Rossum Panharmonium - Superbooth 2019 - Product Demo and Overview 

seems like a fourier resynthesis module.. (so an "effect") the only thing that's perplexing to me is how they synthesize waveforms besides sine.. maybe the oscillator bank is analog, or it's wave shaped in the analog domain..

Seb-harmonik ar I kinda doubt 33 analog oscillators are gonna fit behind a euro panel of that size - but willing to be proved wrong!

bebop7 I hear what you’re saying. I think there’s an extent to which the examples which show most clearly what’s happening are often the least pleasing to hear, and thus more “musical” (for a given definition of musical) results might less ably demonstrate the effect. But I think the potential of this thing is huge, for experimental stuff and subtler, uncanny valley type results.

The main musical limitation of this for me is that there are a lot of metallic audio artifacts produced when you start to mess with the sound. I've played about with FFT analysis and resynthesis in software and its not easy to eliminate that metallic sound entirely but its quite feasible to get it better than this. I guess what I am trying to say is that this has been built by an engineer rather than a musician - its good to have engineers making things like this but they focus on different things. Musicians often place a high priority on aspects of the output sound that an engineer wouldn't even consider or might overlook.

David Bessell I thought that too until I watched hainbach use field recordings on it then everything changed for me

@@saren6538 I bought a PH since my initial comment and it is very good. The issues with the metallic sound artifacts can be creatively patched around. The most frustrating thing is that the PH clock does not respect the phase of an input clock, and also there is not any CV outputs. Hainbach's demo is nice but shows a very limited slice of the PH's spectrum.

@@bebop7 im looking at resynthesis effects for heavy sound design. Stuff like Spherum VST interests me. All sort of hard EDM sort of sound design comes from involved chains involving low pitch FM synthesis and well developed successive filter modulations, combs, 0hz phasors, impulse reverbs, etc. and I’m wondering how resynthesis could be useful to this process. Like I use some odd setting on clouds, modulating the pitch heavily and it makes a very crazy phased out roar pitch dive on fm basses. What I’m saying is, does it really change a sound in a huge way besides the liquidy drones all the demos do? It seems like it only reduces harmonic content to a technical term called musical noise aka the chirpy liquidy artifacts are and I haven’t seen anyone use to do anything but turn sound into a watery version of itself.

57 you're correct, please convince rossum to place the eurotrash in the non-recycle bin & lets get back to the real thing >> ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-EDBn_RtnY-E.html

EXACTLY i love Dave Rossum and for me he s the best with Tom Oberheim but i am really FED UP with all these shit eurorack modules no matter witch brand, give us an EMULATOR V

Not at all