I think this shot wins, hands down, as the best one of the event.
The videos include:
"Paul Maddox running his excellent "Phoenix" polysynth skin on the Chameleon"
"Scott Gravenhorst's Gateman poly played by Mark Smith"
"Peter Swarbrick demonstrates Juergen Haible's Tau Pipe Phaser"
"A P3 driving a modular"
"George shows his all analogue sound generation synth including ADSRs and with BBD effects - one voice at the moment"
Update via Chris: check out this image for a striking resemblance. I thought the shot looked familiar!
ASHEVILLE, N.C. (July 2008) – Owners of the Moog Voyager and Little Phatty synths can now significantly upgrade their capabilities via free downloads from the Moog Music website, moogmusic.com.
The new Voyager 3.4 Operating System features extensive local control options, new touch surface features and enhanced pot resolution. All the great sonic capability of the Little Phatty Stage Edition is enhanced with the addition of an arpeggiator in the Stage II. And for controlling LFO and Arpeggiator rate, the Stage II has a new Tap Tempo and MIDI sync capability. Topping it all is the addition of a new bank of presets.
“Our goal is to continue to deliver value to our core customer base and these new free software releases will make many of them feel as if they have a completely new synth,” said Chris Stack, Moog Marketing Manager.
There are two types of upgrades available for the Voyager and Little Phatty operating systems:
Voyager: A free software upgrade (for owners with version 3.0 or above) is available for download at http://moogmusic.com/voyager/ (under the “software” tab). A hardware upgrade is available for customers who have an older model of the Voyager (OS revision 2.5 or lower, built before August, 2005) increasing their current single bank of 128 presets to seven banks of 128 for a total of 896. This upgrade is available as a field upgrade for $265 or as a factory upgrade for $365. Customers who choose to upgrade will then be able to take advantage of all the latest software features in Version 3.4.
Little Phatty: Software upgrades for the Little Phatty Stage Edition are available for free download at http://moogmusic.com/littlephatty/ (under the “software” tab). If Stage Edition customers want to add the MIDI over USB capability of the Stage II, a hardware-based upgrade is available as a field upgrade for $100 or factory upgrade for $150.
How to program analog synthesizers from Ethan Winer on Vimeo. "This 20 minute tutorial shows how to program analog-style hardware and software synthesizers. Topics include oscillators, ADSR envelope generators, filters, LFOs, and much more. Waveforms are shown on an oscilloscope to better understand what's happening under the hood."
YouTube via ucapps "MP3 with better audo quality available at midibox.org
Bassline demo played on a MIDIbox SID V2 in a MB-6582 case made by Wilba.
0:03 first bassline starts to play 0:10 selecting different sequences, drums played from a sampler 0:17 "pumping" effect realized by sending the bassdrum to the sidechain of a compressor 0:25 checking the new O23 feature: bassline played unisono 0:33 changing the oscillator phase offset 0:47 detune 1:05 disabling the O23 functions 1:15 second bassline w/ external delay Fx starts to play 1:22 showing the V-meter function in bassline mode 1:47 activating oscillator synch, second oscillator played with constant pitch 2:23 activating ring modulator, played with different pitches 2:55 tweaking cutoff/VCA release/O23 pitch (distortions are SID internal) 5:38 second bassline with detuned oscillators "
"PSPSeq is a free homebrew application for composing music on the Sony PSP handheld game system. PSPSeq contains both realtime synthesis and sample playback capability, along with multiple FX modules of widely varying types for modifying instruments in countless ways. PSPSeq also has a powerful and unique step sequencer for triggering samples and arranging loops into full songs.
Key features of PSPSeq:
- up to 16 independent audio tracks per song
- a wide variety of synthesizers from traditional virtual analog and FM to Karplus-Strong
and unique digital oscillators with parameter controls rarely seen in commercial synths
- WAV file playback with looping, pitch shift, and configurable start/end points
- many FX algorithms from digital filters and waveshapers to bitmasks and decimation
- all synthesizer parameters can be set to unique values on a per-step basis
- step sequencer with configurable step length, swing, highly accurate BPM, and tap tempo
- probabilistic sequencing: the decision to retrigger to be based on a 0-100% probability
rather than a boolean yes/no operation
- song sequencing with 100 different loops per song, 1000 measures per song, and loop
repeat capability
- load and save of synthesizer presets between songs
- record loops and songs to WAV" http://www.dspmusic.org/psp/
"2003 Alesis Ion. All sounds programmed by WC Olo Garb. Video editing by WC Olo Garb. ||| Syntezatory.prv.pl Videos: showing you not what a synthesizer can do, but what a man can do with a synthesizer."
"1972 Moog Sonic Six. This synth is currently listed on eBay: item #130238825211. This is a quick demo showing some of its features, definitely not a comprehensive demo. Also I cover the two main problems this unit currently has:
1) There is a problem with the lower portion of the keyboard, where the pitch sort of does a "bump and glide" down to those notes after playing higher notes. It's a bit unpredictable and hard to describe- just watch the video. Not sure what the source of this problem is.
2) The modulation input for the ring mod is currently not working. In the video I demonstrate that the signal input works (Osc B), but the mod input switch does nothing. Again, not sure of the source of this problem.
Apart from these issues (which should be fix-able by a qualified tech), and a few missing knobs, slider caps and screws (replacements should be available), the synth works quite nicely.
The oscillators have been calibrated, and once warmed up, they hold their tuning well. All the key contacts seem to be in good shape and the keyboard has a nice, playable feel to it.
This unit features the earlier non-Moog filter.
The audio was recorded direct. There's also and onboard speaker which works well and sounds nice."
images via this auction "take a simple organ 'divide down' sawtooth oscillator as the basic sound source for unrestricted polyphony and throw the whole thing through a chorus unit. Add simple vibrato, a choice of registers and and a simple attack/release envelope shaper and you have the perfect recipe for rich strings. That the Roland RS202 could deliver silky string sounds is undisputed - it sounded gorgeous and I remember being full of envy when a friend of mine bought one and let me play it (and I borrowed it whenever I could!). It was simple to operate, a joy to use and as soon as you played it, a unique sound just dribbled out through those rear panel jacks! The RS202 wan't quite as 'mushy' as other, competing string synths of the time and it had its own sonic identity. The RS202 came in its own flight case... It had controls for tuning and master volume and various large rocker switches that allowed you to select different string sounds: Strings I and Strings II (an octave up from Strings I). Like other string synths of the era, there was also a brass sound that could be selected and, like other string synths of the era, it was next to useless! No.... it was the string sound(s) that defined the RS202. At the heart of the RS202's string sound was Roland's 'ensemble' or chorus effect. For whatever reason, Roland got this just right not only on the RS202 but also in the chorus effects pedals that they (and their subsequent subsidiary company, Boss) were to release. This rich ensemble effect was enough to guarantee the RS202's success. However, unlike the competition of the time, each key also had its own envelope shaper so that each note articulated properly. This was a huge improvement on other such string synths at the time and made the RS202 far more playable and expressive - it's just a shame that the sound's attack was limited to just two preset values determined by the setting of a single grey rocker switch labelled 'SOFT ATTACK'. By way of compensation, there was at least a totally variable 'SUSTAIN' (i.e. release) control so all was not lost. The other grey 'TONE' rocker switch allowed you to select two different timbres for the string or brass sound. The RS202 was also 'bi-timbral' with different sounds for the bottom two and top three octaves respectively and flexibility was enhanced by the fact that the lower and upper sections were (almost) completely independent of each other thus you could have solo 'cello in the bottom half of the keyboard and a lush string ensemble in the upper half of the keyboard. Or you could have combinations of lower and upper brass and strings and so on according to the settings of the five identical rocker switches for each lower / upper section. Two sliders allowed you to balance the two sections."
images via this auction "STRINGS, CHORUS (choir), PIPE ORGAN. But the BRASS settings are acting up. You can play them with the BASS knob turned all the way down, but they sound a little distorted and when you turn up the BASS knob, they sound like a self-oscillating resonant filter."
images via this auction "It is fully loaded with 4 drum pads, 2 cymbal pads, and a foot pedal. Each pad, with the exception of one of the cymbals and the foot pedal, is assignable to quite a few different sounds (i.e. 4 different snare sounds, 6 different tom sounds, handclaps, etc.). The bass and cymbal sounds that are not changeable are able to be affected by the various bends.
There are 8 different styles of preprogrammed beats each with 2 different main beats. You can also play only the beat, only the backing music, or both together.
The other functions of this instrument are the keyboard scratchpad and mic input. These features are affected by the distortion bends, including the mic input! There are several different selectable scratchpad sounds, and 4 different keyboard sounds.
The bends include 5 distortion switches, which can be used individually or in various combinations for nice distortion sounds. In combinations they also affect the tone of the sounds. There is also a knob for pitch adjustment, with on/off switch, which affects all of the units sounds, from demonic lows to chipmunk highs. There is also a 1/4 inch output.
The sound clips below were recorded from the output directly into the mixer without any additional effects. The first track is me playing the electronic drums and the next 2 are having fun with the preprogrammed beats. In the last one I got it to glitch out by playing with the pitch control and random buttons. It is not easy to get this thing to start glitching, but when it does it produces some awesome sounds, enjoy!
"My build of the VoS sequencer. Bought the PCB, had most of the parts already.
They also sell varying levels of kits, or prebuilt, so whatever your skill/interest level, a VoS is within reach. http://www.curiousinventor.com/kits/v...
Instead of pots and knobs I used some sliders I had lying around. Upgraded the LEDs to some big fat obnoxious blue ones I'd been using for throwies and such. Case used to house the firing controls to an MX missile.
Face plate is 1/8 inch aluminum stock from some Amazon seller. Small Parts I think. Anyway. Laid it out on the back side, drilled out the pilot holes with a 2mm bit, then went larger as needed. Filed down all the rough edges, then sanded it all down til it was 1200 grit smooth and gave it 3 coats of glossy clear coat. Looks nice.
Used a router attachment on my Dremel to do the slider holes. They're rough, but they work. Cleaned them up with some files. Next time I do it on a sub-plate and just cut one big hole. Pots and knobs are soo much easier. =P
Mounted the PCB to the face plate with 1 inch standoffs. Battery holder wound up on the plate too. I went so far as to drill holes for them on the bottom of the case, then realized that this would *suck* when it came time to change out the batteries, or whatever. Bad idea. Definitely mount to faceplate.
The build went smooth, everything worked correctly except, predictably, the sliders. I had never worked with sliders before, and didnt have any docs on these, so I winged it. First try was wrong. Second try was closer. Third try was correct. Sliders are much more intuitive than knobs. Linear.
Next step is to label this thing. I can't keep referring to my chart. =/ Maybe I'll hand paint it.
So, the video.
Sawtooth is from the Blacet VCO. Meaty little bastard. Filter is the Harvestman Polivoks clone. Nasty, unpredictable, awesome. Envelope generator is another Blacet. Rest is explained in the vid.
Anyway, here's 2 minutes of me messing around with it. Enjoy. =]
Oh, and if you want to hear the project this will be used with, check out my work at http://www.myspace.com/endif
