LEPLOOP DRUM MACHINE IMPROV IN A HOTEL IN MUNICH

video upload by Why Drums

"A free improvisation with the LEPLOOP, recording through the OP-Z into a laptop, and using a little bit of reverb from the OP-Z. What a brilliant instrument."

https://www.leploop.org/

Update:

LEPLOOP LIVE WITH T REX REPLICATOR TAPE DELAY

video upload by Why Drums

"A live jam with the LEPLOOP and a great tape delay pedal- The T-Rex Replicator. I love the weird harmony the LEPLOOP is doing, which of course I will never be able to create ever again. OH WELL! Fun, anyway."

Why you hate modular synthesizers

video uploads by Why You Hate Modular Synths

Playlist:
Why you hate modular synthesizers - hi-hats
Why you hate modular synthesizers - cat hair
Why you hate modular synthesizers - Kick Drums
Why You Hate Modular Synthesizers - Synthesizers
Why You Hate Modular Synthesizers - Cables
Why you hate modular synthesizers - in the... on the... at the...

Carbon111 - Stealing The Sun

A new release by Carbon111 (click for more info on the release). Note this also went up on MATRIXSYNTH-C. Posting here for the synths. See this post for what goes up where and why.

Update: Worth noting is Steve Turnidge of SYNTHWERKS mastered the release.

"Silver Thread - Ensoniq Fizmo and Waldorf Q provide backing pads, Korg Oasys is bass and string sounds while Digidesign's Boom provides percussion.

Breathing Machinery - Korg Oasys does Piano and Wave Sequencing, Weird Pads are NI's Absynth and, except for some clickety bits from Digidesign's "Boom", all the Drum Sounds and Rhythm Beds were done in NI's Absynth as well.

Subterranean Bathers - Ensoniq VFX is the voxy pad, Korg Oasys is piano, drums and everything else.

The Initiation - Lead Drones are from the SCI Prophet 600, Piano is Nord Stage, Pads are provided by Nord Wave, and Metallic Stabs and Drums are Korg Oasys.

Luna - The Nord Stage is on "distorted lead", Nord Wave on "grungy Santur" and Oasys on drums and "ambiance".

Walden - Waldorf Microwave XT is synth lead, Nord Stage is all pianos, Absynth4 and Alchemy provide ambient beds and Korg Electribe ES-1 is drums.

Stealing The Sun - All pianos and synth sounds are Nord Stage, drums are Korg Electribe ES-1.

The Big Room - Sync lead is Nord Wave, Grungy synth organ is Nord Stage, Pads are Korg Oasys and Drums are Digidesign's Boom.

Strangeness - Drums are provided by Korg Electribe ES-1, everything else is Waldorf Q.

No Time - All sounds provided by the Korg Oasys."

Gingoko Grains-With RZ-1 Drums Firmware

Published on Aug 1, 2016 Ben Francis

"Just Uploaded The RZ-1 drums-(Firmware) V2.2 PCB v2 (updated user code by JGB; input 3 is trigger input. I could not find anything online to hear it ...so here it is ."

Grains is a DIY kit from Ginko Synthese. The RZ-1 is of course the Casio RZ-1.

via Ginko Synthese:

Interesting codes to upload in your Grains:

Grains V1 PCB v1 (basic code for PCB v1)
Grains V2 PCB v2 (basic code for PCB v2)
Fresh PCB v1 (user code By Rob Bothof)
KALLE STRAM PCB v1 (user code by Kalle Govertz H. Christensen)
Patternrain V1 PCB v1 (user code by JGB; input 3 needs a clock input to work)
Patternrain V2 PCB v2 (user code by JGB; input 3 needs a clock input to work)
Grainsring V1 PCB v1 (user code by JGB; input 3 needs a clock input to work)
Grainsring V2 PCB v2 (user code by JGB; input 3 needs a clock input to work)
RZ-1 drums V1 PCB v1 (user code by JGB; input 2 is trigger input)
RZ-1 drums V2 PCB v2 (user code by JGB; input 3 is trigger input)
RZ-1 drums V2.2 PCB v2 (updated user code by JGB; input 3 is trigger input)
Wave V1 PCB v1 (user code by JGB)
Wave V2 PCB v2 (user code by JGB)
Cereals V1 PCB v1 (user code by HRTL)
Cereals V2 PCB v2 (user code by HRTL)
falafel-raps-changed-v2 PCB v2 (user code by Falafular)
Resonance-like feedback (coming soon)
Short-wave radio-like warbles and whistles (coming soon)

"The sound is a PWM output routed via an (optional) low-pass filter and a 100uF capacitor – so no external DAC is required. The low-pass filter on the PCB can be bypassed if you want. Bypassing the filter provides more clarity and a slightly louder output but more artifacts in the sound.

Not bored yet?
Here comes more information about the synthesis technique on the basic code and you will understand why I called this module “Grains”.
The “Grains” code provided on your module is based on FOF synthesis or formant synthesis. FOF synthesis is closely related to synchronous granular synthesis. It uses two simple triangle-shaped grains. The grains are separated by the same amount of time. With granular synthesis, the spacing within the grains radically change the texture that is created. The FOF grains have very little parameters: pitch and decay. In the basic “Grains” code the 2 decay values are fixed to most musical sounding and can not be altered via potentiometers. So only the pitch of the two grains can be altered via pots (or the cv inputs) and the overall grains repetition which provides the pitch of the output."

Compact jam on Circuit Tracks & MicroMonsta 2

video upload by Jay Hosking

"A live synthesizer jam performed entirely on hardware.

Sometimes it's nice to go back to the basics. The Novation Circuit was my entry point to the world of hardware in 2018, and while I've mostly moved on from the Circuit, it's so nice to go back to sometimes. Here, I'm using the Circuit Tracks—a worthy successor to the original, thanks to its additional two sequencing tracks—for two synths and drums, plus as the sequencer and mixer for the additional voices from the Audiothingies MicroMonsta 2.

The MicroMonsta 2 is one of those handy devices that does exactly what you need when you need it. It's super small and fits in any table setup, is bitimbral, has effects, and most importantly, sounds pretty good. Here, I stumbled into a sort of arp/pad crossover thing (thought I was recording a mono line, and accidentally recorded some pleasing polyphony) and, thanks to the hands-on filter control and its reverb, got me a lot of movement. For the second voice, I thought I'd demonstrate the less polite side of the MM2, and I love how huge the bass sound is. I only wish the MM2 were more readily available for those who want it!

Together, this little setup gives me four voices of synths, drums, effects, sidechaining to the kick, and some performance options. It was a great reminder of why I fell in love with grooveboxes, and why I love hardware in general.

Thanks for listening.

Novation Circuit Tracks - two synths, four drums, effects, mixing
Audiothingies MicroMonsta 2 - two synths with effects, routed into the Circuit Tracks

Performed and recorded live to a stereo output, with EQ, compression, and limiting on the master.

https://jayhosking.bandcamp.com"

Why is the Roland JUNO-106 still so popular?

video by synthlegends

"In this video you listen only to Roland JUNO-106 sounds (Multitrackdemo also including drums). I used to own a JUNO-106 several years ago, then sold it, because I also have a JUNO-60. After some time I missed it and decided to buy another JUNO-106. The Reasons are:
1. it sounds different from the JUNO-60 (there is another filter)
2. it has great MIDI functions to implement it in a modern setup
3. it has portamento
4. the self resonance is really outstanding for technoid sounds
5. three Key Modes, including unison mode, which is easer to access but it sounds only useful for drums ans industrial bases
6. it's perfect sounding in a mix and a great production tool
7. it has a broad sound palette and is useful for modern styles
8. it's great for drums and bass

The JUNO-60 has got an arpeggiator, the 106 not. So what, in a recording session I use it from my DAW or an external one. For Jamming with a drummashine without computer, the JUNO-60 makes more fun.

So I decided that the JUNO-60 is great sounding, but not a substitute for a JUNO-106.

The reasons, why it is still so popular are:
1. It always sounds great and it has a wide sweet spot
2. It is simple to program
3. It covers a range of 80 to 90 % of all bread and butter sounds you really need
4. It is capable of a lot of genres, italo disco, 80-ies pop, electro, techno, house and much more"

You can find one for sale here

mc303 mis-use: stepsequencing software with the groovebox

YouTube via se7ense7
"I used the mc303 to step edit some drums. Nothing special or out of the ordinary. BUT I didn't use the internal sounds. All the drums you hear are samples in the Ableton Drum Rack, all the drum mutes are performed from the MC303 and no audio cable was plugged into the MC303.

Why would someone do this?

I dunno. It makes for a great looking midi-controller, and in fact it's a sequencing midi-controller. Ideal for live use.
Imagine a sequencer triggering a synthesizer (MPC triggering Virus or something), and you want to be able to change the drums while the MPC keeps sequencing the virus. But you hate the sound of the MC303. Then you just assign the midi from the MC303 to a program on the MPC with cool drums, and you switch around on the MC303...

That's gotta make sense right?"

Aha - Take On Me | Why are these drums so recognizable? | Tutorial w/ the Isla Instruments S2400

video upload by Espen Kraft

"In a recent gig I had to recreate the openings of more than 40 80s chart hits. One song was 'Take on me' by A-ha. The song starts with the only drums and it has a very recognizable drum part. As I studied the drum pattern I realized there was some genius programming at work here.

Support this channel on Patreon:
https://www.patreon.com/espenkraft

The drums used in this video are my own custom drums, not taken from the recordings. The sounds of my remake (synth sounds used) are not meant to be carbon copies of the original either, that was never the intent nor was it required by the client."

NOT NAMM: Image Line Drumatrix

"The Drumatrix [now Drumaxx] percussion modelling instrument gives you total control over 10 physically modelled drums that can be routed to independent outputs for external effects processing.

Great, but why should you care when the internet is awash with fantastic sounding drum samples? In two words, expressive realism. Once a drum sound is recorded, the performance and modulation options are limited to filtering, volume or similar 1-dimensional filtering effects. When a single drum sample is triggered in a roll you get the familiar 'machine-gun' effect, it just sounds artificial. Multi-sampled, multi-layered drums can overcome this limitation but need multi-megabyte or even Gigabyte! drum libraries, and even then, you are still limited to the sounds originally recorded.

Drumatrix is not based on samples or even commonly used 'synthesis' techniques, where oscillators are mixed and the result is 'electronic'. Drumatrix is a truly 'modelled' drum, and not just a single drum, Drumatrix can model bass drums, hi-hats, snares, realistic and yes electronic sounds too. But what about the traditional 'Achilles' heel' of synthesis, cymbals? We have left the best until last, Drumatrix models cymbals & metallic 'ethnic' percussion instruments with ease.

At the core of Drumatrix is a model of the drum-head. Here the vibrating membrane is represented in a mesh of inter-connected of points, each given physical properties, mass, inertia, stiffness, damping and all that good physics stuff. For the musician, this means Drumatrix can model the drum-head with multiple parameters such as material, thickness, tension and even shape. More importantly the parameters can be modulated in real-time as a function of velocity or external controls. The drum body is also modelled, in terms of material, size, vibration damping and shape. All this gives you multi-dimensional performance possibilities, a Matrix of variables providing the almost infinite complexity & subtlety of hitting a real drum.

Key features:
10 Physically modelled drum pads.

Multi-output for individual effects processing on each pad.

Huge range of modelling possibilities covering sounds from cymbals to kettle-drums.

Velocity modulation matrix for detailed expressiveness.

Integrated Stepsequencer with trigger-key playback.

Integrated effects.

Single-pad version 'Drumpad' available for tight integration with FL Studio Stepsequencer

Waldorf Attack (IOS) impressions by Jürgen Driessen

Published on Jun 23, 2015 Jürgen Driessen

iTunes: Attack Drums - Waldorf Music

"All sounds and drum created with the new Waldorf ATTACK. As you may hear, it was a lot of fun creating the track. This time it`s a little bit more melodic to show you, that the Attack can do more than just drums. There is no additional FX (like reverb) used on the synths and not much EQ or compression. I used iRig to play Attack with MIDI. I used Ableton Suite /w Push to record, arrange and mix the demo... Enjoy!

Produktinfo taken from the Waldorf website:

It all started in early 2001, when Waldorf Attack took the VST world by storm. Several years later it is still one of the most commonly used virtual drum and percussion synthesizers worldwide. Why? Simply because Attack deftly delivers bombastic drum sounds suited to any musical style, with a unique sound engine offering instant access to all sound parameters.

Now we have migrated Attack to the iPad. Its impressive sound engine is cleverly complemented by an inte-grated 16-step sequencer that is as fun to use as it is useful. Attack offers 24 in-struments – each entirely programmable through a stunning, touch-optimized user interface. Its oscillators are fat, the filter flexible, and envelopes lightning fast. Each drum sound can be enriched with one of four independent insert multi-effects.
Attack’s sound engine is also capable of producing powerful polyphonic synth/bass/lead sounds – perfect for creating full-blown backing sequences.Above and beyond that, we have also added the new Waldorf Phrase Vocoder technology as an effect and could not help but notice that this is great fun to use. Input lyrics, output song. Adjust gender as you have always wanted? Why not! Just like Nave, Attack is a seriously in-depth musical instrument for the iPad. It is easy and great fun to use for sure, but at its core it is truly a sonic beast of an instrument, instrumental in inflicting out-and-out drum power – out of the tablet and into the walls!"

via discchord

Digitone 2 + Launch Control XL 3: One System for EVERY Jam

video upload by Sineway

"Learn how to connect the Digitone 2 with the Novation Launch Control XL 3 for a consistent synth workflow that works across all your live performances.

🎛 What you’ll see:
My 8 column layout for drums, bass, leads, and more
How I map faders to mod wheel macros and encoders to breath control
Why one fader for all drums (mapped across multiple tracks) is often enough
Extra spice: direct MIDI CC mappings for reverb decay + delay feedback
How to configure the Launch Control XL 3 in Novation Components
How to assign MIDI channels on Digitone 2 for a stress-free synth workflow
Why this system also works with Digitakt 2, Syntakt, Digitone and even other synths like Peak or MiniFreak

💡 I still have unused encoders — what would you map them to? Let me know in the comments.

The software used to configure the Launch Control XL 3 is called Components and can be downloaded from here: https://novationmusic.com/components"

iClick - How to synchronize your modular synthesizer with your iPad, iPod or iphone using iDrum

YouTube via Beatprisoner — April 08, 2010 — "In this video i demonstrate how to synchronize your iDrum beats from your iPod, iPad or iPhone with your modular synthesizer system (here i synchronize the new Tame-machine from Flame) using a clicktrack mechanism. You'll need at least the following components:
* an iPhone, iPad or an iPod Touch
* Izotope's iDrum software for the iPod (also other software will work) and (recommended) for your Mac or PC
* a mini-stereo headphone plug connector to two mono mini plug connectors adapter cable
* a Doepfer A-119 Input module (if you are using Eurorack modules)
* a sequencer, quantizer or other module you want to synchronize with your iPod drumtracks
* a clicksound file in .wav or .aiff format

The most important thing is to create a clicksound wavefile first. Use a soundeditor like Audacity for this. It has some signal- and clicktrack generating option. What you'll need is a short sinewave sound. A frequency between 2 and 6 KHz should be fine. It is important that the length of this sound/file is very small. I created a sound with a length of only 10 milliseconds! If the sound exceeds a length of 70ms it might lead to problems with synchronization of fast tracks. So, stay below 15ms and you're save. Finally the sound has to be normalized to full volume.

Next i used iDrum to create a drumkit. For the sound of pad #16 i used the clicksound. Set the panorama for all sounds to fully left except for the clicksound. This has to be set to fully right and to full volume. After saving the kit it has to be transfered to the iPod using iDrum (check manual for details).

A default pattern has to be created on the iPod. Choose the last pattern of your Kit on your iPod's iDrum software. Set a beat on every step of the clicksound (full volume!). This pattern can be used as a template for every new pattern. Just copy the pattern to a new one by just moving it arround. As iDrum handles empty pattern as a "reset to first pattern" signal, your template pattern on the last cell will not be played if there is an empty one before.

Connect the iPod's headphone jack and the mono plug for the right channel into the Doepfer "A-119 Ext. In" module. Turn the gain knob fully CW and the Thres. knob fully CCW. Use either the envelope or gate output of the A-119 to connect to the device you want to synchronize (i.e. A-155, SEQ-02 or Z-8000 sequencer, a Cwejman BLD, a clock divider or Flame Tame machine). The left channel can be plugged elsewhere into your modular system (mixer, a filter, a vca, another A-119 or the external input of a Doepfer Dark Energy). The only disadvantage using this method is that your drumtrack is mono now.

Now the fun starts! Set the volume of your iPod to max and create patterns however you like and press play on iDrum. You'll hear that your modular will follow the speed of your iDrum track perfectly! Change the tempo during play and you will see that your modular will stay in sync.
But that's not all. Why not copying your existing drum patterns but modifying the "clicktrack" in that way that you'll only set every second beat? So you can immediatly set your synchronized modularsynth to half of the speed but keeping the tempo for the drums!

It's even getting better! Why should you set every or every second beat on your clicktrack? You can go as wild as you want and create some real weired rythm-/syncpatterns.

If you don't have an envelope follower and you think you can just plug the right channel output directly into your trigger input i'm afraid i have to disappoint you: normaly the level of the headphone output is not "hot" enough to drive any trigger input of your modular system. Also using "velocity" on the clicktrack to use the envelope follower of the A-119 will not work as the signal has to come into the A-119 with full volume to create an usable trigger signal.

You can also create songs in iDrums (which is a sequence of patterns) with different synchronizations (like the last song in the video). You can have breaks where only the drums are playing but the clicktrack is empty so the modularsynth will not play anyting.

You can also use this technique with other devices and/or iPod software. Use every iPod beatbox app you like. As long as you can change the panorama settings it should work. Also other devices with external trigger inputs will work.

If you want you can also setup your iElectribe on your iPad to have a clicktrack on one channel and all the other sounds on the left. So you will be able to synchronize your modularsynthesizer from your iPad. Maybe a good option for a live performance!?
Your imagination is the limit!"

Modular Patch/Performances by Mike Thomas

Published on May 14, 2017 Mike Thomas

Notes for each further below.

Playlist:
Modular Jam : Lords of the West : Rings, Elements, Clouds, Peaks
Modular Melody: Church of Meta Q - Tides (Parasite), Function, Clouds
Modular Jam: SynthTech E350/E355/E440, Mutable Instruments Elements/Clouds, Pittsburgh SV-1/KB-1
Modular Patch/Performance: Slow to Go
Modular Patch/Performance:- The Big Build
Modular Patch/Performance: Sargasso
Modular Patch/Performance: Fair Winds
Modular Patch/Performance - Over the Clouds
Modular Patch/Performance: March of the Shift Register
Modular Etude #1

Notes:

CLICK FOR MORE »

Yamaha CS-60: "Around and Back" by Raymond Castile

Published on Feb 11, 2017 raycastile

"This piece has six parts. If you don't like what you're hearing at any given time, wait a minute, because something different is coming around the corner.

Lots of CS-60 on this track. Most of the effects sounds, the brass sounds, bass, "guitar" sounds, flute sounds, and more. The arpeggios are the Roland D-50 and Ensoniq ESQ1. Novation MoroderNova is playing some 303-ish filter sweeping arpeggios. String pads are the Korg M1 and XILS V+. The ESQ1 also does the repeating string stabs toward the end. Drums are a combination of the Roland XP-30 and Emu Proteus I.

This is the first time in years I have incorporated a drum track. I'm not big on drums. But this piece started as an attempt to do an Italian disco-style track, then evolved into something very different. The drums are a vestige of the original idea.

This is also one of the few times I've used a compressor. I usually prefer a looser, more organic sound. But because of the dance-like quality of the second half, I thought it needed the compressed sound associated with dance music. I'm not experienced with compressors, so it's probably not the most elegant example of audio compression you've ever heard. I might upload an uncompressed version in the future.

The video splices together many takes. During the outro, when you hear the brass sound, you are not seeing the same take you are hearing. The video of that take got deleted, or was never shot. So I had to use video of a different take and dissolve out of it before it became obvious. That is why that shot seems to end prematurely.

During the intro and outro, when it seems like I am staring into space, not playing anything, it is not because I'm drunk, stoned or insane. I am performing the rising and falling glissando effects. See my fingers at both ends of the keyboard? I'm actually playing something, honest."

One of a Kind Prototype Green Moog Little Phatty Stage II SN 9931

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

via this auction

This is the Green Little Phatty in the video below. More pics follow after the video.

"Moog Little Phatty Stage II Plus Green. This is a one of a kind prototype. The only one out there with the white Moog logo instead of the black (they called those Toxic Phatty's and they were a limited run.) Not modded or customized, this is from the factory. This seems to be the 'test' model to see which color worked best for that limited run of Toxic Phattys. Has all the stage two options, CV in and out, plus the lighted mod wheel with LFO rate flashing. Gorgeous green lights on the front and that sweet green with white logo back plate. Comes with original box, original manual and power cord. Hate to sell, but I can't keep them all. Needs a good caring home that loves this green goddess."


MoogFest (Why are we not playing at?) by Synthetic Things

Published on Apr 20, 2014 SyntheticThings

"All in good fun and love for Moog we've put together this Synthetic Things music video for the new song called "MoogFest (Why are we not playing at?)". It's a tribute, and a plea for next year, not a slam or accusation of Moog, or MoogFest. To be honest, we're so excited that Moog has taken this event back under their control. It's an amazing festival of synth nerd mega geek out awesomeness. That's why we want to play even more than before.

Check out more music at http://syntheticthings.com

We actually started this band almost exclusively to play at MoogFest because we are such synth geeks, and it would mean a lot to us. This is a tribute as much as a plea.

Gear used:
Moog Voyager running through Mooger Foogers: MF-103 Phaser, MF-104m Delay, MF-107 FeqBox, CP-251, VX-351 - For glide riffs.
Moog Little Phatty, Green w/ white logo (one of a kind). - Intro FX, Happy Synth, pad line, and bass extras.
DSI Tempest - All drums.
Elektron Analog FOUR - Bass riff & Synth hit pattern.
Moog MiniTaur - Big modulated bottom.
AniMoog - Pad line double.
Alesis Andromeda: Big Wet Arp FX
Boss SE-70 controlled by a Moog SubPhatty - Vocoder.

Special Thanks to Pete Carty, Chris Martin, Trey Counce, and Jim Rogers."

CLICK FOR MORE »

MFB TANZBAR 2 JAM WITH THE LEPLOOP

video upload by Why Drums

"The LEPLOOP does the kick and white noise snare, and a tiny bit of synth. The MFB Tanzbar 2 does everything else. The Tanzbar 2 is a bit of pain in the arse to use but it sounds great- it's fun to try and make it do what you want.

The filters on it are really rough, which works great on clap and perc sounds. The bass synth is out of tune, and the bass sequencer is a nightmare, but then of course you get some unexpected results.

I love the LEPLOOP kick, it works so well as a foundation. Very fun to try and make these two idiosyncratic machines work together is a rubbery way."

MFB TANZBAR 2 WITH VERMONA RETROVERB AND LEPLOOP LIVE JAM

video upload by Why Drums

"Almost all of this is from the Tanzbar 2. The Vermona does not actually create as much of the drive/distortion as you might think, as the Tanzbar 2 has a secret weapon in the onboard (but almost hidden) bit crusher, plus the very dirty filters that very quickly sound crunchy when you trigger what should be melodic samples through them. The LEPLOOP just adds a small amount of synth stuff at the end. I enjoyed this one a lot hence all the camera nonsense."

Synth jam with Arturia MiniFreak, Dreadbox Erebus, eurorack drums, and Reason 12 synths

video upload by Jay Hosking

"An impromptu song that started on hardware synths and eurorack, and was finished by adding some extra sounds in the box.

This is a great example of why I love both hardware (it's inspiring!) and software (it has incredible power and can get the job finished!). Here, I was just trying out a new eurorack drum sequencer, decided to send the kick trig to the Erebus, and then began noodling on top with the MiniFreak. I wrote the song before I even knew I was writing a song. And while it was super inspiring, I could tell that I'd need a bunch more instruments to make the song feel finished. Rather than expanding the table and slowing down the creative process, I captured the inspiration already there and finished off the job in Reason afterward. It was definitely the right approach.

Dreadbox Erebus through Source Audio Ventris - bass synth locked to kick
Arturia MiniFreak - melody and pads
Eurorack drums:
- Intellijel Steppy - sequencer
- Mystic Circuits IDUM - extra glitch sequencing
- ALM Busy Circuits Pamela's New Workout - clock and LFOs
- Prok drums - kick, snare, hats
- WMD Fracture - glass-breaking claps
- Intellijel Mixup - mixing
- Noise Engineering Desmodus Versio - ducked reverb
- Intellijel FSR 1U - performance of glass breaking and reverb room size
- Endorphin.es Golden Master 1U - multi-band compression and EQ
- Intellijel Mixer 1U - output mixer
Reason 12 instruments:
- Monotone - extra bass stabs in bridges and choruses 2 and 3
- Complex-1 - arp thing, and drone/brass/pad thing
- Audio editing/pitch adjustment of the Erebus notes in the chorus (didn't have enough hands during the jam)

Hardware synths recorded together live, with a few extra tracks in the box afterward. EQ'd, compressed, limited, etc. during the final mix/master.

Thanks for listening.

https://jayhosking.bandcamp.com"

Pico modules Erica Synths in action

video upload by Dziam Bass

"That's why I still like Pico modules from Erica Synths .
I have drums and a nice synth sound with VCO2 and I added Pico Voice- wavetable module.
I connected waves from VCO and Voice to Pico A Logic - these are different sums of SUM / DIFF / MAX and MIN and gives different exponential
Playing with VCF 3 and adding Voice wavetable on different prests produces different effects .for me very cool 😉
I have given all to Fusion mixer for adding Tube sounds.
That sounds good to me and of course fun ...!!!
Drums from Pico Drums are also a kick in the ass.
Thanks for watching and have a nice day.
Cheers"

Boss DR-202 "Simmons" Toms in Synthwave

Published on Apr 16, 2018 tiergrinder

"Here is a small quick demo that I made using a DR-202 for the electronic tom sounds for a synthwave track.

This is a response to a question that I got on my Enter The Fury video, where I was asked does the DR-202 really do the toms?
On that track the 202 does the sequencing for the intro synth line, but I replied that DR-202 is capable for nice "Simmons" tom sounds too and promised to make a quick demo.

I programmed the same tom patterns in the DR-202's internal sequencer and tuned the preset toms to match the tuning that I have on my "go to" Simmons samples. I wanted DR-202 to do all the drums so I programmed simple kick, snare, hihat and ride patterns to drive the track. Nothing too spectacular because the toms were the main point.

I recorded DR-202 dry without any external FX or EQ. When I recorded the drums, only instrument that was playing was the 202. I counted the bars and made the simple variations and break for the "track". Other parts were later added around this dry drum track.
For that reason the break is bit odd because I left the snare un muted and it pounds away through the break :D
That is also the reason why the drum sound volumes are bit all over the place.

Normally I would multitrack record every part on their own track, but here I just recorded all the drums from main outs as a mono mix to keep things honest, so there is no going back for level adjusting.

Sorry that I got carried away with the flanger, but you know.. It's so easy to end up over tweaking and forget what you were actually doing :D"