"The RS-110N is a resonant analog multimode filter with excellent sound, resonance and four simultaneously available filter types. An insert function in the feedback loop allows you to insert other audio processors.
The module has two audio inputs, each with a level control. "unity gain" is reached at position 4, beyond this the signal will be overdriven at the filter input. The cutoff frequency can be set manually in a range of 30Hz to over 15kHz, with additional CVs even up to 50kHz. Separate audio outputs for the four filter types are available: 24dB low pass, 24dB high pass, 12dB band pass and 12dB notch. Resonance goes up to self-oscillation and besides that it offers an unique feature: the socket Res-Out and Res-In act like an insert i.e. they allow you to process the audio signal in the feedback loop by other audio processors like filters, distortions, delays, frequency shifters etc. You get very wicked results when you connect the notch output with the resonance input. It sounds very metallic and the filter behavoiur gets more aggressive. Generally it is fun to cross-connect the separate outputs with the CV and audio inputs and to use the filter in a modular way."
"The equipment used is SEQUENTIAL Prophet-5 and YAMAHA CS-10. I used iOS Autony to generate notes. The delay sound that flies left and right is caused by the RSS Delay of ROLAND VS-1880 on VS8F-2, and it sounds three-dimensionally."
"Experience the Minimoog like never before! Compare the raw power of the 2016 Reissue vs. 1978 Vintage in 37 iconic riffs, leads, and basslines from legendary tracks. No FX, just pure synth magic!
• A direct comparison between the vintage and re-issue Minimoog Model D. • The Minimoog Model D's prowess as featured on numerous famous tracks.
Time Stamps 00:00 Harold Faltermeyer Axel F Beverly Hills Cop Main Theme lead 118 00:16 Introduction 0:56 - Gary Numan: "Are 'Friends' Electric?" theme (92 BPM) 1:38 - Michael Jackson: "Rock With You" bass (113 BPM) 2:02 - DEVO: "Smart Patrol/Mr. DNA" effects (136 BPM) 2:34 - Parliament: "Flashlight" bass (108 BPM) 3:04 - Rush: "Tom Sawyer" lead (176 BPM) 3:21 - Stevie Wonder: "I Wish" bass (107 BPM) 3:40 - Madonna: "Borderline" lead (120 BPM) 4:12 - Madonna: "Borderline" bass (120 BPM) 4:30 - Dr. Dre: "Nuthin' But A 'G' Thang" lead (95 BPM) 4:51 - Michael Jackson: "Don’t Stop 'Til You Get Enough" bass (121 BPM) 5:08 - Pink Floyd: "Shine On You Crazy Diamond" lead (136 BPM) 5:40 - Rick Wakeman: "Catherine Of Aragon" bass (104 BPM) 6:19 - Chaka Khan: "We Can Work It Out" bass (115 BPM) 6:40 - Weather Report: "Birdland" bass (158 BPM) 7:05 - Barclay James Harvest: "Victims Of Circumstance" lead (86 BPM) 7:27 - The Alan Parsons Project: "Separate Lives" bass (114 BPM) 7:37 - Europe: "The Final Countdown" lead (119 BPM) 8:02 - Stevie Wonder: "Isn't She Lovely" bass (120 BPM) 8:23 - Stevie Wonder: "That Girl" bass (107 BPM) 8:42 - Michael Jackson: "Workin' Day and Night" bass (131 BPM) 9:00 - Gary Numan: "Are 'Friends' Electric?" lead (92 BPM) 9:24 - Nena: "99 Luftballons" bass (97 BPM) 9:46 - Rush: "Tom Sawyer" FX (176 BPM) 10:06 - ELP: "Lucky Man" lead (161 BPM) 10:18 - Duran Duran: "Save A Prayer" lead (113 BPM) 10:28 - Duran Duran: "Save A Prayer" lead (113 BPM) 10:47 - ABBA: "Gimme! Gimme! Gimme!" lead (121 BPM) 11:05 - ABBA: "Gimme! Gimme! Gimme!" bass (121 BPM) 11:23 - Harold Faltermeyer: "Axel F (Beverly Hills Cop)" lead (118 BPM) 11:40 - Harold Faltermeyer: "Axel F (Beverly Hills Cop)" bass (118 BPM) 11:57 - D Train: "You're The One For Me" bass (122 BPM) 12:13 - D Train: "You're The One For Me" lead (122 BPM) 12:29 - Madonna: "Holiday" lead (118 BPM) 12:46 - Madonna: "Holiday" bass (118 BPM) 13:02 - Queen: "Radio Ga Ga" bass (114 BPM) 13:17 - Howard Jones: "New Song" lead (112 BPM) 13:54 - Howard Jones: "New Song" lead (112 BPM)
The audio is DIRECT, 100% DRY - You are hearing the raw audio as it comes directly from each synthesizer. NO post processing (Effects, EQ, or Dynamics) whatsoever."
"Another creation from the TRS-80s and MIDI80/Orchestra90. Taking it a little slower with this one, introducing a little more wah into the mix to give a spooky vibe. Did you ever take a ride you knew was a bad idea?
'ATerribleRide' takes you on a sonic journey through the interplay of vintage technology and modern production techniques. Created using TRS-80 Model 4 computers with Orchestra-90 and MIDI-80 accessories, the track emanates an organic electronic soundscape that's both intricate and evocative.
The song features rhythmic pulses reminiscent of classic chiptune music but evolves into a layered composition enriched with dynamic timbres and harmonic progressions. The lo-fi charm of the TRS-80 hardware is seamlessly intertwined with polished, modern effects, giving the track a unique balance of retro grit and contemporary clarity. Listeners will experience a haunting, almost cinematic narrative, where the analog textures of yesteryear meet the precision of today’s music gear. It’s a vivid, experimental piece that encapsulates innovation while paying homage to the pioneers of electronic sound.
As always, no electric guitars or basses were hurt during the making of this film haha! Just a bunch of TRS-80s sharing the light with some retro synth tunes! Check out the other videos if this is not your style, and thanks for watching!
"I have been watching Gravity Falls with my kid and I absolutely love this show and I am sad I slept on it for so long. What a wonderful cartoon with an amazing theme! Huge shout out to Alex Hirsch for dreaming up such a wonderfully odd show!
For those who will inevitably ask, the gameboy was programmed and then the video and audio were reversed to create the effect you here."
"The equipment used is SEQUENTIAL Prophet-5, Poly-Sequencer, YAMAHA CS-10, and BOSS DR-55. The rhythm was passed through a vocoder to create a deep sound. The effects on rim shots."
"This part is using the DTII to turn the Mono Evolver into a Poly Evolver through sampling direct into the DTII and using the Grid Machine and Euclidean sequencing to layer with the live synth.
Come on a journey with me in making the track. This is part 2 of 2.
00:00 Intro
03:23 Sampling into the Digitakt II
05:58 The Grid Machine & using the Euclidean sequencer for Track 1
12:47 Recording a new sample for Track 2
17:31 Bringing in a kick, track 1 and the live Evolver
19:18 Outro"
"Whether you're diving into the textured world of boom bap or the high-energy vibes of the modern Eastcoast sound, this pack has you covered. From east coast bass patches to west coast instrumentals, this pack caters for all types of hop-hop, rnb, jazz, downtempo, and lofi.
Carrying on the legacy whilst giving you an authentic sampled feel.
Each homemade cut has been made to feel like it came off vinyl and then treated, both giving it that added textured fee and ensuring very little work is needed to perfect things.
Choose which Synth you want the pack for on the product page!
"In this video the Yamaha Reface CS is feeding into the Microcosm and Walrus Audio Slöer reverb pedal. I just started playing on the Reface and got caught up in the direction it spontaneously went. Inspired a bit by how Dorian Concept just plays the synth and loops it - no quantising etc."
"Crazy rare! 1970s Baldwin Syntha-Sound mono synth. Multi preset sections, flute, and filtered synth all in one big cute package with onboard speakers and spring reverb. Everything functioning as it should.
This unit has been fully recapped, brand new speakers installed, cleaned, and repaired in a number of areas. Expression slider has been replaced. multiple keys have been repaired (this is a fairly fragile J-bar keybed so be gentle!). Some replacement slide caps and button covers."
"Welcome to Bad Gear, the show about the world’s most-hated audio tools. Every now and then this show needs some blasphemy, a little slap in the face of iconic music history milestones and one of these 'he’s obviously trolling' moments true Bad Gear fans crave at least once a year.
Today we are going to talk about the legendary D-50. This LA synth and Roland’s answer to the Yamaha DX7 not only had a huge impact on the sound aesthetics of the late 80s, it is also still relevant for Enya Orinoco Flow Covers, creating high end General Midi Kontakt Libraries, channeling your Reagan Era soap opera PTSD AND I might have a point here…
Chapters:
00:00 Intro tune
01:02 Overview Roland D-50
01:11 WTF is Linear Arithmetic Synthesis ???
01:57 Virtual Analog before we called it that way
02:32 Splits and other Multitimbral Pleasures
02:48 Effects (Reverb, Chorus, Chase)
03:05 Idiosyncrasies of an 80s Synth
03:24 The Joystick
03:40 Controllers, Flagship Synth Features
04:04 Presets ( Fantasia , Pizzagogo , Soundtrack )
04:23 What Else??? (Pricing, Thanks,...)
04:46 Hate Screen
05:12 Jam 1 ( LoFi Beats )
06:03 Jam 2 ( Elektro )
07:10 Finale ( Epic Techno )
07:40 Verdict"
"Today we dive into the audio mixing utility from the 200t line: the 207t Mixer / Preamplifier.
On top of being a very comfortable mixing desk for your eurorack system there is some fun stuff to do with all it's bonus outputs such as dub mixing, feedback exploration, fat saturation with the preamp and more.
We'll explore some of this in the video, check out the time stamps.
Have fun!!!"
00:00 Intro
01:19 Module Overview
03:49 Preamp with guitar
04:16 Preamp with 880
06:21 Preamp with Breakbeat
09:59 Monitor as effect send (aka Dub Mixing)
14:26 Audio rate pan (& feedback)
18:40 207t & the Minimix
20:00 End talk
"On our From Reset To Preset series, we noodle sounds from scratch, and showcase our new Redshift 6 synthesizer in use.
On this lush keys sound, we take advantage of the Redshift 6’s DCO stack to create a thick super saw on each 6 voices. The filter cutoff is modulated with key follow, note velocity and auxiliary envelope, while the amplifier is modulated with LFO and auxiliary envelope to give movement to the sound.
Voices are spread in stereo to add dimension to the sound. On a final touch, the polyphonic aftertouch is assigned to the filter cutoff to offer more expression when playing."
"Single note drones are cool, but melodic drones are beautiful.
Checkout how the Ultra LFO can be used to generate melodies with the use of it's stepped LFO waveform. Simply use it to modulate the pitch of an oscillator, sprinkle a little delay and away you go!
No patching or use of an external sequencer required!
Turn it on and drone away.
Available to pre-order now at https://stylophone.com/ds2-pre-order/
0:00 Open both filters (set to LP)
0:11 Super fast Ultra LFO speed routed to cutoff of both filters
0:24 Adding delay
0:29 Route Ultra LFO to Oscillator 1 pitch for beautiful melodies
0:56 Blending more Sub Oscillator
1:13 Route Ultra LFO to Oscillator 2 pitch for more beautiful melodies
1:30 Playing with Filters
1:53 De-route Ultra LFO to Oscillator 2 pitch for more beautiful melodies
2:03 Route Ultra LFO to Oscillator 2 pitch for more beautiful melodies
2:21 Switching Oscillator 1 Sub Oscillator to -2 for deep bass
2:45 Slowing down the Ultra LFO"
Stylophone CPM DS-2 improv playing Pitch, Cutoff and LFO Rate/Wave/Depth
"Improvisation on the CPM DS-2, our new Compact Portable Modular drone synth. It's a single continuous take with no external effects. Recording setup was simply just the DS-2 plugged directly into a Zoom H1n recorder, while monitoring over headphones."
"Here is 'Luna part III'. I'm using a Buchla Easel Command 208C, Monome Norns Shield with the 'oooooo' script loaded and a Chase Bliss Mood mkII pedal. It was recorded on tape with an Uher 4200 Report Stereo IC."
