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Synclavier goes ios!

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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/


Live streamed interview with Isla Instruments about the SP 2400

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Some interesting notes

  1. Unit is still very early into production, all features subject to change at this point.
  2. Unit features both 24bit and 12bit modes
  3. Unit has an “over spec’d cpu and memory
  4. Price point is expected to be below $1000
  5. Case will be a metal construction
  6. Unit uses concentric knobs with two controls per pot.
  7. It will feature genuine ssi analog filter chips as well as digital filters
  8. Digital fx are being Considered
  9. Unit will ship with sample kits by a choice host of sound designers

Doepfer goes Full Poly

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Doepfer dives deeper into industry-standard Eurorack small-format modular system with quirky quintet of polyphonic modules


GRAEFELFING, GERMANY: having made musical waves during a show-stopping showcase of prototypes closer to home at SUPERBOOTH18 in Berlin, Germany, esteemed electronic musical device designer Doepfer is proud to globally announce availability of its A-111-4 Quad VCO, A-105-4 Quad Poly SSI VCF, A-132-8 Octal Poly VCA, A-141-4 Quad Poly VCADSR, and A-190-5 Polyphonic USB/Midi to CV/Gate Interface — a quirky quintet of polyphonic modules that sees the trailblazing company diving deeper into the now-industry-standard Eurorack small-format modular system standard that it initiated and popularised with its ever-expanding A-100 ANALOG MODULAR SYSTEM — as of March 1…
Who better to throw light on the thinking behind this quirky quintet than company CEO Dieter Doepfer himself. “Modular synthesizers are almost exclusively monophonic structures since true polyphonic patches require a lot of modules — at least four VCOs, four VCFs, four VCAs, and eight ADSRs for a ‘classic’ four-voice patch,” he begins. “But even then it’s difficult to control filter resonance or modulation depth of all the filters, for example, or the attack and decay time of all the envelope generators simultaneously. So now it’s possible to integrate these functions into the modular synth world with our polyphonic modules, though the idea is not just to recreate a standard polyphonic synth within the modular system but rather realise new polyphonic structures that go far beyond a standard polyphonic synth and also far beyond the typical monophonic structures of a modular system since they still offer access to all parameters via CV or gate.”
Getting going, then,

the A-111-4 Quad VCO module features four precision CEM3340-based — triangle core — VCOs (Voltage Controlled Oscillators), each with its own separate internal +/- power supply (to ensure stability and prevent unwanted VCO synchronisation). Each VCO has the same individual controls, and inputs/outputs, as follows: 1V/Octave CV In (Control Voltage input); +1 / 0 / -1 Octave switch; Tune control, with ~ 2 semitones / ~ 1 octave / ~ 4 octaves range selectable via internal jumpers; Mod. (modulation) CV In (Control Voltage input); Modulation Destination — upper position equals exponential frequency modulation (XM) and lower position equals linear frequency modulation (LM) or pulse-width modulation of the rectangle waveform (PM), selectable via internal jumper; frequency modulation (FM) or pulse- width modulation (PWM) of the rectangle waveform; Mod. Level (modulation intensity); triangle waveform output; sawtooth waveform output; rectangle waveform output — about 50% without external pulse-width modulation; SYC (sync) input — (CEM3340-type) hard or soft sync selectable via internal jumper; and minimum 10 octaves range (with appropriate external control voltage). Continuing further down its familiar (silver-grey) front panel, a Master section for all four VCOs includes the following controls and inputs/outputs: 1V/Octave CV In (Control Voltage input); +1 / 0 / -1 Octave switch; Tune control, with ~ 2 semitones / ~ 1 octave / ~ 4 octaves range selectable via internal jumpers; exponential frequency modulation (XM) CV In (Control Voltage input); triangle waveform sum output; sawtooth waveform sum output; and rectangle waveform sum output. Typical applications include: fat-sounding monophonic VCO with the ability to adjust any intervals; paraphonic patches — when working in combination with the A-190-5 Polyphonic USB/Midi to CV/Gate Interface and all four VCOs being processed by one VCF/VCA section; fully polyphonic patches — when working in combination with the A-190-5 Polyphonic USB/Midi to CV/Gate Interface and four complete VCF/VCA sections; complex VCO patches with up to four VCOs by means of the — exponential and linear — frequency modulation features and sync functions.


Following in (traditional subtractive synthesis) sequence, the A-105-4 Quad Poly SSI VCF module is Doepfer’s first polyphonic filter, featuring four identical 24dB lowpass (SSM2044-type) filters. The module itself includes the following controls and inputs/outputs: F (frequency); FM (frequency modulation) intensity; Q (resonance); audio input L (level); CVF (control voltage frequency) attenuator; CVFM (control voltage frequency modulation) attenuator; CVQ (control voltage resonance) attenuator; CVL (control voltage level) attenuator; CVF (control voltage frequency) socket; CVFM (control voltage frequency modulation) socket; CVQ (control voltage resonance) socket; CVL (control voltage level) socket; FM (frequency modulation) 1 – 4 sockets; audio In (input) 1 – 4 sockets; and audio Out (output) 1 – 4 sockets, so each filter features a separate FM input as well as an audio input and output. The FM input is typically connected to the output of the associated envelope generator, such as Doepfer’s A-141-4 Quad Poly VCADSR, while the envelope amount for all four filters is controlled by the FM knob and the CVFM input by four built-in VCAs, which are also controlled by the FM control and CVFM input to also allow voltage control of the envelope amounts. Additionally, it is also possible to apply frequency modulation to all four filters — for example, using an LFO (Low Frequency Oscillator) patched into the CVF socket and using the associated (CVF) attenuator. The range of the audio input level (L) control also allows clipping/ distortion with typical A-100 ANALOG MODULAR SYSTEM audio levels — from, for example, the A-141-4 Quad Poly VCADSR module — at the filter inputs. This parameter is also voltage controllable, as is the resonance (Q). Applications include polyphonic patches requiring four VCFs with the same parameters.


Perfectly named, the A-132-8 Octal Poly VCA module is an octal VCA (Voltage Controlled Amplifier), primarily primed for polyphonic applications. As such, it includes four pairs of VCAs — each pair including two daisy-chained VCAs, with one VCA having a linear control scale and the other a linear or exponential control scale, selectable via internal jumpers. Two VCAs are provided for each voice since one VCA is usually required for the loudness envelope and another for velocity (or other functions like individual voltage-controlled loudness of each voice, amplitude modulation, and so on). All VCAs are DC coupled and can be used in specialised applications and also for processing control voltages. The module features two Default Gain controls — GL and GX — that enable opening of the first four VCAs (L) and/or second four VCAs (X), with GL and GX generating two internal (0 – +10V) control voltages which are connected to the switching contacts of the 1L – 4L sockets (controlling GL) and 1X – 4X sockets (controlling GX). If no patch cable is inserted into the socket in question then the internal default (GL or GX) control voltage is used to control the corresponding VCA. This is necessary when the VCA in question is not in use — when no external control voltage is available, for instance, otherwise the VCA would close and there would be no output signal even if the other VCA in the chain is open. On the other hand, as soon as a patch cable is inserted into one of the CV Inputs then the corresponding internal default control voltage — CL or CX knob — is no longer used to control the VCA in question; rather an external control voltage patched to the CV Inputs now controls the level of the VCA in question. The GL and GX controls are also useful for testing polyphonic patches — tuning VCOs, for example.
Again, as implied by name,

the A-141-4 Quad Poly VCADSR module is a quad voltage-controlled envelope generator — again, primarily primed for polyphonic applications. As such, it features four ADSR-type voltage-controlled envelope generators with exponential curve shapes (charge/discharge curves of a capacitor). Common manual controls and CVA, CVD, CVS, and CVR inputs with corresponding polarizers are available for the attack (A), decay (D), sustain (S), and release (R) parameters. All four envelope generators have a gate input (G1 – G4), a control LED, and an envelope output (Out1 – Out4). Applications include polyphonic patches, such as four envelope generators with the same envelope parameters to control four VCFs, VCAs, or other modules.
Last, but by no means least, by providing four voices with a 1V/octave-standard CV Note (pitch control voltage) to control VCOs and a Gate output (to control envelope generators), alongside two additional (CV2 and CV3) control voltages, the appropriately-named 

A-190-5 Polyphonic USB/Midi to CV/Gate Interface module does what it says on the tin. Those two additional control voltage outputs can be controlled by MIDI velocity, volume, modulation, pitch bend, aftertouch, or freely-assignable MIDI controllers. Multiple — four-voice monophonic (to control four monophonic voices by four successive MIDI channels); four-voice polyphonic (to control four monophonic voices by one MIDI channel) with several (rotating/non-rotating) sub-modes; two-voice polyphonic (to control two monophonic voices by one MIDI channel); and unison — modes are selected by switches with the result shown in the LCD. In play mode, for example, the LEDs of the first four switches display the gate states, while certain parameters of each mode can be edited.
Ending on a high note, Dieter Doepfer deduces, “Modular synthesizers will still be predominantly used for monophonic sounds, as I’m well aware, but at least one polyphonic sound appears in many pieces of music and now it’s possible to integrate this into the modular synth world with our polyphonic modules.” 

Within Germany, the A-111-4 Quad VCO, A-105-4 Quad Poly SSI VCF, A-132-8 Octal Poly VCA, A-141-4 Quad Poly VCADSR, and A-190-5 Polyphonic USB/Midi to CV/Gate Interface modules can be ordered online from Doepfer directly (https://www.doepfer.de/form_e.htm) or via one of its German dealers (https://docs.doepfer.eu/en/dealer-germany/) for €400.00 EUR, €200.00 EUR, €160.00 EUR, €160.00 EUR, and €300.00 EUR, respectively.

Outside of Germany, the A-111-4 Quad VCO, A-105-4 Quad Poly SSI VCF, A-132-8 Octal Poly VCA, A-141-4 Quad Poly VCADSR, and A-190-5 Polyphonic USB/Midi to CV/Gate Interface modules can only be ordered from Doepfer dealers in the territories listed here: https://docs.doepfer.eu/en/ (Note that residents in countries without representation can, however, order from Doepfer directly.)
For more in-depth information, please visit the dedicated A-111-4 Quad VCO webpage here: https://www.doepfer.de/A1114.htm

For more in-depth information, please visit the dedicated A-105-4 Quad Poly SSI VCF webpage here: https://www.doepfer.de/a1054.htm
For more in-depth information, please visit the dedicated A-132-8 Octal Poly VCA webpage here: https://www.doepfer.de/a1328.htm
For more in-depth information, please visit the dedicated A-141-4 Quad Poly VCADSR webpage here: https://www.doepfer.de/a1414.htm
For more in-depth info, please visit the dedicated A-190-5 Polyphonic USB/Midi to CV/Gate Interface webpage here: https://www.doepfer.de/a1905.htm 

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Who is making the SP-2400 and is it real? It’s not who you thought exclusive pictures!

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What if I told you the SP 2400 is real… its not Behringer and Its NOT E-MU/Rossum. It is going to be built as a proper spiritual successor to the classic sampler many of us have grown to love so dearly. This is no clone, this is something more…

Obviously it’s a render, but it’s coming

Recently I came across a post showing what appears to be a circuit board for a “sp-2400” this name has long been tossed about in forums and back Alley dives as to what the successor to the famed sp-1200 could be. Over the years there have been many rumors, requests and out right denials from those involved in the classic sampler.

Oh hello , nice to meet you SP 2400

So what is speculation and what is fact?

FACTS…..24bit AND 12 bit, Aluminum construction, Classic sound with the Classic workflow. Filters per output, ability to sample with filter input or direct to dac. Features both usb host and client, Each pad will play cowbells (if you sample a cowbell to it) its not behringer… it is real, and it IS COMING SOON

How do I know all of this? well I was given the info directly from the manufacturer. I have basically been given a slow stream of info… I myself still do not know the release date, the price point, what info is on the screen and how the screen functions… I will give info as I can.

I can tell you… I have heard it (audio comparisons sent to me of an early build)… it sounds fantastic. It is going to make many of us very happy… and the corksniffers… so mad. I will be dropping random tid bits about this as they fall out the back of the secret laboratory this is being built in.

New Qu-Bit Eurorack Modules Announced!

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Prism multi-dimendonal signal processor, Chord v2, Bloom fractal sequencer.

Prism
Multi-dimensional signal processor with stereo inputs and outputs.An assortment of DSP effects mapped to a 3-dimensional sonic space. ETA: March
MSRP: $249

Chord v2
Half the size – twice the functionalityPolyphonic oscillator in 14HP – custom chords, new wavetables, and four voice polyphonic mode
ETA: May
MSRP: $299

Bloom
Fractal sequencer32 step sequencer with 2 channels, pattern saving and an infinite number of variations from our fractal algorithm. 
ETA: September
MSRP: $329