"Strap in, fellow audionauts! Luca Tronico here, taking you on a sonic journey where the past meets the future. 🕰️➡️🌌 'Retro Future Odyssey' is all about blending nostalgic synthwave tones with forward-thinking electronic beats, using the dynamic duo of Novation Launchpad Mini and Teenage Engineering OP-1.
🎹 In This Episode:
Novation Launchpad Mini for beats that punch through.
Teenage Engineering OP-1 for its unmatched versatility in synth and sampling.
iPad running my favorite post-FX apps for that extra layer of sonic goodness.
Captured with a Google Pixel 7a."
"Is time a substrate that contains and generates all events within it, or is time continually constructed by the interaction of entities within and through it?
Let’s make a patch where time and causality are entangled together for expressive use.
"This is a freeform improvisation with 0-Coast and Strega in three takes. The first take is 0-Coast doing plonks and textures, the second take is Strega doing a pad and the third take is a solo over the pad. Nothing fancy, and quite linear. More like parts - or movements - instead of overdubs. I am trying to show you that a DAW can turn a small set of modules into a huge wall of sound too. Doing everything in one go is really hard and only necessary if you need to perform live. I am happy I don't have to.
The Dark Easel is the nickname for the 0-Coast, Strega and 0-Ctrl trinity. As you may have seen in previous videos, I've been on a quest to recreate something close to the Buchla Easel in Eurorack. My quest came to an end when I took a leap of faith and got the Buchla 218e, which is the 'simple' 50% of the Easel case. However, I did not expect these capacitive touch keys to be such a big component of the authentic Buchla Easel sound.
It's a very big investment for a little keyboard, but I can't emphasize how happy I am with it. I am not a good keyboard player, but sliding over the surface finally allows my fingers to keep up with my brain. But it also feels like I am playing a bit of synth history. As I describe in the video, this combo is like a classic Corvette towing a skateboard. It's not intended as a disrespect to the 0-coast, but there are a lot of skateboards at the MN office in Ashville. Besides, 0-coast definitely qualifies as a great entrypoint into modular westcoast synthesis and honestly, I learned a LOT from this little machine. Like 'everything is voltage'. This time it's not racked and used as intended. With keys.
I am sure you'll get similar results with your Keystep or a more fancy controller.
I know there are a few Spartans out there who want it raw, with nothing but the bare machine. But it has a contour and sustain tightly related with holding down a key. And then, ofcourse, there's midi. In this video, I completely overlooked using the 0-coast with the midi output from the 218, but I don't feel like going through those PGM A | B pages. I will check it out later, because I wonder what would happen if I enable the Coast's internal sequencer AND an external one (e.g. BeatStep Pro). If it's any good, I'll post it. For today, I just wanted to cruise the Ease Coast."
"The FilterQAmp (FQA) combines a 2-pole State Variable VC Filter with a Linear VC Amplifier and an inbuilt variable-decay Envelope Generator. It is capable both of processing and, when the filter is self-oscillating, generation of synthesised sounds such as drums.
The VCF section contains a State Variable Filter (similar to my other designs) – this offers switchable Low or High Pass responses and covers the full audio range. It is temperature compensated & tracks 1V/Oct accurately. The Resonance/Q is voltage controlled with a linear response up to self-oscillation – this creates a pure sinewave, useful for synthesis.
The VCA is linear in response and takes the Low/Hi-pass output from the VCF section. It can either be set, via rear jumper, to a clean response (gain from 0 to +1) or saturation (gain from 0 to +1 then +/-5V zener clipping beyond – unity at approx 10 o’clock rotation).
The Filter, Q and Amp sections each have a CV Modulation depth control with switchable polarity (centre off) – the Filter has an additional 1V/Oct control input. In addition there is a simple variable-decay Envelope Generator which can be fired either with the manual Trig button or via the Trig input – this has a comparator so triggers on any signal over c.+1V. Decay time is variable between approx 15mS and 3Secs with an amplitude of 0 to +10V. The envelope is internally routed to modulate the Filter and Amp sections via individual depth controls – it could be manually patched to QCV with a 0.75″ shorting bar or cable.
When Q is set to full, the self-oscillating filter makes good sound generator – it can also ring when set below self-oscillation & fed with sharp edges such as gate signals. A basic drum synth can be achieved with self-oscillation and the decay envelope opening the VCA – try varying how much the envelope modulates the filter cutoff too. You can feed the main output back to the FCV input to self-modulate, resulting in an interesting peaky waveform."
""Korg Kronos 2024 Fun Tips How to Transfer Files Streaming Virtual Memory versus RAM"
Fun Tips & Tutorial demonstration by Rik Marston
**Watch in HD!** **Talking!** **Turn it up!**
"Welcome to the grass roots level of the development story of our newest product Redshift 6! We thought you'd be interested to see a more detailed look inside the process. We try to keep it raw and honest. We'll try to make these once in a while.
In this episode, Timo tells us a bit of the history how the first working prototype came about. You'll also see where and how we work. We'll cover a bit of the next steps too.
Oscillators - 1 to 6 per voice. Wavetable has 109 waveforms (multi-sampled acoustic instruments, sustained waveforms, harmonic and inharmonic structures)
LFO - 1 LFO
Filter - Dual multi-mode digital filters; High- and Low-Pass with 12 or 24 dB/Oct. Band-pass filter with 12 dB/Oct.
Envelopes - 3 11-stage envelopes
Sequencer - (VFX-SD only) 24-track, 25,000 note capacity (expandable to 75,000), 60 songs and sequences, 96 PPQN quantization resolution
Keyboard - 61 keys (velocity and polyphonic aftertouch)
Memory - VFX: 120 patches, 12 performances
VFX-SD: Over 200 patches, 3.5" disk drive for external loading and storage of sounds, sequences, songs, MIDI SysEx and VFX-SD sequencer Operating System.
Control - MIDI IN/OUT/THRU (12-channel multitimbral)
Features fully ordered dimpled knob that mimics an early XT.
OS is 2.33.
Factory presets are loaded.
The synthesizer is extremely versatile, ranging from universal, easy-to-use analog and acid sounds to shimmering, trancy sounds, atmospheric ambient pads, and experimental bleeps."
"The synth I imported from the Czech Republic over a year ago was lying dormant, so I decided to play with it and make some sounds.
The instructions weren't in Japanese at all, and there was no information on the internet, so I had no choice but to mess around with it.
I hope you enjoy the excitement of touching hardware for the first time, and trying out all kinds of things.
"rachim lets you conduct a 5-piece orchestra, where each piece can play different notes at different times at different volumes. how they play is up to you."
"The Nonlinear Labs C15: The character of the C15 synthesizer stems from a puristic digital engine which produces a unique palette of sounds seamlessly spanning from organic and acoustic to experimental and electronic.
Nonlinear Labs was founded in 2011 by Stephan Schmitt. The company is dedicated to building advanced electronic instruments for performing musicians, focusing on playability, expressiveness, quality, and durability.
The synth engine of the C15 is called Phase 22. The core structure is a phase modulation synth that is based on two sine oscillators and two sine shapers only. Their signals can be passed through a comb filter, a state-variable filter, and a chain of five effects.
The design process for Phase 22 aimed at building an expressively playable instrument that has a strong individual character. At the same time the set of parameters should be small enough to be easily accessible."
"VintageRack is a minimalistic and convenient multi-effect application that contains modules realistically modeling notable retro gear from the early digital era with their inherent aesthetics and atmosphere. Most of the effects in this application have been inspired and based on the principles of actual hardware from the 70s and 80s, which is great for giving the sound of any instrument the nostalgic and emotional mood of old recordings.
~
More about this app: https://motion-soundscape.blogspot.com"
Update:
VintageRack (iOS/Mac) updated to version 1.5
"VintageRack is a minimalistic and convenient multi-effect application that contains modules realistically modeling notable retro gear from the early digital era with their inherent aesthetics and atmosphere. Most of the effects in this application have been inspired and based on the principles of actual hardware from the 70s and 80s, which is great for giving the sound of any instrument the nostalgic and emotional mood of old recordings.
This update significantly improves the user interface, streamlines it and adds several new options.
What's new:
The pop-up menu opened by the "More" button contains two convenient "Copy" / "Paste" options for copying presets. Preset selection and "Mute" buttons have become more visible when turned on. A selection of preset banks is placed on the main screen. Section titles have been enlarged, and the selection of effects has been made into a pop-up menu. The sound engine has been optimized and now it sound even better. The description has been updated with new options (PDF available). Some minor bugs were fixed."
"James Boyd-Hoare has honored us by choosing Osmose for his concerto 'Rite of Passage'. A special moment between the synth and the artist, highlighting the softness and expressiveness of Osmose in a classical ensemble."
"It's a 2 bar version of this loop by Kraftwerk which is originally 4 bars long. The envelope level is linked to the sequencer output so the higher notes get more envelope effect.
The card used is the Sequencer Aux Expander card.
Mail me at rklinkenberg(at)gmail(dot)com for more info on the card."
"Der Yamaha CS60 hat einen external in. Den haben viele! Aber der des CS ermöglicht eine neue Wellenform für den LFO (hier Sub oscillator genannt). Dadurch sind metallische Sounds oder Sounds ähnlich einer Crossmuodulatiion möglich.
Achtung! Dieses Video enthält keine kommerzielle Musik!
This Video is about the external in for the LFO of the Yamaha CS60 Analogsynthesizer.
Be aware - no commercial music inside this Video.
"Prototype type boards came in and I couldn’t resist building one up at the end of the day. A board rev needs to be made. I completely forgot to condition the newly added Saw and Double Saw (DUO) outputs so they are 0-5V and not +/-5V. But you can get some really fun wave shapes including square when you mix them in an external processor (a crossfader would be a fun pairing for sure! Also need to tweak the FM input. It’s a little weak."
