"AY3-8912 MKII ENJOY SOME GOOD OLD 8-BIT NOSTALGIA
The AY3 features two 8912 chips boasting 6 voice polyphony. You can apply
sequences, arpeggiators, noise, envelopes and pitch modulation to each voice
with a click of a button.
FEATURES
64 preset memory (8 banks x 8 presets)
5 pots and 1 endless encoder with push button
40 subtle white leds
16 step sequencer to sequence notes on/off, pitch and noise on/off
4 Pitch modulation modes (aka lfo)
4 arpeggiator modes
ultra fat 6 voice unison mode with detune knob
6 chords to split the voices
6 voice polyphonic mode
Glide mode
Stereo sound (3 voice per channel/chip)
intuitive 5×6 mode matrix to access and control:
volume, pitch, noise volume, envelope assignments, arp modes, sequencer assignments etc
control of all knobs and other features via midi CC
Black anodzied brushed aluminum case
Midi channel selection"
"Here is the brandnew Waldorf M Wavetable Synthesizer with analog filters and stereo VCA and much more to explore..."
"Sound demo for our brandnew Waldorf M Wavetable Synthesizer - no external effects and processing was used."
Waldorf M - Wavetable Synthesizer - Live Looping Ambient Session
video upload by
"This is the Waldorf M - Wavetable Synthesizer. In this track I used Ableton to live-loop four patches.
I will release more videos with the M, if you have any questions or want me to show a feature of the synth please let me know in the comments.
It is an honor to be part of the Waldorf beta testing team, I have been working with the synth for the last months and am very happy to finally show you what I have been doing with it. The factory library contains some of my own sounds, watch out for "MSt" when you test it at a shop or at home!"
"With M, we are musically returning to our roots by bringing back classic Microwave and ‘modern’ Microwave II tone generation as a new-generation classic hybrid wavetable synthesizer with an analogue lowpass 24 dB/Oct VCF — SSI
2144 Improved Ladder Type — with resonance and analogue saturation feature, true stereo analogue VCA with panning option, and much more to explore in a desktop-friendly form factor featuring a wide range of unique sounds. Plentiful presets — totalling 2,048 sound programs (divided into 16 banks, each with 128 sounds) — professionally programmed by world- renowned sound designers also include all of the classic Microwave sound sets, such as MW1 Factory Sound Set, MW1 Soundpool 1-5, the fat-sounding Analogue and Bassco, as well as PPG Wave 2.3 sounds cleverly converted for the original Microwave. Moreover, it also features freshly-programmed sounds utilising M’s myriad new features — from true hard Sync (when working in its Modern Microwave II/XT mode) to the ARP (arpeggiator) and MIDI-syncable global LFO (Low Frequency Oscillator).
But beating at M’s musical heart as an eight-voice polyphonic, four-part multitimbral WAVETABLE SYNTHESIZER — as boldly blazoned in red across its full-metal blue- coloured casing, itself hinting at its illustrious Microwave heritage — are two wavetable oscillators with independent wavetable-generating Classic Microwave 1 and Modern Microwave II/XT modes, meaning that the wavetable oscillators behave differently in both of those modes (accessible by pressing the Mode button beside the helpful high-resolution graphic display with four endless encoders for yet more hands-on control). Consequently, there is no hard Sync or ring modulation available in the Classic Microwave I mode, where 16-bit wavetables are bit-reduced to 8-bit and a 240 kHz non-anti-aliased sample rate is offered, whereas the Modern Microwave II/XT mode offers a 40 kHz sample rate with band-limited wavetables, although both oscillators — OSC 1 and OSC 2 — offer the same panel parameters.
Two LFOs are generating a periodic waveform with adjustable frequency Rate and Shape that can be used for modulation purposes, are also always at hand. However, unlike other Waldorf synthesizers, there is no modulation matrix in M. Making a conscious design decision to set up M’s modulation facilities directly on the corresponding display page, to paying tribute to the 1989-vintage Microwave.
Back in the here and now, M takes performance to a whole new level, thanks to that advanced ARP with 16 preset patterns, chord mode, and an ability to synchronise to MIDI clock. Furthermore, four programmable ENVELOPES allow adventurous users to manipulate sound parameters via rate or timed modulations.
Musically making a connection to the outside world is important to any synthesizer, so M offers six (rear panel-positioned) stereo analogue outputs — arranged as MAIN OUT (L/Mono and R) and AUX OUT (A, B, C, and D), the latter of which can be used to route each of the four Multi (multitimbral) parts to different outputs, if desired; a stereo headphone output (with an associated Volume knob in addition to the topside Master Volume knob); 5-pin MIDI IN, OUT, and THRU DIN connectors, complimented by a USB 2.0 MIDI port (for computer connection to transmit and receive MIDI data); an SD Card slot (for updating M’s firmware, importing/saving sound patches, and importing/saving M-specific data, such as user wavetables); and — last but not least — a Kensington® compatible security lock slot."
A hybrid in-person/online event and fundraiser celebrating 50 years since the release of the very first ARP 2600. The day will feature live performances, panel discussions, special guests, synthesizer clinics, a cocktail reception, and more!
The in-person segment of the SYNTHPOSIUM and fundraiser will take place at The Record Co., a community recording and rehearsal space for musicians in the Boston area. With its brand new facilities and impressive array of equipment, The Record Co. has partnered with us to house seven ARP synthesizers, shipped from around the world, that are available for public use.
The online event will be streamed live via several different sources.
Tickets and Information
We want to ensure everyone's safety, so tickets will go on sale two weeks before the September 18 event, so we can plan as accurately as possible.
Visit our Facebook Event page or the event page regularly for updates.
All proceeds will benefit the Alan R. Pearlman Foundation. The Foundation's mission is to celebrate the legacy of inventor, musician, entrepreneur and engineer Alan R. Pearlman by making his innovative inventions publicly accessible, and inspiring future generations to imagine and create.
OUR GUEST SPEAKERS INCLUDE:
David Baron
Phil Cirroco
Lisa Bella Donna
David Friend
Jennifer Hruska
Brian Kehew
David Mash
THE ARP 2600...
To call the ARP 2600 an influential synthesizer is a grand understatement. When first produced in 1971, the 2600 presented musicians with the power of a full-fledged modular synthesizer, but with "normalled" connections allowed anyone to play without knowing how to program. It was educational, powerful, and flexible... And it sounded phenomenal. The 2600 can produce amazing sonic textures, leads, basses, sound effects, and just about any other sound you can imagine.
Early adopters such as Edgar Winter, Pete Townshend, Joe Zawinul and Stevie Wonder helped popularize the 2600 in a musical context. Stevie even had a customized 2600 with the controls labeled in Braille. The 2600 is also famously known as the voice of Star Wars' R2-D2, being played by sound designer Ben Burtt.
And with the reintroduction of the 2600 by Korg, as well as Antonus and 2600 VSTs such as Time wARP, Cherry Audio's CA2600 and Arturia, a whole new generation of musicians can now experience the endless possibilities of this incredible synthesizer. LEARN MORE"
Note auction links are affiliate links. See the site's privacy policy for more info.
"What's nice about our OSCILLATION stunner (according to Tim) "is that the waveforms are DC-coupled [components connected directly together without any coupling capacitors], so they keep their shape even at sub-Hz speeds. The outputs are also buffered, so the amplitude is independent of the load they are driving. The waveform levels on some modern eurorack OSCs are often all different, and they vary depending if they go into the mixer or directly to the filter!" Coupling the circuitry without capacitors in-line gives the go-ahead for the full spectrum of frequencies to do their thing, and ensures near identical response over the years—audiophile, transistor-protecting signal path stuff here. You should see these beauts on the scope: a Class-A ballet of balance and proportion, only drawing modest current, rather evenly from plus and minus."
"I recorded this arp progression while experimenting & recording samples with the SE80 and had to share it - this synth oozes with endless tone and is so fun to sculpt sounds with. The Studio Electronics Boomstar SE80 is a mono synth with filters inspired by the legendary Yamaha CS-80. The SE80 was recorded into/with Logic in this clip with a bit of delay and reverb added afterward for space. Aside from that, the audio is raw. This synth is raw itself and can sound loud, powerful, aggressive, soft, expressive, beautiful, often at the flick of a switch and/or turn of a knob or two.. it's up to you. I love it. Thanks for listening!
"Note: this synthesizer concept is a personal design and not associated with Behringer or MUSIC Tribe Global Brands Ltd
POSITRON 16 is an analog polyphonic synthesizer concept that focus on morphing, with continuously variable waveforms, filter modes, arpeggiator patterns and more.
It features plenty of hands-on controls, from the three wheels, the Morpher joystick and a fullwidth ribbon controller to polyphonic aftertouch, macro controls, dual pedal inputs and even a CV antenna socket. This will make sure you are always in control of your sounds and performances even during improvisations, and the intuitive LED-collar encoders with push button function make creative sound programming a breeze.
And the
blue synth
is revealed. Meet Model Electronics new Cobalt 8. Priced at $749.99 USD, £579.99 GBP, and €649.99 Euro. See the dealers on the right for availibility.
Playlist:
1. Modal Cobalt 8 Sound Demo (no talking) - Limbic Bits
2. Modal Electronics Cobalt 8 Sound Demo (no talking) - Bonedo Synthesizers
3. COBALT8 review & comparison with Argon8 // Which synthesizer is right for you?!
- BoBeats
4. Cobalt8 Modal Electronics - 1st Look - sonicstate
And the press release (hi-res pics below):
"Modal Electronics creatively kickstarts new synthesiser series with COBALT8
–
8-Voice Extended Virtual-Analogue Synthesiser –
Bristol, UK: leading
British synthesiser manufacturer Modal Electronics is proud to announce
availability of COBALT8 — an immensely powerful, eight-voice extended VA
(Virtual-Analogue) synthesiser that brings traditional and entirely new
analogue-style sound textures to modern music creation and production as an
innovative, sophisticated synthesis concept comprising two oscillator groups
with selectable algorithms in self-contained elements enabling multiple
oscillator modulations, an all-new 4-pole morphable ladder filter with
switchable configurations, an unparalleled modulation engine, and much more
besides, extending far beyond the limits of its analogue forefathers — as of
October 29…
Creatively kickstarting a new synthesiser series by
building on the tradition of warm and punchy analogue-style synth sounds seeded
by bygone legendary synthesisers, COBALT8 creatively unlocks the full potential
of analogue waveforms with up to 64 high-resolution VA oscillators with extended
drift — up to eight for each of its eight true polyphonic voices. The two
independent and self-contained Osc (oscillator) groups include sine, pulse,
triangle, and sawtooth waveforms alongside 34 unique algorithms allowing for
complex analogue synthesis techniques, built-in cross-modulation (sync, ring
modulation, and more), PWM (Pulse Width Modulation), smooth morphing between VA
waves, bit crushing, and filtered noise — unlike any other VA synthesiser before
it, increasing creative options for new-generation synth sounds. Speaking of
which, Algorithm1 and Algorithm2 each have an associated simple-to- use pair of
controls — A1 and B1, A2 and B2 — chosen to suit the particular algorithm or
character, providing musicians with the power of traditionally complex
oscillator modulations or processes spontaneously.
ALAN R. PEARLMAN FOUNDATION ANNOUNCES “FIFTY YEARS OF ARP: THE 2500 in 2020” SYNTHPOSIUM EVENT
Celebrating five decades of the 2500 synthesizer with interviews, panels and more
STONE RIDGE, NY, SEPTEMBER 21, 2020– The Alan R. Pearlman Foundation has announced “Fifty Years of ARP: The 2500 in 2020”, a virtual event to be held on September 26th at 12PM EST on Zoom via Eventbrite. The event will be free for all participants with a suggested donation. Registration and other information can be found here.
The event will focus on the ARP 2500, the groundbreaking synthesizer made famous in Close Encounters of the Third Kind. It will feature panel discussions and interviews with original ARP engineers, software developers, artists, composers, producers, educators, and others. Participants will be able to interact live with panelists via Zoom.
"We are beyond thrilled for this deep dive into the iconic ARP 2500,” said Dina Pearlman, ARP Foundation founder and daughter of Alan R. Pearlman. "We’ve assembled an amazing collection of engineers who made the original 2500s, artists who have used them, and ARP historians and organizations that work to preserve them."
The Foundation continues its work with contributors, collaborators, vendors, manufacturers, venues, and owners of rare original ARP synthesizers. Among their goals is the creation of installations where students can utilize ARP synthesizers as part of their music curriculum, and to explore the endless possibilities of electronic music.
"Incorporating the power of 8 wavetable oscillators, CRAFTsynth 2.0 is an exciting modern monophonic synthesiser, not confined to just ‘mono synth’ sounds. With its complex and rich sonic spectrum, CRAFTsynth 2.0 produces modern and contemporary synthesiser sounds for new-school musicians, performers, sound designers and producers.
"Synth Komper Arp – A perfect blend of Wavesequencing and Arpeggiation. Mod Knobs control the master effect wet/dry, Wavesequencing samples, and pitch to create endless variations on the theme."
"Here’s a compilation of some of the sounds from the new Wavestate synth by Korg. Below are descriptions of the patches heard in the video:
Audio Spa – Quick twists of the Mod Knobs create immediate and dramatic changes to the Wavesequence.
Candy for Elle’s Shoes – A few twists of the Mod Knobs dramatically change the rhythmic pattern and effects on part one of this two-part Performance, and adds LFO modulation to the pads on the second part.
Chop it Up – A great example of how you can use the Mod Knobs to affect selected parts within the Performance, in addition to the default modulation settings.
Iceland Piano – An eerie, pulsating piano dances harmoniously with a light arpeggio-like Wavesequence, fused with a lush pad. Mod Knobs change the pitch and repetitions of the Arpeggio, as well as the samples, brightness of the piano.
Wasted Hip Hop – A freeform beat exploration with the Mod Knobs yielding realtime variations to the to beat, step repeats, and sample pitches, while the Vector Joystick brings parts in and out.
Rando 1 – Roll the dice to see what happens! The wavestate’s Randomizer, indicated by a “dice” icon, makes sweeping changes to any Performance by modifying parameters. You can also edit modifier % or choose which aspects of the sounds are modified, to refine or completely unleash the randomizations.
Rando 2 – An especially “strange” Randomization; somewhere between Whale song and a post-apocalyptic movie score! Thankfully, you can save Randomization to user locations, of which there are plenty!!
Rando 3 – This Randomization thing is just too cool. Check out this aggressive beat with underlying pad. The Mod Knobs are doing their part also!
Synth Komper Arp – A perfect blend of Wavesequencing and Arpeggiation. Mod Knobs control the master effect wet/dry, Wavesequencing samples, and pitch to create endless variations on the theme."
"This is the Original M5 with the black & orange colour scheme, as used for the later version ARP 2600.
Note that whilst it looks like a later model Rev.3 ARP2600, the M5's sound is both Moog and Oberheim inspired.
[Update: note the lawsuit mentioned below never happened. There was contention over the filter but it never got to that. via Wikipedia: "Early versions contained an imitation of Robert Moog's 4-pole 'ladder' VCF, later the subject of a threatened (though ultimately nonexistent) lawsuit"Also the epoxy covered modules were likely more for performance reasons. Not sure if it was to stabilize temperature and to isolate the modules. See the comments at the bottom of this post for more.]
The original ARP 2600 (Blue Meanie model) that many/most claim sounds best of the 2600's, stole the Moog filter design of course, hence epoxy sealed units, lawsuit, 4072 ARP filter redesign, etc... Plus, the M5 actually dwarfs the 2600 in overall height + size. This M5 is one of around 90 (I think) of the original versions that were hand made between 2005/6, so only 14-15 years old compared with over 40 for a 2600.
It has great build quality courtesy of Ken McBeth. No tiny slider tops or mini jack sockets to fiddle with... On a practical note you can get multiple (man sized) finger tips between the slider tops for patching/mixing/modulation purposes. A joy to play with as you can easily see all patch points, sources, destinations, signal flow, etc.
As regards stability & tuning, many older analogue synths had & still do have problems with these factors. This M5 tunes very accurately and holds tune throughout every session, nor is this dependent on whether it's hot or not - inside or out, as was the downside of many old analogue synths, though it's appreciated some do like such instability... I prefer to start off with known stability & increase detuning/instability if/when needed. There is even a stability pot on Osc#3 for dialing in that effect when required, except it's under your control and not at the mercy of other elements...
IMO the M5 is sonically much more powerful and versatile than the 2600, based on the dual filter type design alone.
The playlist above features tutorials by new supporting MATRIXSYNTH member, Anton Anru. Use the player controls to skip around to what interests you.
Playlist as of this post:
1. Ableton Live Rhythm Techniques and Tips for Synth and Pad Tutorial
Creative use of Live built-in Audio Effects gives interesting results.
I intensively used the effects that have some 'rhythm' features and synced modulations.
To demonstrate them I turned a pad into a complicated synth part.
The devices used: Audio Effect Rack, Auto Filter, Auto Pan, Beat Repeat, Compressor, EQ Eight, Echo, Filter Delay, Gate, Glue Compressor, Multiband Dynamics, Reverb.
No M4L devices were used.
2. Korg Radias Vocoder and Rhythmic Pad
An example of a non-vocal vocoder use: a drum loop modulates the pad. All the details are inside the video.
3. Xfer Serum Ambient Pulsing Pad Preset
We did a huge work in order to produce this bank of presets. We sampled 15 analog synths and then turn the records into wavetables. And on the basis of these waves we created two banks of presets: Analog Dreams Vol.1 Vintage and Vol.2 Modern. Synths that were used as a source for wavetables: Arturia MatrixBrute Arp 2600 Korg MS-20 MemoryMoog Dave Smith Instruments Evolver Korg Minilogue Korg Monologue Studio Electronics ESX1 Farfisa Roland Jupiter 6 Oberheim Matrix 12 Oberheim 2 Voice Roland SH 101 Roland System 100 Roland MKS 70.
4. Access Virus initializes memory. Can't store presets. Battery replacement.
All my presets are gone and Virus can’t store anything anymore. The battery is dead, and this is the process of its replacement.
God, bless Mystery Islands for the Virus editor. All my presets were stored on the computer, and I've lost almost nothing.
5. Работать ли бесплатно? Совет от известного продюсера
В этом видео знаменитый американский звукорежиссер Тони Мазерати отвечает на актуальный для многих начинающих продюсеров вопрос: "Работать ли бесплатно?"
Вероятно, многие сталкивались с ситуацией, когда за участие в каком-либо проекте предлагалось "человеческое спасибо" или "чисто символически". Как относиться к подобным случаям и как поступать - объясняет Тони Мазерати.
Перевод: Антон Рукавишников
Озвучка: Максим Биктимиров
6. A track using SoundToys Effect Rack presets
Done using the bank of presets for Effect Rack "One-Shot Extension" -it turns one-shots and short sounds into long sounding or even endless parts. The timbral changes are great as well: warm, lo-fi, dirty, noisy, cold, wide and distant colors are collected for these racks.
This soundset includes 25 presets.
7. DIY Vintage Strings Style timbre in ROLI Equator
In this tutorial I'm showing how to create Vintage Strings Style timbre in ROLI Equator.
Also check out my recent soundset for ROLI Equator: [posted here]
And get free demo: https://www.audiobombs.com/items/1648...
300 Series Modules
The core of this system is five modules from the Aries 300 Series. There is one VCO module, one VCF module, one EG module, one VCA module, and one Clock/Noise/S&H generator. Yes, this is basic; here are the module names:
AR-317 VCO
AR-312 EG
AR-314 VCF
AR-316 VCA
AR-318 SH/Clock/Noise Generator
But of course, that's only the core. This system is bookended with some interesting devices. To say that it is "modified" would really be an understatement. It has been lovingly built by a lifelong musician.
The great thing about this system is that it was used by a professional musician as part of his home studio and performance rig for decades. It's often the case with these vintage units that they have aged poorly due to being left for decades in a closet or basement or whatever. But this was used consistently over its lifetime, up to the time of its builder's death. It has been played, as pieces like this need to be.
As you can see, the VCO module has been modified to include a further fine-tuned frequency control, right in the middle of the four knobs.
The Sound
There are an enormous number of modular and semi-modular systems available for musicians right now; the possibilities are almost endless. However, this has an edge that many modern synths don't have: the sound. These modules together sound much more like an ARP 2600 or vintage Moog modular than anything currently on the market. In fact, the sound of the filter is somewhere between Moog modular and early ARP filter. This probably isn't a coincidence, since Aries was a DIY synth-kit company founded by a former member of ARP in Massachusetts.
List of modules at the listing and captured below.
"Large-format modular system offers: 40 modules of various brands and 150 Synthesizer.com modules. In addition, there are various power-related modules, mounted in the front and the rear.
The system is 275 MU’s front face panels spaces plus 32-more in the rear. Featuring: 27 full-range multi-waveform oscillators, 12-filters, 3 discrete MIDI interfaces, and 4 sequencers. ( not including the Matrixbrute features)
It has taken over a year to purchase and assemble all of the modules: this system is completely ready to use. Most of this system is housed in solid walnut cabinetry.
There are a few modules I bought in used condition, but the rest are new purchases. The cabinetry, controllers, and cabling are all new. After assembly, this system has not been moved, exposed to smoke, or touched by anyone but me.
The entire system is in excellent condition, with a couple of VERY minor scuffs where modules have been periodically installed and/or relocated...
History: I first purchased a Moog System-55 re-issue modular. I discovered Synthesizers.com when doing a simple google search. I learned their clone of the Moog Dual Sequencer Compliment wing was not only superior to that of the Moog’s, it was nearly 1/3 the price. So from there, I bought a System 66 and A/Bd both the tonal and functionality aspects of each to discover the Synthesizers.com sounded better to my ears, had more functions, and was more stable. I sold the Moog, and steadily expanded the system it is today.
I am 100% satisfied with this system.
It would take upwards of 6 months to get all of these modules (and a couple of these you may not able to get at all) and a significant amount of time to install and wire the modules, and assemble the large manual binder.
It also took 2 full days to convert 16 of the modules into their revised versions, yet I have not added the price of the conversion kits to the list below."
"EML Electrocomp 101 duophonic synthesizer. The ElectroComp 101 is a suitcase synthesizer which rivals other 1970s synths from Moog and Arp. Electronic Music Laboratories introduced the 101 in 1972, and ceased production in 1976. Notable users include Tommy Mars, Foreigner, Weezer, and Devo.
This particular synth is in great shape and sounds wonderful. It has a unique character to it and the possibilities are truly endless for making melodic sounds or effects."
"I intended to make a 5 minute or so video with this piece of music but it turned out somewhat longer. It starts and ends with some Mutable Instruments Clouds goodness accompanied by two pictures of the wonderful Gran Sasso area in Italy which we visited last year. Sequences are from the DSI Mopho, Mutable Instruments Braids, SynthTech E330, Mutable Instruments Elements, Oberheim SEM, Korg ARP Odyssey, Rob Hordijk OSC-HRM and the Synthesizers.com Modular, all driven by the Cirklon sequencer. Recorded live and multi-track in Studio One and mixed afterwards. Hope you like it."
"Live bass (still getting my chops back..it was one take, sorry for the bum notes) over several bass tracks, harmonic/chords and bassline, recorded into the Digitakt.
Being able to record via the headphone output on the Alpha Omega Ultra straight into the Digitakt is awesome!
Multitrack beats were sequenced then re-sampled down to single audio files and mapped to trigs.
Two synth tracks from the OP1 background, arp and chords (via OP1 endless sequencer)
Pedalboard is pretty much done at the moment (nek minnit)
TC Electronic Polytune - Darkglass Super Symmetry - EHX Pitchfork - Wampler Ethereal - TC Electronic Ditto x2 - Darkglass Alpha Omega Ultra"
"AY3-8912 MKII ENJOY SOME GOOD OLD 8-BIT NOSTALGIA
