"Details and demos of both the Roland SR-JV80-04 Vintage Synth card highlighting the GR-300 emulation, plus a demo of a new Native Instruments GR-300 patch based on Scott Summer's original Roland patch."
"#7 (of 12) from my 'Oberheim Etudes'. 'Etude' simply means 'study', and in music is used to describe a piece written to challenge/develop a specific technical/musical difficulty. This work focuses on phase displacement. When the actual performance finishes, there's a short section illustrating what is happening in the work at a technical level, i.e. 3-note LH phrases against 4-note RH phases. Skip to 3:47 for the explanatory section.
What makes this work difficult is twofold:
1) Playing evenly/metronomically for 3 1/2 minutes (in this performance I'm slowing down at certain points to emphasise new phrases, but I've indicated on the score that the piece can also be played entirely evenly - it all depends on desired effect)
2) Thinking two thoughts at once/holding two thoughts in the mind for the entire duration of the work.
Playing this work is the equivalent of having two arpeggiators running in upward sequence motion.
On a musical level - and with respect the title:
Sometimes it is best when a composer doesn't explain titles, as doing so can 'explain away' the secrets of a work - and leave nothing for the listener to discover. However, this work being a study, I feel it is best to give some insight:
'Twins' refers to the two lines running throughout - both are harmonically 'of the same family'.
'Ascending' refers to the upward arpeggiation sequences.
'Descending' - this one is slightly less obvious, but the actual harmonic phrasing/direction of the work is in descent i.e. chord 2 is lower than chord 1, chord 3 lower than chord 2 etc. The work is based around 4-bar harmonically descending sequences. This is likely obvious to the ear at the staccato section (1:57). So - whilst the sequences are ascending, the overall movement is one of descent.
PS take note what I'm playing isn't 'polyrhythmic'. Phase displacement is occasionally erroneously described as 'polyrhythmic', when polyrhythms refers specifically to different note divisions per beat i.e. 3 notes per beat against 4 notes per beat.
I'll possibly upload one or two more from this set over the next week or so.
Demo of the YAMAHA YS200 digital synthesizer (frequency modulation synthesis) from 1988. All sounds and all effects came from the YS200, no additional effects were used. I play mostly some strange pads and ambient-like sounds, which I like most on this synth.
The YS200 is an interesting synth with FM synthesis (frequency modulation) with 4-operators and built in 8-track sequencer and built in effects (reverb, delay and distortion, all editable). The desktop version of the YS200 is the Yamaha TQ5 module, which also has an unique design :-)
The YS200 is easy to program thanks to its "EASY EDIT" parameters, which are very effective for sound tweaks. I love its design and sound!"
"Continuing my personal torture to determine if one of my poly synths is surplus to requirements, here is a video looking at simple polyphonic patch creation with the Novation Peak."
And with the original synth, the Sequential Circuits Prophet-5:
Synth Sounds of Phil Collins "In The Air Tonight" | Reverb Synth Sounds
Published on Dec 7, 2017 Reverb
"Can you feel it coming? William Kurk takes on this Phil Collins classic by exploring the rhythms and tones that make this jam an instantly recognizable classic using both vintage drum machines and modern software. Welcome to the #SynthSounds of... Phil Collins."
"Roland Jupiter 8 analog synthesizer demo. Playing sounds on vintage Jupiter-8 synth from Roland including arpeggiator, PWM, white noise and LFO tweaks.
The Roland Jupiter 8 an 8-voice polyphonic analog synthesizer from Roland which was released in the early 1980s. The Jupiter-8 was Roland's flagship synth at the time, and features discrete analog circuitry including 2 VCOs, 2 LFOs, a 12/24fb LPF, HPF, 2 ADSR envelopes, osc sync and cross-mod, portamento and arpeggiator.
The Jupiter-8 has a sweet analog sound, a colorful and inviting front panel layout, and is an all around versatile analog synthesizer. The Roland Jupiter 8 synthesizer has attained legendary synth status and has been used by countless musicians and has been played on many hit songs over the years. The Jupiter 8 commands very high prices on the second hand market these days.
This Roland Jupiter-8 synthesizer demo was filmed at the Vintage Synthesizer Museum in Oakland, CA."
arpeggiator module demo #1 - percussa ssp Published on Sep 30, 2018 PERCUSSA
"2 arpeggiators driven by the step sequencer module on the ssp, each arpeggiator sending a pitch signal to a different sine wave oscillator. The 2nd arpeggiator is choosing randomly between step increase/decrease. Learn more about the ssp at www.percussa.com"
Signal input - feed a signal into this input from which the arpeggio will start (e.g. a pitch signal such as the L1 output from the step sequencer)
Clock input - feed a clock signal into this input, which will be either multiplied or divided internally by the arpeggiator’s internal clock divider/multiplier (e.g. the clock output of the step sequencer)
Reset gate input - feed a gate signal into this input to “reset” the arpeggiator to the level present at the signal input (e.g. the G1 output of a step sequencer)
The module has the following outputs:
Out - the output of the arpeggiator
Gate - a gate signal going high for each arpeggio “step”
Clock Multiplier Out - the divided/multiplied clock created using the clock input, internally in the arpeggiator.
As you can see, you can use the arpeggiator module also simply as a clock multiplier. Just feed it a clock and grab the multiplied/divided output from the arpeggiator’s clock multiplication output.
The parameters of the arpeggiator:
Step - this is the value that the arpeggiator adds to the input signal each time it advances a “step”. Can be both positive for a climbing arpeggio or negative for a falling arpeggio. The output of the arpeggiator will wrap around, which means that if the arpeggio is long enough to “clip” the signal it will wrap around and show up at the bottom of the signal.
Length - the number of “steps” in the arpeggio
Ratio - clock division / multiplication factor
Rand - will randomly add/subtract the step value on each arpeggio “step” so you get a randomly climbing/falling arpeggio."
"ARP PRO-DGX Vintage Digital Synthesizer. Good working condition. Can not gaurantee everything is working at optimal level. All keys and effects seem to be working fine. Has not been serviced. All original parts still intact. May need looked over by a service professional to ensure everything is working at an optimal level. Produces amazing sounds that can be heard in recordings from the 1970's to early eighties. Solid metal housing. Dimensions 33.25 in. x 13.5 in. x 4.75 in. Weighs approx. 32 lbs.
Preset sounds:
Bassoon, English Horn, Oboe, Clarinet, Flute, Tuba, Trombone, French Horn, Trumpet, Cello, Violin, Bass, Piano, Banjo, Fuzz, Guitar 1, Buzz Bassoon, Sax, Space Reed, Telstar, Song Whistle, Noze, Pulsar, Comic Wow, Mute Trumpet, Steel Guitar, Harpsichord, Space Bass, Steel Drum, Country Guitar, Fuzz Guitar 2"
"A fresh bank of presets for Synapse Audio Legend.
MiniMoods contains 90 Patches for the finest Model D Emulation
available.
www.synapse-audio.com/thelegend.html
Modern and Vintage Bass, Chords, FX, Lead, Poly and Perc
with plenty of Mod wheel and Aftertouch Modulation
for playability and performance.
"We took the Mad Music Machine to Horsham AmeriCARna and invited the public to interact with it via our Thermins.
Caitlin and her friend recorded some samples, setup some rhythms on Circadian Rhythms, and Jammed away on the Theremins to generate uScale quantized notes for the E352 and E370.
A Thermin controlled Disting produced the effects.
We had a great day with the public and are looking forward to coming back to Horsham AmeriCARna again!"
"The synth is quirky being Analogue -it takes time to warm up and settle down but produces an amazing analogue FAT sound. It runs on Power Adapter supplied or 4 AA Batteries ( also supplied ) It needs playing like most analogue synths ( and like the old stylophones did ) rather than sitting in a drawer like this one has been."
"Here is a very rare and massive sounding FM beast of a synth.. The classic and legendary DX5. Essentially a DX1 minus the weighted keybed and top panel LEDs.
There is simply nothing like a DX5 / DX1 synth. It is by far the best and biggest sounding FM engine made. I personally A/B'd this against a DX7, DX7II and other FM synths.. the DX5 simply is superior in raw tone. PLUS its essentially TWO DX engines under the hood. Yummy!!!"
"I was a huge fan of Art of Noise as a kid. Could never quite afford a Fairlight CMI though. I do really love Arturia’s Fairlight V. It’s fun! Also still laying around with some psychedelic kaleidoscope video I shot. Enjoy."
"A noise impro session with Pipsqueak, Boardweevil, and Volcakeys.
Noise session is almost always improvisational, for the nature of the instrument device used for it. It is meditative, somehow. For people who aren't familiar with noise "sound," it may feel "noisy" and distress, but once you dive into this complex sound and settle yourself somehow in the abstractive sound pallet, you'd start seeing calmness in the noise sound... the noise session is calming, indeed, in a calm, cool night."
"Each track is infinite and sounds differently every time you press PLAY.
Used functions: slow (subsonic) LFOs, probabilities, random notes and controllers (pattern effects 20-29), random phase setting at the beginning of the song, random interpolated waveform of LFO, prime numbers as the sizes of parallel patterns (in the set of MetaModules), etc.
"Demoing the neutron and MS 101. To clarify I’m also running the neutron thru the external input to extend the voice of the ms101 since it’s the same vco chip in both. what you are hearing at some points is the nuetron going thru the extenal input as an extended voice. So across the 5 minute demo you hear ms101 then nuetron and then both blended. I’m also using the behringer ms101 fm features to get a more rich timbre for the filter to chew on.
In the beginning I’m only using the ms101 waveforms. At around 41 seconds I introduce the ms101 feature. At around 1:29 I bring in the external input to instruct the neutron audio. From there I play with external input audio and ms101 waveforms, filter and fm. At around 2:27 it’s all neutron being effected by by ms101’s fm and filter. After another min or so I’m pulling in the ms101 waveforms again. At around 5 minutes you see me pull down the ms101 waveforms and at that point you are only hearing the neutron.
This was going to be a part of my upcoming review but I wanted to get this demo out for you all to peep. There is a bit of delay being used (2hp Delay) but I’ll get more of the raw ms101 osc sound on the review."
"And first video: Cross-modulation in action. Recorded on a phone. Sq-1controls Bias and gives a trigger for VCA. I control only the cross-modulation and main VCA. Only Muscarin in line to monitor, without post-processing.
Info - "Cross-modulation" a unique type of synthesis, when several generators affect each other, and they make a completely new sound."
"This started with the intention of being another all-synth cover, but along the way I decided to incorporate some acoustic instruments, and I ended up keeping the sampled drums that were originally only meant to be a placeholder.
With the exception of the harpsichord bit, which is my Dave Smith Instruments Mopho X4, all the synthesizers are Sequential Prophet 6. I used my Epiphone Les Paul Standard Plus Top Pro guitar, which needs a longer name, as well as my Robert Garcia '37 Hauser model classical guitar. Drums are from an Ableton pack.
Song by Siouxsie and the Banshees and Danny Elfman, from the movie "Batman Returns" featuring Michael Keaton as the best Batman and you can't convince me otherwise."
"A simple, non-comprehensive demo of one of my favourite modules - the AJH Ring SM. Nothing particularly creative in this video, just an example of some of it's functions with a little Klaus Schulze-style pattern. Enable subtitles if you want to read a step-by-step explanation of what I'm doing in the video.
Imagine a vintage ring modulator, a Moog-style mixer, and 3 extra octaves in one module... 14hp well-spent.
The Ring SM can also be heard here: http://tomorrowthecure.bandcamp.com/t...
Reverb is from EOS2 on an iPad, recorded in AUM. Eurorack case made by me (not quite finished), inspired by the Moog Model 15."
"I've never seen strictly come dancing but ballrooms make me think of Hookland & M John Harrison short stories and ghosts....
The rhythm samples are all made from the fantastic Spitfire Audio Union Chapel organ (which I use a lot of things in case you hadn't noticed) and are sequenced with the fantastic Norns Foulplay
I've said it before and I'll say it again but I rather like the Ableton Wavetable synth - its got a certain something about it"
"My 2nd bank of presets for U-he Repro
This bank includes 120 Patches:
0:00 - 4:44
50 New patches for Repro-1 ------
My 1st attempt at programming this Bass Monster,
This pack includes Bass, Leads, FX, Perc loops and Sequences
with the usual Mod wheel and Aftertouch Modulation
4:44 - End of video
70 new patches for Repro-5 ------
This pack is similar to my 1st pack and includes more
Classic and Contemporary Basses, Leads, Keys, Pads and Fx
with lots of Mod wheel and Aftertouch Modulation
You can buy this pack on its own or as part of a bundle ,
it is priced at 15 Euro
https://sellfy.com/p/lGIj/
The bundle includes both my Repro Packs and includes in total 270 Patches for the Repro suite for 26 Euro
The bundle is available here https://sellfy.com/p/u2J0/"
Pipsqueak out to COFilter, the output is also used to modulate COFilter. since the mixer is passive voltage is dropped and maybe a bit weak for the modulation.
2. Mroztronium Pipsqueak (take #2)
Pipsqueak with zoom MS70CDR
3. Noise meditation - Plumbutter with Pipsquak [plumbutter jam #20]
Ciat-lonbarde Plumbutter gets external modulation by Mroztronium Pipsqueak
"A new portable touch-controlled noisy synthesizer from Mroztronium. Spiritually inspired by the Cracklebox, Bugbrand Weevil and other touch-controlled instruments, but using a unique circuit developed by Mroztronium that is designed for unpredictable results, wide frequency range (from sub-audio to above human hearing), sensitive touch control and stereo operation.
It is a touch-sensitive electronic instrument that directly interfaces with your fingers and takes advantage of the many quirks of the CD4046 Phase Locked Loop. Pipsqueak uses a pair of these chips cross-connected and set up in such a way that they are generally silent unless provoked via the touch pads. The touch pads enable a very convoluted cross-modulation scheme that make the two outputs related in a stereo way. You can also think of it as a standalone "noise machine" if you wish.
It features a pair of 1/4" outputs that emit rectangle waves, complex pulse trains, triggers or complex noisy waveforms in the region of 0-9V depending on how it is touched. In addition to listening to the raw stereo output, you can also use it as a complex controller to gate/trigger and frequency modulate external CV/Gate equipment. It is an interesting way to spice up a modular synth patch or to turn an otherwise predictable synthesizer into a freakish improvisational instrument.
Pipsqueak is available for $100 including shipping in the US. By default, these ship with 1/4" output jacks, but 3.5mm "minijack" versions are available upon request.
It is also intended as an instrument that we can build together in a workshop and is suitable for both beginners and more advanced builders. If you are interested in hosting a small group workshop in your town, please get in touch."
As you know, supporting members of the site are free to send in their music for posts as a thank you for supporting the site. I've been using the MATRIXSYNTH Members label for such posts. The challenge has been deciding when to use the label or not. For Bandcamp releases and the like it's obvious, but what about member videos that demo or showcase a given synth? I've been thinking that content is just as relevant, so moving forward I will be using the label for all posts that feature a supporting member.
If you are a supporting member of the site, and I miss the label, let me know and I will add it. Keeping track of everyone can be challenging.
P.S. If you want to see more posts featuring a specific supporting member you can search for them by name/alias at the bottom of any post.
Published on Sep 29, 2018 Christian's Sonic Spaces
"This is the second song with my latest addition, the Evolution Synthesis EVS-1. It's a 16-voice polyphonic, 8-part multitimbral, digital synthesizer featuring 4OP FM, 4OP Phase Distortion, Ringmodulation, Waveshaping, etc. It wasn't very successful when it came out in the early 90s. The reasons might be that one need a computer software to programm this synth, the sounds contain significant digital artefacts and it hasn't any filter and effects. But thanks to the 4 6-stage envelopes and 2 LFOs which all can be freely routed to each control two different parameters of the synth engine including LFOs themselves AND the "wavetable", it's a beast to create crispy, wobbling, glitchy, drony, weird, industrial-like soundscapes. The aliasing is here a significant part of the sound design ;-) I'm really impressed how versatile and "fresh" it still can sound.
BTW, all sounds I used for this song I've created myself ;-)
I used for the recording the following FX chain:
Evolution Synthesis EVS-1 - Alesis Philtre - Alesis Ampliton - Pigtronix Echolution 2 Deluxe - GFI System Specular Reverb 2 - Alesis 3630. Depending on the recorded track some FX are deactivated.
The signal goes via a small Behringer mixer straight into the pc.
To create the complete song I recorded consecutively several stereo tracks. The final song was then mastered with just a bit compression on some tracks and some limiting on the master track."
"Over the last three years, this unit was put back together and rebuilt by several technicians. The majority of the unit was put back together by Kurt Sampson in Prescott, Az and some of the parts are original and some of the parts are new.
I am going to break down the repairs as best as I can. They keyboard (digitally controlled) is new, the spring reverb is new, & the power supply was specifically constructed for this machine. All four oscillators work, the two filters work, all five mixers work, the keyboard control works, both amplifiers work, the sample and hold work, left and right outputs work great, the spring reverb / phaser work, & the 30 x 30 patch matrix works great and it comes with 14 pegs to make different combinations of patches. There are no dirty potentiometers. Also, I have the old pitch wheel if you would like to have that as well. I poured in more than 5k to get this guy going. This synthesizer sounds incredible and there is nothing else like it.
There are knobs on this unit that don't do anything. On the bottom left of the keyboard there is a knob that says computer and it doesn't do anything because you can't hook it up to a computer, on the bottom right of the keyboard ext. input 1 & 2 don't do anything, in the middle of the keyboard the foot pedal, foot switch, and echo knob don't do anything either."
"Digitakt is acting as the MIDI master clock sequencing an Elektron Analog Rytm (drums) -processed / filtered by an Elektron Analog Heat, Elektron Analog Four MKII (chords), Moog Minitaur (bass), Moog Sub 37 (leads, offscreen) and Korg Kronos (strings, offscreen). Some reverb added with Valhala shimmer VST. No EQ, no mastering and no samples. Thanks for watching! subscribe for similar content."
"Part 1 of a series of videos tweaking sounds on the Polyend & Dreadbox Medusa Synthesizer.
In this video Yannis records a simple sequence using Medusa's Grid and afterwards he tweaks the sound from Monophonic to Paraphonic mode."
About 4-5 years ago my good friend Afrodjmac (http://www.afrodjmac.com) and I made a JX8P Ableton pack. That pack is by no means bad, but its mostly preset based. Since it's release, I have acquired an MKS70 and PG800 programmer to use with both units. Needless to say the PG800 really opened up the synthesizer! The MKS70 is the JX8P with double the voices. It's essentially 2 JX8Ps in a rack mount module. So with newfound creative control over the synth, I wanted to make a pack showcasing some of the sounds I use it for. It sounds great! Syrupy slow envelopes make huge pads, and doubling it up makes it sound that much richer. This 24 preset pack is a combination of JX8P user presets, MKS70 User Presets, and both being used at the same time."
"Just got a new Elektron Digitakt. Absolutely love this thing !
Choir sample was recorded with a Mellotron M4000D and sampled into the machine. Vocals are coming from Alan Watts video here: https://www.youtube.com/watch?v=dzyDT..."
"An improvisation using my custom Buchla easel K and eurorack format modular synth.
The headphones out on the Buchla gets sent through a volume pedal, into an envelope follower in the eurorack modular. There it excites the eurorack to play random notes from a defined scale. The volume pedal enables me to control how much activity I get from the eurorack.
My easel is made up of a Roman Filippov 208 Clone, a BEMI 223e an Electric Dompteur Model hED, a Voltage Circus Model hVC and CV Polymorpher 20C."
"Difficult work, on a number of levels. I believe the score for this work is being published soon. If so, I'll also make sure the patch is available for anyone who purchases the sheet music. The title of this work refers to a number of features: electronic musicians will likely know the term 'pendulum' as a way of describing arpeggiator sequences (i.e. 'up-down' and 'down-up' sequences) - in the Classical world, these sequences are known as 'rolling arpeggios'. You'll see from the first phrase that the work is built on pendulum sequences. On a more aesthetic level: ring modulation plays a major role in the sound of this work. The ring mod creates a rather odd illusion of descending notes sounding like ascending sequences - hence also the use of the title 'pendulum'.
I'm creatively embracing the limitations of the instrument: I don't use 'limitation' here in a negative sense (everything has boundaries), but rather, in a positive sense. You'll see the piece utilises the full range of the Obi. Also - and at a musical level - I'm harnessing the 6-note polyphony as a creative feature. At c. 0:12 you'll hear the polyphony is causing the low note to be cut off when I reach the high note of the pendulum. If the Obi had 8-note polyphony, the composition would have been very different.
Mentally the most difficult section occurs at 1:02, where there are two independent pendulum sequences of different length played simultaneously. The LH is playing a 10-note sequence, with the highest note accented, whilst at the same time the RH is playing a 12-note sequence, with the lowest note accented. Therefore, the phasing drifts (obvious if you listen to where the accents occur). This is very different from standard piano writing where an accent usually falls on the same note for every sequence. Having two brains would make the task easier!
The sequences can be thought of as two Newton's cradles swinging, one larger than the other. Both are perfectly in sync with their own phase sequence - but the different phase lengths cause unusual 'drift'.
At the instrument level, the accented notes show off the OB6's touch sensitivity. It really is a wonderful instrument.
At 1:36 there are chromatically descending double-note runs in minor thirds in the RH (similar to the descending double thirds in Chopin's 24th Prelude). Here again you'll notice the pitch seems to be ascending in places i.e. the 'pendulum' effect.
The work fades out on the drift sequencing, after passing the 120-note point, i.e. the point where the phase sequencing of both hands returns to the 'zero' point of each sequence.
PS the OB6 is in my filming studio, hence the black background. I had two cameras set up as the performance vid may also be part of the score purchase, but for this YT upload, the single camera angle will suffice.
In terms of recording: no external processing - what you are hearing is a direct out from the Obi.
Seq A BSP controls DotCom modular/Rubber bass
Seq B BSP controls D-05/Harp Sound
Drum Sequencer controls Volca Sample
Bass is processed by the OP-1
Recorded on a Zoom H4N Pro
Hope you like it!
"Total conversion of a yamaha DD6 drum machine based on a kit.
Details below.......
Kits and fully modified units will be for sale when available.
https://x1l3.bigcartel.com/
Occasional updates on what's being built and when.
https://www.facebook.com/X1L3.co.uk/
The kit turns what is more or less a toy into something of a work of art in terms of abstract glitch percussion and esoteric noise maker.
In stock form the machine has 99 preset rhythms and the four pads are triggered manually. The kit i've been working on opens this right up and takes it to a totally different level. The machine in the video here is being triggered from my DAW. There's also a yarns midi interface in my eurorack being used to provide midi to CV sequencing to both the pitch and the filter cut off on the DD. Some additional hi hat and clean percussion is bought in mid way to drive the track but otherwise it's all glitch and abstract drum work from the DD6. A nice example of combining the vanilla with something less ordinary :)
Included in the conversion are the following mods:
+ MIDI control added to pad triggering and control of the glitch matrix by means of note on/off gating over one octave.
+ Gate inputs to the four pads for triggering from gate/trigger capable gear such as a eurorack.
+ Cv control over pitch and filter cut off.
+ Ruiner - distortion and ringmod hybrid
+ Digital delay. Untethered to behave as a normal delay or as a circuit bent guitar pedal would behave. Self oscillation on feedback loop etc.
+ Low pass resonant filter with self oscillation.
+ 8 point rom glitch matrix
When available the kit will consist of panel, control and brainpcbs and a pre programmed chip for handling the midi. All of the smt passives will be pre soldered and the builder will need only to populate a small number of the parts count and wire it up to the target machine. A PDF how to will be available to guide you through this.
DDX kit will mod a DD6, 7 and 8 with the only changes being in the tracks that need to be cut on the DD and the locations in which the control wiring is to be soldered to the machine.
A kit to mod the DD11, 12 and 14 is also in the works and will appear at a later date,"
Published on Sep 28, 2018 alternatingbitmusic
Re-Published on Sep 29, 2018
"Thought I'd demonstrate this unit by Noise Engineering and how in additional to really wild and crazy stuff you can also create some rather tame yet still interesting rhythmic elements. All sound in this demo is from the B.I.M. module only, and it is run through an STG Mankato filter."
"At the end of June 2018, after 40 years of waiting, I bought an Oberheim Four Voice. It was, to put it gently, in need of some work. This is the first time I have been able to hear 3 of the 4 SEMs sounding together. It's 3 1/2 minutes long of some sound and a slideshow of what I found when I got it home. SEM #2 is in Florida (on vacation?) with John from PM Foundations. Without his help, I would not have been able to do any of this."
64 patches for the Roland Boutique D-05 and vintage D-50 that traverse both classic and modern sounds not typically associated with the D-05/D-50. Meticulously sound designed and programmed to exude the clandestine and ethereal mood of L.A. Synthesis as well as a selection of drum, percussion, lead and bass sounds perfect for many styles of electronic music.
Conveniently loads into any User Bank on the Boutique D-05. Please note on a vintage D-50, this will overwrite any pre-existing User Bank patches. This is a raw demo showcasing only what's available on the D-05 / absolutely no additional post processing was used / all of the FX that you hear are directly from the built in D-05 FX engine."
"An LFO, or low frequency oscillator, sends control voltage out in the shape of a waveform. The Quad LFO available shapes include sine, ramp, saw, triangle and pulse and moves through these shapes using the SHAPE slider. You can send these 4 distinct LFOs directly out or to other modules for frequency modulation, VCA control, filter control, etc.
What makes this Quad LFO module different is that it also includes a 16 step automation sequencer for each channel, as well as autosave or expanded preset functions when used in conjunction with Varigate 4+ and Varigate 8+.
To create a sequence of automation for an LFO, select a channel and then hold the RECORD button and move the sliders for Frequency, Phase, Shape, Distort and Level and those slider movements will play back automatically as the Quad LFO cycles through the sequence. This sequencing feature allows for a multitude of dynamic possibilities for live performance and recording.
Set each LFO to trigger via one of the 4 individual gate inputs, or set channels 2 through 4 to follow channel 1 for quadrature and phase modulation. Change the direction of each channel of sequenced automation to Forward, Reverse, Pendulum or Random. Switch the playback speed and style between Fast, Slow or Tempo Sync. There are also inputs for both Clock and Reset.
Features include:
-4 LFO generators, each with it’s own individual output
-SINE, RAMP, TRIANGLE, SAW and PULSE
-Distortion types: FOLD, BIT CRUSH, NOISE
-16 steps of automation recording for LFO settings per channel (& Clear Automation function)
-Set each LFO to follow or trigger via one of the 4 gate inputs
-Forward, Reverse, Pendulum and Random switch for sequenced automation direction.
-Autosave stand-alone or save up to 16 presets with Varigate 4+ and 100 with Varigate 8+
-Switch between Fast, Slow or Tempo Sync per LFO
-Clock in
-Reset in
"Here is my cream of the crop Roland Jupiter 6. I bought this in Dallas, Texas several years ago. It was bought brand new for a 14 year old little girl who was taking piano lessons. She played it a few times and then it was stored in the closet until I purchased it. It is in excellent condition. Super clean. The key pressure still feels brand new!"
Angle Grinder eurorack module demo (the basics) Published on Sep 24, 2018 SCHLAPPI ENGINEERING
"An introduction to the basics of the Schlappi Engineering Angle Grinder eurorack synthesizer module. It is an all analog quadrature VCO and waveshaper module, more details can be found at: https://schlappiengineering.com/produ... Other companies modules used include: Make Noise Maths, VPME Zeroscope"
"Angle Grinder is a quadrature sine wave oscillator, filter, and distortion effect.
The SPIN section is a quadrature sine wave oscillator. The GRIND section compares each phase against the input signal, then subtracts the resulting square waves from the input signal. If the spin section is either damped enough or enough signal is fed into it from the GRIND section then it will stop oscillating and become a state variable filter.
The Angle Grinder tracks volts per octave and can be used as a sine wave oscillator with voltage control over harmonic content available at the GRIND OUT. With no input it’s four phase related sine outputs (0°, 90°, 180°, and 270°) remain clean from 0.1Hz to over 20kHz and are suitable for quad panning or XY applications.
With an input signal applied the GRIND out ranges from quadrature pulse width modulation (at LFO rate) to sync-like metallic tones (at audio rate). When GRIND is fed into the SPIN then it becomes a nonlinear feedback network with the faders and corresponding CV inputs providing instinctive control over phase cancellation, oscillation, and distortion. The four phase related outputs will become low pass, band pass, high pass, and inverted band pass filter outputs.
The function of the Angle Grinder depends on both the position of the knobs and the presence of an input signal.
Quadrature Sine wave VCO with four phase related outputs: 0°, 90°, 180°, 270°
HIGH range from 10Hz to over 20kHz
LOW range from 0.1Hz to over 500Hz
Tracks volts per octave at the V/OCT input
FM1 is selectable linear or exponential FM via jumper on back
FM2 is additional exponential V/OCT jack
With no input GRIND section provides voltage controlled harmonic content
With input GRIND section compares each phase against GRIND IN signal
Many thanks to the creator Wilfried Thierry because its really good fun.
Here i am running 2 Patches on my Prophet 12 using Layers A + B
with 2 instances of Midi Reich, Layer A is routed through a nice Formant reverb preset in Audiority Xenoverb and Layer B is running through 2C Audio Breeze 2 and UA's Spec ops
All Synth sounds are tweeked manually during the recording"
"The purpose of 'TEST SERIES' is to focus on the sound design possibilities of various gear combinations. This series is not musical nor does it serve as an instructional video. It is all about sound potential.
Please consider supporting this channel by purchasing a sample pack or music download from www.outsidersounddesign.com"
"Noise Engineering now has 5U versions of their Manis Iteritas and Basimilus Iteritas, the Magnus versions, the Magni? The Basimilus Iteritas Magnus also has a free running oscillator drone mode, so as you can see from the second part of this video these make great noisy drone synths as well as full drum or synth voices when used in trigger mode.
"A very quick test of the setup we will be taking to Horsham Americarna.
4 Theremins that the public will be encourage to try out. One pair control the E352 (Frequency and Waveshape) and the other the E370 Frequency & Delay."
3x regular ONEs, one ONE prototype and a TG ONE. 2x TG01 samples, 3x TG02 samples. Lots of processing> including 3x Tiptop Z-DSPs (Valhalla Shimmer, Tape Echo, E-Verb), Future Sound Systems TG 03 and TG04 Gristleizer modules, Serge Resonant EQ, Tyme Sefari MK2, a bunch of Tiptop Z2040s, Bubblesound SEM20, Doepfer A-124, Serge VSVCF, Make Noise Erbe-Verb, Roland Scooper and more.
"A rather minimalist exploration of the variable rate delay in the Parasites firmware for MI Warps.
The delay is (deliberately) lo-fi and, with long, slow 'tape speeds' settings distresses the incoming audio in a very lovely way.
Just 2 voices in play. A simple FM voice is fed into the delay via the touchpad on the ribbon controller. And Drone Commander provides some low level textural background.
If you want to hear all the colouration of the delay line, you'll probably need headphones.
"A short piece recorded "live" to my R24 (three stereo tracks recorded one after the other). I sampled my piano and an orchestra for the pad/ambient sounds and played a bass drone and rhodes on the DX. All Instruments routed through the MS100BT and Strymon BigSky."
"Here's a live performance from Matthew Bourne captured at Headrow House in Leeds at an event held in association with Modular Meets and Super Friends with Kaitlyn Aurelia Smith headline (I don't have that performance to share).
Matthew was performing with a Moog Memorymoog and Minimoog Model D as well as a Roland Space Echo under his mixer. Stripped back and simple with both synths "played" like a piano/keyboard as opposed to sequenced and sampled in a studio.
I always told myself that I would never remix a deadmau5 song, because I didn't want to ruin it. However, I decided to finally "ruin" one of my favorites, 4ware! Went with a downtempo 80s synthwave feel on this one; hope you enjoy!
Hardware used in this video: Korg Minilogue, Behringer Model D, Arturia Keystep, Novation Launchpad, Yamaha YPG-635.
In addition to the synths listed above, I also used some software synths including Korg's M1 emulation, Sylenth, and Dexed."
"These are rather rare. Similar to the Oberheim Matrix1000 the MS-6 differs in sound and function quite a bit. 6 part multi timbrel means you can make it perform 6 different mono synths much like the Sequential SixTrak. Cheetah synthesizers recently got a light shed on them thanks to Aphex Twin in a recent album entitled 'Cheetah'. [note that synth was Cheetah's MS800]
This synth was recently serviced, nee internal battery, new MAAD firmware installed (google search it and you’ll find the page with upgrade info) which drastically expands its CC controllability for easier editing and fixes some known bugs.
Like most of the cheetah rack synths they suffered from poor paint quality and has a little bit of rust here and there. Doesn’t effect the synths performance/functionality."
"The SD1000 is the first hardware sound module at this price point that integrates both audio and MIDI sequences! Our advanced technology packs stunning sounds in a pocket-size unit.
The SD1000 is the studio artist’s dream come true. Now you can instantly access over 500 professional sounds — the same sounds in other Ketron products (the AUDYA and Midjay Pro.)
Audio Loops and New Sounds
In addition to standard General MIDI sounds, the SD1000 contains other sound banks with many conventional families such as Pianos, Strings, Sax, Brass, etc. The top feature of the SD1000 compared to other sound modules is the large number of audio loops and drum loops which can be downloaded free of charge at www.ketron.it.
"This is the seventh installment in a micro-series diving deep into my collection of very small synthesizers. Each episode will explore one little music machine. There will be no talking, just music or noise, depending on the synth in question and your personal taste in sound.
Today we admire the PO-20 Arcade by Teenage Engineering and Cheap Monday. This lil guy comes from the second range of Pocket Operators, and was the first PO to offer real chainable chords. Many of the sounds are defined based on the selected chords even when the droning is turned down to zero. This PO allows 16 sound polyphony, and given the variety of sounds onboard, it can make sweet, complete music all on its own. The sounds all come from an 8-Bit palette and the effects add to the mix with several glitchy repeat options, several solo options, filters, and a little arpeggio that sounds like Mario just picked up a whole ton of coins. The best way to appreciate this machine is to play it live and mess around with all the effects. Enjoy the tiny show!
Let me know if there’s a particular synth you’d like to hear, and I’ll add it to the short list for future episodes. Enjoy!"
"OK. Not the same impression #Behringer #DeepMind12 left me with, last year, when I created the first patches for it (see below). #DeepMind6 is same thing as DM12, but probably the last updates made it stronger, and the sound it's more rich in low-end and it spreads its harmonics very nice (although the keys give me the feelings that they can broke any minute - even one C key stuck a little bit on the first day).
What you hear is what you get from the Behringer DeepMind 6/12. No EQ or external effects were added.
This patch is one of the new sound set I'm creating it, and it will be available on: https://www.albaecstasy.ro/deepmind-12/"
"RBMA participants share their thoughts and ideas about the Granular Convolver, an instrument specially designed for the 20th anniversary edition of the Red Bull Music Academy."
Playlist:
Shelly's Granular Convolver Unboxing | Red Bull Music Academy
Shelly Granular Convolver Jam | Red Bull Music Academy
OG Lullabies demonstrates the Granular Convolver | Red Bull Music Academy
similarobjects demonstrates the Granular Convolver | Red Bull Music Academy
Akkor demonstrates the Granular Convolver | Red Bull Music Academy
"Demo of Alesis Quadraverb presets on Roland TR8 and Yamaha Reface CS. Riff from 'Ageispolis' by Aphex Twin (Selected Ambient Works 85-92). 7 presets demo'ed:
CONCERT HALL 2
PING PONG DELAY
SMALL VOCAL PLATE
STEREO SPREAD 2
SOLON VERB 3
SOLON RING MOD
SOLON VERB 4
Chose these presets because they worked well with the riff used and demonstrate a wide variety of the sounds that the unit can produce. I also consciously ordered the presets so that there are significant differences with each change - to make it easier to hear each preset afresh.
-----------------------
About SOLON:
Producer of meditative electronic music. Founder & DJ, The Future Sound of Yoga. Explorer of the magic in vintage & modern audio gear.
Chris Martirano from American Music & Sound discusses the exceptional Nord C2D dual manual organ at Kraft Music.
The Nord C2D Combo Organ gives you two sets of physical drawbars per manual. Perfect for players who use the drawbars as well as the keys, the C2D includes a handy new left-hand preset section for hands-on control. If you're after the real-deal organ playing experience, the Nord C2D Combo is the instrument for you.
Kraft Music Nord C2D bundles include essential accessories to go along with your new combo organ, whether for home, studio, or the stage. Your organ package will be delivered to your door, and will include everything you need to start playing."
"SUPER RARE LIMITED EDITION MODULAR SYNTH BY LEGENDARY ELECTRONIC MUSICIAN JESSICA RYLAN
MINT CONDITION and was kept in a smoke-free studio environment.
WAS HANDMADE IN A STRICTLY LIMITED QUANTITY ---The Jealous Heart runs on a single 9V battery. Disconnecting the output cable shuts off the power. The circuitry is hand-built with premium parts. Instruments are supplied with a set of banana cables for patching. Input and output are via standard 1/4" connectors. Asymmetrical response for novel distortion and chaos sounds.
Flower Electronics manufactured high quality, unique musical instruments for the education, sound art, and noise communities. Flower Electronics products emphasized creativity, utility, durability, and freedom. Instruments were built with care in small batches, using the highest quality materials available, and are designed to last a lifetime. Designed by Jessica Rylan, the instruments draw on the best of 1960's and 70's modular synthesizers, 1980's guitar effects pedals, chaos theory, and old-fashioned intuition. This breadth of influence was distilled into a strikingly original and immediate sound.
Features:
voltage controlled low frequency oscillator (LFO)
asymmetrical multimode filter (low pass/bandpass/high pass)
1/4" input with variable gain
white and dark noise
two audio inputs, one with -/+ attenuator
two filter cutoff voltage control inputs, one with -/+ attenuator
powder-coated aluminum case
supplied with:
battery
set of 7 banana patch cords
JH PDF MANUAL INCLUDED"
Full Analog Circuit only with Through Hole Components
1x VCO with 2 suboctaves (3 voices in total)
Pulse width and Glide controls
3-pole 18dB/oct Resonating Low Pass Filter
OTA Distortion Circuit for extreme sounds
OTA based VCA
2 envelope Generators
– Attack, Decay/Release, Sustain (extra snappy and patchable)
– Attack, Release (VCA hardwired)
Triangle Wave LFO
8 point patch matrix eurorack compatible
SPECIFICATIONS
5 MIDI Octaves from C0 up to C5 or unlimited via CV/Gate
MIDI interface: Midi in DIN socket, Pitch note/gate on-off, retrigger function, Mod wheel (hardwired on VCF), Pitch wheel, MIDI Channel select 1-7 or Omni (DIP switch)
MONO AUDIO OUT (1/4″ TS-Unbalanced), sends up to 10Vpp o
Patches: 3.5mm mono
Gate in: activation at 0.9V in a low gain up to 5V for max gain
Gate out: 0-5V
1V/oct : sends the MIDI to CV out (not the Gate)
CV IN: works at 1V/oct and can accept from +/-12V
Envelope out: 0-6.6V depending on the depth setting
LFO out: +/-5V
Weight: 0,9 kgr
225 x 160 x 75 mm
"Yamaha CS-50 - 4 Voice Analog Polyphonic Synthesizer Keyboard --- In great condition! 100% functional! Looks good! Huge sounding 70's synth!! Plays and sounds like a dream!"
"Korg USA joined together with the Culmination Brewing to celebrate the art of synth music and beer for its first annual Brew Music. Brew Music provided synth users with the opportunity to get hands on with Korg’s newest and most popular synth instruments.
Music: “Wants To” by Birocratic (http://www.birocratic.com)
The songs used in this video were licensed via Birocratic License v05.2016.
For info on how you can use this music in your project,
check out http://www.birocratic.com/license-app.
To download Birocratic’s 60+ song discography, visit http://
birocratic.bandcamp.com."
"ARP PRO-DGX Vintage Digital Synthesizer. Good working condition. Can not gaurantee everything is working at optimal level. All keys and effects seem to be working fine. Has not been serviced. All original parts still intact. May need looked over by a service professional to ensure everything is working at an optimal level. Produces amazing sounds that can be heard in recordings from the 1970's to early eighties. Solid metal housing. Dimensions 33.25 in. x 13.5 in. x 4.75 in. Weighs approx. 32 lbs.
"Over the last three years, this unit was put back together and rebuilt by several technicians. The majority of the unit was put back together by Kurt Sampson in Prescott, Az and some of the parts are original and some of the parts are new. 
"SUPER RARE LIMITED EDITION MODULAR SYNTH BY LEGENDARY ELECTRONIC MUSICIAN JESSICA RYLAN
Full Analog Circuit only with Through Hole Components
