We have joined with the world-renowned keyboard wizard Jordan Rudess of Dream Theater to produce a groundbreaking app that simply blows away!
Imagine a 6-directional drum machine/rhythm sequencer where only your imagination is the limit. Every sequence can be totally chaotic, random, or strict and controlled. Hexatone is capable of producing constantly changing, insanely addictive rhythms. You only choose the best and then export them to Intua Beatmaker / desktop DAW via the built-in Wi-Fi server. "
Available on iTunes here:
Update:
JR Hexatone has been released!
YouTube via JCRUDESS "This is the first Jordan Rudess official app for the iphone and ipod touch. Imagine a 6-directional drum machine/rhythm sequencer where only your imagination is the limit. Every sequence can be totally chaotic, random, or strict and controlled. Hexatone is capable of producing constantly changing, insanely addictive rhythms."
Introducing Hexatone
YouTube via rlainhart
"Jordan Rudess introduces JR Hexatone Pro for the iPhone, a next-generation 6-directional loop generation tool that uses artificial intelligence and advanced randomization algorithms to produce constantly changing sonic structures. The app is capable of creating many type of drum loops, melodic sequences or rhythm patterns, thanks to its ability to load custom user samples and modify them in realtime. Users can also engage built-in Stutter or Chorus effects and control them with the iPhone's accelerometer."
Basic Hexatone Programming
YouTube via rlainhart "Jordan Rudess demonstrates some basic techniques for programming Hexatone, a next-generation 6-directional loop generation tool that uses artificial intelligence and advanced randomization algorithms to produce constantly changing sonic structures."
"This is number 14 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."
"This was a patch experiment using the new Mutable Instruments Rings/Clouds Modules, and trying to create strumming/plucking guitar like sounds within a patch. The inspiration came from playing around with the Clouds Parasites 1.3 alternate firmware running in the Resonator mode highlighting the "scatter" (or strum) function. The master clock was the Tiptop Circadian Rhythms module, taking the first 4 outputs into my Nord Drum 2 for the Kick, snare, closed and open hi-hats. From there the clock output from the CR was multiplied and then sent to the Modcan Touch Sequencer. First row output from the TS was sent to the intellijel Shapeshifter creating a two note baseline sequence that comes in at 1:58. The second sequence Row2 output from the TS was sent to the "ALM Akemie's Castle" module OSC A output using the chord function, that comes in at 25 seconds. The gates from the modcan where set to a 16th's pulse sequence. Modulation from the synthesis technology E102 Quad Temporal Shifter output 1 modulating the Multiplier input on Operator 1. The 2, 3 and 4 outputs from the E102 where also modulating the Operator 2, 3, and 4 inputs on the Akemie's Castle. This was creating the harmonic timbre changing as the sequence was playing.
The slowly evolving sweeping noise textures that come in at 1:09 is from the Music Thing Radio Music module. The sample was a white noise sampled lightly filtered and then sent to the intellijel HexVCA with the amplitude CV control via a Intellijel Dixie modulating from slow to high rates (free running). The Make Noise Rene was being externally clocked from the Circadian Rhythm, and was sending out a quantized output to the Mutable Instruments Clouds pitch input creating the chord guitar sequence. The strum sounds on Clouds was played by the 4ms QCD running in 32th division output into the Trigger input. The freeze input was also triggered by a Ladik R-110 Random clock module. The combination of the two created the trill chord like strums.
The bass guitar tone sound that comes in at 1:24 are from the MakeNoise Mysteron, that is being sequenced by the Modcan Touch Sequencer, Row Output 3 was programmed in the same key but a lower octave. The "Rings" module was creating slow attack soft high pitched chords in reverb that come around 2:50. There was additional processing of the Clouds output that was sent into the Tiptop ZDSP module running the "Halls of Vahalla" card program 8 "Ginnungagap" creating the high pitch octave deep reverb shimmer effects. The harmonic slow swells that come in at 3:30 where created using another intellijel Dixie oscillator sine output running into an Strymon "Big Sky" pedal being harmonically controlled by an intellijel µScale V1. The output was being played slowly then processed using the "Choral" mode, creating the slow shimmer swells. The entire mix was sent into the Eventide Space pedal using the "Corridors" patch.
YouTube via AmidioInc. Note Amidio brought us Jordan Rudess' Hexatone, Noise.io, and more. "Touch DJ is the first real DJ MP3 mixing app for the iPhone. Can replace hardware equipment worth $1000. Visit http://amidio.com for more information. Follow us on Twitter: http://twitter.com/AmidioInc to know when the app gets to the store."
I want to start by thanking everyone that comes to MATRIXSYNTH and helps make it what it is - the readers, the supporters, and of course all the sponsors on the right.
THANK YOU and have a GREAT 2015!!!
This site is a labor of love and a ton of work. This site is ultimately meant to be an testament to everything synth in the making. We have over nine years of daily synth history captured here, 119,983 published posts. I can't wait to see what the future brings us in 2015!
That said, here are a few interesting bits from 2014 in the longest post of the year. ;)
"A new Bud app! Binarhythmic, from Cem Olcay. Binarhythmic, which seemingly has far too many H's in the name because I keep leaving some of them out, is a combination of binary and rhythmic (and I only said combination because I can't spell portmanteau LOL). It's a really interesting sequencer app as instead of beats and measures it counts in binary, with each digit (potentially) being a trigger. This opens up all sorts of possibilities, because instead of "simple" patterns of four or eight notes you're counting in binary, so 1, then 2, then 4, then 8, 16, 32, etc. So you could use three binary digits to have a kick on 1 and a snare on 4, but you can go way beyond that to have some notes be conditional on others or to "gate" notes so they play for a while until a trigger hits and then they stop, to start up again at the next trigger. Endless possibilities. And that's only with three digits. If you use eight digits your sequences can now have 128 beats. And it doesn't stop there because you're transmitting MIDI notes, so you can use them to trigger other events, such as starting/stopping other sequencers, say.
When I first tried out Binarhythmic it seemed very random—flashing lights, things happening at odd times and unpredictably. But once I got the hang of it it all started to make sense. We generally work in even measures, all with the same length for the most part, but in Binarhythmic each measure can be twice as long as the last. The beauty of this is that you can use it to trigger seemingly random events because humans just can't keep track of large numbers like 32 or 64, so if something happens once every 32 or 64 notes it feels like it might be a little out of the blue.
So a couple of video housekeeping notes. Seems I was a little careless with where I ran my headset cable and picked up a bit of hum along the way. It's not terrible, but let this be a lesson to us all. But mostly to me. Also, there's a bit of chord noise as the headset mic too easily picks up the vibrations if one is not paying attention. Again, "one" being me. And lastly, reasonably sure I was able to avoid picking up any playground wailing children noise but just in case I missed any it won't be too much of a surprise. Hopefully.
And finally, the quote intended use unquote for Binarhythmic is rhythm. So of course I did not do that and instead headed out towards some sort of ambient generative territory LOL. But fun was had along the way, and of course that just shows how usable and flexible Binarhythmic can be. Definitely worth a look.
Stuff used Binarhythmic - http://keybudapp.com/binarhythmic Arturia iSEM - https://apps.apple.com/app/apple-stor... Atom Piano Roll 2 - https://apps.apple.com/us/app/atom-pi... Pipa - https://klevgrand.se/products/pipa Ravenscroft 275 - https://www.vilabsaudio.com/ravenscro... Velvet Machine - https://phonolyth.com/products/velvet... AUM - https://apps.apple.com/app/id1055636344 ScreenFlow - https://www.telestream.net/screenflow... Audio Technica BPHS1 broadcast headset - https://www.audio-technica.com/en-us/...
Each patch contain two scenes which are separate instances of the entire synthesis engine (except effects) that can be used to create layered or split patches.
Quick category-based patch browser
Runs on a variety of operating systems, plugin formats, and architectures
Classic oscillator is a morphable pulse/saw/dual saw oscillator with a sub-oscillator and hard sync.
FM2/FM3 oscillators consist of a carrier and 2 or 3 modulators and various options.
Most algorithms (except FM2, FM3 and Audio input) offer up to 16-voice unison at the oscillator level.
Oscillator FM and ring modulation between oscillators 1-2 and 2-3.
Most oscillator algorithms (except FM2, FM3 and Sine) are strictly band-limited, yet still cover the entire audible spectrum, delivering a clear, punchy and clean sound.
"The Jupiter 4 is 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.o
The amazing sound of this Jupiter 4 can break the traditional boundaries specially when driven by the Temporal Modulation Synthesis sequencer Flux, made by IOLabs: https://www.tmsynthesis.com/ Flux is the most advanced tool for rhythm creation ever made. Ever. Trying to explain Flux is few words is not possible. Please look for information on the web."
"Intro is Elements in new Chord mode, sequenced by Turing machine. Chords sequenced from Pressure Points/Brains. Drums are samples from Ableton into MI Clouds. Chords/drones by Cyclebox into Post Lawsuit LPF and then into Snazzy FX Wow and Flutter, sequenced by Pressure Points/Brains. Vocal samples from Ableton into Warps in various modes (including Vocoder settings) into 4MS SMRF and then Make Noise Echophon. Shapeshifter sequenced by evolving pattern in Numerology via Expert Sleepers/Silent Way, into Korgasmatron and then Grendel formant filter, with various envelopes into formant filter. Delay in Ableton added to that track. Additional drums from Analog Rytm. All clocks/LFOs from Expert Sleepers/Silent Way. All IO from NW2S IO.
Ding towards end from text message from my wife. It happens."
"This is number 12 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 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.
The amazing sound of this Jupiter 4 can break the traditional boundaries specially when driven by the Temporal Modulation Synthesis sequencer Flux, made by IOLabs: https://www.tmsynthesis.com/ Flux is the most advanced tool for rhythm creation ever made. Ever. Trying to explain Flux is few words is not possible. Please look for information on the web."
"Vintage Oberheim OB-X 8-Voice Synthesizer from 1979 with Encore Midi Retrofit - in excellent original condition.
This Oberheim OB-X is a 61 key, polyphonic analog synthesizer, featuring dual oscillators (with sync and FM), noise generator, resonant 12dB low pass filter, dual ADSR envelopes, an LFO, 32 presets, tape interface, and CV IO.
I’m a composer for TV, film and video games and I’ve used this OB-X extensively since I bought it the '90s…sadly I don’t use it like I use to and it’s time to pass it along to someone that will love it as much as I have over the years. I remember searching long and hard before I found this particular OB-X, I believe I’m the second owner…the first owner took exception care of it before I got it.
This OB-X is most likely a Rev1 built in 1979. Over the years I've seen folks replacing caps, resisters, mini trim pots, etc. on their vintage synths but this OB-X still has all the original electronic parts and components, works great and sounds incredible! The only mod that is the Encore Midi Retrofit that I had done back in the '90s…I’ve not replaced anything else since I bought it. The only thing not working is the led on the Noise "Half" Button selector that doesn’t light up when turned on, it was like that when I bought it.
The Autotune works great, especially after the synth has warmed up for about 30 minutes. The original eight voice cards are in tune all across the keyboard and sound big and fat - but if you want them all in pitch perfect tuning you could have a true synth technician/specialist to do a calibration-tuning on the all eight cards/voices. To me, a slight variance in pitch on the collective eight voices is how I remember these synths sounding from the 80s:)
I’ve kept it in my smoke free studio ever since I bought it in the '90s with a cover when not being used. The keyboard is really clean and great looking. The letters and screening are exceptionally bright and sharp. There are marks on the bottom, that's the way I got it (see photos) and a few small scratches on the external metal casing. The side panels are in great condition (not real wood but they look fantastic). Some of the screws look like they might have been replaced but they all look like what I think the original screws look like. The keyboard is in excellent shape, and all keys feel in top shape and work well with no glitching.
It comes with copies of the owner and service manuals."
Based on the ELTA POLIVOKS Mini synth. Note the extra IO on the right and the mounting holes on the corners. This will be both eurorack and desktop.
Features
1 VCO with triangle, saw, and square
pulse width of square wave VCO or pulse width modulation via LFO, depending on the PW/PWM switch. PW/PWM – Pulse width modulation mode. Manual «PW» or by LFO «PWM
Sub-VCO octave/waveform switch: -1 octave square / -2 octaves square / -2 octaves pulse
Mixer: Oscillator, Sub-oscillator, noise, and audio input
Filter: BP/LP with cutoff and resonance, controllable with an envelope and LFO
Envelope: ADSR envelope with a normal and autogeneration mode
VCA: ADSR envelope with modulation or gate mode
LFO: triangle in the center and tilt waveform left and right & LFO speed amount
Inputs: v/oct, gate, pwm, pitch cv with amount control, VCA CV, cutoff CV with amount control, and external audio
Outputs: LFO waveforms, envelope, noise, VCO (triangle, saw, and square individual outs), sub-oscillator and audio output.
glide, tune, and modulation
Eurorack compatibility
As technology has improved, it has become possible for manufacturers to produce
increasingly complex synthesizers. This has led to the creation of synths that trade off easeof-use for maximum sound design potential, spreading hundreds upon hundreds of options
and parameters throughout dizzying interfaces, full of tabs and menus. They provide oscillators
and filters with such immense algorithmic precision that any soul or character is stripped away
before it has a chance to flourish in the sound. Integrate is not like that.
Integrate has been designed with the goal of creating an old-school virtual analog that has
just as much personality as any of the classics, paired with a fantastic user interface that makes
exploring the sonic possibilities an effortless pleasure. It cannot do everything, but this is
intentional; limitations breed creativity. No longer will you spend hours scrolling through lists
of wavetables, paralyzed by the impossible task of deciding which is the best to use – a
question that has no right answer. Instead, Integrate has a simple two-page layout where
every parameter has been selected for its unique axis of inspiration. Every dial, slider and
button is waiting to delight you as you delve into a world of aural possibilities.
Many thanks to fdigl for providing me a NFR license for this plugin! Next video will feature some custom patches made by me.
"The old-school virtual analog synthesizer: reimagined and perfected, optimized for creativity. Integrate follows in the footsteps of the virtual analog classics we still love today, bringing together a straightforward user interface with an intricate and colorful sound engine."
"The old-school virtual analog synthesizer: reimagined and perfected.
A synthesizer optimized for creativity.
Integrate follows in the footsteps of the virtual analog classics we still love today, bringing together a straightforward user interface with an intricate and colorful sound engine.
Four mighty oscillators. The four main oscillators come equipped with a selection of 74 waveforms and a flexible noise generator. The traditional waveforms (sine, sawtooth, square and triangle) all have a specially chosen parameter that can be modulated, allowing you to creating evolving sounds. The noise generator has tweakable color, and it also supports key tracking for an effect reminiscent of early game consoles. Also featuring FM, RM and hard sync, there's a world of possibilities waiting to be unlocked in these oscillators. There's also a sub oscillator sporting three waveforms, ready to quickly beef up your patch.
Have it your way. Integrate lets you configure the character of the oscillators, giving you the power to shape the sound of your patches from the very start of the signal path.
Pick between the “Clean” rendering mode for a modern touch, or the “Digital” mode to add a gritty punch to your sound.
Make anything super. Oscillators A and B both sport a unison section, letting you turn a simple waveform into a 7 voice beast. Configure the detune and mix, or enable “Stereo” to spread the voices across the channels. You'll soon discover how much of a monster Integrate is at fat, anthemic sounds, perfect for mesmerizing listeners of any genre.
The latest technology. Integrate is available in the new CLAP plugin format, boasting advanced features like non-destructive polyphonic parameter modulation and note stacking. We're proud to join its community of developers who are pioneering the latest in audio technology.
Information, only when you need it. To keep the interface compact and free from distractions, Integrate keeps extra information about parameters neatly tucked away in popups that only show when you're interacting with the relevant controls.
Waveforms, envelopes, frequency spectrums all pop up as soon as you need them, and then instantly hide away once you're done with them.
Explore new territory. Integrate isn't an emulation of an existing synth. Instead, it's a brand new design, waiting for you to explore what it's capable of. Dive into a world of characterful oscillators, screaming filters, chaotic LFOs, and dreamy reverbs. There's bound to be something that'll captivate your imagination.
"Modal Electronics 008R and the DSP IO board for the 002"
You might have been familiar with the Modal 002 in a rack, but NAMM was the first time we got a look at the all analog Modal 008 in a rack. Check out the Union Jack on its back! Some details and images from Modal Electronics
008R provides eight discrete voices of polyphony with an uncompromising analogue architecture utilising the highest grade components throughout
Two 100% analogue VCO’s per voice with two sub oscillators, providing sawtooth, triangle, square with PWM and noise.
Each of the waveforms can be blended together to provide completely new complex wave shapes
Innovative and extremely flexible 15 multi-mode filter, consisting of traditional modes such as low-pass, band-pass and high-pass as well as more unusual notch, phase and combination modes.
Filter overdrive enables the sound to be driven to sonic extremes
A range of classic analogue polysynth features such as oscillator and filter FM bringing amazing sonic power
Two LFO’s, both capable of reaching audio rates with multiple wave shapes and midi sync
11 modulation sources with unlimited destinations. Each destination can be set its own unique depth, a super smooth sample rate of 10kHz
008R features a range of sequencing options – a built in 2 Track, 12 row, 32 step sequencer with 16 dedicated step time editing knobs on the front panel and MIDI sync capabilities. Sequences can also be transposed dynamically while running
A very highly featured arpeggiator with a wide range of different modes, including ‘hold’ mode, enabling arpeggiator-based sequences to be created
The Modal Electronics Animator, which enables any control parameter on the 008R to be sequenced, enabling very complex filter transisitions, wave form changes and modulation matrix changes to be sequenced
+ Ableton Link in integration, find out more about Link at http://ableton.com/link
+ New SYNC for LFO and Sequencer
+ New Input Spectroscope view
+ New Noise Gate parameter
+ New exp/log scale for “Multi-Slider”
+ Freeze now is working with Decimator/Granulate/Noise Gate and Blur
+ New Frequency range selection for stereo Delay Pads
+ New iCloud Drive and Document Picker for Presets and Files
+ MIDI Clock improved
+ Improved Toggle Interaction
+ Audiobus latest SDK update
+ Midibus latest SDK update
+ Bluetooth Audio IO support
+ Bluetooth MIDI LE Support
+ Added Preset Manager 'Open In…’ Support
+ Added Preset Manager ‘Sends the audio files used from the Bank’
+ Added File Manager 'Send E-Mail' Support
+ Audio Engine Optimisation
the 4-voice starter system contains the essential modular functionalities necessary to achieve four independent analog voices (polyphonic) controlled via usb midi
"Last week's hardware challenge was to use new hardware, so JUST IN TIME for last weekend, here's my three newest modules.
The 'clouds' sound and some of the chord sounds are coming from my new Mutable Instruments Braids (very DIY) modules. The blinking lights create that weird chirping noise, and of course there's goofy reverb goodness going on too.
