I like the interface, the separation of the three DNA strands into their respective parameter sections is pretty intuitive when memory kicks in, and I prefer using my ears to tweak patches than using hundreds of virtual ‘knobs’.
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yeah i found its most fun to just generate patches and then interact with the branches and seeds for random
…the overall gui design is pretty unique and one of it’s very own kind to my eyes…
and as far as i know, once i got the official license, there is also a dark mode called night shift to choose…
dunno if this is also the case for that hal9000 meets graphic novel jungle branches front end main gui, but for all the other pages, it defenitly is…
i like dark mode…
meanwhile, genopatch is simply the best with a “little” help from machine learning/ai “friend” example in audio there is…it’s truly mindblowing…and this is only a first draft…with more than a decade in the making, ok, but a first draft anyways…
imagine syntplant 2.1 and what happens if all this gets attached to microtoniq…
tmi, tmi, tmi…optionparalysis, i hear/see/feel u coming for me…for all of us…
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I think it’s obviously a matter of taste. But I would argue that the graphics are more late '00, and I think no graphic designer in the world would be using that “style” in 2023. But I don’t want to say bad things about the only vst I would (and I will) spend 150 pound on. Could be really game-changing, I already love it
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I used it briefly last night and can say without a doubt it’s the most instantly impressive soft synth I’ve ever used. I caught a post on Twitter of someone using the genopatch and I honestly couldn’t believe my ears/eyes when I tried it myself.
The first thing I did was sample my syntakt pad presets into NI’s playbox and then bounce them into Synplant. I thought I was being clever trying to trip it up but what came out was stunning. My mind is just racing with ideas to try out when I get back. Very cool piece of kit.
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I think I meant more ‘inspired by’ than anything else, the execution is obviously more modern 
But yes, it very much has a look.
Wasn’t interested at first but I just tried the demo…
This thing is INSANE ! The amount of usable incredible sounds you can get with their genopatch is absolutely stunning !
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More and more videos I stumble across on YT seem to use bitwig…
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…hmmmmpf…this little piece of “simple” code is, just as bitwig, simply waaaaaay tooooooooo goooooood to be truu…for me, personally…
from now on, i’m officially lost in a constantly growing option paralysis…
i mean, damn, genopatching since two days now, hosted by bitwig, the last daw of my life, of course, and i can’t believe my ears…i’m doomed.
for so so many years, my main skill was, to create unheard otherworldly sounds and write a little song on top of that…that was my life!
and now, not only bitwig made all that easier than ever, this smart little 150 bux genious cheatmachine comes along and spits out endless arrays of sounds, every second one could be another candidate worth to use right away…
before, all my life, it took me hours and hours, sometimes days, to come up and create such unique and weird but meaningful sonic snippets…
i’m running out of words and ideas and concepts…it was never that easy, ever before…
i lost my way, my mission, everything that made me going and a happy creative mind…
my recording and performing days are coming to an end…puh…what’s next…?
i got no answer…
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Couldn’t agree more, Synplant is blowing my mind. Been on it for hours every day since launch.
My favourite moments so far have been recreating samples of my favourite bass patches from Monark and Diva, and having them playable across a keyboard without the issues inherent to playing samples across octaves, and running some of the drone stuff I made from my T-Resonator II and hearing the same depth and movement, actually recognising the sound of those filters self-oscillating into the reverb.
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I think as others have commented this use of tech is kinda where it’s at. There’s way too much AI chat but this is actually interesting. While there are sound designers out there I don’t think the majority of musicians go far beyond presets as the era of 64 presets in a hardware box is long gone.
It’s refreshing to see someone use this idea of taking a sound source and mashing it up with another to create a combination of unique sounds. Honestly I’m surprised it’s not more prevalent. The only synths I’m aware of that do something similar are Novum and Dune 3, which also allow cross generation of patches in different ways. I really like this as it just makes it easier to find new presets in within a smaller pool of starting points. Where synplant seems to be ahead is in the sheer volume of generative options.
I also think this solves an interesting riddle when it comes to sampling. People (myself included) have fretted over this idea that taking a commercial sound and reusing it is sketchy territory, even when mangled. But putting a sound into a synth that generates similar adjacent sounds means that your sound is not the same as the original. And so you can sidestep that problem completely.
Then you’re not sifting 17k presets, but making your own. It’s a good balance of originality and tech helping you out on paper for sure. In that context I can see why Flume and others use it as their main synth.
Definitely one I’ll look to trial (and nice to see a generous 3 weeks on this one too.)
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I would be very happy if they managed to put this in my iPhone.
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Synplant 1 while an excellent and highly original synth didn’t have this Genopatch functionality though. 
OP1f Update 🪴
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That processor can not handle ai patch generation in reasonable time for sure
True, but it should be able to handle the rest of the synth engine - and the creator has collaborated with TE in the past with Microtonic that makes the patches and po-32 to play them back, and he also made the CWO filter in the OP-1/F.
Of course, but it still had the seeding of a sound thing, right? I listened to him talk about it as his way of not buying the same synth as others and copying patches, and I guess the new geno stuff takes that even further.
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Yep. Gotta use those producer skills and commit to decisions fast. Regardless of the tech.
Then when you are done with tune. Take a break and just make a bunch of patches in the synth. Same way I treat my Lyra-8.
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Sure, it definitely always had a unique quality and way of making sounds that you’d be hard pressed to find in other plugins.