Sound designer DMT Cymatics has created a set of 50 presets for NAMBU synthesizer. The synthesizer is a 6 Operator FM synth from the developers Ice Works, with added uniqueness from its choice of filters, and flexible modulation.
Along with additional Textures and traditional Oscillators, this synth is a versatile synth. Here you will get 50 presets sound designed by DMT CYMATICS. The presets work for iPad and iPhone versions and are simple to install.
Sounds designed suitable for Ambient and Space synth, Lo-Fi and other genres.
50 Presets for Nambu can be downloaded from the DMT Cymatics website HERE (price 4p)
Thick basses, buttery leads, feathery pads — Trooper is a total synth explosion that crams it all and more in a neat little package. It sounds HUGE, yet tweaks easy. It’s coated in analog “fat,” yet bursts with tonal surprises nestled across its controls. Get ready for an all-out sonic assault, because Trooper is here and it’s our meanest, beastliest, user-friendliest synth yet!
Many of Trooper’s parameters are meant to interact and meld together in novel ways. For example, the oscillator volumes —beyond just acting as mere blend knobs— vary the characteristics of the basic signal depending on how far they are “pushed”. The emphasis is on providing warm and round basic tones with lots of variable harmonic content.
The primary oscillators are backed by an audible LFO that is both a sound source and a wide frequency range modulator. This lets FM-based sounds to combine with traditional waveforms. A pink/white noise generator helps out pads and percussions, and insidiously changes tonality when added in small amounts.
A new filter implementation complements the pugnacity of the signal generators. In its middish settings, the resonance can be characterized as “throaty.” The filter is capable of self-oscillating, and can be controlled via the keyboard. The mated ADSR envelope is shaped to provide tonal ‘immediacy’ and smooth frequency shifts. The amount knob has a wide range that changes the feel and shape of the envelope, especially when pushed above the mid-level.
The output stage features a virtual VCA that imparts tones colloquially termed as “fat”. Extra modulation is provided by a non-audible LFO and a dedicated envelope. The LFO offers numerous wave shapes, BPM syncing, and key tracking. Its output is controllable via the mod wheel, velocity, or aftertouch.
The Esprit parameter helps deploy some of the Trooper “special sauce.” Highly interactive with the stages preceding it, Esprit is known to be handy in tightening up bass tones, and in adding the “je nais se quois” to presets at large. The Get6 parameter is a one-touch ticket to big, mix-filling synth sounds. So whenever you’re lost in an empty mix…it’s got your six.
The arpeggiator inspires rhythms with five algorithms, variable note value, octave range, and gate. The “Texturizer” purveys a wide range of modulation effects that include chorus, flanging, variable comb, resonant delay, and stereo imaging. The BPM-syncable two-tap delay has time and feedback controls per channel, and is tuned a little darker than our usual offerings. Trooper can run in monophonic or polyphonic mode, the latter providing up to 12 voices. Legato is available in either mode.
Watch Doug Woods demo Trooper!
The robust MIDI implementation also includes MPE support, and the synth is able to I/O MIDI performance data. The “MagTouch” virtual controller lets you to play and record (in AUv3 hosts so enabled) over the MPE protocol. MIDI learn is made easy via a visual interface, and users can save, patch-link, and share MIDI CC maps. Bluetooth MIDI input is also supported.
The AUv3 implementation lets you to run multiple instances of Trooper in DAWs. Trooper’s fluid UI accommodates a wide variety of screen sizes and view configurations. Feature navigation is designed to be nonintrusive so that parameters can be accessed easily. The iPad implementation supports portrait layout, so that pretty much all is on one screen.
Included are over 250 presets that range from deep basses to weird so-and-so’s, stopping by many other sounds along the way. The powerful YPAT2 system helps you save, catalog, and share presets with ease.
The standalone app provides a “Tapedeck” to record, save, and share your ideas on the quick. It features a built-in looper, and a metronome with configurable time signature. The standalone also features tap tempo, and MIDI clock syncing. DSP is in high resolution 64-bit, with native processing at up to 96kHz.
Moog has announced Animoog Z today! Designed by Moog Music, the world’s first synth company, Animoog Z is an inspiring 16-voice polyphonic synthesizer that invites you to explore new concepts of multidimensional sound design and performance.
Powered by Moog’s Anisotropic Synth Engine (ASE), Animoog Z empowers you to visually traverse new sonic universes and even create your own! ASE utilizes a novel orbit system to expand the concepts of wavetable and vector synthesis, allowing you to navigate dynamically through the X, Y, and Z axes of sound. Spontaneous sound design with Animoog Z is easy—simply select and drag the orbit path to explore endless sonic configurations.
Animoog Z captures the immediate and intuitive experience of Moog synthesizers and applies it to the modern digital paradigm, enabling you to quickly sculpt incredibly fluid sounds that live, breathe, and evolve as you play. Use Animoog Z’s built-in keyboard to control pitch and pressure per voice (or send MIDI out), or connect your favorite MPE controller and explore Animoog Z’s MPE-compliant sound engine.
Animoog’s diverse library of timbres includes digital tones and spectral sources alongside analog waveforms recorded from classic Moog circuits. If you ever run out of sounds, you can use the built-in Timbre Editor to record and edit your own timbres!
Visually captivating and sonically immersive, Animoog Z brings music production to the next level. Whether you are new to synthesis or a professional musician, Animoog’s unique user interface gives you the power to easily create a visually vibrant and sonically rich universe.
Key Features:
• Multiplatform Experience: Share presets, timbres, and in-app purchases across your compatible Apple devices.
• Anisotropic Synth Engine (ASE): An exciting Moog technology that allows you to move through the X, Y, and Z axes of unique timbres to create an expressive and constantly evolving soundscape. Sonic modulations are visualized in real time, providing a multisensory feedback mechanism for sound creation.
• Polyphonic Modulation and Pitch Shifting: Control Animoog Z’s advanced touch surface keyboard with configurable scales, key distances, pitch correction, and glide. Simply slide your fingers to control multiple per-voice parameters in Animoog Z right from the keys.
• Timbre Editor: Go beyond simple sample playback and build unique sounds that evolve in multi-dimensional space. Select from a wide variety of built-in timbres or customize your sound by recording your own timbres (or import your own WAV files).• ENV/LFO Page: Articulate your dynamics with 3 independent six-stage DAHDSR envelopes for Amp, Filter, and Mod, each with loop and sync functionality. Give motion to your sound with 3 independent LFOs featuring continuously variable wave shapes, phase offset, delayed start, sync, and support for 1-8 repeats.
• MOD Page: Highly flexible modulation matrix with 10 lanes and a multitude of sources, controllers, and destinations—including global destinations like Delay and Thick. Use the Solo and Enable controls to explore complex modulations layer by layer.
• Effects Page: A collection of dynamic sound-altering and sound-augmenting effects with Delay, Chorus, Bitcrush, Filter, Arpeggiator, and Looper. Oscilloscope-style views display the output and impact of your effects.
• MIDI: Use your favorite MIDI controller to control Animoog Z (with full support for MPE input) or go MIDI out to use Animoog Z’s highly expressive keyboard to control your favorite instruments. Go even deeper with Animoog Z’s exhaustive MIDI CC mapping system featuring MIDI Learn, multiple destinations for a single CC, and detailed control of which presets are loaded with program change.
• Additional Features: Backwards compatibility with presets and timbres from the original Animoog, AUv3 support, 440Hz base frequency offset (+/- 10Hz), preset tagging, preset sharing, Global BPM, Tap Tempo, Ableton Link, keyboard typing and shortcuts, random presets, and undo/redo.
Mononoke is an unconventional synthesizer, designed to compose evolving soundscapes and musical textures.
Feedback routing
What sets Mononoke apart from other synths is that its voices (4 in each section) can be routed back into each other in multiple ways, creating all sorts of overtones and pulsating resonant frequencies. Sometimes harmonic, sometimes weirdly atonal. Sometimes clear and delicate as icicles, sometimes harsh as metallic blades, sometimes soft as fresh snow. This interaction between voices helps fuse all layers together into a coherent musical landscape.
A tale of two engines
The synthesizer engines (each of the two sections has its own independent engine) have relatively simple controls, which influence a complex system of many invisible, interconnected LFOs. But this is not your bread-and-butter general purpose synthesizer: think of Mononoke as one huge FM synthesizer where each voice is an independently playable operator. Together all operators contribute to a single soundscape.
Expressive pads
Complex soundscapes can be created live, using the 8 performance pads which let you modulate each voice independently in several dimensions. Your interactions with the pads will also be sent out as MPE/MIDI (when loaded as an AU plugin in a compatible host) so you can record and tweak your session. The onscreen pads can be latched individually so some voices can be used as drones, while others as can be added and removed as extra sonic layers. The pads are fully integrated in the Audio Unit plugin.
Connectivity
Mononoke is designed as an AUv3 plugin, with advanced Audio Unit features such as MPE input and output (!), a fully exposed array of AU parameters for automation and all the connectivity and scalability you can expect from modern plugins.
The standalone mode is basic (just meant for jamming and creating presets) and does not offer any connectivity, so if you want to use Mononoke in conjunction with other apps and effects you’ll need to load it into a host, such as Garageband, Audiobus, AUM or Cubasis.
Summary:
– Audio Unit (AUv3) plugin
– 8 voice polyphony, 2 independent engines with 4 voices each
– Compatible with MPE (MIDI Polyphonic Expression) and MIDI
– MIDI Input and Output (only available when used as an Audio Unit plugin)
– Limited standalone mode for jamming (full screen, no connectivity)
– 8 independently tunable performance pads for expressive interaction
– Universal, fully scalable to any screen size, supports fullscreen mode in AU hosts
– Freely tunable voices, or quantized to semitones (with overall finetuning)
– iOS10 (MIDI/MPE output from the plugin requires iOS11) or higher
Also contains Mononoke Pads: an extra AUv3 MIDI controller plugin for playing MPE compatible synths using Mononoke’s pads. Note: this is a separate plugin which will be installed in your MIDI Plugin collection. Mononoke Pads requires iOS 11.
Continua is a three-oscillator / dual-filter six-voice virtual analog synth, with fully polyphonic modulation sources and built-in custom-designed effects, for everything from complex, evolving chill-out soundscapes to New Wave synth stabs
Full PDF manual available at the Audio Damage website.
• Standalone Version w/ IAA and AUv3
Your Continua purchase comes with a standalone version (with Inter-App Audio) and an AudioUnit V3 for using with an AUv3 host like GarageBand, Cubasis, or AUM.
• Three Flexible Oscillators
Continuously variable morphing waveform, with warp, shape, and skew controls.
• Dual Morphing Filters
Filters can be used in serial or parallel modes, and morph from lowpass through bandpass and highpass to notch in 2-pole and 4-pole configurations.
• Noise Source
Noise source features a “color” control that affects tonal characteristics of the noise.
• ADSR x 2
Continua has two ADSR-style envelope generators, with curve on attack, decay, and release.
• Flexible Envelope Generator (FEG) x 2
The two FEGs are arbitrary function generators, with up to 99 steps, curve and step level control, arbitrary loop points, and host tempo sync.
• Flexible Low-Frequency Oscillator (FLFO) x 4
The four FLFOs utilize four controls (phase, shape, skew, and warp) to access a virtually limitless palette of waveforms, and feature host tempo sync and retrigger.
• Sample And Hold
The S&H mod source can sample noise (random) or any of the other mod sources, at either a user-defined rate or a musical division, and includes built-in smoothing and distance limit (for a “walk” effect).
• Modulation
Every knob in Continua is a mod destination, with a very fast and simple assignment matrix access with a right-click on the knob (double-tap on iOS).
• Tuning Tables And Global Tuning Offset
Re-tune Continua to new intonations and temperaments using the open-source and easy-to-use TUN file format. A global tuning offset (default to A=440) allows you to easily retune the entire synth to match a different A frequency without using a tuning table.
• MPE (MIDI Polyphonic Expression)
Continua understands both “legacy” MIDI and MPE. Use your Linnstrument, Roli Seaboard, Haken Continuum, Madrona Labs Soundplane, or Sensel Morph (among others) to directly access per-note pressure, pitch bend, and modulation.
• Per-Instance Settings
Continua utilizes a per-instance customization method: set MPE mode, aftertouch smoothing, pitch bend range override, tuning table, and global tuning offset for each instance in your DAW, with an option to save any state as your global starting point.
• Factory Presets
Continua comes with a substantial collection of factory content, including Designer Presets from Red Means Recording, Glitch Machines, Red Sky Lullaby, and SonalSystem.
• Cross-Platform Preset Format
Continua utilizes an XML-based preset manager. Work between multiple systems without troubles, make a preset on your desktop machine and paste it to the iOS version with Handoff, easily share your creations with your friends, or make a preset bundle to sell.
iPad Loops is an iOS music production blog dedicated to exposing the best iPad apps musicians, producers, and Djs. This is not a database of every app. It is, however, one of useful recommendations from someone with many years in music production. I try to update it on a daily basis (ok sometimes every two days) and I do my best to post useful apps only. My name is Jason Donnelly (Dj Puzzle).
You might know me from my royalty free loop packs and sound design. Some of the apps that contain my sounds are Synth One, EG Segments, Hammerhead, Retronyms AudioCopy, Audio Evolution Mobile, LP-5, iPRO.DJSAMPLER, Looptastic. My work is published by Roland, Antares, Magix, Soundtrack Loops, Sample Logic, Acoustica, Loopmasters and many more. Subscribe to our RSS feed below to get updated when new apps are posted.
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