tiptopaudio.com
Thursday, December 20, 2012
【DEMO】Xhun Audio LittleOne Virtual Moog Little Phatty
Published on Dec 20, 2012 by musictrackjp
"DEMO by Katsunori UJIIE."
Korg MonoPoy Demo Strings and More HIQUALITY
Published on Dec 20, 2012 by ar2jr
"No midi, just pure tone shaping and key hitting :-) a little bit of reverb in Pro Tools HD but no other fx used. It's what the MonoPoly sounds like raw. The string sound on this synth is very charismatic and reminds a bit of the older rev 2 Prophet 5."
The obvious hook is that the Rev 2 Prophet-5 and the Mono/Poly had SSM filters while the Rev 3 Prophet-5 had CEM filters. The KORG Polysix also had SEM filters.
"No midi, just pure tone shaping and key hitting :-) a little bit of reverb in Pro Tools HD but no other fx used. It's what the MonoPoly sounds like raw. The string sound on this synth is very charismatic and reminds a bit of the older rev 2 Prophet 5."
The obvious hook is that the Rev 2 Prophet-5 and the Mono/Poly had SSM filters while the Rev 3 Prophet-5 had CEM filters. The KORG Polysix also had SEM filters.
SNAZZY FX WOW AND FLUTTER TEASE
Published on Dec 20, 2012 by snazelle
"Here it is....the finished module will be here early 2013"
"Here it is....the finished module will be here early 2013"
Doepfer A167 Basics
Published on Dec 20, 2012 by raulsworldofsynths
"Description of the Basic Features of the Doepfer A167 Comparator. Sound and Audio by Raul Pena. Sound Demonstration begins in next segment."
Doepfer A167 Offset and Outputs Part One
Published on Dec 27, 2012 by raulsworldofsynths
"A closer look at the output and offset options on the Doepfer A167 Comparator. Part One of two. Sound and Video by Raul Pena."
Doepfer A167 Offset and Outputs Part Two
Published on Jan 3, 2013 by raulsworldofsynths·190 videos
"A closer look at the output and offset options on the Doepfer A167 Comparator.This is Part Two of Two. Includes Oscillocope views of waveforms using the Dave Jones Design O'Tool. Sound and Video by Raul Pena."
Doepfer A167 Comparator
Published on Jan 10, 2013 raulsworldofsynths·191 videos
"A continued exploration of the Doepfer A167 Comparator. Includes sound examples of Offset and Oscilloscope views. Free Running ADSR example found in next video.
Sound and Video by Raul Pena."
Doepfer A167 Offset and Free ADSR Part Two
Published on Jan 17, 2013 raulsworldofsynths·192 videos
"Part Two of the Doepfer A167 Offset and Free ADSR segment. A continued exploration of the Doepfer A167 Comparator. Includes sound examples of Offset and Oscilloscope views.
Sound and Video by Raul Pena."
Also see:
Doepfer A106-1 Xtreme Filter Basics
Doepfer A117 DNG Basics and Percussion
Doepfer A155 Analog/Trigger Sequencer Basics
Doepfer A188-2 Tapped BBD Delay Module Basics
Doepfer A156 Dual Quantizer Basics
Doepfer A189-1 VBM Voltage Controlled Bit Modifier Basics
Ring Modulation of Basic Waveforms with Doepfer A114 Ring Mod
Doepfer A131 VCA Intro
Doepfer A101-2- LPG Modes
Sample and Hold with Doepfer A148
Doepfer A118 Filtering with A120 VCF Low Pass Filter
Doepfer A110 Filtering with A101-2 and A120
Doepfer A110 VCO /A145 LFO-Pulse Width Modulation
Doepfer A110 VCO Features and Functions Tutorial
Doepfer A188-1 BBD Basics
"Description of the Basic Features of the Doepfer A167 Comparator. Sound and Audio by Raul Pena. Sound Demonstration begins in next segment."
Doepfer A167 Offset and Outputs Part One
Published on Dec 27, 2012 by raulsworldofsynths
"A closer look at the output and offset options on the Doepfer A167 Comparator. Part One of two. Sound and Video by Raul Pena."
Doepfer A167 Offset and Outputs Part Two
Published on Jan 3, 2013 by raulsworldofsynths·190 videos
"A closer look at the output and offset options on the Doepfer A167 Comparator.This is Part Two of Two. Includes Oscillocope views of waveforms using the Dave Jones Design O'Tool. Sound and Video by Raul Pena."
Doepfer A167 Comparator
Published on Jan 10, 2013 raulsworldofsynths·191 videos
"A continued exploration of the Doepfer A167 Comparator. Includes sound examples of Offset and Oscilloscope views. Free Running ADSR example found in next video.
Sound and Video by Raul Pena."
Doepfer A167 Offset and Free ADSR Part Two
Published on Jan 17, 2013 raulsworldofsynths·192 videos
"Part Two of the Doepfer A167 Offset and Free ADSR segment. A continued exploration of the Doepfer A167 Comparator. Includes sound examples of Offset and Oscilloscope views.
Sound and Video by Raul Pena."
Also see:
Doepfer A106-1 Xtreme Filter Basics
Doepfer A117 DNG Basics and Percussion
Doepfer A155 Analog/Trigger Sequencer Basics
Doepfer A188-2 Tapped BBD Delay Module Basics
Doepfer A156 Dual Quantizer Basics
Doepfer A189-1 VBM Voltage Controlled Bit Modifier Basics
Ring Modulation of Basic Waveforms with Doepfer A114 Ring Mod
Doepfer A131 VCA Intro
Doepfer A101-2- LPG Modes
Sample and Hold with Doepfer A148
Doepfer A118 Filtering with A120 VCF Low Pass Filter
Doepfer A110 Filtering with A101-2 and A120
Doepfer A110 VCO /A145 LFO-Pulse Width Modulation
Doepfer A110 VCO Features and Functions Tutorial
Doepfer A188-1 BBD Basics
An Interview with E-mu's Founder Dave Rossum
This one in via David Vandenborn of DVDBORN on The MATRIXSYNTH Lounge. theEMUs.com has an interview up with E-mu's founder David Rossum. The following is just the first question and answer for the archives. Click through above for the full interview.
"I read on the internet once that you got inspired to build the first Emulator after having seen the Australian Fairlight CMI at the AES show in 1980. I also want to build a lot of stuff that I see – but I always fail miserably and can’t even get my head around it.
I obviously know that you build modular synthesizers and that you created the technology for keyboards for other companies like Sequential Circuits Inc. and Oberheim Electronics.
What made you so sure you could do a sampler? Had you been experimenting with digital circuitry and RAM based technology prior to this? Did you buy a Fairlight sampler to look at when developing the Emulator – or did you do it differently – from scratch?
To understand fully, you need some background: the situation in May 1980 was that we returned from AES to find that Sequential Circuits was refusing to pay the royalties they had promised, and that we had counted on to fund the marketing of the Audity - which we introduced at the show.
We needed a product soon. Scott Wedge, Marco Alpert and Ed Rudnick had been talking on the drive back from the show, and thought that the Fairlight had one and only one good feature - sampling. We had also seen a Publison Digital Delay that had a capture mode, and the captured (sampled) sound could be played with a control voltage/gate type synthesizer keyboard.
The guys came to me with their ideas, and we had the need for a new MI product quickly to replace the lost Sequential revenue stream.
E-mu was the first company to use a microprocessor in an MI product - our 4060 polyphonic keyboard and digital sequencer, introduced in 1976. We'd done all sorts of stuff with microprocessors - the Audity had a full blown real-time operating system I'd written.
We'd built our own Z-80 development system including disk interfaces, etc. The sequencer in the 4060 used 64K bytes of dynamic RAM. And as I've been previously quoted as saying, "Any asshole can design digital circuits." (Analog is a LOT harder).
We also had been consultants for Roger Linn on the circuit design for the LM-1, so we knew a bit about sampling as well. We'd played with COMDACs in the lab at E-mu as well.
The Fairlight used a separate RAM and a separate CPU for each voice. When Scott, Marco, and Ed came to me with their idea, I knew that such an approach was simply too expensive for an MI product. We'd just have another Audity-class product, competitive with the Fairlight.
So I saw that the key would be to use ONE CPU and ONE memory for all eight voices. The trick was getting the memory bandwidth to accomplish that. The solution was a combination of fast, cheap DMA chips and some FIFO buffers to give them big enough bursts so that the bus negotiation didn't hog too much bandwidth.
So the answer is that we never gave the slightest thought anything but designing the Emulator from scratch. I was revolutionizing the state of the art - building what was in my mind, not duplicating something that I'd seen. And the hardware was the easy part.
The software was the real challenge. The Audity we demo'ed at AES had about 10,000 lines of code, which I'd written in about 3 weeks. The Emulator code base was a similar size, but rather more complex in several ways. Getting both the hardware and software into a form for demonstration at January NAMM 1981 was a real challenge. And that leads to..."
Emu
"I read on the internet once that you got inspired to build the first Emulator after having seen the Australian Fairlight CMI at the AES show in 1980. I also want to build a lot of stuff that I see – but I always fail miserably and can’t even get my head around it.
I obviously know that you build modular synthesizers and that you created the technology for keyboards for other companies like Sequential Circuits Inc. and Oberheim Electronics.
What made you so sure you could do a sampler? Had you been experimenting with digital circuitry and RAM based technology prior to this? Did you buy a Fairlight sampler to look at when developing the Emulator – or did you do it differently – from scratch?
To understand fully, you need some background: the situation in May 1980 was that we returned from AES to find that Sequential Circuits was refusing to pay the royalties they had promised, and that we had counted on to fund the marketing of the Audity - which we introduced at the show.
We needed a product soon. Scott Wedge, Marco Alpert and Ed Rudnick had been talking on the drive back from the show, and thought that the Fairlight had one and only one good feature - sampling. We had also seen a Publison Digital Delay that had a capture mode, and the captured (sampled) sound could be played with a control voltage/gate type synthesizer keyboard.
The guys came to me with their ideas, and we had the need for a new MI product quickly to replace the lost Sequential revenue stream.
E-mu was the first company to use a microprocessor in an MI product - our 4060 polyphonic keyboard and digital sequencer, introduced in 1976. We'd done all sorts of stuff with microprocessors - the Audity had a full blown real-time operating system I'd written.
We'd built our own Z-80 development system including disk interfaces, etc. The sequencer in the 4060 used 64K bytes of dynamic RAM. And as I've been previously quoted as saying, "Any asshole can design digital circuits." (Analog is a LOT harder).
We also had been consultants for Roger Linn on the circuit design for the LM-1, so we knew a bit about sampling as well. We'd played with COMDACs in the lab at E-mu as well.
The Fairlight used a separate RAM and a separate CPU for each voice. When Scott, Marco, and Ed came to me with their idea, I knew that such an approach was simply too expensive for an MI product. We'd just have another Audity-class product, competitive with the Fairlight.
So I saw that the key would be to use ONE CPU and ONE memory for all eight voices. The trick was getting the memory bandwidth to accomplish that. The solution was a combination of fast, cheap DMA chips and some FIFO buffers to give them big enough bursts so that the bus negotiation didn't hog too much bandwidth.
So the answer is that we never gave the slightest thought anything but designing the Emulator from scratch. I was revolutionizing the state of the art - building what was in my mind, not duplicating something that I'd seen. And the hardware was the easy part.
The software was the real challenge. The Audity we demo'ed at AES had about 10,000 lines of code, which I'd written in about 3 weeks. The Emulator code base was a similar size, but rather more complex in several ways. Getting both the hardware and software into a form for demonstration at January NAMM 1981 was a real challenge. And that leads to..."
Emu
Korg MS-20 SN 147963 In Original Box
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
yousenditworks (RSS)
"This synth sounds amazing, the hi and low pass filters are great. This one has the earlier Korg 35 "noise" filter on the low pass, which gives it an extra gnarly sound. Amazing for bass, leads, effects and especially great for the external processing and running anything you want through it, drums, mics, guitars."
via this auction
yousenditworks (RSS)
"This synth sounds amazing, the hi and low pass filters are great. This one has the earlier Korg 35 "noise" filter on the low pass, which gives it an extra gnarly sound. Amazing for bass, leads, effects and especially great for the external processing and running anything you want through it, drums, mics, guitars."OBERHEIM OBSX
Analogue Solutions Leipzig S
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"LIKE NEW IN THE BOX Analogue Solutions Leipzig-S. As we are not an Analogue Solutions dealer it is being sold without warranty but you have the supreme benefit of getting this piece new in the box at an unbelievable price! Analogue Solution's quality is exceptional in the synth world and you can purchase with confidence! We offer a 14 day inspection period to make sure the synth is perfect for you.
Pure analogue voice and modulation circuitry.
Fat Moog style filter.
2 VCOs with Glide and Sub-VCOs.
Osc Sync & Cross-Mod
Plenty of modulation routing possibilities.
Analogue step sequencer – with plenty of clocking options.
Audio input so can be used as a sound processor.
Rugged steel/aluminium construction.
MIDI In for software sequencer control."
"LIKE NEW IN THE BOX Analogue Solutions Leipzig-S. As we are not an Analogue Solutions dealer it is being sold without warranty but you have the supreme benefit of getting this piece new in the box at an unbelievable price! Analogue Solution's quality is exceptional in the synth world and you can purchase with confidence! We offer a 14 day inspection period to make sure the synth is perfect for you.Pure analogue voice and modulation circuitry.
Fat Moog style filter.
2 VCOs with Glide and Sub-VCOs.
Osc Sync & Cross-Mod
Plenty of modulation routing possibilities.
Analogue step sequencer – with plenty of clocking options.
Audio input so can be used as a sound processor.
Rugged steel/aluminium construction.
MIDI In for software sequencer control."
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MATRIXSYNTH - EVERYTHING SYNTH
© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
