"Use this striking analogue synth to create fully customisable lead lines, acid bass lines or quite simply - noise. The 25 tactile-button keyboard is midi controllable, so connect to to a midi-sequencer, midi-controller or computer and start creating. It can also control other midi-equipment with the built-in onboard CV converter, making it the perfect studio companion. Comes with power supply."
"This is the first song with the Alesis Fusion 8HD. It's a synthesizer workstation (up to 190 voices per engine, 16 parts multitimbral) that offers several different synthesis types: AWM (sample playback), FM (freely configurable 6-operators engine), Virtual Analog (VA) and Physical Modeling (Wind and Reed models). There are three oscillators per voice that can be any of the above mentioned synthesis types and 20 different filter types including low-pass, band-pass, high-pass and a 4-band EQ for every patch.
I used for the recording the following FX chain:
Fusion 8HD - Digitech Obscura - Pigtronix Echolution 2 Deluxe - GFI System Specular Reverb 2. Depending on the recorded track some FX are deactivated
The signal went through a Presonus StudioLive 16.0.2 into the PC via USB for recording. To create the complete song I recorded consecutively several stereo tracks. The final song was then mastered with a bit EQ and compression on some tracks and some limiting on the master track."
"This is number 15 of a video series combining the best of vintage sound and the best of the modern sequencer technology in eurorack: Roland Jupiter 4 and IO Labs Flux. There will be a new short video about every week.
The Jupiter 4 is always recorded in mono, which makes the internal chorus very subtle. Reverb is added in Cubase to make the sound wider. There is no clipping in the recording chain. If you hear anything close to distortion, it’s all in the sound coming out of the Jupiter 4.
The Roland Jupiter 4 has been rediscovered and established as the most full of character among the Roland polyphonic synths. Although limited in number of voices and straight forward sound architecture, it shines with an unique sonic print which no other synth can emulate. There are lots of great video demos and information on the web, so that no detailed description will be provided here. But it’s important to mention some unique features which will be showed extensively in this video series:
- The Jupiter 4 filter goes into self oscillation. Big guys like Yamaha CS-80, Jupiter 8 or Oberheim OBX-a can’t.
- The LFO is fast enough to get into audio range.
- There is a very noticeable internal saturation when the VCA slider is raised.
Don’t expect nice bass sounds and classic analog leads. The Jupiter 4 is perfect for that, but this has already been done before in many records and internet demos. What you are about to hear is the extreme side of the sound. Be prepared for drones, massive low frequencies, cracking saturation, ultra fast notes and unusual scales. Many sounds will remind you of modular synthesizers, but they were all created by direct recording of the Jupiter 4. :-)
In fact, the VCO is switched off and you will be hearing only the self oscillating filter in almost 80% of the video series. Only in the last videos you will hear the VCO. That means that 80% of the sounds you will hear couldn’t be made with other classic polyphonic synths, unless the filter self oscillates.
Luckily this Jupiter 4 was modded with CV and gate inputs and outputs per voice (and then some). Using this level of control per voice you can use the Jupiter 4 as a vintage monophonic synth, or drive individual voices differently. For example, applying vibrato or slide per voice. In this video series, only three voices were used."
"A bit dismayed by the lack of 'bite' with the Prophet 12 FM, I tried digging deeper to see what could be done with it. Just adding 'FM' and Linear FM (i.e., phase modulation) is not enough to really brighten a sine way. Here, I then added velocity as a mod source and FM as a destination... 4 times. Apparently, on the Prophet 12, you're able to modulate and modulate things more and more for the effect you want. It seems to work, so I'll take it. All 4 oscillators are active here, although Osc2 is not audible, only acting as a modulator for OSC1. All oscillators are sine waves.
Of course, it's still not quite as expressive as the SY77. The SY77 has a lot of low end yet keeps the high end sparkly. The P12 handles it ok at best.
One person suggested keeping the oscillators under 50%. I kept them around that for this video, but I still notice distortion. I'll take their advice and drop it to under 50%, hopefully that helps.
"This video is my answer to that question, the question that prompted me to buy the PRO3 in the first place.
I had quite a lot of eurorack stuff around, but it was becoming more of an obsession, with all those buy sell trade try learn trade again, in an infinite loop without sign of slowing down and PEACE.
So I decided to sell all my modular gear, in order to fund this (which seems a way better value than the two premium modules I had to sell) and some other gear.
My Sequential / DSI Pro 3 already appeared on my channel before, but in a way that wasn't the one I bought it for.
So, I took my time to try to get in the same mindset I would have had while patching my eurorack system: I started from nothing, a buzzing wave, then I started "patching", modulating the OSC, the filter, the onboard FX (yeah!), assigning some stuff to the control surfaces (touch strip + mod wheel) and I tried my best with the sequencer to obtain the deep, nonsensical, evolving patches I used to make with the modular gear.
I was so happy, I reached my goal, and now I am GAS-free for eurorack stuff.
Yeah, I miss a bit the physical act of patching, but hey, that's way more practical and it comes with presets, so I can save my work to get back to it another time!
