Friday, June 20, 2014
Division 6 Morpheum Test Drive
Uploaded on Jun 20, 2014 matrixsynth·311 videos
http://www.division-6.com
"Just a test of my new Division 6 Morpheum VCA morphing ring modulator. Two Melekko Heavy Industries Richter Oscillator IIs into the Morpheum to start. Division 6 SQ816 Sequencer into the Morpheum mod input for rhythm. SQ816 provides bass drum gate for the Tiptop Audio BD808 bass drum and drives the clock in for the Tiptop Z8000 sequencer which in turn triggers the Tiptop SD808 snare and HATS808. Tiptop does not go through the Morpheum. Mattson Mini Modular LFO later modulates the pitch of one of the Malekko Richter Oscillator IIs. Some reverb and phaser provided by the TC Electronic M300."
Yamaha VSS200
Published on Jun 20, 2014 KNORG·63 videos
"Track made with the Yamaha VSS200 sampling keyboard.
enjoy!"
enjoy!"
Serge Gainsbourg - Pull Marine [Nord Stage 2 + Elektron Analog Four]
Published on Jun 20, 2014 Piano in a Living Room·57 videos
"Pull Marine composed by Serge Gainsbourg in 1983 and performed by Isabelle Adjani.
The instruments are a Clavia Nord Stage 2 using a sampled Rhodes Mark V electric piano, a sampled Mellotron flute I tried to make cry and some synth. The beat is from an Elektron Analog Four."
The instruments are a Clavia Nord Stage 2 using a sampled Rhodes Mark V electric piano, a sampled Mellotron flute I tried to make cry and some synth. The beat is from an Elektron Analog Four."
Mike Masterous & praids54
Published on Jun 20, 2014 SunFallsMusic·30 videos
"really getting tight with my vca's. this lil jam came outa nowhere. it all started MakeNoise Maths and 4ms PEG as clock and clock breaker.. Braids with some kick4ss FM synthesis, and PHMK2 sidewinding thru the korgasmatron2. and mfb coming in for a kick."
praids54
"Getting used to Mutable Instruments Braids Metamode. this jam has Braids running thru piston hondas wavetables as well."
AtomoSynth Multiklon demo1 x Dante Droid
Published on Jun 20, 2014 atomolab·59 videos
"Demo song using the AtomoSynth Multiklon sequencer."
Novation Bass Station Rack - Preset Patches and External Filter Input
Published on Jun 20, 2014 zibbybone·141 videos
"Scrolling through some patches on this classic 1U rack mount analog monosynth played via MIDI with one of the Roland Fantom X6's built-in patterns.
Then I run a Boss DR-110 Dr. Rhythm drum machine through the Bass Station's external audio input which run's through the analog filter."
Then I run a Boss DR-110 Dr. Rhythm drum machine through the Bass Station's external audio input which run's through the analog filter."
EMS POLYSYNTHI ULTRA RARE SYNTHESISER SN PSI/0021
Doepfer A199 Spring Reverb Processing Demo 2 -Percussive Sounds
Published on Jun 20, 2014 Raul's World of Synths·270 videos
"Continuing the Doepfer A199 Spring Reverb series. A short demonstration of processing a percussion based sound with the A199 Spring Reverb. Basic examples adjusting level, feedback, emphasis and mix. Sound and Video by Raul Pena."
All parts here.
Sequential Circuits Pro-One "Lost 80s"
"(c) vintage synthesizer demo track by RetroSound
all sounds: SCI Pro-One Analog Synthesizer (1981)
drums: LinnDrum (1982)
recording: multi-track without Midi"
Virtual Flannel Boiler Room NYC x Dirty Tapes 002 Live Show
Published on Jun 19, 2014 Boiler Room ·2,389 videos
"OP1 goes through Octatrack for looping and effects but all sounds come from OP1. Oto Machines Biscuit on main outs for added fun! Live for Mastering."
"→ FOR AUDIO: http://bit.ly/1kTdvZa
→ SUBSCRIBE TO BOILER ROOM: http://bit.ly/1bkrHWL
Virtual Flannel presents his crunched'n'crushed techniques for open head spaces at Boiler Room NYC x Dirty Tapes Radio 002 ~
→ FOLLOW US HERE FOR MORE FUN:
Facebook: https://www.facebook.com/boilerroom.tv
Twitter: https://twitter.com/boilerroomtv
Soundcloud: https://soundcloud.com/platform"
→ SUBSCRIBE TO BOILER ROOM: http://bit.ly/1bkrHWL
Virtual Flannel presents his crunched'n'crushed techniques for open head spaces at Boiler Room NYC x Dirty Tapes Radio 002 ~
→ FOLLOW US HERE FOR MORE FUN:
Facebook: https://www.facebook.com/boilerroom.tv
Twitter: https://twitter.com/boilerroomtv
Soundcloud: https://soundcloud.com/platform"
Audio Damage Aeverb Reverb
Published on Jun 20, 2014 bigcitymusic·346 videos
"Drum source is JoMox ModBase 09 + ModBrane 11 and a Braids in Meta mode through QMMF-4. Synth source is Cwejman D-LFO + Braids in Meta Mode through QMMF-4. The Cwejman RG-6 is modulating Meta modes.
MIDI to CV via Mutable Instruments Yarns.
Drums and Synth are processed through the Audio Damage Aeverb."
MIDI to CV via Mutable Instruments Yarns.
Drums and Synth are processed through the Audio Damage Aeverb."
More Synthesizers.com Live Performance
Published on Jun 20, 2014 Manuel Schulz·1 video
After a long time, I have a new Dotcom live video for you. Again, there is no multitracking; just live performance of the Dotcom Studio 110. I have used a Boss DR-55 for the rhythm and an Electro Harmonix Small Stone phaser for the pad. The Lexicon PCM 96 does the reverb and the delay. That's all. This time I recorded the music directly to disc without any microphone - so the sound quality should be much better now. If you wish, I can post another video with some explanations about the patch and how all this works. Just let me know.
Thank you + enjoy!
More Synthesizers.com Live Performance Explained
Published on Jun 28, 2014
"Hi all,
thanks for all the positive feedback that I have received during the last couple of days. There have been lots of requests for an explanation of how all this can be played live. So here is a short video of about how all this works. Thank you all for your interest!"
Fanfare for Absent Friends - Erik Norlander - A Tribute to Dr. Bob - Live in Asheville 2014
Published on Jun 20, 2014 Erik Norlander and Lana Lane·27 videos
"Erik's kinetic rocker from "The Galactic Collective," "Fanfare for Absent Friends" performed live at "A Tribute to Dr. Bob - A Benefit for Dr. Bob's SoundSchool and the Bob Moog Foundation" on May 8, 2014 along with Jeff Kollman (g), Mark Matthews (b) and Nick LePar (d).
Erik plays the rare Moog Apollo synthesizer on loan from the Bob Moog Foundation for this concert. The Apollo is featured at 1:00 and 4:54.
http://www.thetank.com
http://www.eriknorlander.com
http://www.bobmoogfoundation.org
Dr. Bob's SoundSchoool teaches children about the science of sound through the magic of music. To find out more and to support this innovative curriculum, please visit: http://bobmoogfoundation.org/projects..."
Erik plays the rare Moog Apollo synthesizer on loan from the Bob Moog Foundation for this concert. The Apollo is featured at 1:00 and 4:54.
http://www.thetank.com
http://www.eriknorlander.com
http://www.bobmoogfoundation.org
Dr. Bob's SoundSchoool teaches children about the science of sound through the magic of music. To find out more and to support this innovative curriculum, please visit: http://bobmoogfoundation.org/projects..."
真夜中モジュラーシンセ電圧うたた寝配信 第三夜
Published on Jun 20, 2014 Misugi Yasunami·264 videos
深夜、USTで居眠りしながら垂れ流していた電圧サウンドです(笑)
iPadからラジオ、YouTubeから懐かしいパペポTVをモジュラーシンセのヴォ
けっこう、ダラダラです(笑)
【Live Info.】
2014年7月13日(日)
大阪阿波座nu things
http://nu-things.com/
モジュラーシンセを使ってライブをします。
こちらのサイトにも、ぜひお立ち寄り下さいませ。
http://kansai.modular-synth.com/
Eurorack modular vocoder.
Live electro with Bass Station 2, Tetra, Octatrack, Dark Energy 2
Published on Jun 20, 2014 Thomas Kress·8 videos
"Little electro live session. Small setup & short preparation time. Soundgear: Elektron Octatrack, Dave Smith Instruments Tetra, Novation Bass Station 2, Doepfer Dark Energy 2, Mixer: Mackie 1202 VLZ 4, Effects: tc-electronics & Malekko Analog Delay, Recorder: Zoom H4N, Camera: Gh2, Beat: 808 samples, no computer and no presets :)"
DDFX - smart looper 1
Published on Jun 20, 2014 Alex Pleninger·53 videos
"looper 1 presents its abilities, i just forgot to show the fm to sample reading point... anyway, it's pretty nice even without it. a bit of 289 reverb on the mix"
Introduction to Digital Filters by Trevor J. Terrell
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"Suitable for audio application design, DSP and FPGA coders as well as hardware engineers, as there is supporting circuitry within the book."
See the seller's other items for more.
via this auction
"Suitable for audio application design, DSP and FPGA coders as well as hardware engineers, as there is supporting circuitry within the book."
See the seller's other items for more.
Foundations of Computer Music & The Music Machines, Curtis Roads, MIT Press
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"Foundations of Computer Music Overview ($72us new, 700 pages+)
This survey chronicles the major advances in computer music that have changed the way music is composed, performed, and recorded. It contains many of the classic, seminal articles in the field (most of which are now out of print) in revised and updated versions. Computer music pioneers, digital audio specialists, and highly knowledgeable practitioners have contributed to the book. Thirty-six articles written in the 1970s and 1980s cover sound synthesis techniques, synthesizer hardware and engineering, software systems for music, and perception and digital signal processing. The editors have provided extensive summaries for each section.
Curtis Roads is editor of Computer Music Journal. John Strawn is a Research Associate at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University.
The Music Machine Overview ($70us new, 700+ pages)
Since its inception in 1976, Computer Music Journal has led the field as the essential resource for musicians, composers, scientists, engineers, and computer enthusiasts interested in contemporary electronic music and computer-generated sound.
In The Music Machine, Curtis Roads brings together 53 classic articles published in Computer Music Journal between 1980 and 1985, providing a cohesive survey of the major developments in computer music and in the related technology during the last decade. The book includes interviews with major figures in the field and articles devoted to composition, artificial intelligence, and the popular Music Instrument Digital Interface (MIDI). Roads has written an overview of each of the book's seven parts, highlighting the major topics and placing the various articles in a thematic and historical context."
via this auction
"Foundations of Computer Music Overview ($72us new, 700 pages+)This survey chronicles the major advances in computer music that have changed the way music is composed, performed, and recorded. It contains many of the classic, seminal articles in the field (most of which are now out of print) in revised and updated versions. Computer music pioneers, digital audio specialists, and highly knowledgeable practitioners have contributed to the book. Thirty-six articles written in the 1970s and 1980s cover sound synthesis techniques, synthesizer hardware and engineering, software systems for music, and perception and digital signal processing. The editors have provided extensive summaries for each section.
Curtis Roads is editor of Computer Music Journal. John Strawn is a Research Associate at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University.
The Music Machine Overview ($70us new, 700+ pages)Since its inception in 1976, Computer Music Journal has led the field as the essential resource for musicians, composers, scientists, engineers, and computer enthusiasts interested in contemporary electronic music and computer-generated sound.
In The Music Machine, Curtis Roads brings together 53 classic articles published in Computer Music Journal between 1980 and 1985, providing a cohesive survey of the major developments in computer music and in the related technology during the last decade. The book includes interviews with major figures in the field and articles devoted to composition, artificial intelligence, and the popular Music Instrument Digital Interface (MIDI). Roads has written an overview of each of the book's seven parts, highlighting the major topics and placing the various articles in a thematic and historical context."
The Technology of Computer Music by Maxwell Matthew
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"The Technology of Computer Music
By Maxwell V Matthews,
With collaboration of
Joan E. Miller
F. R. Moore (F. Richard Moore)
J. R. Pierce (John Robinson Pierce)
J. C. Risset (John Claude Risset)
The computer is rapidly supplementing the electronic sound studio as an effective sound source and M. V. Matthews is the pioneer and authority on the increasingly important field of generating and processing speech and music through computers.
The book is intended for people who now employ or are planning to employ the computer in sound-generation and processing: engineers and scientists concerned with speech and acoustic as well as musicians and audiologists working with sound synthesis and the production of speech or music.
The general technology of generating and processing sound is covered in the first section of the book, and although understanding of teh subject does not depend on a knowledge of mathematics, special mathematical section in the appendix will provide the interested reader with the main mathematical relationships underlying the discussion.
Chapter 1 covers some fundamentals common to all computer sound processing: the representation of sounds as numbers; the underlying process of sampling and quantizing a sound wave; the apprimations and errors which are inherent in sampling and quantizing; the operation of digita-to-analog and analog-to-digital converters; the construction of smoothing filters; the storage and manipulation of sound waves in numerical form. This chapter also provides an introductory look at computer programming for sound processing which is the central subject of teh rest of the book.
Specific tutorial material aimed at training the user in one particular sound generating program -- Music V -- is given in the second section of the book. The material assumes that the user has a working knowledge of Fortran and of the general functioning of a computer -- arithmetic, memory, input-output, and programming. Relevant reference works are cited at the end of the chapter for those who require greater knowledge of these operations.
Section Three contains a detailed description of the operation and structure of the program Music V. Because it is written in Fortran IV, Music V is easily adaptable to a wide variety of computers. This section also contains reference material for users of Music V and source material for those who desire more fundamental knowledge of a sound generating program.
An appendix discusses the relations of psychoacoustics and the composition of music by Computer.
As far as I've seen, this was the first serious book published about computer music for the academics, and the general public.
It contains general information regarding Computer Composition and sound modification. It gives the generalized theory of Sampling, Playback and modifying these sounds.
About half of the book is a manual for the MUSIC V language that Matthews and the other writers created in the mid 1960s.
MUSIC V was the precursor to "C Sound". It laid out the definitions of Instrument and Score as separate concepts.
MUSIC V was written as a library in a rather early incarnation of F0RTRAN, generally still in the Punch Card/Paper Tape era of computing.
This is a resource for the serious student of Electronic Music, Composition and Sound Processing."
via this auction
"The Technology of Computer Music
By Maxwell V Matthews,
With collaboration of
Joan E. Miller
F. R. Moore (F. Richard Moore)
J. R. Pierce (John Robinson Pierce)
J. C. Risset (John Claude Risset)
The computer is rapidly supplementing the electronic sound studio as an effective sound source and M. V. Matthews is the pioneer and authority on the increasingly important field of generating and processing speech and music through computers.
The book is intended for people who now employ or are planning to employ the computer in sound-generation and processing: engineers and scientists concerned with speech and acoustic as well as musicians and audiologists working with sound synthesis and the production of speech or music.
The general technology of generating and processing sound is covered in the first section of the book, and although understanding of teh subject does not depend on a knowledge of mathematics, special mathematical section in the appendix will provide the interested reader with the main mathematical relationships underlying the discussion.
Chapter 1 covers some fundamentals common to all computer sound processing: the representation of sounds as numbers; the underlying process of sampling and quantizing a sound wave; the apprimations and errors which are inherent in sampling and quantizing; the operation of digita-to-analog and analog-to-digital converters; the construction of smoothing filters; the storage and manipulation of sound waves in numerical form. This chapter also provides an introductory look at computer programming for sound processing which is the central subject of teh rest of the book.
Specific tutorial material aimed at training the user in one particular sound generating program -- Music V -- is given in the second section of the book. The material assumes that the user has a working knowledge of Fortran and of the general functioning of a computer -- arithmetic, memory, input-output, and programming. Relevant reference works are cited at the end of the chapter for those who require greater knowledge of these operations.
Section Three contains a detailed description of the operation and structure of the program Music V. Because it is written in Fortran IV, Music V is easily adaptable to a wide variety of computers. This section also contains reference material for users of Music V and source material for those who desire more fundamental knowledge of a sound generating program.
An appendix discusses the relations of psychoacoustics and the composition of music by Computer.
As far as I've seen, this was the first serious book published about computer music for the academics, and the general public.
It contains general information regarding Computer Composition and sound modification. It gives the generalized theory of Sampling, Playback and modifying these sounds.
About half of the book is a manual for the MUSIC V language that Matthews and the other writers created in the mid 1960s.
MUSIC V was the precursor to "C Sound". It laid out the definitions of Instrument and Score as separate concepts.
MUSIC V was written as a library in a rather early incarnation of F0RTRAN, generally still in the Punch Card/Paper Tape era of computing.
This is a resource for the serious student of Electronic Music, Composition and Sound Processing."
Future Retro XS Analog Synthesizer SN FRXS241
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"This synth is often described as semi-modular, and it's true - there are a lot of CV ins and outs. If you have a nice modular system or are wanting to get one off the ground quickly, this would be the way to do it."
via this auction
"This synth is often described as semi-modular, and it's true - there are a lot of CV ins and outs. If you have a nice modular system or are wanting to get one off the ground quickly, this would be the way to do it."
ARP Axxe Model 2313 with "Moog" filter
Akai Ax-80 with White Side Panels
xOxbOx x0xi0 Synthesizer Brian Castro
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"Info:Oscillator 1
Waveform: Saw & Square (TB-303)
Range: 5 Octaves
Oscillator 2
Waveform: Saw & Square (TB-303)
Range: 6 Octaves, Tuneable -1/+5 Octaves relative to VCO 1
VCO Control
Master Tune: +/-700 Cents
Slide Time
VCO Cross Modulation (Xmod)
Envelope 2 to VCO FM
VCO2 Hard Sync
Noise Source
Pseudo Pink Noise
Source Mixer
VCO 1 Level
VCO 2 Level
Noise Level
via this auction
"Info:Oscillator 1
Waveform: Saw & Square (TB-303)
Range: 5 Octaves
Oscillator 2
Waveform: Saw & Square (TB-303)
Range: 6 Octaves, Tuneable -1/+5 Octaves relative to VCO 1
VCO Control
Master Tune: +/-700 Cents
Slide Time
VCO Cross Modulation (Xmod)
Envelope 2 to VCO FM
VCO2 Hard Sync
Noise Source
Pseudo Pink Noise
Source Mixer
VCO 1 Level
VCO 2 Level
Noise Level
Oberheim Xpander Analog Synthesizer W/ Skb Flight Case SN 642802
Moog Satellite Vintage Synthesizer
Yamaha CS15 Mono Synth Synthesizer SN 3407
Shock-HRz - Quake Machine [Access, Elektron, Korg, Akai & Yamaha Live Set]
Published on Jun 20, 2014 Shock-HRz·87 videos
"Select HD for a better experience!
PLEASE: IF YOU LIKE - THUMBS UP AND SUBSCRIBE! :)
Read description below for equipment details!
QUAKE MACHINE
Live performance by Shock-HRz
Equipment for this video:
Simone Ciacci a.k.a. "Storm 3003":
- Access Virus TI
- Elektron Analog Four
- Korg Kaoss Pad 3
- Korg Kaossilator Pro
Gabriele Marini a.k.a. "ReD":
- Akai Miniak
- Yamaha RM1X
- Korg Volca Bass
Francesco Salvatici a.k.a. "4TeK":
- Korg Electribe MX
- Korg Mini-KP
- Korg Monotron
- Korg Monotron Duo
Check Out = "TACTICAL SHADOW":
http://youtu.be/nPBXCJV_A2M
."
PLEASE: IF YOU LIKE - THUMBS UP AND SUBSCRIBE! :)
Read description below for equipment details!
QUAKE MACHINE
Live performance by Shock-HRz
Equipment for this video:
Simone Ciacci a.k.a. "Storm 3003":
- Access Virus TI
- Elektron Analog Four
- Korg Kaoss Pad 3
- Korg Kaossilator Pro
Gabriele Marini a.k.a. "ReD":
- Akai Miniak
- Yamaha RM1X
- Korg Volca Bass
Francesco Salvatici a.k.a. "4TeK":
- Korg Electribe MX
- Korg Mini-KP
- Korg Monotron
- Korg Monotron Duo
Check Out = "TACTICAL SHADOW":
http://youtu.be/nPBXCJV_A2M
."
Buchla Filters - Triple Morphing the Spectral Processor
Published on Jun 20, 2014 DJjondent·221 videos
"I Iove these two filters.291e & 296e
There is more info, patch notes & pics on my blog:
http://djjondent.blogspot.com.au/2014..."
There is more info, patch notes & pics on my blog:
http://djjondent.blogspot.com.au/2014..."
OP-X PRO-II: Matrix-12 Revelation
Published on Jun 20, 2014 virtualoberheim·55 videos
"http://www.sonicprojects.ch/opxpro2/d...
Playing through the Oberheim Matrix-12 Revelation Bank for the SonicProjects OP-X PRO-II virtual analog synth. All sounds are coming from OP-X PRO-II.
The bank is free and can be downloaded here:
http://www.sonicprojects.ch/opxpro2/u...
Here's a timetable of the featured presets:
Playing through the Oberheim Matrix-12 Revelation Bank for the SonicProjects OP-X PRO-II virtual analog synth. All sounds are coming from OP-X PRO-II.
The bank is free and can be downloaded here:
http://www.sonicprojects.ch/opxpro2/u...
Here's a timetable of the featured presets:
Devil Fish-Kaoss Pad & Devil Fish-Controls the Modular
Published on Jun 20, 2014 TB-303 Devil Fish·20 videos
"Centered around the Korg Kaoss Pad 2, a live glitched up version of a track called 'Empathy' by 'Random Knobhead'. Bass from the Analog four. Percussion from Tiptop modules BD808, Hats808 triggered by Tiptop Trigger Riot, Make Noise DPO through Intelligel Korgasmatron into Make Noise QMMG triggered by 4MS Pingable envelope and snare & noise hit from the Yamaha RS7000, Delayed noise from Roland SH-101 through Moogerfooger MF-101 (LPF) with cutoff freq modulated by sine wave from CP251 Control Processor, then into Make Noise Echophon modulated by the Woggle Bug and freeze in triggered from Trigger Riot. Blips from Roland TB-303 Devil Fish through Moogerfooger MF-104z Delay with time modulated by sine wave from CP251 control processor.
The KP2 is an insert effect on the mixer with all channels running through it.
The Midi keyboard is triggering snare sounds in the RS7000.
A mellower version of this with two extra synth lines from the Analog four can be found (and downloaded) at:-https://soundcloud.com/linxstar/empat..."
The KP2 is an insert effect on the mixer with all channels running through it.
The Midi keyboard is triggering snare sounds in the RS7000.
A mellower version of this with two extra synth lines from the Analog four can be found (and downloaded) at:-https://soundcloud.com/linxstar/empat..."
Devil Fish-Sequencing Intellijel Atlantis
"Despite the complex looking patching arrangement it is actually very basic (apart from the modulated drop in sound effects)
It goes like this-
TB-303 Devil Fish CV out to Intellijel Atlantis 1V/OCT in. " " Gate out to " " TRIG in.
Steady State Fate Positronic Transient Gate in diode slew mode with clock output from TipTop Trigger Riot to CV A Step Response in, and 4MS PEG Env 1 out to CV A Damp Control in.
TipTop Trigger Riot is receiving clock from the Elektron Analog four.
4MS PEG is being triggered by Trigger Riot and modulated by Intellijel Dr.Octature II LFO out to Env1 Skew.
The Devil Fish is receiving triggers to the Dynamic Bank Switching CV ins from the TipTop Trigger Riot.
The modulated sound effect drop ins are the complex patching part, which goes like this-
Make Noise DPO-into Intellijel uVCF-into Make Noise Echophon- All modulated by Intellijel Dr. Octature II/Atlantis & 4MS PEG- Output from Intellijel Unity Mixer.
Dr.Octature II in LFO mode with outputs 1,2,3,4,5,6, and 8 routed to DPOs-Shape, Angle, Fold, Osc2 Expo(FM) and FM bus index, Atlantis Sample and Hold to DPO Osc1(as LFO) 1v/oct, Expo and Linear(FM), and to uVCF FM1. PEG is receiving modulation from Dr.Octature II into Env1 Skew, and Env2 Skew and Division, the PEGs OR out is modulating the uVCF FM2.
Dr.Octature II is modulating the Echophons Echo, Freeze and Pitch 1.
Dr.Octature II is in an FM cross patching scenario with the DPO OSC1 sine (as LFO) and Osc2 sine outs to FM in 1&2 respectively.
A solo of this sound can be viewed on my other channel, here is the link:-http://youtu.be/omjaxYdhiOI"
It goes like this-
TB-303 Devil Fish CV out to Intellijel Atlantis 1V/OCT in. " " Gate out to " " TRIG in.
Steady State Fate Positronic Transient Gate in diode slew mode with clock output from TipTop Trigger Riot to CV A Step Response in, and 4MS PEG Env 1 out to CV A Damp Control in.
TipTop Trigger Riot is receiving clock from the Elektron Analog four.
4MS PEG is being triggered by Trigger Riot and modulated by Intellijel Dr.Octature II LFO out to Env1 Skew.
The Devil Fish is receiving triggers to the Dynamic Bank Switching CV ins from the TipTop Trigger Riot.
The modulated sound effect drop ins are the complex patching part, which goes like this-
Make Noise DPO-into Intellijel uVCF-into Make Noise Echophon- All modulated by Intellijel Dr. Octature II/Atlantis & 4MS PEG- Output from Intellijel Unity Mixer.
Dr.Octature II in LFO mode with outputs 1,2,3,4,5,6, and 8 routed to DPOs-Shape, Angle, Fold, Osc2 Expo(FM) and FM bus index, Atlantis Sample and Hold to DPO Osc1(as LFO) 1v/oct, Expo and Linear(FM), and to uVCF FM1. PEG is receiving modulation from Dr.Octature II into Env1 Skew, and Env2 Skew and Division, the PEGs OR out is modulating the uVCF FM2.
Dr.Octature II is modulating the Echophons Echo, Freeze and Pitch 1.
Dr.Octature II is in an FM cross patching scenario with the DPO OSC1 sine (as LFO) and Osc2 sine outs to FM in 1&2 respectively.
A solo of this sound can be viewed on my other channel, here is the link:-http://youtu.be/omjaxYdhiOI"
Update:
Devil Fish-Controls the modular
"Accidentally deleted this video, now I'm not so sure of the exact signal flow."
Roland PG-200 and PG-300 Programmers
Note: Auction links are affiliate links for which the site may be compensated.
via MATRIXSYNTH CLASSIFIEDS
via MATRIXSYNTH CLASSIFIEDS
Live Jam "Lyrical melody" - Elektron Analog Four, Roland AIRA TR-8, KORG PA 600
Published on Jun 19, 2014 Vladimir Aristarkhov·6 videos
PREVIOUS PAGE
NEXT PAGE
HOME
© 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
© 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
