FUTURE STYLE
|
Octopus Dual Matrix synthesizer PC-VST, OSX-VST, OSX-AU  larger size The Octopus is available exclusively from LinPlug as download (about 53 Mb, optionally on CD). It comes with an English and German PDF-manual and more than 420 presets. The license fee is 149 US$ / 129 Euro |
|
Requirements A VST2.0 or AU capable host software, a screen resolution of 1024x768 or higher, 100 Mb free space on your harddrive for Macintosh: Mac OSX 10.2.6 or higher, 1 GHz CPU, 512 Mb RAM for PC: Windows 95 or higher, 1 Ghz CPU, 512 Mb RAM Listen to demo songs  Attack of the Octopus ( by Tonal Axis) In It’s Grasps (by Brice Duncan) Octopus World (by Tim Conrardy) Example-mp3 of a couple of presets ( by Big!Tone) Bass , Pads , Keys , Semireal , Synth The Octopus is a Dual-Matrix synthesizer containing one Matrix for Oscillator/Filter frequency modulation synthesis and another Matrix for general modulation. The key component for building a sound is the instrument’s 8 oscillators, Sampler, 2 filters and 32 envelopes. These components are all it needs to create anything from classic “old school” FM timbres to complex sounds far beyond those possible with conventional FM synthesis. Editing the Octopus is simply, because all controls are located on a single panel which is always on view, so you can see at a glance any synth parameter. The Octopus is build in collaboration with Maxx Claster Features Hybrid Frequency Modulation and Sampling synthesis Opends vast new soundscapes with 10 modulation sources and 8 modulation destinations 350 excellent presets in a wide range of styles made by Nico Herz, Pro-Sounds, Summa, and Tim Conrardy. Full cross-modulation, adjustable feedback for every oscillator 8 additive oscillators using sample-based or user defined waveforms Two independent multimode filters, are available as FM sources Up to 32 envelopes with multiple, syncable segments, freerun, loop and adjustable slopes Graphical envelope editor with sophisticated editing functions Envelopes can be used to modulate a wide range of parameters including amplitude, mix, panning, pitch, frequency, phase, cutoff and resonance of filters Stereo effects section with 4 effects (Parametric EQ, Chorus, Delay and Reverb) Two step sequencers each with up to 32 steps each 12 voice polyphonic Envelope Matrix One of the Octopus’ key features is its use of envelopes as a primary modulation source. In fact, in the case of the Octopus the term “envelope” is somewhat of an understatement as their use goes far beyond that of conventional envelopes. The instrument contains 32 Envelopes designed to satisfy all modulation requirements (the instrument’s designers estimate that around 10 envelopes should be enough to produce highly complex sounds, so the additional envelopes allow plenty of scope for experimentation). Envelopes in the Octopus are used for every kind of modulation. Each envelope can modulate a range of destinations including Amplitude, Mix, Panning, Pitch, Frequency or Phase of one or more Oscillators and Cutoff or Resonance of one or more Filters. They can be used for creating effects such as amplitude modulation, as LFOs, as keyboard/velocity tracking engines, or even as MIDI modulation tools. Anything that can be modulated by MIDI note number, MIDI velocity or other MIDI controllers can be modulated using envelopes. Envelope routing is controlled using the Envelope Matrix which connects envelopes to the parameter that they modulate. Envelopes themselves are edited the Octopus’ powerful Envelope Editor. The editor allows the design of complex envelope shapes that are freely editable in every respect. Keyboard-scaling and velocity-scaling envelopes are also available. Crossmodulation Matrix Oscillators are the Octopus’ primary sound source. They are used to create additive waveforms made up of 32 harmonics. Each oscillator’s spectrum is editable using the instrument’s internal spectrum editor so it’s easy to create you own unique waveforms. It is also possible to load audio files, analyze them, and then convert the wave data into a spectrum that the oscillators can play back. Although 32 harmonics may not seem like very many, it’s easy to create complex sounds by combining FM and feedback. Using this approach, you can produce highly complex, animated sound textures. The Octopus also has 2 Filters. The synth’s design permits routing one filter through another allowing deep, rich filtering effects. Both Filters can be used as modulation sources and can also be used to modulate an oscillator—the possibilities are endless. |
|
LinPlug Virtual Instruments GmbH Eibischstr. 6A 12357 Berlin Germany The team   Chris ,  Ken , Pavol , Peter |
 advanced technologic sound magazine 2006 January issue 145
|