"The new MEL9 Tape Replay Machine emulates vintage Mellotron® sounds and uses the same ground breaking technology that powers the award-winning B9 and C9 Organ Machines, plus the KEY9 Electric Piano Machine. Nine of the most famous sounds are included: Orchestra, Cello, Strings, Flute, Clarinet, Saxophone, Brass, Low Choir and High Choir.
MEL9 works on guitar without modifications, special pickups or MIDI implementation and tracks bends, slides, even whammy dive bombs! It also works with bass guitar down to the open A string and keyboards, too.
Watch as Bill Ruppert takes you on a tour of the MEL9 and re-creates some of the most iconic sounds of classic rock!
®Mellotron is a registered trademark of David Kean, M. Resch AB and Markus Resch."
Published on Mar 14, 2016 Pittsburgh Modular Synthesizers
"Interactive inspiration machines. The next generation of our System line of eurorack synthesizers harnesses the power of the new Lifeforms modules and Structure enclosures. Designed around the Lifeforms SV-1 modular analog synthesizer voice and anchored by the classic Pittsburgh Modular filter and two full range analog oscillators packed with harmonically rich waveforms, the Lifeforms Systems offer a rich sound palette with the flexibility of an open, fully patchable analog voice architecture.
The System 201 and System 301 also include the Lifeforms KB-1 pressure sensitive keyboard controller. The pressure sensitive keyboard maximizes the creative process with arpeggios, sequences, triggers, voltage memory, and more. More information on the entire Lifeforms line is available at lifeformsmodular.com."
"6 minutes of me with my MiniMoog Voyager. I test out my newest axe and discover the most expressive synthesizer I've ever played. Sorry about the squeeky sustain pedal, and the audio isn't the best because I literally forgot to hit record in pro tools. Taken with my gopro in my home studio. Organs are a Yamaha MOX8."
Olivier Gillet presentation at the recent N/O/D/E 2016 event and conference.
"« Comprendre l'aléatoire et ses applications à la musique
Conférence d'Olivier Gillet (Mutable Instruments) donné le samedi 30 janvier 2016 à Pôle Sud, Lausanne, à l'occasion du N/O/D/E 2016, rendez-vous des curiosités sonores, autour de la thématique "algorithmes et big data"
Existe-t-il différents types ou degrés d'aléatoire ? Comment le décrit-on, le mesure-t-on ? Dans cette conférence, le concepteur de synthétiseurs Olivier Gillet vulgarise différents concepts mathématiques (continu/discret, distribution, indépendance, bruit, chaîne de markov) qui permettent de mieux saisir les différentes formes de hasard qu'on peut mettre en œuvre dans une composition musicale, que ce soit à l'échelle des notes d'une partition ou de la matière sonore elle-même. Chaque concept est illustré interactivement par des programmes python ou puredata, et ses applications musicales (que ce soit dans une composition de Xenakis ou dans les entrailles d'un module eurorack) sont présentées.
plus d'infos sur www.node-rdv.ch
http://mutable-instruments.net"
Googlish:
"Understanding the random and music applications
Conference Olivier Gillet (Mutable Instruments) given Saturday, January 30, 2016 at the South Pole, Lausanne, at the N / O / D / E 2016, appointment of sound curiosities, around the theme 'Big Data and Algorithms'
Are there different types or degrees of randomness? How do we describe the do we measure? In this conference, the designer Olivier Gillet synthesizers popularizes various mathematical concepts (continuous / discrete, distribution, independence, noise, Markov chain) to better understand the different forms of chance that can be implemented in a musical composition , whether to scale notes of a score or sound material itself. Each concept is illustrated with python interactively or puredata programs, and music applications (whether in a composition of Xenakis or in the bowels of a eurorack module) are presented."
"Synthetic Things sound demonstration of the Dave Smith Instruments/ Tom Oberheim OB-6 Synthesizer. All patches used in this demo are part of Synthetic Things submission to DSI for potential inclusion in the factory sound set. Download our patch libraries at http://syntheticthings.com"
"Fender / Rhodes CHROMA POLARIS ambient synth demo. Playing relaxing ambient electronica space music soundscape on CHROMA POLARIS analog synthesizer by Fender / Rhodes. Effects: Strymon Big Sky reverb & MXR stereo chorus."
"I kept things slow on this jam. I the beat from my previous jam and added a snare for the first beat of this track. The Korg Volca Beats, Korg Volca Bass, Korg Volca Keys, Roland Boutique JU-06 and Arturia Microbrute are on sequencer duty. The Microkorg is played Live from the Alesis QX49.
: Gear Used :
Roland JU-06
Korg MicroKorg
Korg Volca Bass
Korg Volca Keys
Korg Volca Beats
Arturia Microrbute
Alesis QX49
Midi Solutions Quarda Thru
Behringer Micromix MX400
Tascam US-144mkII Audio Interface
Waves Supertap, TrueVerb
Ableton Live 8 ( Used as digital mixer / multi track )
Ozone'
I know it's a taste thing and there are some incredible digital modules out there, but I've struggled getting into them.
But I'm learning I like them when used for things that exploit the edges (as apposed to digital emulating smooth analog forms). So nice wave form mixes that included some squares and even with drifting pulse width. And now even sequencers, effectively creating flexible super squares. These are great textures that remind me of 8-bit/chiptune stuff and crunchy modem noise type things.
The FH-1 clocks so fast that it makes such digital forms is a really great way, and with very in-depth controls that get you DEEP into the details of the wave.
Raw skeleton of exploration here with the FH-1, as I'm just using 1 or 2 of the 8 outputs and only controlling pitch.
Imagine how much more in-depth it can be also sequencing filters and other modules and running these through tubes and warm or dirty analog VCA's. I've done some of this already and loving the surprise that the FH-1 offers with it's amazing rate of clocking and responding to clocking.
I've planned to and not yet explored digital OSC direction the Silent Way, and then ran into this. Still excited all the more to what Silent Way will be capable of with this direction, considering it's sample-accurate resolution."
