@Laurent_AODYO Hi Laurent, you are all busy with the awesome campaign for the Omega but did you had a chance to look at the bug into the V1.1.0 firmware regarding the LUT16 module?

I use cheap contact mics from Korg, the clip mics used for tuners and it works great.

@Friendly-Noise Yes! Actually there is a stereo input. So you can have two mono contact mics. There are enveloppe followers, drum triggers and timbre followers that can be use to trigger any oscillators. The sounds from the mics can also be used to feed resonators (string, modal and snare). And of course you still have the internal piezo. You can apply each input to a separate bus, so two mics will triggers different sounds at the same time.

Hi Laurent and the Aodyo team, I can't make the new lookup table work. No matter what I'm taking in input, I get a flat line in output. Is that a bug or I misunderstood that modulator?

@Ksavi
Brancher un Nanokey2 sur l'USB host? Oui c'est possible. En tout cas, il alimente très bien mon Joué.

Compatible MPE? Non, c'est un synthétiseur monophonique, le MPE n'a pas d’intérêt en soi. Est-ce que ça peut prendre les données d'expression (CC74, pitch-bend 48 semitons, aftertouch) en single channel? Absolument!!! J'ai plusieurs contrôleurs MPE et ils fonctionnent comme un charme en single channel ou via un channel merger.
En fait c'est même mieux, le synthé peux prendre un CC comme données d'expression et remplacer la vélocité. C'est particulièrement utile pour les simulations d' instruments à vents ou à cordes.

Le piezo interne est mono et peut moduler n'importe quoi dans le système. Directement comme source audio à "pinger" dans un résonateur. Ou convertir en courbe de vélocité/expression avec l'enveloppe follower. J'utilise deux microphones contact pas cher. Chacun sur un canal L ou R et tu peux contrôler deux oscillateurs/sources indépendantes de cette façon. C'est très flexible. Tu peux programmer des seuils de déclenchement où un micro trigge un oscilateur à fort volume et juste passe dans un résonateur à faible volume. Le pitch peut être associé indépendamment via l'arp ou un séquenceur (ou n'importe quoi...).

Et le synthé peut être paraphonique dans une certaine mesure.

Bref il y a de quoi s'amuser... La seule limite est ton immagination et la charge cpu...

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

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.

Sounds perfect!

@join I see. Indeed, it makes sense for wind controllers. An option where we can force the usage of the CC or the velocity would be great. Maybe something at the level of each patch instead of something global? Depending if the patch is intended to be played with continuous expression or with velocity?

Hi, I think I found a minor bug in the Expression curve in the last beta version. When using a CC with any controller, the synth uses the CC value as velocity value (ok great that's normal)... unless the CC value is stable (no matter what the CC value is). If the CC value is stable, it uses the velocity value of the next note instead of keeping that CC as reference point. I had not noticed this behavior in previous versions. It is annoying with a modwheel for any value and even with the Touché if the value reach 127. Other than that keep the great work going! Amazing improvements!

@origami23 Is that not possible through the modulation system by using the combination of min, max, curve and %? Or did you meant using the exact same parameters but out of phase from each other? in that case it might be easier to use several LFOs, there is plenty of space in terms of modulations slots...

@origami23 I didn't noticed something that strong but I agree it's slightly unstable in the timing.

Also something that would be great is to be able to have all the values for the pitch. I tried to set up on 5st but it's impossible. It jump from 4.9 to 5.1st. And it the case of complexes harmonics ratios, frequencies are beating in each others a lot... Would it be possible to have every single float values (by steps of 0.1)? I also tried to modify it on the synth and in the Editor and it just seems to jump from odd value to the next odd value (0.1 > 0.3 > 0.5 > 0.7 > 0.9 etc).