Roland S-1 | Synth Sound Design

video uploads by Mark Young

Playlist:

1. Roland S-1 | Synth Sound Design Basics Tutorial | Master the S-1: Ep. 1

This is the first video in my series on mastering the Roland S-1. In this episode, I cover the essential sound design features of this powerful little synth. Future videos will dive into advanced sound design, creative jamming techniques, sequencer tricks, and anything else you’d like to see.

2. Roland S-1 | Advanced Sound Design Tutorial | Master the S-1: Ep. 2

The S-1 has a hidden super power: Custom Waveforms. Using the oscillator draw function you can input your own custom waveforms to create new sounds you wouldn't expect from a mini-SH-101 clone. I have a few that I use all the time and I wanted to share them with you. I hope you enjoy!

3. Roland S-1 | Sequencing Tutorial | Master the S-1: Ep. 3

The Roland S-1 sequencer isn't the most advanced, but it offers a surprising amount of utility for its small size. For me, the S-1's sequencer is a quick and effective way to capture ideas and jam, in ways that even more advanced synths and grooveboxes don't always inspire. I get a lot of enjoyment from punching in patterns on the S-1 and using the tips and tricks I show in this video to create tracks and explore new ideas through jamming.

If you'd like to support me and receive extra patches, patch reference sheets, and more, please visit patreon.com/Mark_Young

00:00 Intro
00:14 Pattern Length & Speed
00:56 Note Entry
02:39 Functions
04:43 Step Level Settings
07:15 Note Level Settings
08:25 Automation/P-locks/Motion recording
09:50 Non-sequencer sequencing
12:14 Outro

4. Roland S-1 | Voice Modes Tutorial (Poly, Chord, Unison, Mono) | Master the S-1: Ep. 4

The Roland S-1 has four voice modes which can be used for different sound design purposes. I received a lot of requests to make a video on the chord mode functionality, so I figured I would expand it out and cover all of the different S-1 Voice Modes. I'll dive into each one mode and give some ideas for how to use them, with emphasis on chord mode. Let me know if you have any questions!

00:00 Demo of Voice Modes
01:10 Intro
01:54 Polyphonic Mode
05:25 Monophonic Mode
06:40 Unison Mode
09:30 Chord Mode

For extra content, early releases, full written out patches, and more please check out: patreon.com/Mark_Young

S-LAYER by Twisted Tools Now Available

S-LAYER by Twisted Tools Now Available (OFFICIAL PROMO VIDEO)

YouTube Published on Jul 9, 2012 by twistedtools

Additional videos below.

"Twisted Tools Releases S-LAYER
New sampler instrument for Native Instruments Reaktor 5 creates playable and unique sound combinations by layering samples.

AVAILABLE FOR $69 @ http://twistedtools.com/shop/reaktor/s-layer

S-LAYER is a sound creation tool that allows you to create, edit and play new sound combinations by taking samples and layering them together using an eight part sampler and an intuitive cell layout. By combining sounds from the included sample map or your existing sample library, S-LAYER facilitates the discovery of new oneshots, sound effects and loops from pre-existing sample content. Whether you're looking for a new way to create thick drum samples for hip-hop or a massive impact sound effect for game, S-LAYER delivers.

With S-LAYER, up to eight parts are played back and manipulated simultaneously using an advanced layered sampler engine, where each layer remains independent and can be surgically edited. Time-tested sound design techniques such as reversing, pitching, modulating and mixing sounds together can be quickly achieved by randomizing and fine-tuning with sliders and knobs. In addition to the on-board granular, filter and time-based effects, you can also connect your own effects using the insert/send system or by using the direct outputs. Once you've found a sound combination that you like, you can store it on-the-fly in one of eight 'Scenes' which can be dynamically played backed and controlled using MIDI.

In addition to the included sample library featuring sounds from many renowned sound designers, S-LAYER comes bundled with an iPad Lemur MIDI template by Antonio Blanca and a MIDI template for Native Instruments' Maschine.

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Analogue Solutions Leipzig-s Overview Videos by Marc Doty aka AutomaticGainsay

01-The Analogue Solutions Leipzig-s: Part 1: Oscillators

Published on May 30, 2015 AutomaticGainsay

"Here is a demonstration of the sound and functionality of the oscillators present on the Analogue Solutions Leipzig-s synthesizer.

Please support my work!
http://www.patreon.com/automaticgainsay"

02-The Analogue Solutions Leipzig-s: Part : Oscillators Part 2

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Strymon TimeLine Demos with an xOxbOx by Kick.S

Published on Feb 22, 2017 Kick.S

Playlist:
Kick.S DEMO / Strymon TimeLine (dTAPE) with xOxbOx
Kick.S DEMO / Strymon TimeLine (dBUCKET) with xOxbOx
Kick.S DEMO / Strymon TimeLine (DIGITAL) with xOxbOx
Kick.S DEMO / Strymon TimeLine (DUAL) with xOxbOx
Kick.S DEMO / Strymon TimeLine (PATTERN) with xOxbOx
Kick.S DEMO / Strymon TimeLine (REVERSE) with xOxbOx
Kick.S DEMO / Strymon TimeLine (ICE) with xOxbOx
Kick.S DEMO / Strymon TimeLine (DUCK) with xOxbOx
Kick.S DEMO / Strymon TimeLine (SWELL) with xOxbOx
Kick.S DEMO / Strymon TimeLine (TREM) with xOxbOx
Kick.S DEMO / Strymon TimeLine (FILTER) with xOxbOx
Kick.S DEMO / Strymon TimeLine (LO-FI) with xOxbOx

Introducing Roland AIRA Compact S-1 Tweak Synth

video upload by RolandChannel

[Note: you can find additional user videos futher below]

"The Roland S-1 Tweak Synth is a powerhouse micro polysynth that merges the legendary tones of the SH-101 with futuristic tools for the modern creator. Get reacquainted with the snappy bass tones and expressive leads brought to life in exquisite detail by our Analog Circuit Behavior technology. Then tap into a world of new creative possibilities with expanded four-voice polyphony and an array of innovative features, including cutting-edge wave manipulation, advanced sequencing, and unique performance features.

In this video, Dustin Good dives into the S-1 features, capabilities, sounds, and more.

0:00 – Introduction and Overview
1:32 – Sounds
2:01 – Basic Sound Design
2:35 – OSC Draw
3:13 – OSC Chop
3:44 – Riser
4:06 – Effects
4:33 – Sequencer
5:06 – Sub Steps
5:36 – Probability and Motion Recording
6:25 – Arpeggiator
6:54 - Performance Tools – Step Loop, Transpose, D-Motion
7:53 - Connectivity and Portability

Build from square, saw, sub, and noise oscillators and mono, poly, unison, and chord modes. Craft custom waveshapes with OSC Drawing. Dice sounds with OSC Chop to produce a labyrinth of overtones and metallic timbres. And use the noise oscillator as an independent riser to add sweeps and pulsing sound effects for transitions and dramatic effect.

Bring programming and performances to life with a 64-step sequencer, motion recording, and D-Motion. And humanize patterns with Probability, ratchet tones with Sub Steps, and create on-the-fly fills with Step Loop.

Sync the S-1 Tweak Synth with the rest of the AIRA Compact gang for a highly jammable micro-studio in perfect sonic symphony. Chain them together or connect with MIDI gear, computers, and music apps to expand your setup. Just power on, hit play, and go with the flow."

Press release followed by user videos:

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Specialwaves Introduces Mine S - Modular / Configurable Hardware Controller

Specialwaves first introduced their Mine modular controllers in 2016.

"Specialwaves Introduces Mine S – The World’s Most Configurable Modular Physical Controller for DJs, Producers, VJs, Light Technicians, Video/Photo Editors and More

With Mine S, Users No Longer Have to Buy Multiple Controllers to Control New Software or Devices; Indiegogo Campaign Launches Today to Fund Its Production

(Pedrengo, Italy) – May 9, 2019 – Specialwaves today introduced Mine S - the world’s most adaptable modular physical controller. Mine S, which precisely and intuitively interfaces with and controls a wide range of software and devices, is perfect for DJs, VJs, producers, lighting technicians, musicians, broadcasters, video/photo editors and more. The Indiegogo campaign, which launches today with a funding goal of $30,000 USD, features limited Super Early Bird Specials of $285 USD, as well as several other rewards for backers.

Composed of a case that can accommodate up to 32 modules (made of single electronic interfaces), which can be placed inside the case both horizontally and vertically, Mine S allows users to choose preferred configurations according to their needs instead of being forced to adapt to standard static controllers. The modules are hot-swappable, meaning users can remove and reinsert modules on-the-go. For example, if some parts like sliders break during use, users can easily replace the broken module right away – even during a live performance!

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EML-101 Multimode VCF Schematic

via Aaron on the sdiy list:
"One project idea that I tossed out to my students, which one student is trying to get work, is to use the idea of an NPN differential amp driving a "differential integrator" to build a 1-pole LPF, which you could then do four times to get a usual 4-pole LPF.

I got the idea from the EML-101 filter schematic [mirror], as expertly redrawn by Marjan Urekar:

The EML-101 is a state variable filter, and said diff amp/diff integrator configurations form the variable gain integrators.

My thought was that we could take the output of such an integrator, and feed it into the opposite input terminal of the diff pair, and that feedback should form a 1-pole LPF, as follows:

The NPN pair driving the differential integrator forms a variable gain integrator with transfer function A/RCs, where A is the voltage gain of the diff pair and R and C are the resistor values used in the integrator. Let's denote wo = A/RC. Now imagine we take the output of this integrator and feed it back into the input with a minus sign. You get something like this:

Y(s) = (wo/s) [X(s) - Y(s)]

Y(s)[1 + wo/s] = (wo/s) X(s)

Y(s)/X(s) = (wo/s) / (1+wo/s) = wo/(s+wo)

Which is the transfer function of a single-pole LPF with cutoff wo with unity gain at DC. (This is the same idea as a usual OTA-C filter 1-pole LPF).

Three questions:

1) I sent my student, Justin, this sketch to get him started, where I just blindly ganked the resistor and cap values from the EML circuit.

Anyway, I just realized I drew that wrong - the EML integrating stage is _inverting_, so we should actually either:

A) Swap the inputs on the differential integrator, to make a noninverting stage, or

B) Take the feedback to the left NPN instead of the right NPN

Does (A) or (B) sound like the safer option?

2) Given the way the "differential integrator" is going to load the differential amp, should I even be thinking of this as a differential amp followed by a differential integrator? Or are they interacting so much such thinking breaks down?

3) Does this whole crazy idea of mine sound like a decent idea at all or is it doomed to insanity?

- Aaron

P.S. This got me wondering if there's an "integrating version" of the standard 3-op-amp instrumentation amplifier? A differential integrator with high input impedance, but something more elegant than just slapping noninverting op amp buffers at the inputs to the above differential integrator?

http://en.wikipedia.org/wiki/Image:Opampinstrumentation.svg"

Serge Custom Eurorack 420hp

Note: links to listings are affiliate links for which the site may be compensated.

via this auction

This system is in a Pittsburg Modular 360 Structure case, with an 86hp control Moog skiff used for secondary DUSG, and TKB.

Most items were purchases new in the last year. Always racked with washers.

Modules Included:

R*S 8-stage Sequencer/Programmer
R*S Active Pro
MA DTM CP3 Style Mixer
MA Mix
Elby Designs Serge ASR
Elby Designs ES75 Serge Voltage Controlled slope
R*S N Com
Elby Designs Serge Quantizer
2X R*S Variable Q VCF
2X R*S DUSG
Elby Designs Serge Random Voltage
R*S Serge Resonant EQ
R*S Serger Ring Modulator
ARC Effects Serge Dual Processor
R*S SSG Smooth and Stepped Generator
2X R*S New Timbral Oscillator
Serge Resonant EQ Mk II / CGS202
Arc Effects Serge TKB
R*S Triple Waveshaper
R*S Variable Slope VCF
R*S Wave Multiplier
R*S Stereo Mixer

R*S = Random Source

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ACE TONE CANARY S-3 One of the few remaining units on the planet

Note: links to listings are affiliate links for which the site may be compensated.

via this auction

This appears to be the same one listed back in September. You can find a small handful of posts mentioning the Canary here. "One of the very few remaining Ace Tone Canary S-3 on the planet. Despite being a 60 years old machine, this unit works like a charm and it's in spectacular cosmetic conditions -- it looks much better than the unit exhibited at the Roland Museum, actually.

History Designed and built by Ikutaro Kakehashi (founder of Ace Tone, Roland and Boss) in 1962 during the Pre-Roland era, the Ace Tone Canary S-3 is an early monophonic synthesizer inspired by the Clavioline, a forerunner to the analog synthesizer invented in 1947, but implementing several technical improvements and revisions that make it a unique instrument. In 1964, Ikutaro Kakehashi decided to take the Canary S-3 along to the NAMM show in Chicago but, despite receiving interest, he did not receive any distribution deals. So the Canary S-3 ended up being distributed in Japan only and quickly became a rare instrument even at that time.

Sound When you listen to this machine, the reason of that unsuccessful mission at NAMM quickly stands out: the sound of the Canary S-3 had nothing to do with 60's music, it was not a simulation of classical instruments. The Canary S-3 sound was quite agressive, warm and extremely rich in armonics, totally in line with nowadays electronic music standards and so far away from the 60's vibes. It's pure electricity generated by military-grade germanium transistor oscillators and filters, a machine that can easily be used as main/only instrument in modern music productions.

Germanium Instead of using a vacuum tube oscillator as the Clavioline, the Canary S-3 implements a solid state circuitry totally based on germanium transistors. Widely implemented in vintage guitar fuzzboxes and amplification and exceptionally in synthesizer circuitry (such as the VCA section of the EMS VCS3/Synthi A), these transistors have a warmth and a granulity as pleasant as the tube sound, without being the same. The sonic grain of germanium is generally a bit rougher than the tube grain, and radically less flat and plain than classic silicon transistors. -- As far as I know the Canary S-3 is the only synthesizer ever built using germanium transistors as sound generators.

Architecture The Canary S-3 can be organized in 3 main sections: Sound Generator - Tone Color - Controls. The Sound Generator features 4 parallel octave dividers that output super fat saw waveforms in 4 different octaves (Bass - Tenor - Alto - Soprano) ranging from F0 to F4. Then the resulting waveform is passed through a germanium filter bank that separates the input signal into 5 components, each one carrying a frequency sub-band of the original signal. The 5 bands (obtained using HP and LP filters) are controlled by 5 combinable switches under the Tone Control section (1 - 2 - 3 - 4 - 5). The mix of the 4 Sound Generators and the 5 Tone Colors delivers a total of 496 different settings/sounds ranging from fat basses to rich organ and raw lead sounds. In addition to the main sounds the Canary S-3 features also two noise generators controlled by two unusual momentary push buttons designed to perform abstract rhythms in real time. The sounds can be modified using the knobs and the bizarre knee lever designed to perform volume variations in real time. The Control Section includes also two knobs for (pitch) Vibrato Speed and Depth, the global Tuning knob (+/- 2 semitones) and a master Volume knob used also tu on/off the instrument. Lastly there is the Rhythm Volume knob to set the volume of the two noises.

The Ace Tone Canary S-3 is undoubtedly a one-of-a-kind instrument, an amazing piece of retro tecnology, an avant-garde machine born six decades ago that still has something exclusive and unique to say."

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Roland S-10 old school sampling tutorial/workflow - Free samples download

Published on Aug 20, 2017 Espen Kraft

"Performance of the track 'Ocean Drive - Main theme' 17:47

Todays episode is a review and demo of one of my all time favourite samplers, the budget (of its time) sampler Roland S-10. It has "only" 4.4 secs of total sampling time and it holds only max 4 sounds in its memory at a time. Each of the ABCD slots/banks can hold 1.1 sec of sampling time.

Despite all its limitations it has remarkable many features and a killer arpeggiator as well and the sound on this is incredible, especially at the low end. The 12 bit 30KHz converters give this sampler a low end grit that really is very musical and provides perfect counterpoint to more modern sounds. Its big brother, the S-50 has the same sound and even more sampling time.

The S-10 was one of my first samplers so it holds a special place in my heart and I had lots of fun with it back in the day and even did gigs with it of course as it WAS a pro sampler in its day despite its shortcomings in the memory department.

S-10 manager software can be downloaded here:
http://s10manager.corlinks.nl/#C

A set of my own original samples for the S-10, not obtainable anywhere else on the net can be found here:

https://www.dropbox.com/s/0i7oybeovyi...

Please give me credits if you use those in any commercial way, thanks!

The track "Ocean Drive - Main theme" is recorded with only the S-10 sampler and all the sounds come directly off the S-10. It has been multitracked as the S-10 can only hold 4 sounds in its memory at a time as described above and in the video.

The song can be downloaded through Bandcamp.
https://espenkraft.bandcamp.com/

My tracks pay homage to all synth.pop acts of the 80'ies like Howard Jones, Depeche Mode, Pet Shop Boys, New Order, Thompson Twins, Tears for Fears, Ultravox, OMD, Euryhmics, Duran Duran, Giorgio Moroder, Jean Michel Jarre, Jan Hammer, A-ha and many more.

A use mostly old gear on my tracks and among them Roland Juno 6, Alpha Juno 2, D550 and JX-8P. Korg DW-8000. Roland TR-626 drum machine. Yamaha DX7 and TX802 and drum machine RX11. I use the Novation Mininova as a vocoder on all my tracks. Effects are usually handled by Strymon and TC electronics. Sampling is done on my E-MU ESI-4000, Akai S1000 and Roland S-10."

Crumar Multiman S/2 - Rare String Synthesizer SN 01349

Note: links to listings are affiliate links for which the site may be compensated.

via this auction

"A perfect working Crumar Multiman S/2, the very hard to find vintage string synthesizer designed as the successor to the Multiman-S / Orchestrator. The machine is in very good cosmetic conditions and has been recently serviced by a professional technician. Professional packaging and shipping insurance included in the shipping costs.

Released in 1977 as the successor to the Multiman-S (called the Orchestrator in US), the Multiman S/2 is a fully polyphonic multitimbral string synthesizer capable of splitting and layering sounds. Using the dedicated On/Off buttons, the included sounds can be split in the middle of the keyboard allowing you to play one combination of instruments with the left hand, and another combination with the right. -- The name "Multiman" is the combination of Multi + Man, where Man comes from the italian "Mano" (hand in English).

The Crumar Multiman S/2 features 5 splittable sounds (Brass, Piano, Clavichord, Cello and Violin) and a Bass sound assigned to only the bottom 27 notes of the keyboard. Each sound has its dedicated volume controls for left and right zones and there are 3dedicated audio outputs : Pianos/Bass + Brass + Main (all sounds).

STRINGS
The Multiman S/2 strings are raw, lush and rich with a warm lowend that fits incredibly good in a mix, a powerful sound quite different from other smooth, milky analog competitors. This section includes Cello and Violin, two sound source at different octaves with dedicated volume controls and processed by the integrated 3 line BBD chorus ensemble. The string sounds can also be altered using the global Sustain and Vibrato controls and with the dedicated String Timbre, a 6 db/oct discrete LP filter that allows to generate sounds ranging from dark pads to church-organs to massive analog strings.

BRASS
The brass section of the Multiman S/2 sounds absolutely fantastic. The core of this section is the discrete transistor ladder LP filter equipped with Cutoff, Resonance (labelled Contour & Emphasis) and filter Attack and Decay. The Cutoff and Resonance are totally Moog-style and the fast Decay coupled with the smooth Attack allow to generate a variery of fat sounds ranging from puncing basses to sweeping leads and majestic analog brasses. The Multiman S/2 brass section gives his best at the mid-low frequencies and, despite its sculpted and definite character, it works great when layered with the raw strings. The global Sustain and Vibrato controls are also available for the Brass.

PIANO
The Piano section includes Piano and Clavichord sounds with dedicated volume sliders and the global Release and Vibrato controls. The Clavichord is the classic sound implemented in all the string synthesizers, a HP filtered saw waveform designed to add extra harmonics to the main sounds. But the Piano sound in the Multiman S/2 is not the classic analog piano emulation you can find in other string synthesizers, it looks kind of low-end enhancer designed to be played together with the other sound sources.

BASS
The Bass sound in the Multiman S/2 is very, very huge. It sounds like a 808-style bass drum with a smooth, pleasant saturation. This sound has been originally designed as accompaniment instrument but it can easily find its place in modern music productions. Used in conjunction with Piano and Brass, it can generate truly earthshaking analog bass sounds.

Specifications
Polyphony - 49 notes
6 Sounds: Brass, Piano, Clavichord, Cello, Violin and Bass
Brass Filter : Attack, Decay, Cutoff, Resonance.
String Filter : 6 db/oct discrete LP
LFO : Vibrato and Depth for all sounds
Envelope : Sustain length for all sounds
Outputs : Main + Bass/Piano + Brass"

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Novation Announces New Launchpad S

Novation // Launchpad S "KillTheRobot" performance
Published on Apr 4, 2013

Launchpad S -- the next generation of Launchpad

"Launchpad S is the evolution of Novation's best-selling Launchpad 64-button grid music controller -- with much brighter buttons, significantly faster refresh rate and it supports multiple software. It's MIDI Class Compliant so it works with any MIDI software on your Mac or Windows PC. It even works on your iPad via a Camera Connection Kit (not included): Launchpad S converts your iPad into a grid-based music system: no additional power supply required, just plug in and play.

Key Features:

•The new 64-button grid music controller with MORE
All the features of the original -- now with much brighter buttons, faster refresh and expanded app/system support

•Supports Ableton Live and other grid music applications
Ableton Live software is in the box -- also supports FL Studio with no additional drivers. And your iPad!

•Control your mix
Including volume, pans, sends, track arming, soloing and muting. Launchpad S lets you jump to different levels across eight channels at once

•Launchpad iPad app
Trigger loops and effects using the Launchpad app on iPad -- Launchpad S can be plugged into your iPad and fully powered with a Camera Connection Kit

•Take it anywhere
Launchpad S is fully USB bus powered -- no need for power sockets or batteries -- and it's lightweight and easy to carry anywhere.

•More software and sample content
Comes with the Novation Bass Station synth plug-in and over one gigabyte of Loopmasters samples

For more videos subscribe to our YouTube channel here:
http://www.youtube.com/novationtv

How "KTR" setup the Launchpad: http://youtu.be/KLUqYpMJNpY
~ LIKE our video and click 'show more' for additional information.

For all the details on Launchpad S visit:
http://bit.ly/Launchpad_S

Track: RoboSonic
Artist: KillTheRobot
http://www.facebook.com/killtherobotm...
http://twitter.com/kill_the_robot
http://soundcloud.com/killtherobot
http://www.youtube.com/user/killthero...

Download the samples and Ableton session here:
http://bit.ly/KillTheRobotSamples"

Novation // Launchpad S "KillTheRobot" explained


Novation // Launchpad S controlling Novation iPad Apps

Native Instruments announces KOMPLETE KONTROL S-Series keyboards

The Komplete instrument – introducing Komplete Kontrol S-Series keyboards

Published on Sep 2, 2014 Native Instruments

"Berlin, September 2, 2014 – Native Instruments today announced the KOMPLETE KONTROL S-Series keyboards. The keyboards represent a hallmark in the history of Native Instruments, providing advanced innovations in hardware/software integration and uniting the KOMPLETE Instrument portfolio under one purpose-built keyboard controller and software interface. KOMPLETE KONTROL S-Series keyboards are available in a choice of 25, 49 or 61 keys and come equipped with premium Fatar keybeds for a luxurious playing experience. They will be available online and at retailers worldwide October 1, 2014.

Daniel Haver, CEO of Native Instruments, comments: “In the last two decades our software instruments have shaped and defined diverse musical styles and genres. The KOMPLETE KONTROL S-Series keyboards finally bring our original vision to life, and elevate the experience of sounds to a whole new level. Only now the diversity of all KOMPLETE instruments and sounds becomes truly accessible in a single instrument, in ways that no controller or keyboard ever did before.”

The KOMPLETE KONTROL S-Series keyboards signal a new era of control for the KOMPLETE Instrument portfolio. The all-new KOMPLETE Browser™ unifies the powerful instruments in KOMPLETE, delivering tag-based access to all KOMPLETE Instrument presets from one plug-in interface. Instead of browsing by instrument, users can now search by sound, opening the breadth of the KOMPLETE Instrument range faster and easier than ever before.

Native Map™ technology automatically maps all key parameters for each KOMPLETE Instrument to the touch-sensitive controller knobs – all clearly visible on the keyboards’ Clear View™ display. Each instrument was carefully mapped by NI sound designers to arrange the most relevant parameters on pages laid out on the keyboard’s display. The need for complicated mapping is eliminated, bringing producers closer to the act of creating music and allowing them to stay in the creative flow.

A first-of-its-kind Light Guide™ shows key switches, zones, and more on multi-color LEDs positioned just above the keys. For example, key switches for KONTAKT Instruments such as ACTION STRIKES are illuminated in one color, while keys used for performance are lit with another. This puts the instrument’s layout on the keyboard at a glance without having to look at the software. The lights also provide performance feedback – scales, chords, and arpeggios light up across the keyboard as they are played.

KOMPLETE KONTROL S-Series keyboards also deliver Smart Play™ features to accelerate workflow and stimulate new ideas. Chord mode lets producers play complex chords with single keys. Chord Set mode provides ready-to-play progressions that can inspire and augment original compositions or add new flavor to remixes. The integrated scale mapping features deliver fast access to new melodic possibilities – notes of the currently selected scale light up on the Light Guide. Many widely-used musical scales can also be mapped to the white keys. ‘Wrong’ notes can be automatically re-mapped so melodies are always in tune. The arpeggiator works seamlessly with every KOMPLETE Instrument. And the eight controller knobs manage parameters such as direction, rate, rhythm, patterns, and variations.

Furthermore, two touch-sensitive Touch Kontrols™ tap into a new paradigm in software instrument control. They can mimic the behavior of pitch and mod wheels, and physical objects like springs and bouncing balls for interesting modulation curves – far beyond the capabilities of conventional mod wheels. Keyboard functionality such as key splits and Touch Kontrol behavior also function when using the keyboards as a standard MIDI controller, opening these control innovations to instruments outside the KOMPLETE universe.

KOMPLETE KONTROL S-Series keyboards were designed to integrate seamlessly with the 10th generation of NI’s acclaimed instruments and effects suites, released October 1st, 2014. Registered users of KOMPLETE 9 and KOMPLETE 9 ULTIMATE will receive a free download for the KOMPLETE KONTROL software, giving them the same functionality on KOMPLETE KONTROL S-Series keyboards as KOMPLETE 10 and KOMPLETE 10 ULTIMATE users.

KOMPLETE KONTROL S-Series keyboards are available online and in retailers October 1, 2014. Preorder is also available.

KOMPLETE KONTROL S25 is available for $499 / 499 €. KOMPLETE KONTROL S49 is available for $599 / 599 €. KOMPLETE KONTROL S61 is available for $699 / 699 €.

Additional information on the new KOMPLETE KONTROL S-Series is available at:
www.the-komplete-instrument.com"

Roland S-50 from 1986 | Amazing sampler!

video upload by Espen Kraft

"The Roland S-50 sampler from 1986. A little Fairlight system on its own. RGB monitor output, the DT-100 digitizer tablet, individual outputs and 4-part MIDI multi-timbral and Director-S sequencer.

It's still one great sounding sampler. I always preferred how the Roland S-samplers sounded, over any other sampler brand. I still do.

Today you sample one sound, and stretch it out through the entire keyboard, and reap the sonic benefits. That's how I use my samplers in 2022.

The DT-100 digitizer can only work with the S-550 and 330 if you hook it up through the RC-100 remote controller. And no, the S-50 does not work with a mouse as the two modules.

The S-50, S-550 and S-330, along with the S-10 are the pinnacle of 12-bit 80s sampling in terms of sound in my opinion.

* I say in the video that in addition to the RGB out you have a composite out as well. It's not a composite, it's a MONOCHROME output for a b/w monitor, tv etc."

11/25-27/25 Metasonix S-2000 & D-2000 & R-51 + Soundforce S-707 & S-LD + DSP 808 + (…)

video upload by Cfpp0

"11/25-27/25 Metasonix S-2000 & D-2000 & R-51 + Soundforce S-707 & S-LD + DSP 808 + ALM Pamela’s New Workout + Blue Lantern Gate Sequencer + Ladik U-202 & S143 + Paia 6740 + Alesis MIDIVERB II + Peavey 1300

Overdubs. Two takes of a drum from the D-2000 through the R-51 VCA are overlaid, and they were processed by a small room reverb on the Alesis MIDIVERB II with the preamp overloaded. A four note sequence on the Ladik S-143 is driven by a sparse pattern on the Blue Lantern Gate Sequencer, and controls the pitch of the S-2000, which is delayed by the Peavey 1300 with a reversed reverb on the MIDIVERB II. The S-707 cowbell is delayed by the Peavey 1300, with reversed reverb. The 16th note hats are from the DSP 808 module, triggered by ALM Pamela’s New Workout. The other percussion is from the S-LD."

Suzanne Ciani - Concert At Phil Niblock's Loft

video upload by Suzanne Ciani

"Concert At Phil Niblock's Loft · Suzanne Ciani

Buchla Concerts 1975

℗ 2016 S. Ciani

Released on: 2016-09-02

Mixer: S. Ciani
Producer: S. Ciani
Composer: S. Ciani
Lyricist: S. Ciani"

Suzanne Ciani - Concert At WBAI Free Music Store

video upload by Suzanne Ciani

"Concert At WBAI Free Music Store · Suzanne Ciani

Buchla Concerts 1975

℗ 2016 S. Ciani

Released on: 2016-09-02

Mixer: S. Ciani
Producer: S. Ciani
Composer: S. Ciani
Lyricist: S. Ciani"

Roland System 100M Modular with 10 Modules & Keys

Note: links to listings are affiliate links for which the site may be compensated.

via this VEMIA auction

"Small modulars don't get much more beautifully made and high quality than the System 100M, and this is a great example, with two 191J cabinets, a 181 keyboard, and ten good modules. Cabinet 1: 182 Sequencer s/n 870249, 112 Dual VCO s/n 213018, 150 Ring Mod / Noise / S&H / LFO s/n 770552, 165 rare double portamento controller s/n 270173, 140 Dual Envelope s/n 911109. Cabinet 2: 112 Dual VCO s/n 800443, 150 Ring Mod / Noise / S&H / LFO s/n 800844, 121 Dual VCF s/n 780329, 130 Dual VCA s/n 780305, 140 Dual Envelope s/n 780621. We played this for a couple of hours and didn't find anything less than 100% working, so although of course there are more possibilities than one can check in two hours we are confident you will find it totally satisfying. Cosmetically it has some oxidation showing through the paint on the bottom panel of one of the 191-Js, and the bender lever has been broken and re-fixed on the keyboard. Apart from those faults, this would be near-mint. It comes with the keyboard and module multi-pin leads, and 31 patch leads of varying lengths including 7 top-quality Phonoflex cables which could be reserved for crucial audio patches. UK voltage. Packing 14GBP."

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Analogue Solutions Leipzig-S Videos by Trooper Starship

Analogue Solutions Leipzig-S - Demo [Acid]

Published on Jan 20, 2013 Trooper Starship·14 videos

"another demo of the fabulous Analogue-Solutions Synthesizer "Leipzig-S" - an acid track
drums: GrooveAgent, a few XoxboX parts, all the rest Leipzig-S

more on soundcloud:
http://soundcloud.com/the-trooper-1"

Analogue Solutions Leipzig-S - Demo [Ambient]

Published on Dec 26, 2012

"my demo of the fantastic synth "Leipzig-S" - an ambient track
the lead synth track was recorded in one take from begin to the end, the Leipzig is an ideal synth to change sounds live on the fly...
bassdrum: GrooveAgent
pads: Mox6
and a litte bit XoxboX, all the rest Leipzig-S
all FX by Elektron A4 through wich the Leipzig was routed

more on soundcloud:
http://soundcloud.com/the-trooper-1"

Analogue Solutions Leipzig-S - Demo [Electronic]

Published on Jan 4, 2013

"another demo of the fantastic synth "Leipzig-S" - an Electronic track
pads/piano: Mox6
drums: GrooveAgent
all the rest Leipzig-S
all FX by Elektron A4 through wich the Leipzig was routed

more on soundcloud:
http://soundcloud.com/the-trooper-1"

Modcan Dual Delay Eurorack Module

Note: links to listings are affiliate links for which the site may be compensated.

via this auction - learn how to sell on eBay here.
Perfect Circuit Audio (RSS)

"The Dual Delay represents the next step in delay based effects from Modcan. We took the existing Digital Delay 59 from the A/B series and dramatically reworked both the hardware and firmware model to add significant features and enhancements in the conversion to Euro format.

The most obviously apparent change was to make it a Dual with independant controls for each channel. We also added selectable modes for delay type. Choices are Re-sampling (pitch shifting effect when altering delay time) and a "Clean" mode for standard Digital Delay effects without pitch shifting.

Low noise design using 48kHz sample rate, 32bit DSP processing and 16bit I/O.

Other features include 0Hz-21K continuously variable 4 Pole Lowpass filter in the delay feedback path for "Analog BBD/Tape Delay" emulation. The filter has full range self oscillating resonance with voltage control of resonance amount and filter cutoff.

Input signals can be routed as two mono delays or stereo or as a dual Tap delay with delays in series internally. Each channel can be either in clean or resample modes and can also be patched in series and parallel for external feedback path. Delay time can be set by panel control knob, CV, external sync pulse and tap tempo buttons. Also sync division is available to divide the pulse clock. Each delay has 3 ranges

Resample Delay Ranges
Lo: 0.01s - 0.06s
Mid: 0.06s - 0.5s
Hi: 0.5s - 4s

Clean Delay Ranges
Lo: 0.0006 - 0.02s
Mid: 0.02s - 0.91s
Hi: 0.91s - 5.46s

All the functions (except input level) that are controlled by panel knobs have matching CV inputs allowing for a wide range of flexible control modulation. The module uses very low current requiring only 40mA for operation and will work with any power supply between 8 and 15V. Less current than many simple analogue modules.

Features

Two independant mono delays
48kHz sample rate, 32bit DSP processing and 16bit I/O
Built in 4 pole Lowpass filter with resonance and routinCV control over all major parameters
Mono or stereo input/output
Delay time in 3 ranges
Tap and Sync tempo
Sync tempo division
Clipping and sync speed indicator LEDs
Very low operating current
Firmware by Eric Brombaugh
Sample Rate 48kHz@16bit
Input: 10V pk-pk@100Kohms
Output: 10V pk-pk @1Kohms
Input CV 0-10V@100Kohms"

Roland S-1 Editor and Soundbank, Soundgenerator

video upload by mller30161

Roland S-1 Synth User Soundbank - Demo Sound - Presets made with S-1 Editor- VST and Standalone


"You can buy it on my homepage:
https://roland-s-1-editor-soundbank.j...
Price: 6,90 € / $ 7
Here are my Midi Editor and Soundbank for the Roland AIRA Compact S-1 Tweak Synth.
The Roland S-1 Editor gives you direct access from the DAW to the S-1 parameters,
allowing you to integrate it into the DAW project.

You can save and reload your sounds, so you can create a sound library of Sounds.
If you need new ideas you can use the 7 different random function (Each synth section has its own random function).

Editor Features:
- Complex sound changes can be made easily and quickly
- All controllers can be automated
- X-Y modulation of all parameters
- Random function for each S-1 Synth section
- You can use your S-1 Synth as a sound module in the DAW
- You can create Soundbanks and insert the sounds into different patterns of the S-1
- Direct access to hidden parameters
- Good overview of all sound parameters
- GUI size can be adjusted as required (zoom)
- Includes a Soundbank with over new 90 Sounds

The Editor are available for:
PC: As VST2 and Standalone for 32bit and VST2, VST3 and Standalone for 64bit Windows.
MAC: As VST2, VST3, AU and Standalone, compatible with MAC Intel and Silicon."