Modal Cobalt8 (V2.1)

Sie "denken über eine Desktop Version nach".

Nuja, pdf manual kommt nächste Woche, 34 verschiedene Algorithmen hat die Kiste übrigens.
 
Schön, dass sie ein 24 db Filtermodell eingebaut haben. Das würde dem Argon8 sicher auch gut stehen.
 
aven schrieb:
Gibt ja auch analoge und digitale die gruselig waren/sind. ;-)
Es gibt doch einige wunderschöne VAs.

Hört sich wirklich spannend an die Kiste. Preis ist in einem "angenehmen" Bereich. Bin gespannt auf die Tests und Reviews. ;-)
Zum Vergrößern anklicken....
ja in der Tat .. das scheint mit den gruseligen VAs der Vergangenheit nicht mehr viel gemein zu haben.
 
Ein interessantes Gerät, doch selbst ohne ein Tastenvirtuose zu sein finde ich drei Okataven bei einem Polyphonen nicht genug.
 
Klingt gut, solide Hardware wie Argon 8, aber externes Netzteil? Die lernen es einfach nicht, daß man sich die Isolationsprüfung auch anders sparen kann. Waldorf bzw. deren Fertiger Rüffel hats doch vor 20 Jahren schon vorgemacht wie das geht, auch beim Access Virus.
 
Wir können dann ab 20:30Uhr live mit Christian von Modal über den COBALT8 reden. Der erzählt uns dann auch etwas mehr.
Wird bestimmt interessant und lustig, das Vorgespräch gestern Abend war es jedenfalls :banane:

 
Chris? Cool. Wäre mal interessant zu wissen, wieviel Hardware innen da identisch ist.
 
Das Nerven auf Elektronauts hat gewirkt^^ Die Algos sind auf der Website (unter den Spezifikationen).

www.modalelectronics.com

COBALT8 - Modal Electronics - Virtual-Analogue Synth - Beyond Analogue

COBALT8 Extended Virtual-Analogue Synthesiser with Classic and Modern Sounds, Algorithms and 4-pole morphable Ladder Filter, MPE, Sequencer
www.modalelectronics.com www.modalelectronics.com

Algorithms
  • VA Sweep: Sweep through sine, triangle, saw, square, pulse (with pulse width) (A), ability to detune the oscillators (or snap to musical intervals) using spread (B)
  • VA Crushed: Sweep through sine, triangle and saw shapes (A) with real-time control over bit crushing (B)
  • Spread Saw: Spread mode with increased oscillator count, ability to blend between the fundamental and detuned oscillators (A) and more comprehensive spread (B) options (e.g oct up + detuned)
  • Spread Square: Spread mode with increased oscillator count, ability to blend between the fundamental and detuned oscillators (A) and more comprehensive spread (B) options (e.g oct up + detuned)
  • Spread Triangle: Spread mode with increased oscillator count, ability to blend between the fundamental and detuned oscillators (A) and more comprehensive spread (B)options (e.g oct up + detuned)
  • PWM: Classic Pulse Width Modulation with width control (A) and ability to detune the oscillators using spread (B)
  • PWM Dual: PWM mode where as the width control (A) changes, the pulse width increases in the first cycle of the wave and decreases in the second cycle. Oscillators can be detuned using the spread (B) control
  • PWM Triangle / Square: Alternating triangle and square waves with control over the width of the triangle portion (A) and an asymmetry control (B) that allows every second cycle to have a different triangle width (inverse) to the first
  • PWM Saw Eraser: Wave with both a saw and PWM portion, with control over the ratio between the two portions (A) and the width of the PWM portion (B) relative to parameter A
  • PWM Triangle Pinch: Triangle wave with pulse width modulation (A) and an asymmetry control (B) which allows every second cycle of the wave to have a different width to the first (can be wider or narrower)
  • Hard Sync Saw: Classic hard sync with un-quantised ratio (A) that can be blended with a sub oscillator (B) one octave below the fundamental
  • Hard Sync Square: Classic hard sync with un-quantised ratio (A) that can be blended with a sub oscillator (B) one octave below the fundamental
  • Hard Sync Triangle: Classic hard sync with un-quantised ratio (A) that can be blended with a sub oscillator (B) one octave below the fundamental
  • Fractal Saw: Complex sync with un-quantised control over ratio (A) and and an asymmetry control (B) that allows every second cycle of the wave to have a different sync ratio to the first
  • Fractal Square: Complex sync with un-quantised control over ratio (A) and and an asymmetry control (B) that allows every second cycle of the wave to have a different sync ratio to the first
  • Fractal Triangle: Complex sync with un-quantised control over ratio (A) and and an asymmetry control (B) that allows every second cycle of the wave to have a different sync ratio to the first
  • Reverse Saw: Periodically reverses the direction of the waveform and changes the playback rate (A), asymmetry control (B) changes the period length (I.e the switch point within a cycle)
  • Reverse Square: Periodically reverses the direction of the waveform and changes the playback rate (A), asymmetry control (B) changes the period length (I.e the switch point within a cycle)
  • Reverse Triangle: Periodically reverses the direction of the waveform and changes the playback rate (A), asymmetry control (B) changes the period length (I.e the switch point within a cycle)
  • Window Amp Sync: Applies amplitude modulation to a sine wave using a hard synced waveform. Features an un-quantised sync ratio control (A) and the ability to morph between multiple window shapes (B)
  • Metal Saw: Creates ring modulation/amplitude modulation like effects by syncing a waveform to two separate signals, one at the base rate and one at the sync rate. Features un-quantised control over sync rate (A) and ability to balance between the base wave and the modulated signal (B)
  • Metal Square: Creates ring modulation/amplitude modulation like effects by syncing a waveform to two separate signals, one at the base rate and one at the sync rate. Features un-quantised control over sync rate (A) and ability to balance between the base wave and the modulated signal (B)
  • Metal Triangle: Creates ring modulation/amplitude modulation like effects by syncing a waveform to two separate signals, one at the base rate and one at the sync rate. Features un-quantised control over sync rate (A) and ability to balance between the base wave and the modulated signal (B)
  • Ring Mod Saw: Ring mod applied to two saw waves, with quantised ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades between these ratios allowing precise control across the whole range
  • Ring Mod Square: Ring mod applied to two square waves, with quantised ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades between these ratios allowing precise control across the whole range
  • Ring Mod Triangle: Ring mod applied to two triangle waves, with quantised ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades between these ratios allowing precise control across the whole range
  • Ring Mod Triangle / Square: Ring mod applied to a triangle and a square wave, with quantised ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades between these ratios allowing precise control across the whole range
  • Ring Mod Saw / Square: Ring mod applied to a saw and square wave, with quantised ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades between these ratios allowing precise control across the whole range
  • Ring Mod Saw / Triangle: Ring mod applied to a saw and triangle wave, with quantised ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades between these ratios allowing precise control across the whole range
  • Chaos Saw: Un-quantised ring modulation (A) combined with randomisation (B)
  • Chaos Square: Un-quantised ring modulation (A) combined with randomisation (B)
  • Chaos Triangle: Un-quantised ring modulation (A) combined with randomisation (B)
  • Fold Triangle: Triangle wave-folding (A) with DC offset (B)
  • Filtered Noise: Noise generator combined with a morphable filter with full control over Cutoff (A) and Morph (B)
Zum Vergrößern anklicken....
 
Zuletzt bearbeitet:
deanfreud schrieb:
Wir können dann ab 20:30Uhr live mit Christian von Modal über den COBALT8 reden. Der erzählt uns dann auch etwas mehr.
Wird bestimmt interessant und lustig, das Vorgespräch gestern Abend war es jedenfalls :banane:

Zum Vergrößern anklicken....

wäre cool, wenn du ihn fragen könntest für mich, ob eine 49-Tasten-Version geplant ist
 
Für mich persönlich auf jeden Fall einer der schönsten Synths der letzten Jahre.
 
SvenSyn schrieb:
wäre cool, wenn du ihn fragen könntest für mich, ob eine 49-Tasten-Version geplant ist
Zum Vergrößern anklicken....
Kommt sicherlich zu der Frage aber du kannst auch selber fragen, wir blenden ja die Fragen der Zuschauer ein. Ich versuche das auch heute mal mit etwas mehr Struktur. (mach ich mich bestimmt unbeliebt aber Moogulator, Synth Anatomy, den Chris und Zuschauerfragen... das wird anstrengend aber geil)
 
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