Kjaerhus
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Kjaerhus Synth coming up
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- KVRAF
- 2565 posts since 30 Mar, 2004 from Phoenix AZ USA
Congratulations Torben!
I am not a synth guy but I am excited.
Maybe this will warm me to the world of synthesizers.
Did you say it's easy to program?
BTW ..... Golden Delay is next?..... Please
Something like complete and easy visual control over the ping timing and it's location in the stereo field
I am not a synth guy but I am excited.
Maybe this will warm me to the world of synthesizers.
Did you say it's easy to program?
BTW ..... Golden Delay is next?..... Please
Something like complete and easy visual control over the ping timing and it's location in the stereo field
Last edited by AndrewSimon on Fri Dec 16, 2005 3:58 pm, edited 1 time in total.
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- KVRist
- Topic Starter
- 478 posts since 14 Jan, 2003 from Denmark
Full credit to Rune Lund-Hermansen http://www.otiumfx.com/ for the GUI.Sickle wrote:Nice..Well done, Torben. Who did the GUI work on this one?
Dead easyAndrewSimon wrote: Did you say it's easy to program?
Torben
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- KVRAF
- 5017 posts since 13 Dec, 2005 from The Void
No shit..Torben wrote:Full credit to Rune Lund-Hermansen http://www.otiumfx.com/ for the GUI.Sickle wrote:Nice..Well done, Torben. Who did the GUI work on this one?
Torben
He's an old buddy of mine from the(seemingly endless) Compadre compressor beta testing days..
Great guy, beautiful design work!
Jens, "B.t.w.: it appears I was wrong"
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SuitcaseOfLizards SuitcaseOfLizards https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=2363 - KVRAF
- 10879 posts since 3 Apr, 2002 from Austin, TX USA
Looks pretty good. It's pricey, but if it sounds as good as it looks (lol) it'll probably be worth it. 
Can't afford to get it for months, though. Urgh.
Can't afford to get it for months, though. Urgh.
Bandcamp: https://suitcaseoflizards.bandcamp.com/
Linux Mint, Waveform 13 Pro, U-He synths, Audio Damage effects,.
Linux Mint, Waveform 13 Pro, U-He synths, Audio Damage effects,.
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- KVRist
- 402 posts since 23 Sep, 2003 from Los Angeles
I programmed a bank of presets for Spectra, and must say it was a VERY rewarding experience. This synth *is* easy to program, and you can get some spectacular timbre changes out of it just by manipulating the progression of "harmonies" that it plays through. I'm an old-skool additive addict (Kurzweil K150, to be precise) and must say that Spectra has much more power available under simpler controls (and is also much more harmonically rich than the K150, to boot). There was a question in this thread about "envelopes over groups of harmonics" and such - which I can understand where that comes from - but you've got to *abandon* the pre-conceptions you have about additive synths and really take Spectra for what it is. You get the same effect with different means, and in a way that's musically rewarding.
The sound *is* as elegant as the interface (with a great deal of potential for some really bestial sounds as well), and the instrument has more than enough handles on it for both automation and modulation tasks. The fact that you can create a sound that shifts radically in amplitude and timbre *before* you even get to the filters, amp control, envelopes and LFOs makes for potential to develop REAL complexity before you even get to the effects section.
Did I mention the effects section? NO? Well - let me summarize with
Continuing, the filters are really sweet, and even the 6dB/octave filters are useful - especially in the context of exerting subtle timbral control over a radically shifting core sound. Beyond the nature of the filters themselves, there's the implementation - which really allows the sounds to breathe. I grabbed some of the samples out of the Garritan library to analyze and re-synthsize (with permission from Gary Garritan) and came up with some radically altered sounds that still had some of the musical characteristics of the original instrument articulation. I created a solo Cello patch that was based on the analysis of a single sample, and to me it sounds pretty cool. But, when I layered it with a *real* sampled Cello sound and mixed them in a convolved space (Lincoln Center) the result was both realistic and ethereal. This is something that I can't imagine accomplishing any other way, and the musicality and responsiveness of Spectra is as important as the core synthesis method and filter quality. They're all top drawer, but "the proof of the pudding is in the eating" - and you simply have to try it to understand it.
But the most important thing to understand is that you've got to approach Spectra on it's own grounds - not how you perceive it *should* based on experience with another synth. This is a truly new, unique voice in the pantheon of electronic music.
The sound *is* as elegant as the interface (with a great deal of potential for some really bestial sounds as well), and the instrument has more than enough handles on it for both automation and modulation tasks. The fact that you can create a sound that shifts radically in amplitude and timbre *before* you even get to the filters, amp control, envelopes and LFOs makes for potential to develop REAL complexity before you even get to the effects section.
Did I mention the effects section? NO? Well - let me summarize with
Continuing, the filters are really sweet, and even the 6dB/octave filters are useful - especially in the context of exerting subtle timbral control over a radically shifting core sound. Beyond the nature of the filters themselves, there's the implementation - which really allows the sounds to breathe. I grabbed some of the samples out of the Garritan library to analyze and re-synthsize (with permission from Gary Garritan) and came up with some radically altered sounds that still had some of the musical characteristics of the original instrument articulation. I created a solo Cello patch that was based on the analysis of a single sample, and to me it sounds pretty cool. But, when I layered it with a *real* sampled Cello sound and mixed them in a convolved space (Lincoln Center) the result was both realistic and ethereal. This is something that I can't imagine accomplishing any other way, and the musicality and responsiveness of Spectra is as important as the core synthesis method and filter quality. They're all top drawer, but "the proof of the pudding is in the eating" - and you simply have to try it to understand it.
But the most important thing to understand is that you've got to approach Spectra on it's own grounds - not how you perceive it *should* based on experience with another synth. This is a truly new, unique voice in the pantheon of electronic music.
Houston Haynes
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- KVRian
- 1222 posts since 6 Jul, 2004
Well, I think some of the other programmers have said all that can be said at this point, but so as not to be conspicuous by absence, I'll chime in...
Is it the be-all, end-all synth? No.
Will it cause instant world peace? No.
Is it really that easy to program? Yes.
Is the interface really that nice? You bet.
Does it really sound that good? Heck, yes.
How does it compare to xxx, yyy, zzz...? Stop asking futile questions! All I can say is it will be one of my four most used go-to synths, and compete with the MMV when it comes to the amount of custom-programming I do.
Is it the be-all, end-all synth? No.
Will it cause instant world peace? No.
Is it really that easy to program? Yes.
Is the interface really that nice? You bet.
Does it really sound that good? Heck, yes.
How does it compare to xxx, yyy, zzz...? Stop asking futile questions! All I can say is it will be one of my four most used go-to synths, and compete with the MMV when it comes to the amount of custom-programming I do.
pethu.se/music-releases
Not a part of the loudness war!
Not a part of the loudness war!
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- KVRAF
- 2028 posts since 18 Mar, 2004 from New York, N.Y.
I can also chime in with my $.02 as one of the preset programmers. To summarize my experience with Spectra:
- On my first round, I was set on putting the subtractive features to the test, being that much of my experience is with analogs. I started finding myself slightly perplexed when I wasn't achieving certain things that I am accustomed to with most VA's. This is not to say that the subtractive elements aren't brilliant, they are just not duplicates of everything else out there. Then it dawned on me:
- On the second round, I approached it with a fresh point of view, and began just seeing where I could go with it. There are endless possibilities at the level of creating evolving waveforms, as others have mentioned, at that point you have something very complex without even touching an envelope or filter.
While testing each patch's playability, I often found myself 20 minutes later wondering where the time had gone. It quickly opened up real musical possibilities that I hadn't considered before, and will certainly inspire many a composition based on its unique strengths.
I hear a lot of people on KVR say "not another VA!". This synth definitely takes a new approach, and succeeds best when it's player does the same.
- On my first round, I was set on putting the subtractive features to the test, being that much of my experience is with analogs. I started finding myself slightly perplexed when I wasn't achieving certain things that I am accustomed to with most VA's. This is not to say that the subtractive elements aren't brilliant, they are just not duplicates of everything else out there. Then it dawned on me:
- On the second round, I approached it with a fresh point of view, and began just seeing where I could go with it. There are endless possibilities at the level of creating evolving waveforms, as others have mentioned, at that point you have something very complex without even touching an envelope or filter.
While testing each patch's playability, I often found myself 20 minutes later wondering where the time had gone. It quickly opened up real musical possibilities that I hadn't considered before, and will certainly inspire many a composition based on its unique strengths.
I hear a lot of people on KVR say "not another VA!". This synth definitely takes a new approach, and succeeds best when it's player does the same.
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- KVRAF
- 2488 posts since 2 Dec, 2004 from Sydney, Australia
Yes, please!!! And don't forget a Loop switchAndrewSimon:
BTW ..... Golden Delay is next?..... Please
Something like complete and easy visual control over the ping timing and it's location in the stereo field
Cowbells!
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- KVRist
- 402 posts since 23 Sep, 2003 from Los Angeles
I absolutely must agree.pethu wrote:All I can say is it will be one of my four most used go-to synths, and compete with the MMV when it comes to the amount of custom-programming I do.
Houston Haynes
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- KVRAF
- 2058 posts since 23 Sep, 2004 from Canada
If I might clarify .
I have absolutely no objections to this synth being priced at this price point.
Quality costs money.
It is still way cheaper than any hardware equivalent (if one where too exist).
I just which I had a wallet too match.
However circumstances beyond my control do not permit me such luxuries.
I do however wish Kaujerhaus all the best with this realease.
It looks like the ideal synth for the sort of soundscapes I enjoy programming.
Hopefully once I overcome this major surgery I'm booked in for next week I may be able to get into the workforce even as a part-time participant.
Then I may be able to afford something like this.
I know people have pointed out the magware and freeware alternatives which I'm truly grateful for.
However it would actually BE NICE to be able too financially support some of these dev's for a change.
Call me strange but I would rather have the money to support such developers in future endeavours so we as a communtiy can reap the rewards of better and more innovative VST based products.
The freeware we recieve is a priviledge.
I am humbled it's available and don't take the view point that it is a "right" that we have access to such things.
Many of you freeware dev's and payware dev's who do freeware also are incredibly generous and giving
.
I suppose you don't get thanked enough often enough.
WE don't all take you for granted BTW.
This looks like a mature designed and produced instrument that isn't just another "me too" subtractive synth.
So I tip my hat to you for all the hardwork.
I just hope that in the future I can more constructively support your efforts with purhcases of the odd future product here and there.
It's nice to be able to give back a little also you know .
If I seemed to be complaining about payware price structures I apologise as it is not and was not my intent.
It just depresses me that I am unable to financially partake and in turn help further the development of future projects and instrument concepts.
I'd rather feel financially emascualted than resort too "warez-ing" other developers products.
The freeware alternatives are there and should always be used as the alternative.
I fully understand that this is the result of much hard work.
Being able to give back and help drive future work and development is a healthy and fruitful thing.
It isn't just about commerce.
It's about respecting our fellow dev's and their work.
In turn it's about putting back into a community you derive much pleasure from.
I just mourn the fact that my ability to give back is currently greatly diminished.
Work of this nature is however always appreciated even if we cannot currently afford it
.
I have absolutely no objections to this synth being priced at this price point.
Quality costs money.
It is still way cheaper than any hardware equivalent (if one where too exist).
I just which I had a wallet too match.
However circumstances beyond my control do not permit me such luxuries.
I do however wish Kaujerhaus all the best with this realease.
It looks like the ideal synth for the sort of soundscapes I enjoy programming.
Hopefully once I overcome this major surgery I'm booked in for next week I may be able to get into the workforce even as a part-time participant.
Then I may be able to afford something like this.
I know people have pointed out the magware and freeware alternatives which I'm truly grateful for.
However it would actually BE NICE to be able too financially support some of these dev's for a change.
Call me strange but I would rather have the money to support such developers in future endeavours so we as a communtiy can reap the rewards of better and more innovative VST based products.
The freeware we recieve is a priviledge.
I am humbled it's available and don't take the view point that it is a "right" that we have access to such things.
Many of you freeware dev's and payware dev's who do freeware also are incredibly generous and giving
.I suppose you don't get thanked enough often enough.
WE don't all take you for granted BTW.
This looks like a mature designed and produced instrument that isn't just another "me too" subtractive synth.
So I tip my hat to you for all the hardwork.
I just hope that in the future I can more constructively support your efforts with purhcases of the odd future product here and there.
It's nice to be able to give back a little also you know
.If I seemed to be complaining about payware price structures I apologise as it is not and was not my intent.
It just depresses me that I am unable to financially partake and in turn help further the development of future projects and instrument concepts.
I'd rather feel financially emascualted than resort too "warez-ing" other developers products.
The freeware alternatives are there and should always be used as the alternative.
I fully understand that this is the result of much hard work.
Being able to give back and help drive future work and development is a healthy and fruitful thing.
It isn't just about commerce.
It's about respecting our fellow dev's and their work.
In turn it's about putting back into a community you derive much pleasure from.
I just mourn the fact that my ability to give back is currently greatly diminished.
Work of this nature is however always appreciated even if we cannot currently afford it
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- KVRAF
- 3345 posts since 8 Nov, 2003 from Amsterdam
Thanks. You posted a useful, constructive, convincing and persuading message. I guess I'll just have to buy this oneHHaynes wrote:But the most important thing to understand is that you've got to approach Spectra on it's own grounds - not how you perceive it *should* based on experience with another synth. This is a truly new, unique voice in the pantheon of electronic music.
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- KVRAF
- 2685 posts since 14 Jul, 2005 from Australia
When Mr Torben announced a new synth, I was like "meh", ... I don't need synths ... but looking at this one makes me want to use it !! ... I'm saving my cash for this one.
I'm using the GCO1, GEQ7 and GPP now and simply could not live without them, I would love to add this to my Kjaerhus collection !:D:D
Current Track Statistics ...
4 Classic Delays
4 GCO1s
14 GEQ7s
20 GPP1s
Hopefully the next song will have a few Spectra's thrown in too.
Cheers
Fots
I'm using the GCO1, GEQ7 and GPP now and simply could not live without them, I would love to add this to my Kjaerhus collection !
:D:DCurrent Track Statistics ...
4 Classic Delays
4 GCO1s
14 GEQ7s
20 GPP1s
Hopefully the next song will have a few Spectra's thrown in too.
Cheers
Fots