I think a Peak is an excellent choice (I own one and like it very much). However, I don’t think I could get sounds like that out of my Peak – maybe someone else could, but I doubt it.
Perhaps it’s just uninspiring presents, but the patches sound to me like a (very good) software synth, not a rich but simpler analogue synth. I’ve had a chance to play around with a Blofeld and feel similar about that. Kyra seems like Blofeld taken to the next level, but still on the same track.
Those sounds in the video are pretty basic ones and should easily be possible to make on the Peak.
From the Peak demo videos I’ve seen and heard it certainly doesn’t sound like a VST synth. See the Sonicstate vids where Nick really gets into the Oscillators and filter. Peak has an analog filter and distortion.
I was surprised to find that Peak also uses FPGA processors!
“The FPGA: Higher Ground
Central to Peak is the use of a high-powered processor component called a Field Programmable Gate Array (FPGA). In contrast to traditional DSP chips, which often need to run in pairs or quads, the FPGA is a single processor on which many functions can run — from oscillators to the modulation matrix. The key benefit to an FPGA is that it runs at a much higher rate than DSP-based technology, and this has a direct impact on the clarity of sound.”
I’m not convinced yet of the benefit of FPGA.
I think there are VSTs that do not alias and sound better than the Peak when doing cross modulation and hardsync.
I honestly think you can’t go wrong with the Peak; especially considering you were already sold on it. It’s a solid synth all around, and Novation seem to be supporting their hardware and firmware diligently.
That said, I like the Kyra’s specs on paper - and as previously stated, I was really hoping it would be the perfect MPE synth - but I’ve yet to hear anything truly compelling from it. In fact, I heard some alarming digital stepping in the filter in a recent demo, though I can’t say for sure what that was about. Then there’s Waldorf’s reputation for shody encoders and buggy firmware.
I don’t know, if the Peak had MPE, I’d be all over it. I feel like Waldorf could have been more forward-thinking with the Kyra. It seems to me that they adopted this new and compelling design from a brilliant third-party developer, but didn’t really do anything new with it. It sure looks great though (grin).
Cheers!
I really doubt that we are going to hear any absolutely revolutionary sounds out of this. Between previous “actual” Waldorfs, Virii, Modals, Sunsyns, Solaris, moderately sized Modulars, this isn’t going to sound all that much different. Where it could differentiate itself is just how much of everything it presents in one box, and the hugeness of the sounds that it can create with the voicing.
What I’m trying to say, is I don’t think ANYONE is going to wow you with a demo until the thing is fully released, and people have some real time on it to start squeezing things out that only something like this would be capable of. Even then, the sounds shouldn’t be that big a departure from any other high-spec subtractive. Maybe a touch of its own flavor, maybe bigger, more, etc. but not hugely different.
From what I hear so far, the audio quality is excellent, which is all we really need to know. From there, you decide if you like the interface, feature list, and then either buy one, or get something else like it. If you’re in the market for a big digital subtractive.
I think this thing is looking great, and if I decided that I needed this sort of thing, I think it would be on my shortish list of possibilities. Though general speaking, I never need that kind of voice count, and if I want crazy modulation I go more toward the modular end of things (or maybe FM like the Digitone).
Still, this is looking really solid. I just wouldn’t expect to be blown away by trade-show demos.
Best demo so far, imo:
This is a great product for people who want a more full featured Blofeld, of sorts. (@tr909, I am looking at you!)
Or those frustrated with Access lack of updates in the last 10 years.
IMHO this has nothing to do with FPGA in general, but simply how the FPGA is used.
The “beauty” of FPGAs is that they can do all kinds of stuff in parallel. They are not bound to executing a sequence of commands like a CPU or DSP. Working with a FPGA means designing your own hardware chip which then executes no code by itself, but performs its “thing” like any hardware design will do.
By reconfiguring the FPGA it can become a completely different hardware chip. But, of course, hardware design is not easy. It’s a completely different kind of beast than programming a CPU or DSP.
You’re missing something.
Last year the Valkyrie guy said (if I’m right) that CPUs did not have the necessary power for signal processing in the way he wanted.
Hmmmm … have you really understood what I wrote?
For example:
… and all the rest? FPGAs are no CPUs, they are like a custom made chip (just more flexible, because reconfigurable) and don’t work with software nor like software.
This is exactly why FPGAs are used for highspeed signal processing or massive parallel signal processing (llike in the Valkyrie/Kyra to provide tons of voices including fx etc.pp.) for a quite low price).
Some nice introduction about FPGAs can be found here:
BTW: there is even a FPGA (Xilinxs Spartan) sitting inside the Digitone (beside its two Coldfire processors).
Well then be happy with your 128 voices synthesizer 
perfect circuit have almost become my defacto demo location now. they have some great musicians on staff.
nothing stopping you from doing MPE via standard midi connections, it’s not a magical new protocol.
You can do it via quite a few synths, elektron included, if you don’t mind sacrificing voices. Basically as long as you have a multi-timbral synth and set a range of midi channels to the same patch, and can restrict your MPE device to that same range you can have all of the multi pressure, pitch bend, y axis stuff you want.
The main thing that’s usually missing is not being able to map release velocity to parameters.
this looks really great, but it’s mostly just reminding me I have totally underutilised by virus ti since I started using elektron devices.
Perhaps the point I was trying to make, specifically with regards to the USB host port, wasn’t quite as clear as it could have been. To be fair, the post you’re referring to is actually a continuation of things said earlier in this thread and other conversations previous. At any rate, I assure you I am well-versed in the MPE protocol. In fact, I’m currently touring with a LinnStrument in my live rig. But I’ve been holding out for a hardware synth with a proper USB host port to facilitate a one-cable solution for power and MIDI:
i.e. LinnStrument --> USB cable --> Synth X.
As far as I’m aware, the only standalone, MPE capable, hardware synth that offers direct USB connectivity for class-compliant controllers like the LinnStrument is the Parva; but sadly, it’s just not what I need. At present, I’m using an iPad for synthesis, with an iConnectAudio4+ for power, audio, and MIDI routing, and a handful of other peripherals. Granted, it’s all mounted neatly and securely in a flight-case, but it’s a hodgepodge of dongles, adaptors, and cables to be sure. Sufficed to say, I’m looking for a simpler, more direct solution.
I had originally hoped that Novation’s Peak would be the first, consumer synth to take this brave step, but that didn’t turn out to be the case; and evidently neither has the Kyra, and so we wait…
Cheers!
It seems you were right about Peak. I got one and while it certainly sounds good I’m just not connecting with it. I really like the Virus TI2 synths and to me they still sound better so I will return the Peak and then just wait and see how Kyra will sound. I’m still very very happy with my Digitone so it’s okay.
Fair enough, i understand wanting usb host ports on more synths and other devices. I also use the iConnectAudio4+ for that reason. Though with Linnstrument also having midi din, I honestly don’t see why you are putting so much importance on it. 2 cables instead of 1 isn’t really that big a deal is it?
I’m a full-time touring musician - if I subscribed to that way of thinking, my rig would be twice the size, twice the weight, and take twice as long to set up and tear down. Every inch, every pound, every minute counts, when you do this every day. At any rate, it’s my job, my rig, my time, my budget, and my back… You don’t have to see why - I do.
Cheers!
I’m curious if it was the interface or the sound you didn’t like?
I haven’t looked at pictures of Kyra enough to figure out if I would like the interface. My (brief) experience with a Blofeld made me think it was fine if you knew specifically what you were after, but not as good for random exploration. I expect Kyra will be better on this front.
Nothing wrong with the interface at all. It was very good in fact. I always judge a synth mainly on it’s sound and I just think the Peak sounds too plain and static, lacking special character. I guess I did notice this when first checking it out but later heard some good sounds and thought it was a matter of sound design. I’ve really been wanting a wavetable synth for quite some time so I thought this could be the one 
It is also very heavy, something I forgot to check before I bought it, which means it will be difficult to take it with me. A great sound would make up for transport struggles though.