I thought/hope he was talking about the Phi, but you got me wondering now.
He never mentioned the Phi specifically, but it was in reply to me and I was discussing this in a Phi thread. He referred to the “Anyma Roadmap” so hopefully he’s referring to all devices that fall under the Anyma series of synths (which of course the Phi does).
By the way, do you have links to where they talked about the Brass model?
I don’t have the links, but I do have the new, just emailed demo: Stream Anyma Omega Trumpet sections by Aodyo Instruments | Listen online for free on SoundCloud
Thanks for the link although it does state “Omega” and it makes me wonder why if it were for all Anyma series, because it would be exactly the same on the Phi.
I’ll just have to wait and see what happens. I want the Phi, in fact I might buy multiple but only if they’re treating all Anyma series synths to the same sound generating models etc. I suppose they would do that anyway, but I need to be sure before I buy.
I really like that ‘Cathmandu sitar speech’ patch by the way. Sounds right up my street that does, like it belongs on some vintage detective show soundtrack or something!
Anyma Phi got a big firmware update right before the news about the omega broke. (Nov 3rd - Oct 28th)
That seems to me highly suggestive that there’s a shared core of code between the two (either it was extended for the omega, and back-ported to the Phi, or, even better, development may be Phi-first ?)
Would definitely make sense to develop for the Phi first since it guarantees it would run on the Omega too. Not so if they do it the other way around due to the difference in CPU power.
@Hurolura, Not wanting to push my luck here, but is there any chance you could explain the plan regards updates? Can we assume that any update made available for the Anyma series of synthesizers will also include the Phi?
I’m assuming that’s the idea but I don’t know for sure.
Just wait a couple days.
It’s going to be OK.
@Helland That’s indeed the idea, at least regarding the synth modules (you wouldn’t get Omega specific features like advanced sequencer and multi-part or anything using specific hardware part of the Omega). We would like to keep compatibility and patch exchange among all models.
Thanks again for the heads-up, that’s great to hear 
I’ll be buying a Phi very soon and possibly more later on. I’m so pleased to see a company doing physical modeling synthesizers. It’s the ultimate form of synthesis IMHO.
I bought a brand new Korg Z1 back in the day. And although it was a bit more interesting than everything else available at the time, it wasn’t quite what I was expecting.
Just one read through the Phi user manual though and that is what I was expecting. I could never get bored with that lot or anything the future holds for these Anyma series synths!
Anyma Phi will be the best synth I’ve ever owned, I know that before I even buy it 
Squeak 
Sorry, I was just thinking out loud because squeak is a good model to have in physical modeling. Think of a huge, creaking old wooden door being closed slowly and eventually coming to a halt, or some rusty old iron swings out in the park, swaying in the wind.
A Squeak model would handle that and it’s similar to other modules in some respects since it involves friction, and it’s cool to feed other modules, it’s capable of some seriously eerie stuff when fed into resonators for example.
You could probably synthesise that from they available modules anyway though, couldn’t you ? Caveat: I have never tried.
Not necessarily. It depends on what is intended mathematically.
No doubt you could get something that approximates a Squeak model, but I doubt it would be as convincing and CPU efficient as a dedicated Squeak model would be.
You have to model the material as well as the friction, and I believe the math involved in modeling the transfer between the member generating the friction (a metal hinge for example) and the attached structure that is resonating (a wooden door for example) is different to that used for modeling the transfer for strings etc.
If I recall, a Squeak model is also great for impulses and generators that can have very favourable results in driving strings. Everything from short impulses to bowed instruments can benefit from it, so it can be thought of as much a utilitarian module as a model.
A generalized system that allowed entering a mathematical simulation equations/method could permit other models. But that would not be as easy for users to create, and might not be well behaved when run.
Other physical modellers do have that capability though. We need a new topic for that discussion. Perhaps – “Other Physical Modelled Sounds”.
I prefer to leave the model design to the developers, and maths was never my strong point anyway. I much prefer the building-block approach they have with Anyma.
… a door squeak is just a trumpet, so it should be possible …
Well someone obviously has access to the Brass model already 
OK. Winging it here.
One of the reed based oscillators, or perhaps a bowed string, or the two mixed, fed into the modal resonator.
Then the fun starts deciding what to control and how.
Then sometime later you can do a chorus of squeaks, with the Omega. A squeakus ?
No excuses, you should present this beautiful creation to the world and liberate your squeak!
So I’ve been trying to push this into wind instrument models a bit.
I don’t really like the octave range limitations on the Windsyo models so I don’t use those. This is also why I prefer stuff like XPresso/VL70m over stuff like SWAM/Kontakt as the range limitations get in the way.
So Flutey sound from western flutes to pan flutes are trivial on the Anyma engine and I’d say if it has a default wind instrument sound that’s it.
Saxophone and Oboe like sounds seem to very difficult to produce with the models.
Clarinety sounds are also possible with Artin BLOW near max pressure (closed one end) & max geometry (the shape of the instrument affects the sound). In fact with that you can hear portions of the range start to sound out like the lower ones having the unmistakeable sound of the tube in the bottom of the chalameau and clarion also comes across as flutey when it begins at the higher notes. The simulation throws off a bunch of extra harmonics so it’s best to throw a filter after the oscillator.
The only thing is the Clarinet should NOT be the outcome of Artin BLOW as the manual says that it “Simulates a conical single-reed instrument using a physical model”
Cones (Sax/Oboe/Bassoon) are different in harmonics from a Cylinder (Clarinet).
Cylinders only get odd harmonics while Cones wind up with all harmonics. It’s why the Clarinet doesn’t have a register key that goes up an octave like the conical instruments.
This is also consistent with the other pressure levels as it becomes flutey (cylindrical bore) and if you look at some of the Braids demo it’s really more a cylindrical pipe:
But when I look at the Braids code it seems like there’s supposed to be some sort of slope:
I’m not really sure how this implemented a cylinder and if I go down to 0 geometry I really don’t hear anything that would be conical. It’s also possible that it does implement it but the slope parameter is too aggressive so you only end up hearing the opening aperture as it dissipates the pressure before being shaped by it. Or it could be too low so it’s always effectively a cylinder and the geometry does exactly what it says on the label.
So there’s still not really a conical simulation which is why the oboe/saxophones are tricky but this probably also means they can get conical simulation together by adapting whats in Braids as it does seem to implement a cylinder just fine.
Once the conical simulation is together such that it really does open outward there also could be a parameter for the flare curve as I saw on the VL Visual Editor:
At any rate probably something @Hurolura may want to mention to someone at Aodyo to explore as that may be a bunch of extra functionality for a low amount of effort.
Edit: There is gentle slope but it’s a reverse cone like a recorder:
These fake real instruments from physical modelling get really hard to tell what you are hearing at times 
There’s elements of recorder and clarinet probably due to the bore not being drastic enough to wind up as one or the other.
Probably would allow for some interesting control over timbre if the slope/offset was configurable but now I’m less certain what it’s doing.
