5 VOICE EXTENDED VIRTUAL-ANALOGUE SYNTHESISER
Founded on Modal Electronics’ next-generation COBALT synth architecture and housed in an ultra-portable go-anywhere footprint, the USB-powered COBALT5S is made-to-move and ready to spark your creativity wherever, and whenever inspiration strikes. Whether it’s a singularly authentic replication of classic analogue sounds, or the most contemporary leading-edge texture, COBALT5S’ extended virtual analogue sound engine delivers on all counts.
COBALT5S takes inspiration from the iconic sound of it’s analogue forebears, transcending any and all limitations to take a leading edge synth architecture, truly mobile – from sultry basslines, to expansive, mutating beds and everywhere in between, COBALT5S is not just modeling run-of-the-mill analogue sounds, this is Beyond Analogue, Anywhere.
Create Without Limitation
Featuring five true polyphonic voices, two independent algorithm groups and up to 8 oscillators per voice, musicians, sound designers and producers are armed with a nefarious palette of sound that’s primed for any application imaginable. Fuse this with 40 complex algorithms, including Sync, Ring Modulation, Waveform Morphng, plus many more, and it’s easy to see why COBALT5S empowers creators with liberated sound sculpting capability without limitation.
Earcandy
Featuring the same self-oscillating 4-Pole Morphable Ladder Filter from the COBALT8, COBALT5S guarantees to texture your sound with all the bite and warmth your performance demands. Four separate filter modes fuse with mainstay controls for Cutoff and Resonance, alongside a Morph parameter to musically manipulate the frequency response of the filter for a truly immersive experience. From the sublime to the experimental and everywhere in between, crafting the perfect timbre is limited only by your imagination.
Shaping Your Sound, Simplified!
Everything you demand to craft the perfect sound in meticulous detail is right at your fingertips with COBALT5S. Three envelopes complete with selectable types take command of the filter, amp or modulation destinations, empowering you with unrestricted options when it comes to fine-tuning your sound. One Polyphonic LFO and one Global LFO provide extended power to control a plethora of modulation sources, selected via a sophisticated 8-slot modulation matrix. Whether it’s an otherworldly evolving soundscape, rhythmic pads or a searing lead, realising your creative vision has never been this easy!
Your Performance, Supercharged!
Get wild with the integrated 512-note realtime/step-sequencer, complete with 4 animation lanes. Fuse this with a built-in programmable 32-step advanced arpeggiator and you start to scratch the surface of the performance capability COBALT5S heralds for the modern creator. Top this off with MPE support for next generation creative expression via a compatible MPE controller, and COBALT5S is primed for any performance, production or sound design scenario imaginable.
Made to Move
When we say this is Beyond Analogue Anywhere, we mean it. Taking the legendary build quality synonymous with Modal Electronics’ synthesiser roster, and outfitting this with a 37-note compact keybed with aftertouch, and COBALT5S is primed for your creative exploits wherever and wherever creativity strikes. Plus, with a USB powered specification, powering the COBALT5S from your Mac/PC or portable power brick couldn’t be any simpler.
Control, Evolved
Take complete command and craft your signature sound with ease courtesy of 16 switched encoders. For complete expressive capability, COBALT5S’ X/Y/Z touchpad provides ultimate 5-axis control over pitch bend, mod wheel and/or any user-selected modulation assignment. Two independent stereo effect engines, including delay and chorus, inject depth and character into your patches, allowing you to create polished synth textures. Rounding-out this tactile, performance-centric control assortment is a radiant monochrome OLED display that relays all key information you demand in razor sharp resolution.
Hook-up Flexibility
Integrating COBALT5S into your existing setup couldn’t be simpler. Connect to PA systems, stage boxes, mixing desks and more with dual ¼-inch line out jacks; practice in private thanks to a ¼-inch stereo headphone output; add some genuine piano-style sustain to your performance with a ¼-inch sustain pedal input; connect to all your MIDI peripherals thanks to full-size MIDI ins and outs, as well as MIDI over USB capability; finally, keep everything on point with COBALT5S’ Clock sync In and Out. Whatever your next performance demands, COBALT5S guarantees to assimilate with ease.
Algorithms
- VA Sweep: Sweep through sine, triangle, saw, square, pulse (with pulse width) (A), ability to detune the oscillators (or snap to musical intervals) using spread (B)
- VA Crushed: Sweep through sine, triangle and saw shapes (A) with real-time control over bit crushing (B)
- Spread Saw: Spread mode with increased oscillator count, ability to blend between the fundamental and detuned oscillators (A) and more comprehensive spread (B) options (e.g oct up + detuned)
- Spread Square: Spread mode with increased oscillator count, ability to blend between the fundamental and detuned oscillators (A) and more comprehensive spread (B) options (e.g oct up + detuned)
- Spread Triangle: Spread mode with increased oscillator count, ability to blend between the fundamental and detuned oscillators (A) and more comprehensive spread (B)options (e.g oct up + detuned)
- PWM: Classic Pulse Width Modulation with width control (A) and ability to detune the oscillators using spread (B)
- PWM Dual: PWM mode where as the width control (A) changes, the pulse width increases in the first cycle of the wave and decreases in the second cycle. Oscillators can be detuned using the spread (B) control
- PWM Triangle / Square: Alternating triangle and square waves with control over the width of the triangle portion (A) and an asymmetry control (B) that allows every second cycle to have a different triangle width (inverse) to the first
- PWM Saw Eraser: Wave with both a saw and PWM portion, with control over the ratio between the two portions (A) and the width of the PWM portion (B) relative to parameter A
- PWM Triangle Pinch: Triangle wave with pulse width modulation (A) and an asymmetry control (B) which allows every second cycle of the wave to have a different width to the first (can be wider or narrower)
- Hard Sync Saw: Classic hard sync with un-quantised ratio (A) that can be blended with a sub oscillator (B) one octave below the fundamental
- Hard Sync Square: Classic hard sync with un-quantised ratio (A) that can be blended with a sub oscillator (B) one octave below the fundamental
- Hard Sync Triangle: Classic hard sync with un-quantised ratio (A) that can be blended with a sub oscillator (B) one octave below the fundamental
- Fractal Saw: Complex sync with un-quantised control over ratio (A) and and an asymmetry control (B) that allows every second cycle of the wave to have a different sync ratio to the first
- Fractal Square: Complex sync with un-quantised control over ratio (A) and and an asymmetry control (B) that allows every second cycle of the wave to have a different sync ratio to the first
- Fractal Triangle: Complex sync with un-quantised control over ratio (A) and and an asymmetry control (B) that allows every second cycle of the wave to have a different sync ratio to the first
- Reverse Saw: Periodically reverses the direction of the waveform and changes the playback rate (A), asymmetry control (B) changes the period length (I.e the switch point within a cycle)
- Reverse Square: Periodically reverses the direction of the waveform and changes the playback rate (A), asymmetry control (B) changes the period length (I.e the switch point within a cycle)
- Reverse Triangle: Periodically reverses the direction of the waveform and changes the playback rate (A), asymmetry control (B) changes the period length (I.e the switch point within a cycle)
- Window Amp Sync: Applies amplitude modulation to a sine wave using a hard synced waveform. Features an un-quantised sync ratio control (A) and the ability to morph between multiple window shapes (B)
- Metal Saw: Creates ring modulation/amplitude modulation like effects by syncing a waveform to two separate signals, one at the base rate and one at the sync rate. Features un-quantised control over sync rate (A) and ability to balance between the base wave and the modulated signal (B)
- Metal Square: Creates ring modulation/amplitude modulation like effects by syncing a waveform to two separate signals, one at the base rate and one at the sync rate. Features un-quantised control over sync rate (A) and ability to balance between the base wave and the modulated signal (B)
- Metal Triangle: Creates ring modulation/amplitude modulation like effects by syncing a waveform to two separate signals, one at the base rate and one at the sync rate. Features un-quantised control over sync rate (A) and ability to balance between the base wave and the modulated signal (B)
- Ring Mod Saw: Ring mod applied to two saw waves, with quantised ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades between these ratios allowing precise control across the whole range
- Ring Mod Square: Ring mod applied to two square waves, with quantised ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades between these ratios allowing precise control across the whole range
- Ring Mod Triangle: Ring mod applied to two triangle waves, with quantised ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades between these ratios allowing precise control across the whole range
- Ring Mod Triangle / Square: Ring mod applied to a triangle and a square wave, with quantised ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades between these ratios allowing precise control across the whole range
- Ring Mod Saw / Square: Ring mod applied to a saw and square wave, with quantised ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades between these ratios allowing precise control across the whole range
- Ring Mod Saw / Triangle: Ring mod applied to a saw and triangle wave, with quantised ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades between these ratios allowing precise control across the whole range
- Chaos Saw: Un-quantised ring modulation (A) combined with randomisation (B)
- Chaos Square: Un-quantised ring modulation (A) combined with randomisation (B)
- Chaos Triangle: Un-quantised ring modulation (A) combined with randomisation (B)
- Fold Triangle: Triangle wave-folding (A) with DC offset (B)
- Filtered Noise: Noise generator combined with a morphable filter with full control over Cutoff (A) and Morph (B)
- FM Saw:Square: Frequency Modulation using a Sawtooth as the carrier and a Square as the modulator with full control over FM Depth (A) and Modulator Frequency Ratio (B)
- FM Square:Square: Frequency Modulation using a Square as both the carrier and modulator with full control over FM Depth (A) and Modulator Frequency Ratio (B)
- FM Tri:Square: Frequency Modulation using a Triangle as the carrier and a Square as the modulator with full control over FM Depth (A) and Modulator Frequency Ratio (B)
- Noise AM Saw: Sawtooth Wave amplitude modulated by a filtered noise source with full control over AM Depth (A) and Noise filter cutoff (B)
- Noise AM Square: Square Wave amplitude modulated by a filtered noise source with full control over AM Depth (A) and Noise filter cutoff (B)
- Noise AM Tri: Triangle Wave amplitude modulated by a filtered noise source with full control over AM Depth (A) and Noise filter cutoff (B)
