Kawai R-50 III 🔥 Rare Industrial Drum Machine Only Released in Japan

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video upload by

"'I had never seen an R50 version III before.' - Jim Atwood, Professional Musician and Synth Tech in Japan.

If you go to Kawai's website you'll see there's no official mention of this drum machine ever existing. I thought for the longest time the rare Japanese-only release of the R-50 was a myth. In fact the only consistent comment you'll hear about this drum machine is that it's rare.

Now it's here at Vulture Studios!

The R-50 iii has all three eproms released for the Kawai R series of drum machines (R-100, R-50, R-50e) in one unit without the need to mod it to change the eprom sounds.

Common wisdom is that basically all the old Wax Trax industrial records from bands like Ministry, Front 242, Front Line Assembly and KMFDM used the Kawai R-50e drum samples, they have that classic industrial 12-bit sound.

In this video, we take a look at the Kawai R-50 III drum machine - a classic piece of electronic music hardware that has been used on countless records across a range of genres. We'll explore the features and functionality of the R-50 III, and delve into the history of this iconic instrument.

First, we'll give a brief overview of the R-50 III's capabilities and take a tour of the interface. We'll demonstrate how to create beats using the machine's 48 onboard drum sounds and explore its editing capabilities, including step sequencing and pattern chaining. We'll also showcase some of the R-50 III's unique features, such as its ability to adjust the tone and decay of each individual sound.

Next, we'll dive into the history of the R-50 III, tracing its origins back to the early 1980s when Kawai first began producing drum machines. We'll explore the evolution of the R-50 series and examine how the R-50 III differs from its predecessors, the R-50 and R-50e.

Along the way, we'll touch on some of the notable artists and genres that have utilized the R-50 III in their music, from 80s synth-pop to 90s hip-hop to modern-day techno. We'll also discuss the impact that the R-50 III has had on electronic music production and how it continues to influence musicians today.

Whether you're a seasoned pro or a newcomer to the world of drum machines, this video is sure to provide valuable insights and inspiration. So sit back, relax, and join us on a journey through the history of the Kawai R-50 III."

via this listing

Note this appears to be the first post to feature pics of the R50 III. It was featured in a couple of sample packs by Goldbaby featured in previous posts here.

I found Vulture Culture's video above doing a quick search on YouTube.

CLICK FOR MORE »

Metasonix R-55 Thyratron VCO Vacuum Tube Oscillator Eurorack Module

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

via this auction

bigcitymusic special edition on the bottom.

"For Sale: (1) Metasonix R-55 Thyratron VCO synthesizer module in eurorack modular format. This was a limited edition module that was only sold at Big City Music and is not longer available. Includes M3 screws and power supply ribbon cable. From Metasonix:

The R-55 is essentially one of the VCOs in the legendary S-1000 Wretch Machine in a 22U Eurorack module. It produces the notorious "sharkfin" sawtooth waveform of thyratron VCOs, replete with the weird pitch variations and apparent ﾓnoisinessﾔ of a thyratron oscillator.
Turn up the overdrive control, and the oscillator output clips the output amplifier pentode tube, for a unique soft-clipped square-wave sound. The simplicity of the R-55 will fool you--its behavior is erratic and weird, it always sounds broken, and the waveform is deviated in every way. You don't even need to feed it Hz/v CV; just run a square-wave or pulse signal from a conventional VCO into a pitch CV input, and it will force the R-55 to track along with the other VCO.

CLICK FOR MORE »

Metasonix R-60 and R-54 Videos

R-60 controlling R-54 - tuneup procedure

YouTube via metasonix | December 25, 2010 | 2 likes, 0 dislikes

"This demonstrates an R-60 MIDI-CV interface tuning itself to control an R-54 set as a VCO.

Those who have problems making an R-60 complete the tuning process could try these suggestions:

1) when setting the initial pitch of the R-54 at the beginning of the tuneup, set the R-54 pitch to below 32 Hz, not precisely at 32 Hz.
2) when tuning is done, press and hold the Learn button, then immediately press the low C key at least 3 times. Then operate the pitch bend while holding the low C key, this clears out the R-60 buffer.
3) if this still does not work, try a hard reset."

Basic voice, R-54 VCO to R-54 VCF, control by R-60

metasonix | December 26, 2010 |

"Simple patch: R-60 controlling one R-54 VCO, feeding another R-54 used as a filter. VCA and EGs are Doepfer. Yes, it really does sound like that. No reverb, delay or other sweetening was used.

If this isn't fat enough, you're pathetic."

Serge Custom Eurorack 420hp

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

via this auction

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

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

Modules Included:

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

R*S = Random Source

CLICK FOR MORE »

ROLAND ANNOUNCES NEW R-MIX MUSIC SOFTWARE for Mac/PC and iPad

"Los Angeles, CA, September 15, 2011 — Roland is proud to announce R-MIX, a new era in audio processing software, giving recording professionals and those just starting out the tools to visually and intuitively manipulate stereo mix audio easily in real time. Featuring the newly developed proprietary V-Remastering technology and the highly-acclaimed VariPhrase® technology, R-MIX allows you to see the individual components of a stereo mix as color-coded clouds of harmonic matter and to apply effects or center cancel exactly where and as you wish within the mix. R-MIX can also help musicians learn songs by offering focused access to any desired instrument in the mix and the ability to slow down fast or complicated sections.

By graphically breaking down the stereo mix data into three elements (frequency, panning, and level), R-MIX makes it possible to actually see the instruments inside the mix, using the Harmonic Placement. Change the panning and level, erase, extract, and add effects, and independently adjust the pitch and speed of the playback as desired. Lower the level of the vocal or any other instrument within the mix to create minus-one karaoke files or create remixes using two pairs of stereo tracks. Mastering live recording sources is also possible by adjusting the instrument levels and applying noise reduction and effects, and with R-MIX, you can create the highest quality sound and then export your project as an audio file for music player playback.

Since there is only one R-MIX screen to operate, workflow increases, and there is no need to switch screens. Menus are aligned according to the workflow, easing navigation, and a simple help window for each task allows for manual free operation. Windows/Mac compatibility and the intuitive design also makes it accessible to everyone from serious DAW magicians to novice users and easily integrates into education and video production settings.

R-MIX Tab, a simplified version of R-MIX, will be available for the Apple iPad later this year. This iPad application also uses the V-Remastering technology to extract audio elements and easily creates minus-one data from an audio file.

• V-Remastering
Roland’s innovative V-Remastering digital signal-processing technology gives you total control over the elements within a stereo audio file. Built into R-MIX, V-Remastering makes it possible for you to see each stereo mix as color-coded clouds of energy and harmonic matter, and easily isolate the individual instruments or elements within the mix and change their panning positions and levels. V-Remastering also gives you the ability to erase, extract, or add effects to each element within a mix. V-Remastering enables music-editing capabilities never possible before!

• VariPhrase
In conjunction with V-Remastering, R-MIX employs Roland’s acclaimed VariPhrase technology, which can make your audio “elastic.” The secret to elastic audio is the independent control of pitch, time, and formant*. Smoothly adjust pitch without changing tempo, for example, or adjust tempo without changing pitch. Audio is elastic, and freely under your control in real time. Even more amazing is that all of this can be done without changing the sound quality of the original recording.

*Formant parameter not available in R-MIX.

R-MIX availability and MSRP details are being determined now. For more information, please visit http://www.RolandConnect.com.
---------

About Roland Corporation
Roland Corporation is a leading manufacturer and distributor of electronic musical instruments, including keyboards and synthesizers, guitar products, electronic percussion, digital recording equipment, amplifiers, audio processors, and multimedia products. With nearly 40 years of musical instrument development, Roland sets the standard in music technology for the world to follow. For more information, visit http://www.RolandUS.com."

Roland Corporation - iTunes
iPads on eBay

Metasonix R-54 Mk-II

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

via this auction

"Metasonix R-54 MK-II Supermodule TUBE VCO/VCF

Welcome to the strange new world. The R-54 MkII is the most radical, revolutionary module Metasonix ever made. It will change the way you do music synthesis. There has never been an electronic-music product like this before. Even the oddest things that Buchla And Associates or Serge Modular ever made are prosaic and dull compared to the R-54.

It uses a triode-pentode in a unique Wien-bridge circuit, to provide clean sine-wave oscillation. Using a Vactrol, the pitch of the R-54 is sweepable from less than 20 Hz to more than 5 kHz, continuously, via front-panel control or a CV input. By adjusting the waveshape/resonance control, the sinewave signal produced by the R-54 can be trimmed to less than 10% THD (depending on operating pitch)---with NONE of the problems inherent in solid-state oscillators and sine waveshapers. Because the Wien bridge contains no piecewise sine shaper or amplitude-control circuit or component. The tube itself performs that job. So the distortion products are entirely low-order, unlike the "sine waves" that solid-state VCOs or samplers produce.

Turn up the overdrive control, and the oscillator output clips the output amplifier pentode tube, for a unique soft-clipped square-wave sound. The simplicity of the R-54 will fool you--its behavior is odd and radical, and it will take you months or years to fully explore all of its quirks.

Now for the special trick. Plug an audio signal into the audio input. Instantly, the R-54 transforms from a VCO into a bandpass resonant voltage-controlled filter, with the same range as in VCO operation -- 20 Hz to 5 kHz. Its behavior and sound are unique. Again, you will be kept busy for years exploring all of its strangeness.

CV response: Hz/v. Use a suitable MIDI/CV interface, or use our R-60 interface to obtain perfect equal-tempered tuning every time. Maximum output signal, 12 v p-p Power requirement: +-12v dc, 250 mA. (All specifications are approximate and may vary from sample to sample.) Tubes used: 19KG8, 6AK5.

The Metasonix R-series of vacuum-tube modules is intended for use in any "Eurorack" standard modular synthesizer system. All R-series modules are 22HP (112mm) wide and fit in any Doepfer(tm), Analogue Systems(tm), or other compatible cabinet. They are powered entirely from the cabinet's internal +-12v dc power supplies, using Doepfer compatible 16-pin power connectors. Their circuits protrude behind the panel less than 25mm (1 inch). All vacuum tubes are NOS (new old stock) types from classic American and European manufacturers that are run very conservatively for long life, and are readily available from distributors. The tubes protrude from the panel for visibility and cooling, less than 38mm (1.5 inches), and should fit inside a Doepfer A-100 suitcase cabinet lid or into a Doepfer mini case. All audio inputs and outputs and CV inputs/outputs are 100% compatible with other synthesizer modules. Plate voltage is provided by a tiny switching supply producing clean 48v regulated at low current, which is very safe and will not injure the user. Potentiometers are top-quality Alpha RK12L types, and 3.5mm phone jacks are special Kobiconn vertical-mount types, much better quality than the cheap ones usually seen in Euro modules. Each R-module is fully protected against reverse supply voltage, overvoltage, undervoltage, or incorrect hookup to external equipment. As with all Metasonix products, the R series is totally handcrafted in Northern California, USA."

NAMM: METASONIX - THE EURORACK SERIES

"Tube your modular synthesizer.

The Metasonix R-series of vacuum-tube modules is intended for use in any "Eurorack" standard modular synthesizer system. All R-series modules are 22HP (112mm) wide and fit in any Doepfer(tm), Analogue Systems(tm), or other compatible cabinet. They are powered entirely from the cabinet's internal +-12v dc power supplies, using Doepfer compatible 16-pin power connectors. Their circuits protrude behind the panel less than 25mm (1 inch). All vacuum tubes are NOS (new old stock) types from classic American and European manufacturers that are run very conservatively for long life, and are readily available from distributors. The tubes protrude from the panel for visibility and cooling, less than 38mm (1.5 inches), and should fit inside a Doepfer A-100 suitcase cabinet lid or into a Doepfer mini case. All audio inputs and outputs and CV inputs/outputs are 100% compatible with other synthesizer modules. Plate voltage is provided by a tiny switching supply producing clean 48v regulated at low current, which is very safe and will not injure the user. Potentiometers are top-quality Alpha RK12L types, and 3.5mm phone jacks are special Kobiconn vertical-mount types, much better quality than the cheap ones usually seen in Euro modules. Each R-module is fully protected against reverse supply voltage, overvoltage, undervoltage, or incorrect hookup to external equipment. As with all our products, the R series is totally handcrafted in Northern California, USA.

There is no longer any excuse to keep vacuum tubes out of your synthesis arsenal!

R-51
Vacuum-Tube Voltage-Controllable Distortion/VCA
The R-51 is unique and never before available in any form. It uses two remote-cutoff pentodes, type 26A6. Two CV inputs are available for controlling circuit distortion from less than 2% up to more than 40% (varies with individual tubes). Two CV inputs also allow use of the R-51 as a conventional synthesizer VCA, with gain variable from less than -75dB to +5dB (typical). Both distortion and VCA features can be used
simultaneously. This allows true vacuum-tube asymmetrical soft clipping to be applied to any waveform. With suitable CV processing, the R-51 can be configured as a true "variable mu" limiter or expander. Power requirement: +-12v dc, 150 mA.

R-52 (avail June 2009)
Vacuum-Tube Voltage-Controllable Multimode Filter
The R-52 uses two pentodes, type 12AU6. The circuit is derived directly from our award-winning TM-2 filter, but with all the features of our TM-6 filter. A pair of bandpass filters is swept with a Vactrol(tm) control element, a resonant treble filter and a less-resonant bass filter, giving a 4-pole lowpass response. Filter sweep range (approx): bass-only 80-200 Hz, bandpass/lowpass LOW setting 300-1000 Hz, HIGH setting 800-1900 Hz. Filter peaking from Q less than 1 to oscillation. Voltage gain approx. 2 with RESONANCE set to 10 o'clock position and INPUT LEVEL set to maximum. Both filters, or one at a time, may be selected and mixed in desired amounts using the front-panel RESPONSE control. This allows for a wide range of equalization and special sound effects. CV inputs are available for sweeping the cutoff frequency and for affecting the treble filter's resonance. Circuit distortion is less than 0.5% typical. Power requirement: +-12v dc, 150 mA.

R-53 (avail June 2009)
Vacuum-Tube Waveshaper and Ring Modulator
The R-53 is directly derived from our legendary TM-1 device. It uses a 12AF6/BD6 remote-cutoff pentode and a 12AV7 dual triode. Waveshaping is provided by a vacuum-tube "pulser" circuit that spits irregular pulses onto the input waveform. They synchronize erratically with the input pitch (if a waveform with sharp transitions is used). Combined with true vacuum-tube circuit distortion, this can provide a vast range of complex, aggressive distortion effects, utterly unique in
the world. A basic ring-modulation function is also available in the unit--applying a carrier pitch from an external oscillator to the screen grid of the pentode, this allows making inharmonic sum-and-difference pitch sound effects, with a unique vacuum tube pentode sound. Power requirement: +-12v dc, 200 mA.

See them at Winter NAMM, booth 6735 (Big City Music)."
http://www.metasonix.com

Metasonix R-series

YouTube Uploaded by shaft9000 on Apr 12, 2011

"A brief demonstration of what the Metasonix eurorack modules sound like on their own.. The initial ~30sec is through a Cwejman sph-2 spatial phaser. Some Eventide timefactor delay near the end. Everything else is only the 5 R-modules being modulated by a VILFO and controlled by the Doepfer a-198 ribbon controller.
The patch is:
- 2 R-54 oscs into R-53 ringmod
- R-53 to R-52 filter
- R-52 to R-51 VCA
- pittsburgh VILFO to R-53 carrier CVin
- A-198 position CV to R54 CVin, gate CV to R-51 VCA CV in
- A-198 pressure CV to R-53 Sweep CV in & R-53 pulserCV in, gate CV to VILFO CV1 in
- A Wiard Envelator is patched between the A-198 gate and whatever it's controlling, for slopes and decay"

Metasonix Wretch Machine Videos by Smokey Quartz

Wretch Jam #1 Published on Apr 12, 2014
An experiment. Metasonix S-1000 Vacuum Tube Synthesizer and R-56 Vacuum Tube Spring-Reverb Module. No keyboard or controller, just the S-1000 ran through the R-56. A lot of the noise, feedback, and distortion is coming from the R-56. Everything is competing for the attention of those little springs in the R-56. Lo-Fi, noisey, droney, and live.

The video is from an old digital camera. The audio is recorded straight into the computer with a little bit of EQ and compression. I can't say this is representational of the S-1000 or R-56 sounds, it is just what came out tonight.

Wretch Jam #2 Published on Apr 13, 2014
Another all tube improvisation, this time with the Metasonix S-1000 synthesizer and D-1000 drum machine being ran though the R-56 Spring Reverb module. The Elektron A4 is sending some triggers to the Metasonix gear but is contributing no sounds. Everything is competing for those little reverb springs.

Video is from an old digital camera. A mono audio signal being recorded straight into the computer with a compression and EQ.

Wretch Jam #3 (with Drone Cat) Published on Apr 14, 2014
Another with the Metasonix S-1000 and D-1000 being ran through the R-56 reverb module. Storge' the cat assisted.

Wretch Jam #4 Published on Apr 15, 2014
More reverberated, vacuum tube farts. Recorded during a total eclipse of the moon. 415.2014

Metasonix S-1000 synthesizer and D-1000 drum machine ran through the R-56 reverb module. Interrupted by kitten.

Wretch Jam #5 (with Drone Cat) Published on Apr 16, 2014
A quick drone with kitten. The Metasonix S-1000 vacuum tube synthesizer ran through the R-56 spring reverb module.

Wretch Jam #6 Published on Apr 19, 2014
Another wretched jam with the Metasonix Wretch Machine, D-1000, and R-56.

Wretch Jam #7 Published on Apr 20, 2014 Smokey Quartz·8 videos
Another hypnotically horrible Wretch jam with the Wretch Machine and R-56 spring reverb module.

Wretch Jam #8 Published on Apr 21, 2014 Smokey Quartz·9 videos
A wretched improvisation with the Metasonix S-1000 Wretch Machine and R-56 Spring Reverb module. Storge' the cat lends his support.

Metasonix R-54 MkII VCO/VCF

via this auction

"Metasonix R-54 MkII VCO/VCF Eurorack Synthesizer Module. In great condition with no problems. Includes Box & Cable.

Welcome to the strange new world. The R-54 is the most radical, revolutionary module we've ever made. It will change the way you do music synthesis. There has never been an electronic-music product like this before. Even the oddest things that Buchla And Associates or Serge Modular ever made are prosaic and dull compared to the R-54.

It uses a triode-pentode in a unique Wien-bridge circuit, to provide clean sine-wave oscillation. Using a Vactrol, the pitch of the R-54 is sweepable from less than 20 Hz to more than 5 kHz, continuously, via front-panel control or a CV input. By adjusting the waveshape/resonance control, the sinewave signal produced by the R-54 can be trimmed to less than 10% THD (depending on operating pitch)---with NONE of the problems inherent in solid-state oscillators and sine waveshapers. Because the Wien bridge contains no piecewise sine shaper or amplitude-control circuit or component. The tube itself performs that job. So the distortion products are entirely low-order, unlike the "sine waves" that solid-state VCOs or samplers produce.

Turn up the overdrive control, and the oscillator output clips the output amplifier pentode tube, for a unique soft-clipped square-wave sound. The simplicity of the R-54 will fool you--its behavior is odd and radical, and it will take you months or years to fully explore all of its quirks.

Now for the special trick. Plug an audio signal into the audio input. Instantly, the R-54 transforms from a VCO into a bandpass resonant voltage-controlled filter, with the same range as in VCO operation -- 20 Hz to 5 kHz. Its behavior and sound are unique. Again, you will be kept busy for years exploring all of its strangeness.

And now, it's got two new tricks. A VCA CV input allows you to control the output level of the R-54 as well as the amount of clipping in the output tube. Plus, a HARSH switch introduces a feedback loop into the CV control. Turn up the output level and the R-54 does very strange things.

CV response: Hz/v. Use a suitable MIDI/CV interface, or use our R-60 interface to obtain perfect equal-tempered tuning every time. Maximum output signal, 12 v p-p. Power requirement: +-12v dc, approx 150 mA. (All specifications are approximate and may vary from sample to sample.) Tubes used: 19KG8, 6AK5."

Metasonix R-55 VCO's, R-54 VCO's/VCF's, R-57 Dual Preamp/VCA

Published on Sep 10, 2014 bigcitymusic

"Two Metasonix R-55 Thyratron VCO’s are being routed into two Metasonix R-54 Supermodule VCO/VCF’s. Audio output from both R-54 modules is feeding the Metasonix R-57 Dual Preamp/VCA.

At 00:00 we start monitoring one of the R-55/R-54 pairs. At 00:25 we bring in the second R-55/R-54 pair to layer with the first. Manually adjusting 'Master Tuning', 'Waveshape/Filter Resonance' and 'Overdrive Level' controls."

New DETECT-Rx & CLONE Eurorack Modules from Steady State Fate

"DETECT-Rx features three useful utilities to expand your modular capabilities.

EXTRACT-R is a voltage controlled comparator with three selectable range settings, LINE LEVEL, 5V and 10V. A Threshold knob sets the trip point to extract a 10V gate signal. CV input for allows for PWM and voltage control of the comparator threshold.

RECTIFY-R is a simple positive voltage rectifier for octave-up and rectifying bipolar signals into positive only signals.

DETECT-R is a versatile Envelope Follower with three selectable frequency ranges, an additional envelope smoothing control and an input gain control offering up to 27dB of input gain to accommodate line and low level signals - including med to hi output guitar pickups.

Some convenient Jack normalizations are provided:

Patching into the DETECT-R only; will normalize the input into the EXTRACT-R and RECTIFY-R, providing all outputs from a single input.

Patching into the EXTRACT-R only; will normalize the GATE output into the Envelope DETECT-R input, producing an extracted GATE based envelope at the EXTRACT-R's output.

Using the Gate output into the Envelope DETECT-R input provides an additional following method based on variable Gate Extraction from the program material.

All normalizations break if additional inputs are utilized."

"CLONE is a 3hp, High fidelity Multiple featuring two 1x4 buffered multiples.

Multiple B is normalized from multiple A to provide 1x8 multiple capability.

CLONE allows for signal multiplication with extremely low degradation and each section is capable of driving an equivalent load impedance of 300Ohms without signal loss or distortion.

We use audiophile grade active components to ensure signal integrity and fidelity across the audio and low frequency spectrum, ensuring zero loss of your multiplied signals.

In light of modular making it's way into polyphonic territory, 1:4 multiples are necessary to accommodate 4 voice polyphonic modular systems."

via Steady State Fate

Metasonix R-54 Sketchbook vol.1

"This is a collection of auditory sketches I performed with the infamous Metasonix R-54 vacuum-tube driven synth module.designed by mastermind Eric Barbour.

About the R-54 in Eric Barbour's words...

"Welcome to the strange new world. The R-54 is the most radical, revolutionary module we've ever made. It will change the way you do music synthesis. There has never been an electronic-music product like this before. Even the oddest things that Buchla And Associates or Serge Modular ever made are prosaic and dull compared to the R-54."

Now that's setting the bar high!

This collections of improvised analog modular synth compositions feature the unruly tube driven R-54 module that refuses to be tamed.

The compositions on this ep were recorded live in one take with me tweaking the dials, controls and sometimes live patching. The R-54 is a really deep module that will keep you busy for years.

The proceeds of this auditory sketchbook will all go towards me getting the Metasonix R-51 module. Thanks for supporting my synth module addiction... I'll keep feeding your ears.

- Shiro (((Aum)))

Hidden R-54 composition included in album download.
credits
released 12 May 2012
All songs composed, performed, mixed and mastered by Shiro Fujioka aka VoltageCtrlR "

AJH Synth WAVE SWARM REVIEW. Will it give you BIGGER ANIMATED SOUNDS?

Published on Aug 6, 2018 SonicVoltage

"AJH Synth WAVE SWARM REVIEW - Eurorack DEMO PATCHES. AJH Wave Animators Modular Synth Review (2018). Do your patches sound big enough? Index Below

IN THIS EURORACK MODULAR SYNTH REVIEW
We take the AJH Synth Wave Swarm - Dual 6 Stage Wave Animators for a spin.
- Are front panel layout and physical controls good in use?
- We send different types of signals to its inputs and check out the animated sound at the outputs.
- Does it sound fat?
- Can it help you create ‘bigger’ sounds?

AJH Synth Wave Swarm - Wave Animators - REVIEW INDEX

00:00 INTRODUCTION
Module Introduction
Some Patch Preview
FIND OUT WHAT’S INSIDE THE MODULE!!!
Interface Considerations
INs and OUTs
Channels VCOs (LFOs)

CLICK FOR MORE »

New Metasonix R-56 Reverb Module

via Big City Music

"Very limited number coming by Tuesday, November 12th. Pre-order now (or don't). As soon as the very limited number have been pre-ordered, the "add to cart" button will go away.

The R-56 is unique and never before available in any form. It is a limited-issue product.

It uses two 9-pin miniature triode-pentodes, type 12CT8. The design is optimized for maximum sound quality and minimum noise and hum. It is presently the only vacuum-tube spring reverb usable in a Euro-rack modular synthesizer.

The Input Drive level allows adjustment to suit any signal level, from -10dBu to the hottest module audio output. By overdriving the input, tube distortion is added, then solid-state distortion effects, from subtle to extreme. The two Output Level controls allow adjustment of the output mix, between totally "dry" (no reverb effect) to totally "wet" (reverb effect signal only). An added "Wet Only" output jack carries only the Wet signal for experimentation.

A feedback loop allows for direct feedback around the spring. This effect is independent of the input signal and affects any input signal. It can produce feedback oscillations whose frequency is dependent on the spring delay time and the driving signal. An Invert switch allows inversion of the drive signal to the spring input, which can produce drastically different sounds, especially on bass-heavy transients such as bass drums.

The miniature reverb spring "tank" is mounted directly on the front panel. If physical access to the springs is desired, the plastic cover can be easily removed by undoing two snaps.

Two CV inputs are available. One for controlling input preamp gain, from complete cutoff (-2v) to maximum drive to the spring. The other controls the feedback loop around the spring, for a wide range of chaotic distortion effects (the Feedback control knob must be turned up for this effect to operate, as it uses a vactrol to increase feedback around the potentiometer).

If the users wishes to attach a larger (guitar amp style) spring tank assembly, a set of RCA jacks on the rear is provided. The external tank should have an input impedance of 300 ohms or more, and an output impedance of 1000 ohms or more. The internal and external tanks may be operated together in parallel, for very complex reverberation effects.

Because the R-56 is a special limited-issue module, it uses an extremely high-quality custom engraved anodized aluminum front panel, with black paint infill.

Power requirement: +-12v dc, 300 mA after warmup (800-850 mA cold startup is required for 3-5 seconds). Tiptop uZeus and "Happy Ending" power supplies cannot run the R-56 and are not recommended. Most Doepfer(tm), Monorocket(tm), Analogue Systems(tm) and other third-party cabinets should have no trouble powering the R-56.

The Metasonix R-series of vacuum-tube modules is intended for use in any "Eurorack" standard modular synthesizer system. The R-56 module is 28HP (146mm) wide and fits in any Doepfer(tm), Analogue Systems(tm), or other compatible cabinet. The R-56 is powered entirely from the cabinet's internal +-12v dc power supplies, using Doepfer compatible 16-pin power connectors. (+5v power is not used.) The circuits protrude behind the panel less than 38mm (1.5 inch). All vacuum tubes are NOS (new old stock) types from classic American and European manufacturers that are run very conservatively for long life, and are readily available from distributors. The tubes protrude from the panel for visibility and cooling, less than 38mm (1.5 inches), and should fit inside a Doepfer A-100 suitcase cabinet lid or into a Doepfer mini case. All audio inputs and outputs and CV inputs/outputs are 100% compatible with other synthesizer modules. Plate voltage is provided by a tiny switching supply producing clean 48v regulated at low current, which is very safe and will not injure the user. Potentiometers are top-quality Alpha RK12L types, and 3.5mm phone jacks are special Kobiconn vertical-mount types, much better quality than the cheap ones usually seen in Euro modules. Each R-56 is fully protected against reverse supply voltage, overvoltage, undervoltage, or incorrect hookup to external equipment. As with all our products, the R-56 is totally handcrafted in Northern California, USA."

Roland TR-808 - Roland Cloud - quick demo

Published on Mar 6, 2018 Alba Ecstasy

"Next day after Roland announced their new Roland TR-8S, the Roland Cloud version of the legendary TR-808 is on my computer! This is just a quick demo, passing through the presets, nothing more."

You might remember the NAMM demo. Roland's cloud version of the TR-808 is now available.

"Features

The Thing That Goes Boom
In 1980, the Roland TR-808 Rhythm Composer was released to an unsuspecting and somewhat bewildered public. To many at the time, its tweakable analog tones didn’t exactly deliver “traditional” or "realistic" drum sounds. It wasn’t until after a few adventurous musicians and producers got their hands on the TR-808 and started tweaking those knobs that the world would feel the impact it would leave on music forever. For decades since, the sizzling hi-hats and snappy snare, the clicky rim shot, the unmistakable cowbell, and yes—that booming bass drum—have been heard on worldwide hits and underground classics. Its influence is so deep that it’s been name-dropped in famous tracks, had albums dedicated to it, bands named after it, and is even the subject of a feature-length documentary film.

That 8 Oh 8
The Roland TR-808 is one of the most revered and sought-after electronic musical instruments of all time—and its influence only continues to grow. New musical genres make heavy use of the 808, with some utilizing it as the main instrument and defining sound of the style. The Roland TR-808 is so desirable that original units sell for thousands of dollars on the used market and it's often been imitated with sound-alike sample-packs, less-than-faithful apps, and knock-offs. But the 808 is a complex beast and far more than the sum of its parts. Its iconic user interface and the unique personality created by the sounds responding and interacting with each other are vitally important to conjuring up that authentic TR-808 mojo. And you know it when you hear it.

The Return of The King
Using our proprietary Analog Circuit Behavior technology, we’ve painstakingly recreated the original analog circuits that are the essence of the TR-808’s distinct sound. All the nuance and detail are accounted for resulting in a living, breathing Roland TR-808 for your DAW. This software adaption not only sounds and acts true-to-life, but it injects new and exciting enhancements into the classic 808 formula. Each pattern has eight variations so you can create evolving sequences that keep things interesting. The classic 16-step "TR-REC" sequencer can be expanded to include a sequencer lane for each drum instrument so you can program faster and more fluidly. The sequencer has adjustable flams and sub-steps so you can create detailed fills and ratcheting sequences. And each instrument has its own “last step” and shuffle settings so you can play with timing, experiment with polyrhythms, and dial in just the right groove for your tracks. You can even drag patterns from the TR-808 directly into your DAW as MIDI or audio clips!

Specifications

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R-moduletest1.mpeg

YouTube via metasonix | December 22, 2010 |

"Demonstration: four R-54s used as VCOs, controlled by R-60 MIDI-CV and Doepfer quad EG, mixed to stereo, fed thru two R-53s, then to two more R-54s used as filters. EG modulation of filters only.

Is this sound "fat" enough for everyone?

As you can see, the Monorocket cabinet has no problem running eight Metasonix R modules plus an R-60 and many others. Sixteen tubes in total, plus 4 more in the MW cabinet."

Update:

R-53 demo

metasonix | December 23, 2010 |

"Same patch as previous video. We show the operation of the two R-53 waveshapers, first the pulsers, then the ringmodulation inputs using audio from a Zorlon Cannon."

10/29/25 ARP 1613 + Metasonix R-54 53 52 51 56 + Zerosum ZI61 & VCA + MFB ADSR + OAM + MIDIVERB (…)

video upload by Cfpp0

"10/29/25 ARP 1613 + Metasonix R-54 & 56 & 53 & 52 & 51 + Zerosum Inertia ZI61 & Voltage Controlled Annihilation + MFB ADSR + OAM Time Machine + Alesis MIDIVERB 2

The ARP 1613 sequencer output A controls the Metasonix R-52 sweep CV in, which creates the high resonant rasp on the reversed quarter notes. The R-52 runs into the R-53, which adds the pitch to the R-52 rasp, then through the R-51, controlled by the MFB dual ADSR, gated by the ARP 1613 gate bus 3. This signal goes through the R-56 for more distortion and spring reverb—panned center on the Mackie Onyx 1640, with stereo room reverb from the Alesis MIDIVERB II. Meanwhile, the more mechanical-sounding squawk/chirp/scream loop is the ARP 1613 quantized output B controlling the pitch of the R-54, which runs through the Zerosum Inertia Voltage Controlled Annihilation, which runs through the Zerosum ZI61, high is controlled by the MFB dual ADSR, gated by the ARP 1613 gate bus 3. The ZI61 is panned left on the Mackie, but it also feeds the OAM Time Machine delay, which is panned center on the Mackie.

NTS:
USCIS, windowless"

Soul Of the Machine: A Celebration of the Life & Legacy of ARP founder Alan R. Pearlman

via the Alan R Pearlman Foundation

Available on Bandcamp here

Press release follows:

Kingston, NY— In 2025, the Alan R. Pearlman Foundation celebrates the centennial of its namesake, the electronic visionary whose marvelous ARP synthesizers changed the landscape of music forever. As part of the ongoing celebrations, the Foundation is announcing the release of Soul Of The Machine, a 36-track musical celebration of the man and his creations as interpreted by a diverse range of recording artists.

Soul Of The Machine is a 36-track collection of tracks old and new, covering everything from innovative electronic, dance, and space music to jazz, funk, and Latin pop, all featuring the signature sounds of classic ARP instruments. The collection includes everything from ARP’s first synthesizer — the massively powerful ARP 2500 modular system — to the instruments that rewrote the rules on how electronics and music came together. The 2600, Odyssey, Pro Soloist, Omni, and many more ARP instruments sing, cry, scream, and soar, in the hands of musical talents both legends and newcomers.

Soul Of The Machine is a treasure trove of musical exploration. Martin Gore’s “KIno" combines Depeche Mode’s signature rhythmic power with a uniquely lyrical and sweet atmosphere. “Mr. No” is a celebration of the classic proto-techno sound of John Foxx. Award-winning soundtrack composer Mark Isham showcases his signature pulsating energy and evocative moodscapes in the mini-suite “Musings – in Two Parts”. Lisa Bella Donna takes listeners on a journey into timeless wonder in the epic “Conclusions.” JG Thirlwell’s “Sphere” is a synth freakout ricocheting between ominous sci-fi atmospheres and searing beats. Panic Girl offers "Drifting Whispers," a somber and uplifting neo-retro journey into a past that never was.

Other artists on the collection include Michael Brückner, Phil Cirocco, Rupert Greenall, LaMar "Kronick" Mitchell, Jeff Rona, Drew Schlesinger & David Torn, Don Slepian, and many others, as well as tracks by the collection's curators Steve Roach and Chris Meyer of Alias Zone.

Famed ambient / electronic pioneer and ARP user since 1978, Steve Roach shares his thoughts on Soul Of The Machine: "In 2024 I had the honor of meeting Dina Pearlman-Ifil — the director of the Alan R Pearlman Foundation — in person. Over the course of several phone conversations we discussed ways to celebrate the centennial year of her father's life and his place in history. My idea for a compilation of music using her father’s creations grew out of those conversations, presenting a perfect way to directly experience the vast range of music that was birthed by the family of ARP synthesizers. This compilation is just a small taste of the universe Alan inspired in sound explorers and artists across a vast range of genres."

Steve mapped out the music so that CD 1 represents a sonic journey and CD 2 provides a showcase of the depth and breadth of what ARP synths can do. After both CDs were finalized, there were more tracks than room on the CDs. These additional songs are available as a bonus digital supplement to the physical CD set.

Says Dina Pearlman-Ifil: “I have long-dreamed of a multi-genre collection that would illustrate the depth and breadth of the possibilities of my father's instruments. This collection is the embodiment of what my father treasured most: The creative spirit. As the old ARP tagline used to say: ‘The most creative part of an ARP Synthesizer is you.’”

The Alan R. Pearlman Foundation is dedicated to the empowerment of young and burgeoning artists into the future. When we look at classical instruments born hundreds of years ago, we see that Alan Pearlman's synthesizers stand tall, earning their place in the evolution of musical history. Acoustic or electric, their common ground is the enduring inspiration for creativity and sonic innovation that inspires the hearts and minds of musicians, performers, and sound explorers worldwide.

Soul Of The Machine will be available for streaming on October 17, 2025. The special limited edition CD will be available for purchase in early-to-mid-November.

Proceeds go the Alan R. Pearlman Foundation

The Alan R. Pearlman Foundation is a 501(c)(3) not-for-profit organization.
Our mission is to celebrate the legacy of inventor, musician, entrepreneur and engineer Alan R. Pearlman, by making his innovative inventions publicly accessible, and by inspiring future generations to imagine and create.

ARP Centennial Compilation Concept: Steve Roach
Project Directors: Steve Roach, Chris Meyer, and Dina Pearlman-Ifil Mastered by: Robert Rich

Cover concept and design by Dina Pearlman-Ifil, production by Sharon Wasko

This compilation wouldn't be possible without the support of our incredible sponsors: Cherry Audio, Korg USA, Moog Music and Steve Roach.
Also HUGE thanks to Chris Meyer / Alias Zone, Mark Marshall / interage.com for all things web, Dr. Mike Metlay/ atomicwords.net for creative input on the liner notes, and Sam Rosenthal / Projekt Records.

Purchase from BandCamp: https://alanrpearlmanfoundation.bandcamp.com/album/soul-of-the-machine...

Metasonix R-54

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

via this auction

"This is an impossible module to find and it was just luck that I was able to get it so I’m selling it with great reluctance. It kicks ass. Blast and blast, it’s got power and intensity. Grab it before I change my mind.

It uses a triode-pentode in a unique Wien-bridge circuit, to provide clean sine-wave oscillation. Using a Vactrol, the pitch of the R-54 is sweepable from less than 20 Hz to more than 5 kHz, continuously, via front-panel control or a CV input. By adjusting the waveshape/resonance control, the sinewave signal produced by the R-54 can be trimmed to less than 10% THD (depending on operating pitch)---with NONE of the problems inherent in solid-state oscillators and sine waveshapers. Because the Wien bridge contains no piecewise sine shaper or amplitude-control circuit or component. The tube itself performs that job. So the distortion products are entirely low-order, unlike the "sine waves" that solid-state VCOs or samplers produce.

Turn up the overdrive control, and the oscillator output clips the output amplifier pentode tube, for a unique soft-clipped square-wave sound. The simplicity of the R-54 will fool you--its behavior is odd and radical, and it will take you months or years to fully explore all of its quirks.

Now for the special trick. Plug an audio signal into the audio input. Instantly, the R-54 transforms from a VCO into a bandpass resonant voltage-controlled filter, with the same range as in VCO operation -- 20 Hz to 5 kHz. Its behavior and sound are unique. Again, you will be kept busy for years exploring all of its strangeness.

And now, it's got two new tricks. A VCA CV input allows you to control the output level of the R-54 as well as the amount of clipping in the output tube. Plus, a HARSH switch introduces a feedback loop into the CV control. Turn up the output level and the R-54 does very strange things.

CV response: Hz/v. Use a suitable MIDI/CV interface, or use our R-60 interface to obtain perfect equal-tempered tuning every time. Maximum output signal, 12 v p-p. Power requirement: +-12v dc, approx 150 mA. (All specifications are approximate and may vary from sample to sample.) Tubes used: 19KG8, 6AK5.

WARNING THIS MODULE USES 400mA FOR START UP!"