In Tal-Mod a deceptively powerful softsynth is hiding under an unassuming front panel. Start patching away and begin to explore the power.

• Venom Virtual Analog Synthesizer
• Tal- Mod Is A Virtual Analog Synthesizer Software

TAL-Mod is a virtual analog synth with 'unlimited modulation possibilities' Togu Audio Line has released the Beta version of TAL-Mod, their new virtual analog synthesiser, which they say boasts exceptional sound and unlimited modulation possibilities. TAL-Mod is a virtual analog synth with 'unlimited modulation possibilities' Togu Audio Line has released the Beta version of TAL-Mod, their new virtual analog synthesiser, which they say boasts exceptional sound and unlimited modulation possibilities. Description: TAL-Mod is a virtual analog synthesizer with an exceptional sound and almost unlimited modulation possiblities. Its special oscillator model is able to create a wide range of sounds, from classic mono to rich stereo leads, effects and pads. Routings can be done with virtual patch cables. The TAL-MOD is a virtual analog synth with a lot of possibilities that mixes analog sound, a modern full scalable and compact user interface that is fun to use and that make it easy to create new sounds. May 06, 2019  Empty Vessel Sound Design has announced the release of Echoes for TAL Mod, a collection of 50 presets for the TAL Mod virtual analog synthesizer. The pack expands on the ideas presented in the 100 factory presets of TAL Mod designed by Empty Vessel. Traktor mk2 s4 mixxx.

by Warren Burt, Sept. 2018

TAL-Mod is an inexpensive virtual analog synthesizer from Parick Kunz, the designer behind TOGU Audio Line. I think it’s designed to appeal to folks who want virtual analog sounds with a minimum of fuss, and a very short learning curve. However, beneath a very simple surface, there lurks quite a bit of power, and control possibilities that can lead to much fertile sound exploration.

TAL-Mod is a semi-modular synth, with connections hard-wired between its complement of modules, with jacks for inputting and outputting control signals. Virtual dj song mixing software free download. These are either from external MIDI sources or internally, from the ADSRs, the two LFOs, and a drawable modulation envelope and an arpeggiator/sequencer. Every knob on the faceplate can be externally MIDI controlled as well. It has sixteen-voice polyphony which will allow for plenty of thick textures.

The module complement consists of three Oscillators, two Filters (parallel or serial configuration), three Envelope Generators (one hard wired to amplitude), a Noise source, two LFOs (running from 0.01 HZ up to 400 Hz), and the abovementioned Modulation Envelope, a drawable LFO with both curve and stepped patterns, an Arpeggiator/Sequencer, and a small range of effects. These include a High Pass Filter, an EQ, a Chorus, a Reverb and a Delay (maximum delay time is 4 seconds). All but the High Pass Filter are switched in and out with buttons on the panel. For those interested in microtonality, the synth takes Scala TUN files, which can allow individual pitches on each of the 128 MIDI notes. (TUN is more versatile than the standard Scala .scl file.) The tuning is then saved with the individual preset file, so if you reload the patch, the tuning you used is immediately available.

The GUI is resizable, handy for those with limited screen real estate, or, conversely, with vision problems. You can also reset the color scheme. I do a lot of work on my computer on trains. The default color scheme of TAL-Mod was causing a lot of problems with glare from early morning sunlight through the train windows. After some testing, I settled on the color scheme you see here. On the other hand, if you’re wanting something a bit more gothic, you might try something like the color scheme below.

I tested TAL-Mod in both 32 and 64-bit VST plugin versions on a Windows 8.1 machine in Plogue Bidule. There were no differences of functioning in either version, and patches made with one version loaded seamlessly into the other. I also tested it on a Windows 8 netbook, and a Windows 10 laptop. In all cases, performance was flawless.

It’s the control abilities of TAL-Mod which make it an interesting and useful machine. There is no mixer on the front panel. The oscillators and the noise source are hard-wired into the filter input. Control of output volume, and balancing of the oscillators/noise source is done by a Volume control on each of them. Also, on the waveform selection control, there is an Off position, as well as waveform selection. Turning the control to Off, or setting the Volume to 0 for an oscillator prevents its sound from reaching the filters and the audio output, but doesn’t affect the path of the oscillator to the FM control (on Osc 1) or the Ring Modulation control (on Osc 2). Further, Oscillators 1 and 2 can both have between one and seven parallel voices, detuned by up to +/- 2 semitones. For odd numbers of voices (three, five or seven voices) there’s also a stereo control which spreads these voices across the stereo space. The detuning of the multiple voices doesn’t just apply to the sawtooth wave (a supersaw effect), but to all of the waveforms. I tried seven voices, detuned very slightly, to produce a complex beating effect with sine waves on both oscillators, and then turned the volume on Osc 1 to 0, and moved the Ring Mod control on Oscillator 2 up full. The result was a single pitch, but one that had an amazing life because of the interaction of the fourteen very slightly detuned sine wave oscillators. Oscillators 1 and 2 can also be synched, or phase-locked, to Oscillator 3.

Underneath the Oscillators is a panel of control signals available from incoming MIDI. Velocity, Pressure, Keytrack, Mod-Wheel, Breath Control, Pitch-Bend are all available. There is also an Alternate control, which seems to alternate a high and low value with each keypress, a Random output, which outputs a random value with each keypress, Noise, and +1 and +2 constant outputs. These, with no attenuation, produce 1 and 2 octave transpositions in the Freq. control inputs of the Oscillators.

What makes the control inputs on the front panel so useful is the modulation control for each of the input signals. When you plug a patch cord into a grey control input, a small rectangular panel appears above the signal. Click on this, and a knob appears with a small panel below it. Click on the small panel, and a range of control signals, which will modulate the value of the knob, appears, as shown below. The main knob controls the amount of input control that reaches the parameter you’re controlling. If there’s a number in the small window under the knob, that shows the maximum value the incoming signal will reach. If there’s something else there, such as an LFO, then that signal will control the amplitude of the incoming control. So you can have static, but highly controlled modulations, or you can have dynamic control signals. There are four controls here labelled P1 through P4. These refer to the four mysterious controls in the center of the panel labelled P1 through P4. These are mentioned nowhere in the documentation that I could find, but eventually, I figured it out. These would enable you to have, for example, a performable (and MIDI controllable) limit for the amount of modulation you would want on a particular control.

In the lower right of the panel is a small readout. This gives the name of the patch, but more importantly, it gives a readout for every control the mouse passes over, and the value of the control as it’s moved.

The Filter module has two Filters, each of which can have one of nine different filter types, and the filters can be either configured for either parallel or serial operation. The filters sound very good – quite smooth. The Master module has controls for portamento, panning, overall volume control, etc. The Modulating Oscillator allows you to draw your own control signal, either a smooth signal or a stepped signal, and the stepped signal can then have a controllable amount of glide applied to it. It can be used as a one-shot unit, or oscillating like an LFO. Its speed is linked to tempo with a variety of tempo fractions available. The Arpeggiator has 1, 2, and 3 octave arpeggiations in a variety of configurations, but, disappointingly, no random order. Maybe that could be added in a future revision. The sequencer has up to sixteen steps, with steps mutable, and sustaining. Velocity is indicated by a vertical slider in the middle, and the steps can have any value from -48 to +48. Tempo can go from 1.00 Hz per step to 26 Hz, or if tempo-synched, from 1/8th to 1/64th per step. Direction of moving through the sequence is strictly in one direction. Again, maybe a random stepping through the sequencer could be added in a future revision, and while we’re at it, a wider range of low values on the Sequencer Clock would be nice (like down to .05 Hz or so).

There are lots of presets that come with the machine, and several makers are offering patch sets for the machine on the TAL-Mod website. The few presets I’ve tried out have all been of a pretty unique character. I think one of the major markets for this machine will be people who want to play with presets in a very instant-gratification way. For those folks, the low price, and the quality of the sounds will be enough to clinch the deal immediately.

I’m not so much of a preset kind of guy, much preferring to roll my own. At first, reading the manual, I approached the front panel, and I was mystified. In the manual, there was no diagram of how modules were linked to each other. I guess the manufacturer assumed that since the machine was very similar to other classic machines, such as the Mini-Moog, that there was no need for a diagram like this. So it took me a couple of sessions with the machine, fumbling around, trying to figure out what connected to what. Once I was through that learning curve, and I began to play subtly with the possibilities of the machine for sound design, I became hooked. And had a lot of fun playing with the machine, exploring its many sound design possibilities. It’s a lovely machine – limited in its resources, to be sure, but in terms of sound types available, very powerful and with a lot of possibilities. If you’re into microtonality, getting this should be a no-brainer. The program is very small, and light on the CPU – even on an underpowered netbook, with both oscillators playing seven voices, and with nine voice chords, it still worked flawlessly. On a more reasonably powered machine, the same patch used barely 15% of the CPU. So if you’re looking for a virtual analog machine with microtonal capabilities that won’t break the bank, and will provide some very nice programming possibilities, TAL-Mod may very well be for you. It certainly was for me.

https://tal-software.com/products/tal-mod $60.00 USD

Windows: Windows XP or higher (32 / 64 bit)
OSX: OSX 10.7 or higher (32 / 64 bit).
AAX: Pro Tools 10.3.6 or higher

One of these software companies which I always recommend is Togu Audio Line. This is a small company in Switzerland that specializes in Synthesizer and effect plugins. They became known mainly because of the stunning U-NO-LX (Juno emulation) or the BassLine-101 (SH-101 emulation) plugins.

After dedicating to delays (Dub-X) last, it’s time again for a new Synthesizer plugin. TAL-Mod is a modular virtual analog Synthesizer that offers a lot of different features. Beginning with 3 high-quality oscillators (saw, pulse, triange and sine waveforms) as well as a 1 additional noise oscillator with a variable character. Additional features like hard sync, FM or ring mod offers a lot sound possibilities here.

TAL-Mod is powered by two high-quality analog sounding resonance filters that can be routed in parallel or serial. On the modulation side, it features 2 LFO’s , 1 flexible modulation envelopes as well as 2 ADSR envelopes. To refine the sounds, it comes with several good sounding effects (high-quality, chorus, EQ, reverb and delay). For rhythmic sounds, it includes also an sequencer and arpeggiator. For those who don’t like the initial brown colour, there is a possibility to change the GUI with your favourite tone.

A Plugin for Beginners & Experts

Its special oscillator model is able to create a wide range of sounds, from classic mono to rich stereo leads, effects and pads. Routings can be done with virtual patch cables. Just connect a modulation output with a modulation target. After that it’s possible to adjust the intensity of the modulation. You don’t need to be a modular expert. The plug-in is suitable for beginners and experts!

Venom Virtual Analog Synthesizer

Features

• 3 oscillators with optional saw, pulse, triangle and sine waveforms.
• 1 additional noise oscillator with adjustable color.
• 2 high quality analog sounding resonance filters with different modes (LP, HP, Notch, All Pass, BP).
• Different filter routing possiblities (parallel and serial). With the possiblity to choose the oscillator sources.
• Full stereo signal path.
• FM / RingMode support.
• 2 oscillators support hard sync for saw, pulse, triangle waveforms.
• Create stereo sounds and rich harmonics with additional oscillators (up to 7 sound generators per oscillator for osc I and osc II).
• 2 LFO’s with different waveforms, sync, trigger, unipolar modes and the possibility to modulate the rate.
• 2 ADSR’s.
• Modulation envelope with spline or optional step mode. Trigger and host sync mode.
• Almost unlimited modulation possibilities with patch cable routing.
• Optional sequencer or arpeggiator.
• Basic effects: high pass filter, chorus, eq, reverb and delay.
• Mono and polyphonic mode.
• Microtuning support.
• Resizable UI.
• You choose your favorite UI colors.

TAL-Mod beta v0.97 is available for Windows and Mac (VST/AU/AAX) at a reduced price of $40 USD (regular $60 USD). Prices ex. VAT.

Tal- Mod Is A Virtual Analog Synthesizer Software

More information here: TAL-Mod