MATRIXSYNTH

Conductive Labs NDLR + Dreadbox/Polyend Medusa (Reworked Version)

Published on Nov 21, 2018 Genshi Media Group

"::| TO HEAR THE FULL RANGE OF FREQUENCIES, A GOOD PAIR OF HEADPHONES ARE HIGHLY RECOMMENDED |::

So this is a reworked version of the previous video. Specifically, I found that the Conductive Labs NDLR has a MIDI Polychain feature where I can spread the MIDI Channels of the PAD out to play Channels 4,5,6 - so that means I was able to turn the Dreadbox/Polyend Medusa's 6 Oscillators (using it's MIDI Channel per Oscillator feature) into a 3 Part Monophonic and 1 Part (three note) Polyphonic synth! Also, I added the Moog DFAM which is being Clocked Sync'd from the NDLR. A touch of Native Instruments Replika delay on the DFAM, and Valhalla Vintage Verb on the Medusa."

Dave Smith Instruments PolyEvolver Part. 3

Published on Nov 21, 2018 DKS SYNTH LAB

Previous posts.

Akai Tom Cat Kick vs. Disco Tom

Published on Nov 21, 2018 HardtekStudios

"Bringing back the Akai Tom Cat so everyone can hear the difference in the Kick instrument and the Disco Toms instruments, which works great as an alternate kick!"

The Beauty of Analog String Synthesizers: Wersi String-Orchestra

Published on Nov 21, 2018 HAINBACH

"Analog String Synthesizers are simple yet beautiful machines. Based on a simple synthesis method, they make it up with heavy modulation FX such a chorus and phasers. That is why I think that even today these have their place in a studio - its hard to mimic their shimmering tone with samples and plugins. They sound alive."

譫妄 - 鬼的影子 by 鬼的影子

ghost's shadow by ghost's shadow

via 鬼的影子:

"This track was a mostly analog hardware jam recorded live with a 2-track Revox PR99 1/4" reel to reel at 7 1/2 ips. Prior to recording I programmed drum tracks on a Roland TR-909 and TR-808, mixed via an old tube amp as I have run out of mixer channels. The kick is being sent to a Sherman Filterbank. The percussion is going through a channel of the Overstayer Saturator. The track also features a Roland SH-5 for the bassline, which is sequenced by a Make Noise Rene and triggered by a Doepfer Darktime (Rene trigger is not strong enough). TR-909 kick and SH-5 bass are on a group going through the other channel of the Overstayer Saturator. The obvious synth part is done with a Casio CZ-5000 of which the synth part was programmed by me from initialised patch. It is going through a ZVEX Lofi-Junky pedal, a Moog Phaser and Dr Scientist Cosmichorus. There is some subtle synth sounds (noise / fx) on L & R stereo field that is done by a PIN Portabella (modern EMS Synthi A clone) and the same sequence from Doepfer Darktime is playing some role in sequencing this from memory. The kind of ehtnic sound near the end of the track is a patch on a Make Noise shared system, using all of the modules in some way. I did a lot of tweaking on the shared system whilst recording. Also used is a Daking FetIII on percussion group and SH-5, and a Joe Meek Twin Q, Bellari RP-583 plus a couple of Valley People 610's on compression and side-chaining duties. Reverb is a spring reverb by IGS called Springtime, and two of its channels is used for a stereo synth bus, while one channel is on the TR-909 kick drum and one channel on the TR-808&909 percussion. I also have two distortion pedals (the red Chandler Limited Little Devil Coloured Boost & the blue Germanium Drive) on a stereo bus for synths, one for the left, one for the right and mix this bus in subtly. Mixed on a 8 Channel Toft Board. Mastered by myself for sound quality as oppossed to loudness by playing back the tape recording through a Thermionic Culture Vulture, followed by a Rockruepel Comp.Two, then a Tubetech HLT2a and finally a Rockruepel Limit.One before being recorded by a Tascam DA-3000.

About me:
I love analog machines and the older technology of the 90's, including tracks made live with hardware before producing with computers was all the rage. I like thinking of the sound generating gear as instruments, which is why I do not use a computer to make music (I don't consider the computer as a very good instrument to jam on, although it is possible as lots of other people demonstrate - such as my friend Skueue who shows how powerful a computer can be for jamming). A lot of my interest in music is closely related to machines, and without machines I may not have had such an interest in pursuing a hobby in music and sound design. My gear is not dissimilar a nice car to car enthusiasts, and I have chosen gear over owning a car, clothes shopping, fancy restaurants etc. I am not interested in fame, money or popularity and really appreciate people that do music, and art in general, for the love of it. I believe in making unique music based on going with what you feel rather than what you've heard others doing and trying to recreate something that's already been done. I use chinese characters as an artist name as most people will not be able to search for you, which ultimately makes the focus of building your brand name and being popular non-existant. This way, I can focus entirely on making music and not the associated things that come with it."

MC-8 Roland Microcomposer demo VHS tape 1978

Published on Nov 21, 2018 AnalogSynthMuseum

"MC-8 Roland Microcomposer demo VHS tape 1978"

Update via peahix:

"This isn't a demo VHS tape from 1978. It's stolen from my own MC8 demo video, the original of which you can see here: https://youtu.be/aCfqb8x1HFE

The music on my original video was replaced with a piece of music by Ralph Dyck taken from my MC8 blog"

Atlantean Depths - 3x Atlantis Sequenced By Metropolis Via Shifty

Published on Nov 21, 2018 Intellijel

"Shifty provides a powerful means to explode the functionality of a monophonic sequencer into a multi-voice melody factory.

In this case Metropolis is sequencing three Atlantis via Shifty. Planar 2 is modulating the Octave via the Aux A input to allow additional variation into the static sequence.

Effects are provided by Springray 2, an Electro-Harmonix Memory Boy, and a Boss PH-1 Phaser."