What more could you ask for? If all the technical talk scares you, fret not! This is said to result in a more sophisticated and capable synth than the original, without compromising the ability to recreate the classic sounds of the early days of digital synthesis. I was just about to ask that. The Phosphor comes with 80+ pre-sets that I found incredibly usable and inspiring. Old 12,9 Pro here, and no problems with the app. We now have another Audio Damage instrument app on the App Store; Axon 2. Haven't had any problems at all on Air2 10.
I managed to make some interesting Machine sounds for the project I'm working on. Audio Damage took special care in recreating the original synthesis process, creating their own add-on features, and making it more versatile for modern musicians. Well, now that you say that, I wonder why I didn't think of it. The pads and leads really stand out, but the bass presets seemed a little limited. True to the alphaSyntauri, Phosphor v1 only offered 16 partials, but now each oscillator includes a menu-selected choice of 16, 32 or 64 of the blighters, extending the harmonic range upwards massively. Deleted and reinstalled, still nothing.
Pretty good day so far. A week or so for that, but it won't be a separate purchase; we'll just update it to universal. The score is finished, but I have lacked the sounds I had imagined for the start of the piece. Love all the apps so far btw. At the risk of offending, was the volume up? That would be very much appreciated. The levels of the individual partials are set using the bank of vertical sliders in the Primary and Secondary Oscillator panels, with the leftmost slider setting the volume of the fundamental and the rest dialling in increasingly high-frequency harmonics, enabling effortlessly creative signal shaping - albeit without the handy real-time waveform that sat behind the sliders in v1, which has been ditched.
A week or so for that, but it won't be a separate purchase; we'll just update it to universal. Their instruments are no less creative, including the Phosphor polysynth and the Axon drum synth. Audio Damage makes effects and instruments unique to the digital environment, helping artists create new and unique sounds that stand out from the pack of producers using Logic and Ableton pre-sets. In terms of sounds, I think programmers will find they very quickly get the hang of things, but even a synth novice ought to find their way around without too much trouble. The noise and oscillators are able to work in the original alphaSyntauri resolutions, and can also be run at modern sample rates.
I did all the dev on a 10. Many software synths hide most of their features in confusing sub-menus, but Phosphor puts it all on the screen in a nice little green and grey box. . Will you guys let me get away with that? There's really not a lot that can go wrong with this. Have been putting it through the paces in standalone driven by sequencers like Quincy and Xynthesizr. When I first opened Phosphor up I was surprised by the relative simplicity of its interface. Scraramucci tossed under the bus, and Phosphor 2 drops.
Remarkably, it manages to make its seemingly limited range of editable parameters and modulators feel like a benefit, coming across as tightly focused on its own idiosyncratic modus operandi rather than in any way inadequate, and being supremely easy and fun to program. Just what i was looking for. That said, it is a very interesting concept and will most certainly appeal to those with a more experimental streak. So, if you like your virtual drum instruments to come with a bit of a twist, is Axon 2 worth a look? A week or so for that, but it won't be a separate purchase; we'll just update it to universal. The same menu also gives instant access to two oscillator randomising options all partials, or a third of them with the rest set to 0 and a set of preset partial configurations that mimic analogue waveforms: saw, triangle and square. Audio Damage is not one of them.
The users can link these various neurons in any combination and the system is intelligent enough to avoid data loops. . . . . . .
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