Pico LFO/S&H, Pico Mixer and PSU Input Module now shipping; New Graphic VCO firmware update features ‘drum’ mode’Riga, Latvia, July 8, 2019 — Erica Synths announces three new Eurorack modules, available immediately. The new modules include two Pico units — an LFO/S&H and Mixer — as well as a new power supply unit (PSU) input module. Additionally, the company announced a firmware update to its Graphic VCO, which adds significant new features requested by customers and also includes minor bug fixes. Pico LFO/S&H Pico LFO/S&H is full analogue modulations source — including both LFO and Sample and Hold — providing a new dimension of controlled randomness to your modular setup in a small package. Pico LFO/S&HFeatures of the Pico LFO/S&H include: Full analogue circuitLFO with triangle and square wave outputsHighly stable S&H circuit based on AS1100CK2 ICInput and output protection against over-voltageProtection against reverse PSU connection Pico MixerPico Mixer Meantime, Pico Mixer is simple 3 channel DC coupled mixer intended to mix audio signals and CV signals in order to obtain more complex modulations. The unit may also serve as a CV and audio attenuator. The Pico Mixer Features:3 inputsDiode protection against over-voltagePSU Input ModulePSU Input Module If you would like to use rack ears to mount an Erica Synths 84HP enclosure in a studio rack, you may want to access the PSU connection from the front of the case rather than the top side. Then the 4HP PSU connection module is a solution for this.Recommended retail pricing for each new module is as follows: Pico LFO S&H – 80 EUR (VAT excl.)Pico Mixer – 50 EUR (VAT excl.)PSU Input Module – 15 EUR (VAT excl.)Graphic VCO firmware 1.1New Graphic VCO firmware update Erica Synths also announces the Graphic VCO firmware 1.1, available by following simple steps here and using the Erica Synths firmware updater app. By updating the firmware, users will be able to access the following new features and upgrades: DRUM mode (allows to use GVCO as a drum voice)Fine tuningCalibrationMinor bug fixes
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-INPUT; MIDI IN, OUT, 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
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.
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
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.
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
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/
Sound has the power to evoke feelings and images, translating energy from one level of reality to another. Musical experience brings us into contact with these transpersonal realities through the intelligent organization of sound waves. Artistry is in fact the art of translation.ABOUT SIRIN Sirin is a limited-edition synthesizer module created in celebration of the Moog House of Electronicus Pop-up experience. Based on the legendary Moog Taurus sound engine, and presented in the familiar compact form of the Moog Minitaur–Sirin is the first instrument in Moog’s Taurus family of bass synthesizers designed to generate pitches far above above middle C, with an extended frequency range that reaches notes up to D8. Connect Sirin directly to any MIDI-note controller and immediately access a portable world of powerful analog sound, or hook up to a computer via USB to explore even deeper layers of sound design, where every parameter can be manipulated, automated, and recalled using Sirin’s dedicated Editor Librarian Software (free download for PC and Mac).Secured in a brushed stainless steel enclosure with a retro-inspired color palette, Sirin is an intoxicating conjuror of both quintessential leads and menacing Moog bass. Sirin’s fully-recallable analog sound engine originates with two analog Taurus Bass oscillators that have been re-engineered to soar octaves beyond the traditional boundaries of its mythical ancestors. Sirin’s harmonic transmissions are dynamically shaped and sculpted by a classic Moog Ladder filter operating in consummate harmony with two lightning-fast ADSR envelopes and a multi-wave LFO, offering a wide spectrum of expressive timbral variety and versatility.Sirin integrates seamlessly with modern computer-based production environments via its dedicated Editor Librarian software (available as a free download for registered Sirin owners)–manage patches, automate parameters, unlock 6 additional LFO waveforms, engage Hard Sync, load up to 128 presets into Sirin, access full ADSR envelopes and more as you explore the vast magical realms of analog synthesis.A limited production run of 2500 Sirin are being produced by the employee-owners at the Moog Factory in Asheville, NC–after which no more will be available.Sirin will officially debut at the Moog House of Electronicus Pop-Up in LA’s historic Chinatown. During the week of Jan 24 – 30, Sirin will be available for purchase exclusively at www.mooghouseofelectronicus.com (US only) and on site at the Moog House Of Electronicus Pop-up (712 N Figueroa St, Los Angeles, CA 90012, 1/24/19-1/30/19), after which, the remaining synthesizers will be distributed world-wide.SIGHT & SOUND In this video from Moog Music, Nick Sanborn (Sylvan Esso, Made Of Oak) explores the power of sound using Sirin and DFAM analog synthesizers. Sanborn weaves multiplexed patterns of sound waves–translating the thoughts and feelings of the collective individual into a shared musical experience.With the exception of the DFAM’s percussive analog backbeat, all sounds in this video come from Sirin. Nick Sanborn uses the free downloadable Sirin Editor Librarian software to automate and recall parameter settings as he layers multiple monophonic tracks from Sirin.Sirin is now shipping and all orders placed through the House of Electronicus website will ship within 5-7 business days of order.ABOUT THE MOOG HOUSE OF ELECTRONICUS The Moog House of Electronicus is a synth-guided exploration of the power of sound, inspired by the Moog Island Of Electronicus; an experimental gathering that took place on the barrier island of Tierre Verde during the 1970s. After Moog missionary David Van Koevering was presented with a vision in a dream, the Island of Electronicus became manifest–a synthesized celebration of peace and love; an electronic happening designed to unite mind, body, and soul in a creative explosion of thought and feeling. Today, the Moog House Of Electronicus continues this legacy by inviting all to trust their curiosity, express their innermost selves, and share in the vast creative force of the collective individual.The Moog House of Electronicus Pop-up is open to the public daily from 12pm – 8pm, Thursday, January 24th – Wednesday, January 30th. Visitors will have the opportunity to get hands on with Moog synths (including Sirin and the new polyphonic Moog One synthesizer), as well as explore the deeper dimensions of sonic experience through interactive sculptural synthesis installations, an immersive audio visualization system, and daily synthesizer workshops led by synthesist Bana Haffar. Workshop space is limited–those in the LA area can sign up at here to reserve a space.