Waldorf announces Iridium 16 voice digital desktop synth

REMAGEN, GERMANY: having opened eyes and ears when introducing its forward-looking flagship Quantum Synthesizer keyboard to widespread critical acclaim in 2018, Waldorf Music is proud to introduce its Iridium Synthesizer ‘sibling’ — sharing futuristic functionality and advanced tonality and applying those traits with welcomed added extras to a compact desktop form factor living up to the high-quality synthesizer developer’s demanding design standards — as of June 12…

Following in the Quantum Synthesizer’s trailblazing footsteps, the Iridium Synthesizer features a generous high-resolution multitouch display working — with haptic help — in perfect harmony with an adroitly arranged control panel positioning all functions for speedy operation. Noticeably new to the demonstrably differentIridium Synthesizer is its integrated 4 x 4 pad matrix, used to call up sequences, chords, scales, and arpeggios. A quick glance under the hood, however, reveals that the Iridium Synthesizer still shares the same selectable sound generation processes per oscillator (OSC 1OSC 2, and OSC 3). As such, it can convincingly and comprehensively reproduce the sound spectra of the following five synthesis types: WavetableWaveformParticleResonator, and Kernels.
As a direct descendant of the legendary PPG Wave hybrid digital/analogue synthesizer series that made their mark throughout the Eighties by bringing the distinctive sound of wavetable synthesis to the musical masses, the well-known Waldorf Music marque is synonymous with top-tier wavetable sounds. Subsequently refining and expanding this sound generation process’ potential, the sound of Waldorf wavetable oscillators span subtlety to brutality — animated, digital, and diverse, yet easy to control. Classic wavetables from well-known wavetable synthesizers hailing from the PPG and Waldorf stables, spectral analysis, speech synthesis, wavetable generation from audio material, and more besides are all available to Iridium Synthesizer users when selecting Wavetable.
With early wavetable synthesizers, even, typical waveforms familiar from analogue synthesizers were always available at the end of a wavetable. Waveform selection on the Iridium Synthesizer goes far beyond this, though, by offering up to eight simultaneously selectable waveforms per oscillator, enabling infinitely dense, fat analogue-sounding tones, with detuned modes, tuneable noise, and hard sync.
2GB internal sample flash memory is available to the Iridium Synthesizer’s Particle oscillator, opening up exciting new possibilities of traditional stereo sampling with granular synthesis functionality — also available when processing a live input signal — for extensive manipulation of sample-based sounds. So the Iridium Synthesizer comes complete with 2GB sample content, while sample material can be reloaded or backed up by the user via USB drives or MicroSD Card connections.
Creativity abounds further still when selecting the Resonator sound generation process to manipulate multi-samples from the internal sample flash memory or noise via an exciter and various modulate-able spectral parameters — perfect for generating awe-inspiring animated sounds and drones, which can, for example, easily be integrated into a Eurorack modular synthesizer environment via the Iridium Synthesizer’s integrated control voltage connections (CV In1CV In2CV In3, and CV In4)… another added extra that should surely be welcomed in this day and age of anything goes!
Get this, though: thanks to its innovative implementation of six Kernal operators, the Iridium Synthesizer can capably generate familiar FM (Frequency Modulation) tones of the type that revolutionised the entire synthesizer market in the early Eighties, as well as spectacularly different-sounding ones — and all without the notorious complexity associated with those once-revolutionary early-Eighties efforts ending up so overused on numerous hit records of the time. Thankfully, the Iridium Synthesizer’s deftly-designed multitouch display supports the processing and visualisation of sonic relationships of its Kernels, considerably easing the process of creating spectacularly different-sounding tones with more than a touch of originality thrown in for good measure!
But better still, OSC 1OSC 2, and OSC 3 can each play one of those sound generators, so spectacular-sounding sound design can come quickly to Iridium Synthesizer users of all levels — before being balanced by the OSC MIX (mixer). Thereafter, the signal from the three oscillators makes its way to the DUAL FILTER section where fully stereo multi-mode filters convincingly cover all conceivable classic filter variants. Various filter modes are additionally offered by the Digital Former, such as Comb, classic Waldorf high- and band-pass, and notch filters from Waldorf Music’s Largo and Nave software synthesizers, plus PPG models, alongside signal enhancer effects, such as Drive and Bit Crusher, and more.
Moreover, an LFO (Low Frequency Oscillator) section with no fewer than six LFOs works with six loop-able ENVELOPES, all of which can be linked and smoothly operated within the 40-slot modulation matrix, thanks to the Iridium Synthesizer’s integrated high-resolution multitouch display.
With up to 16-voice polyphony in full stereo and an ability to overlay two sounds or play them simultaneously via the split function, the functional desktop design of Waldorf Music’s Iridium Synthesizer allows for sound design opportunities that are often out of this world with up to 7,000 patches internally saveable. Speaking of which, since Iridium Synthesizer patches are compatible with Waldorf Music’s flagship Quantum Synthesizer (running recently-released version 2.0 firmware), they can be transferred to and from the Quantum Synthesizer. Such cross-compatibility means that the Iridium Synthesizer comes complete with an extremely extensive sound set from the get-go… get going with inspirational sounds programmed by some of the best sound designers in the world, or work with the inspirational Iridium Synthesizer’s fanciful features to sound highly original, off the cuff or otherwise.
On the face of it, then, Waldorf Music has named its Iridium Synthesizer appropriately. After all, iridium dates back to the early 19th Century and the chemical element of atomic number 77 — named from the modern Latin word for rainbow (irid), since it forms compounds of various colours. Clearly, the range of sound colours available to Iridium Synthesizer users are almost limitless. Letting rip with that generous high-resolution multitouch display working — with haptic help — in perfect harmony with an adroitly arranged control panel positioning all functions for speedy operation is a joy to behold… both for eyes and ears!

Waldorf Music announces availability of 128-voice, FPGA processing-powered Kyra VA Synthesizer sensation


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 1OSC GROUP 2SUB 1, and SUB 2); FILTERS; modulators (EGsLFOs, 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 EQFormant filter, input LimiterDistortion module, Delay module, six-state PhaserChorus 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 — 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 (AttackDecaySustainRelease) 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; UpDownRandom, 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 InOut, 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 

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Waldorf Slickly Announces New iOS Drum Synth App!

Screen Shot 2015-04-14 at 9.10.35 AMWaldorf CEO

Stefan Stenzel has recently uploaded a track on Soundcloud titled “All I am is Digital” 

The Track appears to be the first sonic demo of the NEW Waldorf iOS drum synth app “ATTACK Drums” from the tunes it looks to be very promising. there is also a screenshot of the start up screen similar to NAVE’s start up screen. Here is the description on sound cloud

“Song made entirely in a preliminary version of Waldorf Attack Drums App for iOS. In case you hear vocals, these are synthesised using the built-in Phrase Vocoder – a novel Vocoder that uses written text instead of spoken words as modulator.” … check it out here. http://www.waldorf-music.info/attack-drums-overview

Specifications

  • ios attack padspage24 different sounds
  • 4 independent insert effects with
  • Delay
  • EQ
  • Drive
  • Phaser
  • Flanger
  • Chorus
  • Phrase Vocoder – a novel vocoder controlled by written text
  • Algorithmic reverb as send from every single effect channel or directly from sound
  • Compressor for the output sum
  • 16-step pattern sequencer
  • Fractional track/step timing
  • Polyphonic steps
  • Audiobus support
  • Inter App Audio support
  • Core MIDI support
  • Export song to audio file
  • Dynamic voice allocation
  • compatible with iPad 3 (Retina), iPad mini (1,2,3), iPad Air (1,2)
  • Minimum iOS 7.0 required
  • Content control via iTunes
  • Trigger pads
  • Mixer
  • Recording
  • Shipping 2 quarter of 2015