1010 Bitbox Micro/MK2: Multisampling is easy and fun!

Patchwerks Seattle

"In this video Nick Bigelow of Patchwerks walks us through multisampling on the new 1010 Bitbox Micro. Using the Moog DFAM as a sound source Nick is able to quickly create accurate polyphonic samples which he triggers using the Novation Launch Pad Pro Mk3.

1010 Bitbox Micro:
Bitbox micro provides Eurorack sampling for smaller racks and smaller budgets. In only 18 HP of rack space you can get a touch screen based sampler with support for 8 stereo sample pads. Now you can record samples directly into the module or load them from the microSD card. Trigger your samples via CV or MIDI, then apply effects and mix the outputs. Save your configurations to multiple presets for later reuse.

Order 1010 Bitbox Micro here: https://bit.ly/bitbox_micro


Moog DFAM:
DFAM is the first addition to the Mother-32 family of synthesizers and presents an expressive hands-on approach to percussive pattern creation. It requires no patching, and absolutely no experience is needed for human-beings of any age to quickly begin synthesizing new and unique rhythmic compositions.

Order Moog DFAM here: https://bit.ly/dfam_moog

Novation Launch Pad Pro:
Launchpad Pro is our most powerful 64-pad MIDI grid controller for producing: both in Ableton Live and with your hardware. It gives you everything you need to create and perform your tracks. Tailor Launchpad Pro to your setup, then take control of MIDI-compatible hardware and software — with or without a computer. Use Custom Modes to send MIDI commands to software and hardware simultaneously. Hook Launchpad Pro up to an all-hardware rig using MIDI In, Out and Out 2/Thru ports on 3.5mm connectors.

Order Launch Pad Pro here: https://bit.ly/launch_pad_pro_mk3

https://patchwerks.com/
Demo by : Nick Bigelow
Video by: Matthew Piecora (aka EZBOT)
https://www.ezbot.live"

The WASP - A Very British Synthesizer

Alex Ball

"The WASP is an iconic British synthesizer designed by Electronic Dream Plant in 1978.

EDP were Adrian Wagner (yes he was a relation), Chris Huggett and Steven Evans. They only traded until around 1982, but that wasn't the end of their synth story. Chris Huggett in particular has had a prolific career in the industry, founding the Oxford Synthesizer Company in 1983 and releasing the (also iconic) OSCar and subsequently (after work with Akai), he joined Novation, who are still trading to this very day.

Back to 1978, the concept of the WASP was to build a powerful, low cost synthesizer. That seemed to have worked as one of the original reviews I found uses the headline "The Synth we can all afford" but still dubs it a professional instrument.

I also found a Moog price list dated June 15th 1978 and it lists the Minimoog as $1,995, the Multimoog as $1,495 and the Micromoog as $895. Assuming they sold for about the same in the UK, the equivalent prices would be approximately £1,090, £820 and £490 respectively. The aforementioned WASP review also states that an Odyssey is still over £1,000 in 1978, so with the WASP priced at £199 this demonstrates what a bargain it was at the time.

In fact, I had a brief conversation with a friend who remembers running out to buy it the moment he heard about it in 1978 and he still has his. It was also the first synth of Dave Stewart and Nick Rhodes among others.

In this video I breakdown its features and use it to make a short track.

0:00 - Intro
0:42 - The WASP
2:07 - The Keyboard
2:59 - The Oscillators
3:40 - Noise
4:03 - The Controller Oscillator
5:06 - The Filter
6:08 - The Envelopes
6:30 - LINK
7:11 - Internal Speaker
7:32 - Demo Track
9:21 - Outro

Gear used:
EDP WASP (1978)
Simmons SDS-3 (1978)
AMS DMX 15~80S (1978)
Roland CR-78 (1978) samples

Some original brochure scans stolen from the wonderful Retro Synth Ads blog:
http://retrosynthads.blogspot.com"

Alex Ball synth vids

On the Run

verstaerker

"played on the DIY EMS-Clone
(some elektron Rytm beats added)"

How to make a TINY live techno modular synth in only 62HP.

mylarmelodies

"This video is like a step-by-step workshop where I will systematically explain and patch an entire wee tiny live techno modular synth, that works a LOT like my bigger live system. I'll show how I wire it up, and talk about techniques/problems and options throughout.

I've designed many iterations of my live modular system at this point but it's been interesting to work on how SMALL you can make a system and still keep it relatively usable and flexible. I've been able to take ideas from Surgeon, Colin Benders and my own experiments and squeeze them into the smallest space practical. This video should be useful if you are new to modular, as it is intentionally systematic without missing out any steps!"

Building the 1007 MIDI - CV MIDIMUSO OPTIMIZED FOR KOSMO FORMAT

THE MUSEUM OF EVERYTHING ELSE

via LMNC

"This is July’s Offering of the Kosmo Module a month project.

Its a multi function MIDI - CV module that is based around the CV12 chip made by midimuso

This module all in all has 12 CV outputs and 6 Trigger outputs. 2 MIDI THRU’s and also a MIDI SIGNAL LED

There has been some changes to the Midimuso code, for instance the action at which is works is return to bass, Also 0v is C

The CV12 has a massive amount of flexibility, you can have it as an extencive 1 channel midi to cv device, a 4 voice polyphonic midi-cv even a 6 channel midi to cv device

Not to mention the fact it can be chained together to expand even more!

CLICK FOR MORE »

Sequential Prophet 6 & TC Electronic Helix

3rdStoreyChemist

WEM Watkins Copicat TapeEcho (Ft Novation Peak / Tanzbar / Arturia DrumBrute Impact with Solo Part)

Sound Provider

"On this video I did a Sound Demo of the lovely and vintage WEM Solid State Watkins Copicat Tape Echo with a kind of Techno Dub Loop .

To go with the delay I used 1 synth and 2 Drum machines:

The Novation Peak Polyphonic Hybrid Synthesizer (Half analog Half Digital) is used for the Stab chord part.

I used the MFB Tanbar analog Drum Machine for the Snare.

And finally I took the Arturia DrumBrute Impact to do the Kind of Tom Bass with its analog Fm Drum part.

At the beginning you can listen to the Full "track" , then at 3 Minutes you can listen to the Peak Chord in solo with the delay , Around 6 minutes you can listen to the snare in solo, then at 9 it s the DrumBrute Impact Fm Drum turn.

Other stuff you have to know about this video:

I switch off the Novation Peak Delay for this demo, the Watkins Copicat warm delay is the only delay used on this video.

At some point I did feedback loop with the Delay (with the aux of my Allen & Heath GS 3000 Recording Console you can see on the video).

I did a quick mix and master with compressor limiter and eq on Cubase

voila."

ASTROGENIC HALLUCINAUTING - late night noiz for late night fiends

thenoiztemple

"ASTROGENIC HALLUCINAUTING - late night noiz for late night fiends - for more noiz: https://itunes.apple.com/us/artist/as... website: http://manipulate.net Created during The Plague. #covid19 #coronavirus #isolation #quarantine"

Fantasy Soundtracks Ep:5 'Fresh Meat'

DreamsOfWires

"5th in a series of simple live jams inspired by some of my favourite vintage sci-fi and horror from the cinema and TV. I thought it'd be a fun idea to see what I can do with a simple setup, perhaps ony 2 analog monophonic synth voices, and modest digital effects. The synthesizer soundtracks of the 70's and early 80's were often very simple, spartan compositions, using few instruments and often on a shoestring budget, which is what made them special I think.

In this instance I'm using my AJH Eurorack modular synth to generate two voices: The first is the square waves from 2 VCO's going into the Entropic Doom's ring modulator, then the Gemini dual filter to create the phaser-like effect. See this video for a more detailed explanation of this patch: https://youtu.be/EQI4bdBPgDM
The second sound involves a sawtooth from a third VCO, modulated by the Sample & Hold with slew, passing through the Wave Swarm, and then the ladder Filter. The notes are played manually using a Keystep controller, and the Precision Voltages module is used to shift the pitch of the second sound. Reverb from EOS2.

The movie 'Death Line' (UK title), or 'Raw Meat' (US title) is a little known gem, which is essentially a cannibal movie, taking place below the London subway. It captured my imagination as a teenager partly due to it's setting/location (which I was very familiar with), but also because it wasn't completely silly like most of the horror, and particularly zombie movies that I was collecting in my youth. It had the kind of atmosphere I was looking for in such movies, but rarely found. I made an earlier soundtrack to this clip in the first part of the following video: [posted here]

My music is available here: https://tomorrowthecure.bandcamp.com

To support this channel: https://www.patreon.com/dreamsofwires"

Prickly Pear - Lúbadh, Arbhar, Morphagene, VCV Rack, Magneto, Basimilus, Mimeophon, Freak, Nebulae

Omri Cohen

You can find additional resources available from Omri Cohen at https://www.patreon.com/omricohen

"Here are some patch notes:
--------------------------
- I recorded a short loop with Janso from Felt Instruments into Morphagene, and this is going directly to the mixer.
- I also recorded it into Arbhar, which is going through Flame, the analog distortion model on Freak from Vult.
- I have a sample of The Hollow Men by T.S Eliot on Nebulae, which is playing it back slower and it's also going through a tape delay on the Disting, which is being modulated by S&H from VCV Rack. I also modulate the Size function from VCV Rack.
- The Basimilus is being triggered by the 1U Noise Tools from Intellijel, and it's going the LedRover from VoicAS and the Mimeophon from Make Noise.
- I have another Freak loaded with the Vraids firmware (dual Braids), and one channel is set to PRTC mode and the other to NOIS. The PRTC is going to the 2HP Freez module, which is being triggered and modulated from VCV Rack, and the NOIS is going to the Microcell.
- I recorded the Cello from Felt Instruments into Magneto from Strymon, which is in Shift mode so it adds overtones to the sample.
- I recorded a short sequence from VCV Rack with an FM voice into the first channel of Lúbadh, which is playing it back in reverse, and I'm modulating the Start function from VCV Rack.
- I also recorded another voice from VCV Rack, a PD voice, into the second channel of Lúbadh , and it's playing it back slower.
- I'm in love with Lúbadh... "