This was a set of recordings done entirely on the Vermona Mono Lancet analog mono synthesizer. All the sounds you hear were generated on the Mono Lancet save for the 707 kick and snare on the very first clip. This was recorded as part of a review for DV 24/7 Magazine in London, England in 2011. I used a Fireface 400 firewire interface and Logic Audio for this recording.
The reasoning for using multitracking and effects processing was to show real-world applications of an analog monophonic synthesizer. The Vermona Mono Lancet, due to its discrete design, provided a rich sound palette that could easily be tamed with minor compression and equalization."
"The beautiful Boss CE-2W processing the Sequential Prophet 10 going up against the equally beautiful Dimension D. Obviously very different types of chorus effects but both have that timeless Roland flare. CR-78 keeps time while the Synclavier plays back the organ jazz pass."
64 patches for the Roland Boutique D-05 and vintage D-50 that traverse both classic and modern sounds not typically associated with the D-05/D-50. Meticulously sound designed and programmed to exude the clandestine and ethereal mood of L.A. Synthesis as well as a selection of drum, percussion, lead and bass sounds perfect for many styles of electronic music.
Conveniently loads into any User Bank on the Boutique D-05. Please note on a vintage D-50, this will overwrite any pre-existing User Bank patches. This is a raw demo showcasing only what's available on the D-05 / absolutely no additional post processing was used / all of the FX that you hear are directly from the built in D-05 FX engine."
"The Korg Polysix was my first analog synthesizer way back when I was 16. While I had a virtual analog at the time, this was the first time I got to experience the magic of analog and this synth left a lasting impression.
I haven’t had the Polysix in many years and this one here I am selling (it has MIDI and has been serviced for the battery issue) but I simply can’t get over how good it sounds. It’s no surprise as in many regards, the Polysix is the “poor man’s Prophet 5 (rev2)”. In both tone and feel, the Polysix is definitely of the Rev 2 P5 variety as its build is with SSM chips that embody that definitive analog goo. While you can’t do the fancy footwork as on a P5, there are plenty of additions that honestly would have made the P5 even more lethal.
Chiefly there is the most excellent arpeggiator. I’ve used many an arp and this one here is exactly what an arp should be. There is also the absolutely gorgeous BBD based analog fx section. The ensemble effect is yet to be put into any kind of pedal form and it’s so rich and deep it truly transforms the sound into a moody and silky bed of warmth.
I particularly love how the top end of the keyboard sounds. The higher octaves have such a definitive tone color that the Polysix’s origin of 1981 is unmistakable.
I never understood why people lined up in droves for the Juno 60 and 106. Yes the bass was nice on the 60 but it’s ultimately a home organ with an arp and a noisy chorus. The Polysix on the other hand, is a true blue proper analog poly. Had Sequential made it as a more affordable Rev 2 Prophet 5, it would not be the 'poor man’s'."
"We were very excited at the prospect of a brand new analogue modular synth from Roland, so when the collaboration between Malekko and Roland was announced, we were keen to grab our hands on the System 500. As long time users of the Roland System 100m and various other Roland monosynths, to our ears, the System 500 had a lot to live up to. However, we were very pleasantly surprised upon first patching. While far more aggressive than the vintage units, the new System 500 brings that familiar Roland mid range and those super snappy envelopes back to the fold. What you hear are excerpts from a stereo recording of the System 500 with a Korg SQ1 sequencer. It was initially recorded to a Sony PCM field recorder and then transferred to Pro Tools HD for editing. We've added a bit of reverb from an Eventide H7600, but what you're predominantly hearing is the raw System 500 sound. No post processing was performed to the audio track itself and it is largely the direct output of the System 500 into the Sony PCM."
A demonstration of some of the 100 patches and sequences we've created for this very special INHALT Artist Sound Bank for the Oberheim OB6 Analog Synth. Absolutely no additional FX were used, what you hear are the raw patches on the OB6. The patch bank is a direct download from our Big Cartel store (link above)."
"Recently I had the great pleasure of working with the newly restarted Future Retro company on their Vectra hybrid synthesizer. It’s a really lovely synth and very unique in that it sort of captures the mood of both something like an EMS VCS3 and also the Oberheim Xpander. In all my decades working with synthesizers, I haven’t quiet come across anything as distinct and unique as this synthesizer. Keep your eyes on Future Retro; they’re one of my favourite companies from the 90s and I’m very grateful I got a chance to work with the. #inhalt #synthpop #ambient #drone #sounddesign #synth #analogsynth #modular #keyboard"
"http://inhalt.bigcartel.com for more patches and impulse responses.
Follow us on Instagram: @inhalt.us / @infinitepowerstudios
I love the vintage Roland modulars and this System 100m is exceptional. This is a pretty full rig and I have to thank my friend Bon Harris from Nitzer Ebb for parking it here at my studio for a minute. This 100m is fully loaded with nearly every module Roland made for it and I wanted to give the dual sequencers a little workout as I had never used these before.
I love modulars for simple and direct sounds and the 100m is a champion here with a cutting, narrow and precise yet still warm analog sound. This patch is running entirely on the 100m. There is no multitracking, everything is running 100 percent live with no additional processing and no additional sequencing. For these kind of generative and repetitive lines that can be the foundation of a song, the 100m is ace!
The first sequencer also acts as the master clock and everything is getting tempo from that. I’m also running the analog delays inside the phaser modules sequentially for a longer flanger tone on the snare. The kick also has a secondary noise source that’s getting phased via the 100m phaser.
in All I’m doing is muting and unmuting the 4 channels coming off the 100m and some tonal tweaks. What you hear is just the raw sound from the machine with no post processing.'
"I'm very pleased to announce the release of Jupiter Rising, the first INHALT Sample Library exclusively for the Akai MPC and Force range. This library is available directly through Akai Professional:
When I first got the MPC X I was taken aback by the sheer sound quality of the new audio engine. The filters, in particular, sounded warm and very analog like. After putting the machine through several productions, I quickly realized that the X is essentially a modern day Fairlight. It soon became my go to production center piece and my older MPCs (3000 and the ASQ10 sequencer) were quickly sold. Yes, it's that good. After some more time of working with the machine passed, I wanted to develop a comprehensive set of synthesizer oriented patches that could be quickly recalled for fast production access but with no compromise in sound quality. One of the most useful synths in a production context, to my ears and experience, is the Jupiter 8. While not a particularly showy synth, its tone and range of sounds makes it possible to slot into any production. As such, I thought this would be a great candidate for a deep sampling.
This library is the culmination of many months of work doing exactly that. Some patches are multi-sampled classic JP8 patches, and while those sound absolutely exceptional, the real stars are the short cycle samples. I employed the power of the MPC Engine to play back a different short-cycle sample per key press, per zone, randomly. This creates the feeling of playing the real JP8 as every key press is slightly different than the previous. When combined with the vast set of filters, an incredibly convincing analog-like sound is the end result. There are many patches of various combinations of samples included to cover every possible oscillator combination like on the real synth (i.e. 1 vco saw, 2 vco saw+saw, 2 vco saw+square ...) which leads to the most convincing sample based emulation of the classic synth. These raw patches serve as a starting point for your own sound design, however there are also many characteristic INHALT patches that are ready to go for your own music making.
In short, once the library was done, I was absolutely floored by how accurate and convincing this sample library really is at getting the mood, vibe, feel, and exact sound of the JP8. I think you will find the same. I had a really fantastic time working with all at Akai Professional on this and out of the many projects I've taken on, I'm probably the most pleased with how the end result came out on this one. All of the sounds (including drums) that you hear are 100 percent the Jupiter Rising Library recorded directly from the MPC X stereo output."
"Introducing Jupiter Rising, the latest expansion instrument offering from Akai Professional. Jupiter Rising re-creates the legendary sounds of one of the world's most iconic synthesizer. The highly sought after sonic palette is now available for your MPC X, MPC Live, MPC One and Force."
Uploaded on Jan 20, 2016 Dave Smith Instruments - "Tom Oberheim & Dave Smith Introduce the OB-6"
Update: new demo video from INHALT in via Soviet Space Child below! Update2: DSI / Tom Oberheim - OB6 - live looping demonstration by Daniel Davis added below.
Awesome video! You'll find an audio demo at the bottom of this post. So, if you weren't sure NAMM had any big surprises coming, well here you go. A brand new six voice polyphonic Oberheim synth based on the original SEM's discrete VCOs and filters, complete with trademark blue pin strips, and a few extras. This is not a CEM based Oberheim. This is discrete analog with some modern capabilities. Think closer to the original Oberheim FVS and classic OB-X (CEM VCOs & VCFs came with the OB-Xa). A new Tom Oberheim six voice polysynth has arrived!
The following is the official press release:
"Tom Oberheim and Dave Smith Unveil OB-6 Analog Synthesizer
Legendary Poly Synth Creators Team Up on New Instrument with Discrete VCOs and Filters
Anaheim, CA—January 21, 2016—Dave Smith Instruments today announced the OB-6, a new 6-voice synthesizer with an all-analog signal path and discrete VCOs and filters developed in collaboration with Tom Oberheim. Boasting a sound engine inspired by Oberheim’s original SEM (the core of his acclaimed 4-voice and 8-voice synthesizers), the new instrument is designed to provide true, vintage SEM tone with the stability and exibility of modern technology.
Said Smith: 'Tom and I have been friends and friendly competitors since the late 1970’s. Back in the day, people were typically in either the Prophet or the Oberheim camp. Now, with the Prophet-6 out and doing so well, we thought it would be fun to combine our strengths and bring back Tom’s classic polyphonic sound, too — in a modern format.' Added Oberheim: 'A lot of people, myself included, have always felt that the SEMs had a certain uniquely big, organic sound unlike anything else. Working with Dave to make that sound widely available again with some modern touches and full programmability has been real a pleasure.'
The OB-6 features two discrete voltage-controlled oscillators (plus sub-oscillator) per voice, with continuously variable waveshapes (sawtooth and variable-width pulse, with triangle on oscillator 2). There is a classic SEM- inspired state-variable lter (low-pass, high-pass, band-pass, and notch) per voice. Voltage-controlled ampli ers complete the all-analog signal path. 'The classic, bold SEM sound is all there,' said Oberheim.
Present also is X-Mod, with lter envelope and oscillator 2 as modulation sources (with bi-polar control). Destinations include oscillator 1 frequency, oscillator 1 shape, oscillator 1 pulse width, lter cutoff, and lter mode. The knob-per-function front panel puts virtually all parameters at a user’s ngertips. Toggling on the Manual switch enables live panel mode, in which the OB-6 switches to the current settings of its knobs and switches.
A dual effects section provides studio-quality reverbs, delays (including standard and BBD), chorus, and faithful recreations of Tom Oberheim’s acclaimed phase shifter and ring modulator. The effects are digital, with 24-bit, 48 kHz resolution, but a true bypass maintains a full analog signal path. Additionally, the OB-6 features a multimode arpeggiator and a polyphonic step sequencer with up to 64 steps (and up to 6 notes per step) plus rests. It allows polyphonic keyboard input and can sync to external MIDI clock.
The full-size, four-octave, semi-weighted keyboard is velocity and aftertouch sensitive. Said Dave Smith, 'As with the Prophet-6, we made size a primary concern on the OB-6. It’s the right mix of power and portability and it ts right in on-stage or in the studio.' Added Oberheim, 'And of course, it’s got that unmistakable SEM sound that’s going to turn a lot of heads. '
The OB-6 is manufactured and sold by Dave Smith Instruments. It will be available in March, with a projected MAP of $2,999."
"As long time users of the Oberheim OB8 and 2 Voice (take a listen to our "Occupations" EP as both are on it all over the place) we were pleasantly surprised when Dave Smith Instruments showed us their new analog workhorse and collaboration with the inimitable Tom Oberheim— the OB6. The allure for the Oberheim polyphonic sound, for us, has always been it's unique melancholic tone colour. No matter what kind of sounds are programmed, Oberheim's tend to have this wonderful midnight music vibe, like driving in a car late at night circa 1983. We're pleased to report that the OB6 captures this sound quality effortlessly and in spades.
Our approach to the design of the factory bank patches we submitted (most of which you hear in the demo) was rather simple: we made the same kinds of sounds we would program on our Oberheims, and barring a couple, largely ones we would find useful in a production context. Though we don't typically record synthesizers with FX printed on the same track, the FX engine is so wonderful sounding on the OB6, and highly controllable, that it made us reconsider. In short, the FX engine is no slouch, and for the many decades spent dismissing the on board FX of most 'modern' synths, this is the first time that we've heard an FX engine exude the same quality as the top end hardware units from Lexicon, Eventide, or AMS that we tend to use in the production process.
Everything you hear on the demo was done entirely on the OB6. Absolutely NO additional FX or sequencers were used. We simply ran the stereo output from the OB6 into a DI and a stereo mic pre amp directly into Pro Tools HD and tracked it in."
DSI / Tom Oberheim - OB6 - live looping demonstration
Published on Jan 21, 2016 Daniel Davis
"DSI / Tom Oberheim - OB6 - live looping demonstration
Live looping demonstration of the new OB6 analog synthesizer. Only used the OB6 and Pigtronix Infinity looper."
I own an OB-Xa and the two videos above nail the sound and then some.
Update2:
NAMM2016 Introducing the New Dave Smith OB 6 Desktop Synth
Published on Jan 21, 2016 Analogue Zone Showroom / Synths and Studio
"Introducing the New Dave Smith OB 6 Desktop Synth
@dsiSequential
Custom sound bank of 64 patches for the Moog Subsequent 25 analog synthesizer programmed by professional sound designer Matia Simovich / INHALT (Sequential, Elektron, Roland, Novation, Akai Pro ...).
This Artist Bank traverses 64 classic sounds intrinsic to the Moog history. Basses that reference the Moog Source and Model D, sequences and modulations that hint at Moog Modulars, and even sounds that buzz and breath like the Oberheim SEM (thanks to the 12dB filter mode).
Meticulously sound designed and programmed to exude the vintage mood and playability of analog mono synths, this library is full of patches that will give you all the core sounds you expect from the Moog name."
"A big congrats to Akai on the launch of the new MPX SE. As a long time X user I was thrilled to join the team on this one. Here is a quick clip of the SE sequencing a Roland System 100m and playing the drums with my OB Rising Expansion drum samples. The new guy is mega tight and even punchier than the regular X. Also the timing of the cv gate outputs is even faster and tighter than before. What a treat. Big ups to my guys Daniel Gill and Andy Mac over at Akai."
For this next installment of demonstrations, I've recorded the more atmospheric, etherial, vocal, and ambient patches from the Prophet 12. What's wonderful about this synth is the fact that envelope times have been designed to give a wide range of times. This means anything from the most percussive sounds to absurdly long release times are possible. As such, making evolving tonal beds is a breeze and they are sure to find a home in any sound designers tool box when working for film, television, and experimental sound.
Just like the previous demonstration, no sequencing nor external effects have been used. Everything you hear was recorded through a Neve Portico Pre Amp into a Digidesign 192 HD io and assembled in Pro Tools."
"As a young guy I used to marvel at records that featured the Synclavier. It was the ultimate ephemeral instrument; both a source of confusion as to what it exactly was and a source of endless inspiration via the records that occupied my fascination. It also cost $500,000 US dollars in the mid 80s if you got a fully specced one.
Fast forward to 2023 and at the heart of my Los Angeles studio (Infinite Power Studios) is a fully loaded Synclavier PSMT tower. Both a workhorse sequencer, astounding sampler and superbly organic FM synth, it is my purest joy to work on it daily. Few instruments have moved me the way that the Synclavier has. To my ears, there's something complete and done about what it sounds and moves like.
Enter the Regen. I was invited to contribute patches to the latest venture that Cameron Jones and other former NED/Synclavier developers have created. It is an immense honor for me to be involved with such individuals who have shaped and shifted music so deeply, that I am still beside myself that it actually happened. Here is a long audio demo of some of the patches I have contributed to the new Synclavier Regen factory timbre library.
As always, no additional fx processing was used. This is pure Regen piping out of its dual XLR balanced outputs straight into Pro Tools HD."
Dave Smith Instruments asked us to return to the sound design world and join a stellar team to create some of the patches for their upcoming super synth: the Pro 2. Since we're avid and long time users of the Pro One, the name alone peaked our curiosities. Once we got the absolutely stunning synth back to our studio, we were blown away not just by the raw sound quality of the new voice architecture, but also by the sheer number of possible control options. If there is a synth out there that is truly the best of all worlds and that is almost intentionally designed to sit right in the middle of a full studio set up, it most certainly is the Pro 2. 4 CV outputs (that can be used as gate outputs too), 4 CV ins, audio input, dual MIDI outputs ... it's exactly the kind of thinking a professional studio and live musician would employ in synth design.
As a sound designer, what was most interesting was the arrangement of the new filters. Not only do both the SSM and SEM inspired analog filters sound fantastic on their own, but they can be used together to create very complex effects. Since their routing (serial, meaning one filter into the other, or parallel, meaning both filters running together) is completely user assignable and modulatable (all parameters regarding the filter can be accessed via the modulation matrix and modulated by pretty much anything) incredibly rich and complex effects can be created. The first patch (first string sound you hear in this video) takes full advantage of this new architecture to create a very sophisticated and distinct jet phasing effect.
The same tonal integrity can be found on the digital delays. This time around there is a new BBD style analog modeling delay that is warm and lush. When combined with delay time modulation from an LFO, an extremely rich chorus effect results. I might also mention that the audio input itself is of very high quality and presents a clean and full bodied pre amplifier stage that just sounds good. The last two sounds in the video use this input with a bass guitar.
Absolutely no external fx or sequencing were used when recording this demo of our patches for the factory bank. Everything you hear was done with the internal sequencer, live playing, and employing the abundant set of controls on board the Pro 2. Also, these are all single patches, so no multitracking was involved. The sounds were tracked via a Precision 8 mic pre using both outputs from the Pro 2 and straight into a Digidesign 192 IO feeding Pro Tools HD."
64 patches and 64 sequences that completely take over your SH-01a into INHALT approved territory. We scrutinized every parameter in Roland's new Boutique and tamed the digital nature (when necessary) towards the genuine 101 tone, and played it up when taking advantage of the new features like polyphony. The SH-01a definitely delivers the goods when it comes to those famous flat 101 bass lines but, in the 4 voice polyphonic mode, leads to results that remind us of our beloved Jupiter 4 and Juno 60. That was shocking at first, but with the added fast LFO mode, it lead to the groundwork of the many famous klangy and FM-like Jupiter 4 sounds.
This download kidnaps the Boutique and will overwrite all of the internal factory patches and sequneces but because Roland have made patch dumps super easy to back up (copy to your desktop n done), it's easy to pick and choose what you want loaded on the SH-01a. We've done our best to provide a wide assortment of sounds and sequences that we hope will inspire and lead to finished songs that embody that classic Roland sound. In our studio it definitely has from the moment it got the Tr 808 trigger input ..."
"Instant download of these patches here: https://inhalt.bigcartel.com/product/...
2023 marks the 10 year anniversary of my sound design employment with Sequential. To commemorate this occasion I created a very special library for my favorite analog synth-the Prophet 5. Of all the Sequential synthesizers I've worked on, I feel like the factory patches I made for the Rev4 are most exhibitive of the INHALT sound (particularly patch 1 of the factory bank).
Following in the footsteps of the factory patches I made that ship with the Rev4, I decided to develop this continuation add-on library: "Factory Continuum". What's presented is a full group of 40 patches in the definitive INHALT style of usability and elegance. Basses that sit seamlessly against a kick drum, deep pads and strings, a plethora of classic and cinematic suspense patches and even some drums for good measure. They all have that special sound that only the Prophet 5 (and 10) is capable of delivering and many take advantage of the added velocity and aftertouch controls for ultimate playability.
This patch library overwrites group 5 of the preset banks so if you have patches saved there, make sure to back them up before sending this library to your synth. All of the patches are compatible with both the Prophet 5 and 10 Rev4. This is an instant download."
The following is the official press release:
Anaheim, CA—January 21, 2016—Dave Smith Instruments today announced the OB-6, a new 6-voice synthesizer with an all-analog signal path and discrete VCOs and filters developed in collaboration with Tom Oberheim. Boasting a sound engine inspired by Oberheim’s original SEM (the core of his acclaimed 4-voice and 8-voice synthesizers), the new instrument is designed to provide true, vintage SEM tone with the stability and exibility of modern technology.
Said Smith: 'Tom and I have been friends and friendly competitors since the late 1970’s. Back in the day, people were typically in either the Prophet or the Oberheim camp. Now, with the Prophet-6 out and doing so well, we thought it would be fun to combine our strengths and bring back Tom’s classic polyphonic sound, too — in a modern format.' Added Oberheim: 'A lot of people, myself included, have always felt that the SEMs had a certain uniquely big, organic sound unlike anything else. Working with Dave to make that sound widely available again with some modern touches and full programmability has been real a pleasure.'
The OB-6 features two discrete voltage-controlled oscillators (plus sub-oscillator) per voice, with continuously variable waveshapes (sawtooth and variable-width pulse, with triangle on oscillator 2). There is a classic SEM- inspired state-variable lter (low-pass, high-pass, band-pass, and notch) per voice. Voltage-controlled ampli ers complete the all-analog signal path. 'The classic, bold SEM sound is all there,' said Oberheim.
Present also is X-Mod, with lter envelope and oscillator 2 as modulation sources (with bi-polar control). Destinations include oscillator 1 frequency, oscillator 1 shape, oscillator 1 pulse width, lter cutoff, and lter mode. The knob-per-function front panel puts virtually all parameters at a user’s ngertips. Toggling on the Manual switch enables live panel mode, in which the OB-6 switches to the current settings of its knobs and switches.
