"The Moog modular was one of the first commercially available synthesizers. Sold in different configurations, the Moog IIIP consisted of 3 portable cabinets. Containing ten (!) 901 series oscillators, the best lowpass and highpass filters in the biz, and a magical spring reverb that makes things sound more organic, we can't think of any other synth that matches the warmth and fatness of this genuine 1969 vintage Moog modular. Wendy Carlos’s classic album Switched on Bach and I Feel Love by Donna Summer were recorded on similar Moog modular systems. We just finished refurbishing this gorgeous example (assuming we don’t find any problems as we continue to test it). Restoration was done in stages and took many months to complete. Total tech time spent was around 85 hours. We hit a snag when some parts we ordered turned out to be fakes - a sadly common occurrence these days - but we eventually managed to track down some legit replacements. We originally planned to sell this system, but after spending some time patching it, we don’t know if we can let this one go! If this system was set up in a commercial studio here in New York City where it was available for use, would you be interested? If so, please email us. Or, make us a serious offer and if it's tempting enough, maybe we'll sell it. We'd also consider trades for similar vintage modular systems (Roland System 700, Buchla 200, Polyfusion, Emu Modular, ARP 2500, etc). We have a smaller (single cabinet) real vintage Moog Model 15 that's ready for sale.
We buy sell trade refurbish vintage synths and electronic musical instruments.
In the modular world, it's Simply a delay for CV and GATE. But unlike an audio delay (that records audio at 'audio rate') the CANON records data only according to a clock signal. With the CANON module, you can delay until 16 steps.
The CANON can delay one GATE and one CV (+1 CV with an extension). Of course with CV controle of the number of steps. With the unique knob: Nb Steps.
To be more playable, there are two more functions: Reset (RST), to clear the memory, that can be useful to not let the sequence running if you don't want that. Enable (EN). In this case, the input is ignored. The module will works like a small sequence memory of 16 steps. The Nb Steps knobs will controle the duration of the loop.
To resume, The module needs a Clock signal (CLK) A CV and a GATE input. And you will have the same things as the input, shifted ! Then a Reset button + Jack to clear the memory. (RST) And a Enable button + Jack to freeze the memory. (EN)
With an external module, like the Mult., you can delay one more CV.
Typical use: Building musical canon. Save and play with the sequence in the memory. creative re-construction of sequence."
0:00 Meet Sonora
0:09 What's Sonora?
1:15 Headphones on!
1:30 12 pre-panned inputs summing mixer
1:59 Dive into stereophony possibilities
4:18 Pro Line outputs
4:28 Headphones output and loudness indicators
4:35 LED meter and soft clipping limiter circuit
4:53 Why Sonora?
5:15 Ciao!
"Sonora is a 6HP, skiff friendly, spectral mixing output module designed to be the ultimate sound stage of your eurorack setup.
A place where all your mixes meet and find a stereophonic solution for your final track thanks to its twelve fixed panning inputs that allow you to give each track its own space and importance in the stereo field.
While being a 12 inputs summing mixer, Sonora also features a LED meter, a soft clipping limiter circuit at the output stage, a headphone output section with loudness indicators and 3.5mm pro line output jacks.
"Clatters Machines announces availability of Sonora spectral mixing output module as ultimate sound stage for Eurorack setups
SAN BENEDETTO DEL TRONTO, ITALY: small town lovers of music and electronic instruments Clatters Machines is proud to announce availability of its Sonora spectral mixing output module — aimed at acting as the ultimate sound stage for Eurorack setups by being marketed as a place where all of a user’s mixes meet to find a stereophonic solution for the final track, thanks to 12 fixed panning inputs that allow each track to breathe in its own space while also determining its importance in the stereo field — as of May 23…
Translated to generally meaning sound (in English), sonora is actually an Italian feminine adjective that stands for loud, resonant, ringing, and sonic — depending on the context in which it is used; however, in the context of Sonora being aimed at acting as the ultimate sound stage for Eurorack setups as Clatters Machines’ latest module, who better, then, to introduce it than company Co-founder, engineer, designer Michelangelo Nasso. “A compact, final sound stage module was an obvious — and needed — choice for us,” he begins, before briefly detailing how it came into being: “As musicians, we’ve always struggled with headphone/output/mixing modules. Most modules in this field take up way too much space inside a case — space that we’d prefer to fill with other effects, sound sources, and utilities. And although some other output modules are super-small, which is nice, they usually lack features, so we tried to solve this problem with what we think is the perfect combination of what’s already out there.”
Think 12 pre-panned audio inputs — including two hard-left inputs, two hard-right inputs, two mid-left inputs, two mid-right inputs, one low-left input, one low-right input, and two mono inputs. “So Sonora has 12 pre-panned audio inputs, which is great if you’re composing with multiple sound sources,” says Michelangelo Nasso, continuing: “We came up with the idea of additionally assigning a fixed panning space to each input, so the possibility of creating a perfectly stereo balanced final track is pretty straightforward.”
Further features abound, as Michelangelo Nasso notes: “Once we created what is basically a spectral 12-input summing mixer, we decided to go all in and added all the features we think are a must for an end-of-chain module, such as a 3.5mm stereo HEADPHONES socket, with dedicated volume control and stereo LED loudness indicators; 3.5mm pro LINE outputs; stereo LED meter, with a 0dB reference indicator; and a soft clipping limiter circuit, which we believe is always handy, both to protect your gear and spice things up!”
And as if that is not an exciting enough prospect in itself, all those features fit neatly into a 6HP-wide module with an anodised brush aluminium front panel that is available in either black or silver, so standing out from the sound of the crowd with what is surely the ultimate sound stage for a Eurorack setup also applies to what a Sonora purchaser prefers that proposition to look like.
Sonora is available worldwide — with a choice of silver- or black-coloured aluminium front panels — from Clatters Machines’ growing global network of retailers (https://clattersmachines.com/retailers-3/) or directly via its online Store (https://clattersmachines.com/shop/) for €245.00 EUR (plus VAT).
For more in-depth information, please visit the dedicated Sonora webpage here: https://clattersmachines.com/prodotto/sonora/"
"I managed to set up the Melbourne Instruments Roto-Control with the Buchla. No mean feat! With the addition of an Endorphines Shuttle and a Goma voltage processor, plus a few jack to banana jumblers made by CGP, I can get up to 16 channels of cv control of Buchla parameters and other things like the ALM MFX here. These can then be recorded into the Roto Control (see the moving knobs!) or into the computer. Whatever, its cool to see them playing nicely together"
"I've been trying to see what sequencers to keep. Obviously the Spectralis stays, but I kept running into roadblocks with the Cirklon so it was something I needed to write a track with. I did the same with the Squarp Pyramid, but I got stuck working through it. I'm starting to get the hang of the Cirklon though. Although it does often take a few extra button presses to do things I think should be easy, I've figured out other ways to do what I want too. I'll try again with the Pyramid, but most likely that one will be going away.
Sequentix Cirklon 2 - sequencing
Moog Minimoog - bass
DSI Prophet 12 - bell/synth tone
Kawai SX-240 - pads
Clavia Nord Drum 2 - drums
Native Instruments Raum for reverb"
"PTNSHIFT is a generative music performance instrument that combines the deep sonic universe of a modular synth with DJ-style interactions like pattern-launching, mixing, blending and FX.
COMPATIBILITY UPDATE: The companion app now fully supports Windows and MacOS. If you have an Ableton Push 3, Niklas and I would love to hear from you so we can test support! Please DM me on Patreon."
PTNSHIFT Generative Music Performer: First Look and Deep Dive
"I was considering selling the Minimoog. Kept talking to friends about how I just didn't like it. I don't know why, I guess maybe it was like with the Prophet 10, where it's just a lot of money and it doesn't really seem to do anything that much better than what I already have. One of my friends said 'Well, have you tried sequencing it?' And no... I hadn't. I got the Minimoog when one of my cats died, then I rehomed my dog, and then my mom died. The whole next year (2024) I spent scanning photos in of my parent's. Only now have I started to get back into things. Well, I decided to try it out and wow, I really enjoyed it - the Minimoog sounds pretty amazing. So this is my first track with it sequenced.
I'm also working on trying to get more proficient with the Cirklon, and I've gotten a little hold on using it.
0:00 Manis into Desmodus Versio
1:09 Hello Batverb
1:55 Infinite Footswitch
3:00 Doom and Shimmer
3:42 Grit Distortion
5:18 Adding in BIA and Debel
"Check out POB's dark and ethereal modular synth set putting the Manis voice into Desmodus Versio. After patching through Nive Grad to change levels, our angry signal gets to Batverb, our stereo tail generator.
Voice 1: Manis Iteritas Alia, sequenced by Gamut Repetitor generative sequencer, going through Desmodus Versio, before being sent through Nive Grad to Batverb.
Voice 2: Debel Iteritas Alia, through Roucha Legio stereo filter, then through Fala Versio, which is being LFO-modulated by Opp Ned.
Voice 3: Basimilus Iteritas Alia, being sequenced by Bin Seq.
Clocked with Horologic Solum.
Modules:
Nive Grad
Horologic Solum
Gamut Repetitor
Debel Iteritas Alia
Roucha Legio
Fala Versio
Muta Jovis
Desmodus Versio
Basimilus Iteritas Alia
Manis Iteritas Alia
Opp Ned
Bin Seq
Xer Dualis
If you’re a fan of our Eurorack products, you may notice some similarities between Batverb and Desmodus Versio. And it’s true: they share some similarly named controls, and a lot of their respective inspiration came from the same place. However, Batverb shares none of its code with Desmodus. It was completely written from the ground up as an entirely new product.
We’re close to Desmodus’s five-year anniversary, and in that time we’ve learned a lot about reverb. Desmodus is still one of our favorite products we’ve ever released, but the knowledge we’ve gained allowed us to design Batverb to work particularly well with dynamic, polyphonic instruments like guitars as well as synths and the occasional saxophone. One of the first tests we did in early Batverb R&D was to plug a guitar into Desmodus Versio. It sounded nice, but, just like Desmodus was designed to play off of Eurorack’s strengths, we knew we wanted things to be different for a guitar-focussed product.
Listen to Batverb stereo reverb pedal with modular and hardware synths: • Listen to Batverb stereo reverb pedal... [2nd video here]
One major change between the products is that Batverb uses no delay-line modulation, resulting in a sound that’s more transparent – if you want it to be. Timbre shaping is done with five parameters: Hi Pass and Lo Pass allow you to filter the reverb tail into whatever space you’d like it to fill, Doom and Shimmer add low- and high-end content, and Grit makes things as clean or crunchy as you’d like.
"D2MS (Drums 2 Midi Synths, Samplers, Sequencers…Something) is an Augmented Drumming script for the Monome Norns platform.
Born of an online collaboration between two Lines Forum (https://llllllll.co/) users phillwilson (MyOneManBand) and Illges.
D2MS is a sandbox environment for taking the velocity and gestural data from regular drum triggers, drum pads and e-drums. It allows drummers to use their regular playing to drive sequences of notes and execute a huge range of performance altering functions.
D2MS was built from the ground up with improvisation in mind, so there are “quick creation” features all over it, to randomise and remix midi data live.
Users can play a 'full band' performance from behind the drums and all editing and set design can be handled through a custom layout on the Norns Grid interface.
Key Features
· Use up to 16 inputs (incoming midi notes from pads, triggers etc)
· Each input can control up to 5 machine layers (MIDI note driving units) and 5 Trig Layers (utilities that modify a performance)
· Over 10 Machine types including;
Basic –For playing melodies
Riff – Ideal for bass-lines
Chord – Great for pads
Fixed – For non-chromatic samples and percussion
Strum – A semi-manual arpeggios
Stack – A rotating chord pack
…And many more
· Over 12 Trig Types including;
Conductor – To move between patterns and change instruments
Direction – To change playback order
Fill - To randomize note sequences
CC – To turn things such as Midi FX on and off dynamically
Gears – To create cascades of movement
Batverb is the stereo reverb that dreams are made of: less of a room simulator and more of a tail generating pedal, Batverb is an instrument in its own right.
Taking inspiration from our popular tail-generating modules, Batverb brings reverberation and delay to a whole new level with extensive control of timbre, echoes, and dynamics.
Start by setting a predelay time and adjusting Regen to set the length of the tail, from a short slapback-style echo to an infinite wall of reverberation. A variety of unique controls make Batverb sing in any signal chain:
Doom adds in chaotic suboctaves, and Shimmer brings in haunting overtones. With each on its own control, go wild and have both at the same time!
Low and high damping settings for the reverb tank
Add filtering and harmonics to reverb tails
Built-in saturation can apply to only the wet signal or the whole output Includes onboard dry/wet Blend control and input- and output-gain parameters
Unique Duck switch controls the reverb’s behavior: duck out of the way of an input signal, or match the dynamics of your playing, similar to a gated reverb
Create instant atmospheres with reverb-freezing Hold footswitch Route the expression input can to any parameter on the pedal
Store and recall 16 different presets and recall them in response to MIDI program-change messages.
Exploring and sharing engaging ideas in sound, music, and synthesis • Eurorack, 5U • Guitar Pedals • VST, AU, AAX plugins • Reason Rack Extensions"
Press release follows:
Noise Engineering announces Batverb, an experimental reverb, delay, and infinite-tail generator
Los Angeles, CA — Noise Engineering, known for their expansive selection of synthesizer effects and sound sources, announces Batverb, a distinctive stereo reverb with a twist.
Noise Engineering’s take on reverb has always been innovative, creating effects that are as much instruments as they are processors. Batverb is no exception: parameters allow the resulting effects to morph organically from slapback delays to infinite reverb tails.
“Batverb was inspired by our Desmodus Versio module, but when we tried to bring the Desmodus experience to guitar, we realized quickly that we would need to rethink the approach. Batverb shares concepts with Desmodus but shares zero code: the entire thing was redesigned from the ground up, with the dynamics and tonality of guitar at the forefront,” said Stephen McCaul, Chief Noisemaker at Noise Engineering. Kris Kaiser who is the Doer of Many Things at the small company added, “Working with guitar was key, but what sounds great on guitar also works really well for loads of other instruments.” Indeed, Batverb’s stereo I/O and MIDI integration make it a perfect choice for a multitude of instruments.
Kaiser continued, “I like to say Batverb isn’t your father’s reverb because it has such unique features.” She’s not wrong. Along with predelay/delay Time and Regen controls, Batverb includes a number of parameters for shaping the tone of the reverb itself. The Grit switch adds a unique harmonic distortion to the tail or the whole mix, and the Doom and Shimmer controls add in subharmonics and overtones. Batverb also has onboard adjustable highpass and lowpass filters to shape the tone to taste.
Batverb’s configurable Bypass footswitch can cut the reverb tail immediately, or simply mute the input to the reverb processor, allowing the tail to ring out while you play. The Infinite footswitch mutes the input to the reverb tank while maximizing the feedback for an infinite atmosphere.
The innovative Duck switch uses the dynamics of your playing to shape the reverb tail. Use the right setting to duck the reverb out of the way of your guitar’s tone, or the left setting to make the reverb’s dynamics match your guitar’s.
Batverb also stores/recalls up to 16 presets with MIDI Program Change messages. Batverb features a convenient MIDI thru jack, so it’s easy to patch into your MIDI control chain. In addition, all parameters can also be controlled via MIDI for automation and remote control from a DAW or configurable controllers.
Noise Engineering is a member of 1% for the Planet and has been donating a percentage of all sales to environmental conservation. Proceeds from Batverb will benefit the organization Bat Conservation International.
Batverb is available for preorder with MSRP of $499. It starts shipping March 13 from noiseengineering.us and retailers worldwide.
Batverb was designed and built in sunny Southern California.
"Too many things to describe. Too many things pointing to a future of horrors.
Rhodes Electric Piano with Fractal Audio FM3 + looping
Moog Minimoog with Strymon El Cap
Native Instruments Raum for reverb
KDEnlive for video editing
Reaper DAW for audio editing
Moved over to Linux"
"Arturia just released the latest version of its flagship all-in-one software synth for modern producers.
When Arturia set out to create Pigments, the goal was ambitious yet simple: to design a synthesizer that would inspire creativity and redefine the boundaries of modern sound design. It was born out of a need to merge traditional synthesis paradigms with the latest innovation, and has evolved into one of the most versatile and intuitive software synthesizers available.
With each iteration, Pigments has grown alongside its community, empowering sound designers, producers, and composers to craft everything from intricate textures to explosive soundscapes. Today, as we unveil Pigments 6, this evolution reaches a new zenith, reaffirming Arturia’s mission to deliver a synthesizer as innovative as the artists who use it....
With Pigments 6, users can explore the new Modal Engine, new filters, a brand-new vocoder effect, enhanced granular functionality, fresh modulation possibilities, and a host of additional improvements – all designed to take multi-engine sound design to new heights.
Existing users can update Pigments for free and access an introductory offer on Explorations preset bundles. If you’re new to Pigments, you can make the most of an introductory price and discount on these expansions."
Arturia Pigments 6: New modal engine, voice features and more!
"We take a detailed look at the new features in Arturia Pigments version 6. This is a major release that introduces the new modal engine that models the behavior of acoustic instruments and sound sources; the vocoder effect; the cluster and lo-fi filters, and new modulation sources.
00:00 Introduction
00:28 The Modal Engine
08:43 Modulating the Modal Engine, and the Voice Modulator
11:17 The Cluster Filters
14:29 Lo-Fi Filter
16:10 The Vocoder
19:08 Envelope Follower
21:09 Factory Presets
31:27 Conclusion"
ARTURIA PIGMENTS 6 - First Look & Top New Features
"Arturia Pigments 6 π₯ received a major update, introducing the Modal engine loved by Minifreak and Microfreak users. Now, there are more settings and expanded possibilities for physical modeling. It’s particularly great for creating mystical bells.
I also really enjoyed the new Lo-Fi Filter, especially when paired with Jitter.
Among other things: a vocoder, a new modulator, filters, an Envelope Follower, and various interface improvements.
And, as usual, 100 new presets were added as a nice bonus, showcasing the new features of version 6. In this video, I'll walk you through my favorite sounds.
"This is my first sound bank I designed for Pigments.
The sounds that you will hear, are single sounds, directly recorded from Pigments, without any additional processing.
Enjoy
Although it may appear similar to the classics XBASE 09, 999 and 888, the ALPHA BASE has an entirely new design under the hood. We have put in the concentrated know-how of the Jomox drum machines and of our synths of the past 20 years. We have simplified some things, but also added new components or have combined them new. The outcome is the best sounding and most versatile drum machine that Jomox has ever built."
"You have never heard a sample library like this before. Instant, Cure, Smiths, Cocteau, Lanois, Eno, Edge, Steve Reich vs Pat Metheny under your fingertips. An homage to great British guitar beds from shoe gaze to stinking student union bars in the north of England to the pristine layers of Reich’s Electric Counterpoint. Construct endless layers of interweaved guitar parts that become a highly controllable sonic weapon that goes from elegant to pure filth in no less than a turn of a dial.
Join the minds (and fingers) behind this; Christian Henson and Theo Le Derf on the beginning of your Hive journey. This is the gift we all wanted this Christmas."
Press release follows:
EDINBURGH, UK: The Crow Hill Company is proud to announce availability of FILTH - GUITAR HIVE — heading up its FILTH sub-range of products produced and recorded at the Annex in Edinburgh, Scotland, its self-styled safe house packed with vintage equipment, rarified instruments, synths, processing, and potential, with the main emphasis being on creating more experimental sample projects that think out of the box and are the very antithesis of virtual instruments; in this case, guitar performances on a limited-edition Fender Telecaster by Theo Le Derf, D.I. (Direct Injection) recorded via a pristine Thermionic Culture The Rooster Valve pre-amp with EQ & attitude and mixed through countless processors to give users control over the uncontrollable, ultimately providing what all at the music-making community tools-maker collectively yearn for in the process... utter filth — as of December 18…
Now knowing what FILTH - GUITAR HIVE is positioned as being, best to take a function-highlighting, whistle-stop tour of its clearly considered UI (User Interface) implemented to take that mission statement to the musical masses, filthy or otherwise. On the face of it, the front panel-dominating ‘Obutsu!’ is basically a ‘filth’ dial, allowing users to effortlessly transform their sound with three simultaneous signals — from tasteful and pure D.I. to a crunchy deluxe amplifier, all the way to overdriven feedback and tempo-synced tremolo; SHIMMER is a dual-direction granular pitch shift fed into a massive reverb chamber, creating a cascading, shimmering veil of tone; DRIVE is an unmistakably distorted, crunchy signal, modelled after a tube amp that has been utterly misused; ECHO is a tape-based, multi-tap echo/delay that syncs to the host tempo — an associated speed control determines what subdivision of the beat the repeats play at; and SPLOSH is a suitably reasonable decaying reverb for anyone’s roomy needs.
"This is a first look at Scapeshift, a new Reaktor 6 ensemble from Tim Exile - it produces music & sounds generatively (ie: not AI), which you can control as little or much as you want. I'll introduce it, then I'll just jam it.
BTW - this is running on a Mac Mini M1 Late 2020 (the base power M1). The Reaktor CPU indicator is declaring 37% on this, it's quite intensive! I've only tried to run this standalone. Tim gave me a copy of Scapeshift to see what I thought, I decided to make this video to show you it. Tim's had a hell of a year with cancer, bereavement and bankruptcy following the end of the brilliant Endlesss.
SCAPESHIFT LINKS (Not affiliate links)
▶︎ Buy Scapeshift and support Tim & future development: / shop"
CHAPTERS
00:00 Explaining the Idea
6:57 The Sequencer
9:13 Jamming Scapeshift Live
20:20 Oh!
Scapeshift is a generative groovebox and sequencer. I started building it in a hospital bed as a tool to soundtrack videos. I was documenting my recovery from major cancer surgery and I wanted a tool that would be fast and flexible and output ready-mixed music.
But I’ve ended up using it for way more than that. It’s become an inspiration machine that can take me all the way to a finished track. I’ve already written and released a full EP with it. Right now I’m listening to it in Wander mode, getting my mind melted as it weaves through continuous variations.
At its heart, it’s a machine designed for evolving, morphing and cross-pollinating rhythms, melodies and textures. The results can stand alone as finished tracks or be used to complement a production in your DAW or DAWless setup.
Unlike your DAW, which reads out static sequence data, everything Scapeshift generates is controlled by continuously adjustable parameters. It can do some cool things your DAW can’t. You can morph continually between two completely different patterns, cross-breed multiple patterns or create themes to generate infinite variations on a style.
It comes with 12 themes which get you started with one click. It can feel a bit like using AI, but unlike AI you can then precisely tweak the parameters of what it generates and make it your own. And it does all of this without using gigawatts of power and stolen data.
It’s got a full suite of sound engines: 5 drum synths, two monosynths, a polysynth, a resonator, a noise generator and FX. It’s also got a multiband mixing and mastering section so it outputs audio that’s ready to go wherever you want your music to go.
Scapeshift is available from my Patreon store for $59 + tax.
You get a 50% discount if you support my “Adventurer” tier. Scapeshift is my first step on an exploration into building and interacting with a new type of musical system. It's an ongoing adventure which I would love you to join me on.
I’m also rebuilding after a rough year. What I yearn for more than anything is some stability. Your ongoing support will be a huge help towards a sustainable recovery for me and my family. I want to build a village of curious players, makers and tinkerers and I would love for you to come with me on this adventure.
You’ll need a license for Native Instruments Reaktor to run Scapeshift without limitations. If you have Native Instruments’ Komplete bundle you will have this already. You can run Scapeshift in the free Reaktor Player but it will time out after 30 minutes and you won’t be able to save your work.
In terms of system requirements, the more recent your system the better. Scapeshift takes ~35% of a single core of my M2 Max Macbook Pro and ~70% of one core of my 2016 Intel Macbook Pro. A buffer size of at least 512 samples is recommended as Scapeshift does a lot of realtime event processing. This can cause clicks at lower buffer sizes. It’s recommended to run Scapeshift in Reaktor standalone. Most people have had success running it as a VST or AU plugin inside a DAW but some people have reported difficulties on older machines."
"Find out what’s new in the latest gen of our beat making and music production software. The package comes with Maschine Central, a brand-new library packed with over 700 drums and 114 multi-sampled Kontakt instruments . Plus, essential iZotope mastering software, Ozone Elements is included free.
Maschine is all about getting your musical ideas flowing. It’s there every step of the way from beat making and sampling to arranging and performing your tracks. Use it with virtual instruments or your own samples, both on its own and in a DAW. And if you’re ready to take things up a gear, bring in Maschine hardware to get hands on."
Chapters:
00:00 - Intro
00:50 - Interface
01:08 - Ozone 11 Elements
01:28 - Stem Separation
05:27 - Maschine Central
07:15 - MIDI Editing Tools
09:53 - Bounce In Place
11:30 - Tempo Per Scene
14:16 - Kontrol MK3 Integration
16:06 - Using the new features
18:52 - Outro
Maschine 3 and Maschine Central // vs MPC stems // Is it worth the upgrade?
TIMELINE: 0:00 Intro 1:20 Overview 2:15 AI Stems 3:00 Song 1 4:05 Song 2 5:10 Song 3 6:35 Song 4 8:25 Scene tempo 9:20 Bounce 11:10 MIDI edit 12:00 More formats 12:20 Kontrol S MK3 13:50 MAS Central 16:45 Worth it? 18:10 vs MPC? 19:55 Outro
"Get into the Halloween spirit with the OXI Halloween Special! Using the OXI One, Coral, and Meta, this video showcases the creation of a spooky, retro-inspired horror track. From eerie arpeggios to chilling effects, these tools bring a haunting atmosphere perfect for the season. Dive into the setup and witness how these powerful modules come together to deliver terrifyingly good vibes. Happy Halloween, and stay spooky! ππ»
00:00 Introduction
00:26 Preparing the setup
01:39 Creating the Bass
03:08 Creating the Drums
05:00 Putting things together and adding Meta effects
06:05 Creating the Lead
07:12 Adding Chords
08:09 Refining the sounds
10:40 Saving everything!
11:20 Final touches with velocity and gates
12:28 Step by step Coral setup"
1. Bristronica 24: MyVolts The Silent Alchemist Nears Shipping
We caught up with Caroline who gave us the latest update to the *Silent Alchemist*, a versatile power hub designed for musicians. Featuring five isolated USB-C outputs and a high-wattage sixth output capable of delivering 100 watts, the device can power a Mac with the remaining outputs providing 20 watts each. Its independent circuits ensure noise-free operation, catering to a variety of devices including the Dreadbox module and Sysmo slope generator.
The Silent Alchemist uses innovative step-up power tips to convert USB-C input to the correct voltage for various devices. There's also new feature: an uninterruptible power supply allowing seamless transition between wall and power bank sources. Also introduced were updated cables, such as silver candy cords and floating ring TRS to TS cables, expanding connection flexibility. The Silent Alchemist is expected to be available in December with a competitive pricing strategy.
At Bristronica 2024, we caught up with the creator of the *ML2M*, who introduced us to the latest version. The ML2M is a compact Eurorack module with Wi-Fi capabilities, allowing seamless synchronization with Ableton Live, Bitwig Studio, and iOS music apps using Ableton Link without the need for cables. It either connects to an existing network or creates its own, ensuring robust sync even in environments with unreliable Wi-Fi. The module, which retains its 2HP size, now features MIDI integration through TRS jacks. Users can access a web interface to configure each output for different clock divisions and reset triggers, making setup straightforward and flexible.
Alongside the ML2M, there's also the Missing Link Junior. This desktop version offers the same functionality but in a box format, complete with MIDI and CV clock outputs. Both products are now accessible, with a starting price of $250.
At Machina Bristronica 2024, we caught up with Arran from @archaea_modular_synthesis who presented the *Exchange Module*. This programmable patcher, a year in the making, evolved from its early prototype stage to a fully functional module. Arran explained how the Exchange can route synth voices via a beam controller and three exchange modules installed within the skiff, allowing for versatile patching. Operating like a matrix patchbay, it enables users to select inputs and outputs with the push of a button, create presets, and chain multiple modules for synchronized patching.
Communication between the modules occurs over the Eurorack power bus as well as over MIDI via the USB-C connection. The Exchange maintains analog integrity, ensuring there’s no conversion latency. The forthcoming release expected in late November 2024, includes a USB-driven editor for enhanced control capabilities.
"The next generation of JUNO-D synthesizers is here. In this video, you’ll learn about the abundance of features that make this synthesizer the perfect partner for playing in a band and creating great-sounding content.
Building on a 20-year synthesizer pedigree, the versatile JUNO-D lineup offers three models featuring a pro-grade Roland sound engine and expandable sound library via Roland Cloud, all in a gig-ready design. Explore a built-in sequencer, vocal effects, and more for practicing and sketching song ideas. Then, take the stage solo or in a band with advanced performance features, pro keyboard action, and versatile connectivity for any gigging scenario. Intuitive controls and a user-friendly interface make JUNO-D the perfect entry point for piano players and new musicians ready to dive into new sounds and creative possibilities."
Roland Juno-D Synthesizer - All Playing, No Talking
Adam Berzowski jams on the Roland Juno-D8, showing a variety of sounds and features.
Juno-D is the perfect synth for gigging musicians and budding creators. This light and portable keyboard features a pro-grade Roland sound engine and an intuitive panel layout for easy operation. Play in a band or craft new songs with a massive sound library, an eight-track sequencer, and versatile connections for your gear. Perform on the move with support for USB-C mobile battery power. And stay inspired with new sounds on Roland Cloud.
Juno-D6, the most portable Juno-D model, features an expressive 61-note keyboard with synth action. Juno-D7 sports 76 synth-action keys, making it ideal for musicians who need extended range, multiple splits, and enhanced playability. The Juno-D8 88-note model features the acclaimed PHA-4 Ivory Feel keyboard with weighted hammer action, known for its exceptional response and traditional piano feel. Each Juno-D model includes the same internal features, panel layout, and connectivity. The only differences are the keyboard configuration, size, and weight.
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Roland JUNO D // Review & Tutorial (JUNO D6, D7 & D8)
Streamlined Keyboards with Powerful Features for Gigging Musicians and Budding Music Creators
Los Angeles, CA, September 24, 2024 — Roland announces the JUNO-D series, a new generation of synthesizer keyboards for gigging musicians and budding music creators. The JUNO-D6, JUNO-D7, and JUNO-D8 models feature light, go-everywhere designs with pro-grade sounds, easy operation, and flexible connectivity for any scenario. Each model embodies the famous JUNO-D blend of value and innovation, fusing quality Roland sound and playability with the latest creative tools for today's musicians.
JUNO-D models feature high-quality keyboards inherited from the FANTOM-0 series instruments. The 61-note JUNO-D6 and 76-note JUNO-D7 are equipped with synth-action keyboards, while JUNO-D8 offers a piano-style experience with 88 weighted-action keys and hammer action. Other than the keyboards and physical specifications, all JUNO-D models offer identical features.
Every JUNO-D is easy to transport, simple to operate, and a joy to perform with. Users can play in a band or craft new songs with a massive sound library, an eight-track sequencer, and versatile connections for all their gear. The instruments can be powered via AC or a standard USB-C mobile battery, making them ideal on-the-go solutions for stage playing, creating music content in a home studio, or performing on the street.
Built on a 20-year pedigree of streamlined stage keyboards, JUNO-D features the same ZEN-Core engine found in top-tier Roland synths. A single instrument offers a rich sonic palette for everything from cover band tunes and instrumental jams to original songs. Over 3800 sounds are ready to explore, including acoustic and electric pianos, vintage and modern synths, organs, orchestral instruments, world sounds, and more. It’s also possible to import WAV samples to recreate specific sounds on stage or spice things up with unique tones and sound effects.
Roland Cloud provides an ever-growing library of Sound Packs and Wave Expansions for further inspiration, available through membership or Lifetime Key purchases. With a free Roland Account, JUNO-D owners can access a complimentary collection of ZEN-Core Sound Packs to get started.
Players can take creative command with a generous selection of hands-on controls for real-time sound adjustment. Dedicated buttons offer direct access to 16 sound categories, while Dual, Split, and Super Layer functions are available to combine tones or assign different parts to the left and right hands. With Favorites, the user can quickly recall tailor-made sounds for every song on the setlist.
JUNO-D also provides powerful tools for developing musical ideas and playing with backing tracks. There’s an eight-track sequencer with TR-REC step input and real-time recording options, plus eight phrase pads to trigger rhythm patterns or mute tracks to shape arrangements on the fly. Arpeggiator and chord memory functions are easily accessible to generate even more creative possibilities.
JUNO-D players can add vocals to their performances using the built-in mic input and professional effects, including compression, EQ, reverb, and noise suppression. Auto pitch and vocoder effects are also available to add the modern colors heard in current pop music.
The integrated audio/MIDI USB-C interface provides class-compliant support for a driverless connection to mobile devices and computers. Users can create and perform with their favorite music production software and infuse livestreams and music videos with pristine direct sound.
Each JUNO-D model has balanced stereo audio outputs to connect with studio speakers, a stage amp, or a house PA, plus a headphone jack for quiet practice and developing musical ideas. It’s also possible to play backing tracks and songs through the JUNO-D system from a smartphone or computer via USB-C or a flash drive connected to the dedicated USB memory port.
Availability & Pricing The Roland JUNO-D6, JUNO-D7, and JUNO-D8 are now available in the U.S. for $899.99, $1,149.99, and $1,299.99 respectively.
