MATRIXSYNTH: Sunday, June 26, 2016

Sunday, June 26, 2016

Learn Modular Synthesis - Online Course From the Creator of Vector Synthesis

"If you’re new to modular synthesis and are wondering just how you’re supposed to use all those cables and knobs to create the sounds you hear in your head, synth industry veteran Chris Meyer – the creator of Vector Synthesis [see The Birth of the Prophet VS], and long-time modular enthusiast – has created the online course 'Learn Modular Synthesis' for LinkedIn/ that will help take you from ground zero to patching your own sounds. It starts with a pair of 'fundamentals' movies teaching the principles of harmonics and voltage control, then spends a chapter helping you weigh what to consider when configuring your own system – it even covers correctly plugging in the power jumpers to avoid costly disasters.

The meat of the course is the chapters on 'Learning Subtractive Synthesis' and 'Exploring Alternate Techniques' that slowly build up your knowledge module-by-module and technique-by-technique. The first starts with oscillators and waveforms (analog and digital), and then adds in filters demonstrating the effect of using different modes, slopes, and adding resonance. After that it moves onto modulation, including comparing different envelope shapes plus demonstrating typical LFO (low frequency oscillator) applications. The latter chapter gets into oscillator sync, FM, AM, waveshaping, low pass gates, and even effects, including processing externals sounds through your modular synth. Throughout the course he uses a small 2-row rack mount system based on the Roland System 500, expanded with modules from a wide variety of manufacturers. He even color-codes his cables based on function, making it easier to follow a patch. By the end, you’ll be familiar with a wide range of both 'East Coast' and 'West Coast' techniques.

A few movies – such as those on control voltage, patching a typical subtractive synthesizer voice, and exponential frequency modulation – are free to all. The rest of the course requires a subscription. However, if you sign up with the URL, you get full access to the entire site – including over 200 other audio and music courses – for 10 days before they start to bill your credit card. It only costs $25/month if you decide to stay a member. For more information including an introductory movie, visit the Training page on Chris’ 'Learning Modular' web site:"

Modular - June 26, 2016 (four tracks of

Published on Jun 26, 2016 SynthMania

"Four tracks of Effects: Alesis MidiVerb II an Cakewalk Sonar X3 Producer plugins."

Synthi has hayfever

Synthi has hayfever from richard scott on Vimeo.

"heavily modded Cornwall EMs synthi A"

EML ElectroComp 101 Analog Synthesizer Demo Tracks

Published on Jun 26, 2016 peahix

"All sounds except for drums made with an EML ElectroComp 101 Analog Synthesizer. Recorded in Cubase using an audio clock pulse to trigger the sampler on the EML."

EML ElectroComp 101 Analog Synthesizer Demo Track 1
EML ElectroComp 101 Analog Synthesizer Demo Track 2
EML ElectroComp 101 Analog Synthesizer - Noodlings

Ambient Electro Jam Starring iPhone + QuantumVJ

Published on Jun 26, 2016 Perplex On

"A very minimalistic ambient electro jam solely using Poly app on iPhone for the music and Quantum VJ audio visualizer for realtime glitchy visuals! The rain was falling while doing this jam on the balcony, which set a great calming mood :) Lean back and enjoy!"

An Interview with Peter Grenader on The ZZYZX Society

The following is an interview with Peter Grenader of Electro-Acoustic Research (formally Plan b). The focus of the interview is mainly on his involvement with The ZZYZX Society, however you will find plenty of insight into gear, including some of what Peter is working on next. I want to give Peter a huge thanks for taking the time out for this.

1. To start, what is the ZZYZX Society?

"The zZyzx Society is a group of like-minded half-crazy avant-garde musicians/composers who at one time or another fell down the same sonic rabbit hole.

Discussions about this began in 2011. Jill Fraser and I tried to get something together, and the circle of people then included Richard Lainhart. Unfortunately, he passed away when we were right in the middle of talking about possibilities. This is actually when I sketched out one of my two pieces that we are currently performing: Organasm. It settled down until Jill and I ran into one another at Mort Subotnick's live performance at Redcat a couple of years ago. We saw a fire in each other's eyes - a need to return to something that we had both evolved from.

Jill and I are ancient friends. We met at CalArts in - God.... 1977. We actually performed together once with composer Gordon Mumma at CalArts and worked extensively together on Mort Subotnick's NEA project, The Game Room, in 1978. Matter of fact, the photo Mort used for the Electronic Works Vol. 1 was taken when we were doing The Game Room - Jill is the blonde and I'm the guy holding the patchord in the foreground.

What really set the wheels in motion though was a recent dinner we had for Thighpaulsandra when he visited Los Angeles a few months ago. Thigh had been speaking about wanting to do another series of performances together since we both did the AnalogLive gig at Redcat in 2007. Jill was already well into the planning stages, although it wasn't clear who would be involved at that time though oddly enough - everyone who will be was there - Jill, Chas Smith, Thighpaulsandra and myself. When Thigh left for his return trip home - the last thing he said to me was a suggestion to get some gigs going - that it will never start unless there's a date, and when you guys get a set under your belt and are comfortable with what it evolves into, that he would come out and gig with us - and that's exactly what we are doing. Well, we'e actually focusing on tracking a CD, but I'll get into that more in a bit."

2. Can you give us a little background on each member? When the world of electronic music started for each and what they've done over the years?

That's where humility sets in - with the notion that musicians of this caliber would consider me a contributor. Why? Let's start with Jill: after earning her masters in composition at CalArts studying with Mort Subotnick and Mel Powell - her first stop was where I landed: Serge's infamous Hollywood synth production facility on Western Ave. She didn't stay there long, however, because she was hired to compose electronic music by Jack Nitzsche for Paul Schrader's film, Hardcore. This began a 25 year career composing both electronic and acoustic scores for hundreds of TV commercials for huge national campaigns: BMW, Honda, Porsche, Nissan, Mitsubishi, HP, NBC, KFC, Carl's Jr., and Apple among others, and in the process won 3 Clios. She also toured with Buffy St. Marie and auditioned for The Sex Pistols - no joke.

Chas will be the only one among us who people will be speaking about in 100 years. He's also from the CalArts electronic music composition master's program and spent his early days with modulars. Until recently he owned a 12 panel serge system he had had for 30+. His legacy will be the remarkable Harry Partch-esque tuned percussion instruments he crafts. He's shifted to metals exclusively which forge these amazing soundscapes, which would take immense work to generate electronically, yet just pour out of these sculptures. Along with collaborations with Harold Budd he's been released many times as a solo artist on Cold Blue Records, MCA, and others, music for Zimmer's Man of Steal score (they actually did a special feature on Chas for that film), as well as the first two Saw films with Charlie Clouser, for Shawshank Redemption, The Horse Whispser... the list goes on.

Man Of Steel Soundtrack - Sculptural Percussion - Hans Zimmer Published on Aug 27, 2013 WaterTower Music

[Behind the Scenes creating the unique sculptural percussion sounds for the MOS Soundtrack

Not sure what planet you'd need to be on not to know where Thighaulsandra's been. Like the rest of us here, his interest in electronic music is lifelong. Stockhausen and Cage were early influences and while you clearly realize his worth in the rock idiom, his experimental roots are unavoidable. Golden Communion - which has garnered stunning reviews in Europe - gives both Gabriel and NIN a run for their money, but you also hear Stockhausen in there and in the string introduction to the title track - Elliot Carter. He began his music career on the other side of the board - as a studio engineer, and this is where he met Julian Cope, who in time introduced him to John Balance - which led to 10 very productive years as a member of Coil - during which TPS began releasing his own solo work. He is a conservatory trained pianist blessed with the birth defect of incredible ability. After Coil he was off to Spritualized for I think three years?

As for me, I am the underachiever. After CalArts and a few small film scores, and a oddly enough a planetarium show for the Griffith Observatory, I put everything down for 25 years. In the early 2000's I found music again and had really good success in the academic electronic music festival circuit. I won the Periodic Festival in Barcelona and was selected for one of the evening performances at the SEAMUS National Conference, which doesn't sound like much, but I was probably the single first-time applicant to land that right. There were 30 or so festivals in the US after that over the next two years including the AnalogLive emsemble performance at Redcat at the Disney Hall in LA with Thighpaulsandra, Chas, Gary Chang, Richard Devine and Alessandro Cortini. The start of Plan B shifted my center to manufacturing, although I was signed, and did a CD for Coda Recordings in 2013 entitled Secret Life.

What I appreciate, especially working with Jill, but it's true of all these guys... our combined experience is such that we finish each other's musical sentences. It's astonishing. Three guys in a garage band and you expect them to vamp off their combined rock tradition, right? But electronic music, are you kidding me? Jill and I started rehearsing with a piece of mine called Benghazi, which is based entirely on a single diatribe of Glenn Beck whining about the attack in Libya. The first day we did what I would call informed noodling. When we started the second day she said she had worked out some other processed bits, and they were phenomenal. It brought the concept into much higher space and with no direct guidance outside of asking for other samples from the source file so not to loose Beck's context narrative. She just got it, completely.

zZyzx Society live in Joshua Tree: BENGHAZI

3. What sort of gear will each member bring to the project? Is there a preference for any?

I can't say for Thigh, dunno yet but he's got an arsenal at his studio in Wales. Jill is primarily using a Push via Ableton and a single Serge panel designed specifically for live performance made for her by Dmitri Sfc. I can name what Chas uses, but it won't mean much as outside of a rack of loopers everything he plays he's made. So for the record it's the Rite, the Replicant and his incredible steel guitar Guitarzilla. I am primarily using my modular - eight rows of it I crammed into two road cases, and then a Roli keyboard using Equator for now, and plans for a proper sampler as the ROli software wreaks Kickstarter deadline. It's fine as a closed synth, but while they say you can import your own samples - you really can't. I had to contact them, and they wrote the code so I could add one specific sample, but are not wiling to help me do more. The keyboard itself however is incredible.

4. What is the collaboration and recording process like? Do you record together or do you pass compositions back and forth for each person to work with separately?

Recording wasn't in the original plan, but that's changed and with Chas moving to Grass Valley - and Thighpaulsandra in Wales it's just like my FB relationship status: complicated. Jill and I are going to lay basic tracks starting in two weeks. So we'll be sending multitrack to both Chas and Thigh, who will be adding to them, then returning the new stack to whomever wrote the piece to do the final mix. The process is identical for Chas and Thighpaulsandra with their works There is talk of a release deal. So... with only one gig under our belts at FUTUREWURLD in Joshua Tree, which was really well received , but we're shifting to recording the four pieces we performed with small gigs during that process, although, all in much more detail than we could manifest live with our hand count. Jill's got one which is actually four individual pieces, I've got Benghazi and Organasm and Chas has Perimeter. Thighpaulsandra is in the middle of one for us now and we're discussing the possibility of rendering Subotnick's Sidewinder.

5. What do you have in your modular system when playing with ZZYZX Society?

At first I brought almost everything. I could basically empty my main cabinet into the two road cases and on top of that I brought the two side cases, but I knew this wouldn't last. After a couple of days of rehearsal when we worked on the two pieces that were modular extensive I identified what was overkill and I limited my modular system to the two road cases (see image). It's eight rows of 88hp.

In the empty space I've now installed an Animodule Midi Gate, which is a brilliant idea and one I was planning on for EAR - but the best man won on that, more power to them for that. With it in that space will be two custom modules consisting of two Sparkfun Wave Trigger boards and a little unity gain mixer. Each of the Wave Triggers will be driven by the Midi Gate. I can use individual keys on my Roli to fire of independent events. Each of these WAVE modules allow for eight polyphonic samples to be played by either the depression of a momentary switch or a gate signal with each group of eight stored on a microSD card which can be loaded on the fly. I see this as an intelligent way of performing with a modular in a live scenario. It's basically what Mort is doing now - assembling the overall sonic contour by playing prerecorded samples as required with a couple of live voices over everything. Very effective and something Mort has been talking since the days I was working with him. It took 30 years for technology to catch up with him. In my instance, I will be playing events I prerecorded on the modular.

6. Does working on music like the ZZYZX Society influence your designs, or do you keep the two worlds separate?

It's had a huge impact on this. Immediately I started thinking about a group of modules called "the live set" which would be a series of devices which would make live performance easier for a modular artist. I don't want to give anything away outside of saying the guy that developed the Wave Trigger for Sparkfun lives a few blocks from me (wink). I've also had a couple of meetings with Vince De Franco, who produces the Mandela Electric Drums whom I met through Danny Carey. If what we're discussing becomes a finished product, it will be a paradigm shift for realization of live electronic music.

7. What's next for you? You were the man behind Plan B, your designs were featured in Subconscious Communications' modules, and you are back with Electro-Acoustic Research. You recently announced the Model 41 Steiner 4P filter. Do you plan to bring back any older designs like the Milton or will you be focusing on new designs only?

The EAR modules will be a combination of new things and legacy re-releases, but none of the old ones will be brought to market now without significant improvements. Not because they were broken before, but because I see no reason to revisit something without making changes. If you go to the next product up is the Model 12 Mark II. It's two M12's in one package, both fitted with the IFM Sync function found on the M41. There are all manners of interconnection possibilities as well, so that two two can be used independently, or in either serial or parallel operation off all output taps of a single signal. If you sweep to the 'Future' page there's also the Model 24 Heisenberg Mark II, which adds a new quantized output to the stepped random and three new inter-modulation/triggering options. The Model 10 Mark II could not be more different than the original. Now two voltage controllable DASR envelope generators (Delay, Attack, Sustain TIME and Release). I have also mapped out a concept for an upgraded Model 15 Complex VCO which will make it the VERY Complex VCO lol. There are as well three new modules all ready to go.

I have been working on the relaunch for four years - since cEvin and I did the Subcon license on the 15 and 37. I've been working towards it continually. The first three products are completely done with a couple of revisions of hand built SMT prototypes behind them - ready to go - I just need to email the data off to Darkplace when it's time and product will appear a couple of months after that. If you watch Thighpaulsandra's excellent Model 41 demo video - next to the M41 you will see the Model 12 Mark II mounted in his system and that's one thing I did differently this time - I skipped the breadboard stage. I now go directly to SMT PCBs with Metalphoto faceplates. This addresses all sorts of potential calamities. It forces me to concentrate on the design stage and weeds out all manufacturing hiccups before they hit the Darkplace assembly line because if there are problems there - they aren't going to pay for that - I am. As my dad used to say when he was quoting new jobs.... "I don't do this for practice".

This brings me to something I want to close on. My father went through the Plan B collapse with me. He knew how hard I had worked to get where I did and he knew all too well what I forfeited. He was a tough love guy and at times unnecessarily hard on me about it. But in the end, I did it and he knew before he passed away. I was ready for the Model 41 a year and a half ago. Darkplace had already quoted it. It could have launched then and would have had he not died. There were delays from his death that the family needed to settle. But as far dad... I built most of the prototypes on his kitchen table because the light was so much better there than on my bench at home. He saw me working on them. He saw the Darkplace quotes. The last thing he said to me was 'I love you'.  Right before that - he congratulated me on getting the company back on it's feet and that I found a way to do it all on my own, and he told me how proud he was of me. After he said this, I left the hospital for the day and he died that evening at 3 in the morning. Nothing was worth the six years I went through and the problems I caused people, nothing makes my father's death bearable - but that moment came real. real close.

Shine on you crazy Diamond Part 1 OB-6 and Solina String Ensemble

Published on Jun 15, 2016 Rüdiger Gaenslen

"Cover of Pink Floyds Shine on you crazy Diamond Part 1 performed on DSI OB-6 and Solina String Ensemble. I performed everything on the OB-6, especially the famous horn sound, the organs, the sub bass and the first effect sound. The String sound is form the ARP Solina String Ensemble. Some effect sounds are also from Alchemy (Logic Pro X). Unfortunately the String Ensemble Sounds are not so real on the OB-6 (but also not bad).

The pictures and video clips are mine but the record cover of the Wish you were here-Album.

Enjoy my video and thanks for watching.
Cheers Rüdiger"

DSI/Oberheim OB-6 10 Lovely Pads

Published on May 12, 2016 Rüdiger Gaenslen

"10 Pads I programmed on the OB-6. You can see the adjustments on the screenshots of the SoundTower editor. No external effects used."

Working with Sample Chains on the Elektron Analog Rytm

Published on Jun 14, 2016 Carl Mikael's Cabinet of Curiosities

"Three examples of preparing and constructing sample chains for the Elektron Analog Rytm, and then using them in the instrument sample slots.

Drumkits, Variations and Loop Slicing. Sample chains are prepared in Ableton Live and then exported for use in the Rytm.

Some principles could also apply to the Elektron Octatrack with the big difference that samples are divided in 128 rather than 120 steps. Which calls for slightly different strategies and calculations.
If you’d like to support me through Patreon ( - I’d be very grateful. It would make it possible to produce even more and better video tutorials"

Giorgio Moroder inspired Earmonkey-Yamaha Montage-Minilogue -JP08-JX03-JU06-TR8-SDS8-Beatstep Pro

Published on Jun 26, 2016 Earmonkey Music

"Trying to work the Montage into a completely computerless (other than recording) jam. Here's a little jam inspired by a Giorgio Moroder type baseline played by Beatstep Pro on the Minilogue. The TR-8 and Simmons SDS8 layer with the Montage drums. Montage's arpeggiators are doing their thing on the Illuminator patch. I love how the Montage performances are set up. I need to get into this deep beast to program my own stuff. The Roland Boutiques and DSI Mopho SE add some textures as well. I admit this is rather rough, but it's somewhat difficult to manage 7 synths, and a couple of drum sources at once. :)"

Dato DUO Jamming with: Big Hare - Kickstarter Campaign Ends in 2 Hours!

Published on Jun 26, 2016 Dato Musical Instruments

"Big Hare ( visited our Dato booth and made a catchy little track with the Dato DUO.

Final day on Kickstarter!"

BTW, in case you missed it, the Dato DUO has added a few new features since the start of the campaign, including going open source:

"The software for the Dato DUO prototype you have seen in our campaign video is built on top of open source building blocks. To name a few: the Teensy Audio and FastLED libraries have helped us prototype a synthesizer quickly. We love sharing our insights, so we are happy to tell you that we are going to open source the Dato DUO’s software as well. We will share the software under an open source license so that you can learn from, adapt or improve the DUO."

See their Kickstarter campaign for more.

Easel Krell Jazzjam

Published on Jun 25, 2016 Todd Barton

"a little self-generating 'krell' type patch with the Buchla Music Easel."

Serge Modular Systems - NComp staircase (June 4, 2016)

Published on Jun 26, 2016 batchas

"Playing with the NComp staircase wave (tone steps) which I don't use much in my usual patches."

Summer NAMM 2016 - ROLI Seaboard RISE Multidimensional Controller

Published on Jun 26, 2016 Kraft Music

Summer NAMM 2016 - Casio MZ X500 Sample Import with Rich Formidoni

Published on Jun 26, 2016 Kraft Music

Merche Blasco's demo performance with The Counterpointer at Moogfest 2016

Published on Jun 26, 2016 luisa ph

Some days (Novation Circuit and Ipad jam)

Published on Jun 26, 2016 Ruslan Jabrayilov

"Novation Circuit as a MIDI controller.
Apps used:
-Blocs Wave
-Final Touch

Everything was made on the Ipad. No external processing."

Lydia ( Live Demo Version )

Published on Jun 25, 2016 Todd Smith

"After over 40 live jams, this is my first named track. I plan to multi track this in Ableton and make a final product with this song. The Korg Volca Bass, Korg Volca Keys, Roland Boutique JU-06 and Teenage Engineering PO-12 are all on sequencer duty! The Teenage Engineering PO-12 supplies the drums. The Korg Volca Bass handles the starting lead synth line. The Roland Boutique JU-06 tackles a electro style bass line. Last but not least, Korg Volca Keys handles the closing synth lead. The Roland Boutique JP-08, Arturia Microbrute and Microkorg are all played live from the Alesis QX49 via midi. The Alesis QX49 is split into 3 midi ranges, this allows me to control all 3 synths from 1 keyboard. The Arturia Microbrute plays the live sub bass, Microkorg handles the pad while the Roland Boutique plays guitar.

: Gear Used :

Korg Microkorg
Korg Volca Keys
Korg Volca Bass
Roland Boutique JU-06
Roland Boutique JU-08
Arturia Microbrute
Teenage Engineering PO-12
Alesis QX-49
Midi Solutions Quarda Thru
Behringer Micromix MX400
Tascam US-144mkII Audio Interface
Waves Supertap 6 ( VST )
Ableton Live 8 ( Used as digital mixer / multi track )

Kebu - Le Carnaval des Étoiles (live @ The Gathering 2016)

Published on Jun 26, 2016 Kebu

Synth list below.

"Recorded live at The Gathering in Hamar, Norway, on the 26th of March, 2016.

Many thanks to the amazing crew at The Gathering for everything: camera & video work, visuals, lighting & audio!

The tune is also available on my debut album, 'To Jupiter and Back',which can be bought here:

The song was performed using only analog synthesizers, either played live or sequenced. The performance was recorded directly from the mixer to a stereo track and later mixed together with the ambience from the arena. A couple of bum notes were cut out and replaced with rehearsal takes.

Equipment used in this song: Roland Alpha Juno 1&2, Juno 60, TR-808; Alesis Andromeda A6, Korg Mono/poly, Polysix, Poly 61; Jomox AirBase99, Touched-by-sound DRM1, Oberheim Matrix 1000, DSI Tetra, Akai MPC2500 (only for MIDI sequencing), Yamaha 01V96, Lexicon MPX1, MPX500, MPX550 as well as a midi patchbay and additional preamps for my mixer."

Hard Mod Electronics Analog Ribbon Synthesizer

via this auction

"This is a custom-built instrument made by the company 'Hard Mod electronics'. It is an analog synthesizer with two VCOs, a 24dB low pass filter, two LFOs and a ADSR envelope generator. The synth can be controlled by a ribbon controller and a joy stick."

Update: You can find a video of this particular model here.

This one spotted and sent in via Florian.

Oberheim OB-Xa with JL Cooper MIDI

via this auction

"Full 8 voice 120 program's and JL Cooper midi. Very nice condition and very reliable. Sounds incredible and huge."

Roland TB303 Devilfish SN 123

via this auction

"Here is the chance you've been waiting for! The incredible Roland TB303 with Devilfish mods. These mods really take the 303 to the next level and make it so much more versatile and fun. Tons of knob tweaking options to make some insane acid glitch bass lines. Sounds incredible when paired up with a TR808 or TR909. It's in great shape and fully functional. Check out the detailed pictures to make sure you like it. Includes super rare original box, foam inserts, original warranty card, and gig bag and boss power supply. All buttons trigger perfectly (makes a huge difference for programming when most TB303 have bad glitchy buttons) and all knobs are working great and scratch free. Check out the pictures below to make sure you like it. Don't miss out on this legendary acid machine!"

Roland TB-303 Bass Line Synthesiser

via this auction

Arturia MatrixBrute - First Look!

Published on Jun 16, 2016 Andertons Music Co

"Aaron checks out the brand new MatrixBrute Analogue Synthesizer from Arturia.

The Matrixbrute is a programmable monophonic/duophonic analogue synthesizer and truly inspirational instrument. A massive sound and a 100% analogue signal path, the Matrixbrute offers a wide range of hands-on features and controls to help you find that unique and captivating idea, and build it up into a full track."

Strymon el Capistan and KORG ms-20 Jam session

Published on Jun 26, 2016 ollilaboratories

"If you like my stuff, please support me on

Yeah, i have been a very bad boy... i came home with a strymon el Capistan today. I so much fell in love with the blueSky and its no nonsense setup.. direct access to all params from the pedal = perfect for my style of playing jamming which allows real time tweaking.

When i connected it, i instantly found a sweet spot for my classic BURG solo sound = Tape Head / fixed, mode C, with tape age on 12 o'clock, wow and flutter on 1.. repeats being tweaked borderline self oscillation at times. I also added 50% spring reverb (tap+bypass, time knob)..

The dreadbus does a simple 16 step sequence just for flavour and beat, internal delay + the bluesky with some room reverb.

Not really a track, just a jam as i wanted to record the nice feeling of the ms-20 solo sound.. which becomes super dynamic and musical together with the el capistan.

Let me know what you think :)

cheers !"

Seismic Industries Eurorack Modular Jam @Raw Voltage Modular Store

Published on Jun 26, 2016 Synth Anatomy

"Seismic Industries visited the Raw Voltage Modular Store in Vienna. The modules are more based on subtractive synthesis but comes with a very thin Eurorack design. In this video, you can hear some a jam with this great new analog Eurorack System from Switzerland."

MFB TANZMAUS // First Touch // Factory Samples

Published on Jun 26, 2016 LESINDES

"UNPACKING, FIRST TOUCH 6 tweaking the 32 FACTORY SAMPLES of MFB TANZMAUS, hybrid sibling of the fully analog TANZBÄR and TANZBÄR LITE."

Anthem Lead

Published on Jun 26, 2016 GIANNIS ARK

"Performed by Giannis Ark with the use of Ultranova Synth and Nord lead A1 synth. ARK Home Studio Cy. Giannis ARK"

Batchas presents: la minute de Serge Paperface [S01E07]

Published on Jun 25, 2016 batchas

"Original Serge Paperface Modular System from 1978.

One take, direct outs. Only reverb/delay might be added afterwards."

Batchas presents: la minute de Serge Paperface [S01E08]

All parts here.

Patch n Tweak

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