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Or they can be coupled, in which case one resonator passes its signal to the other. These can act as two discrete tone-generating components in a parallel signal flow. Each of the two synth engine layers comprises a pair of resonators. Here’s a potent combination of acoustic modeling and subtractive synthesis. You can assign Channel Pressure (Aftertouch) or your choice of MIDI Control-Change messages as sources.Ĭheck it out – an open tube and a plate for Engine B.
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You can see the instrument’s signal flow, and four Macro knobs: Modulation, Timbre, Envelope, and Effect. Home (shown above) is the performance page. It has filters, envelopes, LFOs, and other subtractive synthesis tools, but an understanding of the physics of sound propagation is important if you really want to go beyond simple tweaks.Ĭhromaphone’s user interface breaks down into four main pages. In this case the first one is coupled and the second one is uncoupled.
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The Home Window shows the configuration of the two engines. People familiar with Chromaphone 2 will recognize the engine: There are no independent MIDI channels, but you can limit keyboard ranges, pan position, and although there is no velocity split per se, you can dynamically alter the balance between the engines with MIDI Control Change messages. Upgrades to the software include the instrument’s new multitimbral capabilities, with a pair of dual-oscillator synth engines for allowing simple splits and layers. Although it’s described as a percussion synthesizer, a random skim through the presets reveals a range from startlingly realistic snares and other percussion sounds through plaintive leads, and glassy, sparking pads. Rev your engines! Contributor Marty Cutler is waiting on the start line.Īpplied Acoustic Systems (AAS) delivers dramatic upgrades to their expansive line of physically modeled instruments.
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