I don't normally post sales on the site, but this is a big one, and you my readers might be interested.
via Waldorf:
"we are on our way to Berlin for the SUPERBOOTH 19 and are excited to meet and great keyboard players from all around the world. If you are around please come to our booth and have a close look at Quantum and the new Kyra!
Use the coupon code: SB19 during checkout in our online shop to get 50% off the regular price!
And it's getting better for all our European friends! We put together an irresistible deal for our Eurorack series.
KB37 complete sidekb37 - only 699€ (before 975€)
dvca1 - only 199€ (before 324€)
nw1 - only 199€ (before 349€)
mod1 - only 199€ (before 349€)
cmp1 - only 199€ (before 324€)
vcf1 - only 199€ (before 349€)
Shipping will be ONLY to addresses within Europe and quantities are limited! Don't wait and get your new Eurorack devices before the deal is sold out.
"Specialwaves Introduces Mine S – The World’s Most Configurable Modular Physical Controller for DJs, Producers, VJs, Light Technicians, Video/Photo Editors and More
With Mine S, Users No Longer Have to Buy Multiple Controllers to Control New Software or Devices; Indiegogo Campaign Launches Today to Fund Its Production
(Pedrengo, Italy) – May 9, 2019 – Specialwaves today introduced Mine S - the world’s most adaptable modular physical controller. Mine S, which precisely and intuitively interfaces with and controls a wide range of software and devices, is perfect for DJs, VJs, producers, lighting technicians, musicians, broadcasters, video/photo editors and more. The Indiegogo campaign, which launches today with a funding goal of $30,000 USD, features limited Super Early Bird Specials of $285 USD, as well as several other rewards for backers.
Composed of a case that can accommodate up to 32 modules (made of single electronic interfaces), which can be placed inside the case both horizontally and vertically, Mine S allows users to choose preferred configurations according to their needs instead of being forced to adapt to standard static controllers. The modules are hot-swappable, meaning users can remove and reinsert modules on-the-go. For example, if some parts like sliders break during use, users can easily replace the broken module right away – even during a live performance!
"Erica Synths have prepared a lot of new products to present at this years Superbooth in Berlin. 13 new modules and... a new system! You read it right.
And this isn't even all that we have planned to release in the rest of 2019
Reminding that you can find us at the first floor lobby, booth E245.
Just look for all black everything!
We think Fenixes are true synthesizer-instruments: they give you all the options you need to explore a very wide range of sonic possibilities. You can learn to play a Fenix quickly and you can still be developing your interaction with it in ten years’ time. The first Fenix was born and bred to satisfy one artist’ wishes for an all in-one system. Our Fenix IV is also born out of this desire with ourselves as the artists.
The density of Fenix I,II and III meant it provided loads of sound in one box. Before eurorack boomed, most modular synthesizers required half a wall of space. Fenix provided all your options in a relatively small container. When Fenix II was released, it packed the most punch for its size anywhere on the market. With Fenix IV we think we continue this tradition. We’ve extended the sounds by adding our best from the digital world. The intention is to provide a toolbox for you to make sound with, and not put too much of our flavour in the sounds themselves. Choices are made for maximum sonic variety. For example: we’ve upgraded the delay line from Fenix II with a musical element. In Fenix IV we are now providing a tuneable version so you can use it as a physical model of a string.
There is a flow to every Fenix. All the modules have the same direction for inputs and outputs: roughly left to right and top to bottom. This is the same in educational diagrams that talk about synthesizer structure. We managed to consistently apply this giant swipe from up left to down right across our Fenix too. You can distinguish types of signals on a Fenix by the colour coding – we’ve taken this helpful visual aid and extended it to giving the modules a coloured grouping that corresponds between the knobs and the jacks. Another feature of the Fenix family is the waterline that divides the knobs from the jacks. Keeping the knobs up top means your patching never gets in the way of your twiddling. This division also helps to maintain a sense of overview with lots of cables patched in.
We see the Fenix family as having a “Yes, and” mentality. The usual divide of tonal versus experimental or additive versus subtractive synthesis does not exist in a Fenix. You can have everything at the same time and you can have multiple TYPES of oscillators, filters, lfo’s, envelopes and effects to do your patching with. We have added the usual analog versus digital divide to this “Yes, and“ mentality. There is no need to choose, you can have it all.
All the modules in our Fenix IV – listed by colour grouping:
YELLOW – Oscillators and sound sources
Input
Interface to external sound sources – has an envelope tracker and a gate and trigger threshold.
All sounds produced by MOTOR SYNTH
(& 1970 Dodge Challenger)
8 Motors THAT MAKE MUSIC
4 Note poliphony
2 Voices per Key (with separate Envelopes and Portamento)
+
4 Analog Filters with Envelope and Distortion
1 LFO with Envelope and 3 sends
4 Analog Waveshapes with Cross-modulation
+
Integrated Arpeggiator, Sequencer and LOOP Modes
Performance mode with built in keys,
Full MIDI control
9 CV ins and outs
RIGA, LATVIA: having presented an initial proof-of-concept prototype product at The 2019 NAMM Show in Southern California, January 24-27, uncharted music electronics territories explorer Gamechanger | Audio is proud to unveil the revolutionary Motor Synth — a digitally-controlled analogue electro-mechanical synthesizer that uses a system of electromotors (to convert electrical energy into mechanical energy) as its main sound source — in its finished desktop design at SUPERBOOTH19 in Berlin, May 9-11…
Motor Synth really represents a new method of analogue audio signal synthesis since digitally-controlled electromotors have never been used as the principal sound source for a commercial musical instrument — indeed, nothing like it has ever been built before! But actions always speak louder than words. So how, exactly, does the revolutionary Motor Synth work?
Well, simply speaking, Motor Synth produces sounds by accelerating and decelerating eight electromotors to precise rpm (revolutions per minute) that correspond with specific musical notes. Needless to say, the instrument in question’s eight-electromotor configuration means that it is a four- note true polyphonic synth with two voices per key played.
Digging deeper, Motor Synth takes a two-pronged approach to producing its core sound, starting with magnetic pickups placed on each of its eight electromotors; those electromotors’ spinning coils result in a very industrial-sounding, ridiculously over-the-top analogue tone — think eight harmonious revving engines pumping out an intimidating noise! Next, specially-designed reflective optical disks have been attached to the shafts of each electromotor. Each disk contains a graphical representation of some standard audio wave-shapes. As the electromotors spin, the disks are set into circular motion, and each wave-shape is read by a dedicated set of UV (ultraviolet) sensors, then converted into an audio signal. So the wave-shapes on the reflective optical disks become precise musical notes, corresponding to the speed of the electromotors.
Elsewhere, Motor Synth still features familiar analogue audio processing circuits — filters, envelopes, et al — alongside arpeggiation, cross- modulation sequencing, and multiple polyphonic mode facilities, as well as an innovative looping system that allows adventurous users to layer rhythm and melodies, just like when using a loop station.
Manifestly, Motor Synth is a desktop design — unlike its initial proof-of-concept prototype predecessor, but it can still be played out of the box via eight built-in control keys and four floating tuning pots. Performers and composers can, of course, connect any standard MIDI (Musical Instrument Digital Interface) controller, like a keyboard or DAW (Digital Audio Workstation), while Motor Synth is also capable of tracking a monophonic audio signal, such as guitar or bass, via its 1/4-inch mono input. Interestingly, Motor Synth can be configured to act as a harmonizer for electric guitars or other melodic instruments, recognising the pitch of a musical tone and instantly generating a complimentary tone by operating an electromotor at a matching frequency. Furthermore, users can create intervals and chords based on the frequency of the incoming signal with no need (necessarily) for a MIDI controller or inputting preprogrammed musical information.
Whatever way anyone chooses to play Motor Synth, a stunning visual experience is guaranteed. Get this: Motor Synth’s see-through protective glass cover above its core sound system of eight electromotors enables users to receive visual feedback from the instrument itself by being able to see those spinning electromotors in action. But better still, the visual experience is enhanced still further by the also-visible set of reflective optical disks attached to the electromotors’ shafts being coupled to a set of eight mini strobe lights, so those spinning disks themselves turn into a hypnotic light show, courtesy of the strobe effect!
As an instrument that uses electromotors as its main sound source, Motor Synth inherently possesses many unique sound traits that will surely appeal to many musicians that favour analogue electronic instruments and synthesizers in particular. Put it this way: with its unusual tonal and timbral qualities, unlimited microtonal pitch adjustment and modulation abilities, and note attack and decay properties influenced by the acceleration and deceleration curves of electromotors, Motor Synth works well across a wide range of musical styles.
Showcasing its third revolutionary product, Gamechanger | Audio will be proudly unveiling Motor Synth on booth (H320) at SUPERBOOTH19 — Europe’s first and largest trade fair for electronic musical instruments — in Berlin, May 9-11. Thereafter, it will be following in the super-successful crowdfunding footsteps of Gamechanger | Audio’s PLASMA Pedal, perfectly realising a revolutionary approach within the realm of overdrive and distortion by transforming the connected instrument’s live signal into a series of continuous high-voltage discharges within a xenon-filled tube, thanks to achieving 921% funding on Indiegogo in April 2018 (https://www.indiegogo.com/projects/plasma-pedal-high-voltage-distortion-unit--3#/). No doubt the equally- revolutionary electro-mechanical Motor Synth will follow suit, successfully realising a new method of analogue audio signal synthesis.
"KORG’s latest polyphonic analog synth, minilogue xd, took the minilogue, the most popular synthesizer of the past decade, to an entirely new level. Now, that same extraordinarily powerful synthesizer platform is available in a compact desktop module. Welcome to the minilogue xd Module."
Playlist:
KORG minilogue xd Module: Your Desktop, Evolved.
Korg Minilogue XD Module - Overview with Nick Kwas | Kraft Music
Korg Minilogue XD Module - All Playing No Talking! | Kraft Music
Korg Minilogue XD Module | Reverb
"The long-awaited desktop module of KORG’s next-generation analog synthesizer
minilogue xd module is the new desktop module version of minilogue xd, the four-voice polyphonic analog synthesizer with a customizable digital multi-engine and built-in stereo digital effects.
The desktop module is equipped with the same controllers as the keyboard version, making it a great choice not only as an additional sound module for your keyboard or DAW but also providing excellent performability, giving you an easy way to include an analog polyphonic synth in your setup. It's also equipped with a poly-chain function that lets you connect it with another minilogue xd or minilogue xd module so that the two units can operate as a polysynth with a total of up to eight voices in your studio or on stage.
Add the sounds of the minilogue xd to your setup or system!
Equipped with an analog synthesizer circuit and a digital multi-engine
Voice structure of minilogue xd is 2VCO + MULTI ENGINE, 1VCF, 2EG, 1VCA, and 1LFO. In addition to the distinctive circuits found in the series, such as wave shaping to shape the overtones of the oscillator and a sync/ring switch, there's also cross modulation, a two-pole filter that can be both sharp and fat, and a drive switch that adds thickness and drives signal into minilogue xd’s filter. Every parameter has been tuned in detail based on what musicians want out of their synth. The sounds range from the warm pads typical of analog to fat basses and crisp lead sounds, covering every situation.
The additional sound design possibilities of digital sound are delivered by the multi-engine: the third oscillator in addition to the two analog VCOs. This engine, which is equipped with three different types of sound generator (noise, VPM, and open-source user oscillators) lets you take advantage of a sonic character that's different than analog, and use it at the same time as the analog engine, infinitely expanding xd module’s potential through hybrid sound design.
High-quality digital effects
minilogue xd’s high-quality digital effects use 32-bit floating point DSP processing, adding a finishing touch to its deep sound design platform. The three types (modulation effects, reverb, and delay) can be used simultaneously, letting you choose from a wide range of variations including chorus, ensemble, warm tape delay, and a diverse variety of reverb. The user effect slots allow you to load your own effect programs that you've created.
"The KORG volca nubass is a groundbreaking bass synth implemented with KORG’s new-generation vacuum tube: NuTube. This modernized technology is implemented into the oscillator, sub oscillator and drive circuits; creating incredibly warm tones and rich distortions that only a tube can provide. This unique form of sound generation, along with nubass’ low-pass ladder filter, delivers countless timbral possibilities.
Compact, battery powered with built-in speakers included, the new volca nubass has everything the modern musician needs to take their music to the next level."
Playlist:
KORG’s volca nubass delivers huge bass via a real vacuum tube
Korg Volca Nubass - Overview with Nick Kwas | Kraft Music
Korg Volca NuBass | Reverb
"A powerful bass synth with a sound source based around a vacuum tube oscillator.
The acid bass machine with the pinnacle of modulation and distortion.
Even today, when digital technology allows electronic musical instruments to simulate any sound imaginable, people seek the warm harmonics and distortion produced by analog vacuum tubes. This distinctive sound has a quality beyond words that sets it apart, and cannot be captured by a response curve; it's the unmistakable sound of tubes.
The volca nubass is the first analog synth to be equipped with a Nutube new-generation vacuum tube in its oscillator. Vacuum tube plus analog means that the sound is warm, thick, and rich. The familiar transistor ladder filter gives it the character of a classic bass machine, along with overdrive, and huge-sounding distortion.
An acid bass machine for a new generation combines classic sound with the power of modern synthesizer design. It's the volca nubass.
The fusion of a newly developed vacuum tube oscillator with a classic ladder filter
A vacuum tube oscillator circuit forms the heart of volca nubass, utilizing groundbreaking Nutube technology
The Nutube is equipped with two vacuum tubes; one is used in the oscillator to generate a sawtooth wave or square wave. The other vacuum tube is used in the drive circuit of the sub oscillator, adding depth and warmth one octave below the oscillator. This oscillator and sub oscillator provide a circuit structure that brings out the harmonic character that only a real vacuum tube could provide.
A transistor ladder low-pass filter that produces a distinctive sound
The low-pass filter defines the sound of this bass machine; it uses a transistor ladder design found on classic analog bass synths. This filter is uniquely dynamic in the way it affects a sound more than just ranging from bright-to-dark. Its wide range of timbral possibilities makes it ideal for a broad variety of dance music; you can use it to create the distinctive modulation that can be heard in acid house, or increase the resonance to bring out a sharp character that's appropriate for techno.
Analog driver circuit
nubass is equipped with overdrive that uses an analog circuit reminiscent of a classic stompbox. Turning the knob toward the right compresses the volume while causing mild distortion, adding thickness to your bass sounds. The tone knob also lets you adjust the crispness of the high-frequency range.
volca sequencer makes performing and composing simple and intuitive
A 16-step sequencer that lets you automate parameters
"Simple encoder replacement on the Waldorf Micro Q. While it is open I take a look at the hardware inside to see what is running this classic 2000s analog modeling synth."
#rolandju06 #rolandboutique #rolandjuno106
Roland JU-06 Dark Ambient Pads
Synthesizer Demo by Rik Marston
**Watch in HD!!** **TURN IT UP!!**
Roland JU-06 right out of the box!
It really sounds just like the JUNO-106!
I also bought the K-25m keyboard for this but
I am using my Roland Fantom FA-76 as controller.
Yes, I went there, the famous Blade Runner / Vangelis
vibe but I did not try to recreate it, just tweaking pads folks!
Sooooo happy I got this ACB Boutique!
Anyone else hear the aliasing? Sounds very loud to me!
Recorded into Ableton LIVE with no FX
