Linux Virtual Analog Synthesizer
May 07, 2017 amsynth is a Analog Modelling Synthesizer. I'm showing you the basic features of the synth and also some sound examples. Thanks for watching! A real analog synthesizer has a lot of knobs and switches which give immediate access to all important parameters of the generated sound. Linux has a good range of open source software to be a serious contender in music production without having to venture into the commercial software world. A simple virtual analog synthesizer. Download files. Download the file for your platform. If you're not sure which to choose, learn more about installing packages. Lith is a software synthesizer. Built-in waveform sampled from a real analog oscillator, You will notice that the sound is surprisingly fat. The Mod function that can be called by right-clicking allows you to create a variety of intuitive sounds. The two waveform deformation knobs are highly regarded as unique. Diversity and simplicity to you. LV2 plugins derived from 'Alsa Modular Synth'. These plugins are used to create modular synths and contain a VCO, VCF, VCA, LFO, Slew Limiter, Envelop, and Sample+Hold. Octavian Octavian is a realtime software synthesizer. Its design is like analog modular synthesizers, so it can be used both as a synth and as an effect proces Unmaintained projects, Soft Synths/Samplers, JACK: Petri-Foo; petri-foo Petri-Foo is a sampler for Linux which is forked from the Specimen project.
- Linux Virtual Analog Synthesizer System
- Venom Virtual Analog Synthesizer
- Linux Virtual Analog Synthesizer Software
- Linux Virtual Analog Synthesizer Download
In his latest video, Floyd Steinberg takes a look at how to use a Raspberry PI as a synthesizer.
The Raspberry PI is a inexpensive card-sized computer that’s popular with DIYers. In his video, Steinberg show how to set up a Raspberry PI V3 as a virtual analog synthesizer, with keyboard and knobs, using standard MIDI controllers. The result is a battery-powered mini synth.
Topics covered:
00:00 demo (Synth V1 App, realtime tweaking of sounds)
02:48 hello
03:23 required / optional hardware
04:47 required / recommended software downloads
05:18 installation instructions
06:15 enabling remote access to your PI
06:40 installing music software
07:19 you don’t know JACK… (and you don’t know ALSA)
08:55 Bristol synthesizer – DX7 emulator
09:19 Bristol synthesizer – Korg polysix emulator
10:01 synth v1
10:32 XRUN callbacks?
11:32 lol, Linux
11:38 setting up a patch bay in qjackctl for reusing setups
12:29 setting up synth v1’s control scheme for external midi gear
13:30 creating a boot script for launching your setup after switching on
14:25 conclusion
on Jan 08, 2017 in Synths & Sound Design 4 comments
Any top-10 (OK, top-7) list of virtual synthesizers will, ultimately, be pretty subjective—everyone has their own idea of what constitutes the coolest toys when it comes to making and mangling sounds for creative musical ends. Even so, a list of the most impressive soft synths will certainly end up including some models that would be on anyone’s wish list, along with a few more personal choices—and this collection pretty much fits that bill.
I tried to limit this list in a few ways, to make it more manageable.. I omitted instruments that are primarily samplers—even though many of the models here utilize samples as source material, they don’t mainly present them as realistic simulations, but as raw material for heavy processing. I stuck to synths that are—at least to me—geared to playability, and not primarily sound design or scoring effects. And I selected synths that are not emulations of specific classic hardware models, but stand on their own merits.
So without further ado, here are a few of my choices for the slickest soft synths around.
1. Spectrasonics Omnisphere 2
Omnisphere is one of those synths that would probably turn up on just about everyone’s lists. Like many of the synths on this list, Omnisphere (currently Omnisphere 2) combines a number of synthesis techniques, including both oscillators and sample-based source material (including user waves), wavetable synthesis, granular synthesis, and even FM. Combining a huge factory library with comprehensive programming options, the emphasis is on heavily processed sounds of all kinds, from traditional synth tones to dense swirling pads to arpeggios to shifting, chugging, twinkling soundscapes and musical noises that defy easy description. Playability includes nice touches like the Orb, a real-time joystick-type controller that can simultaneously vary many parameters. Omnisphere has been around for quite a while, and has certainly earned its place on a list of soft synths that hardware synths really can’t touch.
Web:https://www.spectrasonics.net/products/omnisphere/index.php
Review: https://ask.audio/articles/review-spectrasonics-omnisphere-2
Linux Virtual Analog Synthesizer System
Courses:https://ask.audio/academy?nleloc=application/omnisphere
2. NI Massive
Native Instrument’s Massive is another synth that’s been around for years, and its popularity and sound pretty much guarantee it a place of honor. Massive follows a traditional subtractive synthesis models, with oscillators (three, plus noise) filters (two), amplifier, modulation (LFO), and effects. But there’s much more to it than that simple description suggests.
Massive’s oscillators are more than just simple analog waves (like sine, square, sawtooth, pulse, etc.)—they’re Wavetables, which, besides those basic, traditional shapes, also include a large collection of richer and more complex wavetables to use as raw material, making for a much wider range of possible sounds. The overall subtractive architecture is familiar enough to be accessible to most synthesists, yet it offers extra levels of flexibility, accessed from the various programming tabs in its center panel, like the Routing panel, where you can view and tweak the signal flow of the various modules that make up a patch, and the drag-and-drop icons that make quick work of building up modulation patching. All in all, Massive’s combination of accessibility and flexibility have made it a perennial favorite among synthesists of all stripes.
Web:https://www.native-instruments.com/en/products/komplete/synths/massive/
Courses:https://ask.audio/academy?nleloc=application/massive
3. NI Reaktor
Another entry from Native Instruments, Reaktor (currently Reaktor 6) is not really a synthesizer per se—it’s potentially every synthesizer you could imagine. Reaktor is an object-oriented programming environment for building your own synthesizers, and it’s one of the most powerful tools available for those who want ultimate control over their instruments. But you don’t have to have a degree in computer programming or DSP to use Reaktor—while it does contain a daunting set of under-the-hood tools and building blocks, it also comes with a large collection of finished synthesizer designs—called Ensembles—and there are many more available from third-parties as well. Some of these are available as separate, stand-alone synths, like NI’s own Razor (an additive synthesis design), Prism (a physical modeling instrument), and Monark (a well-regarded take on the venerable Minimoog).
But the real power of Reaktor comes when you go behind the front panel, and delve into the nuts & bolts of synthesizer architecture. Taking full advantage of everything the programming environment has to offer may require a significant investment in time and energy, but for inveterate tweakers it’s well worth the effort, going well beyond even the possibilities available from assembling your own modular synth in the real world.
Web:https://www.native-instruments.com/en/products/komplete/synths/reaktor-6/
Review: https://ask.audio/articles/review-native-instruments-reaktor-6
Courses:https://ask.audio/academy?nleloc=application/reaktor
4. Rob Papen Blue II
Rob Papen offers a number of popular synths (like Predator, Blade, and others, including the now-discontinued Albino), but Blue (currently Blue II) is probably the flagship of the line. Utilizing when Papen has dubbed “Cross-Fusion Synthesis”, Blue II combines FM, Phase Distortion, Waveshaping, and Subtractive synthesis, to create one highly flexible and great-sounding instrument. No less than six (!) oscillators freely combine all the different methods of sound generation in a single patch, and the graphic display makes routing and processing relatively easy for a synth with so many options. The helpful graphic displays include features like a straightforward FM matrix and graphic envelopes, along with sequencer and arpeggiator pages, and make Blue II’s programming power readily accessible, making it easy and efficient to tweak sounds—far easier than twiddling hardware knobs blindly.
5. LennarDigital Sylenth
LennarDigital’s Sylenth has become a very popular synth of late. Unlike many of the other entries in this list, it’s not a be-all, do-all, end-all design. Sylenth is designed to do one thing—emulate classic analog synthesis—but do it exceptionally well. It’s a dual-layered design, with 4 traditional analog-style oscillators, and a classic subtractive synthesis architecture. All the virtual analog components were carefully designed to offer the rich sound of their real analog counterparts, with alias-free oscillators, and filters that include nonlinear saturation and self-oscillation options.
Venom Virtual Analog Synthesizer
A comprehensive set of envelopes, modulators, and an arpeggiator is rounded off with a full array of audio effects—everything needed to achieve classic analog synth sounds with the warmth and edge of traditional hardware synths is included. A faux LCD panel helps simplify programing the more tweaky features, and flexible routing allows for the two oscillator layers to cross-feed the filters, making for an especially nice bit of analog character in the digital world.
Web:https://www.lennardigital.com/sylenth1/
If they don't - lets research some more.In that case, is there any way for you to share the project with me? Omnisphere 2. 5 audio tracks 1. The thread is a very good read. I can certainly do some pretty decent analysis of the audio here (during both realtime and after render). Thanks for the link.This will take some methodical thought and structured testing to get to the bottom of what is going on.What is known: Playback of audio files on audio tracks on cubase artist and cubase pro is identical.What is being tested: Playback of patches in VSTi synths renders different sounding results.Lets go back to square one.
Course:https://ask.audio/academy?nleloc=topic/sylenth
6. U-he Diva & Zebra 2 & Repro 1
U-he is not a synth, it’s a company—actually it’s software developer Urs Heckmann (plus a small staff), who’s come up with many excellent and characterful synth designs (and effects plug-ins) over the years, many available as freeware (like the popular Zoyd synth, and the unique Triple Cheese, which uses comb filters to generate/process its sounds). The U-he line includes several synths, but I want to focus on two of the most popular, Zebra 2 and Diva.
Urs describes Zebra 2 as a “wireless modular synthesizer”—it incorporates many types of synthesis, including subtractive, additive, and FM, along with an equally versatile array of sound-modifying tools like comb-filtering (physical modeling), all freely patchable. Only modules used in a particular patch are displayed, reducing front-panel clutter, and making for a more streamlined interface. The centrally-located modulation grid offers an easy way to connect modules, and helps visualize signal flow in complex patches. And for performance, Zebra 2 offers a “Perform” panel, with no less than four (!) programmable and assignable X/Y pads.
Diva, on the other hand, is a more dedicated analog-style synth—it models the sounds of various classic analog synth modules. But two things set it apart from other analog modelers. The first is that you can mix and match components/modules inspired by different synths, creating hybrid designs. The other is Diva’s cutting-edge approach to modeling analog circuits, which promises to achieve the next level in emulating the nuance of real analog instruments. This faithfulness to real analog sound brings with it a bit of a CPU hit, but users have embraced it, so this Diva may be worth her high-maintenance ways.
Web:https://www.u-he.com
Review: https://ask.audio/articles/review-uhe-repro1
Course:https://ask.audio/academy?nleloc=application/uhe
7. AAS Modeling Collection
As I said earlier, lists like this typically combine entries that are on everyone’s top-10 with choices of a more personal nature—this last entry probably reflects my interest in physical modeling techniques. AAS—Applied Acoustic Systems—makes a variety of virtual instruments and “sound banks”—their instruments are based on physical modeling, which, as you may know, is a method of creating a sound by emulating the physical way that sound is created in the real world. So instead of traditional oscillators, filters, and envelopes, you’ll typically find exciters, disturbers, and resonators—simulations of different vibrating materials, striking, plucking, bowing, and blowing techniques, and complex resonances and timbral responses.
AAS’s modeling collection includes instruments that put these kinds of tools to use emulating strings, guitars, electric pianos, and even analog synth circuitry, but the two I want to mention are Tassman, a general-purpose physical-modeling synth, and their latest, Chromaphone, which is dedicated to modeling all manner of percussive sounds. Both of these instruments let the user synthesize highly realistic sounds, thanks to the physical modeling of acoustic sound-generation, but those sounds don’t necessarily have to emulate actual instruments—for more creative applications, the modeling tools can be used to create very acoustic-sounding instruments that don’t—maybe couldn’t—actually exist in the real world, but sound (and play) like they do! Physical modeling technology is widely used nowadays for processing—component modeling is routinely employed to simulate the circuit path of classic analog hardware, including synth components like oscillators and filters—and it’s gradually being applied more to instrument design.
Wrap-up
Linux Virtual Analog Synthesizer Software
Like with any list, there are plenty more great synths I could have included but didn’t, for one reason or another (I decided to limit my choices to separate plug-ins, eliminating obvious possibilities like Alchemy and Sculpture, which are exclusively built-in to Logic). I also didn't include any audio examples—how can you boil the characteristic sound of synths that each offer so much variety into a few seconds of one or two patches? There are plenty of audio demos available online, along with trial versions of most, if not all, of the synths I mentioned, and I think the best approach for anyone who wants to get to know what particular models are capable of is to go ahead and try ‘em out yourself—a little homework that, for once, should actually be a lot of fun!