Thanks! i haven’t enjoyed using a computer synth this much since Aalto (still caning that after 8 years) - which also has a nice demo noise 
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Thanks for the Windows demo version, which seems to also run just fine using Wine on Linux.
I can also see now why some people have made the comparision to the sequencer found in the Awake script on Norns too. Off to explore!
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Hey @Ess before you leave… maybe you have left… Bon Voyage an all that…
Not sure who is going to keep on top of the Digitone updates … Just a little thing missing from your baby… 
Those 4 unused boxes… a mixer for the 4 tracks!
Prod somebody on your way out to sort it. it would be so good
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superberry is so much fun! love the 2 delays and the kinda special sequencer.
i recorded a little jam where i use the sub osc in higher registers for a breakdown. somehow the sub osc got really loud, so i think volume control for it would be a nice addition @Ess
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Nice jam! I’m glad you like it.
Hm, how loud are we talking? Higher frequencies are perceived as louder, but it shouldn’t be so loud that you cannot dial it back with the Sub Mix parameter.
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nvm, i just checked it again. a saturation plugin boosted certain frequencies and fletscher munson did the rest as you said. 
turning the sub mix down would have helped of course, but i wanted the sub osc isolated. not the way its intended to be used i think ^^
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Aha, hehe! Makes sense.
Well, at least the main volume controls the sub osc too.
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recently purchased, i love the delay b. it has such a particular sound with the blur all the way up, and the tone setting is also very nice.
i wonder if there are any similar plugins someone could recommend to me? i don’t know enough about max to try to separate those effects and make them work standalone.
There will be a separate Bokeh delay (with some extra features) for Max for Live coming soon. 
Thanks for buying and I’m glad you like it! Looking forward to hearing what people think of the Bokeh+
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Love it so far! At first I wanted a patch manager but then it’s easy to add one via the daw and, like you mentioned above, there is something ephemeral about it.
I’ve been trying to dig up information on the “Bokeh” delay and how you built it, but I can’t find anything. Is there any particular resource I can look at that talks about that particular delay structure or approach? I have not tried to crack it open in max inside ableton, not even sure that’s possible or how far down I get to look. It’s very modern sounding.
And while I’m gushing about the simple delays, is there any chance of adding an audio in on the device? Or break it out like you did the sequencer for Max4live?
Can’t wait to hear what you have next, and follow where your inspiration takes you.
I have the Digitone and it’s one of my favorite synths of all time and punches way WAY above its weight class. Based on the hardware you have worked on in the past, it feels like your approach is to “simplify” lots of the tiny pieces and put them behind simpler macro interfaces so you can dial in “sweet spots.” The sound designer in me initially reacts negatively to this, but then again there are so many other options I have at my fingertips if I need to go on a deep dive with the basic building blocks. You have this great middle ground of a focused interface that widens sweet spots and makes them more accessible. In that way they become more instruments with a personality than a platform.
Very excited to see what is coming down the pipe! Keep it up!
Oh, and I love your E1M1 reference. Your Digitone definitely appears in some Zenimax games.
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Looking at the name of the delay, it refers to the out of focus blur in photography, so to me it’s a way to transcribe that effect to sound which seems to be by smearing the echos via reverb.
Man, Im not an Ableton user, I hope I can use this bitwig one day. I tried the demo, lorenzo senni vibes. I love it.
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I’m the same. I have Ableton but I really want to use it in Bitwig (as I’m almost 100% switched over now). If it could be made into a VSTi it would make it far more appealing.
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Love this thing. Thought that it not being a plugin would bug me, but I think it makes you appreciate what you’re doing more. Stick around in a space for a while then move on to wherever a few parameter changes may take you. The kind of instrument that revels in the simple joy of exploration without the need for an end goal. Eno would be proud
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I’ve been using superberry in standalone mode to sample out into my MPC. It’s awesome and simple.
I can’t be bothered searching… who is ‘Lorenzo senni’ and why is this plug in n him nearly almost married?
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This is not totally exact, I believe it’s the technique that makes use of short focal to have blur in the background while your subject stays precise.
That would translate to a beautiful way to get your Dry sound enhanced by a very Wet background, in our domain.
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I believe we are talking about the same thing and I spelled it out wrong, bokeh is the blur on the part of the image that is out of focus, it is determined by the aperture of the lens, its focal length and the distance between focal plane and the out of focus part. But it can be in the foreground as well as in the background and can be used in creative ways, notice the out of focus elements in those pictures for example:
Looking at the definition, it is true that in the beginning it was used in japanese to talk about out of focus lights typically found in the background. But it my understanding that it has been bastardized to cover all types of blurred out of focus elements.
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Very happy to read all the nice responses! I’m so excited to share what’s coming next…
The standalone is indeed focused on exploration and I think it sits nicely outside of the DAW ethos - quite a nice thing to lose yourself in. Would be great to make a plugin version though, hopefully one day I’ll be able to.
Thank you! Much appreciated.
The Bokeh delay is two simple delay lines (one in stereo with ping-pong) but with the possibility of diffusing the taps by using all-pass filters, much like how you build an algorithmic reverb. The topology is incredibly straight-forward and not at all how you would build a lush reverb- but it is a sound of its own that I really like. When I first designed it back in 2017 I thought it sounded like ‘blurring’ the delay and called the function Blur - so the name Bokeh comes from that. I usually name things by association, and I like to try and describe synthesis function with analogies.
As written above, I’m working on a separate Max for Live version of Bokeh that has some extra features - sounding really good so far. To tease a bit, expect some more movement in more domains than time…
Indeed, the Superberry is not a sound designer’s dream, it’s not built to be that either. I enjoy exploring the idea of software synths that serve a more specific purpose like a lot of hardware does. I think there are enough soft synths that ‘does it all’, I rather make something with a strong character that you can ‘rely on’ for certain sounds - just like an SH-101 or Minimoog.
Having said that, Superberry is very specific and what’s coming next is a bit more of a heavy hitter in terms of sound sculpting. It’s always a balance though, I really do not want to end up with fine-grained parameters that don’t affect the sound much, I want everything to have an obvious effect and a good range- it’s not so fun to tweak otherwise.
(Although the Superberry goes a bit deeper than you expect, its FM capabilities with the LFO are quite interesting, I’m working on some video tutorials and presets to outline some of these things better … And 1.1 is around the corner, which will introduce some more sonic capabilities and upgrades)
Anyway, thanks for the thoughtful post, always appreciated to hear what people think!
And yeah - putting in little references to classic FPS games have become a meme of mine, so why stop now? 
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