Cherry Audio Announces the Rebirth of the Long-Awaited Chroma Synthesizer

Playlist:

1. Cherry Audio | Chroma Synthesizer

2. Cherry Audio | Chroma Classics Preset Pack

Chroma Classics Preset Pack for Chroma features an additional 100 phenomenal presets by Cherry Audio's Director of Sound Design, James Terris, blending vintage tones with a contemporary feel.

https://store.cherryaudio.com/presets...

3. Cherry Audio | The Story of Chroma

"Dive into the captivating history of the Rhodes Chroma synthesizer with "The Story of Chroma," a documentary that traces its revolutionary path from the final days of ARP Instruments to its celebrated release by Rhodes in 1982. This compelling video brings to life the innovative spirit of the Chroma through the firsthand accounts of those who stood at the forefront of its creation. Hear from Dr. Tom Rhea, a renowned electronic music historian, Michael Brigida, a dedicated ARP and Rhodes product specialist, and Mary Lock, the esteemed service manager for both companies, as they recount the synthesizer's development, challenges, and triumphs. Featuring exclusive interviews and insights, this documentary not only explores the technical breakthroughs and musical possibilities the Chroma introduced but also celebrates its enduring legacy and the recent resurgence through Cherry Audio’s efforts. Witness the story of a musical marvel that continues to inspire innovation and creativity in the world of music.

Produced by Daniel Keller
Editing and graphics by Mal Meehan
Music by James Terris"

4. Cherry Audio | Introduction to Chroma Synthesizer

Synth designer Mitchell Sigman of Cherry Audio introduces Chroma, Cherry Audio's virtual instrument that emulates the 1982 Rhodes Chroma polyphonic analog synthesizer and its Expander unit.

Online User Guide at https://docs.cherryaudio.com/cherry-a...

0:10 Introduction
1:18 User Interface Basics
4:44 Voice Architecture and Patch Configuration
9:43 The Chroma Arpeggiator
11:37 Sweep Generators (the LFOs)
17:02 Envelope Generators
19:46 Chroma CPU Usage

Cherry Audio Chroma User Videos


1. Cherry Audio Chroma: A demo + tutorial of an elusive analog synth - CatSynth TV - Patreon

We take a deep dive into Cherry Audio's new Chroma, a meticulous recreation of the legendary and elusive Rhodes Chroma. It was a polyphonic analog synthesizer that came with some unique features, notably the ability to reconfigure the signal path among its oscillators, filters, and VCAs, opening up a wider range of sound possibilities. Cherry Audio's version combines these features with a modern user interface that allows direct manipulation of the parameters (unlike the original with a single data slider), and adds a full-featured effects section. We go over the expansive feature set of this instrument, showing you how each feature works and how to use them to make your own sounds.

00:00 Introduction
00:27 History of the Chroma synthesizer
01:38 Presenting the Cherry Audio Chroma
02:39 Oscillator features
06:56 Filter features
11:17 VCA features
12:42 Dual Layers configuration
16:49 Dual Layers + Oscillator Sync
18:47 Dual Layers + Ring Modulation
21:13 Filter FM
23:54 Parallel Filters
26:09 Parallel Filters + Oscillator Sync
27:04 Series Filters
31:44 Effects section
32:38 Factory Presets
39:41 Conclusion

2. Cherry Audio Chroma Expander Sounds of Chaos Beauty Virtual Synthesizer - Rik Marston Official - AhnyxianSoundDesign

3. Cherry Audio Chroma Expander Sounds of Light & Darkness Virtual Synthesizer VST - Rik Marston Official - AhnyxianSoundDesign

Press release follows:

May 14, 2024: Cherry Audio is excited to unveil Chroma, a groundbreaking virtual instrument that brings the legendary sounds of the 1982 Rhodes Chroma into the digital age.

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Aodyo Instruments Anyma Phi: Version 1.0 Sneak Peek

video upload by Aodyo Instruments

"This trailer shows some of the new features of the upcoming version 1.0 update for the Anyma Phi, the physical modelling synthesizer by Aodyo Instruments. Among the new features, you will find: drum trigger and timbre follower modulators, tools for paraphonic patches, granular processor, three exciters, snare drum resonator, internal arpeggiator, MIDI clock sync, microtuning support with onboard editor, patch randomizer, and much more.

Read more about the new features and download the public beta here: https://community.aodyo.com/topic/114... [captured below]

Anyma Phi blends the classic ingredients of electronic music, like oscillators and filters, with physical modeling technology, allowing it to simulate acoustic sound sources, such as strings or reeds, as well as resonating structures, like wood, glass, or metal."

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Introducing the Nodular Desktop Synthesizer - Two Sided Analog Monophonic Semi-Modular Synthesizer

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

via this auction

Update: the maker/brand name for this synth is ndlr.synths. I created a new channel label for them. We have a new synthesizer manufacturer in town.  See second "Update" at the bottom of this post for additional notes on the design.

via the auction:
"Up for sale: one monophonic analog synthesizer. I've been making analog synthesizers for about 15 years now, but this is the first I am offering up for sale to the 'general public'. I am hoping to make a business out of selling this particular model, and you could be my very first customer.

The pictures show the same unit that is up for sale. The cabinet is made from 3/4" natural cherry boards, except for the base, which is made of 3/4" MDF. Both instrument panels are made of 1/8" thick anodized aluminum. The panels have been mechanically engraved and the engravings filled with chemically hardened black enamel paint. The whole unit measures about 18" wide by 18" deep by 12" tall. It weighs about 40 pounds. This is a very well made unit, with sturdy instrument panels that'll last a lifetime.

This synthesizer has its own +15/+10/GND/-10/-15 volt power supply and will only run on 120VAC 60Hz. It consumes about 45 watts of power at full bore.

All the modules in this synthesizer have been designed to work together seamlessly, and all use the same standards: 1 volt per octave, 10 volt peak-to-peak signal voltages, and 5 volt peak-to-peak gate, trigger, and control voltages. All patches are made among the modules via banana jacks. And a few different ways of interfacing to external modules or instruments are offered via 1/4" phone jacks.

A description of the different modules follows:

(1) ring modulator

(1) white and pink noise and random voltage source

(1) sample/track & hold

(1) voltage comparator

(2) low frequency oscillators (LFOs):

(1) headphone amplifier

Both offer voltage controlled frequency, variable offset and symmetry, and sinusoidal, triangular, and pulse wave outputs. By adjusting the speed knob, the frequency can be changed from about 20Hz down to really, really, slow. This range can be extended through voltage control.

(3) voltage controlled oscillators (VCOs):

All three offer 1 volt per octave frequency control, voltage controlled pulse width modulation, ac-coupled linear frequency control, hard sync, and sine, triangle, sawtooth, and pulse wave outputs. They'll track to within .2% over at least 8 octaves with basically negligible temperature drift once the enclosure is warmed up. And they'll operate from below audio to above audio frequencies.

In addition, the first VCO offers a frequency range switch and fine tuning.

CLICK FOR MORE »

Oberheim DPX-1 Sampler Sample Playback Rack Mount Synthesizer

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

via this auction

"Large 5.5 & 3.5 Floppy drive may or may not be working. Most are upgraded to a new Floppy emulator for unlimited possibilities in sample playback. These are easily available for $80+ depending upon 3.5 or 5.5 floppy emulator sizes.

Had the 5.5 cardboard floppy protector in the drive. Excellent physical condition. Has a few built in tomes that are clear when activated using your external midi devise to key samples.

This is being sold as it du to not having correct discs to load and modern floppy emulator provide the right enhancement to this classic machine.

CLICK FOR MORE »

Waldorf Music M TouchOSC Bidirectional Editor v5.0 by synth_nyc

via synth_nyc

"I developed a bidirectional editor for Waldorf Music M v1.10 using TouchOSC mk2 augmented by LUA scripts, here is a video (with audio) showcasing 4 possible workflows.

It was interesting loading the patches I created (without an editor, directly on the synth)

https://waldorfmusic.com/produkt/soundset-synth-nyc-the-blue-journey/

https://waldorfmusic.com/produkt/soundset-synth-nyc-shapes/

… in the editor and have global view of the patch in 2 (editor) pages only.

GENERIC FEATURES:

- Display parameter Name and Value

- Double click a slider or button to reset it to a default value

- MIDI data rate efficient: only sends a MIDI message if the parameter value is incremented or decremented by 1

SPECIFIC FEATURES (FW v1.10):

- 2 Editor Pages per M Part (total of 8 Pages for the 4 M Parts)

- 1 Editor Page for M Multi

- All Single (Program) (254 x4 = 1016, for each of the 4 Parts) parameters implemented in the editor. Program parameters are bidirectional using SYSEX

- All Multi parameters (130) parameters implemented in the editor. Multi parameters are bidirectional using SYSEX

- Automatically imports M current Single / Multi bank / program numbers (3 parameters) when the editor is started using SYSEX

- MIDI Channel selection slider

- Bank (change) + Program (change) selection slider + buttons

- Buffer Request, Buffer Init, Buffer Write and Program Write buttons using SYSEX

- Multi (Arrangement) change buttons using SYSEX

- Multi (Arrangement) Buffer Request, Multi (Arrangement) Write buttons using SYSEX

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Aphex Twin UNIQUE SUPER RARE RSF SD-140 VINTAGE Drum Machine ?

Note: links to listings are affiliate links for which the site may be compensated.
video upload by urgobenz

"Original samples and patterns by urgobenz.

Pattern n°1 : RSF SD140 (no effect)
Pattern n°2, 3 and 4 : RSF SD140 (with reverb).
Pattern n°5 : RSF SD140 + Korg 700s
Pattern n°6 : RSF SD140 + Chroma Polaris"

03 DMX Krew - Sppoookey [BREAKIN RECORDS]

video upload by edmx

via this auction

This one was spotted and sent in via xonox who noticed the following: "No mention is made in the auction but there is AFX scratched on the surface of the machine. According to Ed DMX (DMX Krew), Aphex Twin used one on his early tracks. Interview here. It is not my auction, i have no insider knowledge on anything either. Is it possible it's indeed one of AFX's drum machines or is it some classic AFX prank ?"

The SD140 has only been featured on the site twice before this post.

The following is the full description from the listing saved for the archives:

"Up for sale a unique extremely rare vintage drum machine. impossible to find it in another place. Many years ago I found this diamond and made the service in a professional workshop. Please note - this is an old gear for the collection and synth enthusiasts, this drum machine is in working condition, but I will not accept any returns and no compensation after the sale - please accept it. These are the first innovative electronic music devices and therefore you can see in the pictures the old technology of plastic coatings and touch buttons have traces of use, but all functions and buttons are well work.- It runs on 220 volt AC.The sound of this beast is very unique, the sound structure and flow are capable of creating incredible emotions and creative potency. The sound is incredibly relevant, I give a detailed description below. The package will be sent internationally, I pack the electronics well — a double strong box and a lot of bubble — look at my seller feedback.

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OBERHEIM MATRIX-6 - “AUDIOPHILE VERSION”

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

via this auction

"Ever wonder what would happen if one applied the same upgrade principles we commonly use in high-end audio applications and apply it to ONE of our favorite vintage synths?

The result is what I am listing here as the Matrix 6 –“Audiophile Version” and the sonic results are amazing!!

I repair vintage synths on the side and acquired this Matrix 6 last year in non-working condition. We all know how awesome the classic Oberheim synth circuits are, there’s no questioning that! But many of us engineers know that a circuit is only as good as the quality of parts it is comprised of. Furthermore, many synth manufacturers cannot afford to use the very finest components in manufacturing due to cost constraints in efforts to try and keep the sales MSRP’s down as low as possible. But we don’t have to be limited to that thinking any longer in the 2nd hand market! Therefore, I decided to apply the “audiophile concept” to this Matrix 6 and see what we’d end up with. Below is an outline of the improvements:

* Power Supply Rebuild – pcb cleaned and all critical solder joints re-soldered with special audiophile-grade lead-free solder. Yes, the solder does make a difference folks in the timbre of the circuit! Next, High-end Nichicon Muse Gold series capacitors were used throughout the power supply. (See photo). This greatly enhances the resolution and clarity of the synth and also enhances the “smoothness” and reserve power of the Bass response of the synth since the power supply is responsible for powering all the circuits in the entire synth. Amazing smooth, Fat, rich, Bass now! Power supplies are a very critical component in any synth, just as they are in a tube preamp or any other electronic audio device. This really is no amazing breakthrough knowledge, just smart application of known wisdom.

* The main processor board had a dead battery. This was partly the cause of the original malfunctioning synth. Not only was a fresh battery installed, but a high-quality battery socket was soldered to the pcb so that future battery replacement is very easy if necessary.

* All chips on the processor board were removed and cleaned. Special, non oil-based socket enhancement fluid was used when replacing the IC’s.

* The Processor pcb was then re-loaded with a fresh data dump from the 1100 patch disc included.

* Audio processor pcb was removed and cleaned. All CEM VCO chips were removed and cleaned and replaced with socket enhancement fluid.

* The output pcb on these Matrix synths are very important to the overall sound quality output. The slider potentiometer was rebuilt with Alpha pot parts and re-assembled. Very nice, smooth, action and feel now. Much better than original. The output IC amp is tied to two 10uf caps, which were upgraded to Nichicon Muse Gold caps since this effects the timbre (tone) of the overall output. Small parts, Yes … but very important in the circuit! Again all Solder joints were improved on this pcb as well.

* Keyboard was removed from chassis and disassembled. Rubber boot pcb contact covers were removed and cleaned. This is where we commonly find dried Coke spilled on the keyboard from “who knows what gigs”. This has a tendancy to mess with the contact integrity of the keyboard action, causing misfires of keys etc. The fix is to clean and carefully re-assemble. Keys tops were then polished with plastic polish.

* Entire chassis was cleaned and repainted where possible. The Chassis end pieces were painted with high-quality metallic paint to put a spin on the fact that this synth is “Special Audiophile Edition” now.

* Modulation pots were cleaned and lubed and solder joints re-worked since the headphone output circuit is integrated into this assembly. Headphone output now has increased resolution and clarity.

That about sums it up in the upgrade department for this synth. There are more improvements one could make such as gold-plated female chassis IEC socket and Cryogenically-treated 12 guage power cord etc, but I’ll save that for a future listing or another upgrade project. Warning folks, while all these improvements are awesome and rewarding, they are very time-consuming, as any competent synth tech will tell you. I have about 25 to 30 hours in this one! Will this start a trend? Perhaps...depending upon demand, but your ears will "Hear the Difference"!" Note the side panels on this Matrix-6 are non-standard gray. inside a Matrix-6

Waldorf Introduces Microwave 1 Plugin

video uploads by WaldorfMusicChannel. Last two videos in the playlist above by Martin Stürtzer and James Dyson.

"Waldorf just released the Microwave 1 - as software! I am happy to present the plugin and compare it to my original Microwave 1 Rev A.
https://waldorfmusic.com/microwave/"

"35 years ago Waldorf Music released its first instrument, the Microwave, which took the hearts of the leading musicians and producers of the nineties by storm. Its vibrate and distinctive sound transported the early wavetable sounds of the eighties into the rising electronic dance music of the following decade. Massive base lines, enigmatic wavetable modulations, brutal attacks and pads smooth like silk have been inspired generations of musicians. Microwave’s unique interpretation of wavetable synthesis combined with analogue filters defined what hybrid synthesis is at its best.

Now’s the time to bring back this magical instrument in a software form to the digital workstations of producers and musicians world-wide. The Waldorf Microwave 1 Plugin was painstakingly recreated from the original hardware with all its idiosyncrasies and wonderful singularities.

A multi-year effort and a labor of love which analyzed and modeled the original instruments down to the finest sonic details of every aspect of the hardware. Only the first generation of the Microwave and also the Waldorf Wave were based on a custom developed integrated circuit called the Waldorf ASIC. In combination with the legendary Curtis filter chips and a very unique 68k CPU based controller software the ASIC defined a very special flavor of wavetable sound unparalleled to none. No one else than the inventor of Wavetable Synthesis of the eighties, Wolfgang Palm, helped to design this unique chip. Waldorf took a huge effort to analyze and recreate this integrated circuit within the plug-in. As the original, the plug-in runs the internal synthesis with the ultra high sampling rate of 250 kHz regardless of the DAW sampling rate. The recreated digital waveforms have been bit-by-bit compared with the original to be 100% identical.

Even the old-school digital-to-analogue converters of the original hardware were modeled with their non-linearities and tone shaping color which were leading into the two Curtis filter chips variants used for the revisions A and B of the original hardware. The plug-in allows further for artificially detuning and recalibrating of the analogue components. Brutal attacks, snappy decays and a plethora of wonderful transients define the sound of the first generation Microwave. But the Microwave 1 Plug-In goes one step further: Its modern and inviting graphical user-interface reveals many aspects of the synthesis engine which were hidden before in the original hardware by its sparse hard to use interface.

Its livelihood never sounding mechanical but always different was based on a very unique architecture to create the envelopes, LFOs and modulations which was painstakingly recreated by the plug-in down to the finest grains.

A fully scalable modern interface with readable high-contrast fonts supports an intuitive sound editing process with many graphical representations of the wavetables, envelopes and filter response curves using animations for modulations and playing positions. The Microwave 1 was never as close as this under your finger tips. A joy to edit sounds with.

But we stopped not here, for the first time the inner makings of the Microwave have been put to the surface. Based on the internal control tables the user can now easily edit existing wavetables and create new ones in a very unique and intuitive process. All the original wavetables are available with their control structures and the full original waveform catalogue. In addition to user wavetables, also user waveforms can be created within the plug-in. Additional randomization modes make wavetable editing fun and sonically surprising as experienced never before. The multi-mode becomes now a weapon of its own for sound design. Originally hard to edit from the panel, the plug-in UI allows now for quickly layering of single sounds to create the most complex and exciting sonic structures.

An easy to use mixer page lets you fine tune their sonic relationships. Even the more exotic feature like tuning and velocity tables have been implemented and can be edited in the UI. All the original factory single and multi-mode sounds are contained in the plug-in in combination with new and modern sound presets. Original MIDI and Sys-Ex dump files can be imported such you can load your favorites from the past. Moreover, the plug-in can be used to control the original hardware are a graphical editor. If you a lucky owner of an Microwave first generation, the plug-in allows you to take your beloved hardware virtually with you where-ever you like and keeping its magical sound. The Microwave 1 plug-in comes as VST, VST3, AU and AAX for macOS and Windows supporting the major digital audio workstations."

Digitakt OS 1.05 Released

"Digitakt OS 1.05 is now available for download from https://www.elektron.se/support/?connection=digitakt#resources …. This update addresses a number of bugs — including the MIDI freeze issue — and introduces a few workflow improvements. Please refer to the release notes for a full list of changes."

List of changes from OS 1.04 to 1.05 Improvements

Sound pool is added to the project. It is now possible to use sound locks on sequencer steps.
Previewing Sounds in the Sound browser temporarily disables the [FUNC] + [UP/DOWN] page scrolling.
Encoder click sensitivity is adjusted for better usability.
The Track level graphics is now differentiated from other volume parameters graphics.
There is now an indication that tells if the user tries to load a sample which exceeds available RAM in size.
The active track indicator now has inverted graphics.
The active page name is shown in the title bar when changing pages.
Added a new Storage view to see the used/total amount of memory and the number of projects, Sounds, and samples. The Storage view is available in the SYSTEM menu.
LFO speed parameter snaps to powers of two.
Added sysex dump functionality.
Added warning when trying to load more samples than there are slots available.

Bug fixes

CLICK FOR MORE »

Direct MIDI for the iPad is Here

I was recently contacted by a representative of Line 6 asking if I wanted a MIDI Mobilizer for review. I am usually reluctant to do reviews because they take time, and considering the volume of content that comes in for the site, time is something I have very little of. I decided to accept for two reasons. One, the app it comes with, MIDI Memo, interested me as a back-up solution for my patches, and two, I was curious if the hardware could be used as a MIDI device for other software. The one thing missing for the iPad has been a direct MIDI interface. Yes you can use a Mac and OSC, but if you are limited on space, do not have a Mac, or you just want the convenience of using your iPad directly as a MIDI device, then you were sorely out of luck... until now.

Part 1: MIDI Mobilizer and MIDI Memo out of the box

Well sort of out of the box - you do have to download MIDI Memo from iTunes, but it is free and super simple. That said, the primary reason I wanted MIDI Mobilizer was for MIDI Memo. One of the major pain points for me has been backing up patches on my synths. Convenience is a HUGE deal to me as time is short. When I first started backing up my patches, I used a Little Brother MIDI recorder, followed by Sound Diver on the PC, followed by MIDI-OX and other utilities. The problem is it was always a pain setting up the system, moving and connecting synths, and transferring all your patches when upgrading systems. Sometimes things wouldn't work off the bat, for example software not recognizing the MIDI device because other software locked it up. You'd have to reboot and try again. Once you did save a patch, you'd have to create folders, etc. Big pain in the butt.

When MIDI Mobilizer was announced, I thought hmm... this might be super convenient. And it is. You just hook up the cables, hook in the device, launch the app, hit record and send your MIDI dump. When the dump is completed, click the stop button, give it a name and you are done. You can even email the dump to yourself or others. I now send my patches to my gmail account where I have a label for them. They are now backed up in the cloud. I no longer have to worry about transferring files from one computer to another and I know where to find them. This is great, but there is one major omission that may haunt me down the line. Currently you cannot load external MIDI recordings or dumps into the software. They do remain on your device, so as long as you are careful you should be good, but if you want to use the software to load your friend's patches or recordings directly, you can't. If you accidentally delete a recording and want to load it back, you'll have to use software on your PC or Mac to play back the file while you record it into MIDI Memo again. Also, there are no folders. All recordings end up on a long list in the Memos section of the app.

As MIDI Memo is a basic MIDI recorder, you can also record performances. This can be useful in quickly capturing riffs for later, but currently it is limited to just one track. You can't layer recordings like you can with more robust MIDI recorders. With the Little Brother MIDI recorder I could record a MIDI track, hit play and then record a new track on top of it. You can't do that here.

One thing I was a little concerned about was the hardware connection itself. As you can see, you plug the device directly into your iPhone, iPad or iTouch. What if I accidentally sat on it. :) My contact assured me it was durable but it is something that is on my mind when using the device. There is a super simple solution. I can get an extender cable which can be found pretty cheap online. One cool thing about the MIDI cables that come with MIDI Mobilizer is that they are long, I measured them at over 5 feet long - 64 inches to be exact. 1.6256 meters for those on the metric system.

There are also a few usability design quirks with the software, but nothing major. For example, once you have made a recording and are ready for the next, it would be cool if you could click on the name, edit it and then click on a New button for a new recording all on the main page. The way it works now is you can either just start a new recording which will append a number to the name of the current recording, or you click on Memos and click on a "+" button to start a new recording. If you are doing multiple recordings, having to flip through the info and memo pages to name and start new records can be a distraction. Again, this is minor and once you get used to it, it isn't that big of a deal.

Overall, for me, having a super convenient way to back up my synths is worth the entry price alone. Although it does not support multi-track recording, I can see the value in being able to record bits to later import and work with in my DAW.

Part 2: MIDI Mobilizer as a dedicated hardware MIDI device
This is where the true potential of this device comes in.
If you've been following my commentary on the iPad and slate devices in general, the holy grail in my opinion is the ability to use the iPad directly as a MIDI device. The ability to sync native apps with your hardware synths and the ability to use it as a direct MIDI controller would finally close the gap. Software on the iPad would become a robust hardware solution as self sufficiently dedicated as any other hardware device. You could interface it with your synths directly, it would be instantly on, and it would be super portable, even more-so than most other gear.

There are still limitations with the closed nature of the iPad and Apples's software development model, but at as of this moment it is now officially possible. I asked my contact if there would be an SDK for MIDI Mobilizer and not only did he say yes, but it is available now and developers are already working with it. Line 6 also just released MIDI Surface available on iTunes here [details captured at the end of this post below].

The following are a few more shots of MIDI Mobilizer, the cables, box shots and the MIDI Memo app.

CLICK FOR MORE »

LL Electronics RozzBox One v2 - 5-Voice Poly Synth

via Noisebug on Ebay

"In Great Condition. Comes w/ extra memory key.

The RozzBox V2 poly w/ tube filter is a 5-voice polyphonic synthesizer with digital oscillators, digital and analog filters on each voice, and one additional all tube filter.

In addition to the the classic design of a 4-oscillator polysynth with analog filters, the RozzBox features some functions that can’t be found on any other synthesizer, such as the Hacker, the chaotic filtermode, and switchable aliasing of the oscillators.

Features:
* 4 digital ocsillators with standard and 16 additional waveforms – hard-sync possible
* Configurable FM engine with 7 algorithms
* Noise, external audio input, ring modulator
* Includes 3 self-resonant Filter-Types:
Digital high pass/low pass filter with resonance and 24dB/octave (4 filter poles)
Analog low pass ladder filter with resonance and 24dB/octave (4 filter poles)
Completely tube-driven analog low pass filter with resonance and 12B/octave (2 filter poles)
* 2 independent filters per voice

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SonicProjects OP-X with Behringer BCR2000

video upload by SonicProjects
YouTube via virtualoberheim. I've spent considerable time with an OB-Xa, not the OB-X. That said, its amazing how close this sounds. They nailed that Oberheim sound.
"http://www.sonicprojects.ch/

SonicProjects OP-X software VSTi synth played like a real hardware synth with a Korg DW-8000 as masterkeyboard (for midi notes and program changes) and a Behringer BCR2000 to remotely control its parameters (using midi CC).

Due to the ability of OP-X for parameter feedback OP-X and the BCR are completely linked (two ways). OP-X sends a complete cc dump on program change which updates all parameters on the BCR to the values of the new preset. This allows for completely jump free operation. When you tweak a control in the software OP-X the dedicated control on the BCR does change accordingly, and of course also vice versa.

OP-X runs within Cubase SX with some TC Native Reverb and Cubase Double Delay added as send effects. The played patches are all factory presets.

To make the feedback work you must route the midi out of OP-X back to the controller device. In Cubase this can be done using a separate midi track for the back-routing (1st track: in = midi keyboard & bcr2000, the best choose "all", out = OP-X; 2nd track: in = OP-X, out = bcr2000). In more simple hosts like e.g. MiniHost just activate the needed devices in the MIDI input output mangement.

Needed versions for the parameter feedback feature:
OP-X: Version 2.1
OP-X PRO: Version 1.2

The feedback feature won't work with any previous versions.

You can also watch the video in high quality with stereo audio which also works well for full screen watching. Just click the blue link at the bottom right of the video.

Unfortunately there are a lot of really bad compression artefacts in the audio stream, especially in the high quality stereo mode (strings, brass, deep basses, minimoog). They sound like bad distortions, which in fact are not there in the real audio coming out of the synth. Try to think them away. The real sound is one hundred times smoother, cleaner and bigger.

OP-X can be bought here (free demo available):
http://www.sonicprojects.ch/"

Instrument Designer: Rare Buchla 700 Synth Coming to Software on Mac, Windows & iOS

via modosc designs

"a modern interpretation of the buchla 700, coming soon for mac, windows, and ios."


If you are not familiar with the Buchla 700, check out Chimeror by Benge on Vintage Buchla 700. According to that post, only about 12 of these machines were ever produced, and there are possibly only 4 working examples left in existence.

Update: Some additional info via modosc designs:

On the developer: "Jonathan Schatz has spent his life pursuing dual passions of music and computing, occasionally simultaneously. One of these convergences led to working with Don Buchla on the 200e system for several years. The latest such convergence is Modosc Designs."

FAQ:

"What is Instrument Designer?
Instrument Designer is a software synthesizer inspired by the Buchla 700.

Ok, what is the Buchla 700?
The Buchla 700 is a 12 voice 4 operator FM synth released in 1987 and designed by Don Buchla. There are several main ways the 700 differentiates itself from the other FM synths common in the industry at that time:

Each algorithm outputs through two independant waveshapers. This allows a single instrument defintion to output two different audio signals without requiring a separate stacked voice. This also increases the sonic palette by allowing a user to easily create non-sinusoid waveforms.

The waveshapers are cousins to the ones use in the Buchla Touche, Buchla 400 and the Buchla 259e. They are quite unique and use some interesting waveshaping techniques.

Each voice has 13 complex envelopes which control almost every aspect of the sound algorithm. The envelopes have a unique exponential display, are programmable with an arbitrary number of breakpoints, and include programmable features such as looping.

Programming was simplified with the help of a graphical user interface and an external monitor.

What does it sound like?

There weren't a lot of these produced so there's not that much out there, but what is out there is quite interesting:

Charles Cohen — Generator
Benge — Chimeror
Ode To Gravity — this is from the release party for the 700 and includes interviews with Don
So what happened to it?
The instrument never became very popular and today is one of the rarer of Don Buchla's instruments (which says a lot). The software itself was never finished, and the video card which connected up the external display was unreliable and eventually end-of-lifed by Intel. Probably 15-20 of these were made - I personally know of 3, of which only 1 currently works.

Why hasn't anyone made a reissue?
Good question. The design is quite complicated and includes 4 separate computers as well as a large membrane input surface. It would certainly be possible to build but it wouldn't be a cheap endevor, and unlike other recent reissues it probably wouldn't be a big seller - it's likely the most difficult instrument of Don's to use.

So why are you bothering?
I love the sound of Don's wavetable synths (specifically the 259e) and I've spent a lot of time implementing and reimplenting various related algorithms. I had the opportunity to play around with a 700 a few years back and the idea was hatched there.

Are you using the original source code?
No. This entire project was implemented using a scan of the original 700 manual as the spec (which was the usual Don way of doing things). You can view the original source code here, which is interesting because it seemingly contains code used for a NASA project as well:

Set ON_B700 non-zero to get a Buchla 700 PROM, or zero to get a NASA 3D Helmet Display PROM.

That source dump from Lynx Crowe is unfortunately incomplete but there is a project that's managed to get it to boot. Unfortunately the source code only includes some of the controller code and none of the DSP code so currently there's no sound generation.

Where can I learn more about the Buchla 700?
The Buchla 700 Preservation Page
Notes on the Buchla 700 audio synthesizer
Buchla 700 archeology
Buchla 700
Chimeror by Benge
The Buchla 700 Emulation Project
Alessandro Cortini of Nine Inch Nails playing a Buchla 700 in Twin Peaks — I don't know if the sound is actually 700 or not but who cares?"

Paul McGowan of PS Audio Explains the Moog Synthesizer

video upload by Paul McGowan, PS Audio

"The classic Moog changed the world. Paul helps us understand what all the wires and modules actually do."

https://www.psaudio.com

Fascinating bit at 1:50. Paul McGowan actually created his own synthesizer, The Infinitizer. Curious if there are any images of it out there. He almost sold one to Wendy Carlos. It gets a mention in his book 99% True: Almost a National Bestseller which you can find on Amazon here (note this is an affiliate link - see the site's privacy policy for more info).

Update: I asked Paul if he had any pics of The Infinitizer. Unfortantely he didn't, and he no longer has any of the parts, but he did send over the following additional info:

"I don’t have any photos of the Infinitizer, unfortunately. I remember a very sad day back in 1995 or so when I was cleaning out my lab and had to own up to hauling it off to the dump (it was a mere skeleton of PCBs, a keyboard, and lots of wires and didn’t work)."

"The idea was to make 10 synthesizers into one unit that was easy to use. This meant it would be the world’s first polyphonic synth, since musicians only have 10 fingers.

I designed a complete analog chain of 10 modules (the usual: VC filters, oscillators, envelope generators, amplifiers, etc.). Then, I hired an engineer out of Vandenburg Air Force Base who was a whiz at this new thing called “digital”. He designed for me a multiplexed keyboard that constantly scanned all the keys looking for ones that were pressed. The keys were all internally numbered and when pressed, the multiplexer would find an available VC oscillator and assign that number to the oscillator. Because we know the number of the key, the appropriate voltage was sent to that oscillator and it produced the appropriate frequency for that key. In order to have the entire keyboard voltage move up and down (like if you wanted to bend the notes or modulate the frequency with a LF oscillator) the master voltage (that got divided by the individual keys assigned to it) could be accessed as one might normally do through the patch bay.

I also wanted to have the keys pressure sensitive so for that, I invented the use of conductive foam under each key (and that too could manipulate the master voltage to the oscillator banks) and could be assigned to modulate any of the other modifiers too. My patch bay was a switch matrix and pots kind of like ARP used to do.

It was a very cool device which I wrote about extensively in my memoirs, 99% True."

-------

As for the first non organ based poly synth, currently that honor likely goes to one of the following depending how you define it:

1975 - Buchla 502 - six voice polyphonic with minicomputer and ability to save patches to tape drive. Development on the 500 series began in 1969.

1975 - Oberheim FVS - four voice polyphonic with Polyphonic Synthesizer Programmer. Not sure if the 502 or FVS was released first.

1977 - Yamaha - CS50/CS60/CS80 - first single enclosure polyphonic keyboard synthesizers, with the CS80 to be the first synth with poly aftertouch

1978 - Sequential Circuits - microprocessor control the SCI prophet 10 (briefly) and the P-5 --- again based on existing E-mu tech stuff

via The First Synth to...

Sequential Circuits Prophet 5 SN 3839 Revision 3.3 MINT - Restored with TAUNTEK MOD

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

via this auction

This is the one in the video posted here.

"THIS IS ONE OF THE FINEST PROPHET 5s YOU WILL EVER FIND.

Aside from being a 9.8 out of 10 cosmetically, it is a 10 out of 10 functionally.

WATCH OUR YOUTUBE VIDEO TO HEAR THE CUSTOM SOUNDS AND SEE THE TAUNTEK MOD IN ACTION!

Here's what we did:

CLICK FOR MORE »

electrix warpfactory vocoder

Note: links to listings are affiliate links for which the site may be compensated.
video upload by TallmanJosh- Aug 24, 2012

"Vocoder" The higher number of bands the clearer the vocoding. Similar to bit reduction but different of course. Vocoding deals with harmonic bands while bit reduction deals with the number of digital bits sampling a sound.



via this auction


"Here's a bit of a review from sound on sound explaining all of the units functions:
The front panel is divided into three main sections, the first of which is Formant Input. Here there's a variable-gain mic amp with XLR input, basic 3-LED level metering, and a Select button that scrolls around Mic, Line (Ess On), Line (Ess Off), and Auto. The Ess On setting is designed to help vocals remain clear after processing, while the other setting is used for instruments. I suspect that Ess On routes vocal fricatives (sibilant 'S' and 'T' sounds) directly to the output, though no technical explanation is given. The Auto setting vocodes the Source input with itself, so any peaks and dips in the frequency response are exaggerated.

Next is the Formant Warp section, whose controls include:

Band, which optimises performance for low- or high-frequency sounds, with the lower setting designed for use with drums, bass instruments, and so on. Once again, no explanation of exactly how this works is given, but it's my guess that it changes the frequencies of the vocoder filter bands. Gender, which moves the formant of the sound feeding the Formant input (usually a voice) up or down without changing the musical pitch.

Q and Order, which affect the Q (bandwidth) and resolution of the digital filters. Playing with these brings about some very noticeable timbral changes: as Q is advanced, the sound quality becomes more resonant, as you'd expect, but it also seems more granular and electronic. Order reduces the intelligibility of the voice and rounds the sound out more, so for clearer enunciation lower settings are best. Noise Mix, for adding noise into the Source signal path, which can help make vocal effects more intelligible, not to mention more hissy and menacing.

Formant Freeze, which allows the filter shape to be frozen at any instant in time, for static filtering.

An oscillator is also included, to allow users to generate the familiar budget sci-fi robot voice effect. This is variable from 92Hz to 241Hz, or it may be switched off. As in the case of the FilterFactory, all the controls output and receive MIDI controller data, so sequencer automation of any function is possible, and a MIDI dump of the current settings can be made.

In the Output section you'll find a Mix control, but this mixes only between the Source input and the treated signal. It isn't possible to mix any of the Formant input directly into the output to improve intelligibility, unless you use an external mixer. The Source Kill button, however, is quite useful. When this is switched on there is no audio output from the WarpFactory unless both inputs are present, while if it is switched off the Source signal will continue to sound even if the Formant input stops."

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the audio dump - sep7em // Analog Four mk2 + Nina

video upload by the audio dump

"New to the studio is a Melbourne Instruments Nina. The Analog Four mk2 is still playing the central role, but the Nina is contributing 2 patches to the music here.

This was music that came to me rather serendipitously, so while not typical of what I would post here, I did want to share it despite it maybe not being as accessible as other posts. Odd meter + fairly niche gear + no real drum track will limit itself with who ends up listening. But if you're someone who does listen and enjoy it, thank you.

#elektron #analogfour #dawless #experimentalmusic #synthesizer"

STROM Sampler for iPad with Elektron Rytm Integration Now Available

iTunes: STROM - Jakob Penca

Video posted here.

"STROM is an incredibly fun sampler.

Record up to 10 seconds of audio, slice and sequence it, resample, create something entirely new!

The super responsive interface lets you sequence your source material in unique ways. You can always resample what you play, allowing you to quickly lift your audio into glitch heaven. You can edit slices while you are playing them - this lets you come up with really interesting grooves.

STROM's sampler integrates nicely with other apps:
Copy audio from any app, using AudioShare and AudioCopy/Paste. Mangle them with STROM's slice engine. Share your sliced samples with your friends! Copy them back to any other app for further processing.

STROM's full power is unleashed if you connect your Elektron Analog Rytm drum computer to your iPad (and buy the Rytm In-App Purchase Upgrade):

For one, you can easily transfer samples to your Rytm using MIDI Sample Dump Standard. STROM can also send all slices as separate files. For example, load a vocal phrase, quickly slice it up, and send the individual "ooohs" and "aaahs" as one-shots. Slices are automatically numbered.

But the real juice is in STROM's Rytm performance interface:

Designed to excel in the studio as well as on stage, STROM extends and augments your Analog Rytm.

Using the CTL-AL function, inspired by the legendary Machinedrum, you can tweak sounds on multiple tracks at once. For example, sweep the filter on all (or some) tracks. Or change the sample slot for all tracks (or less crazy, limit it to a few tracks of your choice). All sound and trig parameters, as well as track levels, are available to be tweaked with CTL-AL.

CTL-AL has UNDO, so you can instantly return to your previous drum kit settings.
You can also use CTL-AL to create parameter lock automation in your current pattern!

Intelligent Kit Randomizer:
It lets you squeeze the wildest sounds out of the Rytm. The Randomizer gives you detailed control over which tracks and parameters should be affected, and by how much. It isn't really "random", but uses your current Kit as the basis. You have intuitive and detailed control over whether to just shift the sound a little, or mangle everything completely insanely.

Then there's the Pattern Generator:
It's main deal is an intuitive interface for quickly creating rhythmic patterns.
Rhythms are programmed into the Rytm's sequencer instantly.
Leveraging the musical Euclidean algorithm, it generates cyclic patterns that are not random, but follow a logic which is perceived by most humans as actual groove. You have quick and detailed control over what exactly it should generate.
For example, it couldn't be easier to pop up an interesting closed/open hihat groove.
Or a kick / snare / tom-tom workout. Or a hand-clap break, just at the end of your loop.

In addition, there are special shift rotation tools which are super effective for creating syncopations and breaks.

There is no quicker, better and insaner way for live beat generation than the Rytm combined with STROM's Pattern Generator, period.

Finally, the Kit and Pattern Pasteboard:
This gives you multiple copy & paste slots for Kits and Patterns. You can quickly capture the current rhythm or sound inside one of STROM's four pasteboard slots, tweak everything wildly, and instantly pop the original data back to your drum machine. Incredibly powerful for playing out live.

With STROM, your Analog Rytm becomes supercharged.

(Rytm Upgrade is an In-App-Purchase. Elektron Analog Rytm is a hardware instrument which must be purchased separately. USB-Lightning Camera adapter is required for the MIDI connection)"

A new Minimoog VST controller: SFC-mini V4 Intro

video upload by mylarmelodies

"The SoundForce SFC-mini V4 is a new dedicated physical hardware controller for Minimoog-style VST plugins. This video introduces the device and how it works, what's new in this model, the special bonus features that work with the Arturia Mini V4 plugin, and much more.

This video serves as an official intro to the SFC-mini V4, and was funded by SoundForce. Based in the Netherlands, SoundForce have been in business for more than 10 years making controllers and eurorack modules."

CHAPTERS:
00:00 - Why Does this Exist?
02:23 - Minimoog: From Bass to Pad
04:39 - Whats new in V4?
06:59 - Build and Feel
07:25 - How does the integration work in a DAW
08:02 - Mini V4 Smoothing Catchup
08:55 - Mini V4 Jump & Pick-up Catchup Modes
09:43 - Hopping between plugin instances
10:28 - How do you set up a Plugin?
10:52 - UA Minimoog
11:34 - Dump (Manual Control)
11:56 - UA Minimoog Play
14:01 - Extra Control at the Bottom
14:54 - Changing Presets (Mini V4)
15:46 - User 1 & 2 Mapping
16:41 - Mapping Another Plugin (MS-20)

Press release follows:


SoundForce is introducing the SFC-Mini V4, a high-end, dedicated MIDI controller designed for the world’s leading Minimoog software emulations. Featuring more than 65 hands-on controls arranged in an authentic Minimoog-style layout, it delivers a true analog-inspired workflow for modern producers. Representing over a decade of SoundForce MIDI-controller innovation, the SFC-Mini V4 is the most advanced and accurate Minimoog-focused controller yet.

Build quality
The SFC-Mini V4 is assembled in the Netherlands using high-quality components sourced from Europe and Asia. Its case is built entirely from powder-coated sheet metal. Both sides are fitted with elegant 8 mm walnut wood panels for a vintage-inspired look.

Backed by over ten years of MIDI-hardware expertise, the SFC-Mini V4 is part of SoundForce’s newest generation of controllers. Its pots, sliders, and switches were chosen after extensive research and experimentation to deliver outstanding tactile response, long-lasting performance, and rock-solid reliability during assembly.

Plugin support:
Because the SFC-Mini V4 outputs standard MIDI CC messages, it can be paired with any software or hardware that supports MIDI CC mapping. However, since each plugin has its own UI and MIDI implementation, the firmware provides dedicated plugin modes to ensure proper integration. The SFC-Mini V4 has specific plugin modes supporting the following plugins:

Arturia Mini V4 (incl 2-way)
Arturia Mini V3/iMini
GForce Minimonsta 2
Cherry Audio Miniverse
UA Minimoog
Softube Model 72
NI Monark
Synpase Audio The Legend HZ
Plugiator Minimax

2-way communication:
Two-way communication means the SoundForce controller and a supported plugin can talk to each other in both directions, instead of the controller only sending MIDI data one-way. At this point, this feature is supported with the Arturia Mini V4.

In practice, that creates a far more “hardware-like” experience when using software synths. Change a preset, load a new instance on another track, move a parameter with your mouse and the controller automatically syncs its LED switches, and ingest the pot data in memory. When the received pot data from the plugin differs from the actual pot position on the controller, 3 options similar to Ableton take over modes can be chosen from: jump, pick-up and smoothing.

For more technical details: consult the manual.

Where to buy:

EU: SoundForce store

UK: Signal Sounds

US Perfect Circuit

Mutable Instruments Shruti-1 with SM4 filter Assembled

via this auction

"What is it?
The Shruthi-1 is a hybrid digital/analog monosynth. Its hardware design is deceptively simple, but the sonic range is wide: sometimes grungily digital like a PPG-Wave, fat and funky like a SH-101, videogame-y like a Commodore 64, weird and warm like an ESQ-1 ; but more often than not, truly original.

Best of both worlds
Digital…
An 8-bit microcontroller plays the role of the two main oscillators + sub-oscillator. This allows the generation of (aliasing-free) classic analog waveforms, but also wavetable/transwave synthesis and a trove of weird digital algorithms (sinewave bitcrushing, formant synthesis, phase distortion, bit toggling, XOR modulation).

... and Analog

Beyond this point, everything is analog. Most of the Shruthi-1s are built with the SMR-4 filter, a warm 4-poles “modern analogue” low-pass (no vintage IC). But you are in no way limited to this! The filter section of the Shruthi is on its own board and can be easily replaced. We currently offer 2 alternatives filter boards, one with the CEM3379 VCF/VCA chip of the Ensoniq/Waldorf fame ; and one with the classic SSM2044 VCF. More to come, based on vintage chips or modern OTAs and VCAs! From silky-smooth to squelchy or fat: pick the filter that matches your personal taste best.

The Shruthi-1 has an audio input: external signals can be processed by its analog section, under the control of the digital LFOs, sequencer and arpeggiator for crazy gating and re-enveloping effects. A perfect way of warming up the sound of your favorite VA or… cheesy organ!

Before all, a musical instrument

Designed as a tool, not a toy

Getting a microcontroller to make bleeps and bloops is easy, but this is not where we wanted to go. We took the challenge of creating an instrument that could play in the same league as a Waldorf, Ensoniq or DSI synth; and from what Shruthi-1 users can attest, we have succeeded. Gameboys and Prophet-VS’ both ran on 8-bit cores. Guess what inspired us…

Of course, you are free to use the “dirty PWM” or “8-bits” oscillators algorithms if nasty bleeps are what you are looking for!

Feature-packed

We have packed the Shruthi-1 firmware with plenty of great features: a complete MIDI implementation (large CC coverage, NRPNs, SysEx data dump including wavetable transfer), a 12-slots modulation matrix, a 16-steps notes/CC sequencer and advanced arpeggiator with some unusual time warping modes, and even a polychaining feature to turn several Shruthi-1s into a monster polysynth!

Hackable

Open…

The Shruthi-1 firmware is GPL. Schematics are released under a CC license which gives you the freedom to build your own synth. We also provide assembly instructions, BOMs with references, case drawings, and some analyses of the filter circuits.

... and low barrier to entry

Posting code and schematics is not all… The Shruthi-1 has other great assets that make it a cool hacking platform:

A readable, well-structured code-base in C++, relying on a freely available toolchain.
Schematics editable with the freeware version of Eagle.
An easy firmware update procedure: just press a button and play a midifile to upgrade your Shruthi.
Solid foundation for developing your own analog filters, modulations and effects circuits. We provide PCB templates and an experimentation board to get you started on the design of the next Shruthi-1 filter board!
So get ready for new filter boards or hardware extensions!

This is from the second batch of Shruti-1's that went on sale the other week. It was hand assembled and tested by geargasstore in our shop. It comes with the clear acrylic case with honeycomb patterns on the sides."