At the end of the 70s Wolfgang Palm developed wavetable synthesis. This was very successful and used by many synthesizer companies in the 80s and 90s. But this technology has its limitations. The main reason is that all sounds are harmonic. In nature this does not happen very often. Many sounds like a piano string have small offsets from the harmonic frequencies. This is even stronger in sounds like bells or percussion.

Infinite PRO overcomes this limitation.

The frequencies of the overtones created by Infinite PRO can be totally freely defined. So the sounds it produces are totally free in the frequencies of their overtones. This means that each partial wave can have an arbitrary frequency.

Moreover it is possible to move these overtones independently during the duration of a note.

This has always been my dream. A system which can reproduce all kinds of sounds and transform them into a universal set of parameters. Thus all these sounds are completely morphable. Wolfgang Palm

Another important part of most natural sounds is noise. Be it a flute or when a drumstick hits the drumhead - and this all can be reproduced in Infinite PRO.

Furthermore the noise source can be used to modulate the tonal part which results in very powerful effects.

Besides these new digital features, we still have the typical 24db Lowpass filter, 2 VCA with stereo out and effects. All this is controlled by 10 envelopes, 4 LFOs and a modulation matrix.

Maybe the greatest innovation in Infinite PRO is the Morpher. It is so easy to create new timbres and real-time effects by morphing the gains and frequencies of sounds with the X/Y controller. To get an impression of the morphing possibilities watch this short video.



Infinite PRO comes with more that 300 tonal resources, which can be loaded into the 5 fields inside the Morpher. But it does not stop there. You can edit these in detail on two extra pages and even analyse your own sounds in a sophisticated analyzer.

On the Sine Parameter panel, you edit the sine tracks with a set of parameters for each track. A track is the time sequence of one sine component over the full length of the sound. A 3D display gives a good impression of the whole resource.

Example of a 3D view showing a vocal resource which features strong pitch moves.

On the Sine Structure panel, you edit the fine structure of a track in a bar graph. A FREQ mode lets you do this for the frequency.

The Main Parameter page edits the program parameters like Oscillator Pitch, the VCF (a 24dB lowpass filter), gain envelopes and LFOs. PPG Infinite PRO is equipped with 10 envelopes. Some are fixed to a certain function, others can be freely connected with the matrix.

A sophisticated analyzer offers six modes to capture all kinds of sounds in the best possible way.