Expression control is integral design feature of each component of Noisy, in each building block of the sound. And now Noisy 2.6 vastly expands the software’s sound palette — just in time to make this a worthy companion to Expressive E’s own Osmose and Osmose CE.
I’ve had prerelease access to 2.6. This is a preview, not a review, but I’ve already had some nice impressions.
In the beginning, there was the EaganMatrix. That rich and powerful synth debuted on the Haken Continuum, a landmark in expressive control. It’s the built-in engine of the Osmose. The EaganMatrix is wonderful, and you can (and should!) still use it with the controller-only Osmose CE (along with many other “classic” MIDI and MPE-compatible MIDI controllers). But programming sounds is a bit tricky. Noisy is far friendlier to newcomers and has a workflow constructed from the ground up for mapping expression.
Calling this “2.6” is a little modest; this is a significant update. Noisy is fun to play and control even with conventional MIDI controllers — and even more so when you add polyphonic aftertouch, pressure, and MPE. You can think of Noisy as a semi-modular synth that focuses on shaping the sound in real-time, with easy hands-on control.
It’s called “noisy” because you feed noise into resonators. That doesn’t have to sound like out-there physical modeling all the time, though, which makes this somewhat unique and surprising. Different resonators modes give you analog, acoustic, FM, harmonic, and wavetable areas, expanded in 2.6 — but all neatly organized into this friendly, color-coded one-screen layout. (Okay, two screens if we count FX.)
Expression is accessible from basically every single module, but it begins with this handy Expression Control. That includes gestures as triggers — push, shake, and lift — which are optimally suited to Expressive E’s own Touché and Osmose/Osmose CE. But as you’ll see, access to envelope, pressure, and aftertouch are useful both in MPE and MIDI modes (including monophonic triggering on those synths). Along the top, you also have options for poly mode (1-8 voice), poly glide, and MPE on or off. (So, for instance, this was still fun to play with my Ableton Move when I was away from the Osmose.)
Here’s a quick breakdown of what’s new.
New resonators with new underlying synthesis engines. Analog Unison, FM and FM Feedback, Harmonics, Wave Map (morphing wavetable).
And yes, yes, it’s a little strange talking about a thick analog unison voice or FM as resonators, but that’s how this works and — convincingly so. It gives the whole affair alternatively organic, fuzzy, and glossy characters. Turn off the effects, open the filter, and solo the resonator — it is still noise routed into it, and changing the noise gives it different personalities.
5 new noise sources. Now all the basics plus a bunch of creative options, bubbling/natural sounds, and even sources from field recordings. Just one feature request here, Expressive E — columns?
New LFO shape.
9 new effects.
For some reason, Expressive E doesn’t document which are new in those categories, but I’m guessing most of you aren’t yet Noisy users anyway! You get a full complement of stuff — although I did really like turning effects off to get a sense of the synth engine.
Effects include a plate reverb, stereo delay, and two effects slots covering a full menu of stuff (amp & color, ambiance, filter, and modulation, with a lot of exotic choices). And you get two more effects macros.
I’m really happy with this one. It’s a must-have for expressive fans, especially if you’ve got an Osmose or really anything with MPE. But it’s a unique synth on its own, as well — the noise/resonator system being applied to this range of synthesis is a unqiue twist, and it passes the “turn the effects off and see if you’re still feeling it” test for me.
Noisy is on sale now at Plugin Boutique; the 2.6 upgrade is free for v2 users. See the full range of Expressive E instruments there:
If you buy something from a CDM link, we may earn a commission.
Expressive E at Plugin Boutique
And the product page: