepts a USB thumb drive for external storage. Kurzweil’s powerful new PC4 will be available soon at Kurzweil dealers. Visit Kurzweil’s website for more information.
Polyphony is back!
Chord v2 is a plug and play solution for bringing musical
polyphony to your system. It contains four oscillator
voices, a multitude of waveforms, and intelligent tuning
functionality. This new version features an expanded
sonic palette and feature set in half the size of the
It features three primary modes of operation: Chord, Free
Running, and Unison. These three modes allow the
oscillators to be tuned as diatonic chords, run
independently of each other, or be tuned to the same
internal frequency for external v/oct sequencing through
independent CV inputs.
The timbral possibilities of the Chord v2 bring its
polyphonic tones to life. The module ships with eight
banks of waveforms encompassing traditional shapes,
vocal synthesis, organ emulation, and chiptune sounds.
You can also load custom wavetables using the SD card
slot on the front panel.
From harmonic drones to Switched On Bach, the Chord v2
is an unparalleled addition to any Eurorack modular.
•Intelligent tuning system
•Independent output per voice + mix output(5 in total)
•Eight banks of waveforms
•SD card included
•Wavetables compatible with WaveEdit software by
$299 shipping NOW
Changes from v1:
- Half the size! 14HP down from 28HP
- Eight banks of waveforms
- Full polyphonic mode
- Harmonize in minor mode
- Custom wavetable compatibility
- Expanded chord types
- Improved synthesis engine
Specs: Width: 14HP
|ARTURIA LAUNCH V COLLECTION 7|
|Grenoble, France, April 25th 2019|
|Arturia have announced the arrival of the latest edition of V Collection : their flagship anthology of reimagined historic synths and keyboards. |
Containing 24 premier software instruments and thousands of preset sounds, V Collection 7 is the must-have reference for musicians, producers, sound designers, and keyboard fans.
|Legendary keyboards reinventedIn V Collection 7, Arturia have used cutting-edge modelling techniques to create the most accurate software versions of dozens of time-honored instruments. Their exclusive True Analog Emulation® (TAE) and advanced physical modelling put these legendary instruments at your fingertips as software. Over 100 years of music history are now yours to explore, and use to shape the sound of the future.|
|To celebrate its release, and only for a limited time, V Collection will be available for an incredible price. Whether you are new to Arturia products, want to upgrade from a previous version of V Collection , or own any other Arturia products, you will have access to an exclusive deal that will put the very best synth and keyboard recreations ever made at your fingertips.|
Intro offer from $399/399€, ends June 10th.
Street price $499/499€
|MELLOTRON VLEGENDARY TAPE KEYBOARDThe original instrument redefined what keyboard players could do, unlocking the doors to orchestral and choral sounds at the touch of a key. Arturia’s reinvented versions not only features all original Mellotron tapes, but also lets you import and play your own samples with authentic tape emulation.|
|SYNTHI VBRITISH SILVER MACHINEThe quirky British “silver machine” that put a new spin on modular synthesis, reborn in software with exciting new tricks up its sleeve. Advanced component modelling let Arturia model even its wild, unpredictable nature, with advanced modulation and powerful effects added to the mix.|
|CZ VPHASE DISTORTION CULT CLASSICThe budget synth that became a legend in its own right. The instrument that brought the digital synth revolution to the masses is now at your command. Easy to program phase distortion synthesis with custom editor, huge modulation potential and awesome effects.|
|ANALOG LAB 4INSPIRE, CREATE, COMBINE, AND PERFORMA treasure trove of amazing synth and keyboard sounds with effects, easy to browse, fun to control, with a new built-in live mode. Your go-to choice for inspiration and performances.|
|B-3 V 2THE MOST POPULAR ORGAN REBORNOur recreation of Hammond’s legendary organ has received a total sound engine overhaul, making it the most authentic, vibrant electric organ virtual instrument ever.|
|SYNTHOPEDIACUTTING EDGE PRESETSOver 800 brand new, modern sounds created for legacy V Collection instruments. The hottest synths and chart-topping keys are yours to explore.|
|Arturia have created a series of promotional videos and tutorials to whet your appetite, and get you familiar with the exciting new instruments. Each software instrument also features an in-app tutorial mode, too! Just another one of the fantastic new features in V Collection 7. |
To discover more about Arturia V Collection 7 , the stories behind the vintage instrument recreations, and to start your free trial, visit the Arturia website.
Founded in Grenoble, France, in 1999, Arturia specialises in the development of music software and hardware for professional and amateur musicians.
They are a team of passionate people, dedicated to musicians. Their aim is to create original and different instruments, imagine new experiences, and reinvent products. Operating in 55 countries, they have offices in France, the USA, Mexico, and the UK.
To find product images and screenshots of the new software, visit our press portal:
Analogue Solutions ships compact true stereo analogue monosynth/sonic realiser as perfectly-packaged desktop device
KINGSWINFORD, UK: British boutique electronic instruments innovator Analogue Solutions is proud to announce availability of Impulse Command — creatively crafting a true stereo, semi-modular analogue monosynth/sonic realiser, replete with fanciful features likeDUAL DYNAMIC ANALOGUE OSCILLATORS; DUAL ANALOGUE FILTERS; stereo digital EFFECTS; 16-step MIDI LOOP SEQUENCER and STEP SEQ (with radical REORDER!function); and more, meaning it can conceivably sound like several simultaneously-playing synthesizers as a perfectly-packaged desktop device — as of April 2…
As is, indeed, the case with all Analogue Solutions’ innovative instruments,Impulse Command is a ‘real’ analogue affair… as in its audio signal path — post effects apart — and all modulation routings really are analogue through and through. The chosen company name gives the genuine game away. After all,Analogue Solutions’ circuitry capitalises on superlative-sounding designs dating back to the Seventies, so no quantisation for CPU (Central Processing Unit) reading required. The VCOs (Voltage Controlled Oscillators), VCFs (Voltage Controlled Filters), EGs (Envelope Generators), and LFOs (Low Frequency Oscillators) are all truly analogue in the Seventies sense of the word, with transistors, op-amps, and resistors. Reality dictates, therefore, that — apart from the MIDI (Musical Instrument Digital Interface) conversion, sequencer control, and digital delay/reverb essential elements — Impulse Command is reallyanalogue. As such, sound benefits become apparent as soon as anyone feasts their ears on the remarkable result. Is it any wonder, then, that there is so much favourable commentary about how good Analogue Solutions’ synthesizers sound!
So potential purchasers can clearly take it as ‘red’ — pun intended, given its eye-catching colour scheme! — that Impulse Command sounds as good as analogue gets. Given that Impulse Command is designed by Analogue Solutions founderTom Carpenter, this surely shouldn’t come as as surprise. As a fervent fan of electronic music and also an active electronic musician himself, he naturally knows a thing or two about programming synthesizers. So his current creation clearly wasn’t the result of engineering design decisions driven by a steering committee of men (or women) in suits, compulsorily constrained to maximise profit for faceless shareholders. Far from it, in fact. Fortunately for all, the fanciful features available and resultant range of tones they can capably produce have all been carefully thought through to impart Impulse Commandwith what’s required to speedily bring about a wide range of sounds that true analogue admirers could conceivably call for — from huge basses, synth leads, percussion, and effects through to modular system-like stylings.
So what makes this superlative-sounding, Seventies-inspired innovative instrument truly tick? The subtractive synthesis signal path in Impulse Command creatively gets going with two VCOs, producing the raw audio sound source for later processing. Providing a wealth of features and modulation choices in and of themselves, VCO1 boasts a white noise generator alongside sawtooth and triangle waveforms, while VCO2 DETUNE does just that — detuning VCO2 to thicken up the resulting synth sound. Thereafter, things start to take a turn towards the fanciful with AMOUNT applying the amount of MIDIVEL (velocity) or EG2 signal that will be applied to modulate VCO2’s volume, selected via a toggle switch, while I.L. manually sets the initial level of VCO2volume, and allows that level to be dynamically controlled when set to zero; speaking of oscillators, the VELOCITY control sets the amount of MIDI velocity that will be applied to the square wave-equipped SUB (sub-oscillator) volume, while I.L. manually sets the initial level of SUB volume, so also allows that level to be dynamically controlled when set to zero — hence the DUAL DYNAMIC ANALOGUE OSCILLATORS wording boldly blazoned across Impulse Command’s easy-to-follow front panel!
Pitch modulation, meanwhile, such as vibrato or a pitch sweep, can be obtained by patching with cables using the mini-jack sockets sited along the top of the front panel. Put it this way: while Impulse Command is mostly pre-patched, it has such a wide range of modulation routing possibilities that it is almost as versatile as a full modular system and is capable of producing the same types of sounds — albeit without the mess and confusion of cables. It does, however, have a sizeable selection of patch sockets that allow adventurous users to re-patch it or connect it to an external modular system.
So what about that DUAL ANALOGUE FILTERING wording? Well, as implied,Impulse Command comes complete with two CEM chip-style filters — the same type as those used in classic synths such as the Elka Synthex, Fairlight CMI, Oberheim OB8, and Sequential Circuits Prophet-5, to name but a notable few. Despite sharing the same core circuitry as those vintage classics, Impulse Command is imbued with its own sonic character, rather than simply sounding like them. Many of the controls are duplicated for each of those 24dB/octave filters. The upper VCF is called VCF-L (left) and the signal — following its own dedicated VCA — is routed to the left output jack. It stands to reason, then, that the lower VCF is called VCF-R (right) and the signal — following its own dedicated VCA — is routed to the right output jack. Commonly, CUTOFF sets the master frequency cutoff for both filters, while PEAK sets the resonance/feedback level of both filters. Further left field, perhaps, VCF-R DETUNE offsets the second filter’s frequency cutoff, while VELOCITY sets the amount of MIDI velocity that will modulate the cutoff of both filters, andAGGRO adds cross modulation from VCO2 to the filter CUTOFF, creating a more edgy sound — increasing PEAK to higher levels emphasises this effect. Elsewhere, there are no fewer than four modulation sources — namely, EG1, EG2, LFO1, and LFO2, while LEVEL sets the level of modulation applied to the filter CUTOFF. Creatively, MOD INVERT inverts the modulation for VCF-L, which, as an example, enables pseudo-auto-pan effects. External sound sources, such as vocals, guitars, mixer sends, and samplers, etc, can be sent through the filters for further treatment by simply plugging the sound source into the rearside IN (input) socket. All in all, a flexible filtering section that belies this relatively diminutive desktop device’s space-saving (322 x 270mm) footprint.
Following on from filtering, Impulse Command’s signal path arrives at two separate analogue ADSR envelopes. EG2 is hardwired to control the VCAs that follow the VCFs, but both EGs are available for modulation of various circuits and have trigger and signal output jacks for further patching.
Processing plays a part in Impulse Command’s musical makeup. Primarily designed as a powerful analogue synthesizer, some essential effects — bit crush, delay, flanger, and reverb — have been included to give the resulting sound some ambience. The latter three effects can even be modulated to a degree by the STEP SEQ (sequencer), so they can be dynamically controlled! Control-wise, turning EFFECT selects the eight presets, while ASPECT1 and ASPECT2 are used to make some adjustments to the sound space preset selected. Sequencing is where the sounding-like-several-synthesizers-simultaneously-playing-Impulse Command can come into its own like no other, though. There are two sequencers — an analogue STEP SEQ (that produces voltages) and a MIDI LOOP SEQUENCER (that produces MIDI note loops). Both are clocked from the same signal source, selected using the SEQUENCER SYNCHRO switch, though theMIDI LOOP SEQUENCER can be independently stopped and started. As implied by name, the MIDI LOOP SEQUENCER is used to record melodic loops and will always run in time with the analogue STEP SEQ, which is primarily used for modulation. But both benefit from the radical REORDER! function that affects the sequencer stepping order — forwards, backwards, and all sorts of strange yet wonderful variations! It’s a lot like life, even.
Ending on a high note, Tom Carpenter concludes — somewhat thoughtfully — thus: “This synth is a journey of discovery. You’ll take the occasional wrong turn, but you’ll also make many exhilarating turns, and each destination will be nirvana-like. Life is all about the journey. So experience and play.”
Impulse Command is now available for purchase — priced at an RRP of £849.00 GBP (ex. VAT)/€1,179.00 EUR (inc. tax)/ $1,199.00 USD (inc. tax) — through Analogue Solutions’ growing global network of authorised dealers (http://www.analoguesolutions.com/dealers/) or order online directly from Analogue Solutions via the dedicated Impulse Command webpage (http://www.analoguesolutions.com/impulse-command), which also includes more in-depth information.
Watch Analogue Solutions’ introductory Impulse Command video here:https://youtu.be/3vW6NXIwOy0
***FOR IMMEDIATE RELEASE***
Rossum Electro-Music Announces Panharmonium Mutating Spectral Resynthesizer
(Santa Cruz, CA, March 27, 2019) — Rossum Electro-Music has announced that they will be previewing their new Panharmonium Mutating Spectral Resynthesizer Eurorack module at the Synthplex festival in Burbank, CA from March 28th through 31st.
Created by Rossum Electro-Music Software Architect Bob Bliss (who also, as it happens, fathered E-mu’s famed “EOS” Emulator Operating System), Panharmoniumisa unique music and sound design tool that analyzes the spectral content of any audio signal and uses that analysis to drive a bank of from 1 to 33 oscillators. Depending on various control settings, Panharmonium can accurately reproduce the input spectrum in real time or modify it in a multitude of wildly creative ways. All with an interface whose immediacy encourages performance and interaction.
Panharmonium input can be anything from a single oscillator to an entire mix (including vocals). From dense, swirling pads and drones that evolve with the input’s changing spectrum, to clock-syncable spectral arpeggiation, to as-yet unnamed harmonic effects, Panharmonium opens up an entirely new world of sonic possibilities.
Additionally, Panharmonium can take a snapshot of an instantaneous spectrum and use that as a complex harmonic oscillator, which can then be modified and modulated by all of Panharmonium’s other controls.
Panharmonium accomplishes its magic though a combination of functional submodules:
The Spectral Analyzer provides tools for defining the analysis process.
– The Slice parameter sets the rate at which the incoming audio is transformed to spectral data. It can be set by the Slice and Multiplier controls, the Tap button, or by an external clock signal. Very short slice times result in real-time spectral data, while longer times can create rhythmic spectral patterns.
– The Center Freq and Bandwidth controls (and associated CV inputs and attenuverters) control the range of frequencies to be analyzed. The Bandwidth control allows the selection of narrow to wide pass bands on the left side of the pot and narrow to wide notches on the right side of the pot. The ability to sweep the frequency and modify the bandwidth under CV control opens up a wide range of sonic effects.
– The Freeze button lets you freeze the spectral integrator, sustaining the currently analyzed spectrum.
These controls allow the creative modification the analyzed spectra.
– The Voice parameter controls the number of oscillators (from 1 to 33) used to resynthesize the spectrum.
– The Blur parameter (and associated CV input) is a spectral lag processor that controls how quickly the spectrum can change.
– The Feedback control (and associated CV input) allows one to route the resynthesized audio back into the entire processing chain for subtle or dramatic feedback effects. At its max, the output becomes self-sustaining, even if the input is removed.
The Oscillator Bank resynthesizes the analyzed spectra.
– The Waveform parameter selects the oscillators’ waveform. In addition to the usual sine, triangle, sawtooth and pulse waveforms, two special crossfading sine and sawtooth waveforms are included.
– The Freq control tunes the oscillators over a +/-7 semitone range. The frequency is further controlled by the 1V/Oct input and the FM input and attenuverter.
– The Octave control, not surprisingly, shifts the pitch of the output by octaves.
– The Glide parameter sets the amount of polyphonic glide (i.e., each oscillator has its own glide circuit).
– The Mix control (and associated CV input) sets the balance between the original input audio and the resynthesized audio.
A number of optional functions can be selected by using the Output Mode and Tap buttons.
– Holding the Output Mode button and adjusting the Slice control enables Drums Mode, which optimizes the spectral analysis for drums and other percussive inputs.
– Holding the Output Mode button and adjusting the Center Freq control allows one to instead set the lower frequency of the analysis range.
– Holding the Output Mode button and adjusting the Freq control enables Spectral Warping. In contrast to conventional frequency adjustment, where the harmonic relationships between the spectral elements are preserved, Spectral Warping shifts the harmonic elements individually, producing a variety of clangorous, swarming textures.
– Holding the Tap button and adjusting the Freq control quantizes the resulting frequency adjustments to semitones.
Spectra Memories and Presets
Panharmonium provides 12 user Spectra memories and 12 user Presets (in addition to 12 each factory memories).
– The Spectra memories let you store up to 12 frozen slices. When selected, a spectrum (up to 33 oscillators wide!) replaces any live input and can have its pitch controlled by the 1V/Oct input and FM controls.
– A Preset is a snapshot of all of the module settings, along with the value of any CVs present at the moment the preset is saved.
Panharmonium is 26HP wide and 25mm deep.
Power requirements (max): 140mA +12V, 30mA -12V. Reverse polarity protected.
Panharmonium will be available in early summer from Rossum Electro-Music dealers worldwide at a suggested retail price in the US of $499.00.
More Panharmonium information can be found at the Rossum Electro-Music web site: http://www.rossum-electro.com/products/panharmonium/
Prism is a multidimensional signal processor that creates a framework for the spectral
metamorphosis of any input signal. This stereo audio buffer can be navigated through on 3 axis,
each of which provides a different sonic journey through its array of time based controls.
The X and Z planes are home to a flexible delay line capable of long clocked delays, slapback
echo, or comb filtered vocoder-esque timbres. On the Y axis is the decimate control. This sets
the audio fidelity of the buffer by manipulating the sample rate and bit depth of the output. A
state variable filter with configurable low pass, high pass, and band pass outputs can be enabled
at the beginning or end of the signal chain providing yet another dimension of spectral
transformation. And thanks to its digital architecture, the current buffer contents can be locked
in place with the Freeze control, creating glitch and beat repeat effects which can be synced to
an external clock source. The Prism blurs the lines between DSP effect, filter, and looper and
transcends into a new realm of uncharted audio processing.
- Multidimensional signal processor
- Stereo inputs and outputs
- Flexible delay line providing long delays, and comb filtering
- Bit depth and sample rate manipulation
- State variable filter with LPF, HPF, and BPF
- Freeze control locks buffer in place for glitch and beat repeat effects
- Aluminum front panel
Power: +12V: 90mA, -12V: 10mA, +5V: 0mA
Synclavier Digital delves into iconic past to bring seminal Synclavier® II sound engine back to the future as awe-inspiring iOS apps
NOVA SCOTIA, CANADA: having turned heads and opened ears with a show-stopping showcase at The 2019 NAMM Show in Southern California, January 24-27, newly-formedSynclavier Digital is proud to announce availability ofSynclavier Go! and Synclavier Pocket! — placing a re-creation of the seminal Synclavier® II Digital Synthesizer’s sound engine from which they take their names into the respective hands of iPad and iPhone/iPod Touch owners as awe-inspiring iOS apps, allowing all the famed FM (Frequency Modulation) and Additive (harmonic) synthesis capabilities to be brought forward forty years for all to musically marvel, at a fraction of the original’s prohibitive pricing thanks to today’s technology, while also effectively emulating the iconic instrument’s intuitive panels of easy-to-touch red backlit buttons and iconic control knob in easy-to-use user interfaces — as of March 5…
Put it this way: while the still-highly-coveted brand of Synclavier® — synonymous with high-end audio production technology that blazed a trail through the Seventies and Eighties before stalling in the Nineties — is in the midst of a galactic reboot, thanks to Nova Scotia-registered Canadian Corporation Synclavier Digital, established in 2018 to re-create a modern iOS-based version of the Synclavier® Digital Audio System, Synclavier Go!, its inaugural iPad offering, is far from being a clone, however… to all intents and purposes, it is a Synclavier®!
So how, exactly, did yesteryear’s trailblazing technology that commanded a princely six-figure sum end up available on Apple’s pocket-friendly iOS platform in true needs of the many outweighing the needs of the few style? Simply speaking, when New England Digital (NED) went bankrupt in the Nineties, technology finally having caught up with the cutting-edge company concerned, co-founder Cameron Jones — co-inventor of the Synclavier® — bought the intellectual propriety rights to the trailblazing series of synthesizers and digital audio systems sharing the notable name.
Having held on to those rights and trademarks, Cameron Jones subsequently relocated to Cape Breton, Canada, keeping a comparatively small number of devoted Synclavier® owners happy with minor maintenance and upgrades in the intervening years, before being approached by French music software and hardware developer Arturia about the possibility of a VST (Virtual Studio Technology) instrument for its V Collection of authentic-sounding virtual instruments. Convinced that the time was right, he subsequently spent many long days porting the existing code and firmware for the seminal Synclavier® II DSP (Digital Signal Processing) engine to C Code capable of running on Windows and MacOS. Moreover, side-by-side testing was carried out with original equipment to ensure the systems sounded identical. Arturia’s Synclavier V was released in its own right to widespread critical acclaim in May 2016. People palpably put those striking Synclavier® sounds on a pedestal — not necessarily nostalgia-driven, but rather because they had stood the test of time. The DSP engine involved is clearly capable of producing phenomenal digital FM and Additive synthesis sounds like no other; on the face of it, Arturia had helpfully proved that there was a healthy market to be tapped.
That said, though the Synclavier V’s GUI (Graphical User Interface) worked well for a mouse-driven VST instrument, it remained removed from the tactile experience enjoyed by users when working with the Synclavier® II Digital Synthesizer. After all, the original instrument’s intuitive panels of easy-to-touch red backlit buttons and iconic control knob are the real reason why the Synclavier® was tailor-made for speedy sound and music-making. Whereas the computer GUI seemed to be placing an additional barrier between being creative and the machine itself. Indeed, upon discussing this very issue with a group of techie friends at a Cape Breton bar, the penny dropped for Cameron Jones… NED had always been about creating the very best devices — not only world-class synthesizers, but also world-class interfaces. Therefore, those intuitive panels were tantamount to a touchscreen way before touchscreen technology had been invented, since users could slide a finger across several buttons at once to activate them, while receiving instant feedback as they lit up accordingly.
According to 20-year software veteran Craig Phillips, a friend from the aforesaid techie group, it was clear that the aim of creating easy-to-use interfaces so users could creatively focus their efforts on sound was part ofCameron Jones’ DNA, so should surely be central to any new products that could well be on the cards. Consequently, Cameron Jones formed a new company called Synclavier Digital Corporation Limited, working with Craig Phillips to pursue next-generation Synclavier creation… cue Synclavier Go!and Synclavier Pocket!
Synclavier Go! is an authentic re-creation of the Synclavier® II’s FM Digital Additive synthesizer for Apple’s ubiquitous iPad, so its users can take their sound design studio anywhere. As a pedagogical tool it includes an inbuilt tour that describes how all of the features work on a panel by panel basis. Better still, the intuitive touchscreen is a joy to use. Ultimately, transforming simple sine waves into grungy brass attacks, swishy FM chimes, or charismatic string sounds has never been easier. The original Synclavier’s signature combination of FM and Additive synthesis capabilities that really represented its industry-shaking calling card are all present and correct here, housed in the same red-button-driven panels, only this time those panels can effectively be flipped for rear-side functions. Fortunately, there’s no need to buy more memory modules for more voices — super-efficient DSP code, coupled with the modern processing power of an iPad, means that voices are now theoretically limitless! Luckily, all of the ear-opening original FM and Additive synthesis Timbres(presets)— over 900 of them — are included in Synclavier Go!’s generous preset library with every conceivable parameter being user-tweak-able.Synclavier Go! supports 12 Partials, allowing users to layer luscious sounds with unlimited Frames, so sounds can evolve over time. Those adventurous users who end up creating something that they like the sound of can simply save it to one of their custom libraries.
Last but not least, Synclavier Pocket! is effectively a pocket-sized version ofSynclavier Go! — as implied by name. Needless to say, Synclavier Digital is collectively keen to train a new generation of synthesists in the creative art of sound design, which is why this iPhone-based Synclavier is free. Synclavier Pocket! has the same panels and tour information as its bigger brother, but users cannot save their own Timbres in a custom library — unless opting for the in-app purchase that enables this. That said, it is still possible to listen to the sounds from the original System Disk, as well as two additional authentic libraries. By offering an entry-level Synclavier® on the iPhone (or iPod Touch) for free, Synclavier Digital is maximising the chances of creating the next Suzanne Ciani, Mark Knopfler, Sting, or Frank Zappa, to name but a few die-hard Synclavier® II owners.
Who better to provide a fitting conclusion to this lengthy musical journey, then, than Cameron Jones himself. “Forty years ago, Sydney Alonso and I invented a musical instrument that revolutionised the music industry,” he begins, before adding: “Artists of Frank Zappa’s generation spent hundreds of thousands of dollars on studio equipment to help them realise their musical ideas. Today we are witnessing another landmark in the release of iOS versions of the much-loved, much-coveted hardware. What happens when anyone with a modest budget can buy a Synclavier? I don’t know, but I can’t wait to find out what the new breed of creative people do with our invention.”
Synclavier Go! can be purchased and directly downloaded from the App Store priced at Tier 30 (US $29.99, UK £28.99, EC €32.99, CN ¥198.00, JP ¥3,600.00) from here: bit.ly/synclaviergo
Synclavier Go! supports three libraries of authentic Synclavier® sounds; 12 Partials; theoretically unlimited voices — depending on iPad processing speed; MIDI — 16 input tracks; Audiobus; IAA (Inter-app audio); IDA (Inter-device audio), allowing DAW interoperability; Ableton Link; audio out — up two 24-bit stereo at 44.1 kHz or 48 kHz — tracks mixed — through headphone jack/lightning or USB; built-in three-octave touch keyboard; Repeat, Arpeggiate, and Portamento (legato) functions can be set per timbre; supports Polyphonic and Monophonic modes with Retriggering settings… for more in-depth information, please visit the dedicated Synclavier Go! webpage here: https://www.synclavier.com/synclaviergo/
Synclavier Pocket! can be directly downloaded for free from the App Store — but requires an in-app purchase called Timbre Design Pro to save Timbres, priced at Tier 5 (US $4.99, UK £4.99, EC €5.49, CN ¥30.00, JP ¥600.00) — from here: bit.ly/synpocket
Synclavier Pocket! supports three ‘Disks’ of authentic Synclavier® sounds; up to four Partial Timbres; theoretically unlimited voices — depending on iPhone/iPod Touch processing speed; mono-timbral MIDI in — for keyboard, pitch bend wheel, and other interfaces; Audiobus and Ableton Link support; audio out — up two 24-bit stereo at 44.1 kHz or 48 kHz — tracks mixed — through headphone jack/lightning or USB; built-in two- octave touch keyboard… for more in-depth information, please visit the dedicated Synclavier Pocket! webpage here: https://www.synclavier.com/synclavierpocket/