"It's a little rough around the edges (or display panel rather), but it's still chugging along. This Korg is still the classic workstation it always was. This guy has plenty of expandability, and some classic Korg sounds that hold up excellently today."
"I've been really liking the FAT Freebass FB383 analogue TB303 clone again (even if staying in tune is more of an aspiration than guarantee with this thing). It’s fully analogue and the filter does all the good self oscillating squelchy things you want from a 303 even if it does lack a sequencer (slides and accents can be triggered with MIDI). Some sources claim it's a fairly faithful clone of a TB-303, not sure how valid that is though. For those outside the UK wondering, this synth is just a MAM MB33 with a different paint job. You can also feed audio into this synth and use it as a MIDI triggered enveloped / gated filter, which is kinda cool! Had this set up recently for some acid parts (ofc) and it’s been fun using this synth again so I thought I'd make a video on it - hope you enjoy :)
Chapters:
00:00 - review, background info and basic features (incl. how it differs from a "real" 303 and other clones)
07:58 - Programming sounds (pt1. VCO and tuning)
10:20 - Programming sounds (pt2. filter and envelope)
12:24 - Programming sounds (pt3. Accent and slide)
15:47 - Programming sounds (pt4. Using the filter's external audio input)
21:07 - Sound demo 1 - the synth in a track with no effects on it
23:02 - Sound demo 2 - the synth used in a track through an overdrive pedal
"Can a groovebox from 2003 really carry an entire live techno, House or Electro set? After watching my mate Beau Beaumont play a whole gig out of a single Korg Electribe, I had to find out for myself. In this video I dig into the EMX-1 (the blue, synth-based Electribe) — the sounds, the synth engine, the effects, and the performance tricks that let you play a full live set from one little groovebox. Stick around to the end for a 15-minute live set demo recorded in one take.
The Korg Electribe EMX-1 and its sample-based sibling the ESX-1 came out over 20 years ago, but they've quietly become cult live-performance machines. 9 drum parts, 5 synth parts, 16 oscillator types, 256 patterns per song, 3 chainable effects, motion sequencing, and a pair of glowing valves for warmth and grit. By the end you'll know exactly what it does, what it can't do, and how to actually gig with one.
🎛️ QUICK BUYER'S TIP
The older Electribes use SmartMedia cards; this newer revision takes SD cards — handier and worth paying a little extra for. Check which one you're getting before you buy.
🔗 CHECK OUT BEAU BEAUMONT
The whole reason this video exists. Amazing live performances and DJ sets:
👉 / beausoundart"
"Welcome to Bad Gear, the show about the world’s most-hated audio tools. Today we are going to talk about Native Instrument’s Massive X.
This 2019 plugin is a cautionary tale for music technology brands about what NOT to do if they don’t want to end up as yet another pair of antlers in inMusic’s trophy room.
Chapters: 00:00 Intro tune 00:39 Overview NI Massive X 01:12 Why it's worse than OG Massive 01:38 OK, that's not soooo bad... 02:05 Oscillator Section (Yeah, it's a mixed bag) 02:32 Noise Section 02:39 Filter Section 02:59 Insert FX, Feedback, FX Section 03:32 Workflow (Envelopes, LFOs, Random) 03:56 The Dealbreaker 04:03 Trackers and yes, it can still do Dubstep 04:16 Animator, Massive X Player 04:40 Modular Environment, Presets, Pricing 05:09 H*te Screen 05:37 Jam 1 ( Massive X-only Psy ) 06:31 Jam 2 ( Massive X vs. Analog Drums ) 07:32 Finale ( Drum'n'Bass ) 08:04 VERDICT"
"Roland JX-8P vs MKS-70 | These Two Synths Should Sound Identical. They Don't. Why?
Many of the patches I use can be found here: https://espenkraft.com/b/hBPIn
Age of electronics, different electronics/chips etc. Both synth are loaded up with the same sysex patch each time.
I'm only using one of the two voice cards of the MKS-70 (upper) to match the 8P's polyphony.
The 8P smears the sound out more, due to its chorus, or age. The MKS-70 is cleaner, darker and of course more powerful since it's TWO 8Ps in box.
This is another ridiculously comparisons video that serves no other purpose than to fetishise old gear."
"A quite night in with the 100m. Since having a baby there has been little time to get back into the swing of things in the studio. Trying to find time when I can to enjoy the little moments like this."
"This video is shot at a more revealing angle than usual, to document the setup before we change it. When we added an EML 400/401 to our EML 200, we made custom shelves to line the three panels up on a table. But we got a great deal on a second EML 200 during the pandemic, so that got installed on a metal shelf over the first EML 200. The studio kept growing over the years, with lots of revisions on how it is all arranged, but the EML 400/401 hasn’t moved an inch. I never liked this hockey stick configuration and have always felt the EML 400/401 is a bit underutilized. This summer we’ve decided to move the 400 above the 401, creating a big EML block, so that the 400 is closer to the 200s, to the Buchla system, and so it’s easier to reach everything at once.
Anyways, the point of this patch was to use V1 on the right set of stages to reset the left set of stages. It’s a fun trick because you can control when and how often you want to reset the sequence using the sliders. The TR-909 is externally clocked by ALM Pamela’s New Workout at 130bpm. The kick and rim shot are saturated by the Dukane 2a76. The snare sound is the Simmons SDS1, triggered by the rim shot trigger output on the 909. The EML 401 filter is in high pass mode. At 0:43 I drop the kick, unmute the clap and hats, and turn off the voltage control of the envelope, which makes it sound like a goose. At 1:13 I change the TR-909 pattern and switch the routing of the lower voltages on the 400, from V4 to V3 and from V3 to V4."
