- Why are the EU and RU Division prices different?
RU production is attached to the USD and Ruble while EU production is attached to the Euro. Due to currency rate changes, production costs may vary and, consequentially, so can the net price. We try to keep both prices (EU and RU) as low as possible and change it periodically according to the going exchange rates.
- Are the EU and RU LYRAs’ sound and quality the same?
Absolutely. Both productions work from the same schematics and are built with crucial components of the same quality. Both productions get the most important components such as pots and switches from the same manufacturers. Also, both productions operate under the direct control of Vlad Kreimer.
- Why do different LYRAs sound slightly different?
The LYRA is a 100% analogue synthesizer like it was in 70s. There are no contemporary tricks that claim “almost like analogue synth” but in fact are not. But as a drawback, we can’t establish 100% control over the sound as it depends on every part, even a single resistor. Also, there are several versions of the LYRA-8. The difference is not significant and every version has its unique “strong side”, so there are no good or bad versions. You can get all distinctive LYRA sounds with every LYRA version.
- Noises, LFO clicks and oscillators bleeds.
1. All LYRAs have a quite noisy output and it’s a necessary part of the design.
I’ll try to explain why. I’ve applied some unusual (for the current synths) approaches in the circuit that create the distinctive Lyra sound.
For example, there is no VCA at the end of the chain that closes every time when the note is off and creates a pure silence.
Part of the circuit is open at all times and produces some noises.
In fact, Lyra’s envelope generators are part of the oscillators and have an impact on the pitch and waveform of it. It is also a kind of waveshaper at the same time.
It allows some complex and interesting behavior to take place if some FM is applied. But at the same time, it creates additional noises and bleedings.
If I would make it in a “normal” way we will get a quite boring machine with two simple waveforms and just several different sounds and we will lose 80% of its character,
or I will need to make the circuitry much more complex and make the price higher as well. And in this way, we also can lose a part of Lyra’s distinctive sound.
2. Between all parts of the Lyra, there is significant crosstalk. It creates many interesting subtle effects as everything can modify everything and make the sound breathe.
But as a drawback, we can hear silent oscillators in the sound of triggered oscillators, especially on a high tune.
This bleeding is a normal part of the behavior and we would once again lose a significant part of Lyra’s nature if I would try to make a perfect isolation.
3. The Lyra has a noisy delay, especially on a big time. The delay is Lo-Fi and the noise is a normal part of its work. The circuitry allows to use the delays much above its normal time and get a big delay and some cool abstract effects with the self modulation , but as a drawback there are audible noise in the maximum of TIME knobs position. I’m as the creator love this noise as it can create interesting soundscapes itself even without an input signal, if you use FEEDBACK, LFO, SELF MODULATION.
4. Clicks from the LFO. Honestly, this is the only noise that I don’t like in the LYRA and will be glad to get rid of.
I did several modifications to decrease it significantly but can’t haven’t been able to eliminate it yet completely.
To do this, I need to make the circuitry and construction significantly more complex and this would increase the cost as well.
But the clicks can be audible only with a lot of amplification in pure silence (when you don’t play at all) and can’t affect a real performance.
As a bottom line: All the noises and bleeds are either a part of the sound design or has a low volume and completely masks with the normal LYRA sound.
That is why you can’t hear it on the demo videos from the web.
You can try it yourself – when you play normally you don’t hear the artifacts, except if you set the distortion to a big gain (in this case any equipment will be noisy).
If you hear LFO clicks, for example during a normal performance, please record it WITH a normal LYRA sound (not in pure silence!) and send it to us with a photo or video of the controls setup.
If we will find the behavior irregular we will do the necessary repair or replacement.
In general, there are a large amount of digital and virtual instruments (part of them for free) with absolutely pure silence and stable and pure waveforms.
So I didn’t see any sense in making the same of such kind of an analogue synth.
My aim was actually to destroy this purity and stability that sound dead to me and create, instead, a kind of wild magic nature, a bit dangerous and unpredictable.
BTW we write that the LYRA has noisy circuitry and works in Lo-Fi, noise aesthetic in the very first lines of our sales letter. We do this to inform our customers and make sure that they are educated about their purchase.
- My LYRA has a kind of crackles \ harsh noise on some oscillators.
We got a small batch of ICs ( used in the voices oscillators) with unique properties that allow getting a very big range of tune on each voice, so even on the lower voices you can get very high notes and get infrasound on the higher voices. Also, with these ICs the FM is more deep, bright and crazy. But as a drawback, some voices (randomly from unit to unit) can have a kind of sub harsh noise (enharmonic oscillations) that appear only in high PITCH pots rate and are totally masked by the delay or chord playing. We decided to make a batch of LYRAs using these ICs because the benefits from these unique properties are much more than the drawbacks. If you would like to remove the harsh noises, set the pitch knobs from 50 to 70 percents and you will find a range of it where the harsh noises will be absent from all of the oscillators.