"Neuron" - Free VST based on Hartmann Neuron

Published on Jul 15, 2017 100 Things I Do

"The Hartmann Neuron is one of those synths that intrigues and seems full off possibilities. Somewhere between Sampler, modeller and resynthesis engine built for a short time in the early 2000’s

This is the VST based on Axel Hartmann and Stephan Bernsee’s creation that was also also for sale for a short time before the company folded. It came with a controller (Nuke) which also acted as copy protection. Fortunately Stephan Bernsee has updated the code as much as possible to make the Neuron no longer tied to the controller and it now is available for free via his website and the Neuron facebook group.

The VST is built around the older VST 2.1 SDK which means the code is not compatible with most DAW’s today. You will need an Intel Mac running a VST Host that supports the older system. A full list of supported clients & links to downloads are available at http://www.neuron-synth.com/

Unfortunately the windows code base has been lost and is no longer able to be updated.

The Clip was composed 100% on the VST and no effects besides some compression was used."

Tone2 RayBlaster2 Introduces New Impulse Modelling Synthesis (IMS)

Published on Feb 23, 2017 Tone2 Audiosoftware

"Download the free test version of RayBlaster2 now from www.tone2.com !"

Reminds me of the formant synthesis on the Yamaha FS1R.

Some info from Tone2:

RayBlaster - a radically new form of synthesis!

Impulse Modelling Synthesis (IMS) is far more than a marketing buzzword - it represents a radically new and different approach in sound generation.

Based on the latest research in psychoacoustics, Tone2 RayBlaster unveils a completely new and unique world of sounds that is exclusive to RayBlaster and not possible with other synthesizers.

What is Impulse Modeling Synthesis ?

Offering a new world of high quality sounds and limitless creative potential for all styles of music,
IMS goes well beyond traditional forms of synthesis. Conventional synthesizers employ what is known as subtractive synthesis, in which the oscillator source is a looped waveform that is filtered to create a sound. By contrast, RayBlaster utilizes an entirely new and fresh approach to sound generation and creates its distinctive sound from many short bursts of energy, which combine to form a more complex sound. In fact, this innovative approach to synthesis is very close to how our human inner ear perceives sound. Because of its radically new method of synthesis, RayBlaster offers a wide range of original sounds, sounds that have never been heard before.

What is the difference to other synthesizers?

CLICK FOR MORE »

Kyma 7.1 — Sound Design Inspiration

Kyma 7.1 — Sound Design Inspiration from Symbolic Sound on Vimeo.

"New features in the Kyma 7.1 sound design environment are designed to help you stay in the creative flow by extending automatic Gallery generation to analysis files and Sounds, keeping your sound interactions lively and dynamic with support for new, multidimensional physical controllers, while expanding your sonic universe to include new synthesis and control algorithms that can be combined with the extensive library of algorithms already in Kyma."

Press release:

"Kyma 7.1 Sound Design Software Release

More inspiration, more live interaction, more ways to generate sound

CHAMPAIGN — November 14, 2016 — Symbolic Sound today announced that Kyma 7.1, the latest major release of the world’s most advanced sound design environment, is now available as a free update for sound designers, musicians, and researchers currently using Kyma 7. In Kyma 7.1, you can automatically generate an extensive gallery of inspiring sound design ideas based on your own signal-flow patches, samples, or analysis files. From there, it’s easy to map any parameter to an external physical controller so you can perform live sound-to-picture and design new musical instruments. Quickly create unique, high-quality sounds by combining some of the newly-developed sound synthesis modules exclusive to Kyma 7.1 with the massive library of existing synthesis and processing modules already available in Kyma.

CLICK FOR MORE »

Arturia Announces V Collection 5 Including New NED Synclavier Port, Hammond B3 and More

Published on May 19, 2016 ARTURIA - Update: new video uploaded May 30, 2016

Update: Clarification: the NED Synclavier is not an emulation but a port of the original software:

"this is not an emulation - it is the real thing, the real mccoy. Cameron Jones himself ported the original Synclavier code to run on PC/MAC/VST etc.

- you have the choice of playing each patch either in the original 8-bit depth, or change it to 4-bit (!), 10-bit, 12-bit, 14-bit, 16-bit, 18-bit, 20-bit, 22-bit or 24-bit depth.

- resynthesis: not implemented in the current release but there may be plans to put it in a future release. However some of the original factory patches included (83 total) are resynthesis-based

- the partials/timbre frame functionality was vastly expanded"

Video description:

"The new V Collection 5 is a giant leap forward in our quest to create the greatest legendary keyboards collection ever, including 5 new softwares instruments: Piano V, Synclavier V, B-3 V, Stage-73 V, Farfisa V.

Special thanks to:
Altius Prod
Stéphane Schott (http://www.lyynkstudio.com/)
Studio Question de Son (http://www.questiondeson.com/)
Underground Records (http://www.undergroundrecords.fr/)
Garbage & Greg Kaplan (https://www.garbage.com/)"

Arturia announces the Synclavier V

Published on May 19, 2016 ARTURIA

Update: It's not clear if the Synclavier V supports sampling resynthesis (see above), although it does take the FM and additive synthesis with partials to a new level. For reference, you can find the history of features for the original Synclavier on Wikipedia here.

"Arturia announces the Synclavier V, the first recreation of the legendary digital synthesizer made in collaboration with Cameron Jones, the inventor of the original instrument.

The Synclavier V faithfully recreates the elite digital synthesizer/workstation that started it all, powering some of the biggest hits and film soundtracks of the early ‘80s with its unique rich, edgy sounds.

While the Synclavier V expertly brings this historic instrument to life, we’ve improved it dramatically by taking advantage of today’s processing power. We’ve also infused into it everything we’ve learned over 16 years of developing award-winning software synthesizers. The result is a thoroughly modern, cutting-edge instrument that stands alone among hardware and software synths alike.

Update: some details on the synth engine:

Timbres consist of up to 12 Partial Timbres
Much of the magic of the original Synclavier owed to the ability to build Timbres (presets) by creating and layering four completely different sounds or Partial Timbres to realize massive, complex sounds. With the Synclavier V, we’ve taken the number of Partial Timbres to 12, dramatically expanding the creative possibilities. Since each Partial Timbre is a complete sound, that means that you can stack many different sonic elements into electrifying Timbres resounding with rich complex textures brimming with subtleties.

Partial Timbres are each compete synth engines
Each of the 12 Partial Timbres has two digital oscillators that combine the principles of both additive and frequency modulation (FM) synthesis. Rather than using filters to subtract harmonics from simple oscillators, additive synthesis builds up complex sounds by selectively adding harmonics in this case. The Synclavier V goes way beyond that, combining these oscillators in an FM architecture where the carrier (main) oscillator is modulated by the second harmonic oscillator. The fusion of additive and FM technologies make for a stunningly diverse and unique universe of cinematic pads, epic leads, evolving bass lines and more.

Time Slices animate long passages
Time Slices allow you to specify up to 50 snapshots of the 12 Partial Timbres of additive and FM synthesis goodness, and animate through them over time. For each Time Slice, you can set the volume, pitch, FM modulation amount, and delay. The ability to set parameter crossfades of up to 30 seconds between Time Slices—over a total time of 5 minutes—makes it possible to create long evolving ambient pads and cinematic cues of incredible complexity.

Improvements make a great instrument even greater
We’ve made a lot more improvements beyond boosting the sound engine from four Partial Timbres to 12. Where the original modulation oscillator was only a sine wave, now you can also choose sawtooth, square, or triangle—or graphically build your own waves comprised of 24 phase-controllable harmonics. These enhancements allow you to create outrageous textures never possible before. Each Time Slice can now even have a separate FM modulator waveform. Variable bit depth between 4- and 24-bits, on-board effects, and a MIDI Learn feature are just some of the many examples of the new options available to you in Synclavier V.

With the Synclavier V, digital synthesis meets total creative and performance expression.
Sure, all synths have LFOs, but the vibrato section of the Synclavier V is exhaustive, giving you control over LFO attack, phase, quantizing, bias and more. Things get even more interesting when you apply the LFO to the FM harmonic oscillator that, in turn, modulates the carrier. Let that sink in for a minute!

Want to take your listeners on an animated journey? Add extra energy to your pads and soundscapes with the stereo modulation section. It actually takes the form of separate linkable tremolos for each channel, making for unique spatial animation effects that will have everybody’s heads spinning.

Imagine performing with expressive nuances never possible before. Press harder on the keyboard to change the amount of FM modulation. Ride the expression pedal to affect the frame speed of your Time Slices. Grab the mod wheel to rock the FM modulation ratio. These are just some examples of what’s possible when you use the modulation matrix to easily map any of your favorite MIDI controllers to dozens of sound engine parameters—discretely for each Partial Timbre."

You'll find Arturia's page on the Synclavier V here, and Synclavier Digital's website here.

Update: the official press release for the entire V Collection 5 [Note: The Analog Lab press release below was the first to go up. Apologies for the all the updates, but this is how it comes in, and posts here on MATRIXSYNTH are about capturing that]:

"Arturia advances industry-standard V Collection of virtual classic keyboards

GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of V Collection 5 — the latest incarnation of its impressive industry-standard collection of authentic-sounding virtual instruments, expanded and updated to include five all-new additions alongside new versions of ‘old favourites’ (plus Analog Lab 2) — as of May 19…

With no fewer than 17 virtual instruments that recreate hard-to-source synthesizers and classic keyboards, V Collection 5 represents really remarkable value on many musical levels. At an attractive monetary level, it’s a no-brainer! Bringing something special to the 21st Century performance and production table, five all-new authentic-sounding additions lead this latest V Collection charge.

B-3 V beautifully recreates the distinctive tones of the B-3 tonewheel organ, one of the most iconic and influential instruments of all time. It truly transcends time and place by bringing this still-sought-after sound to the computer-based music-making masses. Meanwhile, Farfisa V virtually puts players in the driving seat of the sound that drove the hits of several decades as a superb software simulation of the famous Farfisa Compact Deluxe organ. Pushing the physical boundaries of an acoustic piano, Piano V meticulously models the sound and behaviour of one of the most important instruments history has yet thrown up — albeit not as one but rather nine virtual instruments rolled into one! An authentic-sounding software simulation of the Seventies-vintage Stage and Sixties-vintage Suitcase 73-key electric pianos, Stage-73 V is the sound of the Sixties, the sound of the Seventies… the sound of today, the sound of tomorrow! Thanks to Arturia’s close collaboration with original Synclavier® software developer Cameron Jones, Synclavier V takes everything the trailblazing Synclavier® could do as the most powerful additive and FM synthesizer ever created and makes it more powerful!

Put it like this: thinking about all those thousands of new sounds and styles in V Collection 5 that are available at the touch of a (virtual) button beggars belief, but Arturia’s aim is true… to create the tools that lend a helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow. The 12 remaining virtual instruments in V Collection 5 — ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V analogue synthesizers; Prophet VS digital synthesizer; Wurli V electric piano; VOX Continental V electronic organ; and Solina V string machine — do just that, too. All are updated with resizable (Retina/4K-compatible) GUIs that truly have to be seen to be believed! But digging deeper, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — naturally features across the board. As does AU, AAX, VST2, and VST3 compatibility, standalone operation, plus MIDI Learn (to easily map all parameters to a MIDI CC).

Continuing Arturia’s quest for absolute authenticity through TAE® (True Analog Emulation), physical modelling, and additional technologies, anyone prepared to dig deep into V Collection 5’s treasure trove of hard-to-source synth and classic keyboard recreations will be musically rewarded in kind. Conversely, Analog Lab 2 is a powerful yet painless way of accessing a broad selection of sounds from across V Collection 5 within a single application. As it supports Arturia’s many MIDI controller devices natively, it adapts to reflect their physical controls when they are connected… connect with V Collection 5, then, and accept Arturia’s helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow!"

The Analog Lab press release:

"Arturia advances Analog Lab composite virtual instrument to include V Collection 5 sound selection

GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Analog Lab 2 — an all-new incarnation of its composite virtual instrument that gathers together a broad selection of sought-after sounds from its V Collection 5 software bundle — as of May 19...

Analog Lab 2 is a powerful yet painless way of accessing a sought-after selection of sounds from all 17 of Arturia’s authentic-sounding virtual instruments as a single application. Included are sounds from eight emulated analogue synthesizers (ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V), two digital synthesizers (Prophet VS and Synclavier V), two electric pianos (Stage-73 V and Wurli V), an acoustic piano (Piano V), and three electronic organs (B-3 V, Farfisa V, and VOX Continental V). Those virtual instruments recreate hard-to-source hardware synthesizers and classic keyboards of the past and conveniently transport them to the present-day desktop.

Analog Lab 2 invites instant exploration as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Its redesigned, resizable (Retina/4K-compatible) GUI (Graphical User Interface) is as easy on the eye as it is to use. Studio View shows the original historic hardware, helpfully bringing up the best presets from each instrument in question. But there’s a whole lot more to Analog Lab 2 than good looks alone.

Accessing those sought-after sounds at the speed of sound is simple, thanks to a new preset browser. Browse presets by TYPES, BANKS, sonic CHARACTERISTICS, and INSTRUMENTS (crossing categories). Create PLAYLISTS. Or simply Search for presets by NAME. Needless to say, with 4,500-plus presets to choose from there’s always a sound to suit every mood, every ambiance, and every music style — sounds that transcend time and fashion.

For those wishing to dig deeper then the dual-instrument MULTI feature with independent MIDI settings panel for each instrument will make their musical day. Drag and drop splits and layers of those presets to take ownership of the sound. Sounds and Multis can be organised in the PLAYLISTS area for instant recall via program change messages, making Analog Lab 2 a best friend in the studio and a pillar of live performance.

Put simply, Analog Lab 2 is so much more than just a sound library. It’s a substantial sound design tool and an amazing live performance instrument integral to immeasurably improving everyday workflow. When connected to one of Arturia’s many MIDI (Musical Digital Instrument Interface) controller devices, Analog Lab 2 will automatically adapt to reflect their physical controls. Generic MIDI controllers of course can also be used with MIDI learn to easily map all parameters to a MIDI CC (Control Change).

Changing the sound of Analog Lab 2 is even easier thanks to two EFFECTS slots with pre/post fader switch per instrument. Included Bitcrusher, Chorus, Delay, Destroy, Dub Delay, Eq4, Flanger, Overdrive, Phaser, Pitchshift, Reverb, Roundpanner, and Vocal Filter effects ensure that Analog Lab 2 always sounds the way you want it to.

Take your sound and workflow to another level with Analog Lab 2, an easily-accessible environment at an easy-to- swallow price point. What’s not to like?"

Arturia B-3 V Tutorial

Published on May 19, 2016

"The B-3 V delivers the most authentic tonewheel organ and rotary speaker experience you’ll find anywhere, plus customizations that open up new creative opportunities."

"Arturia pulls out all the software stops to realistically recreate tonewheel organ combo classic

GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of B-3 V — an authentic-sounding software simulation of the classic B-3 tonewheel organ and Leslie rotary speaker combo — as of May 19...

B-3 V realistically recreates the special sound of the B-3 tonewheel organ. One of the most iconic and influential instruments of all time. One which has graced many of the greatest recordings of all time. Today Arturia brings this to its award-winning Analog Classics family of virtual instruments that recreate hard-to-source synthesizers and classic keyboards.

Keyboard players have made their mark in all forms of popular music with the B-3, back from its inception in the Fifties way past its discontinuation through to today. Procol Harum’s hit ‘A Whiter Shade Of Pale’ proved particularly memorable with a melancholic countermelody displaying an altogether softer side to the B-3. But raucousness remains the order of the day for the blues, jazz, and gospel genres with which it first found favour. After all, it had historically been aimed at churches as a more compact and affordable alternative to conventional pipe organs.

One saying springs to mind: Pulling out all the stops — to hold back nothing — is an allusion to organ stops being pulled out to turn on each set of sounds in a pipe organ. The B-3 effectively ‘emulates’ this with its drawbars. Doing this and a whole lot more is what B-3 V does best, thanks to Arturia pulling out all the software stops to make it happen!

Thirties-developed tonewheel technology originally made that special sound happen. An electronic current is created when rotating a metal tonewheel near an electromagnetic pickup and amplifying that signal. The B-3 has 91 of those tonewheels with each key connected to a fixed set of tonewheel outputs. Drawbar settings control how these are mixed together. The tube preamplifier subsequently shapes the sound a little further — filtering and distortion take hold here — while factoring the position of the expression pedal. This not only acts as a volume control but also affects the frequency response of the preamp which is connected to a speaker.

Speaking of which, B-3 V faithfully simulates the favoured Leslie tone cabinet, containing a power amplifier that drives a rotating horn and a stationary woofer firing into a rotating drum reflector. Spellbinding spatial and frequency-shifting effects above and beyond the sound-shaping effects of commonplace loudspeakers are all perfectly possible!

B-3 V brings this classic combo — complete with the inherent imperfections that made that tonewheel technology sound so unique — to the present-day desktop as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Visually, things couldn’t get clearer, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.

Under the hood, things couldn’t be better with MIDI control of many parameters and insert slots for ANLALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASE effects, as well as ADVANCED SETTINGS for upper and lower manuals and rotary speaker behaviour. B-3 V boasts a built-in step sequencer, allowing anyone to easily set an amount of modulation for each step of the sequence! Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) allows advanced integration with B-3 V.

All of the benefits of the original iconic instrument are available to modern music-makers with B-3V, but without the heavyweight hassles. Where anyone chooses to take it musically is anyone’s guess, but bet your bottom dollar that special sound will be being heard for many more years to come... courtesy of B-3 V!"

Arturia Stage-73 V Tutorial

Published on May 19, 2016

"The Stage-73 gives you actual authentic modeling of both Stage and Suitcase versions of the most popular electric piano on the planet —completed with unparalleled control of virtual mechanics, a complement of effects pedals, and built-in classic amps."

https://www.arturia.com/products/analog-classics/analoglab/overview

Update: And the official press release for the new Farfisa-V:

"Arturia augments Analog Classics collection with faithful Farfisa Compact series software simulation

GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Farfisa V — faithfully modelling the famous Farfisa Compact Deluxe electronic organ with additional features from its Duo Compact series sibling — as of May 19...

Arturia’s award-winning Analog Classics family of virtual instruments recreate hard-to-source synthesizers and classic keyboards. As a worthy addition, Farfisa V virtually puts players of today in the musical driving seat with a still-sought-after sound that drove the hits of several decades: Farfisa’s famous Compact Deluxe electronic organ, one of a series of iconic instruments manufactured in Italy between 1964-1968. A staple of Sixties-produced popular music, they made their musical mark with a wider-ranging sound than that of their main VOX Continental competitor. With more bass waveforms and an expanded percussion and vibrato section sales soared.

Speaking sonically, Farfisa Compacts are almost more top octave synth-like than organ-like, thanks to a rudimentary envelope that allows for attack and decay control that went way beyond the typical organ sound of its day. Little wonder, then, that they proved popular with musicians throughout the Sixties (‘Sam The Sham’ and The Pharaohs, Percy Sledge), Seventies (Jean-Michel Jarre, Kraftwerk), Eighties (B-52s, Blondie), and beyond. But unlike heavyweight Hammond tonewheel organs, transportation to performances was trouble-free. For the fortuitous Farfisa form factor included integrated legs that could be folded up and stored within the body of the instrument itself, surely sealing many purchasing deals!

Today, though, finding and maintaining an original Farfisa has become both difficult and costly. Farfisa V solves such problems by bringing all the benefits without any of the hassles to the present-day desktop! Developed using an original hardware organ for reference, it meticulously models the original circuits and sounds of the famous Farfisa Compact Deluxe. Features from its Duo Compact series sibling are also included alongside an authentic combo amp simulation. Standalone instrument operation on Mac OS X and Windows is a given for performance purposes. Plug-in support for all major formats inside any DAW (Digital Audio Workstation) with easy MIDI-learn functionality provides hands-on control of many of its parameters and automation support for considerable creative control. Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — is there for the taking.

As always, recreating an instrument in software provided an opportunity to add a number of more advanced features fit for the 21st Century. Cue the special USER WAVE position, allowing anyone to create an additive waveform. Why not use the ToneDraw feature to create a new waveshape based on the graphical look of the sliders? Having modelled the original built-in spring reverb, Arturia added other reverb IRs (Impulse Responses). Reorder the additional ANALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASER effects. Easily-accessible individual voice tuning, PARA (paraphonic) and POLY (polyphonic) modes, ATTACK and RELEASE envelopes for upper and lower keyboards, BASS WAVE (waveform selector), TONE control for bass section, TREMOLO SYNC, and REPEAT SYNC round out this all-new Analog Classic. Hearing is believing. So is seeing, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.

Ultimately, then, whether you’re set on recreating a distinctive and powerful organ sound of the past or forging ahead with a new organ sound of the future, Farfisa V does it all. But best of all... legs no longer play a part in sealing this must-have musical deal!

A Synclavier for Max/MSP in the Works

Spotted this one on sequencer.de. Note this appears to be a one man personal project:

"Taymur Streng is working hard on a Synclavier that works on and with Max/MSP. This is still “work in progress” since it is a lot of work for just one person.

Seems like the Synclavier had the following concept on FM, please post if you know it better:

there is one OSC that modulates up to 36 “Harmonics” Oscillators. all of these OSCs have their own frequency and that modulating OSC has a ratio. All of them got an extended 6-parameter-envelope. There are 4 layers available.

there is more synthesis functions like 2 versions of resynthesis (the original has one algorithm). And of course the 36 OSCs are for additive synthesis as well. also there is a simple wavetable concept.

so much for the synth-section (not counting in samples, that are also possible).

I had only a short time on a real Synclavier, so just tell me if there’s something to add or correct. Taymur knows a lot – but we would love input (if helpful).

could take a while,…"

New England Digital (NED) Synclavier II w. Timbre Frame Resynthesis

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

via this auction

via the seller:

"I'm selling a 16-voice Synclavier II system. It is one of the super rare 2% of Synclaviers which has the Timbre Frame Resynthesis capability. Another rarity is the black ORK keyboard. The system has a lot of sound disks, the RealTime software disks, etc. comes with manual, extra floppy drive, etc. The unit worked fine in July 2015 when I recorded the Aloha Rhapsody with it. Now it won't load any OS disk, although it still starts up the good old way. The issue might be a simple $100 floppy snag of some sort for all I know. I only learned enough Synclavier know-how to understand, only seasoned experts with lots of spare parts should mess with a Synclavier's hardware.

So this system needs a new owner, someone who lives within easy driving distance of a seasoned tech like Synhouse in LA who did the last full overhaul of this unit in 2009, bringing it up to factory spec. Keeping a Synclavier system in the middle of Pacific as I tried, where diagnosing an issue will cost 10 times the repair in air shipping costs is not really financially sensible.

So, even though I spent close to $10K on this system, I'll put it up for sale at $2490, as is. From its arrival in 2009, it still worked fine 6 months ago, so whatever ails it now seems not drastic, but I am not making any promises. At such a bargain basement price, it is being sold as is. When it runs, it does awesome things.

For shipping,I'll put the dimensions below so you can check FedEx/UPS shipping quotes to your exotic destinations for yourself. Ebay's form only let me enter dimension / weight for one single box, as if the whole system were packed into one giant uber-heavy box. In fact, there will be 3 separate boxes.
The rack unit, boxed is: 72 lbs, 24 x 24 x 16 inch
The keyboard, boxed is 25 lbs, 42 x 16 x 12 inch
Drives, cables, manuals, etc. in one big box is 40 lbs, 16 x 16 x 24 inch
My zip code (if ebay doesn't say it) is 96815"

VINTAGE 1973 MINIMOOG FILTER / VCA / MIXER IN EURORACK FORMAT

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

via this auction
"This module was custom built for me by Tony Allgood of Oakley modular design and sounds stunning ! It is an original vintage minimoog filter board from my early minimoog and not a copy ! I have a full set of schematics from Tony and I also have recordings of this module on my soundcloud with a macbeth oscillator driving it.Please get in contact if you would like to hear recordings. this will only work with eurorack modulars but could be re panelled to work with dot com format as the included power supply also has +/-15v

The panel was made by the very excellent resynthesis using original moog modular metalwork. the module is quite deep at 17cm so will not fit in a shallow case unless the board is turned around which could be done. the patchbay module gives all the various ins and outs andd some additional extra functions including pedal inputs. Tony also built me a custom power supply which is included and runs both +12/-12v and +15/_15v as well as the miming filter. there is plenty of power to run some more modules as well so could all be used to power a small system with additional modules. I also have two custom modified Ernie Ball pedals not included which control cv to the filter."

CLICK FOR MORE »

Camel Audio Acquired by Apple?

via MacRumors

"Apple appears to have acquired popular music plug-in and effect maker Camel Audio, based on information found on corporate registry site Companies House [PDF]. Camel Audio's address has been updated to 100 New Bridge Street, which is Apple's London address, and the company's sole director is now listed as Apple lawyer Heather Joy Morrison, suggesting the company is in the possession of Apple.

Camel Audio is known for its range of plug-ins, synthesizers, effects, and sound libraries, which were available via the company's Alchemy software. Previously available for $249, Alchemy included more than 1000 sounds, 5.5GB worth of samples, a powerful additive resynthesis engine, spectral resynthesis, a virtual analog synthesizer, and more. Its powerful engine was highly useful to those who liked to create and manipulate audio for unique sounds."

Interesting. Curious if it will become part of Garage Band. Deeper instruments coming to the platform?

MFOS 16-Step Analogue Sequencer

Published on Jul 12, 2013 snarfusmaximus

"A brief demonstration of the Music From Outer Space 16-step analogue sequencer on my Moog/DotCom format modular synthesiser. This was recorded in April 2013 and I have made a couple of minor modifications since.

The front panel was bought from Re:Synthesis and the parts from Elby Designs. Want to build one for yourself? Links below:

Music From Outer Space - http://www.musicfromouterspace.com
Re:Synthesis - http://www.bigbluewave.co.uk/resynthesis
Elby Designs - http://www.elby-designs.com"

via Victor Sumin on The MATRIXSYNTH Lounge

Waldorf WAVE 32 Voice SN 9511000133

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

via MATRIXSYNTH CLASSIFIEDS

"As a long time Waldorf enthusiast and Waldorf WAVE freak, see my http://unofficial.waldorf-wave.de pages, I made the decision to sell my WAVE +16 (= 32 voice, 61 keys). I just did not played it that often anymore. I still love it, but I can't justice its stay in my flat anymore.

But I still own many, many Waldorf synths. And I made my final thought about selling it after the release of the iPad app NAVE which gives me many WAVE functions and a sound that is fantastic. And for turning knobs there is my Waldorf Q32 and XTk30 at my place. So this is not a "good bye" from Waldorf wavetable synths.

It is one of the even more rarer 32 voice models.
61 keys, and standard blue/gray coloured.
It got the special "speed-up" modification by Waldorf for a bit higher internal clocked CPU.

I think there is no need to tell you about the beauty (optical and soundwise) of this top rank synth.

It is running on the latest available OS 1.902 (post Waldorf version). This OS also allows to do resynthesis based on .WAV files of up to 512 kB size (limit by the WAVEs RAM). Of cause I provide the last original Waldorf WAVE system too. And the factory sound.

It got a USB stick socket where the disk drive used to be. This enables data exchange with every USB equipped PC/Mac, as there is no special formation except for up to 100 different folder names. Ever folder represents one virtual disk.

It comes with a special flightcase and a PDF manual in english and german.

The fan in the back was exchanged with a higher quality one with way less acoustic noise.

I am the original owner of this 1995 built WAVE.

Known problems:
- some parts of the Nextel colour are of the edges. Mainly on the back rim of the panel. This is typical for many WAVEs, even when they never left a studio. A bit of repair paint is included (but not yet used). Its 8 of 10 optical. But the unique and great design is still unmatched by all other synths. You will still feel a bit like having to bow down before switching it off.
- The LCD backlight is not working anymore. Several people on this list repaired this themself. But I am not a skilled synth tech at all.
- One row of pixels in the LCD is most of the times dead. Never searched for the real reason, so it might be just a minor problem like a bent ribbon cable or a cold soldering point.
- One voice got a slightly higher resonance then the others. A spare Curtis filter chip is included. But you may just skip the voice in the voice assignment via the service page for a perfect 31 voice WAVE or just play it anyway, as this is not that noticeable on most sounds anyway. But I better tell all I know here. Even a skilled musician preferred to play a concert with this WAVE and this a bit off voice in favour of using a different WAVE (with 16 voices only) that was available at the same time for this event.

Absolutely ONLY LOCAL PICK UP here at my place near Stuttgart. Of cause you are invited to test and play the instrument before you made your final decision about the sale. I don't have the time to deal with custom form and shipping companies, as the WAVE is just to big and heavy to be shipped from a post office. I know that this reduces the possible numbers of potential buyers, but please accept this. But if you should be willing o arrange everything including a pick up by some third person or a company at my place or my office, it is OK.

I know these 32 voice WAVEs are VERY rare. Not just the typical "rare" as used on eBay auctions for synths sold 100 times more. And there had been only one or two WAVEs with 32 voices on eBay in the last 10 years if I remember it right.

keep on turning these knobs

Till "Qwave" Kopper"

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Tone2 Nemesis Feature Overview

Published on Nov 15, 2013 Tone2 Audiosoftware·33 videos

"Available the 1st of December from Tone2.com, Nemesis takes FM synthesis to its next evolutionary step: NeoFM synthesis.

NeoFM is an exclusive new and improved approach to FM synthesis that is extremely powerful and intuitive. Nemesis includes traditional FM synthesis as well as a completely new and improved approach to FM called NeoFM synthesis. It is now easier than ever to get very good sounding results.
The sound quality of Nemesis surpasses conventional synths, making it easy to locate the sonic sweet spot.
Nemesis features an easy-to-use interface, which ensures that you will experience FM synthesis at its best and most entertaining.

* Unrivaled sound quality.
* Offers a new and user-friendly approach to FM synthesis. Nemesis makes FM synthesis accessible to everyone, regardless of skill level or experience.
* Easy to tweak presets or program your own sounds with.
* NeoFM covers all important aspects of traditional FM synthesis, but is in no way limited only to bell-style sounds. It offers a very large sonic range, one that is much more varied than other FM synths.
* Due to its innovative technical approach, neoFM does not suffer from a metallic sound or from the weaknesses of conventional FM.
* No fewer than 22 combinable synthesis types. Nemesis expands FM with further synthesis methods such as Additive, Formant, Wavetables, Waveshaping, Phase distortion, Sync and Reso synthesis.
* Contains 1000 inspiring patches from professional designers.
* Unique signature sound.
* Nemesis features a large number of exclusive sounds that are not possible with other synthesizers.
* Perfect for modern, as well as all other music styles.
* Wave import, resynthesis and the additive spectral editor offer unlimited sonic possibilities.
* True 4x stereo unison.
* An extensive number of high-end quality effects, with flexible and innovative routing options.
* Trancegate with an extensive selection of setup options.
* High-End sound quality with low demands on your CPU.
* Powerful, easy-to-use arpeggiator."

Radon Atomic Resynthesis

Published on Jun 14, 2013 JeffreyPlaide·94 videos

"Radon Atomic Resynthesis is an ethereal, wildly-surreal experimental electronic music composition. The composition is inspired by almost random electronic tonalities and frequency modulations created on the Ionic Performer VST synthesizer. The beauty about the Ionic Performer (like the EMS Synthi synthesizers of which the Ionic Performer is a re-worked variation with integrated keyboard and a push-button matrix instead of patch pins) is that the envelope (trapezoid function) can be automatically re-triggered. This creates a repeating simple sequence of a single music event. By altering the oscillator controls, modulation sources and ring-modulation, many interesting and wild pulses can be produced in real-time and recorded. It was the raw stream of re-triggered pulsations and modulations that became the basis for the whole work. Inspired by early science-fiction electronic music, the Ionic Performer VST could deliver the sonic combinations and unexpected tonal collisions that cross-modulated audio oscillators can create if connected in this way. The first mix consisted of a bass track created on the Ionic Performer VST - low pulses with shrieks of higher modulations. Next came the mid-tones. Again created on the Ionic Performer, but with higher pulsations and strange FM collisions. It was then necessary to create an ambient texture "wash", so the bass line was slowed by a factor of 300% and processed with heavy reverb - sounding very science fiction and somewhat alien in context. An organ-like chord was created on the ORGANized trio VST with the Valhalla Frequency Echo for added effect. This 5-note chord gave added strange texture. The low-frequency background vibration is the same chord slowed by a factor of 500% and processed with flanging. The chorus of voices was created using the Tapeotronic (Mellotron emulation) keyboard playing a 3-note chord with added delay. Another Tapeotronic chord was used for the higher "alien voices" that fade in and out. This whole first mix was slowed by a factor of 200% with added reverb, and added to the first mix session. This gave the feeling of a kind of infinity feedback sound. All of these elements became part of the main master first mix. This main mix was then further added to by a ring-modulated and convoluted version of itself. In the middle portion of the composition a ring-modulated, convoluted, filtered, flanged, reverberated and 300% slow version came into being with added low-frequency background vibrations and pulsating bass sinewave tones created by signal generation. The middle portion is bracketed by falling nodulated inverted sinewaves. The last element is a high sinewave tone - rather like a singing tone. This final mix created the strange combination of forces that married all the textural elements into a full and atmospheric collage of electronic tone structures and modulations. The visuals were created by pure video synthesis techniques - electronic texture weaves, linear pulsations and sinusoidal moire patterns. Superimposed are strange solarised and edge-processed derivations of elliptical formations. The atom is represented by rotating moiré ellipses, with a cloud of particles representing the nucleus. Many kinds of solarised rotating forms are included to graphically illustrate the process of atomic synthesis. The end represents just a cloud of electrons being swept away by quantum forces in the matrix of space-time."

Tone2 Soundsets

Published on Dec 19, 2012 Tone2Audiosoftware·31 videos

Playlist (descriptions for the first 5 below - click through a video for the description on YouTube):

1. The Futuron expansion for RayBlaster
2. Analog for Saurus
3. Vocalic for ElectraX
4. Ambisphere for Rayblaster
5. Wavetables expansion for ElectraX
6. Top of the Clubs for Saurus
7. Dark Toxic for Saurus
8. Chiptunes for ElectraX
9. Dance & Trance for ElectraX
10. Morphing for ElectraX
11. Voltage! for ElectraX
12. Drums! for ElectraX
13. Vintage for ElectraX
14. Dance & Trance expansion for Gladiator2 (pt.2)
15. Dance & Trance expansion for Gladiator2 (pt.1)
16. The Electronic expansion for Gladiator2
17. State of Art expansion for Gladiator2
18. Progression for Gladiator2
19. Workstation for Gladiator2 (pt.1)
20. Workstation for Gladiator2 (pt.2)
21. Workstation for Gladiator2 (pt.3)
22. Abstracts for Firebird+ (pt.1)
23. Abstracts for Firebird+ (pt.2)
24. Electricity for Firebird+
25. Spectrals for Firebird+
26. Uniquity for Firebird+

1. The Futuron expansion for Rayblaster - http://tone2.com/html/futuron.html

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Parallella: A Supercomputer For Everyone on Kickstarter

http://www.kickstarter.com/projects/adapteva/parallella-a-supercomputer-for-everyone
If the Kickstarter video causes your mouse to disappear, click off screen and it should come back.

Note the video and project is not directly focused on synthesis, however the application (like the iPad as a synthesis platform) should be obvious. The following is a write-up on that potential in via reader cheater:

"I'm in no way affiliated with those guys, but this thing opens so many possibilities for the synthesis aficionado that I have to let you know what's in store. Why is this cool? Simply put, it's a Kickstarter for an open platform which could enable synthesis methods that are currently not possible, unless you lug around an expensive workstation, and put them in a desktop-module style case. For those intents and purposes it's a self-contained system with a 45 GHz CPU, the size of a DVD box.

Below are some examples of synthesis methods that could work out thanks to the radically different way this thing works. Each of those is slow on current PCs and because of the parallel nature of the chip in question are tons faster to execute on it:

1. granular synthesis. Ever try to run one of those in VST? They sound better the more parts you can have. Current PCs can only run so many parts, and you need thousands per voice. This thing could easily run a polyphonic synthesizer.

Here are some demos of what you can do with a granular synthesizer:
https://www.youtube.com/watch?v=jgcVr6lTzDs
http://www2.camelaudio.com/music/AlchemyAnalysisDemo02.mp3
http://www2.camelaudio.com/music/Alchemy-PresetDemo-JohnLehmkuhl.mp3
https://www.youtube.com/watch?v=hTODhn-UROc

See how Alchemy only allows 10 grains per voice? You could have an order of magnitude more, with each grain bank (Alchemy has 10) modulated separately.

More:

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Failed SympleSEQ Demo

YouTube Published on Sep 10, 2012 by JohnLRice

"I screwed up the video portion but decided to use what I had anyways. This is the same synth patch as my previous video "Typical JLR Patch Demo" except this time instead of using a keyboard and MIDI to CV converter I'm using the SympleSEQ 8 step sequencer designed by http://shop.hexinverter.net/ and built by http://www.bigbluewave.co.uk/resynthesis/index.htm to control pitch and gate. Near the end I add in the Moon Modular 569 sequencer to control pitch and gate instead, while the SympleSEQ controls a STG Sea Devils VCF."

Re:Synthesis Custom hexinverter sympleSEQ Panel

via Moritz Scharf on Facebook

"The faceplate finally arrived!
As I promised – here's a picture of the beauty!
Ben did such a wonderful job!
http://www.bigbluewave.co.uk/resynthesis/index.htm"

Ensoniq Fizmo 48-voice Transwave Synthesizer SN FIZMO-10112

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

"This one also has the regulator fix that plagued this synth. Comes with AC Adaptor and manual in pdf. on cd. The extras are the hundreds of sounds I saved from over the years is included on cd and a copy of sounddiver 3.5 (Windows) which has a editor for the Fizmo and hundreds of other synths. The specs below but you really have to hear it to enjoy it. If you have any questions feel free to contact me. Check out my other auctions and good luck to the winner.

Specifications
Polyphony - 48 voices
Oscillators - 4 MB of 16-bit internal wave ROM, featuring Transwaves (created through digital synthesis and resynthesis technologies); 2 osc for each of 4 presets - total of 8 simultaneous - 58 waveforms
LFO - 8 LFO's (7 waveform choices, can sync to Arpeggiator or external MIDI clock)
Filter - Resonant LP & BP 4 pole filters. Non-Resonant 2LP+2HP, 3LP+1HP, 2LP+2LP, 3LP+1HP filters.
Effects - 41 digital VLSI 24-bit effects (8 Global Reverbs, Chorus, Flanger, DDL, Distortion, Tunable Speaker, Chatter Box, Vocal Morph, Auto-Wah, Vocoder); Processes incoming audio
Keyboard - 61 semi-weighted keys (velocity and channel pressure sensitive, 4 programmable key ranges, 4 possible zones)
Memory - 128 ROM sounds, Up to 128 RAM, 64 Presets
Control - MIDI (up to 4 polyphonic channels)
Date Produced - 1998"

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MFOS 16 Step Sequencer & Raymond Scott's Circle Machine

YouTube Published on Jul 23, 2012 by NoizeToy2

"An analogue sequencer laid out in a rotary style similar to Raymond Scott's Circle Machine.

The PCB is available from www.musicfromouterspace.com and I ordered the panel from www.resynthesis.co.uk"

via Jeff E. Winner on The MATRIXSYNTH Lounge

Jeff E. Winner is the co-producer of the Raymond Scott documentary Deconstructing Dad. The Circle Machine is considered the first sequencer.

Also see:
Raymond Scott Archives Remembers Bob Moog
Bob Moog on Raymond Scott and the History of the Sequencer

Update via Dick in the comments: "Ray [Wilson] has just released the pcb's for the updated version of this - the Variclock 16 step sequencer adds an step duration knob (1-16) for each individual step. check the mfos site for the video "

Transwave - Term (now Audio Term): New functions

YouTube Published on Apr 3, 2012 by blacktomcat666

"A short demonstration of the 'synthesize loop' and convolution module. Sorry for the low visual quality, this video is for sound demonstration puposes only. The speed of the resynthesis is very slow, because it's an old Athlon 1800 and the video capturing software uses up to 80% of the ressources."

via Piet Wagner on The MATRIXSYNTH Lounge
"Here's a small demonstration video of some new features, which will be available the next weeks: First a sample is looped and 'stereofied' and then multiplicated with a drum loop. Computing the sounds is very slow because of the ressource consumption of the video capturing software."

Previous videos:

Transwave - Term controlled by light pen

Uploaded by blacktomcat666 on Feb 1, 2011

"A short demonstration of controlling Transwave - Term with the light pen. The video was recorded in an early stage of development, resynthesis quality and light pen handling have improved by now. See also this video:"

TRANSWAVE - TERM small demo track

Uploaded by blacktomcat666 on Feb 15, 2010

"Additive wavetable generator for samplers with loop position modulation.

Bass: Access Virus B
Drums: Technics WSA1
Transwaves: Wusikstation VSTi"

Update some screenshots and details via blacktomcat666 on KVR

"I programmed a small windows based tool called "Komplex - Term" which can read and write WT files for the Terratec Komplexer. Further you can render it's wavetables to wave format, so you can use it in your Wusikstation, VAZ Modular, Reaktor... . It also offers wave file resynthesis and some editing functions like reordering slices, drawing spectra, a free formant filter (similar to the kawai k5000)and so on. I wrote a short manual, but please excuse my poor english. Very Happy

Download: Komplex-Ter m.zip"

sympleSEQ Now Available

You might remember sympleSEQ from this previous post. Hex Inverter wrote in to let us know their IndieGoGo funding blew past their goal and they are now in production. They also made some significant updates to the feature set.

"What am I talking about? Well, the original concept was VERY minimalistic. There was nothing other than tempo, gate out and CV output. Through the discussion had with members on the forums where this was being developed, people requested pause/reset functionality be included as well. Using a very small amount of components and some trickery, I was able to achieve this -- so now sympleSEQ also boasts the option of adding reset/pause functionality!

Possibly best of all is that I had a panel artist come to me who wants to make panels for everyone!

I have a limited number of kits left in stock, but plenty of bare circuit boards for people. There is a well documented assembly manual for people as well.

sympleSEQ can be found/purchased at: http://shop.hexinverter.net

Panels will be available soon from Ben at: http://www.resynthesis.co.uk

Here is the build manual"


Below is a video of sympleSEQ with a Benjolin.



Benjolin Meets sympleSEQ -- a sequenced analog synthesis jam
YouTube Uploaded by hexinverterDOTnet on Dec 5, 2011

"Rob Hordyk's amazing Benjolin meets hexinverter.net's sympleSEQ for a little jam before they get enclosed in their final enclosure.

Here I am driving the two oscillators and the onboard filter at different times with sympleSEQ, as well as just noodling away on the Benjolin.

sympleSEQ is an easy to make 8-step analog step-sequencer. It utilizes board-mount components and a unique dual PCB design, making it simple to create an analog sequencer for driving your voltage controlled synthesizer gear or circuit bent toys with. It is particularly suited to lo-fi artists due to the low feature set (and thus complexity). It is also very economical to build compared to any other sequencer on the market.

sympleSEQ can be driven by a wide range of voltages (9-15V DC) and thus is highly portable.

Kits, PCBs and more information about sympleSEQ can be found at:

http://shop.hexinverter.net"