DRE4MTR4CK First Look Eurorack Sequencer Module

Day DRE4M In Electric Space: DRE4MTR4CK Module 1/3

Published on Mar 19, 2017


Published on Mar 20, 2017 gstormelectro

DRE4MTR4CK Eurorack Sequencer User Guide 3/3

Published on Apr 2, 2017 gstormelectro

"Audio and Video by G-Storm Electro c.2017

G-Storm Electro announces the DRE4MTR4CK eurorack module. DRE4MTR4CK is a simple and intuitive chromatic pitch CV sequencer in a mere 12HP.

It has 4 independent, externally clocked tracks with 4 steps each. Each track sends pitch CV to one of your VCO modules. With external clocking, you decide if timing is slow and dreamy, bouncy and up-tempo, or all out fury going into audio rates.

Unused clock inputs are multiples from input 1. Clocking can be interrupted for a track by inserting a floating patchcord. Manually trigger a track step using the TRIG buttons. Intuitively build evolving chords or poly-rhythmic note progressions.

Simple pattern modes and Octave transpose for each track provide seemingly endless note progression. Mix things up with Step reset and track data Rotate to re-circulate CVs among your VCOs. 16 memories are provided for program note data storage. Recall of programs during performance provides changes in melodic or chord structures on-the-fly.

DRE4MTR4CK will be all hand built in limited quantities. Modules will be available soon on Reverb. Full specs will be published on my blog - see below.. Stay tuned for video 3/3 which will be more of a user guide.

The DRE4MTR4CK module has no affiliation with any persons with similar name."

Korg 770 Analog Monophonic 1970s Synthesizer Demo

Note: Auction links are affiliate links for which the site may be compensated.
Published on Dec 15, 2016 gstormelectro

Listed on Reverb here.

"Audio and Video by G-Storm Electro c.2016

In this video I explain and demo the features of the Korg 770 Monophonic Synthesizer. This one is currently available on Reverb. The 770 inherits a lot of DNA from the Minikorg 700/700S models, and it's design is the predecessor to the MS-20 model.

The features are staggering for such a simple looking synthesizer:
- External Input for the filter
- Highpass and Lowpass filter w/ variable resonance (Bright)
- a kind of Pulse Width Modulation (Chorus)
- two forms of ring modulation
- Scale Noise, a noise source which tracks w/ keyboard pitch
- OSC1 vibrato w/ delayed onset
- Automatic pitch-bend, Goldfrapp anyone?
- LFO trigger mode for the Envelopes"

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MATRIXSYNTH Review and Overview of the Novation UltraNova

Hi everyone, you might remember, back in July I posted some pics of my newly acquired UltraNova, and mentioned that review posts would eventually follow. Well, I’m happy to tell you the first post is here. The UltraNova is one powerful synth, so to make the overall review a bit more consumable, it will be broken up over time. This first section includes an Overview, the Oscillators, and the Mixer sections. When new sections go up, I will be sure to let you know via a new post.

As with most of my reviews, I will say this one goes pretty deep into the synth engine and all editable parameters. If you are the type of person that likes to dissect and explore all of the available parameters on a synth, then this post is for you. I will touch on what each parameter does and will call out any interesting features and limitations as I do so. There are some pretty special parameters on the UltraNova that give you control beyond most other synths. Hopefully this review will give you some insight into what makes the UltraNova special.

Overview & Quick Comparison to Previous Nova Synths

The Novation UltraNova, released back in 2010, is a 20 voice virtual analog & wavetable synth with three oscillators, two ring modulators and one noise source per voice. The UltraNova also features two audio ins that can be assigned to the oscillator section and/or a 12-band vocoder. It’s worth noting that the Novation Nova from 1999 featured a 40-band vocoder, while the Supernova II from 2000 featured a 42-band vocoder. The UltraNova is a monotimbral synth while the 12 voice Nova was six part multitimbral and the Supernova II (24, 36, or 48 voice) was eight part multitimbral. The UltraNova supports up to 5 simultaneous effects per patch. The Nova supported 42 simultaneous effects, while the Supernova II supported up to 56. The Supernova II also supported FM synthesis while the Nova and UltraNova omit it.

The UltraNova, however, is the first Nova synth to feature wavetable synthesis. An interesting side note is that all of the oscillators on the UltraNova are actually stored as wavetables, including the standard waveforms. According to Novation, “The wavetables in the Supernova series are all calculated. The wavetables in the UltraNova, even the standard analogue waves are wavetable oscillators. This change in oscillator generation was first used on the A-Station and K-Station and subsequently in the KS series, X-Station and Xio.” This allows the UltraNova to have some advanced tricks when it comes to the oscillator section, which will be covered in detail below.

I asked Novation about the lack of FM synthesis and they told me, “FM would have been a lovely addition to the UltraNova, but it would have been asking too much of the DSP to be able to run everything the UltraNova can do and also add in FM. The wavetables were a really good way to introduce a new (to Novation) type of synthesis that is able to cater for some of the synth sounds that FM is known for and also to be able to create lush evolving pads.”

The UltraNova features two routable filters per voice with a total of 14 filter types to chose from including 6dB (no resonance), 12dB, 18dB, and 24dB with Lowpass, Bandpass and Hi-pass modes. The Nova and Supernova II lacked a 6dB mode.

As for hardware, although the UltraNova may have fewer knobs per function than its predecessors, it is extremely well laid out and super intuitive to use. Along with both keyboard velocity and aftertouch, the UltraNova has touch sensitive knobs. They literally respond to touch and can be assigned to various parameters. Worth noting, velocity is configurable, however, aftertouch is not. I found the aftertouch to be good, but it does require a little extra force than I prefer; it’s good for not accidentally triggering it, but not so good for subtle, natural performance.

Please note the above comparisons with the Nova and Supernova II were only for quick reference. The UltraNova of course is its own synth with a few tricks up its sleeves that are lacking in the original Nova line, including a level of control over the synth engine often only found in the modular realm. It sounds incredible, and for the price, currently only $599 new, it is an extremely flexible and powerful synth. You get the current top-of-the-line Novation Nova synth engine with new wavetables and more. The UltraNova is both a performance oriented synth as well as a synth programmers dream. It can be configured for easy access to specific parameters for a live situation, or you can dig as deep as you want with a clearly well thought out interface.

That said, let’s dig in.

The following review and overview will essentially go over the signal flow of the UltraNova followed by performance controls including the arpeggiator and the hardware interface. I’ll go into a little detail on what each feature can and cannot do in an attempt to give you a detailed idea of what the synth is capable of. Because my reviews tend to be a bit on the longer side, I will be posting the sections in chunks over time to make it easier on you to consume and for me to compose.

First we start with…

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Alisa 1387 soviet synthesizer tracks

Published on Jul 5, 2016 Guseyn G

"Alisa 1387 soviet synthesizer tracks

The entire EP was recorded by me exclusively using just Alisa 1387 soviet synthesizer (including drums and percussions) with hardware effects.
Everything was played by hand/multitracked via Alisa's CV trigger/gate using Kenton Pro Solo and recorded into a sequencer.

Altavox - Submergence EP
Quality: 192 kbps mp3

Tracklist:
1 - Coral Echoes (00:00)
2 - Immersion (05:15)
3 - Nate's Shelfish Dub (09:27)
4 - Submarinba (14:39)
5 - Ocean Floor Dwellers (18:42)

Original underwater image is a courtesy of Roberto Catanzaro:
https://www.flickr.com/photos/robycat/:

Details on the Upcoming anAmoNo X Synthesizer From Gotharman

You've seen the videos, we now have full details on the upcoming anAmoNo X synth in directly from Gotharman. You'll find the full details on a new anAmoNo X site here, and captured below for the archives. Take a look at the specs. This is going to be one powerful synth, complete with swappable filters and more.

"Modular synthesizer with memory, swappable analog filters, sampler and granular effects.

Please notice: anAmoNo X does NOT work with the expansion box series. Instead it has replacable analog filters.

The most flexible Gotharman synthesizer ever!

I was really happy with the flexibility of my Eurorack system, but since I spend most of my time running Gotharman's, and do not have very much time for playing music, I was not really happy with the lack of preset storage on this. I always ended up spending a huge lot of time tweaking knobs and rearranging cables, and not really getting any tracks composed (inportant or not :-)). This actually became a bigger and bigger annoyance to me, and in my Christmas holidays 2015, I decided to do something about it.

At first I started to design a module with 32 audio inputs, 32 CV inputs, 32 audio outputs, 32 CV outputs, 64 knobs, a display and memory. The idea was to connect everything of all my eurorack modules to this (hmmm...actually I am not sure if this module would have had enough connections...), connect the modules via an internal cross-bay, and adjust all the CV and audio levels on the 64 knobs. It did though, pretty soon, become clear to me, that this module would be huge and really expensive to produce. On top of that, not all parameters are CV controllable on all modules, so it would require quite a bit of soldering to get this connected to everything.

So I took a few days of brainstorming with myself, and came up with a new idea: The most important sound shaping thing (to my opinion), is the filter. So if I just could scramble things a bit down, and make a box with oscillators, VCA's, modulation sources, and maybe some effect modules, and just made the filters replacable, it would theoretically give almost the same possibilities as my eurorack system, but with added patch storage. And if I one day got tired of its sound, I would just have to replace one or both of its filters, and then I would get new sounds, without having to design or purchase a completely new synth. The design of anAmoNo X began...

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Aelita soviet synthesizer tracks

Published on Apr 14, 2016 Guseyn G

"The entire EP was recorded by me using exclusively Aelita soviet synthesizer including drums and percussion with hardware effects. Everything was multitracked in a sequencer.

Aelita was supposed to be a Minimoog clone (with less features) but because of the Soviet circuitry, the filter to my ears is more ARP sounding while having the same attack time like on a Minimoog. It has a very distinctive, organic and evolving sound.

Altavox - 22:22 EP

Tracklist:
1 - 22/22 (00:00)
2 - 16/16 (04:50)
3 - 18/18 (07:50)
4 - 20/20 (13:30)
5 - 23/23 (17:58)"

Oberheim Matrix-12 Synthesizer Nebula

Published on Feb 14, 2016 gstormelectro

"Audio and video by G-Storm Electro c.2016
http://gstormelectronica.blogspot.com/
http://soundcloud.com/gstormelectro

My love letter to the Oberheim Matrix-12, my most favorite synthesizer.
All audio comes from the Matrix-12 with TR-8 providing beats.

I had to use some lo-cut EQ recording a couple of tracks, hope you don't mind. Some use of the Big Sky and Timefactor. "

Waldorf Blofeld Synthesizer Archnemesis

Published on Feb 3, 2016 gstormelectro

"All Video and Audio content by G-Storm Electro c.2016
http://gstormelectronica.blogspot.com/
http://soundcloud.com/gstormelectro

All tracks generated using custom patches I made on the Blofeld with a TR-8 providing rhythm backing. I sent the choir sounds through a JH Triple Chorus module I built.

Big Sky and Timefactor effects used here and there. All tracks recorded direct to Cubase SX3 via E-mu 1616. NO additional eq, compressors, etc. were used."

Korg Polysix Mojo Machine

Published on Jan 17, 2016 gstormelectro

"All Video and Audio content by G-Storm Electro c.2016
http://gstormelectronica.blogspot.com/
http://soundcloud.com/gstormelectro DOWNLOAD THIS TRACK NOW

This is the Korg Polysix with the Kiwisix upgrade. This demo features both original patches and factory presets. The main advantage of the Polysix is the 3-BBD chip ensemble effect, which shares the likes of ARP Solina and many others.

Another really cool feature is the external filter control input. No, it cannot filter external sounds. But it can take voltages from external devices like a sequencer and use that to step-modulate the filter.

The Polysix is also good at arpeggios and bass. What's better than bass?...more bass!...you can stack all six voices in unison mode for insane bass action.

There is a trick you can do to achieve filter high-resonance self-oscillation, and nothing else. To defeat the main oscillators, set the OSC to Pulse Width and set the Width to maximum. Make sure the sub osc is also turned off.

0:00 Choir sound, filter self-oscillation FX
0:28 to 2:24 Filter is being modulated, via the external filter control jack, by a control voltage coming from the Beatstep Pro
2:24 to 3:22 String Ensemble

ALL synthesizer sounds originate from the Polysix. A Volca Beats provided rhythm backing, Big Sky and Timefactor for effects. All tracks were recorded direct to Cubase SX3 via E-mu 1616. NO additional production, eq, compressors, mastering, etc. was used. "

LE STRUM - MIDI Chord Controller

Published on Jan 13, 2016 midierror

"A unique control surface designed by uber-human Jason Hotchkiss. Le Strum functions something like a cross between a Stylophone and an Omnichord.

Available here: https://www.tindie.com/products/midie..."

An interesting side note is that I own an Oberheim Strummer. It might have been the first if not only piece of kit you could use to generate guitar like cords with your synth. The problem with it was that it wasn't super intuitive to use. It didn't have any strum controls but was rather just a desktop box with a button based menu system where you selected what chords you wanted to use. LE STRUM looks like it would not only easily replace it, but can be used more as a physical controller for your synths. Very, very cool.

"A unique control surface that functions something like a cross between a Stylophone and an Omnichord. Comes FULLY CONSTRUCTED!

Connect LE STRUM to your MIDI synthesizer or computer running synth software, hold down a combination of buttons to select a chord, then use the stylus to play MIDI notes by touching the contact pads on the top right of the board. As the name suggests, you can strum across chords using the stylus, providing an unique and expressive MIDI controller.

LE STRUM's 36 chord buttons give you immediate access to 84 different chords (maj, min, dom7, maj7, min7, aug, dim for 12 root notes). You can also play sus4, add6 and add9 chord variations. It is great for learning about chord progressions and can be a helpful songwriting tool.

LE STRUM has several performance modes which are accessed by holding the MODE button while pressing one of the top row of chord buttons:

Mode+C : Basic mode - Stacked triads mapped across all 16 pads
Mode+D : Guitar strum mode - 6-string guitar open chords used (maj/min/7)
Mode+E : Guitar sustain mode - as above, but chord held after buttons released
Mode+F : Organ buttons - As Basic mode but chord triad plays on MIDI channel 2 as soon as button is pressed
Mode+G : Organ buttons with additions - as above but with sus4/add6/add9 options
Mode+A : Organ buttons with retrig - as above but chord buttons retrigger
Mode+B : Load User Patch
Mode+Bm : Save User Patch
Mode+B7 : MIDI Panic - All notes off
Mode+Strum Pad: Set MIDI velocity (16 levels)

User patch can combine settings for: play on make/break, damp on make/break, guitar voicing /stacked triads, additional guitar octave, enable added 4/6/9 notes, enable guitar chord bass notes, keep chord selection after chord button release, common note sustain on chord change, map chromatic/diatonic/pentatonic scale to pads, enable organ buttons on midi channel 2

LE STRUM has a special 6 string guitar mode, which knows basic major, minor and seven open chord fingerings for guitar. It can be used to lay down strummed guitar MIDI tracks without a MIDI guitar, and in a more convincing way that you could get from a keyboard. It's more than a toy, yessiree!

Designed for hackability (e.g. solder wires to the provided holes on the pads to make proper "strings" to pluck)
Transmits on MIDI Channel 1 for stylus activity and MIDI Channel 2 for Chord Buttons.
Output is to a standard MIDI 5-pin DIN socket.
A PP3 battery is required
Size 98mm x 75mm x 45mm (incl MIDI socket) Weight approx 120g with battery

An optional stand is available, please contact me for more information.

Please note that synthesizer hardware or software is required to make sound. LE STRUM is a MIDI controller and does not make any sound by itself!"

Note: I created a new midierror channel label for midierror moving forward. You can find previous posts by doing s a search on midierror. The creator of LE STRUM is Jason Hotchkiss.

Hans Wurman - The Moog Strikes Bach [Original German Stereo LP] (1969)

Published on Dec 19, 2015 Vinil-o Philia

This one in via Soviet Space Child.

"Classical pieces transcribed to and performed on the Moog synthesizer.

There's a bit of crackle here and there, mainly at the end of B2 but I decided to leave it to avoid overprocessing.

General info:
Label: RCA Red Seal - LSC 3125
Format: Vinyl LP
Country: US
Released: 1969

Source: Original German LP
Process: ripped with Audacity 2.1.0 & declicked with ClickRepair 3.9.3. No noise reduction was applied.

Tracks:
A1 Chopin - "Black Key" Etude, Op. 10, No. 5 00:00
A2 Mozart - Turkish March (Rondo From Sonata In A, K. 331) 01:39
A3 Rachmaninoff - Vocalise, Op. 34, No. 14 05:08
A4 Prokofieff - Prelude, Op. 12, No. 7 11:35
A5 Wurman - Thirteen Variations On A Theme Of Paganini 13:34
B1 Bach - Toccata And Fugue In D Minor 23:47
B2 Mozart - Eine Kleine Nachtmusik (Serenade In G, K. 525)
a. Allegro 31.18
b. Romanze: Andante 36:50
c. Menuetto: Allegretto 42:33
d. Rhondo: Allegro 45:03

Performer:
Hans Wurman - Moog modular synthesizer

Notes:
Recorded at RCA Studios
Engineered by Roger Anfinsen
Produced by John Pfeiffer

Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

This is NOT my work, and all credit for the music and album cover goes to the original copyright holders and other parties that may have anything to do with the songs."

Seductress Roland Juno-106

Published on Dec 26, 2015 gstormelectro

"All Video and Audio content by G-Storm Electro c.2015
http://gstormelectronica.blogspot.com/
http://twitter.com/GStormElectro
http://soundcloud.com/gstormelectro DOWNLOAD THIS AS AN MP3

I have packed a ton of Roland Juno-106 sounds, both original patches and factory presets, into this demo.

ALL synthesizer sounds originate from the Juno-106. The TR-606 provided rhythm backing, Big Sky and Timefactor for effects. All tracks were recorded direct to Cubase SX3 via E-mu 1616. NO additional production, eq, compressors, mastering, etc. was used. Except the levels were very quiet so I cheated by pushing them up with a plug-in limiter across the output. Happens sometimes."

Altair 231 demo tracks

Published on Nov 8, 2015 Guseyn G

"The entire EP was recorded exclusively with Altair 231 including drums and percussion.
Altair 231 is a direct Soviet copy of the original Minimoog Model D first revision. It is known to be more stable than the original Mini.

Altavox - Mooncheese EP
Tracklist:
1 - Module 110
2 - Lunokhod 147
3 - 9.8 m/s (2)
4 - 6.022*10 (23)
5 - Altered signal

In case anyone is interested I am currently selling this exact Altair which was used for recording this EP and which is on the cover.
It comes fully maintained with the midi mod for controlling VCF via DAW/sequencer and most of the original knobs have been replaced with a more smooth moog type ones which allow for a much better control than the original ones."

Crushing On The Roland Boutique JP-08

Published on Nov 7, 2015 gstormelectro

"All Video and Audio content by G-Storm Electro c.2015
http://gstormelectronica.blogspot.com/
http://twitter.com/GStormElectro
http://soundcloud.com/gstormelectro

Listen to this and just try not to fall in love with the Roland JP-08 module. I have packed a ton of Roland JP-08 sounds into a demo that demonstrates the JP-08 in action. Most of the patches are original, except a factory string patch.

ALL synthesizer sounds originate from the JP-08. The TR-8 provided rhythm backing, Big Sky and Timefactor for effects. All tracks were recorded direct to Cubase SX3 via E-mu 1616. NO additional production, eq, compressors, mastering, etc. was used whatsoever."

Setting A Roland Jupiter-6 On Fire

Published on Oct 22, 2015 gstormelectro

"All Video and Audio content by G-Storm Electro c.2015
http://gstormelectronica.blogspot.com/
http://twitter.com/GStormElectro
http://soundcloud.com/gstormelectro

The Roland Jupiter-6 Synthesizer is an absolute MONSTER. Pads, Bass, Arpeggio, Strings, Leads - it's all here. And the JP-6 is my favorite go-to synthesizer for SOUND EFFECTS. I have crammed a plethora of strangely beautiful effects and noise that demonstrates its versatility which is beyond comprehension.

Obviously no actual synthesizers were harmed in the making of this all Roland Jupiter-6 demonstration. The TR-8 provided rhythm backing, Big Sky and Timefactor for effects. All tracks were recorded direct to Cubase SX3 via E-mu 1616. NO additional production, eq, compressors, mastering, etc. was used whatsoever."

Happy Birthday Commodore Amiga!

The Amiga Demoscene Mixtape Vol. 1 - mixed by DJ Arvy (The Old-School Classics Edition)

Published on Jun 11, 2013 DJ Arvy

The Commodore Amiga turns 30 today! via Boing Boing

Playlist:

1. The Amiga Demoscene Mixtape Vol. 1 - mixed by DJ Arvy (The Old-School Classics Edition)
"A non-stop DJ Continous Mix featuring some of the greatest and most popular Soundtracks from the early 90s Old School Amiga Demos.

Playlist:
0:05 "Deep Space" by Greg (from "Odyssey" by Alcatraz, 1992)
0:45 "Stardust Memories" by Jester (from "World of Commodore" by Sanity, 1992)
4:15 "Part6" by Greg (from "Odyssey" by Alcatraz, 1992)
6:35 "Hyperbased" by Firefox & Tip (from "Enigma" by Phenomena, 1991)
11:19 "Checknobankh" by Laxity (from "Desert Dream" by Kefrens, 1993)
14:25 "Elysium" by Jester (from "Elysium" by Sanity, 1991)
17:50 "Vite and Plack" by Virgill (from "Interference" by Sanity, 1993)
21:41 "Part3" by Greg (from "Odyssey" by Alcatraz, 1992)
23:21 "Overload" by Firefox & Tip (from "Voyage" by Razor 1911, 1991)
29:30 "Nagual Dance" by Jugi (from "Paradigma" by Complex, 1993)
33:35 "Demomodul#3" by Laxity (from "Desert Dream" by Kefrens, 1993)
37:55 "Cyberride" by Jester (from "Extension" by Pygmy Projects, 1993)
42:16 "A nice Day for a Walk" by Julius / Mad Freak (from "3D Demo II" by Anarchy, 1992)

Free MP3-Download at soundcloud:
https://soundcloud.com/deejay-arvy/th..."

2. The Amiga Demoscene Mixtape Vol. 2 - mixed by DJ Arvy (Old Skool) ft. Mods by Moby, Laxity and more

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Multiple Hardware sequenced with G-Stomper over MIDI / G-Stomper Studio 4.3 Mobile App

Published on Jul 14, 2015 G-Stomper Studio for Android

"Multiple Hardware sequenced (and synchronized) with G-Stomper over MIDI / G-Stomper Studio 4.3 Mobile App
(Device :Google Nexus 9)

This clip shows G-Stomper Studio with multiple hardware hooked up over MIDI.

All sequences are done in G-Stomper Studio, while the sounds come from G-Stomper Studio and the attached hardware.
The Nord Lead as well as the ESX1 act only as Sound Module (MIDI Extender), note that the ESX1 Sequencer is NOT running and its sequence is empty.

- The Drum Sounds on T01-T12 come from G-Stomper Studio, +triggers are fired to the backlit pads of the MPK225.
- VT01-VT04 are pure MIDI instrument tracks which control the 4 Nord Lead Synth instances.
- VT05 is a pure MIDI instrument track which controls the the ESX1.
- VT06 is a regular VA-Beast synth.

Furthermore all hardware components are synchronized over MIDI clock (to keep the delay effects and LFOs in the right timing).

The Nexus 9 runs on OpenSL with an internal Latency of 10ms + manual Latency compensation of 20ms.

Required equipment:
- 1 class compliant USB MIDI to DIN interface
- 1 USB OTG micro USB to USB adapters
- 1 4x1 MIDI Merger
- 1 1x4 MIDI Thru
- A bunch of MIDI DIN cables"

Quick MIDI session / G-Stomper Studio 4.3 Mobile App

Published on Jul 7, 2015 G-Stomper Studio for Android

"Quick MIDI session / G-Stomper Studio 4.3 Mobile App
(Device: Google Nexus 9)

Quick G-Stomper Session with a Nordlead3 hooked up over MIDI.
All Synthesizer sounds come from the Nordlead3, sequenced and modulated over MIDI with G-Stomper Studio 4.3 (tracks VT01-VT03)."

Official Website: http://www.planet-h.com/

Squarp Instruments Pyramid Polyrhythmic Sequencer Now Accepting Preorders - Additional Details

You might recall the demos and intro post with initial details on the upcoming Pyramid Polyrhythmic Sequencer. The following is the latest press release:


"Squarp set to revolutionise hardware sequencing workflow with polyrhythmic Pyramid

PARIS, FRANCE: avant-garde musical hardware researcher and developer Squarp Instruments is proud to announce that it is already accepting preorders on its inaugural Pyramid Polyrhythmic Sequencer breakthrough — an advanced hardware standalone sequencer running proprietary PyraOs realtime processing firmware and boasting (multiple) MIDI, USB, CV/Gate, and (Sync48- and Sync24-configurable) DIN Sync connectivity, together with a host of fanciful features belying its compact and bijou form factor — as of May 21...

Most notably, and arguably an absolute rarity in this day and age, Pyramid Polyrhythmic Sequencer is fully polyrhythmic, meaning different and unusual time signatures can be set for each of its 64 tracks to cleverly create shifted-beat sequences — set a track to 4/4 and add other tracks to simultaneously run with it in 5/4, 6/8, 15/8, or whatever — to bring stirring new musical flavours to productions. Pyramid Polyrhythmic Sequencer... it is incontestably an appropriate appellation, after all! Apart from that, though, what makes this standalone sequencer so special and also why resolutely return to hardware in this day and age of commonplace software-based sequencing solutions, courtesy of all-singing, all-dancing DAWs (Digital Audio Workstations)?

Well, to truly get a feel for the flexible future of state-of-the-art and easy-to-use hardware sequencing in the present, perhaps it pays to look to the past? Which is exactly what the forward-thinking research and development team at Squarp Instruments did. “Our aim was to create a hardware sequencer in ‘sync’ with the new styles of electronic music being written nowadays,” notes company co-founder and R&D engineer Tom Hurlin. “There’s a huge gap in the market for this, which is kind of weird, because most popular music from the early-Eighties to the late-Nineties was produced using sequencing hardware. Hip-hop, for example, originated on the MPC series, which actually revolutionised all kinds of music — Madonna to Bryan Ferry to Whitney Houston. How come these machines were suddenly replaced by the computer?”

Good question. One which Squarp Instruments musically meditated on while dreaming up the knockout conceptual design of Pyramid Polyrhythmic Sequencer. So, by cleverly combining computer, sequencing software, controller, and interface, the robust result is an amazingly accomplished sequencing solution that is as practical in use as it is easy on the eye while its road-ready aluminium casing merely measures 268 x 206 x 44 mm. Muses Tom Hurlin: “We felt that we had to create a machine that you could really feel — one that could satisfy any musician from any musical background. We wanted to have nice and playful controls, such as a multipoint touchpad, which was inspired by Korg’s Kaoss Pad and Kaossilator, and to be able to go from basic four-on-the-floor house beats to very experimental rhythms. Really, the important thing is that if you go from the computer to Pyramid then you don’t feel frustrated. The machine should enable you to do exactly what you had in mind when you started working with it, but also allow for some happy accidents along the way when tweaking!”

Two years of research and development, three prototypes, and multiple musical dialogues with various live and studio-based artists later, the cutting-edge electronics and advanced (updatable) firmware — the realtime processing PyraOS operating system allows any parameter to be controlled on the fly and any changes to be listened to immediately — implemented in the production Pyramid Polyrhythmic Sequencer makes for a standalone sequencer par excellence, enabling users to agilely access a wide-ranging workflow based around 64 tracks. Each track can be up to 64 bars in length and acts as a loop that contains polyphonic or monophonic notes, automations and effects, plays repeatedly and controls one of the electronic musical instruments connected to the MIDI 1, MIDI 2 +sync (DIN Sync), CV, and USB outputs. Of course, those instruments could be hardware (such as drum machines, synthesizers, and modular synth systems), virtual instruments (running on a connected computer or even an iOS device, such as Apple’s all-pervasive iPhone smartphone or iPad tablet), or combinations thereof. The full flexibility of CV, G (Gate), and ENV — useful for sequencing any voltage-controlled parameter, such as an envelope generator or filter — connectivity will absolutely appeal to modular synth system aficionados, all the more so since the ever-present Eurorack small-format modular system is increasingly being popularised (and heavily populated) by an ever-growing band of merry ‘boutique’ manufacturers now numbering hundreds worldwide!

With Pyramid Polyrhythmic Sequencer’s high-precision clock, rest assured that the sequencer itself is a superlative synchronisation tool for vintage and modern devices alike. All connected instruments will always remain perfectly in time, however rhythmically complicated those polyrhythmic sequences end up being — by grand design or happy accident! And with whatever users choose to connect to wherever, workflow is cleverly conceived for both stage and studio use, courtesy of four clear-cut, colourful (and colour-coded) modes. Make musical patterns from scratch and program MIDI effects and automations in (red) LIVE or (green) STEP modes by recording performances using the built-in one-octave keypad and so- called smartpads — each configurable as a chord harmoniser, advanced beat repeater, or scaled piano — or creating rhythms and melodies with the self-explanatory step sequencer, then manage and arrange tracks in (yellow) TRACK or (blue) SEQ modes by muting/un-muting tracks on the fly to build songs live or arranging and linking sequences — groups of muted/un-muted tracks — to create complete, structured songs.

Similarly, Pyramid Polyrhythmic Sequencer’s hands-on hardware user interface includes six accurate and clickable encoders, a wide, multi-finger touchpad, and an accelerometer — all of which can easily be assigned to an effect parameter, a MIDI CC message, or even the two CV inputs! Beautifully backlit, the white LCD clearly highlights all functions, fanciful or otherwise. One particularly noteworthy mention must go to the algorithmic euclidian sequencer engine available to each track to auto-generate atypical and rich rhythmic patterns... plucky users can change the number of total steps, the number of filled steps, the step width, and rotate the pattern — again, all on the fly!

For the keyboardist seeking a powerful performance partner to get the most from their chosen instrument, the live performer looking for a complete sequencing solution to help handle their set, or the studio musician making music from scratch, Squarp Instruments’ innovative Pyramid Polyrhythmic Sequencer surely delivers. Hardware sequencing is back with workflow advancement and flexible features to musically die for. Vive la standalone sequencer!


100 Pyramid Polyrhythmic Sequencers are available to preorder online for €699.00 EUR/$799.00 USD/£524.00 GBP (including VAT) from the Squarp Instruments Store here: http://www.squarp.net/store.html (Shipping is scheduled to start in June 2015, including free delivery to 28 European Union member states, with a second batch becoming available worldwide in early Q4 2015.)

For more in-depth info, please visit the dedicated Pyramid Polyrhythmic Sequencer webpages here: http://www.squarp.net

Watch Squarp Instruments’ informative series of Pyramid Polyrhythmic Sequencer demonstration videos here."

Polivoks demo tracks

Published on Apr 13, 2015 Guseyn G

"Altavox - Traektoriya EP
Recorded this demo material using exclusively Formanta Polivoks soviet synth apart from drums just to show its great tonal characteristics and features in action. Its a one hell of a beast!"