As you’ve no doubt noticed, I haven’t been able to post for quite a while. Something about finishing one’s education and trying to do a thesis eats a lot of time.

Anyways, I felt it was about time to post up a brief update:

–Currently, I’ve made continued progress on the engine synth:
1. I was able to isolate and remove most of a sort of “zipper” effect that came from ramping cylinder detonation pitch while changing global RPM.

2. I built a working manu-matic shifter setup.

3. ESPECIALLY FOR GAME DEVS: I’ve included a component that allows for static RPM and throttle/load settings at 2K, 4K, 6K, and 8K RPM, in an effort to streamline the recording of samples for sample maps in game usage. I’m considering writing a MIDI file to be included with the instrument as well that essentially allows one to hit record and press play and generate a sound clip that can be chopped and trimmed to fit each RPM band sample

All that I feel I have left to build is to integrate a braking system, reintegrate a turbo and supercharger, and design a UI and maybe aside from a few small tidying up tasks it will be commercially ready to go.

–I’ve completed to about 60-70% a synth that is a hybrid virtual analog and PCM playback engine, designed specifically for long, evolving, esoteric sounds. To be quite honest, I was inspired by the concepts of the FIZMO and by the works of youtube user BetterOffTed; if you happen to see this Ted, props to you, I could listen to some of those vid clips all day.

–On a related note, I’m currently in the market for a FIZMO. If you have one and are looking to sell or know someone that is, by all means, pass the info on.

–I have not really made any progress at all with my previously mentioned DX7 and CS-80 synths. Currently, I’ve fully-built the framework of a DX7, but it seems to be lacking some finer details that made that synth what it was, and I’m not sure if I’ll pick up that project any time soon. As for the CS-80, I began framing the instrument virtually, got about half-way through the first voice path, and was forced to drop it for other more pressing matters. Like the DX7, I’m not sure when or even if I’ll pick it up again. Sorry gang.

–Soon I hope to re-host my KVR competition entry from a few years back, the Mini-Vyn, on this site. I had a chance to sit and play around with about a month ago and I had forgotten just how absolutely wicked the filter in that thing can sound. As soon as I can set aside time and get it sorted, I’ll try to post it up.

Well folks, I think that about does it for now. I’ll try to be more regular with status updates in the future, but as I said, working on a thesis kinda absorbs a lot of your time.

-Chris

Just posting to make you all aware of a new blog I’ve created, the Roberson Audio Synth Review!

This blog will be my dedicated venue to talk about new synth technology and new music creation technology that comes out without cluttering the news feed here at the Roberson Audio Synthesizers home page. This way, you can get a purely Roberson Audio-based feed for all your news about our instruments!

I hope to see you guys over there.

In a similar bit of news, I’ve finished the semester finally and am on to summer break, so I will be operating Roberson Audio on a much more full-on basis for at least the remainder of the summer. I unfortunately don’t have more news on instruments from Roberson Audio at the moment, but I have many plans that I want to have accomplished before the summer is over, so stay tuned and get in touch if there is anything RAS can do for you.

Cheers,
Chris Roberson

Small post here to let everyone know all my synths have been updated!

Oddy-Free and Prophanity have been bumped up to version 1.4, and RA Mowg has been updated to version 1.2.
The main changes to all have been the filter implementation so that these instruments have a bigger sound to them without being untrue to the original instruments. As listed on their respective pages, it should be noted to USE RESONANCE ON THESE FILTERS WITH CAUTION. When pushed to the limits they will absolutely scream, and not necessarily in a good way. Different sample rates create different problems with this effect, generally observing this to be more common with higher sample rates. Consider yourself warned, and please play it safe for your ears’ and speakers’ sake.

In other RAS news,
The engine synth development is nearing an end. I’ve tested some of my more wild theories and ideas for it, and most of them have come back and proven either irrelevant or not capable of being implemented with the system it has now, so it’s time to design a GUI then test, test, test! I’m considering opening up a beta testing phase to a select few, if you are interested in taking part please let me know at my email or contact me on KVR via username Chris Roberson.

I’ve also been making huge leaps of progress on an instrument I’ve been wanting to make but never got far with in the past. This instrument is designed to create huge evolving atmospheres, and to some degree was inspired by the Ensoniq Fizmo. Unfortunately, for as absolutely stunning as it sounds already, it pretty much kills my 3.8GHz quad-core PhenomII processor when it runs all 8 of its voices, so much optimization/cutting back will be necessary. Nevertheless, this is turning into one amazing sounding synth, so progress will continue.

I have unofficial plans to create and release an emulation of the Yamaha CS-80 as well as the Yamaha DX-7. These will definitely be released free for the public like my three main existing plugins.

Also, I want to get it out there that Roberson Audio Synthesizers does plugins by request and commission. Rates are discussed on a per-plug basis, along with all the details and a decision of feasibility. If you have any requests, email me. Contact information can be found on the “About Us” page.

That’s all for now, keep checking back for more info and updates from Roberson Audio Synthesizers.

Cheers,
Chris Roberson

As you can see, Roberson Audio Synthesizers is pretty officially back up and running, after a shaky couple of years (and tripod dropping the ball on my old site.)

I want to give credit and major thanks to Michael, without him pretty much none of this could have panned out the way it did, and with his hard work the site looks incredible!

Now onto business.  :)

I have updated my main three freeware synths (RA Mowg, Oddy-Free, and Prophanity) to version 1.4 (I believe? Will check and post specifics when I upload new products.) Basic improvements include:

-Improved filters for all

-Improved EQ response for all (better tonal range, not as much pre-EQ done to signal

Just some basic stuff to bring them alive a bit more. Expect the updates to be available (with notification on this blog) in the very near future.

My next major product is steadily rolling along, and that project is my engine sound synthesizer!

At the current time, it supports even numbered cylinder count engines between 4 and 12 cylinders, with 3 timing maps per count and the option to be an inline- or v/boxer-oriented layout. Max effective RPM has been tweaked to accommodate somewhere in the league of up to 22-24K RPMs, making even things like sport bikes and F1 engines a possibility. It has six speeds built in for a limited functionality gearbox, therefore can somewhat simulate acceleration characteristics. The core is based on single-sample detonation .WAVs, so any ‘pop’ sound you have can be made into an engine basically. Adjustments to detonation volume and exhaust tone can be made as well, and there is a pseudo-rev-limiter in place. There was a simulated supercharger and turbocharger model in place, but it’s proving to be more than what is necessary for the time being, so focus is being put back on the main engine right now. There is even an adjustable parameter to simulate the effects of an incredibly large cam profile, allowing for ‘lope’ in the idle. At the current time, there will be two versions: one that focuses on MIDI for control, and one that has full support for Logitech G25 pedals and shifter.

All in all, I feel GREAT about this synth, but this one once released will not fall under my typical freeware. Given the complex nature and the immense amount of time and work invested, I feel it necessary to charge a fee for a fully-featured version. That fee has yet to be decided though.

I look forward to creating and bringing to the public even more great synths, and it’s a pleasure to finally have a real we presence again.

Take care folks,

Chris Roberson

Roberson Audio Synthesizers