Modular Wild Presents SOUNDS-TYME SEFARI MK 1 BASICS

Published on Mar 3, 2013 modularwild·19 videos

"SOUNDS. An exploration of the TYME SEFARI MK1 by The Harvestman.Sound and Video by Raul Pena © 2013 Raul Pena"

Moog Taurus II Pedals

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Sequence - First Look

Sequence - First Look from Dimitri Diakopoulos on Vimeo.

"Sequence is a new euclidean MIDI sequencer for iPhone // Launching 04 March 2013

http://sequence.nyquistresearch.com"

iOS Devices on eBay - Daily Tech Deals

Roland System 100 Analog Sequencer

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via this auction

AGL - Quickie

Published on Mar 3, 2013

http://www.audiogl.com

"I haven't uploaded a video for over a year, so here's a quick demo.

All of these sounds are synthesized in realtime by AudioGL.

This project file is included with the program. (RandomMix.agl)
Download the trial version and check it out:
http://www.audiogl.com/en/downloads

Social Media:
https://www.facebook.com/pages/AudioGL/264653900273868"

iMini, Tabletop, Audiobus, HD and HQ Audio

Published on Mar 3, 2013

"A demo of 3 iMini's running in Tabletop, with a iMPC playing a beat, then AC into Audiobus and Cubasis. It's also a test video for better sound quality and picture quality as we had a few comments about having better sound, hope this is OK.."

iTunes:
iMini - Arturia
iMPC - Akai Professional
Tabletop - Retronyms
Audiobus - A Tasty Pixel
iOS Devices on eBay - Daily Tech Deals

Astronauta Pinguim: An Interview with Larry Fast

"Lawrence Roger Fast was born in Newark, New Jersey (USA) on December 10th, 1951. Since his childhood Larry was very interested in music and electronics. He started to build early electronic circuits about 1966 and his first contact with the Moog modular synthesizers was on 1968. Some of his own designed devices started to be sold on commission on late 1971. Larry attended Lafayette College in Pennsylvania, where he obtained a degree in history in 1973.

In the early '70s, Larry Fast had the opportunity to meet Rick Wakeman, who played with the famous progressive rock band Yes at that time and asked Larry to build some synthesizer modules to him. It was just before Yes recorded their live album "Yessongs" (recorded in 1972 and released in 1973) and Rick Wakeman used the modules built by Larry on this album. In June of 1973 Larry went to England to give minor technical support to Rick Wakeman on Yes' album "Tales From Topographic Oceans" while circulating his own music demos to labels in London.


In 1975, Larry released "Electronic Realizations for Rock Orchestra", the first album from his solo project - Synergy - and in the same year he collaborated with the British-German band Nektar on an album ("Recycled", 1975) and the subsequent tour. In 1976 the second Synergy album, "Sequencer" was released (Larry is finishing the artwork to re-release "Sequencer" remastered from the original analog mix tapes in 24 bit 192 khz audio and digipak format right now!). Also in 1976 he was invited to play the keyboards with Peter Gabriel, who had recently left Genesis to become one of the world's most creative and famous artists. Larry played with Peter Gabriel for 10 years (from 1976 to 1986) and recorded 8 albums (in part or whole) with him: PG1, PG2, PG3, PG4, Plays Live, Birdy soundtrack, tracks on Shaking the Tree and So.

During the period that Larry was the keyboard player of Peter Gabriel's band, he found time to consult with Moog to develop at least two very famous synthesizers, the Polymoog (1976) and the Memorymoog (1982) and also kept his Synergy project, releasing 6 albums more: "Cords" (1978), "Games" (1979), "Audion"(1981), "Computer Experiments, Volume One" (1981), "The Jupiter Menace Soundtrack" (1982) and "Semi-Conductor" (1984). In the late '80s he worked as the A&R coordinator and executive producer for The Audion Record Company, the legendary electronic music label and released "Metropolitan Suite" (1987). In 1998 Semi-Conductor Release 2 was released with a lot of bonus tracks and in 2002 "Reconstructed Artifacts", an album containing digital re-recordings of previous Synergy tracks, was released. Most of Larry's Synergy albums were re-released in various editions, some of them with bonus tracks!"

You'll find the full interview on Astronauta Pinguim.

via Fabricio Carvalho on The MATRIXSYNTH Lounge

Korg MS Series - Vocoder Pads

Published on Mar 2, 2013 Newueel·37 videos

"Usually when I want to play dreamy pads I use the Korg Triton (which I like a lot). This video demonstrates a typical Triton sound built on the MS series.

Used gear:
- Korg MS-50
- Korg MS-20 (2x)
- Korg MS-10
- Korg VC-10
- Korg SQ-10

The pad sound is created using the VC-10 and 1 MS-20 (and a chorus effect) and it also uses a little help from the MS-50. The vocoder is fed with a sawtooth waveform (a fixed tone from the MS-50 oscillator). The VC-10 itself adds a bit vibrato, pitch control is done by the VC-10 keyboard only. The vocoder output sound is then plugged into the MS-20 external input, so it uses both MS-20 filters. The MS-20 also adds some white noise (VCO1) and a bass note (VCO2 sawtooth 32'), the amount varies during the track (MS-20 vcomix). The MS-20 initial gain is controlled by the MS-50 voltage supply and is 'open' the whole time. This way the MS-20 doesn't need a trigger value for the main envelope (EG2), so it will process the vocoder's sound at any time. The MS20 pitch (CV IN) is controlled by the MS-10 keyboard (which also controls de pitch for the other MS-20 and the MS-10 itself).

The SQ-10 has three 8 step sequences. A: Rhythm section (played by the MS-50), B: The 'guitar' groove played by the MS-20 (lower right) with also some portamento from the SQ-10. C: Staccato melody played by the MS-10 (lower left). The MS-10 sequence is controlled by the probability patch, which is programmed using modules from one MS-20 and the MS-50. The probability itself is controlled by the MG pulse width (MS-50), max wide = 100%, max right = 0%. In this track the probability starts with a value of 0% (all steps are muted), from around 1:30 the probability is set to 100% (all steps are played), then around 2:19 the probability is set to 50% (each step has 50% chance of being played). The probability patch is always a great way of making an 8 step sequence more interesting. The MS-20 'guitar' groove is mixed with the MS-10 control wheel. The MS-50 rhythm section is mixed using the upper MS-20 control wheel.

The track has been recorded and mastered using Ableton Live."

via Juda Leijonien on The MATRIXSYNTH Lounge

Protein Der Klang for iOS

Protein Der Klang - Official Trailer Published on Mar 3, 2013 Pierre Guilluy·6 videos

iTunes:
Protein Der Klang - Pierre Guilluy
iOS Devices on eBay - Daily Tech Deals

"Protein Der Klang is a fresh audio sampler fit for public performances.

Play, record and manipulate your audio samples on stage or on your bed using an intuitive multi-touch musical application.

Features:

- Play with 12 simultaneous samples on the 3 coloured tracks.
- Scratch, revert, slice, pause, fade & resync up to 4 clips on each track.
- Play with an effect on each track & a master effect.
- 5 sound effects: Crusher, Repeater, Delay, Phaser, LP Filter.
- Import and export your samples and patches using iTunes Sharing.
- Record live loops from audio-input and internal mixer.
- Exclusive playback resync feature.
- BPM-synced clip trigger and playback & metronome.
- Smart controls for faster actions.
- Low latency audio engine.
- 4 fresh demo patches.
- 140+ audio samples included.
- Support for 16bit wav samples.
- Embedded user manual and feedback.

Available for iPad, iPhone & iPod Touch.

http://proteinderklang.com"

CLICK FOR MORE »

CousinSlewey

Published on Mar 3, 2013 Dmitri SFC·78 videos

"Serge Dual Neg Slew, Peak & Trough, Voltage Controlled Slew, Tripple Wave shapers, 73 Envelope Generator, 73 Filter, CGS VCA ...and 4 step Programmer.________
_The Two NEG slews are the Oscillators, They are each patched into a Wave Shaper, The Wave Shapers are being VC modulated by the 73 Envelope Gen and the V.C.Slew. One of the sounds is being Gated on the way into the TWS using the CGS VCA rather than after the TWS (Thanks to Doug Lynner for that tip !!). A pulse coming from a step on the Programmer or some where is pinging the 73 Filter into self oscillation to make a low rumble bass drum/ giving this patch its third sound. The bass won't be very noticeable on small speakers. The V.C.Slew is used as an Attack Release Envelope and simultaneously its End Pulse Out is clocking the Programmer. The 73 EG and V.C.Slew make great funky clock dividers with VC control. When using the Pulse In on the V.C.Slew it functions like the 73 EnvelopeGenerator, Meaning it won't start a new envelope until its done with the one its working on so, If you feed it a clock that is fast while the 73 EG has a long Envelope setting... The Envelope starts at funky times making cool rhythms. One might think being adjusted by a pot with no time quantization that it would be random but its not. Its pure funk bubbling out of the electrolytics inside. Kind of hard to not fall into a rad syncopated poly-rythm."

Update:

Slewster
Published on Mar 3, 2013 Dmitri SFC·79 videos

"SERGE POS, SSG, DVG, 73 VCF, 73 EG, CGS VCA , VCA___________
_Each Positive slew is cycling and used as a VCO they are both also gated by a VCA. One half of the Dual Voltage Processor is used to mix the two Gated audio signals before being patched into the 73 Filter. The 4 step Programmer VCs one Positive Slew while the Stepped section of the SSG samples A row of CV from the Programmer and in turn pitches the second half of the Dual Positive Slew. SSG is SAMPLE AND HOLD. the other half of the DualVoltageProcessor mixes CV signals from the EG and SSG, the Output its patched to CV the Filter. The 73 EG is generating an Envelope that controls a Gate, Also the END Pulse out of the 73 EG is clocking the Programmer in one direction. The CYCLE out of the SSG clocks the Programmer in the other direction a couple steps here and there."