Thank you all for your good hard work. I am enjoying the new possibilities. The use of the foot pedal to modulate between different tuning systems is definitely a powerful tool for creating microtonal variations in music. By exploring the nuances of different tuning systems, musicians can create new sonic textures and emotional resonances that are not possible with traditional Western tuning. Amazing!!!
I don't think I'm the "target market" for this instrument, but I have always found it fascinating. It's beautiful and unique, and seems to enable live performance techniques that I can't imagine achieving any other way. Very cool!
@@NonlinearLabs Thanks for asking, but I think it's all things that are my own problems, which you can't control :) Finding space in my small studio is one issue now - and also I think it's more of a performer's instrument and I no longer play live. But as I said, I think it's beautiful and if I were playing live and had more space at home as well, I'd be interested.
If you ever want to give one away? You are more than welcome in Meppel the Netherlands. What a great maschine is this. I am going buy this one day. The sound is so extremely clear and different from other synths. But do I see there an M-Audio expression pedal of € 15,- ? I allready have that one. 🤣
This synth is a beautiful design, evidently the work of veteran synthesists. In my humble opinion, you really ought to add a shapeable noise option on each of the two oscillators. There are plenty of cases where noise makes for the best exciter for a resonator ; but the noise spectrum should be very clean and shapeable to a very fine degree. The problem with the vast majority of noise sources is that they are pretty crude and not even reliable ; white noise and pink noise have precise definitions that are seldom met in the implementations I have heard, and past this point, if you had a very accurate baseline noise spectrum, you'd still need precise spectral control to emulate real-world noises, from breath to wind or rain, etc. In addition, noise should be present as a modulator, as it can introduce useful randomness in sound characteristics. If I could use noise to modulate the new cyclic envelope, I could do something akin to a S&H. Lastly, noise furthers the synth's modal-like synthesis, where the bulk of the timbre is defined by a cascade of resonant filters.
Please check the "Fluctuation" parameter of the C15's oscillators: www.nonlinear-labs.de/support/help/docs/HTML-Manual/documents/man-user/05-synth-engine/05-02-2-oscillators.html It allows to create a wide spectrum of noise signals, that can sound like filtered noise.
Oops, sorry, I missed a part of your comment that shows that you are aware of the oscillator fluctuation/jitter feature. We try to keep the number of signal processing components as small as possible and to allow to use them in very many ways. A jittering oscillator can be a source for: - phase modulation of the other oscillator - amplitude modulation (RM) of the other oscillator - phase modulation of the comb filter - frequency modulation of the SV filter
Like in this video, when you own a C15, you start playing when it's daytime and you don't realize that it's already dark :) Merci à toute l'équipe !
Amazing how my C15 evolved with all these updates over the years. Thank you Nonlinear Labs!
Thank you all for your good hard work. I am enjoying the new possibilities. The use of the foot pedal to modulate between different tuning systems is definitely a powerful tool for creating microtonal variations in music. By exploring the nuances of different tuning systems, musicians can create new sonic textures and emotional resonances that are not possible with traditional Western tuning. Amazing!!!
Dream Synth....
Greatest synth ever made!
This synth is getting better and better.Already looking forward to spring 2024.🙃
Thanks for the fantastic upgrade! And thanks for building this great instrument.
Enjoying to update mine, thanks so much.
Fantastic update! Thank you!
I don't think I'm the "target market" for this instrument, but I have always found it fascinating. It's beautiful and unique, and seems to enable live performance techniques that I can't imagine achieving any other way. Very cool!
Anything you're missing specifically? 🙂
@@NonlinearLabs Thanks for asking, but I think it's all things that are my own problems, which you can't control :) Finding space in my small studio is one issue now - and also I think it's more of a performer's instrument and I no longer play live. But as I said, I think it's beautiful and if I were playing live and had more space at home as well, I'd be interested.
Absolutely superb Tim! This is a massive update! You looked quite relieved to get through it all at the end there! :)
Oh, yes 😂 ❤
@@frittenranch 😆
If you ever want to give one away? You are more than welcome in Meppel the Netherlands. What a great maschine is this. I am going buy this one day. The sound is so extremely clear and different from other synths. But do I see there an M-Audio expression pedal of € 15,- ? I allready have that one. 🤣
Is the update available yet? I only see the latest update from last year on the site.
Dear Rob, yes the Update can be found here www.nonlinear-labs.de/support/updates/updates.html
Maybe clearing your browsers cache can help?
@@NonlinearLabs Refreshed the page and got it, thanks - I'm an idiot ;-)
@@robappleby583 No worries, happens to the best of us! :)
💖💖💖💖😎😎😎👍👍🎼🎵🎶
This synth is a beautiful design, evidently the work of veteran synthesists. In my humble opinion, you really ought to add a shapeable noise option on each of the two oscillators. There are plenty of cases where noise makes for the best exciter for a resonator ; but the noise spectrum should be very clean and shapeable to a very fine degree. The problem with the vast majority of noise sources is that they are pretty crude and not even reliable ; white noise and pink noise have precise definitions that are seldom met in the implementations I have heard, and past this point, if you had a very accurate baseline noise spectrum, you'd still need precise spectral control to emulate real-world noises, from breath to wind or rain, etc. In addition, noise should be present as a modulator, as it can introduce useful randomness in sound characteristics. If I could use noise to modulate the new cyclic envelope, I could do something akin to a S&H. Lastly, noise furthers the synth's modal-like synthesis, where the bulk of the timbre is defined by a cascade of resonant filters.
Please check the "Fluctuation" parameter of the C15's oscillators:
www.nonlinear-labs.de/support/help/docs/HTML-Manual/documents/man-user/05-synth-engine/05-02-2-oscillators.html
It allows to create a wide spectrum of noise signals, that can sound like filtered noise.
Oops, sorry, I missed a part of your comment that shows that you are aware of the oscillator fluctuation/jitter feature.
We try to keep the number of signal processing components as small as possible and to allow to use them in very many ways. A jittering oscillator can be a source for:
- phase modulation of the other oscillator
- amplitude modulation (RM) of the other oscillator
- phase modulation of the comb filter
- frequency modulation of the SV filter
Fantastic update! Thank you!