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Hi everyone,

We are releasing the v1.0.0 update of our physical modeling synth, the Anyma Phi.
We added tons of new contents for you to play with, for a total of 35 oscillators, 33 effects, and 45 modulators, as well as many new features that will bring you Anyma game to the next level.
This update is the result of months of hard work and testing, and we would like to thank all the people who participated in our beta program and made the product more stable, featureful, and enjoyable.

Get it there:

• Windows package (≥ Windows 7, 32 bit)
• macOS package (≥ 10.9, Universal Intel & Apple Silicon)
• Linux package (64 bit, limited support)
• User manual (PDF)

After updating, it's important to turn your Anyma off and on twice.

Here's a tour of the new features.

Youtube Video

Arpeggiator and MIDI Clock sync
Finally, you'll be able to use that mysterious Arp macro at the lower-right corner of the matrix!
It now enables or disables the internal arpeggiator included in your patch, and a long encoder press gets you directly to all its controls.
The arpeggiator features 15 different patterns, with all the classic options, a latch mode, and even a "trigger" mode where your modulators decide when to advance to the next step.

By default, the arpeggiator is synced to an internal clock, with adjustable tempo, but now that the Anyma Phi supports MIDI Clock sync, you can use that external clock as well.
You can also leverage clock sync elsewhere, with new "sync" versions of the Delay effect and the Advanced LFO, as well as an army of Sync triggers.
Ah, and there's a Sequencer modulator too, with up to 16 steps.

Microtuning support
You can now tune your Anyma Phi to any reference frequency or tuning system, such as just intonation, historic or non-Western tunings, or those of modern microtonal and xenharmonic music.
Up to 8 tunings can be stored, and you can import/export them via MTS SysEx messages (MTS-ESP works quite well too).
You can then select one of them as the global tuning, and assign a specific one to each patch.

The Anyma includes dozens of tuning presets, and you can edit them or create new ones with the onboard tuning editor, which offers a palette of different ways to define a tuning depending on what you need.
Don't miss the Tuning chapter of the manual for more details.

Autofill matrix and Randomize patch
Your Anyma Phi now has a few new commands (in the settings menu, as well as in the PC/Mac editor) that will make your sound design life much easier.
Among them, Autofill matrix analyzes your patch, tries to find the most interesting parameters, and maps them to Matrix macros in the right place, so as to offer a good starting point to further polish your creation.

But the most exciting command is certainly Randomize patch.
Using a revolutionary artificial intelligence algorithm (also known as "random numbers and a bunch of conditionals"), it creates a new playable patch out of nothing, completely different every time.
Some will sound weird, some will sound great, and most will need a bit of polish, but you can be sure it will rekindle your creative spirit and lead you to undiscovered territories!

And with the Randomize empty setting, you will get a random patch automatically every time you go to an empty patch in your bank.
Just roam about in an empty bank and save all the interesting patches you'll encounter!
It's a great way to spend an afternoon, and to feel like your Anyma Phi has gone from 200 patches to ∞.

Drum trigger and Timbre follower
You will find an improved Envelope follower that allows you to extract a modulation from an audio signal (like the internal piezo), now with noise gate and gain.
Map the envelope follower to the Patch expression, and now you can trigger and play the oscillators by tapping on the case of the Anyma!

But wait, we added two modules that will bring audio-based modulation to the next level:

• Drum trigger is an envelope follower designed specifically for percussion.
• Timbre follower extracts the "brightness" of the audio signal, so you can discriminate between tapping with your thumb or with a screwdriver (?), or between singing a low C and a high A.

Exciters and Snare drum
The new Exciter group offers three oscillators meant to be used with resonator effects:

• Bow simulates the raw sound of a bow scratching a material.
• Wind simulates a variety of continuous blowing, breathing, or wind noises.
• Strike simulates a variety of impulses and percussive noises: hammers, mallets, sticks, plectrums, or bouncing particles (using the Mallet parameter).

They bring a new dimension to the two existing resonators, but we couldn't resist adding a third one that pairs exceptionally well with Strike: the Snare drum resonator.
This new physical model is derived from an awesome research paper from the nice chaps at the Center for Haptic Audio Interaction Research (CHAIR).

Drawbar organ and Rotary speaker
The new Drawbar organ oscillator offers that classic vintage sound from rock, blues or jazz, carefully replicating the electro-mechanical tonewheels, as well as harmonic foldback, key clicks, and percussion sounds.
You can scrub through all the included presets, or you can adjust the drawbars manually and create your dream sound.

And because not everyone has a Leslie lying around, we also included a Rotary speaker effect, as well as its stereo version that works with both the Main and Aux buses.

Granular processor
If you need to make mind-bending audio textures and soundscapes (or if you just need some clouds to put your rings into), look no further than the new Granular processor effect, which splits your audio into small grains and recombines them in various ways.

Dynamics processors
A new group of dynamics processors joins the effects modules:

• The Noise gate attenuates the input when the signal is below a threshold, with all the classic parameters, as well as optional sidechain and lookahead.
• The Compressor is a run-of-the-mill feedforward design, with optional automatic makeup, sidechain, and lookahead.
• The Dynamics booster is a much simpler compressor for quick and easy sound design, with two parameters: Sensitivity and Amount (tames or boosts the input).

Virtual analog and FM operator
We added a new Virtual analog oscillator that conveniently offers all the basic synth sounds with continuous waveform selection (sine, triangle, sawtooth, square, pulse).

Now, take this harmless little oscillator, modulate its frequency with an audio input, and you get a wicked linear through-zero FM operator effect to make crazy mixed-FM structures.
You can stack up to 5 operators in addition to 3 oscillators, and each FM operator can be oversampled.

Chaos unleashed
If generative music and fun math is your jam, then you'll love the new Chaos modulator group.
Those modulators react to any trigger and generate sequences according to simple mathematic laws that can evolve from predictable states to complete disorder!
Logistic map, Tent map, Circle map, and Discrete chaotic map offer you four different equations for controlled or chaotic modulations.
And if you're looking for something more like Conway's Game of Life, there's a 32-cell elementary Cellular automaton whose rule and initial state you can freely modulate. It can also output three triggers depending on the state changes of specific cells.

I am the law
Some people play by the rules, but aren't they always meant to be bent a little? The new Algorithmic and Physics modulator groups offer you various algorithms and physical models to play with.

The first group offers an Euclidean sequencer to generate evenly-spaced rhythms, as well as an Hexadecimal sequencer that can convert any 32-bit number into a groovy, juicy sequence.

In the second group, the Bouncing ball simulates the movement of a ball thrown into the air and bouncing against a hard floor.
It comes with its little brother, Ball impact, that simulates up to 8 bouncing balls at a time, outputting the velocity of a ball when it hits the floor, which is especially well suited for use as an expression input to a percussive oscillator.
And because there is never enough bounciness in the world, the Spring-damper system allows you to attach a spring to any input value, and outputs the position of the mass at the other end of the spring.

Tools for paraphonic patches
You can now have each oscillator assigned to a different note when playing a chord, making paraphonic patches possible (with up to three simultaneous notes).
There's also many other things you can do, like pegging a specific oscillator to the lowest note in the chord while another follows the arpeggiator.
To make paraphonic patches even easier, there is now a Replicant oscillator that just automatically copies the previous oscillator (with all its modulations), but can be set to use a different expression signal and pitch settings.

Improved stand-alone capabilities
We want to make the Anyma Phi better for everyone, including Linux users and those that despise computers.
You can now rename your patch, copy or swap modules around, and apply complex operations like Autofill Matrix and Randomize directly from your Anyma.

The individual patch files exported from the PC/Mac editor are now formatted as valid MIDI SysEx messages, so you can just grab them from the Internet and send them directly to your Anyma.
You can also dump any existing patch as a MIDI SysEx message sequence directly from your Anyma, without even needing to open the editor.
Finally, you can now reset your entire Anyma, patch bank included.

Full release notes

• There is now an Arpeggiator module to turn polyphonic note input into arpeggios.
• Added a 16-step Sequencer modulator.
• Added a Delay (sync) effect and a LFO (sync) modulator (in the Change group), which are tempo-synced versions of the same modules.
• Now supports up to 8 tunings (TUN1 to TUN8) that can be imported/exported via MTS SysEx messages. You can select a global tuning, and each patch can select a specific tuning among TUN1 to TUN8. The on-board tuning editor allows you to define a tuning in several ways (reference note, 12-tone octave scale, full tuning table, scale, and n-EDO).
• Added three new matrix commands:
  • Reset sets all the macros of the matrix (or its alternate version) to 0%.
  • Autofill tries to add mappings for the unmapped macros in the matrix, based on your patch.
  • Unmap all removes all the mappings related to the matrix.
• Added three new patch commands:
  • Randomize creates a random patch.
  • Compactify removes the free space in the effects, modulator, and mappings sections.
  • Reload removes unsaved changes.
• Added an option to randomize empty patches.
• Added more options to the Envelope follower modulator (noise floor, gain).
• Added a Drum trigger modulator that generates an expression signal suitable for triggering percussive oscillators.
• Added a Timbre follower modulator that extracts the overall brightness of an audio signal.
• Added a new oscillator group, the Exciters, which are meant to be used with a resonator effect. Three exciters are available:
  • Bow simulates the raw sound of a bow scratching a material.
  • Wind simulates a variety of continuous blowing, breathing, or wind noises.
  • Strike simulates a variety of impulses and percussive noises: hammers, mallets, sticks, plectrums, or bouncing particles (using the Mallet parameter).
• Added a Snare drum effect, in the Resonator group, that simulates the propagation and reflection of the input waveform exciting a snare drum.
• Added a Drawbar organ oscillator, as well as two Rotating speaker effects.
• Added a Granular processor effect that creates audio textures and soundscapes by combining short segments (or grains) of the input.
• Added three dynamics effects: Compressor, Dynamics booster, and Noise gate.
• Added a Virtual analog oscillator with continuous waveform selection.
• Added a FM Operator effect (in the Modulation group) that uses the input as a modulation for its own internal virtual analog oscillator, for making mixed FM sounds.
• Added a Dirty formant filter effect that works pretty much like the Artin VFOF oscillator, but applied to any audio input.
• Added a Ping-pong delay effect, together with a sync variant.
• Added a few new value, gate and trigger sources related to polyphonic note input (Paraphonic group), to assist in making paraphonic patches.
• Added a new Replicant oscillator that copies the previous oscillator in the list but allows for changes in expression input and pitch, which can be useful to build paraphonic patches.
• Added a few new controller triggers (new note played, last note released, note transition).
• You can now rename patches and tunings directly from your Anyma Phi. When renaming, turn kEncoderMenu to select a letter, use kLeft and kRight to move the cursor, and press kEncoderMenu to confirm.
• Added a Dump patch command to send the current patch as a SysEx message chain through the USB device port without needing the editor. A patch can then be dumped back to the Anyma as SysEx to replace the current one.
• Changed the format of exported patches in the PC/Mac editor to allow the files to be directly dumped as SysEx. Patches saved with previous versions can still open without issues, but patches saved with this version cannot be open in previous versions.
• A few modulators can now output useful triggers into up to 4 custom trigger channels (TC1 to TC4), which can then be used a trigger sources for percussive oscillators or other modulators like envelopes. Look for parameters named TC.OUT in modulators like DAHDSR Envelope or Compare.
• Added a Compare modulator that determines whether a signal goes above or below a threshold.
• Added a Logic modulator group with five modulators providing different tools to work with triggers and gates (Gate combinator, Trigger combinator, Gate to trigger, Gate delay, Trigger delay).
• Added a Slow LFO variant of the Advanced LFO modulator (in the Change group) with periods between a second and a full day.
• Added a Change polarity modulator that turns unipolar (0% to 100%) values into bipolar ones (-100% to 100%), and vice-versa.
• Added a new modulator group, Physics, that provides physical models and simulations:
  • Bouncing ball simulates the movement of a ball thrown in the air and bouncing over a hard surface.
  • Ball impact simulates up to 8 independent bouncing balls thrown in the air and bouncing over a hard surface, and outputs their velocity where there are impacts, making it more suitable for modulating the expression of percussive oscillators.
  • Spring-damper system simulates a mass attached to the input with a damped spring, making a "springy" or "bouncy" version of the input.
• Added a new modulator group, Algorithmic, that provides various algorithm-based utilities to generate sequences:
  • The Euclidean sequencer generates a large variety of rhythms whose beats are as evenly spaced as possible.
  • The Hexadecimal sequencer generates a sequence based on the binary representation of a 32-bit hexadecimal number, with each of its 8 digits controllable individually.
• Added a new modulator group, Chaos, that provides various ways to generate chaotic sequences:
  • Logistic map, Tent map, and Circle map, each with controllable parameters.
  • Discrete chaotic map, which allows continuous switching between Duffing, Gingerbreadman, Bernoulli and Hénon maps.
  • Cellular automaton, with 32 cells, selectable rule and initial state, as well as trigger outputs for 3 different cells, whose indices can modulate.
• A few modules now have an Oversampling parameter that allows increases in sound quality at the expense of a higher patch load.
• When selecting a CC in the CC mapping settings, your Anyma can now learn from the MIDI input. You can disable this feature by unchecking the MIDI learn setting at the bottom of the list, or by pressing the Animate matrix button while editing a CC. The same feature exists for tunings, where you can select specific scale degrees or notes using any MIDI input.
• Added four CC Out destinations in the Matrix module, that can be used so that every patch can output different MIDI CCs to an external device. The MIDI CCs, channel, and ports can be setup in the CC mapping settings.
• The volume knob now behaves more linearly.
• MIDI routing now offers a Safe merge option with a different set of tradeoffs.
• Added a Velocity curve setting to change the global velocity response of the synth.
• The Reset settings submenu can now reset the entire bank and settings of the Anyma.
• Improved the display and selection of mapping destination parameters on the Anyma.
• In the module editor screen, modules can now be copied, pasted and swapped.
• In the PC/Mac editor, modules can now be copied and pasted.
• Enabled drag-and-drop for empty modules in the PC/Mac editor.
• Now supports external MIDI clock sync, and provides an internal clock if no external clock is detected.
• Now supports external MIDI hold pedal (by default, CC 64).
• Added a Remote display option in the editor (View menu) allowing to mirror the display of the Anyma, allowing you to record clean videos of the display by capturing the editor window on your computer screen.
• Added a secret Test tone mode (hold any matrix button then press Shift) whose workings are left as an exercise to the reader.
• Fixed the Sylphinet preset of the Windsyo oscillator.
• Fixed the Artin VOSM oscillator.
• The Mac editor is now a Universal application, with native Apple Silicon support.
• Fixed some bugs leading to the Anyma Phi being frozen.
• Fixed some bugs leading to the PC/Mac editor not being able to communicate with the Anyma Phi.
• Added more feedback and confirmation options in the PC/Mac editor for bank operations.
• Added an Expr. detect option to choose the condition used by the synth to switch between expression CC input and velocity envelope.
• Limited Linux support: the editor is now also available for Linux x64, however due to limited resources Aodyo Instruments is not able to extensively test it and provide support for this particular version.
• Changed the order in the oscillator list to lump all pitch-insensitive oscillators at the beginning.o record clean videos of the display by capturing the editor window on your computer screen.
• Added a secret Test tone mode (hold any matrix button then press Shift) whose workings are left as an exercise to the reader.
• Fixed the Sylphinet preset of the Windsyo oscillator.
• Fixed the Artin VOSM oscillator.
• The Mac editor is now a Universal application, with native Apple Silicon support.
• Fixed some bugs leading to the Anyma Phi being frozen.
• Fixed some bugs leading to the PC/Mac editor not being able to communicate with the Anyma Phi.
• Limited Linux support: the editor is now also available for Linux x64, however due to limited resources Aodyo Instruments is not able to extensively test it and provide support for this particular version.
• Changed the order in the oscillator list to lump all pitch-insensitive oscillators at the beginning.

@josie The envelopes are unipolar, meaning that their output signal will be between 0 and 100%. If you just map the envelope output to pitch and don't change anything, the amount of the mapping will be +100%, meaning it will add the envelope to the pitch. So you would need to set the amount to -100% to remove the desired amount to the pitch.

I guess it worked with an LFO because LFOs are bipolar (their output signal varies between -100% and 100%), so even with a +100% mapping amount, the LFO would lower the pitch when in the negative part of its waveform.

I'll add a new global setting, Expr. detect, that allows you to set the condition used by the synth to switch between expression CC and velocity envelope for the synth expression signal, with these options:

• Never means the expression CC will be ignored, and the velocity envelope will always be used instead.
• Values 100ms to 20s mean that at the moment an expression CC is received, it will be used instead of the velocity envelope, but once the specified delay has passed and no further expression CC is received, it will revert to the velocity envelope until another expression CC is received.
• Prg.Chg. means the expression CC will be used from the moment it is received, but when switching to another patch the synth will revert to using the velocity envelope by default, until another expression CC is received.

The Anyma tries to be smart when detecting whether the Expression CC is present or not (because that determines whether it uses or bypasses the Velocity Envelope), but doing so it expects the expression signal to be sent almost continuously. This is fine when using a wind controller, but not in your case.
I think it could be better to allow you to force whether the Expression CC is used or not, for instance with an option in the settings.
Or at least to set the "timeout"; i.e., the time after which the synth considers there isn't an expression signal anymore if it didn't receive any.
Would something like that be OK to you?

@AndyHornBlower The Anyma patch structure is far from ideal for specifying FM sounds, but couldn't the structures you describe be done using VA oscillators and FM operator effects, with judicious mix routing and envelopes that modulate the "expression" and pitch mapping destinations for each of the osc/ops?

@mimj44 Les noms courts des paramètres de la matrice sont parfois "grisés" (et un peu illisibles) pour indiquer qu'ils n'ont aucun effet pour le moment. Ca dépendra donc du patch sur lequel tu es. Pas de panique, le prochain item sur notre liste à la sortie de la v1.0 sont les documents/vidéos tuto/démo !

Didn't know that, thanks!

If nothing happens when you click "Connect", it means the editor couldn't even open the MIDI ports. This generally means the ports are already open by some other application or driver, because Windows doesn't allow a MIDI port to be used by more than one application at a time.

I've just uploaded v1.0b276 (links in the top post of this topic), with two new effects and two new modulator groups.

Here's what's new:

• Added a Bitcrusher effect (Timbre group) with continuous bit depth and sample rate reduction.
• Added a Ping-pong delay effect (Delay group), together with a sync variant.
• Added an Algorithmic modulator group, providing algorithm-based utilities to generate sequences:
  • The Euclidean sequencer generates a large variety of rhythms whose beats are as evenly spaced as possible.
  • The Hexadecimal sequencer generates a sequence based on the binary representation of a 32-bit hexadecimal number, with each of its 8 digits controllable individually.
• Added a Physics modulator group, providing physical models and simulations:
  • Bouncing ball simulates the movement of a ball thrown in the air and bouncing over a hard surface.
  • Ball impact simulates up to 8 independent bouncing balls thrown in the air and bouncing over a hard surface, and outputs their velocity where there are impacts, making it more suitable for modulating the expression of percussive oscillators.
  • Spring-damper system simulates a mass attached to the input with a damped spring, making a "springy" or "bouncy" version of the input.

If no new bug surfaces before the end of the week, this will be the last beta version, meaning that the v1.0 release is imminent.
After the release, we will focus mostly on improving the documentation, tutorials and feature demos for a time.

What is the problem with the editor on Windows 8.1? Does the editor stay blank?

Thanks a lot for the great feedback!

I've just uploaded v1.0b270 (links in the top post of this topic), with very minor bugfixes and a new Chaos modulator group.

Here's what's new:

• Added a Change polarity modulator that turns unipolar (0% to 100%) values into bipolar ones (-100% to 100%), and vice-versa.
• Added a new modulator group, Chaos, that provides various ways to generate chaotic sequences:
  • Logistic map, Tent map, and Circle map, each with controllable parameters.
  • Discrete chaotic map, which allows continuous switching between Duffing, Gingerbreadman, Bernoulli and Hénon maps.
  • Cellular automaton, with 32 cells, selectable rule and initial state, as well as trigger outputs for 3 different cells, whose indices can modulate.

Thanks @JLS for the inspiration and advice.

@Clint Thanks for all the very detailed analyses you made. As soon as I get a sizeable chunk of free time, I intend to carefully read them all from the beginning and contribute tests that can help us understand what's going on and get to the bottom of this.

@steviek Nobody else of Aodyo can comment on this particular issue, unfortunately, but we're reading everything posted. It's just that I can only do one thing at a time, and such a question deserves proper treatment and will take time to answer. Sorry that we've not been very good for giving a sense of where we are and where we are heading to. I hope we'll be able to communicate a bit more often from this point on.

I've just uploaded v1.0b266 (links on the top post of this topic), with mainly bug fixes and a new "Dirty formant filter".

Here's what's new:

• fixed the timing of patch imports for the Windows/Linux versions of the editor; patches should now import correctly on these platforms
• added Save and Import commands on patch list context menus in the editor
• fixed the pseudo-random number generator on the Anyma Phi
• mappings now have a +100% amount by default
• lumped all pitch-insensitive oscillators to the beginning of the oscillator list in order to avoid losing the pitch source and mapping setup in paraphonic patches
• added a new "Dirty formant filter" that uses the same old-school FoF vowel filtering technique as the Artin VFOF oscillator, but applied to any input sound

Thanks @markusschloesser, @bibenu, @JLS, @DeepSea, and @AndyHornBlower for reporting.

I've taken some time today to study your list. I'm not sure that all of these would be possible or practical, because in the Anyma Phi modulators can only have a single continuous output.

But I can already see how these could work:

• logistic equation (select the parameter between, say, 2 and 4, trigger to sample&hold a base state, another trigger to advance to the next step)
• elementary cellular automaton (say with 8 cells; select the rule, select the base state, trigger to advance to the next step; however I'm not sure which outputs would be useful here)
• comb filter
• vowel filter (looks like just hijacking the Artin VFOF oscillator could do a pretty useful formant filter with vowel and age parameters)

For the rest, I'm not so sure, so if you have any supplementary info about what these modules would look like (or existing modules or software of similar degree of complexity for inspiration), I'd be grateful.

After testing your patches with the Windows editor, I can see a problem similar to yours: the patch is loaded, its name changed, and the modules seem correct, but I can hear the actual played patch didn't change.
However, after hitting "save" (on the Anyma or on the editor), I can hear the loaded patch playing.
This seems to be a Windows-specific behavior: on Mac the patches load just fine.

@AndyHornBlower Could you confirm that a "save" after import works for you too?

If you look at the stream of SysEx messages, you can see that even when there's nothing going on, the editor and the Anyma exchange messages constantly. As the editor didn't freeze or disconnect from the Anyma, I'm more leaning towards an issue with the Anyma reading the patches, or with Windows (or any high-level intermediate in the USB connection) and its handling of larger SysEx messages, rather than a low-level or electrical cable issue.
I've already heavily reduced the maximum size and throughput of SysEx messages in the beta, because many devices and OS are notoriously bad at handling them (Windows mostly, but CoreMIDI on macOS has its own limits too).

@join Thanks, I'll try to import those patches on various setups. Is your Anyma directly connected to your PC, or is there a hub in-between? Did you have issues loading these patches with previous versions of the editor/Anyma?

Could you please share a few of your working and non-working patches from the earlier version?

And thank you for the amazing feedback!

We have a few new things for a new Sylphyo update but couldn't yet find the time to finalize them. This post offers a bit more perspective on what's been going on for us in 2021.
While I'm sure 2022 comes with its own set of challenges, the wrap-up of the v1.0 of the Anyma Phi will likely free us some time.

The last public version (v0.8.107) offers a set of MIDI routing options (in the Routing submenu of the MIDI section), including DIN Thru.

When this option is enabled, everything on the DIN MIDI input port will be copied as-is to the DIN MIDI output port, with the lowest latency possible.
However, as this could result in MIDI messages being interleaved if several things merge onto the DIN MIDI output, the v1.0 beta offers an additional Safe merge option that ensures all MIDI messages are output without any possible garbling/interleaving.

Thanks for sharing your settings. As soon as we get a copy of the SWAM v3 instruments, we'll release a new guide.

Wow, that's a nice list! Thanks @JLS!

The Schmitt trigger looks pretty much like the existing Compare modulator. What's the difference?

Thanks for all these suggestions.

• As it is still a beta version, a backup is in order before switching to it, however we had no reports of patches having been altered due to installing the update.
• I'm not sure about the meaning of implementing aftertouch modulation to the patch randomizer…
• There isn't a randomize button in the editor, however there is a keyboard shortcut (Cmd+Shift+N, or Ctrl+Shift+N on Windows)
• I don't think there will be any improvement on patch randomization in the near future, but there are lots of possible future directions for the random feature. I'm particularly interested in Sean Luke's algorithms for Edisyn.
• As for morphing between two patches, this would be really nice (and why stop with just two?), but it would require running both at the same time, which the synth hardware cannot do. However, for a future, more powerful Anyma, it could be really nice…
• Yes, it looks like the pseudo-random number generator in the Anyma always uses the same seed. I'll correct this and offer a new version very soon.

Apart from the handful of currently identified bugs, it looks like the beta is working fine. I'll post a new version in the upcoming days, and if nothing new comes at the end of the week (or the beginning of next week), we'll be able to roll out the official v1.0 release pretty soon.

This is exactly the expected behavior. But it's not ideal nonetheless. I'll try to revise the rules so that the pitch and mapping destinations don't reset.

I've just uploaded v1.0b256 (links on the top post of this topic), with mainly bug fixes.

Here's what's new:

• Fixed drawbar organ hanging on lower notes
• Improved empty patch detection for "Randomize if empty"
• Fixed bugs in replicant oscillators
• Fixed keyboard shortcuts in the non-Mac editor
• Reduced the maximum size of SysEx messages sent to/from the editor, improving compatibility with some systems (notably, wine, and possibly the iConnectivity Mio10, @markusschloesser you can tell me if it's better now)
• Limited Linux support: the editor is now also available for Linux x64, however due to limited resources Aodyo Instruments is not able to extensively test it and provide support for this particular version.

Thanks @sleep-totem, @Origami23, @markusschloesser, @bibenu for reporting.

@bibenu said in Anyma Phi v1.0 public beta:

I'm not completely following all the details (and I haven't updated yet) but .... shouldn't this be something that happens by default, at the point of assigning OSC2 pitch to Chord2 ?

For many reasons, we chose to keep pitch and expression separate. So yeah, it means a little bit more work for this specific case.

Have to say that's it taken me quite a while to fully understand the routing of the expression signal and the role of those expression envelopes even on the firmware that preceded the beta. I've come across weird effects like an extended (non-zero) release on the expression envelopes seems to prevent re-triggering ? Sorry, that's a bit vague, but I know I've learnt to avoid long release times on the expression envelopes.

In the former firmwares the percussive oscillators didn't trigger very well from their expression input. Now it's fixed, but your remark still stands: a percussive oscillator will only trigger from its expression input when it goes from zero to non-zero. But the "Drum trigger" modulator helps with that, by forcing its output to zero just before when a trigger should happen.

There's a bit more work in the manual (and other media) to explain the thing with expression in a clearer way.

Thanks for reporting. Could you please share a patch with the drawbar organ issue? I'll also investigate the replicant sine thing, which looks a bit weird.

As for the paraphonic things, there's a bit of user manual missing. The most usual configuration is the following. You have your OSC1 set up. You set OSC2 and OSC3 as replicants, and you set OSC1's Pitch to Chord1, OSC2 to Chord2, OSC3 to Chord3. Now, that takes care of the pitch, but not of the expression signal, which is a mapping destination but not a visible parameter.
(Note that in Anyma Phi lingo, "expression" is a continuous signal that is used to excite an oscillator, or control its loudness, for non-physical models)
If there is no specific mapping to an oscillator's expression signal (as is the case normally), then it's the Patch Expression that fulfills this role (and this explains what does Mapping 1 in most patches). Normally it would be fine, but here what we want here is that the velocity of each note in our chord controls its corresponding oscillator. So we need to remove Mapping 1, and then make a mapping from "Chord note 1 velocity" to "OSC1 Expression", and so on for OSC2 and OSC3 (so 3 mappings, one for each oscillator).
And then the patch has become paraphonic. As it's a bit tedious, we'll likely offer a template with this setup already done as a starting point.

@origami23 It could be due to the fact that the "empty" patches on your bank aren't recognized as empty. It happened to me during development and I thought I got all the cases but apparently I missed some. I'll investigate this.

In the meantime, if you want to play with this feature, you can empty your bank ("Reset bank" in the File menu, or "Reset everything" from the Anyma directly), re-enable the "Randomize empty" option, and it should work. Just make sure you export your good patches somewhere before resetting everything :).

Or if you want a less drastic solution, you could just go to a bunch of empty patches, reset them one by one, and the Anyma should offer you random patches when going to one of them.

If you already updated to v1.0b243, we highly recommend that you update to today's v1.0b246 (links at the top of this thread), which fixes a bug that resulted in more settings saves than necessary.

We are thrilled to share with all of you a public beta for the upcoming v1.0 update of our physical modeling synth, the Anyma Phi.
This is the result of months of tireless work, and it wouldn't have been possible without the eager support and feedback of all our early adopters. You've made the Anyma Phi a reality, and we wouldn't have gone that far without your help. A huge thank you from the team at Aodyo Instruments.

HERE BE DRAGONS
Please keep in mind that this is beta software. Bugs are to be expected, but please report them anyway, with as much detail as you are willing to provide (including patches, etc).
New patches and tutorials related to the new features are not ready yet.
If you need to revert to a previous version, please first reset all the contents of your Anyma.
If you need support or have spotted a bug, please create a new post in the Anyma Phi public beta category.
Thank you!

Get it there: (v1.0b276)

• Windows package (≥ Windows 10, 32 bit)
• macOS package (≥ 10.9, Universal Intel & Apple Silicon)
• Linux package (64 bit, limited support)
• User manual (PDF)

After updating, it's important to turn your Anyma off and on twice.

We added tons of new contents for you to play with, for a total of 35 oscillators, 33 effects, and 45 modulators, as well as many new features that will bring you Anyma game to the next level.
We hope this update will fulfill your expectations, and thanks to your support and feedback, that the official v1.0 release will happen very soon.
Here's a tour of the new features.

Youtube Video

Arpeggiator and MIDI Clock sync
Finally, you'll be able to use that mysterious Arp macro at the lower-right corner of the matrix!
It now enables or disables the internal arpeggiator included in your patch, and a long encoder press gets you directly to all its controls.
The arpeggiator features 15 different patterns, with all the classic options, a latch mode, and even a "trigger" mode where your modulators decide when to advance to the next step.

By default, the arpeggiator is synced to an internal clock, with adjustable tempo, but now that the Anyma Phi supports MIDI Clock sync, you can use that external clock as well.
You can also leverage clock sync elsewhere, with new "sync" versions of the Delay effect and the Advanced LFO, as well as an army of Sync triggers.
Ah, and there's a Sequencer modulator too, with up to 16 steps.

Microtuning support
You can now tune your Anyma Phi to any reference frequency or tuning system, such as just intonation, historic or non-Western tunings, or those of modern microtonal and xenharmonic music.
Up to 8 tunings can be stored, and you can import/export them via MTS SysEx messages (MTS-ESP works quite well too).
You can then select one of them as the global tuning, and assign a specific one to each patch.

The Anyma includes dozens of tuning presets, and you can edit them or create new ones with the onboard tuning editor, which offers a palette of different ways to define a tuning depending on what you need.
Don't miss the Tuning chapter of the manual for more details.

Autofill matrix and Randomize patch
Your Anyma Phi now has a few new commands (in the settings menu, as well as in the PC/Mac editor) that will make your sound design life much easier.
Among them, Autofill matrix analyzes your patch, tries to find the most interesting parameters, and maps them to Matrix macros in the right place, so as to offer a good starting point to further polish your creation.

But the most exciting command is certainly Randomize patch.
Using a revolutionary artificial intelligence algorithm (also known as "random numbers and a bunch of conditionals"), it creates a new playable patch out of nothing, completely different every time.
Some will sound weird, some will sound great, and most will need a bit of polish, but you can be sure it will rekindle your creative spirit and lead you to undiscovered territories!

And with the Randomize empty setting, you will get a random patch automatically every time you go to an empty patch in your bank.
Just roam about in an empty bank and save all the interesting patches you'll encounter!
It's a great way to spend an afternoon, and to feel like your Anyma Phi has gone from 200 patches to ∞.

Drum trigger and Timbre follower
You will find an improved Envelope follower that allows you to extract a modulation from an audio signal (like the internal piezo), now with noise gate and gain.
Map the envelope follower to the Patch expression, and now you can trigger and play the oscillators by tapping on the case of the Anyma!

But wait, we added two modules that will bring audio-based modulation to the next level:

• Drum trigger is an envelope follower designed specifically for percussion.
• Timbre follower extracts the "brightness" of the audio signal, so you can discriminate between tapping with your thumb or with a screwdriver (?), or between singing a low C and a high A.

Exciters and Snare drum
The new Exciter group offers three oscillators meant to be used with resonator effects:

• Bow simulates the raw sound of a bow scratching a material.
• Wind simulates a variety of continuous blowing, breathing, or wind noises.
• Strike simulates a variety of impulses and percussive noises: hammers, mallets, sticks, plectrums, or bouncing particles (using the Mallet parameter).

They bring a new dimension to the two existing resonators, but we couldn't resist adding a third one that pairs exceptionally well with Strike: the Snare drum resonator.
This new physical model is derived from an awesome research paper from the nice chaps at the Center for Haptic Audio Interaction Research (CHAIR).

Drawbar organ and Rotary speaker
The new Drawbar organ oscillator offers that classic vintage sound from rock, blues or jazz, carefully replicating the electro-mechanical tonewheels, as well as harmonic foldback, key clicks, and percussion sounds.
You can scrub through all the included presets, or you can adjust the drawbars manually and create your dream sound.

And because not everyone has a Leslie lying around, we also included a Rotary speaker effect, as well as its stereo version that works with both the Main and Aux buses.

Granular processor
If you need to make mind-bending audio textures and soundscapes (or if you just need some clouds to put your rings into), look no further than the new Granular processor effect, which splits your audio into small grains and recombines them in various ways.

Dynamics processors
A new group of dynamics processors joins the effects modules:

• The Noise gate attenuates the input when the signal is below a threshold, with all the classic parameters, as well as optional sidechain and lookahead.
• The Compressor is a run-of-the-mill feedforward design, with optional automatic makeup, sidechain, and lookahead.
• The Dynamics booster is a much simpler compressor for quick and easy sound design, with two parameters: Sensitivity and Amount (tames or boosts the input).

Virtual analog and FM operator
We added a new Virtual analog oscillator that conveniently offers all the basic synth sounds with continuous waveform selection (sine, triangle, sawtooth, square, pulse).

Now, take this harmless little oscillator, modulate its frequency with an audio input, and you get a wicked linear through-zero FM operator effect to make crazy mixed-FM structures.
You can stack up to 5 operators in addition to 3 oscillators, and each FM operator can be oversampled.

Chaos unleashed
If generative music and fun math is your jam, then you'll love the new Chaos modulator group.
Those modulators react to any trigger and generate sequences according to simple mathematic laws that can evolve from predictable states to complete disorder!
Logistic map, Tent map, Circle map, and Discrete chaotic map offer you four different equations for controlled or chaotic modulations.
And if you're looking for something more like Conway's Game of Life, there's a 32-cell elementary Cellular automaton whose rule and initial state you can freely modulate. It can also output three triggers depending on the state changes of specific cells.

I am the law
Some people play by the rules, but aren't they always meant to be bent a little? The new Algorithmic and Physics modulator groups offer you various algorithms and physical models to play with.

The first group offers an Euclidean sequencer to generate evenly-spaced rhythms, as well as an Hexadecimal sequencer that can convert any 32-bit number into a groovy, juicy sequence.

In the second group, the Bouncing ball simulates the movement of a ball thrown into the air and bouncing against a hard floor.
It comes with its little brother, Ball impact, that simulates up to 8 bouncing balls at a time, outputting the velocity of a ball when it hits the floor, which is especially well suited for use as an expression input to a percussive oscillator.
And because there is never enough bounciness in the world, the Spring-damper system allows you to attach a spring to any input value, and outputs the position of the mass at the other end of the spring.

Tools for paraphonic patches
You can now have each oscillator assigned to a different note when playing a chord, making paraphonic patches possible (with up to three simultaneous notes).
There's also many other things you can do, like pegging a specific oscillator to the lowest note in the chord while another follows the arpeggiator.
To make paraphonic patches even easier, there is now a Replicant oscillator that just automatically copies the previous oscillator (with all its modulations), but can be set to use a different expression signal and pitch settings.

Improved stand-alone capabilities
We want to make the Anyma Phi better for everyone, including Linux users and those that despise computers.
You can now rename your patch, copy or swap modules around, and apply complex operations like Autofill Matrix and Randomize directly from your Anyma.

The individual patch files exported from the PC/Mac editor are now formatted as valid MIDI SysEx messages, so you can just grab them from the Internet and send them directly to your Anyma.
You can also dump any existing patch as a MIDI SysEx message sequence directly from your Anyma, without even needing to open the editor.
Finally, you can now reset your entire Anyma, patch bank included.

Full release notes

• There is now an Arpeggiator module to turn polyphonic note input into arpeggios.
• Added a 16-step Sequencer modulator.
• Added a Delay (sync) effect and a LFO (sync) modulator (in the Change group), which are tempo-synced versions of the same modules.
• Now supports up to 8 tunings (TUN1 to TUN8) that can be imported/exported via MTS SysEx messages. You can select a global tuning, and each patch can select a specific tuning among TUN1 to TUN8. The on-board tuning editor allows you to define a tuning in several ways (reference note, 12-tone octave scale, full tuning table, scale, and n-EDO).
• Added three new matrix commands:
  • Reset sets all the macros of the matrix (or its alternate version) to 0%.
  • Autofill tries to add mappings for the unmapped macros in the matrix, based on your patch.
  • Unmap all removes all the mappings related to the matrix.
• Added three new patch commands:
  • Randomize creates a random patch.
  • Compactify removes the free space in the effects, modulator, and mappings sections.
  • Reload removes unsaved changes.
• Added an option to randomize empty patches.
• Added more options to the Envelope follower modulator (noise floor, gain).
• Added a Drum trigger modulator that generates an expression signal suitable for triggering percussive oscillators.
• Added a Timbre follower modulator that extracts the overall brightness of an audio signal.
• Added a new oscillator group, the Exciters, which are meant to be used with a resonator effect. Three exciters are available:
  • Bow simulates the raw sound of a bow scratching a material.
  • Wind simulates a variety of continuous blowing, breathing, or wind noises.
  • Strike simulates a variety of impulses and percussive noises: hammers, mallets, sticks, plectrums, or bouncing particles (using the Mallet parameter).
• Added a Snare drum effect, in the Resonator group, that simulates the propagation and reflection of the input waveform exciting a snare drum.
• Added a Drawbar organ oscillator, as well as two Rotating speaker effects.
• Added a Granular processor effect that creates audio textures and soundscapes by combining short segments (or grains) of the input.
• Added three dynamics effects: Compressor, Dynamics booster, and Noise gate.
• Added a Virtual analog oscillator with continuous waveform selection.
• Added a FM Operator effect (in the Modulation group) that uses the input as a modulation for its own internal virtual analog oscillator, for making mixed FM sounds.
• Added a Dirty formant filter effect that works pretty much like the Artin VFOF oscillator, but applied to any audio input.
• Added a Ping-pong delay effect, together with a sync variant.
• Added a few new value, gate and trigger sources related to polyphonic note input (Paraphonic group), to assist in making paraphonic patches.
• Added a new Replicant oscillator that copies the previous oscillator in the list but allows for changes in expression input and pitch, which can be useful to build paraphonic patches.
• Added a few new controller triggers (new note played, last note released, note transition).
• You can now rename patches and tunings directly from your Anyma Phi. When renaming, turn kEncoderMenu to select a letter, use kLeft and kRight to move the cursor, and press kEncoderMenu to confirm.
• Added a Dump patch command to send the current patch as a SysEx message chain through the USB device port without needing the editor. A patch can then be dumped back to the Anyma as SysEx to replace the current one.
• Changed the format of exported patches in the PC/Mac editor to allow the files to be directly dumped as SysEx. Patches saved with previous versions can still open without issues, but patches saved with this version cannot be open in previous versions.
• A few modulators can now output useful triggers into up to 4 custom trigger channels (TC1 to TC4), which can then be used a trigger sources for percussive oscillators or other modulators like envelopes. Look for parameters named TC.OUT in modulators like DAHDSR Envelope or Compare.
• Added a Compare modulator that determines whether a signal goes above or below a threshold.
• Added a Logic modulator group with five modulators providing different tools to work with triggers and gates (Gate combinator, Trigger combinator, Gate to trigger, Gate delay, Trigger delay).
• Added a Slow LFO variant of the Advanced LFO modulator (in the Change group) with periods between a second and a full day.
• Added a Change polarity modulator that turns unipolar (0% to 100%) values into bipolar ones (-100% to 100%), and vice-versa.
• Added a new modulator group, Physics, that provides physical models and simulations:
  • Bouncing ball simulates the movement of a ball thrown in the air and bouncing over a hard surface.
  • Ball impact simulates up to 8 independent bouncing balls thrown in the air and bouncing over a hard surface, and outputs their velocity where there are impacts, making it more suitable for modulating the expression of percussive oscillators.
  • Spring-damper system simulates a mass attached to the input with a damped spring, making a "springy" or "bouncy" version of the input.
• Added a new modulator group, Algorithmic, that provides various algorithm-based utilities to generate sequences:
  • The Euclidean sequencer generates a large variety of rhythms whose beats are as evenly spaced as possible.
  • The Hexadecimal sequencer generates a sequence based on the binary representation of a 32-bit hexadecimal number, with each of its 8 digits controllable individually.
• Added a new modulator group, Chaos, that provides various ways to generate chaotic sequences:
  • Logistic map, Tent map, and Circle map, each with controllable parameters.
  • Discrete chaotic map, which allows continuous switching between Duffing, Gingerbreadman, Bernoulli and Hénon maps.
  • Cellular automaton, with 32 cells, selectable rule and initial state, as well as trigger outputs for 3 different cells, whose indices can modulate.
• A few modules now have an Oversampling parameter that allows increases in sound quality at the expense of a higher patch load.
• When selecting a CC in the CC mapping settings, your Anyma can now learn from the MIDI input. You can disable this feature by unchecking the MIDI learn setting at the bottom of the list, or by pressing the Animate matrix button while editing a CC. The same feature exists for tunings, where you can select specific scale degrees or notes using any MIDI input.
• Added four CC Out destinations in the Matrix module, that can be used so that every patch can output different MIDI CCs to an external device. The MIDI CCs, channel, and ports can be setup in the CC mapping settings.
• The volume knob now behaves more linearly.
• MIDI routing now offers a Safe merge option with a different set of tradeoffs.
• Added a Velocity curve setting to change the global velocity response of the synth.
• The Reset settings submenu can now reset the entire bank and settings of the Anyma.
• Improved the display and selection of mapping destination parameters on the Anyma.
• In the module editor screen, modules can now be copied, pasted and swapped.
• In the PC/Mac editor, modules can now be copied and pasted.
• Enabled drag-and-drop for empty modules in the PC/Mac editor.
• Now supports external MIDI clock sync, and provides an internal clock if no external clock is detected.
• Now supports external MIDI hold pedal (by default, CC 64).
• Added a Remote display option in the editor (View menu) allowing to mirror the display of the Anyma, allowing you to record clean videos of the display by capturing the editor window on your computer screen.
• Added a secret Test tone mode (hold any matrix button then press Shift) whose workings are left as an exercise to the reader.
• Fixed the Sylphinet preset of the Windsyo oscillator.
• Fixed the Artin VOSM oscillator.
• The Mac editor is now a Universal application, with native Apple Silicon support.
• Fixed some bugs leading to the Anyma Phi being frozen.
• Fixed some bugs leading to the PC/Mac editor not being able to communicate with the Anyma Phi.
• Limited Linux support: the editor is now also available for Linux x64, however due to limited resources Aodyo Instruments is not able to extensively test it and provide support for this particular version.
• Changed the order in the oscillator list to lump all pitch-insensitive oscillators at the beginning.

Edits:

• 2022-01-17: v1.0b276 (bitcrusher and ping-pong delay effects, Algorithmic and Physics modulator groups; the beta is feature-complete)
• 2022-01-14: v1.0b270 (very minor bugfixes, Chaos modulators)
• 2022-01-13: v1.0b266 (bugfixes, new filter)
• 2021-12-23: v1.0b256 (bugfixes, limited Linux support)
• 2021-12-17: Added video trailer
• 2021-12-16: v1.0b246 (very minor bugfixes, improved code signing)
• 2021-12-14: v1.0b243

@tsukaï-ban Comme l'a dit @bibenu, une recalibration pourrait améliorer les choses. D'ailleurs, si vous pouviez noter les valeurs qui étaient présentes dans l'écran de calibration, ça me serait bien utile ! Merci.

Yes, it'll be on the next major version, and it's already done. Very useful, actually :).

@bengersfood Great! Thanks for reporting that it works too!

Thanks for reporting that strange issue. It's weird that it appeared on two different Anymas. Anyone having the same issue please report it here.

As for the CPU load as a percentage, duly noted!

Hi everyone,

First, a big thank you to all the early adopters who trusted us to release the Anyma Phi, as well as all the participants in this little user community.

We are releasing the v0.8.107 update for the Anyma Phi with the following changes:

• Added a Delay modulator.
• Now supports external MIDI volume control (by default, CC 7).
• Added flexible MIDI routing settings, including DIN soft thru (limitations are detailed in the MIDI implementation chapter of the user manual).
• Changing a parameter can display its value in large type, if the Large type setting is enabled.
• When switching to another patch while there are unsaved changes, you can be asked for confirmation, if the Warn if unsaved setting is enabled.
• Module editor screens now remember the last modified parameter of each module, until patch change or power-off.
• Matrix parameters can be remote controlled via MIDI CCs when the Matrix CC Remote control setting is enabled.
• All patch parameters can be remote controlled via MIDI NRPNs when the NRPN Remote control setting is enabled.
• On the device, you can now view the patch load by holding Shift for half a second.
• On the editor, when exporting a patch using the menu, the filename is pre-filled with the patch name.
• Fixed a bug where patch names and colors weren't correctly reported when switching to another patch.
• Fixed a bug where the editor wasn't responsive when attempting to save a patch with unmodified contents (e.g., after import or rename).
• Fixed a bug where patch renames were not saved until another modification was done to the patch.
• Improved the behavior of percussive oscillators with wind controllers.
• Fixed formatting issues and links in the manual.
• Fixed a bug where adding or modifying a mapping from the Anyma was not reflected in the editor.
• Increased USB host compatibility with USB-MIDI devices advertising multiple device classes (e.g., Akai MPK Mini).
• Added dimensions and weight in the technical features section of the manual.
• Added a MIDI implementation chapter in the manual.

You can download the update here:

• macOS package
• Windows package

The update packages contain the update file to transfer to your Anyma Phi, the current version of the manual, a readme.txt file with instructions, as well as the current version of the PC/Mac editor for your operating system.

Yeah, these are good solutions too. Many times during design I've pondered whether to do solution 2, but I wouldn't because it is sort of complicated to pull off right… but now that we're seeing that mitigating the downsides of the simplest way (sequential evaluation) could be complicated too, maybe it's worth a shot after all.
I'll think about it. Don't hesitate to shoot ideas, I won't hesitate to steal them :).

edit: Evaluating mappings in the reverse order could maybe also work with minimal effort. For modulators, an evaluation in the correct order is better, but there will be cases where you want to add something in the middle of a series of transformations, and the problem will show up again.

It's not a bug, but you aren't doing anything wrong either. Let me explain.

The mapping system works in a sequential fashion. This means that MAP1 is computed before MAP2, which is computed before MAP3 (and that's the same with modulators, by the way).
The mapping you created by long-pressing has surely been put at the next free spot, say MAP7, but it acts on MAP6, which has already been computed! So you can see MAP6's amount parameter move, as when all mappings are computed, yes, MAP6's amount has moved because of MAP7. But by the time the synth arrives at MAP7 and applies its action, the action of MAP6 had already been applied onto the filter's cutoff, so even though MAP7 moves its amount just after that, it's too late.

So for this kind of thing to work, it's important to keep in mind that the synth treats things sequentially, meaning that if mapping X has an effect on mapping Y, then it should be ordered before mapping Y.
In your particular case, just swapping MAP6 and MAP7 would resolve the problem (yeah, easier said than done if you don't have the PC/Mac editor handy).

But there is a much simpler way for that kind of thing, using sidechain.
Set MAP6 amount to 0, but have its sidechain source from the CHAOS knob, and set the sidechain amount so that it covers the range you want.

So yeah, it's not that it's a bug, the engine works that way, but it certainly merits a mention in the manual, and maybe the "create mapping" screen should be smart enough to say "hey, we're modulating another mapping, so it'd be better to swap that mapping and the new one we're creating, just so that things could work" (it could be a bit more difficult than it sounds to implement this).

TLDR: You're right that we haven't particularly been vocal since we shipped the first batch of Anyma Phis, and I understand that it could be worrisome. But rest assured, we've all been hard at work and some new updates will land shortly!

Maybe I can first shine a little light onto why you haven't seen much progress lately.
Due to the (still ongoing) semiconductor crisis, we suffered a grave shortage of a few chips that are essential to the production of the Anyma.
I'm sure you felt the effects of the crisis if you've bought or preordered something this year, and it has been especially hard for small businesses like ours. Considering the many Kickstarter projects whose production or shipping are still on hold since last year, we can consider ourselves lucky to have been dealt only a major blow.
Laurent has been moving heaven and earth to secure the vast majority of our components, but a few remained impossible or way too expensive to source. Thus, to continue producing the Anyma we had to redirect most of our focus over to redesigning and rebuilding one of the internal cards from scratch.
This meant we had to delay our update release calendar, as well as many other ongoing operations like the inclusion of the Anyma in our official website. It was a bit of an "all hands on deck" situation. As of today, the crisis is averted and we are wrapping up the production of the next batch that is planned to ship in December, so we're gradually more able going back to focusing on other things.
As for Maxence, as he was mostly contributing to user support/feedback and artist/press/public relations, it took us a bit of time to get up to date on his tasks and that also explains why we weren't very chatty in the past month or two. He has never been involved in design or software development though, so no impact on the upcoming updates or our capacity to provide them.

Now, onto the updates.
The initial plan was to iron out the wrinkles of v0.8 and ramp up to a feature-complete v1.0 somewhere in the summer. But with a software dev team of one (hello!), any major roadblock like "we need a whole new firmware for a whole new card" inevitably results in setting aside the update work, both for the Anyma Phi and for the Sylphyo.
In addition, as we designed the new electronics to perform exactly like the old ones, this leaves us with nothing new to show to existing users for a long time, which is arguably not a good way of demonstrating how grateful we are to all the early adopters. But exciting stuff is coming your way.

In the beginning of next week, we'll release an intermediary v0.8.107 that comes with bug fixes and improvements based on the feedback we received. It also includes a few new features, such as MIDI routing/thru options, matrix control via MIDI CCs, whole-patch control via NRPNs, and a delay modulator (which you can use to animate parameters using the same LFO but with different delays, for instance).

The next big update will come a bit later, and will propel the Anyma Phi into v1.0 territory.
It will include other features you requested (a day-long LFO for instance), the arpeggiator, as well as new oscillators, effects, modulators, and other features. In fact, it does almost everything we had ever planned in the Kickstarter, and then some.
It will also make the Anyma Phi even more independent from the PC/Mac editor, so that you can still enjoy your device long after computers join Skynet and rebel against all of us, or whatever other major crazy event that could occur in this century :).
I didn't even mention the biggest news, all of this is still kind of "classified info", but you'll hear from it quite soon.

In fact, for early adopters the wait won't be that long because we're going to share beta versions of that big update so that you can enjoy it before everyone else, with the official release rolling once it’s good to go.
We still need to finish and test a few things, and I also want to integrate some of @bibenu’s recent suggestions for the mapping screen.
After that, we’ll make an announcement on the forum for the beta version, with the release notes and the protocol for feedback (what kind of feedback we’d like, how to report technical difficulties or bugs… maybe we’ll create a forum category to centralize all that).

I love this kind of technical threads, and you've been doing a great job of documenting your experiments, it's really amazing!

I wanted to take a moment today to look in detail at your numbers, run similar experiments, and share my results (as well as details about how the Sylphyo and Link work internally and what are the hard constraints), because these numbers look way higher than what I remember from the tests we did when I was designing and developing the firmwares, the internal synth, and the wireless system.

I'll take some time to leave a proper answer and try to contribute some numbers, but for now I just would like to point out two things to consider.

First, there are a few Sylphyo settings that can increase latency, and the factory settings aren't optimal when it comes to latency. In other words, we usually_add_ latency to make the Sylphyo more easy to play. So any measurement report should include which settings were used. You can remove the added latency by setting MIDI Velocity to a fixed value (not Dynamic), the Breath rate at 1 kHz, and no key debounce time. Maybe there are some other settings I forgot, I'll double check when writing a longer answer.

Also, El Harrachi is not a good choice for this kind of tests, because it uses an internal delay/debounce (independent from the MIDI one; they don't add up) that waits a little bit for breath to build up so that a reliable "force" or velocity can be estimated when triggering the string excitation. A few other percussive/string sounds have this behavior (they all rely on a trigger that "fires" the sound and whose initial conditions must be known at that exact moment), and this results in more latency on these specific sounds. A much better choice would be a synth sound with minimal breath-controlled filtering, many harmonics (easier to see the beginning of a square wave than a sine), and a very fast attack, maybe like MacGuffin, Sync Asset, Cheap Tunes, or any of the organ sounds. Again, not sure of which would be best, but it's definitely not El Harrachi, because it's designed to have more latency.

I'll post a longer reply soon. Great work!

1. This is the correct behavior. The slider sends a value proportional to the vertical position of the thumb over it, near 0 being at the top, and near 127 at the bottom. If you need you can just reverse this in Max with an object like expr 127-$i1.

2. There are two settings pertaining to key-bend CC: the first is in MIDI Mappings and sets the CC that will be sent when doing key-bends. But it can't work until you go to the Keys menu and set Key-bend (BETA) to Control. If everything looks right, please check that you are on the latest firmware version.

The aim for Rings was definitely to keep the spirit of the original module, so these explanations also somewhat apply to the Anyma resonators. The Modal part will certainly be the closest, keeping in mind that the Quality parameter plays a huge part in how the end result sounds, so a higher quality will lend closer results to Rings.

We started from the code in Rings and Plaits. However, like almost all the other modules we derived from third parties, it is a from-scratch reimplementation, and we had a different set of constraints from the MI modules (less CPU to dedicate, etc.) so we ended up in a somewhat different place.

There is no audio input directly on the Sylphyo, nor Bluetooth connectivity (primarily for latency reasons), but there are a few things I can recommend you, having been doing this myself when practicing with iReal Pro and the Amazing Slow Downer.

You can play the backing track on the iPhone speakers or on Bluetooth speakers, and get an inexpensive battery-powered speaker with AUX input only (a bit hard to find, but generally all Bluetooth speakers tend to have outrageously high latency even with the AUX input).

But when I want to practice at the local park, I use a headset cable splitter, which has a male TRRS connector and a headphone and a mic female connectors at the other end.
With this, I plug:

• the TRRS end into your iPhone,
• your headphones or speakers into the headphone port of the splitter,
• and a minijack cable connected to your Sylphyo into the mic port of the splitter.

Then, I use the Audiobus 2 app on my iPhone to monitor the mic input, so that I can hear the Sylphyo on the headphones, in addition to whatever play-along app I use.

It's not as straightforward as having a direct AUX input on the Sylphyo (which we might consider for a future version), but in practice its no big deal.
I always have my cables and headphones ready to use in my backpack, so I just have to plug the thing to my iPhone and Sylphyo, open Audiobus and my play-along with a few taps, and I'm good for hours of being the weird guy having fun blowing into a silent thing in the middle of the park :).

This is definitely not expected behavior, and to my knowledge not related to the firmware, and none of the sounds are remotely close to the CPU load that would result in audio dropouts in any situation (we aggressively test against this before releasing each sound). As Matthias is investigating the issue with you by mail and will try to determine where the problem comes from and what we can do about it, I hope you don't mind that we close this topic here.

Windows still has some trouble reading USB descriptors, hence the "MIDIIN2" names. However, the three MIDI ports of the Link always appear in the same order. Here's what they do:

• the Sylphyo Link port outputs the MIDI data from the Sylphyo,
• the MIDIIN2/MIDIOUT2 ports connect to the DIN connectors on the Link, as you guessed,
• and the MIDIIN3/MIDIOUT3 ports connect to the device plugged into the USB Host port of the Link.

It's true that all the MIDI from the USB device, DIN, and USB host connectors are "merged" before reaching the onboard synth. Similarly, the data received wirelessly from the Sylphyo is dispatched to those three ports at once. Apart from that:

• what comes from the DIN IN connector will also arrive into MIDIIN2 on your computer (maybe I've switched the MIDIOUT and MIDIIN but you get the idea)
• what you send to MIDIOUT2 from your computer will arrive to the device connected to the DIN OUT connector
• what comes from the USB host connector will also arrive into MIDIIN3 on your computer
• what you send to MIDIOUT3 from your computer will arrive to the device connected to the USB host connector

Here's a picture from the manual recapitulating the routing:

So if you've connected a MIDI keyboard with a sustain pedal to the USB Host port, you should be able to see what it sends by looking at that MIDIIN3 port on your MIDI monitor. It's weird that you can't connect to those ports using MidiView. Does it do the same with another tool, such as MIDI-OX?

It was an internal beta that we sent a select number of people who had very specific issues, but as it seemed to work well we'll make a proper release very soon. So you could use v0.8.105 in the meantime, and if you experience new problems you should be able to downgrade pretty easily.

This was a minor release with mainly bug fixes, but we're preparing a much bigger one that should be out around December.

No, the forum software is updated pretty regularly, and is currently up-to-date, but spammers seem more and more sophisticated these days. Around next week we'll get to try a new antispam software.

The lightning flash symbol means that the Sylphyo is connected to the mains and the battery is charging. You normally leave it for about 8 hours on charge (from nearly fully discharged), and you can play about 6 hours with a single charge. There are weird issues when the battery is depleted, as you experienced. As @Paul-Flute said, it's best to start over with fresh settings, so please do a factory reset.

@boriss Thanks. I too have trouble with the Morph; it isn't recognized at all on a Mac with OS X 10.6 for instance. But there seems to be some way to get it to run, as this thread on the Sensel forum shows. When I can get to it I'll run some tests on it (however I don't have any overlay).