tiptopaudio.com
Thursday, December 20, 2012
【DEMO】Xhun Audio LittleOne Virtual Moog Little Phatty
Published on Dec 20, 2012 by musictrackjp
"DEMO by Katsunori UJIIE."
Korg MonoPoy Demo Strings and More HIQUALITY
Published on Dec 20, 2012 by ar2jr
"No midi, just pure tone shaping and key hitting :-) a little bit of reverb in Pro Tools HD but no other fx used. It's what the MonoPoly sounds like raw. The string sound on this synth is very charismatic and reminds a bit of the older rev 2 Prophet 5."
The obvious hook is that the Rev 2 Prophet-5 and the Mono/Poly had SSM filters while the Rev 3 Prophet-5 had CEM filters. The KORG Polysix also had SEM filters.
"No midi, just pure tone shaping and key hitting :-) a little bit of reverb in Pro Tools HD but no other fx used. It's what the MonoPoly sounds like raw. The string sound on this synth is very charismatic and reminds a bit of the older rev 2 Prophet 5."
The obvious hook is that the Rev 2 Prophet-5 and the Mono/Poly had SSM filters while the Rev 3 Prophet-5 had CEM filters. The KORG Polysix also had SEM filters.
SNAZZY FX WOW AND FLUTTER TEASE
Published on Dec 20, 2012 by snazelle
"Here it is....the finished module will be here early 2013"
"Here it is....the finished module will be here early 2013"
Doepfer A167 Basics
Published on Dec 20, 2012 by raulsworldofsynths
"Description of the Basic Features of the Doepfer A167 Comparator. Sound and Audio by Raul Pena. Sound Demonstration begins in next segment."
Doepfer A167 Offset and Outputs Part One
Published on Dec 27, 2012 by raulsworldofsynths
"A closer look at the output and offset options on the Doepfer A167 Comparator. Part One of two. Sound and Video by Raul Pena."
Doepfer A167 Offset and Outputs Part Two
Published on Jan 3, 2013 by raulsworldofsynths·190 videos
"A closer look at the output and offset options on the Doepfer A167 Comparator.This is Part Two of Two. Includes Oscillocope views of waveforms using the Dave Jones Design O'Tool. Sound and Video by Raul Pena."
Doepfer A167 Comparator
Published on Jan 10, 2013 raulsworldofsynths·191 videos
"A continued exploration of the Doepfer A167 Comparator. Includes sound examples of Offset and Oscilloscope views. Free Running ADSR example found in next video.
Sound and Video by Raul Pena."
Doepfer A167 Offset and Free ADSR Part Two
Published on Jan 17, 2013 raulsworldofsynths·192 videos
"Part Two of the Doepfer A167 Offset and Free ADSR segment. A continued exploration of the Doepfer A167 Comparator. Includes sound examples of Offset and Oscilloscope views.
Sound and Video by Raul Pena."
Also see:
Doepfer A106-1 Xtreme Filter Basics
Doepfer A117 DNG Basics and Percussion
Doepfer A155 Analog/Trigger Sequencer Basics
Doepfer A188-2 Tapped BBD Delay Module Basics
Doepfer A156 Dual Quantizer Basics
Doepfer A189-1 VBM Voltage Controlled Bit Modifier Basics
Ring Modulation of Basic Waveforms with Doepfer A114 Ring Mod
Doepfer A131 VCA Intro
Doepfer A101-2- LPG Modes
Sample and Hold with Doepfer A148
Doepfer A118 Filtering with A120 VCF Low Pass Filter
Doepfer A110 Filtering with A101-2 and A120
Doepfer A110 VCO /A145 LFO-Pulse Width Modulation
Doepfer A110 VCO Features and Functions Tutorial
Doepfer A188-1 BBD Basics
"Description of the Basic Features of the Doepfer A167 Comparator. Sound and Audio by Raul Pena. Sound Demonstration begins in next segment."
Doepfer A167 Offset and Outputs Part One
Published on Dec 27, 2012 by raulsworldofsynths
"A closer look at the output and offset options on the Doepfer A167 Comparator. Part One of two. Sound and Video by Raul Pena."
Doepfer A167 Offset and Outputs Part Two
Published on Jan 3, 2013 by raulsworldofsynths·190 videos
"A closer look at the output and offset options on the Doepfer A167 Comparator.This is Part Two of Two. Includes Oscillocope views of waveforms using the Dave Jones Design O'Tool. Sound and Video by Raul Pena."
Doepfer A167 Comparator
Published on Jan 10, 2013 raulsworldofsynths·191 videos
"A continued exploration of the Doepfer A167 Comparator. Includes sound examples of Offset and Oscilloscope views. Free Running ADSR example found in next video.
Sound and Video by Raul Pena."
Doepfer A167 Offset and Free ADSR Part Two
Published on Jan 17, 2013 raulsworldofsynths·192 videos
"Part Two of the Doepfer A167 Offset and Free ADSR segment. A continued exploration of the Doepfer A167 Comparator. Includes sound examples of Offset and Oscilloscope views.
Sound and Video by Raul Pena."
Also see:
Doepfer A106-1 Xtreme Filter Basics
Doepfer A117 DNG Basics and Percussion
Doepfer A155 Analog/Trigger Sequencer Basics
Doepfer A188-2 Tapped BBD Delay Module Basics
Doepfer A156 Dual Quantizer Basics
Doepfer A189-1 VBM Voltage Controlled Bit Modifier Basics
Ring Modulation of Basic Waveforms with Doepfer A114 Ring Mod
Doepfer A131 VCA Intro
Doepfer A101-2- LPG Modes
Sample and Hold with Doepfer A148
Doepfer A118 Filtering with A120 VCF Low Pass Filter
Doepfer A110 Filtering with A101-2 and A120
Doepfer A110 VCO /A145 LFO-Pulse Width Modulation
Doepfer A110 VCO Features and Functions Tutorial
Doepfer A188-1 BBD Basics
An Interview with E-mu's Founder Dave Rossum
This one in via David Vandenborn of DVDBORN on The MATRIXSYNTH Lounge. theEMUs.com has an interview up with E-mu's founder David Rossum. The following is just the first question and answer for the archives. Click through above for the full interview.
"I read on the internet once that you got inspired to build the first Emulator after having seen the Australian Fairlight CMI at the AES show in 1980. I also want to build a lot of stuff that I see – but I always fail miserably and can’t even get my head around it.
I obviously know that you build modular synthesizers and that you created the technology for keyboards for other companies like Sequential Circuits Inc. and Oberheim Electronics.
What made you so sure you could do a sampler? Had you been experimenting with digital circuitry and RAM based technology prior to this? Did you buy a Fairlight sampler to look at when developing the Emulator – or did you do it differently – from scratch?
To understand fully, you need some background: the situation in May 1980 was that we returned from AES to find that Sequential Circuits was refusing to pay the royalties they had promised, and that we had counted on to fund the marketing of the Audity - which we introduced at the show.
We needed a product soon. Scott Wedge, Marco Alpert and Ed Rudnick had been talking on the drive back from the show, and thought that the Fairlight had one and only one good feature - sampling. We had also seen a Publison Digital Delay that had a capture mode, and the captured (sampled) sound could be played with a control voltage/gate type synthesizer keyboard.
The guys came to me with their ideas, and we had the need for a new MI product quickly to replace the lost Sequential revenue stream.
E-mu was the first company to use a microprocessor in an MI product - our 4060 polyphonic keyboard and digital sequencer, introduced in 1976. We'd done all sorts of stuff with microprocessors - the Audity had a full blown real-time operating system I'd written.
We'd built our own Z-80 development system including disk interfaces, etc. The sequencer in the 4060 used 64K bytes of dynamic RAM. And as I've been previously quoted as saying, "Any asshole can design digital circuits." (Analog is a LOT harder).
We also had been consultants for Roger Linn on the circuit design for the LM-1, so we knew a bit about sampling as well. We'd played with COMDACs in the lab at E-mu as well.
The Fairlight used a separate RAM and a separate CPU for each voice. When Scott, Marco, and Ed came to me with their idea, I knew that such an approach was simply too expensive for an MI product. We'd just have another Audity-class product, competitive with the Fairlight.
So I saw that the key would be to use ONE CPU and ONE memory for all eight voices. The trick was getting the memory bandwidth to accomplish that. The solution was a combination of fast, cheap DMA chips and some FIFO buffers to give them big enough bursts so that the bus negotiation didn't hog too much bandwidth.
So the answer is that we never gave the slightest thought anything but designing the Emulator from scratch. I was revolutionizing the state of the art - building what was in my mind, not duplicating something that I'd seen. And the hardware was the easy part.
The software was the real challenge. The Audity we demo'ed at AES had about 10,000 lines of code, which I'd written in about 3 weeks. The Emulator code base was a similar size, but rather more complex in several ways. Getting both the hardware and software into a form for demonstration at January NAMM 1981 was a real challenge. And that leads to..."
Emu
"I read on the internet once that you got inspired to build the first Emulator after having seen the Australian Fairlight CMI at the AES show in 1980. I also want to build a lot of stuff that I see – but I always fail miserably and can’t even get my head around it.
I obviously know that you build modular synthesizers and that you created the technology for keyboards for other companies like Sequential Circuits Inc. and Oberheim Electronics.
What made you so sure you could do a sampler? Had you been experimenting with digital circuitry and RAM based technology prior to this? Did you buy a Fairlight sampler to look at when developing the Emulator – or did you do it differently – from scratch?
To understand fully, you need some background: the situation in May 1980 was that we returned from AES to find that Sequential Circuits was refusing to pay the royalties they had promised, and that we had counted on to fund the marketing of the Audity - which we introduced at the show.
We needed a product soon. Scott Wedge, Marco Alpert and Ed Rudnick had been talking on the drive back from the show, and thought that the Fairlight had one and only one good feature - sampling. We had also seen a Publison Digital Delay that had a capture mode, and the captured (sampled) sound could be played with a control voltage/gate type synthesizer keyboard.
The guys came to me with their ideas, and we had the need for a new MI product quickly to replace the lost Sequential revenue stream.
E-mu was the first company to use a microprocessor in an MI product - our 4060 polyphonic keyboard and digital sequencer, introduced in 1976. We'd done all sorts of stuff with microprocessors - the Audity had a full blown real-time operating system I'd written.
We'd built our own Z-80 development system including disk interfaces, etc. The sequencer in the 4060 used 64K bytes of dynamic RAM. And as I've been previously quoted as saying, "Any asshole can design digital circuits." (Analog is a LOT harder).
We also had been consultants for Roger Linn on the circuit design for the LM-1, so we knew a bit about sampling as well. We'd played with COMDACs in the lab at E-mu as well.
The Fairlight used a separate RAM and a separate CPU for each voice. When Scott, Marco, and Ed came to me with their idea, I knew that such an approach was simply too expensive for an MI product. We'd just have another Audity-class product, competitive with the Fairlight.
So I saw that the key would be to use ONE CPU and ONE memory for all eight voices. The trick was getting the memory bandwidth to accomplish that. The solution was a combination of fast, cheap DMA chips and some FIFO buffers to give them big enough bursts so that the bus negotiation didn't hog too much bandwidth.
So the answer is that we never gave the slightest thought anything but designing the Emulator from scratch. I was revolutionizing the state of the art - building what was in my mind, not duplicating something that I'd seen. And the hardware was the easy part.
The software was the real challenge. The Audity we demo'ed at AES had about 10,000 lines of code, which I'd written in about 3 weeks. The Emulator code base was a similar size, but rather more complex in several ways. Getting both the hardware and software into a form for demonstration at January NAMM 1981 was a real challenge. And that leads to..."
Emu
Korg MS-20 SN 147963 In Original Box
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via this auction
yousenditworks (RSS)
"This synth sounds amazing, the hi and low pass filters are great. This one has the earlier Korg 35 "noise" filter on the low pass, which gives it an extra gnarly sound. Amazing for bass, leads, effects and especially great for the external processing and running anything you want through it, drums, mics, guitars."
via this auction
yousenditworks (RSS)
"This synth sounds amazing, the hi and low pass filters are great. This one has the earlier Korg 35 "noise" filter on the low pass, which gives it an extra gnarly sound. Amazing for bass, leads, effects and especially great for the external processing and running anything you want through it, drums, mics, guitars."OBERHEIM OBSX
Analogue Solutions Leipzig S
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via this auction
"LIKE NEW IN THE BOX Analogue Solutions Leipzig-S. As we are not an Analogue Solutions dealer it is being sold without warranty but you have the supreme benefit of getting this piece new in the box at an unbelievable price! Analogue Solution's quality is exceptional in the synth world and you can purchase with confidence! We offer a 14 day inspection period to make sure the synth is perfect for you.
Pure analogue voice and modulation circuitry.
Fat Moog style filter.
2 VCOs with Glide and Sub-VCOs.
Osc Sync & Cross-Mod
Plenty of modulation routing possibilities.
Analogue step sequencer – with plenty of clocking options.
Audio input so can be used as a sound processor.
Rugged steel/aluminium construction.
MIDI In for software sequencer control."
"LIKE NEW IN THE BOX Analogue Solutions Leipzig-S. As we are not an Analogue Solutions dealer it is being sold without warranty but you have the supreme benefit of getting this piece new in the box at an unbelievable price! Analogue Solution's quality is exceptional in the synth world and you can purchase with confidence! We offer a 14 day inspection period to make sure the synth is perfect for you.Pure analogue voice and modulation circuitry.
Fat Moog style filter.
2 VCOs with Glide and Sub-VCOs.
Osc Sync & Cross-Mod
Plenty of modulation routing possibilities.
Analogue step sequencer – with plenty of clocking options.
Audio input so can be used as a sound processor.
Rugged steel/aluminium construction.
MIDI In for software sequencer control."
Roland MKS-80 Super Jupiter
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via this auction
thestudiobaron07 (RSS)
via this auction
thestudiobaron07 (RSS)
Analog synthesizer JAM - minimoog model D - ARP 2600 - synthesizers.com
Published on Dec 20, 2012
"Jamming, jamming..."
Update:
Analog Baiao - modular synthesizer - minimoog D - ARP 2600
Published on Dec 20, 2012
"Jamming, jamming..."
Update:
Analog Baiao - modular synthesizer - minimoog D - ARP 2600
Published on Dec 20, 2012
BACH: Christmas Oratorio on mobile devices - by DigiEnsemble Berlin featuring Tobias Berndt
Published on Dec 20, 2012
"The DigiEnsemble Berlin exclusively uses digital devices to perform the aria "Großer Herr, o starker König" from the famous and glorious Christmas Oratorio by Johann Sebastian Bach sung by Tobias Berndt.
For two years now, the DigiEnsemble Berlin has explored the opportunities of mobile music. This aria, however, is a very important step in the course of the musician's quest, due to the high qualitative aspiration and requirements of the piece. The DigiEnsemble Berlin physically premiers the piece together with the singer Roman Trekel at the Berlin Cathedral on the 16th December 2012.
The realization of the musically challenging aria is a culmination for the mission of acquiring virtuous playing techniques with smartphones. Matthias Krebs chose this aria consciously with the intention of accomplishing a signifying step in the ensemble's development. Experts like music professors from the Berlin University of the Arts were consulted to optimize the musical adaption and musical interpretation.
Furthermore, the technical level was enhanced by utilizing a number of elaborate controllers. An important sound quality improvement for this musical interpretation was enabled by a new motion control app called "MIDI In Motion" by Florian Schwehn.
In the process of the project, the digital devices became serious musical instruments on a high level of proficiency and differentiation that has not been reached before.
"The DigiEnsemble Berlin exclusively uses digital devices to perform the aria "Großer Herr, o starker König" from the famous and glorious Christmas Oratorio by Johann Sebastian Bach sung by Tobias Berndt.
For two years now, the DigiEnsemble Berlin has explored the opportunities of mobile music. This aria, however, is a very important step in the course of the musician's quest, due to the high qualitative aspiration and requirements of the piece. The DigiEnsemble Berlin physically premiers the piece together with the singer Roman Trekel at the Berlin Cathedral on the 16th December 2012.
The realization of the musically challenging aria is a culmination for the mission of acquiring virtuous playing techniques with smartphones. Matthias Krebs chose this aria consciously with the intention of accomplishing a signifying step in the ensemble's development. Experts like music professors from the Berlin University of the Arts were consulted to optimize the musical adaption and musical interpretation.
Furthermore, the technical level was enhanced by utilizing a number of elaborate controllers. An important sound quality improvement for this musical interpretation was enabled by a new motion control app called "MIDI In Motion" by Florian Schwehn.
In the process of the project, the digital devices became serious musical instruments on a high level of proficiency and differentiation that has not been reached before.
15/8 around the clock
Published on Dec 20, 2012 by Ebotronix
Roland Jupiter 6 & EF303 (15&30 steps)
Logic sequencer 6 tracks
fx Boss SL 20 BSS DPR 402 Lexicon PCM 80 SPL Gold Mike
drums Jupiter 6 odd time 15/8
Update:
15/8 o'clock at Jupiter
Published on Dec 20, 2012
Roland Jupiter 6 & EF303 (15&30 steps)
Logic sequencer 6 tracks
fx Boss SL 20 BSS DPR 402 Lexicon PCM 80 SPL Gold Mike
drums Jupiter 6 odd time 15/8
Roland Jupiter 6 & EF303 (15&30 steps)
Logic sequencer 6 tracks
fx Boss SL 20 BSS DPR 402 Lexicon PCM 80 SPL Gold Mike
drums Jupiter 6 odd time 15/8
Update:
15/8 o'clock at Jupiter
Published on Dec 20, 2012
Roland Jupiter 6 & EF303 (15&30 steps)
Logic sequencer 6 tracks
fx Boss SL 20 BSS DPR 402 Lexicon PCM 80 SPL Gold Mike
drums Jupiter 6 odd time 15/8
Styx Fooling Yourself Keyboard Solo Roland Jupiter 8
Published on Dec 20, 2012 by synthartist69
"This was a first take for me on this so I didn't get the exact sound or my timing perfect on the solo but here it is. It seems like I read where he used an Oberheim 4 voice for the lead. I think that the other lead parts in the song are two oscillators tuned 2 octaves apart. I know that my Alesis Ion has that Fooling Yourself patch on it and it is a great one! One of my all time favorite songs by Styx!
I do not claim any rights to the music in this video. This is merely fair use under Section 107 of the Copyright Act."
1979 ARP 2600 Ad
via Retro Synth Ads where you'll find the write-up.
"ARP 2600 synthesizer "The ARP for the studio. The ARP for the stage." full page colour advertisement from the September 1979 issue of Contemporary Keyboard."
A Visit to the Mattson Mini Modular Studio
This thing is going to be a beast. If you are in the market for a hardware sequencer you are going to want to check this one out. One thing I really like about the Mattson SQ816 is the individual gate outs for each step. You can have a 16 step sequence with the main out driving the main sequence while having each step drive different drum modules. In essence you get a main melody sequencer as well as 16 drum triggers. You can of course gate anything including non percussive sounds. The sequencer also supports MIDI out.
Also pictured is George's giant EML Mattson modular. It consists of vintage EML components and new designs from George Mattson. It is a monster. See the Mattson EML label for more, and don't miss the light show. :) To the right of the EML Mattson modular and in the other pics you'll see the Mattson Mini Modular in different case formats. A eurorack system sits on a shelf over the long horizontal case.2nd set of pics here.
2012 Apocalypse Not!
2012 Apocalypse Not! from Atomic Shadow on Vimeo.
"This is a soundtrack for the Mayan inspired 2012 non-event on December 21st. It features EMW-200, DotCom, SSL (DDVCO! Thank you Mrs. Shadow and Merry Christmas), STG, Krisp1 devices. It also makes use of an Eico sine wave generator with various effects including some pedals on the floor. It is a live improvisation captured from two angles.
The final film was created from my raw footage by filmmaker Jeff Gustafson using stock footage from atomic bomb films of the 50s. His was the genius idea to run the bombs backwards, thus underlining the NOT part of the title.
See you all in 2013!
https://twitter.com/AtomicShadow www.atomicshadow.com"
Hinton Instruments & Wiard Team up with Bantam Jack Patching
"Due to astute bulk purchasing we can now offer all our audio processing and synthesizer modules with bantam/TT jacks for the same price as the mini-jack or banana versions. All the modules have balanced/unbalanced compatibility and may be connected to other balanced audio systems using low cost moulded patch cables without the previous higher price tag.
Bantam or TT (tiny telephone) jacks are widely used in professional audio for high density and reliable patching. They have the feel and ruggedness of 1/4″ jacks, but only take up the panel space of inferior, fragile 3.5mm jacks without the compatibility issues between manufacturers.
Seamless patching between synthesizers and professional studio equipment is now possible without special interfaces. Studio outboard may become integrated into a synthesizer patch and synthesizer modules used to process audio from a studio jackfield."
via Wiard: "Why Bantam Jacks?
In brief, you get the reliability and solid feel of a professional audio connector in a compact footprint (only slightly larger than a 3.5mm jack)..."
Fortress Modular Eurorack Desk from World Grid Modular
"Designed for minimum footprint and maximum height whilst still being free standing.
Allows you to grow your case size with your module collection, suitable for desktop or floor.
Cascading power and switch port options allow you to share power between active and passive boards and sections allowing you to shut down individual rows of your modular setup independantly.
All the usual World grid modular case innovations including:
Removable powerboard trays.
Super strong triple layer design.
Passive Air flow design.
Laser artwork
Available in Australia at Equinox Oz."
Drivkraft - All Is Moog by Drivkraft@Play
"Another track made with only The Realistic Concertmate MG-1.
All drum and synth sounds made with The Realistic Concertmate MG-1. (Yes, it's a Moog)
www.vintagesynth.com/moog/mg1.php
No MIDI, no sync. Recorded from mono output to line in on laptop.
All audio sequensed and processed in Cubase 5.
Additional filter - FabFilter
Delay - FabFilter
Reverb - D16 Group
EQ and dynamics - Waves
A bit crooked but it's alright. ;)"
via Anders Olofsson on The MATRIXSYNTH Lounge
Moog Factory Tour: An Introduction | UniqueSquared.com
Published on Dec 20, 2012 by Uniquesquared
"To post a comment go to our blog: http://www.uniquesquared.com/blog/pro-audio/moog-factory-tour-an-introduction/
To purchase Moog gear visit our website: http://www.uniquesquared.com/moog
For pro audio questions, tips, and advice visit our forum: http://forum.uniquesquared.com/
The first in a series of videos where Jim Debardi from Moog Music Inc. takes us on an exclusive tour of the Moog Factory in Asheville, NC.
Be sure to Fan us on Facebook, Follow us on Twitter, and Subscribe to our YouTube Channel:
http://www.facebook.com/UniqueSquared
http://www.twitter.com/UniqueSquared
http://www.youtube.com/user/UniqueSquared"
"To post a comment go to our blog: http://www.uniquesquared.com/blog/pro-audio/moog-factory-tour-an-introduction/
To purchase Moog gear visit our website: http://www.uniquesquared.com/moog
For pro audio questions, tips, and advice visit our forum: http://forum.uniquesquared.com/
The first in a series of videos where Jim Debardi from Moog Music Inc. takes us on an exclusive tour of the Moog Factory in Asheville, NC.
Be sure to Fan us on Facebook, Follow us on Twitter, and Subscribe to our YouTube Channel:
http://www.facebook.com/UniqueSquared
http://www.twitter.com/UniqueSquared
http://www.youtube.com/user/UniqueSquared"
STUDIO ELECTRONICS ATC-1 TONE CHAMELEON SN C 1409
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"Studio Electronics ATC-1 with Moog Filter Cartridge"
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"Studio Electronics ATC-1 with Moog Filter Cartridge"
ROLAND SH-101 SN 221569
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tokyowax (RSS)
tokyowax (RSS)
KORG MS-20
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SN 144340 or 144360
via this auction
SN 144340 or 144360
Sequential circuits studio 440
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"This 440 works perfectly and comes with one floppy disk "wine country 441--1 Performance series" and power cord. This 440 has a new floppy drive, new pads, and a new slider from Wine country. The backlight does not work but the screen is still visible..."
via this auction
"This 440 works perfectly and comes with one floppy disk "wine country 441--1 Performance series" and power cord. This 440 has a new floppy drive, new pads, and a new slider from Wine country. The backlight does not work but the screen is still visible..."
SCI Sequential Circuits Six-Trak SN 000336 with Original Box
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via this auction
"Sequential Circuits 6-Trak SCI Model 644 in great cosmetic condition with all of the original packaging including the original manual and footpedal! There are some very minor dings on the wood panels but it's still in far better condition than any other Six Trak I've / the technician has ever seen considering it's age! Recently given a full servicing by a professional technician, Tim of Portland Custom Shop. The Six Trak is a 6-Voice Multi-Timbral Analog Synthesizer with a 6-track sequencer with 2 banks. It also has an arpegiater with trigger in (turn the speed knob on the arpeggiator/sequencer all the way down and run your trigger signal into the footpedal in, slightly hidden but pretty nifty!) that has an up/down and programable "assign" mode. You can also save 100 user patches..."
via this auction
"Sequential Circuits 6-Trak SCI Model 644 in great cosmetic condition with all of the original packaging including the original manual and footpedal! There are some very minor dings on the wood panels but it's still in far better condition than any other Six Trak I've / the technician has ever seen considering it's age! Recently given a full servicing by a professional technician, Tim of Portland Custom Shop. The Six Trak is a 6-Voice Multi-Timbral Analog Synthesizer with a 6-track sequencer with 2 banks. It also has an arpegiater with trigger in (turn the speed knob on the arpeggiator/sequencer all the way down and run your trigger signal into the footpedal in, slightly hidden but pretty nifty!) that has an up/down and programable "assign" mode. You can also save 100 user patches..."
Yamaha CS-15D Dual Channel Synthesizer
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via this auction
abertronix (RSS)
via this auction
abertronix (RSS)
Vintage BINSON ECHOREC BABY
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via this auction
"We've been tape and disc echo fanatics for years and have accumulated an extraordinary collection of echo units, some of which are being sold to finance other studio purchases.
We've recently sold a Binson PE603T, a mint Echorec B2 (see feedback below) and an amazing Baby Binson; we have an excellent Echorec 2 coming up for sale soon as well as valve and solid state Copicats (please see other listings) and various spring reverbs.
Offered for sale here is a valve (tube) Baby Binson disc echo from the late fifties or early sixties in reasonable cosmetic condition (see photos below) and good working order. Everything works as it should and this unit sounds good for an original Binson - the echoes are characterful and warm. I've owned this machine personally for around ten years - it has been well-maintained and looked-after during that time and has had minimal use as it was my back up machine.
We've tested this against our benchmark Baby (a fully-restored machine from Eric at ESE Music) and it performs well, though is not up the same standard (as one would expect): all echo head combinations are as even in level and tone as can reasonably be expected from a 50 year-old vintage machine such as this.
Please be aware that these units require some looking after and that regular maintenance is the key to keeping this in good working order.
The motor starts well and the disc spins smoothly, however after not being used for some time it can be noisier when first started and can take a little longer to get up to speed; this is especially likely to be the case after shipping. It recently had a new replacement transformer fitted - supplied by Binson UK.
The photos clearly show the condition - some past damage to the clear plastic disc cover and one knob has a piece missing. The input and output have been converted to 1/4 inch jack sockets and the power input is on an earthed IEC socket to comply with modern safety standards.
Binson Echorecs are amazingly-designed and engineered: where a tape echo's (ie Copicat) input sound is recorded to tape, on a Binson it is recorded onto a circular spinning disc which has replay heads poisitioned around it. It is possible to select single and repeating echoes or reverb-like swells - these units have a sound all of their own. The green Magic Eye valve glows with the level of signal and looks fantastic at night (or on a darkened stage). There is a richness to the sound of these older units - the repeats modulated by the ageing transport mechanism in a most appealing way.
Binsons were one of the must-have pieces of equipment for bands in the early sixties, alongside the Fender Stratocaster and Vox AC30. Famously-used and abused by Barrett, Gilmour, Waters and Wright of Pink Floyd in the 60s and early 70s (Binsons are very much in evidence on Live at Pompeii and can be seen on photos from many Floyd live shows), Binsons are increasingly sought-after by studios, mix engineers and producers for their unique sound.
Binsons do tend to encourage experimental noise-mongering.
The repeats are not hifi - this is after all 50 year-old technology - if you want perfect repeats, buy a digital delay.
Authentic fifties slapback echo, Hank Marvin, psychedelic Syd Barrett, Pink Floyd, Jimmy Page/Led Zeppelin: all these sounds and more can be had from this little baby.
This is set to 240v but other voltages can be selected - it may be necessary to fit a higher-value fuse for certain voltages.
For optimal performance, the jockey-wheel, motor pin and flywheel should be kept clean; the magnetic band should be regularly cleaned and oiled; the heads should be regularly cleaned.
Please be aware that it is a vintage unit and may not take kindly to being shipped. It will be well-packed, but if it's not behaving as it should on receipt, please get in touch. Please be aware that to own a machine such as this, you must be prepared to have it regularly checked over and maintained by a competent technician: it should withstand being shipped, but some calibration may be necessary."
"We've been tape and disc echo fanatics for years and have accumulated an extraordinary collection of echo units, some of which are being sold to finance other studio purchases.We've recently sold a Binson PE603T, a mint Echorec B2 (see feedback below) and an amazing Baby Binson; we have an excellent Echorec 2 coming up for sale soon as well as valve and solid state Copicats (please see other listings) and various spring reverbs.
Offered for sale here is a valve (tube) Baby Binson disc echo from the late fifties or early sixties in reasonable cosmetic condition (see photos below) and good working order. Everything works as it should and this unit sounds good for an original Binson - the echoes are characterful and warm. I've owned this machine personally for around ten years - it has been well-maintained and looked-after during that time and has had minimal use as it was my back up machine.
We've tested this against our benchmark Baby (a fully-restored machine from Eric at ESE Music) and it performs well, though is not up the same standard (as one would expect): all echo head combinations are as even in level and tone as can reasonably be expected from a 50 year-old vintage machine such as this.
Please be aware that these units require some looking after and that regular maintenance is the key to keeping this in good working order.
The motor starts well and the disc spins smoothly, however after not being used for some time it can be noisier when first started and can take a little longer to get up to speed; this is especially likely to be the case after shipping. It recently had a new replacement transformer fitted - supplied by Binson UK.
The photos clearly show the condition - some past damage to the clear plastic disc cover and one knob has a piece missing. The input and output have been converted to 1/4 inch jack sockets and the power input is on an earthed IEC socket to comply with modern safety standards.
Binson Echorecs are amazingly-designed and engineered: where a tape echo's (ie Copicat) input sound is recorded to tape, on a Binson it is recorded onto a circular spinning disc which has replay heads poisitioned around it. It is possible to select single and repeating echoes or reverb-like swells - these units have a sound all of their own. The green Magic Eye valve glows with the level of signal and looks fantastic at night (or on a darkened stage). There is a richness to the sound of these older units - the repeats modulated by the ageing transport mechanism in a most appealing way.
Binsons were one of the must-have pieces of equipment for bands in the early sixties, alongside the Fender Stratocaster and Vox AC30. Famously-used and abused by Barrett, Gilmour, Waters and Wright of Pink Floyd in the 60s and early 70s (Binsons are very much in evidence on Live at Pompeii and can be seen on photos from many Floyd live shows), Binsons are increasingly sought-after by studios, mix engineers and producers for their unique sound. Binsons do tend to encourage experimental noise-mongering.
The repeats are not hifi - this is after all 50 year-old technology - if you want perfect repeats, buy a digital delay.
Authentic fifties slapback echo, Hank Marvin, psychedelic Syd Barrett, Pink Floyd, Jimmy Page/Led Zeppelin: all these sounds and more can be had from this little baby.
This is set to 240v but other voltages can be selected - it may be necessary to fit a higher-value fuse for certain voltages.For optimal performance, the jockey-wheel, motor pin and flywheel should be kept clean; the magnetic band should be regularly cleaned and oiled; the heads should be regularly cleaned.
Please be aware that it is a vintage unit and may not take kindly to being shipped. It will be well-packed, but if it's not behaving as it should on receipt, please get in touch. Please be aware that to own a machine such as this, you must be prepared to have it regularly checked over and maintained by a competent technician: it should withstand being shipped, but some calibration may be necessary."
UVI Announces Vintage Legends Featuring 6 Iconic Vintage Synthesizers
Vintage Legends | Official trailer UVI©
Published on Dec 20, 2012 by UVIofficial
Follow-up to: UVI Teases Virtual Kurzweil K250, Yamaha CS-M Series, & Rhodes Chroma
"Six brand-new soft synths with the brilliant depth and character of classic hardware. Instantly call up inspiration from : the Yamaha CS-70M, CS-40M and CS-20M, the crazy Italian Elka Synthex, the Rhodes Chroma, the king of FM - the Yamaha DX1, the rare DK Synergy and the classic K250 revisited.
From modern prog and pop to dance, electro, hip-hop and experimental, Vintage Legends is a deep and versatile sonic resource that's sure to inspire artists working in any style.
Special introductory price : $299 instead of $349
❐ UVI Official Website : http://www.uvi.net
❐ Buy Vintage Legends : http://bit.ly/uvi_vintage-legends
Take 6 iconic vintage synthesizers, carefully restore them, create a massive array of presets and deeply multi-sample them, professionally process and master the sounds, infuse them into the industry proven UVI Engine -- giving you endless sound shaping options, then wrap the results in immaculately prepared GUIs and you've got UVI Vintage Legends.
At UVI we've been producing sound for over 20 years and designing our own software for over 12.
We've found that virtual instruments with a foundation in sampling have a more defined character and distinct sound quality than those based on digital modeling. The trouble with sample-based instruments is that they're typically lacking in expression and flexibility; one sample, one sound.
UVI hybrid instruments are more flexible than a conventional ROMpler and more authentic than a simulation, giving you the best of both worlds. Vintage Legends integrates over 30,000 samples from classic synths into the acclaimed UVI Engine, giving you the distinct character of hardware with the added control, convenience and power of a modern digital instrument.
Taking these classic tones into new sonic territory, the UVI Engine delivers massive unison spreads, abundant polyphony, thick-modeled filters, drive, reverbs, modulation, FX and much, much more. These instruments will never need to be serviced or go out of tune, and they're far easier to lug around than hardware.
SIX POWERFUL VINTAGE MACHINES REVISITED
Vintage Legends comes packed with over 800 presets expertly crafted by our sound design team, giving you a huge library of unique sounds and textures.
Each instrument features an intuitive and evocative GUI with a versatile and easy-to-navigate control set helping you to quickly shape sounds to fit your needs, transform them for wild inspiration or crack open the unit and design your own.
Timeless sounds. Infinitely customizable. Compatible with everything.
◆ UVI CS-M - Vintage Japanese Power
◆ UVI SYNTHOX - The Real Italian Stallion
◆ UVI KROMA - Premier Analog Synth
◆ UVI FMX1 - The Gem of FM
◆ UVI U1250 - Dawn of the ROM Age
◆ UVI ENERGY - Additive Fury (bonus only available in Vintage Legends)
CS-M, SYNTHOX, KROMA, FMX1 and U1250 are available as individual instruments for $99 each.
More info & screenshots : http://bit.ly/uvi_vintage-legends
COMPATIBILITY
With the free UVI Workstation 2.0.8 (required version), UVI Vintage Legends can work:
• as a stand-alone instrument, compatible with Mac & PC
• as a VST, AudioUnit, RTAS and MAS plug-in.
With MachFive 3 - make the most of all editing features included!
* Yamaha, Elka, ARP, Rhodes, Kurzweil, D.K, CS70M, CS40M, CS20M, DX1, Synthex, Chroma, K250, K1000 and Synergy are trademarks of their respective owners and are not affiliated, endorsed, connected or sponsored in any way to UVI or any of our affiliate sites; therefore do not be confused between UVI and these brands.
** iLok required."
Published on Dec 20, 2012 by UVIofficial
Follow-up to: UVI Teases Virtual Kurzweil K250, Yamaha CS-M Series, & Rhodes Chroma
"Six brand-new soft synths with the brilliant depth and character of classic hardware. Instantly call up inspiration from : the Yamaha CS-70M, CS-40M and CS-20M, the crazy Italian Elka Synthex, the Rhodes Chroma, the king of FM - the Yamaha DX1, the rare DK Synergy and the classic K250 revisited.From modern prog and pop to dance, electro, hip-hop and experimental, Vintage Legends is a deep and versatile sonic resource that's sure to inspire artists working in any style.
Special introductory price : $299 instead of $349
❐ UVI Official Website : http://www.uvi.net
❐ Buy Vintage Legends : http://bit.ly/uvi_vintage-legends
Take 6 iconic vintage synthesizers, carefully restore them, create a massive array of presets and deeply multi-sample them, professionally process and master the sounds, infuse them into the industry proven UVI Engine -- giving you endless sound shaping options, then wrap the results in immaculately prepared GUIs and you've got UVI Vintage Legends.At UVI we've been producing sound for over 20 years and designing our own software for over 12.
We've found that virtual instruments with a foundation in sampling have a more defined character and distinct sound quality than those based on digital modeling. The trouble with sample-based instruments is that they're typically lacking in expression and flexibility; one sample, one sound.
UVI hybrid instruments are more flexible than a conventional ROMpler and more authentic than a simulation, giving you the best of both worlds. Vintage Legends integrates over 30,000 samples from classic synths into the acclaimed UVI Engine, giving you the distinct character of hardware with the added control, convenience and power of a modern digital instrument.Taking these classic tones into new sonic territory, the UVI Engine delivers massive unison spreads, abundant polyphony, thick-modeled filters, drive, reverbs, modulation, FX and much, much more. These instruments will never need to be serviced or go out of tune, and they're far easier to lug around than hardware.
SIX POWERFUL VINTAGE MACHINES REVISITEDVintage Legends comes packed with over 800 presets expertly crafted by our sound design team, giving you a huge library of unique sounds and textures.
Each instrument features an intuitive and evocative GUI with a versatile and easy-to-navigate control set helping you to quickly shape sounds to fit your needs, transform them for wild inspiration or crack open the unit and design your own.
Timeless sounds. Infinitely customizable. Compatible with everything.
◆ UVI CS-M - Vintage Japanese Power
◆ UVI SYNTHOX - The Real Italian Stallion
◆ UVI KROMA - Premier Analog Synth
◆ UVI FMX1 - The Gem of FM
◆ UVI U1250 - Dawn of the ROM Age
◆ UVI ENERGY - Additive Fury (bonus only available in Vintage Legends)
CS-M, SYNTHOX, KROMA, FMX1 and U1250 are available as individual instruments for $99 each.
More info & screenshots : http://bit.ly/uvi_vintage-legends
COMPATIBILITY
With the free UVI Workstation 2.0.8 (required version), UVI Vintage Legends can work:
• as a stand-alone instrument, compatible with Mac & PC
• as a VST, AudioUnit, RTAS and MAS plug-in.
With MachFive 3 - make the most of all editing features included!
* Yamaha, Elka, ARP, Rhodes, Kurzweil, D.K, CS70M, CS40M, CS20M, DX1, Synthex, Chroma, K250, K1000 and Synergy are trademarks of their respective owners and are not affiliated, endorsed, connected or sponsored in any way to UVI or any of our affiliate sites; therefore do not be confused between UVI and these brands.
** iLok required."
Patch Chord Erthenvar + KOMA Elektronik FT201
Published on Dec 20, 2012 BY DavideModu
"Patch Chord Erthenvar+KOMA Elektronik FT201+Doepfer MAQ 16/3+PlanB Model 15 VCO+Boss RE 20 Space Echo
Audio: http://www.mixcloud.com/Dave77/patch-chord-erthenvar-koma-elektronik-ft201/"
"Patch Chord Erthenvar+KOMA Elektronik FT201+Doepfer MAQ 16/3+PlanB Model 15 VCO+Boss RE 20 Space Echo
Audio: http://www.mixcloud.com/Dave77/patch-chord-erthenvar-koma-elektronik-ft201/"
IK Multimedia Releases AmpliTube Jimi Hendrix for iOS
Experience Jimi Hendrix™ tone on your iPhone, iPod touch, and iPad
December 20, 2012 – IK Multimedia, in collaboration with Authentic Hendrix, LLC, is proud to announce the release of AmpliTube Jimi Hendrix™ for iPhone/iPod touch, and AmpliTube Jimi Hendrix for iPad™, the first multi-FX modeling apps to offer genuine Jimi Hendrix™ tone for guitarists.
The AmpliTube Jimi Hendrix™ mobile Apps offer models of Hendrix’s actual amps, cabinets and effects, so that anyone can reproduce his tone or tweak it and make it their own. The presets are arranged in discography format, making it easy to dial up the right gear and settings to replicate the guitar sound from virtually any song in his catalog. Use IK’s iRig or iRig STOMP interfaces to get the best spot-on emulations of the Hendrix gear.
The Apps provide two historically accurate amp models: JH Gold (based on Marshall® JTM 45™), “the” amp that Hendrix used almost exclusively from 1968 on, and JH Dual (based on a Fender™ Dual Showman), each with a matching cabinet.
Five effects are included: Uni-V (based on Univox™ Uni-Vibe), Octa-V (based on the Roger Mayer™ Octavia), Fuzz Age (based on the Arbiter® Fuzz Face®), Noise Filter (from AmpliTube), and Wah 46 (based on the Vox™ V846 wah, and free after registration).
In the powerful Song Player window, users can directly purchase Hendrix songs such as “Hey Joe,” “Fire,” “Red House” and many others to play along with. The Song player can also load songs from the user library, or via Wi-Fi and File Sharing; and it provides a Speed Trainer and a vocal-eliminator.
The Apps are equipped with a single-track recorder that can be expanded to 4 or 8 track self-contained studios with mixers and master effects, for the iPhone and iPad Apps respectively.
Pricing and Availability:
AmpliTube Jimi Hendrix™ for iPhone/iPod touch or iPad are available on the App Store℠ for $14.99 / €13.99. Owners of AmpliTube can obtain the Hendrix models through In-App Purchase after updating to the latest version.
For more information, please visit:
www.ikmultimedia.com/hendrix
www.ikmultimedia.com"
Remember, you can run your synths through these as well.
iTunes:
IK Multimedia
iPads & More on eBay - Don't miss the Daily Tech Deals
Animoog v2.0.0 Adds Audiobus, Grateful Dead & More
• Scale Lock
• Note Hold Function
• Battery Indicator
• Accelerometer as a Mod Source
• Audiobus Compatibility
• Load/Save MIDI CC maps
• Sonoma Audiocopy/Audiopaste integration
• Double-Tap to delete Path points
Now Available in the Animoog Store:
• New 4-Track recorder (for iPad 2 or above)- Now you can record, edit, loop, import from iTunes and export to Soundcloud all from within the Animoog world. As a gift to Animoog users, the 4-Track recorder is completely free through Dec 31, 2012.
• Grateful Dead Expansion Pack- An incredible new Timbre/Preset pack created from a live performance by the Grateful Dead at the Carousel Ballroom on 2/14/68"
iTunes:
Animoog - Moog Music Inc.
iPads & More on eBay - Don't miss the Daily Tech Deals
Rob Papen SubBoomBass RE for Propellerhead Reason
"SubBoomBass RE has been carefully crafted to provide you with the tools to create fresh new bass lines. It includes unique tuned drum percussion samples which are great for Hip Hop and RnB basses but can also be used to add rhythm flavour to your tracks.
Also check out the innovative 'Wave-sequence' feature which will open up brand new sonic possibilities for your music.
Other features included are two effects slots which can be modulated using midi from any of the synthesizer parts."
Click here for all posts on SubBoomBass including overview and demo videos.
This Is Not The End (original instrumental with Animoog 2 and Eigenharp)
Published on Dec 20, 2012 by Geert Bevin
"A first composition with Animoog 2 and my Eigenharp Alpha. I'm using a single sound patch in Animoog that totally changes based on how I touch the keys on the Eigenharp. The sound ranges from something akin to a polyphonic theremin to percussive glass sparkles as well as everything in between. This patch was based on one of Animoog's Acoustic Expansion Pack patches.
Animoog 2 has improved its MIDI handling tremendously and together with an iConnectMIDI interface, I'm able to send the Eigenharp expression data to Animoog at full rate without any decimation. Creating and playing music with Animoog is now a very emotional experience. Currently this only reacts to polyphonic aftertouch, but I'm hopeful that Moog might ultimately add full support for Voice-Per-Channel MIDI, maybe even at 14-bit resolution.
Animoog sounds amazing to me and is amongst the top software synths I've played."
The Eigenharp reminded me of a Christmas tree so I'm giving this one the holidays label.
iTunes:
Animoog - Moog Music Inc.
iPads & More on eBay - Don't miss the Daily Tech Deals
"A first composition with Animoog 2 and my Eigenharp Alpha. I'm using a single sound patch in Animoog that totally changes based on how I touch the keys on the Eigenharp. The sound ranges from something akin to a polyphonic theremin to percussive glass sparkles as well as everything in between. This patch was based on one of Animoog's Acoustic Expansion Pack patches.
Animoog 2 has improved its MIDI handling tremendously and together with an iConnectMIDI interface, I'm able to send the Eigenharp expression data to Animoog at full rate without any decimation. Creating and playing music with Animoog is now a very emotional experience. Currently this only reacts to polyphonic aftertouch, but I'm hopeful that Moog might ultimately add full support for Voice-Per-Channel MIDI, maybe even at 14-bit resolution.
Animoog sounds amazing to me and is amongst the top software synths I've played."
The Eigenharp reminded me of a Christmas tree so I'm giving this one the holidays label.
iTunes:
Animoog - Moog Music Inc.
iPads & More on eBay - Don't miss the Daily Tech Deals
Dot Com Modular FM Bell Test
Published on Dec 20, 2012 by FatSynthDude
synthesizers.com
"Using a two-thousand dollar synth to emulate the sound of a hundred dollar synth. I must be doing something wrong, right? XD
This is an idea I've been kicking around for a while but haven't been able to act on until recently. I love FM synthesis, but like so many other FM fans, the interface of the Yammies is rather infuriating to me. I've always thought it would be fun to do something like this on a modular where not only would there be no menus, but with the patch cables, it would become a lot easier visualize the algorithms. I just did an upgrade to my Dot Com system to where I'm up to five oscillators now. This is an emulation of a 4-op FM synth a la DX100 or TX81Z emulating a bell sound. Configuration is simple: One oscillator acts as a modulator for a second oscillator, and that's replicated for a second series run in parallel to the mixer. (TX81Z users, imagine algorithm 5.) The fifth oscillator acts as a sync source to keep everything stable. All waveforms are sine. This 'vid' begins with just the raw oscillators being played with. Then, the two filters are introduced (a high-pass filter and the Moog filter set to 24db slope). Afterward, some reverb and chorus are brought in from the Lexicon MX300.
I'm kinda hating myself for going as long as I have without dumping some money into my lowly Dot Com system, but after getting to play with this, I'm definintely committing myself to bringing more modules into the system (and hopefully investing in one of those sexy Box11 cabinets!)"t
synthesizers.com
"Using a two-thousand dollar synth to emulate the sound of a hundred dollar synth. I must be doing something wrong, right? XD
This is an idea I've been kicking around for a while but haven't been able to act on until recently. I love FM synthesis, but like so many other FM fans, the interface of the Yammies is rather infuriating to me. I've always thought it would be fun to do something like this on a modular where not only would there be no menus, but with the patch cables, it would become a lot easier visualize the algorithms. I just did an upgrade to my Dot Com system to where I'm up to five oscillators now. This is an emulation of a 4-op FM synth a la DX100 or TX81Z emulating a bell sound. Configuration is simple: One oscillator acts as a modulator for a second oscillator, and that's replicated for a second series run in parallel to the mixer. (TX81Z users, imagine algorithm 5.) The fifth oscillator acts as a sync source to keep everything stable. All waveforms are sine. This 'vid' begins with just the raw oscillators being played with. Then, the two filters are introduced (a high-pass filter and the Moog filter set to 24db slope). Afterward, some reverb and chorus are brought in from the Lexicon MX300.
I'm kinda hating myself for going as long as I have without dumping some money into my lowly Dot Com system, but after getting to play with this, I'm definintely committing myself to bringing more modules into the system (and hopefully investing in one of those sexy Box11 cabinets!)"t
Electro harmonix Cathedral [ Reverb ]
Published on Dec 20, 2012 by KickSenior
======= Kick.S Music =====
・iTunes http://itunes.apple.com/jp/artist/kick.s/id466224974
・Beatport http://www.beatport.com/artist/kick-s/219200
・Bandcamp http://kicks1.bandcamp.com/
・Discogs http://www.discogs.com/digital?artist=Kick+S
・Amazon http://www.amazon.co.jp/s/ref=ntt_srch_drd_B005NB29NW?ie=UTF8&field-keywo...
・TECHNO.TO http://www.techno.to/search.php?aff_id=679ae5e49008738d769b0dda89aee793&a... ===== Blogger =====
http://electronica-mini.blogspot.jp/
acidlab Miami & x0xb0x
Synthtronica
Published on Dec 20, 2012 by Apps4idevicesMusic
"apps4idevices.com/read/synthtronica SynthTronica is a spectral synthesiser that creates a huge range of sound possibilities using the advanced spectral signal processing of Formant Distortion Synthesis. To put things more simply, it uses a spectrogram to create the main sound, then uses a combination of filters, pulse waves and reverb to further shape the sound. You can create your own Formants using the iPads built in mic, import wav files through iTunes file sharing or simply audio paste files you've created in other apps. Formants can even be created directly from performances you record in the app, and easily trimmed using the Formant editor. The next unique feature is the multi-touch filter screen which allows up to 11 touches, which is like using 11 separate filters at once. It also has a multi-stage envelope for greater sound control, you set the amounts in decibels as well as the time it takes to evoke each stage. Finally, it not only let's you record, but also let's you overdub performances or just play to a backing track while you record. It doesn't have MIDI yet but I believe it is coming. I really love the sounds I can create with this synth, it's easy to navigate and is still the only fully featured spectral synth available. Even just for the filters alone, I have to rate this synth as ... A Killer App!
Review by Nick Trass"
iTunes:
SynthTronica - Leisuresonic
iPads & More on eBay - Don't miss the Daily Tech Deals
"apps4idevices.com/read/synthtronica SynthTronica is a spectral synthesiser that creates a huge range of sound possibilities using the advanced spectral signal processing of Formant Distortion Synthesis. To put things more simply, it uses a spectrogram to create the main sound, then uses a combination of filters, pulse waves and reverb to further shape the sound. You can create your own Formants using the iPads built in mic, import wav files through iTunes file sharing or simply audio paste files you've created in other apps. Formants can even be created directly from performances you record in the app, and easily trimmed using the Formant editor. The next unique feature is the multi-touch filter screen which allows up to 11 touches, which is like using 11 separate filters at once. It also has a multi-stage envelope for greater sound control, you set the amounts in decibels as well as the time it takes to evoke each stage. Finally, it not only let's you record, but also let's you overdub performances or just play to a backing track while you record. It doesn't have MIDI yet but I believe it is coming. I really love the sounds I can create with this synth, it's easy to navigate and is still the only fully featured spectral synth available. Even just for the filters alone, I have to rate this synth as ... A Killer App!
Review by Nick Trass"
iTunes:
SynthTronica - Leisuresonic
iPads & More on eBay - Don't miss the Daily Tech Deals
Gieskes Voice-Rec Eurorack
Published on Dec 20, 2012 by ggijs
http://gieskes.nl/eurorack/?file=voice-rec
Voice-Rec and HD-Rot and Scratch-Tonewheel and A147 and A160 and ...
Published on Dec 20, 2012
http://gieskes.nl/eurorack/?file=voice-rec
http://gieskes.nl/eurorack/?file=rot
Schnauzer Radio Orchestra - in the studio part I
Published on Dec 20, 2012 by schnauzerstudios
"Album out on Basta Music February 25, 2013. Probably.
Stay tuned at: http://www.facebook.com/SchnauzerRadioOrchestra
http://www.BastaMusic.com"
I don't know what I'm looking at, but it caught my attention. Feel free to ID the gear.
16 Step - VVV+SEM - Experiment
Published on Dec 20, 2012 by Eric Beam
http://rhythminmind.net/1313/?p=4530
"An Oberheim SEM-PRO + ValhallaVintageVerb Experiment.
SEM-PRO sequenced via Overkorn 3, thru Octatrack, & ValhallaVintageVerb.
Drums = DRM1 mk3 sequenced via MPC3000, thru ValhallaVintageVerb."
Not to be confused with Valhala?
kosm - gravity sequencer for Android - showing all operating modes
Published on Dec 20, 2012 by 01101001011001110110
"Showing all modes of operation ( hold / emitter / 360 ) in a messy display of bouncing particles. Special attention goes to the new emitter mode : tap rhythmically for automatic creation of particles at the interval of your desire. You can get more musical results than the clusterf--- in the video by using care and some experimentation. You should be able to create some very pleasing rhythmic soundscapes.
Demonstrated on Asus Nexus 7 tablet. Should run on any device with Android OS 2.3 and up.
You can get kosm for free here on Google Play : https://play.google.com/store/apps/details?id=nl.igorski.kosm"
"Showing all modes of operation ( hold / emitter / 360 ) in a messy display of bouncing particles. Special attention goes to the new emitter mode : tap rhythmically for automatic creation of particles at the interval of your desire. You can get more musical results than the clusterf--- in the video by using care and some experimentation. You should be able to create some very pleasing rhythmic soundscapes.
Demonstrated on Asus Nexus 7 tablet. Should run on any device with Android OS 2.3 and up.
You can get kosm for free here on Google Play : https://play.google.com/store/apps/details?id=nl.igorski.kosm"
Xmas Synth Jam with KORG iPolysix
Published on Dec 19, 2012
"Xmas Jam with Synth Studio KORG iPolysix on Apple iPad.
merry christmas, happy knobbing and all the best for the next year!
www.app-sound.com"
iTunes:
KORG iPolysix - KORG INC.
iPads & More on eBay - Don't miss the Daily Tech Deals
"Xmas Jam with Synth Studio KORG iPolysix on Apple iPad.
merry christmas, happy knobbing and all the best for the next year!
www.app-sound.com"
iTunes:
KORG iPolysix - KORG INC.
iPads & More on eBay - Don't miss the Daily Tech Deals
Buchla 100 Craziness
Published on Dec 19, 2012 by djangosfire
"Testing modules - a bit of a caffeinated freak out"
"Testing modules - a bit of a caffeinated freak out"
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MATRIXSYNTH - EVERYTHING SYNTH
© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
