AuthSYS

Improved

• Main page graphics and layout.
• New mixer with sends into the FX rack: strip per oscillator, two sends each, two return lanes.
• Destinations show their assignments. Option and right-click opens the panel.
• Sampler: A/B zones, alternating loops, loop fade, FIND, loop markers, option-drag to set START and END, command-click to fit, input gain and normalise.
• ROM takes your own SFZ libraries, installed under USER.
• Tuner on the sample page: note, frequency and spectragram.
• Right-click to set a sound's picture.
• Chamber Strings and Solo Violin in the factory sounds.
• VEL / PORTA redesigned.
• CPU meter shows the cores.

Fixed

• Drive restored on four Drum And Bass shelves.

New

The ROM is its own instrument now. It used to be the sampler with half the controls greyed out. It is a sampled instrument in its own right — it reads a real mapping, plays the takes that were recorded, and nothing about it is the sampler's to cut up any more.

• Round robin. A zone with several takes stops sounding like one take repeated. CYCLE walks them in order, RANDOM never plays the same one twice running, or switch it off. It counts notes rather than voices, so a repeated note moves on even while the last one is still ringing — which is the whole point on hats, plucks and anything strummed.
• Velocity layers. Play softer and you get the quiet take, not the loud one turned down. The difference is the timbre, which is why a sampled piano has ever been worth the disk space.
• Your own libraries, in SFZ. Point it at a folder of your own sampled instruments and they sit beside the factory ROM — the mapping is read from the .sfz, so zones, layers and round robins arrive already set up. A library's shape is read without opening a single audio file, so a folder of several gigabytes appears instantly and loads when you ask for it.
• Cover art for every sound, filed properly rather than guessed from file names. The cover is a banner that carries what we know about the sound, and the pictures ship with the instrument so your browser looks like a library rather than a file list.
• A high-detail waveform, drawn on the GPU. Real peaks rather than a sketch, lit, and zoomable down to the sample — with RESET and FIT to the window, and a loop you can move while it plays.
• A library you can browse. What took 28 seconds takes 42 milliseconds.

Make your own wavetables. A generator on a screen of its own, an editor for drawing a table by hand, and import for tables from elsewhere. A table says how long its frames are, where you can see it, so a wavetable from the internet stops being a guess.

The arp, rebuilt — with a chord player, a strum and a piano roll.

• One key makes a chord. Three, four, five or six notes, with inversions — root, first, second, or whichever sits nearest what you played — spread across up to two octaves, and snapped to the scale you are in. Hold one finger and the arpeggio runs a chord you never had to voice.
• Strum it. Up to 120 milliseconds between the notes of each chord, so a figure can be picked rather than struck. Set it to nothing and the chord lands together.
• A piano roll with lanes of its own, and room to draw on them. The chord player gets you a shape in seconds; the grid is where individual notes take over when you want the part exactly so.
• A new interface for the whole arp, and for the SEQ beside it.

Every card loads and saves on its own. A setup you like on one card — the oscillators, the envelopes, a rack — is a click to keep and a click to bring back, without saving a whole preset around it.

The oscillator cards are redesigned, with the waveform chosen on the card and drawn as it sounds, moving.

Lock states, standard across the whole library. Eight pads per preset, four of them the same on everything we ship — including a SHORT that always shortens — so the pads mean the same thing wherever you land. Hold one and the sound travels somewhere else over two bars; let go and it comes home. They save and load as a set, and they notice when the preset changes underneath them.

And the rest:

• The FM cards draw the oscillator itself — Cascade, Phosphor and Orbit.
• Load and Save on the LFOs and envelopes, with their destinations mapped too.
• A macro can be saved on its own, and TRIG now lives where the pads are.
• A FINE box on the VA card, for quick detuning.
• New presets across the packs — tech house basses, chords, leads, percussion and pads; Melodic Techno chords, stabs and strings; Progressive House sequenced basses; House and Tech House voiced-chord pads; UK Garage slash chords on organ, Rhodes and mellow keys; and more arps, including the first presets built on the SEQ.

Improved

• Delay defaults now sync, across all presets.
• Macros standardised across all presets.
• Drive levelling updated, with a different algorithm.
• Presets improved across the library.
• The theme editor gains wooden end cheeks, on a switch.

Fixed

• ROM and Sample no longer leak settings across each other.
• Turning an effect up no longer turns the sound down.
• Levels are consistent across the library, and nothing pushes past the master.
• A wavetable frame reads cleanly at the very start of its cycle.

Please note

• An unlicensed instrument makes no sound, and an expired demo says so across the window. Licence the computer in AuthSYS and it plays.