Waldorf Q: Cybernaut

wedream2

"Waldorf Q in Multi mode: 4 keyboard zones: Noise effect, sequence, brass, oboe. The sequence consists of a percussion track and a transposable bass line. The transposed key changes after the current cycle. The song is Cybernaut from the 1971 electronic album 'Zero Time' by Tanto's Expanding Headband. The Q's multitimbrality allows such real time performance. Recorded on IPhone."

PAIA 2700/4700 MODULAR ANALOG SYNTHESIZER

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via this auction

"A few years ago I decide to take my 1974ish PAiA synthesizer and rebuild it. I researched components by consulting with Scott Lee of PAiA. I designed custom panels through Front Panel Express. To keep the engraving costs down I went with a minimalistic look that was reminiscent of PAiA yet totally original with a vintage vibe, especially the knobs.

I had Steve Wood, a former PAiA Tech from back in the day, do all the module refurbishing. Most of the major components on the boards were replaced & all ICs socketed. The audio path has upgraded caps and Burr-Brown op-amps. All front panel parts and hardware are new. Taking Marvin Jones’ advice, I replaced all the control voltage “pin jacks” with 3.5mm audio jacks. These are grounded so I could interface the PAiA with my other modular gear.

Multi-turn pots are used for VCO frequency tuning (they look like the pots on the old “Putney” synth!). The “bouncy” push button switches are replaced by momentary toggle switches and all of the switches are now toggle switches with vintage looking paddles.

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Macbeth X-Series Micromac-D

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via this auction

"A masterpiece by Scottish synth designer genius Ken Macbeth, this is Ken’s take on the classic Minimoog Model D concept of a 3-VCO synth with a 24db ladder filter.

Ken Macbeth is - besides Wowa Cwejman - the best boutique analog synth builder of our time, doing everything the old-school way of through-hole solering. This is true analog!

The sound that his synths deliver is simply out of this world and the Micromac D is no exception. Despite its desktop size it packs a heavy punch. Seriously - in terms of sound this is as good as it gets.

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WMD SCLPL - In Depth Tutorial

WMDevices

"Frequency equalization (EQ) is something that the Eurorack industry has been lacking for a long time now. Sure, there are plenty of EQs out there with limited feature sets, but we felt the need for something more. We wanted presets so we could change settings mid-set and that turned to the question "what if they morphed smoothing from on to another?" which has brought us to what is now known as SCLPL.

The WMD SCLPL is a dual mono / stereo EQ and morphing filter for eurorack modular synthesizers in 4HP. 9 presets let you save different EQ settings and then morph between them with CV or manually with knobs.

In this video, we cover the basics. We use White Noise from the WMD/SSF Modbox and sweep frequencies. We then use Drum Break and Chord samples from the Rossum Assiml8or to learn how to set up EQs, save Presets, and more."

"The mix surgeon's best friend is now a powerful effect in your eurorack system.

SCLPL (pronounced SCALPEL) is a Stereo 5-Band Digital EQ / Morphing Filter module for eurorack modular synthesizers. Use it to cut out problem frequencies on voices in your mix or to add pleasing enhancements to your stereo field.

Dual Mono and Stereo Control Schemes make it an excellent addition to any WMD Performance Mixer Setup. Add 4 SCLPL for 8 channels of EQ in 16HP. Put a 5th on the Master Bus and you have the ultimate eurorack mixing setup!

A simple user interface makes it a powerful tool for many use cases. It features 9 user-programmable preset slots that can then be "morphed" between seamlessly with CV or the Level knob in Morph Mode.

Each frequency band is set independently with the Level, Q, and Frequency knobs, and a helpful LED display aids in knowing exactly what's going on at all times.

Frequency bands include a Low Shelf, 3 Mid-Range Peaking Bands, and a High Shelf."

STS ∎ Serge ∎ Animal ∎ Animate ∎ TKB (DIY from The Human Comparator)

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via this auction

STS panels and a DIY TKB from Human comparator.

Panels Descriptions from the Old Egres unofficial Serge site:

ANIMAL 1. New Timbral Oscillator NTO 3" 2. Precision VCO PCO 2" 3. Wave Multipliers VCM 2" 4. Audio Mixer (3x1) AMX 1" w/'Phase Invert' toggle switch 5. Smooth/Stepped Generator/Noise SSG + NOI 2" includes the 'Noise' source 6. Dual Transient Generator DTG 2" add 'Signal In' banana jacks 7. Extended Range VC 'Q' Filter VCFQ(X) 2" 8. Univeral Audio Processor UAP 2" Sub-Total: $4,800.00
----------------------------------------------------------------------------

ANIMATE 1. Preamp Detector PRNV 1" w/ Valtage Comparator section 2. New Timbral Oscillator NTO 3" w/ 'HI_LO' Range Toggle Switch 3. Triple Waveshaper TWS 2" 4. Audio Mixer (3x1 w/ phase invert) AMX 1" w/ 'DC coupled' inputs #1 & 2 5. Variable Bandwidth VC Filter VCF2 2" 6. Wilson Analog Delay WAD 3" 7. Dual Universal Slope Generator DSG 3" 8. Cross-Fader (2x1) XFAD 1" Sub-Total: $4,800.00

Synthberry Pi: Tutorial II - OSC Remote control

Published on Mar 7, 2020 Artis Lab

"SynthBerry Pi is the prototype of a standalone synthesizer based on the Raspberry Pi mini computer and the Pure Data development environment. The prototype is equipped with a control surface made up of eight potentiometers connected to the computer which allow to modify, in real time, the control parameters of the sound generation processes. Furthermore, by using the wireless connectivity of the mini computer, the Pure Data patches can be controlled by sending Open Sound Control (OSC) messages from devices such as tablets or smartphones.

For more information on SynthBerry Pi visit this link: https://www.artislab.it/it/synthberry...

The video shows the remote control of a Pure Data patch based on Open Sound Control messages over the wireless network. On the phone we have chosen to use an application called Control which provides graphic interfaces equipped with objects which, in response to user actions, send OSC messages through the wireless connection.

For this demo we used a Pd patch that is based on a subtractive synthesis system. The patch consists of a white noise generator and four fourth-order bandpass filters. The eight potentiometers of the control surface allow to control, for each filter, the center frequency and the quality factor (Q). The filters have been tuned to operate in different frequency regions from the lowest, the pair of potentiometers on the left, up to the highest on the right.

Two interfaces have been developed in Control to change the parameters of the Pd patch which creates the subtractive synthesis system. The first interface is something similar to a mixer, since it makes possible to separately change the volume and position of the stereo panning of each of the four filters through the use of a widget that implements a multitouch interface. The vertical dimension of the graphic object has been associated with the volume control of each filter, while the horizontal direction allows the user to control the panning between the left and right channels.

The second interface has four buttons that allow the user to choose four different settings for the range of variation of the filter frequencies. The frequency value of the four filters is controlled by the position of the corresponding potentiometer by means of a mapping process in a well-defined frequency range defined by a maximum and minimum value. Each button of the Control interface recalls a different configuration in the patch for the extreme values (maximum and minimum) of the frequency regions in which the interpolation is carried out. Furthermore, by positioning the potentiometers all up or all down, it is possible to obtain precisely the values of the filter frequencies set for the different presets."

See the Artis Lab below for more.

New ASM HydraSynth 8 Voice Digital WaveMorphing Hardware Synthesizers - First Demos & Details

Update: Playlist added above. You can use the player controls to skip around.
Update2: New pics and product description added below.
Update3: Official press release with higher res pics starting with the desktop added below.

Playlist:

1. ASM Hydrasynth Keyboard Preset Sounds - Perfect Circuit - interview here
[Note Supporters of MATRIXSYNTH get %10 off at Perfect Circuit! See the support page for details. Thank you to all who support the site!]
2. ASM HydraSynth Overview Demo arp and Poly Touch Pads - Ken Flux Pierce Fluxwithit
3. HYDRASYNTH FIRST IMPRESSIONS – This is an INTENSE synthesizer - BoBeats (Patreon)
4. New Polysynth - HYDRASYNTH - From ASM - Sonic LAB First Look - sonicstate
5. Hydrasynth: Review, detailed tutorial // Keyboard vs Desktop // Polyphonic Aftertouch - leploop
6. Hydrasynth Review - BBoyTechReport.com
7. Welcome the ASM HydraSynth! Digital Wavemorphing Synthesizer - Ken Flux Pierce Fluxwithit
8. ASM HydraSynth Exploring Oscillators and Mutants - Ken Flux Pierce Fluxwithit
9. ASM Hydrasynth Sounds Demo 🎹 - Sweetwater
10. ASM Hydrasynth Synthesizer Deep Dive 🎹 - Sweetwater

ASM stands for Ashun Sound Machines, not to be mixed with the Elby Designs ASM2 & ASM STRAT 1.

Screen grab of the desktop version.

via Fluxwithit

"Over the past year or so I was fortunate enough to work on this project. Eventually it became one of the most interesting synthesizers I have seen hit the market in ages. What makes the ASM HydraSynth so special? let’s start with a run down of the bullet points first.

Hydrasynth is an 8 voice digital wavemorphing synthesizer.

8 voices3 oscillators: 219 waveforms, custom wavetables with wavelist/wavescan function, ring mod, 3 noise colors.4 custom “mutator” sections each with 7 effects FM-lin,wavestack,PWM,PWM squeeze, PWM-ASM,Sync,Harmonic sweep. oscillators can be stereo panned.

2 Simultaneous filters that can be arranged in parallel or series. Filter 1 has 11 filter models including traditional Moog style 12 and 24db ladder filters, q compensated 12 and 24db ladder filters ala MatrixBrute, 18db slope LP,BP,HP,filters based on the Threeler eurorack filter, MS20 style HP and LP filters,LPG filter and a Vowel filterOscillators can blend into filters at varying amounts, Filter 2 is a SEM style multimode filter with morph control LP-BP-HP.dedicated analog 270 degree pots for cutoff, resonance and Drive/Morph.

5 6-stage DAHDSR envelopes with BPM sync allowing you to sync the slope of each stage to the beat. Looping with definable number of repeats

5 LFO each with 10 waveforms + noise, delay, fade in/out, and phase. multiple trigger modes , step mode with pattern length.

32 point mod matrix with 28 sources and 188 destinations .

8 macros each with scribble strip and up to 8 destinations each. Macro buttons also allow for quick value changes.

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River Synths - Dendrites

Published on Jul 30, 2019 SchneidersLaden

This is the first post to feature River Synths.

"The Dendrites by River Synths is a highly versatile multimode filter with different resonance characteristics and a drive circuit. A very nice colouring audio processing tool, with a certain presence and a musical behaviour."

OVERVIEW
River's Dendrites is a true multi-multi-mode filter. A very nice colouring audio processing tool, with a certain presence and a musical behaviour. The filter modes (16), resonance (3) and overdrive (2) all have different options to choose from - a total of 96 different combinations. And then there are five CV inputs, additional switches, controls and attenuators. The “art” of Dendrites is to never appear overloaded with features, but to always be playable - and to sound very good.

DETAILS
Dendrites is a multimode filter AND phaser. Two of the 16 modes are designed as pure all-pass filters, which can produce a rather deep phaser sound despite being there being only four stages/poles available. Four more modes are a mixture of allpass and lowpass, bandpass and highpass. The remaining ten are one- to four-pole, "pure" variants of LP, BP and HP.

The dry, wood-like basic sound of the discrete transistor circuitry always shines through. By adjusting the input level and the resonance behavior, the Dendrites can be made sharper, softer, thinner, wider, firmer and more fluid. And with the drive activated, it's even quite aggressive.

Each of the three resonance settings plays a role in achieving said characteristics: "Vintage" for soft and round, stronger colouring behaviour. "Q-Comp" regulates the relationship between audio signal and resonance, providing a different presence. And "K-Style" means Korg classics sound and therefore also has a dominant resonance sound and a rather mid centered output.

At the center of Dendrites, however, is a click encoder with which the 16 different filter types can be quickly selected. This is also possible with CV. Also the resonance is CV controllable. AND Dendrites also tracks stable over at least four octaves and can be used as a sine oscillator (with Drive = Waveshaper). With exponential and - for filters rather unusual - linear FM. The FM/Cutoff input is switchable between lin/exp and is bipolar (+/-5V), while its neighbour "Envelope" is designed for unipolar envelopes (0-10V). Both have an attenuator for scaling the input signal.

Especially in the setting "K-Style" it is worthwhile to activate the drive. With the input-gain in the middle position in order to leave some air for the resonance. With vintage resonance on the other hand and especially in 4P-lowpass mode you can and should move the input gain to past 3 o’clock. "Q-Comp" has a different presence that allows for settings moving subtly between 9 to 12 at the input and thus working out different shades of saturation.

Dendrites reminds in many settings of classic synths. But you will also notice that it's a unique, self-designed and modern circuit - especially the way it saturates and how agile it can be with fast modulations ... and with how little background noise there is!

UltraRollz Farm-Detective Analog Synthesizer -Ellitone-

Published on Jul 18, 2019 ellitone instruments

via Etsy

"The UltraRollz Farm Detective is an all Analog Modular Synthesizer that rewards those who go deep.

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Ellitone Instruments UltraRollz Farm Detective Analog Synthesizer

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via this auction

"The UltraRollz Farm Detective is an all Analog Modular Synthesizer based on the concepts presented by Peter Blassers (Ciat-Lonbarde) 'Rollz-5 Drum Machine'

The Instrument is divided into 3 sections. A Dual UltraSound Filter module in the center and 2 "Rollz Plates" (one located on either side).

The 2 Rollz Plates each contain 4 Independent Rollz. These Rollz are essentially Pulse Generators that each oscillate at a unique speed. Each Rollz Plate offers 2 Even Rollz (4 stages) and 2 Odd Rollz (3 stages).

The Even Rollz (4 stages) are able to self oscillate at a low consistent speed (LFO), outputting a positive pulse every cycle via the output jack located next to the LED (The LED flashes correspond to the output state of each Roll).

The Odd Rollz (3 stages) do not self-oscillate. They only come alive when patched together with other Rollz. These paradoxical oscillators will then begin emitting bursts of Ultra Sonic noise that will later be processed using the Dual UltraSound Filter located in the center of the instrument.

Each of the 8 Rollz offers individual patch points at every stage of their oscillation (36 patch points in total). These Nodal Points allow one to "weave" the independent Rollz Oscillators together, this is where all the fun begins!

By weaving together the inner workings of several Rollz, complex interactions and 'incidents' begin to occur. There really is no Right or Wrong way of connecting these Nodal Points together. I like to think of this whole process as "creating a thinking brain". The more connections that are made, the more likely that bizarre sounds (thoughts) will begin to take place.

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AEMIT Presents Innovative Eurorack Modules for the Discerning Synthesist

AEMIT ~ Some Sound Snippets from Aemit modular on Vimeo.
AEMIT - Formant tests with System 7.5

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Make Noise QPAS // Quad Peak Animation System & Stereo Eurorack Filter

Published on Feb 19, 2019 DivKidVideo

"**TIMING INDEX / SECTIONS BELOW** So here's "the ultimate guide to QPAS" ... a mega tutorial, uber overview or any other silly name you'd like to title this with. Silliness aside, the QPAS has been great offering a lot of stereo filter tones with the quad filter cores and simple controls for a wide range of animation. The tone of the filter is hard to pin down as Tony of Make Noise designed the core (rather than cloning an old one) for the filter and the option to saturate the input VCA stage provides further tonal options. I hope this video is useful for currently QPAS owners, potential QPAS owners but more importantly I hope the video serves to demonstrate tchniques and provide ideas for any modules you own. I always try to make these useful for those with or without the module.

INDEX / SECTIONS

00:00 hello and patch previews (what’s to come)

02:22 What is QPAS? Feature and control run down

04:53 Raw sounds and sweeps

07:22 Audio rate talking filter vibes

08:02 QPAS & Morphagene Patch #1

09:51 Creating stereo images from mono sources and how to make an “opto auto pan” effect

10:43 QPAS in a delay feedback path and how to turn stale digital delays in awesome-sauce

12:54 Distorted bass sound design - looking at driving resonant peaks into distortion for hard electro, industrial and film/game like sound design

15:24 4 THINGS PATCH
15:37 Sweeping HP over full mixes
17:00 Bass boosts with the HP and high Q
17:55 Imparting chordal overtones
18:30 Envelope follower modulation for ‘auto filter’ sounds
19:05 Smile Pass phaser sounds over a mix

19:36 Phaser FX

20:18 QPAS & Morphagene Patch #2

21:14 best sound EVER

21:26 AM Synthesis tutorial with the QPAS + bonus LPG like patching

24:26 Emulating LPG / low pass gates with the QPAS

26:06 How to make a 4 pole 24dB octave response out of the QPAS’ 12dB 2 pole response

27:35 Making a “unique” band pass with self patching

27:55 4 mono peaks, 2 peaks filtering the other 2 peaks with self patching

28:52 Noise as a modulation source. Percussion, noise, new sounds and groove box action!

29:49 Shaping basic electronic percussion sounds

30:31 Imparting chord tones over your audio

31:06 Dynamics and expression with the input VCA

31:53 QPAS & Morphagene Patch #3

33:07 Random techno pings

33:32 LP BP HP SP multi output drone

34:36 Weird acid & layering modulation

36:12 Synthesising percussion sounds - KICKS

37:50 Synthesis more percussion - SNARES CLAPS + MORE

38:55 Tony Rolando’s “fake echo” patch with the wildcard input

40:53 Complex synth voices with Scanned & QPAS and lots of modulation."

Make Noise Introduces the QPAS - Quad Peak Animation System

Published on Jan 23, 2019 MAKEN0ISE

"Introducing the Quad Peak Animation System, or QPAS. The QPAS is a quad core, stereo, analog multimode filter. We highly recommend using headphones while watching this video. All sounds are the direct output(s) of the QPAS."

"The Quad Peak Animation System combines the auditory enveloping of stereo spaced peaks with the animation of two or more peaks in a single channel dancing around each other or engaging in primitive vocalizations. QPAS is Quad Core, containing four identical state variable filter cores with a control system powerful enough to guide them in stereo multi-peak operation, but simple enough to encourage system integration rather than domination.

The Story of the QPAS by Tony Rolando
When I worked at Moog calibrating Voyagers, I monitored with headphones, and one of my favorite sound sensations was that of the stereo low pass filter. You might not even recall that the Voyager had a stereo Dual LPF. It is under utilized since most folks are trying to achieve classic Model D goodness, and the OG MiniMoog was a very mono instrument.

The binaural effect of a stereo Dual LPF is simple: one channel of the sound is brighter then the other. However, the effect is heightened when the filter has an exponential response and the cutoff is modulated. At lower cutoff frequencies the two channels appear to move at similar velocities, but as the cutoff frequency increases, one channel will smoothly increase in velocity, becoming brighter faster. The other channel lags behind, but eventually reaches the same velocity, and finally at high cutoff frequencies the two channels coalesce into full brightness. Where the mono LPF smashes you in the forehead with simple heavy sound, the stereo LPF envelops you, putting you inside the heavy sound.

When I developed the QMMG I learned about multi-peak filtering. Another under-utilized technique, this is processing a single channel of sound, with multiple filter channels, which are modulated, and then summed together to create a new version of the original sound. On the QMMG all four channels of filters were summed to the MIX OUT. There were a few normalizations, but they did not really ease or encourage multi-peak use. The QMMG UI was awkward for use as a multi-peak filter.

A common use for multi-peak filtering is the creation of formants, where multiple band pass filters are carefully programmed to generate human vowel sounds. This can be fun but it requires meticulous programming. If you forget about formants and just modulate until it sounds good, a multi-peak filter can be gorgeous fun. When the multiple peaks are offset from each other and modulated, the effect can be dizzying, as the sound appears to be dancing with itself, moving in many directions and yet it is still a mono sound. It is an auditory illusion.

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Blue Lantern ASTEROID SNARE DRUM

via Blue Lantern

"What does this do?
This is a sound generator module with 3 oscillators + noise generator. This module is a complete mini synthesizer that can easily produce snare drum sounds. A 'trigger' signal is patched in order to hit the snare drum. The bottom row contains an internal mixer where you mix in 2 shell generator oscillators, one thud oscillator, and a noise generator.

The Noise generator can be used for your other modules. You can also patch into the discrete transistor vca, breaking the switch jack to replace the noise generator with an external audio signal (synth level).

The Filter on the 'Impact' signal path was carefully designed just for snare drum tone control. It sounds very nice. It will not self oscillate, but the Q control can go very high in frequency.

There is an accent control circuit in order to vary the loudness of the snare drum.

History of the design:

The Asteroid Snare drum started out on bread board as a TR 606 snare drum. That design only contains one oscillator, a transistor based noise generator, and a 'clipper' brute vca. It is a nice efficient old design, but it is too simple and boring. I decided to add (2) of the original oscillators, and replaced the noise generator with a digital based noise generator to make sure all production units were alike. The snare drum still was missing fullness, so I designed an addition oscillator called 'thud'. The poor vca from the original design was removing all the additional harmonics, so that was replaced by a discrete vca, and I added tonal controls to the IMPACT signal, and the THUD signal path.
All of this amounts to about 200+ smt parts. Far exceeding the original design. I don’t think there is another analog snare drum out there with the Asteroid Oomph.

Price $169.00"

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MacBeth Micromac-R X-Series Analog Eurorack Synth Module

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

via this auction
"From MabBeth Studio Systems:

the idea started a while back when the first analogue destop synthesizers first made their appearance.

a while back, i too, was considering how much sound creation facility could be put into a very small area. historically- my designs have been integrated analogue synthesizers at which i have some expertise. more recently, i have worked on modular synthesizer too. my style is to offer a no comprimise, quality sound product employing whatever it takes to make that possible! i have worked on various ideas that employ the integrated aspect with the flexibility of a modular synth. the result now is my latest products, the micromac-r and the micromac-d.(series)

the micromac is a full scale integrated analogue synthesizer in a very compact space. there are two units to be made available. the micromac-r is aimed at the 3u eurorack modular synthesizer users and the micromac-d is aimed at those who wish to take a synthesizer into the live performance domain. the micromac-d is housed in a compact desktop unit coming with an extra two lfos and a sophisticated midi/glide/lfo control section- allowing the unit to be used in many situations where it may be the only analogue instrument in use.

the highest priority was to design a synthesizer that would have not one oscillator, or even two- but three voltage controlled oscillators. key was to have more than the standard sawtooth and square waveforms available- but also to employ triangle waveforms and sine waveforms. it was also also deemed very important that the oscillators would have their own voltage control inputs and separate audio outputs to integrate with other modular synthesizers. another very important audio component was the inclusion of a noise generator. any full-scale synthesizer must have dual envelope generators. the first eg is key to sweeping the filter- but a separate eg is also very important to shape the final output or voltage controlled amplifier section.

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譫妄 - 鬼的影子 by 鬼的影子

ghost's shadow by ghost's shadow

via 鬼的影子:

"This track was a mostly analog hardware jam recorded live with a 2-track Revox PR99 1/4" reel to reel at 7 1/2 ips. Prior to recording I programmed drum tracks on a Roland TR-909 and TR-808, mixed via an old tube amp as I have run out of mixer channels. The kick is being sent to a Sherman Filterbank. The percussion is going through a channel of the Overstayer Saturator. The track also features a Roland SH-5 for the bassline, which is sequenced by a Make Noise Rene and triggered by a Doepfer Darktime (Rene trigger is not strong enough). TR-909 kick and SH-5 bass are on a group going through the other channel of the Overstayer Saturator. The obvious synth part is done with a Casio CZ-5000 of which the synth part was programmed by me from initialised patch. It is going through a ZVEX Lofi-Junky pedal, a Moog Phaser and Dr Scientist Cosmichorus. There is some subtle synth sounds (noise / fx) on L & R stereo field that is done by a PIN Portabella (modern EMS Synthi A clone) and the same sequence from Doepfer Darktime is playing some role in sequencing this from memory. The kind of ehtnic sound near the end of the track is a patch on a Make Noise shared system, using all of the modules in some way. I did a lot of tweaking on the shared system whilst recording. Also used is a Daking FetIII on percussion group and SH-5, and a Joe Meek Twin Q, Bellari RP-583 plus a couple of Valley People 610's on compression and side-chaining duties. Reverb is a spring reverb by IGS called Springtime, and two of its channels is used for a stereo synth bus, while one channel is on the TR-909 kick drum and one channel on the TR-808&909 percussion. I also have two distortion pedals (the red Chandler Limited Little Devil Coloured Boost & the blue Germanium Drive) on a stereo bus for synths, one for the left, one for the right and mix this bus in subtly. Mixed on a 8 Channel Toft Board. Mastered by myself for sound quality as oppossed to loudness by playing back the tape recording through a Thermionic Culture Vulture, followed by a Rockruepel Comp.Two, then a Tubetech HLT2a and finally a Rockruepel Limit.One before being recorded by a Tascam DA-3000.

About me:
I love analog machines and the older technology of the 90's, including tracks made live with hardware before producing with computers was all the rage. I like thinking of the sound generating gear as instruments, which is why I do not use a computer to make music (I don't consider the computer as a very good instrument to jam on, although it is possible as lots of other people demonstrate - such as my friend Skueue who shows how powerful a computer can be for jamming). A lot of my interest in music is closely related to machines, and without machines I may not have had such an interest in pursuing a hobby in music and sound design. My gear is not dissimilar a nice car to car enthusiasts, and I have chosen gear over owning a car, clothes shopping, fancy restaurants etc. I am not interested in fame, money or popularity and really appreciate people that do music, and art in general, for the love of it. I believe in making unique music based on going with what you feel rather than what you've heard others doing and trying to recreate something that's already been done. I use chinese characters as an artist name as most people will not be able to search for you, which ultimately makes the focus of building your brand name and being popular non-existant. This way, I can focus entirely on making music and not the associated things that come with it."

Akai Pro - MPC 2.3 Update Tour - New Built-In Synths

Published on Nov 15, 2018 AkaiProVideo

"By popular demand, we join Pete and Geoff again, on our behind the scenes tour of our largest ever update for MPC 2 Software, MPC Live, and X!"

MPC Lounge - MPC 2.3 TubeSynth


Mpc Lounge - MPC 2.3 Auto Sampler


"This major software and firmware update introduces a number of user requested features and functionality enhancements, notably the addition of three powerful, versatile, and expressive built-in synthesizers by AIR Music Technology (TubeSynth, Bassline and Electric) to the MPC standalone experience. This is a landmark feature addition which elevates the MPC from a sampler to a true musical powerhouse. Also very significant is the addition of Autosampler and Arpeggiator. As a result, this update is highly recommended for all current MPC X, MPC Live and MPC Software 2 owners.

TubeSynth:
The TubeSynth emulates the sound of classic vintage analog poly-synths packaged with five integrated AIR effects. The instrument is created by AIR and is based on the same advanced analog modelling technology found in their highly acclaimed desktop plugin synth Vacuum Pro. The layout has been carefully designed for easy tweak-ability via the MPC Q-Links. The TubeSynth comes packaged with a comprehensive factory library of cutting-edge presets including sumptuous pads, hard hitting plucks, thunderous basses and screaming lead sounds.

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Plogue chipcrusher v2.0 : Retro-Digital Multi-FX

Published on Nov 13, 2018 Plogue Art et Technologie, Inc.

"Now available (free for registered users)
New DAC Encodings: -CVSD -MOZER -HAAR TRANSFORM -LPC-SP0256 -VOCODER
SPC Delay effect from forthcoming 'chipsynth SFC'
UI Redesign from http://www.kikencorp.com
NKS FX Support!

Downloads and more info:
https://www.plogue.com/products/chipc..."

"Nostalgic for vintage sound encodings, 80s computer speakers, or the SPC Delay from a famous 16-bit console? chipcrusher's got all that, plus grit (background noise) and filter-impulse responses.

HOW DOES IT SOUND?
There is a wide spectrum of results achievable with chipcrusher. Here are a few use cases:

Uniquely destroy/mangle a beat, a guitar or any other audio track.
Play single hits and emulate the sound of old samplers.
Add ‘accurate dirt’ to chipsounds’s output.
Emulate a classic 16-bit console's "Delay/verb" to a track
There are four main components in chipcrusher: DAC Encoding, SPC Delay, Background Noise and Cabinet. The audio inputs first go to the DAC Encoding. Then gets processed by the SPC Delay, mixed with the Background Noise to finally get sent to the Cabinet stage. Of course, each component can be bypassed on demand without muting the audio.

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Introducing Blinksonic° FR3TZ° for Native Instruments Reaktor 6

Published on Sep 22, 2018 BLINKSONIC°

www.blinksonic.com/fr3tz

"Blinksonic family is growing with the release of a new breed ensemble for Reaktor 6.

Please welcome to FR3TZ ! String Harmonics meet Euclidean Beats... in a Granular Cloud.

FR3TZ is a self sequenced instrument which offers to play chromatically a full set of guitar harmonics samples, with the power of granular synthesis and a suite of 6 effects.
The 3 track-mono-step sequencer can be programmed in a similar way as an Euclidean rhythm generator.

FR3TZ is an unconventional piece of instrument for creating generative patterns both melodical and rhythmical, the whole being encapsulated inside a modern user interface, inspired by « Material Design », which reinforces the user experience.
This instrument can produce amazing mechanical or non linear melodic patterns but also percussive beats and generative soundscapes. 177 snapshots have been crafted to illustrate the kind of unstable loops and unusual phrases that can be created with it.

FR3TZ also explores the random concept again, in order to provide some humanized effects on your note patterns. The sequencer is coupled with a note selector (a 1 octave virtual keyboard. This selector allows to choose which sound of the map will be aleatory launched on any incoming gate events.

Travel over the waveform with the mouse to obtain glitchy effects.. Combine the 6 effects (Pitchshifter, Filter, Distortion, Delay, Chorus, Reverb) in order to sculpt the shapes of your tones.. Inject some crazy movement on the master mix with Binaural/Doppler effect... This extensive set of features combined between each other, provides a unique recipe for designing sounds.

FR3TZ, even more than a sound bank or a virtual instrument, is a real physical sonic palette.
You will discover how surprising it can be to use string harmonics as an oscillation source, transform them as an atonal percussive element. Thanks to granular synthesis, experiment how to sound big with the infinitely small.

THE CONCEPT

String harmonics have a particular sound rendering and easily provide one of the most mysterious and subtle sonic mental images when they are punctually used in a guitarist performance. Obtained with a slight pressure on the strings with the tip of the finger raised above the frets, the harmonics deliver one of the most fascinating sounds that can be extracted from a guitar.

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Noise VCA CG-Products Unboxing

Published on Aug 20, 2018 Dziam Bass

"Noise VCA from CG-Produts which has just arrived to us.
Noise VCA is a noise generator with variable state VCF and VCA
All in one module. "The white noise generator, followed by a VCF with variable values ​​(switched between bandwidth, high or lowpass characteristics) with adjustable resonance (Q) and VCA, makes this module ideal for most standard noise applications. the filter provides a wide range of rich and colorful noise sounds, the VCF has a second input that allows you to combine external sound with noise or completely replace the VCF noise input with an external source.
What's more, there is a subsonic output that provides a random resume for modulation.
CV VCA mode can be switched between exponential or linear expansions with the muting option when the switch is in the middle position; The "Offset" knob allows you to move the VCA starting point by adding negative or positive voltage to the CV VCA input.
http://www.cg-products.de"