If you want to sample the vintage pleasures of Arturia’s classic synth emulations then now is the right time to get a substantial taste, as the company’s Analog Lab Intro plugin can currently be downloaded completely free of charge.
With sounds culled from 28 of the company’s highly-respected V Collection instruments, this includes 500 ready-to-go presets, each of which can be tweaked using simple controls.
An intuitive browser enables smart searching for the sound you are looking for, and you can tag favourites for easy recall. In fact, you can create your own personalised playlist of top sounds, which could come in handy when you are on stage.
Analog Lab Intro runs standalone and in VST/AU/AAX formats on PC and Mac. You can download it for free via Audio Plugin Deals for a limited time only, it cost $20.00 / 100% OFF!
Bitwig and u-he have announced new CLAP (CLever Audio Plug-in API), the new open standard for audio plug-ins and hosts.
Over the years, VST and AU have been the big two plugin standards that developers have adhered to. Now, is the writing on the wall for VST and AU
The ‘CLever Audio Plug-in API’ is described as a new open standard for audio plugins and hosts, and promises modern features, innate stability and rapid support for developers. And, because it’s open-source, there are no barriers to entry for developers.
Here’s are the benefits that the developers highlight:
Better Performance From Modern CPUs- CLAP offers several advantages in comparison to existing plugin standards, starting with better performance from modern CPUs. It promises to “take multi-thread management to a new level, with clear and efficient allocation of roles between plugin and host”. Preliminary tests are reported to show significant performance gains.
Better and Faster Organization – CLAP hosts can read plugin metadata and retrieve information from them without waiting for them to initialise, so scans should be faster.
Bitwig and u-he are also working on an extension which will enable plugins to tell the host which files they need (samples, wavetables, etc), so that these can be consolidated into the project file. This should make transferring projects between systems simpler and more reliable.
Better Modulation- There are also benefits for automation, modulation and expression. In accordance with the MIDI 2.0 spec, there’s per-note automation and modulation, while the non-destructive parameter modulation concept means that, as soon as modulation has finished, the target parameter will return to its original state.
In addition, polyphonic plugins can have their per-voice parameters modulated for individual notes – something that Bitwig and u-he describe as “MPE on steroids”.
Initial implementations by Bitwig, u-he and the Surge project demonstrate CLAP’s possibilities.
Information for Plug-In and Host Developers
The CLAP creators tout many benefits for plug-in and host developers:
“From the C-only ABI, which allows binding to any programming language, to the transparent client-server model between host and plug-in, the robustness and clarity of the threading model, and the single event queue for all kinds of parameter changes, timing and MIDI. Despite being so comprehensive, everything in CLAP is easy to find and easy to implement.
A single cpp/hpp glue layer for C++ offers a quick start into the ABI, and its built-in “proxy layer” finds common threading bugs in an instant. Apropos C-only ABI: There are no platform specific dependencies: In theory CLAP should also run well on embedded platforms, game consoles or specialized supercomputers.”
Open Source & Liberal License- CLAP is open source, released under the MIT license: No fees, memberships or proprietary license agreements are required before developing or distributing a CLAP capable host or plug-in, and the license never expires.
In a nutshell, there are no entry hurdles for developers, and plenty of open source projects already benefit from CLAP.
MIDI Just Works – CLAP is designed to be future-proof; although it’s inspired by MPE and MIDI 2.0, it can adapt to any future MIDI standard.
Extensibility & Governance- Companies can also develop their own proprietary extensions for specific features if they need to.
In short, this looks like a serious bid to disrupt the plugin landscape. CLAP 1.0 has been in development for several years, and it’s already being evaluated by the likes of Arturia, Avid, BespokeSynth, CableGuys, Expressive E, FabFilter, Image-Line, Oddsound, PreSonus, Valhalla DSP and Xfer Records.
This isn’t just a theoretical standard, either: CLAP is supported in the beta version of Bitwig Studio and the CLAP beta versions of u-he’s ACE, Diva, Hive 2 and MFM2.5.
Open Source Projects Using CLAP:
Avendish project
CLAP JUCE Extensions project
Dexed
MIP2 framework
nih-plug framework
TheWaveWarden (Odin2)
For latest updates, example code and information are available at the CLAP Github page.
Moog Music has released Mavis, an all-in-one semi-modular analog synth voice in Eurorack format, that is designed for those who crave that classic Moog sound but do not want to pay too much for it.
Mavis brings new sonic capabilities to Moog’s palette of Eurorack systems. Use it on its own or as part of a Eurorack or Moog semi-modular setup.
Mavis, the affordable Moog analogue synth that you can build yourself. It can be used as a standalone synth, or removed from its case to be used as a 24-point patch bay and a single VCO with pulse width modulation, waveform mixing and mod source mixing.
There’s a 24dB low-pass ladder filter, along with an audio rate LFO and 4-stage envelope generator. Uniquely on a Moog synth, there’s also a wavefolding circuit, bringing additive synthesis into play. The modular utilities section includes attenuators, offsets, mults, and a DC-coupled mixer.
Lastly, there’s a patchable sample and hold circuit, which generates a random CV pattern that can be used to modulate other parameters. One application of this is to set Mavis into a ‘random sequencing’ performance mode.
With Mavis, users of any skill level can quickly build an analog synthesizer, with minimal tools and experience. No soldering is required.
Once the instrument is built – which comes with a fitted protective cover – includes a one-octave keyboard so that you can start playing immediately, while patch books and educational materials are on to help you start patching and designing sounds.
Features:
24-Point Patch Bay: Mavis features a useful collection of utilities and flexible control voltage routing.
Full Range Analog Oscillator: Mavis’s Voltage Controlled Oscillator (VCO) with pulse-width modulation (PWM), waveform mixing, and mod source mixing delivers rich harmonic character and motion.
Voltage Controlled Filter: Sculpt your sound with the -24dB Moog Low Pass Ladder Filter, delivering the sonic power behind the distinct sounds of Moog basslines and leads.
Audio Rate LFO and 4-Stage Envelope Generator: Mavis uses crossfaders in its modulation routing instead of switches, allowing you to blend between a variable shape LFO and 4-stage envelope generator, for interesting and unusual modulation contours.
Wavefolding and Modular Utilities: Mavis features Moog’s first-ever wavefolding circuit, allowing for additive synthesis to sit alongside traditional subtractive synthesis, and features a broad modular utilities section, complete with attenuators, offsets, mults, and a flexible DC-coupled mixer.
Patchable Sample and Hold (S+H) Circuit: This circuit generates a random CV pattern that can be patched to modulate other parameters, including setting Mavis into a “random sequencing” mode of performance.
Protective Cover: Mavis includes a fitted protective cover for use during studio downtime or taking your instrument on the go.
Seamless Configuration with Eurorack Systems & Moog’s 60HP Semi-Modular Synths – In 44HP, the synthesizer offers two oscillators, full ADSR, ladder filter, sample and hold, wavefolding, attenuators, mixer, mults, and much more.
Moog notes that Mavis isn’t the first DIY instrument from Moog – in fact, the company was built on the build-it-yourself kit.
In 1949, a teenage Bob Moog discovered a copy of Electronics World that featured an article with details on how to build an electronic musical instrument at home. Shortly after, he built his first model of the instrument, a theremin, from plans published in the magazine. By 1953, Bob and his father established R.A. Moog to market and sell theremin kits out of their home in Queens, NY.
With the release of Mavis, Moog celebrates its roots by providing the end user with the unique experience of constructing their own instrument. Every Mavis is custom built and hand assembled—like the instruments Bob Moog built years ago and the synthesizers and theremins that Moog’s employee-owners assemble by hand to this day.
