Instruments

Most Ajanss Records plugins start from sound that already exists. These two make it: ARSYNTH, the label's first instrument, and ARDRUM, its drum synthesizer. This is where an Ajanss Records instrument is listed, rather than among the effects. ARSYNTH is a polyphonic wavetable synthesizer: three oscillators with twenty-four warp modes, two filters with twenty-two types, a sixty- four slot modulation matrix in which every continuous control is a target, twelve effects, an arpeggiator and one thousand and four measured presets in fifteen categories. ARDRUM is eight synthesized drums with no samples in them: a tone in four band-limited shapes with frequency modulation, a noise through a resonant filter that can sweep six octaves, click, drive and a touch of human variation on every pad. A step sequencer with four patterns per kit plays with the host or on its own clock, a drum bus adds a room, glue compression and drive, and seven extra outputs give any pad its own channel. One hundred kits in eleven styles, from house and techno to drum and bass, synthwave and afro latin. ARSYNTH Polyphonic wavetable synthesizer. Three oscillators, a sub and a noise source feed two filters with twenty-two types and a rack of twelve effects in the order you drag them. Every continuous control is a modulation target, in the effects as well as in the synthesizer: drag a source onto a knob and the depth shows as an arc around it. Four envelopes, eight LFOs, eight macros, a matrix of sixty-four slots, unison to sixteen voices, an arpeggiator locked to the host clock, and one thousand and four presets in fifteen categories measured on a three note chord and set to a peak of -12 dBFS, with TONE and SPACE on two macros. ARDRUM Drum synthesizer with no samples: eight pads with band- limited tones, FM, resonant sweeping noise, click, drive and variation; a step sequencer with four patterns per kit; a drum bus with a room, glue compression and drive; seven extra outputs and one hundred kits in eleven styles. Both are built the way the effects are built: the same panel, the same preset browser, the same A/B and undo, and every claim measured rather than asserted. ARSYNTH. Measured on the shipped build at 48 kHz. A sawtooth swept from C0 to C8 keeps every non-harmonic component 115 dB below the loudest harmonic at HIGH quality, 121 dB at ULTRA. Pitch sits within 0.000011 cents of the ideal across the MIDI range. A note moved by one sample gives the same output moved by one sample, and the output is the same at 1, 7, 64, 100, 512 and 1024 samples and at a buffer that changes size every block. Latency is 60 samples at 44.1 kHz and 26 at 96 kHz, reported to the host. With every module off the effect rack passes the synthesizer through bit for bit, and every module with a MIX control is bit identical at MIX 0, as is UTILITY at its default. After the last note is released the output reaches exact zero and stays there. All one thousand and four factory presets are measured on a three note chord and set to a peak of -12 dBFS. ARDRUM. Measured on the shipped build at 48 kHz. Pitch within 0.00012 cents from 30 Hz to 2 kHz. The same output at every buffer size and on every run, and exact zero after a hit has ended. Its sequencer's hits fall on exactly the same samples as the same notes sent from MIDI, with and without swing. A saw at 4.5 kHz keeps its aliasing 72.6 dB under the sound. The room's decay measures within six percent of the value set, in the middle of the spectrum. Every plugin ships as Audio Unit and VST3 on macOS (universal, Apple Silicon and Intel) and as VST3 on Windows, each with its own illustrated user guide and a factory preset bank.