Arctic ProSynth vs Bit Splitter

Be rude. Be rough. Be bold. Be tough! Arctic Pro Synthesizer / Vocoder is a modern subtractive synthesizer. It does not aim to accurately model or re-create vintage synths of yesteryear. Instead Arctic Pro offers the contemporary synthesist a rude, rough, bold and tough palette of sound to get stuck into. Including two massively fat HyperOscillators, dual filters, and easy to re-order master effects. While the Vocoder, used in conjunction with a suitable microphone, adds an extra dimension to your musical performance. HyperOscillators =========== Combine two HyperOscillators and one Sub Oscillator for some seriously fat sounds. Layer up to 8 oscillators in unison to create very thick and powerful tones. Spread detune and Mix these separate oscillators in real-time. More than just a "SuperSaw" - it's also a Super-square and Super-triangle. Powerful Presets =========== Legendary sound designer John ‘Skippy’ Lehmkuhl has exclusively designed the factory presets. John has worked as a professional sound designer since 1988 for Korg - making patches, combinations, drum kits as well as creating the sample data for almost every synth Korg has released since the M1. If you have owned one of these historic synthesizers you have heard John's presets. Sharing ===== Arctic Pro includes everything you need to record and share your audio and MIDI with others. Live record to WAV and MIDI files. Use AudioCopy, open audio directly in apps, or share with Kymatica AudioShare. Presets and Banks can be emailed and transferred via Wi-Fi and iTunes Files Sharing. And of course we also support Audiobus. SPECIFICATION ========== • Synthesis: analog modelling • Polyphony: up to 4 voices • HyperOscillators: 2 per voice, alias free, saw, triangle and square with pulse width, hard sync, ring mod, noise generator, sub-oscillator • Filter: 2 multi-mode resonating filter with 4 filter types and variable routing • Envelopes: mod, filter and amp ADSR envelopes with adjust curve • Modulation: 2 LFOs with multiple wave shapes, sample and hold, 3 routable destinations per LFO, independently sync-able • Effects: stereo master effect processors with adjustable order: 3-band EQ, Distortion, Chorus, Phaser, Vocoder, Delay, Reverb • Arpeggiator: classic arpeggiator with octave shift, MIDI-sync-able • Sequencer: 16 x 4 gated step sequencer with multiple modulation destinations, MIDI-sync-able • Keyboard: glissando, scroll, multi-touch poly pitch bend and aftertouch • Works with Wizdom Music's Geo Synthesizer continuous pitch bend • Polyphonic Aftertouch for use with CME Xkey FEATURES ======== • Inter-App Audio for iOS 7 • Audiobus • AudioCopy 2.0 • MIDI Learn • Live phrase recorder with audio and MIDI export • File and patch sharing via iTunes File Sharing, e-mail and Wi-Fi • Supports external MIDI in and out via CoreMIDI Networking and USB with the Camera Connection Kit • Audio background operation • Virtual MIDI Ports • Open Music App Collaboration compliant Requirements: iPad 2 or later recommended iOS 7.0 or later

BIT SPLITTER A bit-plane manipulator. The input is scaled and quantized to an 8-bit value, then a single bit-plane of that value is used to reshape the signal. Where a bit crusher reduces resolution and hands back a degraded copy of the sound, the bit splitter operates on one specific bit and can either output that bit on its own, use it to gate the input, or mask the signal down to a chosen number of bits. MODES ISOLATE Outputs the chosen bit-plane on its own as a bipolar square wave. The most-significant bit behaves like a sign comparator, producing a hard square that tracks the waveform; lower bits flip more often as the amplitude moves, giving increasingly noisy, aliased fuzz. This is the most literal reading of splitting a bit out. GATE Passes the dry input only while the chosen bit is high, and mutes it otherwise. The signal is chopped by its own bit-plane, producing glitchy, rhythmic gating that still carries the source material underneath. MASK Zeros every bit below the chosen one and reconstructs the result to audio. This is a bit-depth reduction in which BIT sets how many low bits are discarded: at 0 the signal is untouched, at 7 only the most-significant bit survives (1-bit). Closest of the three to a classic crusher, but with arbitrary bit selection. CONTROLS BIT In Isolate and Gate, selects which bit-plane is used, from 0 (LSB) to 7 (MSB). In Mask, sets the lowest bit that is kept, so it acts as a resolution control. Lower bits track fine detail and toggle rapidly; higher bits track the gross shape of the waveform. Range: 0 to 7 THRESH Input drive into the quantizer. The signal is divided by this value before being mapped to a byte, so lower settings push the signal harder into the 8-bit range (clipping into it sooner) while higher settings keep it quieter and more centered. It changes which bits are active for a given input level, and so reshapes the character of every mode. Range: 0.01 to 2.0 MODE Selects the bit-plane operation: Isolate, Gate, or Mask (see above). Switching mode changes what BIT means, so the two are best adjusted together. MIX Controls the balance between the unprocessed (dry) input and the processed (wet) output. At 0% only the dry signal is heard; at 100% only the processed signal passes through. Intermediate values produce a linear crossfade, useful for blending the harsher modes back under the source for parallel-style processing. Range: 0% to 100%