Future Retro 512 Touch Keyboard Playing the Arp 2600
Published on Jun 2, 2016 FutureRetroSynths
"Simple test to show the Future Retro 512 keyboard controlling the Arp 2600 modular synthesizer."
Update: New video with the Buchla Music Easel added:
Future Retro 512 touch keyboard playing Buchla Music Easel:
Published on Jun 2, 2016
"Simple demo of the Future Retro 512 keyboard controlling the Buchla Easel. The 512 has an adjustable CV output so you can achieve .469V to 1.34V per octave control voltages to control a wide variety of synths including the common 1V/Oct synthesizers, and this 1.2V/Oct Buchla. Works with EML and EMS synthesizers too!"
"The 512 is a capacitive touch keyboard, packed with a unique blend of truly musical features to enhance your creative experience. The 512 is available with or without the optional rack ears that allow it to fit in a standard 19" rack enclosure, taking up only 4u spaces.
Why is capacitive touch better? Quite simply, eliminating mechanical moving parts found in traditional keyboards makes a product that will never wear out, as mechanical keyboards do. No more intermittent key contacts, or failed aftertouch circuits to worry about! In addition, capacitive touch provides a much faster response time for playing notes, and allows multiple forms of expression to be executed by the performer.
There are five main functions of the 512. It can act as a keyboard, arpeggiator, sequencer, MIDI to CV converter, and MIDI to MIDI converter. The 512 can control both MIDI and CV/Gate synthesizers simultaneously. Pitch, Pitch Bend, Mod Wheel, Gate, Velocity, Aftertouch, and Clock are all available in both their MIDI and CV form. CV's follow the 1V/Oct standard with positive polarity Gate signals, allowing the 512 to control the majority of analog synthesizers both past and present.
KEYBOARD
The 512 provides 9 octave ranges for the 29 full-sized keys (although shorter in length than typical keys) with response to Velocity and Aftertouch. Users can define one of five different Velocity and Aftertouch curves to apply to the keyboard, and dial in the range for each curve to customize the response. The Pitch Bend provides positive and negative pitch bends, and the bend range can be adjusted for full or half range. Mod Wheel is also provided as a modulation source.
A quick note: This review is long. You can jump to sections that interest you vs. reading it straight through if you prefer. This review focuses primarily on the synth engine for one single patch on the Venom. The Venom supports Multi mode with up to four multitimbral parts. Not only can you layer sound programs but you can set global parameters for the set. Be sure to see the Multi mode section of "Tips and Tricks via Taiho Yamada" at the end of this post. Taiho is the Lead Project Manager of the Venom and served as my contact during the review. I want to thank Taiho for his help and enthusiastic generosity. He is a true synthesist and the Venom is his baby.
Synth connections: Taiho previously worked at Alesis on the Andromeda A6. The DSP developer of the Venom worked on Radikal Technologies' Spectralis and the Accelerator. People that contributed to the presets via sound design include Richard Devine, Francis Preve, Mark Ovenden (Avid's AIR Instruments, ProTools VIs), Joerg Huettner (Waldorf, Access, Alesis), and of course Taiho Yamada.
*Don't miss the "Q&A with Taiho" section towards the end of the review. Also keep an eye out for "Taiho's Tips and Tricks" throughout the review in grey. You can find the consolidated list below the Q&A section.
Published on May 19, 2016 ARTURIA - Update: new video uploaded May 30, 2016
Update: Clarification: the NED Synclavier is not an emulation but a port of the original software:
"this is not an emulation - it is the real thing, the real mccoy. Cameron Jones himself ported the original Synclavier code to run on PC/MAC/VST etc.
- you have the choice of playing each patch either in the original 8-bit depth, or change it to 4-bit (!), 10-bit, 12-bit, 14-bit, 16-bit, 18-bit, 20-bit, 22-bit or 24-bit depth.
- resynthesis: not implemented in the current release but there may be plans to put it in a future release. However some of the original factory patches included (83 total) are resynthesis-based
- the partials/timbre frame functionality was vastly expanded"
Video description:
"The new V Collection 5 is a giant leap forward in our quest to create the greatest legendary keyboards collection ever, including 5 new softwares instruments: Piano V, Synclavier V, B-3 V, Stage-73 V, Farfisa V.
Special thanks to:
Altius Prod
Stéphane Schott (http://www.lyynkstudio.com/)
Studio Question de Son (http://www.questiondeson.com/)
Underground Records (http://www.undergroundrecords.fr/)
Garbage & Greg Kaplan (https://www.garbage.com/)"
Arturia announces the Synclavier V
Published on May 19, 2016 ARTURIA
Update:It's not clear if the Synclavier V supports sampling resynthesis (see above), although it does take the FM and additive synthesis with partials to a new level. For reference, you can find the history of features for the original Synclavier on Wikipedia here.
"Arturia announces the Synclavier V, the first recreation of the legendary digital synthesizer made in collaboration with Cameron Jones, the inventor of the original instrument.
The Synclavier V faithfully recreates the elite digital synthesizer/workstation that started it all, powering some of the biggest hits and film soundtracks of the early ‘80s with its unique rich, edgy sounds.
While the Synclavier V expertly brings this historic instrument to life, we’ve improved it dramatically by taking advantage of today’s processing power. We’ve also infused into it everything we’ve learned over 16 years of developing award-winning software synthesizers. The result is a thoroughly modern, cutting-edge instrument that stands alone among hardware and software synths alike.
Update: some details on the synth engine:
Timbres consist of up to 12 Partial Timbres
Much of the magic of the original Synclavier owed to the ability to build Timbres (presets) by creating and layering four completely different sounds or Partial Timbres to realize massive, complex sounds. With the Synclavier V, we’ve taken the number of Partial Timbres to 12, dramatically expanding the creative possibilities. Since each Partial Timbre is a complete sound, that means that you can stack many different sonic elements into electrifying Timbres resounding with rich complex textures brimming with subtleties.
Partial Timbres are each compete synth engines
Each of the 12 Partial Timbres has two digital oscillators that combine the principles of both additive and frequency modulation (FM) synthesis. Rather than using filters to subtract harmonics from simple oscillators, additive synthesis builds up complex sounds by selectively adding harmonics in this case. The Synclavier V goes way beyond that, combining these oscillators in an FM architecture where the carrier (main) oscillator is modulated by the second harmonic oscillator. The fusion of additive and FM technologies make for a stunningly diverse and unique universe of cinematic pads, epic leads, evolving bass lines and more.
Time Slices animate long passages
Time Slices allow you to specify up to 50 snapshots of the 12 Partial Timbres of additive and FM synthesis goodness, and animate through them over time. For each Time Slice, you can set the volume, pitch, FM modulation amount, and delay. The ability to set parameter crossfades of up to 30 seconds between Time Slices—over a total time of 5 minutes—makes it possible to create long evolving ambient pads and cinematic cues of incredible complexity.
Improvements make a great instrument even greater
We’ve made a lot more improvements beyond boosting the sound engine from four Partial Timbres to 12. Where the original modulation oscillator was only a sine wave, now you can also choose sawtooth, square, or triangle—or graphically build your own waves comprised of 24 phase-controllable harmonics. These enhancements allow you to create outrageous textures never possible before. Each Time Slice can now even have a separate FM modulator waveform. Variable bit depth between 4- and 24-bits, on-board effects, and a MIDI Learn feature are just some of the many examples of the new options available to you in Synclavier V.
With the Synclavier V, digital synthesis meets total creative and performance expression.
Sure, all synths have LFOs, but the vibrato section of the Synclavier V is exhaustive, giving you control over LFO attack, phase, quantizing, bias and more. Things get even more interesting when you apply the LFO to the FM harmonic oscillator that, in turn, modulates the carrier. Let that sink in for a minute!
Want to take your listeners on an animated journey? Add extra energy to your pads and soundscapes with the stereo modulation section. It actually takes the form of separate linkable tremolos for each channel, making for unique spatial animation effects that will have everybody’s heads spinning.
Imagine performing with expressive nuances never possible before. Press harder on the keyboard to change the amount of FM modulation. Ride the expression pedal to affect the frame speed of your Time Slices. Grab the mod wheel to rock the FM modulation ratio. These are just some examples of what’s possible when you use the modulation matrix to easily map any of your favorite MIDI controllers to dozens of sound engine parameters—discretely for each Partial Timbre."
Update: the official press release for the entire V Collection 5 [Note: The Analog Lab press release below was the first to go up. Apologies for the all the updates, but this is how it comes in, and posts here on MATRIXSYNTH are about capturing that]:
"Arturia advances industry-standard V Collection of virtual classic keyboards
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of V Collection 5 — the latest incarnation of its impressive industry-standard collection of authentic-sounding virtual instruments, expanded and updated to include five all-new additions alongside new versions of ‘old favourites’ (plus Analog Lab 2) — as of May 19…
With no fewer than 17 virtual instruments that recreate hard-to-source synthesizers and classic keyboards, V Collection 5 represents really remarkable value on many musical levels. At an attractive monetary level, it’s a no-brainer! Bringing something special to the 21st Century performance and production table, five all-new authentic-sounding additions lead this latest V Collection charge.
B-3 V beautifully recreates the distinctive tones of the B-3 tonewheel organ, one of the most iconic and influential instruments of all time. It truly transcends time and place by bringing this still-sought-after sound to the computer-based music-making masses. Meanwhile, Farfisa V virtually puts players in the driving seat of the sound that drove the hits of several decades as a superb software simulation of the famous Farfisa Compact Deluxe organ. Pushing the physical boundaries of an acoustic piano, Piano V meticulously models the sound and behaviour of one of the most important instruments history has yet thrown up — albeit not as one but rather nine virtual instruments rolled into one! An authentic-sounding software simulation of the Seventies-vintage Stage and Sixties-vintage Suitcase 73-key electric pianos, Stage-73 V is the sound of the Sixties, the sound of the Seventies… the sound of today, the sound of tomorrow! Thanks to Arturia’s close collaboration with original Synclavier® software developer Cameron Jones, Synclavier V takes everything the trailblazing Synclavier® could do as the most powerful additive and FM synthesizer ever created and makes it more powerful!
Put it like this: thinking about all those thousands of new sounds and styles in V Collection 5 that are available at the touch of a (virtual) button beggars belief, but Arturia’s aim is true… to create the tools that lend a helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow. The 12 remaining virtual instruments in V Collection 5 — ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V analogue synthesizers; Prophet VS digital synthesizer; Wurli V electric piano; VOX Continental V electronic organ; and Solina V string machine — do just that, too. All are updated with resizable (Retina/4K-compatible) GUIs that truly have to be seen to be believed! But digging deeper, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — naturally features across the board. As does AU, AAX, VST2, and VST3 compatibility, standalone operation, plus MIDI Learn (to easily map all parameters to a MIDI CC).
Continuing Arturia’s quest for absolute authenticity through TAE® (True Analog Emulation), physical modelling, and additional technologies, anyone prepared to dig deep into V Collection 5’s treasure trove of hard-to-source synth and classic keyboard recreations will be musically rewarded in kind. Conversely, Analog Lab 2 is a powerful yet painless way of accessing a broad selection of sounds from across V Collection 5 within a single application. As it supports Arturia’s many MIDI controller devices natively, it adapts to reflect their physical controls when they are connected… connect with V Collection 5, then, and accept Arturia’s helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow!"
The Analog Lab press release:
"Arturia advances Analog Lab composite virtual instrument to include V Collection 5 sound selection
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Analog Lab 2 — an all-new incarnation of its composite virtual instrument that gathers together a broad selection of sought-after sounds from its V Collection 5 software bundle — as of May 19...
Analog Lab 2 is a powerful yet painless way of accessing a sought-after selection of sounds from all 17 of Arturia’s authentic-sounding virtual instruments as a single application. Included are sounds from eight emulated analogue synthesizers (ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V), two digital synthesizers (Prophet VS and Synclavier V), two electric pianos (Stage-73 V and Wurli V), an acoustic piano (Piano V), and three electronic organs (B-3 V, Farfisa V, and VOX Continental V). Those virtual instruments recreate hard-to-source hardware synthesizers and classic keyboards of the past and conveniently transport them to the present-day desktop.
Analog Lab 2 invites instant exploration as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Its redesigned, resizable (Retina/4K-compatible) GUI (Graphical User Interface) is as easy on the eye as it is to use. Studio View shows the original historic hardware, helpfully bringing up the best presets from each instrument in question. But there’s a whole lot more to Analog Lab 2 than good looks alone.
Accessing those sought-after sounds at the speed of sound is simple, thanks to a new preset browser. Browse presets by TYPES, BANKS, sonic CHARACTERISTICS, and INSTRUMENTS (crossing categories). Create PLAYLISTS. Or simply Search for presets by NAME. Needless to say, with 4,500-plus presets to choose from there’s always a sound to suit every mood, every ambiance, and every music style — sounds that transcend time and fashion.
For those wishing to dig deeper then the dual-instrument MULTI feature with independent MIDI settings panel for each instrument will make their musical day. Drag and drop splits and layers of those presets to take ownership of the sound. Sounds and Multis can be organised in the PLAYLISTS area for instant recall via program change messages, making Analog Lab 2 a best friend in the studio and a pillar of live performance.
Put simply, Analog Lab 2 is so much more than just a sound library. It’s a substantial sound design tool and an amazing live performance instrument integral to immeasurably improving everyday workflow. When connected to one of Arturia’s many MIDI (Musical Digital Instrument Interface) controller devices, Analog Lab 2 will automatically adapt to reflect their physical controls. Generic MIDI controllers of course can also be used with MIDI learn to easily map all parameters to a MIDI CC (Control Change).
Changing the sound of Analog Lab 2 is even easier thanks to two EFFECTS slots with pre/post fader switch per instrument. Included Bitcrusher, Chorus, Delay, Destroy, Dub Delay, Eq4, Flanger, Overdrive, Phaser, Pitchshift, Reverb, Roundpanner, and Vocal Filter effects ensure that Analog Lab 2 always sounds the way you want it to.
Take your sound and workflow to another level with Analog Lab 2, an easily-accessible environment at an easy-to- swallow price point. What’s not to like?"
Arturia B-3 V Tutorial
Published on May 19, 2016
"The B-3 V delivers the most authentic tonewheel organ and rotary speaker experience you’ll find anywhere, plus customizations that open up new creative opportunities."
"Arturia pulls out all the software stops to realistically recreate tonewheel organ combo classic
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of B-3 V — an authentic-sounding software simulation of the classic B-3 tonewheel organ and Leslie rotary speaker combo — as of May 19...
B-3 V realistically recreates the special sound of the B-3 tonewheel organ. One of the most iconic and influential instruments of all time. One which has graced many of the greatest recordings of all time. Today Arturia brings this to its award-winning Analog Classics family of virtual instruments that recreate hard-to-source synthesizers and classic keyboards.
Keyboard players have made their mark in all forms of popular music with the B-3, back from its inception in the Fifties way past its discontinuation through to today. Procol Harum’s hit ‘A Whiter Shade Of Pale’ proved particularly memorable with a melancholic countermelody displaying an altogether softer side to the B-3. But raucousness remains the order of the day for the blues, jazz, and gospel genres with which it first found favour. After all, it had historically been aimed at churches as a more compact and affordable alternative to conventional pipe organs.
One saying springs to mind: Pulling out all the stops — to hold back nothing — is an allusion to organ stops being pulled out to turn on each set of sounds in a pipe organ. The B-3 effectively ‘emulates’ this with its drawbars. Doing this and a whole lot more is what B-3 V does best, thanks to Arturia pulling out all the software stops to make it happen!
Thirties-developed tonewheel technology originally made that special sound happen. An electronic current is created when rotating a metal tonewheel near an electromagnetic pickup and amplifying that signal. The B-3 has 91 of those tonewheels with each key connected to a fixed set of tonewheel outputs. Drawbar settings control how these are mixed together. The tube preamplifier subsequently shapes the sound a little further — filtering and distortion take hold here — while factoring the position of the expression pedal. This not only acts as a volume control but also affects the frequency response of the preamp which is connected to a speaker.
Speaking of which, B-3 V faithfully simulates the favoured Leslie tone cabinet, containing a power amplifier that drives a rotating horn and a stationary woofer firing into a rotating drum reflector. Spellbinding spatial and frequency-shifting effects above and beyond the sound-shaping effects of commonplace loudspeakers are all perfectly possible!
B-3 V brings this classic combo — complete with the inherent imperfections that made that tonewheel technology sound so unique — to the present-day desktop as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Visually, things couldn’t get clearer, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.
Under the hood, things couldn’t be better with MIDI control of many parameters and insert slots for ANLALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASE effects, as well as ADVANCED SETTINGS for upper and lower manuals and rotary speaker behaviour. B-3 V boasts a built-in step sequencer, allowing anyone to easily set an amount of modulation for each step of the sequence! Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) allows advanced integration with B-3 V.
All of the benefits of the original iconic instrument are available to modern music-makers with B-3V, but without the heavyweight hassles. Where anyone chooses to take it musically is anyone’s guess, but bet your bottom dollar that special sound will be being heard for many more years to come... courtesy of B-3 V!"
Arturia Stage-73 V Tutorial
Published on May 19, 2016
"The Stage-73 gives you actual authentic modeling of both Stage and Suitcase versions of the most popular electric piano on the planet —completed with unparalleled control of virtual mechanics, a complement of effects pedals, and built-in classic amps."
Update: And the official press release for the new Farfisa-V:
"Arturia augments Analog Classics collection with faithful Farfisa Compact series software simulation
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Farfisa V — faithfully modelling the famous Farfisa Compact Deluxe electronic organ with additional features from its Duo Compact series sibling — as of May 19...
Arturia’s award-winning Analog Classics family of virtual instruments recreate hard-to-source synthesizers and classic keyboards. As a worthy addition, Farfisa V virtually puts players of today in the musical driving seat with a still-sought-after sound that drove the hits of several decades: Farfisa’s famous Compact Deluxe electronic organ, one of a series of iconic instruments manufactured in Italy between 1964-1968. A staple of Sixties-produced popular music, they made their musical mark with a wider-ranging sound than that of their main VOX Continental competitor. With more bass waveforms and an expanded percussion and vibrato section sales soared.
Speaking sonically, Farfisa Compacts are almost more top octave synth-like than organ-like, thanks to a rudimentary envelope that allows for attack and decay control that went way beyond the typical organ sound of its day. Little wonder, then, that they proved popular with musicians throughout the Sixties (‘Sam The Sham’ and The Pharaohs, Percy Sledge), Seventies (Jean-Michel Jarre, Kraftwerk), Eighties (B-52s, Blondie), and beyond. But unlike heavyweight Hammond tonewheel organs, transportation to performances was trouble-free. For the fortuitous Farfisa form factor included integrated legs that could be folded up and stored within the body of the instrument itself, surely sealing many purchasing deals!
Today, though, finding and maintaining an original Farfisa has become both difficult and costly. Farfisa V solves such problems by bringing all the benefits without any of the hassles to the present-day desktop! Developed using an original hardware organ for reference, it meticulously models the original circuits and sounds of the famous Farfisa Compact Deluxe. Features from its Duo Compact series sibling are also included alongside an authentic combo amp simulation. Standalone instrument operation on Mac OS X and Windows is a given for performance purposes. Plug-in support for all major formats inside any DAW (Digital Audio Workstation) with easy MIDI-learn functionality provides hands-on control of many of its parameters and automation support for considerable creative control. Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — is there for the taking.
As always, recreating an instrument in software provided an opportunity to add a number of more advanced features fit for the 21st Century. Cue the special USER WAVE position, allowing anyone to create an additive waveform. Why not use the ToneDraw feature to create a new waveshape based on the graphical look of the sliders? Having modelled the original built-in spring reverb, Arturia added other reverb IRs (Impulse Responses). Reorder the additional ANALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASER effects. Easily-accessible individual voice tuning, PARA (paraphonic) and POLY (polyphonic) modes, ATTACK and RELEASE envelopes for upper and lower keyboards, BASS WAVE (waveform selector), TONE control for bass section, TREMOLO SYNC, and REPEAT SYNC round out this all-new Analog Classic. Hearing is believing. So is seeing, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.
Ultimately, then, whether you’re set on recreating a distinctive and powerful organ sound of the past or forging ahead with a new organ sound of the future, Farfisa V does it all. But best of all... legs no longer play a part in sealing this must-have musical deal!
"We’re proud to announce that Brainworx Audio has developed their first virtual instrument, and what a way to kick it off than with a future classic namely ‘bx_oberhausen'. Expand, Evolve, Experience.
What makes this synthesizer so unique is that Brainworx included their TMT technology, making this THE most faithful recreation to date. Included is a powerful unison mode, M/S processing and a set of effect modules from brands such as Mäag, Brainworx Audio and more."
Playlist:
Brainworx bx_oberhausen Trailer
bx_oberhausen Overview
bx_oberhausen walk through
THIS IS: bx_oberhausen - World Premiere Video! (Revised)
bx_oberhausen - Interview with Christian Diehl
Brainworx bx_oberhausen Synthesizer (Oberheim SEM Emulation) | The Plugin Minute | SYNTH ANATOMY
"Brainworx brings acclaimed analog synth module back to the future with breathtaking bx_oberhausen VI debut
“The Brainworx bx_oberhausen is a fantastic synth! Being an owner myself of a few of the originals, I can clearly tell how good this sounds! Besides the original concept, it also comes with really great effects to make the most brutal or subtle patches you can imagine! A must-have for synth enthusiasts!”
- Tom Holkenborg (a.k.a. Junkie XL), GRAMMY® Award-nominated, multi-platinum producer, musician, and film composer, 2019
LEVERKUSEN, GERMANY: having hosted a successful ‘synth tasting’ event earlier this year at Sphere Studios in North Hollywood, healthily attended by industry insiders and electronica luminaries like BT, Paul Haslinger (ex- Tangerine Dream), and Tom Holkenborg (a.k.a. Junkie XL), Brainworx Audio is proud to announce availability of bx_oberhausen — the cutting-edge company’s highly-anticipated first VI (Virtual Instrument) after more than 10 years of creatively crafting top-tier mixing and mastering plugins, applying the same modelling know- how and technology to bring back an acclaimed analog synthesizer expander module in a future-facing, feature-packed form fit for today’s Digital Audio Workstation world — as of April 9…
"The SH-2 PLUG-OUT Software Synthesizer is a total reproduction of the classic SH-2 synthesizer from 1979. Renowned for its raw vintage tone, the SH-2’s dual VCO plus sub oscillator configuration dishes out devastatingly fat basses, edgy leads and wild effects. With or without a SYSTEM-1, this VST3 and AU plug-in support multiple instances and can be used in any compatible DAW. SYSTEM-1 owners get a dedicated controller and can take advantage of the SH-2's PLUG-OUT capability and turn their SYSTEM-1 into a stand-alone, hardware SH-2 that can go anywhere and doesn't require a computer. And this is just the beginning. More synthesizers based on Roland's acclaimed Analog Circuit Behavior are on the way."
First Complete Replica of the Classic SH-2 Synthesizer
Los Angeles, CA, September 18, 2014 — Roland is pleased to announce the SH-2 PLUG-OUT Software Synthesizer, the first complete reproduction of Roland’s classic SH-2 synthesizer from 1979. Renowned for its raw vintage tone, the SH-2’s dual VCO plus sub oscillator configuration delivers fat bass, edgy leads, and wild effects via software specifically designed for the SYSTEM-1 and Mac or PC hosts. The new SH-2 uses Analog Circuit Behavior technology like other products in the AIRA series to faithfully recreate the warm, rich sound of the original with a level of authenticity that can only come from Roland.
From the self-oscillation capable VCF to the attack and long decay characteristics of the steep envelope, the SH-2 has been reproduced exactly. The unique harmonic makeup and pitch wavering characteristics of the original SH-2 as well as the anomalies produced by the complex interactions of the original analog circuit design are all accounted for, down to analog circuitry behaviors like the subtle effect on tonality when parameters unrelated to the actual tone in use are tweaked. Building on the legacy, the new SH-2 now offers a VCO range that is expandable to 64', two envelopes, reverb, delay and crusher effects, Autobend with support for reverse actions, and a tempo-syncable arpeggiator.
While multiple instances of the SH-2 plug-in can be used in any compatible DAW, the SH-2 PLUG-OUT Software Synthesizer offers seamless integration and unique capabilities for SYSTEM-1 owners. Connect a SYSTEM-1 and it becomes a dedicated controller, only lighting the appropriate knobs and sliders pertinent to the SH-2. Transfer sounds back and forth between the DAW and SYSTEM-1 and even use the SYSTEM-1 as a high-quality audio and MIDI interface. Or break free entirely and plug out directly to the SYSTEM-1, creating a stand-alone, hardware SH-2, with real physical controls that can go anywhere and doesn’t require a computer."
In the late 1970s, synthesizers were undergoing a significant transition with the development of polyphony and tone memory. As the world’s synthesizer manufacturers raced to develop these new technologies, Roland launched a seemingly basic monophonic synthesizer – the now classic SH-2.
Although it was released around the same time as Roland’s JUPITER-4, a pioneer of polyphonic synthesizers, the SH-2’s functionality was rather conservative compared to that of the JUPITER-4. But its uniquely designed configuration—which consisted of two VCOs and a sub-oscillator that essentially gave it three VCOs—was capable of extremely fat and warm analog synth tones. To this day, many synth aficionados feel it produces the most earth-shaking, bone-rattling synth bass sounds of all time.
BACK TO THE FUTURE
The SH-2 PLUG-OUT Software Synthesizer is an incredibly precise recreation that leverages Roland’s decades-old expertise and deep knowledge of the original analog units. Like other products in the AIRA series, this new SH-2 uses Analog Circuit Behavior (ACB) technology to faithfully capture the fine details of the SH-2’s sound, right down to the behavior and interaction of the individual analog circuits.
Everything has been reproduced exactly, from the VCF which is capable of self-oscillation to the attack and long decay characteristics of the steep envelope. The unique harmonic makeup and pitch wavering are present as are the complex interactions between parameters that result from the original analog circuit design. Even behaviors that occur only in analog circuitry are accurately reproduced, like the subtle effect on tonality when the user tweaks parameters unrelated to the actual tone being produced.
There are even some new features that were not available on the original. This new SH-2 has a VCO range that is expandable to 64', two envelopes, reverb, delay and crusher effects, Autobend with support for reverse actions, and a tempo-syncable arpeggiator.
PLUG-IN AND PLUG-OUT
While multiple instances of the SH-2 plug-in can be used in any compatible DAW, the SH-2 PLUG-OUT Software Synthesizer offers seamless integration and unique capabilities for SYSTEM-1 owners. Connect a SYSTEM-1 and it becomes a dedicated controller, only lighting the appropriate knobs and sliders pertinent to the SH-2. Transfer sounds back and forth between the DAW and SYSTEM-1 and even use the SYSTEM-1 as a high-quality audio and MIDI interface. Or break free entirely and PLUG-OUT directly to the SYSTEM-1, creating a stand-alone, hardware SH-2 with real physical controls that can go anywhere and doesn’t require a computer."
I recently picked up an iConnectivity iConnectAUDIO4+ as an all-in-one audio and MIDI interface for my iPad in the studio. It was initially a bit tricky setting it up for my specific needs, so I thought a post might help others looking to do the same or similar. I had four primary goals:
1. I wanted to be able to use the interface in stand-alone mode without the need to hook up an iPad or computer.
2. I wanted a good audio interface for the iPad in the studio for playing synths on it.
3. I wanted to use the iPad as a dedicated looper running Loopy HD (and the option to use the iPad as an effects processor for my external hardware synths).
4. I wanted a solid MIDI interface for the iPad so I could control and sync apps with external gear.
All of this was possible separately with my Line 6 Sonic Port and a MIDI USB cable, but I got tired of swapping things out and I decided to dedicate the Sonic Port for video capture only. I wanted an all-in-one solution that allowed me to configure things once, and just have it work for most scenarios I might need in the studio. Size was also a consideration. You can see my Moog Minitaur sitting on top of the iConnectAUDIO4+. It's a perfect fit!
The iConnectAUDIO4+ is an extremely flexible device, but with that flexibility comes a bit of complexity. The device is pre-configured out of the box to work with a DAW setup, and to even get audio out of the box you have to have a DAW or USB device like the iPad connected to route the audio out. You also need to adjust audio levels on the device itself which can be a little tricky. See the using the touch panel tutorial here.
Here's how I wanted things configured (you can find my adjusted template/s here but be sure to back yours up first!):
1. Main mixer AUX out to effects to iConnectAUDIO4+ then back into my main mixer AUX in.
2. iPad connected to iConnectAUDIO4+ via USB audio in the middle of the chain.
3. iPad connected to iConnectAUDIO4+ via USB MIDI to receive MIDI clock and notes via iConnectAUDIO4+ MIDI DIN In for internal apps.
4. iPad connected to iConnectAUDIO4+ via USB MIDI to send MIDI clock and notes via iConnectAUDIO4+ MIDI DIN Out for external gear.
Aside from watching out for MIDI loops, MIDI routing out of the box worked as expected. Audio, however, was a bit tricky.
If you look at the image to the left from iConnectivity's website you will see a row of input sections on the top (USB1, USB2, Analog, and Analog Mixer), each with their individual audio ins underneath. On the far right you will see a column of matching sections. These are your audio outs. The points you see are the patch points between the two. You can essentially configure any input to go to any output, but there is one caveat - you cannot have more than one input going to one output. You can, however, have an individual input in going into multiple outputs as you can see. Note that none of the analog ins are routed to the analog outs. Instead they are routed to USB outs only. What that means is you have to have a USB device connected and turned on to hear anything. Out of the box iConnectAUDIO4+ will not work in stand-alone mode.
To the left is a screenshot of how I configured the routing to meet my needs. You can see I patched iCA4 USB D1 (my iPad) into iCA4 Analog I/O Mixer channels 1 and 2. I then have my Analog inputs 3 and 4 (as pictured in the top image of this post) patched into both iCA4 USB D1 (iPad) channels 1 & 2 as well as iCA4 Analog I/O Mixer channels 3 and 4. I left all channels of iCA4 Analog I/O Mixer going to the analog outs. Simple, but believe me, along with setting the the audio mixer levels and forgetting to save to the device, it took a bit of trial and error.
For the mix levels be sure to watch the "Using iconfig Mix Buses" video here. Also, I found that double clicking the bottom level slider "cap" for each bus brought the level to 0 db which seemed to work fine for me. Just remember, you have to adjust the levels via the using the touch panel tutorial here as well. The tricky part is you can set the level for each line in, followed by each line out, followed by overall level in and overall level out. At first it seems overly complex but then when you realize the level of control you have you can appreciate it.
The most important thing to remember is that once you have everything set, you have to save your settings on the device itself or they will be lost the next time you turn it on! You'll want to save both via File / Save Preset and via Device / Save Current Settings. Again, you can find my templates here. Note there are two files, a 1.ica4 file and a 1.ica4.aux file. You load the 1.ica4 file from within iConnectivity iConfig, Open / File Preset. Remember to back up your settings first and remember to adjust the levels after.
Also, I found my iPad would sometimes not recognize the iConnectAUDIO4+. I'm not sure why that was, but unplugging and replugging the iConnectAUDIO4+ power cable seemed to solve the problem. I would disconnect the iPad first just to be safe. I don't want to risk blowing out my iPad with an inadvertent power surge. Regarding MIDI, I found certain apps seemed to sync better than others for whatever reason. Loopy HD synced like a champ and was my go to app for testing sync on the iPad.
Anyway, I hope this post helps others looking to do the same. Note my template is a minimal configuration specifically set for using the iPad as described in this post. There are patch points for USB D2 for the laptop or second iOS device as well, but they are there for future use. My template can be seen as a starting point. The levels are configured for my studio, so they might need adjustment in yours.
Playlist: (you can use the player controls to skip around)
1. Synthfest UK 23: Sequential - Trigon 6 Desktop
At SynthFest UK 2023, we had the opportunity to chat with Chris from Sequential, a part of the Focusrite group. Chris introduced us to the Trigon 6 Desktop, the latest addition to Sequential's synthesizer lineup. This compact desktop version of the Trigon 6 packs a powerful punch, offering three oscillators and a distinctive Dave Smith ladder filter. Designed for those seeking a space-saving solution without compromising on sound quality, the Trigon 6 Desktop retains all the features of its larger sibling, including patch recall, a versatile effects section with various modulation possibilities, and the distinctive feedback control that allows you to sculpt sub-harmonic richness.
At Synthfest UK 2023, we caught up with Calc from Sequential, and he gave us the lowdown on the Prophet X. Now, you might be thinking, Prophet X? Haven't we seen that before? Well, you're right, but this hybrid instrument has been quietly making waves in the music world. It combines digital and analog elements, with digital oscillators and a unique twist in the form of multi-sample-based instruments. Yes, you heard that right, it's not just your run-of-the-mill synth; it's a full-on sampler too, boasting an impressive 50 gigabytes of memory for your custom samples. You can treat it like a rompler, a sample player, or even use those samples as oscillators, creating a whole new realm of sonic possibilities.
Plus, it's packed with stereo goodness, allowing you to explore a wide soundstage with ease. It's not your typical synth, and that's what makes its a favourute of Calc's
1. Bristronica 24: MyVolts The Silent Alchemist Nears Shipping
We caught up with Caroline who gave us the latest update to the *Silent Alchemist*, a versatile power hub designed for musicians. Featuring five isolated USB-C outputs and a high-wattage sixth output capable of delivering 100 watts, the device can power a Mac with the remaining outputs providing 20 watts each. Its independent circuits ensure noise-free operation, catering to a variety of devices including the Dreadbox module and Sysmo slope generator.
The Silent Alchemist uses innovative step-up power tips to convert USB-C input to the correct voltage for various devices. There's also new feature: an uninterruptible power supply allowing seamless transition between wall and power bank sources. Also introduced were updated cables, such as silver candy cords and floating ring TRS to TS cables, expanding connection flexibility. The Silent Alchemist is expected to be available in December with a competitive pricing strategy.
At Bristronica 2024, we caught up with the creator of the *ML2M*, who introduced us to the latest version. The ML2M is a compact Eurorack module with Wi-Fi capabilities, allowing seamless synchronization with Ableton Live, Bitwig Studio, and iOS music apps using Ableton Link without the need for cables. It either connects to an existing network or creates its own, ensuring robust sync even in environments with unreliable Wi-Fi. The module, which retains its 2HP size, now features MIDI integration through TRS jacks. Users can access a web interface to configure each output for different clock divisions and reset triggers, making setup straightforward and flexible.
Alongside the ML2M, there's also the Missing Link Junior. This desktop version offers the same functionality but in a box format, complete with MIDI and CV clock outputs. Both products are now accessible, with a starting price of $250.
At Machina Bristronica 2024, we caught up with Arran from @archaea_modular_synthesis who presented the *Exchange Module*. This programmable patcher, a year in the making, evolved from its early prototype stage to a fully functional module. Arran explained how the Exchange can route synth voices via a beam controller and three exchange modules installed within the skiff, allowing for versatile patching. Operating like a matrix patchbay, it enables users to select inputs and outputs with the push of a button, create presets, and chain multiple modules for synchronized patching.
Communication between the modules occurs over the Eurorack power bus as well as over MIDI via the USB-C connection. The Exchange maintains analog integrity, ensuring there’s no conversion latency. The forthcoming release expected in late November 2024, includes a USB-driven editor for enhanced control capabilities.
This post is developing. Check back for new videos and updates below.
Street price appears to be $999. See dealers on the right for availability. In via Alex Timchak.
"We are delighted to announce the release of Syntakt – the 12 track drum computer and synthesizer that fuses digital and analog synthesis together in one music megabox.
Enter this sonic metropolis and experience epic sounds from the past, while pulling others into existence from the future. Syntakt is a drum specialist, full of percussive possibilities, but its four analog and eight digital tracks can be used for melody, harmony, and bass sounds too, giving you a musical melting pot with dozens of machines at your disposal.
Affect the sound of each machine with the intuitive and playful graphics. Add analog distortion and filtering to your mix or separate tracks, using the FX block. Run wild and free with the four expressive modifiers. Access a variety of different scales via the keyboard mode. And create dynamic soundscapes with its phenomenal sequencer.
The streets of Syntakt are never-ending, the neon lights are never-dimming, its underground is fathomless. Discover worlds within worlds."
"Syntakt is a sonic metropolis of machines, fusing digital and analog synthesis together in one drum and melody megabox. A 12 track drum computer & synthesizer melting pot like Syntakt needs a majestic guide. Let the intrepid Elin Piel show you around the many features at your disposal."
Baseck Plays : Elektron Syntakt : 12 Track Analog & Digital Synthesizer / Drum Computer
"Elektron's newest device is finally here : The Syntakt ! A 12 Track Synthesizer and Drum Computer!
Let's see how far our friend Baseck can push this new machine.
Grab one NOW : https://bit.ly/3EEzgOE
"Our pal Mario from Elektron came down to the Perfect Circuit HQ and walked us through the ins and outs of their newest Synthesizer and Drum Computer : Syntakt
0:00 - Intro & overview
1:30 - Machines & Visual Language
3:27 - Beats To Melt Brains To
3:59 - Modifiers
7:40 - FX Track
11:50 - Outro Jams
"Elektron's new instrument, the Syntakt, is a powerful combination of analog drum sounds, digital synthesis, and new performance features not seen on any other Elektron product. In partnership with Elektron, watch as our host Fess breaks down these features."
"In this video I perform one of my new tracks using the Elektron Syntakt and the Octatrack MK2. All the sounds in this video are from the Syntakt, I am using the Octatrack with my performance template.
"Some patterns I’ve made with Syntakt. No processing.
Things I love: The machines! The flexibility!
It can be so many things.
8 tracks of Model cycles chord machines with deeper control, 2x LFO per track, full envelopes, dual filters, p-lockable FX track. Or half a Rytm , plus new digital drum synth and bass/lead synth machines.
Or a mix between.
All with a tasty chunk of analog Heat drive, filter, and EG, but p-lockable!
There is an inverted envelope shape in the analog fx that I use as a master compressor. The drive is lovely.
I also love using some of the analog kicks with a bandpass filter for textures. Can even get kinda of vinyl pops and clicks out of these.
Can have up to 3 simultaneous analog DVCO machines."
"The brand new Elektron Syntakt is here!
I'm doing a brief overview, followed by a SID emulation rendition of Rob Hubbard's theme music for the C64 game 'The Last V8' from 1985. Then it grows into a live jam, using all the 12 digital and analog tracks of the Syntakt, including the features such as analog distortion.
0:00 Intro
1:50 Song starts
3:57 Live jam!"
Full details:
12 Track Drum Computer & Synthesizer
Enter a sonic metropolis with Syntakt. Analog and Digital synthesis. Drum and melody. In full fusion.
All your sound crafting, sequencing, and performance needs are fulfilled, in an all-round music mega box that fits in your lap. Syntakt is a drum specialist, full of percussive possibilities, but its four analog and eight digital tracks can be used for melody, harmony, and bass sounds too. Experience epic sounds from the past, pulling others into existence from the future.
The streets of Syntakt are never-ending, the neon lights are never-dimming, its underground is fathomless. Discover worlds within worlds. Adore now. Explore forever.
Meet the machines There are 35 sound-generating machines to call on, covering a wide range of drum and melodic sounds. Some machines have been reimagined from Analog Rytm and Model:Cycles, with deeper sound control for the latter, while others are entirely new to the world.
For you to create and personalize your sound, we’ve made sure you’ve got a set of parameter controls tailor-made for each machine. They let you quickly tweak the nature of each type of sound, showing you just the relevant options. Comprehensive without being overwhelming. Let loose with analog or digital overdrive, depending on the tracks you’re playing with.
The graphics more than play their part too, with plenty of animated icons offering visual guidance and extra clarity on how each parameter affects the sound. The joys of tweaking shouldn’t only be for the ears after all.
Special effects Syntakt lets you route any of your synth tracks or external audio sources through the FX block. This gives you analog distortion and filtering, and a couple of LFOs to go to town with. Additionally, you can also call on Delay and Reverb as powerhouse send effects.
And all of the above effects can be sequenced with the FX track. Have them kick in at just the right moment. Add accents and dramatic changes to the selected tracks or external audio. Or use it as a master track for ducking and gating effects.
Modify the moment Wield a little extra trig craft using the four modifiers, offering four varied levels of expression. Configure the first two modifiers to give you the retrig or velocity behavior you desire, and use the other two to access custom intensities of other parameters. They’re ready for action regardless of which synth track you’re using.
And the best bit is that they don’t just give you that extra playability fun in the here and now, you can also capture the moment by recording to the sequencer.
The keys to the city Syntakt’s keyboard mode gives you a whole bunch of different scales to play with.
There are some familiar faces and some maybe a little less familiar for you to try out, helping you discover new places and taking things to another level.
Play across a single octave like on a piano keyboard. Or use fold, and have several octaves laid out in front of you.
Deep sound-shaping Syntakt comes full of filter and envelope goodness. All tracks have a Multimode filter to put to use allowing you to emphasize different parts of your sound, with the digital tracks also able to call on Parametric EQ and a Base-width filter – an additional filter giving you even more sonic control.
Choose from two amplitude envelope types to define the ideal contour of your sound. Try out the ADSR envelope – for your wicked synth lines – or the simpler AHD envelope – perfect for transient percussive sounds.
"The Revolution is a concept synthesizer with an intuitive interface that we feel most accurately represents the principles of time and music. From ancient sundials to modern day analog clocks, time has been represented as the circle, a cycle which never ends. Time itself is nothing more than our perception of the revolution of planets as they journey through their celestial orbit. It is this motion that we call time that can be measured, divided, and arranged to provide the foundation of music. This circular cyclic theme can furthermore be found throughout music in everything from song structure and repeating rhythms to the fundamentals of sound itself, being the sine wave. With this understanding we must conclude that music is cyclic and should so be represented in its natural form.
And so it is...the Revolution, a true analog monophonic synthesizer with an easy to use step-based digital sequencer, analog and DSP effects processing, and various interfacing for controlling MIDI, CV/Gate, and Din Sync devices.
Continuing in the tradition of building quality products, this unit is housed in a rugged aluminum chassis with aluminum side panels, a high contrast white on gun metal grey finish for superior viewing of controls in dark environments, and bright blue LEDs all around.
Some key points: depending on how well the MS-20 is received, we may see more from KORG, specifically the SQ-10 and MS-50 get mentioned below. The MS-20 Mini has the first MS-20 filter. As expected, no MIDI CC. The reason they give is because MIDI CC is limited to 128 steps so they did not want to lose the higher resolution of analog. True, but it would have made a nice MIDI controller for the iMS20 and other synths. The real reason I'm guessing is cost of development which in turn makes it more affordable for us, so that is a good thing as well. The following is the text captured for the archives. You'll find the pdf with a few more pics here.
"Tell us about the concept and development process - along with any interesting encounters you had - during your revival of the original MS-20.
'Since the monotron and monotribe allowed us to give users of all ages and levels of musical experience the unique enjoyment of creating sounds with an analog synthesizer, we felt that our next step should be to provide a full-fledged analog synthesizer. The MS-20 is what immediately came to mind. The development of software instruments such as the iMS-20 had given us experience in how to convey the basic design and specifications of the MS series, and we had also heard requests for analog sound modules in the Korg Legacy Collection, so it was a clear and natural decision that we should start the development process.
Developing the MS-20 mini brought to mind numerous memories from when we first developed the MS-20 thirty-five years ago. One particular memory was of our difficulties in deciding how to select transistors. Another interesting memory was when Gotthold Meyer from our German distributer (MUSIK MEYER Corporation) told us that the MS-20 could also be used as educational equipment for teaching science, and that we made an ultra-large MS-20 the size of a blackboard.t we should start the development process.'
How is the MS-20 mini superior to the original MS-10?
'We've added MIDI input and a USB port that were not available on the original MS-20, allowing the new model to be smoothly integrated into modern music production environments. Another advantage is that that it's slightly smaller than the original MS-20, saving space. In particular, the newly compact body is something you'll appreciate once you've used it.'
Why did you decide on a body size that was 86% of the original MS-20?
"We have great respect for the original MS-20, so we felt that it would be devaluing to make the new model exactly the same size as the original. That's why the size is different than the original. We also felt that it looked good in a slightly smaller size."
What gave you the most trouble when designing the MS-20 mini?
'As with the original MS-20, there was much deliberation in deciding on the transistors. That's because the performance of an analog synthesizer is greatly affected by things that don't appear on the spec sheet, such as the pairing characteristics of the transistors, and their response and consistency in the micro-current domain.'
Earlier and later models of the original MS-20 used different filters. Which filter did you select for the MS-20 mini?
'The MS-20 uses the KORG35 circuit that was on the earlier version of MS-20. Preferences vary between users, but we felt that the earlier version of the filter created a sound that had a more distinctive presence, and thus it was the appropriate choice for this reincarnation.'
Do you have plans to release circuit diagrams to users so that they can modify the MS-20 to support Hard Sync or Filter-FM, as you did for the mono tribe?
'As we did for the monotron and monotribe circuit diagrams, we will consider this if there is user demand. However, the MS-20 mini is more complex than the monotron and monotribe, so it will be more difficult to modify.'
Can the MS-20 mini receive MIDI control data and respond to it?
'Using coarse-resolution (128-step) MIDI data to control an analog synthesizer such as the MS-20 mini will not give you the smooth, un-stepped parameter changes that are characteristic of analog synthesizers, so from the design stage we made the decision to limit MIDI support to note data. This means that if you connect the MS-20 mini's MIDI input to the MIDI output of your keyboard or DAW, it will receive keyboard note data and produce sound in response. As developers, we want you to experience the unique enjoyment of analog synthesizers, so instead of using the parameters of the MS-20 mini via MIDI, we'd like you to use the instrument hands on in real- time and enjoy how the sound changes dynamically.'
Do you have plans for reviving other MS series models in the future, such as the SQ-10 or the MS-50?
'We want to give people who have never actually touched an analog synthesizer the chance of experiencing how much fun it can be. Just how necessary such a device would be in the present day is something that we'll decide after seeing the response from MS-20 mini users.'
Finally, what do the two of you think is the greatest attraction to the MS-10 mini?
'Very simply, it's a way to understand the origin of the synthesizer. As the developers, our wish is that the MS-20 mini will let you understand the enjoyment of creating your own sounds from scratch, rather than simply using ready-made sounds. Set it on your desk as your “go-to instrument”!'"
via Hispasonic, translated to Googlish from Spanish:
"We have the first data and images of Kronos, the new Korg workstation. The Japanese brand has pulled the house out the window, bringing to market a synth with more than 12 GB SSD hard disk samples, 9 synthesis engines together, 16 units of effects and KARMA technology.
Features in detail
There are 9 synthesis engines on a single workstation, available in 61, 76 and 88 keys. The engines are:
* SGX-1 Premium Piano: German piano with more than 4 GB in samples. 8 layers and the choice of opening angle of the tail of the piano.
* EP-1 MDS Electric Piano, electric pianos (with sound "signature" by George Duke, Herbie Hancock Rodan Rudess or others)
* CX-3 Organ Tonewheel: integrating technology famed CX-3 in the Kronos. Drawbars controllable from its faders. Leslie Posilibidad to adjust the joystick, from speed to the position you just rotate.
* MS20-EX Legacy Analog Collection: emulation of vintage Korg MS20 synth.
-EX * Polysix Legacy Analog Collection: Polysix emulation.
* AL-1 Analog Synthesizer
* NOD-7 Waveshaping VPM Synthesizer
* STR-1 Plucked String Synthesizer: a new generation of modeling. You can choose from the material of the rope, until the tension, the execution (if pick, rub with your finger ...)
* HD-1 High Definition Synthesizer: A portion of all types of samples.
Account with a set of 16 "sets" may be, from Programs, to vans, to sequences. What makes the live performance much easier and full of possibilities. One of the most exciting new features is that you can move from one set to another without interruption of sound (so if you keep notes of the previous set, still playing).
It eliminates the concept appears rompler and integration / provision of more than 12 GB of content hosted on a hard disk SSD.
Has integrated USB connection to your computer, not just save / edit, but also as a USB interface with 2 inputs and 2 outputs.
"complete akai ewi3000 wind controller system with all the extras and then some
the 3000m analog synth module is a 4 oscillator analog monster. the synthesizer responds via direct analog with the controller for smooth response. something you will never feel with midi or any other non analog breath controller. there is alot of options with the synthesizer such as detuning, oscillator synch, filter options, lfos to modulate things. the editing is done on the module itself and is easy to get around if are familiar with subtractive synthesis and study the block diagrams that are in the included manuals. for those not wishing to do their own editing, the module is loaded with patchman's bank of the finest sounds done by a professional. patchman is the man when it comes to wind controller related things. the banks on this one super responsive and range from moog basses, oberheim brasses, analog reeds and strings... amazing!
the analog module also has midi in/out. an external in for routing into the modules internal filter and amplifiers. this external in is a great solution for older or newer synths that don't implement midi breath. there's alot of options onboard the module itself with plenty of knobs to fine tune to anyone's playing style.
the module itself was modified in many ways. first is nyle steiner's deglitch chip that was not available commercially installed into the unit. the deglitch chip adds a response to the fingerings for extra smooth playability. next is the battery clip modification. the battery is a fresh battery installed with a battery clip so that the owner can easily replace the lithium battery in the future without any hassle.
the final mod on the 3000m analog synth is the cv outputs. if you are using cv out on the unit it doesn't affect the synth's performance. the cv for various functions include outputs for ground, bend, bite, breath, vibrato, pitch octave, picth fingering, and combined output. some outputs do not quite get to +5 volts but many of the main paramaters such as pitch, bend, breath, etc do go to 5 volts. a template will be provided to explain outputs and a drawn up chart of the voltage ratings from each output will be detailed. this will be great for people into modular synthesis but if you are going to mess with cv it assumes you know what voltage your inputs on your gear is capable of. for example this system will work really nice with moog gear, synths, and moogerfoogers that accept cv controllers. a breath controlled cv modular synthesizer of your own design. the possibilities are amazing and truly unique,
i also am including a cv control box with 4 heavy duty banana plugs approximately 8 feet in length. the cv control box accepts the banana plugs routed from the ewi3000m. on the other end it has TS 1/4" as well as two that can be used as trs 1/4" outputs to hook up to your other cv gear. the stomp switches will toggle on and off the cv you send from the ewi to your cv gear. there are also bright blue leds installed so you can tell what's on and off. i will also provide a file emailed to the winner to show how the cv control box works. the cv control box also runs on 9v battery and clips easily to the box.. the 9v is used for the led light indication if you need to send the 9 volts to an output for cv gate. two of the 1/4" outputs are also trs so there are ways to patch via banana cables from one banana to the other as well as having banana jacks for ground connecting and for the battery itself.
also included is a circuit bent speak and math. it accepts cv for pitch control and midi that you can send from the 3000m. the 3000m also has inputs for routing into the filter and VCA of the ewi so you could run the speak and math for expressive control of the speak and math. the midi is a kit that i purchased from highlyliquid. there is full documentation on how it is used in midi and is available on the highly liquid website. the speak and math also has loop function on a stomp switch, a photo theremin with a foot switch for foot control of pitch as well as a knob for fine tuning the threshold of the pitch. led light indicators for envelope information and on/off for both stomp switches,.. 1/4" cv ins for pitch. 1/4" switched jack for output. power on/off push switch.
included in this auction is:
-one of a kind ewi3000 like new wind controller with custom metallic white finish and deep chrome.
-custom made one of a kind dedicated case for controller by akai with keys, extra compartments and zipper pouch on outside. protective case covering for case
-certificate of authenticity by akai
-ewi3000 module with cv mods on banana jacks, nyle steiner's deglitch chip installed in unit, battery clip modification with fresh battery
-custom cv control box
-4 planet waves high quality professional banana cables 8 feet each
-4 banana jumper cables 1 feet each
-2 connecting cables for ewi to module. one still in factory packaging
-polishing cloth
-two brand new replacement rubber tip mouthpiece in addition to rubber tip installed
-ewi strap
-two yamaha recorder cream for conditioning and care of rubber gaskets
-6 foot midi cable
-2 trs 2' cables
-manual printout of both ewi3000m and ewi3000
-professional patchman music pro bank installed in unit with backup copy on cd rom
-circuit bent speak and math with midi and cv ins, specially made for this setup"
akai ewi with circuit bent speak and math cv midi synth - YouTube via spunkytoofers.
"the akai ewi 3000 uses control voltages and has an all analog signal path with it's dedicated module. in this example the ewi 3000m module sends midi to the speak and math as well as control voltages brought to the surface of the 3000m on banana jacks. the banana jacks are sent to a cv control box which is essentially a foot switch box with various logic functions and and open ended patchable interface. ewi controls overall pitch of the speak and math based on pitch fingering cv output in conjunction with octave key cv output. the midi is a retrofit kit available by highly liquid and accesses the speak and math's rom by triggering key commands. this modification gives the user a wealth of circuit bent sounds accessed by midi note triggering. the speak and math's output is sent back to the 3000m's analog amplifiers and filters via breath control on the ewi. there are various note sustain loops and a photo theremin available on the surface of the speak and math via stomp switches. the stomp switches activate leds to indicate on/off. also a big knob with a rubber boot that can be played with the feet.. this is my first run through of my speak and math cv midi synth"
via Mountain Xpress where you'll find the full article (you'll find my notes at the bottom of this post):
"A move to ship Bob Moog's archives from Asheville to New York is creating family discord over the best way to preserve the late inventor's legacy.
An electronic music titan, Bob Moog founded Moog Music, the world's leading manufacturer of analog synthesizers. His widow, Ileana Grams-Moog, announced July 18 that she's planning to donate his personal archive of notes, plans, drawings and recordings to the Cornell University Library's Division of Rare and Manuscript Collections in Ithaca, N.Y.
'It was Bob‘s wish that his archives be preserved and made accessible to other scientists, inventors, engineers and innovators,' Asheville resident Grams-Moog said in a press release. 'The Cornell Library makes its extensive rare collections accessible to students and scholars all over the world.'
Noting that Moog earned his Ph.D. in engineering physics from Cornell in 1965, she added: 'It has been eight years since my husband’s death and I am happy that my gift to Cornell will finally make this rich collection available. Bob would be pleased to know his life’s work is finally being properly preserved and made available to current and future generations to advance upon his work.'
However, Grams-Moog makes no mention of the Bob Moog Foundation in her announcement, which has overseen the preservation of those archives for the last seven years in Asheville, where Moog lived from 1979 until his death in 2005. The foundation is a nonprofit organization run by Michelle Moog-Koussa, the inventor's daughter, who says that she and other family members are surprised and disappointed by the decision to ship the archives out of town..."
...
"Upon hearing of Grams-Moog's intentions to move the archives out of town, Moog-Koussa says the foundation is now 'considering our options.'
She adds: "No matter what happens, the Bob Moog Foundation will continue to carry on Bob Moog's legacy, and that his legacy is alive and well in our educational projects, which are thriving in this area.'"
----
My notes:
What is your opinion on this? Personally, the number one priority in my opinion is keeping the documents safe. I think they would be safe at either Cornell or The Bob Moog Foundation, so that imo is not an issue. The issue then is where would they be of the most value to the community and how do you define that? Exposure to the public or access to researchers? I don't see Cornell being as pro-active in spreading the works of Bob Moog as The Bob Moog Foundation. I think the archives may be safe in Cornell but my fear is that they will be all but forgotten aside from those that take the time to research them and then share that research with us. In other words, they will essentially disappear into the ether, unless someone makes the effort otherwise. The BMF was doing that. With the Bob Moog Foundation, his research would be at the forefront and present in everything they do. Your opinion? Click on the comments link below. Note although it currently reads 0, Facebook comments are there. Blogger only counts blogger comments in the count. It might take a sec for the Facebook comments to load after clicking the link.
Update: The following is the official press release on the move. I received it from Moog Music and Hummingbird Media a separate press outlet:
"Bob Moog's Archives Donated To World-Class Facility at Cornell University
Inventor’s Alma Mater to Receive Rich Collection
Yesterday Cornell University announced the archives of Dr. Robert A. Moog have found a home at their Sidney Cox Library of Music & Dance, thanks to a generous donation from his widow, Dr. Ileana Grams-Moog.
Dr. Robert A. Moog is the founder of Moog Music, the world’s leading manufacturer of analog synthesizers, and the inventor of the legendary Moog synthesizer. He received his Ph.D. from Cornell in engineering physics in 1965 and was a longtime resident of Trumansburg, N.Y. His personal archive of notes, plans, drawings, recordings and more will be housed in the Library’s Division of Rare and Manuscript Collections.
“It was Bob‘s wish that his archives be preserved and made accessible to other scientists, inventors, engineers and innovators,” Grams-Moog said. “It has been eight years since my husband’s death and I am happy that my gift to Cornell will finally make this rich collection available. Bob would be pleased to know his life’s work is finally being properly preserved so that current and future generations may advance upon his work.”
Cornell has flourished as a center for research in music since the Sidney Cox Library of Music & Dance was founded in 1929, and its extensive holdings include a special focus on historical keyboard instruments. It collects heavily in 20th- and 21st-century music of Europe and the United States, including electronic music and music by Cornell composition alumnae.
“We’re thrilled to welcome this donation to Cornell, and we look forward to welcoming researchers from all over the world who hope to learn more about Dr. Moog’s life and work, ” said Anne R. Kenney, Carl A. Kroch University Librarian. “We pride ourselves on not only preserving valuable historical knowledge, but providing access to one-of-a-kind, original materials to as many people as possible.”
Dr. Grams-Moog continued, “Cornell is a 150-year-old institution with a long history of stewardship and dissemination of rare and valuable collections for education and research. Donating Bob’s archives to the university is the best opportunity to preserve and protect them so they will finally be accessible to students and scholars worldwide. In addition, they will be available to future generations long after we’re all gone.”
About Cornell University Library Cornell University Library’s rich collections, expert librarians, responsive services and welcoming spaces inspire and nourish scholarship and learning throughout the university. Its world-class collection — nearly 8 million print volumes, nearly a million e-books and 5 million journal article downloads per year — covers incredibly diverse fields. The Sidney Cox Library of Music & Dance provides extensive holdings of printed materials and recordings to support the study of music."
The Bob Moog Foundation takes seriously its role as the only non-profit organization dedicated to preserving, protecting and promoting my father’s work for future generations. In was in this capacity that the Foundation made significant investments over the past seven years to rescue the majority of my father’s archives, and to protect and preserve them to prevent further deterioration from occurring.
Our efforts have included re-housing the collection in archival quality storage materials, securing climate controlled storage, cataloging thousands of items, cleaning and restoring a breadth of materials including almost 100 reel-to-reel tapes in the collection, and most recently securing state-of-the-art archival storage and processing facilities where researchers from around the world could acess the archives.
We have also worked to share the archives through many exhibits from California to our local region, exposing tens of thousands of people to the unique information and insights that the archives contain.
We did this based on a verbal understanding that these documents would eventually be donated to the Foundation.
Yesterday, an annoucement was made that Cornell University will be receiving Bob's archives. The announcement was made by Bob's widow, Ileana Grams-Moog, with whom we have been working closely for the past seven years, up until as recently as February 18, 2013.
The decision to abandon a pending agreement, which ignores the Foundation’s stewardship of my father’s archives, and move them out of Western North Carolina is disappointing and, we believe, not in keeping with my father’s intent. Asheville was my father’s home for 25 years and, in the end, his spiritual home. It is important that his archives remain in Asheville and that they are administered by the Bob Moog Foundation, where they can be considered within a wide musical and technological context and where they will benefit from being interpreted by the unified network of experts that surround the Foundation’s work.
The Moog Family is saddened and surprised not to be part of the discussion to move our father’s archives away from the organization where they would receive the most well-rounded care, and away from the area where the Bob Moog Foundation, Moog Music, and Moogfest are located.
Over the years, you have been witness to all of the dedicated work we have done for the archives. Many of you have visited our exhibits and complimented our efforts. At this time, we ask that you support us on Facebook and other outlets by reposting and commenting in ways that are reflective of our work.
With or without Bob's archives, the Bob Moog Foundation Archives remains a robust collection of historic materials that we have obtained, or that have been donated to us. We remain a repsitory of materials that represent the evolution of electronic music history. We are excited to be sharing some of the incredible material that we have obtained with you over the coming months. Please keep your eyes open for that.
I may be reaching out soon with other ways that you can help. Until then, I remain
Devotedly yours,
Michelle
Michelle Moog-Koussa
Executive Director
Bob Moog Foundation
P.S. Should you have any concerns about this topic, please be in touch at info@moogfoundation.org."
The petition was setup up via Michael Koehler who sent in the following:
"I am not involved with the BMF, but am friends with Michelle. She knows that I am doing this.
I am very passionate about it because I was fortunate to knew Bob for a short while and know that he would not want things to go the way that they are going right now. I am not trying discredit Cornell or say anything bad about them. They are a fine institution. I am just trying to help them see what moving the archives would mean.
There is so much more to this material. It is not simply 'Bob's stuff'. In Bob's work, he always included colleagues and musicians in the development of his works. If we send these notes off to some storage facility where only scholars can reference them, most of this is lost. The BMF is connected with many of the musicians that worked with Bob. They have the ability to connect the information that Bob wrote down from the engineering standpoint and re-connect it with the musicians that worked with Bob to create it. I have witnessed this first hand. I am telling you, this type of documentation and interpretation would be impossible with the items at Cornell. Think of all of the nuggets that have come out of the BMF. Stories, video clips, etc. Remember all of those insights? It is almost as if Bob were still here. Cornell will most definitely have a totally different output. It will be much more sterilized and scholastic.
I saw first hand the work that Michelle and her team have done. There were literally rooms of material laying in in total disarray. One piece of gear that was salvaged by her team was the very last minimoog made from the original factory. The synth was barely salvageable at the time. That was in 2006. Had it laid there, out in the shed, exposed to the elements, do you think it would even be salvageable today? And, even if it were, do you honestly believe that Cornell would even restore it? In the list of items, it most likely would not be on the top of the list. But the reason that this synth was so iconic to save was that back in the day, Bob had the fore-site to know that something like this should be preserved. Remember, this was at a time when you couldn't give analog synths away! Bob was like that, he knew to save things not for himself or his own legacy, but because some day, these things will be important to someone.
Another example, the BMF has restored 100 recordings. I have heard some of these. Amongst them is a recording where Bob sent a minimoog prototype to Sun Ra to play with and asked Sun Ra to let him know what he thought of the synth. Sun Ra used it in a performance the night that they received it. They did not have a user manual or any instructions, they just went with it. Sun Ra recorded this performance and sent the tape to Bob. This was the first recording of the minimoog and it was also an iconic recording of a concert as well. I can tell you that if this recording goes to Cornell, no one will be able to hear it. The licensing rights will never be able to be cleared by them for public consumption. No way a record label will give that away easily. Way too broad of a license. Where as the BMF would be allowed to play these recording during their exhibits and seminars because they would be able to keep custody of the recording preventing broad public dissemination.
I could go on, but I have probably typed your eyes out! :)"
BMF Board President Bryan Bell Responds to Ileana Grams-Moog
"On July 26th, Ileana Grams-Moog issued an online statement regarding her decision to transfer Bob's archives to Cornell University. After much consideration, President of the BMF Board of Directors, Bryan Bell, has decided to issue an open letter to address the misinformation in that statement.
An Open Letter from Bryan Bell, President of the Board of Directors, The Bob Moog Foundation
The past three weeks have been hard ones for the children of Bob Moog and the staff, board, and friends of the Bob Moog Foundation (BMF). As President of the BMF Board of Directors, I am profoundly disappointed in Dr. Ileana Grams-Moog’s decision to withdraw her support for the BMF, a not-for-profit organization devoted to perpetuating Bob’s love of music and innovation, the manner in which she chose to do it, and her exclusion of key facts.
I knew Bob well. We were colleagues and friends for more than 30 years. During that time, we collaborated on projects and solved problems that changed the way music is made. I serve on the BMF board because it is the truest representation of Bob’s legacy. That is why I also know how sad it would make him to see what is happening in his name, and why we should all be asking Ileana a few questions.
What’s behind the sudden decision to take the archives away from the BMF?
On Feb. 14, 2013, after 18 months of personally and directly negotiating with Ileana, we agreed upon the BMF’s temporary custody of the archives and management of Bob’s Rights of Publicity (his name, image, signature, and voice). This was the first step towards a much larger agreement between us. In the words of the interim agreement, we were working “together in good faith to define and execute a mutually satisfactory [larger] Agreement as rapidly as possible,” or so I thought.
Suddenly, on February 25, Ileana notified me that she would not sign the interim agreement, based on information she had received from Moog Music President Mike Adams. (Note: Mr. Adams was a BMF board member at the time these discussions took place.) The BMF quickly addressed Ileana’s concerns in writing, concerns that she never voiced to me as the BMF board president and concerns that were later proven to have no basis in fact.
Why was there no consultation with Bob’s children about the future of their father’s archives and his Rights of Publicity?
What about money?
We all agree that Bob’s legacy is priceless, but his share of Moog Music and his Rights of Publicity have price tags. Because Ileana has chosen to publically disclose the BMF’s offer to purchase the archives, I challenge her to disclose the detailed terms, both financially and legally, of her sale of Bob’s share of Moog Music and her sale of Bob’s Rights of Publicity to Mike Adams.
Was there a financial contribution to Cornell from Moog Music regarding the archives? Will Moog Music, for example, have access to the Cornell Archives for their commercial purposes? Will the Bob Moog Foundation and Bob’s children have access to the archives for their own use?
Has The BMF been a good steward of Bob’s archives?
The answer is an unequivocal YES. For seven years The BMF has consistently acted in the best interest of Bob's legacy, rescuing his archives from moisture, dirt and mildew; storing the archives in secure climate controlled storage; entering into a lease with the N.C. Department of Cultural Resources to secure state-of-the-art archival facilities in Western N.C.; and making the difficult but prudent decision to defer a capital campaign to fund building of the Moogseum.
Ileana has said that her decision to move the archives was based, in part, on the fact that construction has not started on The Moogseum, the eventual Asheville home for Bob’s archives. At no time did she ever communicate that requirement to the BMF Board or me. Furthermore, during her tenure as president of the BMF Board, Ileana personally oversaw the decision to postpone the Moogseum’s capital campaign until the economy recovered from the nation’s worst financial crisis since the Great Depression. The economy aside, great museums take a long time to build. The Rock and Roll Hall of Fame, for example, took 16 years to plan before breaking ground.
The BMF’s leadership, board and staff have intentionally stayed above the fray, and we encourage our supporters to do the same. Ileana’s decision to move the archives, which was announced in a press release written and distributed by Moog Music’s public relations firm and posted on Moog Music’s website, has unleashed negative comments, many of which raise questions about the role Mike Adams and Moog Music played in Ileana’s sudden change of heart. The BMF has chosen to take the high road, and we will continue to do so, despite many inaccurate comments from Ileana and Mike Adams. That’s what Bob would expect of us. But Ileana’s decision and its timing, the wording of the announcement and the secrecy surrounding its release raise troubling questions about whose interests are really being served by Ileana’s actions.
As for The BMF, we will continue to do what we do best – inspiring and igniting creativity through historic preservation of the Bob Moog Foundation Archives and creating programs like Dr. Bob’s SoundSchool, that introduce children to the power of music, science, and innovation. Nothing would have made Bob happier or prouder.
(Trademarks referred to in this letter are the property of their respective owners)
Sincerely,
Bryan Bell, President
Bob Moog Foundation Board of Directors
Bryan Bell is President and Founder of Synth-Bank Consulting, LLC (Synth-Bank®) a technology practice focusing on using technology to enhance business and creative processes. Bryan spent 20 years consulting and pioneering technology innovation for high-profile corporations and entertainers, including Apple, Domain Chandon, NBC, GEIS, Herbie Hancock, Carlos Santana, Neil Young, Branford Marsalis and INXS. He has served continuously for over 20 years on the board of directors of The Bridge School. Bryan holds a DIS from Harvard University’s Graduate School of Business Administration and has been a speaker at conferences around the world. Bryan Bell’s latest music production project, “Duality”, by Nestler and Hawtin was recently released on iTunes."
