circle of 4th

Published on Dec 4, 2012 by Ebotronix
4ms Peg RCD
Analogue Systems RS 110
Doepfer A117 A 118 A 134 pan by Moog MP201
Grendel Formant Filter
Make Noise Maths Moddemix QMMG Wogglebug
Malekko 4x Anti 4x Unkle
Roland System 104 Sequencer
SSL Modulation Orgy
Toppobrillo Sportmodulator
Logic Master clock and Sequence to Kenton Pro 2000 II
Kick Ultrabeat
FX Boss VF1, Lexicon PCM 80/90 , Line6 Echopro, TC M3000
BSS DPR 402 ,SPL Gold Mike, Alesis 3630 ,Aphex Exciter C2

Octatrack and Eurorack - Try #2

Published on Dec 4, 2012 by lampeo
recorded strait to a Zoom R16
Music and Video By: Lampeo
http://soundcloud.com/lampeo

DX5 playing Depeche Mode "Puppets"

Published on Dec 4, 2012 by DX5
"Gear used:

Roland MRS-2 Promars
Roland JP8000

Backtape recorded on Pro Tools, then dumped to a Revox B77 MkII. Backing sounds used are: Promars (Bassline), Roland TR 808 (drum samples), Simmons SDS 8 (real one, noise) and Korg KR 55 (drum samples), JP8000 (seqs, etc).

Composed by Vince Clarke"

Yamaha CS01II Plays BIG MUFF by Depeche Mode by Pea Hicks Cubase Capture

Yamaha CS01II Plays BIG MUFF by Depeche Mode - Cubase Screen Capture

Published on Dec 4, 2012 by peahix

"I've had several skeptics weigh in on my various Depeche Mode covers done all on my Yamaha CS01II synth, so I thought I'd make a screen-cap video showing the Cubase session for my rendition of "Big Muff." Here's the mastered version I posted previously: http://www.youtube.com/watch?v=5IiZlvr7fXs [posted here]

In this version, you can see all my parts, and I solo all the different bits throughout so you can hear how it all comes together. Note that for several sounds there are actually two different tracks that play together to form a composite sound. The CS01II is a pretty limited synth, and in order to more accurately achieve certain sounds, I had to split things into their component parts. The channels that remain muted throughout are just the MIDI parts, which aren't outputting to anything here, since each MIDI track was recorded one at a time via the CS01II to an audio track. Anyway, hopefully this is useful or interesting to someone!!"

Click here for a search on "Peahix Depeche Mode" that will bring up more covers featuring only the Yamaha CS01 mkII.

No sequencer Patch experiment - modular freejazz sequence

No sequencer Patch experiment - modular freejazz sequence from Richard Devine on Vimeo.

"Patch experiment trying to use just a few LFO's synced together at very slow rates to generate a loose arrangement of triggered square wave pulses. These pulses where sent out to a few voices on the delptronics

ldb-1e and the DrumDokta & "Clap" Breakout running through a MakeNoise Phonogene/Echophon delay. FM swells courtesy of the MakeNoise DPO and Intellijel Rubicon, ran through a Strymon TimeLine delay pedal. Haunting drones coming from the Cycle Box II and WMD wave gamma.

Note: Headphones recommended. :)"

Quik-E #23: This is Omniverse!

Published on Dec 4, 2012 by thepluginguru
"Rate!! Comment!! Subscribe!! Come along on a Sonic Tour of my new Patch Library for Spectrasonics' Omnisphere virtual instrument "Omniverse". More Info including a wonderful "Add to Cart" button on this page: http://bit.ly/TE44Dl."

Jamming with Korg monotrine. miniKP and Rebirth for iPad

Published on Dec 4, 2012 by Khantipol Kasemsant
"with Korg monotrine. miniKP and Rebirth for iPad"

iTunes:
ReBirth for iPad - Propellerhead Software AB

iOS Devices on eBay - Don't miss the Daily Tech Deals

12 Days of Modular 2012-Day 4-Band Pass Filter

Published on Dec 4, 2012 by raulsworldofsynths
"Day 4: A look at a Band Pass Filter.Video series of 12 different scenes from the Modular World of Raul's World of Synths.Sound and Video by Raul Pena.©Raul Pena 2012"

All parts here.

Doepfer announces availability of Dark Energy II Analog Synthesizer

"GRAEFELFING, GERMANY: audio hardware developer Doepfer is proud to announce availability of its new Dark Energy II Analog Synthesizer, a redesigned version of the original Dark Energy, a standalone monophonic analogue synthesizer with inbuilt USB/MIDI interfacing and CV connectivity released to much critical acclaim in 2010...

So why the need to redesign something so successful so soon? Simple. Needs must. And who better to explain this than company CEO Dieter Doepfer himself: “As the Dark Energy had to be discontinued, because an important electronic component (CEM3394) is no longer available, we decided to do a redesign. The new Dark Energy II looks like the Dark Energy at first glance, but the basic sound of the Dark Energy II is clearly different because of the new circuits for the VCO, VCF, and VCA.”

Given the absence of that rich-sounding, analogue ‘synthesizer-voice-on-a-chip’ (CEM3394) from Curtis Electromusic Specialities successor OnChip, how does the Dark Energy II sound? Still rich, still analogue — with 20 to 30 minutes tuning time needed for the VCO’s temperature-controlled pure analogue circuitry, but different... mainly because of the completely different filter type.

Notable differences in specification between the two — together with a number of functional additions to the Dark Energy II — are as follows: firstly, the Dark Energy II features a sawtooth-based VCO core (compared to the Dark Energy’s triangle-based one), which, as implied, outputs a sawtooth waveform, with a waveform Shape switch for selecting sawtooth, off, or clipped/inverted sawtooth; meanwhile, that all-important, sounding-defining VCF is centred around a 12dB multimode filter with lowpass, notch, highpass, and bandpass, together with an all-new filter Mode control for continuous transition from lowpass via notch and highpass around to bandpass (as opposed the 24dB lowpass variety with linear frequency modulation (LFM) control found on the Dark Energy); the VCF’s exponential frequency modulation (XFM) control also has a polarization function, whereby the modulation source (LFO2 or ADSR) selected by the Source switch can affect the filter frequency with a positive or negative behaviour (by rotating rightwards or leftwards, respectively); finally, the VCA has an exponential scale (unlike the Dark Energy’s combined linear/exponential scale).

Benefitting those with a modicum of electronics know-how, the Dark Energy II offers much more internal expansion possibilities than its ‘Mk I’ predecessor courtesy of pin header terminals for the following functions: rectangle and sawtooth VCO outputs, linear FM input for VCO, hard sync input for VCO, lowpass/bandpass/highpass VCF output, rectangle and triangle outputs for each LFO, and optional reset/direction features for each LFO — all conspiring to make this already flexible synthesizer even more flexible!

The upshot of those differences is that sounds created on a Dark Energy II of course cannot be replicated on a Dark Energy (and vise versa) — though there is nothing to stop the two distinctive synthesizers from being daisy-chained together to produce an even wider palette of sounds. Indeed, several units can be polyphonically or monophonically cascaded (via internal MIDI out/MIDI in connections) to create an ‘über-synth’ of sorts!

Like the Dark Energy, the Dark Energy II is a standalone monophonic analogue synthesizer with inbuilt USB/MIDI interfacing and CV connectivity housed in a rugged black metal case with wooden end cheeks; likewise, sound generation and all modulation sources are 100 percent analogue, appealing to purists — only the USB/MIDI interface includes digital components, naturally! Again, vintage-looking, high-quality potentiometers with metal shafts are used throughout, and all are fixed to the casing — except for that all-new filter Mode control — to ensure stability. Spacing between them is generous (in comparison to the necessarily smaller A-100 Analog Modular System modules like the A-111-5 Mini Synthesizer Voice equivalent of the original Dark Energy) to ease sound-shaping manipulation.

In truth, then, the Dark Energy II is — to all intents and purposes — an all-new synthesizer from Doepfer! Why not plug in and play?

Dark Energy II can only be ordered online within Germany directly from Doepfer (http://www.doepfer.de/form_e.htm) for €428.00 EURO, including VAT, or purchased from an authorised dealer. (An optional Glide control option is also available for self-installation for €10.00 EURO, including VAT.)"

Click the pics for the super size shots.

EMS Vocoder System 2000

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

via this auction

via the seller: "The Mighty EMS Vocoder System 2000, with 16 bands in excellent condition and 100% fully functional. It looks beautiful. This is the series II, black version with rack ears, handles, dual LED meters and in USA voltage. I am the original owner and it has less than 50 hours on it. I kept it turned off and disconnected from wall power when not in use.
I have owned most of the top vocoders with exception of the EMS 5000 and the EMS line of vocoders sound better than all of the rest in terms of raw character. The EMS 2000 has an electric punch to it that others don't have and it's sibalance is excellent too. To me it sounds better than the Moog/Bode vocoders and definitely better than the Sennheiser VSM-201.
The Sennheiser is smooth but lacks that electric punch. Electronically in terms of filters and envelopes, the EMS 2000 is close to identical to the EMS 3000 and EMS 5000. Only difference is that the 3000 has the same 16 bands/filters/envs but with attentuators and the 5000 has 22 bands and patch panel. The S/N ratio is better on the 2000 than the 3000 perhaps due to not having the attentuator circuits installed. Sure digital vocoders can do cool things, but when you hear an EMS 2000 analog vocoder with a monster Moog or Oberheim synthesizer along with vocals, some analog reverb and tube preamp...piped into a very powerful sound system, well, lets just say.....you will definitely never forget it."

CLICK FOR MORE »