I understand John's concern at achieving his deadlines.
Getting Solaris out there for the world to see and review should hopefully bring the interest to let John introduce other unique ideas.
I'm just a humble user who likes to try out unusual configurations. I'm sure that once Solaris is out and about that plenty more "requests" for mods will appear.
Solaris keyboard - specifications
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nachtsmeer
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John Bowen
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Pricing revision
As you will note on the Purchase page, I've suspended taking pre-order deposits until I get all the new data concerning production costs and so on later this week. Also, with the dollar vs Euro situation as it is, I need to revise some calculations, with the result being we probably will have a different valuation in Euros as opposed to dollars.
Thanks for your patience!
-John Bowen
Thanks for your patience!
-John Bowen
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John Bowen
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Now I'm back from Germany! The pre-ordering has resumed, and I was able to return with a working prototype Solaris! This one has the wood sides and the dark blue-gray colour. I'll see if I can take some decent front panel shots to post.
Another unexpected but fun discovery was to find that the dimensions of the Solaris case, when I was measuring it to order a flight case, are almost exactly that of my Prophet 5 flight case! This was by no means intentional, but considering my history, I thought it was an amazing 'coincidence'!
Solaris - 38.5" x 16" x 6"
Prophet 5 - 38" x 16 7/8" x 5 1/8"
-john b.
Another unexpected but fun discovery was to find that the dimensions of the Solaris case, when I was measuring it to order a flight case, are almost exactly that of my Prophet 5 flight case! This was by no means intentional, but considering my history, I thought it was an amazing 'coincidence'!
Solaris - 38.5" x 16" x 6"
Prophet 5 - 38" x 16 7/8" x 5 1/8"
-john b.
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John Bowen
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Hi All,
I thought I'd clarify some aspects of the Solaris, especially for those who are unfamiliar with my Scope plug-in version. Today's topic is Sound Sources!
The Solaris has several sound sources: oscillators, noise generators, and external inputs. Though a little more confusing, there are also some 'sound processors' which are treated as sound sources. These are the 2 Rotors, 2 VS Mixers, and 2 AM sections. These sound processors use any of the sound sources mentioned above as inputs, and combine them in various ways:
1) Rotors - Each Rotor have 4 inputs and 1 output. The inputs are cycled through, one after the other, and sent to the output. Listening to the output, you will hear each input in successive order: 1, 2, 3, 4, 1, 2, 3, 4, 1, 2, etc. There is also a crossfade value. If crossfade is at 0, then you hear the transition as an abrupt switching. As you increase the crossfade amount, it smooths the transitions. This is just like what you can do with a wave sequence in the Korg Wavestation, for example, except that a Rotor only has 4 steps. The speed of the transition is controlled by an oscillator, and can be clocked by MIDI (BPM). a difference is that the Rotor can also run at audio rates, and track the keyboard, and so can be used like an regular oscillator source whose harmonic content is decided by whatever is happening at the 4 inputs. Without any crossfade, the resultant sound is usually bright and a bit harsh. As you increase crossfade at audio rates, the output gets smoother - less edgy and bright. (You can also modulate the Crossfade Amount.)
2) Vector Mixers - these are simple quad mixers that also have 4 inputs. Again, the inputs can be any of the sources in the Solaris. The built-in joystick (not shown in the prototype photos) is assigned to either or both Vector Mixers, and there are modulation paths for both the X- and Y-axis.
3) AM sections - AM stands for Amplitude Modulation. The AM sections each have 2 inputs, and provide 4 algorithms to multiply the 2 input signals (Ring Mod is one of the algorithms.) The final output can be full level or shaped by a modulator (usually an envelope generator).
Other features - each input for the Rotors and Vector Mixers have level controls, to balance out uneven oscillator output (say, if some of the oscillators are set to WAV/sample playback). Also, the processors aren't limited to audio input signals - you can select other things such as LFOs or other control signals for your inputs. You can also select the output from any filter as an input, creating audio feedback paths (for example, you could have the Vector Mixers controlling the 4 filter outputs, with at least one of the filters containing the output of the Vector Mixer.)
4) Oscillators - there are several types of oscillators: MultiMode (MM), CEM, Wavetable (WT), VS, and WAV (sample playback). Other types may be added in the future, such as PM (phase mod) or WS (wavesequencing).
MulitMode (MM) oscs generate the typical series of Sine, Triangle, Saw, Pulse, plus some others, such as a morphing sine-to-saw or -square, and SuperSaw. CEM provides simultaneous waveforms as found on the original Prophet synths. VS are single cycle waves, and WT contain up to 64 elements in a list (wavetable). WAV offers sample playback, and can use a variety of formats (.wav, aiff, akai, etc.).
5) Noise - several variations are provided - white, pink, red, bandpass with variable frequency.
6) External Inputs - currently there are 2 inputs; there's been some discussion to have 4, as this would work well with processing external signals through the Rotors or VS mixers, but we will have to see. An Envelope Follower can be fed by any of these inputs. The inputs can be processed in all the same ways as the oscillators. There is also an Amp Bypass (drone) switch, in case you want to process these inputs without having to hold down a key to hear the processed signal.
That's it for the first 'in-depth' look at the Solaris' structure. I hope you found it interesting!
Cheers,
John Bowen
I thought I'd clarify some aspects of the Solaris, especially for those who are unfamiliar with my Scope plug-in version. Today's topic is Sound Sources!
The Solaris has several sound sources: oscillators, noise generators, and external inputs. Though a little more confusing, there are also some 'sound processors' which are treated as sound sources. These are the 2 Rotors, 2 VS Mixers, and 2 AM sections. These sound processors use any of the sound sources mentioned above as inputs, and combine them in various ways:
1) Rotors - Each Rotor have 4 inputs and 1 output. The inputs are cycled through, one after the other, and sent to the output. Listening to the output, you will hear each input in successive order: 1, 2, 3, 4, 1, 2, 3, 4, 1, 2, etc. There is also a crossfade value. If crossfade is at 0, then you hear the transition as an abrupt switching. As you increase the crossfade amount, it smooths the transitions. This is just like what you can do with a wave sequence in the Korg Wavestation, for example, except that a Rotor only has 4 steps. The speed of the transition is controlled by an oscillator, and can be clocked by MIDI (BPM). a difference is that the Rotor can also run at audio rates, and track the keyboard, and so can be used like an regular oscillator source whose harmonic content is decided by whatever is happening at the 4 inputs. Without any crossfade, the resultant sound is usually bright and a bit harsh. As you increase crossfade at audio rates, the output gets smoother - less edgy and bright. (You can also modulate the Crossfade Amount.)
2) Vector Mixers - these are simple quad mixers that also have 4 inputs. Again, the inputs can be any of the sources in the Solaris. The built-in joystick (not shown in the prototype photos) is assigned to either or both Vector Mixers, and there are modulation paths for both the X- and Y-axis.
3) AM sections - AM stands for Amplitude Modulation. The AM sections each have 2 inputs, and provide 4 algorithms to multiply the 2 input signals (Ring Mod is one of the algorithms.) The final output can be full level or shaped by a modulator (usually an envelope generator).
Other features - each input for the Rotors and Vector Mixers have level controls, to balance out uneven oscillator output (say, if some of the oscillators are set to WAV/sample playback). Also, the processors aren't limited to audio input signals - you can select other things such as LFOs or other control signals for your inputs. You can also select the output from any filter as an input, creating audio feedback paths (for example, you could have the Vector Mixers controlling the 4 filter outputs, with at least one of the filters containing the output of the Vector Mixer.)
4) Oscillators - there are several types of oscillators: MultiMode (MM), CEM, Wavetable (WT), VS, and WAV (sample playback). Other types may be added in the future, such as PM (phase mod) or WS (wavesequencing).
MulitMode (MM) oscs generate the typical series of Sine, Triangle, Saw, Pulse, plus some others, such as a morphing sine-to-saw or -square, and SuperSaw. CEM provides simultaneous waveforms as found on the original Prophet synths. VS are single cycle waves, and WT contain up to 64 elements in a list (wavetable). WAV offers sample playback, and can use a variety of formats (.wav, aiff, akai, etc.).
5) Noise - several variations are provided - white, pink, red, bandpass with variable frequency.
6) External Inputs - currently there are 2 inputs; there's been some discussion to have 4, as this would work well with processing external signals through the Rotors or VS mixers, but we will have to see. An Envelope Follower can be fed by any of these inputs. The inputs can be processed in all the same ways as the oscillators. There is also an Amp Bypass (drone) switch, in case you want to process these inputs without having to hold down a key to hear the processed signal.
That's it for the first 'in-depth' look at the Solaris' structure. I hope you found it interesting!
Cheers,
John Bowen
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lotus-eater
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Your description of the rotors is very interesting. I hope some sound demos will be available soon to shed light on the possibilites of these modules.
Will it be possible to place the effects algorithms anywhere in the signal path (ie. after oscillators/inputs/etc. but prior to filters)? I'm wondering because you mentioned that Solaris is going to have sample-rate-reduction and bit crushing, and that you were investigating the idea of having a S&H filter (ala Waldorf Microwave XT); but if the effects can be inserted anywhere in the signal path, the S&H filter would be redundant.
A big part of the Solaris' appeal for me is its external inputs. In another thread there were some people asking for more sample memory so they could get some choir/orchestral sounds into the Solaris' signal path. As far as I'm concerned, as long as you've got the ability to apply interesting modulations to the external inputs and to have the pitch of those inputs modulate the internal oscs/filters/effects, then there really isn't a need for it. I'm very much looking forward to the implementation (proposed earlier in the thread) of an MS-20 style pitch>cv module in the Solaris.
Will it be possible to place the effects algorithms anywhere in the signal path (ie. after oscillators/inputs/etc. but prior to filters)? I'm wondering because you mentioned that Solaris is going to have sample-rate-reduction and bit crushing, and that you were investigating the idea of having a S&H filter (ala Waldorf Microwave XT); but if the effects can be inserted anywhere in the signal path, the S&H filter would be redundant.
A big part of the Solaris' appeal for me is its external inputs. In another thread there were some people asking for more sample memory so they could get some choir/orchestral sounds into the Solaris' signal path. As far as I'm concerned, as long as you've got the ability to apply interesting modulations to the external inputs and to have the pitch of those inputs modulate the internal oscs/filters/effects, then there really isn't a need for it. I'm very much looking forward to the implementation (proposed earlier in the thread) of an MS-20 style pitch>cv module in the Solaris.
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lotus-eater
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I noticed, in a post about the Solaris, on matrixsynth.com, that frequency shifting was included in the list of effects, but seems to be missing from the spec list at the start of this thread.
John, can you confirm whether frequency shifting will be in the first release, or whether it's even planned for an upgrade?
I would love to see this effect included at some point, as it can be used to create a WIDE range of timbres; and in a modular setting like the Solaris, that range would naturally be increased. FS is probably more useful to me than ring mod, but obviously (as if you guys aren't busy enough!) it would be best to have both.
Eric Schubert
John, can you confirm whether frequency shifting will be in the first release, or whether it's even planned for an upgrade?
I would love to see this effect included at some point, as it can be used to create a WIDE range of timbres; and in a modular setting like the Solaris, that range would naturally be increased. FS is probably more useful to me than ring mod, but obviously (as if you guys aren't busy enough!) it would be best to have both.
Eric Schubert
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John Bowen
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Eric,
In response to your post, I was playing with frequency shifting today some more. One of the issues is that FS is usually a process done on the final output, not on a per-voice basis. The current Scope module is monophonic, which means it cannot play polyphonically within the sub-structure of the synth. However, posted at the end of the signal chain, like the flanger and delay, works fine.
Often times the final FX section on many synths is comprised of "mono" effects blocks - these only need to be loaded into the DSP once to function. Polyphonic coded modules are loaded one per voice of polyphony, and so things can used up quickly, and unnecessarily.
But maybe I'm misunderstanding the function you seek, or there's different teminology being applied to the function. Could you elaborate on how and where you use this in your current setup?
cheers,
john b.
In response to your post, I was playing with frequency shifting today some more. One of the issues is that FS is usually a process done on the final output, not on a per-voice basis. The current Scope module is monophonic, which means it cannot play polyphonically within the sub-structure of the synth. However, posted at the end of the signal chain, like the flanger and delay, works fine.
Often times the final FX section on many synths is comprised of "mono" effects blocks - these only need to be loaded into the DSP once to function. Polyphonic coded modules are loaded one per voice of polyphony, and so things can used up quickly, and unnecessarily.
But maybe I'm misunderstanding the function you seek, or there's different teminology being applied to the function. Could you elaborate on how and where you use this in your current setup?
cheers,
john b.
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lotus-eater
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For most applications, I'm quite satisfied to have frequency shifting as the last stage in a patch. This arrangement is perfectly adequate for doing things like processing the output of a drum machine, or generating sound effects. I was just thinking it would be nice to have it available between the oscillators and the filters so that you could get a lot of movement and still be able to shape the overall harmonic content of a pad sound, or drone, etc. Honestly, I'll be thrilled if it's included somewhere in the synth, whether its per voice or per patch. I understand the Solaris is going to be a more focused machine than, say, a Nord Modular G2, which was sort of my model when imagining the fx routing potential.
If some kind of filter or filterbank could be included in the fx section, and effects could be chained together, then similar results could be achieved. Just not on a per voice level, which is totally fine. And even if this isn't possible, I'll still find plenty of uses for it.
Interesting effects are a high priority for me, but I understand that may not be the case for most people considering this instrument. I'll take what I can get, and so far I'm thrilled that FS, sample rate reduction, vocoders and waveshapers are being implemented.
I can't wait to spend time with the finished product!
If some kind of filter or filterbank could be included in the fx section, and effects could be chained together, then similar results could be achieved. Just not on a per voice level, which is totally fine. And even if this isn't possible, I'll still find plenty of uses for it.
Interesting effects are a high priority for me, but I understand that may not be the case for most people considering this instrument. I'll take what I can get, and so far I'm thrilled that FS, sample rate reduction, vocoders and waveshapers are being implemented.
I can't wait to spend time with the finished product!
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John Bowen
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lotus-eater
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lotus-eater
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I just finished reading up on the flexor modules, and checking out the online demos. Whoa. 
Having some of these modules available in hardware is going to be very satisfying.
One module that jumped out at me right away was the Soft Sync tool. The only experience I've had with Soft Sync was on the Alesis Ion, and in their implementation, it reverses the direction of the slave oscillator each time the master completes a cycle. This feature is fairly useful on its own, but when you start FMing the oscillators, what comes out of that synth is uh... fascinating. Basically you get some seriously weird, non-repeating textures, that I've yet to hear from another synth; and which I'm sure would only get crazier with all of the osc and filter types available in the Solaris.
Any chance we'll see this feature at some point? I'm trying to imagine soft-synchronized, FM'd wavetables
Having some of these modules available in hardware is going to be very satisfying.
One module that jumped out at me right away was the Soft Sync tool. The only experience I've had with Soft Sync was on the Alesis Ion, and in their implementation, it reverses the direction of the slave oscillator each time the master completes a cycle. This feature is fairly useful on its own, but when you start FMing the oscillators, what comes out of that synth is uh... fascinating. Basically you get some seriously weird, non-repeating textures, that I've yet to hear from another synth; and which I'm sure would only get crazier with all of the osc and filter types available in the Solaris.
Any chance we'll see this feature at some point? I'm trying to imagine soft-synchronized, FM'd wavetables
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John Bowen
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Soft sync, eh? Sounds interesting - and we can add it to the (already too) long list of desired features! 
I would like to hear what it does. I'll have to check through the Flexor modules when I have a chance....but that probably won't happen any time soon - right now, we're discussing some slight revisions of the front panel and case.
regards,
john b.
I would like to hear what it does. I'll have to check through the Flexor modules when I have a chance....but that probably won't happen any time soon - right now, we're discussing some slight revisions of the front panel and case.
regards,
john b.
Hi John! The specifications published this far look extremely promising.
I'm thinking about whether Solaris can be expected to replace a number of my current synths. Every synth has its own strengths and weaknesses. The Oberheim Matrix-6, for instance, has selectable key-to-voice assignment mode and a limited form of velocity control shaping. These facilities add greatly to the playability of the synth.
My most recent VA-synth is a Nord Modular G2 that is relatively alias-free as long as oscillator sync or audio waveshaping isn't used. However, part of the fun in synthesizer sound creation is to be able to use non-linear processing elements. Thus, due to aliasing issues, VA-synths still can't fully replace analog synths (IMO). But hopefully Solaris will change this...
Here are a few questions about Solaris:
I'm thinking about whether Solaris can be expected to replace a number of my current synths. Every synth has its own strengths and weaknesses. The Oberheim Matrix-6, for instance, has selectable key-to-voice assignment mode and a limited form of velocity control shaping. These facilities add greatly to the playability of the synth.
My most recent VA-synth is a Nord Modular G2 that is relatively alias-free as long as oscillator sync or audio waveshaping isn't used. However, part of the fun in synthesizer sound creation is to be able to use non-linear processing elements. Thus, due to aliasing issues, VA-synths still can't fully replace analog synths (IMO). But hopefully Solaris will change this...
Here are a few questions about Solaris:
- 1. Does oscillator hard sync cause audible aliasing on Solaris?
2. What about oscillator waveshape modulation? Does that cause audible aliasing?
3. Does Solaris support different key-to-voice assignment modes? In "Oberheim-speak" the main modes are called Rotate and Reassign.
4. Does Solaris receive polyphonic aftertouch (PAT) messages via MIDI and respond appropriately? (Roland JV/XP/XV synths respond correctly to PAT messages. Alesis Andromeda A6 was supposed to respond to PAT, but this didn't get implemented before Alesis went bankrupt.)
5. How can control signals (e.g. velocity, aftertouch etc.) be shaped in Solaris? Besides linear mapping of control source to destination it would be useful to have an exponential (e^x) and an "inverse" exponential (1-e^-x) mapping and also a few intermediate mappings.
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