"Here it is, in all its glory.
Portland, the first percussion synthesizer from FSS.
Come jam with it at @MachinaBris #TOMORROW!"
The Portland percussion synthesizer has been designed as a drum complement to the Brunswick synthesizer. Like the Brunswick, Portland has been designed with affordability and flexibility in mind, allowing for the ultimate performance from relatively basic electronics. Portland is also presented as a "sandbox" for percussion and drum synthesis, giving several different analogue sound generation and shaping elements in a patchable unit. The elements are normalled together on the patchbay, allowing for minimal patching to arrive at a kit of drum sounds, but this normalling can be overridden for more complex drum sound synthesis.
Discover evolving atmospheres, nuanced drums, melodic loops, foley textures, vocal SFX, and more. Whether you're looking for deep soundscapes or subtle sonic embellishments, Bloom offers an unparalleled library of expansive sound design elements.
"A short introduction to the OPUS MAX BOARD music computer and development board for making music gear with the STM32H750 micro controller. https://digitalsoundchips.com It will come with a profession grade synthesizer and audio effects unit to loop sounds through the board externally. And with information on how to make your own music gear like synthesizers and audio effect units."
"Back in 2011 the worlds smallest synthesizer DSC Bluebox was made, but vent by unnoticed. This time Digital Soundchips that made the synthesizer is back, and want to solve the problems that they once went through for you and others.
Now we a ready to present a single-board computer for audio plugins and music gear. And with one profession grade synthesizer plugin, and a multi effects unit to loop audio through. That uses a open plugin standard with plugins on microSD card.
Imagine making professional music hardware gear, based on a super simple audio plugin format. And develop music gear that can use several plugins simultaneously.
We want to make a pre-configured scalable solution, so you can start writing your audio code and run ready-made plugins. And lower the development time for new music gear from years or month's, to weeks.
Lets make it faster and fun to develop commercially viable professional music gear.
"The Tiptop Audio VCA is a full featured, precision calibrated, analog Voltage Controlled Amplifier. At its heart is a novel design of a control circuitry—a function that lets you sweep continuously through three different response curves: Logarithmic, Linear, Exponential—giving you all three shapes in a single module. This special control circuitry design by Mr. Osamu Hoshuyama was adopted into the VCA module to make it a great sounding synthesizer VCA with flexibility to address all duties: level control for both audio and CV modulation, gating audio into silence, and amplitude modulation effects.
A VCA, Voltage Controlled Amplifier, sometimes referred to as an audio gate, is an essential module to any Eurorack and no system is complete without one. The concept is an input, an output and a control that sets how much of the input signal passes through to the output.
A great VCA means minimum feedthrough of the control signal bleeding into the passing signal and minimum distortion applied to the passing signal. An excellent audio gate means minimal leakage of signal from IN to OUT when the control tells the VCA to fully close. These are the most critical conditions for a good sounding, good responding VCA and are what the Tiptop Audio design carefully addresses. 2 LED peak indicator lights on the front panel light up with incoming CV or audio signals. While a clipping indicator for audio is expected, clipping of CV is often overlooked and it’s included here to visually maintain the full dynamic range of an envelope driving the VCA.
The Tiptop Audio VCA lets you concentrate on creative uses rather than figuring out the module’s anomalies. The result is an excellent sounding synthesizer VCA that’s a joy to use and pleasing to hear."
"Spitfire Audio adds another ‘off-grid’ twist to evolving, EMS VCS3-inspired VIs for its Producer Portfolio
LONDON, UK: Spitfire Audio, purveyors of the finest virtual instruments from the finest musical samples in the world, is proud to announce availability of PP025 EVO GRID 004 WOODWINDS, the latest creative chapter in its evocatively-named, evolving EVO GRID series of ‘off-grid’ sample-based virtual instruments initially inspired by the trailblazing late-Sixties-vintage EMS VCS3 portable analogue monosynth and perfectly executed for the Native Instruments KONTAKT platform-compatible Producer Portfolio range — itself launched to satisfy repeated requests for drier-sounding, more manipulative samples for more non-orchestral material, as of September 18…
Following on from the success of Spitfire Audio’s prototypical PP017 EVO GRID 001 STRINGS and its phenomenal PP020 EVO GRID 002 STRINGS followup, as implied by name, PP025 EVO GRID 004 WOODWINDS takes the so-called ‘Evo’ concept from its inception in strings into the wonderful world of woodwinds. What is an Evo, exactly? Evos are hyper-long, sample-based articulations that evolve — sometimes subtly, sometimes severely — over time before looping. These are then organised on a grid so users can plot which evolution or ‘Evo’ sits on which key range, resulting in a GUI (Graphical User Interface) inspired by the breakthrough British EMS VCS3, which made musical history upon its introduction in 1969 by being the first commercially portable synthesiser available anywhere in the world, thanks to its innovative modular matrix-based patchboard dispensing with the telephone exchange-like cabling of other (much larger) modular systems in favour of making space-saving connections with (removable) coloured pins.
PP025 EVO GRID 004 WOODWINDS heads on a similarly flexible sonic bearing, but within the computer-hosted context of a truly 21st Century sample-based virtual instrument fit for ‘off-grid’ minimal musical explorations. Employing some of the UK’s finest, most progressive, and avant-garde woodwind players performing beautifully-orchestrated long notes that increase in intensity and expression, evolving into out-of-this world soundscapes, this eclectic collection of woodwind evolutions designed by Ben Foskett foster an exceptional edge to anyone’s musical endeavours. Returning to record at the ultra-dry, yet warm-sounding surroundings of Central London’s Air-Edel Recording Studios using the finest vintage microphones, Neve preamps, and the last Cadac studio console ever built, ‘Foskett & Co.’ set about creating a product that oozes originality and positively provides inspiration to all that use it. The result? 3,312 superlative samples — some 18.5GB of uncompressed .WAV files — that do just that by doing things with woodwinds that are totally unexpected, yet uniquely musical in execution.
At Air-Edel Recording Studios two subtly different performing lineups — Band A comprising FLUTE (3), ALTO FLUTE (1), BASS FLUTE (1), CONTRA BASS FLUTE (1), Bb CLARINET (3), and Bb BASS CLARINET (3); Band B comprising OBOE (3), COR ANGLAIS (2), Bb CLARINET (2), Bb BASS CLARINET (1), Bb BASS CLARINET (1), BARITONE SAX (1), and BASSOON (3) — led Spitfire Audio to ultimately provide PP025 EVO GRID 004 WOODWINDS users with a nuanced selection of sounds. Some are more reedy-sounding, others more flutey. This time the resultant Evo count stands at a healthy 48 spread across 12 pitch regions — including an additional five grids of wonderfully-warped, saturated, and totally transformed versions of each and every Evo — resulting in an almost infinite number of possibilities. Pressing the save button is important… all the more so given the many randomisation options that are also provided!
Fortunately for (potential) PP025 EVO GRID 004 WOODWINDS purchasers, Spitfire Audio has helpfully seen fit to carefully curate those extraordinary Evos into a number of spring-right-out-of-the-box-style patches — from seemingly-simple tutti-type affairs, featuring all Evos evenly spread across the keyboard, through to various diagonal patterns, as well as a handy feature for randomly creating pinned patterns from the near-infinite number of configuration possibilities — perfectly demonstrating not only the tense and extreme elements of the library but also the effortlessly-engaging ‘episodic’ Evos! Easily-accessible front panel-positioned FX controls (for Reverb, Delay, and Tape Sat.) help make this into a tool truly designed for producers — hence the Producer Portfolio range association, as well as composers, editors, and sound designers alike. Anyone needing a spellbinding solution from the moment they touch the keyboard, in other words! Like the self-explanatory SIMPLE TENSE SCARY subtitling of the PP017 EVO GRID 001 STRINGS and TRADITIONAL EPISODIC EXTREME subtitling of PP020 EVO GRID 002 STRINGS before it, PP025 EVO GRID 004 WOODWINDS can be as time-saving as the trailblazing EMS VCS3 was once space-saving.
Saying that, PP025 EVO GRID 004 WOODWINDS perfectly compliments that recently-released PP017 EVO GRID 001 STRINGS sample-based virtual instrument — an extraordinary collection of long, evolving chamber strings orchestrated by Ben Foskett before being given Spitfire Audio’s adventurous Evo treatment — and its PP020 EVO GRID 002 STRINGS sibling. Says Spitfire Audio Director Paul Thomson: “We’ve got a collection of incredible players here — very progressive, avant-garde wind players, playing beautifully-orchestrated long notes from Ben Foskett that evolve with increases in intensity and expression and different techniques to give you a really beautiful series of long, evolving tones that you can use to work with in a similar way to the STRINGS EVO GRID releases. The EVO GRID GUI is the same as before, so you’ll recognise all of the controls. There are lots and lots of possibilities — millions of possibilities, in fact, so it’s a really creative tool. We’re very proud of it. It’s very different from the strings evolutions that we’ve put out so far, but it’s very, very useful.”
Indeed it is. In this day and age of delivering more musical content against a backdrop of diminishing deadlines and budgetary constraints, composers are often asked to engage the listener by doing very little — least of all changing notes, all those EVO GRID releases represent Spitfire Audio’s masterplan for providing them with a solution to this taxing conundrum. Just ask award-winning composer — and fellow Spitfire Audio Director Christian Henson. Commissioned to write 13 hours of music for a sprawling, epic TV series, but with no budget for orchestra and only three months in which to do it, a quick string sampling session subsequently ensued, during which he fortuitously recorded a series of greatly differing long strings evolutions. Staggered by the resulting sample instrument, where the chaotic nature of different evolutions placed over different intervals made for exciting and unexpected results, he semi-seriously stated, “I could literally hit a big C minor chord, hold my sustain pedal down, reach for my sandwich, and the thing would still be writing itself a minute later while I was wiping mayo off my beard!” From the smallest seed… and all that jazz.
PP025 EVO GRID 004 WOODWINDS and its PP017 EVO GRID 001 STRINGS and PP020 EVO GRID 002 STRINGS sample-based virtual instrument siblings can be purchased and downloaded directly from Spitfire Audio for £179.00 GBP (subject to VAT within the EU) from here:
http://www.spitfireaudio.com/products-page (Note that Spitfire Audio’s free Download Manager application for Mac or PC allows you to buy now and download anytime while a full version of Native Instruments KONTAKT 5 is needed to run these Producer Portfolio products.)
"Make your next big beat wherever inspiration hits!
Pulse is a must have app for electronic music producers. Pulse refines the standard audio sequencer workflow into a fluid mobile experience. On the surface is a minimal interface, thoughtfully laid out to keep your creative inspiration flowing. Explore and find a complex audio engine capable of deep manipulation.
Not light on features, Pulse has everything you need in a modern mobile music app. Play the built-in keypad or connect a MIDI device. Step edit. Undo. Erase. Record parameter automation. Manually edit parameter automation. Change key and scale at any time.Top it off with master reverb.
Take control of your sound. Then take it to the next level with Pulse.
"Make your next big beat wherever inspiration hits!
Pulse is a must have app for electronic music producers. Pulse refines the standard audio sequencer workflow into a fluid mobile experience. On the surface is a minimal interface, thoughtfully laid out to keep your creative inspiration flowing. Explore and find a complex audio engine capable of deep manipulation.
Not light on features, Pulse has everything you need in a modern mobile music app. Play the built-in keypad or connect a MIDI device. Step edit. Undo. Erase. Record parameter automation. Manually edit parameter automation. Change key and scale at any time.Top it off with master reverb.
Take control of your sound. Then take it to the next level with Pulse.
Highlights:
• Three ways to make your beat: Play notes - Draw notes - Use MIDI
• Tweak sound parameters and record the changes
• Manually edit everything to make it perfect
• Export loops or bounce them back into your song
• Create complex timing with the dynamic quantizer
• Stay in tune with key and scales
• Connect to other MIDI apps and devices
• Share your music and collaborate
General Specifications:
• 32 bit Audio Engine
• Full Stereo Signal Path (All FX and Channels)
• Sound Channels: 16
• Polyphony: Unlimited
• Background Audio Support
• MIDI: In / Out
• Dynamic Key and Scale (31 Scales)
• Quantizer Engine (60-240 ppm, 2-32 steps, and 50-75% swing)
• Master Reverb
• Undo
Sound Channel Specifications:
• 3 Octave Range
• Waveform
• Amplifier
• Filter(LPF, HPF, or BPF)
• Wave Shaping FX (Distortion, Lo-Fi, or Foldback)
• Time FX (Delay Flanger, or Chorus)
• Dynamics (Pump or Choke)
• Reverb Send
• Mixer (Pan, Volume, Mute, and Solo)
• Full automation on any sound channel parameter!
I/O Specifications:
• Import sound files via AudioShare
• Export audio song file via AudioShare
• Export loops via AudioShare
• Bounce loop back into Pulse
• Record and transmit MIDI data
• Import / Export audio files via email
• Import / Export song files via email
Minimal Audio Current 'Dystopian Soundscapes' is a collection of 50 atmospheric presets that evoke the feel of dark sci-fi soundtracks, dystopian films, thrillers, games, and dystopian novels. The soundset includes: 12 Pads, 8 Strings, 6 Drones, 7 Keys, 8 Synths, 9 Textures.
🧬 Exploring this relatively new plugin was a fascinating experience, and I was thoroughly impressed with its capabilities. The sampler and granular engines, outstanding effects quality, and extensive wavetable synthesis options played a pivotal role in shaping this sound bank.
🗃 Each preset in this collection has a cohesive style, blending noise, distortion, and vintage tape emulation, striking a balance between experimental elements and playable, accessible sounds. The pack includes atonal sounds, drones, and textures perfect for creating tension and suspense. The core of the collection consists of atmospheric sounds, ranging from soft, expansive, and lush to bright, shimmering, distorted, orchestral, vintage, and more.
🧿 These presets are versatile and can be used in any genre where a dark atmosphere is essential, such as techno, ambient, IDM, industrial, drum and bass, and others. This collection is also an invaluable resource for soundtrack composers, game developers, audiobook producers, video creators, advertisers, and social media content creators.
🎚 Each preset is carefully programmed, with dozens of modulations, velocity settings, mod wheel mappings, and macros, providing a wide range of expressive and creative possibilities.
🎛 The macros are a significant part of the soundset. They can change tone, stereo width, modulation depth and rate, noise level, distortion, detuning, space/echo/reverb, effects mix, envelope parameters, and others. You may control them via MIDI controller, use them for automation, or map the macros to your DAW modulators like LFO, Shaper, and others.
💡 Ensure that you are using the latest plugin version. Installation: Open the plugin. Push Menu -> Show User Presets. You will see a folder with the plugin banks of presets. Put the folder "Anton Anru - Dystopian Soundscapes" here. Open the plugin again. Push Menu -> Rescan Presets Folders. You will see the new soundset in the plugin, both in the Steam Tab (Local) and in the upper presets bar. In case you don't see the new soundset, relaunch the plugin.
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.
"Grid-Lock is a useful utility when used in conjunction with Sync-Gen II allowing accurate delay/offset calculation between your externally synchronised hardware and the DAW quantise grid with minimal fuss.
There are two separate causes of this delay:-
1: External Hardware Start Lag – Slave Sync External Start Lag is the time it takes for any hardware sequencing device to respond to external tempo-sync and begin playback.
2: DAW/Audio Interface Driver Processing Delay – All computer audio interfaces and audio software processing applications take a certain amount of time to get sound in and out of the computer. Depending on the computer specification and hardware audio interface driver design, you will have various options to adjust this processing time using the audio driver buffer value – less means faster real-time I/O processing but this pushes the computer to prioritise audio throughput above other tasks and it will eventually trip over itself and start to glitch and drop audio. Larger Buffer settings work well for mix down where real-time soft synth playing latency is less of an issue. It also means large track counts and heavy plug-in use will not compromise the audio playback. However, there will always be some DAW I/O processing delay and getting an accurate value is indispensable for creating rhythmically tight productions."
"'ILLUMIRINGER' Motion Controlled Ring Modulator Pre-Built Kit Add THEREMIN style controlled FX craziness to ANY AUDIO DEVICE!"
"FINALLY! For the first time ever... I am able to offer the ILLUMIRINGER - Motion Controlled Ring Modulator to everyone at an affordable price (I still haven't been able to work out the costs of the pedal).
What is an ILLUMIRINGER you ask? Check out THIS LINK for more information on how this circuit got started. This auction might even be cooler, why? This modification kit can be built into ANY DEVICE THAT PRODUCES AUDIO. Doesn't matter if it has an output jack (guitar, bass, keyboard) or if it has a speaker (iPod dock, guitar amplifier, baby toy etc) this sucker can be installed with only 6 SOLDER POINTS!
I have come up with a simple to follow diagram (shown below) to help illustrate how completely easy it is to install this thing.
To sum it up quickly (which isn't hard)...
STEP 1: You remove the two output wires of your device from the speaker or jack, you solder the output wires of the ILLUMIRINGER mod in their place.
STEP 2: You take the devices output wires you just removed and solder them to the input wires of the ILLUMIRINGER mod kit. We are almost done!
STEP 3: Next we drill holes in the device to mount the LED bezel, 3 selector switches, control knob and LDR Light Sensor and screw them into place.
STEP 4: Next we solder the last two remaining wires to the two leads of the LDR Light Sensor. DONE! Installed!
A Motion / Light controlled Theremin style instrument modification in less than an hours work. And btw... this thing is BEYOND COOL... nothing else like it out on the market.. and at this price you will want to install it into EVERY device in your studio you play out with.
FEATURES:
- 1st of it's kind modification kit!
- Adds a THEREMIN style MOTION CONTROLLED effect to ANY AUDIO DEVICE!
- Super SMALL circuit board (about 1.5" x 1.5") so it is easy to fit into ANY device
- Switch 1 Turns the Effects Circuit On / Off (this is done to save battery when not in use)
- Switch 2 is a Wet / Dry selector. Wet activates the Effect, Dry is the clean audio signal
- Switch 3 allows you select either Motion / Light control over the effect or Knob Control
- HUGE 12mm LDR Light Sensor to get MAXIMUM motion control
- Red professionally Bezel Mounted Power Indicator LED
- SIMPLE to install into ANY AUDIO DEVICE with a speaker or mono output jack!
- Device will work & sound EXACTLY as it did before the mod when FX are off (True Bypass)
- Minimal / Basic Soldering Skills needed (entire install can take less than an hour)
- 9V Battery Powered (EXTREMELY long battery life, circuit will run with less than 3V!)
- Professionally designed, built and tested before arriving to you
- ADDICTIVE TO PLAY WITH! Brings a completely new life to audio gear your are bored of!
- Adds ENDLESS now tone and performance possibilities to ANY AUDIO DEVICE!
- MEGA AFFORDABLE!!!!!!!!!!"
"Modular Voices is a soundset for the semi-modular synth and analog processor Moog Spectravox. It is a collection of 50 presets: 24 Synths, 13 Plucks, 6 Percs, 7 Drones. There is a wide range of timbres inside the pack: simple and complex, dark and bright, vintage and modern, noisy/distorted and soft, musical and experimental, harmonic and inharmonic.
Some patches are in 'synth mode' and can be played with a keyboard, while others are in 'processing mode' — they process incoming audio and modulate it. Some patches combine the two modes: they process audio and can also be played with a keyboard.
Synths and plucks are excellent for use with arpeggiators or sequencers. Drones produce dark, distorted tones with heavy modulations, FM, noise, etc. They can be used as pads in genres like techno, industrial, or ambient to create a certain inharmonic atmosphere. Perc patches are perfect if you are looking for unusual and unique rhythmic additions to your performance or track.
Tones using external audio require playing a sample attached to the patch. You will find all samples with the patch name, as well as its role (PROGRAM or CARRIER), in the Audio Content folder. Load the samples into your workstation, set up Spectravox according to the image, and play the sample(s). Adjust the PROGRAM GAIN LEVEL yourself. It may not match the image if you have changed the sample's volume level. PROGRAM GAIN LEVEL can affect the tone, for example, causing distortion at high values, as well as the envelope of the entire patch if PROG TRIG - EG is used.
In most cases, I use synthesized chords for CARRIER and rhythmic sounds for PROGRAM. Be sure to try using your unique content. For CARRIER, you can create a sequence of chords or pads using a VST synthesizer. For PROGRAM, you can use vocal samples. There are many options.
For tones in the PLUCK and SYNTH categories, I usually use external arpeggiators or sequencers. This allows you to keep your hands free to work with the synthesizer parameters.
The patches are suitable for many genres: Techno, Ambient, House, Deep, Progressive, Trance, Minimal, IDM, Downtempo, Synthwave, Retrowave, Electronica, Dark/Noise, Industrial, Breakbeat, Drum and Bass, and others.
The soundset is presented in the form of PDF-Document. Each page contains notes that explain how the patch works, what parameters are worth tweaking during playback, and how to develop the timbre during a performance. If you make all the settings consciously and try the things mentioned in the notes, you will learn a lot about the synth and discover its true depth.
Each patch has an audio example, it helps to understand how the timbre is supposed to sound.
To recreate these patches, you will need up to 8 patch cables. You will also need a stackable cable or a splitter/multiplier. The document includes detailed information about using an external keyboard with CV/Gate outputs.
Moog Spectravox is a versatile device that can be used in various ways: - It can generate a complete signal without additional devices and audio input. - It can produce musical tones that can be played from a keyboard or used with external sequencers and DAWs. - It can process external audio signals, passing them through the Filter Bank and modulations. - It can operate in Vocoder mode. - It also supports combinations of these different scenarios. For example, using the Vocoder with an external audio signal, plus playing notes from a keyboard or sequencer.
All of this requires connecting various sources to Spectravox. In the PDF document, I will detail the routing scenarios I used. You can either fully replicate them or use them as a starting point for your own scenarios."
The release comes out April 28. You can find more info on takako here. The following is the original track from 1982 followed by some live performances of Futurisk. Moog Liberation gets the post here vs. C.
Update: SoundCloud and new, alternate video below.
Futurisk - Lonely Streets (1982 Ocean Sound) YouTube Uploaded by theinnernerd on Apr 27, 2009
"FUTURISK was a pioneering synth-punk group that recorded and performed in the pre-midi era of the early 1980s. As of yet, the Player Piano EP has not been reissued, but you can pick up a copy of a live performance of "Meteoright" at minimalwave.com on The Found Tapes LP. The audio for this video was taken from a 24bit/96kHz vinyl rip. Highly recommended.
http://www.innernerd.de obscure music for nerdlings"
"Minimal techno jam using mostly Tiptop Audio modules. Trying different ways to have two parallel sequences. Z8k is great for that: running two separately reset sequences on Z8000 - vertical 7 step is playing ONE loaded with DOTS sound filtered by Z2040 and opened by a couple of Z4000, horizontal 8 step is playing Z3000 (saw) running through Tiptop Fold Processor and R*S VQVCF again governed by a couple of Z4000s.
Also features:
BD808
ONE: Hi Hat sound (off DOTS) going through Roland Demora
ONE: Ghost snare sound - running through reverbs and delay - no dry sound
Long reverb: Z-DSP: Halls OPf Valhalla ROOM
Short reverb: Z-DSP: eVerb 80s Verb 2
Delay: Alright Devices Chronoblob (feedback through Tiptop Z2040, output through WMD SSF Multi Mode Filter (Hi Pass)
Gates and triggers sequenced by Tioptop Circadian Rhythms and Trigger Riot
Sample pack content:
60 kicks loops
20 snares loops
130 top loops (no kick)
40 demo loops
Loops are based on classic and rare vintage drum machines including Ace Tone, Boss, Casio, Eko, Emu, Ensoniq, Keio, Korg, Solton, Electro Harmonix, Vermona and Roland machines. They have been carefully processed through a bunch of effects for a modern minimal techno sound.
Enjoy making music!
2. Moog Sub Phatty Vintage Soundset
230 custom analog vintage patches for the Moog Sub Phatty.
Inspired by the old classic vintage analog synths like Moogs, Roland SH09, SH101, Sequential Pro-One, Korg MS20, etc.
All sounds are recorded without any external fx or mastering. Just pure Moog Sub Phatty into the audio Interface and DAW.
The patches are provided as one rar file containing 230 sysex files.
By purchasing this soundset you get the right to use these sounds in your music. Sharing, reselling, making sample packs, including them in commercial patch collections, etc. is not allowed.
Enjoy making music!
3. BASS STATION 2 Analog Soundpack
100 custom analog classics patches for the Novation Bass Station II.
Inspired by the old classic vintage analog synths like Moogs, Roland SH09, SH101, Sequential Pro-One, Korg MS20, etc.
All sounds are recorded without any external fx or mastering. Just pure Bass Station II into the audio Interface and DAW.
By purchasing this soundset you get the right to use these sounds in your music. Sharing, reselling, making sample packs, including them in commercial patch collections, etc. is not allowed.
Enjoy making music!
4. Korg Prologue Vintage Soundset
120 custom vintage classic patches for the Korg Prologue.
Inspired by the old classic vintage analog synths like Roland Junos & Jupiters, Sequential Prophet 5 & Pro-One, Oberheims, Korg Polysix & Mono/Poly, Solina, Crumar, PPG, etc.
All sounds are recorded without any external fx or mastering. Just pure Prologue into the audio Interface and DAW.
The patches are provided as one PRLGLIB file to be used with the Korg Prologue Sound Librarian.
Please note it will overwrite all original Patches so backup your data first or use
the Korg librairian tool !!
By purchasing this soundset you get the right to use these sounds in your music. Sharing, reselling, making sample packs, including them in commercial patch collections, etc. is not allowed.
flickr By Minimal System Instruments
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"The MSI 001 Signal Processor is an all in one utility center for Eurorack Modular Synthesisers. Containing 5 standard attenuators (Both CV and Audio rates), 2 switched output attenuators (Audio and CV rates), 3 x 4 jack multiples, and finally a cross system audio interface.
For the latest info on Minimal System Instruments Eurorack Modular Synth Modules please visit our Facebook page and hit the 'Like' button.
"The new version of takete for iOS is available now. since its initial release, the tools that were once focused on the specific needs of one live audiovisual project have now been broadened.
It still has the ability to act as a complex multichannel looper with modular routing capabilities. but now with extra focus on creating music within the groovebox from scratch - with minimal audio samples.
new features
- universal app runs on iPhone and iPad
- new pricing scheme with a monthly subscription available to access full feature set
- all new presets written specifically for the takete groovebox
- brand new audio and video samples created at 3BS Records
- new audio fx units
- global and local swing added
- improvements and updates to existing version 1 features throughout"
"TAKE YOUR MUSIC TO THE NEXT LEVEL
Modular, the ultimate synthesizer that will revolutionize your sound.
• High fidelity virtual analog synthesis using band limited oscillators and oversampled filters
• Audiobus and background audio modes
• CoreMIDI control with external devices or internal sequencers
• Beautifully rendered graphics
• Dynamic workspace with intuitive navigation
• 10 octave keyboard with classically styled arpeggiator
• Extensive in app help with detailed module descriptions and guides
• Record and export live performance to Soundcloud, Sonoma Audio Copy, email and iTunes file sharing
Modular is a powerful sound design tool which allows you to build your own custom synthesizer by connecting different sound modules together. By separating each synthesis process, modules can be connected in any way. You are no longer limited to fixed synthesizer design, you are now in full control of your sound. This is the beauty and power of modular synthesis. Whether you are a professional musician or a beginner who just loves sound, modular offers you an incredibly powerful synthesizer experience.
Modular looks, acts, and sounds like a hardware modular synthesizer to give you features that musicians want such as pulse width modulation, oscillator sync, 4 pole ladder filters, and 1v/oct filter tracking. Traditional modular systems are expensive and out of reach for the average artist. Modular is here to bridge that gap and allow everyone the opportunity to use these powerful synthesizers.
Modular provides modules in every category for free. Enough to build a vast array of sounds. Buy only the modules you need or get the bundle which includes all modules including future modules. Owning a module means you use as many as can fit in the modular rack. You want to build a monster 6 oscillator synth? You can.
What makes modular special is the audio and visual experience you have with it. Beautifully minimal menu systems and interface along with ultra realistic synthesizer graphics are just the beginning. The real beauty is not what you see, but what you hear. Pristine and punchy oscillators that sound great, even at the extreme ends of the frequency spectrum. It starts with band limited oscillators. Not just traditional methods of band limiting, but band limiting that enables each note you play to have the maximum number of harmonics without distorting.
Every detail of the audio has been analyzed to provide you the most amazing sound possible such as buttery smooth filter sweeps and resonance so stable you can use the filter as an oscillator!
Modular goes a step further with connectivity and supports Audiobus, Soundcloud, CoreMIDI, as well as Sonoma Audio Copy so that your music making workflow is streamlined and integrated."
