Audio Kit Synth One, iVCS3 and ARP Odyssei in a mix...

Published on Jul 9, 2018 James Edward Cosby

"I was asked the question... "Can all these iOS "Music" Apps be used to make actual music or are they just great for playing around with?"...
The short answer is "YES!" they certainly can! though they are great for playing around with or learning synthesis or learning recording and mixing techniques, constructively using time at airports or beside the pool or indeed just having fun!
This track is showing Audio Kit Synth One, #iVCS3, #ARPOdyssei and #iElectribe being used together in a mix...
They are all available in the App Store NOW and #AudioKitSynthOne is #FREE !!!"

Morgasmarings!

Published on Jul 9, 2018 Comparative Irrelevance

"Lately I've been spending some time with my new Morgasmatron! I've been a big fan of the MS-20 filter for a long time, and the Morgasmatron builds on that heritage but takes it to a different level in terms of flexibility and modularity. Still, that wonderful grit and scream is there once you start to push its limits. I think it makes a great pair with Rings' natural, clean timbres. It's almost like plugging a guitar into a crunchy tube amp or analog distortion pedal: all sorts of little gritty artifacts start popping up in the cracks of the sound.

I used this combo in the "Foehn Wind" video I published the other day [below] with just some sparse patch notes, so I figured I'd make another video to take a closer look at Rings+Morgasmatron. Now, this isn't patched up exactly like in Foehn Wind. In that video I used Pam's New Workout and µScale for sequencing Rings' pitch and Structure in the same way that I show in 3 Modules #64 [below]. And I used a sine wave LFO in addition to Sheep to modulate the cutoff, and modulated Sheep's wavetable selection with Mod Tools. I also used Clouds for reverb and additional "lofi-ness".

Here I've simplified a little, and I'm sequencing Rings with my SQ-1 (off screen), which is being clocked by Sheep's 1-bit output. Sheep is also modulating Rings' Position and the filter cutoff for both filters in opposite directions, which can make for a neat stereo effect at more extreme settings.

Rings is in sympathetic strings mode (yellow) and I have Damping set to fully open for most of this recording, which produces almost indefinite sustain. Morgasmatron takes care of the dynamics.

Most of the magic just comes from pushing Morgasmatron's input levels, Q-drive and resonance. Here I'm taking it into pretty overdriven settings.

✌︎

See you around! :)"

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Artists & ARTURIA #49 Robert Dudzic meets MiniBrute 2

Published on Jul 9, 2018 Arturia

"Unless you’ve been living under a rock for the last 10 years, you’ll have heard the work of Robert Dudzic. Almost single-handedly defining that cinematic sound that give movie trailers their immersive, compelling sonic signature. We interviewed this humble genius, and revealed some of the secrets of legendary sound design, and how Arturia’s analog instruments enhance his workflow."

HHNOI - They Ate The Clouds (elephant version)

Published on Jul 9, 2018 HHNOI

"A live modular synth performance of the track "They ate the clouds", as featured on the HHNOI Kallocain EP, out July 6th on modularfields

Main track recorded in a single take without a computer involved for sequencing or editing. All modular sounds routed through Expert Sleepers ES 8 and ES 6 into Logic for mixing and mastering. No additional edits or computer voodoo involved.

Visuals done with a simple visualizer patch on an external laptop, which was fed with the monitor output and then projected on my living room wall.

Video was taken with an iPhone X through several sessions, hence the different angles. Cut, synced and processed in Final Cut Pro.

Dedicated to RP."

Making tracks - Belgium to Berlin - Electribe 2

Published on Jul 9, 2018 zafrosoundz

"On holiday in Belgium with tickets to watch Pearl Jam in Berlin. I always take something with me to make music, this time it is only the Electribe 2 as we're not staying as long as usual. The journey from Belgium to Berlin takes about 8 hours so I had the idea to make music on the way to alleviate the boredom and hopefully come up with some ideas for a little video. So here it is. Let me know what you think.

Recorded live using my Zoom Q8 and Go pro Hero."

SYNTH GULL. SEAGULL MUSICAL INSTRUMENT BUILD

Published on Jul 9, 2018 LOOK MUM NO COMPUTER

"SYNTH GULL? not quite... THERES A LONG LONG WAY TO GO IT SEEMS"

Sunday Night Drone ER-301 Sound Computer

Published on Jul 8, 2018 Sequenox

"Benjolin only sound source"

(Doraemon) Yume wo kanaete Doraemon (synthesizer cover version)

Published on Jul 8, 2018 Muhammad Ardi

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That would pretty much be the definition of awesome right there. Little girl playing vintage analog synths - an ARP Odyssey and Moog Polymoog Synthesizer with I'm guessing her dad on a Sequential Circuits Prophet-5.

Panic Voice - Data-Distort Oscillator (cedar)

Published on Jul 6, 2018 ellis tronics

"**This is a very limited run. (7) Available**

Etsy Listing:::

https://etsy.me/2MVNf6C

-Panic Voice-

A stand-alone digital synthesizer voice that operates within the newly unexplored realm of 'data distortion' type synthesis.

This uniquely digital method of sound creation yields extreme and unexplained synthesized audio that challenges the sanity of even the most experimental avant-garde "synth nerd"

operation of the -Panic Voice- synthesizer is more like operating an instant replay camera than it is playing a typical desktop synthesizer. This instant replay camera that you control is constantly viewing a forced and controlled explosion of sound data being translated into audio output (3.55mm jack) .

This explosion of sound data results from the forced combination (smashing) of multiple over-sized waveform data arrays into one small audio stream. These data arrays represent complex organic shapes that start to squeal, grind, and rumble as their digital representations are 'smashed' together and forced to occupy the same digital audio space. This never ending fight for the audio stream results in strange and extreme interactions (battles) between the wavetables as their unique shapes match up and overflow in wildly unexpected ways. Disturbing phase distortion timbres and hyper-aliased percussive trips are found through the viewing and manipulation of this explosion [panic] using the controls of the device (8 Knobs)

*includes USB power cable and printed instructions
*ships same day"

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First SSP Software Update 08072018

via the Percussa Kickstarter:

"Hi everyone,

It’s time for the first update to the SSP software! We have been working crazy hard the past week on the software :-) Below is an overview of all the stuff we implemented:

Features

New and better Preset Format (with backwards compatibility)

We developed and implemented a brand new preset format, which allows us to add new modules, parameters and modulation inputs/outputs more easily. The file format also drastically reduces preset file size, and thus the load / switching time of presets. We built-in backward compatibility, so you can still load your current presets. Once you save them, they will be saved in the new format. As long as you don’t save them, they will stay in the old format. Doing this was a major project, because we had to make sure we could load both the old and new formats.

Improvements to the Sampler Module

The sampler module has now 8 gate inputs and 8 sample playback outputs, which means you can trigger each of the individual slots in the sampler using a gate input. The input is a trigger input, meaning that it only cares about the signal rising about a certain threshold, and doesn’t care of the signal falls after that. The layer feature was removed because it is no longer necessary (you can send multiple sampler outputs into one output in the grid, which is the same thing). The slot selection feature was also removed since selecting an output using a modulation signal is a job for a different module (e.g. a signal switching module). Finally we changed the Coarse/Fine settings in the sampler to TuneC/TuneF, which is tune coarse and tune fine. Those two parameters can be used to set the original pitch the sound was recorded at. The Sampler now also compensates for sample rate differences (system sample rate vs sample rate from the sample) and I also worked on the pitch/frequency modulation inputs so it now tracks correctly (hopefully :). One other change I made is that now you can trigger the sampler, even though it might be in looping mode. So the looping mode does NOT ignore the trigger input now.

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