Klevgrand’s audio-powered Tomofon synth plugin is based on its “boldest and most versatile concept so far”
New instrument can convert audio files into a set of oscillating waves
Swedish developer Klevgrand has released what might well be its most ambitious plugin so far, a new ‘real audio’ synth by the name of Tomofon.
This is based on a new Audio Model format that can process large numbers of waves that are extracted from audio files - either the ones that come included or your own.
Klevgrand is keen to stress that Tomofon isn’t a sampler. Instead, it converts audio files into oscillating waves that are then mapped to pitch zones, with each wave representing one layer. The synth engine can then seamlessly and continuously morph between both layers and zones, with the complete structure of the organised wavetables being known as the aforementioned Audio Model.
When you import your own audio (monophonic material is said to be best) you can choose to distribute this into the different pitch zones either automatically or manually. The former option is close to a one-click process that generates an instantly playable Audio Model, while the latter gives you complete control over what goes where. Audio Models can also be shared with other users.
Before you get to that, you can have a play with the 124 Audio Models that come included. These are used as the basis for 180 presets, and Klevgrand says that it plans to release more Audio Model packs and presets in the future.
Other features include multiple LFOs, a modulation matrix, a filter and effects.
Find out more and download a demo on the Klevgrand website. Tomofon runs on PC and Mac in VST/AU/AAX formats and is available now for the introductory price of $100. The regular price will be $130.
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I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.