In this video, Marcus Padrini compares the Korg MS-20 mini and iMS-20 for iPad – and demonstrates that you can’t rely on your eyes to get patches to match, but if you use your ears, you can get a very close match. Continue reading
Benoit Serrano has released a new free software synth for Windows, Horus.
Horus is described as “something between a string-machine and a poly synth.” Continue reading
XILS-Lab has released XILS 3 Version 2.0 – an update to their advanced modular synthesizer that adds more modules, more presets, more resources, a revamped User Interface, improved ergonomics and workflow, enhanced features and more.
The XILS 3 V2.0 not only emulates the Synthi ( VCS 3 ) modular synthesizer, it also adds an emulation of the EMS 256 Analog Sequencer. Also added in v2:
Secret Base Design has released a new software synthesizer for iOS, Nice To Be Your Friend Synth, that’s designed for jamming with friends.
Nice To Be Your Friend is Universal, and offers more than a hundred sounds, using a SoundFont engine. The app is polyphonic and multi-timbral and supports MIDI In/Out. Continue reading
UVI has announced that all UVI products now support authorization on up to 3 devices concurrently, on any combination of computers and iLok dongles, via iLok License Manager.
This enhancement provides users with multiple workstations an immediate workflow improvement by eliminating the need to manually move a single authorization from system to system. Continue reading
Wusik has released Wusik 4000, a new software modular synthesizer for Windows and Mac.
Wusik 4000 is a new project by Wusik and WilliamK, done from the ground using modern code and cross-
Wusik 4000 has a fixed path of audio, but with a modular wire system for modulations. Audio and Events are dynamically routed in this way: Continue reading
Musikmesse 2014: Rob Papen has announced Blue II – an update to his Blue ‘cross-fusion’ synthesizer.
First released in 2005, BLUE offered FM and subtractive synthesis, combined with Phase Distortion and wave shaping synthesis. Papen called it ‘Cross-fusion synthesis’, since it covered so much musical ground. Continue reading