"Taking my favorite pedal and converting it over to euro has to be one of the more difficult tasks I have accomplished to date. Something that is as well designed as this Space pedal is, I had to bring all my skill sets in order to really add what I believe is the next level. If you are familiar with this pedal then I don't have to tell you that it is already great on its own. But the little CV demon in me would not rest as it was always asking, "what if you could control all of those knobs with CV?" This has been an ongoing effort for a year or more now, and I finally can say I am happy with how it has turned out! Pricing and availability to be announced."
Roland System 101 ~ 102
Jupiter 6 BP pad (€uropa chiptune)
EF 303 Sequencer ( harmonic minor)
FX: Akai MFC 42, Alesis 3630, Aphex model 104
Lexicon PCM 80/90
Kenton Pro 2000
Moog CP 251
mackie the mixer²
Rane SM 26
vid #1677
"MOOG NAMM 2017 Exclusive DON BUCHLA graph paper notebook, folded poster, & ballpoint pen. These souvenir items were only available at the Moog booth at NAMM 2017. They made several different notebooks with illustrations of synth pioneers who passed away in 2016. This is the Don Buchla notebook. The poster shows the rest of the designs. All items are in new condition. Please study pics for further details."
"A piece for multi-tracked analogue synthesiser. The synth is the Arturia Matrixbrute. No other instruments and no outboard effects were used. The sound path including effects is all analogue as far as the digital recording which was made using Cubase as a simple multi-track recorder with no use of midi or any editing. The piece consists of 7 improvised takes overdubbing what was done the take before. Mixing was done on the fly. Each overdub uses ONE patch only as its starting point. Three of the patches include analogue sequences generated by the Matrixbrute. These were not synchronised to anything.
This is NOT posted as a device to say 'analogue is better' the analogue/digital debate is as pointless as arguing about whether red is better than green. Be thankful we have both."
"Yamaha created a special 'Premium Collection' of sounds for the Yamaha MOTIF XF and MOXF keyboards, which included a set of sounds created by sound specialist Peter Jung. These sounds were sampled directly from a Yamaha CS-80 keyboard, and then painstakingly built and prepared for the XF (and later MOXF) keyboards. This three-part series demonstrates those sounds."
"FutureRetro777 + Nozoïd OCS-2 + Make Noise 0-Coast, with support from TR-808 (kick), Frostwave Fat Controller (CV/gate to 0-Coast), Koma Kommander (controlling multiply and decay on 0-Coast) and Moog Minifooger Delay (on FR777). Roland Aira SBX-1 (for sync) and TR-808 are off camera.
Recorded imperfectly direct to computer + mixed with ambient sound."
"We put Roland's Aira Scooper through its paces and see what it can do to a TR-606 and a TB-03. We also demo some of the modular capabilities of the unit with help from a Korg SQ-1."
"A variation of the Todd Barton 'Krell' patch, using Make Noise modules and the 0-Coast. The patch is self-playing, no sequencer or MIDI was used to generate the notes or pitches, and the Tempi was muted. Random voltage generators choose the pitch and duration of the notes.
Two mono tracks (one for each synthesizer voice) were recorded into Ableton Live on a PC through a Focusrite 18i8, with a stereo reverb on each track. The scope for each voice is just for visuals for this video (0-Coast on the left, Eurorack case on the right). Audio was exported from the same Ableton Live session seen in the video."
"Here's a live performed and recorded one take eurorack modular techno patch. Started off with a little qu bit chord testing and patch evolved into this detroit influenced techno . Enjoy"
"For free downloads of my music, you can find me on Bandcamp:
https://schtang.bandcamp.com/
Or Soundcloud:
https://soundcloud.com/schtang
Another totally Live and DAW-free jam! Recorded in one take :)
I'm primarily known for my rhythmic stuff, and usually the drum portion is the central focus of my music - but this time I decided to challenge myself and make something totally ambient. With all parts combined I felt like I kinda captured the atmosphere of the forest floor.
The latest acquisition to the studio - The Moog Sub37 - provided a dank and very mellow oscillation throughout the piece, sometimes making eerie bird noises, sometimes deep warm bass throbs. This was a single patch, and I sequenced it using the E2 to go up and down in pitch.
The E2 was the brain of the setup, and provided all the complementary melodies, gurgles, kalimba type delays and the main rhythmic element.
The ESX1 brought some interesting one shots, hand percussion and long gritty delay sounds and really rounded out that rainforest feel.
Thanks for watching!
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If you have any comments, critiques or discussion please don't be afraid to leave a comment below! Discussion is appreciated :)
You may notice the little decal on my Electribe 2 - It's called an Electribe 2 Shift Skin and it's a wonderful product from the people at CremaCaffeDesign. They make all sorts of synth gear to help you in the studio! Check out this product and many more here:
http://cremacaffedesign.com/project/electribe-skin/
"A quick eurorack modular synth jam with Melu Instruments' module 'Freak', which is a digital dual VCO with phase-synced modulation.
Here it's pretty much the vanilla unit, I applied only small amounts of spring reverb from my TTSH and light limiting. The module is driven by external sequencer and ADSR envelope generator, with output of oscillator 2 routed through a VCA for some (blunt) on/off gating."
"Space Music, YES. An imagined moon base on Ganymede off Jupiter.
Modular synth for the bass line, percussion and a 16th note octave sequence.
The Oberheim/Dave Smith OB6 for a starting arpeggio, the Roland System 8 for some bridge chords and the Behringer DeepMind 12 for reverb-drenched chorus chords.
The main bass line sequence and percussion were generated by STG Soundlabs Time Modules. The bass sounds realized on the Moslab 901 VCO's and 904-A LPF.
The sixteenth note line introduced halfway in is the synthesizers.com Q119 sequencer to an Ian Fritz/Doug Slocum Double Dekka Ultrasonic VCO fed to two EG's and a Yusynth Minimoog filter.
Delays included Modcan dual delay, Lexicon MX200 (x2) and Behringer DD400.
The snare is a TipTop Audio SD808.
Played live in the studio and recorded to a single stereo track in Cubase. Video recorded with an iPhone7 and edited in Final Cut Pro."
"The Maxim MDS 1000 is a 1:1 design clone of the classic Simmons SDS 5. How close a clone you may ask? Well, I was able to use SDS V schematics to repair the MSD1000!
The majority of the board is consumed with logic chips for the preset bank selection. Other than that its very basic where you have tone , noise and bend as you main generators, followed with a Decay envelope. As you can see I picked up this unit in very sorry but complete state (with some original Maxim SDS Copy drum pads).
Due to cheap production of the PCB it suffered from a lot of broken solder joints, and some horrible layout. Traces will break and lift almost no matter what you do when working on the PCB. The Main connector between the front panel and the PCB is a major point of pain and I ended up running point to point wires to stop this failing in future. I still have not fixed the logic on the Low tom and the Bass Tom needs a new SSM 2044 and Sensitivity potentiometer.
All in all if you can find one at a good price (and you have the ability to do some tweaking of the Filter and noise inside the unit) you have a source of true analog SDS V sounds at what should be much less cost than an original."
It can also be synced to midi clock if you want to program patterns and run them internally.
Replacing the original distortion found in the older works with a 'ruiner' hybrid ring modulator / distortion which gives it greater command of and a more dynamic range within the bizzare. Under pinned with a Korg monopoly drone, microwave pad and sid chip arpeggio. Shifting form clean to increasingly damaged as the set runs.
Adhereing to a formula of creating machines that are capable of hitting extremes but at the same time maintaining a very high degree of control. Once mastered they're fluid and capable and unique instruments. Perfect for those with a liking for experimentation, blured boundaries and none linear workings.
