I joined in as a super early adopter on the desktop as I have the Anyma Phi and this addresses some of the issues I had when working with it namely CPU budget and the away from computer editing ease of use.
I use wind controllers and it’s nice to have the combined Velocity/Expression envelope as it means wind synth users get to benefit from the work most keyboard users do when making patches. That was one of my favourite things about this sound engine.
Looks like there’s also some higher res pictures & sound demos dropped today as well.
Hopefully we hit the advanced ribbon controller goal!
There’s A LOT of stuff in the Anyma engine without sound demos or factory presets showing its use so more examples to highlight what it can do will no doubt help.
The sparse selection of presets for the Anyma Phi was spelled out as a con in the Loopop review video.
In the five demos i just linked, these seem mostly or entirely physical modeling in origin. There are all the virtual analog and wavetable voices not demoed. ( I am not complaining. )
That’s something of the adventure with the Omega. Given the model, and that it is 4 part multi-timbral you can have separate filters and effects for all four. And then mix sequenced parts with live playing.
I was thinking about this a few days back, and i think you could have more than one person playing this synth at the same time. For instance player one with two parts on a split keyboard, and someone else playing a wind controller using the host USB connection. Or player one keyboards, player two x-y pad and audio input with effects, or similar.
ADDED : Probably not but you can drum on the X-Y pad — could you drum two separate parts on the pad ? The desktop has the mic on the ribbon, and the ribbon could have multiple position sensing — what could be done with that ?
@Hurolura. Things are going very well with the Omega, with it’s acceptance, and development on Kickstarter ! Good work, by the whole Aodyo team.
I have a question about the poly-aftertouch feature. Does it include a Note OFF Velocity, which is the control given by how quickly you release a key. In the terminology used by ROLI they call it “LIFT”.
This parameter is useful in adjusting the release portion of a note envelope, either adjusting the amplitude or filter, and can be used in other fun ways too.
I know the second generation Medeli Polytouch keybeds ( used in the ASM Hydrasynth — Explorers and Deluxes ) have this capability. I have no knowledge if this is unavailable with the Fatar poly-aftertouch keybeds, but if it is available it would be useful to incorporate it in the design.
And another thing, and you don’t need to respond to this here, or commit to it, just as something to consider long term. Osmose has a feature called “pressure weighted portamento”, which allows you to get a controlled glide between two notes using the poly-aftertouch capabilities of a keyboard. You can see it demonstrated here in this video. This is a substitute for the lack of full control of the X dimension of motion on a standard keyboard. It may not be doable exactly like this on the Omega, depending on the patent, but it is a valuable feature that could be done in other ways too. ( It’s OK for you to PM and ask me for more on this. )
I think Note Off velocity is something which is not dependent on Poly Aftertouch.
It is just the way you handle the keyboard to detect note on velocity which is also used for detecting note off velocity (same process just one is used when triggering a key and the other one is used when untriggering a key).
We thought about using the note off velocity to control the VelEnv in the Anyma Phi but this feature is not often available on most keyboards sold on the market. Most of them just send a “0” note off velocity.
But as we will handle the keyboard on our own for the Anyma Omega Keyboard this is something we could consider implementing.
I didn’t knew about the patented pressure weighted portamento and checked the video link.
It was a pleasure to discover that one.
As usual, Christophe Duquesne from Haaken Audio is explaining and demonstrating this feature in a smart and easy to understand way.
That makes a fair bit of difference to the playability of the Desktop but also moves the needle as to the kinds of performance features that are available on ribbon controllers in general.
I guess we’re in the final 48 hours now and we’ll see how many jump on the 30% off at the last minute.
They’re always generous with the stretch goals, just like with the Phi.
This is a big one, which ever way the Y dimension is implemented, it makes the ribbon that much more playable. And then adding polyphony with playing the ribbon, is going to make it fun. Obviously you could have two regular ribbon voices, but other playing modes might be possible. Like a real Theremin sort of thing, with one hand pitch and the other hand volume. And other ideas come to me too.
I’ve been wondering about the breath controller, the surprise extra that came with the CV interface. I wonder how specifically the interface will be, it might be an electrical interface, where the breath control sensor is external to the two synths. Or it could be a sensor, perhaps one like in the Sylphyo internal to the synths with a plastic tube and mouthpiece. Aodyo certainly understands breath controller interfaces really well, so it should be good.
I’ve never used a breath controller with a keyboard, but as a lifelong wind player, and long-time wind MIDI player, this will be an easy adaptation for me.
Up on indigo now, with an initial batch of about 30 units, if you missed out.
I’m really hoping they’ll push in a couple last hardware upgrades… Balanced outputs would be lovely, and I’m still curious what the scope screen stretch goal was…
