contributed by: Luke Bowditch
Manufacturer: Virsyn

VirSyn - Who are they?
Germany’s VirSyn are relative newcomers to the market, launching Tera in 2002; followed in 2003 by ‘Cube’ With these two products, the company are solely producing soft synths (thus the name: Virtual Integrated Real-time Synthesis– VirSyn).

Tera - What is it?
Tera is a 32 voice (16 stereo parts) multi-timbral modular synth. These voices are mixed on Tera’s comprehensive mix page. Tera includes it’s own pattern-based step sequencer with arpeggiator, three onboard insert effects, a sophisticated modulation matrix and even a wavefile recorder.

All together that’s a comprehensive soft-synth package, but the really unique aspect is Tera’s ingenious interface. This includes a page dedicated to sculpting your patches in real time.

They must be onto something. So far Tera has received awards from
• Perormance Award from Computer Music
• Keybuy Award from Keyboard Magazine
• Remix Technology Award


In Operation
Tera is available for both PC and Mac (OS9 and X) platforms. Soundbanks and programs are independent of the platform (you can port tracks or share your creations with any Tera user). It will operate as a standalone unit, or within a VST 2 or AudioUnit host. The 16 parts mix down into a stereo out; but within a VST host, Tera will supports 8 outputs.

When in standalone mode Tera can be played live, or via it’s own internal step sequencer. Tera can also be synced to a remote sequencer via midi clock. Individual midi channels (including key splits – great for live use) can be mapped for each part.

Individual patches can be created, edited and saved by the user. A Tera project consists of upto 16 patches, all saved together (a ‘multi’ in the old language). This way, editing of project patches is not destructive to factory or saved user patches. User patches can also be posted on and downloaded from Virsyn’s website.

The program is quite CPU hungry, especially within a host. Keep in mind however, that you get 32 voices for that! All the major sequencers are coming around to the ‘freeze’ concept anyway; so tweak and then tuck it back in the mix. Tera also employs it’s own CPU load-reduction system, so your machine only pays for the voices it’s using.

Installation is a simple CD and serial affair. The 120 page English-only manual is quite straightforward and has lots of screen snaps, but does rely on a basic knowledge of synthesis.

The review copy is version 1.2. December 2003 saw the release of Version 2 (which boasts a range of new features including six new edit pages, custom waveforms, envelopes with 64 breakpoints, supersaw mode and the same ‘slotmachine’ randomise function found on Cube).

Who is it for?
Tera doesn’t sound like a piano or a bassoon; it’s a synth. This package is for people writing electronic music; even morso for people with an interest in synthesis. It can be used by people with a large complement of sound sources, or with none (this baby operates standalone with sequencer and all).

In its simplest form, Tera can be used as a multi-timbral synth utilising only the factory patches. Like most synthesisers however, the best results come to those prepared to get their hands dirty under the hood. For those; Tera’s programming interface offers great rewards. While Tera is very capable of mimicking many classic synth sounds; it’s strength lies in augmenting those designs and creating new, and evolving timbres.

Features
Probably the best way to discuss the features of Tera, is to discuss its interface. Tera consists of four main windows:
• 8D Access
• Synthese
• Sequence
• Mix

The active window is selected via a panel on the right hand side. Only one of the four main windows is shown at any time. A fifth (sub) window – Matrix, becomes available when on the Synthese page.

At the top of the 8D Access and Synthese pages is Tera’s file management / patch selection palette. This also includes part selection (for editing) and midi activity for each part. CPU usage is displayed on all pages, as is a midi panic button.

8D Access
This is the default page, and what you’ll see when you first launch Tera. Initial impressions are ‘how nice, simple… where’s the rest of it?’. 8D Access comprises four X-Y vector boxes (making eight assignable parameters or dimensions – 8D). This is the realtime tweaking side of Tera.

Vector control is not new (they’ve been in logic’s environment for years, and anyone remember Korg’s Z1?), but Tera have added an element. Below the four boxes is a click-and-drag speed parameter. This defines how fast the ball within each vector moves (ranging from 10ms to 100 seconds to get from A to B within X and Y… you know!). That means you don’t have to actively drag the ball around – you can click somewhere within a box, and the ball will get there in the designated time. This can be done individually, or with all four balls moving in unison. Midi controllers can of course be assigned.

Ok, they’ve added something; and then multiplied it all by four…

The great aspect of this ‘time’ function means that (with a little careful programming) you can click in four places and sit back while your patch evolves. Eight parameters changing simultaneously = lots of control, and unique sounds!

This window also includes Tera’s five octave keyboard, pitch bend and mod wheel.

Synthese
This is the engine room where Tera’s sounds are created. As with the 8D Access page, the Synthese page is topped by a row of 16 part-select buttons. All parameters on the page apply only to the part being edited.

Tera’s synthesis engine is modular. Unlike some modular soft synths (such as Reaktor or Tassman), all modules are fixed. Instead of adding modules, you simply patch them – once they’re in the signal path, they’re active. There’s no use of virtual cables (a la Reason or Arturia’s Moog Modular V). Instead flip menus offer a list of all available inputs.


This approach to modular synthesis offers several advantages:
• All required modules are always available when you load a patch
• The user interface is consistent (making navigation much easier)
• The fixed structure reduces processor load (remember, you can run 16 synths in a single instance of Tera!)

On the surface, the modules appear to be those familiar analogue-derived stalwarts: oscillators, filters, LFOs, envelopes and mixers. A closer look however, reveals that each or these modules have bells and whistles (and a whole lot of user definable parameters). Let’s have a closer look:


Oscillators
Tera has two single oscillators. These offer wave modulation and FM input, as well as a choice of 64 waveforms. In addition there is a spectrum oscillator. This uses upto six oscillators (with a variety of ratio configurations) run through a 128 (!) pole filter. This is capable of nice, big chorus sounds. Tera also has a white and pink noise generator.

Filters
Two multimode filters with 24/18/12 dB slopes will operate as lowpass, highpass, bandpass or bandreject. Tera’s formant filter is a three band (either pass or reject)
used for formant sounds and phasing effects. Modulate this!

Envelopes
Four DADSR envelopes that can be triggered by key or LFO.

LFOs
Four low frequency oscillators with synchronisation and sample and hold function

Modulation
There’s plenty more on the Synthese page to play with; including a ring modulator, waveshaper and wave delay.

Mixer
Tera has a five part wave mixer. In fitting with the modular theme, none of these inputs are fixed. The mixer can be routed to other modules in three ways: 1,2 and 3; 4 and 5, or all. To give an example: you could route osc 1 through filter 1 then into channel 1; osc 2 through filter 2 then into channel 2, route a pink noise generator into channel 3; use all three as the input for the formant filter; send the formnant filter into channel 4; the spectrum osc into 5; use four and five as the input for the amp…

Effects
In addition to the auxilary effects found on Tera’s mixer page; three insert effects are found here. Overdrive, Echo / Delay and a modulation effect (for producing chorus / flange / phase effects).

Amplifier
Final amplifier with overdrive and lofi effects

Matrix
This easy to use modulation matrix can be selected from the right-hand palette when the Synthese window is active. 20 modulations are available, each with source, amount, and destination. Source and destination are flip menus with all available parameters grouped into sub menus. Amount is controlled via a pot. As with all of the pots in Tera, the scale is context sensitive (eg. Volume is displayed in dB, while pitch is displayed in #/Oct) and is displayed when the mouse is positioned over it.

There are 21 possible sources, and 81 possible destinations. Modulation amounts for slops 11-20, can also be selected as destinations in 1-10: you can modulate your modulations!

Sequence
The Sequence page in Tera is based around an analogue-style step sequencer. Patterns of upto 64 steps are assembled into groups and then banks. The patterns themselves contain note information, velocity and some controller data. 512 Patterns can be saved in a project. Each part (of the 16) has it’s own channel in the sequencer where patterns can be dragged and dropped.

This is a piece of cake to use. It’s much like the sequencer in Reason. You can set loops, change individual note quantise and shuffle, transpose patterns, trigger arpeggios. If you put your mind to it, you could write music like this (hey, it’s worked for a lot of people).

I think the ‘analogue’ character of this sequencer makes it strongest as a sub-sequencer. When running within a host; Tera’s sequencer can be slaved to the host’s (rewire style). This is great news if you’re creating analogue-style bass or lead synth lines.

Mix
You guessed it; this is where the mixing goes on.

Each of the 16 parts has it’s own channel strip, consisting of (in vertical order):
• Patch
• Midi channel
• Number of voices (just use what you need!)
• Keyspan
• Sectioned VU meter
• Master reverb send
• Master chorus send
• Pan
• Solo
• Mute
• Output
• Part level

The mixer page is also home to the master reverb and chorus parameters (complete with presets); master VU, level and pan. If you plan to use Tera within a host sequencer; this page can be used to mix all parts into a stereo signal or split them to eight separate outputs. You can even change the colour scheme and background pattern (which is applied throughout all the pages).

How does it sound?
Tera’s sonic palette definitely leans towards the electronic music market. There are lots of basses, pads, lead synths, effects and percussion (including banks of 808 and 909) sounds on offer. If you haven’t already got them, there are enough of the basics here to get you through (lots of classic Roland sounds in particular – 808’s, 909’s, 303’s, and Juno’s). Without the initial wow factor of some synths’ factory presets, Tera instead has (middle to) long term potential. The sounds are useful; and a little imagination makes them great.

The range of synthesis, filter, modulation and mix options in Tera open it up to the creation of a wide range of sounds. Get these cooking, and you’ll find that Tera can sound amazing. The level of complexity that you can incorporate into a patch is great – modulation and automation are the keys.

Conclusion
While there are tons (800 odd) of patches included; as with any synth, programming it yourself is the key. This is frankly not a small job with Tera. There’s a lot to get your head around. Having said that; this gives Tera a decent lifespan. You can learn as you go; editing factory patches until you’re ready to go ‘from scratch’.

While Tera’s a little complex to program, it’s nowhere near as complex as it could be. It presents a powerful synthesis engine in a format that is familiar, and yet very flexible. In Tera, VirSyn have created a very neat little package (and at a very nice price). Modular synthesis, sequencing, even recording.

Technology seems to have pushed synth programming both onward and backward. Either you get everything handed to you on a plater, and not much opportunity to edit (consequently having the same sounds as your global neighbours); or it feels like you deserve a plaque on your wall for getting any sound at all. I think Tera sits nicely in the middle.

I’ve really enjoyed using Tera’s architecture. You can wander around the interface thinking “what if I plug this into that, send it over there, modulate it with a combination of these things…” - by the time you’ve finished the thought, it’s done (and you know the answer to “what if?”)! I guess that’s what they call an intuitive interface.

How do I get it?
If you can’t find VirSyn in your favourite Studio Store, contact Lou at Awave who will be able to sort you out for sure. His contact number is Melbourne (03) 98194603 or Visit them at 795 Gelenferrie Rd, Hawthorn, Vic, 3122. 12am recommends you buy your studio gear at A-Wave, they know everything and more, for more information about A-Wave, check their website at Awave Online Store