The Story Behind the 3rd Wave Synth - Interview with Bob Coover

video upload by Music Journey with Paul

"The Story Behind the 3rd Wave Synth - Interview with Bob Coover

Robert Coover, founder of Groove Synthesis and the mind behind the 3rd Wave synthesizer, shares the story of how this instrument came to life at Superbooth 2025 event in Berlin.

In this 9-minute interview he talks about:
working with Dave Smith at Sequential,
why he wanted to revive the iconic PPG Wave sound,
how four synthesis methods (wavetable, analog, FM, sampling) came together in the 3rd Wave,
the challenges of creating a high-end synth as a small team,
the evolution from the keyboard version to the desktop module,
what’s next for Groove Synthesis – a new product so unique it may even get a patent.

💡 If you’re into synth history, sound design, or want to know what drives independent makers to create instruments at this level – this is for you.

Chapters:
00:00 Intro
00:23 Working with Dave Smith at Sequential
02:07 The ambition behind the 3rd Wave
03:57 The start of Bob's career
04:38 The launch of the 3rd Wave and Groove Synethesis
05:28 3rd Wave Keyboard and Desktop
06:28 Expanding the 3rd Wave with sampling
07:19 About the built-in sequencer
08:15 The new mystery product coming in 2026!"

UDO DMNO was created to scream!

video upload by Music Journey with Paul

"At Superbooth 2026 in Berlin, I sat down with George Hearn, founder and lead engineer of UDO Audio, outside a beautifully designed glamping tent that reflected the same attention to detail found in UDO’s instruments.

We started talking about the new DOMINO synth… but very quickly the conversation became something much deeper.

Minimalism in synth design. Playing synths for pure enjoyment. The state of flow. And the mistakes we make when thinking about creativity.

Chapters
00:00 Great Moments
01:02 Intro
01:34 Why George Created the DMNO?
02:43 The Clever Design of DMNO!
04:03 Entering the Flow State
04:22 The market gap UDO is filling
06:04 Happy Accidents
06:48 A Deep Dive into Synth Architecture
08:35 Who is Buying UDO Audio Synths?
10:09 The Creative Barriers We Build
11:28 The Reality of Running a Boutique Synth Company
12:49 The Future of UDO Audio

Song used in the intro: YouTube Audio Library - Turn In The Sun - Simon Herody."

Redshift 6: Can This Analog Synth Replace Your VSTs?

video upload by Music Journey with Paul

"At Superbooth 2026, I spoke with Timo from Supercritical Synthesizers about one of the most ambitious analog polysynths on the market today - a unique 6-voice analog polysynth from Finland that takes a very different approach to synthesis.

With 96 analog oscillators, multi-timbral architecture, MPE support, evolving firmware updates and a variable character engine that can shift between different vintage-inspired flavors, Redshift 6 blurs the line between traditional analog hardware and modern software flexibility.

In this interview and sound demo we talk about who Redshift 6 is for, how its unusual interface works, the latest firmware innovations, and why some of its sounds might make you think you’re listening to a DX-style digital synth - even though the signal path remains analog.

Chapters:
00:00 Demo #1
00:13 What is Redshift 6?
00:55 Demo #2
02:14 More About Specs
02:43 Who Is It For?
03:48 The Unique User Interface
05:14 Firmware Updates & New Features
05:54 The New Delta Wave Oscillator Engine
06:28 Demo #3
08:24 The Best Of Both Worlds: Hardware & Software
09:15 Summary from Timo
03:33 Demo #4 - Starting with the Init patch"

Synthesizing with Moog | Lesson 7: Patterns

video upload by Moog Music

Synthesizing with Moog

"'Synthesizing with Moog' invites you on an enlightening journey that answers a complex question: how exactly do synthesizers work?

In the seventh and final episode of Synthesizing with Moog, we zoom out from the discreet moment of the note and look at how the synthesizer creates patterns and musical phrases. The sequencer was initially created by Don Buchla as a rudimentary preset storage system, sending preset voltage values to various parameters of the synthesizer. When a square wave oscillator (or clock) signal is used to address the stages of the sequencer, melodies begin to emerge, bringing us back to the fluidity of time.

Written, hosted, filmed, and produced by our team of electronic musical instrument experts, this new seven-part educational video series makes learning the fundamentals of synthesis accessible, engaging, and inspiring for anyone curious about science, music, and how the two worlds converge. We set out to create a series that brings you as much technical knowledge as it does entertainment and joy as you watch each episode!

We invite you to follow along with us at home with a printable worksheet corresponding to the contents of each weekly episode. https://inmusic.to/bdhnff3m

Creator, writer, and host: Chris Miller
Director and editor: Paul Shaver
Producers: Max Ravitz and Chris Miller
Director of Photography: Paul Shaver
Music: Max Ravitz and Gunnar Haslam
Graphics and Animations: Ryan Ford
Special thanks to Ana Rome
Filmed on location at Schneidersladen Apotheke, Berlin"

Synthesizing with Moog | Lesson 1: Listening

video upload by Moog Music

Synthesizing with Moog

"'Synthesizing with Moog' invites you on an enlightening journey that answers a complex question: how exactly do synthesizers work? https://inmusic.to/bdhnff3m

In this first episode we go back into twentieth century history to understand the origins of electronic music, discussing concepts like modular design and voltage control to learn how they combined to make the synthesizer instrument we know and love today. We then pose some questions to try and understand how listening works. How is sound created in the air? What does a speaker do and how does a synthesizer control it? How does the ear work? And finally, how do our brains perceive the sound around us? Listening, after all, is the foundation of any musical practice.

Written, hosted, filmed, and produced by our team of electronic musical instrument experts, this new seven-part educational video series makes learning the fundamentals of synthesis accessible, engaging, and inspiring for anyone curious about science, music, and how the two worlds converge. We set out to create a series that brings you as much technical knowledge as it does entertainment and joy as you watch each episode!

We invite you to follow along with us at home with a printable worksheet corresponding to the contents of each weekly episode. https://inmusic.to/bdhnff3m

Creator, writer, and host: Chris Miller
Director and editor: Paul Shaver
Producers: Max Ravitz and Chris Miller
Director of Photography: Paul Shaver
Music: Max Ravitz and Gunnar Haslam
Graphics and Animations: Ryan Ford
Special thanks to Ana Rome
Filmed on location at Schneidersladen Apotheke, Berlin"

Introducing: Reverb Wallet - more earnings, faster payments

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

Press release follows:

Reverb unveils a new Wallet experience, helping music makers fund their next sound faster

With Reverb Wallet, music makers get more money for their gear with a 1% cash back bonus, faster earnings, and future access to exclusive perks

September 25, 2025 —Reverb, the largest online marketplace dedicated to music gear, today announced a new way to experience one of its most beloved features: Reverb Wallet. Now, music makers can get even more money for their gear when opting to keep earnings from sales of gear on Reverb in their Reverb Wallet, taking advantage of a 1% cash back bonus, faster earnings, and future access to exclusive perks that can help them fund their new sound faster.

With the newly imagined Reverb Wallet, US sellers can earn an extra 1% cash back on their sales when they store their funds on Reverb. Payments from sales will be stored in their Reverb Wallet, with funds transferring quickly and securely, giving them quicker access to the millions of pieces of music gear on Reverb.

Said Reverb’s Chief Technology Officer, Jason Wain: “One of the most important parts of music making is trying out new sounds. Whether you’re upgrading from an Epiphone Les Paul to a Gibson, or starting a new project that needs the dreamy tone of a Roland Juno rather than the gritty sound of the Moog Grandmother, we want to make that journey as easy as possible. . With Reverb Wallet, players get access to more gear when they turn their old guitars, synths, pedals, and other instruments into higher earnings that help them refresh their rig.”

Not only is the new Reverb Wallet backed by a trusted and regulated payments platform, it will also offer access to exclusive perks over the coming months. Music makers can keep an eye out for notifications for timely promotions.

Sellers on Reverb can take advantage of the cash back bonus and faster earnings available via the new Reverb Wallet by:

Logging into their Reverb account and visiting their "Shop Settings."
Selecting "Reverb Wallet” in the payment settings section on the “Policies” page.
It’s that easy!

The unveiling of the new Reverb Wallet experience follows the marketplace’s recent return to independence. After years under Etsy, Reverb was purchased by two new investors: Creator Partners, which also invests in BMI, SoundCloud, Color Studios, and Mogul; and Servco, which has been involved in musical instruments since 1937, including their role in buying Fender back from CBS in 1985, ultimately leading to their purchase of a majority stake in the brand in 2020.

To learn more about Reverb Wallet and how you get more money for your gear, visit: https://reverb.com/featured/wallet.

Tone Science Module No.10 The Final Patch (DiN:TS10)

"Now available as a double CD with an 8-page booklet & download

Tone Science sub-label, from DiN records, concludes it’s exploration of the world of modular synth music.

Since the first volume in the Tone Science series was released in 2018, seventy-two musicians in total have joined in with this celebration of the musical possibilities of modular synthesis. These artists have been from a huge range of backgrounds but have all shared the unifying purpose of showcasing the incredible variety of sonic possibilities these instruments can offer.

Tone Science sub-label, from DiN records, concludes its exploration of the world of modular synth music.

Since the first volume in the Tone Science series was released in 2018, seventy-two musicians in total have joined in with this celebration of the musical possibilities of modular synthesis. These artists have been from a huge range of backgrounds but have all shared the unifying purpose of showcasing the incredible variety of sonic possibilities these instruments can offer.

The intervening seven years have seen the modular synth world expanding at an exponential rate and whilst one wouldn’t go so far as to say these synths are mainstream, they are certainly far more prevalent than in the past. It’s especially gratifying to see so many musicians now either play solo sets with them or to include them in their onstage arsenal.

Thus we come to this, the final instalment in the Tone Science series. Nothing lasts forever and certainly stopping at this nice round number of ten seems like a good way to not only end the series but to release the Final Patch, a real celebration of what has gone before and perhaps to hint at what is possible for the future. A beautifully packaged double CD featuring twenty artists who have appeared on previous iterations of the series, it really is a who’s who of modular synth musicians. The release is accompanied by an eight-page booklet with an essay by Neil Mason and some final words from the guiding force behind the whole project, Ian Boddy, label boss at DiN. And as Boddy so succinctly puts it in his liner notes, “for me, despite the technological nature of the equipment, the emotional quality of the music is the single most important factor”. The Final Patch certainly delivers on that ethos.

CLICK FOR MORE »

Opening the Synthesizer Museum Berlin - a few words by co-founder Michael Soltau

video upload by Synthesizer Museum Berlin

"Opening night of Synthesizer Museum Berlin (part one). Co-founder and owner Michael Soltau welcomes the audience and the two artists that are about to perform: Pyrolator will open the show, followed by Thorsten Quaeschning from Tangerine Dream (concert videos and interviews coming soon)

Eröffnungsabend des Synthesizer Museum Berlin (Teil 1). Mitbegründer und Eigentümer Michael Soltau heißt das Premierepublikum willkommen und kündigt die beiden Künstler an, die auf der Bühne auftreten werden: Zunächst Pyrolator und danach Thorsten Quaeschning von Tangerine Dream (Konzertvideos und Interviews folgen)."

CLICK FOR MORE »

The Amazing Recording History of Here Comes the Sun

video upload by You Can't Unhear This

"Here Comes The Sun has become one of the most popular and treasured Beatles songs, a gateway into their music for many new fans. This 3-minute gem of unforgettable songwriting is also packed with intriguing anomalies, production quirks and even a mystery. Unlike the vast majority of Beatles songs, Here Comes the Sun was not written by the main songwriting duo of Paul McCartney and John Lennon, but rather by George Harrison, the youngest member of the quartet, who contributed two memorable pieces to the Abbey Road album - an endearing love song called Something, and the effervescent Here Comes the Sun.

I’m going to take you on a journey through the song’s creation and point out some of these surprises. As a fair warning, You Can't Unhear This.

Special thanks to Devin Ellis, Alex Gittleson and Eli Rosen
Credit: ‪@isolatedstems‬ for isolated track stems

00:00 The Most Popular Beatles Song
00:30 Writing 'Here Comes the Sun'
01:23 Dissecting the Recording
04:36 The 'Lost' Guitar Solo
05:35 Adding The Moog
08:07 Post-Production Anomalies
10:26 Sun King / Here Comes The Sun Mystery
12:35 Appreciation and Legacy of Here Comes the Sun"

HAINBACH & AudioThing Used the Moon as an Echo (And Made It Into a Free Plugin)

video upload by HAINBACH

00:00 Introduction
00:42 The Doppler Effect
03:30 The Astronauts
04:45 History and Pauline Oliveros
07:02 The Radio Telescope
09:43 Moon Bouncing
14:33 Making The Plugin

"I discovered the technique of 'Moon Bouncing', using the moon as an echo, when I was researching composer Pauline Oliveros. Her experiences with 'Echoes from the moon' sounded fascinating. Like with all experimental music techniques of old I wanted to try the process for myself. This started a two year long journey.

With the support of Martine-Nicole Rojina (who also helped out on camera on location) I got in contact with the radio telescope in Dwingeloo, a huge dish designed for space exploration. They helped me send signals to the moon: a sopranist (Johanna Vargas), a double bassist (Paul Cannon) as well as sounds from my patrons Sventothem, Michael Féaux, Andrew Stone, harper2k, Filip Ferngren, Dave Seidel, Gary Walker, Michael Peters, the void inclusive, Brendan Ford, David Williams, Joey Pop, Jeremiah Turner, Richy486, Joshua Philgarlic, Tim Moore, Grant Basma Horsnell, Arson Bright, Dan Kibke, Antonio T, Chris Sherman, Sergey, Charlie, Bartek Trame and Dixit.

This fascinating experience yielded an extensive set of samples that @audiothing and me analyzed and used to create the free plugin 'Moon Echo'. This way you can experience some of the magic of moon bouncing yourself. Download here (its free): https://www.audiothing.net/effects/mo...

Music, Soundpack and thanks:
https://www.patreon.com/hainbach"

"In our seventh collaboration with Berlin-based musician Hainbach we listen to the stars: Moon Echo is a free to download delay based on a communications technique that uses our closest cosmic neighbor, the moon, as a reflector for radio waves. This results in some rather crunchy and lively echoes, modulated by the movement of Earth and moon. The moon’s surface is an imperfect mirror and creates artifacts, unlike any other echo technique. Moon Echo is both a musical lo-fi effect and a playful tool for teaching about space.

Moon Echo is available for MAC, PC, and LINUX (VST, VST3, AU, AAX, CLAP, 64-bit only), and also as AUv3 and Standalone on the App Store."

Stevie Wonder and the Yamaha GX-1 at Madame Tussaud's Rock Circus London

video upload by Preview London

"Madame Tussaud's Rock Circus (August 1989 – September 2001), was a walk-through exhibition celebrating the history of rock and pop music, featuring its major figures recreated in wax."

Update: video added. Stevie with the GX-1 comes in at 1:34.

This one is in via swissdoc

The following is a cut and paste from the text in the image. Not sure how well the text parsing is. Below is the text Google translated.

"Rock 'n' Roll war nun DIE Musik des westlichen Kultur und verkaufte nicht nur sich selbst, sondern auch alle möglichen anderen Produktel Einige der größten Geldsummen in den 'Cola Kriegen alkoholfreier Getränke gingen an Madonna, George Michael und Michael Jackson, die an den gefilmten Werbekampagnen teilnahmen. Große Tourneen wurden von Herstellern von Bier, Sportkleidung und Jeans finanziert. Klassische Rocksongs aus den sechziger Jahren wie beispielsweise '1 Heard It Through The Grapevine', 'I Feel Free' und "When A Man Loves A Woman' wurden als Soundtracks für Fernsehreklamen benutzt.

1988 ergriff George Bush, der neue Präsident der Vereinigten Staaten, auf einer Party zu seinem Amtsantritt eine elektrische Gitarre und gab zusammen mit einer Rock 'n' Roll Band eine Bühnenvorstellung. 1989 nahm ein russisches Astronautenteam auf seiner Reise in das Weltall Bander mit Pink Floyd Musik mit. Wie es schon in dem alten Lied hieß: Rock 'n' Roll is here to stay!"

Googlish:

"Rock 'n' roll was now THE music of western culture and not only sold itself but all sorts of other products too Participated in advertising campaigns. Major tours were sponsored by manufacturers of beer, sportswear, and denim. Classic 1960s rock songs such as '1 Heard It Through The Grapevine', 'I Feel Free' and 'When A Man Loves A Woman' were used as soundtracks for television commercials.

In 1988, at an inauguration party, George Bush, the new President of the United States, grabbed an electric guitar and gave a stage performance along with a rock 'n' roll band. In 1989, a Russian astronaut team took bands with Pink Floyd music on their journey into space. As the old song said: Rock 'n' Roll is here to stay!"

Some info on Rock Circus via Wikipedia:

"Madame Tussaud's Rock Circus (August 1989 – September 2001), was a walk-through exhibition celebrating the history of rock and pop music, featuring its major figures recreated in wax. It was located at the top four floors of the then-newly refurbished London Pavilion building at Piccadilly Circus, London. Predominantly British artists featured, but many American artists were also included. The attraction told the story of rock and pop from the 1950s to the then-present day by using videos, music, narration and audio-animatronic figures."

And a list of GS1 owners via gearspace

GX-1 #5088 - SWE - Benny Andersson.

GX-1 #5080 - JPN - Private owner - Previously owned by committee members of a temple JPN.

GX-1 #5076 - ITA - Riccardo Grotto - Previously owned by John Paul Jones, Keith Emerson, Hans Zimmer et al.

GX-1 #5074 - ENG - Richard D James - Previously owned by Mickie Most.

GX-1 #5073 - ENG - Gordon Reid - Previously owned by Yamaha HQ AUS, private owner AUS.

GX-1 #5046 - ITA - Riccardo Grotto - Previously owned by Keith Emerson, painted black.

GX-1 #5041 - ENG - Pete Townshend - Previously owned by private owners AUS.

GX-1 #5040 - USA - Vintage Key Gear - Previously owned by Yamaha Dealers Association AUS, private owners AUS.

GX-1 #5023 - JPN - Private owner - Previously owned by private owner JPN.

GX-1 #5019 - USA - Merlin Entertainment (Madame Tussauds) - Previously owned by Rock Circus ENG.

GX-1 #50nn - JPN - Yamaha Corporation

Still waiting to hear from someone who knows the actual whereabouts of Stevie Wonders two GX-1s though...

You can find additional posts featuring the Yamaha GX1 here.

Spitfire Audio Fractured Strings - A New Force Of Nature

video upload by Spitfire Audio

"Award-winning composer Paul Thomson takes you to the edge of the world and beyond with Fractured Strings. Created in collaboration with Hans Zimmer’s prestigious scoring collective Bleeding Fingers Music and London’s finest string players, this small ensemble library features an eight-piece string ensemble and two soloists, brought to life in the unparalleled acoustics of AIR Lyndhurst Hall, complete with 15 signal paths.

Fractured Strings introduces an innovative approach to articulations that delivers inspirational surprises through intervallic performances and new modal colours with unparalleled depth and realism. Introducing our brand new Scale Mode technology, these sophisticated, emotive movements and textures reflect the intricacies, patterns and contrasts found in natural phenomena — as heard in BBC's #FrozenplanetII.

Explore Fractured Strings here - https://bit.ly/3xEL8h1

00:00 - Trailer
1:00 - Interview with Bleeding Fingers Music
7:02 - Walkthrough
7:47 The Scale Mode
10:38 - The Articulations
15:40 - The EVO Grid
19:33 - The Seventh Reach
21:10 - The Solo Instruments"

And the press release:

"Spitfire Audio works with Bleeding Fingers to forge FRACTURED STRINGS as a new kind of chamber string library introducing a novel approach to articulations

“Early on in the process of scoring Frozen Planet II, we looked at the patterns of splintering ice and the individuality of snowflakes; in creating FRACTURED STRINGS, we worked closely with the Spitfire [Audio] team and London’s best players to represent these natural phenomena in musical performances — creating a toolkit that became the foundation of our score for the show.”

- Frozen Planet II composers James Everingham & Adam Lukas, 2022


LONDON, UK: created in close collaboration with Bleeding Fingers Music, the Emmy Award-winning and BAFTA (British Academy of Film and Television Arts) Award-nominated composer collective, hand-selected and mentored by Hollywood hotshot Hans Zimmer (as a multi-Academy Award- and GRAMMY® Award-winning film composer of some serious standing), sound-specialising British music technology company Spitfire Audio is proud to announce availability of FRACTURED STRINGS — itself introducing a novel approach to articulations as a new kind of chamber string library featuring a 10-piece ensemble inspired by the Arctic and brought to life in the unparalleled acoustics of Lyndhurst Hall in London’s legendary AIR Studios, served up as an AAX-, AU-, VST2-, and VST3-compatible (NKS-supporting) proprietary plug-in with 15 signal paths and infinite intervallic possibilities, designed to infuse any gestures, leaps, and cellular motif anyone might compose with warmth, colour, and humanity — as of September 22…

Being billed as a journey through Earth’s frozen worlds, home to unique and remarkable wildlife, it is little wonder that Santa Monica, CA, USA-based Bleeding Fingers Music were looking for a library that could not only support scenes of frozen silence but also scenes of action, tension, crisis, and drama when composers Hans Zimmer, James Everingham, and Adam Lukas started scoring the small screen wonder that is Frozen Planet II, the 2022-broadcast British nature documentary series co- produced by the BBC and The Open University as a sequel to 2011’s Frozen Planet. Putting it this way, James Everingham and Adam Lukas collectively comment: “Early on in the process of scoring Frozen Planet II, we looked at the patterns of splintering ice and the individuality of snowflakes; in creating FRACTURED STRINGS, we worked closely with the Spitfire [Audio] team and London’s best players to represent these natural phenomena in musical performances — creating a toolkit that became the foundation of our score for the show.”

Serious demands demand serious solutions, so a small section of London’s finest string players were brought by the Spitfire Audio team tasked with bringing Bleeding Fingers Music’s requirements to life in the unparalleled acoustics of Lyndhurst Hall — home to many a blockbuster film scoring session by Hans Zimmer and many more — in London’s legendary AIR Studios. The ten players concerned closely collaborated with the Bleeding Fingers Music team and Spitfire Audio’s own collective of composers, conductors, and engineers there to create a vast suite of intricate decorations, leaps, and swells.

So who better to formally introduce the finished FRACTURED STRINGS, then, than Spitfire Audio co-founder Paul Thomson — truly no stranger to the wonderful world of music-to-picture scoring himself as an English composer for film, television, and video games, as well as a music technologist to boot: “This is our latest collaboration with Bleeding Fingers [Music], and it is a set of unique and original content made for the BBC show Frozen Planet II. It showcases a huge amount of string articulations and gestures — wispy, ice-y, ethereal fragments that we have never before recorded, and that you can't play very easily with existing string libraries.”

CLICK FOR MORE »

Sequential Artist Spotlight: Tim Gorman

video by Sequential

"Tim Gorman is a music producer, arranger, composer, keyboardist, and vocalist with thirty years of experience working in the music and film industry. His composition and production background, and mastery of piano, organ, synthesizer and the latest software sets him apart from his peers. A true musician's musician, Tim's natural musical talent and varied skill set have enabled him to rise to high levels in many different genres of music.

Tim has recorded and performed with a diverse list of legendary artists, including The Who, The Rolling Stones, Jefferson Airplane/Starship, Duane Eddy, John Hiatt, Celtic master fiddler Alasdair Fraser, Hellecasters, Levon Helm, Johnny Cash, Emmy Lou Harris, Charlie Daniels, jazz saxophonist Steve Douglas, Paul Kennerly, Journey, The Smithereens, Hawaiian slack key guitar virtuoso Kapono Beamer, Greg Kihn, Paul Kantner and The KBC Band. The list continues to grow.

This video spotlight features Tim with the Prophet XL synthesizer.

https://www.sequential.com/tim-gorman/

Follow Tim Gorman:

http://timgorman.com/#home​

For more info on the Prophet XL:

https://www.sequential.com/product/pr..."

Yamaha TX7 Metamorphic "Into The Earth" DX7 FM Synthesizer Ambient Music Rik Marston

Rik Marston Official Rik Marston Official

Ahnyxian Sound Design: https://www.etsy.com/shop/AhnyxianSou...

Music: https://itunes.apple.com/ca/artist/rik-marston/

#yamahadx7 #fmsynthesizer #yamahatx7
"Yamaha TX7 - Metamorphic"
Synthesizer Demo by Rik Marston
***Watch in HD!!*** **Turn it UP!!!***

"Metamorphic" by Rik Marston
Yamaha TX7 (DX7 FM Expander module)
This is a early demo from the upcoming Ambient Chill Zen album
"Into The Earth" by Rik Marston coming Spring 2021!
"Into The Earth" is an ambient synthesizer journey that takes us
DEEP within the Earth. Sounds of the Soul of our home planet.
90% of the album is done with the Yamaha TX7, Korg 01W/fd,
Roland D-05 because DIGITAL synthesizers are perfect for the
metallic, hollow, spacious & multi-dimensional sounds of the inner Earth.
If I could afford a Korg OPSIX it would be all over this but....
Cover art features a fantastic Labradorite, a feldspar that has beautiful
crystal structures that can create beautiful rainbow colors.
This Yamaha TX7 was originally owned by Mark Lindsay, former lead
singer of the 1960's Rock n Roll legends "Paul Revere & the Raiders"!
I am in LOVE with all of this DIGITAL. I love the FM textures so much!

Spitfire Audio Announces Availability of New ORBIS Library - One-of-a-Kind Synthesizer

Walkthrough: Orbis Uploaded on Jul 16, 2019 Spitfire Audio

"Paul takes us through the new Orbis library- a one-of-a-kind synthesizer born out of rare recordings from around the globe, presented in Spitfire's sophisticated eDNA Engine."

Official press release follows:

Spitfire Audio announces availability of ORBIS plug-in presented in eDNA engine as a horizon-expanding ‘world synth’

“Great film music often blends sounds from different cultures to create a rich tapestry; ORBIS lets you infuse your music with DNA from around the world — from incredibly useful, original recordings through to beautifully evolving textures.”
- Paul Thompson, composer and Spitfire Audio co-founder


LONDON, UK: Spitfire Audio is proud to announce availability of ORBIS — offered as a horizon-expanding ‘world synthesizer’ standalone plug-in, presented in the sound-specialising British music technology company’s sophisticated eDNA engine, enabling exceedingly creative access to 2,500 extraordinary sounds born out of organic performances treated and transported to new dimensions, designed for progressively-minded composers as a gargantuan creative compendium comprising distorted loops to evolving textures and visceral one-shots, subsonic low-end to ethereal pads, perfect for producing rich-sounding, panoramic scores from nature documentaries to sci-fi movies — as of July 18…

Sometimes a score needs more than an orchestra. ORBIS reimagines the work of David Fanshawe (1942-2010), an English composer, sound explorer, and ethnomusicologist who travelled the globe to gather an archive of approximately 2,000 hours of music, documented for posterity at a time of great change. “The present is almost history; every day is worth recording.” So stated the man himself.

However, ORBIS itself is so much more than a collection of organic field recordings; rather it includes 90% treated content, with over 200 presets, plus loops, textures, one-shots, and pads created by Spitfire Audio’s accomplished team of engineers in its own journey of sonic discovery, distilled — alongside clean recordings, rich in history, character, and emotion — in the sound-specialising British music technology company’s sophisticated eDNA engine to provide users with virtually endless parameters and possibilities for enhancing their own scores with the DNA of countless cultures from across the globe.

Enduring and enthralling, David Fanshawe’s rarefied recordings have already made themselves heard in scores to major movies such as 1997’s Seven Years In Tibet (John Williams) and 2002’s Gangs Of New York (Howard Shore); now they are ready and able to empower anyone’s scoring sensibilities as an essential resource for producers, composers, or sound designers intent on seeking out new sounds — or even civilisations! After all, sounds are the fabric from which music is weaved.

With that thought in mind, maybe it was inevitable that Spitfire Audio would creatively cross paths with the David Fanshawe World Music Archive. As such, ORBIS was effectively conceived back in January 2015, when widow Jane Fanshawe introduced Spitfire Audio co-founder and composer Paul Thomson to the global sonic explorer’s namesake legacy. “Listening to these extraordinarily vivid recordings is like looking through a window into a different time and place,” pronounces the clearly captivated listener.

Literally placing them into a different time and space, Spitfire Audio subsequently handpicked thousands of extraordinary sounds from those extraordinarily vivid recordings, really resulting in a so-called ‘world synthesizer’ since ORBIS users are able to delve deeper into some of the most rare and distinctive sounds and loops on the planet, rich in history, character, and emotion encompassing a range of cultures and communities, many of which no longer exist; enhancing every sound still further with ORBIS’ own exploratory eDNA is inevitable.

Imagine the eDNA engine as a set of two turntables alongside a highly-sophisticated DJ mixer. It includes two sound bays — A and B, each designed to create differing sonic treatments, with individual and independent modulators and control of TRIM, BEND, GLIDE, CLONE, TUNE, ADSR (envelope), HI-PASS (filter), LO- PASS (filter), and WOBBLE (modulating VOLUME, PITCH, and FILTER). Furthermore, the GATE SEQUENCER allows for independent gating of those two bays and unified control of amount, speed, and LENGTH of sequence. These two signals are then unified with an x-fader; move between the sounds with the mouse or the factory default-assigned modulation wheel. Elsewhere, eDNA’s five-stage FX (effects) path contains 41 custom plug-ins, including preloaded bespoke IRs (Impulse Responses). The BAY A FX and BAY B FX stages affect sound bay A or B, while an AUX FX stage can be sent via the layers or MASTER FX stage.

Obviously ORBIS easily enables sonic journeying of its own doing. Discover hundreds of presets treated in various ways, with Spitfire Audio’s acclaimed sampling expertise and technology twisting and turning every sound through 3,000 lines of code! Some sound subtly manipulated while others are heavily processed, unrecognisable from their original source material.

Musically-speaking, ORBIS travels far — from playable one-shots and short phrases to tuned and untuned rhythmic loops and recordings up to a minute long. Ultimately, unearthing sounds with subtle movement, complexity, and evolution is an ear-opening experience. Throbbing basses and pulsing loops, ideal for dance music; thunderous drones, subsonic low-end and visceral, tortured drum hits, for adding movement and depth; Blade Runner-style synths, made from antelope horns; and ethereal pads and breathtakingly beautiful evolving textures, for three-dimensional cinematic soundscapes... the very nature of ORBIS’ design takes its users to new levels of sonic exploration and adventure. A lifetime of inspiration as an essential resource awaits anyone creatively climbing aboard.

As to the finished product’s potency, Paul Thomson is clearly qualified to comment, enthusiastically ending on a high note: “This is a really rich tapestry of sounds; it’s almost like a new kind of ‘world synth’ which goes from the raw sounds that are incredibly useful all the way through to beautiful, undulating, evolving textures made from these incredible organic recordings.”

ORBIS can be purchased and digitally downloaded as an AAX-, AU-, and VST-compatible plug-in that loads directly into a DAW (Digital Audio Workstation) for a time-limited introductory promo price of £229.00 GBP (inc. VAT)/$269.00 USD/€269.00 EUR (inc. VAT) until August 1, 2019 — rising thereafter to an RRP of £299.00 GBP (inc. VAT)/$349.00 USD/€349.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/orbis/"

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Tone Science Module No​.​2 Elements and Particles (DiN​:​TS02)

"Tone Science sub-label, from DiN records, continues to explore the world of modular synth music.

DiN was initially set up in 1999 by well known UK synthesist Ian Boddy to bridge the gap between the analogue music of his heritage and the emerging digital possibilities of the future. This label has always forged its own independent path and to date has released 56 physical CD albums as well as 21 download only releases.

Even after being involved in music since the late 1970’s Boddy has continued to explore new sonic territories and in 2016 he released what was probably his most experimental album in “Tone Science” (DiN48). This album comprised five long, slowly evolving self playing compositions realised entirely on his vast arsenal of modular synthesisers. Boddy’s love of the analogue sound has been well documented not only through his own releases but many sound and sample libraries. These instruments all but disappeared in the 1990’s but recent years has seen an unprecedented growth in interest in this form of synthesiser with a proliferation of both module manufacturers and performers using these highly flexible and personal systems.

Thus, inspired by his “Tone Science” release, Boddy has set up this sub-label to feature artists and performers working in the field of modular synthesis. The first release “Module No.1 Structure and Forces” was released in March 2018 and has garnered a lot of critical acclaim. This second compilation “Module No.2 Elements and Particles”, like its predecessor, features nine artists from different musical backgrounds with the common thread being that all the tracks were composed entirely with a modular synth system.

The album opens and closes with the ambient soundscapes of two tracks by Todd Barton and
 r beny. Barton is a world renowned exponent of Buchla modular systems as well as the Music Easel employed on this track. Austin Cairns (aka r beny) has a penchant for lo-fi looped synth atmospheres which combined, in this case, with a field recording creates a haunting, evocative piece. The next three pieces by Bluetech, Parallel Worlds and Paul Nagle build up rhythmic and sequenced elements with a fascinating amount of detail that modular systems are so good at. They also all use various methods to produce a poly-rhythmic, fractal feel as patterns shift and change throughout their tracks. The middle of the album then sees a fascinating experimental ambient interlude by Dave Bessell (a member of the synth group Node) using waveguide physical modelling in the analogue domain. The second half of the album has a rawer, more gritty feel with Richard Quirk building up a crescendo of wonderful textures in his track “Radar Hill”. This is followed by Hainbach using the exotic Ciat-Lonbarde series of hand built instruments to produce, in his words, a piece of “pure electronic music”. Nathan Moody then brings proceedings to a climax with a gnarly, muscular track using a Buchla modular system before the blissful ending piece “Marine Layer” closes out the 60 minute sonic journey the listener has just travelled.

Boddy has curated both the artists and tracks on this album to flow in a musical way and not just be a collection of equipment heavy demos. Though fascinating and always cool to look at, it is important not to get lost in the gear for gear’s sake syndrome. Having said that this album features Eurorack, Serge, Buchla & Ciat-Lonbarde modular systems and the nine tracks show how varied and flexible these instruments can be.

“Tone Science Module No.2 Elements and Particles” continues the journey down the rabbit hole of possibilities and sound worlds inhabited by artists and musicians working in this ever fascinating and varied musical field.
credits
releases October 19, 2018

1. Todd Barton Floating World 8:41
This is an exploration of layering various timbres and textures, each having its own
diverse panning structure and speed. Performed on a Buchla Music Easel with a
TC Electronic Ditto x4 looper and TC T2 reverb.
toddbarton.com

2. Bluetech Magnetic Lullaby 6:36
Multitracked sequencers in long takes at different clock speeds to get a fractal layer of shifting melodies evolving at different rates with Strymon modulation at different times for complexity.
bluetechonline.com

3. Parallel Worlds Additive Procedure 5:56
Eurorack, Analogue Systems and Serge modular systems, using harmonics created via waveshaping/wavefolding & the Verbos Harmonic Oscillator & RS370/375 Polyphonic Harmonic Generator.
parallel-worlds-music.com

4. Paul Nagle Euneirophrenia 7:52
The peaceful state of mind after a pleasant dream. In this mellow polymetric excursion, Cirklon's CVIO juggles a Quadnic, NW1, Plonk, Rings and Plaits.
bogusfocus.com/pn/

5. Dave Bessell Overtone 6:37
Between two worlds, the technical and the theatre of the imagination, the apparently real and the obviously synthetic play hide and seek with your perception. Realised with an all analogue signal path, this is a study in waveguide physical modelling.
sites.google.com/site/davebessellmusic/home\

6. Richard Quirk Radar Hill 7:22
This track is taken from an ongoing collection of music based on abandoned radar stations. Created with an AJH Eurorack system along with a Voltage Multistage, Bark filter, Magneto delay, Radiomusic and a tube Echoplex.
richardquirkmusic.bandcamp.com

7. Hainbach Your Strange Glitter 5:02
Aiming for purity I focused entirely on the Ciat-Lonbarde Plumbutter, Sidrax and Cocoquantus. I wanted this piece to feel like “synthesizer music”, clear and shimmering, yet alien, not rooted in a real acoustic space.
hainbachmusik.com

8. Nathan Moody Prophet And Loss 5:02
This piece was created using a Buchla modular synthesizer (200 & 100 series modules) as a meditation on the false piety of tyrannical populists in the early 21st Century.
nathanmoody.bandcamp.com

9. r beny Marine Layer 7:02
Fog conjuring with Mutable Instruments Rings loops being processed by Orthogonal Devices ER-301, Mannequins Three Sisters, and Strymon Magneto.
rbeny.bandcamp.com


Total Time 60:24
license
all rights reserved"

Follow-up to:
Tone Science Module No.2 Elements and Particles Demo Mix
Todd Barton Autumn Tour & New Release

Tone Science Module No.2 Elements and Particles Demo Mix

Tone Science Module No.2 Elements and Particles, set to be released on Oct 19, features the following supporters of MATRIXSYNTH: Todd Barton, Parallel Worlds, and Dave Bessel.

Details:

"Various Artists Tone Science Module No.2 Elements and Particles DiN:TS02

Release date 19th October 2018

Limited to 500 copies. Digipak CD format.

Tone Science sub-label, from DiN records, continues to explore the world of modular synth music.

This second compilation “Module No.2 Elements and Particles”, like its predecessor, features nine artists from different musical backgrounds with the common thread being that all the tracks were composed entirely with a modular synth system.

The album opens and closes with the ambient soundscapes of two tracks by Todd Barton and
 r beny. Barton is a world renowned exponent of Buchla modular systems as well as the Music Easel employed on this track. Austin Cairns (aka r beny) has a penchant for lo-fi looped synth atmospheres which combined, in this case, with a field recording creates a haunting, evocative piece. The next three pieces by Bluetech, Parallel Worlds and Paul Nagle build up rhythmic and sequenced elements with a fascinating amount of detail that modular systems are so good at. They also all use various methods to produce a poly-rhythmic, fractal feel as patterns shift and change throughout their tracks. The middle of the album then sees a fascinating experimental ambient interlude by Dave Bessell (a member of the synth group Node) using waveguide physical modelling in the analogue domain. The second half of the album has a rawer, more gritty feel with Richard Quirk building up a crescendo of wonderful textures in his track “Radar Hill”. This is followed by Hainbach using the exotic Ciat-Lonbarde series of hand built instruments to produce, in his words, a piece of “pure electronic music”. Nathan Moody then brings proceedings to a climax with a gnarly, muscular track using a Buchla modular system before the blissful ending piece “Marine Layer” closes out the 60 minute sonic journey the listener has just travelled.

Boddy has curated both the artists and tracks on this album to flow in a musical way and not just be a collection of equipment heavy demos. Though fascinating and always cool to look at, it is important not to get lost in the gear for gear’s sake syndrome. Having said that this album features Eurorack, Serge, Buchla & Ciat-Lonbarde modular systems and the nine tracks show how varied and flexible these instruments can be.

'Tone Science Module No.2 Elements and Particles' continues the journey down the rabbit hole of possibilities and sound worlds inhabited by artists and musicians working in this ever fascinating and varied musical field.

01 Floating World by Todd Barton 8:41
02 Magnetic Lullaby by Bluetech 6:36
03 Additive Procedure by Parallel Worlds 5:56
04 Euneirophrenia by Paul Nagle 7:52
05 Overtone by Dave Bessell 6:37
06 Radar Hill by Richard Quirk 7:22
07 Your Strange Glitter by Hainbach 5:02
08 Prophet & Loss by Nathan Moody 5:02
09 Marine Layer by r beny 7:02

Total Time: 60:24

Released by: DiN

Release date:
19 October 2018"

Light In The Attic Announces Jodorowsky's Dune Original Motion Picture Soundtrack by Kurt Stenzel

Published on Sep 16, 2015 Light In The Attic Records

Be sure to see my post on The Synths of Jodorowsky's Dune with some words from Kurt Stenzel on the synths used in the soundtrack.

"This track is from Light In The Attic Records' release of Kurt Stenzel's original score to the documentary 'Jodorowsky's Dune.' It is available for purchase on vinyl & CD here: http://bit.ly/1iMSNRE.

Available: November 13th, 2015

This is the soundtrack to the story about the greatest film that never was.

Jodorowsky’s Dune tells the tale of cult filmmaker Alejandro Jodorowsky’s unsuccessful attempt to adapt Frank Herbert’s classic sci-fi novel, Dune, to the big screen. Composer Kurt Stenzel gives life to a retro-futuristic universe as fantastic as Jodorowsky’s own vision for his Dune–a film whose A-list cast would have included Salvador Dalí, Orson Welles, and Mick Jagger in starring roles and music by psychedelic prog-rockers Pink Floyd.

Building upon director Frank Pavich’s idea for a score with a 'Tangerine Dream-type feel,' Stenzel lays out a cosmic arsenal of analog synthesizers that would make any collector green at the gills: among other gems are a rare Moog Source, CZ-101s, and a Roland Juno 6, as well as unorthodox instruments like a toy Concertmate organ and a Nintendo DS. 'I also played guitar and did vocals,' says Stenzel, 'some chanting… and some screaming, which comes naturally to me.' The score also features narration by Jodorowsky himself. As Stenzel notes, 'Jodo’s voice is actually the soundtrack’s main musical instrument–listening to him was almost like hypnosis, like going to the guru every night.'

This highly-anticipated soundtrack LP was sequenced and mixed by Stenzel with the listener in mind and flows through a 'four-sides' LP approach. 'I wanted it to play like the records I grew up with, where every side was a journey.'

First time release
Liner notes by composer Kurt Stenzel
Original artwork by Nick Stewart Hoyle
2xLP housed in a deluxe gatefold Stoughton tip-on jacket
Includes download card for full album
LITA.net pre-order edition:
- 'Cosmic Swirl' Wax limited to 1,000 copies (2 per customer)
- Silver foil numbered jacket
- Includes folded 27″×40″ poster with artwork by Nick Stewart Hoyle"

Soundtrack Listing:

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An Interview with Barry Schrader

Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in.  New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process.  If you have anything you'd like to ask Barry, feel free to send it in to matrixsynth@gmail.com.  This is a rare opportunity for us to get insight on a significant bit of synthesizer history, specifically with early Buchla systems, and I'd like to thank Barry for this opportunity. Thank you Barry!

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EGP | Official Trailer (including demos)

Published on May 13, 2014 UVI Official·50 videos

"EGP, the most comprehensive electric grand piano instrument ever produced. Including both acoustic and electric versions of the CP-70 and several playing techniques, this hybrid grand piano instrument is capable of a wide range of sounds and precision, well beyond any existing libraries. By the renown sounds and software designer: UVI.

❐ Buy EGP : http://uvi.net/egp.html
❐ UVI Official website : http://www.uvi.net

Inspired by the famous stage electric grand piano series: Yamaha CP-60, CP-70 and CP-80, UVI EGP provides a comprehensive instrument including both acoustic and electric versions of the CP-70, 5 fully mixable channels of audio, 10 unique preparations, diverse effects and a wide range of professionally mastered presets. With a rich and colorful variety of sounds, EGP is a truly deep and accomplished virtual instrument, well beyond any electric piano you've tried before.

EGP evokes the renown sound of the CP-70 used by numerous famous artists such as Peter Gabriel, Stevie Wonder, Keith Emerson of ELP, Paul Jones of Led Zeppelin, Boston, Journey, Asia and Genesis, Keane and others. Introduced in the mid 70's, the Yamaha CP-60, CP-70 and CP-80 were developed for touring musicians, making use of electric amplification via. per-string piezo pickups similar to a guitar. Still used by many artists nowadays, the Yamaha CP sound remains distinct and unlike any other electric grand piano since.

To perfectly fit any of your mix, EGP has been recorded with unprecedented details to introduce 5 fully mixable channels of audio: electric, L/R and M/S mics. The level of each mic can be easily adjusted within an intuitively designed user interface. In addition both acoustic and electric sections have their own independent EQ, effects and dynamics such as acoustic reverb or electric pedals. An entire piano studio at your fingertips!

EGP also offers 10 unique preparation techniques such as brush, bow, ebow, fingers, pick, and stick. All those playing styles were recorded with the highest attention to detail, capturing round robins, release samples, sympathetic resonance and pedal noise. As a bonus we've included Wheel Strum, a strumming by the mod wheel allowing an original arpeggios playing mode. These multiple playing styles greatly extend the sonic capabilities of the EGP from pristine piano sounds to ambient soundscapes and everywhere in-between.

EGP is not a simple instrument by any standard, it's a deep and comprehensive archive of a classic instrument—a creative tool perfect for anyone looking to reproduce a sound from the past, explore new timbres or simply add a little magic to their arsenal.


UVI© Sounds & Software, an award-winning designer of virtual instrument software and sounds.
UVI strives to develop innovative, engaging and inspiring sound libraries that support and advance the craft of today's musicians, audio professionals and enthusiasts through high quality audio production software.
With a vast collection of sample library ranging from vintage digital synthesizers to virtual instruments tailored for different music genres, UVI sounds and software are crafted to deliver the finest experience possible, offering unique and inspiring palettes, the highest sound quality, efficient and reliable performance and masterfully designed user interfaces.
With over 10 years of experience in the music producing software industry, UVI has delivered the UVI Engine - a 64-bit hybrid synthesis, sampler and effects environment delivering breakthrough performance and an unprecedented feature set.
Leveraging a deep technology portfolio, extensive experience and a passion for sound, UVI continues to push forward - creating new and imaginative tools that both enable and inspire."