Absynth 5 software

Dedicated Macro Controls allow you to operate several parameters at the touch of a button or just by pressing one key on your MIDI keyboard, and everything is fully automatable in your audio MIDI sequencer.

All this allows you to focus on what this is all about: realizing your musical ideas! Moreover, all of its parameters can be both randomized and modulated. Filter feedback allows you to insert a sound modulator like a Waveshaper, Frequency Shifter or Ring Modulator in the resonance path, giving your filters custom distortions, even ones never heard before.

These practical examples will simplify the learning process, to get you quickly started with designing your own Sounds! The icons introducing these notes let you see what kind of information is to be expected:. Whenever this exclamation mark icon appears, you should read the corresponding note carefully and follow the instructions and hints given there if applicable.

This lightbulb icon indicates that a note contains useful extra information. This information may often help you to solve a task more efficiently, but does not necessarily apply to the setup or operating system you are using. However, it should be worth reading for most users. For current information about system requirements and compatibility with current and legacy operating systems, please see our website at: www.

Use the Device menu to select the desired audio interface. We recommend setting the sample rate to and setting the output latency to about 10 ms. Depending on your hardware this may be done via the Latency Slider on the bottom of the Audio Tab or via the button ASIO Config that opens the control panel of your audio interface.

These are recommended settings that should work well on most computer systems; for information on what these settings mean, please refer to section 2. The data produced by audio software like ABSYNTH 5 has to be handed over to the driver of the currently used audio hardware, which in turn passes it to the digital to analog converters that produce an analog signal to be heard via your speakers. This procedure takes time.

The resulting delay is called latency. The high performance level of current computer hardware combined with advances in driver technologies has reduced the required time to a few milliseconds. Still, there is a trade-off to be made, as an extremely low latency taxes the computer resources more than a relaxed setting with a longer delay between sound production in the software and sound reproduction via the speakers.

These two technologies ensure an efficient data transfer between Software and audio hardware and should provide a latency that is suitable for live play, if not unnoticeable. If you see your interface listed but it is off, click on the Off label to turn it on.

We have assigned the four rows of alphanumeric keys in a similar pattern to that of a piano keyboard. The row of keys above that from [S] to [;] covers the corresponding black keys, with [S] assigned to C. The two rows of keys above are assigned in a similar pattern, but one octave higher.

However, the plug-ins lack the options for settings up audio and MIDI hardware as this is handled by the host the plug-in is working in. Depending on the operating system running on your computer you have the choice between the following plug-in formats:. Please refer to the documentation of your host software for details about the required plug-in format and how to open and use the ABSYNTH 5 plug-in.

The audio signal path is depicted by wires that connect the activated modules. This allows you to see at a glance which modules are used in the current Sound. Each Channel can hold up to three modules. An Oscillator module always sits at the top of a Channel. They provide the foundation for every Sound. At least one of the three Oscillator modules must be activated in order to hear a sound! The two following Module Slots in each Channel can hold any of the 19 sound processing modules, these being of three different types: Filters, Modulators or Waveshapers.

The signals coming from the three Channels A to C then run together through the Master Channel, laid out horizontally at the bottom of the Patch window—the signal going from left to right. Here also, you can activate up to three modules: The first two Module Slots can hold additional sound processing modules Filter, Modulator or Waveshaper modules.

This module is driven by the separate Effect window. Unlike most hardware synthesizers, ABSYNTH allows you complete flexibility setting up the number and order of the oscillators, filters and other features you wish to use. The backgrounds of these capabilities are the flexible possibilities of modulation in. A modulation uses a control signal the modulation source to let a particular parameter the modulation target change its value over time. To modulate a parameter for the duration of a sound, simply connect this parameter with a modulation source: the modulation source then takes control of the relevant parameter.

You will find a practical example of the use of Envelopes at section 4. LFOs and Envelopes are very flexible modulation sources and hold many parameters. For example, you can raise the filter resonance or move the breakpoints of your envelopes in real time.

This way, you can build powerful MIDI controlling schemes by assigning various pertinent parameters to the same Macro Control. You can then control all the parameters in this group using a single rotary knob on your MIDI hardware controller or an automation track in your sequencer software.

Basically, a Waveform is a small chunk of signal designed to be looped, thus generating a periodic signal, may it be an audio signal or a control signal. Usual examples are the sine, square, sawtooth and ohters. Instead, you may start from scratch and design your own Waveforms. This happens in the Wave window. The Wave window provides you with a selection of drawing tools and functions in order to create custom Waveforms according to your needs.

By default, you see the Waveform page. To create a new Waveform, simply select one of the graphic tools in this view and draw the curves with the mouse. You can then apply various transform functions to the Waveform such as turning the curve on its head, changing its phase etc. You can also produce many weird and wonderful sounds using the Fractalize command.

As well as changing the temporal progression of the Waveform, you can also edit its harmonic content using the tools in the Spectrum page. Just draw the amplitude and phase of the harmonics and you can produce subtle to drastic changes in the resulting Waveform.

When you are happy with a Waveform you created, you can store it in your own Waveform library. Another powerful feature is the possibility to morph different Waveforms: the resulting. This way, you can produce interesting curve progressions, which allow greater variety in the creation of Sounds and control signals.

The Quick Start at section 4. The Mutator proposes a totally different approach to the generation of new Sounds. The animated graphic representation of the grain cloud below the other controls is also a huge help in understanding what each one does. First up is Cloud, a junior version of the Aetherizer with fewer parameters and no graphic window, but nevertheless capable of a lot of new sounds.

Second is a new Supercomb to complement the existing Comb filter, this time with extra feedback options and tonal extras inspired by the dedicated Pipe and Resonators effects. This is a great resource for acoustic and metallic overtones. In fact, extra feedback options are a recurring theme in Absynth 5, since seven other filters have now sprouted their own Feedback panels, so you can return signals from whence they came after subjecting them to Waveshaping, Frequency Shifting or Ring Modulation.

Sounds good to me! The only problem I experienced was a bug that prevented me storing my third-party Absynth sample content other than in the default location, resulting in 'sample not found' dialogues, but NI are already working on this.

Absynth has long been the first port of call for musicians searching for unique ambient, atmospheric and evolving sounds. If you've not yet succumbed to its many unusual charms, there's never been a better time to take the plunge. I know some commentators don't approve of the 'dumbing down' offered by Mutator, but I found it a most helpful tool and a great way to create unexpected new sounds.

Most synths lag significantly behind Absynth in number of available synthesis styles, although two alternatives do spring to mind. Camel Audio's Alchemy lacks FM synthesis but it offers far more sample manipulation and user import options, while Spectrasonics' Omnisphere also supports lots of synthesis styles and a most impressive factory library, covering more genres than Absynth.

The Absynth 5 library now offers around sounds, including fresh ones showcasing the new features. Here are a few of my favourites:. Alternatives Most synths lag significantly behind Absynth in number of available synthesis styles, although two alternatives do spring to mind.

New Instrument Highlights The Absynth 5 library now offers around sounds, including fresh ones showcasing the new features. Here are a few of my favourites: AlienTrumpetdrones: starts out as a trumpet fanfare and evolves into a mournful and windy grain cloud courtesy of the Aetherizer.

Crystallisation: soundscape comprising dancing digital bells underpinned by arpeggiated noise puffs and groans. Doomhammers: a sprawling, pulsing epic of exploding hammer sounds echoing across a deserted landscape, with Aetherizer grain rate modulated by a custom envelope.

Epic Soundtrack: a split keyboard creation with huge drum motifs playing at the bottom, orchestral hits in the middle, and evolving synth lines at the top. You could create an entire soundtrack with this preset alone!

Major Cloud: starting with just a single sinewave, this scintillating effect is a tour de force incorporating nearly all of the new features including Supercomb and Cloud filters and the Aetherizer effect. Pros The Aetherizer grain-cloud effects are simply stunning, and can be applied to your own audio too!

Mutator finally lets users create new sounds easily without donning an anorak. New filter options provide yet another source of richness and charm.