MATRIXSYNTH

Introducing Modulor for AudioCubes

via the Percussa blog
"Meet Modulor for AudioCubes, a new software application for the AudioCubes hardware platform.

We are very excited to release this – it’s the result of one year of very hard development work, in which we focused on implementing topology detection in the AudioCubes firmware.

It’s now possible for AudioCubes to detect each other in a network, and forward data to each other within the network. This means that AudioCubes can be configured or colours can be set through other AudioCubes, and that you only have to have one AudioCube connected to talk to the rest.

Modulor is the first application to take advantage of this exciting upgrade. It’s an application developed specifically for people who like to create their musical ideas using building blocks (e.g. loops of MIDI data).

The software lets you record loops into cubes using your favourite MIDI controller, and then combine those loops simply by putting cubes together. Colour coding can be used, for example to remember which loop is where or what key the loop is in.

Besides recording and playing back loops, it’s also possible to process MIDI data, from loops or from live input, for example, using arpeggiators, chord generators, transposition, echos, … each cube can have one MIDI effect, and by forming networks of cubes you can create processing chains for MIDI data.

The application is a VST instrument host, so you can run it all by itself, and load your favourite software instruments. The resulting MIDI can be recorded to disk as a MIDI file with multiple tracks, one for each software instrument, which lets you bring your project into your favourite DAW software.

The application was in development for over a year, and we’ve decided to release it as a free download. More details can be read at http://www.percussa.com/uses/composition/ and http://www.percussa.com/applications/modulor/"

RAM Music: Audio Contortionist (DIY Looper / Recorder)

YouTube via littlescale
"A RAM-based audio looper / recorder. Built from scratch using very basic components, doesn't require any programming at all! ----- http://little-scale.blogspo..."

KOSTISTLAC //// 1. PHYTOTOMY

YouTube via kostistlac
Machinedrum Elektron Virus - KOSTISTLAC / 1. PHYTOTOMY /

CRUMAR BIT-99 SYNTHESIZER SN 00811

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

via this auction

Googlish translation from German:

"Aka Crumar BIT ONE BIT 99/01 or fall into this category.

Crumar Bit-99 Synthesizer

Perhaps brightens the mind of some ne "Oh, do not Crumar !!!"- thinkers on something, when the name Mario Maggi. All well known as a highly respected "father" of the Elka Synthex has Maggi also Crumar BIT-designed series. So it's no wonder if some ingenious features such as the (random) Stereo mode can be found in the BITs to. Other things - such as for example the high standard of customer Synthex hardware - it looks around the BITs, however vainly, too, is correct.

Crumar BIT aka ...
wanted the MIDI era begin in a new guise. Although the Crumar Spirit had track record dating from 1983 has a MIDI-bore labels including, but even for MIDI, it has not served there. Thus, there is no Crumar synth, the (factory-equipped) via said interface. With the introduction of the first MIDI keyboard Crumar changed his (official) name in BIT (probably to get away to the professional musicians from the camp Orgel-/Multikeyboard-Image). Hence ONE BIT, BIT 01 BIT 99; Sometimes these instruments may also carry other designations such as "Unique", or LEM, but everything "would be clear and simple," would not be so Italian. The unique instruments were sold under the said name in the U.S. ... e.g. Unique DBE (E for expander) = BIT 01 And after Crumar in the late 80s, first bought by LEM (and later by the same alias General Music has taken over GEM), produced one still on for some months, the BIT instruments under LEM name. Thus, there are so many name-names for one and the same instruments. Has begun the story with the ...

ONE BIT
The first device in the series corresponds in principle in terms of sound architecture all other BIT variations. In a row - alongside key MIDI enhancements and a few other details - sound not changed much. ONE of the BIT is a 6-voice analog synthesizer based on DCO. In 1984, placed on the market instrument is voice 2 DCOs per track record, 2 LFO, 1 VCF, 1 VCA and 2 ENVS. Thus, the BIT ONE (and, since as I said hardly any structural changes, including the entire family BIT) in about a Juno-60/-106 Roland, Roland JX-8P, Matrix-6, Siel Opera-6 / kiwi Korg DW-6000/-8000 equivalent. Of course, only "roughly". Of the extensive modulation possibilities for the Oberheim Matrix starting, we just want to venture no comparison, and the 16 wave forms of a DW-8000 can not be here "to be thrown into one package." But enforcing it is true about the direction, which is now in that environment, Crumar BIT alias in the mid-80s to be out in the market against similar "hybrid" or "late-analog" synthesizers had.

With the ONE BIT was originally a race win. The coward was called "MIDI" and was the first BIT to a severe test. The instrument worked ausschließich the Omni-on mode (there are note-to receive all incoming data - MIDI channels, there was, as far as my memory is still not ...) and comprehensive MIDI-hangers and other childhood diseases were not uncommon. Just one year later - 1985 - came ...

BIT 99
on the market. The instrument had better MIDI capabilities (and in general: more reliable MIDI), provided a sound chain function and other small changes. TWO ONE BIT of good things, however, were left out: The placed on the front panel fader to the detuning (de-tuning) of DCO 2 and the noise had the fader knob to set the soft-velocity sensitivity."

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Wersi Baß Synthesizer, Bass Synth, analog

via this auction
Googlish translation from German:
"It is a monophonic synth in 1977 from the house Wersi.

It is equipped with a 36er keyboard and works with an oscillator that vibrates at a frequency of 2 MHz. Tell a top octave synthesizer is heruntergeteilt while the audio voltage. At waveforms can be selected individually or simultaneously: Sine octaves in the 1 ', 2', 4 ', 8' and 16 ', saw 8' and 16 'square and 8'. A so-called Wah-wah filter can be manually operated, both are controlled by a single LFO as well as automatically with triangular wave. For the volume control, a attack / release envelope is available.

Furthermore, the effects, vibrato, glide, and a switchable bass guitar preset available, and is really good. That is what distinguishes the synth to imitate a bass guitar and he does great."

Csound Splice and Stutter

Full details and download at The Csound Blog
Excerpt:
"SampleEngine is the heart of this piece. It works by triggering discreet notes from within the loop, with the loop offset being determined by input it receives via p-field 7. The offset unit is in beats. Let’s say the loop is 16 beats long. A passed value of 0 plays the first quarter note. A value of 1 plays the second quarter note of the loop, etc.

This instrument is designed to be played by other instruments, rather than being triggered directly by a score i-event"

Be sure to check out The Csound Blog for more like this post on Exploring Analog Synth Techniques.

Voice of Saturn Sequencer Expirimentation

see the details on
consmic country noir

analog sequencer experimentation by radiophonic

via the Voice of Saturn blog

Roland System 100 Ad 1977

via Retro Synth Ads where you'll find the write-up.

Wurlitzer Sideman

YouTube via RoilNoise
"A neighbor recently gave me one of these. It's a Wurlitzer Sideman, manufactured from 1959-1965, and the worlds first commercially avalable drum machine. Here is a link to everything you would ever want to know about it and more:

http://totallyambush.co.uk/2008/06/15..."