Akai Force | Firmware Update 3.0.2

Published on Apr 4, 2019 AkaiProVideo

Playlist:
Force | Firmware Update 3.0.2
Force | Splice Integration & Setup
Force | Using Browser Audition Sync
Using Splice to Create House Music
Using Splice to Create Trap Music

AKAI PROFESSIONAL® ANNOUNCES SPLICE INTEGRATION IN FORCE, MPC LIVE & MPC X

Standalone music production/DJ performance devices now offer users immediate wi-fi access to their own Splice library directly from the touch user interface

Cumberland, RI USA (April 4, 2019) — Akai Professional, a leading manufacturer of music equipment for performers and producers, announced today in conjunction with Splice the immediate availability of Splice integration in Force, MPC Live and MPC X; a pivotal series of updates that offer users immediate wi-fi access to their own Splice library directly from the touch user interface – perfect for ultra-fast auditioning of sounds for use within Force and MPC projects.

Splice Sounds offers artists millions of easily downloaded sounds, from Dry claps to Buzzy 808s to 747s landing to that rare Zildjian 20-inch thin China crash, and everything in between. The possibilities for layers, filters, distortion and effects are virtually endless. Millions of musicians - from Top 40 hitmakers to bedroom producers - come to Splice to get started or unstuck, move forward and make progress on their music.

To celebrate Splice integration in Akai Professional’s Standalone Series, Splice Sounds is offering all Force, MPC Live and MPC X users a free 3-month subscription to Splice with access to millions of royalty-free samples, loops, and presets.

CLICK FOR MORE »

Kevin Parker Built a Synth and It's Actually Incredible: Telepathic Orchid Reviewed (Plugged In)

video upload by Splice

"What happens when you plug the Telepathic Orchid into Splice INSTRUMENT and let it run? In this Plugged In Splice's Devon Johnson ‪@dontgodcj‬ finds out — and the results speak for themselves.

The Telepathic Orchid, co-created by Tame Impala's Kevin Parker, is a chord-generating synthesizer designed to help producers and songwriters find musical ideas fast — without needing deep music theory knowledge or traditional keyboard technique. Paired with Splice INSTRUMENT, it becomes something even more powerful: a way to explore sounds and progressions at the same time, in the same session.

In this video, Devon unboxes and demos the Telepathic Orchid and its various creative uses and incredibly chord generating technology. He then uses the Orchid's chord logic system as a MIDI controller to trigger sounds inside Splice INSTRUMENT, building a full beat from scratch and showing exactly how the two tools work together in a real production workflow. From dialing in chord voicings and inversions on the Orchid to flipping through Splice's instrument sounds in real time, this is hands-on and unfiltered — no templates, no pre-built loops, just the tools doing what they're built to do.

Whether you're already a Splice user curious about the Orchid, an Orchid owner wondering how to integrate it into your DAW setup, or just a producer looking for a new way to create new chord patterns — this one's worth watching all the way through.

#telepathic #synth #hardwaresynth #gearreview #pluginreview #plugintutorial #chords #chordprogressions #musictheory #musicproducer #musicproduction #splice #piano #chordvoicing"

Smart Wavesplicing for Creative & Unique Tones & Modulation // 3 Patches with SW3 Splice from DPW

video upload by DivKid

"Here we have the new SW3 Splice module from DPW Design. It's a smart zero crossing and zero difference dual switch module ... a mouthful maybe, but it's two channels of intelligent switching for audio or CV with simple to use options for anything from making mutes, manual gates, click free audio switching, modulation waveform chaining and a whole host more.

This is a '3 Patches' series video, where we distill things down to just 3 patches, but I've added in some bonus bits where I wanted to change up something in the patch to explore how the module performs with other sources. Check out the patches below."

"Wavesplicing made simple. It works both with audio and control signals or a mix of those.

The SW3 is a module to splice (switch) any signal together with something else click free at up to high audio rate. A tool for audio and CV experiments. A way to expand what you already have into new sonic and control roams.

It can be dual mono, stereo coupled or switching mono into stereo for big stereo fields."

Splice made its first appearance on the site last October.

Plan-B ELF Wave Splicer and ASR Demos

Sent my way via REwire.
Also posted on Muff's Modules & More.

WAVE SPLICER DEMO
I put two waveforms into the WS and used envelopes and LFO's to mod the splice point. The splice uses the front half of one wave and the back half of the other to make a new waveform. The open sound has me manually turning the spice point. You hear a high sine then over to the saw and the mayhem in between. Mixing detuned or high and low waveforms makes the harshest sounds. The sweet spot of splice point itself can get real ring mod sounding and many of my sounds take advantage of that. Also two synced PWM pulses in each input plus an LFO to the splice point does a damn good AFG imitation.

ANALOG SHIFT REGISTER DEMO
For this demo I sent the outputs of the ASR to 3 oscillators set to same tuned saws. The speed of the clock you apply shifts the incoming CV to all three outputs at that clock rate. Using keyboard CV you can have each osc delay it's note change by clock speed. If you use clock at fast speed it will make the three oscs 10 times thicker sounding than if they were played normally and mixed. Also used LFO to dive the notes down and random to go all over the place. The end of the demo has the ASR send an env signal to two filters, one on left and one on right,. You hear the delay of one to the other.

I highly recommend both modules."

ETCHES | Soundscape Palette by Puremagnetik

video upload by Puremagnetik


via Puremagnetik

"Etches is a layered soundscape synthesizer. It's a palette for playing with sound, sketching melodic sections and building evolving tapestries. It moves between cinematic washes, percussive pizzicatos, and atmospheres worn smooth through ambient processing.

Inspired by live modular techniques, Etches is built upon classic synthesis and tape music traditions. Etches’s main engine includes a complex oscillator, a splice recorder and built in space processing.

We designed Etches to be performed. Every control is on the surface, and every gesture is audible the moment you make it. There are no traditional envelopes or filters here. You shape the timbre as you play.

Pick a root note and choose from twelve scales and modes and the pads stay locked to that key while you move. It's hard to play a wrong note, which means you can focus on phrasing instead of finger positions.

At the center is a monophonic voice generator and a splice recorder with overdub, so you can layer sounds into something bigger than individual patches. An internal LFO moves against each splice, modulating where the recording starts and ends. It's a behavior we first used in our LAPS and JOTS pedals. Around all of that: a tape-style delay, and a stereo space processor you can get lost in.

Etches Features:
• Four articulation pads that control contour, timbre-shaping and animation
• Musical overdrive with soft clipping
• 80-second multi-splice recorder for capturing ideas and layering sounds
• Stereo space processor with tape-style delay and a pristine reverb.
• Stereo output
• Runs on a standard Boss-style 9V power supply"

You can find a link to the manual and addtional details at Puremagnetik

Introducing the Akai Force & Fire in The Lab

Update: Intro, Overview, & Tutorial Videos added Above.

Playlist:
Introducing Force - Play / Perform / Produce
Force Overview Video
Force Tutorial Series – Launching Clips with Force
Force Tutorial Series – Creating & Recording Tracks
Force Tutorial Series – Mixing with Force
Force Tutorial Series – Using the Crossfader
Force Tutorial Series –Control Knobs
Force Tutorial Series – Using Plugin Instruments
Force Tutorial Series – Browsing Samples
Force Tutorial Series – Notes Mode
Trap Performance and Tutorial
Force Tutorial Series – Using the Step Sequencer
Force Tutorial Series – Live Looping with Force
Force Tutorial Series – Live Performance with Force


Fire in The Lab | Mike Will Made It Published on Jan 16, 2019

"In this video, we hook up with record producer, DJ, rapper, and songwriter Mike Will (Beyoncé, Lil Wayne, Rihanna, Kendrick Lamar) where he gets hands-on with Fire, the worlds first dedicated controller for FL Studio."

"Standalone music production/DJ performance device has clip launching, step sequencing, sampling, synths and a 7-in touch display and captures the modern clip-based workflow.

Cumberland, RI USA (January 17, 2019) — Akai Professional, a leading manufacturer of music equipment for performers and producers, today announced the release of its new standalone Force music production/DJ performance device, with clip launching, step sequencing, sampling, synths and a 7-inch multi-touch display. Force is designed for the user who wants a standalone product with the latest in modern workflow techniques, free from being connected to the computer. Force is the first standalone music production device that truly captures the modern clip-based workflow.
Force features an 8x8 RGB clip launch matrix, a 7-inch full-color touch-capacitive multitouch display, 8 touch-sensitive knobs with graphical OLED displays, two audio inputs, four audio outputs, MIDI and CV I/O. Together, this comprehensive versatility affords the user an unprecedented degree of creative freedom and expression, while remaining totally free of the constraints of being tethered to a computer.

Additional features include time stretching/pitch-shifting in real time, a comprehensive set of on-board effects by AIR Music Technology, plus the TubeSynth, Bassline and Electric synth engines. It also boasts an additional synth called Hype, a preset and macro-based synth combining several different synth engines into a single easy-to-use package. Force also has the ability to record eight stereo tracks.

CLICK FOR MORE »

Wave Splicing and Beyond

Learning Modular

"Wave splicing - taking two waveforms and splicing them together at an audio rate - is a synthesis technique that has been gaining attention over the past few years. There are a few oscillators dedicated to this technique; I wanted to share with you how to patch it yourself using your own oscillators and a module that will let you switch between inputs at an audio rate (I prefer an analog crossfading module like the Happy Nerding Dual Xfade).

I start with using three waveforms from a single oscillator - segment A, segment B, and the splice controller - and then expand on it by introducing a second and then third oscillator to explore detuning between the contributors to the final wave. I end by going beyond the typical splicing technique and using a crossfade rather than a hard switch to merge the donor waveforms together.

Here is the index of topics:

00:00 demo
00:49 basic explanation
01:41 one VCO technique
03:57 modulating the splice point
05:12 trying some other donor waveforms
05:28 splicing two independently tuned VCOs
06:58 using a third independent VCO to control the splice
08:02 extending the technique: crossfading
09:20 comparing switching with crossfading
10:38 summary"

Sequential Artist Spotlight Interview with BRYN BLISKA

You can find the interview on Sequential's website here.

"Bryn Bliska is a musician, composer and producer based in Brooklyn, NY. Her sound merges a childhood soundtracked by ’90s pop and R&B jams with her jazz training and affinity for technology. Her creative mission is to support historically marginalized and underrepresented people and to amplify their sounds and stories.

Bryn frequently collaborates with artists & producers across many genres, including Jacob Collier, Karol G, Rozzi, Lawrence & Sofi Tukker. She has scored video & podcast projects for the New York Times, NPR, TED, and the Getty Museum, writes for Universal Production Music, and received the ASCAP Young Jazz Composer Award in recognition of her composition Bilateral.1. She is also a co-founder of nu.wav, an independent sample label distributed by Splice. Her Splice Originals sample pack, “Soul Jazz With Bryn Bliska,” reached the Top 10 of the Splice charts in Spring 2020. She also sound designs for Reason Studios.

Originally from the San Francisco Bay Area, Bryn graduated magna cum laude from Brown University in 2014 with a degree in Neuroscience before spending a year as a Graduate Research Assistant in Tod Machover’s Opera of the Future group at the MIT Media Lab.

We chatted with Bryn on how she uses the Prophet Rev2 in her music"

---
You can find additional posts featuring Sequential's Spotlight series here.

Splice Synth Samples

"Welcome to Splice. We would say welcome to the future of music, but modesty and serious self-restraint prevent us from it... either way it's nice you showed up. So what's the big deal? Splice gives anyone, anywhere the ability to collaborate on music right through a web browser. Users can upload or record sounds, make songs, listen to other user's songs, make remixes, make friends and a whole lot more."

Think of it as MySpace with samples that you can mix and match. What's cool is you can also download individual samples. Think of it as a sample bank. For fun I did a search on Moog. Zero hits. I did a search on synth. 59 sounds, 4 songs, and 11 people came up. Title link takes you to the results. I particularly liked this sample, myself. Via MusicThing.

X-PAN and Morphagene: Spatializing Genes

Published on Jun 5, 2019 MAKEN0ISE

"This video demonstrates a simple technique for making a (mono) Splice pan smoothly from left to right from beginning to end. Once we have made this transformation, the Slide control will double as a Pan control, traversing the Splice’s contents in time and space simultaneously.

This technique uses the following settings in the Morphagene's SD Card options.txt:
inop 1
rsop 1
cvop 1

Lorenzo Stanco has created a convenient web app for quick editing of the options.txt. Try it out here: https://www.lorenzostanco.com/lab/mor..."

phonogene

YouTube Uploaded by DrOctave1 on May 17, 2011
Audibly NSFW.
"scarface in the phonogene and some 4/4 just checking it out and playing around"

via Make Noise
"The Phonogene is a digital re-visioning and elaboration of the tape recorder as musical instrument (Firmware Engineered by Flemming Christensen, Gotharman). It takes it’s name from a little known, one of a kind instrument used by composer Pierre Schaeffer. While it is not an emulation, it does share the primitive, tactile nature of it’s namesake, and expands upon the original concepts. It is informed by the worlds of Musique Concrète (where speed and direction variation were combined with creative tape splicing to pioneer new sounds) and Microsound (where computers allow for sound to be divided into pieces smaller then 1/10 of a second, and manipulated like sub-atomic particles). Having voltage control over every parameter, it is most successful as a digital audio buffer for the modular synthesist.

The Phonogene is comprised of a pair of tool-sets which work well together. Tape Music Tools allow for sounds to be recorded on the fly, layered using the internal Sound On Sound function, manually cut into pieces using the SPLICE function, and re-organized with the ORGANIZE control. Once it is Spliced up, it is possible to create nearly infinite variations of the original loop by modulating the ORGANIZE parameter, and VARI-SPEED allows for the speed and direction of playback to be controlled continuously with one control signal. GENE-SIZE, GENE-SHIFT and SLIDE make up the Microsound Tools. GENE-SIZE divides the audio buffer into progressively smaller pieces called Genes (aka particles, grains, granules). A clock signal applied to GENE-SHIFT will step through those pieces in chronological order, while a control signal (such as the Wogglebug Smooth CV) applied to SLIDE, moves through those pieces in a nonlinear fashion. Using SLIDE, random access of the audio buffer is possible. Obviously, functions such as VARI-SPEED and ORGANIZE are useful for Microsound as well, which is why these functions were grouped into one module. The end result is a sampler/ looper/ audio buffer that is able to exist within a modular synthesizer system, and offer a vast amount of real-time sound manipulation in a fast and tactile way.

There is often the expectation that “bad sounds” such as clicks, pops, distortions, wrong notes, phase in-accuracies and otherwise, should be impossible with modern musical instruments. Many designers are making instruments which are fool-proof, and which guarantee some specific musical result, thus making it easy to create the same music, over and over again. The Phonogene does NOT use this approach. In fact, we have made it very possible to make the “bad sounds” and “mistakes” that have led to some of the greatest moments in musical history (and of course, some of the worst!). With the Phonogene, it is possible to Splice sounds in such a way that you will hear sharp contrasts, clicks and pops. This is the physics of sound! It is possible to slow down a recording to point of complete decimation, so that all that remains is trail of digital artifacts. Such are the limitations of digital sound (at the moment). It is possible to render the source material completely unintelligible, to cut busted loops, to distort digitally, to obscure, to regenerate to the point of almost no signal integrity. This is the nature of the Phonogene. If you seek the perfect looping tool, in the most contemporary sense of the word, then please look elsewhere. If you desire to explore the realm of modular, digital sample manipulation and microsound, welcome!

This module is 20HP and consumes 70mA worth of current."

Make Noise Morphagene Overview Videos

Published on Apr 5, 2017 MAKEN0ISE

Playlist:

1. Make Noise Morphagene pt. 1: Intro and Controls Overview
2. Make Noise Morphagene pt. 2. Recording, Resampling, Splice Manipulation
3. Make Noise Morphagene pt. 3: Micro Scale: Genes, Morphing and Sliding
4. Make Noise Morphagene pt. 4: Clock Input, CV/EOSG Outputs
5. Morphagene Science: Gain Staging and Input Leveling
6. Make Noise Morphagene pt. 5: Time Lag Accumulation

"All sounds in this video are the direct output of the Morphagene.

The Morphagene is a next generation tape and microsound music module that uses Reels, Splices and Genes to create new sounds from those that already exist. Search between the notes to find the unfound sounds.

A few of the Morphagene's most basic uses: Splice recorded audio and jumble it using ORGANIZE. Manipulate playback speed and direction with Vari-Speed. Granularize with Gene-Size and Slide. Layer or Stagger Genes using MORPH. Undertake iterative music processes by recording manipulations and overdubs into new Splices, like having two machines (one for Playback and modulations, one for Record). Process sound in real time using Time Lag Accumulation. Utilize envelope following CV OUT and EOSG Trigger to engage Morphagene in conversation with the rest of your modular system. Stretch and squash sound with Clock input."

Make Noise Morphagene Reels (in Six Parts)

Published on Nov 27, 2017 Genshi Media Group

"::| BEST HEARD WITH A GOOD PAIR OF HEADPHONES |::

I thought I'd show an example of the Reels I use in my Make Noise Morphagene module. Each one of the Six reels in this video I Composed and Sound Designed in Ableton Live using a variety of Instruments, VSTs, and Field Recordings. Normally, I would then load these up into my two Radio Music modules and feed those into the Morphagene, but this time, I loaded them directly onto the SD card of the Morphagene.

Though I use to work professionally as a Sound Designer (well technically, I still do... for myself!) I don't think I will sell these or give them away (unless I get a ton of requests) as they are very much tailored to my own "Cinematic Ambient Soundscape" style... I just wanted to show them here, in hopes that it will inspire others to explore deeper; to spend more time crafting what goes into your own Morphagene.

In the video, I play each reel through before I begin manipulating the various parameters (both manually, and with LFOs.) One note: none of these reels have Splice Markers. There is a lot you can still do without Splicing the reels, and I personally don't use the Splice feature all that often (just occasionally.)

Here is the timeline for each part:

REEL ONE - 0:08
REEL TWO - 2:19
REEL THREE - 5:53
REEL FOUR - 7:32
REEL FIVE - 9:51
REEL SIX - 12:26

Final note: there is a touch of Reverb from Mutable Instruments Clouds. #GenshiMorphageneReels"

Amin Bhatia VIRTUALITY

VIRTUALITY Video: Part 1 The Moog Legacy

YouTube via interstellarcrew

"The first of many podcasts to come features the Bob Moog legacy and talks about how Amin Bhatia came to dedicate the album to him. Interviewed guests include Steve Porcaro, Patrick Moraz, Michelle Moog-Koussa as well as producers, engineers and musicians from 'Virtuality'

The podcast series was written and directed by Saul Pincus with contributions from cinematographers and journalists all over the world. Special thanks to the crew at Full Sail University, as well as the Bob Moog Foundation and the offices of Steve Porcaro, Patrick Moraz, Bhatia Music and Splice Heist.

Please visit aminbhatia.com for more on the album and artist."
Be sure to check out the Behind the Scenes section of the site.

VIRTUALITY Video: Part 2 The Making of Bolero Electronica

Uploaded on Dec 21, 2008

"The second of many podcasts to come features The Making of Bolero Electronica and talks about the inspiration for using 75 years of synthesizers; the origins of the instruments; and the challenge of putting it all together, including footage of rare keyboards used at the esteemed Cantos Foundation. Along with composer Amin Bhatia are Interviewed guests including Roland founder Ikutaro Kakehashi, Steve Porcaro, Patrick Moraz, Michelle Moog-Koussa as well as producers, engineers and musicians from 'Virtuality.'"

VIRTUALITY Video: Part 3 Inside the Computer

Uploaded on May 20, 2009

"The third installment of the Virtuality podcasts explores the possibility of making videos using the album as underscore. With the help of Music Academy Online and Second Life we are shown one interpretation of the virtual world - one where people can travel into the album. Interviewed guests include Patrick Moraz, Steve Porcaro, Ari Posner, Michelle Moog-Koussa, and (SL) Benton Wunderlich as well as producers, engineers and musicians from 'Virtuality.' The podcast series was directed and edited by Saul Pincus and Mark Dwyer with contributions from cinematographers and journalists all over the world. Special thanks to the crew at Full Sail University, as well as the Bob Moog Foundation and the offices of Steve Porcaro, Patrick Moraz, Bhatia Music, Splice Heist and Second Life. Please visit aminbhatia.com for more on the album and artist."

Bristronica 25 - DPW design - Splice

video upload by Stromkult

"At #Bristronica25, Dan from DPW Design shows us his new Splice module which can switch and mangle any type of signal completely click free to create interesting textures.

More info here: https://dpw.se/"

Podcast 245: Matthew Allum (ALM/Busy Circuits)

Published on Sep 16, 2018 20Objects

"From the second I saw the Akemie's Castle module, I knew I'd want to talk to its developer, Matthew Allum. What a module - and what a name! I knew there had to be stories about what was going on. I've also notices that almost every case I'm seeing has a Pamela's Workout module. Matthew let me try out a few modules, and now I understand why these are so ubiquitous: it has so much functionality (presented in such a clear fashion) that it has become central to my patches. So now it all makes sense.

Talking with Matthew was a breeze - he's into his work, but he's also thoughtful about how he works, and the ideas that turn into his modules. He's got a lot of new work coming out, but he's also working on improving existing devices - and making modules for himself and his friends, too.

If you haven't checked out the ALM/Busy Circuits range yet, you can do so at Matthew's web site: http://busycircuits.com/. This was a fun chat - enjoy!

Thanks to Splice for their support of this podcast. You can help out the podcast by checking out our special link to their system, and or by using our code (MUSICARTTECH) to get a free month trial of their sample library offering. Help us out, and check out the cool collaboration tools that Splice provides!"

Akai S612 w/FPA Mod. Great fun! + QD Emulator

Espen Kraft

"An awesome mod that makes it possible to control and record the sample Start/Splice - End - Decay - LFO Speed and Filter through Midi CC. Endless possibilities for glitchy fun!

What's the big deal you might ask, I can just move those sliders on the S612 itself? Yes, you can, but you can't record your movements that way. With this you can, and by doing so, you can record these movements into a DAW and later manipulate and adjust to taste to make snippets of cool stuff or whole soundscapes for further use."

Additional demos and details on the FPA mod from Hideaway Studio:

Hideaway Studio · Hideaway Studio's AKAI S612 FPA, FDM and XD-280 Upgrades in Action....

"A few demonstrations of Hideaway Studio's Front Panel Animator Module (FPA), Filter Defeat Module (FDM) and Virtual Floppy System (XD-280) for the AKAI S612 Sampler in action...

The FPA retrofit module allows most of the front panel controls including the infamous sample splice sliders and filter cutoff to be animated in realtime via 5 MIDI CC channels.

These modules have been proving popular with many upgraded units now in the wild. For those interested in further details or wishing to purchase their own module please contact me at: dan@hideawaystudio.net

Please Note: Although FPA and FDM module are a very neat fit once in place it does require strong PTH desoldering skills and patience to fit but it is not difficult for a tech to install each in less than 2 hours."

Additional links in the description here.

The 1986 Akai S900 / S950 MIDI Digital Sampler Complete Walk-through

video upload by TONELAB

"Well, here it is, finally.. I’m terribly sorry for those that have been waiting patiently, but the ‘lock-downs’ have caused some unforeseen issues that have threw a few hurdles my way. It feels like the S900/S950’s are having another day in the sun and there appears to be a lot of questions being asked about the features. So, while in this very strict lock-down, I decided to put everything I have into a #viewtorial on the S900, a lot of these functions should also work on the S950, but this is in no way a dedicated S950 tutorial, as much as it is 'a sharing of knowledge' for the features that appear on both.

I hope this helps to dispel some rumors and show you how to get around your S900 ..or perhaps, if you’re considering purchasing one, then I hope this helps you understand the kind of workflow you may be getting yourself into. Either way, here’s hoping you can turn confusion into creation with this walk-through of the amazing #S900.

Index
0:00 Intro / History & Specs
4:40 Workflow Concept
5:40 Navigating the S900
9:20 Record Section
9:47 Sample name

CLICK FOR MORE »

Is there something it can't do? Get more out of your rack with the DPW SW3 Splice

video upload by The Sound Convergence

"The SW3 Splice is a cleverly designed dual audio and CV router and selector in 6 HP.
The SW3 interacts interestingly with a whole range of CV and audio inputs. It can be used as sub-octave maker, distortion unit, pattern selector, CV combiner, stereorizer, jitter/humanizer and much more.
This is my longest video to date, as I tried to show you as many use cases as possible. Enjoy!

00:00 Intro
01:24 Module Overview
02:29 OSC: Creating Suboctaves
03:35 Musical Example: Suboctave processing
04:11 OSC: Making new wave shapes
04:53 OSC: Wave shaping wave shapers
05:17 OSC: Slope switching
05:31 OSC: D and R inputs for further shaping
06:03 OSC: Jitter/PWd squarewave
06:31 OSC: Timbre switcher
07:37 As stereorizer
08:07 Widening a lead
08:35 Stereo-widening mono fx
09:34 Distortion: Hard-switch mode
09:52 Glitch: Slow switching glitches
10:48 Distortion: via D-input
11:14 Distortion: Bit reduction mimicking via D-input
11:48 CV: Introducing swing
12:36 CV: Mixing gate patterns
13:04 CV: Mixing 2 AR envelopes
14:27 Final thoughts"

Wind Synth Eurorack Demo

Jeff Hopkins

"Alright... putting together my first Eurorack setup.... These Fricko modules are amazing. Here's a short demo, with a saxy-ish patch.

00:00 - Start of demo
00:48 - Low register demo
01:13 - Mid/highish register demo
01:36 - Talk through of the setup

From left to right I have:
-OWP Custom module (instrument interface and power)
-Tiptop Audio MISO (Mix Invert Scale and Offset) utility
-Fricko Blip! (Pulse waveshaper)
-Fricko Shell (odd harmonic waveshaper thing)
-Pitsburgh SV-1b (Oscillators, Filter, mixer etc)
-Fricko Splice (Filtered combiner, takes highs from one source and mixes with low from the other)"

Impressive! Some additional notes:

* it uses his non-MIDI analog wind controller (very smooth!)
* it explains his rig
* it use my Fricko modules so the emphasis is on the cohesive variation of tone over the range of notes:

# Blip! waveshaper (constant breadth waves, like Variophon),
# Shell wavershaper (gappy waveshapes whose harmonics don't monotonically decrease in level),
# Splice combiner (36db/8ve reverse crossover, to give effect found in many wind instruments).