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S’appuyant sur la tradition des sons de synthétiseurs de style analogique, chauds et percutants, conçus par les synthétiseurs légendaires du passé, COBALT8M débloque tout le potentiel créatif des formes d’onde analogiques. Cet instrument puissant et inspirant réinvente l’esthétique des sons analogiques et invite les musiciens, les producteurs et les concepteurs sonores à explorer une nouvelle ère de textures de synthétiseurs analogiques virtuels, bien au-delà des limites de ses ancêtres analogiques.
En plus du moteur d’oscillateur innovant de COBALT8M, nous avons ajouté un arsenal massif de filtres morphables et statiques inspirants. Combiné aux options de modulation inégalées de Modal, à un séquenceur temps réel / pas à pas inspirant, à l’arpégiateur énergisant, au MPE, aux effets de qualité studio et à l’intégration de MODALapp, COBALT8M est le synthé parfait pour tous ceux qui veulent un instrument de musique électronique polyvalent pour jouer des sons de synthé vintage et qui sont désireux d’entrer dans de nouvelles dimensions sonores.
Huit véritables voix polyphoniques incitent les joueurs à pondre de larges accords de cordes ou de riches pad synthétiques, tandis qu’un patch monophonique de basse ou de lead, joué avec 64 oscillateurs, peut faire trembler les murs de tous les stades. Et avec les fonctions de formation du son d’avant-garde, chaque amateur de synthé peut affiner sa performance avec des sons qu’aucun autre synthétiseur n’est capable de générer.
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Algorithmes
- 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)
- NEW – FM Saw:Square: Frequency Modulation using a Sawtooth as the carrier and a Square as the modulator with full control over FM Depth (A) and Modulator Frequency Ratio (B)
- NEW – FM Square:Square: Frequency Modulation using a Square as both the carrier and modulator with full control over FM Depth (A) and Modulator Frequency Ratio (B)
- NEW – FM Tri:Square: Frequency Modulation using a Triangle as the carrier and a Square as the modulator with full control over FM Depth (A) and Modulator Frequency Ratio (B)
- NEW – Noise AM Saw: Sawtooth Wave amplitude modulated by a filtered noise source with full control over AM Depth (A) and Noise filter cutoff (B)
- NEW – Noise AM Square: Square Wave amplitude modulated by a filtered noise source with full control over AM Depth (A) and Noise filter cutoff (B)
- NEW – Noise AM Tri: Triangle Wave amplitude modulated by a filtered noise source with full control over AM Depth (A) and Noise filter cutoff (B)
Deux groupes d’oscillateurs indépendants pouvant compter jusqu’à 4 oscillateurs chacun génèrent non seulement de puissantes qualités analogiques virtuelles, mais comme aucun autre synthétiseur auparavant, 40 algorithmes complexes uniques tels que la synchronisation, la modulation en anneau, le morphing de forme d’onde et bien d’autres sont disponibles pour augmenter les options créatives des sons de synthé de nouvelle génération. Chaque algorithme dispose d’une paire de commandes simples à utiliser, sélectionnées en fonction de l’algorithme ou du caractère particulier, offrant aux musiciens le pouvoir de modulations ou de processus d’oscillateurs traditionnellement complexes de manière spontanée.
La section filtre de la COBALT8M contient une large sélection de plus de 30 types de filtres différents pour adapter avec goût le contenu sonore du mixage des algorithmes. Nos filtres morphables avancés 2-Pole-State Variable Filters et 4-Pole Ladder Filters offrent une flexibilité incroyable pour les sons synthétiques classiques et non conventionnels. Divers filtres passe-bas, passe-bande et passe-haut en échelle avec drive, des combinaisons de types de filtres traditionnels avec des caractéristiques Notch, et bien plus encore, débloquent des sons encore plus classiques et étendent les capacités expérimentales de la COBALT8M avec les sorties de filtres plus complexes pour créer des sons que personne ne pouvait imaginer auparavant.
Types de filtres
- 4-Pole Morphable Lowpass Ladder Filter
- Balanced 4-Pole Morphable Lowpass Ladder Filter
- Morphable Phasing Filter
- Morphable Notch Filter
- State Variable Filter with BP
- State Variable Filter with Notch
- 4 pole Lowpass Ladder (with drive)
- 3 pole Lowpass Ladder (with drive)
- 2 pole Lowpass Ladder (with drive)
- 1 pole Lowpass Ladder (with drive)
- 4 pole Highpass Ladder (with drive)
- 3 pole Highpass Ladder (with drive)
- 2 pole Highpass Ladder (with drive)
- 1 pole Highpass Ladder (with drive)
- 4 pole bandpass Ladder (12dB Lp /12dB Hp) (with drive)
- 2 pole Bandpass Ladder (6dB Lp / 6dB Hp) (with drive)
- 3 pole Bandpass Ladder (6dB Lp / 12dB Hp) (with drive)
- 3 pole Bandpass Ladder (12dB Lp / 6dB Hp) (with drive)
- 4 pole Bandpass Ladder (6dB Lp / 18dB Hp) (with drive)
- 4 pole Bandpass Ladder (18dB Lp / 6dB Hp) (with drive)
- Notch Ladder (with drive)
- Notch Ladder Alt (with drive)
- Lowpass Ladder with Notch (with drive)
- Lowpass Ladder with Notch Alt (with drive) – notch closes with resonance
- Lowpass Ladder with Notch and Resonance (with drive)
- Bandpass Ladder with Notch (with drive) – notch closes with resonance
- Bandpass Ladder with Notch and Resonance (with drive)
- Phaser Ladder (with drive)
- Highpass Ladder with Notch (with drive) – notch closes with resonance
- Highpass Ladder with Notch and Resonance (with drive)
- Peaking Filter (with drive)
Trois LFO flexibles à débit audio (2 x polyphoniques) peuvent être acheminés vers un grand nombre de destinations à l’aide de la matrice de modulation et synchronisés sur le tempo interne ou externe. Trois enveloppes dédiées pour le filtre, l’ampli et la modulation permettent un contrôle excessif de la dynamique et de l’expression. Les types d’enveloppe commutables offrent davantage d’options pour adapter les enveloppes à des fins sonores spécifiques. La matrice de modulation sophistiquée à 12 emplacements de la COBALT8M permet d’assigner facilement des routes de modulation complexes pour que le son reste évolutif. Quatre routages de modulation courants sont prédéfinis ici pour libérer de l’espace pour des idées plus excitantes.
Le séquenceur temps réel / pas à pas intégré de 512 notes avec quatre voies d’animation puissantes invite à composer des motifs mélodiques massifs et complexes. Le mode séquenceur polyphonique à 64 notes permet de saisir facilement les valeurs des notes et des animations. Plusieurs modes de déclenchement du séquenceur couplés au puissant arpégiateur intégré (programmable jusqu’à 32 pas) et à des fonctions de performance telles que Chord Hold, Inversions, Transpose, Sustain Latch.
Le boîtier robuste en acier et aluminium du COBALT8M souligne l’approche professionnelle du synthé. Le design de bureau s’adapte à la table de tout producteur, et des supports inclus permettent de monter le COBALT8M dans un rack de live ou de studio. Pour un accès direct aux paramètres, COBALT8M dispose de 13 encodeurs commutés, 13 encodeurs, 9 boutons et un joystick X/Y pour le pitch ou la modulation. Le support MPE offre de nouveaux moyens d’expression créative pour les interprètes sophistiqués.
Remodeler complètement vos sons avec le moteur d’effets stéréo intégré. Le COBALT8M est doté d’un moteur d’effets à 3 emplacements avec une programmation approfondie des effets. Pour peaufiner le son, un total de 26 algorithmes d’effets ajoutent du caractère et de la profondeur, y compris de riches réverbérations, des effets de chorus chauds, des phasers et des flangers tourbillonnants, des trémolos, des LoFi, des rotatifs, de larges délais, un égaliseur, un compresseur et plus encore.
Conçu pour être utilisé dans n’importe quel environnement de synthé, le COBALT8M est livré avec toutes les connexions physiques nécessaires. Contrôlez le synthé à l’aide de l’USB, écoutez au casque ou à l’aide des sorties de ligne dédiées, synchronisez avec des appareils externes à l’aide de l’entrée et de la sortie MIDI pleine grandeur ou de l’entrée et des sorties Sync 3,5 mm et prenez le contrôle de votre son à l’aide des entrées Sustain et Expression intégrées. En enchaînant deux dispositifs COBALT8, le nombre de voix est facilement doublé à 16 voix et 128 oscillateurs.
Il y a beaucoup de place pour stocker les créations de patchs, d’effets et de séquences. Dès la sortie de la boîte, 300 des 500 patchs sont remplis de banques de patchs d’usine, soigneusement programmées par certains des sound designers les plus accomplis du monde. Une centaine de configurations d’effets et de séquences personnalisées peuvent également être stockées pour être appliquées à n’importe quel son lors de l’exécution.
Notre bibliothèque de patchs modaux contient des centaines de banques de sons et de sons individuels, allant des sons synthétiques classiques du passé aux nouvelles textures contemporaines. Toutes les banques de sons de notre bibliothèque sont disponibles gratuitement et peuvent être facilement importées via notre MODALapp gratuite.
Sound on Sound – “Le Cobalt 8 est un synthétiseur au son merveilleux pour les adultes qui aiment explorer des territoires nouveaux et familiers sans s’embarrasser de détails.”
Music Tech – “La série COBALT8 a un look et un son fantastiques, et est susceptible d’égayer n’importe quel environnement de scène et de studio”.
Attack Magazine – “Si vous êtes un fan de l’analogique et que vous avez envie de quelque chose d’un peu différent, la COBALT8 ne tarde pas à gagner votre cœur”.
Sonicstate – “C’est une expérience de création de patchs assez agréable.”
Synthanatomy – “Il est clair qu’il ne veut pas émuler un synthé analogique du passé. Il pousse plutôt les technologies de modélisation analogique vers l’avant.”
Failed Muso – “MODAL a encore une fois un gagnant sur les bras et le plaisir instantané que j’en retire va vraiment me manquer lorsque je devrai renvoyer ce produit”.
Music Radar – “Une autre machine modale aux sonorités brillantes et uniques ! Très flexible pour son prix et un éditeur puissant plus MPE lui donnent un attrait futuriste.”
L’application gratuite MODALapp apporte le confort de l’édition à l’écran sur votre ordinateur ou votre appareil mobile. Disponible en tant qu’application autonome pour les systèmes macOS, Windows, iOS, iPadOS ou Android et aux formats de plug-in VST3 et AU, c’est le compagnon idéal pour les passionnés de synthé qui cherchent à plonger en profondeur vers tous les paramètres de formation et de performance du son pour créer leurs propres signatures sonores, et à sauvegarder et gérer les patches et les séquences.
Polyphonique à 8 voix
Prend en charge les contrôleurs MIDI compatibles MPE, ce qui vous permet d’appliquer un contrôle et une expression polyphoniques aux notes individuelles.
64 oscillateurs analogiques virtuels haute résolution, jusqu’à 8 par voix.
Deux groupes d’oscillateurs indépendants et autonomes avec des formes d’ondes sinusoïdales, pulsées, triangulaires, en dents de scie, 40 algorithmes différents comprenant : des techniques complexes de synthèse analogique, une crossmodulation intégrée (SYNC, RM, et bien d’autres), PWM, un morphing fluide entre les ondes VA, un écrasement de bits, un bruit filtré.
Dérive étendue de l’oscillateur
Algorithmes
- 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)
- NEW – FM Saw:Square: Frequency Modulation using a Sawtooth as the carrier and a Square as the modulator with full control over FM Depth (A) and Modulator Frequency Ratio (B)
- NEW – FM Square:Square: Frequency Modulation using a Square as both the carrier and modulator with full control over FM Depth (A) and Modulator Frequency Ratio (B)
- NEW – FM Tri:Square: Frequency Modulation using a Triangle as the carrier and a Square as the modulator with full control over FM Depth (A) and Modulator Frequency Ratio (B)
- NEW – Noise AM Saw: Sawtooth Wave amplitude modulated by a filtered noise source with full control over AM Depth (A) and Noise filter cutoff (B)
- NEW – Noise AM Square: Square Wave amplitude modulated by a filtered noise source with full control over AM Depth (A) and Noise filter cutoff (B)
- NEW – Noise AM Tri: Triangle Wave amplitude modulated by a filtered noise source with full control over AM Depth (A) and Noise filter cutoff (B)
31 types de filtres résonnants, dont des filtres morphables et statiques.
Échelle de coupure avec trois modes distincts
Types de filtres
- 4-Pole Morphable Lowpass Ladder Filter
- Balanced 4-Pole Morphable Lowpass Ladder Filter
- Morphable Phasing Filter
- Morphable Notch Filter
- State Variable Filter with BP
- State Variable Filter with Notch
- 4 pole Lowpass Ladder (with drive)
- 3 pole Lowpass Ladder (with drive)
- 2 pole Lowpass Ladder (with drive)
- 1 pole Lowpass Ladder (with drive)
- 4 pole Highpass Ladder (with drive)
- 3 pole Highpass Ladder (with drive)
- 2 pole Highpass Ladder (with drive)
- 1 pole Highpass Ladder (with drive)
- 4 pole bandpass Ladder (12dB Lp /12dB Hp) (with drive)
- 2 pole Bandpass Ladder (6dB Lp / 6dB Hp) (with drive)
- 3 pole Bandpass Ladder (6dB Lp / 12dB Hp) (with drive)
- 3 pole Bandpass Ladder (12dB Lp / 6dB Hp) (with drive)
- 4 pole Bandpass Ladder (6dB Lp / 18dB Hp) (with drive)
- 4 pole Bandpass Ladder (18dB Lp / 6dB Hp) (with drive)
- Notch Ladder (with drive)
- Notch Ladder Alt (with drive)
- Lowpass Ladder with Notch (with drive)
- Lowpass Ladder with Notch Alt (with drive) – notch closes with resonance
- Lowpass Ladder with Notch and Resonance (with drive)
- Bandpass Ladder with Notch (with drive) – notch closes with resonance
- Bandpass Ladder with Notch and Resonance (with drive)
- Phaser Ladder (with drive)
- Highpass Ladder with Notch (with drive) – notch closes with resonance
- Highpass Ladder with Notch and Resonance (with drive)
- Peaking Filter (with drive)
Trois générateurs d’enveloppe dédiés pour AMP, MOD et FILTER, accessibles indépendamment ou simultanément, y compris des versions négatives (inversées) pour les ENV MOD et FILTER.
Trois LFO à débit audio avec synchronisation du tempo (deux poly, un global) avec sept formes différentes.
Huit emplacements de modulation assignables et quatre routages de modulation fixes supplémentaires pour les affectations communes avec 12 sources de modulation et 55 destinations de modulation.
Séquenceur polyphonique en temps réel avec 512 notes et quatre animations de paramètres enregistrables/éditables (les effets de délai, les LFO, le séquenceur et l’arpégiateur peuvent être synchronisés en interne ou en externe).
Séquenceur polyphonique à pas de 64 pas, 8 notes par pas, 4 voies d’animation de style Parameter-Lock, mode Step Input, plusieurs modes de lecture, y compris des modes gate et une fonction de repos.
Arpégiateur programmable sophistiqué intégré de 32 pas avec possibilité de repos jusqu’à 2048 pas avant répétition.
Trois moteurs FX stéréo indépendants et incroyablement puissants, configurables par l’utilisateur, pour 26 algorithmes d’effets, dont Drive, Chorus, Phaser, Flanger, Tremolo, LoFi, Rotary, Stereo Delay, Ping-Pong Delay, X-Over Delay et Reverb.
500 mémoires de patch, toutes entièrement éditables et livrées avec 300 programmes d’usine
100 présélections de séquenceur qui peuvent être liées à n’importe quel patch pour charger rapidement des arrangements
100 presets FX
4 emplacements de rappel rapide accessibles depuis le panneau pour charger rapidement vos patchs préférés
13 encodeurs commutés, 13 encodeurs, 9 boutons
Joystick à 4 axes qui peut être assigné à un large éventail de destinations de modulation et virtuellement “verrouillé” lorsque vous le souhaitez.
Modes de voix multiples, Mono, Poly, Unison 2, unison 4, unison 8, Stack 2 et Stack 4.
Glide/Portamento avec les modes legato et staccato.
Contrôle d’inversion d’accords pour créer facilement des inversions et des variations d’accords.
Sorties ligne mono double 6,35 mm / 1/4″ TS
Sortie casque 6,35 mm / 1/4″ TRS
Entrée audio stéréo 3,5 mm / 1/8″ TRS
Entrée et sortie MIDI DIN
Entrée et sortie de synchronisation d’horloge analogique TS 3,5 mm / 1/8″.
Connexion MIDI over USB conforme à la norme
Entrée pour pédale d’expression 6,35 mm / 1/4″ TRS
Entrée pour pédale de sustain 6,35 mm / 1/4″ TS
Boîtier de style table, supports pour montage en rack 19″ 3U inclus (nécessite un espace libre de 1U au-dessus ou des connecteurs à angle droit).
Grand écran OLED de 1,54 pouce pour un retour visuel instantané à tout moment de la lecture/édition.
Alimentation : DC-9.0V – 1.5A centre-positif
L’éditeur gratuit MODALapp est disponible pour macOS, Windows, iOS et Android.
MODALapp peut également être exécuté dans votre station de travail audio numérique (DAW), avec des versions VST3 et AU disponibles.
Dimensions (L x l x h) : 384 x 127 x 81 mm / 15,1″ x 5″ x 3,2″.
Poids : 2,1 kg / 4,6 lbs
Firmware v2.1
Veuillez mettre à jour votre COBALT8M via l’application autonome MODALapp.
Improvements:
- Updated the Note > Cutoff behaviour when using the Relative and Bipolar Filter Cutoff Scaling modes so that it tracks portamento / glide and pitch bend
- Added a panel shortcut for the Osc Free Run parameter – hold the ‘Patch’ button and turn the Osc2 Tune control (the ‘A2/Tune2’ encoder)
- Improved the behaviour / feel of the encoder when controlling the Cutoff Scaling parameter
Fixes:
- Fixed an arpeggiator delay / latency issue introduced in Firmware V2
- Fixed arpeggiator hanging notes issues potentially seen when using long divisions and gate lengths
- Fixed an arpeggiator chord mode issue where pressed notes may not all be added to the arp straight away
- Fixed very rare crash when sending certain tempo values from external MIDI
Features:
- Added 14 new FX including a new reverb algorithm:
- Reverb V2
- Phaser V2
- Unisoniser
- Compressor
- Three Band EQ
- Mono Drive (Hard Clip)
- Mono Drive (Soft Clip)
- Mono Drive (Rectify)
- Mono Drive (Fold)
- Stereo Drive (Hard Clip)
- Stereo Drive (Soft Clip)
- Stereo Drive (Rectify)
- Stereo Drive (Fold)
- Utility
- 27 New Filter Types: 2 morphable, 25 non-morphable where the ‘Morph’ parameter instead becomes ‘Drive’.
- State Variable Filter with BP
- State Variable Filter with Notch
- 4 pole Lowpass Ladder (with drive)
- 3 pole Lowpass Ladder (with drive)
- 2 pole Lowpass Ladder (with drive)
- 1 pole Lowpass Ladder (with drive)
- 4 pole Highpass Ladder (with drive)
- 3 pole Highpass Ladder (with drive)
- 2 pole Highpass Ladder (with drive)
- 1 pole Highpass Ladder (with drive)
- 4 pole bandpass Ladder (12dB Lp /12dB Hp) (with drive)
- 2 pole Bandpass Ladder (6dB Lp / 6dB Hp) (with drive)
- 3 pole Bandpass Ladder (6dB Lp / 12dB Hp) (with drive)
- 3 pole Bandpass Ladder (12dB Lp / 6dB Hp) (with drive)
- 4 pole Bandpass Ladder (6dB Lp / 18dB Hp) (with drive)
- 4 pole Bandpass Ladder (18dB Lp / 6dB Hp) (with drive)
- Notch Ladder (with drive)
- Notch Ladder Alt (with drive)
- Lowpass Ladder with Notch (with drive)
- Lowpass Ladder with Notch Alt (with drive) – notch closes with resonance
- Lowpass Ladder with Notch and Resonance (with drive)
- Bandpass Ladder with Notch (with drive) – notch closes with resonance
- Bandpass Ladder with Notch and Resonance (with drive)
- Phaser Ladder (with drive)
- Highpass Ladder with Notch (with drive) – notch closes with resonance
- Highpass Ladder with Notch and Resonance (with drive)
- Peaking Filter (with drive)
- Vintage Parameter – Emulating the behaviour of vintage synths by introducing variation between the voices
- Osc Free Run – Emulating the behaviour of analogue oscillators by allowing them to run freely
- 7 new arpeggiator directions:
- Chord
- Pendulum 2 – Repeats the last note when reversing direction
- N-Pendulum 2 – Pendulum 2 in note number order
- Reverse Pendulum – A reverse version of Pendulum
- N-Reverse Pendulum – A reverse version of N-Pendulum
- Reverse Pendulum 2 – A reverse version of Pendulum 2
- N-Reverse Pendulum 2 – A reverse version of N-Pendulum 2
- Added a “Cutoff Scaling” patch parameter for improved filter cutoff behaviour with the following modes:
- Legacy – The existing cutoff control scaling curve and note-to-cutoff tracking behaviour
- Relative – A new cutoff control scaling curve that is more balanced and changes the note-to-cutoff tracking to behave more closely to analogue synths. In this mode note-to-cutoff tracks best when the cutoff control is at 0.
- Bipolar – The same cutoff control scaling curve as the ‘Relative’ mode, except in this mode note-to-cutoff tracks best when the cutoff control is at 64.
Improvements:
- Improved internal gain staging for increased output volume in most cases
- Improved the screen’s filter graph / parameter pages in the following ways:
- Improved the graph to be a more accurate representation of the filter
- The Type parameter page now displays both the graph and text value
- Improved Audio In sound quality
Fixes:
- Fixed issue with the tempo-synced delay times
- Fixed a potential arpeggiator note ordering issue when playing arps with an arp octave value of 2 or more
- Fixed a potential arpeggiator note ordering issue when playing arp patterns using a pendulum direction mode
- Fixed issue where the first loop of the arpeggiator sequence may not contain all pressed notes when using the ‘backwards’ direction mode
Fixes:
- Fixed FX preset indexing issue introduced in v1.3
- Fixed FX parameters not always being updated for polychain slaves
Features:
- New Chorus FX (“Chorus (v2)”), introduced in COBALT5S, added to the COBALT8 series
Improvements:
- Fixed sequencer name desync issue
Improvements:
- Improved USB MIDI Connectivity on Mac OS Big Sur
- Enhanced reliability for large data transfers with MODALapp
Features:
- 6 new oscillator algorithms (Noise AM and Square FM types)
- Added ‘Master’ clock mode that always sends out MIDI clock
Improvements:
- Improved arpeggiator sync when working with external sequencers
- Improved expression pedal behaviour
- Improved LFO1 sync when clocked from external MIDI
Fixes:
- Removed some modulation assignment options that don’t make sense
- Fixed some re-trigger issues with the S+H shape on LFO1
- Fixed issue where an external CC 0 (bank) message would cause the screen to switch to the ‘play’ page, if screen switching is enabled for external MIDI messages.
- Fixed Tri Noise screen display glitches
- Fixed issue where vibrato assignments could cause oscillator pitch offsets
- Fixed an edge case when loading a step sequence with 0 steps
- Fixed Y+ to LFO1 assignment not always working as expected
- Fixed app sync of XY lock parameter
L’application gratuite MODALapp apporte le confort de l’édition sur écran sur votre ordinateur ou votre appareil mobile. Disponible sous forme d’application autonome pour les systèmes macOS, Windows, iOS, iPadOS ou Android et aux formats de plug-in VST3 et AU, c’est le compagnon idéal pour les passionnés de synthé qui cherchent à plonger en profondeur dans tous les paramètres de formation du son et de performance pour créer leurs propres sons caractéristiques.