Hobbes will feature zoomable 2D touch panels for extra-fine control of oscillator and filter mixes. The original version of Hobbes 'Leviathan,' was designed in Reaktor 3. The keyboard and sequencer tables no longer worked in Reaktor 5, and now that Husserl Sapphire offers simpler and far superior sequencing, the sequencer portion of Leviathan is removed. Also, Hobbes 5 will use the same color keyboard as inGodel for Reaktor. However, if you are seeking a free synthesizer with built-in sequencer, a number of other different metamusic designs are also available from Yofiel. This page remains to be updated with R6 features for the future premiere ensemble.


1. Feature Summary

1.1. Synthesizer

  • 100 concurrent modulations with 50 sources
  • Click-free selection of modulation source
  • Two polyphonic LFOs and one monophonic LFO
  • Two envelopes with slope modulation
  • Four oscillators with >30 waveforms
  • Ring modulation and dual soft sync
  • External input; oscillator effect modes
  • Two 4-way vector mixers
  • Two filters with serial and parallel output
  • Modulation of serial filter feed
  • Morphing of filter type and overdrive

1.2. Output Effects

  • Low-CPU design throughout
  • Stereo output stage with peak and mute
  • Polyphonic pan modulation of each filter output
  • Flange, chorus, stereo tempo delay, and reverb

1.3. Other Features

  • Waveform display; multiple metering modes
  • On-screen keyboard
  • Multilevel mapping of key scale
  • Sophisticated CPU usage management

2. Getting Started

2.1. Auditioning the Snaps

Open the snapshot window and select the instrument. Now you can click through the snaps. Snaps beginning with the same word are in the sameset . You can change to different snaps in the same set, and you will hear dramatic changes without any clicks or other interruptions (due to the Metamusic's unique "switchless matrix architecture") . Then you may want to read this manual, and perhaps the tutorial at its end.

3. Architecture Overview

3.1. Audio Path


The instrument provides four oscillators, each with 40 modes, including special waveset and effects modes. Soft sync and amplitude modulation is avialable on all oscillators. FM is available for FM oscillators. Ring modulation and "bang oscillators" are also selectable. In addition, effects modes can patch in effects blocks instead of oscillators. Any osicllator, mixer, filter, output, or an external input can be the input for AM, FM, sync, and effects.

All oscillators feed two vector mixers. Each vector mixer adjusts the oscillator mix into each of two separate filters.

The two FM filters operate both in serial and in parallel, with adjustable feed from filter 1 to filter 2. Filter 1 is switchable between more than a dozen filter types. Filter 2 can morph between different filter types and filter drive levels. Both filters and the serial feed path include switched saturation units.

There is optional polyphonic limiting of each filter output prior to the amplitude envelope. The instrument also includes simple pan, chorus, echo and reverb units.

3.1.1. Switchless Matrix

The heart of this instrument is its switchless matrix architecture, providing dozens of modulation sources and modulation targets.

  • Sources are LFOs, envelopes, sequencer control values, real-time controllers, and various kinds of compound matrix modulations.
  • Targets are audio parameters such as Contour , Pitch , Sync , Horiz , Vert , Freq , Res , Drive , Feed , and Pan.

Most targets let you adjust the amount of modulation from pitch tracking and four other modulation sources. For most targets, modulations are scaled, curve-shaped, and either clipped or mirrored, within adjustable ranges. Moreover, you can change between 32 different sources in real time without interrupting the sound.

3.2. Pitch and Gate Path


3.2.1. Synthesizer Routing

Theglobal pitch section first applies any pitch transposition, then passes notes to the scale mapper. The scale mapper can optionally force pitches to different key scales.

After scale mapping, pitch data is sent through the glide generation circuit, then sent to pitch tracking. Pitch tracking can adjust overall tracking not only for output pitch, but also for any pitch modulation applied to other sound parameters.

Oscillator 1 directly uses the global pitch for its own pitch, without further modification. The other three oscillators can each apply their own pitch offset to the global pitch. After any local transposition, each oscillator can optionally apply its own keyscale mapping to transposed pitch values. Then the oscillators each provide their own individual pitch tracking and modulation.circuits.

Pitch data is also sent to the envelopes, which can adjust both their attack time and overall ADSR shape in response to note pitch. Global pitch and envelope data are routed throughout the instrument as modulation sources. After mixing and filtering, the audio envelope is applied to the resulting signal mix, providing clean envelope shaping of the overall sound.

3.2.2. Normalized Patchable Modulation

Throughout Leviathan, patchable sources provide normalized modulation of signal parameters. “Normalized” means that the modulation levels are internally adjusted so that the range of available modulation (controlled by a ‘depth’ slider under the modulation source list) is perfectly usable for all destinations, no matter what sources and destinations you are using.

3.3. Modifiers

If you find you want to ‘denormalize’ a control, there are two modifier blocks which provide various means to massage the modulation sources:

  • Modifier 1 provides a fixed-level source (“Fixed1”) available throughout the instrument. In addition, you can select any modulation source and adjust its gain, offset, and its type of slope (you may choose to convert any source between pitch, frequency, amplitude, and linear slopes).
  • Modifier 2 lets you choose two sources and set the minimum/maximum level for each, then crossfade between them using an on-screen control. Often you may wish to map this control to your modwheel or other hard control surface for real-time morphing between two sources.

3.4. FAQ

I want somethink less gritty. How do I get a clean sound?

If you want a clean sound out of Hobbes, it's designed to do that too. Here's the configuration:

  • Turn off all filter saturation.
  • In the output section, enable polyphonic limiting on both filters. The limiting is designed so sound can be very clean.
  • In vector mixers, set overdrive to minimum for all oscillators.
  • If using filter 2, either use oscillator input only (for parallel output) or turn off all oscillators and use filter feed only (for serial output). In the latter case, keep filter feed below the half-way point (as describved in manual, this keeps feed below unity gain).
  • If using morph for filter 2, set overdrive to mimumum for all three filter types.

Now you will have a perfectly clean sound, and also, without any audio peaks at high resonance levels, due to polyphonic limiting, sounds even cleaner than res-limited filters in the Reaktor 4 library.

3.5. More Information

The reference is currently available online, but not fully updated:

3.6. Availability

Hobbes 5 is a member of Yofiel's family of Premiere Ensembles, for which there is a nominal charge. By itself, Hobbes is $40, or it is available in a bundle, together withHusserl Sapphire andNietzsche Spectral Delay, for $100. Currently I am only responding to personal requests (there is no form for automated delivery at this time). Please register before contacting me, and use the contract form to send your email and desired purchase to me. Then I will email you a Paypal request, and, upon receipt of order, a zipfile containing the software.

Please note, when delivery is automated, the price will be going up to cover the online purchase service.

Thank you for your interest in Hobbes 5. I hope you enjoy it!

-Ernest Leonardo Meyer