“Flux meets Jupiter-4 15 - Not the major scale” by Friendly Noise

video upload by Friendly Noise

Friendly Noise Jupiter-4 posts

"This is number 15 of a video series combining the best of vintage sound and the best of the modern sequencer technology in eurorack: Roland Jupiter 4 and IO Labs Flux. There will be a new short video about every week.

The Jupiter 4 is always recorded in mono, which makes the internal chorus very subtle. Reverb is added in Cubase to make the sound wider. There is no clipping in the recording chain. If you hear anything close to distortion, it’s all in the sound coming out of the Jupiter 4.

The Roland Jupiter 4 has been rediscovered and established as the most full of character among the Roland polyphonic synths. Although limited in number of voices and straight forward sound architecture, it shines with an unique sonic print which no other synth can emulate. There are lots of great video demos and information on the web, so that no detailed description will be provided here. But it’s important to mention some unique features which will be showed extensively in this video series:

- The Jupiter 4 filter goes into self oscillation. Big guys like Yamaha CS-80, Jupiter 8 or Oberheim OBX-a can’t.
- The LFO is fast enough to get into audio range.
- There is a very noticeable internal saturation when the VCA slider is raised.

Don’t expect nice bass sounds and classic analog leads. The Jupiter 4 is perfect for that, but this has already been done before in many records and internet demos. What you are about to hear is the extreme side of the sound. Be prepared for drones, massive low frequencies, cracking saturation, ultra fast notes and unusual scales. Many sounds will remind you of modular synthesizers, but they were all created by direct recording of the Jupiter 4. :-)

In fact, the VCO is switched off and you will be hearing only the self oscillating filter in almost 80% of the video series. Only in the last videos you will hear the VCO. That means that 80% of the sounds you will hear couldn’t be made with other classic polyphonic synths, unless the filter self oscillates.

Luckily this Jupiter 4 was modded with CV and gate inputs and outputs per voice (and then some). Using this level of control per voice you can use the Jupiter 4 as a vintage monophonic synth, or drive individual voices differently. For example, applying vibrato or slide per voice. In this video series, only three voices were used."

“Flux meets Jupiter-4 14 - Strange Choir” by Friendly Noise

video upload by Friendly Noise

"This is number 14 of a video series combining the best of vintage sound and the best of the modern sequencer technology in eurorack: Roland Jupiter 4 and IO Labs Flux. There will be a new short video about every week."

Friendly Noise Jupiter-4 posts

“IOLabs Flux 37 - Sounds For Bad Dreams” by Friendly Noise

video upload by Friendly Noise

"Video sections:

00:06 Section 01
08:39 Section 02
17:13 Section 03
21:30 Section 04
26:31 Section 05

Flux controls via Befaco VCMC the physical modelling monophonic synthesizer Aodyo Anima Phi.
Flux controls the size of the reverb using VCMC.
Everything you hear is a 1 step sequence. However, the cv generated by channel 1 of Flux is in S/H mode, so that notes are constantly changing.

Flux’ macro pots are assigned to Density, CV 1 maximal range controlling depth of MW modulation on Anima Phi, CV 4 depth and CV 4 maximal range. CV 4 controls the size of the reverb on Nightsky.

Slider 8 on VCMC increase the pitch of the generated notes.
Slider 7 on VCMC generates mod-wheel CC
Other sliders are assigned to the modulation busses of Anima Phi."

FLUX: CV to MIDI Note Velocity Tutorial

video upload by IOLabs

"An overview of the Flux CV to MIDI note velocity features."

“IOLabs Flux 35 - Meet Anima Phi” by Friendly Noise

video upload by Friendly Noise

"In this video, Flux controls via Befaco VCMC the physical modelling monophonic synthesizer Aodyo Anima Phi. The unexpectedly organic sequences generated by Flux make a great combination with the wide range of Anima Phi’s sounds. Flux’ macro pots are assigned to Density, Compression, Curve and Humanise.
Slider 8 on VCMC generates mod-wheel CC."

“IOLabs Flux 36 - Flux goes midi” by Friendly Noise

video upload by Friendly Noise

"Video sections:

00:06 Kontakt Drum Lab
01:00 Kontakt Drum Lab
02:14 Kontakt Action Strikes
03:14 Kontakt Action Strikes
04:37 Chromaphone 3
06:00 Chromaphone 3

This video shows the power of Flux after the firmware upgrade V1.06.
Flux is now fully controllable via midi messages and it sends midi control signals, too.
You can use the midi port on the back pannel or the coming little expansion module.
Flux is class compliant. :-)

When combined with different VST instruments, the intricate and ever evolving patterns that Flux can generate simply shine. Everything is based on an 8 step sequence."

IOLabs Flux - V1.06 MIDI Update

video upload by IOLabs

"Flux OB V1.06 MIDI, Burst Mode & External Clock Rework

Flux firmware update ‘Open Beta V1.06’ is now available for download!

The highlight feature of the new update is full USB MIDI support! Flux now offers MIDI Clock in and out, MIDI notes out for all gate outputs (with velocity fixed or linked to a Flux CV output) and every parameter is now controllable via MIDI CC/NRPN messages!

Other features include a new Burst mode and a complete rework of External Clock mode which is now rock solid. There are also many fixes and general improvements and the full patch notes are included in the firmware download folder.

We are extremely excited to share this update, MIDI brings so many creative possibilities to Flux and integrating the sequencer with a DAW based workflow is now a matter of a single USB cable connection.

V1.06 is downloadable now from the IOLabs website: www.iolabs.co.uk."

“Flux meets Jupiter-4 11 - LFO Modulation” by Friendly Noise

video by Friendly Noise

Friendly Noise Jupiter-4 videos

"This is number 11 of a video series combining the best of vintage sound and the best of the modern sequencer technology in eurorack: Roland Jupiter 4 and IO Labs Flux. There will be a new short video every week.

The Jupiter 4 is always recorded in mono, which makes the internal chorus very subtle. Reverb is added in Cubase to make the sound wider. There is no clipping in the recording chain. If you hear anything close to distortion, it’s all in the sound coming out of the Jupiter 4.

The Roland Jupiter 4 has been rediscovered and established as the most full of character among the Roland polyphonic synths. Although limited in number of voices and straight forward sound architecture, it shines with an unique sonic print which no other synth can emulate. There are lots of great video demos and information on the web, so that no detailed description will be provided here. But it’s important to mention some unique features which will be showed extensively in this video series:

- The Jupiter 4 filter goes into self oscillation. Big guys like Yamaha CS-80, Jupiter 8 or Oberheim OBX-a can’t.
- The LFO is fast enough to get into audio range.
- There is a very noticeable internal saturation when the VCA slider is raised.

Don’t expect nice bass sounds and classic analog leads. The Jupiter 4 is perfect for that, but this has already been done before in many records and internet demos. What you are about to hear is the extreme side of the sound. Be prepared for drones, massive low frequencies, cracking saturation, ultra fast notes and unusual scales. Many sounds will remind you of modular synthesizers, but they were all created by direct recording of the Jupiter 4. :-)

In fact, the VCO is switched off and you will be hearing only the self oscillating filter in almost 80% of the video series. Only in the last videos you will hear the VCO. That means that 80% of the sounds you will hear couldn’t be made with other classic polyphonic synths, unless the filter self oscillates.

Luckily this Jupiter 4 was modded with CV and gate inputs and outputs per voice (and then some). Using this level of control per voice you can use the Jupiter 4 as a vintage monophonic synth, or drive individual voices differently. For example, applying vibrato or slide per voice. In this video series, only three voices were used.

The amazing sound of this Jupiter 4 can break the traditional boundaries specially when driven by the Temporal Modulation Synthesis sequencer Flux, made by IOLabs: https://www.tmsynthesis.com/
Flux is the most advanced tool for rhythm creation ever made. Ever. Trying to explain Flux is few words is not possible. Please look for information on the web. You are also invited to visit my Flux playlist here:"

“IOLabs Flux 33 - Benjolin meets Arcane” by Friendly Noise

video by Friendly Noise

"IOLabs Flux, Spherical Sound Society Arcane, After Later Audio Benjolin V2, Steady State Fate Vortices, Befaco Rampage, Befaco Percall, Xaoc Tallin

Please make sure to listen in stereo!!

Video sections: 00:06 01
04:17 02
13:50 03
24:02 04

All sounds were recorded live with two strictly monophonic modules: Benjolin V2 and Arcane, but the use of panning and both Befaco modules results in very interesting textures, which sometimes sound like there is more than two voices at the same time.

Flux is just triggering a steady note as clock source. Density and Length are controlled in real time with the encoders and macro pots. There is only one single pattern in the whole video.

Arcane is clocked by the first channel of Flux. The output of Arcane goes into Tallin to raise the level and to add some warmth with Tallin’s internal saturation. The output of Tallin goes to the first monophonic channel of Vortices.

The voltage of Flux’ channel one is set to S/H mode and goes to the second channel of Tallin. From there it goes to Vortices in order to modulate the panning of Arcane. Since the voltage follows the triggers, every sound generated by Arcane has a different panning position, which greatly enhances the feeling of listening to a drum synthesizer.

Benjolin is a voice module, but it doesn’t have VCAs, so you need some external help to control the length of Benjolin’s sounds. This can be achieved sending the output of Benjolin to the first input of Percall. The decay length is manually controlled and the output goes to the second monophonic channel of Vortices.
The output of Flux goes also to Rampage, where the first envelope is used to generate “bit-crusher”-like sounds. The envelope output goes to the third monophonic channel of Vortices.

Finally, Benjolin’s direct output goes to the fourth monophonic channel of Vortices. The panning is also controlled by the voltages of Flux, as described above.

Some compression and reverb were added in the DAW after recording."

“IOLabs Flux 28 - Ambient” by Friendly Noise

video by Friendly Noise

"IO Labs Flux, Roland System 500, Strymon Magneto, Noise Engineering Basimilus Iteritas Alter, Native Instruments Plaits, SSF Vortices, ALM Akemie’s Taiko, North Coast Synthesis MKS 007 Leapfrog filter, Mutable Instruments Branches, Intellijel Plonk, WMD Crucible."

0-C0AST AMBIENT: PATH.TRACE (feat iolabs Flux)

video by C Nich0lls

"A path of unpredictable resonance.

This time the 0-Coast is joined by it's larger sibling the System Cartesian. Also lending some modulation is the 0-CTRL. 0-CTRL adds modulation to each phrase modifying a variety of waveform parameters on the 0-Coast.

The 0-Coast is patched largely using it's default signal flow. The sound relies on lots of modulation to the waveform blend along with overtone and Multiply. The final sound is routed through Strymon;s NightSky reverb pedal.

The Cartesian adds 2 further sounds; a low 'kick' from the STO and noise/hat from the Teleharmonic.

Sequencing is all from my new IOLABS FLUX sequencer. The Flus allows for a lot of detailed and organic rhythmic control. Literally my first patch with it and definitely scratching the surface, but so far far more flexible than even the descriptions give it credit for. Very deep, but reasonable UI and the detail of the programming is quite astonishing."