Tal- Mod Is A Virtual Analog Synthesizer

In Tal-Mod a deceptively powerful softsynth is hiding under an unassuming front panel. Start patching away and begin to explore the power.

TAL-Mod for Mac and Windows features virtual patch cables to set up the modulation 05/04/18. Togu Audio Line tells us that TAL-Mod, just released in a Beta version, is a virtual analog synthesizer with an exceptional sound and almost unlimited modulation possiblities. TAL-Mod is an inexpensive virtual analog synthesizer from Parick Kunz, the designer behind TOGU Audio Line. I think it’s designed to appeal to folks who want virtual analog sounds with a minimum of fuss, and a very short learning curve.

by Warren Burt, Sept. 2018

TAL-Mod is an inexpensive virtual analog synthesizer from Parick Kunz, the designer behind TOGU Audio Line. I think it’s designed to appeal to folks who want virtual analog sounds with a minimum of fuss, and a very short learning curve. However, beneath a very simple surface, there lurks quite a bit of power, and control possibilities that can lead to much fertile sound exploration.

TAL-Mod is a semi-modular synth, with connections hard-wired between its complement of modules, with jacks for inputting and outputting control signals. These are either from external MIDI sources or internally, from the ADSRs, the two LFOs, and a drawable modulation envelope and an arpeggiator/sequencer. Every knob on the faceplate can be externally MIDI controlled as well. It has sixteen-voice polyphony which will allow for plenty of thick textures.

The module complement consists of three Oscillators, two Filters (parallel or serial configuration), three Envelope Generators (one hard wired to amplitude), a Noise source, two LFOs (running from 0.01 HZ up to 400 Hz), and the abovementioned Modulation Envelope, a drawable LFO with both curve and stepped patterns, an Arpeggiator/Sequencer, and a small range of effects. These include a High Pass Filter, an EQ, a Chorus, a Reverb and a Delay (maximum delay time is 4 seconds). All but the High Pass Filter are switched in and out with buttons on the panel. For those interested in microtonality, the synth takes Scala TUN files, which can allow individual pitches on each of the 128 MIDI notes. (TUN is more versatile than the standard Scala .scl file.) The tuning is then saved with the individual preset file, so if you reload the patch, the tuning you used is immediately available.

The GUI is resizable, handy for those with limited screen real estate, or, conversely, with vision problems. You can also reset the color scheme. I do a lot of work on my computer on trains. The default color scheme of TAL-Mod was causing a lot of problems with glare from early morning sunlight through the train windows. After some testing, I settled on the color scheme you see here. On the other hand, if you’re wanting something a bit more gothic, you might try something like the color scheme below.

I tested TAL-Mod in both 32 and 64-bit VST plugin versions on a Windows 8.1 machine in Plogue Bidule. There were no differences of functioning in either version, and patches made with one version loaded seamlessly into the other. I also tested it on a Windows 8 netbook, and a Windows 10 laptop. In all cases, performance was flawless.

It’s the control abilities of TAL-Mod which make it an interesting and useful machine. There is no mixer on the front panel. The oscillators and the noise source are hard-wired into the filter input. Control of output volume, and balancing of the oscillators/noise source is done by a Volume control on each of them. Also, on the waveform selection control, there is an Off position, as well as waveform selection. Turning the control to Off, or setting the Volume to 0 for an oscillator prevents its sound from reaching the filters and the audio output, but doesn’t affect the path of the oscillator to the FM control (on Osc 1) or the Ring Modulation control (on Osc 2). Further, Oscillators 1 and 2 can both have between one and seven parallel voices, detuned by up to +/- 2 semitones. For odd numbers of voices (three, five or seven voices) there’s also a stereo control which spreads these voices across the stereo space. The detuning of the multiple voices doesn’t just apply to the sawtooth wave (a supersaw effect), but to all of the waveforms. I tried seven voices, detuned very slightly, to produce a complex beating effect with sine waves on both oscillators, and then turned the volume on Osc 1 to 0, and moved the Ring Mod control on Oscillator 2 up full. The result was a single pitch, but one that had an amazing life because of the interaction of the fourteen very slightly detuned sine wave oscillators. Oscillators 1 and 2 can also be synched, or phase-locked, to Oscillator 3.

Underneath the Oscillators is a panel of control signals available from incoming MIDI. Velocity, Pressure, Keytrack, Mod-Wheel, Breath Control, Pitch-Bend are all available. There is also an Alternate control, which seems to alternate a high and low value with each keypress, a Random output, which outputs a random value with each keypress, Noise, and +1 and +2 constant outputs. These, with no attenuation, produce 1 and 2 octave transpositions in the Freq. control inputs of the Oscillators.

What makes the control inputs on the front panel so useful is the modulation control for each of the input signals. When you plug a patch cord into a grey control input, a small rectangular panel appears above the signal. /things-to-do-on-garageband-ipad.html. Click on this, and a knob appears with a small panel below it. Click on the small panel, and a range of control signals, which will modulate the value of the knob, appears, as shown below. The main knob controls the amount of input control that reaches the parameter you’re controlling. If there’s a number in the small window under the knob, that shows the maximum value the incoming signal will reach. If there’s something else there, such as an LFO, then that signal will control the amplitude of the incoming control. So you can have static, but highly controlled modulations, or you can have dynamic control signals. There are four controls here labelled P1 through P4. These refer to the four mysterious controls in the center of the panel labelled P1 through P4. These are mentioned nowhere in the documentation that I could find, but eventually, I figured it out. These would enable you to have, for example, a performable (and MIDI controllable) limit for the amount of modulation you would want on a particular control.

May 20, 2015  Thank you, we'll try it that way. Glad to hear I can solo the tracks, that will keep it simpler. I don't know if you can answer this, but once the tracks I did on GarageBand are loaded into the RADAR unit (or any other DAW, for that matter), are the effects I've used in GB editable in the other DAW? Sep 08, 2019  At the time I needed it, I could not find any guide or video that simply explains how to open a GarageBand iOS project (iPhone/iPad) on Logic Pro or GarageBand. For those who like to work with the Garageband app and would like to export a project to one of the Mac music DAW, the Garageband or Logic Pro, here’s the simplest method to do it. Exporting from garageband on ipad to a daw.

In the lower right of the panel is a small readout. This gives the name of the patch, but more importantly, it gives a readout for every control the mouse passes over, and the value of the control as it’s moved.

The Filter module has two Filters, each of which can have one of nine different filter types, and the filters can be either configured for either parallel or serial operation. The filters sound very good – quite smooth. The Master module has controls for portamento, panning, overall volume control, etc. The Modulating Oscillator allows you to draw your own control signal, either a smooth signal or a stepped signal, and the stepped signal can then have a controllable amount of glide applied to it. It can be used as a one-shot unit, or oscillating like an LFO. Its speed is linked to tempo with a variety of tempo fractions available. The Arpeggiator has 1, 2, and 3 octave arpeggiations in a variety of configurations, but, disappointingly, no random order. Maybe that could be added in a future revision. The sequencer has up to sixteen steps, with steps mutable, and sustaining. Velocity is indicated by a vertical slider in the middle, and the steps can have any value from -48 to +48. Tempo can go from 1.00 Hz per step to 26 Hz, or if tempo-synched, from 1/8th to 1/64th per step. Direction of moving through the sequence is strictly in one direction. Again, maybe a random stepping through the sequencer could be added in a future revision, and while we’re at it, a wider range of low values on the Sequencer Clock would be nice (like down to .05 Hz or so).

There are lots of presets that come with the machine, and several makers are offering patch sets for the machine on the TAL-Mod website. The few presets I’ve tried out have all been of a pretty unique character. I think one of the major markets for this machine will be people who want to play with presets in a very instant-gratification way. For those folks, the low price, and the quality of the sounds will be enough to clinch the deal immediately.

I’m not so much of a preset kind of guy, much preferring to roll my own. At first, reading the manual, I approached the front panel, and I was mystified. In the manual, there was no diagram of how modules were linked to each other. I guess the manufacturer assumed that since the machine was very similar to other classic machines, such as the Mini-Moog, that there was no need for a diagram like this. So it took me a couple of sessions with the machine, fumbling around, trying to figure out what connected to what. Once I was through that learning curve, and I began to play subtly with the possibilities of the machine for sound design, I became hooked. And had a lot of fun playing with the machine, exploring its many sound design possibilities. It’s a lovely machine – limited in its resources, to be sure, but in terms of sound types available, very powerful and with a lot of possibilities. If you’re into microtonality, getting this should be a no-brainer. The program is very small, and light on the CPU – even on an underpowered netbook, with both oscillators playing seven voices, and with nine voice chords, it still worked flawlessly. On a more reasonably powered machine, the same patch used barely 15% of the CPU. So if you’re looking for a virtual analog machine with microtonal capabilities that won’t break the bank, and will provide some very nice programming possibilities, TAL-Mod may very well be for you. It certainly was for me.

https://tal-software.com/products/tal-mod $60.00 USD

Tal- Mod Is A Virtual Analog Synthesizer Online

Tal- mod is a virtual analog synthesizer download

Tal- Mod Is A Virtual Analog Synthesizer Download

Windows: Windows XP or higher (32 / 64 bit)
OSX: OSX 10.7 or higher (32 / 64 bit).
AAX: Pro Tools 10.3.6 or higher

Virtual Synthesizer Free

You may also be interested in: