Sujet Commentaires sur la news : Soma Laboratory commercialise ses synthés
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Volontaire oui, mieux je ne sais pas.Si on pouvait se servir des entrées CV de manière classique ça ne nous empêcherait pas de pouvoir utiliser le Lyra façon lyra, mais ça augmenterait ses possibilités. Et si la plupart n'utilisent que le CV, ils passeraient à côté de leur instrument et ce serait tant pis pour eux ^^
on peut aussi débattre de ce que veut dire de façon classique : 1v/oct j'avais bien compris que c'était mort depuis le départ et que c'était pas le but du truc, mais un tracking au moins linéaire ça aurait été pas mal ! D'ailleurs je n'ai même pas essayé d'envoyer une mélodie j'ai fais ce constat en tentant des truc avec des LFO
Enfin bref, du coup je vois pas trop l'intérêt des entrées cv désolé
Sinon, pour rester dans le thème du modulaire, aujourd'hui je l'ai envoyé en mode hold dans un VCA et j'ai séquencé une enveloppe exp. pour l'ouvrir : attention les percu de ouf pleines de modulations, à chaque hit son différent ^^
filipvs
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@ gouji :
Oh...
... mais depuis quand as-tu un Synthi ? Heureux homme !
C'est amusant, j'avais précisément commandé ce Lyra-8 pour avoir une "espèce de Synthi" à défaut d'en posséder un vrai, mon rêve de toujours... Evidemment, les deux machines n'ont rien à voir mais comme BLT, le spécialiste interplanétaire du Synthi et autres VCS3, en disait beaucoup de bien, cela m'a conforté dans mon choix. Je pense emporter mon futur Lyra-8 pour notre concert de fin janvier, ce sera nettement plus transportable que mes deux valises Eurorack, du coup une pourrait suffire.
Oh...
... mais depuis quand as-tu un Synthi ? Heureux homme !C'est amusant, j'avais précisément commandé ce Lyra-8 pour avoir une "espèce de Synthi" à défaut d'en posséder un vrai, mon rêve de toujours... Evidemment, les deux machines n'ont rien à voir mais comme BLT, le spécialiste interplanétaire du Synthi et autres VCS3, en disait beaucoup de bien, cela m'a conforté dans mon choix. Je pense emporter mon futur Lyra-8 pour notre concert de fin janvier, ce sera nettement plus transportable que mes deux valises Eurorack, du coup une pourrait suffire.
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Je pense que c'est volontaire et c'est tant mieux car cela oblige de reconsidérer notre façon de jouer. Si on pouvait se servir des entrées CV/gate de manière classique, la plupart d'entre-nous utiliserait le Lyra-8 comme un synthé classique, à savoir un module de son pour jouer des "mélodies" dans la gamme tempérée, ce n'est absolument pas le but de cette machine qui se veut non linéaire, elle a été crée et a été inspirée par les gammes non tempérées, la musique indienne notamment. Cela permet d'explorer les micro-intervalles, c'est passionnant pour jouer de la musique expérimentale et du drone. 
quelques explications :
LYRA is based on eight generators, which will be referred to as voices. Their design is not like a traditional subtractive synthesis VCO. Instead of having a linear or logarithmic dependency on control voltage, they resemble the tone generators in old electric organs. Hence the use of "voices" instead of "VCOs" in this manual. Lyra uses non-linearity a lot, and the voices are constructed in such a way that allows for non-linearity to express itself.
LYRA'S HISTORY AND PHILOSOPHY
I have spent many years exploring the brain and nervous system of the living organism. One of the things I wanted to understand was how and why a several-hundred-neuron nervous system in the smallest of insects and the simplest of animals is capable of pro- ducing the complex and multifaceted behaviour that our most powerful computers still fail to model today. One of the answers I found is that the brain is an analogue system with a large number of non-linear, chaotic processes. The brain, as well as the whole bio-organism, has many loops of positive and negative associations. Like a very complex see-saw, it's searching for balance while in constant motion. It's this balancing act on the brink of chaos in a highly non-linear state, that enables an organism and the brain as part of it, to react to the outside world so effectively and dynamically, and also to create inner worlds of its own.
This cannot be modelled by a digital machine, because in the process something essential is lost. In the age of digitalisation we've been consciously deleting all chaos or controversy from digital chains — which was their very essence. It's what makes even a simple living organism so effective: its every cell, when you look close enough, turns out to be a highly complex, virtually endless, unpredictable and open system — a mini-universe, a microcosm. Analogue electronic circuits give us something similar.
I decided I wanted to apply these concepts to building synthesizers, as synths are a huge interest of mine — my second love. LYRA's secret isn't the modules as such — they've all been around for decades. Rather, it's how they connect and interact. LYRA's schematics aren't linear, unlike classic subtractive synths with blocks in series that gradually pro- cess the signal. Here, for example, the envelope generator can affect a voice's pitch, or in some modes change the parameters of FM synthesis or even of the delay when it's set to self-modulation mode (SELF on + MOD and FB high enough). LYRA is a structure that reacts to your slightest touch. It's a bizarre animal that twists and turns under your fingers, rather than a precise mechanism. This is why it's called "organismic".
Another important source for my experience has come from exploring acoustic instru- ments, such as the violin. And that presented the question: how is it that a musician can consciously spend a profound lifetime with a piece of wood with four pieces of metal wire on it, with nothing more than a horse-tailed stick? How is it possible then that a musician gets bored in a matter of months with the most powerful synthesizer with a thousand controls? The answer I came to was that the best instruments are those that allow for the most direct and the most tactile connection between the player's body and the "tone generator". This gives the musician the most immediate control over the sound and, as such, the ability to express the aspirations of their soul. This is why we call a violin a "live" instrument.
Then an insight came: a synthesizer can act similarly if we rebuild the connection once broken. Just look at how many little machines stand in the way between the tone gener- ators and the player's body in today's traditional synth: sequencers, quantizers,envelope generators, LFOs etc. The player, in fact, can't control the sound source as such; they just choose the algorithm for those machines to use to control the tone generator. From this standpoint, the perfect "live" synthesizer was the very first of them — the Theremin. Just one monophonic oscillator and one simple waveform, but it's so connected to the play- er's movements. And, quite importantly, the Theremin is perhaps the only synth to have preserved its original structure despite the enormous progress in electronics since the 1920s — which goes to show that the principle once found was absolutely right!
I rewound the history of synth schematics to the beginning and took some of the most archaic and rawest solutions. My intention was to give the player maximum control over the generated sounds, with minimal quantization or automation. I've made a complete stage-ready instrument where any position of controls creates a good soundscape. The direct, non-tempered control over the pitch means that you are not bound by the chro- matic scale, and instead can let your own hearing of notes and intervals work entirely free in order to create unique scales, play around with microtonalities and so on.
In other words, LYRA is a complex, futuristic electronic violin that can hear you.
The third source for LYRA's philosophy is taken from the North-Indian musical tradition, with its remarkable attention to the inner states of the player, the listener and the world, and the ability to interact with them. LYRA was greatly inspired by a deep study of the Indian ragas, where the art of mastering your mental and emotional state is essential. The idea came about to create an instrument with a sound texture and overall behaviour that invite the player into deeper states of perception and awareness, to guide the listener into that stream, and to allow enough space and freedom for immersion.
quelques explications :
LYRA is based on eight generators, which will be referred to as voices. Their design is not like a traditional subtractive synthesis VCO. Instead of having a linear or logarithmic dependency on control voltage, they resemble the tone generators in old electric organs. Hence the use of "voices" instead of "VCOs" in this manual. Lyra uses non-linearity a lot, and the voices are constructed in such a way that allows for non-linearity to express itself.
LYRA'S HISTORY AND PHILOSOPHY
I have spent many years exploring the brain and nervous system of the living organism. One of the things I wanted to understand was how and why a several-hundred-neuron nervous system in the smallest of insects and the simplest of animals is capable of pro- ducing the complex and multifaceted behaviour that our most powerful computers still fail to model today. One of the answers I found is that the brain is an analogue system with a large number of non-linear, chaotic processes. The brain, as well as the whole bio-organism, has many loops of positive and negative associations. Like a very complex see-saw, it's searching for balance while in constant motion. It's this balancing act on the brink of chaos in a highly non-linear state, that enables an organism and the brain as part of it, to react to the outside world so effectively and dynamically, and also to create inner worlds of its own.
This cannot be modelled by a digital machine, because in the process something essential is lost. In the age of digitalisation we've been consciously deleting all chaos or controversy from digital chains — which was their very essence. It's what makes even a simple living organism so effective: its every cell, when you look close enough, turns out to be a highly complex, virtually endless, unpredictable and open system — a mini-universe, a microcosm. Analogue electronic circuits give us something similar.
I decided I wanted to apply these concepts to building synthesizers, as synths are a huge interest of mine — my second love. LYRA's secret isn't the modules as such — they've all been around for decades. Rather, it's how they connect and interact. LYRA's schematics aren't linear, unlike classic subtractive synths with blocks in series that gradually pro- cess the signal. Here, for example, the envelope generator can affect a voice's pitch, or in some modes change the parameters of FM synthesis or even of the delay when it's set to self-modulation mode (SELF on + MOD and FB high enough). LYRA is a structure that reacts to your slightest touch. It's a bizarre animal that twists and turns under your fingers, rather than a precise mechanism. This is why it's called "organismic".
Another important source for my experience has come from exploring acoustic instru- ments, such as the violin. And that presented the question: how is it that a musician can consciously spend a profound lifetime with a piece of wood with four pieces of metal wire on it, with nothing more than a horse-tailed stick? How is it possible then that a musician gets bored in a matter of months with the most powerful synthesizer with a thousand controls? The answer I came to was that the best instruments are those that allow for the most direct and the most tactile connection between the player's body and the "tone generator". This gives the musician the most immediate control over the sound and, as such, the ability to express the aspirations of their soul. This is why we call a violin a "live" instrument.
Then an insight came: a synthesizer can act similarly if we rebuild the connection once broken. Just look at how many little machines stand in the way between the tone gener- ators and the player's body in today's traditional synth: sequencers, quantizers,envelope generators, LFOs etc. The player, in fact, can't control the sound source as such; they just choose the algorithm for those machines to use to control the tone generator. From this standpoint, the perfect "live" synthesizer was the very first of them — the Theremin. Just one monophonic oscillator and one simple waveform, but it's so connected to the play- er's movements. And, quite importantly, the Theremin is perhaps the only synth to have preserved its original structure despite the enormous progress in electronics since the 1920s — which goes to show that the principle once found was absolutely right!
I rewound the history of synth schematics to the beginning and took some of the most archaic and rawest solutions. My intention was to give the player maximum control over the generated sounds, with minimal quantization or automation. I've made a complete stage-ready instrument where any position of controls creates a good soundscape. The direct, non-tempered control over the pitch means that you are not bound by the chro- matic scale, and instead can let your own hearing of notes and intervals work entirely free in order to create unique scales, play around with microtonalities and so on.
In other words, LYRA is a complex, futuristic electronic violin that can hear you.
The third source for LYRA's philosophy is taken from the North-Indian musical tradition, with its remarkable attention to the inner states of the player, the listener and the world, and the ability to interact with them. LYRA was greatly inspired by a deep study of the Indian ragas, where the art of mastering your mental and emotional state is essential. The idea came about to create an instrument with a sound texture and overall behaviour that invite the player into deeper states of perception and awareness, to guide the listener into that stream, and to allow enough space and freedom for immersion.
[ Dernière édition du message le 17/11/2017 à 22:11:00 ]
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Citation :
Je pense que c'est volontaire et c'est tant mieux car cela oblige de reconsidérer notre façon de jouer. Si on pouvait se servir des entrées CV/gate de manière classique, la plupart d'entre-nous utiliserait le Lyra-8 comme un synthé classique, à savoir un module de son pour jouer des "mélodies" dans la gamme tempérée, ce n'est absolument pas le but de cette machine qui se veut non linéaire, elle a été crée et a été inspirée par les gammes non tempérées, la musique indienne notamment. Cela permet d'explorer les micro-intervalles, c'est passionnant pour jouer de la musique expérimentale et du drone.
Volontaire oui, mieux je ne sais pas.Si on pouvait se servir des entrées CV de manière classique ça ne nous empêcherait pas de pouvoir utiliser le Lyra façon lyra, mais ça augmenterait ses possibilités. Et si la plupart n'utilisent que le CV, ils passeraient à côté de leur instrument et ce serait tant pis pour eux ^^
on peut aussi débattre de ce que veut dire de façon classique : 1v/oct j'avais bien compris que c'était mort depuis le départ et que c'était pas le but du truc, mais un tracking au moins linéaire ça aurait été pas mal ! D'ailleurs je n'ai même pas essayé d'envoyer une mélodie j'ai fais ce constat en tentant des truc avec des LFO
Enfin bref, du coup je vois pas trop l'intérêt des entrées cv désolé
Sinon, pour rester dans le thème du modulaire, aujourd'hui je l'ai envoyé en mode hold dans un VCA et j'ai séquencé une enveloppe exp. pour l'ouvrir : attention les percu de ouf pleines de modulations, à chaque hit son différent ^^
filipvs
1359
AFicionado·a
Membre depuis 15 ans
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