Waldorf Blofeld Virtual Analog Synthesizer
The Waldorf Blofeld combines virtual analog, wavetable and FM synthesis engines to provide a wide variety of modern and classic synth sounds. It has 25-voice polyphony, with 3 oscillators per voice. Patches, Presets. Waldorf Blofeld VST Soundsets. Adam Szabo JP6K. Filtering by Tag: best virtual analog synth for trance. This list contains mixed Virtual Analog, Digital, and Analog synths. The ranking is in no particular order, but you can listen to the soundset samples of each by various studios, to decide which sound suits your tracks the best. .PRODUCT LINKS.FOR MORE INFORMATION. A B S O L U T E.
VA Synthesizer
Kyra is a powerful, hardware virtual analog synthesizer capable of creating a wide range of contemporary sounds for live and studio musicians.
From first glance it is patently obvious that Kyra is a beautifully-designed desktop VA Synthesizer — as the wording elegantly emblazoned on its eye-catching front fascia subtly states. As a truly multitimbral instrument it features eight independent ‘parts’ with up to 32 notes per PART, each effectively being a complete synthesizer with sound sources (OSC GROUP 1, OSC GROUP 2, SUB 1, and SUB 2); FILTERS; modulators (EGs, LFOs, and MOD MATRIX); multi-effects unit (EFFECTS); and a USB 2.0 connection — can exchange MIDI (Musical Instrument Digital Interface) information, as well as send the audio from each stereo PART to a computer as eight stereo 24-bit streams at 96kHz (with 48kHz downsample mode available) and one stereo audio return from the computer supporting a single 24-bit stereo audio stream from the host DAW (Digital Audio Workstation). With that being said, the only other resource they share are the four balanced, stereo output pairs — OUT A (Right and Left), OUT B (Right and Left), OUT C (Right and Left), and OUT B (Right and Left) — using 32-bit DAC (Digital-to-Analogue Conversion) running at 96kHz sampling rate connected to four internal stereo busses and that powerful pool of 128 hardware voices. Versatility further abounds as each PART has a dedicated multi-effects unit comprising nine stereo effects modules — namely, three-band EQ, Formant filter, input Limiter, Distortion module, Delay module, six-state Phaser, Chorus flanger, Stereo reverb, and output Limiter — with dedicated audio stream via USB (Universal Serial Bus).
Patches
Better still, each PART hosts a Patch from the pool available to the system. Speaking of which, Kyra has a generous Patch storage capacity of 26 banks — A through to Z, each containing 128 patches. That’s a total of 3,328! The first seven banks are ‘user’ patches stored in RAM (Random Access Memory), meaning users can change them quickly and individually using the Store sequence. The remaining 19 banks are ROM (Read-Only Memory) patches that users can recall and use just like RAM patches but cannot be replaced using the Store sequence. It is, however, perfectly possible to freely copy whole banks between RAM and ROM, so all are user- programmable. And any Patch can be recalled via MIDI program changes and Bank select commands.
Oscillators
As a sensational synthesizer with a spectacular specification, Kyra has two primary virtual alias-free oscillator groups (OSC GROUP 1 and OSC GROUP 2) per voice, each with Saw (sawtooth); Wave (waveform) — with no fewer than 4,096 18-bit linear PCM (Pulse Code Modulation) 32x oversampled waveforms covering a huge range of synthetic and emulated sound sources with two wave sources per voice; Pulse; and noise simultaneously available. Also OSC GROUP 1 and OSC GROUP 2 each has an independent detune-able oscillator — SUB 1 and SUB 2 — with four selectable shapes and two selectable (Octave) pitches. Real Hard Sync, ring modulation, and FM (Frequency Modulation) are available between those oscillator groups.
Get this, though: switching from Wave mode — meaning Kyra adopts a virtual analogue synthesis model which has the advantage that it is easy to construct sounds using intuitive subtractive synthesis — to Hypersaw mode configures the voice to use a special algorithm comprising six real oscillators to quickly create lush-sounding soundscapes. Digging deeper, Hypersaw mode replaces Wave mode’s two oscillator groups with a single source whose tonal content is constructed with just two adjustable controls — Hypersaw Intensity and Hypersaw Spread (geometric detuning). Built entirely out of multiple, harmonically-rich sawtooth waves or ‘partials’ each adjusted to that special algorithm, the Hypersaw provides characteristic soundscapes ideal for a wide range of uses — from high-impact lead sounds through to lush, animated pads. Placed in Dual Mode, the Hypersaw has 12 real oscillator sources with an additional adjustable stereo spread.
Filter
Successfully synthesizing sound is inextricably linked with flexible filtering. Fortunately for discerning users, Kyra’s FILTERS front panel perfectly positions powerful control, creatively implementing accurate emulations of classic analogue ladder filters with 2-pole (12dB/octave) low pass (12dB LP), band pass (12dB BP), and high pass (12dB HP), plus 4-pole (24dB/octave) low pass (24dB LP), band pass (24dB BP), and high pass (24dB HP) configurations. Creatively, 128 filters are configurable for single or dual parallel (Dual Filter) true stereo operation.
Envelope and LFOs
Onwards and upwards, three fast-response ADSR (Attack, Decay, Sustain, Release) envelope generators with EG Slope setting are also at hand. Helpfully, one is assigned to the VCA (Voltage Controlled Amplifier), another to the filter, while the third can be freely assigned. All are available in the MOD MATRIX (modulation matrix), itself being a six-channel affair with up to three destinations per channel giving a maximum of 18 routings. It is also worth noting that the three LFOs (Low Frequency Oscillators) — with 128 waveforms, monophonic, polyphonic, random, anti-phase, and quadrature stereo phase settings — are also available in the MOD MATRIX and additionally as a MIDI clock sync source.
Arpeggiator
Creativity continues courtesy of an arpeggiator (ARP) on each PART with 128 preset patterns; Up, Down, Random, and Chords modes; and an ability to synchronise to MIDI clock. Arpeggiators are aimed at live performance, primarily, but can clearly complement composition. Kyra’s ARP is an integral part of a Patch, so settings are always stored.
Display and Connections
Far from forgetting its helpful high-resolution 256x64 pixel graphic OLED (Organic Light-Emitting Diode) display alongside the traditional array of MIDI In, Out, and Thru connections — complimenting USB 2.0 — on five-pin DIN, as well as full key microtuning capability with MIDI Tuning Standard (MTS support), it is fair to say that Kyra is, indeed, one of the most powerful music synthesizers ever built... a sensational synthesizer with a spectacular specification, set to take performances and compositions to higher states of musicality and sound design!
Microwave
Wave
Microwave XTk
Micro Q Phoenix Edition
Blofeld Keyboard
Pulse 2
Zarenbourg
KB37 + Eurorack modules
Streichfett
Quantum
The respectable among professionals German brand was founded in 1988 thanks to Wolfgang Düren, a distributor of the famous synth maker of the 70-80s - Palm Products GmbH (PPG). Wolfgang Palm, the owner of the PPG, became renowned owing to the hit product of the 80s – Wave synthesizer (Wave 2, Wave 2.2, Wave 2.3 versions) which appeared to be the first synthesizers featuring physical modeling, wavetable synthesis. The sound they produced was so different from that of the other instruments due to its saturation feel and special coloring.
Technological designs made by Wolfgang Palm who was into electronic musical instruments developing are now actively used by Waldorf company where Palm works as a chief designer. The brand conquered the music world releasing revolutionary digital and virtual analog synthesizers, modules.
In 1989 the company released its first module called Microwave which quickly gained popularity. The series included the second issue of the module - Microwave II и Microwave XT. Microwave was the result of the technologies developed by PPG company combination. The complicated sound of the synthesizer, flexibility of timbral transitions is happening thanks to digital wave processing generated with wavetable synthesis, VCA and VCF – which is the actual basics of Waldorf sound, unrepeatable and irreplaceable by any rompler back then. The module allowed upgrading the firmware with the help of EPROM (Erasable Programmable Read Only Memory) improving its specification. In 1994 the company released an elaborated version Microwave I V2.0 which differed in increased memory. The second version of the analog module (Microwave II) has 4 controllers allowing sound tweaking in real time. The model got all the specs of its predecessor introduced and featured a nice display, improved modulation, new processing effects and multimode filters. Microwave XT in its turn appeared to be an enhanced model of Microwave II with a bigger number of voices (up to 30), increased number of knobs on the front panel. In 1999 a keyboard version was launched - Microwave XTk.
The instrument Wave by Waldorf was another step up from the used to be popular series designed by Wolfgang Palm. The instrument featured modular architecture. There were various keyboard versions released – 61, 76 keys with a 16-, 32- and 48-voice (expandable) polyphony. Wave sports intuitive interface with LCD, backlight and big number of control elements which makes it a favorite instrument in any professional musician’s collection.
Pulse series synthesizers included two versions of the instrument: Pulse and Pulse 2. The monophonic synthesizer is equipped with arpeggiator and three VCOs. The memory includes 100 presets 40 of which are user ones. The later version of the instrument has MIDI implemented and CV converter as well as an increased number of knobs and buttons to improve parameter control.
Q series synthesizers came out in 1999. The instrument featured analog sound based on physical modeling principle. It included a 16-voice polyphony expandable up to 32 voices. Each voice had 3 oscillators allotted with sync possibility, Q also had a built-in arpeggiator with user patterns, step sequencer and three LFOs. The synthesizer sports nice control thanks to comprehensive interface – display, control buttons, MIDI jacks as well as pedal jacks. In 2000 the compact version of the series instrument came out – microQ which comprised only 7 knobs to control sound and a 23-voice expandable polyphony. The model doesn’t incorporate step sequencer which makes it more affordable. The next model, an improved version called Q plus, introduced the architecture of Q and added 100 voices of polyphony and 16 new analog filters.
When geniuses and talented people who burn with an idea meet each other great deeds happen. One of such geniuses is Axel Hartmann – a German designer who was working for Waldorf in the 1990-2000s on Wave and Microwave products. Waldorf resorted to his designs for such instruments as Blofeld Desktop and, of course, the most vintage of all vintage electric pianos - Waldorf Zarenbourg (2006). Zarenbourg is a 33 kg orange (white or black) keyboard made of aluminum and featuring 7 factory presets/21 user presets based on frequency modulation, wide filter selection and built-in acoustics of the highest quality. This vintage unit producing super sounds will cost you $3000. You won’t be able to buy it easily and anywhere though it’s still available.
Waldorf Blofeld Desktop Synthesizer
2007 was marked by Blofeld series module release which used virtual analog synthesis for sound generating, FM synthesis and wavetable synthesis. In 2009 a 49-key velocity sensitive version with aftertouch became available - Blofeld Keyboard. The instrument features 25 voices of polyphony and a 16-part multitimbrality, MIDI in/out as well as possibility of operating system update with the add-ons upload. The module and its keyboard version are put onto the market as affordable instruments featuring specification of their more expensive relatives – Q and Wave series. Anyway, those who want to get more for the same money can pay attention to the virtual analog synthesizer Studiologic Sledge which was also designed by Waldorf’s engineers.
Waldorf Blofeld Virtual Analog Synthesizer Keyboard
The compact desktop modular synthesizer (2013) Waldorf Rocket offers analog synthesis with the MIDI control possibilities and virtual keyboard integration capability. The module has an extended interface to make the work with sound simpler as well as two knobs able to alter sound completely which makes the functioning easier for beginners. Streichfett – quite rare modular strings synthesizer – replicates the concept. The filter (12dB) enclosed into the similar housing.
In 2015 the company launched the interesting platform for professionals – KB37 (features a 3-octave keyboard for Eurorack modules) and Eurorack modules (double analog amplifier DVCA1, MOD1 modulator, NW1 wavetable synthesis module, CMP1 compressor) which can be applied to third-party systems as well as native platform.
Sound studios are equipped with Waldorf production all over the world: musicians have already approved the unique sound quality of the musical instruments. The brand’s exclusive technology is used in other companies’ production which tells about its real value for the music world.