Modal Electronics has unveiled its new Carbon8 synthesizer — a digital, experimental eight-voice polyphonic synth — at this year’s Superbooth show. This product is currently in the prototyping phase, and will be previewed by the synth community shortly. It features over 40 digital waveform algorithms, and cross-modulation between oscillators creates contemporary sounds. Digital waveforms are generated in realtime, and can be cross-modulated using the new options of wave-folding, wave-shaping, and phase distortion.

The system that Carbon8 is built on is twice as complex as those of Argon8 and Cobalt8, with two discreet oscillators that produce over 40 algorithms. Where you once had to balance to output of oscillators 1 and 2, there is a new mixing stage allows for the independent adjustment of each oscillator output.

It has a brand new LFO section with 15 shapeable LFO waveforms, 33 filter types, FATAR TP/9S keybed with auto touch, and the sound engine can be accessed on an iPad with the Modal integration app. A brand new Vocal filter allows users to further shape the sound content. There is also a 512-note step sequencer, and programmable arpeggiator — everything needed to be integrated into modern setups.

The company has begun beta testing, and aims to have the unit in stores by September 2023.

Do we really need another Cobalt incarnation? After all, Cobalt 8 already ships in three guises — 37- and 61-key version plus a rackmount version. The new Cobalt 5S cuts down on the polyphony, the size and the price (A$699) but maintains the same Extended Virtual Analogue synthesis engine, with 40 available algorithms and Modal’s morphable 4-pole ladder filter.

So at first glance, the bus-powerable Cobalt 5S is more suited to the on-the-go producer who doesn’t need all the at-the-fingertips editability of the Cobalt 8s. You might be right there, but Modal’s app patch editor is compatible, so your sonic peregrinations can be as long and and involved as any with the Cobalt 8. 

But as far as the hardware control goes, the 5S keeps things streamlined: 16 encoders effectively run the show, along with a teeny-tiny, smart-watch-style display. 

The number 16 isn’t an accident, of course, they also represent steps in the (512-step, four ‘animation’ lane) sequencer, which is lots of fun.

BIG TIME SOUNDS

The Cobalt sound is not the subject of this review — head to our review of Cobalt 8 or others for that. That said, it’s worth reiterating that Cobalt’s sounds are instantly impressive, likeable and ready for the big time. Modal has ensured the selected, preset mod sources get the best bang for the buck and tweaking presets is always very satisfying. Leads, basses, FX, sequences, polys, they’re all present and correct, while I think the lush pad patches probably remain my favourite Cobalt offerings.

The interface isn’t without its frustrations. I’m still undecided about the touchpad rather than a mod wheel and pitch stick. It feels a little dinky but does take touch pressure, which is handy. Meanwhile, the absence of a designated patch selection button is a really curious design choice. It means that, after tweaking anything, you’re forced to scroll back to the Preset page using the Page encoder every time you want a new sound.

Speaking of patches, there are four Quick Recall slots for easy recall of your favourite sounds, which is most welcome, especially if you’re plan to take the Cobalt 5S out live.

Modal Electronics announces a new addition to the COBALT Series, the COBALT5S. Fusing Modal Electronics’ COBALT synth architecture and an ultra-portable go-anywhere footprint, the USB-powered COBALT5S is made to move and ready to spark users’ creativity wherever, and whenever inspiration strikes.

Highlights

• Extended Virtual-Analogue Synthesis engine.
• 40 complex algorithms and morphable 4-pole Ladder Filter.
• MPE support, integrated Realtime/Step Sequencer and dual FX engines.
• 37-note compact-key bed with aftertouch, an intuitive X/Y/Z touch pad and 16 switched encoders.
• Integrate COBALT5S into your existing setup or power it via USB for on-the-go use.
• Access all synth functions via the free MODAL app, available on macOS, Windows, iOS, iPadOS, Android and AU/VST3.

Available in Early March for AU$699.

Synth lovers rejoice! It’s never been a better moment in history to be in the synth game. Synth lovers lament! It’s never been a more bewildering time to be in the synth game. The choice is currently astonishing. And affordable.

Let’s see, it wasn’t that long ago that the choice was simple: buy a workstation synth from Yamaha, Korg, Roland or maybe Kurzweil, and if you wanted a special weapon then maybe something from Access, Nord or Moog. If you enjoyed noodling, then take a look at the world of modular synthesis. A simplification, for sure, but about right.

Nowadays, there’s still the mainstay workstation market that remains dominated by Yamaha, Korg and Roland, but you now have some amazing competing and emerging growth in analogue synths and performance analogue modelling synths. 

’LOGUE RHYTHMS

The analogue synth market is really quite something… arguably led by Behringer, which seems to have cracked some kinda universal analogue DNA sequence. It’s currently running a Jurassic Park for analogue synthesis and no synth of yore is likely to remain untouched. Behringer might have endured the barbs of the industry for copycat designs (some of it warranted and some of it sour grapes), and now it’s making money hand over fist and earning plaudits for its ability to copy old synth designs. I guess you call that irony.

I’m in awe of the beauty and design of many of these analogue synth replicas. The fact you can now choose which repro ARP2600 you want is mind-blowing. But here’s the thing: when you build a replica you bring a bunch of things that were annoying in the ’70s and ’80s into the 21st century. One of those things is the (in)ability to save presets. A modern implementation of MIDI would also be handy.

If you intend on using your synth in a modern setup, then consider if you need such stuff. And if you intend on performing with your new synth then features such as saved patches become important.

Analogue modelling synths may not have the mystique and charm of a fully analogue device, but they do bring ‘analogue’ into the rough and tumble world of modern performance and production.

Yamaha kicked it all off in the ’90s, Korg and Roland soon followed and Nord made its name with analogue modelling with the Lead.

In more recent times Korg has warmed up the market with Monologue and Prologue — synths with their own personality and approach to sound creation and performance.

Then along comes Modal Electronics.

SCRATCHING ITCHES

Modal has made a name for itself in quick fashion. Musicians and producers like the price and the originality of Modal instruments.

The Cobalt 8 itches a few scratches. It’s a synth lover’s synth, with enough depth and modulation possibilities to maintain their attention. And it’s a musicians synth as well, with good playability and build quality.

The ‘8’, of course, refers to polyphony. It’s a big number for a synth that sells for around A$1300.

Arguably, eight-note polyphony is a bit wasted on the 37-note version, you really have to pile in with some serious jazz-inspired chords to squeeze in eight notes. That said, when you’re playing legato, four-note polyphony can result in some note stealing so I’m not complaining. There’s a 61-note version of the Cobalt 8 as well, which you might consider if you’re going to be gigging with this synth.

James High, Marketing Specialist and sound designer for synthesiser manufacturer Modal Electronics, has made a Prism Sound Titan audio interface the centrepiece of his recording studio because he is so impressed with the audio quality it delivers.

From his studio in Milwaukee, Wisconsin, High produces engaging video content around Modal technology and helps to design factory pre-sets for all of Modal’s upcoming synthesisers. The Prism Sound Titan is a recent addition to his equipment line-up, which also includes a Mackie VLZ4 1604 mixer.

“I had no idea how good Titan was until I got one into my studio,” James explains. “All the reviews I read about Prism Sound products agreed on their quality, but once I learned more about the company and its expertise in converters, especially clocking, buying a Prism Sound unit made even more sense.”

High’s work for UK manufacturer Modal has included pre-set designs for the company’s ARGON8 synthesiser, which was released in 2019 with the aim of delivering immediately recognisable Modal sounds that cut right through the mix. He has also designed factory pre-sets for the company’s latest synth, the COBALT8, and put together 30 second demo songs of COBALT8 for use in a video commercial.

Having access to the highest quality audio conversion is key to High’s sound design work and this is why he wanted a Prism Sound unit for his own studio. After researching various units he chose a Titan multitrack interface with a built-in digital mixer that can be configured to provide a range of ultra low latency feeds, including stereo and surround outputs. Titan’s flexible expansion path and connectivity to a wide range of computers via a standard USB connection was also appealing, along with the option of adding ProTools HDX and Dante modules if he needed them in the future.

“Over the years I’ve noticed that, with other interfaces, there is always a drastic difference between live monitoring a synth on the interface and listening to it after I’ve recorded it,” High says. “Something gets lost in the conversion and it sounds flattened and bland, as though it has lost all its energy. But when I recorded with Titan, the first thing I noticed was the quality I was getting out of the A/D converters. It was unbelievable. It’s the first time I’ve ever used an interface where there was no discernible difference between live monitoring and the recorded end result. I cannot begin to stress just how good things sound going through this interface.”

In his studio High brings all hardware synths into his Mackie mixer and puts 8 channels post EQ/Fader into the Titan’s 8 inputs. He then loops back via S/PDIF to capture audio directly from the synths or, if necessary, from the DAW output.

“Recording on the Titan is very low latency and it’s rock solid on a Mac,” he adds. “Getting results is easy. Sound Design is often done with live monitoring engaged but recording the sounds at the highest possible quality ensures Modal synths sound their absolute best at all times, in any of our videos and sound demos.”