Vector Synthese kennt vermutlich jeder – einen Synthesizer oder Firmennamen jedoch nicht. Jetzt taucht ein geheimnisvolles Videos auf, wo „er“ vorgestellt wird: Vector! Viel sieht und hört man nicht, was sich nach Vector-Synthese anhört. Es gibt eher einen analog-ähnlichen Sound mit LFO-Wobble und einen Melodiesound zu hören. Was hat es mit dem Teil auf sich und warum ist die Firma bisher nur auf Instagram und YouTube zu finden?
Es handelt sich offensichtlich um ein Desktop-Gerät in normaler Größe mit einem großen zentralen Bildschirm. Rechts und Links befinden sich Potis. Vibrato und LFO scheinen einen großen Raum für sich zu haben und es gibt Corner Select, was schon sehr auf Vector-Synthese hinweist – mit mindestens 2-4 Oszillatoren. Das bestätigt auch die Anzeige auf dem Display.
Im unteren Teil findet man vorrangig Effekte nebst Steuerung mit 4 Knöpfen für Delay und weiteren 4 für Overdrive und Klang/Sättigung. Rechts scheint die Syntheseabteilung zu sein, in der SubOSC und Sync als Begriffe zu finden sind.
So könnte und wird wohl jeder der zwei gemutmaßten Oszillatoren noch einen Suboszillator mit Grundwellenformen haben. So klingt es auch! Man kann im Displays zwei Hauptoszillatoren sehen, die wohl mindestens synchronisierbar sind.
Wie das alles in ein Vectorkleid passt oder ob das insgesamt nur so heißt, ist nur anhand des zirkulären Verlaufs der Anzeige zu schätzen, die an den Animoog erinnert.
Diese Drehbewegung wird zwischen den mindestens 2 OSCs mit SubOSC überblenden können, genauer wohl einfach mit den Lautstärken der beiden Hauptoszillatoren zueinander – was sehr einfach ist, wenn man OSC1 an einer Achse und OSC2 an der anderen Achse eines 2D-Feldes aufträgt. Den Namen Vector hätte man sich in der Erwartung von 4 Oszillatoren verdient. Rechnerisch würden da auch 2 Oszillatoren und Rauschgeneratoren als weitere Ebene reichen.
Da es einen OSC 2 Amp – Bereich gibt, der sehr stark hervorgehoben ist, nebst Filter und ADSR-Hüllkurve, ist anzunehmen, dass zwei Oszillatoren jeweils an einer Achse oder auf einem 2D-Feld aufgetragen werden und zwischen ihnen anhand der Position des Bildcursors überblendet wird. Diese Bewegung heißt offenbar Suborbit/Roll und erinnert an den schon erwähnten Animoog, etwas weniger oder entfernter an den Prophet VS oder Arturias Anbau im Jupiter 8V. Die Mischung der beiden Oszillatoren-Lautstärken kann per LFO im Kreis bewegt werden und jeder OSC hat eine Hüllkurve, um einen Verlauf zu erzeugen.
Das wäre etwas sparsam „für einen Vector-Synth“ aber aufwendig für einen analogen Synthesizer. Alternativ könnte er auch digital simuliert oder hybrid sein. Mein Tipp geht eher in Richtung „analogähnlich“, 2 OSCs und damit neu für die analoge Welt.
Preise und Verfügbarkeit
Viel gibt auf der Website noch nicht zu sehen, jedoch die YouTube und Instragram Adressen sind bereits öffentlich gemacht worden. Dort gibt es noch zwei etwas besser zu erkennende Bilder, welche noch mehr Knöpfe erkennen lassen (Roll, Suborbit etc.).
Call it the virtual reality microphone … or just think of it as an evolution of microphones that capture sounds more as you hear them. But mics purporting to give you 3D recording are arriving in waves – and they could change both immersive sound and how we record music.
Let’s back up from the hype a little bit here. Once we’re talking virtual reality or you’re imagining people in goggles, Lawnmower Man style, we’re skipping ahead to the application of these mic solutions, beyond the mics themselves.
The microphone technology itself may wind up being the future of recording with or without consumers embracing VR tech.
Back in the glorious days of mono audio, a single microphone that captured an entire scene was … well, any single microphone. And in fact, to this day there are plenty of one-mic recording rigs – think voice overs, for instance.
The reason this didn’t satisfy anyone is more about human perception than it is technology. Your ears and brain are able to perceive extremely accurate spatial positioning in more or less a 360-degree sphere through a wide range of frequencies. Plus, the very things that screw up that precise spatial perception – like reflections – contribute to the impact of sound and music in other ways.
And so we have stereo. And with stereo sound delivery, a bunch of two-microphone arrangements become useful ways of capturing spatial information. Eventually, microphone makers work out ways of building integrated capsules with two microphone diaphragms instead of just one, and you get the advantages of two mics in a single housing. Those in turn are especially useful in mobile devices.
So all these buzzwords you’re seeing in mics all of a sudden – “virtual reality,” “three-dimensional” sound, “surround mics,” and “ambisonic mics” are really about extending this idea. They’re single microphones that capture spatial sound, just like those stereo mics, but in a way that gives them more than just two-channel left/right (or mid/center) information. To do that, these solutions have two components:
1. A mic capsule with multiple diaphragms for capturing full-spectrum sound from all directions
2. Software processing so you can decode that directional audio, and (generally speaking) encode it into various surround delivery formats or ambisonic sound
(“Surround” here generally means the multichannel formats beyond just stereo; ambisonics are a standard way of encoding full 360-degree sound information, so not just positioning on the same plane as your ears, but above and below, too.)
The software encoding is part of what’s interesting here. Once you have a mic that captures 360-degree sound, you can use it in a number of ways. These sorts of mic capsules are useful in modeling different microphones, since you can adjust the capture pattern in software after the fact. So these spherical mics could model different classic mics, in different arrangements, making it seem as though you recorded with multiple mics when you only used one. Just like your computer can become a virtual studio full of gear, that single mic can – in theory, anyway – act like more than one microphone. That may prove useful for production applications other than just “stuff for VR.”
There are a bunch of these microphones showing up all at once. I’m guessing that’s for two reasons – one, a marketing push around VR recording, but two, likely some system-on-a-chip developments that make this possible. (All those Chinese-made components could get hit with hefty US tariffs soon, so we’ll see how that plays out. But I digress.)
Here is a non-comprehensive selection of examples of new or notable 360-degree mics.
Maker: HEAR360, a startup focused on this area
The pitch: Here’s a heavy-duty, serious solution – camera-mountable, “omni-binaural” mic that gives you 8 channels of sound that comes closest to how we hear, complete with head tracking-capable recordings. PS, if you’re wondering which DAW to use – they support Pro Tools and, surprise, Reaper.
Who it’s for: High-end video productions focused on capturing spatial audio with the mic.
Maker: RØDE, collaborating with 40-year veteran of these sorts of mics, Soundfield (acquired by RØDE’s parent in 2016)
The pitch: Make full-360, head-trackable recordings in a single mic (records in A-format, converts to B-format) for ambisonic audio you can use across formats. Works with Dolby Atmos, works with loads of DAWs (Reaper and Pro Tools, Cubase and Nuendo, and Logic Pro). 4-channel to the 8-ball’s titular eight, but much cheaper and with more versatile software.
Who it’s for: Studios and producers wanting a moderately-priced, flexible solution right now. Plus it’s a solid mic that lets you change mic patterns at will.
Software matters as does the mic in these applications; RØDE supports DAWs like Cubase/Nuendo, Pro Tools, Reaper, and Logic.
The pitch: ZOOM is making this dead simple – like the GoPro camera of VR mics. 4-capsule ambisonic mic plus 6-axis motion sensor with automatic positioning and level detection promise to make this the set-it-and-forget-it solution. And to make this more mobile, the encoding and recording is included on the device itself. Record ambisonics, stereo inaural, or just use it like a normal stereo mic, all controlled onboard with buttons or using an iOS device as a remote. Your recording is saved on SD cards, even with slate tone and metadata. And you can monitor the 3D sound, sort of, using stereo binaural output of the ambisonic signal (not perfect, but you’ll get the idea).
Who it’s for: YouTube stars wanting to go 3D, obviously, plus one-stop live streaming and music streaming and recording. The big question mark here to me is what’s sacrificed in quality for the low price, but maybe that’s a feature, not a bug, given this area is so new and people want to play around.
Maker: ZYLIA, a Polish startup that IndieGogo-funded its first run last year. But the electronics inside come from Infineon, the German semiconductor giant that spun off of Siemens.
Cost: US$1199 list (Pro) / $699 for the basic model
The pitch: This futuristic football contains some 19 mic capsules to the 4-8 above. But the idea isn’t necessarily VR – instead, Zylia claims they use this technology to automatically separate sound sources from this single device. In other words, put the soccer ball in your studio, and the software separates out your drums, keys, and vocalist. Or get the Pro model and capture 3rd-order ambisonics – with more spatial precision than the other offerings here, if it works as advertised.
Who it’s for: Musicians wanting a new-fangled solution for multichannel recording from just one mic (on the basic model), useful for live recording and education, or people doing 3D recordings wanting the same plug-and-play simplicity and more spatial information.
Oh yeah, also – 69dB signal-to-noise ratio is nothing to sneeze at.
Pro Tools Expert did a review late last year, though I think we soon need a more complete review for the 3D applications.
What did we miss? With this area growing fast, plenty, I suspect, so sound off. This is one big area in mics to watch, for sure – and the latest example that software processing and intelligence will continue to transform music and audio hardware, even if the fundamental hardware components remain the same.
And, uh, I guess we’ll all soon wind up like this guy?
sE Electronics has announced that its new sE2300 microphone is now available in the USA and the rest of the world, after being available since early Summer in select countries. Last year, we released an updated & refined version of our best-selling condenser, the sE2200. Now, we are proud to announce the sE2300, a multi-pattern […]
Electro-Harmonix has announced its latest pedal Mod Rex, polyrhythmic modulator that lets you weave compelling, shifting, musical tapestries. The pedal comes equipped with four, independent modulation sections synced in time. MOD delivers vibrato, flanger, chorus or phaser. TREM features tremolo. PAN modulates between left and right in stereo operation and FILTER offers a choice of […]
Expressive E has introduced Touché SE, an expressive instrument that allows you to control the sound of your synthesizers with the pressure of your hand. While the original Touché has internal memory and can be used standalone, the smaller, USB-only Touché SE controller must be connected to a computer to function and does not have […]
“Expressive control” has largely translated to “wiggly keyboards” and “squishy grids,” with one notable exception – the unique, paddle-like Touché from Expressive E. And while keeping essentially the same design, they’ve gotten the price down to just US$/EUR229, making this potentially a no-brainer.
The result: add this little device to your rig, and play gesturally with a whole bunch of instruments, either using provided examples or creating your own.
Expressive E’s approach has set itself apart in two key ways. First, they’ve gone with a design that’s completely different than anyone else working in expressive control. It’s not a ribbon, not a grid, not an X/Y pad, and not a keyboard, in other words.
The Touché is best described as a paddle, a standalone object that you sit next to your computer or instrument. There’s a patented mechanism in there that responds to mechanical movements, so with the slightest pressure or tap, you can activate it, or push harder for multi-axis control.
And that, in turn, opens this up to lots of different control applications. Expressive E market this mainly for controlling instruments, like synthesizers, but any music or visual performance input could be relevant.
The second clever element in Expressive E’s approach is to bundle a whole bunch of presets. The first Touché had loads of support even for hardware synths. The new one is focused more on software. But together, this means that while you can map your own ideas, you’ve got a load of places to start.
The original Touché is US$/EUR 399.
Touché SE is just $/EUR 229.
Here’s the cool thing about that price break: the only real sacrifice here is the standalone operation with hardware. (The SE works with bus-powered USB only.)
Other than that, it’s the same hardware as before, though with a polycarbonate touch plate.
In fact, otherwise you get more:
Lié hosting software, with VST hosting so you can use your own plug-ins
UVI-powered internal sound engine with leads and mallets and loads of other things
200 ready-to-play internal sounds, which you can call up using dedicated buttons on the device
200+ presets for popular plug-ins (like Native Instruments’ Massive and Prism, Serum, Arturia software, etc.)
So connect this USB bus-powered device (they put a huge four-foot cable in the box), and you get multi-dimensional gestural control.
Standalone, VST, AU, Mac, Windows. (Would love to see a Linux/Raspi version!)
I’ve been playing one for a bit and – it’s hugely powerful, likely of appeal both to plug-in and synth lovers and DIYers alike.
TC Electronic has introduced DVR250-DT, a groundbreaking reverb unit that aims to bring vintage reverb, glistening sway and sweet character to your DAW. The reverb is the latest addition to the TC ICON series, a range of hardware-controlled effect plugins. With its original fusion of software processing and a hardware interface, DVR250-DT captures the amazing […]
Following the success of the acclaimed Edge and Verge modeling microphones, Antelope Audio has unveiled the next evolution of its mic modeling technology. The new Edge Family consists of three large-diaphragm condensers — the fixed cardioid pattern Edge Solo, the multi-pattern Edge Duo, and the dual-capsule Edge Quadro. Together with Antelope’s continually expanding range of […]
In a sea of synths that embrace retro vibes or big form factors, futurists and minimalist design lovers have eagerly awaited the Teenage Engineering OP-Z. And that wait is nearly over.
The new thing from Sweden now at last starts preorders now, with a ship date in mid October. The first batch are already gone, but at least we know these things are making their way into the world.
It’ll even come with a cute case bundle. (Cables and grippy knobs sold separately.)
There’s even an atypical apology from the Teenagers:
– let us start by apologizing for the long delay.* to develop new products can at times be quite hard and when you work on things that have never been done before,
it’s even harder. over the last year we have re-worked and re-thought in absurdum, but now when three long years of development have finally come to an end, we feel quite confident that you will actually thank us for that extra long wait. why? you might ask…– because the result is just pretty, pretty great.
Hands-on sessions at Moscow’s Synthposium – the surprise in-event this year for synth lovers – in fact confirmed the pretty-greatness of the OP-Z.
So instead of Stockholm, we got the really proper view of the OP-Z in the Russian capital, as documented here. The “Z” stands for “depth”:
And that’s also how Cuckoo, YouTube personality, suddenly shows up on Russian Music Mag’s channel and not only his own:
The jumbo candybar form factor of this synth recalls the Teenagers’ other flagship, the OP-1. But it’s safer to say that the OP-Z brings together a lot of what the design shop have been about over the years. There’s the lineage from the machinedrum and the early Elektron days, and its emphasis on design, rectangular corners, minimal controls, and grooves embedded into hardware. There’s the reduced calculator-style layout and key controls as we saw on the Pocket Operators. You have the unmistakable design aesthetics, introduced on the OP-1 but continually improved with collaborations with the likes of IKEA. So the OP-Z looks more stylish and design-conscious than anything else on the market.
But that’s not nearly as important I think as the way Teenage Engineering have increasingly mixed gaming metaphors, particularly from the Nintendo legacy, with music.
The OP-Z looks like a portable gaming console, and one that’s simultaneously both futuristic and kind of 1980s. (It’s a future for people who spent part of their past in the 80s.)
It plugs into a bigger display, in a throwback to old consoles and PCs.
And it suggests that an electronic musical instrument is a game and a tool at the same time.
The best way to follow how it works is to catch up with some of the best hands-on videos coming out of the YouTubers who were seeded beta units. Tutorial:
Do you speak German? Do you speak English but prefer the way synthesizer talk sounds in German? (Really, sounds way more … intelligent, somehow.)
The visual possibilities, meanwhile, are captured more clearly in Japan, and … those features sound better in Japanese, I think.
* Side note: once upon a time, I projected a graph of awesomeness vs. shippingness, specifically regarding the OP-1. Seems it’s still a curve you have to fight – but it can be defeated even with awesome stuff.
Forget about gear fetish: the delightful surprise behind the modular movement is that a whole bunch of people are interested in exploring weird new musical ideas. And one of the sequencer modules at the heart of it is getting a big refresh.
The René module wouldn’t strike anyone as something that’d turn into a big hit. This is an esoteric little device: a grid of touchplates and a bunch of knobs, which you then spaghetti-wire into other modules to make, uh, odd patterns.
But making weird patterns you can then shift around – well, that’s a lot of fun. And René liberated modular rigs from one of their major weaknesses: too often, people were stuck with rigid step sequencers that produced overly repetitive loops that would drive you insane. Basically, the “Cartesian” bit is, instead of having a line (those marching steps), you get a grid (x + Y).
So, here comes the René refresh. This is three-dimensional chess to the original model’s checkers.
The new model is three channels instead of one, three dimensional sequencing instead of two, and boasts expanded memory so you can save up to 64 states – no more long modular performances that sound great for the first three minutes and then … sort of exactly like that for the next hour, too.
This “three-axis” business is maybe a little exaggerated, but basically what you get is z-axis touch sensitivity, so added expression. Combine that with three channels of output, though, and you can in fact route a lot more control from this one module than before. And no doubt the additional memory will be useful in performance.
Here’s the full feature set:
3 CV outputs for controlling pitch or timbre
3 Gate outputs for generating musical events
Snake and Cartesian patterns available simultaneously
STORE all Programming in one of 64 STATEs.
New Z-Axis allows for modulating through any combination of 64 STOREd STATEs
All programming done real-time, programming of René is a key performance element
Visualization of pattern activity always displayed on left half with 16 illuminated Knobs
Visual indication of Programming always displayed on right half with 16 illuminated touch buttons
Communicates w/ TEMPI via Select Bus to Select, Store, Revert, Multi-Paste and MESH STATEs
Maximum amount of artist controlled musical variation, derived from minimum amount of analog data input
All new touch sensing technology tested successfully on the most commonly used euro rack power solutions
Of course, since the René first came out, it’s gotten a lot more competition. So it could be fun to see how this stacks up against other modular (and desktop, or software, even) sequencers.
Since that’s my monthly rent, it’s worth saying Eurorack is still pricey relative to some lower-cost desktop hardware, to say nothing of computers. Clever software patching is great if you’re broke, or if you’ve a little scratch, something like Five12 Numerology.
But that said, this no doubt will go high on people’s shopping lists in the modular world – and it’s an impressive piece of work. Look forward to seeing more.