FXpansion is proud to present Tremor, a software drum machine with powerful synthesis, effects, modulation and step-sequencing. DCAM circuit-modelled sound generation is fused with new ideas to produce original sounds with the punch and extreme sound pressure of old-school analogue. Tremor’s dance drums, funky beatscapes, abstract machines and undiscovered sonic terrain are suited to all kinds of electronic, urban and experimental music.

Central to each of Tremor’s 8 synthesis engines is a specialized DCAM oscillator with harmonic partials akin to a drumskin’s modes of vibration. Mixed with a sub-oscillator and tuned noise source, the signal is sculpted by modelled drive/filter/FX sections and razor-sharp envelopes. Tremor’s diverse output includes classic kicks, snares and claps, organic hats and body-shaking subs alongside futuristic zaps, scrapes, textures and sounds that defy classification.

The TransMod modulation system in Tremor is easier and deeper than a mod-matrix. It offers new sound design possibilities and lets you animate sounds with LFOs, step-automation sequences and real-time macro controls while the synthesis engine reacts just like real analogue circuits. Tremor’s sonic potential is showcased in the included suite of presets by a team of elite sound designers.

Feature Hightlights

• Synthetic drum machine software
• DCAM-modelled synthesis and FX
• Specialised oscillator with drumskin vibration partials
• Filtering and drive with multiple responses
• Deep, intuitive TransMod modulation system
• Polyrhythmic pattern step-sequencer
• VST, AU, RTAS and standalone

On the Mac, Tremor requires OS X 10.5.8 and above, a 2.53 GHz Intel Core 2 Duo processor and 2 GB of DDR2 RAM. FXpansion recommends a 2.9 GHz Intel i5 processor and 2 GB of DDR3 RAM.

Tremor is available now via download from the FXpansion web shop for $149 / €119 / £99. Until 9 February 2012, Tremor is available for $99 / €79 / £69 to all registered owners of Geist or DCAM: Synth Squad (and for customers purchasing Tremor at the same time as Geist or DCAM: Synth Squad).

http://www.fxpansion.com/

u-he has announced the release of DIVA, the first native software synthesizer that applies methods from industrial circuit simulators in realtime. The oscillators, filters and envelopes closely model components found in some of the great monophonic and polyphonic synthesizers of yesteryear.

Modules can be mixed and matched so you can build hybrids, but what sets DIVA apart is the sheer authenticity of the analogue sound. The behaviour of zero-delay-feedback filters when pushed to the limit clearly demonstrates the advantages of DIVA’s approach, which was inspired by tools such as PSpice, an analog and mixed-signal circuit simulator typically used in electronic design automation.

This does come at the cost of quite a high CPU-hit. You will need a fast computer. Even though the “draft” and “fast” quality setting may play fine, DIVA only shows her true talents and attitude in “Divine” accuracy mode.

On the Mac, DIVA requires OS X 10.5, an Intel processor with at least 2 cores at 2 GHz, and a VST or AU compatible host application. Support for Pro Tools and/or FXpansion adapter is planned for Spring 2012.

DIVA is available via direct download from u-he for $179 (+19% VAT in Europe). A special discounted price of $119 is offered through 15 January 2012.

http://www.u-he.com/

Cengage Learning and our own Kevin Anker have announced the release of Using Logic Pro’s Synthesizers, the only book available that focuses exclusively on the synthesizers built into Logic Pro 9. Using Logic Pro’s Synthesizers uses practical, sound-oriented advice on how to get the most out of each instrument.

Logic Pro 9 is an industry leader, featuring a comprehensive selection of software synthesizers that allow you to create almost any sound you can conceive of. But the sheer number of options can be overwhelming—even expert synthesizer users need a guide to appreciate the full power of Logic’s synths.

That’s where Using Logic Pro’s Synthesizers comes in. First, you’ll master the simple synthesizers, which will make the essential components of synthesis clear to you. Then, you’ll build on that knowledge to learn how to use the more complex synths. In addition, you’ll learn about hidden capabilities in the various synths. All the while, you’ll be listening to the sounds you create, further cementing the principles of synthesis in your mind. By the time you finish this book, you’ll be able to approach almost any synthesizer you encounter with confidence and ease. Synthesis will be demystified!

Table of Contents

Using Logic Pro’s Synthesizers is available now via book retailers like Amazon.com, or directly from Cengage for $39.99.

http://www.cengagebrain.com/shop/ISBN/9781598639483

KV331 Audio has announced the release of version 2.5 of their semi-modular synthesizer and effect plug-in, SynthMaster. With version 2.5, SynthMaster becomes a cross-platform plug-in, now running on Mac OS X in VST and AU formats.

SynthMaster Preset Demos

Since the release of SynthMaster 2.0 in December 2009, KV331 Audio have added the following major features to SynthMaster:

• Cross-platform VST & AU: SynthMaster 2.5 now runs as a VST instrument/effect on both Windows and Mac OS X, and as an Audio Unit instrument/effect on Mac OS X.
• 400 New Factory Presets: SynthMaster 2.5 comes with 400 new factory presets from a world class team of sound designers: BigTone, Ümit ‘Insigna’ Uy, Frank ‘Xenox’ Neumann, Teoman Pasinlioglu, Mr Shoufuku and Brian ‘Xenos’ Lee.
• Improved Filter Algorithms: The ‘analog’ filter models have been improved to better model the analog ladder filter. The ‘digital’ filters on the other hand have been rewritten from scratch for better VA sound.
• Before/After/Inside Filter Distortion: Custom distortion stage added into the filters so that signals can be distorted before, after or even inside the filter. With this flexibility, it is now possible to create screaming sounds using the filters in SynthMaster.
• ‘Multimode’ Filters: With the new ‘multimode’ filter type, it is now possible to switch from Lowpass to Bandpass to Highpass filter types continously using the ‘filter mode’ parameter. For analog multimode filters, it is even possible to change the slope of the filter continously from 0 db/oct to 24 db/oct using the ‘continous slope’ parameter.
• ‘Dual’ Filters: With the new ‘dual’ filter type, it is now possible to run two multimode filters simultaneously, either in parallel, or in series. The mix ratios between the filters, and the topology (parallel/series) between them can be changed continuosly, as well as the modes and cutoff frequencies of the filters.
• Vector Synthesis: A new ‘vector’ oscillator type has been added to add support for vector synthesis in SynthMaster.
• 2D Envelopes: A new envelope generator type called “XY envelope” is added, so that line segments between points in 2 dimensions can be used to generate 2 dimensional envelope signals. XY Envelopes can be used not only for modulating “vector” oscillator x/y indexes, but also for all other voice parameters within SynthMaster.
• Sample Playback (SFZ) Synthesis: A new “sample playback” oscillator type has been added so that SFZ files can be played back. It is also possible with version 2.5 to generate SFZ files by dragging and dropping multiple WAV/AIFF samples onto an oscillator waveform display.
• Stereo Oscillators with Improved Unison: Oscillators in SynthMaster 2.5 have now stereo output. With the new “voices”, “pan spread” and “detune spread” parameters, each basic/wavescanning oscillator can have its own unison settings which eliminates the need to enable unison for all voice elements.
• Improved Arpeggiator: The number of steps in the arpeggiator is increased to 32, while classic arpeggiator modes such as up, down, updown, downup and as played are added as well. Drag and drop of MIDI files onto the arpeggiator display is also possible now so that monophonic/polyphonic sequences can be imported into the arpeggiator.
• Improved Modulation Architecture: The modulation architecture has been vastly improved, so that now there are 3 modulation sources available for each modulation target. A modulation matrix with 64 slots is also added. The matrix has filtering as well so that targets for a specific source, or sources for a specific target can be filtered and shown on the user interface.
• Improved Easy Parameters: The easy parameters can now be globally linked to MIDI controllers, and they can be assigned automatically by SynthMaster.
• Online Preset Browser: Registered users can now upload their own presets to the online preset library, or browse and download presets created by other registered users; using the preset browser right inside the plug-in UI.
• Multiple Skins: SynthMaster 2.5 comes with 3 different skins in different color variations. Using the included user interface editor, users can not only customize the existing skins but also can create their own custom interfaces as well.
• Flexible Effects Routing: With version 2.5, there is no more the differentiation of layer/global effects. Each effect can be inserted on a layer or on one of the 2 global effect buses.
• Better Reverb: The reverb effect in SynthMaster 2.5 has been improved and now it is a high quality reverb with advanced parameters such as 2 band EQs for early/late reflections, early/late mix ratios, damping control, distance and room size.
• Better Delay: The delay effect in SynthMaster has been improved and now it contains a 2 band EQ and a custom distortion curve to filter and distort the delayed input signal.
• Better Distortion: The distortion effect in SynthMaster has been improved and now it contains 2 band EQs before/after the distortion stage and a custom distortion curve as well.
• New Effects: 3 new effecs are added to SynthMaster: 4/8/12/16 stage Phaser, 2-8 voice Ensemble, and Peak Compressor.

On the Mac, SynthMaster requires OS X 10.5 or 10.6, a 1.5 GHz Processor, 1 GB of RAM and a minimum 1280 x 1024 screen resolution. It is currently available as a 32-bit plug-in, but a 64-bit version is in the works.

SynthMaster is available via direct download from KV331 Audio for $129. A special introductory offer discounts the price to $99 until 20 October 2011. Academic licensing is also available to students, teachers and academics for $59.

http://www.synthmaster.com/

Sinevibes is excited to announce Diffusion, its very first instrument plug-in which has been especially developed for creating rich motion sounds. Diffusion’s unique synthesizer engine combines additive oscillators and waveshaping models with an advanced matrix sequencer that allows for over 400 different parameter combinations per step.

All of this is accessible via an intuitive interface that makes Diffusion an extremely capable tool for producing animated synths and basses which have incredible density and character while being clean and warm at the same time.

“To create synth and bass parts required for today’s electronic music styles, producers often need to layer multiple plug-ins and do a lot of post-processing” says Artemiy Pavlov, founder and chief developer at Sinevibes. “With Diffusion alone, they can now create very complex motion instruments with a lot of liveliness and character, enjoying an extremely fun-to-use interface while at it.”

Diffusion features

• Dual monophonic oscillator with 6 additive waveforms and 6 waveshape transformation models.
• Flexible tempo-synchronized sequencer with up to 32 steps, each with individual setting for note switch, waveform, waveshape model, envelope type and modulation depth.
• High-contrast user interface with randomization features.
• Useful collection of preset patches and templates.

Diffusion is immediately available as an AU plug-in for $59. It requires Mac OS X 10.5 or later, and a 32 or 64-bit Audio Unit instrument host application that supports Cocoa user interface technology. A free trial download is available.

http://www.sinevibes.com/diffusion/

MOTU is now shipping MachFive 3, a major upgrade to their universal sampler for creative music production. Rebuilt from the ground up, version 3.0 includes a new user interface design, an extensive 45 GB sound library, seven signature instruments based on new scripting technology, a new hybrid synthesis engine, licensed algorithms from the IRCAM research institute, and many other new features and enhancements.

“With exciting new features and unified, cutting-edge technologies, MachFive 3 achieves our goal: to deliver an inspiring creative sampler and sound design tool for musicians, producers, engineers, DJs, remixers, and sound designers,” said Jim Cooper, MOTU Director of Marketing.

The MachFive 3 window displays a tabbed list on the left-hand side, main controls across the top, and a tabbed main area in the rest of the window for access to all other features. Sections can be resized, shown, or hidden as needed, to streamline operation for any task or workflow. MachFive’s window is designed to operate at various sizes, from a compact plug-in running inside host software to a full screen application taking full advantage of cinema-sized displays.

To load sounds into MachFive’s unlimited parts, a multi-column preset browser fills the MachFive window and remains open while loading multiple parts to save time. “Favorite” locations are listed along with hard drive volumes, frequently accessed folders, sound banks, and 3rd-party sampler disc images. Type a word or phrase into the new search field to instantly list all matching presets from all sound banks and libraries. Once sounds are loaded, users click any part to view basic settings in the Info tab, including a representative graphic of the sound currently loaded into the part, a virtual keyboard for playing the sound, several basic “macro” controls for tweaking the sound, and text hints for using the macro controls.

Most of MachFive’s thousands of factory-supplied presets provide macro controls for direct access to the sound’s most crucial and interesting parameters, from reverb time to filter cutoff frequency. This allows users to tweak sounds quickly, without having to dig through complicated screens full of controls. Some macros even adjust several parameters at once to completely transform the sound with a simple knob twist.

For deeper editing and sound design, additional tabs are available for the Oscillator Editor, Mapping Editor, Tree Editor, List Editor, Mixer view, Performance (multi) view, Effects Rack, Event Processor Rack, modulation settings panel, and other settings.

MachFive 3 includes 7 DVDs with 45 GB of multi-sampled instruments, synth patches, loops, phrases, sound design elements, and sound effects. The Universal Loops & Instruments sound bank is the most versatile, spanning a wide variety of acoustic and electric musical instruments, genres, eras, geographical regions, and cultural styles. The MachFive BiosphereTM sound bank provides hundreds of fresh, rich synth textures, including sweeping arpeggiations, enveloping atmospheres, soaring leads, anthem stacks, resonating pads and many other sounds developed by leading programmers. From car crashes to space storms, the 8 GB Xtreme FX bonus library developed by ultimatesoundbank.com provides 5000 creative sound effects, foley effects, and provocative sound textures that are ideal for music production and sound design alike.

All of these multi-sampled sounds can be used side by side — or even combined — with MachFive 3′s new synth engine, which produces twelve milestone forms of synthesis developed over the past 40 years, from classic additive and subtractive, to frequency modulation (FM), wavetable, and even granular synthesis. MachFive’s granular synthesizer has been licensed from the IRCAM institute in Paris and represents one of the most advanced, yet easy-to-use forms of this technology currently available. Users can load any sound and quickly transform it into completely new material. Further dynamic sound morphing can be be easily applied by simply automating or modulating granular synth controls such as speed, direction, density and grain size.

MachFive’s effects architecture has been redesigned to facilitate the use of effects processing both in sound design and in MachFive’s conventional mixer. 47 different effects, including convolution reverb, can be applied to sound design objects such as individual oscillators/keygroups, keygroup layers, and programs (presets), where they essentially become part of the sound itself. Alternately, effects can be applied throughout MachFive’s mixer as channel inserts, aux bus inserts, and even as master effects on the master fader, limited only by CPU resources.

MachFive 3 excels at audio time-stretching and pitch-shifting with algorithms licensed from the renowned IRCAM research institute. Audio material can be stretched as much as four to five times slower or faster with no noticeable or harmful artifacts, while maintaining stereo phase coherence and rhythmic accuracy. For example, a guitar pick can be heard slowly scraping across each string in the strum of a chord that has been slowed down to 25% of its original speed, with audio clarity akin to the vivid visual clarity of slow-motion high-definition video. Several modes are provided to produce optimum results for various types of audio material.

For professional sound designers with programming chops, MachFive provides a scripting engine to support custom scripted instruments written in MachFiveScriptTM, a straightforward programming API based on an industry-standard programming language (www.lua.org) used heavily in the gaming industry. Script processors perform advanced, customized transformations and analysis of MIDI data streams, as demonstrated by MachFive’s included signature instruments. For example, MachFive’s Telematic script, developed by acousticsamples.net, can generate authentic chord strumming.

Additional MachFive 3 Feature Highlights

• LoopLabTM — An advanced slice loop editor that supports REX, ACID, UFS, Apple Loops, and custom loops.
• Universal 3rd-party sample library support – Directly reads all major 3rd-party hardware/software sample formats and sample discs (Kontakt, Giga, EXS24, HALion, Kurzweil, Akai, Roland, Ensoniq, Sample Cell, and many others) with no conversion, for consolidated sound library management.
• Complete mixing – Graphic mixer with faders, FX inserts, and unlimited channels.
• New Xpander filter — Based on the venerable Oberheim Xpander, this new filter provides 37 modes, each a separate filter in its own right.
• IR VerbTM — A CPU-efficient convolution reverb processor that provides hundreds of presets for acoustic spaces, classic high-end studio reverbs, vintage plates and spring reverbs, plus eclectic impulse responses for sound design. Drag and drop your own IRs, and you can even edit IR waveforms directly.
• Drag and drop operation — Supports easy drag and drop importing of audio files, loops, and samples to and from the computer desktop or a host software application.
• Multi-sample import — Drag and drop multiple samples in one operation to map them intelligently into layers or splits. With straightforward sample-naming conventions, hundreds of samples can be precisely mapped in seconds with a single drag and drop operation.
• Multiple outputs – Submix to 17 stereo output pairs.
• Unlimited polyphony – Includes ultra-low software latency.

MachFive 3 supports Mac OS X (10.5 or later). It operates stand-alone or as a plug-in (AU, VST and RTAS). 64-bit operation is available for supporting systems and hosts.

MachFive 3 is now shipping. Price remains the same at $495. Registered version 1 and 2 users can upgrade to version 3 for $179. A competitive upgrade is also available, with proof of ownership, for $295.

http://www.motu.com/products/software/machfive

Native Instruments today announced new versions of its studio-standard software bundle. While KOMPLETE 8 has been further expanded to include 27 individual products at an unchanged price, the new KOMPLETE 8 ULTIMATE for the first time combines the full arsenal of Native Instruments’ KOMPLETE Instruments and Effects range at the same substantial discount, with 50 individual products conveniently provided on a dedicated external hard drive.

Further expanding its versatile sonic arsenal, the new KOMPLETE 8 includes the latest KONTAKT 5 and GUITAR RIG 5 versions, and adds the charismatic WEST AFRICA percussion instrument. It also incorporates the versatile new STUDIO DRUMMER drum production instrument and the upcoming TRANSIENT MASTER dynamic processing effect. Furthermore, KOMPLETE 8 includes over 1,300 additional presets for ABSYNTH, FM8 and MASSIVE, derived from several acclaimed soundpacks previously available as individual products.

The new KOMPLETE 8 ULTIMATE includes the full content of the regular KOMPLETE 8 bundle and much more, combining the full range of all currently available KOMPLETE Instruments and Effects on a dedicated USB 2.0 hard drive. The resulting collection comprises 50 individual products with over 13,000 sounds and 240 GB of sample content, at an effective discount of over 80% compared to the individual prices. The hard drive enables a fast and convenient installation process, and also constitutes a compact and robust backup medium for the software.

Both new KOMPLETE versions are optimized for Native Instruments’ groove production system MASCHINE, offering direct browser integration with attribute-based preset search as well as convenient automatic parameter mapping for the rotary knobs on the hardware controller.

On the Mac, KOMPLETE 8 requires OS X 10.6 (latest update), an Intel Core Duo processor, 2 GB of RAM and 5 GB free hard disk space. 85 GB of hard disk space is necessary for a complete installation of KOMPLETE 8 with sample libraries. The individual instruments can run stand-alone or as AU, VST or RTAS (Pro Tools 8 and higher) plug-ins.

KOMPLETE 8 will be available in September 2011 for a suggested retail price of $559 / €499, with an update for owners of KOMPLETE versions 2-7 available for $229 / €199.

www.native-instruments.com/komplete

KOMPLETE 8 ULTIMATE will be available on the same date for $1099 / €999, with an upgrade for owners of any version of the regular KOMPLETE bundle available for $559 / €499.

www.native-instruments.com/ultimate

discoDSP has announced the release of Corona, a 32 and 64-bit virtual analog and wave synthesizer for Audio Units and VST hosts. Corona features 3 uniquely combinable VA + WAVE oscillators, 8 destination matrix modulations, built-in effects and high-quality analog modeled filters in a straightforward and easy to use interface.

Corona sports 7 different filter types, 2-pole and 4-pole each with selectable tahn, poly, asym1, asym2, hardlimit, polywrap and asymwrap shapes. Filter controls include positive and negative drive, keytracking and selectable pre-post volume envelope stage. Shaping can be performed via LFO, up to 5 different envelope curves or a comprehensive yet easy-to-use modulation matrix.

A dedicated Unison unit fans sounds across the stereo mix with selectable octave spread, voices, detune knob and panning spread controls. Corona also includes built-in limiter, chorus and stereo delay effect units for traditional outboard-style transmogrification.

The oscillators in Corona can be combined using operators. There are 10 for Phase mode or 14 for Detune mode (DT), including Add, Sub, Mul, And, Or, Xor, Abs And, Abs Or, Abd Xor, Pythag, Sync, Ringmod and Pm/Broken Pm.

Corona’s oscillators can draw from hundreds of built-in waveforms from classic VA saw, triangle, square, sine, parabola and noise to the included waveforms in two extra DWB banks with 300+ timbres from:

• Aeterphon
• ARP 2600
• Buchla Modular
• Crumar Performer Elka Synthex
• Eminent 310
• EMS VCS-3
• Fairlight CMI
• Farfisa organ
• Fender Rhodes
• Hohner
• Jen Bass Pedal
• Korg Lambda
• Korg MS-20
• Korg Polysix
• Mellotron
• Memorymoog
• Micromoog
• Minikorg
• Minimoog
• Modulus Monowave
• Moog MG-1
• Moog Prodigy
• Moog Rogue
• Moog Taurus
• Oberheim Matrix
• Oberheim OB8
• Oberheim Xpander
• Odissey
• Paia Fatman
• Polymoog
• Prophet 5
• Prophet 600
• Rhodes Chroma
• Rhodes Polaris
• Roland Alpha Juno
• Roland Juno 60
• Roland Juno 106
• Roland Jupiter 4
• Roland JX
• Roland SH-101
• Roland System 100
• Theremin
• Vox Jaguar
• Waldorf Pulse
• Yamaha CS80

On the Mac, Corona requires OS X 10.5 or later and a compatible 32 or 64-bit VST or AU host application.

Corona is available now via direct download from discoDSP for $139 / €95 (VAT included where applicable). A free demo version is available.

www.discodsp.com/corona

Berlin-based synth and effect plug-in developers u-he have announced that their software synthesizer plug-in Zebralette is now free for all to download. Perhaps jealous of its younger sibling, the upgrade to Zebra 2.5.1, including 64-bit support, new spectral effects and extra presets, is now also free.

A rather clever way of enticing new customers, as Zebralette – basically a single oscillator lifted out of Zebra2 – has what it takes to get synth fans hooked on the Zebra2 way of radically manipulating oscillator sounds. It is now included as part of the Zebra2 demo download.

u-he have also dropped the $20 they originally charged for upgrading from Zebra1 to Zebra2. All Zebra1.x license owners can now retrieve a free Zebra 2.5 license from the companyʼs online support section.

New in Zebra 2.5.1

• Adds more than 70 new factory presets by Howard Scarr
• Adds a bunch of Zebrify presets by Tasmodia
• Brand new manuals including hyperlinks and structured reference
• Two new spectral effects (Phase Distortion and Wrap)
• Native 64-bit support for Mac AU and VST Win
• Adds Cocoa view to AU version
• Smooth preset-switching (no pops, hangovers)
• Improved timing stability for swing function (affects LFOs and arpeggiator)
• Improved synchronization of multi-stage envelopes (MSEG)
• Lower CPU usage for RTAS (Mac) version
• RTAS (Mac) now supports ctrl+alt+cmd+click (“3-finger salute”) automation
• Zebralette is now freeware, with 40+ extra presets by Howard Scarr
• Various bugs and niggles fixed, minor GUI improvements
• Upgrade from even Zebra1 is now free

On the Mac, Zebra requires OS X 10.5 or newer, a current PowerPC (with AltiVec) or Intel (with SSE2) CPU, 1 GB of available RAM (more recommended), 20 MB of free disc space, a 1000 x 600 pixel display or larger, and a VST, AU or RTAS compatible host application.

If you decide that you just can’t live without it, Zebra2 is available as a direct download from u-he for $199 (+ 19% VAT in EU).

www.u-he.com

XILS-lab is proud to announce availability of its third soft synth plug-in. Synthix is an AU, VST and RTAS virtual recreation of the much-sought-after Synthex, a lush-sounding, 1982-vintage, eight-voice programmable analogue polysynth independently designed by Mario Maggi and built by Italian home-organ manufacturer Elka.

The Synthex was much beloved by synth luminaries of day, such as Jean-Michel Jarre, whose well-known Laser Harp performances still emanate exclusively from an awesome-sounding Synthex patch produced by one-time UK demonstrator/programmer Paul Wiffen (audible in isolation in ‘Second Rendez-Vouz’ on Jarre’s multi-million-copy-selling Rendez-Vouz album of 1986). Pity, then, that the Synthex did not sell in such Jarre-like quantities during a four-year, three-stage (50-, 800-, and 1,000-unit) production run, with one last post-production unit being made especially for Steve Wonder, such was the legendary American singer-songwriter/multi-instrumentalist/record producer’s love for the future-classic instrument that effectively failed to fly in the face of the-then ‘art nouveau’ digital age of dominating desirable FM synthesis from Yamaha’s considerably cheaper, MIDI-equipped DX7, and subsequent super-selling, all- singing, all-dancing digital designs from the likes of Roland (D50) and Korg (M1).

That said, with 30 knobs, six sliders, 80 switches, a joystick (replacing traditional pitch and modulation wheels to allow greater variable real-time control over the two LFOs, oscillator, and filter modulation) spread across its spacious front panel, the Synthex had some unique features for its time, including two stable DCOs (Digitally- Controlled Oscillators) per voice; oscillator cross-modulation of pulse width; multimode (Low-Pass 24dB/octave, 1st Band-Pass 6dB/octave, 2nd Band-Pass 12dB/octave, and High-Pass >12dB/octave) filters; separate envelope generators; Chorus effect; and Dual or Layer keyboard modes — little wonder, then, that many came to consider it a worthy adversary to the dominating American analogue programmable polysynths of the day, such as Sequential Circuits’ Prophet 5 and Oberheim’s OBXa. Better sounding, some said, and arguably more reliable to boot, thanks to those trusty DCOs!

So how, exactly, did they get from Synthex to Synthix? Says XILS-lab CEO Xavier Oudin: “After developing the PolyKB, I received lots of requests regarding recreating the Elka Synthex and began to look for more information, initially discovering its ‘Laser Harp’ sound, then all the well-known artists who used it, and, of course, its features. It’s a polyphonic synthesizer, but very different to the RSF Polykobol II — each oscillator having its own PWM and ring-modulator module in addition to standard hard sync-able sawtooth, triangle, and pulse waves; furthermore, the filter is a multimode design, offering self-oscillating band-pass and high-pass filtering, as well as standard low-pass. Interestingly, its keyboard can be spilt to play two different sounds at the same time, so I thought, ‘Why only two sounds? Why couldn’t it be multi-layer?’ The answer was obvious: this should become the next XILS-lab product!

Synthix audio demos

As a virtual analogue synthesizer, and then some, Synthix successfully combines now-standard analogue features with several new and exciting ones — truly more than the sum of its parts:

• Two oscillators with four selectable (seven available) waveforms — triangle, PWM triangle, sawtooth, PWM sawtooth, square, and PWM pulse (plus a PWM cross modulation mode and a ring modulator).
• One multimode filter, based on a Curtis CEM3320 24dB/octave (multi) chip emulation — provides low-pass 12dB and 24dB, band-pass 6dB and 12dB, and high-pass 12dB.
• Four D-ADSR — enhanced standard ADSR envelopes, each with a MIDI-sync-able delay.
• Two polyphonic LFOs — each capable of modulating the oscillators’ pitch and width, filter frequency (with host application tempo synchronisation), and amplifier level, or as a modulation matrix source.
• Four embedded effects — delay, chorus, phaser, and dual EQ.
• Polyphonic sequencer — up to four tracks (with legato mode).
• Chaox — an LFO module that calculates the movement of a point in a 2D space (with each axis capable of modulating any of 132 destinations).
• Rhythm — an LFO module dedicated to rhythmic effects (with five modulations assignable to any of 132 destinations).
• Split keyboard — each with an individual arpeggiator and MIDI management settings, and capable of managing up to 16 freely-chosen voices to make full use of the multi-layering capabilities (with eight totally independent layers).
• Guitar mode — two voices can be assigned to up to six MIDI channels to play various sounds with each guitar string (when using a MIDI-to-guitar converter).

A wide range of sounds — from straightforward recreations of vintage or modern analogue synths to more complex patches — can be created using Simple Mode Edit or easy-to-operate Split and Layer modes; Synthix is bundled with 250-plus presets produced by a talented team of notable sound designers (including Kelvin Ford, Thomas Hook, Kire, Lotuzia, Peter Schelfhout, Soundsdivine, Tzadi, and Vivolator).

On the Mac, Synthix requires OSX 10.3.9 or later, a 2 GHz processor, 1 GB of available RAM and a VST, Audio Unit, or RTAS (Pro Tools 7.0 and later) compatible host application. Synthix is currently a 32-bit plug-in, but a 64-bit version is promised soon.

XILS-lab Synthix is available now for €169 (including VAT for EU countries) from the XILS-lab Store or through a growing list of online retailers.

http://www.xils-lab.com/pages/Synthix.html

Features

• VST2 / Audio Unit plug-in based on the Shepard Tone auditory illusion
• Additive tone generator with up to 40 partials
• Circular pitch ring modulator, flanger, filter and 24 stage – phaser FX
• Glissando, auto-stepped and MIDI stepped modes
• Many options to tweak harmonicity and timbre
• Stereo detune, phase offset and auto-panning
• Quantize pitches to 14 different scales
• Soft clipping, extra harmonics and noise modulation
• Fast ASR amplitude envelope in MIDI stepped mode
• MIDI reset-able for repeatable output
• Integrated help system
• 32 high quality factory presets

Endless Series version 3 is completely rewritten in C++ and no longer requires Pluggo runtime. The functionality of the version 2 plug-ins is now all in one plug-in!

On the Mac, Endless Series requires OS X Leopard (10.5) or higher, an Intel processor and a 32-bit or 64-bit VST 2.4 or Audio Unit host.

Endless Series is available via direct download from Oli Larkin for £29.99 (around $50). A trial version is also available, which mutes itself every 60 seconds.

http://www.olilarkin.co.uk/

Discuss Endless Series on our Effects forum.

Native Instruments today introduced RAZOR, an innovative and highly distinctive software synthesizer designed together with forward-thinking electronic artist Errorsmith. For use in REAKTOR 5 and in the free REAKTOR PLAYER, RAZOR uses powerful additive synthesis to create intense and profoundly modern sounds for contemporary electronic music production.

Berlin-based producer and renowned REAKTOR instrument designer Errorsmith is dedicated to the “expansion of the sonic horizon through digital sound synthesis”. RAZOR realizes this credo through the additive synthesis capabilities of the latest REAKTOR 5.5 generation, which were used to develop a high-resolution synthesis engine with unconventional sound shaping features and a unique real-time 3D spectrum display. The pristine and extremely dynamic sonic character of additive synthesis allows RAZOR to generate a wide and very distinctive array of energetic, hypermodern sounds, ranging from expressive basses and leads to complex, futuristic soundscapes.

RAZOR utilizes up to 320 partials for its sophisticated sound shaping algorithms. The dual oscillator section provides a wide arsenal of timbres, ranging from typical analog-style waveforms to unconventional models like “Primes”, “Sick Pitchbend” and “Hoover Sync”. The two filter sections offers 20 different filter types including innovative formant, vowel and waterbed models. A further section provides an arsenal of unique “Dissonance Effects” that further contribute to the unmistakable, charismatic sonic footprint of the instrument. RAZOR even integrates a high-performance 34-band vocoder that can also be used to process external audio signals of any type.

NI Razor screenshot: Dissonance (click to zoom)

The user interface of RAZOR builds on familiar concepts of subtractive synthesizers, providing especially efficient and intuitive control for the underlying highly sophisticated synthesis engine. RAZOR also includes a library of 350 carefully selected presets with a focus on cutting-edge electronic sound aesthetics, accommodating both contemporary club music genres like Dubstep and Techno as well as modern film and game scoring applications.

REAKTOR 5.5 or the free REAKTOR 5 PLAYER are required to use RAZOR. On the Mac, this currently requires OS X 10.5 or 10.6, an Intel Core Duo processor, 2 GB of available RAM and 1 GB of free hard drive space. REAKTOR will run stand-alone or as an AU, VST or RTAS (Pro Tools 8 and higher) plug-in.

RAZOR is available for download purchase in the NI Online Shop for $79 / €69.

www.native-instruments.com/razor

Discuss RAZOR on our Instruments forum.