"So much fun with BS2 and its #AFX mode. All sounds are coming directly from the #BassStation2 using its internal sequencer and heavy live tweaking of various parameters. Just added a little ambient drone afterwards using #Mononoke synth on the iPad."
"What a better way to start a new synth friendship by messing around with #afxmode on the #BassStation2? Sequenced by #riffer on the iPad, added kick with #playbeat and a touch of master glitching with #glitchcore. Sorry for the mess!"
Introducing Polyend Tracker
Performing with Polyend Tracker - Performance mode and MIDI sequencing fun by SLG (Łukasz Seliga).
Polyend Tracker Demo One
Polyend Tracker Demo Two
"A retro form factor updated with forward looking functionality and designed as an easy to use compact standalone workstation. Made for the creatives who break patterns on a daily basis. Designed to help artists forge unique avenues of sonic construction. Introducing the first hardware tracker in the music world.
The Polyend Tracker incorporates the quintessential characteristics of a classic tracker. The vertical timeline, the powerful sequencer and the mechanical keyboard combined with a newly designed input interface enables you to make and perform your music in a new and intuitive way. After a quick glance and a few minutes with the Polyend Tracker interface, you’ll soon realize the array of tools that are at your fingertips.
Polyend Tracker is slick, light and portable. It's also easy on the energy consumption so you can use it with any USB power source. Its sturdy and compact form factor makes it a great companion for music creation wherever and whenever you feel like it. No matter if you’re in your studio, on the run, or at the gig.
Polyend Tracker is equipped with a variety of powerful sound design tools. Use your existing sample library, record new ones with line or mic inputs, or use the built-in FM radio. Record samples, play them, slice them, mash them, or even make a synth out of them using Wavetable and Granular synthesis with its all necessary parts (filters, ADSRs, etc.)
Polyend Tracker works great with other instruments too. Thanks to the bilateral MIDI implementation, you can use it to sequence and control external gear or it can be used as a sound module controlled by any external MIDI software or hardware devices.
Don't be fooled by the classic tracker look. While maintaining the original quick and straightforward workflow, the Polyend Tracker is armed with an updated arsenal of sonic weapons. Automatic filling, randomizer, probability, selection rendering, effects per step, live recording, batch parameters editing, micro-tuning, micro-timing, rolls and many more give you the tools to be endlessly creative. Compatibility with MOD files allows you to import and finish tracks from back in the days or export and finalize them in the modern software trackers."
via Polyend - 499 GPB which comes out to roughly 600 USD, and 550 Euro. Update: Official price is €499 EUR/$599 USD
Update: and the official press release with a new pic:
"Polyend Tracker reboots retro form factor of software past with forward-looking functionality as world’s first hardware tracker
OLSZTYN, POLAND: famed for bringing new technologies to creative musicians by building innovative and unique musical instruments, Polyend is proud to announce availability of Tracker — effectively extracting the best bits of yesteryear’s tricky tracker software classics and rebooting them with forward-looking functionality as the world’s first hardware tracker, deftly designed as an easy-to-use compact standalone workstation with immediacy and simplicity at its creative core, and aiding artists with forging unique avenues of sonic construction to boot — as of March 18…
For the benefit of the uninitiated, a music tracker — tracker, for short — is a type of sequencing software. Speaking historically, the tracker term itself is derived from the first tracker software, Ultimate Soundtracker, starting life as a game sound development tool released for the Commodore Amiga personal computer back in 1987. The first trackers supported four pitch and volume modulated channels of 8-bit PCM (Pulse Code Modulation) samples, a limitation imposed by the Amiga’s audio chipset. Classic trackers represented music as discrete notes positioned in individual channels at discrete positions on a vertical timeline with a number-based user interface. Indeed, notes, parameter changes, effects, and other commands were entered via computer keyboard into a grid of fixed time slots as codes comprising letters, numbers, and hexadecimal digits — the latter being a positional system representing numbers using 16 distinct symbols. Saying that, those in the know appreciated the immediacy and simplicity of classic tracker software, if not necessarily those hexadecimal digits! One thing’s for sure, though: tracker software has exerted its influence on modern electronic music with influential IDM (Intelligent Dance Music) artists like (Aphex Twin alias) AFX, (Polish-American) Bogdan Raczyński, Brothomstates (a.k.a. Lassi Nikk, Finnish composer), Machinedrum (a.k.a. Travis Stewart, American electronic music producer), and Venetian Snares (a.k.a. Aaron Funk, Canadian electronic musician), to namecheck but several so-called ‘demo scene’ movers and shakers skilfully orbiting around those tricky trackers. That said, some might say that trackers need not be so tricky in this day and age. And it is this thinking that led to Polyend’s trailblazing Tracker.
The timely arrival of the aptly-named Tracker puts Polyend in pole position for blazing a new trail, tooled to take the tracker concept to a new level of innovative, inspirational, and immediate music-making by effectively extracting the best bits of yesteryear’s tricky tracker software classics and rebooting them with forward-looking functionality as the world’s first hardware tracker. Thankfully, Tracker waves goodbye to hexadecimal hysterics — not only did those entering the brave new world of classic trackers not necessarily know what those values actually represented, they could not see what was affected by them. Thinking inside its beautifully-engineered box, Tracker instead implements a simplified system of readable decimals that also shows the effects parameters when those decimals are entered in a frenzied fast track to creativity.
Tracker takes the quintessential characteristics of a classic tracker — the vertical timeline, powerful sequencer, and mechanical keyboard — and cleverly combines them with a newly-designed input interface, divided into several sections: a (high resolution, crisp, and bright) big screen and associated screen keys — mechanical controls that always correspond to what is displayed on the screen directly above them; the grid — featuring 48 backlit multifunctional silicon pads for quick note and pattern value entry and visual feedback (while also acting as a highly-customisable keyboard controller with editable scales); function keys — for fast and responsive control over all functions and options; plus navigation keys and associated (metal-manufactured) jog-wheel (with haptic feedback for fast scrolling or precise adjustments) — for facilitating transport control alongside arrow keys for navigation control, as well as dedicated Insert, Copy/Paste, Delete/Backspace, and Shift keys. All are at hand, helping to streamline making and performing music in a new and innovative way — without having to leave the world’s first hardware tracker, deftly designed as an easy-to-use compact standalone workstation with immediacy and simplicity at its creative core, and aiding artists with forging unique avenues of sonic construction to boot.
Better still, the classic tracker look of that dominating (default) screen — showing (up to) 48 instruments and 256 patterns with a maximum of 128 steps per pattern per project — belies an infinite source of inspiration. Indeed, Tracker comes complete with a wide variety of onboard sound design tools to enhance creativity still further for those wishing to take it to the limit. Let loose with Instrument — a chain of tools (Volume, Tuning, Panning, Filters, Reverb Send, and ADSRs) to make an instrument from any sample; Sampler — choose from different (1-shot, Forward, Backward, and Ping-Pong) play modes; Slicer — slice samples manually, or let Tracker take care of it ‘automagically’ at any time; Wavetable — full-blown wavetable synthesis with variable table length to make it compatible with the most popular (Ableton Wave and Serum) standards; Granular — single grain yet very powerful granular synthesis to create crazy and futuristic sounds from old and boring samples; Sample Editor — built-in precise offline rendering sample editor with multiple effects; and Sample Recorder — records up to two minutes of 16-bit/44.1kHz samples using built-in Radio, Pattern selection, Mic or Line In inputs, all of which can be saved to the included (16GB) MicroSD card for later use or loaded directly into a project. Put it this way: with Tracker, users can quickly and easily use existing sample libraries, record new ones, or use the built-in FM (Frequency Modulation) radio. Record samples, play them, slice them, mash them, or even make a synth out of them!
Tracker also plays nicely with other instruments. Thanks to its bidirectional MIDI (Musical Instrument Digital Interface) implementation, it can be used to sequence and control external gear or be controlled as a sound module by any external MIDI software or hardware devices. Whatever way anyone chooses to use it, armed as it is with an impressive arsenal of sonic weaponry — including automatic filling, randomiser, probability, selection rendering, effects per step, live recording, batch parameter editing, micro-tuning, micro-timing, rolls, and much more besides — it has what it takes to be a surefire hit, harbouring endless creativity. Compatibility with MOD files — a computer file format primarily used to represent music, made up of a set of instruments (in the form of samples), a number of patterns (indicating how and when the samples are to be played), and a list of what patterns to play in what order — allows users to import and finish tracks from way back when or export and finish their Tracker creations in modern-day software trackers.
The world’s first hardware tracker is slick, light, and portable. It is also energy efficient, so will work with any USB (Universal Serial Bus) power source. Sturdy and compact, the retro form factor of software past with forward-looking functionality makes for a great music creation companion — in the studio, on the run, or on stage. Simply put, Polyend’s Tracker puts everything right on track as a ‘back to the roots’ experience like no other!
Tracker comes complete with a USB-A power adapter, 2m USB-C cable, 3.5mm to 2x 6.3mm adapter, Minijack to MIDI DIN adapter, 16GB MicroSD card, and MicroSD to USB-A adapter, and is available to purchase through Polyend’s growing global network of authorised dealers at an MSRP of €499 EUR/$599 USD. Or order online directly from Polyend itself via the dedicated Tracker webpage, which also includes more in-depth information."
"Strands is the working title for a series of audiovisual compositions based on the idea of animated, generative, graphic scores. Last year I composed six of these scores written in Javascript for Parking Ramp Project, a performance installation in a seven-level parking ramp with a large cast reflecting on transience, migration, and stability commissioned by Guggenheim fellow, Pramila Vasudevan. While Parking Ramp Project was composed for a trio, Strands is specifically composed for a soloist.
Rain is a new movement in the series and the first that I have produced with video of the animated score. Currently there are five movements in the piece. I performed the first four recently at the ISSTA conference in Cork, Ireland. The visual part of the piece is meant to be read like music but without the use of key or time signatures. Each time the piece is played the visuals are regenerated, so it is never performed the same way twice.
The musician may interpret the visuals in many ways. For example, in Rain lines are animated from the top of the screen to the bottom. Where the line appears horizontally is roughly regarded as pitch and as the line animates the sound is modulated. The lines also vary in weight. Heavier lines are louder and lower in pitch while thinner lines are quieter, generally higher, and sometimes altered with a high-pass filter.
I performed Rain using the Novation Bass Station II, which has a feature (AFX mode overlays) that allows for each note to have entirely different parameters. With this technique I was able to map different timbres to the keybed and use this variety in texture as another way to interpret the score. Keep an eye out for more of these. It is my intent to make videos for all five of the movements and perhaps add one or two more to the series.
"Generator is the next piece in the Strands series. These audiovisual compositions illustrate the interpretation of animated, generative, graphic scores written in Javascript. Generator is made up of connected line segments that that go from left to right, up, or down, but never in reverse. The weight and length of each segment is consistent across the width of the screen and changes once a new set of segments starts again from the left.
I interpret each set of segments as an arpeggio. The tempo of each arpeggio is decided by the segment length. Shorter segments, drawn more quickly, are paired with faster arpeggios. As the line segments wander up and down I generally interpret the Y axis as pitch, but because the direction of each segment is random the pitches are not exact representations of the paths that are displayed; neither is it the intent to exactly follow the visuals. Instead, musicians interpret the score so that human qualities contrast the computer generated visuals.
The aesthetics of the pieces in this series, both visually and sonically, are secondary to the objectives. First that the scores are composed for the purpose of being read by musician(s). Secondly, the artist(s) have space to improvise within their interpretations. Thirdly (in addition to interpretation) aleatoric elements make the pieces significantly different from one performance to the next. Finally, although the performances vary, distinct characteristics identify each piece.
The objectives of these pieces lead to music that is often atonal and/or atemporal. After about a dozen rehearsals, performances, and recordings with a trio and as a soloist it has become apparent that tonality and timing often do emerge. For example, in Generator the tempi of the arpeggios change with each animated progression from left to right. Arbitrary rests are interspersed with random lengths. This amounts to timing without time signatures. And, since the pitches are left up to the artist the notes performed may or may not be in key. In my performance I chose to use a variety of intervals and scales leading up to the chromatic scale at the conclusion.
"A quick look at the excellent AFX mode, playing it live and with the arpeggiator and sequencer. Plus how to program an overlay with 25 sounds in one preset using the new overlay function in AFX mode."
"What's up everybody? Today we're going to be checking out the 4.14 update to the Novation Bass Station 2. Here are a few sounds from the AFX Mode Presets. Let's check it out."
This one was spotted and sent in via xonox who noticed the following: "No mention is made in the auction but there is AFX scratched on the surface of the machine. According to Ed DMX (DMX Krew), Aphex Twin used one on his early tracks. Interview here. It is not my auction, i have no insider knowledge on anything either. Is it possible it's indeed one of AFX's drum machines or is it some classic AFX prank ?"
The following is the full description from the listing saved for the archives:
"Up for sale a unique extremely rare vintage drum machine. impossible to find it in another place. Many years ago I found this diamond and made the service in a professional workshop. Please note - this is an old gear for the collection and synth enthusiasts, this drum machine is in working condition, but I will not accept any returns and no compensation after the sale - please accept it. These are the first innovative electronic music devices and therefore you can see in the pictures the old technology of plastic coatings and touch buttons have traces of use, but all functions and buttons are well work.- It runs on 220 volt AC.The sound of this beast is very unique, the sound structure and flow are capable of creating incredible emotions and creative potency. The sound is incredibly relevant, I give a detailed description below. The package will be sent internationally, I pack the electronics well — a double strong box and a lot of bubble — look at my seller feedback.
Got the BS 2 for a short time so I`ve decided to check how it looks now with the newest 4.14 firmware. It is just some fun with the features. Beside 2 Echo`s from Ableton Live there`s no comression or external FX just the usual limiting at the end of the chain.
"This tutorial is to show how the new AFX mode works on the new Novation Bass Station 2 firmware upgrade. It was developed in a collaboration of Richard D. James (AKA Aphex Twin) and Novation.
When AFX mode is turned on, you can change the sounds individually by holding down the key and turning the parameters you want. Saving is done by pressing save from the menu (Function + Arp - Swing)
Intro 0:00
AFX Mode 0:24
Stand-Alone Arp Demo 0:52
H9 Shimmer Reverb Added 2:00
AFX Mode Speed Stress Test w/ Deluge 2:25
Improvised 16 Step Sequence AFX Mode Demo 3:48
Adding FX from Korg KP3+, Roland MX1 5:23"
"-CALC- introduces the exciting new update for Bass Station II - v4.14.
The latest firmware update for Bass Station II adds five powerful and innovative new features to Novation’s hugely popular monosynth, all of them developed in response to user feedback and requests, one of those users being particularly noteworthy…
--- AFX Mode (the realisation of Aphex Twin)
--- Fixed duration envelopes
--- Extended sub-oscillator control
--- Oscillator glide diverge
--- Envelope retrigger count
The latest firmware update for Bass Station II adds five powerful and innovative new features to Novation’s hugely popular monosynth, all of them developed in response to user feedback and requests, one of those users being particularly noteworthy…
AFX Mode
Electronic music legend Richard James, aka Aphex Twin, has already played an instrumental part in the Bass Station II story, having provided guidance for the implementation of the micro-tuning added with Firmware v2.5. His conceptual contribution to v4.14 is even more profound.
Letting his imagination run riot, James envisioned the decidedly radical notion of having a discrete set of synthesis parameters assigned to each note of Bass Station II, either variations on a ‘seed’ patch, or disparate sounds designed to constitute a chimeric whole. Although this sort of thing could already be kludged using very fast program change messages, having multiple sounds active at the same time would clearly be a far more creative and efficient system.
AFX Mode is the realisation of James’ out-there concept. Put simply, it lets you modify your Bass Station II patch on a key-by-key basis. Use it to introduce subtle changes to a sound as you play up and down the keyboard; divide the keyboard into multiple zones (one per key if you like!), each playing its own sound; or create entire drum kits in a single preset for triggering manually or via the Arpeggiator. It’s a truly inspiring feature that really does open up a whole new world of sound design and performance possibilities.
Fixed duration envelopes
Aiding in the programming of drum sounds and plucks especially, the sustain segments of Bass Station II’s envelopes can now be set to a fixed length, moving on to the release stage regardless of when the key or trigger is actually released after playing a note. When fixed duration envelopes are enabled, the decay stage is taken out of play, and the Decay slider instead sets the duration of the Sustain stage.
Extended sub-oscillator control
With Firmware v4.14, Bass Station II’s sub-oscillator, slaved to the pitch of Oscillator 1, can be detuned using the Coarse and Fine controls. Now you can set the sub to any non-octave tracking interval you like, and knock it out of tune – subtly or dramatically – for creative effect.
Oscillator glide diverge
Prior to Firmware v4.14, both of Bass Station II’s oscillators could only be set to the same Glide time, but now you can slow down the Glide time of Oscillator 2 relative to Oscillator 1 by a variable amount, causing the two to diverge for interesting portamento effects. Just the thing for adding thickness and character to basslines, pads and leads, and certainly not a function you’ll find on many other hardware or software synths.
Envelope retrigger count
The Firmware v2.5 update added envelope retriggering, and now, to help with drum synthesis, the number of times the envelopes retrigger can be adjusted.
Introducing AFX Mode, fixed duration envelopes, extended sub-oscillator control, oscillator glide diverge and envelope retrigger count, Firmware v4.14 is a free update for all Bass Station II users, available via the Components content manager for Mac and PC."
