Bram Bos – developer of series of great iOS apps inc. Ruismaker shared a new video with his new app: RippleMaker.
As Bram explains:
It’s a pre-wired modular (like e.g. the 0-coast) with internally normalized connections. Why? Because this makes it easy to jump in without having a clue about west-coast synthesis. Shit will work without patching a single wire into it
Then you can go wild plugging cables in willy-nilly and see what happens. It’s much more free-form than east-coast modulars (like the Model 15). You can turn the slope into an LFO, or loop it so it becomes a pseudo oscillator. Or you can route the output of the Lopass Gate into the Oscillator’s FM for screeching chaos, Use the LFOs for triggering envelopes while modulating its rate with random noise, etc. etc.
Audio and control voltages run @ 4x oversampling speeds, so you can abuse anything as an audio signal or vice versa and it’s all at a min. of 176KHz sampling rates.
For some of us, summer brings with it more free time. Time we don’t often have when we trudge through the grind of working regular jobs. This list of the best 5 free VST synths was compiled to lessen the searching time of audio enthusiasts, hobbyists and professionals alike, in search of the best quality free synth plugins available so far this year.
In the world of reverb plugin emulations of classic hardware, it’s always refreshing to find one with superb sound quality that separates itself from the fray.
Softube’s TSAR-1 is a modern take on classic algorithmic reverbs capable of producing everything from vintage plates to Lexicon 224-type halls.
Its True Stereo Algorithm is what sets the TSAR-1 apart enabling it to be useful in mixing and creative situations.
True Stereo Algorithm and Presets
The architecture of the TSAR-1’s True Stereo Algorithm is such that it can process a stereo input as two discrete channels.
This feature enables you to control early reflections and the main reverb tail separately.
Softube describes the TSAR-1 as “alive and vibrant, gentle and dreamy and natural and believable”.
This is because it’s able to add a distinct character to various audio sources. Using the DENSITY slider in the center of the interface allows you to mimic the sound of a variety of vintage reverbs such as EMT plates and halls, Sony Digital Snare and of course the Lexicon 224 among others.
To my ears, the presets sound great on their own and you might find yourself using them without a lot of tweaking, if any at all. They are divided into two sections, modern and vintage. The modern presets are application specific while the vintage presets mimic the sound of vintage reverb units. Names like (Scoring Stage, Vocal Whisper, 224 Room, EMT Plate, etc.) offer you a fantastic starting point from which to dial in your desired sound.
The TSAR-1 isn’t modelled after any particular reverb.
It merely offers you the ability to mimic a variety of classic units.
This distinction is important in the event that you are expecting this to be an emulation because it most certainly is not.
Its powerful modern reverb algorithm heavily contributes to its signature sound and overall sophisticated quality.
It truly surrounds itself around the source material creating the illusion of actually being in that particular stereo space.
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The Interface
Softube designed the TSAR-1 with ease of use in mind. Included with the package is the TSAR-1R plugin (more on this later) which has an even smaller set of intuitive controls.
The TSAR-1 has only five sliders (Pre-delay, Time, Density, Tone and High Cut), and 3 knobs (Output Volume, Reverb/Early Reflections and Reverb Mix). There are also a couple switched parameters for Diffusion and Modulation.
The display in the center of the interface shows the current settings for the various parameters. Clicking on any of them will toggle from the current setting to the most recent setting.
Parameters in the display illuminate briefly when either selecting a new preset, moving a slider or knob, or clicking on one of them. This is helpful because you are able to see at a glance, which parameter you are affecting.
You have up to 1 second of Pre-delay and a reverb time range of 150ms – 15 seconds.
By default, each preset is loaded with the Reverb Mix knob set to 100%. Take any sound, instantiate an instance of TSAR-1 and set the Time slider to about 10 seconds, play with the Density and Tone sliders, then bounce that to audio and get an instant unique ambient sample.
The High Cut slider limits the frequencies of both the early reflections and the reverb tail, although it sounds to me as if it affects the reverb tail a bit more. Also worth noting is that although both the TSAR-1 and TSAR-1R plugins support automation, parts of the reverb get muted when parameters change in order to limit noise artifacts. Softube suggests in their pdf manual:
“Do not use automation to modulate or gradually change parameters.
A constantly moving parameter can lead to the reverb being muted.”
Check out the plugin in use:
Tsar-1R
As mentioned earlier, TSAR-1 comes bundled with the TSAR-1R which is has an even more streamlined interface.
It uses the same algorithm as its big brother, but has only 3 reverb parameters and focuses mainly on natural reverberation types.
Pre-delay is limited to 200ms and the Time parameter adjusts an internal pre-delay, the early reflections, diffusion, density and delay time simultaneously.
Tsar-1 Rack Extension for Reason
There’s special version ported to the Rack Extension format. For my eyes it looks much better a rack-mounted device and it is has same great sound and presets and ability to modulate some of its parameters with CV-inputs.
This is a very lush sounding and flexible reverb. I would have liked to have seen a low cut filter as it’s often necessary to cut the low frequencies of reverb to some degree. It would also be nice to be able to automate parameters without worrying if the processed sound if going to be muted. But all in all, both the TSAR-1 and TSAR-1R are sophisticated units holding true to the standard of high quality products Softube is known for.
Overloud’s TAPEDESK is a tape simulator and a console emulator packed together into a single plugin that replicates the warm tones of an analog mixing workflow.
Simulates three legendary analog consoles
Simulates a 2-inch 24-track tape machine
Recreates the interactions between the console and the tape machine
Offers precise metering of any point in the sound chain
Simulates all of the transformers in the original units
Very low CPU usage: open the plugin on each track of your session
Reverb is one of the most widely used effects by audio engineers to give audio signals a sense of space in a mix. Over the years, the quality of free reverb plugins has greatly improved, often rivaling paid plugins.
Though I use many of the paid plugins (including some very expensive like Altiverb and UAD Reverbs) – this nice free reverb plugins can still find its place in any production. Some of these are Windows compatible only, while few are also available for Mac OS X.
After few months of release of a new MacBook Pro with Touchbar (I’m writing this from 13″ model MacBook with Touchbar and I really like it) we got dedicated MIDI controller and it is Free.
Zvork – Rack Extension for Propellerhead Reason developer has released Oberon 2 – second version of his powerful synth. The unique features of Oberon are flexible screens where you can draw waveforms, envelope curves etc.
With the recent update of Reason 9.2 and their SDK – Rack Extension developers were able to import samples. And the major feature of a new update is abiltity to import samples (to replace oscillators waveform). With Position and Motion control you can get truly unique granular/timestretched effects – try loading there various samples – strings, synth lines, 808 kick or a drum loop. The combination of a powerful synth with Reason 9.2 sample import feature opens a truly new world for sound designers and brings new life to a Oberon synth by Zvork.
Product details
The Oberon synthesizer has two oscillator sections and two filters. Each oscillator can be fed to one of the two filters or to both, in serial or parallel mode. These filters enable you to alter the timbre of your sound but are not the only mean to do so. Each oscillator can generate a number of different waves, from simple sawtooth and square to more complex metallic or robotic sounds. Each of these waves is in reality a wave sequence that can be played at different speeds.
Oberon 2
This major update adds new features such as sample loading, wave modifiers, LFO rise and delay parameters, but also GUI enhancements and 100+ new patches. Please note that this update is only available for Reason 9.2+ owners.
Audiobus 3 has arrived bringing great new features:
A totally new way to set up MIDI connections between compatible apps. All IAA instruments that are compatible with Audiobus will be usable as MIDI destinations. MIDI controllers will need to update to the newest SDK and support Audiobus 3’s MIDI system. We’re launching with a few of the best MIDI controller apps for that. And of course MIDI filters are a whole new category of apps, of which there will be a handful when we launch, made by Johannes Dörr, the creator of midiFlow
Support for Audio Unit Extensions.
A basic input mixer to adjust volumes of all sound generators
Apps with the new Audiobus 3 SDK will launch into the background. All MIDI controllers and filters with the new Audiobus MIDI system will support this. Combined with Audio Unit Extensions and the new Audiobus MIDI system this turns Audiobus 3 into a really amazing place to set up your whole workflow, save it as an Audiobus preset and then restore it later on.
Support for split view and slide-over on compatible devices so that you can adjust the volume without having to switch apps – just slide in the side panel and use the Audiobus mixer in that. It’s handy.
Some amazing news here for all the modular synthesis lovers.
While we are waiting new modules for Softube Modular and new blocks for Reaktor Blocks – NI User Library got a great FREE ensemble – Buchla 200 and 200e emulation.
Though it doesn’t follow Blocks specification – it is great recreation of Buchla. If you wanted to try 200 -system but didn’t have $10K – you can get it free for Reaktor.
It was developed by Trevor Gavilan. Here’s how he describes it:
“Most emulations now a days try to replicate original and existing hardware but the reality is that so much things are put into the mix when soldering components and letting electricity do its work that to me the concept might be very very far away from where we are right now. Another factor that plays along is the human interaction with an interface that could easily re-shape our workflow and in the case of a Buchla system that concept comes naturally since many composers and synthesists around the world continue to redefine the way of working through the philosophy that designers like Donald put into their modules and their system’s interface. I believe that’s one of the main reasons a hardware interface will always continue to be the preferred way of working.”
Here’s the main look of the synthesizer – it looks pretty cool:
There are many different Ableton Live controller apps for iOS – from powerful Touchable app that mimics Ableton devices interface and allows you controlling literally every function of Live to flexible modern-looking Conductr.
Though if you are familiar with Ableton midi controllers you probably know very well Novation Launchpad – it is pretty cheap (comparing to Ableton push) midi controller designed to launch clips in session view but with new scripts it also acts as matrix-style midi notes keyboard (like Push or Maschine Jam).
Based on advanced Launchpad script – developer Alexander Nowak has made iOS app that repeats functions of Novation Launchpad on a touch screen of an iPad or iPhone.
And with the recent update the app brings Apple Watch support that shows part of the layout but still allows to play some notes/launch clips.
