Audio Damage has introduced Basic – a three-oscillator monophonic software synthesizer for Mac & Windows.
According to Audio Damage, Basic is designed with ease-of-use, low cost, and simplicity in mind, and offers ‘an aggressive tone and self-resonating filters that ‘scream’ when pushed’.
- Three alias-free wavetable oscillators with six waveforms each, and oscillator sync.
- A pair of cascaded filters featuring MS20-style lowpass and highpass, and a bandpass of our own design.
- A four-waveform tempo-syncable LFO with waveshaper.
- ADSR envelopes for amplitude and filter frequency.
- User-definable soft-saturation.
- A simple and easy-to-understand workflow, inspired by the classic topology of vintage analog synths like the Minimoog, SEM, and MS20, but with modern usability.
- Touchscreen-friendly and highly visible user interface.
- DRM-free, for easy installation and updating.
Audio Damage Basic is available now. It is priced at US $39 through Sept 4, 2014. After that, $49.00. See the AD site for an audio demo.
Dave Smith Instruments has introduced the Pro 2, an all-new, feature-rich monophonic synthesizer. “We really raised the bar with this one,” said Smith. “As synth geeks, we asked ourselves what our ultimate mono synth would be. Then we built it.”
A hybrid instrument, the Pro 2 features four digital oscillators (plus sub-oscillator) with superwaves and newly-designed, dual analog filters inspired by classic designs. The filters (one low-pass and one state-variable) can be run in series or parallel, with the state-variable filter providing low-pass, notch, high-pass, and band-pass modes. Oscillators can be routed in pairs to either filter for a variety of tonal possibilities. “Our new analog filter design gives the Pro 2 a depth and presence that’s immediately recognizable,” said Smith. “It has a sound all its own—distinctly different from our other instruments such as the Prophet 12.”
The full-featured multitrack step sequencer operates in 32 x 8, or 16 x 16 mode and allows real-time input. It can sync to external MIDI clock and can also be driven by an external audio input. Sequences can control not only oscillator pitch, but any parameter in the Pro 2’s extensive modulation matrix. It supports both rests and variable-length sequences.
Another notable feature of the Pro 2 is its 4 rear-panel control voltage inputs and outputs, which make it compatible with modular synths. The control voltages can be assigned and routed from within the modulation matrix and can run at audio rates for extreme modulation effects. “A primary goal was to make the Pro 2 as open-ended and flexible as possible,” said Smith. “The four control voltage ins and outs really open up a world of interfacing possibilities with other gear. You could almost call the Pro 2 our own mini-modular.”
Smith says that the surprises don’t end there: “A very cool bonus features is that even though we designed it primarily as a very powerful mono synth, it’s actually 4-voice paraphonic—you can play 4 notes simultaneously, if you want to. Add in the super saws, and you’ve got a very big sound.” In paraphonic operation, the 4 individual voices share a common filter and envelopes. Paraphony has gained popularity in recent years and was found in such vintage instruments as the ARP 2600 and ARP Odyssey, which were duophonic.
The feature set of the Pro 2 is rounded out with a multimode arpeggiator; 4 stereo, multi-tap delays with analog modeling; 4 LFOs; tuned feedback; analog distortion; Character controls with sound sculpting options such as Drive, Hack, Decimation, Girth, and Air; and extensive modulation possibilities. The LFOs, delay, and arpeggiator can be synced to either the internal clock or an external MIDI clock. Two programmable position- and pressure-sensitive touch sliders and pitch and mod wheels provide nuanced control over live performance.
“Right now there’s a trend of reissuing classic synths from the past. People have been asking for a reissue of the old Sequential Pro-One for quite a while. But as a synth designer, I’m happiest creating new instruments—synths that with every iteration put more power and better sounds into the hands of musicians. The Pro 2 is light years beyond the Pro-One in every way. It’s the most powerful mono synth I’ve ever made. You’ve got to keep moving forward.”
The Pro 2 will be available late July of 2014 with a US MAP of $1,999
Minimojo is an emulation of an old synthesizer built in Reaktor, available for all registered product owners in the NI Reaktor User Library.
The Juice 3 is not in any way a copy of MONARK. The builder did not have access to or ever used MONARK during the making of Juice 3. Instead, the old ensemble Minimood made by NI in 1999, which has then been modified by several users, has been used as the starting point. I think that the basic structure will be recognizable from that early ensemble.
As the Model D is the most emulated synthesizer the world probably don’t need yet another one. Juice 3 should be seen as a proof of concept; how to emulate the should of vintage synthesizers using the Reaktor environment.
The technology developed for this is called Analog Legacy. Analog Legacy is the theory of modulating all functions in a synthesizer at all frequencies. The key is to find the right balance of the modulation depth for each frequency. Juice 3 is the first attempt to use this theory in practice.
The original VCS3 is a very rare monophonic synthesizer, introduced in 1969. It offers a 3 VCO/VCF/VCA/ subtractive synth architecture, and includes a flexible patching matrix and some interesting control options, including a joystick.
iVCS comes from Densitygs, creators of Density asynchronous granular synthesizer for Mac & Win, Pulsaret microsound granular synth for Mac & Win, and iPulsaret and iDensity for iOS.
Specifications and pricing/availability details are to be announced.
The VCS3 has three oscillators (in reality, the first 2 oscillators are normal oscillators and the 3rd an LFO or Low Frequency Oscillator), a noise generator, two input amplifiers, a ring modulator, a 18dB/octave (pre-1974) or 24dB/octave (after 1974) voltage controlled low pass filter (VCF), a trapezoid envelope generator, joy-stick controller, voltage controlled spring reverb unit and 2 stereo output amplifiers. Unlike most modular synthesiser systems which use cables to link components together, the VCS3 uses a distinctive patch board matrix into which pins are inserted in order to connect its components together.
Although the VCS3 is often used for generating sound effects due to lack of built-in keyboard, there were external keyboard controllers for melodic play. The DK1 in 1969 was an early velocity sensitive monophonic keyboard for VCS3 with an extra VCO and VCA. Later it was extended for duophonic play, as DK2, in 1972.] Also in 1972, Synthi AKS was released, and its digital sequencer with a touch-sensitive flat keyboard, KS sequencer, and its mechanical keyboard version, DKS, were also released.
The VCS3’s basic design was reused by EMS in many other of their own products, most notably in the EMS Synthi 100 (1971), and the Synthi A (1971) and AKS (1972) (essentially a VCS3 housed in a plastic briefcase). The AKS also has a sequencer built into the keyboard in the lid.
Also an earlier agent of EMS in the United States, Ionic Industries in the Morristown, New Jersey, have released portable-keyboard version of VCS3 clone. The Ionic Performer in 1973 was designed based on VCS3’s circuit, replaced patch board matrix with over hundred of push-buttons, and added built-in keyboard and effects units.
Dave Smith Instruments today introduced the Mopho SE – a new take on their monophonic Mopho synthesizer.The Mopho SE is based on the same architecture as the Mopho Keyboard, but it’s been updated with a larger 44-note keyboard and design that’s closer to the Prophet synths than the original Mopho.
The Mopho SE
The Mopho SE voice is composed of two analog oscillators, two sub octave generators, selectable 2- or 4-pole famed Curtis low-pass filter, three 5-stage envelope generators, four LFOs, a re-latchable arpeggiator, and a 16 x 4 step sequencer. Its voice also comes packed with 20 modulation sources and almost 50 destinations.
The SE’s full sized 44-note semi-weighted keyboard has aftertouch and velocity sensitivity. The sturdy full sized pitch and mod wheels are freely assignable.
You can expand the Mopho SE’s polyphony using it’s Poly Chain port. Mopho, Tetra, and Prophet ’08 can all be connected to the SE to increase its voice count.
- 100% analog signal path
- Two oscillators capable of producing sawtooth, triangle, saw/triangle, and variable pulse width square waves, with hard sync
- Two sub-octave generators (one octave below oscillator 1 and two octaves below oscillator 2)
- One classic Curtis low-pass filter (switchable 2- or 4-pole) with audio rate modulation, self-oscillating in 4-pole mode
- Analog VCA
- Three envelope generators (ADSR plus delay)
- Feedback loop with programmable level and gain
- White noise generator
- 4 LFOs
- Gated 16 x 4 step sequencer (one sequence per program)
- Glide (portamento): separate rates per oscillator
- Full-sized, 44-note (F to C), semi-weighted keyboard action with velocity and aftertouch
- Full-sized modulation wheel and spring-loaded pitch wheel
- Fully programmable with 3 banks of 128 user programs (384 total)
- USB type B receptacle
- MIDI In, Out/Thru, and Poly Chain
- Left and Right audio outputs: 1/4″ phone jack (unbalanced)
- Audio Input: 1/4″ phone jack (unbalanced)
- Sustain pedal input (accepts normally on or off momentary footswitch with 1/4″ phone plug)
- Expression pedal/control voltage (3.3 VDC max.) input (1/4″ TRS phone jack)
- Headphone output: 1/4″ TRS stereo phone jack
- Dimensions: approximately 25.2″ L x 11.1″ W x 3.6″ H (64 cm x 28.2 cm x 9.1 cm)
- Weight: 13.25 Lbs
- Power supply for 100V ? 240V AC operation
- Operation manual
- Free downloadable software editor for Mac OS and Windows
Pricing and Availability:
The Mopho SE is priced at $949 and is expected to ship at the end of October.
Novation’s new analogue monosynth is here, more than twenty years since the first time around. Sonic takes a look
Spektro Komplex is a MaxforLive monophonic synthesizer designed to create complex and unique sounds. Like the Buchla 261e module, Komplex uses two oscillators to produce FM sounds. What really makes this synth stand out is it’s habilities to morph the waveform of the first oscillator (carrier) and use a different waveform for the second oscillator (modulator).
The frequency of the second oscillator (modulator) is calculated based on the operation:
Oscillator 1 Frequency (operation) Ratio = Oscillator 2 Frequency
For example: If the frequency of the first oscillator is 220Hz, the operation is set to multiplication, and the ratio is set to 2, the frequency of the second oscillator will be 440Hz. A variable offset can also be added to the resulting frequency.
3 different effects that can be used to further manipulate the sound:
– Shape: fold, wrap or clip the signal.
– Spread: creates a stereo-widening effect by delaying the right channel.
You can use Spektro Komplex to create anything from classic FM bass to metallic percussion sounds. It’s also a great tool for sound designer who want to create complex synthetic sounds.”
You can find it here: http://www.spektroaudio.com/komplex
Station X , is the amazing cute little monophonic analogue synth from Analogue Solutions. There are 6 sequences in total, status indicators show fx’s when used.
Sonalksis Stereo Tool ( convert mono to stereo )
Arts Acoustic Reverb
X-Delay (Orion native DAW fx)
Tube Distortion (Orion native DAW fx)
Togu Audio Line has announced the release of TAL-BassLine-101, a monophonic bass synthesizer with a classic analogue sound. The GUI is designed to be intuitive and easy to use.
TAL-BassLine-101 is designed to have a smooth and authentic analogue sounding 24dB zero feedback delay resonance low pass filter. Especially designed and calibrated for extreme settings, it sounds smooth with a lot resonance and a high oscillator pitch. Details such as envelope transitions between overlapping notes are carefully modeled. The oscillators do not use any samples. The plug-in generates all wave-forms in real time.
- Self resonating zero feedback delay filter (24dB LP).
- Calibrated and tuned after our hardware device.
- MIDI learn / automation for all controls.
- Alias free oscillators for an authentic sound also @ 44’100Hz sampling rate.
- Arpeggiator with different sync modes (host, MIDI clock, not on).
- Original (RC) and linear portamento mode.
- Built in arpeggiator with some additional modes.
- Powerful step sequencer with up to 64 steps and recording option.
- 6 voice poly mode.
- Sequencer MIDI export with drag and drop.
- Sequencer / arpeggiator MIDI out for VSTi version.
- De-Clicker mode for slower envelopes :/.
- More than 300 presets.
- All sample rates supported.
Sonic’s full review is here http://www.youtube.com/watch?v=QQ_Q1Q…
but Sonic has also invited live viewers to join them and the MS20 Mini synthesizer from Korg and ask any additional questions that weren’t answered in the full review.
KORG’s background info on the machine:
An analog synthesizer featuring the original circuitry from 1978
Korg’s MS-20 monophonic synthesizer, first introduced in 1978, is still a coveted instrument to this day, thanks to its thick, robust sound, its powerful, iconic analog filter, and its versatile patching options. Over 300,000 people have enjoyed the distinct MS-20 sounds from the original, from Korg’s MS-20 plug-in synth, or the iMS-20 iPad app.
Today, the sounds of the MS-20 have been reborn in hardware, as the MS-20 Mini. The same engineers who developed the original MS-20 have perfectly reproduced its circuitry and fit into a body that’s been shrunk to 86% of the original size, yet retains the distinctive look of the original.
The MS-20 mini will amaze you with its absolutely authentic analog synth sound.
Comments from the developers
Fifty years have passed since Korg was founded, and we have once again put our hand to an analog synthesizer. We took particular care to deliver smooth parameter adjustments, which are a distinctive feature of analog synthesizers. We also took special care to completely reproduce the original specifications of the MS-20. The analog circuits we designed 35 years ago still deliver the same unbeatable, powerful sound, from the ultra-low to the ultra-high range.