"Moogfest 2014 Announces Daytime Presenters Including Futurists, Musicians, Scientists, Authors, Filmmakers, and Pioneers of Electronic Music Instrument Design
Phase 1 tickets start at $199 for 5-Day General Admission, and $499 for 5-Day VIP Admission while supplies last through December 19 when Phase 2 GA tickets go up to $299. All prices exclusive of applicable fees.
ASHEVILLE, NC – November 14, 2013 – Moogfest is a five-day festival dedicated to the synthesis of technology, art and music. Since its inception in 2004, Moogfest has been a magnet for artists, engineers, and enthusiasts of Bob Moog. With an experimental lineup of daytime conference programming featuring cultural, artistic and technological luminaries and punctuated by a diverse line up of landmark nightly performances, Moogfest honors the creativity and inventiveness of Dr. Robert Moog and pays tribute to the legacy of the analog synthesizer. This is no ordinary festival.
If you click the image and zoom in, to the left of the Tiptop Z3000 you should see what looks like a eurorack E-MU module. It has the classic E-Mu modular knobs as the original system in the background. The image was shared by Dave Rossum of E-Mu himself. Hopefully we will know more soon.
Update in via Soviet Space Child (Evolution filter module further below):
Update2: pics and details on additional modules added.
"The Evolution of EVOLUTION
The fundamental core of the Rossum Electro-Music EVOLUTION Variable Character Filter is Bob Moog’s famous “ladder” filter, which was described in US Patent 3,475,623. This circuit uses the variation of the Bipolar Junction Transistor’s emitter resistance with current as the voltage variable element in an RC filter. In the Moog implementation, four identical stages each implemented a single real lowpass pole. The Moog 904A module included a “Regeneration” control that created a negative feedback path around the four poles. Since each pole provided 45 degrees of phase shift at its -3dB point, increasing this feedback produced a resonant peak at cutoff. The musical utility of the Moog filter is, of course, famous.
In 1973, E-mu Systems introduced their 1100 submodule, which was the heart of their 2100 lowpass filter module. The 1100 used a Moog ladder as its core element, but I wanted to isolate the innate audio characteristics of the filter ladder from those colorations resulting from the input level-shifters and output amplifier used in the Moog 904A. I also envisioned a DC-coupled design with a cutoff frequency range well beyond 10 octaves, as well as eliminating variations of the height of the resonant peak or oscillation amplitude with frequency control voltage.
I level-shifted the exponential generator to allow the filter signal input to be directly applied to the ladder base. I then designed a completely new output stage for the ladder; this circuit has never (to our knowledge) been used outside my designs. The entire signal path was DC coupled and the resonant feedback path phase compensated. The 1100 was my favorite filter (I liked it more than the SSM2040 I later invented, and kept the 1100 as E-mu’s modular lowpass in preference to a cheaper 2040 design). The operational range of the cutoff frequency was from about 0.1Hz to 25kHz, with stable Q’s throughout.
In launching Rossum Electro-Music, I chose a new implementation of the 1100 filter as the first all-analog module for our Eurorack offering, based on its unique and outstanding audio characteristics. I re-engineered the basic 1100 core using modern available surface-mount components and then added a number of features to the original 1100 design:
Ladder filters self-oscillate, and can be used as VCOs. I was able to design the Rossum Electro EVOLUTION’s frequency control exponential generator to be extremely accurate and temperature stable, rivaling the specifications of the best analog VCOs. I also added a novel temperature compensation circuit for the ladder emitter resistance.
The resonance (“Q”) of the original 1100 was not voltage controlled. I implemented voltage controlled Q using one cell of an SSM2164 VCA (sadly, the original 2164 is no longer produced, so a replica source is needed). Since the SSM2164 is based on my 1979 design of the SSM2010, this is an apt choice. The phase compensation has been maintained, but we added a “Q Compensation” control. The negative feedback resonance path in the 1100, like the Moog 904A, caused the amplitude of signals in the passband to be attenuated as the Q increased, which some users found undesirable. If instead the signal is inserted into the Q VCA, this effect is eliminated. In EVOLUTION, the Q Compensation control allows insertion of the signal with an arbitrary mix into either of these inputs, allowing the ratio of direct to resonant amplitude to be arbitrarily selected.
There is no inherently desirable taper for Q control. In highly resonant, but oscillation-proof filters such as state variable designs, it makes sense to exponentially control Q. But in ladder filters, oscillation is expected, and high Q’s without oscillation are not practically achievable. The Rossum Electro EVOLUTION implements linear control of the Q VCA.
The ladder design, as I implemented it, has no inherent distortion for signals far below the cutoff frequency. The characteristic timbre of the filter comes primarily from distortions of frequencies near and above the cutoff frequency. The degree of distortion depends on the signal amplitude. Consequently, it is sonically interesting to modulate the signal amplitude going into the ladder, and modulate the output signal with the precise inverse gain. This is the function of the Species control. A high voltage into the Species input will cause the filter to distort more audibly.
Because ladder filters produce their resonance by feedback, the relationship of that feedback to the drive VCAs is critical. The Rossum Electro EVOLUTION places the Q feedback within the drive VCAs. This means that the filter’s resonance is unaffected by the Species setting, but that the amplitude of any self-oscillation will be inversely proportional to the Species level. When using the filter as an oscillator, the Species control can be used to amplitude modulate the output. If oscillation is combined with an input signal, the results become even more interesting. Like the Q circuit, SSM 2164 cells are used for the drive VCAs.
With these additions, the preliminary design of EVOLUTION looked pretty complete. Then Marco asked if it would be possible to add voltage controlled slope (those marketing guys are never satisfied). My first take was that this would not be practical, because varying the slope usually involves controlling complex pole pairs, and the ladder comprises only real poles.
Then I realized that I could steer the current around individual ladder stages in an analog manner, controlling the number of poles rather than the slope. A prototype proved this was both practical and audibly pleasing. Since the resonant frequency of a ladder filter is determined by the 180 degree phase shift point, it changes with the number of poles: 60 degrees for three poles, 45 for four, 36 for five, and 30 degrees for six poles. Modulating the number of poles produces a unique 'bubbly' sound.
Two more tweaks were needed to complete the circuit. Because the number of poles not only affects the phase shift for resonance, it also changes the amount of feedback required for oscillation, the pole control circuit needs to control the Q VCA in a manner such that the same Q control voltage produces oscillation for each pole setting. And since it’s useful but difficult to tune the initial pole setting to be in the center of the range (exactly steering the current to the desired ladder poles), I added analog controlled LEDs to indicate the activation of the poles."
The Evolution filter module appears to be the module in the image above.
"EVOLUTION is Dave’s updated take on his classic enhancement of Bob Moog’s iconic ladder filter.
At the core of EVOLUTION is Dave’s unique implementation of the Moog ladder filter from the original E-mu Systems 2100 LPF module (which, incidentally, Dave counts as his favorite of all of the analog filters he designed).
For EVOLUTION, Dave has designed new capabilities that not only allow users to dial in all of the outstanding qualities of the original 2100, but combine to let them create the sonic characteristics of a wide variety of other filter types. They include:
– A Genus control that allows continuous voltage control of the number of filter poles (from 3 to 6 poles), essentially allowing real-time variation of Evolution’s effective cutoff slope from 18dB/oct to 36dB/oct. LEDs give continuous indication of the current slope.
– A Species control that allows voltage control of the signal level into Evolution’s unique distortion circuitry.
– Voltage controlled resonance with a variable Q Level Compensation control that controls of the balance of the resonant signal and the frequencies below the cutoff frequency (which would otherwise be attenuated as the resonance is increased).
– An extremely accurate and temperature-stable frequency control exponential generator, rivaling the specifications of the best analog VCOs.Taken together, EVOLUTION gives everything from the platonic ideal of the classic ladder filter to an almost unlimited variety of alternative filter characteristics."
Details on the Control Forge & Morpheus Z-Plane Filter (from the E-Mu Morpheus rackmount synth):
Control Forge
Programmable Universal CV Generator
CONTROL FORGE is hard to describe briefly, as it’s unlike anything else available in Eurorack (or pretty much anywhere). The core functionality is drawn from the E-mu Morpheus’s insanely powerful (but hard to program on a two-line display) Function Generators. But now expanded into a supremely flexible modulation source encompassing elaborate one-shot contours, evolving cyclical patterns and sequences of arbitrary length and complexity.
– At its most basic, it’s an 8-stage function generator with variable time and target voltage level for each stage.
– Each stage’s level can be defined either absolutely or relative to the ending level of the previous stage and can optionally be quantized to the nearest 1/12 volt.
– Each stage’s level may have a user defined range of randomness of either linear or gaussian distribution.
– The time scale may be modulated under CV control or manually via the encoder during runtime.
– There are 191 different transition shapes between stages (indicated graphically on the display during selection), from linear and exponential shapes to various flavors of random, chaotic, and many more that don’t lend themselves to one-word descriptions, including the ability to pass CVs directly through to the output for individual stages.
– Also included are “DC” shapes that allow the module to be used as a sequencer with all of the module’s available programmability. When combined with the Preset Sequencer described below, sequences can be hundreds of steps long and modified in real time manually or by CVs.
– Each stage may optionally have a conditional jump mode that results in a jump to another selected stage if a particular condition is met. E.g., a CV being above or below the selected conditional value, the presence or lack of a gate or logic high at their respective inputs, rising or falling edges at the inputs, etc. So, in addition to one-shot shapes, extremely elaborate cyclical patterns can be programmed that evolve based on the various conditional inputs.
– Two independent triggers can be programmed to fire in response to a variety of events and can be used to affect either CONTROL FORGE itself or external modules.
– Hundreds of presets can be saved and recalled
– A preset sequencer allows stepping through user defined series of presets under trigger or clock control. This allows contours and sequences of almost unlimited length and complexity.
– All presets and sequences can be transferred to any number of CONTROL FORGE SATELLITES."
Morpheus Stereo Morphing Z-Plane Filter
With our MORPHEUS digital filter module, we’re finally able to unleash the full power of the 14-pole Z-Plane Filters that Dave invented for the E-mu Morpheus synthesizer.
Due to processor limitations back in the day, the original Morpheus was capable of real-time morphing between filter configurations, but interpolation in the frequency and transform dimensions were set at note-on and remained static for the remainder of the note. But even with that limitation, Morpheus offered sonic capabilities that are unmatched to this day.
With our new MORPHEUS filter module, you get simultaneous real-time CV control of all three dimensions, for dynamic timbral effects unlike anything you’ve ever heard before.
MORPHEUS features include:
– Over 190 14-pole filter configurations
– Real-time manual and CV control of Frequency, Morphing and Transformation
– The ability to save hundreds of customized filter configurations
– A sequencer for stepping through filter configurations under trigger or clock control
– A large OLED display for programming and realtime display of morphing
Like all Rossum Electro-Music digital modules, all parameters are available for adjustment with a single button press. No menu diving."
"SATELLITE is a compact 12HP module that can be loaded with all of the presets and preset sequences from a Control Forge and then function as a completely stand-alone CV generator. Once the presets and preset sequences are transferred from the Control Forge (via a patch cord connection), SATELLITE no longer requires any connection to a Control Forge.
With one or more SATELLITES, Control Forge owners can take advantage of all of their presets and sequences in multiple cabinets or even different systems
Multiple SATELLITE can be programmed from the same Control Forge and synced together via their Gate inputs to create complex polyphonic sequences and modulation contours.
SATELLITE will be available this spring from Rossum Electro-Music dealers worldwide."
Amazing series sent my way via John L Rice. Playlist and descriptions for each video in the playlist above, directly below. Enjoy. ;)
See here for previous posts featuring Battlestar Galactica.
Playlist:
1. Voice of the Cylon Pt. 1 The Synthesizer [ARP 2500]
Battlestar Galactica fans & synthesizer community, rejoice! For the first time in history the mysterious sound of the Cylon voice is revealed. I tracked down probably the last person alive who knows the entire formula, very private individual still works in visual arts. To him it was just a job he did 40 years ago, to me it's one of the most mesmerizing sounds in musical/sci-fi fx history. 6 parts to this series as of 11-2019.
2. Voice Of The Cylon Pt. 2 the Voice Recording
My contact told me "they brought us the voices" on Nagra III and IV tape machines. Vocoder recorded back to Nagra for film sync. Voice actor Micheal Santiago was hired to do the voice, but didn't, telling youtube user intromix later that "they ended up getting someone cheaper" to do it. One actor did all the voices, for consistency, reading the script in a lifeless, monotone voice as to not shift the frequency spectrum in the vocoder.
Finally it is known exactly which vocoder was used for the Cylon voice. Universal Studios had rented the EMS and Sennheiser, and when sound designer Peter Berkos was asked about it circa 2008 he mis-remembered due to having the Sennheiser manual still. Youtube user intromix has owned both and tested oscillators, it could not have been the Sennheiser but now we know for sure anyway.
The rare, quirky effect box that was used as an impromptu distortion device. My contact told me that they floated the idea of using a guitar amp and/or pedals, but did not even try it once they found this. ** Also, he told me NO Marshall Time modulator was used as it hadn't even been released yet.
5. Voice of the Cylon Pt. 5 Recording Gear
Two main pieces of studio recording gear that were present at Universal Studios in 1978 that had a big impact on the sonic character of the Cylon voice recording. Big thanks to Ken from Electrodyne for all his advice, as well as https://vintageking.com/ and http://petesplaceaudio.com
6. Voice Of the Cylon Pt. 6 Audio Demos & Credits
Resurrecting the sound of the Cylon Centurion from the original Battlestar Galactica 1978 using the original equipment. Once the vocoder was recorded, it was further altered/degraded by multiple tape transfers in the video editing process, post-production techniques (EQ and reverb, to "place" the character in a big room, spaceship, etc) My contact said there were just pieces of tape on the gear to place knobs/switches back where they were; and that the synthesizer frequently sounded very different from day to day or after a power outage. In the series there are wildly differing Cylon tones, tiny movements in gain or EQ settings (especially the ringy ARP 2500 filters) radically alter the vocoder due to the ultra-harmonic richness of the tone. So many preamps and transformers involved, it was hard for THEM to make the Cylon voice consistent. Supposedly sound designer Peter Berkos wrote notes on the process, Universal Studios couldn't locate any info at all, it likely all burned down in the great fire of 2008 as well as the golden ARP 2500 oscillator used all throughout Galactica 1980.
Preamp was running a bit hot in this demo, didn't catch until after, so this tone sounds extra crunchy in this example. I sampled my tones with lowpass filter a bit too low, hope to get another chance with the real thing some day.
7. Gold Cylon Voice Vulpa [extra video]
Recreating the lower voice of the Gold Cylon commander. There are so many steps and factors to re-creating the Cylon voice even the original crew could not make it consistent on a day-to-day basis. Out of hundreds of test files this year I'm only really happy with about 5 of them but will keep working to recreate it perfectly.
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!
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.
"A very rare prototype Synthi Hi-Fli, dating from 1972, in excellent condition following a full overhaul by EMS earlier this year.
One of only ten pre-production units made in 1972. David Gilmour reputedly still owns two of them…
Ultra-rare prototype EMS Synthi Hi-Fli – this is a knob-twiddler’s dream of an effect and the ultimate in hens’ teeth: your guitar will never sound the same again.
Different sound and spec to a standard Hi-Fli – this is the second such unit we’ve had and it broke my heart to sell the last one (I’ve been a committed HiFli nut since I bought my first one many years ago and have always had at least one in the studio ever since).
The prototypes don’t have the growl function, which was introduced about 18 months later. Production Hi-Flis all have the Buzz switch, but only the first ten prototypes had the Fuzz switch, which adds some interesting colouration to the up and down-octave sounds.
Ten production prototype Hi-Flis were made in 1972 but a redesign quickly followed the launch at the Frankfurt Fair to try to reduce the factory cost (the prototype design is not especially ergonomic for a guitar player to use – you have to lean back somewhat to access the pedals underneath the main unit). This original design features a removable aluminium pole which plugs into the underside of the main console and the top of the base unit, acting both as a stand and a conduit for power and signal connections (pole not included with this unit). The heavy-duty nylon-dipped base houses the power supply and sturdy twin pedals.
Dave Gilmour of Pink Floyd is reputed to still have two of these original units, which, according to Phil Taylor were first used for the Dark Side of The Moon tour that started in May 1973 at Earls Court. Opinion is divided as to whether a Hi-Fli featured on the DSOTM recordings: I can only say that it certainly sounds like it did.
Number one in Analogman Tom’s list of rare guitar effects from his excellent book.
Used by David Gilmour – see this Gilmourish blog for further details – he bought a prototype in 1972 and from what he recalls it was “very, very expensive”; Gilmourish also suggest it was used during the recording of Dark Side Of The Moon
"Like all the Maxon Vintage Series models, the PH-350 Rotary Phaser was designed to offer an extremely versatile effect unit that provides consistent, low-noise, transparent operation. The PH-350's features were selected after careful study of other phasing units in order to provide as varied and useful a tone palette as possible. Likewise, certain functions and features were disregarded in order to keep performance intuitive and trouble-free.
Like the CP101 and AF-9, the PH-350 circuit uses CdS Photocouplers to achieve its unique voice. While extremely popular in the 1970s, Photocoupler's have generally been abandoned in modern circuits due to their high cost, large size, and wide tolerance ranges. However, their resulting tone simply cannot be replicated using other components a truly liquid, vowel-like, three-dimensional phasing effect that is only compounded by the PH-350's multiple control parameters. To maximize performance, the PH-350's Photocouplers are matched for the smoothest phase shifting possible.
In addition to the standard Rate and Depth controls to vary speed and intensity of the phasing effect, the PH-350 also features switchable four, six, and ten stage phasing. As the phasing stages increase, the effect becomes more dramatic as focus is placed on the upper register harmonics. By changing the amount of phasing stages the PH-350 can emulate a wide variety of phase shifters, from classic units of the 1970's all the way to modern-day models.
Like the CS-550, the PH-350's third rotary control is its secret weapon. The PH-350's Feedback control features a center-detent at 12 o'clock which allows for both positive-phase and negative-phase feedback. Positive-phase feedback works in the standard way to increase the peak points of the phase signal as the control is turned clockwise. Negative-phase feedback works by "breaking" the peak points of the phase signal and "dephasing" the original signal. The resulting reversed-phase signal is delayed slightly from the original, creating a dramatic "scooped" effect unique to the PH-350. The Feedback control is calibrated to reach self-oscillation at either extreme, yielding a further array of bizarre oscillation effects.
Lastly, the PH-350's stereo outputs allow panning of the effect between two amplifiers or channels. The PH-350's ultra-wide frequency response and low noise allow it to process line level signals as well as standard instrument signals.
Ideal for the studio, essential for live performance, the PH-350 Rotary Phaser supplies a virtually unlimited array of classic and modern phasing effects.
Input Impedance: 500K Ohms
Input Jack: 1/4 inch standard phone jack
Output Impedance: 10K Ohms or less
Output Jack: 1/4 inch standard phone jack
Output: 2
Residual Noise: -92 dB
Maximum Output Level: +8 dB
LFO Speed: 0.06 Hz 12 Hz
Controls: Delay Time, Depth, Speed, Mix-Level
Switch: Normal/Effect, Mode (4/6/10)
Power Supply: Special AC adaptor Power Voltage DC10 V (AC-adaptor)
Current Consumption: 41 mA (10 VDC) AC Adaptor AC210N (option)
Input: AC120V Output DC9V/200 mA Center - / Sleeve +)
Dimensions: (whole) 117 mm (W) x 150 mm (D) x 60 mm (H)"
The first is the new thing: the MooSonics Vanilla Envelope. It is a 1MU envelope generator and VCA based on a certain 1970s cream-coloured synthesiser. I have also settled on the knobs I'm going to use for this product line, kind of an MXR style. I think this looks better for these modules than the aluminum inlay knobs I use for the aluminum panel modules.
"Enter Space!" says Sinclair Spectrum ZX through its Currah uSpeech synthesizer. The Atari STE and its Yamaha YM2149F chip in all its square wave glory does exactly that. The tools used to control the STE are NSQ (Near Synthesizer Quality), Chip Synth and MaxYMiser.
The powerful beats are coming from NI Massive except for the Hi-hats and noise bursts which are also Atari STE. As usual external reverb and delay are added. Hope you enjoy it!
Music and Sound Design by Mr Woofer (Konstantinos Kampanis).
Original footage and video editing by Mr Woofer.
"Hans Zimmer's 'RadioPhonic' Synth from AJH Synth @ Superbooth 24 - This monster MiniMod Eurorack modular system was commissioned by Hans himself, and he was kind enough to allow us to build a limited number of exact replicas which will be individually built to order by AJHSynth. Full details of the system, along with an interview with Hans Zimmer about his use of the MiniMod system, can be found at https://ajhsynth.com.
We will have one such RadioPhonic system on display in our bungalow at Superbooth 24, along with a MinMod Keyz, a 9U full system, and a huge monster case full of AJH modules.
Richard Quirk, and Wayne Taylor (DreamsOfWires/Tomorrow the cure) will also be there representing AJH with Allan J Hall himself. We'd be glad to chat about the modules and demonstrate some in action, so feel free to pop by.
The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
Official website page: https://ajhsynth.com"
Packrat's Juno-106 - Part 1 Published on Mar 27, 2013
"I don't normally do repairs for others, but this is a very special case: In this playlist I service and recondition the actual Juno-106 that was the inspiration for one of my fave Packrat comic strips by the infamous artist David C. Lovelace of UMOP dot COM fame.
Don't worry. This is the only time on the Syntegrator channel that I will read a comic out loud to you complete with character voices. That said, it's nice to know those two years I spent at acting school in my youth finally came in handy for something... ;-)"
Packrat's Juno-106 - Part 2 Published on Mar 27, 2013
"A quick once-over of this fairly pristine unit. The reverence shown by Packrat to his 'True Love' definitely applied to the real synthesizer behind the comic strip!"
John Bowen dropped by the other day with the Solaris Desktop prototype. Not only did I get a peek at the new design, but I was able to take a look at the upcoming v2.0 OS, which adds both Yamaha style "FM synthesis" and Casio's CZ Phase Distortion synthesis. It also adds multi-part support. You'll find a few pics in this post. Apologies for the lighting but it is dark in the studio. :) Below you'll find a few angled shots of the desktop. In person it's not as large as I had expected. It's similar to an Oberheim Xpander which seems appropriate considering their similarities. Both have multiple displays and have been described as essentially modulars in a box. From what I understand, the Solaris is a bit more flexible as you can essentially re-order the signal path. It's a pretty amazing synth. John Bowen opted for a high resolution 96kHz signal path and you can hear it. The Solaris sounds absolutely astonishing. It has four oscillators with a vector joystick to morph between them. You can also cycle through oscillator waveforms up into the audio range with the unique "Rotors" feature on the Solaris. Click here for a full list of current features. Note the v2.0 features aren't yet listed.
The Solaris has four oscillators allowing for a 4-OP FM synth. If you are familiar with Yamaha FM synthesis you know you select how each operator modulates the other from various algorithms. On the Solaris, however, you can freely map oscillators any way you like, including back into each other. The Solaris is essentially modular, allowing you to freely route components of the synth engine. Aside from FM and Phase Distortion, the new OS also adds an assignable 4-part multi mode. Assignable not only by patch, but by number of voices allocated to each part. The following is what John had to say about the upcoming OS:
"v2.0 OS will add a new Oscillator Type called Phase Mod. This allows for true 'DX style FM,' which is actually phase modulation. With four oscillators, you can create 4 Operator algorithms. It also includes waveshapes emulating the CZ Phase Distortion series. The modulation destination which normally shows as LinFM changes to PhasMod when this oscillator type is selected. For the CZ series, the Shape parameter controls the amount of phase distortion.
The new Multimode code allows for 4-part arrangement. Each part shares a common 'voice pool' of 5 pairs of voices (total of 10), and you decide how many voices can be assigned to each part, with 2 voices in a part as the minimum assignment. (Using identical presets with the new Solaris Voice Expander module adds another 10 voices.)
The Multimode structure converts old presets into a larger preset structure that holds the parameters for all 4 parts. All edits to any parameter are stored separately, so any preset used to populate a part from any other preset is not affected, and remains a separate object. Each of the 4 parts provides control over velocity and key zoning, volume level, pan position, transpose, fine tuning, arpeggiator function, and a number of other MIDI controller settings."
Door #6: Lasst uns froh und munter sein (Let us be happy and cheerful) - Synthmas '21
video upload by Synthfluencer
"The gear:
This song is played on the Casio CZ-5000 digital synthesizer. With the CZ series Casio stepped into the professional music market after getting famous with the VL-1, PT-1 and other casual instruments. All CZ synths used a synthesis technology called phase distortion. Some preferred PD before FM synthesis, since it can create bell-like sounds as well as warm analog sounding pads. Even though missing velocity and aftertouch as built in the CZ-1, the CZ-5000 was the second best equipped synth of the family. The two DCOs are capable of playing 8 different wave forms, can be ring modulated and formed by 3 envelopes for each DCO (DCA = VCA, DCW = VCF, DCO = VCO). The envelopes can have up to 8 stages what gives huge possibilities for sound design. Key split, layer sounds, a sequencer - not really easy to operate but unique in the price range at the time - and a really good sounding chorus made the CZ-5000 a dream synth for many electronic music enthusiasts.
Because operating the internal sequencer is a fiddly job I used a Korg-SQD1 for sequencing the song. The simple multi track sequencer was very popular in the 80s Detroit techno scene.
Trailer material: Pexels.com (image @seurafrancis99, video @cottonbro)"
Door #5: Morgen, Kinder, wird’s was geben (Tomorrow, Children, Something Will Be) - Synthmas '21
video upload by Synthfluencer
The song:
Originally named "Die Weihnachtsfreude" (The Joy of Christmas) the song occured first in the 18th century. It describes the childrens thrill of anticipation awaiting Christmas Eve.
The gear:
For this song I used the Yamaha MODX. The modern digital synth is basically using two synthesis engines: AWM2 is a sample based engine while the FM part is an enhanced version of legendary DX-7 engine that shaped 80s pop fundamentally. As the AWM2 synthesis allows an instrumentation in any thinkable fashion, the song's version presented here makes use of original DX-7 factory patches only. That gives the desired retro touch.
FM synthesis was a giant leap in synth architecture. Not only that digital synthesis was available for a broad customer base; the DX-7 put cutting edge expression technologys into play like breath control and MIDI and made upper class features like after touch available for the ordinary synthesist. The (then) unique e-piano patch defined a new standard and became a mandatory element of 80s synth ballads. The possibility of adding a (digital) filter and effects to the FM engine's sounds makes the MODX kind of a 'super DX7'. Hence the name MOreDX?
Trailer material: Pexels.com (image @seurafrancis99, video @cottonbro)"
Door #4: Es ist für uns eine Zeit angekommen (Unto us a time has come) - Synthmas '21
"The song:
The melody came up in the 19th century as a traditional Swiss star boys' singers Christmas carol. From it's origin, the Wiggertal in the Canton of Lucerne it found it's way to Germany. While first sung with the original lyrics, under the reign of the Nazis a secular version was created. Like years later the communist GDR regime, the Nazis tried to remove the christian aspects from Christmas - our celebration of commerce we all love so much today. Nevertheless, this version is the most common used for the song today.
The gear:
The song is played by a Roland JV-1010. Sometimes derided as a "ROMpler", this multi-timbral digital synth is equipped - like it's bigger brother the JV-1080 - with many legendary sounds of Roland's 80s flagship D-series (10/20/50). Like Roland D-synths the JV-1010 creates it's sounds using LA-Synthesis. Therefore calling it "ROMpler" is simply wrong. LA-Synthesis was Roland's bold move to finally break the success of Yamaha's FM-Synthesis intruduced in early 80s with the legendary DX-7. The idea behind LA-Synthesis is that real instrument sounds (back then synths aimed most notably to imitate real instruments) are recognized by the very first parts of a sound. So LA or linear arythmethic synthesis using very short samples at the beginning of a sound continued with subtractive synthesis.
For this song I only used factory presets. I think the JV-1010/1080 has a wonderful warm sound. A Roland D-10 was my very first synth that broke a few years ago and I always thought about replacing it by another one or a D-50. But the JV-1010 turned out to be much more than a makeshift. Love it!
Trailer material: Pexels.com (image @seurafrancis99, video @cottonbro)"
"The resurrection of a polyphonic icon. Softube Model 84 Polyphonic Synthesizer is a circuit-modeled emulation of a 1984 six-voice synth featuring the influential sound of the 1980s original. Use it as an instrument, in our official Eurorack platform, Modular, or our pro audio guitar & bass platform, Amp Room. The retro-future is here. ✮"
"Audiotool launches a Moogfest Competition for producers, winner gets to play at Moogfest and runners up get released on a compilation.
Los Angeles, CA, February 19, 2014: Starting today, Moogfest is inviting anyone to produce a track using the free cloudbased audio workstation Audiotool and submit it to the Moogfest Competition. The winner gets to play a set at Moogfest in Asheville, North Carolina, taking place from the 23rd to the 27th of April 2014. The winner will also, along with 7 runners up, have their tracks included on a limited edition release which will go out to the artists, VIPs and press who will be attending Moogfest.
Participants will have until the 25th of March to submit a track to the competition. A select panel including some of the Moogfest artists will then judge the tracks, with the the winner being announced on 1 April 2014.
Moogfest is the annual festival that celebrates the innovative spirit of founder Dr. Robert Moog, an American pioneer of electronic music and inventor of the Moog synthesizer. Emmy Parker, Brand Director at Moog Music Inc commented: “Moogfest represents the synthesis of technology, music and art. Audiotool's innovative platform empowers emerging artists to create on their own terms. We are excited to offer Audiotool's rich community of musicmakers an opportunity to be a part of Moogfest 2014.”
Since the 50s Moog Music has pioneered and developed devices that offer artists endless possibilities when it comes to creating sound. Audiotool, which started in 2008, brings together a range of retro and new school synthesizer emulations running in the browser, allowing collaboration and free access for anyone. The browserbased audio workstation is all about democratising the process of music creation and collaboration in the cloud. This partnership offers a unique opportunity to combine forces and to capitalize on the natural strengths and alignment of the two brands.
Audiotool inventor André Michelle said: “this partnership is huge for us and our users will be super excited about the chance of winning a set at Moogfest, for one just because of the incredible lineup. It’s also a unique opportunity for Audiotool users to have their music critiqued by some of the Moogfest artists."
Submission phase: 19 February 25 March
Winners announced: 1 April 2014
Grand Prize: Playing live set at Moogfest (flight, hotel and artist pass included)
1st 8th Place: Tracks will be on Moogfest 2014 compilation
About Audiotool
Audiotool is a cloudbased audio workstation that is all about the process of music creation in an open, inspiring and collaborative way. Audiotool launched in 2010 and has since gained over 500k users. It started as a TR909 emulation created by Andre Michelle in 2008, earning him the kudos for being one of the most innovative and capable Flash developers in the world. Andre Michelle was subsequently stalked by the idea that everyone should be able to make music through their browser. After 3 years of research and development this vision was fulfilled in the form of Audiotool. It has been awarded internationally for its design and rigorous development and has been praised by electronic music producers and the press: “You can really do everything that you would normally do in a realworld studio.” Richie Hawtin
About Moogfest
Since 2004, Moogfest has been a gathering for musicians that worked closely with Bob Moog and his instruments. In 2014, Moogfest is amplifying its vision and becoming a 5Day event dedicated to the synthesis of technology, art and music. Moogfest honors the inventiveness of Bob Moog and the legacy of the analog synth with an experimental line up of daytime conference programming and landmark nightly performances. Moogfest takes place April 2327th, 2014 in downtown Asheville, NC.
Some of this year’s lineup: Kraftwerk 3D: 3 Concerts, Pet Shop Boys, M.I.A, Flying Lotus, Dillon Francis, CHIC Feat. Nile Rodgers, Daedalus, YACHT.
About Moog Music
Moog Music is the world’s leading producer of analog synthesizers. The company and its customers carry on the legacy of its founder, electronic musical instrument pioneer, Dr. Bob Moog. The company hosts Moogfest, a fiveday festival celebrating the intersection of music and technology in honor of Moog's innovative spirit. All of Moog's instruments are hand built in its factory on the edge of downtown Asheville, NC. moogmusic.com
United Plugins puts past into present with JMG Sound Retronaut, realised as LoFi Nostalgia Machine multi-effect plug-in
“I hate to overuse superlatives, but, it has to be said, within a minute of trying out the amazing features of the Retronaut plug-in, I was astounded. Its versatility will work across all manner of instruments, from guitars to drums; I even tried some of the effects on a piano piece, and the results were extraordinary. This is going to be a great asset for film and media compositions, as well as my commercial recordings.”
- Chris Payne, orchestral composer for film and television/synthpop pioneer (co-writer of Visage's 1981 hit single ‘Fade to Grey’/former Gary Numan backing band member), 2023
PRAGUE, CZECH REPUBLIC: independent development teams federation United Plugins is proud to announce availability of Retronaut from founding partner JMG Sound — swinging back into action and putting the (analogue) past into the (DAW-driven) present as a so-called LoFi Nostalgia Machine multi-effect plug-in, perfectly capturing the vibe of old analogue gear by mixing bucket brigade chips, cassette tapes, VCFs (Voltage-Controlled Filters), vintage choruses, vinyl records, and more to transport its users back in time to explore their magical (musical) memories — as of February 15...
Explore the past History has it that mankind has not only travelled the world and the ‘Seven Seas’ but beyond that to take one giant leap to touch down on the Moon, meaning the sky is not the limit. Steps still need to be taken to literally leave future footprints further away from the natural satellite of Earth, yet reality reasons that humanity cannot physically step back in time to explore the past in person, however, rather relying on history to tell its story. Saying that, Retronaut, JMG Sound’s so-called LoFi Nostalgia Machine, musically transports those interested in exploring their magical (musical) memories from where they originated; after all, music has a miraculous ability to transport anyone back in time. Therefore, seatbelts should be securely fastened in readiness for an ‘analogue’ expedition through history!
LoFi Nostalgia Machine Make sure, then, that those seatbelts are securely fastened, for an ‘analogue’ expedition through history awaits as Retronaut is assuredly announced as a multi-voice vibrato and chorus plug-in, pulsating with lo-fi effects. Indeed, it is inspired by old analogue gear with which wisened ears welcoming warmth will already be familiar — think bucket brigade chips, cassette tapes, VCFs, vintage choruses, and vinyl records... Retronaut revisits that nostalgic musical magic of the past, putting it into the (DAW-driven) present with multiple ways to age and DEGRADE the signal being processed, thanks to controls for FLUTTER (adds random fluctuations to the modulation shape, simulating tape flutter); DUST (adds noise to the modulation shape); FAIL (adds random glitches of pitch and level drops to simulate old failing gear); WARP (adds pitch drift and a little tremolo at half-rate to all the VOICES globally); DIRT (controls the amount of tape-style saturation); FEED (controls the amount of cross-feedback by taking the outputs of the VOICES and feeding them into each other); and MONO (switches the signal to mono, simulating old gear with only one speaker, such as radios).
DIVERGE, MOD, MIX, and more Meanwhile, it is possible to offset the multi-voice engine — enabling users to MIX from a single vibrato voice up to 4 VOICES, resulting in a rich chorus — in various ways to create organic and evolving movements via the DIVERGE section: SPREAD (offsets the LFO phase in the left and right channels); LAG (introduces a time delay for each voice); PHASE (offsets the LFO phase for each voice); V2 SCALE (offsets the voice 2 modulation rate from the main modulation rate); V3 SCALE (offsets the voice 3 modulation rate from the main modulation rate); V4 SCALE (offsets the voice 4 modulation rate from the main modulation rate); and RESYNC (resets the LFO phases). But beating at the musical heart of Retronaut is its MOD (modulation) section with HP MOD (controls the modulation depth of the virtual analogue high-pass filter in both positive and negative polarity) and LP MOD (controls the modulation depth of the virtual analogue low-pass filter in both positive and negative polarity); dialling down the modulation depth for the vibrato effect with the associated VIBE control and then using other effects encourages that warm, woolly, and compressed tape sound. Shape the tone with the VCF section — anchored around those virtual analogue high-pass and low-pass filters, switchable between 2 (12dB per octave) and 4 (24dB per octave) POLE slopes, with RESO (resonance) control — and MIX to perfection. Possibilities are endless, almost: add lo-fi to drums, rich chorus to synths, and lush reverb to anything... ask orchestral composer for film and television/synthpop pioneer Chris Payne (Visage, Gary Numan), who was well versed in working with original analogue gear — of the kind that inspired Retronaut — on a number of historic hit records. “I particularly love the DEGRADE section, which can add a huge amount of expression to any sound you use,” he enthuses, ending on an equally high note: “I’ll certainly be building up a huge library of sounds using Retronaut over the coming months, and cannot wait to get started with it on my forthcoming projects.”
Key features: Captures the vibe of old analogue gear, mixing bucket brigade chips, cassette tapes, vintage choruses, and more in one powerful multi- effect plug-in Smoothly mix from a single vibrato voice up to four, resulting in a rich chorus Add that nostalgic lo-fi (musical) magic with the DEGRADE section — age sound from gentle dust and warmth to old, broken gear Control each voice independently with the DIVERGE section — offset them in various ways to create organic and evolving movements
JMG Sound’s Retronaut is available to purchase for a time-limited introductory promo price of only €24.00 EUR until March 19, 2023 — rising thereafter to its regular price of €89.00 EUR — as an AAX-, AU-, VST-, and VST3-compatible plug-in (using internal 64-bit audio processing capable of handling any sample rate) directly from its dedicated webpage (https://unitedplugins.com/Retronaut/), where a 15-day, fully-functional trial version for macOS 10.10 and newer and Windows 8/10/11 can also be downloaded for free.
Note that no iLok, dongle, or internet access is required for Retronaut activation. (All United Plugins software uses license files for activation and owners can freely use purchased software — with free-for-life updates — on all their computers, as long as they are the user.)
"Spitfire successfully pilots next-gen soundware back to EARTH with elemental eDNA release
LONDON, UK: compositional tools creator Spitfire Audio is proud to announce availability of the first phase in its eDNA (Electronic DNA) project, EDNA01 - EARTH — a mouth-watering, once-in-a-lifetime collection of electronic sounds served up from the most valued collection of orchestral recordings on the planet, creating the next generation of soundware for the next generation of music makers, as of September 12...
Fact: Spitfire Audio has spent the last decade creating the world’s finest orchestral library. But the simple fact is that this was never its prime objective. Often words are never enough, in fact, yet the tantalising EDNA01 - EARTH teaser did just that with a carefully chosen few: SPITFIRE DIRECTIVE: MAY 2004... PROJECT CODENAME: GAIA... OBJECTIVE: INFILTRATE THE WORLD’S GREATEST ORCHESTRAS... MINE SONIC ORE... TO CREATE RAW COMPONENTS FOR... eDNA... PHASE #ONE... EARTH ORGANIC SYNTHESIS.
Intriguing, isn’t it? So what on earth is EDNA01 - EARTH, exactly? Easy answer. For the last five years Spitfire Audio has been cherry-picking its way through the best musical moments from seven years’ worth of orchestral recordings and placing them through a series of extraordinary analogue and digital signal-warping chains to create the largest sound set of jaw-dropping, next-generation, organic-sounding electronics ever heard anywhere on earth. Either this is some of the best hyperbole ever written or something special has been happening behind closed doors, waiting for the right moment to be unleashed upon the unsuspecting music-making masses, more often than not already jaded by the morass of identikit, mainstream, and clichéd dance and pop sounds already available elsewhere. EDNA01 - EARTH is far from this, and far more besides, however. Hearing will be believing, believe us. Now that’s another fact to chew on! And here’s some more serious food for thought...
While Spitfire Audio has been hard at work recording the finest orchestral players for several years now, practising its collective craft of carefully creating the best strings, brass, woodwinds, and percussion libraries in the world to let loose on musicians the world over, coming from a background of the first wave of EDM (Electronic Dance Music), many here have hungered to get their hands on those superb sounds for further ill-gotten gains — hence the best orchestral recordings being saved to an above top secret hard drive to act as a repository for raw material. The elemental ore or set of polished diamonds, waiting to be roughed up all over again, if you will. While this proved to be a drawn-out process, it was well worth waiting for, that’s for sure!
Indeed, five long years were spent experimenting with orchestral warping techniques, finding the most rarefied analogue outboard and synths with which to filter, mangle, and much more besides, as well as commissioning and creating bespoke digital signal paths. Sounds were pulled up from that top secret hard drive, fed through an awesome multistage signal path, then left simmering overnight to create the most delicious and sometimes just plainly ‘wrong’ sets of sounds. Spitfire’s supremely talented team of multi-award-winning composers, producers, technicians, and engineers subsequently set about pairing down over a terabyte of data to more manageable musical chunks — the very best of the best with which to create a set of multi-sampled sound-sets that became the very building blocks of EARTH itself. Indeed, these were then meticulously organised by sound type into even more manageable sound banks, ready for future release when the time was right.
Rightfully so, Spitfire Audio — in partnership with Blake Robinson — has been hard at it for the last several years or so, cleverly creating some of the most intuitive and ingenious scripts, simple to use GUIs, and attractive front ends for its ongoing series of virtual instruments for Native Instruments’ industry- standard KONTAKT platform for Mac (OS X 10.7 or higher) and PC (Windows 7). Around a year ago, Spitfire Audio wiped the slate — or should we say script? — clean, and set about creating a monstrous new script engine, called eDNA (Electronic DNA), into which those ear-opening EARTH sound banks were effectively transplanted. ‘EARTH - Beta’ was then duly distributed around Spitfire’s state-of-the-art studio complex in central London, where the team truly went to town to create a quite frankly jaw-dropping selection of the most original, haunting, beautiful, epic, fat, angry, and downright unpleasant sounds you’re ever likely to set ears upon — here, there, or anywhere (else). EDNA01 - EARTH’s ingenious GUI genuinely fosters exploration into hitherto uncharted sonic vistas, all of which are a knob or slider away from being tweaked to belong to the user as they themselves see fit. Mangle (via the main MIX window) and add effects galore (via the main FX and MOTORISED FX windows)... it’s all there for the taking and more!
Who better to extol the many musical virtues of EDNA01 - EARTH than Spitfire Audio co-founder Paul Thomson. “There’s huge scope for you to get in and start making your own sounds with all this stuff,” says the working composer. “We are really excited about this one. It’s very useful, and it’s the kind of thing that we’ve been hankering after for a long time — especially Christian [Henson] and myself, who are always looking for some great, unusual synth sounds. The advantage of the way that we’ve put this library together is that you won’t hear the same sound that you’re using on your one- hundred-million-dollar blockbuster on the documentary about the lifecycle of the fruit fly the following day! So you can really dig in and create sounds that are your own signature in here.”
There you have it, then. An awesome-sounding collection of 1,900-plus basic instruments mangled into 1,001 custom patches across several so-called factory and artist ‘cartridges’ by Spitfire Audio’s award-winning team of composers, sound-smiths, producers, and engineers. eDNA (interface) and EDNA01 - EARTH (cartridges)... what a beautiful combination. Everything needed to take anyone ‘out there’ — and back to earth again!
EDNA01 - EARTH can be purchased and downloaded directly from Spitfire Audio for an attractive introductory price of £129.00 GBP (subject to VAT within the EU) — rising to £149.00 GBP (subject to VAT within the EU) on October 1, 2014 — from here: http://www.spitfireaudio.com/products-page (Note that this is a free Native Instruments KONTAKT PLAYER library — no additional purchases necessary to run this product to its full potential.)
For more detailed information, please visit the dedicated EDNA01 - EARTH webpage here: http://www.spitfireaudio.com/edna01-earth"
