Supercritical Redshift 6 Variable Character Synthesizer Now Available To Preorder


Supercritical Synthesizers has introduced their first desktop instrument, Redshift 6, a six-voice analog “Variable Character Synthesizer”.

“To distorted misbehaviour and beyond” – Redshift 6 could well be the unexpected synth star of NAMM season.

Supercritical Synthesizers Redshift 6 is a synth that certainly looks as cool as it sounds, and seems to have the specs to match. It features both six-part polyphony and multitimbrality – hence the name – and has some super-flexible oscillators at its core, all of which look like making it one of the synths to look out for this year.

The Supercritical Redshift 6 combines technology from the company’s previous products, the Demon Core Oscillator and the Neutron Flux Filter. Each of the six voices features a DCO, with analog waveforms generated under digital control. The filter core is an analog 4-pole state variable filter, also digitally controlled, to “act like almost any classic vintage synthesizer filter and more”.

There’s a Demon Core Oscillator behind each of Redshift’s 6 voices, with this providing digitally-controlled analogue waveforms. This oscillator is unusual, though, in that the user can choose between various engines, including traditional twin oscillators, supersaw, flanging phase sync, or a transistor organ.

The Neutron Flux filter is an analogue 4-pole, state-variable type, also under digital control, and can “act like almost any classic vintage synthesizer filter and more,” according to Supercritical. Whether it can power a Starship is debatable, however.

What is certain is that this digitally-controlled analogue marriage seems to be central to Redshift 6’s ‘Variable Character Synthesizer’ philosophy. It essentially means it has a pure analogue signal path but can go in multiple digital directions, all controlled by way of a software-updatable engine and a lovely-looking screen.

“It can cover the full [sonic] range from almost digitally sterile and clean to distorted misbehaviour and beyond,”  says Supercritical. “No modelling here – it’s all analogue until the bypassable stereo DSP effects processor.”

The multitimbral angle in Redshift 6 is also interesting because you can use the synth in a single sound mode, with all six notes of polyphony accessible, or in a six-part mode with six different sounds, all monophonic. Or use any combination of sounds versus polyphony in between, including a classic vintage poly dual-layer mode with two voices, each with three parts of polyphony.

As if that’s not enough – and to slightly muddy the polyphony water – each of the six voices can also operate as a paraphonic voice with up to 16-note paraphony. Paraphony verses polyphony – there’s a feature right there.

In addition, Redshift 6 has plenty of modulation action built in, MPE support, and DSP effects. There are two main plus four auxiliary outputs, so you can presumably assign one sound to each output, which could be very cool indeed.

Features:

  • Six voices
  • Full analog signal chain
  • Digitally controlled analog Supercritical Demon Core Oscillator
  • Analog four pole Variable Character Filter
  • Flexible gain staging with an analog boost circuit
  • Physical audio output per voice (2 main outputs and 4 aux outputs)
  • Optional voice chaining
  • Bypassable digital effects in main outputs 1-2
  • 7 inch TFT IPS color screen with a bank of 8 endless clickable potentiometers and quick navigation via button grid
  • Quick powerful controls for oscillators and filters.
  • Six user-assignable macro controls
  • Six parts multitimbral
  • Modern MIDI implementation with USB-B connection and DIN IN/OUT
  • MPE

It’s not due until summer 2024, but Redshift 6 is certainly making a synth statement ahead of this year’s NAMM Show. It has a distinctive desktop design, complete with lit-up access to its innards (or so it seems) and even – get this – hexagonal buttons and screen.

The Supercritical Redshift 6 will be available in summer 2024 with an MSRP of £1,099/$€1,259. Preorders are open now. There’s more info at the Supercritical Synthesizers website.

 

Korg microKORG 2 vs Original microKORG

2024 NAMM Show: In his latest loopop video, host Ziv Eliraz offers an in-depth look at the new Korg microKorg 2, including how it compares to the classic microKorg.

Eliraz had access to a pre-release version of the microKorg 2, so it’s not a final review, but the video does cover the new synth in depth and make clear that it’s a very different instrument than the original.


Topics covered:

0:00 Intro

0:50 New engine

1:55 Bi-timbrality

2:40 Keybed

2:50 Screen & UI

4:10 New assigns

4:40 No shift

5:10 Presets

5:45 Build & IO

6:25 New oscillators

7:05 New DWGS

7:40 New samples

8:25 New osc mod

9:30 New noise

9:50 Fixed osc

10:10 Filter morph

10:50 Modulation

11:10 New matrix

11:25 Arp

11:40 Vocal process

12:00 Vocoder

12:15 Hard tune

12:35 Harmonizer

13:05 Effects

14:10 Unison

14:50 Loop recorder

16:35 Pros & cons?

17:10 Outro

 

 

 

 

Arturia Updates Pigments 5 Polychrome Software Synthesizer – Here’s What’s New


Arturia updates Pigments with a revamped sequencer, new presets, wavetables and samples – and you can now use its effects to process sounds from your DAW.

2024 NAMM Show: Today, Arturia has released Pigments 5, the latest version of their ‘Polychrome’ software synthesizer.

Compared to previous iterations, Pigments 5 the most exciting new feature here is a revamped sequencer. This adds a variety of new creative tools, including a one-click generative mode that will create a random sequence, as well as new playback options. In addition, Pigments can now save and recall sequence presets separately, allowing users to easily mix and match preset sounds and sequences.

Another interesting addition is the ability to process external sounds using Pigments’ Utility Engine. The broad and powerful range of processors included in the synth’s highly customisable effect engine has long been one of the instrument’s highlights, so having the ability to process sounds from your DAW is likely to add considerably to its appeal.

The other significant upgrade is one hidden under the hood: Pigments now utilises multi-core processing, which Arturia says will result in greater CPU efficiency.

Beyond this, Arturia has also tweaked the design of the simplified Play Mode view, which was first added with version 4. This offers an approachable, surface-level interface for the instrument – ideal for preset browsing. It’s now updated with a smarter look and better waveform visualisation.

Arturia has also added a significant amount of new sound content, adding 100 new presets as well as new stock wavetables and samples. There are also three new add-on sound packs available.

New in Arturia Pigments 5:

  • Reduced CPU consumption – Pigments now utilizes multi-core processing for greater CPU efficiency, allowing more users to explore this powerful softsynth with ease.
  • Process any audio with Pigments – You can now process external audio in Pigments from the Utility engine, by routing the sound to the instrument through the track sidechain input. Additional FX routing options have also been integrated.
  • Updated interface – Pigment’s refreshed interface includes an improved play view, with new visualisers and other UX enhancements.
  • Generative sequencer – featuring one-click sequence generation and new play modes, as well as saveable presets and sequence browsing.
  • New curated content and sounds – a selection of 100 new factory presets, alongside new wavetables and samples in Pigments 5, comprising more than 1500 sounds.

The Pigments 5 is free to existing users. Find out more on Arturia website.