"Tubbutec µTune is a tool designed to serve all needs that may arise when dealing with microtonal scales in a modular context. But of course you can also use in a normal, not microtonal way.
Main features
Two channel microtonal Midi to CV/Gate interface with various voice assign modes
A two channel microtonal quantizer / mapper
Two channel CV/Gate to midi conversion sends microtonal midi
A built in scale editor to conveniently edit, load and save scales from an SD card
Midi router/merger to route midi note and clock data independently between USB, DIN midi and µTune
Freely configurable inputs and outputs. Can detect if input is plugged in and change behaviour accordingly which makes the module extremely flexible
10 point VCO calibration to linearise VCO CV response
High precision 16 bit outputs, resolution about 0.15mV / 0.2cents with a voltage range of 10V
Built in two channel tuner with a wide pitch range
V/Hz mode with adjustable precission
Peripherals: 2x analogue in, 2x analogue out, 2x digital in, 2x digital out, Mini USB B device midi in/out, DIN midi in and out
Also features: Midi monitor, various alternative note notations, midi note on and off velocity mapping, adjustable midi base notes, transpose and shift scales via CV, pitch bend in, scale masks, and much more…
An extension module to add more channels is in developement
Designed and made in Germany
Comes with: SD card with pre-installed scales, USB Cable Mini B to type A, Eurorack power cable
Available as completely assembled module and DIY version"
"The Roland DJ-505 is a forward-thinking DJ controller that blends the advanced performance capabilities of Serato DJ with the legendary sounds and sequencing of Roland’s TR-808 and TR-909 drum machines. The DJ-505 gives you the tools to not only mix music as a DJ but also to create beats and rhythms on the fly that sync to your tracks, enabling the creation of unique transitions, live remixes, beefed-up classics, or your own original music."
"The Roland DJ-505 is a two-channel, four-deck Serato DJ controller that blends the advanced performance capabilities of Serato DJ with the legendary sounds and sequencing of Roland’s TR-808, TR-909, and TR-606* drum machines. The DJ-505 gives you the tools to move beyond mixing music to creating beats and rhythms on the fly that sync to your Serato DJ tracks, enabling the creation of unique transitions, live remixes, beefed-up classic tracks, or your own original music.
Like the flagship DJ-808 and compact DJ-202 controllers, the DJ-505 is a powerful and inspiring instrument that allows unparalleled flexibility to DJ, remix, and produce, empowering exciting new approaches to music performance. And with its standalone mixer functionality, narrow footprint, and Serato DVS upgrade path, the DJ-505 is an ideal controller to pair with turntables or CD players
Two channels and Deck Select for up to four decks
Large, low-latency platters optimized for scratching
Eight dedicated pad controls for Serato DJ with Hot Cue, Roll, Slicer, TR, Pattern, and Sampler modes
Built-in, fully editable drum kits from Roland’s legendary TR-808, TR-909, and TR-606*, realized with advanced ACB (Analog Circuit Behavior) technology
TR kits contain eight sounds–Bass Drum, Snare Drum, Closed Hat, Open Hat, Tom, Rim, Clap, and Ride–that can be played on the performance pads and triggered from the sequencer
Shape TR drum sounds and Serato samples in real time with Level, Attack, Decay, and Tune knobs
Classic 16-step sequencer that can trigger either TR drum sounds or the Serato Sampler; new features include nudge (TR-S), step-roll, and instrument/sample mute
Unlocks Serato DJ and comes with a Serato Tool Kit license (includes Serato Pitch ‘n Time DJ, Serato Flip, and all Serato DJ FX packs)
Mixer can be used standalone via connection of multi-players or turntables to the line and phono inputs; Serato DVS Upgrade Ready
Balanced XLR outputs let you connect to a professional PA system; Booth Out plus separate 1/4-inch and 1/8-inch Phones outputs allow you to monitor your mixes
Mic input with gate, hi-pass, reverb, and echo FX
MIDI output to sync external devices with Serato DJ and the TR-S sequencer"
"Cosmwave FX - is a multi-effects processor which consists of three separate effects - x1 analog phaser, x1 analog/digital delay and x1 analog flanger, which can all be used separately as well as combined in this order: Phaser - Flanger -Delay.
Custom designed steel casing with wooden sides.
This unit is the first prototype. The rest of the batch would have minor text changes in the bypass sections and a missing saw mod (only triangle).
In this demo you can hear it processing a sequence from Korg MS2000 synthesizer. Direct audio signal"
iMPC Pro 2 New Features Review First Impression Published on Dec 14, 2017 iPadLoops
The above is a user review from iPadLoops. The press release from Akai is below.
"The idea was to do a review of the new features in iMPC Pro version 2 but it's also a first impression video as I did NOT have iMPC Pro version 1 before this. I used five instance of Enkl by Klevgrand to create a groove and melody to demonstrate using audio units in iMPC Pro 2. We also have a quick look the new UI design and audio track recording. Perhaps I touch on more features in a different video."
"AKAI PROFESSIONAL® DELIVERS IMPC PRO 2, A POWERFUL NEW SONGWRITING TOOL FOR MOBILE MUSICIANS
Developed in collaboration with Retronyms, iMPC Pro 2 brings audio track recording, with powerful production tools and the iconic MPC workflow to iOS devices.
Cumberland, RI USA (December 14, 2017) — Akai Professional, a leading manufacturer of music equipment for performers and producers, today announced the official release of iMPC Pro 2. Following up the original groundbreaking app, iMPC Pro 2 elevates song production for all mobile musicians by adding new track types and enhancing the beloved drum tracks feature from iMPC Pro. With the addition of vocal tracks, support for Audio Units, and a sleek new design, iMPC Pro 2 is now a full-fledged song creation tool, capable of creating sophisticated tracks anywhere inspiration strikes.
iMPC Pro 2 also adds support for Audio Units — Apple’s standard for hosting and connecting musical instrument and effects apps. This enables any Audio Unit app to function as a digital audio plug-in within iMPC Pro 2 as an Audio Unit Track in iMPC Pro 2. Inside the audio tracks, users can instantaneously time warp, pitch shift, and rearrange their audio clips to their liking. The sophistication of real time manipulation is captured in a simple workflow and sleek interface. Users can choose from multiple input sources, including external mic channels, hardware audio interfaces and Inter-App Audio.
FEATURES:
• Audio track recording (record from built-in mic, external mics, audio interfaces, etc.)
• Real-time time-stretching and pitch-shifting (warp tracks and clips to match tempo)
• Ableton Link and Inter-App Audio (IAA) support
• 64-track mixer with EQ and 4 FX sends (Reverb, Delay, Chorus/Flange and one IAA effect)
• Redesigned user interface
• Audio Unit plug-in support
• Directly upload tracks to YouTube
• Sample audio directly from music player apps such as Spotify
• New Song Mode makes full song production more intuitive than ever
• 100% new sound set, with five additional free Sound Packs
• Advanced waveform editing
• Enhanced MIDI support
• and many more workflow enhancements
iMPC Pro 2 features a new library of built-in, high-quality sounds. Designed exclusively for iMPC Pro 2, these kits cover popular and cutting-edge genres from world-class sample libraries including ADSR, Rawcutz, SampleTools by Cr2, Niche Audio, and Sample Magic.
In addition, five custom sound packs are available at no extra charge in the AudioCopy Content
Store (valued at $35). Essential Club Collection, Classic Cutz, Dub 2 DnB, and Melodic Collection are exclusively curated for the iMPC Pro 2, featuring instruments and samples by iconic producers across an array of genres. Users who dive into the iMPC University online course will get an additional sound pack, The Diploma, upon completion.
'iMPC Pro 2 represents the next stage of evolution for the iMPC series,” said JP Walton, Co- founder of Retronyms. “It takes the classic beatmaking workflow found on the original and adds something we've been working on for a long time: the ability to rap or sing over the beat you’ve produced. This evolves the mobile beatmaking app concept into a more complete song creation tool. It has synchrony with what Akai has been working on with MPC desktop and their hardware as well.'
iMPC Pro 2 is available now on The App Store for $24.99. For a limited time only, existing iMPC pro users can upgrade to iMPC Pro 2 for $15."
"The Minipoly contains amazing raw analogue and tape oscillator samples, great filters, a chord system and six effects.
The TAPE SAW OSC are long sawtooth waves recorded for each key on tape of a Roland RE-301 Chorus Echo. You can hear wow and flutter and even tape dropouts - quite similar to a Mellotron. The SAW OSC, Square OSC and White Noise waves are directly recorded minimoog samples - and sound much crisper than the ‘taped’ waves.
All oscillators are mono waves, but when DUAL MODE is activated (switchable LED for each OSC) a second sample is added to each note and both waves are panned hard to L-R. This will produces a strong stereo image. Mix mono and dual oscillators to control/adjust the stereo width of the sound."
"Endorphin.es - AUTOPILOT: 4 hp auto-tuner module.
Do you remember the days when tuning the synthesizer was an issue?
We are happy to introduce you the AUTOPILOT - innovative dual tuner module.
Here is a detuned two voice sequence. We play A note on both oscillators.
Single button press enables the tune function to the nearest A note. Long hold press disables the tune.
Now we are in perfect tune.
We even advanced tuning algorithm with dynamic rate response, and added alternative 4-32 Hz scale, by long hold both buttons press.
Tune your oscillators instantly, just apply the Autopilot in between the pitch CV and apply the reference waveform.
Thank you for watching"
"The SW912 Envelope Follower produces two functions, which can be used separately or in conjunction. The follower circuit signal input presents a control voltage output (DC) proportional to the average amplitude of the AC input signal. The second function, a Schmitt trigger, generates a V-trigger above a threshold voltage (comparator), when a slowly varying or DC voltage is introduced at the control input jack. The normalling of the control output of the follower circuit to the control input of the Schmitt trigger circuit allows both control voltage and trigger to be generated from a single variable source.
MUSICAL APPLICATION
THe SW912 Envelope Follower is an extremely useful module for interfacing external sources with the many functions of the synthesizer, which require both control voltages and triggers to function. Filter or amplitude variations can be achieved by routing the audio signal to both the processing modules and the Envelope Follower. The control voltage of the follower circuit can raise or lower the cutoff frequency of a voltage controlled filter. At the same time, the Envelope Generator can be triggered by the V-trigger output of the follower, causing a VCA to gate the original signal above a certain amplitude. This latter operation can be very useful as a noise gate, closing down an audio signal when the level drops below a nominal setting. One further use involves generating random triggers from the Envelope Follower by utilizing white noise or pink noise as a signal input and carefully setting the threshold level to achieve a speed of trigger selection."
"One of the original buffer effects, and still one of the best, Replicant is essentially a randomized looper/buffer reverse, with a randomized stutter effect inside the loop. From a simple delay or panning effect, on up to massive random "instant Autechre" beat mangling, Replicant is a capable plugin well in line with today's electronic music styles. Stuttering buffers and filter drops are easy to program, and the comprehensive randomization features give it a mind of its own, if so desired. If you're looking to add some chance to your production, you've come to the right place!
IMPORTANT!!!! PLEASE READ!!!
Replicant 2 is a tempo-based effect, and requires a host that provides transport information. A standalone application is supplied, but it requires an Inter-App Audio connection to a host with a transport to work. We strongly advise using the (identical) AUv3 instead. We recommend BeatMaker 3, AUM, Cubasis, ModStep, GarageBand, AudioBus 3, and similar AUv3 hosts that have a transport.
And finally, we have made an iPhone version available for cross-compatibility, but note that the controls are very small. It can be difficult to use in this context, and we do not recommend it.
Replicant 2 is an aggressive buffer-rearranger. It is primarily meant for percussive straight-time material such as drum loops. If the track has a lot of swing, we suggest using loop sizes no smaller than 1/8, as shorter times will nip off the front of the off-beat slices. Furthermore, on legato material Replicant 2 will inevitably choose slice times that contain non-zero-crossing samples. Hence, you will hear clicking on duller material with long decays. This is expected and known. It is a glitch effect. :-)
Replicant 2 for iOS is otherwise identical to our Replicant 2 desktop plugin. Visit the Audio Damage website for audio samples, a video overview, and a full manual.
FEATURES:
» Tempo-based delay and looping effects, from 1/128th note to an entire measure.
» Stutter adds further subdivisions, down to a 1/16384th note (otherwise known as a "tone".)
» Seven independant randomization controls, for subtle changes or extreme aleatoric madness, including a global randomize button.
» Our unique "Hold" feature, to store a random sequence you like.
» Resonant low-pass and high-pass filters that change over time.
» Pan position that changes over time.
» Two separate direction modes, for entire events or individual repeats, with randomization.
» Front panel triggering of loop events for live playing of effects."
"PolySynth is the first true polyphonic synthesizer from DesignByPaul with only 3 note polyphony but packed with vintage analog character. Everything on one screen makes sound design quick and easy including fine tuning of each note in the scale for endless microtuning possibilities.
PolySynth filter section sports and ms20 style resonant highpass and 24db/oct resonant lowpass.
PolySynth has Audiobus 3 support, IAA (Inter-App Audio) and MIDI-In so you can connect, play and record with other apps.
Much easier build (1 main & 10 module boards)
All VCO’s have 4 waveforms
VCF with 4012 and 4072 revision options
Added Sync, Gate and Trigger
Added ADSR mods
Improved circuits for less noise
Improved Mixer
Digital Reverb
Balanced Outputs
Small (37x32x10cm) sized
Except some ICs everything is Through Hole
Target for DIY kit is 6 months, priced at ~800€ minus a case.
"New tiles now available. VCO, VCA, VCF, LFO, EG, CV and audio mixers, mults and shift/scalers — enough tiles to build a complete modular synthesizer out of just tiles!
VCO Classic
The classic analog saw oscillator.Fine tune on the front as well as the V/Octave offset and scaling trimmers.
Two inputs: V/Oct, and CV.
Covers 8 octaves. Matched transistors for low drift.
Published on Dec 6, 2017 DivKidVideo & Joranalogue Audio Design
"Here's the absolutely killer Compare from Joranalogue. It's a compactor, but not a normal one, a dual window comparator, a 4 output logic section, CVable window size and position, NOT / inverted output ... it's a magic voltage controlled voltage controlling toolbox! :) Check out the various patches processing audio, CV gates and making all sorts of stuff. It's really great at "getting more" out of other modules."
The window comparator is a very useful circuit building block that is common in general electronics, but rarely found in modular synths. While a regular comparator activates when the input signal voltage is higher than a threshold level, a window comparator checks if the voltage is between two levels (these form the 'window').
Compare 2 combines two such comparators and a logic section in 8 HP. The result is an advanced tool for extracting gates and pulses from analogue signals in Eurorack synths.
The detection windows are defined by the shift and size parameters, which can be varied using the knobs and CV inputs. Complementary gate outputs are available, with big three-colour LEDs showing each comparator's status.
All inputs are normalised from the left section to the right, but the two comparators can also be used completely independently. On the bottom, the outputs from both comparators are combined in various ways by the logic section, which also features LEDs.
You'll find a use for this truly multi-functional module in practically any patch, processing either CV or audio: complex rhythm generator, dual pulse width modulator, frequency multiplier/divider with PWM, digital ‘ring modulator’ with PWM, dynamic depth VCO synchronizer, voltage controlled swing, logic function array with adjustable thresholds... and many more applications waiting to be discovered!
Two independent analogue window comparators with voltage controlled parameters.
Multi-colour LEDs show status at a glance.
Normalisation between comparators simplifies common patches.
Complementary gate outputs for each comparator.
Logic section which combines the comparator outputs into AND, OR, XOR and flip-flop ('FF') signals, with LEDs.
Precision-milled 2 mm anodised aluminium front panel with high-resolution, non-erasable graphics.
Bullet-proof design: polarised power header and MOSFET protection circuit.
Includes 16-to-10-pin Eurorack power ribbon cable.
Premium mounting hardware: black screws, black nylon washers and matching hex key.
High-quality components and assembly; designed and made in Belgium."
The channel sliders control the output voltage of both the quantized pitch output and the analog CV output. Placing the slider in the down position enables the channel mute functionality for the quantized output. When a muted channel is active, the gate output does not trigger and the quantized pitch output does not change from the previous active channel. The output of the analog CV jack is not affected by the mute functionality and will output a voltage corresponding to the position of the slider.
The gate in mode button assigns the external gate input jack to one of four modulation destinations.
Reset - The sequence resets to step 1 when the incoming gate signal goes high.
Hold - The sequence pauses on the active step while the incoming gate signal is high.
Reverse - The sequence direction reverses when the incoming gate signal goes high. The sequence returns to normal when the gate goes high a second time. If the direction mode is set to random 1 or random 2, reverse mode enables the sequence to play forward.
Ratchet - The sequence gate output triggers 4 times per clock cycle while the incoming gate signal is high.
The length button assigns the number of steps in the sequence. Press once to show the number of steps. Press again to cycle through and assign the number of steps in the sequence. When Transpose Direction Mode is active, the length button sets the number of steps in the bottom transposing sequence.
5. LIfeforms Micro Sequence | Assignable Direction Modes
The direction button determines the direction mode of the sequencer. Press once to show the selected direction. Press again to cycle through direction options. After selecting a new direction mode, the change takes effect on step 1. The first step of the cycle.
Forward - The sequence steps between channels 1 to 8 in order. Channel 1 represents step 1.
Reverse - The sequence steps between channels 8 to 1 in reverse order. Channel 8 represents step 1.
Pendulum - The sequence steps between channels 1 to 8 then reverses direction. Channels 1 and 8 are triggered twice to create a 16 step sequence length. Channel 1 represents step 1.
Stagger - The sequence steps between channels 1 to 8 in order with a 25% chance that the sequence will stagger back 1 step or ahead 2 steps. This creates a sequence that staggers back and forth as it steps between channels. Channel 1 represents step 1. Step 1 may be staggered past on any given cycle.
Skip - The sequence steps between channels 1 to 8 in order, skipping a subsequent channel each cycle. This creates a complex sequence of 56 steps. The first time through channel 1 is skipped, the second time through channel 2 is skipped, and so on. Channel 2 represents step 1 because Channel 1 is skipped on the first sequence cycle.
Transpose - Transpose splits the sequencer into two sets (channels 1-4 and channels 5-8). The top sequence (channels 1-4) is transposed by the bottom sequence (channels 5-8) running at 1/4 the rate as the top sequence. Channel 1 and channel 5 active represents step 1.
Random 1 - The active channel is selected randomly. There is no step 1 tied to random. Program changes happen immediately.
Random 2 - The active channel is selected randomly with the chance of a rest. There is no step 1 tied to random. Program changes happen immediately.
6. Lifeforms Micro Sequence | Introduction
Hands-On Sequencing
With a simple, performance focused interface, the feature set of the Lifeforms Micro Sequence module speaks for itself. Eight sliders with integrated channel mute. Eight quantized scales. Eight sequencer direction modes. Sequences up to 8 steps. Four external modulation functions. Integrated tap tempo clock. Eight step external clock divider. Run/Stop transport button. Sequence reset button. Dedicated analog CV output. And more....
Arturia announces V Collection 6
Arturia announces CMI V
Arturia announces DX7 V
Arturia announces Buchla Easel V
Arturia announces Clavinet V
Update: tutorial videos:
And a couple of user videos followed by some details on each:
Arturia Buchla Easel V Dual S&H Sequence Sound Design
Published on Dec 5, 2017 Rishabh Rajan
"A tutorial on creating a unique Sample & Hold type melodic pattern using the Complex Oscillator and the Modulation Oscillator in the Buchla Easel V from Arturia. The Buchla Easel V is included in the V Collection software suite."
Arturia V Collection 6 vs Analog Lab 3: Review, what's new and the best way to get it
Published on Dec 5, 2017 loopop
"For over 15 years now Arturia has been recreating and then breathing new life into legendary vintage synthesizers. Both V Collection 6 and Analog Lab 3 contain a massive library of 21 instruments and over 6,000 presets. The depth they go in and care they put into these recreations is astounding. And once they've completed recreating an instrument, they take it much further adding substantially more functionality, typically including more modulations, sequencing, effects and polyphony. Since there are quite a few buying options that let you get your hands on these - in this video I'll talk about what the different software packages give you and what's the cheapest way you can get started."
"In 1980, the Fairlight CMI turned heads with the introduction of digital sampling. Now our software homage lets you turn some heads yourself.
With exotic new sound of digital samples, the promise of an all-in-one digital workstation, and a physical design right out of a sci-fi movie, the Fairlight CMI was an object of desire for most self-respecting ‘80s keyboardists. Countless musicians and producers weighed the risks of bank robbery in order to afford one. No need today. Our faithful recreation gives you the same tools that many MTV stars used to make a cannonball splash into the pool. We’ve even made lots of improvements and additions that bring added power to this keyboard legend, including an alternate additive synthesis engine and tons of new modulation options. No vintage keyboard collection is complete without the CMI V.
Now it’s your turn to experience the sound and power of the digital workstation that started it all.
The unique musical architecture of the CMI
The CMI V isn’t just a digital instrument. It’s a complete digital workstation.
Our enhanced reproduction of this keyboard superhero lets you work with 10 digital instruments of your choice at once—mixing, layering, splitting and sequencing them as you please. Each instrument can draw from three different means of sound generation. The most obvious is the sampling engine that literally first defined the term in the industry. You can also shape sounds with the original additive synthesis engine where you control each of the component harmonics over time. We’ve even spun up the propellers and introduced a newer, simpler means of exploring additive synthesis like you’ve never heard it before named Spectral Synth. You also get around 300 expertly designed presets to get you going—including the original library of sounds you’ll recognize from countless hit recordings.
The CMI V has everything you need to explore the intersection of sampling and digital synthesis."
"In 1983, the DX7 changed the world of music. Today, the DX7 V gives you the power to change it again.
Nothing says ‘80s like the sound of the DX7. Our authentic recreation gives you all the same FM digital technology and sounds that earned the instrument a revered place in the history of both keyboards and contemporary music. We didn’t stop at just replicating it, though —we re-imagined it. New operator waves, extensive modulation additions, arpeggiator and onboard FX chains enhance your sonic possibilities exponentially. For bonus points, an intuitive graphic interface makes what was once a daunting programming task a creative joy today.
We put booster rockets on the instrument that created innumerable ‘80s hits. Now you can create the definitive sounds of today and tomorrow.
Unleash your inner sound designer with expanded features
The DX7 V gives you a unique tool for customizing and creating new musical instruments and sound effects.
With its radical departure from analog designs, FM synthesis helps you chart new sonic spaces. The DX7 V is capable of producing an incredible spectrum of sounds ranging from natural-sounding instruments to unique synths to alien worlds—complete with all the crystal clarity and punchy transients uniquely associated with FM. Since having an instrument with such extreme depth and potential is the dream of every sonic explorer, we challenged ourselves to go even further. We added a host of new features including multiple waveforms, a filter and feedback loop on each operator, new modulation sources, a monster unison mode, and more.
The DX7 V is the perfect design tool for designing unique new instruments and ear candy that help you make your own distinct musical statement.
Design elegance meets sound design power
The DX7 V sports a stunning interface allowing intuitive control over all of the instrument’s dramatically expanded features
While retaining the feel of the original design, we’ve streamlined the main interface of the DX7 V to make it much simpler to use and understand. Here you’ll find an uncluttered presentation of only your everyday performance controls, as well as the fundamentals to start visualizing and exploring new sonic structures. When you’re ready to dig deeper and flesh out the detailed character and animation of your sounds, one click presents a programmer’s paradise of incisive controls and displays light years beyond the tedious original hardware interface. Balancing usability and all the added power in the DX7 V, tabbed windows easily put your fingers on logically grouped functions spanning enhanced operators, additional envelopes, matrix modulation, step sequencer, FX architecture, and more.
Whether you just want to play the extensive library sounds or program your own, the DX7 V is a dream to use."
"Buchla Easel V
WEST COAST SOUND DESIGN PLAYGROUND
The Buchla Easel V is the first recreation of Don Buchla’s iconic instrument that helped define experimental West Coast modular synthesis in the early ‘70s. Our enhancements translate to vastly expanded possibilities for sound design and avant-garde music.
You’ve always wanted to paint with sound. Now you can with the Buchla Easel V.
One look at the Buchla Easel V and you know this is a different beast. In fact, it makes you think differently about sound right from the start—and the soundscapes you can design with it are as unique as the front panel array. To put that experience at your fingertips, we meticulously recreated the rare 1973 Buchla Music Easel right down to the component level. As you’ve come to expect from our other V-series instruments, we’ve gone the extra mile by designing in an enhanced feature set including polyphony, innovative new modulation/control sources, step sequencer, effects, and more.
If you like to paint outside the lines, Buchla Easel V is the perfect artistic tool for you.
Welcome to West Coast school of synthesis
Your music breaks from the pack. So does the Buchla Easel V.
The Buchla Easel V faithfully reproduces Buchla’s Music Easel that helped define West Coast synthesis’ focus on experimentation and breaking musical norms. We’ve applied our award-winning TAE™ modeling technology from the front panel to the resistors to capture it all with incredible realism.
Complex oscillator design, AM and FM synthesis, uniquely percussive gate/filter combos, and numerous ways to modulate and clock just about every parameter, all drop you right in the middle of a sonic sandbox. Design and perform soundscapes that burble, shimmer, pulse and evolve without ever touching a keyboard or pad—unless you want to add even more control. Nearly 300 presets by expert sound designers get you started with timbres ranging from hauntingly beautiful sonorities to clangorous pokes in the ear.
Whether you’re looking to experiment with simple sounds or build complex evolving passages, the Buchla Easel V is a constant source of inspiration for sonic adventurers.
Create sounds no one has ever heard before
In addition to faithfully reproducing a classic, we’ve infused the Buchla Easel V with even more of that vintage goodness to love.
We’ve made patching even more fun and foolproof. When you drag a color-coded patchcord between patch points, only valid targets light up, saving you the frustration of making invalid connections that do nothing. The original Music Easel lacked a noise source, so we’ve added one to the preamp—handy for introducing rhythmic elements. We’ve also designed a feedback loop into the preamp, so you can really get things howling. Up to four-voice polyphony greatly enhances your performance capabilities, too.*
With our extensions to Buchla’s original design, you now have an even more intuitive programming experience paired with additional sonic options."
"May the funk be with you
Whether you love playing oldies or pioneering new musical territory, there’s nothing like the distinctive sound of the Clavinet’s hammered strings.
The unmistakable bright, punchy sound of this vintage keyboard occupies a unique sonic space somewhere between harpsichord, hammered electric guitar and slapped bass. Top keyboardists of the ‘70s used its signature bark and bite to cut through the mix while delivering some of the most authoritative percussive keyboard lines ever played. Thanks to the ultra-realistic Clavinet V, you can now command the same crisp sound that helped define funk and formed the bedrock of many pop and R&B hits back in the day. If you’re looking to add natural energy and vintage cred to your sound, the Clavinet V is just the ticket.
The Clavinet V inspires with both the sound and feel of the funkiest electric keyboard ever made. Your fingers have never danced like this before.
Ain’t nothing like the real thing, baby
Only modeling technology gives you this faithful reproduction of a vintage Clavinet.
Since the Clavinet is an electro-acoustic instrument, complete with multiple settings and a dynamic action, there are countless subtle variations during performance. By comparison, “Clav” synth patches and samples seem one-dimensional. That’s why we’ve applied our award-winning physical modeling and algorithmic emulation to give you a sound and playing experience indistinguishable from the real thing.
The Clavinet V brings all the inspiring nuances and natural goodness of the original instrument to your keyboard collection.
More than a Clavinet
Clavinet V delivers all the original features, plus new additions designed to keep your creative juices flowing.
The original Clavinet controls were simple to use, and we’ve kept them authentic. If you want to go deeper, just click the lid open and you can easily tweak exactly how your instrument sounds and behaves. The built-in collection of effects pedals—chorus, flanger, wah and more—let you easily get the rich signature sounds of the keyboardists who popularized the instrument. You’ll also find an integral vintage guitar amp, so you never have to look elsewhere to get just the sound you’re looking for. Of course, everything can be preset for instant recall.
The Clavinet V isn’t just a Clavinet. It’s a complete rig at your fingertips."
Modulor A1 synth intoduction Published on Dec 4, 2017 Sonicsmith
"We introduce the Modulor A1 synth.
It's a semi-modular, analog music synthesizer that can create traditional sounds but extreme modulations as well.
It runs on standard 9V pedal PSU and has 1V/octave pitch input."
"MODULOR A1
SEMI-MODULAR ANALOG SYNTHESIZER.
Our newest synth is not audio controlled but can come as a perfect accompaniment to them.
In fact The Modulor A1 will enhance any existing analog synth rig, allowing them to enrich their sound beyond belief. The Modulor A1 contains a VCO, LFO (each sync-able), two VCAs (one dedicated to the VCO and the other to the LFO), and numerous patching options. Both VCO and LFO can be square or triangle waves and a switch sends LFO to modulate VCO frequency for some vibrato (at lower LFO rates) or FM (at LFO rates up to 200Hz) effects.
The Modulor A1 is here to dive deep into modular synthesis in the 9V pedal environment. This Voltage Controlled Synthesizer has two audio outputs. One at regular line level (+4dBu) via big jack, and the other is a mini jack on the top panel (9V). This can be fed into a modular synthesizer environments if one wants to use the VCO voice through his Eurorack inputs for example. Another use for this mini jack oscillator is a ring modulation source on the Squaver P1 or any other CV input for that matter. You will get surprised of the results every time you patch it to a different CV destination. As a stand-alone synth the Modulor A1 has quite a bit of power as well. Allowing you to make all kinds of effects and melodies without even a single patch cable. Of course when you consider a few mini-jack to mini-jacks cables the possibilities are more exiting and you'r doomed to fall into an endless pool of tweaking. Either as a companion to our Audio Controlled Synths or along with your own modular synths, this handy 9 X 10 cm synth is a tiny version of a modular synth. The VCO pitch input is 1V/octave and has a 9V minijack output on the front. The other VCO output is a big jack on the back at line level unbalanced+4 dBu. VCO sync input will reset the wave's position to zero every time a threshold of 0V is crossed. The LFO sync input threshold is 3.0v for compatibility with most gate signals. Two knobs for pitch offset 20Hz-20kHz and the other knob is -4-+4 semitones.
Features:
VCO, LFO and two VCAs
9V standard pedal PSU
VCO with two outputs: a big jack +4 dBu post VCA and a minijack 9V out without VCA to control as clock or mix into Eurorack system.
Sync input on both the LFO and the VCO
LFO from 0.2 Hz up to 200Hz for FM synthesis
“LFO to VCO pitch in” switch for instant satisfaction"
"Module A-150-8 contains eight manually/voltage controlled switches. Each of the eight switches has a manual control button (Man.), a control voltage input (CV), a common Out / Input (O/I), and two In / Outputs (I/O1, I/O2). The switches are bi-directional, i.e. they can work in both directions, so can connect one input to either of two outputs, or either of two inputs to one output. Two LEDs show which in / output is active (i.e. which is connected to the common out / input). In addition the LEDs are used for the programming of the module:
For each unit the operating mode can be selected: Toggle or Level controlled. In Toggle mode the rising edge of the CV input or operating the manual control button changes the state of the switch. In Level mode the switch state is defined by the voltage applied to the CV input (low voltage = I/O1, high voltage = I/O2) or by the state of the manual control button (not pressed = I/O1, pressed = I/O2). The modes are programmed very easily: Operating the Toggle/Level button of the program section displays the current state of each switch with the LEDs: left LED on = Toggle mode, right LED on = Level mode. Operating the manual control button of the switch in question changes the toggle/level mode while the Toggle/Level button of the program section is operated. During the programming possibly patched CV signals have to be removed as the CV signals would interfere with the manual operating buttons during the programming process.
In addition it's possible to define master/slave groups. In such a group the upper unit (= master) controls also the state of the following switches provided that they are defined as slaves. Master/slave programming is also very simple: Operating the Master/Slave button of the program section displays the current state of each switch with the LEDs: left LED on = Master, right LED on = Slave. Operating the manual control button of the switch in question changes the master/slave mode while the Master/Slave button of the program section is operated. During the programming possibly patched CV signals have to be removed as the CV signals would interfere with the manual operating buttons during the programming process.
When all 8 units are defined as master all switches are independent from each other. If for example the sequence is MSSSMSMS the control unit of the first switch also controls the switches 2, 3 and 4. The control unit of switch 5 also controls the switch 6, and the control unit of switch 7 also controls the switch 8. The current states of the slave switches are overwritten by the state of the master switch.
Technical note: To protect the electronic switches in case of an unsuitable patch (e.g. connection of two outputs) a 1k protection resistor is inserted into the O/I line of each switch. If control voltages used for VCOs are switched this may cause a small voltage drop and lead to undesired audible detuning. For this application we recommend to insert a CV buffer between A-150-8 and the VCO(s), e.g. the Buffered Multiple A-180-3 or the Precision Adder A-185-2. Integrating the buffers into the module A-150-8 was not possible because this would ruin the bidirectionality of the switches."
"An 8 step sequencer based on the m-185 made by Ryk, using an Arduino to control the seuences and using thum wheel switches to set the number of repetitions per step."
