Substance is a virtual analog software synthesizer (VSTi) emphasizing simplicity, flexibility, and sound quality. The key factors in the design of Substance were that it should sound great, without effects, and that it should all fit on one page.
Here’s what TS has to say about it:
Substance has two of everything: two oscillator sections, two LFOs, two envelopes, two filters. The oscillator sections were inspired by the architecture of classic analog polysynths, which used multiple oscillators to achieve polyphony, but allowed the oscillators to be combined for a monophonic Unison mode. The oscillators would generally be slightly out of tune with one another, resulting in a rich, chorused sound. Each of Substance’s oscillators likewise comprises seven unison voices, with the amount of detuning, and the stereo breadth being adressed by a single parameter, Spread. The LFOs can be used to modulate almost every parameter of the synth. They can be used to trigger the envelopes, to modulate the frequency and pulse-width of the oscillators, the cutoff frequency of the filters, and the volume of the amplifier. LFO-1 can be switched between free-running, tempo-synced, and key-synced modes. A manual is included in the download link, detailing all of the other features.
If you enjoy using Substance, please consider making a contribution in some form – money, music, and patches would all be received with gratitude.
Many thanks to Limeflavour, for the sleek GUI, and to Ingo Weidner and Ouroboros for their fantastic patches and valuable feedback. Thanks also to the KVR community for support and encouragement during the testing phase.
Substance was made with SynthEdit, and uses modules by Chris Kerry, Dave Haupt, and Kelly Lynch.
Download TS-Substance Patches.zip – Includes 96 patches by Ingo Weidner, 38 of which were not included in the factory bank. Also an Init bank for sound designers, and a copy of the Factory bank.
Justin Robert launches Mothman Z3000, a virtual synth for Windows that is inspired by the Casio CZ-3000.
It also has the stereo chorus, noise and LFO just like the original CZ-3000. Also, there’s an added switchable velocity feature that gives greater expression than the original CZ, and an added analog style filter on DCA2 to give even more sound options. You can also pan the different DCOs to give more stereo fx. But other than that, I kept it pretty faithful to the original synth.
There are 64 preset slots with 18 presets already created. The sound of this synth is very similar to the real thing. Real phase distortion synthesis is used, real eight point envelopes and a cool “Mothman” design.
“It’s a 16 voice polyphonic synthesizer that features two Phase Distortion DCOs, two DCWs, and two DCAs all six feature the famous 8 point envelope section that made the CZ synthesizer so famous. You have the ability to make some of the most complex waveforms you’ve ever heard.”
A quick video showing the Voltage Influence in action. The VILFO on the left is sent to the volt/octave input of a dot com oscillator playing a triangle wave. A second VILFO (on the right) is routed to the “Influence Control Voltage” input of the VILFO on the left. Only the VILFO on the left is controlling the oscillator.
The first public showing of the Pittsburgh Modular Confluence Voltage Influenced LFO was Wednesday. Soy Sos came over and ran the module through it’s paces. He had a few great suggestions and pointed out a few necessary improvements. I spent last evening modifying the module and feel pretty good about it.
After updating the schematic to match the prototype, I built a 2nd module to confirm the schematic is correct. Can’t wait to patch both of these up.
16tone’s Vogue Quattro is a free standalone four-voice synth for Intel Macs . It has microtonal capabilities and it comes with a library of 3,000+ tuning files.
- four-voice polyphonic PCM synthesizer
- three oscillators per voice, each endowed with square wave sub-oscillator (1 or 2 octaves lower)
- true monophonic mode (plays three voices at unison, nine oscillators in total)
- 88 raw waveforms including white noise
- single LFO with 6 waveforms
- ring modulator
- easy-access modulation matrix
- scale-relative pitch-bend (self-adapting to tuning scale steps with microtonal precision)
- 64 factory preset programs
- receives MIDI tuning standard SysEx messages
- compatible with Max Magic Microtuner mtx – tuning files
- includes library of 3,000+ tuning files
This is a standalone synth so you’ll need Cycling ’74 (free) Soundflower to re-route its output and be able to record it .
The Nebulophone is an Arduino based synth with a stylus keyboard. It has adjustable waveforms, a light controlled analog filter, LFO, and arpeggiator that can be clocked over IR.
This is a beginner kit and does not require an Arduino programmer board.
B. Serrano has released Nibiru 2 – an extended 4 band resonator effect plug-in for Windows.
- 4 parallel multimode filters (LP, HP, BP, Notch, Peak) with resonance and spread.
- 4 LFOs (host syncable)
- Stereo balance on each filter output.
Nibiru 2 is available now as a VST effect plug-in for Windows.
Hi sending this off from a busy tradeshow in Barcelona (Mobile World Congress)
Had a chance to play around with this little beauty yesterday evening
Nanoloop for iPhone (App Store link) combines sequencer, synthesizer and sampler in one package to bring vintage 8-bit Gameboy music goodnesss to the iPhone and iPod touch.
The app builds on Nanoloop for the Gameboy, but features a new software synth and features not possible on the Gameboy.
- Six channels, each can be synth or sampler
- Fast and easy to use stepsequencer
- Synthesizer with envelope, filter, LFO and other parameters
- Sample external audio or nanoloop’s own sound output
- Song editor with loop function
- Save function
- Works on 1st gen iPod touch and 2.2 software
- Send and receive projects via e-mail, using the iPhone’s / iPod’s e-mail program
The sequencer displays the pattern as a grid of 4 x 4 rectangles. Notes can be set, removed and edited just by tapping and swiping. This editing without mode-changes and the straight, generous layout ensure a smooth workflow.
Unlike the Game Boy versions, nanoloop for iPhone only allows to set pitch and one additional value step-wise in the sequencer. All other sound parameters are controlled channel-wide through the synth panel.
The simple but powerful synthesizer allows to create a great bandwidth of sounds, including beats, noises, basses and pads. Available synthesis types are:
- rectangular wave with filter
- LFSR noise generator
Rectangular wave and LFSR sound similar to the Game Boy’s and other console’s soundchips but offer more fine control and additional effects (lfo / envelope for pulse width or filter, simple phaser for noise).
The FM synth is the simple type with two sine wave oscillators, with fixed base frequency and variable modulator frequency. An envelope / LFO can be applied to modulation amplitude or frequency. For a sweeping spatial effect, the modulator can be slightly detuned, with inverted phase for left/right.
Each synth channel is two-voice polyphonic and a stereo effect can be applied.
Samples of one second length @ 44 kHz, mono (or about 5.5 sec @ 8 kHz mono or 0.5 sec @ 44 kHz stereo) can not just be used in a drum-machine style, but also be pitched and played as notes.
Recording sources for samples are the built-in microphone (iPhone only), a headset microphone (iPhone, iPod touch 2nd gen only) and nanoloop’s own sound output. The latter allows to create new samples from scratch, using up to five channels to create one single sound. Typical applications would be percussion (claps, snares etc), chords, arpeggio and microrhythmic / microtonal elements.
With nanoloop for iPhone, you can send your saved projects to other nanoloop users via e-mail. If nanoloop is installed on the recipient’s iPhone / iPod, she/he can simply tap on the file name in the received e-mail to start nanoloop and import the attached file so that it is available for editing. This makes collaboration very easy, multiple users around the world can work on the same project by simply e-mailing the file back and forth. This function may also be used to backup projects on a PC.
This does not mean that files are sent as audio, data are in the native nanoloop format which can be read only by nanoloop. An export function to wav or mp3 is planned for future versions.
In May, what many of us have been waiting for, is soon to be revealed the Largo Synthesizer. Largo is the first pure software synthesizer with Waldorf DNA
Largos sound engine was injected with all the notorious wavetables of the Microwave, the legendary Wave and also the Q series. The LFO is already rehearsing very complex steps and the filter drive screams as loud as only our little baby can. So be prepared!
Largo offers three fat oscillators, two of them with sub oscillators. These oscillators include models of classic analog waveforms as well as a selection of waves from the PPG and Waldorf Wave stored in two Wavetables. All these run through two Waldorf multimode filters with steep cutoff, resonance up to self-oscillation and a drive stage to add even more punch and grainyness to the sound. Ultra-fast envelope generators and flexible LFOs as well as an easy to understand, yet extremely versatile modulation matrix make for a sound designer’s dream.
The filters have always been a core part of any Waldorf instrument. With outstanding expertise in both analog and digital synthesis, our developers took utmost care in developing the filters. And you can hear a significant difference when working with a Waldorf filter – they just sound right! Use the comb filters for plucked, stringed or blown sounds. Band pass, high pass, low pass and notch filters are all available with 12 dB and 24 dB slope. All of them sound extremely accurate and add pure sonic quality to the sound of your music.
Largo contains a flexible arpeggiator with 16 freely programmable steps as known from the exclusive Q synthesizer line plus an array of high quality effects such as Chorus, Flanger, Phaser, Overdrive, Delay and Reverb.
Without doing any associations on the name I am happy to announce that my friends in Rusty Trombones has released a new and intriguing plug-in adn better yet it’s free.
Since I have not had the chance to try it out myself yet it would be nice to get some feedback on it so post away >> awesome or sucks
Listen to it here: mp3 sample
So what does it do really…??
So this works as a doubler, or demented phaser, it is designed to widen and phatten. Of course you can misuse that as well. you have an LFO that controls how long back an echo is. You can set the length and speed of this LFO. Then there is a filter that can be LowPass, HighPass or Allpass, and a cut Hz so that you can control where the cut is. oh-yeah!. The distortion is to gritt up the sound a little, or a lot, it’s not the worlds bestest distortion. Then you can amplify the signal, if you want to. The filter can cut away a lot of the volume, that’s why we have it. Then finally there is a on/off. There are two to the left side and two on the right side. and finally one dry through parameter. So if you’d like to test one of your settings, turn the other three off (via on/off parameter) and then tweak away, baby. There are a few presets (yeah, we didn’t feel like making a lot of them, so we forced that shuriken.se guy to make a random-function and make a lot of presets there).
Ableton has announced that when Live 8 ships there will be an also provide an update Ableton Operator. Ableton is calling it a “major overall”. Feeling the ill effects of software synth overload, you may have glazed over when Ableton announced it was making its own FM synth, exclusively for Live. Ableton has built an easy-to-use, great-sounding instrument that integrates classic analog and digital synth sounds with Live’s beat-synced and envelope-shaping powers. Finally, it’s Ableton software for keyboard players.
So what’s new?
- User Waveforms: Draw your own waveforms by adjusting the amplitudes of each oscillator’s harmonics. You can also edit the built-in waveforms. So, it’s like a mini-additive synth.
- Feedback is now available for all oscillators that are not being modulated by another oscillator. This should provide for some pretty interesting possibilities.
- New filter types: New ladder modes and SVF filters bring the total number of Operator’s filter types to fourteen.
- There is also a frequency response curve view in the filter display and an integrated waveshaper in the filter, featuring an adjustable drive amount and four curve shapes.
- The filter, LFO and pitch envelopes now feature adjustable slopes, like those found in Sampler.
- There’s a new MIDI modulation section in the global display, with multiple destination and amount settings for five MIDI control sources. We’ve also added new modulation options for the LFO and pitch envelope.
Watch video from Ableton: