"Bend Matrix from 4ms factory. This one was custom build by Dann Green himself. It has the classic two parts matrix hardwired to circuit bent toys producing some infinite possibilities of bent sequences. Several modes are added for extra flexibility : record sequence, different modes of bent sounds (effects, notes, drum parts). Rare enough on those art piece is a midi out and midi in (!) to sync the Bend Matrix to some other midi gear.
Here you can see me use it with a Flame midi talking synth : more vids (theau playing the ghostmatrix).
what is the bend matrix?
the bend matrix is a midi sequencer for circuit bent projects
...a dynamic tool to store and recall your analog synth patches
...a microcontroller brain that leeches onto a host circuit
...a signal router/mixer that can be played like an instrument and patched to your other midi gear
...an octophonic surround-sound system controller for routing and spinning 4 inputs to 8 outputs
...a circuit bending controller for live performance, e.g. turn a thrift-store kids keyboard into an arpeggiating, sequenced, midi-controlled player piano (forget squinting over a pcb with an alligator clip in the dark trying to find your glitch point!)
...an automatic patch-bay and sequencer with real-time analog controls: strobe, arp, gloob, random.
...a meta-instrument: play the playing of other sound-makers, routing them into each other, multiple outputs/effects, programming and saving patches
what does the bend matrix do?
connect/disconnect glitch points within an external circuit-bent device (two separate 4x4 matrices or one single 4x8 matrix)
connect/disconnect/route audio inputs into multiple outputs (4 inputs=>8 outputs or 8=>4)
act as a patch matrix for modular synthesizers, or other cv/signal routing
store up to 128 "patches" in memory (memory is held even when power is disconnected)
sequence the 128 stored patches at specified bpm (2 - 2000 bpm)
generate random patches
apply effects to the current patch (or sequence of patches) using analog controls: randomization, arpeggiation, strobing, gloobing.
inputs midi note/cc commands, so you can program your patches and sequences using standard midi gear
outputs midi note/cc commands, so you can use the bend matrix to sync up to other midi gear (video effects, etc...)
how might i use it?
a. circuit bending
add midi in/out to your circuit bent projects
program/save/recall patches of bend points
sequence trigger points to essentially convert any sound generating device into a player piano
real-time analog controls (joystick, knobs, photocells) provide special effects/glitching/strobing/arpeggiation and randomization
b. effect switching/re-ordering
change effect ordering and routings on the fly: store up to 8 patches per bank, with 16 banks
series, parallel, and series-parallel configurations possible
sequence your effect changes, so you can simply hit "next" after each song and the next effect ordering
up to 4 effects in any order and combination of in/out of the loop
dynamic re-routing
external stomp switches and rack-mounting optionally available.
c. modular synthesizers
patch synth modules together using a central button matrix to control routings
save/recall patches, (8 per bank, 16 total banks = 128 patches)
sequence patches within banks, sequence playback of multiple banks
split matrix functionality allows one half to control patches (e.g. lfo->vcf, adsr->vca, etc) while the other half can send midi note commands or make
d. art installations
flexible configuration allows a variety of sound sources and amplifiers to be dynamically routed (16 total bi-directional ports: e.g 4 inputs => 8 outputs, or two separate 4 in => 4 out...)
route trigger/sensor/microphone signals to various processing devices
outputs can trigger lights, sounds, motion, anything that runs on electrical power (use your imagination!)
customizable matrix size and configurations available
additional notes:
the photocell modification adds four light-sensitive photocells, each with an enable switch. the photocell overrides use of the knob for real-time effects.
the trigger input jacks include step ahead, step back and play/pause. this versatile input accepts cv, audio or any line signal.
9vdc powersupply included (120/240v).
2mm aluminum panel 12" x 10" on aluminum box (2" tall)."
YouTube via 4mspedals "From http://www.4msPedals.com
Bend Matrix sequencer with a kiddie keyboard and a drum toy inside. The red matrix controls the keyboard and the green matrix controls the drum toy. This entire video is only a single 8-step patch, different knob effects are used to modulate the sound. Each toy has a variety of circuit-bending switches and knobs. Stereo internal speakers make this a super-portable glitch-core in a box!
It also has MIDI in/out which is not used here, but shown in other videos..."
Update: more vids: Bend Matrix Toy Joy (simple loop)
YouTube via 4mspedals. click here and scroll for some prior videos. "Bend Matrix driving a Casio keyboard over MIDI, using the ARP effect on the Bend Matrix to make loops. Each knob controls the speed of ARP on each of the four rows (forward/backwards). Each patch is a different set of 'chords'."
SonicProjects OP-X PRO-II software VSTi synth - the new flagship. Introduction trailer.
The soundtrack of the video trailer has been exclusively done with OP-X PRO-II and Steinberg Groove Agent for drums. No external effects or treatment (except for drums) have been used, mixing just included levels and pan. All involved sounds are factory presets of OP-X PRO-II.
Here's the entire list of the used presets and settings, in chronological order:
High Sweeps: MATRIX BANK 9 SyncNotch Sweep FXPM
Deep Strings: DEFAULT BANK 1 Matrix Softstrings II
LFO Pad: MATRIX BANK 6 BP Stereomod Pad
Filter Effect: EFFECTS BANK 15 Filtereffect Water Down
Deep Timpani Doublehit: MATRIX BANK 88 Matrix Fmod Bumbs NS BASS BANK 12 Signs Of Life Bass
Filter Selfreso Sweep: EFFECTS BANK 14 Filtereffect Blobs (Envelope edited)
Warm Mono Sweeps: SYNTHEX BANK 5 Synthex MM Sweep
Porta Squeak: DEFAULT BANK 125 Sawsolo Ultra Wide Bend (Portamento set a bit slower)
Bass: BASS BANK 1 Fretless Bass
Chord Strings: DEFAULT BANK 1 Matrix Softstrings II PADS BANK 2 Supersoft Slowmod Pad
Arpeggio: ARPEGGIOS BANK 21 Jupiter Techno ARP
Porta Solo: DEFAULT BANK 125 Sawsolo Ultra Wide Bend (Portamento set a bit slower)
Brass Stab: BRASS BANK 13 Prophet Brass Stab
Prophet Sync Sweep: DEFAULT BANK 60 Prophet Unisync II (Pitch Osc2 set higher)
Percussive Solo: PROPHET BANK 76 Prophet Perc Solo
Portamento Chord: OBERHEIM BANK 3 Poly Portamento (Portamento set a bit faster)
Sample Hold Pad: SAMPLEHOLD BANK 3 Moving SH Arpeggio
Distorted Guitar Tone: DEFAULT BANK 13 OB Rock Unison
Sync Solo: DEFAULR BANK 15 OB Syncsolo Damped (Filter Sustain set higher)
Highpitch Downsweep: DEFAULT BANK 125 Sawsolo Ultra Wide Bend
Slow Portamento Solo: PROPHET BANK 33 Prophet Ultrawide Bend (Portamento set slower)
Drums: Steinberg Groove Agent: Hip-Hop Kick (eq boost: 100hz 14.4 dB low-shelf) Hip-Hop Snare (pitch set deeper, a bit Reverb A) Electro Hihat (a bit Cubase Double Delay 1/16 sync)
YouTube via 4mspedals "Bend Matrix demonstrating circuit bending use. Connected to points on a kid's thrift store keyboard. Demonstrates button matrix, sequencer, and "row" effect."
YouTube via 4mspedals. follow-up to this post. "Detailed Bend Matrix demonstrating circuit bending use. Connected to points on a kid's thrift store keyboard."
YouTube via iloveanalogue "This was the first time ILAB got to check out the Bend Matrix, a MIDI powered analogue box that features sound generation from old 8-bit toys. More information on it is available at http://4mspedals.com and the boxes are available for purchase from http://analoguehaven.com http://iloveanalogue.blogspot.com"
YouTube via 4mspedals "From 4mspedals.com. Demo of Bend Matrix triggered by a guitar to step the sequencer forward. Also has Step-back and Play/Pause trigger jacks. BM's MIDI output is going to a MIDI synth which generates the piano sounds"
via this auction also see this post "this auction is for the circuit bent emu command station and the mm1 midi module the unit was purchased as a brand new instrument. the previous owner said the command station was used for only a few hours. i have confirmed this and the unit internally is pristine. all knobs, buttons, outputs, velo pads, ribbon, etc are in pristine shape and just like new. the outer shell was painted and salvaged from a emu mp-7. internally it is a xl7 and is absolutely in mint shape. i've had this unit for a few weeks now and can confirm everything is working perfectly both in mm1 and emu command station. this is a one-off offer and most likely will be the only one in existence
the following audio is several drum tracks played in realtime with a simple appegiator programmed for each sound. the emu sports 32 independant arpeggiators. the drums are then circuit bent and leads into a formant synth texture controlled with a wind controller.
"Arctic Keys – setting a new standard in cool sounds
A Hardware quality synthesizer accessible to all on iPad
Arctic Keys is a virtual analog synthesizer for iPad that delivers audio quality equivalent to that of high cost hardware options. Featuring a classic dual-oscillator subtractive synthesis design that gives you sound creation flexibility, with an easy to use user interface that just wants to be tweaked. Whether you’re a music professional or a passionate novice, Arctic Keys enables you to create cool, smooth sounds, The formula is simple – Tweak, Perform, Share.
Tweak. With all the synthesizer parameters immediately available on one page, you get instant feedback as you tweak. The two low frequency oscillators (LFOs) each have three modulation destinations. Each LFO may be free running or synched to tempo and the timing rate adjusted. The modulation matrix allows for deep routing between the Mod Wheel, aftertouch and 16 x 4 analog-style gated step-sequencer. Quickly change pages to edit effects and sequences.
Perform. The classic arpeggiator is complimented by the 16 x 4 gated step-sequencer. Play a note to trigger the sequencer. Step through a sequence to play short melodic lines or let it modulate the synthesizer. The different key gating options may be used to change how the sequence is triggered. Each of the four tracks has an assignable modulation destination and loop point. Along with traditional Pitch and Mod Wheels, adjust the velocity by tapping along the length of the key from top to bottom. Change the key mode to mono for retro lead lines. Adjust the size of the keyboard to suite your style or use a gesture to scroll through the octaves. Place the keyboard into Pitch mode and use multi-touch gestures to bend individual notes, while sliding up and down the keys to add aftertouch.
Share. The live phrase recorder lets you save your performances as 44.1KHz 16-bit WAV files and as a Standard MIDI File. The MIDI File includes all the knob control change information along with the notes you play. Use Sonoma AudioCopy or Intua Audio Sharing to paste recorded audio directly into other apps. From within Arctic Keys, email the patches you make, then open them directly and save into your patch library or share them with Wi-Fi and iTunes File Sharing.
Key features at a glance
• Alias-free analog modelling oscillators
• 16x4 gate step-sequencer with deep modulation routing
• Effects processors including EQ, distortion, chorus, and stereo delay
• Multi-touch performance oriented keyboard with pitch bend, velocity and aftertouch
• Real-time phrase recorder with audio, MIDI, and patch file sharing
• CoreMIDI support with Virtual MIDI Ports
Arctic Keys, is available via the App store for USD $4.99
"A longer session which shows how to occupy the pushbuttons of a toy with a 4066. This is t he first part. Inside the video you will find how to find out what to bend and how to bend the pushbuttons which are organized as a matrix.
It's a longer video, but I can't explain all the stuff in five words."
Update:
Circuit Bending Workshop - Part 2 - Pitch Control With A Voltage Divider
Uploaded by elohess2 on Nov 1, 2011
"In this video I show you how to build a pitch control. This the most common task in circuit bending. I show a way to do it which is not often described in books.
The magic voltage divder pitch control... :-)
I've tried to cut this session and make a shorter video. No chance... The recorded session was about 2 hours...."
Circuit Bending Workshop - Part 3 - Line Out and Sound exploration on a PCB
Uploaded by elohess2 on Oct 31, 2011
"Circuit Bending Workshop Part 3. Building a line out and finding some sounds on the pcb and use 4040 to divide a interal high frequency signal into noise. Use a CD4040 chip as divider
And: after 30 min I found out some new features of my video editor. :-) I 've had a lot of fund to use the effect generator during sound demo. Spectacular! (If you don't like to here my boring speach - start at 30:45. And fasten your seatbelt..."
Circuit Bending Workshop Part - Feedback Games
Uploaded by elohess2 on Nov 2, 2011
"The next recording. This video show how to build with the CD 4040 chip from the last video a hef4017 a sequencer powered as clock from the keyboard matrix and then feet the result into the jacks we build in the first video. More strange sounds.
This is the second try to make an upload without interruption"
via Pakir: "Iv been sitting on this pair of Mister Magister for a while now, they are somewhat similar to a swedish talking Speak & Spell. After finding some funny bends i couldnt decide what components to put in it so i decided to make it modular. The tiny patchbays on the front goes to soilderpoints on the card and by putting different components in the patchbay you can get the machine to flip out in all kind of ways. Sometimes its screaming and making little noisebursts and other times it gives you strange ryhtmic melodies, bleeps and bloops. Then if you get tired of all the wackyness you can rip everything out of the patchbay and now it will speak pretty much randomly from its memory. Making strange sentences, poetry. In swedish.
One of the machines has a 8×8 led-matrix connected to the patchbay, you can use it to bend the Magister. When you´ve connected enough cables to it the leds will flicker like any old 70s super computer. =)
The nice thing about them being two is that you can use the extra long cables to bend them against each other. =)
Anyway. its a great little toy. I havnt seen many of them bent. Dont know if people know about them at all. It would be nice to make a better control surface for it or adding a sequencer but its very much fun the way it is. Patching at it, making leds flicker in the led-matrix, makes you feel like a mad professor. =)
"A short demo of my bent Mister Magister couple. The patchbays on the front goes to solderpoints on the circuitboard. Patching around with different components & wires is true exploration. You can use the longer patch cables to connect them to each other to make funny bleepy interactions. It speaks swedish. =)"
Update:M-Audio Venom Review & Interview here Update: already on eBay "Top Features the warmth of vintage keyboards combined with modern digital processing > aggressive new sound 512 single-sound patches and 256 layered patches > start playing right out of the box intuitive real-time performance controls plus software editor > endless sound design possibilities 49-key, full-size, synth-action keyboard > great playability Pro Tools compatible USB audio/MIDI interface > ready for the stage and studio The M-Audio Venom 49-key synthesizer combines the character of classic analog synths with modern digital processing to deliver an aggressive, infectious new sound. Whet your appetite with the included presets, then sink your teeth into creating original sounds—from atmospheric and subtle, to angry and downright nasty. Easily tweak parameters from the intuitive top-panel interface, or explore endless sound design and configuration possibilities with the included software editor. Perform bass lines, leads, and more with a full-size keyboard designed to satisfy serious players. You can even use Venom as an audio interface with Pro Tools M-Powered* and other music software—forming a powerful production machine to take your music in dangerous new directions. * Requires Pro Tools M-Powered 8 or higher.
Full Features 49-key, full-size, synth-action keyboard 12-voice polyphony, each voice including:
* 3 oscillators with 41 waveforms and 53 drum sounds sampled from vintage analog synths, FM digital synths, and drum machines * pulse-width modulation, sync, FM, and ring modulation * resonant multimode filter with tube saturation limiting o 12 dB/octave (2-pole) low pass o 12 dB/octave (2-pole) band pass o 12 dB/octave (2-pole) high pass o 24 dB/octave (4-pole) low pass o 24 dB/octave (4-pole) band pass o 24 dB/octave (4-pole) high pass * 3 LFOs with selectable sample-and-hold * 3 AHDSR envelopes * 16 modulation routes
4-part multitimbral operation with independent MIDI-syncable phrase sequencers 512 onboard Single patches 256 onboard Multi (layered) patches 2 global bus effects
* Reverb, Delay, Chorus, Flanger, Phaser
1 insert effect per multitimbral part (4 total)
* Compression, EQ, Distortion, Bit Reduction, Decimation
classic arpeggiator with up, down, and alternating patterns tap-tempo and manual BPM control from top panel built-in USB 2.0 audio/MIDI interface (USB 1.1 backward compatible)
* 2 x 2 24-bit, 44.1 kHz operation * mic, instrument, and stereo line level inputs route to DAW * synth sounds route to DAW * DAW audio output mixes into main outputs * stereo main audio outputs (1/4" TS) * stereo headphone output (1/4" TRS) * master volume knob; instrument and mic gain knobs * MIDI In and MIDI Out (5-pin DIN)
large custom LCD 4 rotary encoders and 1 button for performance control and editing dual-function octave up/down and transpose controls assignable pitch bend and modulation wheels sustain (1/4" TS) and expression (1/4" TRS) pedal inputs included Vyzex Venom software editor
* arrange sounds into banks, rename patches, and save backups * patch collider feature mashes up multiple patches to create new hybrid sounds * 16-cell modulation matrix offers comprehensive routing configurations"
Update:
Update:
Avid Venom - NAMM 2011
YouTube via soundonsoundvideo | January 15, 2011 |
"Feast your ears on the new M-Audio Venom synth—plus hear from veteran synthheads The Crystal Method, Mark Mothersbaugh, and James Dewees."
Update:
NAMM 2011 - Crystal Method Pimpin' M-Audio Venom
YouTube via SynthMeTV | January 16, 2011 |
"One of the big reveals at NAMM 2011 has been the new Venom synthesizer from Avis / M-Audio. This is their first ever hardware synthesizer that was teased pretty hard before the show with video they released featuring Ken Jordan and Scott Kirkland of Crystal Method drooling over the "Storm Trooper" synth off camera. Check out the panel from NAMM with Scott and Ken talking about the Venom and even playing us some new tracks they used the synth. Scott even gets up and noodles on the patches for us. Good stuff!"
"Short demonstration about the new important function for Live jamming or studio works.
Have fun, it´s sequencing time!"
Update: an image and some info on the genoQs Octopus from Analogue Haven: Update via lars in the comments. The Octopus is at OS v1.6. See their site linked above for more info. The following pertains to features in OS v1.0 which are still relevant and interesting to me at least. Also, according to lars it should be "hyper steps" not "super steps." "GenoQs have now released their amazing OS v1.0, which adds many new features to the Octopus sequencer. All new Octopus sequencers ship with v1.0, and older units can be updated by following the update procedure on GenoQ's Downloads page.
In the following, we use the following mark convention:
(***) for new features,
(**) for evolved functionality, and
(*) for minor changes.
FREE TRACK CHAINING (***)
Tracks in a Page may be chained according to any configuration desired by the user.
TRACK PROGRAM CHANGE (***)
Tracks now retain the MIDI program change information as a track specific value.
EDIT TRACK DIRECTIONS (***)
Directions 6-16 are freely editable by the user, including re-trigger and randomize options.
STEP GROOVE ATTRIBUTE (***)
A step may be delayed at playtime by a random amount of time in multiples of 1/192 of a note.
GRID-TRACK MODE (***)
Up to 90 tracks are mapped to Matrix buttons and act as virtual track selectors allowing for direct track operation.
STEP-NOTE RECORDING (***)
Notes may be recorded directly on pre-selected positions in a page, irrespective of timeline and chase-light position.
PAGE SCALE CAD (***)
Changes to a scale may be set to affect the pitch values of the tracks in the page. Whenever the scale is modified, the track pitches are aligned to the new scale, modifying the harmonic structure of a page in a musical way.
VAST MIDI-IN CONTROL (***)
Apart from recording MIDI data, MIDI IN ports can be used to control various functions of the machine via MIDI IN signals. This includes selecting grid sets and toggling grid pages via program change messages, or even creating and modifying scales on the Octopus - all at runtime of course.
VIRTUAL MIDI CHANNELS (***)
Provide an internal wiring of tracks to the Octopus MIDI in. In this way, Octopus tracks may be used to leverage the capabilities of MIDI IN control, right on the Octopus.
MAP FACTORS (***)
Each relevant attribute map now has a map factor, which indicates the amount to which that map is applied to the current output.
EXPORT CONTENT TO SYSEX (***)
Memory content may now be exported as MIDI system exclusive streams, providing a means to store machine state data outside of the Octopus.
PITCH BEND HANDLING (**)
Now pitch bend data can be recorded and worked with, similarly to any other MIDI controller data.
TRACK FLATTENING (**)
The FLT mutator has evolved to new semantics. It is now applied to two or more tracks to create a "stacked" version of that track selection into a single track.
NEW EFFECTOR STATE (**)
Tracks can now take on an additional state with regard to the Effector. In addition to being unaffected, a sender, or a receiver, tracks may now be receiving senders.
CC MAP LEARNING (**)
In addition to programming CC maps, you can now have them learn by listening to MIDI IN input. Saves time and comes in handy.
FORCE TO SCALE INPUT (**)
Externally played notes can be passed through the Octopus and forced to the scale of the current page.
TRACK SPEED MULTIPLIERS (**)
Octopus now features additional track speed multipliers. These include: 1.5 (for direct creation of triplets), as well as the following: 1/1.5, 1/8, 8, 1/16 and 16.
BANK CHANGE MESSAGES (*)
In addition to sending program change messages Octopus now also sends bank change messages.
Sequencer Specifications:
FRAMEWORK
Sequence grid: 144 pages - popularly known as 'patterns'
Tracks per page: up to 10, with up to 16 steps each
Track resolution: up to 1/192 of a note
USER INTERFACE
Elements: 258 pushbuttons, 21 endless encoders
Front panel: 630 x 270 mm
PERFORMANCE
Concurrent play: up to 9 pages or chains thereof
Editing capabilities: full during play, seamless saving
Track play: polyphonic, shuffle, groove, roll
"This is a mod box I commissioned to have built by 3XFX as a companion to a prior 3XFX mod box I purchased on the Bay way back when he was making them.
The mod box also provides a switched patch connection (x4) to assist in triggering bends on my Diabolical Devices bent Casio SK-8 as they dont have a switch matrix on the patch bay like the Tablebeast bent Casio SK-1 and SK-5.
The 3XFX mod box features two LEDicles from Bleep Labs which are controlled by 555 timers and the large dial pots on the box for speed. The LEDicles are also able to be triggered by the pushbutton switch for each. Each LEDicle has an Opto-sensor below it on the box which is tied to the two rca points below each sensor for resistance bending. Then the 4 way switch matrix for rca bend points on the Casio's.
Korg ER-1 mkII and Korg ES-1 mkII providing back up for the Casio SK-1 bent by Tablebeast.
Just a video showcasing the 3XFX mod box and some experimenting. Enjoy!!!"
Slideshow of Richard Lainhart's lecture at the Bellingham Electronic Arts Festival (BEAF), Friday, May 6, 2:PM PST, 2011 (mentioned in this post). Below is a video of the Buchla and Haken Continuum portion of the lecture followed by a performance of Olivier Messiaen's Oraison written for the ondes Martenot at the 48:00 mark (see this post for the original version and this post for another performance by Richard). You will notice Richard makes references to earlier parts of the lecture. These included his training on the CEMS modular synthesizer system and the ondes Martenot (don't miss this post and this post on the CEMS). See the labels at the bottom of this post for more info on each. I will upload those videos at a later date. They were background to Richard's experience with early modular synthesizers and controllers that eventually lead him to the Buchla and Haken Continuum. It was a great lecture and I hope you enjoy it. Be sure to bookmark this one. I also want to thank Richard Lainhart for doing lectures like these. They are a rare treat.
YouTube Uploaded by matrixsynth on May 19, 2011
The following is a full transcript. BTW, if anyone is interested in transcription services, let me know.
"RICHARD LAINHART: BUCHLA AND HAKEN CONTINUUM LECTURE
Speaker: Richard Lainhart
Lecture Date: May 6, 2011
Lecture Time: 2:00 p.m. PST
Location: Western Washington University
Event: Bellingham Electronic Arts Festival 2011 (BEAF)
Length: Digital AVI recording; 57 minutes 32 seconds
[Beginning of recorded material]
Richard Lainhart: Okay. What I want to do now is actually talk a little bit about the system itself here and about the design of the system and explain what's actually happening here and why it's designed this way, and again, my focus on, on expression. So this is, as I mentioned, this is the Buchla 200E. This is a current electronic music instrument that is still being made now by Buchla. Don Buchla again was a contemporary, or is a contemporary of Bob Moog, and he took a very different path than Moog did. And one of the reasons I think that Moog's instruments became so popular, of course the Mini Moog was like the first real break-out electronic music synthesizer, was that Moog's instruments had keyboards on them. They had black and white keyboards. And you could use them to play, you could use them to play rock and roll with them basically because you could plug them into a really loud amplifier and it could be louder than a guitar. And it could be a bass, you know, it could be louder than a bass and all that sort of stuff. And of course a lot of, you know, a lot of wonderful music was made with that instrument.
"The new TPX6s ($3109) from H-Pi Instruments has a matrix-style interface for controlling global synthesizer parameters, and a joystick option for controlling global pitch bend. This is a demonstration of those features, although I forgot to demonstrate one of the parameter sets, and the wide variety of settings options is not really shown here in this one example modification of an organ patch. Find out more at http://www.h-pi.com"
"At the 2011 NAMM show, Spectrasonics made two product announcements and demonstrated both a major new version of their award-winning Power Synth Omnisphere® along with a new iPad app called “Omn TR” that allows wireless-remote control of Omnisphere. Many of the new capabilities in version 1.5 of Omnisphere are featured in the “Omni TR” app.
The company’s flagship synthesizer includes a host of new features, in particular a new interactive interface called “The Orb” offering stunning real-time synthesis manipulation capabilities (also a key element in the new “Omni TR” app) — along with many deeply expanded additions to the synthesis engine and user interface. The v1.5 update also includes many important user-requested features such as the new 5-Column Browser view and support for polyphonic aftertouch. The new version also includes a significant update to the factory patch library, taking advantage of all the new sound design capabilities and bringing the total number of included sounds to over 8,000. Omnisphere 1.5 is set to be released on February 15th, 2011 as a free downloadable update for all registered users.
'Our goal for Omnisphere has always been to make it the ‘best of both worlds’ – awesome sounds AND a dream instrument for sound design,” says Eric Persing, Founder and Creative Director of Spectrasonics. “As longtime synth geeks ourselves, we are just as excited as our customers to see how Omnisphere is growing and evolving as a synthesis platform. We’re really looking forward to hearing how our users explore the new sonic worlds this version opens up. I think it’s some of our best work yet.'"
At the 2011 NAMM show, Spectrasonics made two product announcements and demonstrated both a major new version of their award-winning Power Synth Omnisphere® along with a new iPad app called “Omn TR” that allows wireless-remote control of Omnisphere. Many of the new capabilities in version 1.5 of Omnisphere are featured in the “Omni TR” app.
The company’s flagship synthesizer includes a host of new features, in particular a new interactive interface called “The Orb” offering stunning real-time synthesis manipulation capabilities (also a key element in the new “Omni TR” app) — along with many deeply expanded additions to the synthesis engine and user interface. The v1.5 update also includes many important user-requested features such as the new 5-Column Browser view and support for polyphonic aftertouch. The new version also includes a significant update to the factory patch library, taking advantage of all the new sound design capabilities and bringing the total number of included sounds to over 8,000. Omnisphere 1.5 is set to be released on February 15th, 2011 as a free downloadable update for all registered users.
“Our goal for Omnisphere has always been to make it the ‘best of both worlds’ – awesome sounds AND a dream instrument for sound design,” says Eric Persing, Founder and Creative Director of Spectrasonics. “As longtime synth geeks ourselves, we are just as excited as our customers to see how Omnisphere is growing and evolving as a synthesis platform. We’re really looking forward to hearing how our users explore the new sonic worlds this version opens up. I think it’s some of our best work yet.”
omnitr.jpg
Omnisphere 1.5 Update
Expanded Synthesis
Omnisphere 1.5 includes new and expanded synthesis capabilities, with newly designed “zoom” interface views for the synthesizer’s Harmonia, Waveshaper and Granular synthesis areas. Harmonia can create extremely rich sounds by adding up to 10 oscillators per patch with new independent modulation possibilities on each oscillator. The Waveshaper now includes more extreme sound mangling capabilities with the new polyphonic “Crusher” and “Reducer” modules, which include ‘Animation’ and ‘Force’ parameters that can all be modulated. Omnisphere’s Granular synthesis area has been made significantly more powerful by including new ‘Speed’ and ‘Position’ modes, which create dramatic polyphonic shifts through the audio and time spectrums. At the center of the Granular Zoom interface is a new real-time ‘Granular Visualizer’ showing a colorful graphic model of the effect of parameter edits, all of which makes Omnisphere’s complex Granular synthesis easier to understand and more fun to use.
The Orb
The innovative “Orb” feature of Omnisphere 1.5 is both a remarkable sound manipulation tool and an intuitive performance interface — it can be thought of as a ‘circular controller.’ Now with a single click of the mouse, the user can instantly customize the sound. Best of all, the Orb automatically works with every patch a user has, there’s no setup necessary.The user simply moves the Orb cursor with a mouse, a MIDI controller or in the case of an iPad, with fingers directly on the Orb itself. As the Orb moves around the concentric circles, it morphs between automatically generated parameter scenes in Omnisphere’s STEAM engine in a highly intelligent and musical manner — all patch dependent — manipulating the sound in subtle or radical ways appropriate to that particular patch. If the user doesn’t like what the Orb has created, a complete new set of manipulations can be chosen by simply rolling the “Dice” button, which instantly creates a brand new group of intelligent sonic modifications and effects to try. There’s no limit to how many serendipitous sonic variations the “Dice” can create – opening up the vast power of the STEAM engine to every user, regardless of synthesis knowledge.
For advanced synthesists seeking maximum flexibility, the Orb can also be setup manually and used as a new modulation source in Omnisphere’s sophisticated Mod Matrix.The Inertia slider of the Orb allows the user to create a ‘movement trail’ after letting go of the Orb, just like a ball might roll and bounce off the walls of a circular enclosure, adding a musical symmetry to the “performance” of an Orb interaction. Users can also Record their performance movements directly into the Orb and play the performance back in sync with their controller or host. The Orb’s movements and sonic results are saved within the patch, multi or the host’s session for later recall. The movement of the Orb can also be automated in the users host.The ideal control surface for Omnisphere’s new ‘Orb’ is the multi-touch interface of the simultaneously announced “Omni TR” iPad app, but the Orb can also be used with standard mice, trackpads and MIDI controllers.Hands-On Expression
Omnisphere 1.5 includes support for Spectrasonics new “Omni TR” iPad app, which provides wireless multi-touch performance control over the synthesizer. Alternate controllers that send multiple simultaneous MIDI channels have improved handling with the new “Clone Part” feature, making it easier to edit with multichannel systems like Guitar synths and the Eigenharp™ controller. Omnisphere 1.5 also adds support for MIDI keyboards and devices that send polyphonic aftertouch. A special new MIDI Learn mode enables hardware controllers that send a single channel to have all of their learned knobs, sliders and switches affect any parts currently selected in Live Mode – making Omnisphere even more intuitive when controlled from a hardware synth such as a Moog Little Phatty™.Version 1.5 of Omnisphere is set to be released February 15th, 2011. The update will be free for all registered users and can be downloaded from the Spectrasonics website. http://www.spectrasonics.net
Omnisphere is available now from all Spectrasonics dealers - MSRP $499US / 379Euro
Highlights of Omnisphere 1.5
• Innovative “Orb” ‘circular sound manipulation’ interface with Motion Recording and “Dice” button for infinite variations and one-touch sound customization
• Expanded Synthesis capabilities:
Harmonia: New zoom page shows all Harmonia parameters per layer adding up to 10 oscillators per patch with new independent modulation options for Levels and Fine Tuning on each Harmonia oscillator.
Waveshaper: New zoom page with extreme new processing modules including polyphonic ‘Crusher’ and ‘Reducer’ sections with ‘Force’ and ‘Animation’ controls that can all be modulated.
Granular Synthesis: New ‘Speed’ and ‘Position’ modes. New zoom page with new ‘Granular Visualizer’ showing a graphic model of the effect of parameter edits which makes Granular synthesis easier to use.
• Patch Library Update: Over 700 brand new patches created by renowned Spectrasonics sound development team gives Omnisphere over 5,000 patches and 8,000 total sounds
• New 5-Column Browser view displays more sound categories and attributes simultaneously
• New Online Video Tutorials for Version 1.5 capabilities
• Support for new ‘Omni TR’ iPad app
• New “Recently Added” Browser sorting option
• Added support for MIDI devices which send polyphonic aftertouch
• New ‘Clone Part’ feature allows easier editing/setup with multichannel MIDI controllers
• New MIDI Learn hardware control mode follows Live Mode selection
• Modulation Envelope points can be key-command snapped to semitone when modulating pitch
• User-assignable Legato Interval rule added
• V1.5 is a FREE update for registered users of Omnisphere!
The new “Omni TR” iPad app introduces Spectrasonics ‘TR’ (Touch Remote) concept - combining the tactile advantages of the iPad as a performance-oriented touch surface, with the company’s powerful computer-based virtual instruments – creating a true hands-on experience for musicians.“One of the big differences between software and hardware synths is the feeling of hardware that’s so wonderful,” says Eric Persing. “With the iPad and our new Omni TR app, we are excited to bridge that gap and bring the sense of touch to state-of-the-art virtual instruments like Omnisphere.”Omni TR brings Omnisphere’s interactive features closer to the music creation process with the ability to create setups and sound modifications very quickly. The user’s fingers can activate patches, tweak filters, re-mix, bend and spin amazing performance possibilities from the innovative new ‘Orb’ circular controller.With its high contrast interface, ‘Omni TR’ is perfect onstage for live performance or even in the studio where the iPad sits at the controller keyboard located away from the studio computer. Best of all, the Omni TR app is extremely easy to use, offering full two-way communication with Omnisphere with just a simple wireless connection to the computer running the plug-in.Main Page
The Main page mirrors Omnisphere’s unique Live Mode offering 8 patch slots with latching and trigger modes, individual mute and solo, and mixer faders. In this page alone, Omnisphere becomes a new performance instrument with the iPad sitting at the user’s controller keyboard. Patch names can be simply touched to be enabled, one or more at a time for layers and stacks. Users can also browse and select Multis and Patches directly from the iPad to instantly change sounds for a new song or live set.
Orb Page
Omni TR was designed to make the iPad the ideal control surface for Omnisphere’s innovative new ‘Orb’ feature. The ‘Orb’ is both a remarkable sound manipulation tool and an intuitive performance interface — it can be thought of as a ‘circular controller.’ Now with a single gesture, the user can instantly customize the sound in Omnisphere. Best of all, the Orb automatically works with every patch a user has, there’s no setup necessary.
As the Orb moves and orbits around the concentric circles, it morphs between automatically generated parameter scenes in Omnisphere’s STEAM engine in a highly intelligent and musical manner, all patch dependent — manipulating the sound in subtle or radical ways appropriate to that particular patch.
If the user doesn’t like what the Orb has created, a complete new set of manipulations can be chosen by simply rolling the “Dice” button, which instantly creates a brand new group of intelligent sonic modifications and effects to try. There’s no limit to how many serendipitous sonic variations the Orb can create – opening up the vast power of the STEAM engine to every user, regardless of synthesis knowledge.
The tactile experience of moving the cursor around the Orb space on the iPad with a finger to create variations in the sound is remarkably musical. Where standard controllers might change one or two simple parameters in a linear manner, the Orb morphs a host of parameters that are patch specific, and easily changed on-the-fly.
The Inertia slider of the Orb allows the user to create a ‘movement trail’ after letting go of the Orb, just like a ball might roll and bounce off the walls of a circular enclosure, adding a musical symmetry to the “performance” of an Orb interaction.
Users can also record their performance movements directly into the Orb and play the performance back in sync with their controller or host. The Orb’s movements and sonic results are saved within the patch, multi or the host’s session for later recall. The movement of the Orb can also be automated in the user’s host.
Controls and Jumbo Pages
The Controls page features a touch-based pitch ribbon performance controller and 8 touch sliders assigned to groups of the most useful performance/editing parameters for each Omnisphere layer. The Jumbo page shows large patch names on all 8 parts, easily seen in a live stage performance situation.
The new “Omni TR” iPad app is compatible with both Mac and Windows systems running Spectrasonics Omnisphere v1.5 or higher and will be available free from the App Store on February 15th, 2011 (pending Apple’s review)."
