"Relic Waves is a generator of Lo-Fi noises, pads and effects based on unique synthesis algorithms from NightRadio. More than 4 billion samples from the depths of the Mathematical Universe!
The interface and synth framework are inherited from Fractal Bits, but Relic Waves is more suitable for searching for long atmospheric samples.
* search for new sounds with three buttons: next random set, edit code, previous set; each set of 12 sounds corresponds to a code of 8 characters (you can save/copy/paste it as plain text);
* three types of keyboards for live performing: on-screen buttons, PC keyboard, MIDI input;
* six additional processing parameters + control of all parameters via MIDI;
real-time audio recording to WAV (32-bit);
* export to: WAV (one file or a set), SunVox (samples + effects in one file), text clipboard;
* the LCK button freezes individual samples - they will not change during the search for new sets;
* iOS: Audio Unit Extension (AUv3), Wi-Fi export/import."
"I'm just trying out things with ROSTOCK to get a feel for it. This is a patch where I used it to create a phase-shifting or pitch modulation effect (depending on the speed of the modulation). By mixing in the original sound you can get phase cancellation in mono (comb-filtering?) or chorus in stereo."
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"Early Minimoog, circa 1973, built in the Williamsville, NY factory. For its age and heritage it's tuning is very stable, and every thing is working properly. Well worn and loved, for good reason! This is one of the better Minimoogs' we've heard come through our doors. Serial No. 5152
This is the classic. The legend. One of the most influential electronic instruments of the modern ear. Minimoogs have been used in almost every genre of music, because it has the tone and playabilty that makes it so inviting. Like a great guitar or violin it has a very timeless quality to it, no matter how much music genres change and trends shift Minimoogs will always have a place!"
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"This monstrous synth is in great shape and sounds fantastic. There are eight analog voices which can be panned individually for some really interesting stereo sounds. The keyboard can be split or doubled and there are two oscillators per voice. It is a very warm sounding synth great for massive chords, basses and leads. This model has MIDI in out and thru, this mod was added later on by the previous owner.
It is quite a beast, with all the great 80s vibe and that classic Oberheim sound. In fantastic working and cometic condition overall. Serial No. C41315"
"Vintage analog synth from the 80s, made in Japan.
All presets and sounds made by me, using only Vallhalla Room reverb and
Arturias JUN-6 chorus.
More demo is following, next year music.
Thanks!
We're excited to announce a new beta firmware for the Xer Mixa. Most of these features came from user suggestions, so we’re thankful to a fantastic user base who has some great ideas! These features (and the accompanying updated manual) will be available starting Thursday, November 30.
To install the update onto your Xer Mixa from the Customer Portal. The installation process only takes a few minutes and can be completed with the Firmware Wizard at the top left.
This beta update adds a number of new features, detailed in the updated user manual here (the relevant new features are labeled as "BETA").
Noteworthy changes:
This firmware version adds
- Quadrophonic and hexaphonic output/panning modes
- MIDI clock-quantized muting with selectable clock division period (one measure to 1/4 note)
- Analog clock-quantized muting via Expando Expandi
- New screensaver options
- Ability to edit multiple channel configurations at once
In addition to minor improvements to CV response latency and minor bug fixes. This is a public beta, and we're actively seeking feedback from customers through our feedback form at https://portal.noiseengineering.us/?land=contact
"This video is a bit like a community service. The Loquelic Iteritas Percido is often described as one of the most difficult and unpredictable VCO's in Eurorack, so maybe this video can finally help you out. But this 'issue' applies to all complex oscillators. They're complex. Where a sawtooth can only do a saw, a complex oscillator can make millions of sounds by combining two VCO's by clever 'algorithms', mod/fm busses and patches. It's not immediately obvious, but the LIP is also inspired by the Buchla 259. It has two independent VCO's, a mod bus and a wavefolder. What makes complex even more complicated is the built in ADR envelope that can affect pitch, amplitude and timbre in various degrees and strengths. It's easy to forget that you don't need to dial in everything to make a sound. Even if you don't own a LIP (and not planning to), this video could give you some new insights that will help to patch your more classic 259 designs (DPO, Furthrrr, Brenso, Cs-L, Verbos CO, 258T, etc).
00:00 Introduction
00:16 Neutral settings
00:48 2xVCO+Mod+Fold=259
01:04 Coarse and fine tuning pitch push encoders
01:33 Trig/Loop/Free
01:46 The Envelope
01:58 Algorithms
02:17 LIP on the Scope
06:10 Try to imagine a picture for a sound
08:12 The Damp knob
08:57 If you can't dial in a sound, maybe you'd need a filter.
09:51 Heavy Industry
10:49 The Moody Ambient Side
14:07 Brass sounds"
"It's a new module with 12 knob recording motion loopers. So you can perform mix shifts in realtime and have them loop. It's POWERFUL, I've been impressed and I'm exciting to share this with you."
Central control and mixing hub designed to manage and combine audio signals from various sources within a modular setup. Its Knob recording feature (REC) allows you to record your moves for volume/pan/aux controls.
– 2 MONO Channels with Volume, Panning and Auxiliary send controls with CV for each function. Knob recording (REC), CUE bus and MUTE function.
– 2 STEREO Channels identical to MONO Channels, but the CV for the AUX function is replaced by the right (R) audio input.
– AUXILIAR Channel with 2 Mono Sends (X & Y) and 2 Stereo Returns with volume adjust.
– MASTER Channel with volume adjust for the main outputs, vu-meter, Headphone output with volume and cue/mix blending knob.
0:00 Music Example 1
1:27 Digitakt as an Audio Interface
4:41 Music Example 2
5:50 Arp Overview
9:55 Music Example 3
11:00 Presets Exploration
13:48 Music Example 4
Whatever kind of music you are making - KEEP IT UP, Friends!
Don't stop making *YOUR MUSIC*!!
This is the Korg SDD-1200 vintage effects unit. Featuring two completely independent digital delay lines. You can patch up the delays any way you like: In series, parallel, internal or external feedback loops. Today I'll be auditioning a few selected patches with some sounds with my Korg Poly-61 Synthesizer."
"This menu is for routing the Tracks' MIDI data. Each one of the 8 Tracks on the RK008 can hold MIDI data (notes, pitch, CC's) for 16 MIDI channels at once but via the output menu you can reroute these:
1. MIDI Channel
By default it's set to ORG, meaning that there is no MIDI channel remapping done. Typing a MIDI channel here will reroute incoming MIDI from any channel to the set output channel. This way you can use the RK008 as a handy MIDI switchboard. Just by pressing a Track you can reroute to a predefined MIDI output channel.
2. MIDI Port
MIDI port selects the physical MIDI output to route the MIDI to. You can use the digits 1-3 to select a specific output (OUT1, OUT2 or the RK006 via USB), or press 0 to send to all. By specifying outputs you can potentially drive a whopping 48 channels of MIDI gear.
Bonus: You can download the little Dopplereffekt / Infophysix .mid file loop which I exported from the RK008 here to play with: https://retrokits.com/rk008/dopper_in..."
This blue beauity is a hit of sales in our shop & we recieved lot of feedbacks & tasks from you!
So we made the second set!
In this time we put our focus on presets adapted for Synthesizers so welcome to the "Synth Rig" Soundset with newly handcrafted 50 presets!
Soundset splitted on:
*Set of different delays - modern, vintage,lo-fi,pattern,combo *Set of modulation fx - different choruses,flangers & detunes *Set of reverbs & spaces - clean, big, cave, plate, mangled,combo *Set of unique & combo effects with all kinds you can imagine.
Easy loading (instructions are included) All synced fx are fixed to 120 BPM but you can easily change BPM using grey metal button on the pedal.
Suited for all modern genres of electronic music: retrowave, ambient, trance, house, classic electronica, downtempo.
By Nick Klimenko aka Chronos, a creator of 'Organica' for Waldorf Blofeld & 'WS Universe' for Korg Wavestation."
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"Ensoniq Fizmo 5U rackmount version, super hard to find these days! This one was just serviced with a NEW voltage regulator (notorious problem) that has been corrected. Factory patches have been restored over Sysex like new. Sounds absolutely insane!
Fully functional unit, main volume control knob is unoriginal (purple cap). Several pot shafts are slightly crooked -- but fully functioning without issue (see detailed pictures). Includes a Lexicon power supply that is to factory spec.
Fizmo rack utilizes real-time Transwave synthesis, a powerful synthesis engine capable of 48-voice polyphony, state-of-the-art 20-bit output converters, 24-bit on-board effects with 41 algorithms including the Ensoniq Vocoder, an arpeggiator with 118 editable patterns."
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"Tested in great working condition, one slider cap is unoriginal but fully functional. Also missing the rear battery compartment cover. Includes AC power.
Digital synthesizer based on Phase Distortion Synthesis, kind of similar the DX-7 FM Synthesis in terms of sound. Its a 16 voice synth that can be split into 2 parts, plus an 8 track sequencer. The voice structure is 2 oscillators, with a variety of standard and unusual waveforms including resonant waves that make up for the lack of filter. The waveforms get modulated by the 8 stage envelope generator (of which there are 3 for the pitch, waveform, and VCA) to create timbral changes. In addition to that there is a ring modulator, noise source, and chorus."
"The unit is in LIKE-NEW working condition and includes a bundle of helpful accessories such as the 'Patch & Tweak with Moog' book, 5 - 6” Modular Patch Cables as well as 5 - 12” Modular Patch Cables.
An amazing set in PRISTINE condition. Perfect for gift giving! Was a graduation gift for my son last year & he set it up and only played with it maybe twice."
"New OXI One 4.0 firmware:
· Edit gate and velocity values in your sequences using the column views and · Take advantage of the Piano Roll for Multitrack Mode
"Introducing this new series of supershort jams especially made by fx_berg for our two brandnew eurorack modules: TAKT & FIRE.
TAKT is our brandnew 8 track rhythm programmer / looper - and a whole different beast than your regular step sequencer.
FIRE is the perfect partner in this scenario: an 8 voice drum & percussion synthesizer.
Every jam takes a quick look at a feature of either one, trying to give you an idea of how FIRE sounds and especially how fast and easy beat creation on TAKT plays out.
0:00 - Start ( no sound)
0:12 - part 1 - INTRODUCTION
1:12 - part 2 - HOLD
2:13 - part 3 - FILLS
3:13 - part 4 - CV MOD & MORPH
4:15 - part 5 - SENSORS
All drums are raw, no limiting, nothing.
Hope u like it, Headphones strongly recommended."
"It can't even do things the PO-33 can do! I let myself down by getting wrapped in the hype, haha. Its an awesome device, and yes you can make full songs on it.. But it might be a challenge at times! Which can be a good thing. TL:DR, I wanted to get this to play live and perform on, but it's going to be a little trickier than I excpected."
00:00 It's Dope! but...
00:33 The Filters...
03:16 The PO-33 Can Do This.. But EP-133 Can't
04:03 The Pattern Changes, and Project Swaps.
05:45 Easier Pattern Change "Hack"
07:02 This is super weird.. Can't Jump To Blank Scenes?
08:48 The Fader Send FX Thing Could Be Changed.. Maybe?
10:07 I'm About To Rage Quit
10:40 The Last 2 Things, about sampling and about the fx..
"Being a demo of two freaky little generative FM grooveboxes you can buy (or DIY!) from Thonk.co.uk - but also a celebration of all weird little drum machine and synth setups."
CHAPTERS
00:00 All one needs to have fun
01:24 Crum Drum
06:13 Freaq FM
10:16 Both Together: Woof!!
12:25 Full 1992 Head Nod
13:44 It's fun to make small gear setups
15:05 A final FM jam
"Wavestate SE 👉 All-Play 👌 🎛 Here, we're turning multiple knobs to manipulate the sound of a performance called '10 Pads on Sample Knob' on the Wavestate SE. What's a performance? 🤔 On the wavestate, 'performance' stands for the final program name, which is made up of multiple programs! In this video, the majority of tweaks come from Sample, Pitch, and Speed changes 😎."
00:00 Introduction
00:13 Modules needed
00:15 Patch Description
01:15 Start with basic synth patch
01:48 The patch
02:51 Advantages of the patch
03:56 Patch variation
04:56 Module Recommendation
"This basic patch is meant for those who are new to modular synthesis. It illustrates a modular synthesizers ability to be stretched further than you think it can.
This patch is limited to the modules found in the Compact 11-Space Box11 System Bundle. Substitute any module with one from a different manufacturer if that is what you have.
The patch illustrates the power of modular synthesis to use one module for several things. in this case using an Envelope Generator to both shape the VCA and the VCF at the same time. Allowing for the filter to be modulated by two Envelopes at the same time
"Explore all of the new features in Vocal Colors expressive vocal instrument, including user sample drag-and-drop, polyphonic aftertouch support, and 180 new presets additions to help you shape and blend voices.
Chapters
00:00 - Intro
00:46 - User samples
05:25 - Polyphonic vibrato
06:42 - Next-generation NKS
06:57 - New presets"
"VOCAL COLORS creator Uli Baronowsky goes deeper into the instrument and its recording process, and illustrates how specially-recorded sample content is combined within the powerful COLORS engine to create one-of-a-kind vocal textures.
VOCAL COLORS blurs the lines between speech and synthesis with a collection of boutique vocal samples transformed in a powerful engine.
"So here is the story, after the EMOM event last night a Roland JUPITER-4 magically appeared at my house!?! My Pal Niklas at SHS has been collaborating with the eminent guy calling himselft synthdude.se on some projects.. and while Niklas is out having fun playing with other gear i decided to take the JUPITER-4 one for a spin.
Yes, the signal is a bit hot at times and the VCA is also helping out to bring some of that 70's warmth... but hey, who cares? this is all about inspiration and having fun in the moment.
"(c)2007-23 by RetroSound
supported by UVI: http://bit.ly/retrosound-uvi
❤️ Support #RetroSound channel: https://retrosound.creator-spring.com
Best of Crumar Performer String Synthesizer
all synthesizer sounds: Crumar Performer B (with SSM filter) String Synthesizer (1979)
drums: Boss DR-55, Korg KR-55B, Keio Minipops Junior
Setlist
0:06 Intro
0:40 Late 70s Performance
1:17 Big Wave https://retrosound.bandcamp.com/track...
2:16 Sweet Symphony
3:15 Sleepless
4:09 On The Road
4:32 The Year 1979
5:08 SSM
5:44 Cinematic
6:10 Outro
Classic Analog Stringmachines from the 70s.
The full playlist:"
"Ancora un'anteprima esclusiva al Soundmit 2023 con la nuova NANOBOX TANGERINE di 1010MUSC qui rappresentata dal distributore tedesco TOMESO. Tangerine è il nuovo sampler nel collaudato formato tascabile che conosciamo già da qualche tempo, fanno parte della serie anche Razzmatazz, Lemondrop e Fireball rispettivamente FM Synth, Granular Synth e Wavetable Synth.
Another exclusive preview at Soundmit 2023 with the new NANOBOX TANGERINE by 1010music [announcement post here], presented here by the German distributor Tomeso. Tangerine is the new sampler in the proven pocket-sized format that we've been familiar with for some time. Also part of the series are Razzmatazz, Lemondrop, and Fireball, representing FM Synth, Granular Synth, and Wavetable Synth, respectively.
Une autre avant-première exclusive au Soundmit 2023 avec le nouveau NANOBOX TANGERINE de 1010music, présenté ici par le distributeur allemand Tomeso. Tangerine est le nouveau sampleur dans le format de poche éprouvé que nous connaissons depuis un certain temps. Font également partie de la série Razzmatazz, Lemondrop et Fireball, représentant respectivement FM Synth, Granular Synth et Wavetable Synth."
BLEASS Arpeggiator takes the inspirationally melodic power of a classic synth arpeggiator and supercharges it with modern features demanded by today’s musicians. Developed in collaboration with top French producer Canblaster (@MrCanblaster https://canblaster.bfan.link/genesis), BLEASS Arpeggiator’s capabilities extend far beyond the clichéd up-and-down monophonic patterns of an old-school synth arpeggiator, with polyrhythms, polyphony, and a large collection of highly configurable arpeggio patterns built in.
The focus of BLEASS Arpeggiator is creativity and experimentation. The plugin’s hands-on user interface is as intuitive and spontaneous to use as a classic subtractive synth, so varying and adapting arpeggios on-the-fly is an easy, fun and organic experience.
The plugin recognises incoming performance controllers, and includes a pair of XY pads (huge fun on iPad!), a pair of advanced LFOs and BLEASS’ signature Motion Sequencer. These can modulate the arpeggiator’s parameters, unlocking a deep level of creativity that’s simply not available from modern step-sequencer-style arpeggiators.
BLEASS Arpeggiator also offers a built-in sound generator. This is a cut-down yet great-sounding FM synth that’s perfect for creating the kinds of bright, sweet and punchy sounds that can work so well with an arpeggio line. You can of course use BLEASS Arpeggiator with any other synth too (see tutorials here), with each instance of the plugin creating its own MIDI source that can be bussed to any instrument within your project."
"The official integration of Keystage with Ableton Live make its use with Push 3 Standalone a killer combo on stage.
Ableton Push 3 raw power and integrated control with Keystage give you hands-on, intuitive control over your performance.
Track composed and performed by by Tsunoda Ryuta
Instagram / Threads: @ryuta_tsunoda"
KeyStep Pro Chroma combines new aesthetic elements, including a sleek dark gray exterior, striking blue LEDs and other expressive features that allow users to customize their track colors. These additions are added to the already-impressive list of features of 2019’s KeyStep Pro, the polyphonic controller that remains a benchmark for creative hardware & software sequencing.
With the release of KeyStep Pro Chroma comes a significant new firmware update (2.5), delivering useful new features and long-awaited enhancements, free for existing KeyStep Pro users. The update will be available to download via MIDI Control Center & arturia.com from November 30th, with full release notes viewable on Arturia’s KeyStep Pro web page.
KeyStep Pro Chroma will be available to order from November 30th in the US & Asia, and from mid December in Europe. Customers should contact their preferred dealer for availability information.
Check with dealers on the right for availability.
Highlights:
Sleek dark exterior
An alluring dark gray gives KeyStep Pro an edgy, industrial look.
Vibrant blue LEDs
In perfect contrast to the dark casing, bright blue LEDs illuminate your setup.
New stylish knob caps
Great-feeling knob caps all round to complement KeyStep Pro Chroma’s fresh design.
Customizable track colors
Exclusive for KeyStep Pro Chroma, users can now choose from a range of colors for their tracks.
"Hey Guys,
This is just a little different video for you. I finished the restoration on this Polymoog 203a and was going through all the functional tests including the moog open interface which you see in use here with my 72 era minimoog.This feature allows you to interface other moog synthesizers to the polymoog and use the keyboard of the polymoog to control them. The 280a also has this feature as well.
"I finally found my PSU for my Ambika. I've been very tempted to get the Michigan Synth Works Xena synth... My unit has 3 4P voices and 3 SMR voices (if you see a note activated on the left side of the LEDs, that's a 4P filter, if you see a note activated on the right side, that's an SMR filter.
Well - there's probably no real reason for me to buy the Xena. But maybe this video will help you decide...
"Patch Point is producing 100 Fénix II PP analog modular synthesizers in small batches.
The first batch is 30, and there are 14 left available.
The Fénix II PP is a direct descendant of the Fénix II in collaboration with the designer, Mr. Bert Vermuelen of the original Synton design team.
It is a fully analog synthesizer, with the same components as the original Fénix II, with some upgrades.
VCF3 - Formant Filter - a new modern design using chips instead of vactrols which allows for voltage controlled resonance and an expanded frequency range.
VCF4 - LPG - a new modern design using chips instead of vactrols which allows for an expanded frequency range, and quicker response, and more accurate control of the length parameter.
Delay - The Delay is now a dual delay with a 3rd switch position. delay 1, delay 2, or in the middle both delays mixed! with the additional jack of a second frequency parameter for the 2nd delay. You can now CV control both delays pitches with a separate jack.
3 VCO’s, 3 different VCO's ( Inputs CV, FM, PWM, Sync e.o, Output square, triagle, sawtooth and some has puls, sub, sine e.o) )
4 different VCF´s ( SVF, 24dB Lp, BPF, 12dB Lp). ( Input CV modulation, SVF has Q-CV control
3 EGR and 4 VCA’s and 5 LFO’s. (Many modules are voltage controlled)
7 Mixers ( 3 audio mixers and 4 DC-Audio mixers).
1 Phaser and 1 Delay (BDD). ( off course voltage controlled)
1 8 step analog sequencer with own clock.
1 Waveshapers, 1 wavemultiplier and 1 full wave rectifier. ( voltage controlled, except for the rectifier )
here I'm syncing the pikocore clock and start/stop and beat resetting to the midi output from the roland tb03.
the pikocore midi syncing works using a small device I call the "itty bitty midi". the "itty bitty midi" has a midi input (DIN or trs type A) which is converted out to a serial stream that can be read by the pikocore clock in. the "itty bitty midi" device can be found on my wares website (link in bio) which you can get directly from me or use the schematic to build your own (its open source and only a few components - a DIN, a resistor and two caps at minimum).
the pikocore firmware can be updated to use midi with the online tool (also link in bio) with options to change the midi clock division, synchronization behavior, etc.
hopefully in the future I can get the usb midi working too...but not quite yet. still a goal.
and just a note that I've totally floored by all the astounding pikocore creations - music-wise and hardware-wise. there are now several alternative pikocore firmwares out there (link in bio) which can be used to make pikocore become different things, which is totally amazing and just shows how incredible open-source can be. never stop!"
"itty bitty midi a simple circuit that takes either a midi din input or a midi trs type-a input, and converts it to a logic-level serial bit stream. the resulting bit stream can be used by *core devices (like the pikocore) to listen to midi signals directly through the clock inputs.
there are two versions of this product, select the one that suits you: the active version utilizes a battery-powered circuit with the 6n138 optocoupler to effectively isolate the downstream and upstream devices. the passive version does not use isolation and has no battery.
Analogue Solutions Ample Synthesizer -- All Sounds Ample video upload by rezfilter
"Here's a little retro track I put together using only the Ample synth from Analogue Solutions. All parts were sequenced or played live from the Ample, utilizing the onboard Patternator sequencer throughout.
Ample begs to be touched, sequenced, pinned, and played. It's a culmination of all great things from AS."
Check with the dealers on the right for availability. Press release follows.
Analogue Solutions announces availability of Ample as ANALOGUE 3 VCO PATCH PIN SYNTHESISER blending best of past and present products
SHATTERFORD, UK: after a successful soft-launch at SynthFest 2023 in Sheffield, UK on October 7, British boutique electronic instruments innovator Analogue Solutions is proud to announce availability of Ample to a wider audience as a desktop-friendly ANALOGUE 3 VCO PATCH PIN SYNTHESISER — beautifully blending the best elements of several of its past and present products to form a truly analogue modular system skilfully presented as a precision- engineered electronic musical instrument in a spacious (550mm x 262mm x 83mm) steel and aluminium case that also embraces ergonomic features such as VESA mount compliance, should desktop space be at a premium, all of which adds up to being a perfect fit for its appropriate appellation — as of November 29…
Ample adheres to Analogue Solutions’ tried-and-tested no-compromise construction formula, featuring a full rugged steel and aluminium case — no plastic mouldings here; high-quality metal potentiometers with smooth action, fully sealed against dust intrusion; high-quality knobs with spun aluminium caps; high-quality double-sided circuit boards; high-quality 16-bit DAC (Digital-to-Analogue Convertor) for stable MIDI (Musical Instrument Digital Interface) to CV (Control Voltage) conversion; stable analogue oscillators; gold-plated touch plates; plus true retro analogue voice and modulation circuits to give an authentic retro sound. Since Analogue Solutions’ innovative instruments are applauded for proudly possessing a truly vintage sound — synthesisers featuring fully-analogue audio paths with analogue LFOs (Low Frequency Oscillators) and EGs (Envelope Generators), in other words, Ample is in good company as an ANALOGUE 3 VCO PATCH PIN SYNTHESISER.
But by beautifully blending the best elements of several past and present products — namely, the sound elements of Fusebox fabricated originally as an aptly-named, three-VCO (Voltage-Controlled Oscillator) true analogue monophonic synthesiser that favourably fuses the company’s characterful vintage sound with an advanced choice of modulation and melodic possibilities in a beautifully-built box; the jack points introduced in the long-discontinued line of Concussor modular synth drum modules (themselves dating back to the time when Analogue Solutions was the third company to start producing Eurorack format-compatible modules, magical as that might sound in today’s ever-expanding era of thousands of Eurorack modules being produced by hundreds — if not thousands — of developers, both bigger and smaller); the patch pin matrix introduced in the long-lasting Vostok semi-modular synthesiser series (that knowingly nodded and winked at its Russian ‘roots’ from a visual standpoint); the lo-fi echo featured in Dr Strangelove as a small and affordable desktop signal processor (that ushered in Analogue Solutions’ so-called synthBlocks series); and last, but by no means least, the sequencer and CV touch plates introduced in Generator as a highly-versatile multi-channel analogue step sequencer — to form a truly analogue modular system skilfully presented as a precision-engineered electronic musical instrument is what really makes Ample stand out amongst Analogue Solutions’ present-day products.
Put it this way: while Ample shares all of those features from some of Analogue Solutions’ ‘greatest hits’, it still has a sound of its own thanks to the circuits on offer: OSCILLATING is handled by three analogue VCOs (Voltage-Controlled Oscillators), each providing a wealth of features and modulation choices, with the VCO3/LFO 1 legend visually highlighting that the third oscillator can easily be utilised as an LFO (with saw, square, and triangle wave modulation signals), while LFO2/SYNC has a triangle wave output to total two LFOs; the LP VCF (Voltage-Controlled Filter) section is anchored around a four-pole 24dB-per-octave low-pass filter; the VCA (Voltage-Controlled Amplifier) can be set to THRU so it is always ‘open’ (allowing Ample to be used as an effect processor); the two envelope generators — EG 1 and EG 2 — each offer full control over ATTACK, DECAY, SUSTAIN, and RELEASE; extensive modulation routing choices allow for a wide range of resultant sounds extending into percussion and ‘modular’ territory, further extended by patching with the jack sockets and pin matrix; MIDI is intentionally kept simple so users can concentrate on creating new sounds and making music, with all- important control over filter cutoff available via MIDI Velocity; patchable CV control sockets allow the synth in question to effectively be rewired to make new sounds, as well as easily patched together with external Eurorack and other modular systems; the PATTERNATOR is a vintage-style 16-step sequencer; the six touch plates each output a set voltage, so can be used to pitch notes or as modulation signals — either way, they are truly inspirational in action; the pin matrix represents a neat (and flexible) way to patch the synth; and the ECHO section provides easy access to adding a little lo-fi echo or delay.
Audio applications abound when working with Ample as a synthesiser — excelling at analogue sound effects, as well as fat basses, screaming leads, and all manner of other crazy sounds associated with analogue synthesis; an effect processor — perfect for feeding external sounds through the onboard analogue filter and ECHO sections via external audio inputs; a drum synthesiser — suited to producing electronic percussion, including cymbal, hi-hat, kick, and snare sounds; and as a modular synthesiser — partially pre-patched, but with such a wide range of modulation routing possibilities that it is almost as versatile as a full-blown modular system, and capable of producing the same types of sounds but dispensing with telephone exchange-like cabling confusion in favour of making space-saving connections with removable coloured pins, yet still providing a flexible selection of patch sockets so it can quickly be re-patched into itself or to/from external Eurorack and other modular systems.
It is also worth noting in conclusion that while Ample can be used with an external MIDI keyboard or DAW (Digital Audio Workstation), or an external CV keyboard or analogue sequencer, it is equally at home being worked with on its own using its internal step sequencer or pitch played via its six-touch plate ‘keyboard’. Whatever way anyone chooses to work with Ample, it could conceivably be argued that it is the best desktop synth of all — Analogue Solutions-wise or otherwise!
Limited quantities of Ample are already available to purchase directly from Analogue Solutions for £1,999.00 GBP (excluding tax/VAT) via its dedicated webpage (https://www.analoguesolutions.com/ample) while stock will soon be arriving at selected dealers (https://www.analoguesolutions.com/dealers).
"'Reverb Ducking' effect added to the Reverb section.
This is a self ducking reverb with adjustable ducking amount and envelope follower's release time."
"This soundbank is created by LFO Store’s sound designer Otto K. Schwarz and contains a wide variety of sounds to inspire and explore the new facets and possibilities of Arturia’s great synthesiser, Minifreak! These 40 outstanding presets are royalty-free and includes atmospheric pads, bright plucks, exciting leads, powerful sequences, and even more!
What is also important is that each preset has Modwheel and Macro 1 & 2 assigned - this allows you to modulate and customize the sounds to the needs of your own musical works. Each preset has a description that outlines how exactly the velocity, modulation wheel, and macro controllers modify the sound.
The soundbank is suitable for different styles of electronic music, especially Ambient, Berlin School, Chill Out, Progressive & Psychedelic Trance, Techno, etc.; as well as for scoring the soundtracks. Join us to explore a new world of sonic potential of Arturia Minifreak!
This Videonics MX-PRO has been modified and circuit bent turning it into a powerful glitch tool kit with rock solid Time Base Correction that can be used anywhere in the world [PAL & NTSC]
PAL/NTSC MOD One of the most functional modifications is the addition of a PAL/NTSC switch located on the back. See when Videonics produced these for different domestic markets they would use the same motherboard and chipset for all international units. They would simply include or omit one jumper on the motherboard that tells the MX-PRO what mode to boot into. I have wired this jumper up to a toggle switch on the rear of the console so you can select weather you boot into PAL or NTSC mode when you switch the unit on.
Analog Colorizer I have integrated a 3 knob LoFi colorizer circuit that is hardwired to composite input one. It features a true bypass switch so the effect can be quickly enabled or disabled.
Arcade Buttons There are six arcade buttons fitted to the palm rest of the unit for momentarily triggering effects. 3 control glitches for bus A and 3 control glitches for bus B. They are tied into the framebuffer RAM and the video decoders for each bus.
Toggle Switches for Bus A/B In addition to the arcade buttons there are 4 toggle switches for each bus. These switches are all connected to a common buss allowing you to mix unsynchronised data between bus A and B resulting in scrolling artefacts.
Toggle switches for shape and edge corruption There are 5 toggle switches located near the T-bar, these corrupt the shape and edge style transitions resulting in interesting patterns and variations of shapes.
The unit comes included with the original switching power supply (can be used anywhere in the world) and the original printed manual."
"Hey, it's LucaTronico! 🎶 Ever wondered what happens when you mix glitch sounds with step beats? Today, I'm diving into the world of Glitch-Step using my trusty Novation Circuit Tracks. It's a wild ride, so strap in and enjoy the glitches! If things sound a bit 'off', well... that's the point! 😉 Let me know your thoughts, and if you want more glitchy goodness in the future"
I purchased a Teenage Engineering K.O. II EP-133 (not sure what to call it)
I was aware of the fader issue, so it was the first thing I checked
the slider made it impossible to use so I returned it right away
to mourn the loss I decided to make a jam on my under utilized Octatrack
the original MK2 sampler"
"Tangerine Dream created the Berlin School sound. The Moog Sequencer Complement B was the sequencing equipment they used to do it. This video explores the technical background needed to understand this legendary gear. It also shows specific techniques for achieving the Berlin School sound with this a Behringer System 55 and the Dual Sequencer setup.
Timecode 0:00 - Intro 0:31 - The Moog IIIp system 1:20 - Sequencer Compliment B in detail 1:55 - 960 Sequencer output types: CV & Gate 2:33 - 962 Sequential Switch 3:15 - System 55 - two trigger/gate standards V-trig & S-trig 4:00 - 961 Interface 4:34 - Sequencer Compliment B in detail 4:47 - Possible Destinations for CVs 5:21 - Possible Destinations for trigger/gate 5:58 - Turning this potential into music 6:42 - Configuration 1 - Single 960/962/961 6:51 - music example 1 - 962 sequential switch (manual) 8:10 - music example 2 - 961 interface 8:30 - Configuration 2 - Two 960/962/961 9:08 - music example 3 - 962 sequential switch (clocked) 9:22 - music example 4 - Change Sequence Lengths with switch 10:21 - music example 5 - 960 Row 3 CV to control internal clock 12:50 - Configuration 3 - Use second 960 to transpose first 960 13:45 - Conclusion and music example 6"
"Here is a glimpse of the analog drum machine range from japanese manufacturer Ace Tone. Quite popular in the late 60s and early 70s, they were probably the leader in those presets rhythm units at the time before Roland came into the game.
Full analog, only transistors and diodes, no integrated circuit yet.
FR1 and FR2 are basically the same unit. They do sound similar (same PCB) and have the same presets. The main difference is the cancel buttons. On the FR1 you can cancel "bass drum", "cowbell", "claves" and "cymbal", whereas on the FR-2L you can cancel "snare", "claves" and "cymbal".
Of course it is very easy to mod these units and add other mutes buttons, individual levels, outputs etc
The FR20 is quite similar soundwise to the previous ones. The patterns are different, they are fewer but you have 3 "customizable" presets with differents variations of snare and cymbal, thus effectively giving it a wider range of possible patterns, and this time you have cancel for "bass drum", "snare" and "cymbal" which make more sense then the previous ones' choices.
But the main feature of the FR-20 is that it has a built in amp powered speaker cabinet. And it sound loud and deep, it's a great combo. Plus ther is an input so you can plug you organ or synthesizer and play along the rhythm (start stop with foot pedal is possible on all units btw).
The FR6 is quite a different beast. It sounds very different to the other 3, soundwise and in terms of patterns. Sound is brighter, crispier even harsher.
Note all the units where fully recapped so difference in sounds isn't due to ageing component but to design. I don't have the schematics for this one but it's definetly not the same layout. It might have been designed or "inspired" by some other model available at the time. (could be the Roland TR-66 with which it shares many features).
So here is a demo of the first one: The FR-1.
Recorded through a Teisco 120 to add some reverb."
"Тест обновленного синтезатора STALKER
Управление синтезатором при помощи midi клавиатуры через комп, играть на клавишах я не умел и не умею, так что представьте что это не я, а пьяный слесарь на детском утреннике в гаражном депо №10
You can buy all of these synths from the SynthCone store on the Boosty website. Write to me in all possible social networks, I will answer your questions.
"This Roland System 100m D Set classic configuration is in amazing shape! Everything works 100%, no scratchy sliders and all smooth sliding. This comes with all the original (5) DIN cables for the modules and the DIN cable to connect the 180 keyboard to the 191-J cabinet ( which powers the keyboard ).
This is a classic vintage analog modular synth that has had the keyboard cleaned/calibrated and all modules function as should. This is a 100V unit."
Note this one is non working according to the listing, so it's more for DIYers and/or techs that want to give it a go, or for anyone who could use the parts.
"The new 2.2 update for the Elmyra 2 was recently released and it ticked off almost everything I had on my wish-list in terms of new features - so, that's nice! In this video, rather than just reading out the release notes, instead I decided to put together a patch which just happened to make use of all of the new features in the update - almost as if I planned it.
Transparency notice: the Elmyra2 was kindly provided to me by Neutral Labs for free for the purposes of making videos on it. No editorial oversight has been provided to Neutral Labs and no other payment has been received. As always I'm only interested in featuring instruments that I'm genuinely excited about on the channel.
Chapters: 00:00 Intro 00:00 Introduction 01:16 Magic numbers (and the need for cheatsheet) 02:31 Chord Mod Mode 05:09 Octave Shift 06:18 Sequencing some chords 09:55 Stepped/Smooth Random (S&H LFOs) 15:06 Signal Routing - Swapping the delay and filter order 17:47 Dual Filter Modes 22:55 New LFO Wavetables/Shapes 27:42 Complex Waves for LFO1 29:13 Patching some more because we can"
"Multitracked demo of Yamaha MU100R synth module and PLG100-VL -solo expansion. External Eventide Space and delay used. I used to own VL70-m with breath controller over 20 years ago. MU100R is doing backing tracks and I tried to use VL as much as possible using different type of sounds. All the patches are stock presets trying to play expressively with velocity, modwheel, pitchbend and aftertouch."
"Post upload, I realize I never mentioned patterns...within a scene, each group can have multiple patterns, hold a group letter, then + and - to cycle that groups patterns.
I think this got lost in editing because I called it redundant, than back pedaled because I realized it makes things a lot more flexible for improvising scenarios, then back pedaled because it seemed cumbersome to remember which pattern was which without any on-screen visuals...its 3am I am not editing any more.
This video feels too long, but everything I said feels important, so its not getting cut.
0:00 Intro 1:45 Hands on / getting started 8:36 Fader Parameters 12:30 Send FX 14:18 Scenes 17:11 Example Performance Scenario 23:30 Sampling from Vinyl 28:32 NO RESAMPLING SUCKS 31:18 Mic Sampling 32:30 Single Note Synth Samples 33:36 Workflow Complaints 34:29 LEGO compatibility??? 35:36 FaderGate & Build Quality Comments 37:30 What's it Good for?"
"An accurate voltage source and precision adder. Voltio fits somewhere between a music tool and a piece of electronics lab gear.It generates voltages equivalent to all the notes on the 12-tone equal temperament scale throughout a ten-octave range, with an intuitive two-knob interface.The Precision Adder In, lets you sum Voltio’s Out with external voltages.Additionally, the front panel banana connectors let you plug standard multimeter probes for hands-free operation on electronics lab.Use it to transpose Oscillators and sequences in a musical way or as a reference to calibrate your analog gear.
Available in assembled and DIY Kit versions.
FEATURES
Easily adjust your oscillators in known intervals.
Transpose Musical phrases from sequencers, arpeggiators, or any other notes source.
Calibrate oscillators and filters on your DIY projects or during analog gear maintenance.
SPECS
Current needs: +12V: 35mA, -12V: 15mA
Width: 6 HP
Depth: 30mm including power connector
Designed, kits prepared and assembled in Barcelona."
"It was great to see New Systems Instruments at Knobcon 2023 and learn about some of their modules. They caught my eye around their release and their "a bit like Serge but from a mathematical" approach certainly fascinates me. We look at Inertia, a function generator that has inertia, an resonance like overshoot of voltage travelling as well as the oscillators."
"Using audio rate oscillators patched into Albers' pitch inputs and then using the LFOs to create stepped tones. In the first part I use all four of Albers' oscillators as stepped tone generators and then have a little jam with the patch. In the second part I use a VCO to create two stepped tone generators with oscillators A and B and then use the other two as sustained notes. This is followed by another small jam with the patch.
00:00 - Patching Pam's pro workout (outputs 5 - 8) to Albers' pitch inputs.
02:58 - Adding more elements to the patch whilst having a jam. Delay has been added in Ableton.
07:38 - Using the square and saw wave outputs from the Moritz Klein VCO patched to Albers' oscillators A and B whilst using C and D to add static notes. Stepped tones and drones.
09:11 - Adding more elements to the patch whilst having a jam. Delay has been added in Ableton."
