also screenshots
https://madronalabs.com/topics/8469-sumu-preview

 

I assume you've checked Harmor

 

A new additive synth is available, and not only that, but free. I've been exploring u-He Zebralette3 and its single oscillator is incredibly powerful. It's vector curve-based wavetable shapes or additive envelopes. You can morph the curves, plus you've got two other morphing curves to modulate with. You can introduce inharmonicity via modifiers for things like bell sounds. It's so elegant in displaying this and providing controls.

The drawing tools are great, and don't neglect the morph methods. I've been using point-to-point to get exact control but that is not the default, it uses a method that works better with curves without a matching number of points. Point-to-point is a lot more painstaking.

 

There's an absolute glut of subtractive synths and (to a lesser extent) wavetable synths. I think I can count the number of additive synths out there on one hand.

Razor's top dog in terms of GUI and ease of use. Still sounds fantastic if you're willing to look past the dated bundled sounds. Worth checking out 3rd party presets too.

Loom2 looks interesting, but the GUI really needs an overhaul.

 

Last edited: Nov 5, 2024

Yes @MrChippy , Loom sounds really good... but the GUI...! I think the Harmor is one of the best sounding virtual synthesizers!
Why it is not available to buy as a VSTi remains Image Line's trade secret.

Image-Line - Harmor & Harmlesss (Only available as part of Fl Studio)

Like its predecessor Harmless, Harmor is powered by a powerful additive synthesis engine. Its modules will look familiar to subtractive synthesizer enthusiasts: oscillators, filters & phasers. These are featured in Harmor but, because they are performed on additive synthesis data, rather than audio, offer more freedom.

Additive / subtractive synthesis - In Harmor no audio-stream exists, instead a table of frequency and amplitude data is manipulated efficiently, accurately and in ways not possible with traditional methods, that process an audio stream. Draw filter shapes and gain precise control over every aspect of the sound generation process. Image & Audio Resynthesis - Images and audio files can be dragged and dropped on Harmor to provide 'sampler-quality' reproduction of sounds or work with image-based synthesis when used in conjunction with your favorite image editor. Just cut-and-paste between Harmor and your editor of choice.

 

Last edited: Nov 5, 2024

Yeah, the plugins stopped working in Win11.

 

indeed, yet there is no rule that additive synthesis must use only overtones.

if you have more available you can shift the assumed base frequency and have relations like 1: 1.17 from the base frequency.

the can, if the waves are long enough to do the same as suggested above. you would just use partial #27 as assumed base note, and then you can have 27:29. for me this is the main reason why more than 32 or 64 partials can make sense for wavetable generation.

however, what is very interesting is that with around 500-1000 partials you can actually already reproduce most sound events: before i tried that in the nineties with the resynthesis in kyma i would not have believed it; replaying an acoustic recording with only 500 partials can usually no longer be distinguished from a proper 16 bit recording.

the culprit for complex or high-scaled synthesis concepts is that nobody is really interested in setting up 1000 different pitch and amplitude envelopes by hand. as you say, using wavetables with given "presets" for partial amplutudes is preferred even for simpler things.

 

didn´t you just answer the question yourself?

the really inoovative things are not even known to the general public. ;)

 

that is what he said.

but you can do the math yourself:

440 * 50 == 22,000

40Hz * 500 == 20,000Hz.

you can do both, but transforming the spectrum of the source audio into partials and then write the loudest 32 partials into the wavetable wave is one of the most common methods.

that´s because too many people do not know how to make useful wavetables but somehow think they must aggressively promote their "work".

if you have a monolithic X and you split it up into A and B, what you most likely will do with it is to treat the two parts differently. i.e. not much different from how a dynamic gate or a frequency filter also works internally, just with the difference signal output as well.

you can split up partials into overtones and nonharmonic numbers, or you can split them into even and odd numbers. or you can use anythign else you wish and whichi makes sense.

the first thing you can do with it is to mix them against each other in regard of volume. or pan them differently. or put a vibrato on one of them but not the other. you can use different envelopes to fade from one into the other, and so on.

a good strategy i´ve found is to set up such a synth in a modular way. i.e. you have a dynamic amount of "voices" where each voice only has 32 partials and can only be modulated in given ways, but then you can layer a dozen of them. note that they could also contain the same frequencies again so that the modulation of them will stack up or will be averaged. == millions of possibilities.

 

Most additive synths are just BLAND.
I hate bland synths.

But i liked Razor, being more agressive.

Additive is even more limited than FM synthesis ... on the human programming side.

Remember there was less than 10 ppl on the whole planet making good DX7 presets.
For FM, i found some effective implementations, like Sytrus or Blue.

But on additive, only Razor is nice enough.

 

"I defenitely don't feel anything special regarding Razor. These "harsh" leads... Where a could use it? Nowhere. They are are right just to amaze teenagers."

Quite in contrast to my experience. Yes, it can sound harsh and, yes some of the included presets were aimed at the dubstep boom, but I have found it to be extremely rewarding when you dig deeper and build sounds from scratch.

 

I agree. There a couple of other additive synths out there that go relatively unnoticed.

Razor suits my taste for aggressive sounds (think Neuro, dark dubstep etc).
Some great presets for NI razor out there to tap into.

 

Here is an Additive Synth Special:
Playlist: http://www.youtube.com/playlist?list=PLB94410B40DE7D28B

Additive Synths Summary PART 1: Load sample [Alchemy/Harmor/Iris/Morphine/Vertigo]

 

Didn't Camel Audio have a K5000 emulation back in the day? I think it was called Camel 5000 or something. Could be wrong about it being an emulation of the Kawai tho, but the name could suggest a possible link between them.

EDIT: It was called Cameleon 5000. As with most Camel Audio plugins it's long discontinued. If anyone is still interested in it you could try the releases on the sister site, but they are from 2012 so I'm pretty sure that all the links are dead.

 

Last edited: Nov 9, 2024

The Camel Audio - Cameleon 5000 VST2 was a resynthesizing additive soft synth. (16th June 2004) No Longer Available

Further down in the review from SOS you will find a statement from the programmer:
www.soundonsound.com/reviews/camel-audio-cameleon-5000

 

The additive Cameleon engine made its way to their Alchemy synth (as the Additive oscillator) with C5000 patch import. Of course, it's Logic exclusive these days, but the final Windows version (1.55.0) still works fine.

 

Not really a "new generation" synth, but it seems to me that NI Absynth has also something like additive synthesis.

 

Last edited: Nov 10, 2024

Madrona Labs Sumu out now, novel synth plugin explores spatialized additive resynthesis with FM (November 22, 2024

Madrona Labs Sumu Synthesizer plugin breaks new ground by exploring additive resynthesis with FM with vector field spatialization.

I reported about the beta version shortly after Superbooth 24, and now the wait is over. Madrona Labs Labs has released Sum Synthesizer for macOS and Windows. Sumu is an innovative semi-modular Synthesizer plugin that uses additive synthesis with FM and fine-grained specialization to create unique, dynamic soundscapes

The release version ships with over 100 presets, including partials and patches, making creating your own sounds easier. It also now has full MPE support with MIDI Learn functionality. Alongside this, it comes with an alternate tuning library with over 100 scales to explore different playings.

It’s excellent news that Sumu is finally available to everyone. It is one of the most exciting synth plugins of recent years as it pursues new organic-sounding synthesis ideas. Aalto, Kaivo, and Virta are phenomenal synth plugins that sound gorgeous and instantly inspire. They have been part of my system for many years. I’m sure Sumu will be in the same sonic league as the other Madrona Labs plugins.

Madrona Labs Sumu is available now at a special introductory price of $129 instead of $179 for a limited time. You can download a trial version from the official website.

Source; https://synthanatomy.com/2024/11/ma...spatialized-additive-resynthesis-with-fm.html