TA Programming announces availability of Studio MIDI And CV Interface full synthesizer control system debut
LONDON, UK: following a successful showcase in October at Sheffield’s Synthfest UK 2019, billed as being the UK’s biggest synthesizer event, advanced creative technology designer TA Programming is proud to announce availability of its inaugural Studio MIDI And CV Interface full synthesizer control system — capable of controlling multiple synthesizers simultaneously via voltage control outputs and MIDI/USB with extra-low latency while keeping analogue instruments, vintage or otherwise, perfectly in tune with each other — as of December 20…
According to TA Programming CEO/CTO Tim Aviss, “We designed this interface to be not just a solution to problems that we’d encountered when controlling synthesizers in the past, but to unlock a whole new world of creativity with synthesizers from one interface.”
Indeed, TA Programming’s debut design does just that, thanks to its innovative implementation of complimentary connections, comprising MIDI In and MIDI Out alongside USB I/O for MIDI and serial bus connectivity, together with four universal CV CONTROL outputs. On the face of it, then, the Studio MIDI And CV Interface full synthesizer control system is creatively kitted out to target the hotly-contested competition out there already. After all, those four universal CV CONTROL outputs can perform any function regardless of whether it is for producing Pitch, Gate, or Aux signals. Saying that, an unlimited number of universal CV CONTROL outputs can quickly be created by daisy-chaining multiple interfaces via the MIDI ports. Also, any source — such as Pitch, Note On/Off, Velocity, Aftertouch, any MIDI CC number, signals from a DAW, and more besides — can be selected via USB or MIDI.
Fortunately for anyone putting the Studio MIDI And CV Interface to the test, the voltage of the configured output is completely user definable between -9V and +10V, providing plenty of range to satisfy the requirements of almost all synthesizers, past and present. Put it this way: with this level of versatility, the Studio MIDI And CV Interface provides its users with complete control over note range scale — from microtonality all the way through to the limits of the connected synthesizer. Thankfully, TA Programming’s proprietary tuning technology is capable of handling even the most stubborn scaling issues, effectively eliminating scaling and tuning issues on any analogue synthesizer, including non-linearities. This technology is built upon a six-point multi-mapping system that uses advanced interpolation and modelling algorithms all within a floating-point mathematical model before conversion to control voltages are applied in real time. In other words, once a tuning profile has been configured for the synthesizer concerned, TA Programming’s proprietary tuning technology works out the control voltages said synthesizer needs, regardless of tempco (temperature compensating) resistor variation, in order to produce pitch-perfect notes in real time — a must-have for owners of vintage or more modern analogue synthesizers alike!
Additionally, the Studio MIDI And CV Interface is MPE (MIDI Polyphonic Expression) compatible, capable of sending out full MPE via MIDI DIN or mapping single channel/polyphonic MPE out of the universal CV CONTROL outputs. As all five control dimensions are natively supported, users can be sure that their synthesizers will be as musically expressive as allowed by the MPE method.
Meanwhile, the interface itself has internal circuitry powered by USB. Ultimately, however, TA Programming pushed itself hard to ensure that the power supply can tolerate variances in input voltage so that the resulting supply is always as clean as possible, providing the highest control voltage accuracy, as well as preserving tuning and configuration regardless of the USB host.
Having said all that, TA Programming’s powerful control software allows anyone to completely configure their Studio MIDI And CV Interface. In addition to this, they can host USB MIDI controllers in the software itself, thereby bypassing their DAW, if desired. Said software also provides plentiful MIDI processing features — from LFOs to BPM-locked arpeggiators, keyboard splitting over MIDI, and much more. TA Programming plans to regularly update the interface’s firmware and control software so that its users can always access the latest features following their initial purchase.
Last, but by no means least, the Studio MIDI And CV Interface always automatically stores its user’s current configuration with no need to click save. So feel free to travel between recording studio and performance venue safe in the knowledge that their current configuration will automatically load when the interface is powered back up. Upon connection to their computer, the control software will automatically pull the current configuration from the interface itself to allow for easy editing. And as if this was not exciting enough, an unlimited number of presets and profiles for all the synthesizers in anyone’s setup can be saved to the computer and reloaded into the interface at any time.
TA Programming looks all set to play to win with its inaugural Studio MIDI And CV Interface. Owners of vintage and more modern synthesizers simply owe it to themselves and their treasured instruments to test TA Programming’s debut design. It is no ordinary MIDI-to-CV convertor, clearly!
The Studio MIDI And CV Interface is initially available for purchase — priced at £249.00 GBP — directly through TA Programming here:https://taprogramming.com/product/midi-cv-interface/
For more in-depth information, please visit the dedicated Studio MIDI And CV Interface webpage here:https://taprogramming.com/product/midi-cv-interface/
Watch TA Programming’s Studio MIDI And CV Interface introductory video here: https://youtu.be/X0Vrqw3NESE
Watch musician and producer Lawrence Hart putting the Studio MIDI And CV Interface through its MPE-compatible musical paces here:https://youtu.be/fYqsuc-2iS0
|Holiday Treats from Erica Synths: 15% Off Drum Series Modules|
|Erica Synths Drum Series modules are the ultimate tools for rhythm based music production, live performances and sound designRiga, Latvia, December 19th, 2019 — Modular synth innovators Erica Synths announced that its entire Drum Series modules will be on sale between Friday, December 20th and Tuesday, December 31st. Customers can choose from among 18 different modules, including Sample Drum, Bass Drum, Snare Drum, Clap, Toms, Hi-Hats A, Hi-Hats D, Cymbals, Cowbell, Bassline, Dual Drive, Dual FX, Stereo Mixer, Mixer, Mixer Lite, Link, Modulator & Drum Sequencer. Erica Synths Drum Series modules are the ultimate tools for rhythm based music production, live performances and sound design, and can accommodate anything your drum rack needs — from Bass Drum, Snare and Cowbell, to the Drum Sequencer, punchy Bassline and the extremely capable Sample Drum/ The Drum Series also provides expert effects, modulation, mixers and everything in between. |
For more information on the Drum Series and to take advantage of Erica Synths’ Holiday Sale, please visit its online store starting tomorrow through December 31st.
IK Multimedia brings Hammond B-3X virtual instrument to iPad
In partnership with Hammond USA and Suzuki Music Corp. of Japan, IK’s Hammond B-3X is the first real Hammond® organ for iPad complete with Leslie™ speaker
December 17, 2019 – IK Multimedia announces the Hammond B-3X tonewheel organ virtual instrument for iPad. This new app maintains all the realism, detail and features found in the Mac/PC version, which was created in close collaboration with Hammond USA and Suzuki Music Corp. of Japan, but now available on an even more portable device, making it ideal for a streamlined live performance or travel recording rig.
Hammond B-3X for iPad meticulously recreates the sound, controls and entire effects signal path of the legendary Hammond® B-3. This comprehensive approach offers a level of realism and detail that will satisfy the most discriminating B-3 fans while also offering an affordable introduction to the unique world of tonewheel organs that can be enjoyed by all levels of players.
The new app is ideal for performing musicians looking for a simplified stage rig, letting them run Hammond B-3X on an iPad instead of a dedicated laptop, with full compatibility for MIDI controllers and Hammond digital organs. Hammond B-3X for iPad also supports the latest AudioUnits format, allowing it be used as a plug-in in many of today’s most popular recording apps, for an ultra-portable travel studio that delivers world-class realism and features.
IK’s industry-leading modeling techniques were employed to deliver fine details and nuances approved by the discerning ears of the Hammond Organ Company in Chicago. In addition to its authentic organ sound, this new instrument offers a full-rig chain including stomp effects, an extended version of IK’s Leslie® Collection with a rotary cabinet with mix-and-match amp and cabinet models plus four microphones, a parallel guitar amp with 4×12 cabinet, a mixer and three studio post effects.
It’s all in the details
True to the hardware original, Hammond B-3X for iPad begins with 91 tonewheels, which are based on well-maintained Hammond organs that IK studied in locations around the world. These free-running tonewheels are mixed in real-time based on the notes played and drawbar levels, for authentic realism.
Hammond B-3X for iPad can be fine-tuned using IK’s detailed models of the original settings, controls and circuits, which were all approved by the Hammond Organ Company. Users can employ tonal filtering, select the independent key click, and engage the iconic Hammond percussion and chorus-vibrato circuits with advanced controls.
For deeper exploration and realistic touches, Hammond fans will appreciate a familiar simulation of the effects of “aging” components to control tonal balance, generator leakage and crosstalk, and the chorus circuit’s presence boost.
True tone, real experience
All the controls are designed to recreate the exact experience of playing a classic, hardware B-3 organ – from the order of the chorus/vibrato settings to the placement of the percussion switches. Some additional features have been included as well, for modern convenience.
The drawbars update in real-time when the inverted drawbar settings keys are selected, allowing users to save 24 custom drawbar settings per preset. For live use, a “Controls” view hides the keyboard and enlarges the drawbars and switches for less distraction while playing. MIDI assignments for modern Hammond digital organs are also included, making it plug-and-play easy to perform with everything at arm’s reach.
Extended stomp box effects
The organ feeds a 5-unit pedalboard in the STOMPS section that features overdrive, graphic EQ, stomp box-style chorus-vibrato, wah wah and spring reverb. Derived from IK’s award-winning AmpliTube® and T-RackS® software, these effects were carefully chosen and arranged for easy recreation of the widest range of iconic tonewheel organ sounds. They can also be assigned to MIDI control for on-stage use.
Real Leslie® sound
The signal is then sent to a CABS section that includes a choice of real Leslie amps and speakers that can be mixed and matched, along with a parallel guitar amp and 4×12 cabinet. Using technology derived from IK’s award-winning AmpliTube 4 amplifier modeling, combined with an extended version of IK’s Leslie® Collection, Hammond B-3X for iPad’s cabinet section offers a massive range of sound-shaping option tabs. They include:
- Setup – lets users fine tune the Leslie’s slow and fast speed settings – including acceleration and deceleration – and adjust the mic distance and configuration
- Leslie Amp – offers a selection of five Leslie power amps (or a power amp modeling off switch) and two guitar power amps to use in any of five Leslie cabinets, with full control over gain, EQ and volume
- Leslie EQ – enables the rotary speaker to be shaped with high-pass, low-pass and parametric mid EQ
- Guitar Amp – adds a parallel guitar amp derived from AmpliTube into the mix for use with popular rock tones used by top rock and blues players; offers full tone-shaping controls and spring reverb
- Mixer – blends the sound of the Leslie, with independent volume and panning of both the horn and drum mics, the parallel guitar amp, and the DI organ sound for unprecedented tonal flexibility
Add professional polish
Finally, Hammond B-3X for iPad offers three rackmount studio effects derived from IK’s T-RackS Mixing and Mastering Workstation to add a final, professional touch.
IK’s Limiter 76 FET-based compressor offers an iconic, timeless sound; the EQ-81 adds classic console tone-shaping and warmth; and a digital reverb adds a pristine sense of space.
Pricing and availability
Hammond B-3X for iPad is available from the Apple App Store® with a special introductory price of $99.99 through March 2020.
*Local pricing is determined by Apple, based on exchange rates.
For more information about Hammond B-3X for iPad, please visit: www.hammondb3x.com/ipad
To see Hammond B-3X for iPad in action: www.hammondb3x.com/ipad/video
To hear audio samples from Hammond B-3X for iPad, please visit: www.hammondb3x.com/ipad/audio
Rossum Electro-Music has announced the release of Software Version 2.0 for their Assimil8or Phase Modulation Sampler Eurorack module.
Designed to provide a powerful, flexible sampling engine for modular synthesis, the Assimil8or Multi-Timbral Phase Modulation Sampler module is the latest incarnation of Dave Rossum’s decades-long pioneering of affordable professional sampling technology. Assimil8or 2.0 software brings a host powerful new features and major workflow enhancements. Taken together, they result in Assimil8or’s evolution into an even more powerful and easy-to-use sampling module.
Assimil8or 2.0 software is a free download for current Assimil8or owners. It can be downloaded at http://www.rossum-electro.com/products/assimil8or.
Key new Assimil8or 2.0 features includeNew Sound-on-Sound sampling modes: (100% feedback for limitless layering and -3dB feedback for gradual decaying).
Explode Sample (at both the channel and zone level) to divide a sample into 2 to 8 equal regions and automatically assign them to sequential channels or zones.
Chop Sample: Similar to Explode sample, but uses transients to determine the chop points.
CV Control of Mix Levels: The ability to voltage control a channel’s level in the mix output without affecting its individual output. There are two control modes: Normal for regular modulation, and Fader for mix control.
New Zone Selection types:
– Advance – Each new trigger causes the next zone in numerical order to be selected.
– Random – Each new trigger causes a random zone in numerical order to be selected.
NewZone Voltage Balancing Options: 5V, 10V, Chromatic Keyboard, and Major Scale
Zone Lock to temporarily lock a single zone for auditioning and editing
Manual and Auto-Audition of card WAV files to streamline import operations.
Gate Delay to compensate for sequencer gate/trigger/CV timing anomalies.
Stereo Awareness: Graphic interface and editor improvements to make working with stereo channel pairs virtually automatic.
Preset Selection via CV: The ability to use assignable CV inputs to step forward and backward through a folder’s preset list.
Zone handling and editing improvements, especially with stereo samples
Variable horizontal zoom on the Sample Start/End Page and Loop Start/Length/End Page.
Sync Editing of sample and loop points (i.e, simultaneously set identical Loop Start and Sample Start or Loop End/Length and Sample End points).
Selection of Sampling Destination Channel by pressing and holding the Sampling Setup button and then one of the eight channel buttons.
New Sampling Setup Zone Destination parameter ”Empty Zone” assigns the new sample to the next empty zone on the destination channel.
Load Folder Warning: The option to trigger a warning popup when loading a new folder to help avoid accidental overwriting of unsaved preset edits.
The ability to cancel a folder load in progress.
A Sampling Pre-roll of 10 msec (to avoid the possibility of cutting off the very beginning of a sample)
Data Compatibility: Assimil8or V2.0 data is fully forward and backward compatible with Assimil8or V1.XX. (With the exception that the new zone selection types, if used, will load into V1.XX as type “Continuous’).
More Assimil8or information can be found at the Rossum Electro-Music web site: http://www.rossum-electro.com/products/assimil8or
Radikal Technologies takes DELTA CEP A paraphonic semi-modular synth several steps further forward with free firmware updates
MÜNCHEN, GERMANY: cutting-edge sound specialist Radikal Technologies is proud to announce availability of the latest (Version 1.6e) firmware update for its illustrious 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 — that builds upon its impressive feature set with several significant additions, free for existing owners…
Its introduction earlier this year to widespread critical acclaim saw Radikal Technologies’ DELTA CEP A living up to the PARAPHONIC-MODULAR wording boldly blazoned across its feature-packed front panel. Pushing its cutting-edge sound-specialising creator’s product lineup to the forefront of the ever-widening world of the Eurorack small-format modular system, the deftly-designed 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 DELTA CEP A is the perfect starting point for any modular user.
Today, the DELTA CEP A paraphonic semi-modular synthesizer represents an even more potent force in the ever-widening world of the Eurorack small-format modular system, thanks to extensive firmware updates, culminating in Version 1.6e, that build upon its impressive feature set with several significant additions, as follows.
Firstly, Radikal Technologies has helpfully seen fit to expand the DELTA CEP A’s already powerful FX section above and beyond the giveaway (FX: 1. TAPE 2. DELAY 3. CHORUS 4. PHASER 5. FLANGER) wording highlighted on that feature-packed front panel to additionally include a stereo reverb algorithm. As such, it is now perfectly possible to add stereo reverb to those tape, delay, or chorus effects, for instance. It is also perfectly possible to morph those new reverb parameters as well with the INTERPOLATOR section — certainly separates the DELTA CEP A from the Eurorack pack! Put it this way: with this sound-stimulating section, users are afforded 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!
Excitingly, the LFO 1 section can now be assigned to different modulation targets without having to use any patch cables; creatively, this allows for assigning the LFO (Low Frequency Oscillator) modulation to multiple targets simultaneously with independent modulation depths for all targets. That said, the ADSR section’s envelope generator can also now be assigned to different modulation targets without having to use any patch cables; creatively, multiple targets can be simultaneously controlled with independent modulation depths. Deeper still, the INTERPOLATOR section’s already powerful morphing function also benefits from those new routing capabilities since internal routings can be morphed! Musically- and sonically-speaking, users can now explore a whole new dimension of dynamic soundscapes.
So, having installed its latest firmware updates, how do discerning DELTA CEP A users access those welcomed additional parameters? Pressing the SHIFT button locks the SHIFT function to more easily enable additional parameters; its associated LED (Light Emitting Diode) flashes until theSHIFT function is unlocked again (by pressing the SHIFT button again).
Additionally, the MOD input in the MIXER section now controls the volume and saturation of the SWARM OSC signal; speaking of inputs, the SYNC input in the LFO 1 section now performs perfectly and allows for synchronising the LFO to another LFO or the GATE signals. (Holding theSHIFT button allows access to the note values of the LFO with the SPEED knob.)
Needless to say, the DELTA CEP A now reacts to MIDI (Musical Instrument Digital Interface) program changes, but be careful; if it receives a program change while the user is editing a sound, any changes to the sound will be lost.
Last, but by no means least, thanks to the latest (Version 1.6e) firmware update, it is now possible to share presets directly between two DELTA CEP A paraphonic semi-modular synthesizers. So what else can Radikal Technologies say? Not much — other than concluding that its illustrious DELTA CEP A has taken several significant steps further forward, courtesy of a rigorous regime of firmware updates. Ultimately, then, the DELTA CEP A ships with the latest firmware, which existing users of course can access and install for free.
The DELTA CEP A is 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 information and access to the latest firmware updates, please visit the dedicated DELTA CEP A webpage here: https://www.radikaltechnologies.com/delta-cep-a-2/ (Existing DELTA CEP A owners can download the latest firmware updates for free.)
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
Elk Audio OS for everyone! – Elk releases open source version of award winning Audio Operating System and Development Kit for Raspberry Pi.
Elk Audio OS is the award-winning Audio Operating System from Elk (formerly known as MIND Music Labs) that allows you to run existing VST and other plugin formats on hardware instruments and audio devices in real time with ultra low latency. And this using only general purpose ARM and x86 CPUs, opening up for a new generation of digital instruments and remote 5G network experiences.
In the upcoming weeks a beta version of the Elk Audio Operating System will be made available under a Dual licensing model (open-source & commercial), but already today, the Elk Audio OS SDK & documentation is available and is free for anyone to start using. Available on elk.audio is also an Elk Audio OS Development Kit for Raspberry Pi that includes a custom Elk Pi Audio Hat. The Elk Pi Hat alone is one of the most advanced pro Audio Hats in the markets with down to 1 ms latency, multichannel and support for Raspberry 4 coming up in the very near future.
“The idea behind the Elk Audio OS is to make a whole new generation of connected musical instruments possible. Instruments that can connect people around the world and spur new kinds of musical creativity. We believe there are so many potential instrument makers out there who could create fantastic things if they just had the right tools, and it is for them we have created Elk. So today I’m very happy to announce that we have reached a major milestone in our company, when we can make Elk available to everyone through the open source release.”– Michele Beninicaso CEO at Elk (former MIND Music Labs)
Elk Audio OS is officially endorsed by Steinberg, owners of the VST format, is supported in the VST3 SDK and is fully compatible with plugins written in JUCE, making Elk the perfect solution for companies and makers alike interested in developing new digital hardware instruments. With VST being the defacto standard for software instruments and effects there is already a vast library of existing world class plugins out there waiting for a new life as hardware. An example of this is theRetrologue desktop prototype synth built on the VST synth with the same name debuted earlier this year at SuperBooth in Berlin.
“When working with Elk Audio OS on the Retrologue we immediately recognized something that could be a game changer. Running the same VST plugin on hardware as you do on desktop opens up for new possibilities and new ways of working. Getting Elk Audio OS available under open source is really exciting and I believe that this could make Elk a standard for digital hardware instruments.”– Florian Haack, Steinberg
ADCIf you are one of the lucky ones to have grabbed a spot at the Elk workshop at this years ADC (Audio Developer Conference) this news should be even more exciting. Not only will you get a hands on workshop from the core team of developers behind the Elk Audio OS, but you are also the first ones out to get access to the full Elk Audio OS Development Kit, including the Elk Pi Audio Hat. For those of you who have not secured a spot, make sure not to miss the planned talk on Elk Audio OS!
We are pleased to announce that our DELTA CEP Aand DELTA CEP A Desktop products have received an extensive update. This firmware update is available to all customers and our dealers free of charge. Devices that we have delivered since 09.09.2019 have already been equipped with this new firmware.
The following features are additions by the new version:
- the [SHIFT]-key can now be locked in, additional parameters can also be reached without holding the [SHIFT]-key.
- In addition to the previous effects, there is now a reverb that can be used simultaneously with the other effects.
- The LFO can now be routed to a lot of destinations without patch cords.
- The ADSR can now be routed to a lot of destinations without patch cords.
- Each modulation target has an independent modulation strength setting.
- The sound programs of the DELTA CEP A can now be switched over via MIDI.
- The LFO can now be synchronized directly to a square wave signal.
- The volume and intensity of the saturation of the oscillator signal can now be modulated by a control voltage.
Download the new version now!
Delta CEP A Version 1.5
Version 1.5 Info PDF english
Version 1.5 Info PDF deutsch
REMAGEN, GERMANY: having teased the musical masses last year, then turned heads and opened ears when unveiling a preproduction prototype at The 2019 NAMM Show in Anaheim, California earlier this year, with repeat showings Stateside (at Synthplex 2019 in Burbank, California) and closer to home (at SUPERBOOTH19 in Berlin), high-quality synthesizer developer Waldorf Music is proud to announce availability of Kyra — its eagerly-awaited 128-voice, FPGA (Field Programmable Gate Array) processing-powered VA (virtual analogue) synthesizer sensation — as of October 7…
Accompanying documentation proudly proclaims that Kyra “…is one of the most powerful music synthesizers ever built.” But this is not hardware hyperbole on Waldorf Music’s part. Put it this way: with 32x oversampled hardware sound generation and 96kHz floating point sound processing providing guaranteed contention-free 128 voice channels, Kyra is guaranteed to make its musical mark as a sensational synthesizer that is as easy to use and easy on the eye as it is powerful and flexible.
From first glance it is patently obvious that Kyra is a beautifully-designed desktop VA Synthesizer — as the wording elegantly emblazoned on its eye-catching front fascia subtly states. As a truly multitimbral instrument it features eight independent ‘parts’ with up to 32 notes per PART, each effectively being a complete synthesizer with sound sources (OSC GROUP 1, OSC GROUP 2, SUB 1, and SUB 2); FILTERS; modulators (EGs, LFOs, and MOD MATRIX); multi-effects unit (EFFECTS); and a USB 2.0 connection — can exchange MIDI (Musical Instrument Digital Interface) information, as well as send the audio from each stereo PART to a computer as eight stereo 24-bit streams at 96kHz (with 48kHz downsample mode available) and one stereo audio return from the computer supporting a single 24-bit stereo audio stream from the host DAW (Digital Audio Workstation). With that being said, the only other resource they share are the four balanced, stereo output pairs — OUT A (Right and Left),OUT B (Right and Left), OUT C (Right and Left), and OUT B (Right and Left) — using 32-bit DAC (Digital-to-Analogue Conversion) running at 96kHz sampling rate connected to four internal stereo busses and that powerful pool of 128 hardware voices. Versatility further abounds as each PART has a dedicated multi-effects unit comprising nine stereo effects modules — namely, three-band EQ, Formant filter, input Limiter, Distortion module, Delay module, six-state Phaser, Chorus flanger, Stereo reverb, and output Limiter — with dedicated audio stream via USB (Universal Serial Bus).
Better still, each PART hosts a Patch from the pool available to the system. Speaking of which, Kyra has a generous Patch storage capacity of 26 banks — A through to Z, each containing 128 patches. That’s a total of 3,328! The first seven banks are ‘user’ patches stored in RAM (Random Access Memory), meaning users can change them quickly and individually using the Store sequence. The remaining 19 banks are ROM (Read-Only Memory) patches that users can recall and use just like RAM patches but cannot be replaced using the Store sequence. It is, however, perfectly possible to freely copy whole banks between RAM and ROM, so all are user- programmable. And any Patch can be recalled via MIDI program changes and Bank select commands. Whatever way anyone views it, Kyra far from short-changes from a live performance perspective or when working with it in a studio setup as an alternative.
As a sensational synthesizer with a spectacular specification, Kyra doesn’t disappoint from the all-important sound standpoint, starting with two primary virtual alias-free oscillator groups (OSC GROUP 1 and OSC GROUP 2) per voice, each with Saw (sawtooth); Wave (waveform) — with no fewer than 4,096 18-bit linear PCM (Pulse Code Modulation) single-cycle 32x oversampled wavetables covering a huge range of synthetic and emulated sound sources with two wavetable sources per voice; Pulse; and noise simultaneously available. Also OSC GROUP 1 and OSC GROUP 2 each has an independent detune-able oscillator — SUB 1 and SUB 2 — with four selectable shapes and two selectable (Octave) pitches. Real Hard Sync, ring modulation, and FM (Frequency Modulation) are available between those oscillator groups.
Get this, though: switching from Wave mode — meaning Kyra adopts a virtual analogue synthesis model which has the advantage that it is easy to construct sounds using intuitive subtractive synthesis — to Hypersaw mode configures the voice to use a special algorithm comprising six real oscillators to quickly create lush-sounding soundscapes. Digging deeper, Hypersaw mode replaces Wave mode’s two oscillator groups with a single source whose tonal content is constructed with just two adjustable controls — Hypersaw Intensity and Hypersaw Spread (geometric detuning). Built entirely out of multiple, harmonically-rich sawtooth waves or ‘partials’ each adjusted to that special algorithm, the Hypersaw provides characteristic soundscapes ideal for a wide range of uses — from high-impact lead sounds through to lush, animated pads. Placed in Dual Mode, the Hypersaw has 12 real oscillator sources with an additional adjustable stereo spread.
Successfully synthesizing sound is inextricably linked with flexible filtering. Fortunately for discerning users, Kyra’s FILTERS front panel perfectly positions powerful control, creatively implementing accurate emulations of classic analogue ladder filters with 2-pole (12dB/octave) low pass (12dB LP), band pass (12dB BP), and high pass (12dB HP), plus 4-pole (24dB/octave) low pass (24dB LP), band pass (24dB BP), and high pass (24dB HP) configurations. Creatively, 128 filters are configurable for single or dual parallel (Dual Filter) true stereo operation.
Onwards and upwards, three fast-response ADSR (Attack, Decay, Sustain, Release) envelope generators with EG Slope setting are also at hand. Helpfully, one is assigned to the VCA (Voltage Controlled Amplifier), another to the filter, while the third can be freely assigned. All are available in the MOD MATRIX (modulation matrix), itself being a six-channel affair with up to three destinations per channel giving a maximum of 18 routings. It is also worth noting that the three LFOs (Low Frequency Oscillators) — with 128 wavetable shapes, monophonic, polyphonic, random, anti-phase, and quadrature stereo phase settings — are also available in the MOD MATRIX and additionally as a MIDI clock sync source.
Creativity continues courtesy of an arpeggiator (ARP) on each PART with 128 preset patterns; Up, Down, Random, and Chords modes; and an ability to synchronise to MIDI clock. Arpeggiators are aimed at live performance, primarily, but can clearly complement composition. Kyra’s ARP is an integral part of a Patch, so settings are always stored.
Far from forgetting its helpful high-resolution 256×64 pixel graphic OLED (Organic Light-Emitting Diode) display alongside the traditional array of MIDI In, Out, and Thru connections — complimenting USB 2.0 — on five-pin DIN, as well as full key microtuning capability with MIDI Tuning Standard (MTS support), it is fair to say that Kyra is, indeed, one of the most powerful music synthesizers ever built… a sensational synthesizer with a spectacular specification, set to take performances and compositions to higher states of musicality and sound design!
The Kyra VA Synthesizer is available through Waldorf Music’s growing global network of distributors (https://www.waldorfmusic.com/en/international-distributors) at an SRP (Suggested Reseller Price) of €1,843.00 EUR (excluding tax).
For more in-depth information, please visit the dedicated Kyra VA Synthesizer webpage here: https://www.waldorfmusic.com/en/kyra
Watch Waldorf’s wonderment-causing Kyra VA Synthesizer promo video here: https://youtu.be/HafV6CGS43Y