ABSYNTH 4

ABSYNTH can use up to three independent oscillation modules in parallel. All parameters can be modulated in real-time, bringing a high degree of dynamic interaction to the sound.

The oscillator modules feature the following operation modes:

Custom waveforms can be used in any of the modules that use waveforms, from oscillators to LFOs to the waveshaper module. A dedicated window with two special views allows the simple modification of a waveform’s time and frequency domain. A selection of additional tools is also available: apply ring, filter or fractalize a waveform – all in an instant. Of course, a library of waveforms is also included, letting you select a waveform immediately and getting straight down to the business of making music.
The new MorphWaves merge two simple waveforms into a whole new entity. Both the two single waveform components can be edited and you also have real-time control over the morphing process.

With ABSYNTH you can assign an individual envelope to nearly all of the audio engine's parameters. This helps in creating very lively, moving sounds. You can use steps within your envelopes to achieve step sequencer like progressions. The Expand to Rhythm command lets you easily create rhythmically looped sections within your envelopes.
You’ll find an inspiring set of default envelopes for all situations that you can then customize to better suit your needs.

Similar to the Macro Controls, ABSYNTH 4's Master Envelope allows to the flexible envelopes to be controlled with just four knobs - according to the well-known principles of ADSR. All the library’s KoreSounds have already been assigned to these knobs, so that you can customize their amplitude progression fast and intuitively. You don't have to tweak each envelope individually.

Nearly all of the ABSYNTH audio engine's parameters can be modulated. In particular, they can be linked to a Macro Control allowing for quick and easy modification of parameters, for instance via a MIDI controller or to an internal envelope for automated rhythmic progressions. The new Audio Mods extend these possibilities by linking a parameter to a modules audio output signal.
Additionally, three LFOs can modulate a wide variety of parameters. Combined with the new MorphWaves that can be used as LFO waveforms.
You can not only change the LFO rate or depth in real-time but also the signal's shape. This approach goes way beyond any traditional implementation of LFOs for simple vibrato, tremolo or panning effects.

The Patch Window is the control center of the ABSYTH sound. Here you choose the modules used and define their order in the signal path.

Place a filter after a waveshaper to smooth your distorted sound; or combine a frequency shifter with a ring modulator – the freely definable routing multiplies the sound design capacities exponentially.

All of a sound's most important parameters have been pre-configured and mapped onto the Macro Controllers.
A single controller can handle multiple assignments and bundles the technical details: for example, just twist a knob labeled "Color" and watch how a number of underlying technical parameters are all altered simultaneously.

The macro controls enable you to customize any of ABSYNTH 4's KoreSounds® instantly and profoundly, without having to understand the technical structure of the sound. The macro controls essentially turn each sound into a set of possible sounds that seamlessly morph into one another.
Moreover, the macro controls are the most important interface to other applications. They are targets for MIDI assignments, conveniently achieved with MIDI Learn. When used within KORE, for example, the macro controls are automatically mapped onto the KORE controller‘s eight knobs.

All effects offer master controls, for instance the echo's master delay time, which makes using them fast and easy. The surround module places the different effect signals, like the separate delay taps, independently within the surround panorama.

The synthesizer's effect unit features the following operation modes: