DSI PRO 2 SYNTHESIS TUTORIALS

DSI PRO 2 BASS DRUM SYNTHESIS TUTORIAL ~ Synthesize This! Ep.01

Published on Dec 9, 2016 once upon a synth

"A tutorial on how to synthesize bass drum sounds on the DSI Pro 2 synthesizer. Synthesizing a bass/kick drum is relatively simple. The main idea is to simulate the response of a membrane being struck by a mallet. The crude approximation involves a sine wave whose frequency starts off really high but quickly drops down. The sine wave is achieved either via a sine wave oscillator directly or via a resonant low pass filter during self oscillation. In both cases, the sine wave's frequency is modulated via an ADSR envelope generator. In this video I demonstrate both approaches as well as adding effects like distortion or some of the character FX on the Pro 2. Finally I end with a simple demonstration of what the Pro 2's bass drum sounds like along with a Korg Volca Beats which I've synced via MIDI.

Let me know in the comments below if you guys have any other tips with regards to synthesizing kick drums. I'm still learning all this stuff so hopefully we can help each other out!

~~~ TABLE OF CONTENTS ~~~
00:36 - Theory
00:59 - Synthesis
06:44 - Demo"

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EML POLY-BOX KEYBOARD REMOTE CONTROLLER

Note: links to listings are affiliate links for which the site may be compensated. via this auction
"This is an excellent working condition EML POLY-BOX. This is remote control keyboard. Super clean unit with that has very little use. This unit was tested and works perfectly. Devo was well known for using one of these.This was owned by a musician who is having financial problems, he is forced to sell this rare gem. It has just 2 tiny nicks near the front left(See photo 17), rest is virtually flawless. It looks like it is 1 year old not over 30. Only 130 of these were ever produced, trying to fnd one is this condition, nearly impossible.

Back in the day, most synthesizers were monophonic - that is they could play only 1 note at a time. EML realized this limitation and came up with the Polybox. This rare little box has built in oscillators which track the pitch of an incoming audio signal really well - even following vibrato and portamento successfully. Take any monophonic synthesizer audio output, patch it into this synth and play the Polybox's keys along with the mono melody to convert it to chords. Or lock the chord memory so it follows your melody automatically with a set chord that's transposed along with the melody's pitch. Or play its internal oscillators as their own instrument. This is a very cool, unique and extremely useful tool!

ONLY LISTING ON EBAY OR THE ENTIRE NET

Specifications Polyphony - 26 voices (13 per bank) Oscillators - n/a
LFO - n/a
Filter - n/a
VCA - n/a
Keyboard - 13 keys
Memory - 26 patches
Control - CV/Gate
Date Produced - 1977-84

This is info gathered from one of EML's founders, Jeff Murray. This is reprinted from Vintage Synthesizers. [on Amazon]

The Poly-Box.
On the heels of introducing some fairly straightforward synth equipment, EML did an about-face and came out with one of the strangest accessories ever designed for mono- and duophonic synths: the Poly-Box, which had only a one-octave keyboard (C to C ). If you sent one or more notes into the Poly-Box’s audio input and played a chord on its keyboard, the Poly-Box would output a chord based on the incoming note (the root) and the notes depressed on the Poly-Box keyboard. Each key was programmable within a four-octave range, and memory could store up to 26 notes for automated pitch-following of a synthesizer. “The Poly-Box was kind of a cool instrument,” says Murray. “A lot of early synthesizers were just one- or two-note devices, but with the Poly-Box you could play chords. It had phase-lock-loop circuitry so that it could follow the frequency of an incoming audio signal. Then you could hit a chord on the Poly-Box and it would synthesize all the other frequencies of the chord.” EML made around 130 Poly-Boxes between 1977 and 1984. It originally listed for $475.

'It's more for those old mono's you can't get to be poly. sure there's poly synths falling out of trees these days, but there's no polyphonic version of vintage synths falling out of trees and that's where this baby fills the gap!'

'This is a very rare and unusual keyboard that acts as a unique accessory for any monophonic synthesizer or sound source. Plug a mono source into the input of the Poly Box and it will take the input waveform and allow you to play chords with it, effectively turning a mono source into a polyphonic output. It also has its own internal oscillators, so it can generate polyphonic sound all by itself. You can lock a chord on the Poly Box and then vary the pitch of the mono input, thereby changing the root pitch of the output chord. Additional controls allow you to add an additional tone either one or two octaves below the input, and to transpose everything down an octave, as well as adjust brilliance and add phasing. This unit takes your mono synth into a whole new world of polyphony.'

'I blame DEVO for my lust of the EML.'"

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FXpansion Tremor Tutorials

FXpansion Tremor - Overview Tutorial

YouTube Uploaded by FXpansion on Jan 9, 2012

"More info: http//www.fxpansion.com/tremor

Tremor is a software drum machine with powerful synthesis, effects, modulation and step-sequencing. DCAM circuit-modelled sound generation is fused with new ideas to produce original sounds with the punch and extreme sound pressure of old-school analogue. Tremor's dance drums, funky beatscapes, abstract machines and undiscovered sonic terrain are suited to all kinds of electronic, urban and experimental music."

Drum Synthesis 101 with FXpansion Tremor - Episode 01 - Kick Drum 01

Uploaded by FXpansion on Feb 3, 2012

"You can download the preset used in this tutorial here:
http://www.fxpansion.com/users/rory/Tremor_101_A.zip

Drum Synthesis 101. Kick Drum 01. Learn how to synthesize a kick drum using Tremor. Follow along with any synthesizer."

Drum Synthesis 101 with FXpansion Tremor - Episode 02 - Vintage Snare Drum

Uploaded by FXpansion on Feb 15, 2012

"You can download the preset used in this tutorial here:
http://www.fxpansion.com/users/rory/Tremor_101_B.zip

Drum Synthesis 101. Vintage Snare Drum. Learn how to synthesize a vintage snare drum using Tremor. Follow along with any synthesizer."

Drum Synthesis 101 with FXpansion Tremor - Episode 03 - Crash Cymbal

Uploaded by FXpansion on Feb 22, 2012

"You can download the preset used in this tutorial here:
http://www.fxpansion.com/users/rory/Tremor_101_C.zip

Drum Synthesis 101. Crash Cymbal. Learn how to synthesize a crash cymbal using Tremor. Follow along with any synthesizer."

Drum Synthesis 101 with FXpansion Tremor - Episode 04 - Realistic Snare

Uploaded by FXpansion on Mar 6, 2012

"You can download the preset used in this tutorial here:
http://www.fxpansion.com/users/rory/Tremor_101_D.zip

Drum Synthesis 101. Realistic Snare. Learn how to synthesize a realistic snare drum using Tremor. Follow along with any synthesizer."

Drum Synthesis 101 with FXpansion Tremor - Episode 05 - Claps

YouTube Uploaded by FXpansion on Mar 13, 2012

"You can download the preset used in this tutorial here:
http://www.fxpansion.com/users/rory/Tremor_101_E.zip

Drum Synthesis 101. Claps. Learn how to synthesize claps using Tremor. Follow along with any synthesizer."

Brian Eno's The Fat Lady of Limbourg for the Raspberry Pi

"Here's an updated version of Eno's favourite chubby girl, but rendered with a slimline synthesis model. All in an attempt to get this runnable on a single Raspberry Pi. This uses the non-oversampled synth, so everything is computed at 44.1kHz. It's using the newer variant of the BPCVO model, and I've redone all the synth presets to remove the filter on everything pitched to eliminate that particular computation burden. And there are tricks you can play to bring back a 'filtery' sound - for example, morphing from sin to saw or sin to square sounds like a filter opening up as harmonics get introduced, and that trick has been exploited to turn the pair of 'Brass' into pure 1980s digital filter-free synthesis. But despite the trick (early ramp via EG to morph from sin to saw, giving a harmonic enrichening over the first 100ms or so of the sound) you simply can't replace a filter with tricks, so the sounds do suffer as a result. But hey, no free lunches here, the goal was to make it burn less CPU and still get a decent sound. So the 'Fat Lady' bass has also gone filterless, ditto the Warm Jets 'guitar', ditto Phil's Wiggly Manzanera. The percussive elements remain filtered as they just have to be, they rely on the resonant filter to generate anything at all apart from hissy noise.

But after the filter removal and the performance tuning, this version now runs in exactly 24% of an iPad 2. It may actually run on a Pi in this form. Really, there is a damn good chance that £20 of woefully underpowered educational computer will be able to synthesize this in real time, without resorting to a Pocket Orchestra. Bear in mind, 'this' is now 14 notes of polyphony, many stereo delays (seven? eight??), a global reverb and 10 separate synths.

Audio was captured from the iPad and not processed in any way, these are exactly the bytes that I computed. Cool, eh? Plus, big bonus, you get the Eerie Noise - which is actually a combination of a dedicated 'Eerie Noise' synth and the pair of brasses, turned way down and pitch bent to buggery. Yay!

Next step - get this codebase rebuilt on a Pi and actually run it."

And the original:

Helmatronic Challenger in the Flesh

via OurDarkness on Gearslutz


CV & MOD BUSSES
"Modulation Sources:
1. The square output of the LFO
2. The triangular output of the LFO
3. The upwards sawtooth output of the LFO
4. The downwards sawtooth output of the LFO
5. S&H
6. Oscillator 4
7. External In 1
8. External In 2
9. Env (the envelope from VCF1)

Modulation Destinations:
1. Oscillators (individually)
2. Filters (both)
3. Pitch (equivalent to modulating all oscillators simultaneously)
4. Pan

Mod Wheel Range:
Specifies how much the modulation wheel affects the modulation between source and destination.

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AJH Synth Patch of The Week Videos

video uploads by AJH Synth Official

Videos by supoorting member, DreamsOfWires.

Playlist: 1. Patch of The Week: The Sonic XV's Wave Folder - So many tones from just 1 VCO's Triangle wave

'Sonic Arps': The Sonic XV Transistor Diode Ladder Filter has a built-in Wave Folder, and in this video I'm using an arpeggiator in random mode to show the many subtle flavours of sound it can achieve from just a simple triangle wave from a single VCO. I will also pull a huge variety of timbres from a sine wave in a similar fashion.
The filter is a re-creation and expansion of the VCF from the Musonics Sonic V (5) synth of the 1970's (predecessor of the Moog Sonic Six), and shares a similar character to that of the EMS Synthi and VCS3, also being early diode filters. Bearing that in mind you might expect it to produce aggressive tones and chaotic feedback, which it can do well enough, but you might not have expected that it can also be very subtle, organic and warm in character, particularly well-suited to melodic arps/patterns and percussive sounds. With the added wave shaping functionality that wasn't present on the original, along with 24dB and 6dB low pass modes, and band pass filtering, this module packs a lot of tone shaping into 14hp.

Index:
00:00 'Sonic Arps'
00:34 Introduction
01:01 Assembling the patch
01:39 Sounds & Settings
04:33 Patch Sheet

A PDF file of the patch can be downloaded here: https://kvisit.com/8AE/xfUG

Patch notes:
Green dots show approximate pot and switch positions. Where a pot has two dots, this illustrates the range I move them during the video. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions.
I'm using the VCA as a mixer so that I can use the outputs from both the BP and 6dB outputs of the Sonic XV. Notice in the video they are set at different volumes at different points depending on the sound - you will need to adjust this too, as different combinations of IN LEVEL, IN MIX, IN WAVE, and filter settings can make a significant difference to volume levels.
Modules used from left to right: Vintage Transistor Core VCO, Sonic XV, Contour Generators, Discrete Cascaded VCA.

2. Patch of the Week: 'Schulze School' - Melodic Eurorack performance + 'how-to' guide & patch sheet

This week's patch makes use of the V-Shape wave shaper/wave folder to sculpt the great analogue tone of the MiniMod VCO to create some delicate timbres that reminds us of Klaus Schulze's mesmerising sounds created on his sequencer-driven Moog modular synth systems in the 1970's. It also makes particular use of the Ring SM as a sub oscillator generator, and the rich tones of the Sonic XV diode filter.

Check out the AJH Synth playlists for more 'Patch of The Week' videos, which will be either performances or 'how to' guides detailing a range of sounds, some familiar, some less so, and each containing a patch sheet at the end to show you how to construct it for yourself.

3. Patch of the Week: 'Singing Gemini' - Dual Analogue VCF as a Dual Sine Wave VCO How to & patch sheet

This patch uses each of the 2 analogue filters of the Gemini as a dual VCO, self-oscillating, so that they produce sine waves and can be sequenced melodically using the Korg SQ-1 or any analogue step sequencer. This guide shows you how to make this patch, along with a patch sheet at the end. It is one of the many ways you can use just a couple of Eurorack modules to make music, as modular synthesis can be rewarding even with a minimal gear list.

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PPG Infinite :: Rauschwerk Factory Presets & Full Details

Rauschwerk Klang
Published on Aug 2, 2017

"You are listening to the pure PPG Infinite synthesizer.
Audio/Video demo by using the Rauschwerk factory presets, only.

Directly recorded .. no additional effects.

Sound-Design / Audio / Video by RAUSCHWERK
rauschwerk-klang.de

All rights reserved (c) 2017"

Details via wolfgangpalm.com

"At the end of the 70s Wolfgang Palm developed wavetable synthesis. This was very successful and used by many synthesizer companies in the 80s and 90s. But this technology has its limitations. The main reason is that all sounds are harmonic. In nature this does not happen very often. Many sounds like a piano string have small offsets from the harmonic frequencies. This is even stronger in sounds like bells or percussion.

Infinite overcomes this limitation.

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PPG Infinite Pro VST/AU Details

Published on Dec 5, 2017 Cornel Hecht

Key Features

New system which can synthesize harmonic and inharmonic sounds
Morpher - X/Y controller which morphs 5 user selectable sine resources
Noiser - X/Y controller morphing 3 noise resources and performing modulations on the tonal part
Molder - acts as a digital filter with any imaginable filter sweeps
Two detail editor pages for the Sine resources featuring a 3D display *
Analyser with 6 modes for directly converting your own sounds
Noise separation lets you create own resources for the Noiser
Import WTS and TCS files from WaveGenerator and WaveMapper
Import Phonem utterances and use them in the Infinite PRO Molder
Versatile matrix system - allowing 16 sources to control 40 parameters
10 Envelopes, for control of filter sweeps, waveform, noise and many modulations
4 LFOs which can be freely routed via the matrix
Delay/Reverb effect
Overdrive/Distortion effect
Preset browser with new listing filters
Directly accessible context help for each module
Freely configurable schematic keypads, with extremely expressive modulation options
4 MIDI modes: Omni, Poly, Mono, and Voice-Per-Channel (MPE).

"This has always been my dream. A system which can reproduce all kinds of sounds and transform them into a universal set of parameters. Thus all these sounds are completely morphable." - Wolfgang Palm

"At the end of the 70s Wolfgang Palm developed wavetable synthesis. This was very successful and used by many synthesizer companies in the 80s and 90s. But this technology has its limitations. The main reason is that all sounds are harmonic. In nature this does not happen very often. Many sounds like a piano string have small offsets from the harmonic frequencies. This is even stronger in sounds like bells or percussion.

Infinite PRO overcomes this limitation.

The frequencies of the overtones created by Infinite PRO can be totally freely defined. So the sounds it produces are totally free in the frequencies of their overtones. This means that each partial wave can have an arbitrary frequency.

Moreover it is possible to move these overtones independently during the duration of a note.


Another important part of most natural sounds is noise. Be it a flute or when a drumstick hits the drumhead - and this all can be reproduced in Infinite PRO.

Furthermore the noise source can be used to modulate the tonal part which results in very powerful effects.
Besides these new digital features, we still have the typical 24db Lowpass filter, 2 VCA with stereo out and effects. All this is controlled by 10 envelopes, 4 LFOs and a modulation matrix.

Maybe the greatest innovation in Infinite PRO is the Morpher. It is so easy to create new timbres and real-time effects by morphing the gains and frequencies of sounds with the X/Y controller. To get an impression of the morphing possibilities watch this short video.

Infinite PRO comes with more that 300 tonal resources, which can be loaded into the 5 fields inside the Morpher. But it does not stop there. You can edit these in detail on two extra pages and even analyse your own sounds in a sophisticated analyzer.

On the Sine Parameter panel, you edit the sine tracks with a set of parameters for each track. A track is the time sequence of one sine component over the full length of the sound. A 3D display gives a good impression of the whole resource.

Example of a 3D view showing a vocal resource which features strong pitch moves.

On the Sine Structure panel, you edit the fine structure of a track in a bar graph. A FREQ mode lets you do this for the frequency.

The Main Parameter page edits the program parameters like Oscillator Pitch, the VCF (a 24dB lowpass filter), gain envelopes and LFOs. PPG Infinite PRO is equipped with 10 envelopes. Some are fixed to a certain function, others can be freely connected with the matrix.

A sophisticated analyzer offers six modes to capture all kinds of sounds in the best possible way.

* The 3D display does not run on 32bit Mac hosts and not on all Windows PCs. But there is also a 2D mode which features all the functionality of the 3D mode and even more. If you think the 3D is very important for you, please wait for the DEMO version, and test it there before buying."

DSI PRO 2 KARPLUS-STRONG SOUND DESIGN TUTORIAL ~ Synthesize This! Ep.06

Published on Jan 6, 2017 once upon a synth

"In this episode we use an approximation of the Karplus-Strong algorithm to design plucked string sounds on the DSI Pro 2 synthesizer using physical modeling synthesis. The Karplus-Strong algorithm involves a short burst of noise that is fed into a delay line. The samples are averaged as they feed back through the line and this results in a crude simulation of a plucked string which sounds surprisingly good. Unfortunately the pitch doesn't track correctly here because this needs to be calibrated in code and what I'm doing in this video is just a simulation of this algorithm using the delay and some noise."

All parts here.

DEEPMIND 12 RHYTHMIC PAD PATCH SOUND DESIGN TUTORIAL ~ Synthesize This! Ep.11

Published on Feb 3, 2017 once upon a synth

"I make a rhythmic pad patch on the Behringer Deepmind 12 synth. This patch makes use of the mod sequencer and LFOs to modulate a few parameters. When you combine that modulation with a pad-like envelope shape you end up with a pad sound that moves around in a rhythmic way which is pretty cool!"

More Synthesize This! episodes.

EML ElectroComp Vintage Synthesizer Brochures

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

"This a crazy rare treasure trove of vintage 1970's original material from the Electronic Music Laboratories Inc, (EML), makers of the Electrocomp Synthesizer line. The company was based in Vernon, Connecticut and made a line of quasi-modular synths that competed with Moog, Arp and Oberheim. More rare than these other well known names, these synthesizers had unique features for the price and a distinct sound to them.

Included in this package are:

(1) EML Family of Synthesizer Brochure, half folded into a four page brochure. The last quarter page is a response card that was returned, presumably to receive the other brochures that are included. This brochure includes pictures and features of the EML 101, EML 200, EML 400 Series and the Syn-Key

(1) "The Best Portable Synthesizer In The World" Electrocomp 101, half folded into a four page brochure with detailed illustrations and technical features. Note the price of $1495 back then! The keyboard player in my high school and college band has this synth and I spent many hours hearing it do bass lines and leads, cool stuff!! It was duophonic, patchable and hot stuff at the time!

(1) This Synthesizer Started a Revolution! ElectroComp 200, half folded into a four page brochure with detailed illustrations and technical features (note there are two of these in the picture, but only one is included in this auction). This is an interesting unit that seems to be designed to teach synthesize to students at school and appears to be an "expander" unit to the 101 with a price of $950

(1) Todays Sound, The Right Price!, Electrocomp 500 $895 half folded into a four page brochure with detailed illustrations and technical features. This one does not have patch points and appears to hard connect key features from the 101.

They are in excellent condition and perhaps some of rarest vintage synth literature from the period. EML was relatively short lived despite the quality of their products and it is hard enough to find any of their synthesizers let alone a set of documents like this!!"

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KORG Releases iElectribe for iPhone

Korg iElectribe for iPhone vs. Korg Electribe ER-1

Published on Sep 3, 2015 Marcus Padrini

"Do they sound the same? Check it out!"

iTunes: KORG iELECTRIBE for iPhone - KORG INC.

"** 50% OFF Special Launch Sale - For a Limited Time **
The ELECTRIBE reborn in an even smaller form A full-fledged rhythm machine for iPhone

This app’s intuitive operation allows anyone to easily create powerful beats on the ELECTRIBE series. The enormously popular ELECTRIBE-R instantly became a must-have item for track-makers around the world, and now it’s been reborn as an app for iPhone.

With this app, we’ve effectively “put the original hardware chassis into your iPhone,” by faithfully reproducing the sound engine and design of the ELECTRIBE-R. We’ve also included the latest preset patterns and many new functions that are currently featured on the “iELECTRIBE for iPad”, released in 2010. , taking a further evolutionary step in technology. Taking advantage of the ease of use that you expect on iPhone, we have maximized the intuitive nature of the ELECTRIBE to make this new product worthy of its name: the iELECTRIBE mkII.

It won’t take long for you to enjoy the ultimate experience of the Electribe series. This apps intuitive nature and familiar interface make it easy to create beats with an analog feel that’s like nothing else.

● Amazing rhythm machine that generates powerful grooves
We’ve perfectly replicated the thick-sounding synth engine of the ELECTRIBE-R and its intuitive step sequencer. Now you can instantly obtain extreme tonal changes and powerful rhythms with just one touch
Not only can iELECTRIBE for iPhone be easily enjoyed by anyone, but it also allows detailed beat-making that transcends iPhone specs. In addition to playing back the provided audio data, you can also freely synthesize sounds from a single waveform and combine those sounds into your own original beats. This allows for the true experience of music production that connects all musicians.

● Three hundred built-in rhythm patterns that only this app can produce
With 64 of the latest preset patterns, 192 from the first-generation ELECTRIBE-R, and 32 template patterns for various genres, this app successfully draws out the full potential of the thick sounding analog beats. There are approximately 300 inimitable rhythm patterns that you’ll hear only from iELECTRIBE for iPhone. Electro, house, techno, drum'n'bass, dubstep, hip hop, techno pop, and IDM are some of the wide range of electronic music genres that are provided.

● An ELECTRIBE that you can put in your pocket and take anywhere
Whether you’re on the train or bus while commuting to school or to work, at a coffee shop, or in your bedroom, you can enjoy beat-making anywhere and anytime you like. Your completed beats can be transferred to your DAW software via the audio export function. You can also use the WIST function to play wirelessly with a friend using two devices simultaneously.

● Powerful functions that bring infinite possibilities to your grooves
We’ve packed maximum potential into this machine with eight types of powerful master effects featured on the upper-level models of the ELECTRIBE. This includes the ring modulation function of the ELECTRIBE-R and the cross-modulation function of the ELECTRIBE-R mkII. This app allows you to switch back and forth to choose between the two. It also includes the BEAT FLUTTER function that uses a proprietary randomizer to create fresh rhythms and the motion sequence function that remembers your knob movements. In addition, you can use an external USB-MIDI device such as the nanoPAD or nanoKONTROL for performance and control. There’s also support for the latest iOS technologies such as Inter-App Audio, Audiobus, Virtual MIDI, and iCloud.

● Operating Requirements
OS: iOS 8 or later
Device: iPhone 6, iPhone 6 Plus, iPhone 5s, iPhone 5c, iPhone 5, iPod touch fifth-generation, iPod touch sixth-generation
*Because of differences in screen resolution between models of iPhone, the display is smaller on the iPhone 4s. For the best experience, we recommend using iPhone 5 or later."

Free Samples via Zero Divide

http://audio-kinetic.iswiz.com/stuff/korger1.zip
Made these just before I sold my Korg ER-1. They aren't properly cut up, unfortunately, but it isn't like it isn't hard to slice them down to size. This is just a bunch of sounds I synthesized to try to cover all of the possibilities that this machine had to offer.

http://audio-kinetic.iswiz.com/stuff/kraftydrums.zip
Did these up last night using the MFB Kraftzwerg to synthesize drums and such from scratch. I did cut out the silences on these and normalized, however it should be noted that on a couple of these I ran the input on the MPC just a teensy bit too hot, so a couple of the samples distort a tiny bit (though it's actually a nice effect on the kicks.)

http://audio-kinetic.iswiz.com/stuff/mfb522.zip
MFB 522. There's not much here as I was sampling these so that I could experiment with different processing methods, but this is a nice little simple drum kit here.

http://audio-kinetic.iswiz.com/stuff/rolandmc09.zip
These are all of the drum sounds from the Roland MC-09. There's a few repeats in here because the kits are made up from a small pool of samples and I was just flying through getting all of the kits sampled. I don't think I've chopped these up either.

http://audio-kinetic.iswiz.com/stuff/frxsdrums.zip
Inspired by Wave Alchemy's collection, here's a small selection of Future Retro XS drums. Not nearly as varied as the Wave Alchemy set, but still a good demonstration for myself as to the capabilities of this unit.

http://audio-kinetic.iswiz.com/stuff/jomoxmbase01.zip
This is all of the preset sounds and a couple of sounds I built of my own for the Jomox MBase01.

http://audio-kinetic.iswiz.com/stuff/dr550mkii.zip
Complete collection of all of the drum sounds on the Boss DR-550mkii. (A lot of the sample sets floating around on the interwebs don't have all of the sounds in them.)

http://audio-kinetic.iswiz.com/stuff/dotcomdrums.zip
And this is just a quick little goof-off thing with my Dot Com system doing a couple of basic drum sounds.

Update via Zero Divide:

here's another MFB 522 bank:

http://audio-kinetic.iswiz.com/stuff/mfb522.zip
The difference between this bank and the last bank is that for this one, I went through and sampled every sound with the knobs at five different positions. Obviously due to the nature of analog, this doesn't cover ever single possible sound that the 522 can do, but it still covers a lot of territory. I didn't go through and trim it up because doing it manually would have taken way more time than what I was willing to give to something I would end up giving away for free, and doing it with like Wave Trim or the like seems to cut off the tails in a lot of cases.

http://audio-kinetic.iswiz.com/stuff/schlagzwerg.zip
Initially with this one, I was setting out to do like I did with the 522 and try to get nearly every possible sound out of it. Since it shares the same hats/cymbal circuit as the 522, that means that I only have to get the kick, tom, and snare section. Trouble is that the Schlagzwerg has a much greater range than what the 522 has, so I'd have to sample all of the knobs at seven positions instead of just five in order to cover it all. Three hours and 550-ish samples later, I stopped and did the math and realized that for seven positions of every knob and five knobs for the kick, I'd need over 16,000 samples just to cover all that the kick can do. Lesson learned: Plan ahead! So, I deleted all of those samples and just made a smaller collection highlighting what is possible with the Schlagzwerg. The 'FX' bank is what the Schlagzwerg is capable of when you get crazy with the patch cables."

Mark Twain on the Tellharmonium

This one was spotted and sent in by Gerard Pardeilhan.

Note that's not Mark Twain in the image as he was much older in 1907 as pictured here. The image appears to be "Musician playing at the Telharmonic Hall. The photograph originally appeared in Gunther’s Magazine, June 1907. Courtesy Reynold Weidenaar" according to Cabinet Magazine.

From the article on Cabinet Magazine:

"'The trouble about these beautiful, novel things is that they interfere so with one’s arrangements. Every time I see or hear a new wonder like this I have to postpone my death right off. I couldn’t possibly leave the world until I have heard this again and again.' —Mark Twain

The new wonder that Mark Twain described was the Telharmonium, a pioneering and immensely ambitious electrical musical instrument, the first to synthesize sounds from electrically generated waves. Conceived in the early 1890s by Thaddeus Cahill—whose original name for his invention was the Dynamophone—the instrument produced sound with dynamos that generated alternating currents. Because the sound was generated electrically, it was possible not only to synthesize sound but also to transmit it over telephone lines, making it possible to provide music to thousands of hotels, restaurants, and home subscribers."

I did a quick search for the quote and also found the following from The New York Times, December 23, 1906 on twainquotes.com via The New York Times.

---

TWAIN AND THE TELEPHONE
He Hears the Telharmonium and Incidentally Tells a Story.

"The trouble with these beautiful, novel things is that they interfere so with one's arrangements. Every time I see or hear a new wonder like this I have to postpone my death right off. I couldn't possibly leave the world until I have heard this again and again."

Mark Twain said this as he lounged on the keyboard dais in the telharmonium music room in upper Broadway, swinging his legs, yesterday afternoon. The instrument has just played the "Lohengrin Wedding March" for him.

"You see, I read about this in THE NEW YORK TIMES last Sunday, and I wanted to hear it. If a great Princess marries, what is to hinder all the lamps along the streets on her wedding night playing that march together? Or, if a great man should die -- I, for example -- they could all be tuned up for a dirge."

"Of course, I know that it is intended to deliver music all over the town through the telephone, but that hardly appeals as much as it might to a man who for years, because of his addiction to strong language, has tried to conceal his telephone number, just like a chauffeur running away after an accident.

"When I lived up in Hartford, I was the very first man, in that part of New England at least, to put in a telephone --, but it was constantly getting me into trouble because of the things I said carelessly. And the family were all so thoughtless. One day when I was in the garden, fifty feet from the house, somebody on the long distance wire who was publishing a story of mine, wanted to get the title.

"Well, the title was the first sentence, "Tell him to go to hell." Before my daughter got it through the wire and through him there was a perfect eruption of profanity in that region. All New England seemed to be listening in, and each time my daughter repeated it she did so with rising emphasis. It was awful. I broke into a cold perspiration, and while the neighborhood rang with it, rushed in and implored her to desist. But she would have the last word, and it was "hell," sure enough, every time.

"Soon after I moved to New York; perhaps that had something to do with my moving. When I got there and asked for a fire-proof telephone, the company sent up a man to me. I opened up all my troubles to him, but he laughed and said it was all right in New York. There was a clause in their contract, he said, allowing every subscriber to talk in his native tongue, and of course they would not make an exception against me. That clause has been a godsend to me."

---

I also found another write-up on Substack here.

See the Telharmonium label below for additional posts.

KORG Introduces the KingKORG NEO!

video uploads by Korg

"KingKORG NEO packs the power from the legendary virtual analog synth KingKORG into a compact 37-full size key synth, with new sounds, a 16-band vocoder, effects, and virtual patching.

At your fingertips is deep sonic exploration with the intuitive front panel equipped with dedicated knobs and screens, 3 oscillators with 138 different oscillators types to choose from, and 18 classic synth filters, including iconic models such as MS-20, TB303, SEM, Minimoog, and Prophet 5, faithfully recreated through KORG's advanced XMT engine."

CLICK FOR MORE »

NYZ DRN4 DECLASSIFIED

Exclusive mix on SoundCloud:


Tracklist:

1. NYZ_FMMGKSQ_43t
2. ISR_16x16_WCM
3. CSN [excerpt 2 mono]
4. SWI_r170_16x32x32_B
5. SWI_FM1#16
6. NYZ-1_1#08_A [finite downsized]
7.CSN1 [excerpt 1 mono]

Be sure to see the MATRIXSYNTH exclusive further below!

FM EXPLORATIONS AND MICROTONAL DRONES FROM NYZ (AKA DAVE NOYZE, DAVID BURRASTON, NOYZELAB, BRYEN TELKO)

This is the first release by NYZ and is a superb musical collection of research areas classified to internal Noyzelab operations. Not even .MEDS label were informed of the secret processes underlying its creation, excepting that we know it involved Frequency Modulation (FM) synthesis! We have not been given any information regarding when this work was recorded, but we suspect the material spans at least a decade of David's FM algorithm research on numerous synthesizers, as well his own custom built ear deceiving gear...

According to one reviewer of David's previous musical output he "gleefully disrupts just about every standard convention of musical form you could think of, including those of so-called experimental musics."

Other reviewers have written that :
"His music is a bizarre, yet compelling journey investigating the outer realms of music generated on ancient & contemporary machines." "It's strikingly original audio that doesn't really sound like anything else I can think of." "Utterly sublime. So there you go, a life-affirming slab of mind-altering sound to reawaken you to the terrifying possibilities of creation."

"absolutely wreaks havoc" wrote Keith Fullerton Whitman on reviewing David's last release T. H. Cycle cassette on Important Records/Cassauna .

Cassette releases April 1, 2016

All Audio by David Burraston
Design Tom Knapp

----

MATRIXSYNTH recently asked NYZ why he put together this new album of FM synthesis based explorations, and whether he would discuss some of the process behind it. The declassified information below has been put together by NYZ especially for a MATRIXSYNTH exclusive.

***BEGIN NYZ DRN4 DECLASSIFICATION REPORT***

DC REPORT STATUS: PARTIAL DECLASSIFICATION ONLY
PARTIAL DC STATUS: INCOMPLETE CELLULAR BINARY SPACETIME
PARTIAL DC LEVEL: SEMI-PICTORIAL_TEXTUAL_HIGHLIGHTS
FUTURE DC STATUS: _PENDING

The main reasons for making this album were an interest in FM synthesis in both analogue modular and MIDI/digital mediums. I had worked with digital FM synthesis since getting a Yamaha TX81Z when they came out back in 1987 (which I still have, along with another backup machine with a very hummy mains transformer which bleeds onto the outs). How me and another synth friend used to cry with drunken laughter at preset D11 Hole in 1... :) But after initially wondering whether I had just wasted about 350 UK pounds on an utter piece of shit... I quickly warmed to its better presets, and its very different approach to synthesis yielded enough interesting results early on for it not to get outed.

CLICK FOR MORE »

FlexibeatzII Pattern Based Music Making Application

YouTube Uploaded by sawsquaresine on Apr 10, 2011

"Please visit http://flexibeatz.weebly.com

FlexibeatzII has a default grid of 16 checkboxes (or steps), each step being 1/16th of a measure, although you do have the option of changing resolution to 1/32nd of a measure if you desire. You then chain these patterns of notes together to form longer compositions. You can use any .wav sound samples of your choice, or sounds you synthesize with the application itself from scratch, in each of the application's 10 channels. You can even combine samples with sounds you have created yourself, such as frequency modulating one with the other. Besides extensive sample editing and synthesis options, you also have a multitude of effects and 3-band parametric EQ per channel available. You can vary the pan, pitch and level of each sound in each channel, mute and solo sounds, specify which sounds can cut-off which other sounds, vary each sound's start and end point, and accent and swing notes, all while the sequence is playing. Tools are also provided to automatically chop up drum loops into individual hits, lock tempo of sounds in channels to master tempo, and auto-generate arpeggiator patterns. Once your composition is complete, you can record it to a .wav and .mp3 file. The application can be operated as a standalone application working off its own internal timer, or you can slave playback via midi-sync to another DAW or external sequencer."

Playlist:
FlexibeatzII Tutorial #1: Changing the sound of your sample - "This video is the first in a forthcoming series exploring interesting/unusual aspects of the free FlexibeatzII pattern based music making application. The current video focuses on some sample editing functions and effects which can transform the sound of your sample to practically a different instrument or sound effect."

FlexibeatzII Tutorial #2: Synthesizing sounds from scratch, and vocoding - "This video is the second in an ongoing series exploring interesting/unusual aspects of the free FlexibeatzII pattern based music making application. The current video focuses on how to use FlexibeatzII to synthesize every instrument sound from scratch (drums, bass, lead, sound effects and all) in a pattern for an Electro track, including vocoding of the vocal sample used in the track."

FlexibeatzII Tutorial #3: Chopping a drum loop sample into its individual sounds - "This video is the third in an ongoing series exploring interesting/unusual aspects of the free FlexibeatzII pattern based music making application. The current video focuses on how to use FlexibeatzII to automatically chop up any percussion loop wav file you may have into its individual 'hits' and then sequence the 'hits' into an entirely new pattern."

FlexibeatzII Tutorial #4: Syncing to a DAW or Hardware Sequencer - "This video is the fourth in an ongoing series exploring interesting/unusual aspects of the free FlexibeatzII pattern based music making application. The current video demonstrates how to sync FlexibeatzII to both a DAW and an external hardware sequencer. All applications in this video: FlexibeatzII, Reaper, Audacity and LoopBe, are freely downloadable and not time/feature crippled in any way."

FlexibeatzII Tutorial #5: Making a complete track from loops - "This video is the fifth in an ongoing series exploring interesting/unusual aspects of the free FlexibeatzII pattern based music making application. The current video demonstrates the creation of a complete track around a couple of drum loops freely downloaded from the 'net, and shows how the finished song needn't sound anything like the original loops."

DEEPMIND 12 BAGPIPES SOUND DESIGN TUTORIAL ~ Synthesize This! Ep.15

Published on Mar 3, 2017 once upon a synth

"Making a bagpipes patch from scratch on the Behringer Deepmind 12. It's not the most realistic bagpipes emulation but it's a pretty good approximation. The main idea is to start with a thin piercing sound, then thicken it up by stacking voices together. Then with the help of some effects and detuning as well as careful playing we can get pretty close to something that resembles the right sound."

Synthesize This!

intellijel Plonk Walkthrough Videos

Published on Sep 7, 2017 intellijel

Playlist:
1. Plonk Walkthrough
2. Managing Plonk Presets With Laser Mammoth
3. Plonk Firmware Update

"Plonk uses a technique known as physical modelling to synthesize, with great realism, the way in which sound is produced by acoustic instruments. The Plonk module is, itself, focused primarily on creating percussive sounds — both pitched and un-pitched; natural and unnatural; acoustic-sounding or totally electronic.

Plonk does this by breaking sound creation into two distinct elements — the exciter and the resonator. The exciter is a mathematical model of the device used to strike a particular surface. Plonk, because it’s percussion oriented, has two types of exciters: one modelled on a mallet, and the other providing a noise source. The resonator is a virtualization of the object being struck, which vibrates, resonates and creates the body of a sound. Plonk offers several types of resonators: beam; marimba; drumhead; membrane; plate; and string.

Plonk provides numerous parameters that let you shape, mold and design both the exciter and the resonator, thus enabling you to synthesize the sound of striking or scraping almost any type of object — real or imagined. In this way, Plonk can accurately model the sounds of kicks, snares, toms, cymbals, claps, tablas, congas and all manner of traditional percussion instruments. It can also model pitched percussive instruments, like vibes, marimbas, and even bass or guitar-like tones. Of course, it additionally excels at modelling instruments that heretofore never existed.

Best of all, the sounds created by Plonk are not static — any sound you design can respond dynamically to velocity, as well as four different modulation inputs. This means the sound of Plonk can change completely from note-to-note (or strike-to-strike). Because of this, Plonk is actually a duophonic (2-voice) module, which lets the sound of one note decay naturally when a second note (possibly employing an entirely different set of modelling values) is struck. Thus, hitting a new note does not choke the sound of the previously struck note (unless you want it to, of course)!

Plonk stores up to 128 patches in its internal memory, and ships with many presets programmed by professional sound designers and composers. You may overwrite these patches if you wish, and banks of patches may be transferred via MIDI System Exclusive over Plonk’s built-in mini-USB port to facilitate offline storage by programs or websites that support this capability.

Plonk was developed in cooperation with Montreal-based Applied Acoustics Systems — physical modelling pioneers, and the creators of Tassman, Lounge Lizard, String Studio, Ultra Analog, Chromaphone and numerous other plugins. It is with great pleasure that Intellijel brings the potential of this physical modelling technology to a hands-on, CV-laden device capable of the sort of dynamic control and sonic exploration that modular synthesists demand.

Features:
Resonator section models strings, beams, marimbas, drumheads, membranes, and plates.
Exciter section comprises a realistic mallet model and flexible noise source.
Two Voice Polyphonic at full resolution (16-bit 44.1Khz).
Pseudo multi-timbrality possible via CV selectable presets recalled on each new trigger/gate.
Full parameter randomization and morphing via CV/trigger.
All synthesis parameters can be assigned to the X, Y and MOD controls.
128 user preset slots with import/export via USB and come filled with factory presets designed Richard Devine and AAS.
Laser Mammoth compatible preset management

Width: 12 hp
Max Depth: 38 mm
Power: 170 mA @ +12V, 6 mA @ -12V
MSRP: $349.00"

Intellijel Plonk Overview

Published on Sep 14, 2017 intellijel

"Chapter Markers:
1. Triggering, Loading, Saving, and Tuning Sounds - 1:06
2. Exciter Section - 3:06
3. Object Section - 4:46
4. X, Y, Mod, and Config - 7:01
5. Example 1 (Decay and Morph) - 9:07
6. Example 2 (Preset Stepping Drum Kits) - 10:55
7. Example 3 (Preset Stepping Bassline) - 13:32

Plonk uses a technique known as physical modelling to synthesize, with great realism, the way in which sound is produced by acoustic instruments. The Plonk module is, itself, focused primarily on creating percussive sounds — both pitched and un-pitched; natural and unnatural; acoustic-sounding or totally electronic.

Plonk does this by breaking sound creation into two distinct elements — the exciter and the resonator. The exciter is a mathematical model of the device used to strike a particular surface. Plonk, because it’s percussion oriented, has two types of exciters: one modelled on a mallet, and the other providing a noise source. The resonator is a virtualization of the object being struck, which vibrates, resonates and creates the body of a sound. Plonk offers several types of resonators: beam; marimba; drumhead; membrane; plate; and string.

Plonk provides numerous parameters that let you shape, mold and design both the exciter and the resonator, thus enabling you to synthesize the sound of striking or scraping almost any type of object — real or imagined. In this way, Plonk can accurately model the sounds of kicks, snares, toms, cymbals, claps, tablas, congas and all manner of traditional percussion instruments. It can also model pitched percussive instruments, like vibes, marimbas, and even bass or guitar-like tones. Of course, it additionally excels at modelling instruments that heretofore never existed.

Best of all, the sounds created by Plonk are not static — any sound you design can respond dynamically to velocity, as well as four different modulation inputs. This means the sound of Plonk can change completely from note-to-note (or strike-to-strike). Because of this, Plonk is actually a duophonic (2-voice) module, which lets the sound of one note decay naturally when a second note (possibly employing an entirely different set of modelling values) is struck. Thus, hitting a new note does not choke the sound of the previously struck note (unless you want it to, of course)!

Plonk stores up to 128 patches in its internal memory, and ships with many presets programmed by professional sound designers and composers. You may overwrite these patches if you wish, and banks of patches may be transferred via MIDI System Exclusive over Plonk’s built-in mini-USB port to facilitate offline storage by programs or websites that support this capability.

Plonk was developed in cooperation with Montreal-based Applied Acoustics Systems — physical modelling pioneers, and the creators of Tassman, Lounge Lizard, String Studio, Ultra Analog, Chromaphone and numerous other plugins. It is with great pleasure that Intellijel brings the potential of this physical modelling technology to a hands-on, CV-laden device capable of the sort of dynamic control and sonic exploration that modular synthesists demand.

Features
Resonator section models strings, beams, marimbas, drumheads, membranes, and plates.
Exciter section comprises a realistic mallet model and flexible noise source.
Two Voice Polyphonic at full resolution (16-bit 44.1Khz).
Pseudo multi-timbrality possible via CV selectable presets recalled on each new trigger/gate.
Full parameter randomization and morphing via CV/trigger.
All synthesis parameters can be assigned to the X, Y and MOD controls.
128 user preset slots with import/export via USB and come filled with factory presets designed Richard Devine and AAS.
Laser Mammoth compatible preset management"