Experiments with music and electronics by Lanthan O'Ide

Published on Mar 11, 2018 Lanthan O'Ide

Playlist:

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modular shades #21 berlin#01

Published on Nov 8, 2018 Elinch

"berlin is, since i can think, something very special for me - longing, mysterious, history.
in the first part of my soundtrack for berlin, I want to dedicate myself to the "golden 20s" of the last century.
this brief phase of abundance, the heyday of art and culture. However, with an oppressive feeling, the dark time that comes then.

my first album is now available on bandcamp: https://elinch.bandcamp.com/

1. backgound #1 /// make noise morphagene (voice samples - randomly triggered by alm) / mutable instruments clouds
2. backgound #2 /// make noise morphagene (sequences from verbos harmonic oscillator - randomly triggered by alm) / mutable instruments clouds

malekko voltage block is used as a cv-mixer (er301)
3. vb fader 01 granular #1 /// orthagonal devices er-301 granular mashine (mutable instruments rings sample)
4. vb fader 02 granular #2 /// orthagonal devices er-301 granular mashine (mutable instruments rings sample)
5. vb fader 03 granular #3 /// orthagonal devices er-301 granular mashine (mutable instruments rings sample)
6. vb fader 04 effects /// verbos harmonic oscillator & make noise sto / ring modulated by listing mk4 / audio in in er-301
7. vb fader 05 sample #1 /// orthagonal devices er-301 sample player (strings sample)
8. vb fader 06 sample #2 /// orthagonal devices er-301 sample player (piano sample - randomly triggered by alm)
9. vb fader 07 granular #4 /// orthagonal devices er-301 granular mashine (choir sample)
10. vb fader 08 sample #3 /// orthagonal devices er-301 sample player (piano sequence sample)

recorded live with tascam dr 100. for the best listening experience listen to the video with headphones or good speakers."

7XWAVE Sample Sequencer

BEATS N BOBS

Playlist:
7XWAVE Sample Sequencer:Walk-through Part 1
7XWAVE Sample Sequencer:Walk-through Part 2 (Step Edits)

"This is a guide to 7XWAVE Sample Synth & Sequencer app
Explained how to choose tracks to edit sound and quick basic step editing.
Choose/import sounds, filters, trimming modulation and effects."

via the Apple Appstore

"7Xwave - a 7 track sample sequencer with synthesiser & animatable modulation features.
So many sound manipulation possibilities can be had with this whether its a funky electro backing track or crazy glitch effects.

Each track adjustable up to 64 steps.

Choose a sample, tweak the sound using envelopes & filters.

Add effects to each sound, pan, level, sample start, length pitch & filter.

Lock track parameter dials to a step or record dial movements in real time.

Export recorded loops or route audio into Audiobus or AUM etc keeping in sync with other apps using MIDI or Ableton Link.


This app was inspired by the Korg Volca & Electribes. I had so much fun with the Volca but it felt limited in memory and steps. It was a very fun sound toy & occasionally a loop maker but I wanted to be able to store more, longer patterns, and have more variation in sequences. Being a massive fan of the Korg Electribes, i looked at the recent Electribe Sampler. It was cool but just didn't seem as fun as the older Electribes plus you couldn't animate the sample start and length which to me was the best part of the Volca. So i decided to see if I can make my own app that does what i wanted. Using the knowledge i gained from 2Xb303 & 6X806 I delved deeper into audio coding. Originally an environment artist, I have had to leant alot as i go, but here after many months during a strange year of set backs, I finally finished it. I know there will be some disappointed its not AUv3 as I havent managed to find a way for that just yet. I have had great fun with this and created some cool loops and tracks myself. I dont need my Volca anymore. I hope you enjoy this too.

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Sonic Detours

Published on Jul 15, 2016 Sonic Detours

Playlist (full descriptions for each further below):
1. Mr. Fingers - Can You Feel It (Sonic Detours Cover)
2. Korg Volca Bass, Keys, Sample and Beats + Waldorf Rocket - Detour #1
3. Korg Volca Jam - Detour #2
4. Korg Volca + Waldorf Rocket Jam - Detour #3
5. Korg Electribe Ambient/Downtempo/Chill Without Beat - Detour #4
6. Jam with Push 2, Waldorf Rocket, Roland JU-06, Korg Volca Bass and Keys - Detour #5
7. Detour #6 - Push 2, Roland JU-06, MicroBrute, Korg Volca Bass, Keys, Beats and Sample
8. Jam with Korg Minilogue, Roland JU-06, MicroBrute, Korg Volca, Ableton Live, Push 2 - Detour #7


1. Mr. Fingers - Can You Feel It (Sonic Detours Cover)

"I bought a Roland JU-06 today and decided to celebrate with a cover of a house music classic.

Gear used:
- Roland JU-06
- Korg Volca Bass
- Korg Volca Keys
- Korg Volca Sample
- Ableton Live 9
- Ableton Push 2
- Novation Launch Control

Ableton live was used for sequencing and mixing only - all synth and drum parts were played on the hardware units."

2. Korg Volca Bass, Keys, Sample and Beats + Waldorf Rocket - Detour #1

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AJH Synth MiniMod Sample Hold & Slew // Everything you could want from S&H and more!

Published on Dec 13, 2018 DivKidVideo

"**TIMING INDEX / SECTIONS BELOW** Here's the wonderful Sample Hold & Slew from the MiniMod range by AJH Synth. It's really everything you could want from a sample hold as ... you also get track and hold, a great noise source with a clipping option and tonal/colour shift, a gated slew/glide/lag processor with slew time, linear or exponential slew shaping, options to slew up (rising) / down (falling) or both movements in voltages. The internal clock source is always present on the output even when clocking externally so when you slew that you have a handy shapeable bonus LFO. Last but not least there's a totally unique restrict feature that restricts the potential range of movements between steps without restrict the overall output range.

I tried to make this a real education/tutorial thing for sample and hold, noise sources, slew + track and hold so I hope it's a useful resource for learning about synthesis too.

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Jim Heintz on Software Eumulation of Analog

Jim Heintz posted the following on the AH list in response to VST emulation of classic analog. I asked him if it would be ok to put this up here and he have the thumbs up.

"This is an interesting point. Being an engineer and the developer of TimewARP 2600, I understand very well how emulations (at least the TimewARP 2600) are implemented.

It is a matter of fact that if you want more accuracy in your digital emulation, then more CPU power is required. One simple example of this is by looking at a pulse wave that is generating a 10khz signal on a computer setup with a 44.1khz sample rate. If you set the pulse width of the signal to 10% there is no real accurate way to represent it at the 44.1khz sample rate since there are only approximatly 4.1 samples per cycle of the waveform at that rate(for simplicity, let's not look at oversampling which can defiantly improve the resultant waveform).

The easiest way to improve the accuracy is to increase the sample rate which also has the effect of multiplying the CPU usage by what ever the difference is. If you choose a 96khz sample rate instead of the 44.1khz sample rate, you now have 9.6 samples per cycle, which will give you a much better resultant waveform. This will cost you however by using quite a bit more CPU.

As far as modeling components rather than outputs, the TimewARP 2600 does this to a great extent now. There are certain modules in a synth that cannot be accurately modeled by components however. Oscillators are the biggest culprit here. Because of the fact that you are in a sample based environment, you MUST keep all generated harmonics below the sample frequency otherwise you will hear audible aliasing in the signal. This phenomenon applies to any digital signal, sampled or generated. As such, if you create an oscillator in software that exactly models the circuit (saw, pulse, triangle) you will defiantly get aliasing in the output signal. To produce signals that sound and behave like real analog signals in a digital environment, you must band-limit everything to be below the Nyquist limit (which is the sample frequency divided by 2). On the other hand, many components can be simulated using the components of the circuit.

The best candidate for this type of emulation are filters, however, even in filters, you must be concerned with band-limiting. This is usually done with oversampling in filters.

One of the biggest areas of difference between most emulations an real analog has to do with the rate at which parameters are updated. Many emulations only update parameters and control cv sources at the digital frame rate, which is usually between 50 and 500hz. This of course effects the quality of the output signal. This is most apparent when you have patches that use higher frequency control sources. Audio frequency modulation is out of the question for emulations that use this scheme to update parameters and control cv sources. As a side note, TimewARP 2600 updates ALL parameters and ALL sources at the full sample frequency.

To the point that no two vintage analog devices sound the same, this is quite true. Alan R. Pearlman told me that when they were building synths they spent a great deal of there resources matching an qualifying components so the circuits would behave as consistently as possibly. There was always variations that they could not control. When you implement an emulation, there is inconsistencies go away and the resultant output is always the same for a given patch. In order to introduce "life" into the emulation, we do add stochastic behavior in certain places, otherwise the emulation would not feel right. It would not be out of the question to add features to an emulation to allow the user to adjust certain component values and thereby hear the difference, but we (at least not Way Out Ware) have not produced that product yet. If there is enough demand for it, then I would love to take a project like that on.

Best regards,

Jim Heintz
Followed by:

We have had many reviews of the TimewARP 2600, and most have been overwhelmingly positive. As it turns out, the people at SOS reviewed the first release of TimewARP 2600, and spotted several bugs that we too spotted and fixed in the updated version. It was unfortunate that they did not update the article to match the latest version of the program since the article was printed about 9 months after the update was made available. Also, I believe their ARP 2600 was from a different era than the one we modeled. That said, I have contacted SOS, and they have told me that they would review the next update version of TimewARP 2600 when we make it available. We hope to have it out soon.

For another point of view, you should check out the EM article written by Larry the O. Larry at one time had a very large collection of ARP hardware and is an expert on the ARP 2600. He found the TimewARP 2600 to be quite convincing.

We are about to release our second product which is called KikAXXE. It is an emulation of an ARP AXXE synth with a step sequencer, drum machine (ala TR-606) and a tape delay similar to an Echoplex EP-2 built in. It is designed to be easy to lay down beats and synth lines. It takes advantage of features that are present in the computer such as host sync, midi learning of beats and synth lines, etc, as well as calculating an analog style signal path for all of the audio to achieve excellent audio quality. It uses the same core engine as TimewARP 2600. We will make more info available after it ships. We also plan to have a demo available on our website similar to the demo for TimewARP 2600.

Best regards,

Jim Heintz"

Ginko Synthese SampleSlicer 12-Bit Eurorack Sampler Demo

Published on May 25, 2016 gstormelectro

"Video and Audio by G-Storm Electro c.2016

Demonstrating the Ginko Synthese SampleSlicer 12-Bit Eurorack Sampler. Yes 12-bit sampling, just like those old Akai S-900, S612 and MPC-60 samplers. I ordered it from Modular Addict and they shipped very quickly. This module required assembly and good soldering skills, and took me a couple of hours to build.

It uses an incoming clock to control sample recording and playback.

Recording: Control of sample length which controls how big or small the slices are. Input can be switched to audio or to record Control Voltages.

Playback: Realtime control of changes in sample length. Increasing length causes repeats, decreasing length chopped-off segments that run faster and can result in semi-granular type sounds. Also has realtime controls for pitch, start time, and length of the entire sample.

0:00 AUDIO sample of the DNA Symbiotic Waves Sequence.
1:00 CV sample of the DNA Symbiotic Waves Sequence.
1:34 AUDIO sample of DNA doing weird things
2:45 MIXING together the sample and modulating the original audio
3:57 AUDIO sample of acoustic guitar from iPod (signal boosted by mixer).

Great module for glitch. My iPod signal was pretty weak so it needed to be boosted by a mixer, it handled my other module signals like a champ. Also, maybe in future versions it could include reverse sampling."

Waldorf M 1.07 RC Update Adds PPG Waveterm Transitions Replay, Additional Filter Modes & More

This one is via an anonymous reader. Full release notes below.

Regarding PPG Waveterm Transitions Reply:

"I always dreamed of PPG Waveterm Transitions replay. So there are they here in M! Now in classic mode one can use the second oscillator as a PCM oscillator and play one of the 64 transitions, saved into internal flash. They could be loaded from the SD Card to the M and used for your patch. So you can make 4 channel Drum Machine with analog and digital VCF on each channel. Or multisample layered patch. And the OSC1 stays free to play its own wavetable. So I am very curious, what you can introduce with this new feature."

"You can load up these old samples and use your M as if you had a PPG Wave + WaveTerm combo."

New filters: Notch 12dB / Oct, LP 24dB/Oct, BP 24 dB/Oct,HP 24 dB/Oct, Notch 24 dB/Oct, Sin Waveshaper + LP 12 dB/Oct, Dual LP/BP 12 db/Oct, BandStop 12 dB/Oct. Almost all of the MicroWave 2 XT's digital filters are now available on the M.

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Elektron Spotlight: Introvert

via the Elektron newsletter
Audio embed below - you might want to start the player first and then come back and read the interview while it's playing.

"Happy and careless 8-bit Nintendo sounds and ever-evolving and intricate compositions. When Introvert operates his machines, these contrasting types of expressions are welded together with ease. The uniqueness of the music gives the impression of listening to something deeply personal.

Why do you think the chip sound is so compelling?

I guess mostly because of the nostalgia of the sound. I mean I think that it is something that most people from my generation grew up hearing on almost a daily basis. It's almost like this minuscule part of our childhood that we can all relate to. Chiptune music to me is just so much fun and those familiar sounds can be made fresh again with modern machines like the Octatrack. I just use the Octatrack MIDI sequencer and my Wayfar MidiNES and go at it.

I also love that even people that I know, who don't really care for what I do musically, can't help but smile when they hear chiptune music. They seem to understand my excitement when they hear that 8-bit grit. It just tickles parts of your brain like a familiar scent from the past. It takes me back to a place when we were all kids and when life was more simple, fun and laidback.

Some of your songs, like»Chicago Dreaming«, are very complex. What is your approach when creating such intricate pieces?

Well, when composing some of the more complex tracks I do, I usually don't have that much of an idea of a finished product and I really don't have a set technique for composing. But what I have found with myself is that I'm usually most productive if I just focus on only one thing at a time. Whether it's beats, synths, Eurorack or just noises for backgrounds, concentrating on just one small piece, rather than the whole picture at once, is really important to me.

I usually take just a Monomachine or a Machinedrum or my Octatrack into a room, away from all of my other gear, so I can just focus on that one machine. That way I can get as lost in that single element as possible. I will usually do that with several machines and then when I can get a large chunk of time to zone out and experiment, I bring all of my machines together and start to layer sounds.

I have an Allen and Heath ZED 22FX so I can run everything all at once and sort of let things build themselves. I currently only use Ableton Live 8 when recording. No other software, no plugins and almost no post edits or software effects. I try to just get things as tight and as formulated as possible before I go into Ableton.

Needless to say the copy and paste features in all of my Elektron boxes get used an insane amount. If a groove really connects with me I will make 10 or 20 different copies and variations of that same groove with different swells, retrigs and lengths. This helps me to have as many variations as possible of a single thought.

Once I have done that, it is possible for me to apply my favorite Elektron trick. It is implemented in the Machinedrum and as far as I know, nothing else out there lets you do this. The trick is the Control All feature. When I found this trick my musical life changed for the better. What I do is I will have one straight groove running on one of my machines (usually my Octatrack or my MK1 SPS-1 chaining tons of patterns together). On my UW I just freak out with another groove by holding function and turning a knob so it will turn that knob consistently for every sound across your entire machine. But the cool thing is that it does not map the same for every machine. So if you are using internal machines or ROM machines parameters will be mapped differently, causing crazy cool things to happen! And when you are done "freaking out", just hold your function key and press the classic button and the saved kit will be reloaded. WOW! Ok, now run that through your Octatrack Echo Freeze delay and your electronic life will be changed.

Which aspects of song writing do you find the most rewarding? And which do you find the most tedious?

For me I honestly think the most tedious and stressful part of the writing process is the recording phase. And it's not really recording per se, it's finding the time to really be able to sit down and fully immerse myself in my machines. I think I have the tendency to over think things and that can be really impairing when it comes to completing things.

But I find the most rewarding part of making music is getting positive words and feedback from people I don't even know, or people that I really respect (like you wonderful people at Elektron or the guys at Trash_Audio). When I get nods from fellow synth geeks or professionals out there in the world, it really makes me happy in a way I can't really explain. I don't get to play out very often but it always makes me feel great when there are music geeks that I have never met who are personally effected and inspired by my music and says how much they enjoy my noises. So I guess what I find the most rewarding is people connecting with and enjoying my musical thoughts on a personal level.

Does acquiring new gear change your approach to producing music?

Oh, without a doubt! I think new gear always sparks excitement and confusion, which forces you to work out of your comfort zone. Every piece of gear inspires a unique spark of creativity that, I believe, can be attributed to the creators of the product and their personal background as musicians. That said, I usually just use new gear to create samples and sample banks for my Octatrack and Machinedrum. So while new things can severely change my approach to my creative process, new gear also helps me find new love and inspiration in current familiar machines like my Octatrack and UW. I recently have really been getting into Eurorack and there is a whole world of possibilities and noises out there that I never could have even imagined of. I have created tons and tons of personalized oneshot drum sounds, drones and swells and dumped them into my Octatrack to be mangled. This works great, because by using the Octatrack, and especially the chromatic function, an unfamiliar instrument can become familiar.

I also play Monomachine, Octatrack and guitar with a full, instrumental, band called Karass and I absolutely love to use my Elektron machines in that context. They are so flexible and enable us to keep things 100% live. While I would love to be able to take my Analogue Solutions Vostok or my Metasonix boxes with me to every practice and gig, I rather keep them safe at home. With the Octatrack we can still have access to all of those noises in a live environment and even expand on those thoughts in a really fun and LIVE way.

Check out Introvert on Facebook and SoundCloud"



via Introvert on The MATRIXSYNTH Lounge

Elhardt on Synthesis

Elhardt. Some of you may recognize the name. For those of you that do, it might conjure up a number of reactions, some good some bad. : ) He has been the source of a number of controversies and one grand spectacle in the synth world - the Bahn Sage. The Bahn Sage was probably the biggest synth spoof ever. I remember spending weeks with others trying to find more on this mystery synth. A photo showed up on the net and it quickly spread, followed by more, and finally a brochure that had people whipping out their Photoshop skills to analyze in detail. In the end it was a fake; a brilliant hoax.

Now Elhardt has be showcasing his amazing programming skills by conjuring up some of the most realistic acoustic examples of real life instruments with an Alesis ION, Andromeda A6, and MOTM modular. Is it real or is it another hoax like the Sage? Who knows. I'm inclined to believe these samples are real given the attention to detail with the Bahn Sage, and replications of real world instruments by synthesists such as Wendy Carlos in the past, but you never know, do you. His samples are pretty awe inspiring (check out the links to some of my previous posts below for some examples, specifically the realistic drum set).

Another controversial perspective on synthesis from Elhardt? Knobs are not performance controllers. They are used to edit and create sounds. That's it. If you want to control sounds while playing, use the dedicated performance controllers on the synth like the mod wheels and keyboard. : ) I like to play outside of the box myself. Regardless I am impressed by Elhardt, and I do appreciate his dedication to synthesis.

Recently Elhardt sent an email to AH on his perspective on synthesis. I asked him if it would be ok for me to post it and he said yes. Enjoy. Or not. : )

Elhardt on Synthesis:

"Following are all the reasons I like to do realistic emulations of reality.

1) There is nothing interesting about playing samples. Everbody is doing that. Buy a $200 Casio and it does it. The skill of synthesis is completely missing. An artist paints a landscape, he doesn't just snap a photo of it. Sample libraries make everybody sound the same. If everybody synthesized their own acoustic sounds, everybody would have a different style.

2) Sample libraries are so insanely huge and can't even be fully used in real-time. I'd have to spend weeks sifting through 35 Gig of string samples and articulations and go through days of intense sequencer/midi programming to get them to play in a realistic manner. I'd have to use them from a computer with bug-ridden software. Major sample libraries are never complete, and constant updates suck money from you for the rest of your life. It's all going in the wrong direction.

3) I want instruments that play like physically modeled instruments. I just call up one patch and play it expressively in real-time. Simple. I also want to do instruments I can't buy samples of, or create brandnew instruments never heard before.

4) BTW, I have a lot of sample libraries, and some of the instruments suck, sometimes it's just a few notes that suck, sometimes the attacks are too slow and they can't be played fast, there are mistakes made (like clicking noises in garritans trombones, or a mono sample within stereo samples and so on), there's the repetative nature of hearing the sample recording played everytime the note is played, and so on.

5) Synthesis died in the 80's, before anybody ever pushed it to its limits. That is unsatisfying to me. When I first heard Tomita, I thought he was synthesizing virtually everything. Through the years, I found out he was using real instruments, mellotrons, and other acoustic methods in places. I want to do what he didn't. When I do a CD, I want to say I created all those sounds. As synthesists, aren't we supposed to show those snobby acoustic musicians we don't need them or their sounds?

6) Acoustic sounds are complex and hard to synthesize. It demonstrates extreme skill, knowledge of sound, and totoal control over a synthesizer to accomplish the advanced and difficult programming to acheive some of those sounds. It requires coming up with new techniques and tricks which are challenging and have never been done before. We've been hearing awful string patches, corny brass patches, cheesy drum patches for decades now. I want to push subtractive synthesis to its limits to see what it can really do, even if it were for no other reason than to say, "see", it really can be done.

7) Doing spacey synth pads and sequenced bass lines and that stuff is all nice and good, and I create many patches like those myself. But those things are relatively easy to accomplish. They don't force you into extreme patches of a 100 modules or into using a 42 band filter bank and spending weeks to acheive something nobody else can seem to do. You can't do this stuff on a Minimoog or OB-8. So as Matthew pointed out, it's mostly unexplored terrain. And doing something for the first time is more motivating to me than doing things already done.

BTW, my latest Nord violin I believe sounds better than the Synful one over certain ranges of notes. After I make two more passes through the 42 band filter bank refining it, I think I may have a better sounding violin over the entire range. Though it still won't play as smoothy. I'm also back to working on my additive string synth for the winter. The one I started working on before Synful hit the market and took some of the wind out of my sail."

Some previous posts on Elhardt:

http://matrixsynth.blogspot.com/2005/08/bahn-sage.html
http://matrixsynth.blogspot.com/2005/12/alesis-ion-ralistic-drum-kit.html
http://matrixsynth.blogspot.com/2005/11/alesis-ion-demos-by-kenneth-elhardt.html
http://matrixsynth.blogspot.com/2005/11/alesis-andromeda-a6-and-motm-demos-by.html
http://matrixsynth.blogspot.com/2005/11/alesis-andromeda-a6-samples-by-kenneth.html

Ginko Synthese SAMPLESLICER Now on Kickstarter

https://www.kickstarter.com/projects/ginkosynthese/sampleslicer

"The ultimate realtime sampler for your modular. No it's not another sampleplayer! It's a realtime cv controlled sampleslice sequencer.

The Sampleslicer will be the ultimate realtime sampler for your modular system. No, it is not a sample player!

It is a real-time sampler/slicer for your modular Eurorack system, with features that move it far beyond the scope of a regular sample-player.

What does it do?

The Sampleslicer is a real-time monophonic sampler, including a 16 step voltage-controlled sequencer.The incoming sound is chopped up automatically into 16 parts by the incoming clock signal and spread out over the16 steps in the internal sequencer.

How long can it sample?

The length of the recorded sample is set by a clock-divider, so the recording time is always linked to the incoming clock signal. You can choose between time divisions of 2, 1½, 1, ¾, ½ and ¼.
If the divider is set to 1 the sample time is equal to 16 incoming clock-pulses.
If set to ½ the sample length is equal to 8 incoming clock-pulses, spread over 16 slices (so half the time). It will produce even more glitchy fun when set to ¾, as it will spread 12 steps over 16 slices. The maximum sample time is about 30 seconds and the minimum sample time is a fraction of a second for granular noises.


How does the sequencer work?

Inside the Sampleslicer there is a 16-step voltage controlled sequencer to play back the sound. Every step is dedicated to a 16th part of the recorded sound inside memory. When the 16 steps are full the sequencer starts playing from the chosen start point till the chosen amount of steps are played. This can be in one-shot mode or in loop mode for infinite looping.
The start point and play length is determined by potentiometers or CV input.
Last but not least the individual slices can be played back as notes via CV from a sequencer or keyboard, by setting the start point in V/oct mode and play length to 1.

How does the pitch work?

There is a control to pitch the slices up or down. The pitch control affects the overall pitch of the recorded material. It can be controlled via CV.

What only realtime sampling?

Our vision on the modular world is that you get most fun out of realtime created sounds. Out of principle we chose to make this module without a memory card reader. However, if we reach our Kickstarter goal we will most probably make an add-on for using memorycards. These add-ons will be compatible with the Sampleslicer via a header on the back.

What about the soundquality?

The sample rate is 12bit, just like the good old sampling madness days. A lovely sound with a slightly raw character without being gritty. For comparison: CD digital sound quality is 16bit, gameboys are 8bit, the E-mu Emulator is 8bit, E-mu Emax is 12bit, the MPC60 is 12bit, the AKAI S612 is 12bit, the AKAI S900 is 12bit, Oberheim DPX1 is 12bit and the EMU sp-1200 is 12bit too...

In order to maximize sound quality and creative usage possibilities, we choose not to place a low-pass filter in the audio output path. The digital-to-analog conversion process already gives a clean and rounded sound, and filtering would tend to take away some brightness.
It is designed to be part of a modular system so we leave it to you whether you like to patch the output through a filter or not.

So, no, it is not 24bit as we know in the mastering studio’s. Instead, it will remind you of the good old “hip hop" sounds from the 80's :) and it's lovely! In the end it’s an instrument by itself rather than a mastering tool.

What do we need the money for?

As there are some parts that are only available in SMD we need to contract a factory for assembling the core part of the Sampleslicer. It’s not possible to make a small batch. (That would simply make the module a lot more expensive than we will ever want to sell them for.) Therefore we can only make a bigger batch, and we’ll have to take a risk before we can sell them. We need to collect all parts to make the Sampleslicers, which costs money. Next to the SMD story we use high quality parts like Alps potentiometers - we really hate wobbly interfaces! The front panels will be made in the Netherlands and will be 2mm anodized aluminium panels. Instead of being screen printed, the graphics will be part of an anodized layer. This costs a little more money but the super high quality is worth the price. And of course we have spent many hours developing the Sampleslicer and making its production possible...

Last but not least: If we reach the goal it opens a way for us to develop more innovative modules!

I'd like to thank all people who contibuted to the Sampleslicer so far. First of all:
- Lisa Dalhuijsen of Studio With: she made the lovely Ginkosynthese website and always comments me about graphic designs in a positive way.

- Mels Lenstra: he is a genius codewriter and without him the Sampleslicer would have never existed

- All the people who commended on facebook, Muffwiggler and the Dutch synthforum .

AND YOU! THANKS! A dream is coming true!"

An Interview with Peter Grenader on The ZZYZX Society

The following is an interview with Peter Grenader of Electro-Acoustic Research (formally Plan b). The focus of the interview is mainly on his involvement with The ZZYZX Society, however you will find plenty of insight into gear, including some of what Peter is working on next. I want to give Peter a huge thanks for taking the time out for this.

1. To start, what is the ZZYZX Society?

"The zZyzx Society is a group of like-minded half-crazy avant-garde musicians/composers who at one time or another fell down the same sonic rabbit hole.

Discussions about this began in 2011. Jill Fraser and I tried to get something together, and the circle of people then included Richard Lainhart. Unfortunately, he passed away when we were right in the middle of talking about possibilities. This is actually when I sketched out one of my two pieces that we are currently performing: Organasm. It settled down until Jill and I ran into one another at Mort Subotnick's live performance at Redcat a couple of years ago. We saw a fire in each other's eyes - a need to return to something that we had both evolved from.

Jill and I are ancient friends. We met at CalArts in - God.... 1977. We actually performed together once with composer Gordon Mumma at CalArts and worked extensively together on Mort Subotnick's NEA project, The Game Room, in 1978. Matter of fact, the photo Mort used for the Electronic Works Vol. 1 was taken when we were doing The Game Room - Jill is the blonde and I'm the guy holding the patchord in the foreground.

What really set the wheels in motion though was a recent dinner we had for Thighpaulsandra when he visited Los Angeles a few months ago. Thigh had been speaking about wanting to do another series of performances together since we both did the AnalogLive gig at Redcat in 2007. Jill was already well into the planning stages, although it wasn't clear who would be involved at that time though oddly enough - everyone who will be was there - Jill, Chas Smith, Thighpaulsandra and myself. When Thigh left for his return trip home - the last thing he said to me was a suggestion to get some gigs going - that it will never start unless there's a date, and when you guys get a set under your belt and are comfortable with what it evolves into, that he would come out and gig with us - and that's exactly what we are doing. Well, we'e actually focusing on tracking a CD, but I'll get into that more in a bit."

2. Can you give us a little background on each member? When the world of electronic music started for each and what they've done over the years?

That's where humility sets in - with the notion that musicians of this caliber would consider me a contributor. Why? Let's start with Jill: after earning her masters in composition at CalArts studying with Mort Subotnick and Mel Powell - her first stop was where I landed: Serge's infamous Hollywood synth production facility on Western Ave. She didn't stay there long, however, because she was hired to compose electronic music by Jack Nitzsche for Paul Schrader's film, Hardcore. This began a 25 year career composing both electronic and acoustic scores for hundreds of TV commercials for huge national campaigns: BMW, Honda, Porsche, Nissan, Mitsubishi, HP, NBC, KFC, Carl's Jr., and Apple among others, and in the process won 3 Clios. She also toured with Buffy St. Marie and auditioned for The Sex Pistols - no joke.

Chas will be the only one among us who people will be speaking about in 100 years. He's also from the CalArts electronic music composition master's program and spent his early days with modulars. Until recently he owned a 12 panel serge system he had had for 30+. His legacy will be the remarkable Harry Partch-esque tuned percussion instruments he crafts. He's shifted to metals exclusively which forge these amazing soundscapes, which would take immense work to generate electronically, yet just pour out of these sculptures. Along with collaborations with Harold Budd he's been released many times as a solo artist on Cold Blue Records, MCA, and others, music for Zimmer's Man of Steal score (they actually did a special feature on Chas for that film), as well as the first two Saw films with Charlie Clouser, for Shawshank Redemption, The Horse Whispser... the list goes on.


Man Of Steel Soundtrack - Sculptural Percussion - Hans Zimmer Published on Aug 27, 2013 WaterTower Music

[Behind the Scenes creating the unique sculptural percussion sounds for the MOS Soundtrack
i-Tunes: http://smarturl.it/mos.i
Amazon: http://smarturl.it/MOSdlx_Amazon]

Not sure what planet you'd need to be on not to know where Thighaulsandra's been. Like the rest of us here, his interest in electronic music is lifelong. Stockhausen and Cage were early influences and while you clearly realize his worth in the rock idiom, his experimental roots are unavoidable. Golden Communion - which has garnered stunning reviews in Europe - gives both Gabriel and NIN a run for their money, but you also hear Stockhausen in there and in the string introduction to the title track - Elliot Carter. He began his music career on the other side of the board - as a studio engineer, and this is where he met Julian Cope, who in time introduced him to John Balance - which led to 10 very productive years as a member of Coil - during which TPS began releasing his own solo work. He is a conservatory trained pianist blessed with the birth defect of incredible ability. After Coil he was off to Spritualized for I think three years?

As for me, I am the underachiever. After CalArts and a few small film scores, and a oddly enough a planetarium show for the Griffith Observatory, I put everything down for 25 years. In the early 2000's I found music again and had really good success in the academic electronic music festival circuit. I won the Periodic Festival in Barcelona and was selected for one of the evening performances at the SEAMUS National Conference, which doesn't sound like much, but I was probably the single first-time applicant to land that right. There were 30 or so festivals in the US after that over the next two years including the AnalogLive emsemble performance at Redcat at the Disney Hall in LA with Thighpaulsandra, Chas, Gary Chang, Richard Devine and Alessandro Cortini. The start of Plan B shifted my center to manufacturing, although I was signed, and did a CD for Coda Recordings in 2013 entitled Secret Life.

What I appreciate, especially working with Jill, but it's true of all these guys... our combined experience is such that we finish each other's musical sentences. It's astonishing. Three guys in a garage band and you expect them to vamp off their combined rock tradition, right? But electronic music, are you kidding me? Jill and I started rehearsing with a piece of mine called Benghazi, which is based entirely on a single diatribe of Glenn Beck whining about the attack in Libya. The first day we did what I would call informed noodling. When we started the second day she said she had worked out some other processed bits, and they were phenomenal. It brought the concept into much higher space and with no direct guidance outside of asking for other samples from the source file so not to loose Beck's context narrative. She just got it, completely.

zZyzx Society live in Joshua Tree: BENGHAZI



3. What sort of gear will each member bring to the project? Is there a preference for any?

I can't say for Thigh, dunno yet but he's got an arsenal at his studio in Wales. Jill is primarily using a Push via Ableton and a single Serge panel designed specifically for live performance made for her by Dmitri Sfc. I can name what Chas uses, but it won't mean much as outside of a rack of loopers everything he plays he's made. So for the record it's the Rite, the Replicant and his incredible steel guitar Guitarzilla. I am primarily using my modular - eight rows of it I crammed into two road cases, and then a Roli keyboard using Equator for now, and plans for a proper sampler as the ROli software wreaks Kickstarter deadline. It's fine as a closed synth, but while they say you can import your own samples - you really can't. I had to contact them, and they wrote the code so I could add one specific sample, but are not wiling to help me do more. The keyboard itself however is incredible.

4. What is the collaboration and recording process like? Do you record together or do you pass compositions back and forth for each person to work with separately?

Recording wasn't in the original plan, but that's changed and with Chas moving to Grass Valley - and Thighpaulsandra in Wales it's just like my FB relationship status: complicated. Jill and I are going to lay basic tracks starting in two weeks. So we'll be sending multitrack to both Chas and Thigh, who will be adding to them, then returning the new stack to whomever wrote the piece to do the final mix. The process is identical for Chas and Thighpaulsandra with their works There is talk of a release deal. So... with only one gig under our belts at FUTUREWURLD in Joshua Tree, which was really well received , but still...now we're shifting to recording the four pieces we performed with small gigs during that process, although, all in much more detail than we could manifest live with our hand count. Jill's got one which is actually four individual pieces, I've got Benghazi and Organasm and Chas has Perimeter. Thighpaulsandra is in the middle of one for us now and we're discussing the possibility of rendering Subotnick's Sidewinder.

5. What do you have in your modular system when playing with ZZYZX Society?

At first I brought almost everything. I could basically empty my main cabinet into the two road cases and on top of that I brought the two side cases, but I knew this wouldn't last. After a couple of days of rehearsal when we worked on the two pieces that were modular extensive I identified what was overkill and I limited my modular system to the two road cases (see image). It's eight rows of 88hp.

In the empty space I've now installed an Animodule Midi Gate, which is a brilliant idea and one I was planning on for EAR - but the best man won on that, more power to them for that. With it in that space will be two custom modules consisting of two Sparkfun Wave Trigger boards and a little unity gain mixer. Each of the Wave Triggers will be driven by the Midi Gate. I can use individual keys on my Roli to fire of independent events. Each of these WAVE modules allow for eight polyphonic samples to be played by either the depression of a momentary switch or a gate signal with each group of eight stored on a microSD card which can be loaded on the fly. I see this as an intelligent way of performing with a modular in a live scenario. It's basically what Mort is doing now - assembling the overall sonic contour by playing prerecorded samples as required with a couple of live voices over everything. Very effective and something Mort has been talking since the days I was working with him. It took 30 years for technology to catch up with him. In my instance, I will be playing events I prerecorded on the modular.

6. Does working on music like the ZZYZX Society influence your designs, or do you keep the two worlds separate?

It's had a huge impact on this. Immediately I started thinking about a group of modules called "the live set" which would be a series of devices which would make live performance easier for a modular artist. I don't want to give anything away outside of saying the guy that developed the Wave Trigger for Sparkfun lives a few blocks from me (wink). I've also had a couple of meetings with Vince De Franco, who produces the Mandela Electric Drums whom I met through Danny Carey. If what we're discussing becomes a finished product, it will be a paradigm shift for realization of live electronic music.

7. What's next for you? You were the man behind Plan B, your designs were featured in Subconscious Communications' modules, and you are back with Electro-Acoustic Research. You recently announced the Model 41 Steiner 4P filter. Do you plan to bring back any older designs like the Milton or will you be focusing on new designs only?

The EAR modules will be a combination of new things and legacy re-releases, but none of the old ones will be brought to market now without significant improvements. Not because they were broken before, but because I see no reason to revisit something without making changes. If you go to ear-synth.com the next product up is the Model 12 Mark II. It's two M12's in one package, both fitted with the IFM Sync function found on the M41. There are all manners of interconnection possibilities as well, so that two two can be used independently, or in either serial or parallel operation off all output taps of a single signal. If you sweep to the 'Future' page there's also the Model 24 Heisenberg Mark II, which adds a new quantized output to the stepped random and three new inter-modulation/triggering options. The Model 10 Mark II could not be more different than the original. Now two voltage controllable DASR envelope generators (Delay, Attack, Sustain TIME and Release). I have also mapped out a concept for an upgraded Model 15 Complex VCO which will make it the VERY Complex VCO lol. There are as well three new modules all ready to go.

I have been working on the relaunch for four years - since cEvin and I did the Subcon license on the 15 and 37. I've been working towards it continually. The first three products are completely done with a couple of revisions of hand built SMT prototypes behind them - ready to go - I just need to email the data off to Darkplace when it's time and product will appear a couple of months after that. If you watch Thighpaulsandra's excellent Model 41 demo video - next to the M41 you will see the Model 12 Mark II mounted in his system and that's one thing I did differently this time - I skipped the breadboard stage. I now go directly to SMT PCBs with Metalphoto faceplates. This addresses all sorts of potential calamities. It forces me to concentrate on the design stage and weeds out all manufacturing hiccups before they hit the Darkplace assembly line because if there are problems there - they aren't going to pay for that - I am. As my dad used to say when he was quoting new jobs.... "I don't do this for practice".

This brings me to something I want to close on. My father went through the Plan B collapse with me. He knew how hard I had worked to get where I did and he knew all too well what I forfeited. He was a tough love guy and at times unnecessarily hard on me about it. But in the end, I did it and he knew before he passed away. I was ready for the Model 41 a year and a half ago. Darkplace had already quoted it. It could have launched then and would have had he not died. There were delays from his death that the family needed to settle. But as far dad... I built most of the prototypes on his kitchen table because the light was so much better there than on my bench at home. He saw me working on them. He saw the Darkplace quotes. The last thing he said to me was 'I love you'.  Right before that - he congratulated me on getting the company back on it's feet and that I found a way to do it all on my own, and he told me how proud he was of me. After he said this, I left the hospital for the day and he died that evening at 3 in the morning. Nothing was worth the six years I went through and the problems I caused people, nothing makes my father's death bearable - but that moment came real. real close.

Linnstrument controlling an Octatrack (TR-8 sample) | (PPG sample)

Published on Mar 21, 2015 oldgearguy

"Linnstrument driving an Elektron Octatrack. Sample is a loop I created on a Roland TR-8. No external effects/processing. Raw sample+OT only. Initial exploration of MIDI CCs controlling Octatrack parameters. A compact Nurse With Wound kind of thing maybe. If you're looking for pretty melodies or subtle and expressive use of the Linnstrument, I'm afraid you'll have to look elsewhere. Watch your ears/speakers."

Linnstrument controlling an Octatrack (PPG sample)

Published on Mar 21, 2015

"Linnstrument driving an Elektron Octatrack. Sample is from a patch I created on a PPG. No external effects/processing. Raw sample+OT only. More explorations of MIDI CCs controlling Octatrack parameters. Note the beautiful clock noise in the PPG sound, especially obvious in the lower frequencies. For some reason Waldorf filtered/designed that out of their gear. Makes me sad. Watch your ears/speakers."

Behringer ARP 2500 ARP 2600 Sample System 5

video upload by O.Z. Hall

"Buy Me a Patch Cable
https://buymeacoffee.com/ozhalljr

This video looks at the original ARP 2500 brochure which included six sample systems. Sample system 5 started with an ARP 2600 and added a wing cabinet with ARP 2500 modules. We create the Sample System 5 using the Behringer ARP 2600 and Behringer ARP 2500 modules in a Behringer Go Case. We also price out this system.

TIMECODE
0:00 - Intro
0:40 - ARP 2500 Sample Systems Original Pricing
2:39 - ARP 2500 Sample System 5
4:55 - ARP 2500 Sample System 5 pricing
6:35 - Conclusion"

Introducing drumlogue, the first hybrid drum machine from Korg

video upload by Korg

Update: two new user videos by Honeysmack and Marcus Schmahl added below.

"Combining the rich power of analog with the flexibility of digital, drumlogue provides the ultimate analog sound for your beats.

Featuring newly developed analog circuitry, drumlogue builds a solid foundation for your track; it also helps you stand out with an elevated harmonic richness and thick low end.

Important parameters for each part have dedicated controls on the front panel for quick and intuitive changes – without diving into menus. For even more creative potential, each part has a wealth of further parameters accessible through a powerful onboard editing suite. Even mixing is simple, with dedicated volume controls for the analogue and digital parts.

The track you hear in this video is by Dean Forrest"

Korg Drumlogue: New Hybrid Drum Machine - First Look- Just Sounds video upload by Korg Australia


New Korg Hybrid Drum Machine Drumlogue - Honeysmack's first encounter video upload by Honeysmack



"Get ready for a super nerd session, no talking just me tinkering with the Korg drumlogue for the very first time. Korg Australia were kind enough to give me a play with a sneak preview pre-production model of the drumlogue. Unfortunately I had no manual at the time, so please excuse me in advance. Hopefully this video provides some context to its sound. I feel this will be a winner for Korg, well done! Great sound, neat size, this could be a monster of a machine.

All the sounds and effects in this video are from the drumlogue, there are no external sounds or effects. Simple stereo output from the drum machine. No other drum machines were hurt in the making of this video.

0:00 Does this suit me? Oh what does this do?
2:23 Omph omph omph, ah I see, me likey the kick drum
5:59 Electro ratchets - why not take your time and build a track
9:30 Start with speed carnivale - exploring more latin percussion then I try to break the machine!"

Korg drumlogue drum machine & synthesizer demo - no talking - video upload by Marcus Schmahl

00:00 building drum sounds & a pattern
06:13 switching through preset patterns & sounds

Korg Drumlogue Sound Demo (no talking) video upload by Bonedo Synthesizers


Korg Drumlogue Sound Demo No Talking - no external effects or processing video upload by Limbic Bits


Korg DRUMLOGUE Review // Top Pros & Cons and All 64 Factory Patterns // Full Tutorial video upload by loopop


TIMELINE:
0:00 Intro
1:20 Overview
6:15 Connectivity
7:15 Sample parts
11:40 Analog parts
14:25 Multi engine
15:05 VPM
17:15 Noise
17:55 Nano
21:30 Sequencing
22:10 Live rec
22:50 Motion rec
24:45 Step seq
25:10 Groove
26:10 Probability
27:10 Ratchets
28:00 Ties
28:30 Motion seq
30:20 Shift buttons
31:00 Polymeters
31:35 Send FX
33:35 Master FX
34:45 Sidechain
36:25 Loop
37:10 Select
38:25 Randomize
39:00 Chains
39:35 Audio in and out
41:50 Misc settings
43:45 Pros & cons
49:10 All 64 patterns



Details and pics:

A paradigm shift in drum machines.

drumlogue marks a paradigm shift in drum machines. It offers the raw power and rich sounds of Analog, the flexibility of Digital voices, and drumlogue’s SDK for fully customizable User Custom Synthesizers.

On top of that, its heavy-duty, dynamic sequencer, customizable effects, and intuitive controls will make drumlogue a must-have in your studio to create music for any genre or style.

It’s time to take your beats and entire musical process to a whole new creative level with incredible sounds, effects, customization, and sequencing. Let drumlogue support your craft on your musical journey!

Raw Analog Power

drumlogue was conceived to provide the ultimate analog sound for your beats, and delivers fantastically; featuring completely newly developed analog circuits by legendary Korg analog synth team engineer Junichi Ikeuchi (ARP 2600 M, MS-20 mini, ARP Odyssey…) , the depth and richness of its sound is on a whole new level.

These new analog circuits - (Bass Drum, Snare Drum, Low Tom and High Tom) - will not just provide a solid foundation for your track, but make it stand out with an elevated harmonic richness and a thick low end.

Blending simplicity and ease of use, the most important controls for each of these parts have dedicated knobs on the front panel that can be tweaked at any time without any menu diving necessary, so you can quickly and intuitively fine tune your sound on the fly.
For further sound exploration, each part provides many more parameters accessible through the powerful onboard sound editing system.

Last but not least, each part on drumlogue - analog or digital - has a dedicated volume knob that will make your mixing process incredibly smooth and easy.

Digital Flexibility

As the perfect partner for its analog section, drumlogue provides 7 digital parts; 6 sample based and 1 synthesis based (Multi-Engine). The sample based parts can play any of the preloaded PCM banks on drumlogue. You can also import your own User Samples to its memory, making drumlogue an extremely versatile machine with virtually limitless sonic possibilities.

To start with, the 64 preloaded drum kits of drumlogue will provide you with a wide variety of sounds spanning several genres so you can easily kick-start your tracks.

For additional sounds, samples can easily be easily loaded into the drumlogue just by connecting your drumlogue to your computer via USB and simply drag-dropping your samples onto the main memory.

Multi-Engine and logue SDK

The popular Multi Engine from prologue and minilogue xd is now more powerful than ever. In addition to the Variable Phase Modulation (VPM) and Noise generator engines, the Multi Engine features a new User Custom slot that can play full-fledged synth voices that provide vast sonic possibilities, never before heard on a drum machine.

Custom Synths

drumlogue’s synth voices are not simply static waveforms. Custom synths can be built to not only generate sound, even implementing built in filters, LFOs, MIDI controlled polyphony or other parameters is now possible The only restriction for third party developers is their creativity (and CPU usage!), giving you unbound sound exploration.

Exclusive Sinevibes Synth Plugin “Nano”

Korg has collaborated with popular logueSDK plugin developer “Sinevibes” to include a brand new synth plugin “Nano” as a factory preset on drumlogue. This exclusive plugin explores the power behind the expanded Multi Engine and will give all drumlogue users a taste of this new platform.

“Nano” is a full-fledged virtual analog synth with a wide array of features and plenty of customizable parameters. The synth engine has dual oscillators with optional ring modulation, a 4-pole state-variable filter with soft clipping distortion, built-in EG and built-in multi-waveform LFO.

Leads, basses, percussive sounds or cinematic effects, you decide how to use this incredible sonic potential!

A True Sequencing Powerhouse

drumlogue harnesses all of its sonic power to an extremely powerful internal sequencer that is flexible and easy to use.

Tired of the same old beats? drumlogue's heavy duty 64 step sequencer makes it easy and intuitive to create complex rhythm patterns and polyrhythms that elevate your music creation process with innovative features such as per-step probability, per-step alternate trigger patterns, per-step micro offsets, per-track groove patterns and much more.

Thanks to its clear OLED display, it is also very easy to visually follow and edit your sequences.

drumlogue is both great in the studio and playing live. With its Chain mode, creating long and interesting patterns is straightforward and clearly displayed. In Loop mode you can switch between several variations to play your sequence in new and interesting ways. The Motion and Accent recording functions are intuitive and fast and if you want to try new things on your track, the Randomization function is there to help you. These functions and many more on the drumlogue will support and spice up your live performances!

Effects and customization

drumlogue includes several high-quality effects across three categories that can be used simultaneously: Delay, Reverb and Master effects.

The send amounts for delay and reverb effects can be set independently for each part, and multiple return points are available.
The master effects allow you to add that final polish to your sound and bring it all together. Master effects can be bypassed on a per-part basis, making it possible to send the effect to specific audio parts. A sidechain bus is also available to master effects which can make use of it.

CLICK FOR MORE »

Roberson Audio RA Mowg, Oddy-Free and Prophanity

via Roberson Audio

"RA Mowg

The Roberson Audio Synthesizers interpretation of the MiniMoog Model D synthesizer."

From the ReadMe file:
“This synth is meant to be a model of the Minimoog Model D synthesizer, and a lot of time was invested to get it the way it sounds, including oscillator and filter character as well as modulation struction and response.

A few notes to keep in mind before you get to playing with it:
-The synth was built with 48khz sample rate in mind, so it may not sound the same in other sample rates (generally though, higher will not have negative effects)

-Even though a mod wheel is not present in the graphical portion of the synth, using the mod wheel on your keyboard still has the same effect as the real synth

-There is a switch on the synth for an external input. In a real Minimoog, this could receive any audio input, but for this plug-in it has been hardwired as a feedback loop from the audio output of the synth. Be careful pushing the volume of it too high!

-The synth is completely monophonic, with priority given to last note played. Realism has been sacrificed for playability, but I believe it is a good trade-off in this instance.

-Update Version 1.2 *IMPORTANT*

-Made a few modifications, basic playability is largely unchanged. Most mods came in the form of filter modifications, it is BIG sounding now. Also, can resonate itself into oblivion, which itself can be dependent on what sample rate you are using, so BE CAREFUL. You’ve been warned. Some patches from prior versions may then have problems or may cause unwanted side-effects, so load them with caution.

Any updates will be reflected in this document with the corresponding update packs. If you have any questions or comments about the synth, you may refer them to blu_gruv@lycos.com, or contact me on KVR Audio under the screen name “Chris Roberson”.

Artwork for the instrument was provided by Modeler of KVR Audio forums. Truly brilliant work if I do say so myself.

I hope you enjoy using the synth, and look forward to hearing what you have to say about it.

Cheers,
Chris Roberson
Roberson Audio Synthesizers”



From the Readme file:

'The absolutely fantastic artwork and GUI were done by androidlove and Modeler of KVR, many many
thanks to him as the synth just wouldn’t be the same without it.

Now onto business…

The Oddy-Free is quite apparently a emu of an Arp Odyssey Mk.II, and much attention
to detail was given in the layout of the signal path to have it behave as accurately
as possible. Granted it does have just a touch more umph than most originals would,
this particular emulation was based on the “illegal” filter versions based on Moog’s
-24dB Low-Pass filter, so it sounds quite a bit smoother and richer but at the same
it can produce the harsh metallic tones known from the Odyssey.

I really hope you enjoy the synth, I know that I enjoyed making it. It brings me joy to
release free models of synth emulations that otherwise one may have to pay out the nose
to get.

If you liked the synth and/or were able to find good use of it, please vote for me
and it as the number one entry in the KVR Developer Competition ’07.
——————————————————————————————

Update Version 1.1
Changes:
–new face panel, a little bit of a more realistic touch.
–fixed spelling issues on face panel
–fixed masking problem with slider cap graphics, so there is no longer the black box
around the caps (rather nice fix)
–added “analog” features, including oscillator and filter instability, along with a few
minor affects on related components, also a very subtle power supply bleed-over to
related components.
–added a slight filtering to the final output to reduce the unrealistic high end of the Oddy
just a slight amount for accuracy purposes.
–added voltage and amplification mods to waveforms to enhance edginess of waveforms
and certain modulations (you may need to correct previously made patches.)
–added user-made patch banks and individual FXP files for the Oddy, hopefully you’ll enjoy. :)
–and probably some other things I forgot at 2 in the morning. :D

Updated Version 1.2
Changes:
–numerous internal changes to oscillator structure, including totally different oscillators to begin with
–modified filter to behave differently and a little more “analog”.
–removed much pre-EQ in the signal path, making it a much easier to mix instrument
–removed older user patch banks from pack, they became incompatible with new oscillators and filter.”

-Update Version 1.4 *IMPORTANT*

-Made a few modifications, basic playability is largely unchanged. Most mods came in the form of filter modifications, it is BIG sounding now. Also, can resonate itself into oblivion, which itself can be dependent on what sample rate you are using, so BE CAREFUL. You’ve been warned. Some patches from prior versions may then have problems or may cause unwanted side-effects, so load them with caution.

Cheers,
Chris Roberson
Roberson Audio Synthesizers"



From the ReadMe file:

“Hi and thanks for downloading Prophanity, the Prophet 5 clone.

I know it’s been a long time coming, so I hope you enjoy.

There isn’t a terrible lot to say for the synth, it’s a model of the Sequential Circuits Prophet 5. Much time was given for attention to detail in nearly every aspect of the instrument, and most every subtlety has been accounted for.

The excellent artwork was done courtesy of Modeler of KVR audio.

If you have any comments or requests or problems/questions with the synth, my email is blu_gruv@lycos.com, and can also be found at www.myspace.com/mrblugruv.

Hope you enjoy the synth.

UPDATE VERSION 1.1:

-Added unison mode

-implemented new oscillators, which behave more accurately in poly-mod section

-modified filter design to sound more pleasing

-changed envelope response to exponential, no more linear envelopes

-added per-voice instability, to simulate the multiple signal path architecture of the original

UPDATE VERSION 1.2:

-fixed some oscillator distortion problems

-massively overhauled filter/preEQ to make it more pleasing and technically correct

-many small adjustments to hone behavior to that which is closer to original

-Update Version 1.4 *IMPORTANT*

-Made a few modifications, basic playability is largely unchanged. Most mods came in the form of filter modifications, it is BIG sounding now. Also, can resonate itself into oblivion, which itself can be dependent on what sample rate you are using, so BE CAREFUL. You’ve been warned. Some patches from prior versions may then have problems or may cause unwanted side-effects, so load them with caution.”

The end result of all this is a (hopefully) more true-to-life representation of the original. As mentioned above, direct any questions to blu_gruv@lycos.com, www.myspace.com/mrblugruv, or find me on KVR under the user name “Chris Roberson”.

Sincerely,
Chris Roberson."

Free Ableton Live Instrument Holiday Giveaway- The Estey Reed Organ

Published on Dec 24, 2018 Expanding Sound

"download it free at
http://expandingsound.com/product/hol...

Laurie Anne
http://m.soundcloud.com/laurieanneoff...


Enjoy this years Holiday Giveaway- Ableton Live Reed Organ Instrument

A fellow musician friend Laurie Ann invited me over to check out her Estey reed organ (or field organ as she referred to it). Naturally I had to sample it! Reeds have such a great sound to them. The pump action style of playing with your feet is very fun. It can be a little on the noisy side, so I decided to sample the organ by filling the chambers with air and letting the reeds play out. I proceeded to sample the organ while pumping it full of air to get the mechanism sound. With your pump pedal potentiometer located in the instrument rack, you can add the amount of foot pump sound into the samples being played. It turned out to be a very cool effect.

The song I made in the demo video came out quite dark. I find it humorous. When I make the demo videos songs for each video I don't start the process with a melody, or even an idea. I usually let the sound itself inspire me to make music based on its tonal structure. In this specific case I think the music was more reactionary. Most Christmas music is so upbeat! All I've heard lately are these holly jolly songs and I think I was just interested in going somewhere else with the tone.

Anyway, I hope you dig the free instrument, and if you can please check out Laurie Annes Music. She was nice enough to let me sample the organ and share with everyone. I think it came out great."

Hydrasynth Deluxe single patch “Released RA” with “Liquid Stack” sample

video upload by the sun god RA

"This is Hydrasynth Deluxe single preset D021 “Released RA”. It’s modified to use Mod 1 input as an external audio input, fed by my Waldorf Blofeld with the “Liquid Stack” classic Emulator sample, bringing the sample into the Hydra signal chain as a paraphonic fourth “oscillator”. I also change the Hydra oscillator waveforms from Saw to TriSaw as I mix in Mod 1 input."

Hydrasynth Deluxe single patch “Entropium RA” + “Loon Garden” sample

"Here is an attempt to feed samples into the signal chain of the Hydrasynth. The sample is an old Emulator II classic, 'Loon Garden', residing in my Waldorf Blofeld with License SL. The output of the Blofeld is fed into Mod 1 input on the Hydrasynth, which is selected as source in the Ring-Noise menu. RM depth 0, Ring Vol 128. Hydrasynth midi out to Blofeld midi in. The multi sample on the Blo is now acting as a fourth, paraphonic 'oscillator' on the Hydra.

The mod inputs are obviously not meant for this use, the volume of the audio is quite weak compared to the oscillators, so I had to turn up AmpLevel and lower the oscillator levels."

Start reminds me of:

808 State - Pacific 97 (original)
video upload by zttrecords

"The original version of Pacific."

Middle (:45) reminds me of (1:22):

Enigma - Sadeness - Part i (Official Video)
video upload by EnigmaSpace

Mattson sample and hold used to sample pitch cv...

YouTube Uploaded by hewstigator on Apr 30, 2011

"Many of you no doubt already know this technique well, but I stumbled onto it today and thought I would share just in case. Usually sample and hold modules are used to sample an oscillator or audio signal... but here is what it sounds like if you use it to pluck a pitch here and there out of a melody.

When the tune starts, you see me dialing in and then adjusting the octave of a vco whose pitch is coming out of the sample and hold unit. The sample and hold is capturing pitch voltages at a very fast rate at first so it seems to play in unison with the other vco but I slow it down so you can hear it just grab a note here and there. You can also set this particlar mattson s&h module to track and hold so that on the downside of the clock cv it will just play the melody as is, and on the up-side it will hold whatever note it sampled....

the tune i have here probably doesn't do it much justice, but trust me, it sounds VERY and psychedelic with the right amount of reverse 'verb or multi-tap swelling. i was going to just use the effect (e.g., on my memory man hazarai) on the video, but then i realized it was too hard to hear what was going on... shrug!"

Kawai K1 & Yamaha FB-01 Sample Pack for Prophet X and SF2

video upload by Espen Kraft

"A new patch bank for the Prophet X. Also available in the SF2 format for Logic and the Tal Sampler.
50 multi-samples from the Kawai K1 and Yamaha FB-01. Great sounds to add texture and depth to your music and productions.

The samples were originally meant for MY Prophet X, for my live needs. A way of having all my vintage synths in one keyboard when doing live gigs doing MY own songs as faithful as possible to my albums.
Every sample in here has been recorded by me personally and sounds exactly how I want them to sound. They've all been recorded through the Yamaha DMP7 digital mixer for extra mojo.
Many of the samples are velocity layered multi samples, some upwards of 30-50 samples per set.
Be aware that this pack is the multi-samples only.
IMPORTANT info for Prophet X users: This sample user add-on pack is imported like this : px/u01

If you want to purchase this bank, please send me an email and I'll give you the download details.
Please specify if you want the Prophet X or SF2 bank. They cost the same.

My CONTACT email address is this: espenkraft69@gmail.com
Price is $15 USD or €15 Euros if that's your preferred currency. PayPal only. * The above email is NOT the one to use for payment. That will be given upon ordering.

If you haven't already bought my big epic Prophet X sample- and patch bank from before, I'll be happy to offer both that AND this new one in a bundled price of $40 USD (or €40 Euros) combined. Let me know in the email."

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