Sound demo of the VITA SYNTHS Modular Algorithmic Bass Drum Eurorack Synthesizer ADS-BD with no effects, accompanied by the VITA SYNTHS Modular Algorithmic Closed & Open Hi-Hat Eurorack Synthesizer ADS-HH and Behringer PRO-800.
A demonstration of the DR-SEQ-64 module by VITA SYNTHS, showing how to:
delete an existing pattern,
create a new pattern,
save and later load a pattern.
The video also shows that an unsaved pattern is not lost if the module is powered off unexpectedly, and it will be restored when the module is turned on again. This feature helps prevent loss of unsaved patterns.
"David Haberfeld — better known as Honeysmack — is a live techno improviser. That means the tracks in his sets are built and arranged in real time in front of an audience rather than pre-sequenced in a DAW. In this studio tour he walks through the hardware he performs with and puts a track together from scratch on the spot.
The rig spans vintage and modern boxes: the Roland TB-303 (the synth-with-a-sequencer that anchors a lot of his sound), Roland's TR-808 and TR-909 drum machines, a Mackie 16-channel mixer, a DJ mixer he's come to use as a performance instrument, Behringer's RD-8 MKII and RD-9 (clones of the 808 and 909, both of which he beta tested), the Behringer Syncussion SY1, a Pro-1 synth and a modular system. Along the way he gets into why the 808 and 909 ended up defining whole genres — and argues it had less to do with how they sounded and more to do with what was simply available at the time.
Honeysmack has a new Live Techno Masterclass coming up on Sunday 26 July at Collingwood Yards, Melbourne:
CHAPTERS
0:00 live techno improvisation
0:36 studio reveal
0:59 Roland TB-303
1:42 building a track from scratch
3:47 808/909
5:43 Performance
7:08 Synths, modular & sequencers
8:45 jam
GEAR FEATURED
Roland TB-303 · Roland TR-808 · Roland TR-909 · Behringer RD-8 MKII · Behringer RD-9 · Behringer Syncussion SY1 · Pro-1 · Mackie 16-channel mixer · DJ mixer · modular synthesizer
Noisegate is an Australian based collective of working musicians, producers, DJs, and live audio professionals dedicated to bringing you the latest music gear news, tutorials, interviews and more. We cover a range of categories including guitars, bass, synths, keyboards, pro-audio, DJ gear, live audio, industry news and all the ways we make and interact with music and sound."
0:00 Quick Overview 1:43 Afterlife Lead 2:28 Dark Wave Bass 3:17 IDM Triangled Lead 4:18 Noisy Arp Cross Mod 5:51 Electro Pulse (short envelopes) 6:51 EBM Bass 7:46 Console Pulse Lead 8:05 Paraphonic Magic 9:34 Killah Bass 9:48 Indie-Cade 10:39 7th Pad 11:36 Psy Alert (FX) 12:06 Kick Bass 12:19 Sonar Noise 13:12 Bubbles 14:20 Paraphonic Outro
____
"Behringer JT-2: My 2 Cents With all the available 'heavily-inspired-but-not-clones' from Behringer, I’m starting to wonder when the company will introduce original synths again. Anyhow... This time, I’m taking a closer look at the Behringer JT-2, a paraphonic synth inspired by Roland’s Jupiter-8. It comes in similar colours but certainly doesn’t carry over the visual aesthetics of the '80s flagship synth. That’s not necessarily a bad thing, as Behringer can keep costs down by using one chassis for a plethora of different models. At a budget-friendly price point, you get a lot of synth in a unit that doesn’t take up too much valuable studio real estate, either. But first things first...
Auction to be held at Musician's Hall of Fame & Museum, Nashville, on November 19
An incredible collection of more than 450 artifacts from the life and career of Florian Schneider, co-founder of the pioneer electronic band Kraftwerk."
Pics and videos featuring some of the gear below, and his Lederhosen for good measure (thanks greg!).
Update: the post has been fully updated with all the synth related gear. This may just well be the longest post to be featured on the site. I wanted to capture all the pics for all of the details including notes, scuffs, and of course serial numbers. It's an interesting look into what he used, the condition he keped his gear, in some cases, how he actually used his gear. Note the phonetics on the keys of the Casio CZ-101 and DX-100. Note the Midi Switch Box with a built-in speaker? What's that about? Note the camouflage key strap on the Korg RK-100 Remote Keyboard. Did he pick it out himself or did the keytar just come with it? Note the repeat midi controllers and the MIDI saxaphones. Wind was his primary instrument. You'll find a ton of the acoustic gear he used in the other listings. This is a fascinating insight into both what and how he used his gear.
Side note: there is no affiliate compensation for this post. The note at the top automatically shows for all posts with the Auction label.
Rack Mount Sennheiser VSM-201 Vocoder
Starting Bid
$5,000
Estimate
$20,000 - $40,000 USD
A late 1970s Sennheiser VSM 201 Vocoder with no serial number from the personal studio and collection of Florian Schneider of Kraftwerk (see images). While it’s said that only a few dozen of these Vocoders were produced, a few examples made it into the hands of forward-thinking musical artists including Herbie Hancock, Daft Punk, and of course, Kraftwerk, who used a VSM-201 like this on their albums Man Machine (1978) and Computerworld (1981). The VSM-201 has an intelligible sound that has not yet been bested by modern gear. Includes power cable. This VSM-201 has been removed from its wooden enclosure (which bears the serial number plate) and modified with a metal rack mount casing, presumably for live use. Requires 240v, IEC power cable not included.
Dimensions: 19 x 9 x 9 inches
Category: Kraftwerk, Equipment
Provenance: PROVENANCE From the Estate of Florian Schneider
"A two part piece. Both are pitch voltage quantization controlled from the ACL Sinfonion. I switch presets through the first part from preset 1 - 4 and in the second half I leave it on preset 5.
The Sinfonion chord section is sending pitch quantization to the Doepfer A-111-4 quad VCO and A-105-4 quad SSI filter. The mixer is the Corsynth T-Mixer. The Empress reverb in Ambient Swell green mode is used.
The opening voice is Channel 2 of the Sinfonion and is sent to the Dotcom Q206 with the Dove D502 in BP mode P1, then an SSL Serge Resonant EQ and finally the Strymon Blue Sky.
A counter voice is the Channel 3 quantizer to a pair of Synthetic Sound Labs TZ-VC Oscillators to the Oakley VC-SVF in BP mode. The audio is routed through a Moon 517S high pass filter to roll of the lower mid tones. I used an instance of Relab Development's LX480 classic Lexicon reverb. This same voice is used for the main melodic part in the second section.
The Channel 1 of the Sinfonion is to the bass voice which is the Dotcom Q169 Oscillator++ and Grove Audio G294A ladder filter.
The Sinfonion arpeggiator part is to the STG oscillator duet and the Dove D501 2069 filter. The signal is sent through the Modcan 73B dual delay. In the first section this voice is solo, but in the second section I added in a duplicated run of the MosLab 901/904A through a different envelope which is timed a bit more sparse and sent through the second section of the 73B delay.
Most of my time was spent mixing levels and changing the timing of the SSL Hagiwo Geo-Gruvn euclidean sequencer. The clock timing was controlled by row 3 of the Moon 563 trigger seq. I used two different memory presets on the Geo-Gruvn for each section. These timings were used for the gate controls to the SSL Octal VCA, CV-8 Breakout and AD/AR Expander. The eight channel vca handled four of the voices. Very cool array of modules.
I also sent and effort to control the timing of the STG Voltage Mini Store's timing with row 2 of the 563. The right VMS is used for the Root control to the Sinfonion. The faster moving left VMS is to the arpeggiator of the Sinfonion.
The Sinfonion is using various cv's from the Q960 step sequencers to affect the chord spread and note selections. Also an LFO is used to affect the pre-transpose of the chord section.
A convoluted patch using the Lower West Side Studios CGS88 triple switch, the Dove D900 sequencer and three voltage sources to send control voltage to the transpose on the Sinfonion. I used the Moon 564 trigger stage 1 to turn this on and off by hand when needed.
The final clangorous opening and ending patch voice was the Mutable Instruments Rings through the Behringer Bode Frequency Shifter clone and the Encore Frequency Shifter, and on through the Tip Top Z-DSP signal processor running Halls of Valhalla reverb (Niflheim preset). It was also the midway noise rush background sound where the sections changed. These were added later in Cubase and triggered by hand.
The sections were performed at once live to Cubase and video edited in Final Cut Pro."
Today I am exploring various synth and percussion elements through the JHS Colour Box v2 for that lovely vintage console saturation. Or downright savage noise when pushed harder, if that's your bag. A/B comparison effect on/bypass except the last section, got lost in the moment on that one. Tried my best to mind the levels, but now and then the volume is a bit inconsistent. Some normalization applied to remedy some of that, you understand. The EQ applied some nice touches, really helps pick out some sweet spots here and there. Recorded direct on iPhone via EPM6 mixer via Go:Mixer:Pro-X.
0:00 Novation Bass Station II
0:44 Bass Station II
1:22 Bass Station II
2:01 Oberheim DX
3:10 Behringer 2600
3:45 Eurorack 208HP Percussion System
5:15 Pittsburgh Modular Taiga
6:06 Roland JX-3P via Big Sky on Hall reverb"
"Please use headphones for panning, delay, phasing and other details. This is recorded live and there is no multi tracking!
Bass sequencing : Korg X-911 + Doepfer Dark Time
Jupiter 8 sound : Roland JV 1010 + Roland A500S + Boss FS-6
FX-Intro : Moog Minimoog + Roland SDE1000
Rich Choir sound : Roland JV 1010 + Irig Keys 2 Pro + Boss FS-6
Other FX sound : Roland JV 1010 + Emu 25
extra chords : Korg Polysix
Solo : Yamaha CS 15D + Flash Back II
Extra noise : Korg Monotribe + Flash Back II
extra bass sequence : Roland SH2 + Korg SQ1
extra bass sequence : Korg/ARP Odyssey + Korg SQ1
percussion : Behringer SY-1 + Boss RV1000
Trouby Modular master clock
Modular: Pittsburgh and Doepfer
Mixers Roland M-160 and M-12E
Space Delay Roland RE-3
Reverb/delay:Alesis Microverb III
Effect processor: Yamaha EMP 100
recorder: Tascam DR-60D"
"We’re thrilled to announce the release of Firmware Version 2.0.0, designed to elevate your creativity and bring even more possibilities to your PRO VS Mini.
Dive into a world of enhanced functionality and new sonic horizons with these exciting updates:
1. Increased Polyphony
2. Arpeggiator Enhancements
3. Portamento Feature
4. Enhanced FX Engine
5. New Presets From Ultimate Patch Factory
6. Improved DCA Model"
Unlock new creative potential with SequenceX V1 – a unique set of sequencer sounds & presets crafted exclusively for the Behringer Pro VS Mini synthesizer.
Designed for electronic music producers, DJs, and composers, this sound pack delivers inspiring and expressive sequences ideal for building rhythmic textures and harmonic layers in any genre, from Techno/Trance and House to Ambient and Experimental. Perfect for musicians and sound designers looking to elevate their music with rich, dynamic sequences.
In this soundbank you will get a 16 different sequences inside, which contains Leads, Bass, Synth and Pad sequences.
Soundpack includes:
16 Behringer Pro VS Sequences
32 Presets & Patches"
"Thank you for watching! Here are the simple patch notes, a list of the gear, and more information.
https://wac-lounge.bandcamp.com
Instagram / wac_lounge
Percussive voice = Plaits processed by Mimeophon(clocked by Steppy) sequenced by Chord Machine program controlled & triggered by Steppy enveloped by System100-140ENV modulation from System100-140ENV & LFO(attenuated by MATHS) slew limiter A-184-1 Random lead voice = Mob of Emus CH1 processed by A-120VCF1 & Beads sequenced by Mob of Emus CH3 slew limiter MATHS modulation from Mob of Emus CH6 Synth lead voice = Mob of Emus CH1 processed by A-120VCF1 & Echoz sequenced by Mob of Emus CH3 slew limiter MATHS modulation from Mob of Emus CH6 Brass-like lead voice = Ensemble Oscillator with modulation from Mob of Emus CH5 & MATHS sequenced by Flame C-3mk2 Reverse piano voice = Disting triggered by Steppy Piano loop voice = Volca sample Master clock = Volca sample (divided by Steppy)
"»[ https://www.solidtrax.nl/shop/analog-... ]«
100 new and magical #presets for the @behringer #pro800. Suitable for ambient, cinematic, synthwave and various sorts of electronic dance music genres. This comprehensive synthesizer is a true analog synthesizer at a very affordable price with a lot more tricks up its sleeve than you can imagine.
All sounds are recorded dry, towards the end of each demo you'll notice the addition of some applied effects. What you're hearing is the raw output from this Pro-800; no EQ or dynamic tools have been applied."
00:00 Intro
00:29 1. The GliGli / Behringer additions to the Operating System
02:25 2. The extra LFO shapes, targets and fast and slow modes
08:56 3a. Random Patch
10:54 3b. Editors appearing randomly... :-)
12:43 4. Chord mode, Unison and ....
13:42 5. The Sequencer
"Analog Classics is soundset for the analog synthesizers Behringer Pro-1. It is a collection of 50 patches: 15 Leads, 15 Basses, 15 Plucks, 5 Drones. It includes famous sounds that are found in many electronic tracks, from vintage to modern, musical solo timbres; basses that will fit into any track or performance. Plucks are excellent for use with arpeggiators or sequencers. You may use the internal Pro-1 arpeggiator or sequencer, or you may integrate your preferred arpeggiators or sequencers from your DAW or MIDI controllers.
The patches will add uniqueness to your music, featuring the sound introduced by the Behringer Pro-1.
The presets are suitable for a variety of genres, including: ambient, electronica, IDM, deep, techno, house, progressive, trance, lounge, downtempo, pop, chill out, new age, cinematic, breaks, jungle, drum and bass, dub and others.
The soundset is presented in the form of PDF-Document. Each page contains notes that explain how the patch works, what parameters are worth tweaking during playback, and how to develop the timbre during a performance. If you make all the settings consciously and try the things mentioned in the notes, you will learn a lot about the synth and discover its true depth.
There are audio examples of all patches inside the folder with the soundset.
"This video is for the Absolute Beginner who wants to patch the System 55 like a pro. It gives step by step patching examples. It also provides a framework for understanding the concepts behind Subtractive Synthesis.
The conclusion references the Behringer System 55 Quick Start Guide. Here's a link on Behringer's site to that PDF:
https://mediadl.musictribe.com/media/...
"New final album in tribute to the 50th anniversary of the release of Phaedra / tangerine Dream and Edgar Froese (1944-2015), who would have turned 80 today.
https://kurtzmindfields.bandcamp.com/...
PERPSICHORE was 90% recorded with my analog synthesizers. This will be my last project for the Berlin School period from 1974 to 1979 for a while, in order to explore more of the following period.
Kurtz Mindfields set up: SynthR4 with sequencer and arpeggiator, NRsynth Moog 55 & Retro One, Hansy Mister M, ARP Pro-Soloist, S.E.1 Electronics, Behringer P800, Roland A90ex, Waldorf Zarembourg, Mellotron M400, Oberheim OB3 organ, Elka 490 Strings, Rhodes MKI, Arturia Mellotron V & Korg Electribe2, Reverbs & pedalboard (Flangers, Phaser, Echo, Chorus, ...) & EMS SynthiA"
"'This is Photographic!' - Depeche Mode fans know these words Dave Gahan yelled when playing live in Hammersmith Odeon in 1982. Actually, Photographic is a song from the very, very early days of Depeche Mode and might be created when they still called themselves 'Composition of Sound'. The 'Some Bizzare Version' is actually the first song they officialy released ever on a compilation named 'Some Bizzare Album'.
The song is one of the darker, harder DM songs and this version is even more raw and gritty. It is very reminiscent of the transitions from punk to wave, and the DIY aesthetic of punk in particular comes to the fore here with the hand-played synthesizers. Well before Depeche Mode redefined the genre of synth pop this early version of 'Photographic' is recorded on the gear they could afford back in the days: A Kawai S-100F, a Yamaha CS5, a Moog Prodigy and a Korg KR-55 drum machine. In my cover version I use two of the original synths, the Kawai and the Yamaha to recreate an authentic sound. The role of the Prodigy is taken over by a Behringer Model D, some support sounds by Pro-1 and Pro-800."
"This jam is a little weird. My phone was on low battery which made the video slightly glitchy. I was a bit distracted during this recording so it's maybe a bit more boring than usual. There is also a couple mysterious audio drop outs near the end of the video. I didn't notice these prior to uploading so it's possible something went wrong when combining the audio and video files or something.
5U Modular (Synthesizers.com, STG Soundlabs, Synthetic Sound Labs) Akai MPC X Behringer Pro-1 (Sequential Circuits Pro One clone) Clavia Nord Wave Cherry Audio Voltage Modular (software modular) cre8audio East Beast Elta Music PF-3 Stereo Multimode Filter (Formanta Polivoks chips) Erica Synths Syntrx II Landscape Noon Korg Delta Korg Mono/Poly (x2) Make Noise 0-ctrl (analog sequencer/touch keyboard) Moog Source Roland TR-55 Simmons SDS-V Studio Electronics Boomstar 5089 mk11 Yamaha CS-15 (with UAD Bermuda Triangle distortion plugin)"
Got around to patching the Behringer System 100 today. Plays well with Arturia Keystep Pro. Give the 172 module phaser and chorus effects a spin. And that 182 sequencer, I love how it is not pitch quantized and gives a weird Stranger Things vibe. Let's do this! No additional mastering or post-effects. This video was not sponsored.
0:00 Three Osc Voice structure plus (filter res) Kick and (white noise) Hats.
1:37 172 module | Phaser
2:17 172 module | Using the short delay for chorus/flanger stuff
2:47 Dual Two-Osc structure
3:51 Stereo Syncopated 182 Sequencer Patch"
"Moog day! The real sound of old Moog with my NRSynths.
Ancestor Moog clone, inspired by the MOOG 55 (1974) & Retro One MK2, clone of the Minimoog D (1972).
Set up (in 4 videos tracks) :
Up left : Ancestor M55 1 : main Sequence with both filter Moog & multi-mode Steiner Parker. Sequenced by SynthR4 / Vintage Delay VST.
Up right : Mister M Hansy : Mellotrons, Pro 800 B : polysynth analog, TORO Behringer : Big Moog bass.
Down right : Ancestor M55 2 : Drone controlled LFOs effects, Rhodes with PedalBoard.
Down left : Retro One : Minimoog D lead & M300 TC reverb/delay, S.E.1 Studio Electronics : LFO Effects, Ancestor M55 effects.
Title composed by Jean-Luc Briançon."
Note the above is a playlist featuring 4 videos. You can use the player controls to skip through them or just watch them all in order.
Details on Synth Anthology 4 follow:
The authentic sound of 200 synthesizers, from vintage to modern
4,000+ presets and layers deliver incredible sound with hardware soul
Feature-packed dual-layer engine with fx, arpeggiator and more
Rebuilt from the ground-up, Synth Anthology 4 now features the authentic hardware sound of 200 vintage and modern synthesizers, a fully redesigned engine with powerful features, fx, arpeggiator, smart sound suggestion engine, native MPE support, and more.
A dreamlike collection!
Video credits: Anthony Hak
Music Credits: Théo & Thomas
"The Best Keeps Getting Better
What's new in version 4?
Almost everything!
We've rebuilt the engine from the ground-up, added more synths, more presets, more effects, more filters, more modulation, a dedicated browser, a second fully-customizable layer for creating hybrid and blended timbres, an all-new smart suggestion engine that helps you quickly find similar sounds, a more powerful arpeggiator/phraser, bus effects, native MPE support, and more!
Real Hardware Sounds
There is something unmistakable about the sound of a real hardware synth, from subtle differences between voice circuits and drift to the varied way filters bite into the sound; there's a distinct character and energy. Synth Anthology 4 delivers the authentic and uncompromising hardware sound with all the conveniences of a modern software instrument.
Every piece of hardware represents a unique creative vision, sonic character, innovations, and strengths. Whatever you're looking for, from analog to digital, vintage classic to future classic, you will find it here. Synth Anthology 4 delivers an incredible collection of hardware, every major manufacturer, every type of synthesis, every era, 200 synthesizers in all.
You won't find a more complete collection anywhere else."
