"Up for sale is my favorite Roland synth of the 70s era. It has all the raw tone of the System 100 with way more features and quite a stunning look. Check out the attached video of a quick demo of this actual SH5. It all works great and sounds great. Hard to find one fully functional and looking this good.. heck, hard to find at all. I found using this with ease and nothing that hindered use or performance. It always delivered what I needed in sessions. If I had to be REALLY picky.. it could use a spray of contact cleaner on a pot or two and on a rare occasion a key might double trigger (this era of roland synths is notorious for that) BUT as you can see and hear from the video, it's fine the way it is. I never found the need to detail it. Just stating for those that might be expecting MINT. Otherwise.. this is an amazing example of an SH5. Basses, leads, modulated madness.. it delivers."
"This is the exact drums Daft Punk sampled for Da Funk, J-Dilla Drums, and Elektron Sounds inside the Linn drum. I made the EPROMs using a Oberheim Prommer. It was not an easy task. But I took layered drums. Sampled them, turned them to binary, then program them for the Linn drum. I loved daft punk growing up. I’m from Detroit. I use to hang around J-Dilla at the time. I owned a Linn drum since I was a teenager. It was my dream to program sounds for a Linn drum. I spent thousands of hours programming a Linn drum and often times wondered how to make my Linn drum sound like daft punk. Well I did it. Inside of using a SP-1200, these are the sounds inside a Linn drum.
Kick and snare are the daft punk drums.
The hat is Machine drum.
Kicks from a machine drum are in the toms and congas.
The J Dilla claps and snares are the same exact method J Dilla would use on his Drums. After reading the book “dilla time” I was inspired to make the drums a little bit off. If you look at the actual original binary files of the Linn Drum on a spectral graph or analyze the way form, you will notice that the drums are not perfect. Prince always said you need air to make it an instrument so I gave the samples a little bit of room in the beginning so it kind of sounds off but it’s not off because you can program the timing with the pitch now exactly like a clap trap, which is ironic because that’s what I heard where the Drum clap originally came from.
"Please support my work on Patreon: / jayhosking A live synthesizer performance using only the MPC Key 37 G2.
To be clear: I bought this synth with my own money, thanks to the support of my Patreon community. So while I recognize that the following praise seems effusive, it's the truth.
I got into hardware through grooveboxes. I started with the Novation Circuit and got more complex from there. The groovebox—sequencer, multiple timbres of synth, drums, samples, and effects—is my happy place. And while many devices have been good, I've never found "the one", that one groovebox that does everything you want it to do. Until now, maybe.
I've played with MPCs quite a bit over the last few years, but this newest generation, and this model in particular, is the one. It's a combination of things: a mature platform with fast loading and workflow; every conceivable sound type I want, from synths to samples to piano; a robust collection of effects, with great reverbs, delays, and ways to mess up a sound; more tracks than I'll ever need for a song; a sequencer without the limitations of 64 or 128 steps; clip launching; simple audio recording in; auto-sampling to capture your own sounds; MIDI in and out via 5-pin DIN and USB; MIDI learn with peripheral MIDI controllers that works flawlessly; USB multi-track audio recording that just works without a hitch; so much more.
1. Introducing Thorus XT - Video credits: Anthony H. | Music credits: Théo G.
2. UVI Thorus XT | Overview - Video credits: Venus Theory
3. UVI Thorus XT | Showcase - Video credits: Théo G.
Discover Thorus XT, a state-of-the-art chorus effect offering the best of both digital and analog circuit-modeled techniques with up to 8 variable, fully continuous voices, and deeply shapable extended analog controls.
A deep, flexible, state-of-the-art digital chorus, Thorus has long been one of UVI's best-selling effects. Thorus XT offers a brand new take, driven by advanced DSP and joined by a second engine that faithfully models the analog bucket-brigade circuits that chorus was born on. Two worlds, one plugin, from brilliant shimmer to grainy vintage modulation, and everywhere in-between.
Your Sound, Your Way
Both digital and analog engines run on the same morphable 8-voice architecture and the same set of controls. Set your modulation once, switch engines, and hear the identical movement through two very different paths, keep whichever one best suits the material.
Two Engines, Unified Control
Cutting-edge DSP drives a variable chorus architecture with continuous and morphable voice control; sweeping voices results in the last voice fading in and out smoothly, with no stepping. Speed and Depth shape the modulation, Shape sets its waveform as sine or triangle, Edge dials feedback and color, and Stereo Mode places the image. Fewer voices give pronounced, identifiable modulation; more voices blur the line into a thick, immersive wash.
Digital - Clean, Precise, Transparent
The digital engine is the Thorus chorus you know and love, refined. Clean, precise, prized for its clarity, now with a continuously variable voice count. Every voice reads a single shared delay line at interpolated positions, for a crystalline, detailed sound. When clean isn't the objective, Quality becomes a band-limited sample-rate reducer delivering a downsampled, lo-fi edge that stays musical where it counts.
Analog - Warm, Colored, Alive
The analog engine is a faithful bucket-brigade chip emulation, found in classic hardware units like the Dimension D, and Juno-6. Where the digital engine is clean by design, Thorus XT’s analog engine gives you the natural imperfections of hardware: aliasing, resonance, pumping compression, hiss, per-voice variation—all fully shapable through an extended control set.
"Today, Elektron has released OS 1.4.0 for the Tonverk - adding Overbridge Multitrack Streaming, FX Swapping and more!
In this Video i show you how Overbridge Multitrack Streaming works at the moment (using Ableton Live) and i give you an Overview of other neat Features that they added in this OS Update."
Chapters:
00:00 - Intro
01:24 - Overbridge (Initial Multitrack Streaming explained)
07:36 - FX Swapping (How it works, What it's good for)
11:52 - Still no Update for the Subtracks :-(
12:34 - New Track Macros (Keytracking and Velocity)
12:59 - Resampling the Send-Tracks
15:22 - Conlusion (Outro)
"Time for a brand new Tonverk OS! 1.4.0 is available to download today, and adds Overbridge multistream functionality, additional options in each track’s modulation setup, pattern transpose, FX order swap, reload parameter page, copy, paste, and clear patterns in-pattern, filter and search in the Presets menu, and a whole load more features, improvements, and fixes."
Addtional details:
"Tonverk continues to grow, and with 1.4.0 it now gets Overbridge multitrack streaming. This new OS also adds more features on top of that, including additional options in each track’s modulation setup, pattern transpose in semitones, FX order swap, reload parameter page, and a whole load more features, improvements, and fixes.
"Shimmer Verb is a brand new reverb effect in 3rd Wave OS 2.0. Check out some of the sounds it's capable of in this demo performed by Christian Frentzen.
The idea behind a shimmer effect isn't new, but the way we've built ours gives you a lot of freedom to create and control inside the synthesizer. Most importantly, it sounds great without harshness or the need to EQ.
This Shimmer will give you the ability to shift the pitch in fractions of a semitone across a full two-octave range, from one octave down to one octave up, which means you're not limited to complete octave or semitone shifts. Dial in something in between, and you'll land on intervals that most shimmer effects can't reach, from lush and consonant to genuinely dissonant and unsettled, depending on where you land and how you play into it.
This track is made on a cloned Buchla 200 modular system and a series of looper modules to construct the music in real time
The Buchla 200 is probably the most advanced electronic music synthesis system ever conceived by a human mind. It has such depth and nuance only perhaps some far away alien civilisation could come close to matching its experimental sonic quality
You can watch the original performance here:
• Midsome - Live Buchla 200 Performance [posted here]
This video pays homage to another of my favourite science fiction illustrators H.R.Geiger, who was responsible for creating the incredible world of the Alien movie franchise, but actually, before that I was familiar with his work as a young boy growing up in the 1970s and owning the ELP album Brain Salad Surgery, the cover of which was designed by Geiger. Actually before I had the album I had the single of an exclusive BSS track on some kind of flexi-disk which had a mini version of the fold out artwork as featured on the album. Or maybe I dreamed that? I'll have to dig it out!
I have tried to bring his work to life in my own way by putting some of his images through the Memetune VideoLab...enjoy!"
"First, a very special thank you to Justin and the team at Resident Electronic Monthly (San Francisco) for capturing this performance. I truly appreciate this team of amazing musicians and artists. This video is an excerpt from my next solo album, which, unfortunately, I don't have a title for yet. I have been writing the music to a video I made up in Steilacoom, Washington, so I have opted to title this Saltar's Point for now. I'm hoping to wrap it up this year. I feel like this album will be quite a jump for me. I don't quite know what I could reference it to. Perhaps a minuscule nod to Enya, or Ray Lynch's Celestial Soda Pop. I am in contact with a local musician/engineer about possibly doing a Dolby Atmos release for this as well as a possible physical release. If you'd like to stay close and hear more about this as I work on completing this album, connect with me on Instagram.
I have been doing more and more video work using the program Touchdesigner. I'm still a novice, but it's incredibly fun to create 'digital things' that in some way feel organic and alive. Thanks again to Resident Monthly. If you're into electronic music and live in the Bay Area, come down to a future performance. They happen on the last Thursday of each Month.
Special thanks to:
Franck Martin
TanukiSpiderCat
Jah's Tin
Sycamore Willow
Here is Del's full description of the realization:"
"When I first encountered Norman Freund's score, I noticed the shapes were sketched quite roughly. In order to implement the score in a structured way, I made the decision to 'quantize' the original drawing to a grid. I hope I have suceeded in maintaining Norman's intent for the piece.
I decided on a grid of 64 'bars' at 120 bpm (each bar 2 seconds) Total time = 128 secs - 2:08
I identified common types of graphic entities in the score which would act in a similar sonic way and decided that there would be no implication of pitch in the score, just timing.
Colors were assigned to each type of graphic for visual and compositional reference: Red - vertical line with spiral top Light Blue - vertical line Pink - horizontal line Dark Blue - horizontal line with circle incorporating clockwise arrow indicator Orange - rounded rectangle Green - divergent lines (crescendo mark) and convergent lines (decrescendo mark)
Each entity in the score was recorded from a modular setup and arranged in the DAW (Reaper). The sound palette came from the various reels of the project iterations.
Below are descriptions of two different ways in which sounds were mapped to graphics: 1. The Green divergent/convergent lines are the most persistent entities in this score. They are treated algorithmically. Each green entity has a different splice from "12 string iteration 0 reel". The methodology was to speed up each splice in Morphagene forwards from 0 to 100% (Green light) precisely over the time specified in the quantized score by the divergent lines and then back to 0 in the same way as specified by the convergent lines. For this I researched and discovered the Rossum Control Forge and used this to apply the precise voltage over time. An interesting technique learned and likely not one I would have considered otherwise. 2. The Red shape is a composed (ie non-algorithmic) collage of the individual sounds from iteration 3.
Other modules used were QPAS, Wogglebug and Mordax Data."
"AD-202 is a single-oscillator monosynth in the small-silver-box tradition of the early 1980s. One VCO with saw, pulse, sub, and noise running into a 24 dB ladder filter, one envelope, one LFO, and very little else. Every control is on the front panel, there are no hidden pages of options, and there is exactly one path from a knob to a sound.
Under the vintage panel it is a thoroughly modern instrument. Mono or eight-voice poly, per-voice analog drift, a tempo-syncable LFO with a delayed onset, MPE, MTS-ESP microtuning, and a post-VCA colour section with pre-filter saturation, filter drive, distortion, and a tilt EQ. The vintage part is the ergonomics. The rest of it is not vintage at all.
Same as the rest of our catalog: Mac, Windows, Linux, and iOS. No DRM, no subscriptions, no dongles, perpetual license.
I just recently came accross this one and thought it was worth sharing, if anything for the nun with the SYNTHI below. It immediately reminded me of the Every Nun Needs a SYNTHI ads. According to the article that the image is from, they formed around 1981. The article is in French and has one NSFW (not safe for work) image of a breast - fair warning if you pop it up with someone else within eyesight: [French | Googlish]. The following is the bit pertinent to synths followed by a translation of the full article. You can find the release via BandCamp above or in the article from Born Bad Records. I also wanted to post this for the way the female singer enunciates those lyrics.
"While they started out like everyone else, playing flute and acoustic guitar and listening to King Crimson, the arrival of synthesizers on the European music scene completely redefined their direction: they cut their hair, donned ties, and replaced Indian tapestries with Venetian curtains. Kraftwerk had clearly had an influence. It was around an EMS AKS synthesizer, a Roland SH101, and a Roland TR808 drum machine that the four friends gathered in their home studio to compose the carefree and joyful electronic and exotic tunes that are the hallmark of Chacha Guitry. The group thus chose to climb the sunny side of New Wave, the one taken by the B-52's or Isabelle Antena, rather than its dark side, cluttered with the heirs of Joy Division. The boys programmed the machines, while the girls created minimalist, geometric costumes using whatever materials were at hand (paper rather than fabric). Together they immortalize their youth on Polaroid, take glue and scissors to assemble photomontages in the style of their Dadaist idols."
0:022 secondsGood morning. Hello everyone. Tom Horn, that is Tomasz Rożek. Greeting you from my
0:077 secondsmodest little studio. As you can see, behind me are two finished instruments. This
0:1313 secondsis the folding panel version, as you already know, the fixed panel version, and the third version, which is behind me, which is still being built. The enclosure, as you can see, is
0:2323 secondsalready finished, but this is the desktop version. I think it's a really nice one. It will be finished in about two weeks. And that's exactly what I wanted to
0:3131 secondstalk to you about, to tell you how things look at the moment, because I'm getting a lot of questions, a lot of emails and messages about when you'll be able to order
Tubbutec SH-1oh1 Editor for Roland SH-101 | Ableton Live Controller video upload by Studiomood
Studiomood has released SH-1oh1 Control, a Max for Live editor and MIDI controller for the Tubbutec SH-1oh1 upgrade installed in a Roland SH-101.
At the heart of the device is the Mood Engine, a 24-preset system designed for turning one sound into a whole collection of related variations. Inspired by the fast sound-variation workflow associated with the legendary AFX Mode, it encourages you to create a sound, copy it to the next preset, change a few parameters and keep moving.
Instead of treating presets as isolated patches, the Mood Engine makes them feel like different states of the same sound. Start with a bass sequence, copy it, open the filter, change the envelope, add an accent or push the extra LFO into filter FM territory. Within minutes, you can build a complete bank of connected variations and switch between them from Ableton Live or an external MIDI controller.
The video demonstrates exactly this Mood Engine workflow in action, moving through a series of connected SH-1oh1 sound variations and showing how a single starting point can evolve from preset to preset:
https://www.youtube.com/watch?v=-w1x0MWApas
This makes the modified SH-101 especially interesting for live performance, evolving sequences and fast studio experimentation. Presets can be selected with the arrow buttons, Random can generate an unexpected starting point, and Reset clears the current preset when you want to begin again.
Behind the Mood Engine is a complete software editor for all MIDI-controllable SH-1oh1 parameters. Cutoff, envelope amount, the additional filter ADSR, filter and volume accents, accent decay and the extra filter LFO are all available directly inside Ableton Live. The LFO offers coarse and fine rate control, covering everything from slow movement to extreme filter FM sounds.
Velocity can be mapped to 9 different targets: None, Cutoff, Volume Accent, Filter Accent, Accent Switch, Attack, Decay, Sustain and Release.
Clock sources for the Arpeggiator/Sequencer and Random LFO can be selected from internal LFO, external trigger input, MIDI clock and MIDI note. The corresponding clock dividers are also available directly from the Max for Live device.
Settings are stored with the Ableton Live project. When returning to a session, Send All transmits the current parameter values back to the modified SH-101, bringing the hardware and software back together without having to recreate the sound by hand.
SH-1oh1 Control turns the expanded architecture of the Tubbutec modification into a hands-on Ableton instrument, with the Mood Engine opening up a fast and playful way to explore how far a Roland SH-101 sound can be pushed.
Requirements Roland SH-101 with the Tubbutec SH-1oh1 hardware upgrade Ableton Live with Max for Live MIDI interface SH-1oh1 Control is available from Studiomood for €19.95 including VAT.
"Please support my work on Patreon: / jayhosking A live synthesizer jam performed entirely on hardware.
I enjoyed having the Vongon Solarfaze and Polyphrase on the table for my last jam and left them there on a whim. That was the starting point. Next, I needed to run a synth through them, so I chose the Novation Circuit Monostation. I borrowed the CMS from a friend and had been looking to make some music with it; my opinion is that it's an extremely underrated synth that can do way more than people recognized at the time. And once I had its sequencer running and a bassline queued up, I could hear more of what was needed.
I also recently got a couple of Stylophones, because they are extremely affordable—the S-1 was something like $60 Canadian—and because I like the sound of them. Using the CMS's CV outputs, I sent a second set of sequences to the Gen X-2, which has CV input. I also took advantage of the Gen X-2's beautiful internal delay for cascading performances. The S-1 ended up my improv melody device for the last third of the song.
At this point, I needed reverb but didn't want to add multiple reverb boxes, so I added the Jellymix to act as stereo send to all the synths. For reverb, I chose the Swells, because I currently have it in a case with the Fieldtone Weaver and Qu-Bit Stardust, which can add a lot to a mix through stereo sample mangling. The Stardust is playing something that came from the CMS into Weaver; the Weaver is playing a snippet of my voice.
By this point, I could hear the full song, and it was just a matter of adding a couple of sequences and performing the whole thing. Pretty fun to see how wanting to explore a bit of hardware can lead to a finished song.
Performed and recorded live to a stereo output from the Jellymix, with EQ, compression, and limiting on the master.
As one’s life winds its way through the corridors of infinite time and space, I find myself relocated and reset, so to speak, in a place many miles and many moons from the West Country—my former domain—in one of the shires just north of our splendid capital
And I find myself once again following my musical instincts down yet more labyrinthine sonic rabbit holes and through yet more labyrinthine electronic circuit boards
On this outing I decided to try my hand at live sound-on-sound improvisational looping, a method of composition I find particularly rewarding when using relatively unwieldy modular synthesiser systems. The act of looping provides a convenient way of setting down short compositions in real time, allowing simple melodic studies to be created, riddles, if you will, to be solved whilst sitting at the instrument’s console and engaging with the various dials and switches
The core device used on this recording is what I call the Concrete Box - an assortment of Eurorack modules I put together consisting of four loopers, two delays, two digital reverbs, two compressors and various mixers and utility units. Using this box of tricks I was able to run sounds around upon themselves, creating the pieces you hear on this album
Not all tracks were made this way, some took a more conventional path, namely those which made use of polyphonic keyboard synthesisers (the Ensoniq Fizmo, the Crumar DS2) where I simply recorded a few layers of sound one upon the other
And on one track I made use of a rather special device called the Tempera, alongside a regular acoustic piano. The device is able to take stereo recordings and resynthesise them using granular synthesis. You are then able to layer them and manipulate the sound in a great variety of ways. Practical applications of granular synthesis have been around since the mid 1990s, but it is only now, it seems, that dedicated hardware units are beginning to appear on the market, and they seem to be taking hold as an extremely interesting synthesis path
And so it is that these riddles I have been working on have been neatly packaged up for you in this second volume, itself a kind of evolution of the idea presented in the first of the series last year. And who knows where I will find myself in another year’s time - hopefully still diving down sonic rabbit holes and exploring labyrinthine electronic circuits
Synthesisers and recording equipment used on this album:
ARP 2500
Buchla 100
Buchla 200 (cloned)
Roland System 100
Crumar DS2
Ensoniq Fizmo
Tempera Granular System
Yamaha G1 Piano
Eurorack ‘Concrete Box’
Dynacord VRS23 Vertical Reverberation System
The various track titles depict the main instrument used on each track
Released August 7th 2026
Written, recorded and mixed by Benge (B.D.Edwards) at Memetune Studios, England
Design and video work by Benge, made at the Memetune Video Lab
(c)+(p) 2026 Memetune Recordings (Memesongs) all rights reserved"
"Gear featured in this patch:
Reliq hybrid control surface/sequencer/mixer
Erica Synths Black Wavetable VCO
Erica Synths PolyVCF (multi-mode filter)
[Knobula] Drum Farm percussion module"
"Reliq review & full demo: the hybrid control surface that's a 16x16 analog patch matrix, mixer, sequencer and two-way Ableton/Bitwig controller all in one box. Here's exactly how I use it in my rig.
Reliq calls itself a "hybrid control surface" because it's really four or more machines built into one unit: a 16-in/16-out analog audio & CV patch matrix, a mixer, a deep polyphonic sequencer with per-track LFOs and envelopes, and two-way DAW integration with Ableton Live and Bitwig. On top of that there's Song Mode, which lets you snapshot entire patch/matrix/sequencer states into blocks and chain them together for a full arrangement.
Rather than trying to cover every single feature (it's genuinely as deep as trying to demo all of Ableton or Logic in one video, and it keeps getting free updates - v1.8 just dropped), I'm showing you how I've actually used it to build the patch and track in this video, so you can see how the pieces fit together in a real-world workflow.
Timestamps: 0:00 What is Reliq? 2:46 How I'm approaching this review 3:24 Hardware tour - screen, encoders, joystick, I/O 6:11 The 16x16 patch matrix 9:28 The mixer 11:00 The sequencer (tracks, automation, ratchets, probability) 17:08 Chord mode deep dive 21:00 Clip follow-up modes 21:38 LFOs & envelopes (128 per track) 24:41 DAW control mode (Ableton/Bitwig integration) 28:50 Song mode - blocks & snapshots 33:26 Settings menu 35:09 Full Demo Performance with Description"
The first time I heard about BALSAM was when I was writing a review for a blog about an amazing record by an artist called Chorusing. On that record I heard absolutely gorgeous, slowly drifting synth tones, which I later found out had been made with the artist's home-built synthesiser, beautifully named BALSAM.
A little later (I think), I found out that the synth was being further developed for release, and I came across its website, which featured the most beautiful music. The warm tones, slowly gliding from note to note and moving through the stereo field, were absolutely mesmerising. I kept coming back to the website just to listen to this gorgeous music. That was the moment it became a dream of mine to play this synth, if it were ever actually released.
Fast forward a year or four, and here it is! I'm so happy to have this synth in my studio. It's been a constant source of inspiration from the moment I took it out of the box.
In a nutshell, BALSAM is an eight-voice hybrid synth (VA with analogue VCAs and an analogue stereo filter at the end of the signal chain), with eight buttons and sliders instead of a keyboard. You pick a tuning from eight banks of tunings and use the buttons to trigger the voices. The real superpower lies in the sliders and a unique feature called viscosity. Each voice is assigned a pair of notes, and the sliders let you glide between them. Viscosity acts a bit like a slew limiter, slowing down the movement of the sliders. What makes it truly special is that you can set different viscosity amounts for each of BALSAM's two oscillators, making them glide to their new notes at different rates. Hearing BALSAM slowly detune and gradually find its way back to target notes and intervals is unlike anything I've experienced with any other synth.
BALSAM's the perfect combination of familiar subtractive synthesis - so familiar that you don't even need presets - and a truly unique way of triggering and gliding between notes.
This first piece is full of slowly drifting sawtooth pads with stacked fifths in the oscillators, along with some LFO movement on the filters that speeds up over time because the LFO rate is controlled by the modulation envelope.
There's a lot more to explore with BALSAM, including its second superpower, which turns the sliders into an amazing polyrhythmic sequencer. I'll definitely be exploring that in future videos.
"I’ve been rejigging the Buchla 200 cabinet today, as I just picked up some new cloney modules from a cool guy named Stephen in Farringdon. I got a Verbos pulser, a completely bonkers Clouds derivative live granulating module, and the excellent 295 Comb Filter, which is a really nice way of getting your hands dirty when it comes to manipulating sound on the Buchla. A bit like beach combing but it’s Buchla comb-filtering. Buch Combing
This is a live performance of some experiments in sound mangling, so don’t expect any nice melodies or beatz"
"Please support my work on Patreon: / jayhosking
A live synthesizer jam performed with the Redshift 6 at the centre. Percussion added afterward in the box.
Fair warning: both Supercritical and MAS Distribution sent along their respective gear (the Redshift 6, and the Solarfaze/Polyphrase, respectively) for free. Take that as you will. Neither of them explicitly asked me to make a video with the gear, although I'm sure that was the point, right? But in both cases, the gear they sent along was a joy to play, which is why they're here.
I ended up really enjoying the Redshift 6. It's ostensibly analog where it counts—6 DCOs and VCFs—but it's also really clean and precise sounding, giving it a digital sheen. That's somewhat less my thing. However, it has a few things to really give it personality: multi-timbrality, up to a different timbre for each of the six voices; a Character parameter which vastly can change the sound of a voice, its filter and mixing and more; a great built-in effects suite (can only run one at a time); three pairs of stereo outputs to run your timbres separately (as here); easy-to-setup macro knobs for live performing using multiple timbres, all from one page; and a built-in sequencer for getting basic ideas onto the table without outside help. In many respects, it feels like an iteration on some of the ideas from the Elektron Analog Four, another synth I really love, only with enough voices to create a pad, arp, and drone at the same time.
Here, I run one timbre, a constant note, into the Vongon Solarfaze, which adds chorus and then drive/saturation. The second timbre, a single-note sequence, runs to the Vongon Polyphrase, adding delay. Both of these pedals impressed me way more than I had expected; there is something extremely performable about the Polyphrase that makes me want to get it on the table again straight away. And then for the third timbre, the pad, I run it direct out from the Redshift 6, using the synth's built-in reverb. I'm pretty picky on reverb these days and I think it sounds awesome.
With the macro knob opening all filters at once (to varying degrees), this live performance got huge. I had originally intended it to be only the synth, but once I heard the final performance, and how much it reminded me of a soundtrack cue, I knew I had to add orchestral percussion. I built the percussion out of modified samples from the Reason Studios loop library.
Altogether, it created an extremely cinematic performance and I'm very happy with the musical results. I was having such a good time with it that I'm excited to get back to the studio today and explore a little more. Thanks for listening.
"Five new effects, deeper modulation, external sidechain control, clocked Stretch parameters, multiple themes, and more.
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Over the last several updates, Tape Fiasco has grown into an even deeper sound-design effect with more ways to shape, animate, destroy, and rhythmically transform your audio.
Since v660, it has gained five completely new effects, deeper modulation, external sidechain control, clocked Stretch parameters, multiple themes, more distortion controls, better readability, improved Squash effect, better readability, and a much easier way to stay up to date.
