RADIKAL TECHNOLOGIES / Delta CEP A Desktop

This paraphonic semi-modular synthesizer from Radikal Technologies is ideal as a starter model, as it can be used without the need for complex patching.

INTERPOLATOR
The Delta CEP A's greatest feature is its INTERPOLATOR section. The Delta CEP A can store 40 sound programs, each with up to eight snapshots. A snapshot is a saved set of settings for a single sound, and the Delta CEP A morphs between eight sounds per sound program—a unique feature in the synthesizer world.

Interpolation, meaning ""interpolation"" in Japanese, smooths out sound changes when switching snapshots. You can create smooth transitions between snapshots with slightly different settings, or dramatically and smoothly transition between completely different snapshots.

Snapshots can be switched in a variety of ways. You can manually change them using the INTERPOLATOR section's big knob, or use a variety of control sources, including keyboard velocity, modulation wheel, aftertouch, and LFO.

The INTERPOLATOR section is a powerful feature that offers endless possibilities, limited only by your imagination. From atmospheric pads that smoothly evolve into other sounds, to lead sounds that change expression one after another, to mysterious sound effects you've never heard before, to eight snapshots of drum and percussion sounds, you can create ever-changing rhythm loops. The Delta CEP A offers limitless sound-making possibilities.

MIDI2CV
This interface section allows you to control the Delta CEP A from devices with MIDI output, such as keyboards, sequencers, and computers. It converts input MIDI information into CV/Gate signals for controlling the Delta CEP A or other modular synths. The pitch CV, gate, clock, and other signals converted in this section are internally connected to each section of the Delta CEP A, so no patching is required when using it as a synthesizer that plays notes. These signals can be used to MIDI control connected parameters when trying out experimental ideas or combining it with other modules.

LFO1
This LFO allows you to select from five waveforms. Five waveforms are available: sine, triangle, descending sawtooth, square, and sample & hold. Tempo synchronization, a relatively rare feature for an LFO, is possible. It can be synchronized to an internal clock set by tapping the TEMPO button or to an external clock connected to the SYNC input. The tempo synchronization resolution is controlled by the SPEED knob. It can also produce sounds similar to the ""wobble bass"" that has become so popular in electronic music.

SWARM OSC
SWARM OSC is the sound-generating oscillator section, a digital oscillator directly descended from the company's RT-311 Swarm Oscillator module. Up to eight oscillators can be activated simultaneously. TLM modulation allows for pulse-width modulation of square waves, while other waveforms can be modulated by shifting the waveform's midpoint. Other options include detuning, glide, FM modulation, and waveform morphing. Chord memory and chord presets can play 2- to 8-note chords, including pre-defined major and minor chords.

In paraphonic mode, multiple notes can be used to play up to four chords when connected via MIDI. With two oscillators per voice, this mode maximizes the power of the Delta CEP A's eight powerful oscillators.

Using the scale quantizer included in SWARM OSC, you can output only pitches corresponding to a pre-selected scale. In addition to the experimental, pitch-ambiguous uses typical of modular synthesizers, it also supports musical applications requiring precise pitch.

MIXER
This section mixes the sound generated by SWARM OSC with the noise source included in the MIXER or external audio input, and sends the result to the VCF. The noise source can be disconnected from the MIXER by inserting a cable into the EXT IN jack, but it can also be output independently from the NOISE output.

VCF
This filter section processes the sound generated by the oscillator and mixer, adding character to the sound. The Delta CEP A offers three unique filter types.

Digital 12 dB Multimode Filter: Three modes are available: low-pass, band-pass, and high-pass. You can also combine any filter type using the three mode select buttons.
Digital 24 dB Low-pass Filter: This filter emulates a classic low-pass transistor cascade. It can only be used in low-pass mode.
Analog 12 dB Multimode Filter: Like the digital filter, it has three modes: low-pass, band-pass, and high-pass. It has a sound similar to a digital filter, but features the smooth sound changes unique to analog.
Cutoff and resonance can be modulated with CV. The 1V/OCT input allows you to play the filter oscillation sound with precise pitches.

ADSR
This envelope section applies time-varying changes to the filter and VCA (volume) when a key is played. This is the most user-friendly and traditional ADSR, and typically affects both the filter and volume simultaneously. The VCA can also be separated from the ADSR, allowing you to set independent attack and release times for the VCA.

VCA
The VCA section is a classic voltage-controlled amplifier section that controls volume. It provides a dry sound output that does not pass through the effects section, as well as a stereo input to the effects section. Using this input, you can use the effects section as a powerful, independent effects processor.

FX
This effects section adds a variety of effects to the sound. Effect algorithms include tape delay, tempo delay, chorus, phaser, and flanger. The controllable parameters vary depending on the effect algorithm, and each algorithm can control up to four parameters.

Dimensions: Width: 143mm, Depth: 353mm, Height: 95mm, Weight: 2.67kg, Accessories: AC adapter