Corsynth has introduced the C113 West Coast Timbre, a new module that brings a taste of ‘West Coast Synthesis‘ to Moog format modular synthesizers.
The C113 West Coast Timbre is a dual wavefolder module, letting you create complex sounds from simple sine or triangle waves. The West Coast Timbre features two different wavefolder circuits, based on two classic West coast modular synths, Buchla and Serge.
And, thanks to the module’s VCA, a full-featured voice can be created with a minimal number of modules, like a VCO, an envelope and the C113.
Here is what Corsynth has to say about the module:
A wavefolder is a non-linear waveshaping circuit that allows to create rich harmonic waveforms. It’s a distortion circuit that folds back the signal when it reaches a certain level. Wavefolding can be seen as the opposite of filtering. Instead removing harmonic content to the incoming signal, a wavefolder adds harmonics to the original signal creating a more complex waveform. For this reason wavefolders work best with waveforms with low harmonic content like sine waves or triangle waves.
Wavefolders, together with Low-pass gates, are one of the main building blocks of West Coast Synthesis.
Features:
Two selectable wavefolder circuits.
Manually and CV controlled folding amount
Manually and CV controlled symmetry for non symmetrical folding.
Two audio inputs, one of them attenuated.
Two audio outputs, one of them controlled by a VCA
Tracktion’s new 11-operator FM monster promises much versatility.
Tracktion has introduced F.’em, a new software synth for macOS & Windows that they say is one of the most powerful FM synthesizers ever made.
F.’em features a freely configurable 11 operator matrix, and F.’em is a hybrid quad-timbral synthesizer that can function as an FM, VA and Sample based instrument. Other features include a dual multimode filter, a complex effect section and a flexible modulation matrix.
However, it looks like the Operator matrix is where it is at. Here you can utilise the eight synchronisable wave, noise and two sample operators for some serious sound design. In fact, the blurb references the legendary Access Virus as a sound-a-like, which can only mean that F.’em can scream.
Alongside these, seemingly intuitive, matrices are even more sound design options including sound layering, macro controls, a multi-effects section and arpeggiator. Not to mention two LFOs with freely editable waveforms and 32-stage, temp-synched loopable envelopes.
Features:
4 Layers, each with 4 effect slots.
No fix algorithms, feed any wave operator into any other wave operator forward and backward.
Wave operators feature hard sync like in analog synthesizers and offer different waveforms from sine wave over analog waves to the waves found in some classic FM synthesizers.
Two multisample operators. One can frequency-modulate any of the other operators, the other multisample operator can be frequency-modulated by any of the other operators.
Noise operator that can frequency-modulate any other operator.
2 filters with overdrive stage, freely routable in series, parallel or anything in-between.
Each operator has its own pitch and level LFO and its own pitch and level envelope.
2 Flow LFOs with freely editable LFO shapes.
Tempo-synced, loopable envelopes with up to 32 stages.
Keyboard level scaling of each operator.
Modulation matrix with up to 200 entries.
Modifier matrix with up to 32 modification algorithms.
Quick edit panel for quick and easy adjustment of timbre and overall envelope.
