Va- 1 Virtual Analog Synthesizer
G-Stomper VA-Beast is a polyphonic virtual analog Synthesizer to produce complex synthetic sounds of any variety, designed for experienced sound designers as well as for beginners. So it's up to you if you just explore the Factory sounds or if you start right away with designing your own sounds in impressive studio quality. Its sound capabilities paired with the intuitive and clearly laid out. Aug 05, 2016 Hi, For those who have not purchased the Yamaha Montage, I was curious if it also had a Virtual Analog Synth (VA-Synth), in addition to the currently available FM-X and AWM2 Engines, would you have bought it? I'm very happy with my Montage 7, but would be super happy, and love it even more if they add a VA-Synth Engine via a Firmware update in the future.
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The Gold Standard in GS Sound Modules
- VA Synth, the Virtual Analog Synthesizer is a new 8-voice polyphonic or monophonic synthesizer for the Soundation Chrome Studio. It features two sawtooth wave oscillators, a nice filter section and some great glide options and sine wave LFO modulation. The two sawtooth oscillators.
- Applied Acoustics Systems Ultra Analog VA-2 + Packs bundles the Ultra Analog VA-2 virtual synthesizer plug-in with all of its associated sound banks. Ultra Analog VA-2 offers two alias-free oscillators with hard sync, sub oscillators, and integrated pitch envelopes that are fed through radical yet musical filters to provide a wide spectrum of vintage and modern synthesizer recreations.
Based on the Roland SC-series hardware modules, the Sound Canvas VA is a GS-compatible software synth with support for VSTi (Windows and Mac) and AU (Mac) plug-in formats. Included are 1,600 popular sounds and 63 drum sets that are ready to play, and a single plug-in instance supports 16 parts with up to 64 notes of polyphony. Multiple instances can be used, with the only limit being your computer’s processing power. The plug-in also comes with SC-8820, SC-88 Pro, SC-88, and SC-55 sound maps, allowing you to replay files that were originally created with those Sound Canvas hardware modules.*
* The Sound Canvas VA is not designed to play Standard MIDI Files (SMF). Depending on the data in your music files and how it’s processed with the host application, the mix balance, tone, and timing may vary slightly from the sound of the original hardware.
Tone Editor for Customizing Sounds
Included with the Sound Canvas VA is a powerful Tone Editor for adjusting sounds in fine detail. The graphical interface makes it simple to create original tones using filters, envelopes, and numerous GS sound parameters. You can also store the sounds you create and quickly load favorites from your custom library when you begin a new project.
A Wide Selection of Built-In Effects
To enhance your sounds, the Sound Canvas VA comes with 64 types of insert effects, plus global reverb, chorus, delay, and EQ. With the Effect Editor, you can easily adjust them all via an intuitive interface. Many effects parameters support automation through your DAW, and it’s possible to save and recall effects settings in your projects. Each plug-in supports one insert effect , and you can open multiple plug-in instances to use additional insert effects on different tracks as needed.
Reminders
Depending on your host application, system exclusive messages contained in MIDI tracks might not be supported with VSTi or AU plug-ins.
The Sound Canvas VA plug-in must initialize its parameters and read various settings when it loads, and this may take about 15 seconds for each plug-in instance. For example, if you’re using four Sound Canvas VA plug-in instances in a project, it may take approximately one minute to load all the plug-ins when you open the file (four plug-ins at 15 seconds each). The actual times may vary depending on your computer’s performance and setup.
No plugin bridge will enable to run 32bit SOUND Canvas VA on 64bit OS/DAW environment.
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Supported Host Applications
The following host applications (DAW) have been verified to work properly with the plug-in version SOUND Canvas VA Ver.1.0.0.
[Windows]
Windows® 7 SP1/Windows® 8/Windows® 8.1/Windows® 10
- Steinberg Cubase 8 Series (32-bit Edition/64-bit Edition)
- Steinberg Cubase 7 Series (32-bit Edition/64-bit Edition)
Free Virtual Analog Synthesizer
[Mac]
OS X 10.8.5 or later/OS X 10.9/OS X 10.10
- Steinberg Cubase 8 Series (64bit Edition)
- Steinberg Cubase 7 Series (64bit Edition)
- MOTU Digital Performer 9 *Only AU Plug−in
Due to host application specifications, system exclusive messages cannot be sent from tracks to SOUND Canvas VA in the following hosts.
[Windows]
Windows® 7 SP1/Windows® 8/Windows® 8.1/Windows® 10
- Cakewalk SONAR PLATINUM/Professional/Artist(32-bit Edition/64-bit Edition)
- Ableton Live9 (32-bit Edition/64-bit Edition)
- Ableton Live9 Lite (32-bit Edition)
- Presonus Studio One 3 Professional (32-bit Edition/64-bit Edition)
[Mac]
OS X 10.8.5 or later/OS X 10.9/OS X 10.10
- Apple Logic Pro X (64-bit Edition)
- Apple GarageBand (64-bit Edition)
- Ableton Live9 (32-bit Edition/64-bit Edition)
- Ableton Live9 Lite (32-bit Edition)
- Presonus Studio One 3 Professional (64-bit Edition)
- MOTU Digital Performer 9 *Only VST Plug−in
Due to host application specifications, you cannot use control changes to make correct bank selections and program changes in the following host application.
[Windows]
Windows® 7 SP1/Windows® 8/Windows® 8.1/Windows® 10
- Cakewalk SONAR PLATINUM/Professional/Artist(32-bit Edition/64-bit Edition)
Due to host application specifications, there is a limit to the parameter that can use automation in the following host application.
[Windows]
Windows® 7 SP1/Windows® 8/Windows® 8.1/Windows® 10
*Compatible with only parameters that knob is attached.
- Ableton Live9 (32-bit/64-bit Edition)
- Ableton Live9 Lite (32-bit Edition)
[Mac]
OS X 10.8.5 or later/OS X 10.9/OS X 10.10
*Compatible with only parameters that knob is attached.
- Ableton Live9 (32-bit/64-bit Edition)
- Ableton Live9 Lite (32-bit Edition)
The SOUND Canvas is not normally recognized as a plug-in in the following host application.
[Windows]
Windows® 7 SP1/Windows® 8/Windows® 8.1/Windows® 10
- MOTU Digital Performer 9 (32-bit Edition/64-bit Edition)
We do not confirm compatible with SOUND Canvas VA other than that above the DAW software.
Synderella Stories is our column about underdog synths that were under-appreciated for their time and/or are not now remembered with the fondness they might really deserve. In this installment, that's the case because the Kurzweil VA-1 virtual analog synth, first demo'ed publicly in 2004, never made it to market. I know because I was writing the instruction manual at the time the project was shelved -- in spite of the instrument attracting huge buzz at trade shows such as NAMM and Musikmesse, and generally being one of the most anticipated new synths of the early to mid-2000s.
A search of forum posts and vintage synth sites shows little information but more than a little misinformation. As someone who was there and working closely with Kurzweil's stateside engineers (and the owner of one of a handful of prototypes left in existence) I'd like to take a little time to talk about the synth itself, its incredible sound and power, and the real story of why it never saw light outside of a convention center floor.
In the late '90s and early 2000s, knobs were finally making a comeback after the digital user interface desert of the previous decade. The real-analog renaissance -- marked by the introduction of Dave Smith's Evolver and Bob Moog's Voyager -- hadn't begun in full yet, though. If you didn't own vintage synths, and wanted polyphony and lots of real-time controls at anything like an affordable price. virtual analog was the name of the game.
The first Nord Lead (1994) is widely recognized as having kicked off this category, and other notable (and still desirable) entrants included the Waldorf Q, Korg Z1 (which also did a fair amount of cool physical modeling stuff), and Yamaha AN-1X. In the early 2000s, Kurzweil -- whose K2600 already enjoyed the reputation of Rolls-Royce of keyboard workstations -- decided to up the ante and embark on an argument-ending ultimate virtual analog synth based on their then-new proprietary DSP chip, nicknamed CLARA.
I should mention that the VA-1 was entirely the brainchild of Kurzweil's stateside think tank, the Young Chang Research and Development Institute (YCRDI). Located just outside of Boston in a region often called the Silicon Valley of the East Coast, they continue to work on cool stuff I can't tell you about yet. But that's another article.
The VA-1 was to be a 16-voice polyphonic synth with three oscillators per voice and four-part multi-timbral capability. Its oscillators were modeled and in their final form were supposed to be able to morph from one waveform to another. In addition to the oscillators, the mix in a sound program could include two DSP processors (these provided such functions as sample-and-hold and ring modulation), noise, and external audio -- for a total of seven sound sources. FM and hard sync were also supported.
Dual filters could be arranged in series or parallel, and covered all the expected types as well as both 12dB and 24dB-per-octave slopes. (Two-pole and four-pole by another name.)
The modulation matrix was really something special, with up to six sources (three of them assignable) per destination. You selected a destination, usually right on the nearly one-knob-per-function panel, then chose the sources you wanted to modulate it. The process was very quick and intuitive. In addition to the wheels and joystick, sources could include the three LFOs, two ADSR envelopes, and two ASR envelopes.
Effects were based on the high-end KSP-8 rack mount unit, which at the time was earning a place next to the likes of Eventide and Lexicon for its sound quality. On top of this, there was a 48-band vocoder, not one but two XLR combo jacks for audio input, 24-bit optical digital out, and “roll bars” on the back to protect plugged-in cables in the event the synth was tilted rearwards. YCRDI was really going for a fully pro, no-holds-barred, synth nerd's dream at a price point between two and three grand.
You can surf the web and get more specs still, but that doesn’t capture what captivated me and just about anyone who got to hear one in person: The analog authenticity and sound quality were off the charts, and would be so even by today’s higher standards — in my opinion even standing up next to the excellent real analog polysynths available now. The VA-1 was particularly excellent at Oberheim-like sounds, but its palette was very broad. The only thing I recall us not talking about at the time was wavetable synthesis, but the DSP power to do so was there and that could well have been part of a firmware update.
Even with about half the functions working, which was the case with my prototype as the firmware was a work in progress, the thing sounded completely killer and still does.
So what happened? As I was about halfway into writing chapter 4 of the manual and pleased with the positive feedback I was getting from the mothership, I got a panicked call from the head of the engineering team. “Stephen, we love what you’re doing,” he said. “But stop all work on the manual. We’ll make sure you get paid for what you’ve already done.” (Props: They did.)
I’ve read online speculation that perhaps Kurzweil saw the writing on the wall with real analog coming back (given the success of the Evolver and Voyager) and decided not to do a dedicated VA but rather incorporate the technology into their next series of workstations. The latter did eventually happen (keep reading) but not for that reason.
South Korean piano maker Samick, known for inexpensive acoustic and digital pianos, bought Kurzweil’s parent company Young Chang in 2004, or rather they tried to. Samick was interested only in exploiting CLARA and other tech developed at YCRDI for the home digital piano market, and would have killed a lot more than the VA-1 had the buyout proceeded. During the worst of it, engineers came to work to find offices locked, files removed, and computers gutted and thrown on the floor in a pile. Of course there was a “red wedding” of layoffs. Some had the foresight to safeguard their most important work offsite — work that eventually directly figured in to current Kurzweil pro keyboards.
In September 2004, the South Korean government disallowed the buyout, citing anti-monopoly statutes. This left Young Chang with the hope of finding less rapacious overlords, but also bankrupt. Miraculously, YCRDI kept the lights on and a skeleton crew of engineers kept their gigs and forged ahead. But just about every pro keyboardist I knew was freaking out that Kurzweil would soon be no more.
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Fortunately, this was not to happen, as in spring 2006 Hyundai Development Company acquired Young Chang. (Not the car company per se; HDC is the ultimate parent of the car company but also of a bunch of other things in heavy industry and shipping.) While their largesse hardly compared to Prince Charming’s, they did prove committed to pro keyboard development, and the brain trust at YCRDI began to rebuild. By 2007, Kurzweil was showing their first new workstation in years: the PC3.
By then, market conditions had shifted and it was indeed too late for the VA-1 as a stand-alone instrument. But its story is truly the Cinderella story of the company, which went from glory to destitution under a “wicked stepmother,' then rose again. The VA-1 lives on as the KVA analog modeling mode in the PC3, PC3K, and Forte instruments.
I decided to just convert all my music using Foobar2000 which as it turns out keeps the tags intact during the conversion, and from there re-tag the BPM for all the music using the analyzer because moving the tags would have been more of a hassle. It took a day or two, but.
My VA-1 prototype? I still have it, though it’s currently more pumpkin than coach. This is because of the incomplete firmware, not any defect. MIDI isn’t working, some of the knobs adjust their parameters very slowly, and so forth. But the core sound that turned heads is all there, and I plan to get it running as smoothly as I can for you and post what will surely be the first video demo in over a decade. For now, check out one of the only videos on the searchable web, of sound design wizard Dave Weiser demonstrating one at Musikmesse 2004, courtesy of synth blogger Matrixsynth. Yes, just like its subject, it's gone sideways.
A collection of short demos of the Kurzweil VA1 at the 2004 Musikmesse.','source':'A collection of short demos of the Kurzweil VA1 at the 2004 Musikmesse.