FRMS is a versatile granular synthesizer that combines granular synthesis with FM synthesis using a flexible layering system. From heavily-dense ambient drones, to glitchy mechanical beings, turn simple sounds into complex evolving soundscapes, with up to four layers of synthesis in any combination.
Absynth 6 marks the return of a legendary semi-modular synthesizer. Built for textures that transform and breathe, it invites you to shape sounds that are entirely your own. Deep enough for complex sound design, and intuitive enough for newcomers, it opens up distinctive, living sounds for cinematic cues, ambient soundscapes, and electronic productions.
Absynth 6 marks the return of a legendary semi-modular synthesizer. Built for textures that transform and breathe, it invites you to shape sounds that are entirely your own. Deep enough for complex sound design, and intuitive enough for newcomers, it opens up distinctive, living sounds for cinematic cues, ambient soundscapes, and electronic productions.
The Element P is a specialized synthesizer for percussion sounds. It creates sounds using a simplified FM synthesis method, which is simple and easy to operate.
The DX7 brought digital synthesis to everyday musicians, transformed the sound of the charts, and won the title of best-selling synth of all time. DX7 V is a software reimagining of the icon, bringing that iconic glassy, punchy, crystal-clear sound to your DAW. Struck, plucked, and bowed sounds were the DX’s specialty, as were percussive keyboards like EPs and Clavs. Hear that FM edge rendered with loving precision. From FM classics to lilting pads and sparkling motion-synth soundscapes, listeners will wonder how you got “that” sound.
Sumu breaks completely new ground in software synthesis, combining additive resynthesis with FM and vector field spatialization. Its collection of ten modules, designed around a unique multi-channel patcher, offer musical possibilities not found in any other instrument. In Sumu, sampled sounds are represented as collections of up to 64 bandwidth-enhanced partials, each with a frequency, volume, and noisiness that can change over time. This representation of sound makes all kinds of creative changes possible, from natural-sounding time stretching to exotic timbral manipulations. Using the central multi-channel patcher, each partial in a sound can be manipulated independently in a way that feels more like playing than programming. Pick a few harmonics and frequency-modulate them? No problem. Delay each partial according to its frequency? Sure. Sumu enables precise and careful changes in space and time, or wild chaotic ones. Take a sample, choose a few partials, and place them somewhere else in the sound field. Or explode everything and stir it into a whirlwind of doppler shifted chorus as each partial zooms around on its own path.
