Easter egg 😇

All'interno della sezione librarian dell'Editor sono "nascoste" alcune funzionalità che riguardano la possibilità di importare nella libreria dei Toni ZEN-Core tramite modalità "alternative" rispetto a quelle documentate. ( )
L'editor, come è noto, permette l'import di collezioni di suoni Zen-Core nel formato *.svz ottenuti da synth compatibili con tale standard o da Zenology Pro: in più è possibile effettuare la conversione di Toni da Model--> ZEN-Core corrispondenti quando vengono caricate collezioni di user Tone dei Model J8, Juno106, SH101 e JX-8P.
La possibilità aggiuntiva, non documentata , è quella di poter importare toni ZEN-Core nella libreria, caricando il file di Backup di AX-Edge (*.svd) o il file ottenuto tramite la funzionalità "export Scene" ( *.svd) di Fantom. In tal caso vengono caricati tutti gli eventuali Toni Zen-Core user presenti nella scena o nella collezione di scene che sono state esportate.
Il "trucco" sta nel bypassare la maschera *.svz , scrivendo *.* e poi caricando il file .svd.
Segue un video nel caso di AX-Edge.
---------------------------------
Inside the librarian section of the Editor there are "hidden" functions regarding the possibility of importing ZEN-Core Tones into the library using "alternative" methods to those documented ().

The editor, as is known, allows the import of collections of ZEN-Core sounds in the *.svz format obtained from synths compatible with this standard or from Zenology Pro: in addition it is possible to convert Tones from Model--> corresponding ZEN-Core J-8, Juno106, SH101 and JX-8P user tone, when model collections are loaded.

The additional, undocumented possibility is to be able to import ZEN-Core tones into the library, loading the AX-Edge Backup file (*.svd) or the file obtained via the "export Scene" functionality (*.svd) of Fantom. In this case, all possible Zen-Core user Tones present in the scene or collection of scenes that have been exported are loaded.

The "trick" is to bypass the *.svz mask, writing *.* and then loading the .svd file.

Below is a video in the case of AX-Edge.

 

http://www.benis.it/cm/ZC_Editor/ben67_zeneditor.htm

 https://benis67.gumroad.com/

Free virtual: Tyrell N6 con la skin "Juno-like" e Zebralette 3

Il virtual Tyrell N6 è il noto virtual gratuito realizzato da U-He (la sw house di Uli Heckmann, famosa per Diva, Hive2, Zebra,..) con polifonia ad 8 voci e struttura di sintesi chiaramente ispirata allo storico Juno-106, ma che ne amplia le possibilità grazie ad oscillatori detunabili, ring, filtro multimodo, 2 LFO, doppio ENV,....
Da segnalare l'ottima SKIN gratuita di plugmon.jp, chiaramente ispirata allo storico Roland Juno 106 (vedi immagine) e il banco free, sempre della stessa sw house, che offre 144 presets e tra questi l'emulazione dei 56 factory presets del JUNO-60 (bank A).
 

Per installare i presets occorre individuare la cartella TyrellN6.data (in windows l'installazione del virtual inserisce il link nella cartella dove installa il vst2) e copiare nella cartella TyrellN6.data\Presets\TyrellN6\ la cartella dei presets Plugmon - Replicants : lo skin va copiato nella cartella TyrellN6.data\Support\Themes\ .
Seguono i links:
https://www.amazona.de/freeware-synthesizer-tyrell-n6-plugin-vst-au-win-mac

https://u-he.com/products/tyrelln6/

https://plugmon.jp/product/mona-n6/

https://plugmon.jp/product/replicants/

PS: se non lo avete ancora fatto scaricate e provate il nuovo zebralette 3 free https://www.kvraudio.com/forum/viewtopic.php?t=607153 : è un virtual vermente rivoluzionario dove wavetables vettoriali lavorano nel dominio del tempo e delle frequenze (le wavetables nel dominio delle frequenze sono una esclusiva di U-he) e il tutto in modalità wavetables classica o additiva. L'oscillatore poi viene pesantemente modulato da shape, filtri, e algoritmi che lavorano direttamente sulle armoniche nel caso di additiva. Virtual dalle enormi potenzialità con suoni inediti che spaziano dai classici timbri wavetables fino a modelli fisici realizzati tramite risonatori. Prosegue lo sviluppo di Zebra3 che utilizzerà il tutto in una struttura semimodulare ed enormemente più complessa: dovrebbe essere disponibile entro l'anno.

Bitwig Studio e Sintesi Additiva

Per gli amanti della sintesi additiva, qui un ottimo tutorial per realizzarla con Bitwig Studio che oltre ad essere una ottima DAW è anche un potentissimo laboratorio di sintesi grazie ai suoi moduli nativi (Poly Grid nell’ esempio)

 

Bitwig, versione dopo versione sta diventando per certi utilizzi imbattibile con i suoi virtual e moduli nativi che non fanno affatto rimpiangere soluzioni analoghe come Reaktor per chi vuole "giocare" con i moduli: non mancano virtual nativi belli e pronti ( FM, Wavetables, VA,..) che hanno il grosso vantaggio di interagire direttamente con le funzionalità di Daw garantendo massima efficenza.

Se diamo una occhiata alle alternative, considerando come Ableton Live continua nel suo percorso di implementazioni di virtual nativi di qualità anche loro perfettamente integrati nella DAW ( vedi il recente Meld di LIVE 12) , da questo punto di vista Cubase sembra non voler percorrere la stessa strada: se vuoi un Sampler e un synth multisintesi devi acquistare Halion Sonic o, meglio, Halion7 che in tutti i casi interagiscono con la DAW come qualunque altro virtual; di default ci sono Sonic SE, Groove Agent SE ( entrambe versioni ridotte) e in più Retrologue 2 e Padshop 2, ottimi strumenti ma limitati a due sole categorie di sonorità.

Vedremo se Cubase 14 (fine 2024?) spingerà in novità importanti nell'ambito virtual.

La sintesi utilizzata per simulare la voce umana non è di certo una novità: il primo e più famoso prodotto è Vocaloid ideato da Kenmochi Hideki e sviluppato nel 2004 (venti candeline ) dalla Yamaha Corporation.

Con la potenza di calcolo odierna e con i modelli AI, possiamo dire che di strada ne è stata fatta e senza ombra di dubbio oggi è possibile utilizzarla con ben altri risultati.

E' uno strumento sofisticato e complesso che in molte situazioni può rivelarsi comodo e utile.

Qui un video, con il solito stile di Dr. Mix, che ci mostra qualche applicazione concreta.

E qui il link dell'ottimo London By Night https://iradeo.com/station/170090 realizzato con SynthesizerV di Dreamtonics https://dreamtonics.com/synthesizerv/

Tone2 Icarus3

Disponibile nei prossimi giorni Tone2 Icarus3 che segna, aimè, l'ultimo importante software della software house Tone2 ( c'è un lungo racconto di Markus Krause che spiega i tristi motivi personali che lo hanno spinto a fare tale scelta https://www.kvraudio.com/forum/viewtopic.php?t=601129 )

Le novità sono tantissime, per quello che ritengo uno dei software tra i più belli e poliedrici, che non dovrebbe mancare nel Setup dei virtual.

Qui la lista delle tante novità https://www.tone2.com/icarus-update.html
https://www.tone2.com/icarus.html

e qui una breve demo!

https://www.youtube.com/watch?v=vg0TITwsWXU

Da oggi è possibile scaricare l'ultima beta per MAC: ad Aprile la versione definitiva disponibile anche per PC.

New factory content:

• Over 230 new patches that make use of the new features have been added. They were carefully crafted by professional sound-designers. You can recognize them as they got an 'I3' or 'i3' (Icarus3) in the name.
• The complete factory content has been reworked.
  
• All sounds are now properly sorted into the right categories.
  
• Several new categories have been added.
  
• Lots of sounds were enhanced and fine-tuned.
  
• A few mediocre sounds have been kicked to provide only top-quality content. You can download them optionally from the website.
  
• Additional Arpeggiator and Glitch-sequencer presets have been added.

New synthesis features - mixed stuff:

• New analog-modeled lowpass-filter with self-oscillation: LP Ladder 24dB.
  
• New analog-modeled lowpass-filter with screaming self-oscillation: LP MS-20 12dB.
  
• The random button creates more impressive patches. It now also randomizes the LFOs, the Arp and effects.
  
• Added a "Transient-shaper" to SETUP. It dynamically boosts high frequency transients to add punch and clarity
  
• The arpeggiator is now able to play two-tones. To access them click on '+' and pick one of these chords: m2, M2, m3, M3, P4, d5, P5, m6, M6, m7, M7, P8
  
• The arpeggiator is now able to play triads. To access them click on '+' and pick one of these chords: C, Cm, su2, su4, C5, C5x
  
• A new autochord mode as been added to the arpeggiator: C7 Tetrad.
  
• New modulation source: Random+- is a bipolar random sample&hold value that re-triggers on noteOn.
  
• New modulation source: FlipFlop+ is an unipolar value that alternates with every key press.
  
• New modulation source: White Noise+- is a modulator with bipolar white noise.
  
• New modulation targets: Mseg1 Speed and Mseg2 Speed can now be modulated by any source.
  
• The VST3 and AudioUnit version now also support MPE. If you want to use MPE make sure that your DAW properly transmits on all midi channels. Some older DAWs do support MPE only with VST2.
  
• The new arpeggiator mode 'Dual Layer Root' makes it possible to create multitimbral patches with an auto-accompaniment on the root note.
• It is now possible to combine monophonic oscillators with a polyphonic patch. If 'Monophonic->Root Note' the currently played chord is analyzed and the oscillator plays with the root note. This mode is usefull for creating glitter in pads or for auto-accompaniment with a bass sound.
  
• The wavetable editor has a new sweep mode "Warmth" which can softly fade the current waveform to a sine wave.
  
• There are now 3 different modes available which define the treatment of identical notes that are re-triggered in SETUP:
  
• Soft kill old voice: If a note that is still in release is played again, the old one will be faded-out quickly. This reduces CPU and results in a clear mix.
  
• Overlap voices: This is the behaviour that is common in other synths. It can result in a phasing sound.
  
• Soft-retrigger old voice: The old voice continues playing. This mode is useful for pads and analog sounds.
  
• Hard kill old voice: If a note that is still in release is played again, the old one will be killed at once. This reduces CPU but can also cause clicks.
  
• Clicky kill old voice: The new voice will start with a punchy sound.
  
• Overlap and sync phases: This mode was used in Icarus1 and 1 as a default. It forces all oscillator to be in phase with the old voice. It can cause a swelling sound.
  

New synthesis features - Hypersaws and Supersaws:

Icarus3 has been extended with many new Hypersaw modes. Unlike competing synthesizers ours do not occasionally sound ugly. We developed smart algorithms that carefully tweak the phase alignment to prevent occasional 'phasing' and huge volume peaks.

We are convinced, that Icarus3 has the best sounding "hypersaws" and "supersaws" available on the market. The following new modes are available in the list-selector above the DETUNE knob:

• "MegaSaw 6" plays 6 detuned oscillators with a special, very pleasant phase allignment. It is useful for lush pads.
  
• "MegaStereo 6" plays 6 detuned oscillators with stereo spread. It is useful for lush pads.
  
• "MegaStereo 12" plays 12 detuned oscillators with stereo spread.
  
• "SuperSaw 5" plays 5 detuned oscillators. It is inspired by the JP8000.
  
• "SuperStereo 10" plays 10 oscillators with stereo spread. It has a silky signature.
  
• "SuperStereo 14" plays 14 oscillators. It is useful for lush pads and very fat sounds.
  
• "Drift 1x" emulates the oscillator detuning of analog synthesizers.
  
• "Drift 2x" sounds like an analog synthesizer playing with 2x unison.
  
• "Drift 4x" sounds like an analog synthesizer playing with 4x unison.
  
• "Drift 8x" sounds like an analog synthesizer playing with 8x unison.
  
• "Drift Stereo 2x" sounds like an analog synthesizer playing with 2x unison and stereo spread.
  
• "Drift Stereo 4x" sounds like an analog synthesizer playing with 4x unison and stereo spread.
  
• "Drift Stereo 8x" sounds like an analog synthesizer playing with 8x unison and stereo spread.
  

New synthesis features - Granular:

Icarus3 has been extended with Granular synthesis. With this mode you can time-stretch or pitch-shift a sample in high quality and very few artifacts.

The WAVE knobs controls the sample position. You can modulate it with any modulation source. This allows rhythmic textures.

The following new synthesis modes are available in the list-selector above the MORPH knob:

• "Granular classic" works well for pitch-shifting or time-streching. The MORPH knob controls the window size.
  
• "Granular BPM" syncs to BPM and creates rhythmic textures. The MORPH knob controls the speed.
  
• "Granular variable" allows a very tight timing with very small window sizes. The MORPH knob controls the window size.
  
• "Granular freaky" shifts the frequencies in weird ways. It is useful for creating freaky voices or disharmonic textures. The MORPH knob controls the frequency.
  

New synthesis features - FM:

We extended the FM capabilities of Icarus3. Unlike our competitor's products the FM synthesis of Icarus does not suffer from any significant aliasing.

• Added 2 new FM synthesis modes with integer ratios: "FM Sine 4/1","FM Sine 5/1".
  
• Added 2 new FM synthesis modes with subharmonic ratios:"FM Sine 1/2", "FM Sine 1/4".
  
• Added 4 new FM synthesis modes with fractional ratios for bell-style sounds: "FM Sine 3/2","FM Sine 5/2","FM Sine 3/4","FM Sine 5/4".
  
  

New synthesis features - Additive:

Icarus3 bas been extended with additive synthesis. These modes drastically extend the sonic range, especially with disharmonic and unusual sounds.

Unlike competing synthesizers our additive synthesis is not limited to sine-waves. It can handle any waveform or synthesis mode. We developed smart algorithms that carefully tweak the phase alignment to prevent the occasional volume peaks that competing synthesizers suffer from.

The DETUNE knob controls the spectral spread of the partials. The following new modes are available in the list-selector above the DETUNE knob:

• "Add Bell 4" stacks 4 oscillators. It can morph between a bell and an organ sound.
  
• "Add Bell 8" stacks 8 oscillators. It can morph between a bell and an organ sound.
  
• "Add Bell 16" stacks 16 oscillators. It can morph between a bell and an organ sound.
  
• "Add Stereo Bell 4" stacks 4 stereo oscillators. The second pair is up to 2 octaves higher.
  
• "Add Stereo Bell 8" stacks 8 stereo oscillators. It can morph between a bell and an organ sound.
  
• "Add Stereo Bell 16" stacks 8 stereo oscillators. It can morph between a bell and an organ sound.
  
• "Add Stretch 5" symmetrically spreads 5 oscillators in the spectrum.
  
• "Add Stretch 9" symmetrically spreads 9 oscillators in the spectrum.
  
• "Add Stretch 17" symmetrically spreads 17 oscillators in the spectrum.
  
• "Add Random ? 4" plays 4 oscillators with random pitch.
  
• "Add Random ? 8" plays 8 oscillators with random pitch.
  
• "Add Random ? 16" plays 16 oscillators with random pitch.
  
• "Add Stereo ? 4" plays 4 stereo oscillators with random pitch.
  
• "Add Stereo ? 8" plays 8 stereo oscillators with random pitch.
  
• "Add Stereo ? 16" plays 16 stereo oscillators with random pitch.
  
• "Add Partials 2" plays 2 partials with a spread of up to 4 octaves. Use the mousewheel with the DETUNE knob to lock it to integer ratios.
  
• "Add Partials 4" plays 4 organ-style partials. Use the mousewheel with the DETUNE knob to lock it to integer ratios.
  
• "Add Partials 8" plays 8 sawtooth or square partials. Use the mousewheel with the DETUNE knob to lock it to integer ratios.
  
• "Add Partials 16" plays 8 bright peek or hollow partials. Use the mousewheel with the DETUNE knob to lock it to integer ratios.
  
• "Add Stereo Par 4" plays 2 stereo partials with a spread of up to 4 octaves.
  
• "Add Stereo Par 8" plays 4 stereo partials with an organ-style.
  
• "Add Stereo Par 16" plays 8 stereo partials with a bright sound.
  

New synthesis features - effects:

• New effect-type 'Unison' which stacks 3,5,7 or 9 virtual voices. You can control the detuning and the stereo-spread.
  
• New effect type: Krautrock Phaser. A phaser inspired by the circuits of the "Schulte Compact Phasing A" devices.
  
• New effect type: Krautrock Stereo. A stereo version of the Krautrock Phaser.
  
• New effect-type 'Haas Effect' which creates the impression of positioning a sound source.
  
• New distortion-type for the filter section: Digital XOR. The 'drive' knob controls the bit wise scrambling.
  
• New distortion-type for the filter section: Digital OR. The 'drive' knob controls the bit wise scrambling.
  
• New distortion-type for the filter section: Digital AND. The 'drive' knob controls the bit wise scrambling.
  
• New distortion-type for the filter section: Noise Mix White. The 'drive' knob controls the noise mix level.
  
• New distortion-type for the filter section: Noise Mix Pink. The 'drive' knob controls the noise mix level.
  
• New distortion-type for the filter section: Noise RingMod. The 'drive' knob controls the balance.
  
• New distortion-type for the filter section: Noise AM. The 'drive' knob controls the balance.
  
• New reverb-type "Sitar Resonace" that sounds like the sympathethic resonance of sitar strings.
  
• New distortion-type for the FX section: Digital XOR. The 'value' slider controls the bit wise scrambling.
  
• New distortion-type for the FX section: Digital OR. The 'value' slider controls the bit wise scrambling.
  
• New distortion-type for the FX section: Digital AND. The 'value' slider controls the bit wise scrambling.
  

New features - interface:

• GUI with 26 different sizes (with and without keyboard and parameter-editor).
  
• Native support for WQHD, 4K, 5K and 8K UHD displays.
  
• We complete reworked the look of the interface.
  
• Skin able user interface: We created 30 new skins which can selected in SETUP. The look of the previous version is still available as "Icarus2 classic" skin.
  
• The GUI can be scaled from 50% up to 200% by clicking in the lower right corner.
  
• Ultrasharp graphics with enhanced HiDpi and Retina Display support.
  
• The modulation matrix is now animated and shows the current modulation value. This makes it a lot easier to understand how patches work.
  
• The oscillator display shows infos with details about the current synthesis mode and the relevant parameters.
  
• You can now right-click and hold down keys on the keyboard.
  
• It is more easy to understand how patches were programmed as the most relevant tab window is shown automatically.
  
• The patch browser shows tips how the sounds are intended to be played.
  
• Installed soundsets are easier to spot. They have yellow color in the patch browser.
  
• Duplicate and deprecated categories from previous installations have red color in the patch browser.
  
• Templates and soundset-demos are greyed-out in the patch browser.
  
• Custom patch categories created by the user (technically a new subdirectoy within \Icarus_sounds) have yellow color in the patch browser.
  
• Automatic detection of the ideal GUI size.
  
• The mouse wheel can be used to quick-select patches.
  
• New knobs with a larger mouse area, sectors to indicate the value and bigger, dynamic text.
  
• Entry of menus with sub-menus can be quick-selected with the mouse wheel in linear order.
  
• The total number of waveforms and the number of the current waveform is shown on the top-right of the osc display.
  
• The wavetable-editor supports HiDpi and has a crisp image.
  
• The wavetable-editor wastes less screen-space and can be twice as large.
  
• The wavetable-editor automatically selects a good size.
  
• The wavtable editor always shows the number of the currently selected waveform.
  
• The classic orthogonal wavetable view now animates the current waveform with the morph and the phase.
  
• The 3d wavetable view now animates the current waveform with the morph and the phase.
  
• It is now possible to drag&drop wavetables to the oscillators. The synth automatically detects if the wav file is a sample, waveform or a wavetable.
  
• A template-dialog is shown when the user enables the drums within a patch that comes with no drums sounds.
  
• A template-dialog is shown when the user enables the glitch-sequencer within a patch that comes with no pattern.
  
• The location where the patches are stored can be shown with FILE->Show patch directory.
  
• The location where the drums are stored can be shown with <Preset>->Show drums directory.
  
• The location where the arpeggiator presets are stored can be shown with <Preset>->Show presets directory.
  
• The location where the glitch-sequencer presets are stored can be shown with <Preset>->Show presets directory.
  
• The location where the effect templates are stored can be shown with <Preset>->Show FX templates directory.
  
• The location where the mseg waveforms are stored can be shown with <Preset>->Show presets directory.
  
• You can show the location of the wavetables on the harddisc in the oscillator section with TOOLS->Show wavetables directory.
  
• You can show the location of the wavetables on the harddisc within the wavetable-editor with FILE->Show wavetables directory.
  
• You can show the location of the waveforms on the harddisc within the wavetable-editor with FILE->Show waveforms directory.
  
• Parameter values are now always shown when the knob value is changed with the mouse wheel.
  
• The mouse cursor changes back to an arrow after leaving the modulation-depth area of a knob.
  
• An up-down arrow is shown when the user clicks on the arpeggiator's note grid.
  
• Mousewheel support for up-down controls.
  
• The patch browser shows more detailed info about the used synthesis types.
• The credits can be viewed by clicking on the Tone2 logo.
  
• A VST3-only installation is now possible in the setup on PC.
• Mousewheel support for the VST3 and AudionUnit version in all DAWs.

Enhancements - sound quality:

• The audio-engine now uses 64-bit precision instead of 32-bit, which results in a higher sound-quality and a more transparent mix.
  
• Reworked big parts of the audio-code.
  
• The microtuning-range is now limited and can not longer run 'out-of-tune'.
  
• The synth 'sits better in the mix', especially when it is combined with other instruments.
  
• The synth sounds better with patches that use long release times. Unlike conventional synths Icarus does not longer suffer from 'phasing' when a note which is in release is re-triggered.
  
• The mix is more transparent and the amplitude does not longer get out of control when many notes are played quickly.
  
• The hypersaws do not longer suffer from an occasional 'phasing' sound.
  
• More precise pitch calculation.
  
• More precise filter-cutoff calculation.
  
• More precise phase calculation.
  
• Enhanced sound of sample playback.
  
• Enhanced sound of the drum sequencer by improving the spline interpolation.
  
• Enhanced sound of the formant synthesis.
  
• Enhanced parameter-smoothing.
  
• Enhanced the sound of many chords with the microtuning modes 'Dynamic Silky' and 'Dynamic Valotti'.
  
• The microtuning-range is now limited and the synth can not longer run 'slightly-out-of-tune' under very special conditions.
  
• The synth 'sits better in the mix' with other instruments.
  
• Enhanced sound of the limiter. It has a more precise calculation now.
  
• The 'Hard Clip' distortion in the FX section sounds better and has less aliasing.
  
• The 'Rectify' distortion in the FX section has been extended with a DC offset remover and has less aliasing.
  
• The 'Bitcrush' distortion in the FX section has been extended with a DC offset remover.
  
• The 'Hard Clip' insert effect in the filter section sounds better and has less aliasing.
  
• The 'Rectify' insert effect in the filter section sounds better and has less aliasing.
  
• The 'Bitcrush' distortion in the filter section has been enhanced.
  
• Reworked the "Physical modeling Guitar" filter type. It has a more precise calculation. An additional highpass removes low frequency rumble.
  
• Reworked the "Physical modeling Flute" filter type. It has a more precise calculation. An additional highpass removes low frequency rumble.
  
• More precise EQ calculation.
  
• Enhanced the sound of the White Noise in the lo-fi effect 'Noise'.
  
• Enhanced the sound of the Noise in the 'Tape Delay'.
  
• Enhanced the sound of the oscillator type 'Noise White'.
  
• Enhanced sound of 'One shot' sample playback by improving the spline interpolation.
  
• Enhanced sound of 'Vibrato' and 'Stereo Vibrato' by improving the spline interpolation.
  
• Enhanced sound of 'Flanger' and 'Stereo Flanger' by improving the spline interpolation.
  
• Enhanced sound of 'Smart unison' by improving the spline interpolation.
  
• Enhanced sound of 'Chorus' by improving the spline interpolation.
  
• Enhanced sound of 'Feedback' by improving the spline interpolation.
  
• Enhanced sound of 'Reverb Big'. It has more depth, a more transparent tail and better performance.
  
• Enhanced sound of 'Reverb Infinite'. It has a more transparent tail, more depth and better performance.
  
• Enhanced sound of 'Reverb Glass'. It has a more transparent tail, more depth and better performance.
  
• Enhanced sound of 'Reverb Plate'. It has a more transparent tail, more depth and better performance.
  
• Enhanced sound of 'Reverb Medium'. It has more depth, better interpolation and has less 'phasing' when stereo oscillators are used.
  
• Phsycal modeling filters are in-tune if you init a new patch.
  
• Better default settings for several delay types. They sound less detuned.
  
• Waveforms now smoothly interpolate when a new patch is initialized.
  
• Better default values for many effects.
  
• Several small enhancements for the resynthesis.
  
• Switching the filter type while playing a sound does not longer result in an occasional plop-sound.
  
• Fine-tweaked the default values for the Init-patch.
  
• A huge number of further small enhancements.
  
  

Enhancements - interface:

• Reworked and enhanced graphics.
  
• Completely rewritten GUI code.
  
• The animations are faster and smoother.
  
• More precise modulation matrix with new sliders.
  
• Fine-tuned some coordinates in the interface.
  
• Re-sizing the VST3, Standalone and Audiounit works more reliable.
  
• Fine-tuned some colors.
  
• The automatic screen-size detection is smarter.
  
• Drums tab is shown automatically when drums are switched to ON.
  
• Glitch tab is shown automatically when glitch-sequencer is switched to ON.
  
• Enhanced the init patch default settings.
  
• The 3D wavetable view shows more details.
  
• Glitch tab is shown automatically when the glitch sequencer is switched to ON.
  
• The matrix slider values can be set in 5% steps with the mouse wheel.
  
• A tweak of the detune knob smartly switches between mono and stereo.
  
• Editing the Oscillators is smoother. More responsive visual feedback is given.
  
• Editing the LFO is smoother. More responsive visual feedback is given.
  
• Editing the Envelopes is smoother. More responsive visual feedback is given.
  
• Editing the Filter is smoother. More responsive visual feedback is given.
  
• Editing the EQ is smoother. More responsive visual feedback is given.
  
• The time display of the envelopes has a little more contrast.
  
• Enhanced visual quality of the wavetable display.
  
• Replaced the VU with a more beautiful one.
  
• Enhanced look of the vector-knob texts.
  
• Enhanced look of the diodes.
  
• TOOLS->'Synthesize a random wavetable' requires less clicks as it is not longer hidden behind a sub-menu.
  
• The mouse wheel snaps on knobs with precise 5 percent steps.
  
• The filter previous- and next arrows are able to handle unsorted lists.
  
• The lines in the displays are more thick whena large size is selected.
  
• Slightly larger texts for the mouse-over texts of knobs in certain resolutions.
  
• The oscillator detuning can be set more precisely.
  
• Drag and drop is disabled when the patch browser is open.
  
• The color of the wavetable editor does not longer change with the skin settings.
  
• The coordinates of the drag&drop line are now more precise.
  
• Fine-tuned the visualization of the LFO shapes.
  
• New demo splash screen.
  
• Updates can be now be downloaded from the help-menu.
  
• A huge number of further small enhancements.

Enhancements - performance:

• Support for hardware-acceleration.
  
• Drastically faster animations and more responsive controls.
  
• Reduced the GPU load when the patch browser is open.
  
• Reduced the CPU load when patches with long release times are played quickly.
  
• Reduced CPU load on extremely fast graphic cards by limiting the framerate.
  
• Many small performance-optimizations.

Enhancements - compatibility:

• Buggy DAWs can not longer crash the plugin by submitting garbarge bpm or song position info.
  
• Demo version does not longer re-load with a silent patch when saving was enforced by the DAW.
  
• Enhanced stability and robustness.

Changes:

• Per default the polyphony is now limited to 1 of any note number. You can get the old behaviour by selecting SETUP->Identical note re-trigger behaviour: Overlap voices.
  
• Removed the demo-version timeout and added a voice-over as a replacement.
  
• For compatibility reasons the realtime FFT is not longer shown in the patch browser on the Mac by default. It still can be enforced by creating the file ../Icarus_data/IcarusBrowserEnableFFT.cfg . It can be disabled on PC with ..\Icarus_data\IcarusBrowserDisableFFT.cfg .
  

Fixes:

• Some DAWs could show the VST3 version on PC with an incorrect size when Windows scaling was used.
  
• Some DAWs could cut off the interface when the GUI was closed after the wavetable-editor was opened.
  
• Fixed some tiny GUI glitches that could appear in the filter section.
  

Fantom EX Bug

Bug in Fantom EX Ver. 1.01: dopo aver caricato un ACB Tone, qualunque SYSEX Midi message (Zen-CoreTone, Scenes, Scene offset - Cutoff, Level, PAN.....) blocca Fantom.
Segue un video che ho realizzato dove viene mostrato il problema, in tre casi diversi.
Nei prossimi giorni renderò disponibili i software free realizzati per il test.

Speriamo in una rapida risoluzione del problema da parte di Roland. 

Charlatan 3.0

Disponibile il virtual freeware Charlatan 3.0 (Windows e Linux)

 

Dopo 5 mesi di beta è disponibile la versione 3.0 dell'ottimo virtual freeware Charlatan.

Per chi non lo conosce è un gioiellino disponibile da quasi 10 anni nella versione 2.0 che si arricchisce di numerose novità, pur mantenedo una bassa occupazione di CPU e un ottimo mix tra semplicità e possibilità complesse di sintesi. La Struttura di base è quella di un VA con 4 oscillatori, doppio filtro, modulazioni ed effetti (sotto i dettagli). Qualche piccola nota aggiuntiva. 1) Polifonia pari ad 8 voci anche in presenza della modalità unison che attiva sino a 7 istanze di voce con detune e width (stereo spread). 2) Modulazione per entrambe le coppie di oscillatori con possibilità di Ring, PM lineare (la classica FM del DX7) e FM. (ci sono alcuni presets con le tipiche sonorità Yamaha DX) 3) possibilità di disegnare le onde dei 4 oscillatori tramite step o tramite additiva a 16 armoniche. Peccato che, diversamente dai modulatori Xform non è possibile gestire curve spline, anche se tramite zoom è possibile disegnare le onde senza particolari problemi. 4) Comodo Browser con semplice struttura a cartelle. 5) Molto bella anche la sezione multieffetti con Phaser, Delay, Chorus , Riverbero e EQ parametrico Ultima osservazione: per utilizzare i presets forniti con il virtual, in ambiente Windows occorre copiare la relativa cartella in %APPDATA%\charlatan\presets (andando nel browser del virtual a destra di INIT c'è una icona dove raggiungere la cartella, open file browser--Rescan). Seguono link e alcuni shot

https://blaukraut.info

Feature Summary

• Two dual oscillators per voice with custom drawable waveforms, cross-modulation (Phase Mod, linear Frequency Mod, Ring Mod), windowed hard sync and noise generator
• Up to 7 unison voices per oscillator
• Two filters per voice with types: 4-pole ladder LP/HP/BP, Acid LP, 2-pole Sallen-Key LP/HP/BP, Notch and Comb
• Flexible filter routing (serial / parallel / dual)
• Four modulation generators with freely drawable shape where each can operate either as LFO or envelope generator
• Four Modulation transformers (XFORM) allow reshaping any control signal through a user-defined mapping
• Arbitrary routing of modulation signals via Drag'n'Drop
• High-quality master FX section: Distortion, Phaser, Chorus, Reverb, Delay, EQ
• Very low CPU and RAM usage
• Optional internal 2x oversampling
• Preset browser
• Cross-platform support: Windows / Linux / VST3 / CLAP 
   
  

  
  

  

  
  

  

  
  

  

  
  

  

  
  

  

  
   

DSP56300 Osirus

Le novità di dsp56300 Osirus, l'emulazione dell'Access Virus B e C

Nuovi interessanti sviluppi del noto emulatore dell'Access Virus B/C che, come ricordo, è un virtual disponibile per PC/MAC e Linux che emula il DSP Motorola 56300 (il generatore sonoro del Virus) e utilizzando le ROM originali del synth genera in maniera virtualmente identica, i suoi suoni.
Come più volte ribadito il software non fornisce le ROM originali e le differenze di timbro, minime e tutte da verificare, derivano solo dalla differenza tra lo stadio di uscita del'interfaccia audio del computer con quella dei convertitori del synth.
L'ultima versione disponibile, la 1.3.6, offre delle importanti novità.
- La prima è la presenza di un nuovissimo librarian interno che permette la classificazione dei suoni tramite tag personalizzabili, la creazione di nuovi banchi e una organizzazione comodissima per gestire le proprie librerie.
- La seconda novità è il nuovo e importante miglioramento delle performance del virtual: con il mio recente i9 14900 k gestisco la polifonia massima con la occupazione massima di un solo core della CPU attorno al 62-65% (6 % dell'intera CPU) ; con CPU meno recenti ( i7 di 5-6 anni fa) si arriva all'80-85%.
- La terza novità, veramente inaspettata è quella della velocità di emulazione: come spiegato nel blog l'HW originale a secondo della timbrica utilizzata ( oscillatori attivi, presenza o meno di effetti, di FM, Ring,...) gestisce la polifonia in maniera intelligente garantendo 25 voci per le timbriche meno complesse e riducendo la polifonia per quelle più complesse. Da qui nasce l'idea di "ingannare" la routine del firmware che gestisce la polifonia variando la velocità di emulazione. Con l'emulatore è possibile settare la velocità di emulazione tra il 50 % ( DSP 54 Mhz) e il 200% ( DSP a 216 MHz).
In questa maniera su computer con CPU più datate è possibile abbassare la velocità di emulazione a 75% o 50%, perdendo delle note di polifonia ma evitando interruzioni dell'audio per mancanza di potenza di calcolo e ovviamente riducendo la occupazione CPU sul computer; su CPU più performanti settare velocità maggiori (125, 150 o 200%) garantendo così polifonie maggiori e potenzialmente pari al massimo (25), anche con timbriche più complesse.
Segue qualche Shot (la CPU sul core utilizzato rimane occupata attorno al 62%), una tabella che ho realizzato che mostra come al migliorare della emulazione nel tempo sono aumentate le performace e quindi diminuite le occupazioni CPU e il link dove gli sviluppatori parlano delle novità che vi ho descritto.

https://dsp56300.wordpress.com/blog/ 

 

Cmajor Pro-54

Cmajor Pro-54

Il "vecchio" Native Instruments Pro-53, insieme alle sue circa 500 patch, è disponibile per tutti come Web-App , grazie a Cmajor che è un linguaggio open source della famiglia C (C, C++, C#, objective-C...) pensato principalmente per la generazione di routine DSP (signal processing code).
I vari sorgenti sono open-source e non si esclude la futura compilazione nei formati VST, AU, or AUv3 (iOS).
La versione Web audio funziona con latenze non bassissime ma sicuramente suonabili (sul mio pc 120 ms con firefox) e ovviamente riconosce le tastiere Midi collegate. la polifonia massima è di 32 voci.

Come ben noto, il NI Pro-53 non brilla di certo per fedeltà di emulazione e per qualità globale del suono: parliamo di un virtual di 22 anni fa, pensato per le CPU di allora e quindi pieno di compromessi e semplificazioni nel processo emulativo.
E' inutile nascondere che molti di noi "vecchietti" della sintesi virtuale ne siamo legati in quanto lo abbiamo spremuto a fondo quando nel 2002 era tra i pochi virtual emulativi più o meno credibile: per noi risuonarlo e probabilmente riaverlo sulle Daw non può che essere un bel "momento deja-vu "
Rimane il fatto che la presenza dei sorgenti open-source apre alla possibilità di sviluppi e ampliamenti: basta penare, uno tra tutti, a Surge XT , e allo sviluppo che si è avuto dopo che Vember Audio nel 2018 ha reso opensource i suoi sorgenti
Qui i link:
pagina per programmare, suonare il synth...e i suoi 500 presets
 

https://cmajor.dev/docs/Examples/Pro54/

sorgenti
https://github.com/cmajor-lang/cmajor/tree/main/examples/patches/Pro54 (il motore di sintesi, il file Pro54.cmajor, contiene "solo" 3529 linee di codice, molto interessanti da analizzare)