This one is making the rounds. The big reveal may be coming tomorrow per the screenshot further below, sent my way via Soviet Space Child. .
Details:
"With Digitakt II, you can weave splinters of sound in stereo, ripped from the moment and brought to your fingertips for marvelous audio manipulation and beat arraying. Enjoy easy to use sample-crafting and spectacular sequencing. Preserve or distort reality as you so desire with 16 tracks ready for stereo or mono samples, or MIDI and all kinds of modular adaptability.
Key Features
• Digital drum computer & stereo sampler • 16 audio tracks all ready for stereo or mono samples, or MIDI • Swappable filters: 1 Base-width filter and then 1 from Multi-mode, Low pass 4, Comb, EQ, or Legacy LP/HP • 3 assignable LFOs per track • Delay, reverb, chorus, bit reduction, sample reduction, and overdrive per track • Updated modular workflow • Euclidean sequence generator • 128-step Elektron sequencer • Expanded memory and power • 4 × Trig modes • Song Mode create, edit & play full compositions with ease"
"Here we're checking out VCO's Little Helper (the VLH) by Takaab (who are SIAM Modular too). It's a small 2hp module that can work like an expander for any oscillator you want to use it with. There's two inputs giving you two octaves of sub oscillators (-1 and -2), ring modulation, a noise source and thru outputs to save multiples or stacking cables to keep patching with your inputs.
Here's what Takaab have to say 'VCO’s Little Helper is a eurorack module that supercharges your existing oscillators by adding a ring mod, sub and noise. The VLH was designed in collaboration with journalist and musician Steve O'Hear following a conversation asking how we could squeeze the features found in the VCO section of many vintage synthesizers into a eurorack system.'
VLH is also a affordable addition to a Eurorack system priced around £/€/$100 (it's 4040 Thai Baht). It's available direct here // https://www.siammodular.com/takaab-vl...
Here's the mini documentary on how the VLH came to life"
Takaab VLH : VCO's Little Helper: The making of ... euroack ring mod | sub oscillator | noise
"MKS80 Super Jupiter - All the Sounds from Andy's Session Days!
During the 90s - Andy Whitmore was one the UK's top session keyboard players playing on over 50 hit records including
Boy George Elton John Cathy Dennis Peter Andre Brother Beyond Lemar Atomic Kitten Danni Minogue & many many more!
Here are the sounds he used from the Roland MKS80.
Don't forget to subscribe to our channel for more captivating musical adventures!
The audio is DIRECT, 100% DRY, & IN STEREO - You are hearing the raw audio as it comes directly from the synthesizer. NO post processing (Effects, EQ, or Dynamics) whatsoever.
"PS-3300 Features Exactingly faithful virtual analog emulation of the semi-modular analog polyphonic synthesizer released by Korg in 1977
Three independent "signal generator" panels, each with an oscillator, lowpass filter, three-peak resonators, envelope with velocity, amp, two mod generator LFOs, and per-note tuning:
3X VCOs with six waveforms: triangle, saw, rectangle (square), two preset pulse waves (with different widths), and PWM (variable-width pulse)
3X resonant VCF 12 dB/oct lowpass filters with the option to select between the standard "clean" PS filter or the "crunchier" MS-style filter
3X modulatable "triple resonators": 12 dB/oct bandpass filters to produce vowel and phasing tones
3X discreet ADSR-type envelope modulators with velocity control, and amplitude modulation
3X two syncable "mod generators" (LFOs) with output jacks: one with triangle, saw, ramp, rectangle, pink noise, and white noise, and the other with triangle waveform
3X temperament section with individual tuning knobs for the 12 chromatic notes, and temperament presets for Equal Tempered, Mean Tone System, Hepatonal System, and Just Intonation
Copy/paste settings from one signal generator panel to another
Polyphonic mode with up to 24 voices of polyphony and three monophonic modes: last, low, and high note priority
Semi-modular synthesizer with virtual jack and cable system, featuring unlimited mults per jack and customizable (color, transparency, animation) cables
Master signal mixer panel with sample & hold, general envelope generator, and two control voltage (CV) processors
Individual channel panning
User-selectable bend range and master tune
Studio-quality integrated effects: chorus, echo with sync, and three types of reverb (spring, plate, and Galactic)
Over 360 professionally designed presets in a dozen categories. These include a bonus Legacy collection of basic presets based on the patch sheets in the original PS-3300 Owner's Manual, a 3100-based Glissando patch, and a 432 Hz Equal Temperament patch, all to get your started in your own sound design adventures.
Standalone virtual instrument and plug-in versions
Complete MIDI control and DAW automation for all controls, with easy-to-use MIDI Learn and mapping
Cherry Audio’s popular Focus zoom-in feature, as well as standard UI zoom and resize via drag
Complete documentation available directly online from the instrument or in downloadable PDF format
User-adjustable oversampling control
Also available: With its three-synths-in-one architecture, unique resonators, and semi-modular nature, the PS-3300 is truly a behemoth of synthesizers. Sound designer James Dyson's Resonation Preset Pack (sold separately) includes additional presets that go further into the relative dimensions between light and shadow and all the way to the outer limits."
"Spectraphon is a module with many faces and a big mustache. It can have a classic additive spectral processed sound, but it also offers sub oscillators and two basic sinewaves, one clean, and one a bit saturated. It's a big module with a big sonic spectrum (duh!). But an even bigger world unfolds when you patch it up with some old friends, in this case Maths and Erbe-Verb. It's a module that needs to be explored and discovered. Like Strega, Telharmonic, Mysteron and Erbe-Verb I don't really like Spectraphon's raw raspy sound which can easily dominate a patch and makes it very recognizable. However, the many output options can suit your needs for more gentle sounds. You just need to know how, so hopefully my patch adventures can offer some new perspectives. Welcome to the Unexpectraphon!
Fun fact, this video includes Shared System Tutorials 44 with different captions, explaining half-rectification of a simple sine with Maths. I always see the Shared as a reimagination of the classic Buchla 200 series with a twist so I always think of it as 'vintage' instead of 'advanced'. Sure, it's an expensive powerhouse flagship but if you ignore the black & gold panels, you may also see a collection of basic modular functionality like LFO, Envelope, Polarizer, dual VCO, VCA, tape echo, reverb, clock division, randomization, 16 step sequencing, human interaction and basic sampling/looping. It's a template for a complete modular setup, only missing a filter. Even if you don't own a Shared, my 44 episodes can still bring you plenty of inspiration for similar modules and functions. I would never say 'everyone should own a Shared', but it helps to look at what it does - and all the things you have to do yourself, like making white noise from scratch.
00:00 Introduction 00:10 Rectification with Maths 02:21 Charming snakes again 04:02 Odd and Even output normalization and sound 05:48 Unexpected bowed strings 06:48 Erbe-Verb reverb trail feedback patch 09:09 Explicit Noise"
"Welcome to the enchanting world of vintage synthesizers! Join us on an extraordinary journey through time as we unveil the captivating history of the Formanta Faemi 1-M, a rare gem of Soviet engineering.
In this video, we delve into the rich tapestry of the Soviet Union's musical landscape during the 1980s, where cutting-edge electronic instruments were a marvel to behold. We take a deep dive into the history and sound of this synthesizer.
The Formanta Faemi 1-M, known for it's polyphonic prowess, emerges as the centerpiece of this captivating tale. Explore its unique features, from the three oscillators with diverse waveforms to the enchanting filter section with its myriad sound-shaping possibilities.
While navigating the challenges of creating musical instruments under a planned economy, the Formanta Faemi 1-M triumphs as a true testament to ingenuity and creativity. Unveil its raw, bold, and characterful sound, and understand why it has earned its place in the hearts of musicians and collectors worldwide.
Join us for insightful interviews with individuals who share their firsthand experiences with this iconic synth. Discover the allure of the Faemi 1-M through their stories and see how its scarcity has transformed it into a coveted collector's item.
So, if you're a music enthusiast, history buff, or just someone seeking unique sonic adventures, hit that play button and immerse yourself in the compelling world of the Formanta Faemi 1-M."
"I have owned the Waldorf Q for a while, but only in recent times I have had the opportunity to really sink my teeth into its very powerful synthesis architecture.
The first batch of patches that I have programmed includes several well-known synth timbres, plus a few more adventurous sounds. I find this an excellent approach to familiarize with an instrument.
I didn't try to directly imitate the warmth of analog vintage synths; the Q has a strong personality in itself, and a big, aggressive basic sound. All the mod routings allow for very complex timbres of a special kind, cold and precise, but also full and satisfying.
What you hear in this video is all single patches, no multis. Only the internal effects were used, with no external processing except a little bit of eq."
Playing the Waldorf Q - Carlo Mezzanotte (Part 2)
"Here's the second part of my Waldorf Q programming adventures, where I try my hands at more complex sounds, plus a short multitracked improvisation at the end. With FM, ring mod, wavetables, oscillator sync, four multi-stage envelopes, comb filters, and plenty of modulation options - there's a lot of ground to explore. In particular, I like to ride the fine line between tonal and non-tonal timbres, where the sidebands build up in a dynamic way, creating groups of partials which can grow until they 'almost' become noise, but always keeping the original root clear. (well - almost always. : - ) ) Very often, I have programmed aftertouch and the mod wheel to change important details of the harmonic spectrum.
For some reason, several of these sounds ended up with a strong ambient/hypnotic connotation... I guess it's just an inclination that I have. : - )
Again, what you hear in this video is all single patches, no multis. And again, only the internal effects were used, with no external processing except a little bit of eq.
At 15:52, I did a brief improvisation using some of these sounds, plus a couple from Part 1. I used 4 stereo tracks, without adding any external effects.
I had some fun with video editing, but I'm a total amateur at that.... the moral: better to focus on the sounds! : - )"
"I got the urge to make something with a really dramatic, melodic lead line - so I paired up the Eventide Misha sequencer with the Modbap Modular Osiris oscillator, the Eventide H90 pedal, and The Godfather multi-channel audio processor from Enjoy Electronics to get there! WOOT! Really happy with how this one came out - the Polyend Play is a fantastic sequencer and Groovebox that helped me sequence and arrange everything! All Sounds from the Play are from my sound bank, "The Sandbox".
Recording Date: 02/02/2023
Tempo: 104bpm
Key: ummmmm...... things got a little grey on that - lol"
"Bill T Miller Synthesizer Performance @ New England Synth Fest @ Museum of Science Boston - 08.11.22. This BTM stereophonic improv performance features a CLASSIC SYNTH array... Buchla Easel Command 208-C, Korg ARP 2600, Moog Mother-32, Make Noise O-Coast and 4MS STS Sampler & Toppobrillo MiniMix.
Video Produced/Directed/Edited by Bill T Miller Cameras: BTM & Sheri Hausey & Beth Moguel
BILL T MILLER, a chameleon of sonic exploration, is a multi-instrumentalist musician, composer, recording engineer, producer, filmmaker, photographer, artist, instrument builder and cat lover. From toy piano at two years old to starting a "band" with tennis racket guitar and trash can drums in the 60s to becoming a professional recording engineer / producer / live sound tech after graduating from College for the Recording Arts in San Francisco in 1976, his paths are always unfolding and looping. At recording college he took synthesizer courses with ARP 2600 and Emu synths and then worked (as live sound and recording engineer) in California until 1980.
Eventually ending up in Boston working as a freelance recording engineer and live sound engineer and then starting his own Headroom Recording Studios. While much of his "professional career" was devoted to recording and photographing OTHER artists, he was always working on his own weirdo music bands in the shadows. Some of these adventures include Out of Band Experience (OBE), Kings Of Feedback, Drum Army, Kings Of Slack, Zonkulator, and Orgy Of Noise with over 25 full album releases on his own DIY labels as an artist.
BTM's quest has looped back around to a nostalgic look forward incorporating ALL of the past adventures while moving sideways in time in to an unknown future think void. Living in Boston for 37 years and giving every moment to this insatiable desire to CREATE and SHARE is focus of his true path.
On the Second Thursday of every month of summer 2022, the Museum of Science teamed up with New England Synth Fest for an incredible fusion of live synthesizer performances that took over the Charles Hayden Planetarium. Experience some of the best synth musicians and visualizers from New England like never before in the immersive full dome environment of the Planetarium.
LOBBY MUSIC 7pm BILL T MILLER = outer space trip out synths 20 minute set - PLEASE LISTEN CAREFULLY.
LOBBY SYNTHFEST VENDORS ARP Foundation (Alan R. Pearman's daughter DINA will be there) & SynthCube & Stompbox Sonic & coolpix and MORE
7:30pm in the DOME three were 20 minute sets back to back for first show...
introduced by the host of MOS SUMMER THURSDAY SERIES... JAMES MONROE ! - Asha Tamirisa - LIMBC with visuals by Solid State Entity - Bob Familiar with visuals by cskonopka
+ following 1st dome show were two 20 minute LOBBY sets... - Vizzie / Oxalis (Ed Guild & Richard Tarantio) - Build (Nick Solarz)
The three lobby sets are hosted by Richard Tarantio in conjunction with Modular On The Spot Boston. Richard provided LIVE SOUND for all three lobby sets and played in a duo for the middle set.
+ 9:30pm in the DOME there was a repeat of the hree 20 minute sets back to back for second show. (see above.)
Boston Museum of Science Polage Art by Austine Wood Comarow !!!!!
Mega Thanx to NEW ENGLAND SYNTH FEST HOST... KENT LUNDBERT ! Super Thanx to MOS SUMMER THURSDAY SERIES HOST... JAMES MONROE !
Ultra Thanx to BUCHLA GURU TODD BARTON for KRELL WISDOM & FLUTE APPEARANCE via morphagene sampler.
Super THANX to BETH MOGUEL for footage. Eternal THANX as always to SHERI HAUSEY & Tippi Cat & Ziggy Cat & Mel the Cat !!!!"
"AIRA Compact puts Roland’s legendary creative magic in the palm of your hand. Easily play and perform with these highly jammable instruments—anywhere, anytime. Chain them together to catalyze your creativity or connect with MIDI gear, computers, and music apps to expand your setup. Just power on and go with the flow.
About the T-8 Beat Machine
The T-8 Beat Machine is a mini rhythm factory with six tracks of pristine TR drums plus a TB-303 bass track. Embodying decades of modern musical sound, the T-8 gives you the power to create infectious tracks in seconds flat. Craft on-the-fly acid jams or trap bangers with the intuitive 16-step sequencer, shape sounds with onboard controls, and flip and dice beats with simple, yet powerful tools.
About the J-6 Chord Synthesizer
The J-6 is a portable synth toolbox with all the building blocks you'll need to bring harmonic substance to your jams. Pairing a powerfully unique chord sequencer with lavish JUNO-60 synth tones, J-6 packs a versatile feature set into a highly jammable format. Generate soul-stirring song ideas with the turn of a knob and explore 100 chord sets over a variety of genres. Experiment with styles and variations to coax dancing lines and rhythmic patterns from your chords. Add lush chorus, reverb, or delay to frost your sound.
About the E-4 Voice Tweaker
Harmonize, auto-pitch, vocode, loop, and glitch your voice all from the portable E-4 Voice Tweaker. Want hands-on control? Connect a mic or input a feed and easily explore effects using the sliders, function buttons, and scatter knob. From looping live jams to livestreaming or tightening up and expanding performances, the E-4 will transform your voice into your new favorite instrument.
"Roland's birthday party it's not over! A few days ago they sent me these little magic boxes to try them out and in less than an hour of tweaking, I came out with this song!!! The song title "A Big Tiny World" is because they are BIG sounding TINY boxes indeed! :D They are:
Their sound quality is astonishing! It's amazing to have the power of ACB technology in such a small form factor... Everything you hear in this video was played and recorded in real time, no post processing or FX was added. I had so much fun, I hope you like it!"
"Join our pal Dustin for the debut of the AIRA COMPACT line of synthesizers !
These three desktop style devices combine some of Roland's most recognizable and powerful sound palettes into a portable, affordable, and outrageously fun package!
Check out our in-depth Signal article for more details - https://bit.ly/3L08Msr
0:00 - Intro jam
1:07 - Overview of Aira Compact Line
2:54 - T-8 Drum Machine & Bass Synthesizer
5:50 - J-6 Four Voice Polyphonic Synthesizer
9:50 - E-4 Vocal Processor, Looper, & Effects
11:57 - Robot Acid BOPS !"
AIRA Compact- First Look at the new Range
video upload by
Roland T-8 J-6 E-4 Compacts Review: Here's what makes them special // Full Tutorial
Fun, Pocket-Size Instruments with Innovative Creative Features, Authentic Roland Sounds, and Class-Leading Connectivity
Los Angeles, CA, May 10, 2022 — Roland announces AIRA Compact, an all-new series of ultra-portable instruments with free-flowing features for creative exploration and authentic Roland sounds. Fun, affordable, and easy to learn, the T-8 Beat Machine, J-6 Chord Synthesizer, and E-4 Voice Tweaker bring serious musical power to everyone from hobbyists and gadget collectors to tech-savvy pros.
AIRA Compact instruments let anyone jam, perform, and develop ideas on the go with friendly controls, inspiring sounds, and loads of intuitive music tools. Users can realize complete compositions with a single unit or expand their possibilities by connecting and synchronizing with other AIRA Compact models. From one master unit, multiple AIRA Compacts can be mixed and monitored with headphones or an external speaker system. It’s also possible to interface with computer DAWS, mobile music apps, and hardware instruments via USB-C or MIDI.
Driven by Analog Circuit Behavior (ACB) and other advanced technologies found in top-line Roland instruments, AIRA Compact delivers the real-deal sounds behind decades of hit music. Users can create with the genuine voices of Roland icons, including TR rhythms, TB basses, JUNO synths, VT effects, and more.
Driven by Analog Circuit Behavior (ACB) and other advanced technologies found in top-line Roland instruments, AIRA Compact delivers the real-deal sounds behind decades of hit music. Users can create with the genuine voices of Roland icons, including TR rhythms, TB basses, JUNO synths, VT effects, and more.
AIRA Compact strikes the perfect balance between portability and power. Each model is small enough to slip into a pocket and features an inviting panel to jump-start the creative flow for immediate results. Onboard lithium-ion batteries provide hours of continuous use per charge, while Roland’s famous build quality will support musical adventures for years to come.
T-8 Beat Machine
The T-8 Beat Machine combines iconic Roland drum and bass sounds in a go-everywhere rhythm factory. Beatmakers can build tracks with legendary sounds from the TR-808, TR-909, and TR-606 drum machines, paired with the shapeshifting low end of the dynamic TB-303 Bass Line. The six-track drum sequencer features the famous TR-REC workflow, enhanced with deep tools like step loop, pattern shift, probability, and others to generate dynamic performances with constantly evolving grooves. The T-8 also provides an authentic TB-303 bass experience, including the tactile power to squeeze, squelch, and mangle sounds in the moment.
J-6 Chord Synthesizer
The J-6 Chord Synthesizer is an endless well of musical inspiration, pairing a powerful chord sequencer with the lavish tones of the renowned JUNO-60 synth. Creators don’t need to know chords or theory to make music—they can simply call up one of 100 chords sets and build compelling chord progressions with one-touch presses on the built-in keyboard. Styles and variations are also available to coax dancing lines and rhythmic patterns from chords. Users can quickly string progressions together via step input, tweak the sound with dedicated filter and envelope controls, and add polish with customizable delay and reverb effects.
E-4 Voice Tweaker The E-4 Voice Tweaker combines advanced voice transformer tools and standard vocal effects with a hands-on interface that’s meant to be played. Performers can go from traditional vocal enhancements to punchy beatboxed grooves to striking alien soundscapes—all in a single tune. Pitch and formant sliders are available to instantly change the vocal gender, create robot voices, and more. Auto Pitch, automatic harmony, and vocoder processors are included, along with reverb, delay, and other effects. There’s also a built-in 24-second looper for capturing performances on the fly, plus a unique Scatter function for slicing and dicing the sound via a dedicated panel knob.
Availability & Pricing
The Roland AIRA Compact series is now available in the U.S. for $199.99 each."
"The Cherry Audio Quadra is a super-accurate and immensely improved emulation of the ARP Quadra synthesizer, originally released in 1978 - a rare and coveted “unicorn” instrument in the synthesizer world, reproduced for the first time as a virtual instrument.
We've wildly expanded it for an experience that blows away the real thing in every conceivable way. Each of its four sections is independently assignable to any region of the keyboard for endless splitting and layering flexibility. The overall sound quality has been improved for a richer and fatter tone. And not only did we make a killer emulation of the onboard phaser effect, we added a stereo chorus/flanger, a syncable echo, and studio-quality reverb - all individually routable for unprecedented effects flexibility."
Synth Stack 2 assembles ten of Cherry Audio's virtual instruments at an astoundingly affordable price, including the Voltage Modular Core + Electro Drums package, DCO-106, CA2600, Surrealistic MG-1 Plus, Polymode, Eight Voice, PS-20, Memorymode, Mercury-4, and the stunning new Quadra.
Thousands of professional presets, deep control of each and every instrument, and authentic sounds await in this single massive collection!"
Voltage Modular Year 3 Collection | Cherry Audio
video upload by Cherry Audio
The new Cherry Audio Voltage Modular Year 3 Collection brings three iconic modular instrument collections into a single bundle. From the raw sound of the VM900 series to the mythical VM2500 modules to the lush Synthesizer Expander Modules, the Year 3 Collection packs a serious punch of electrifying power to any cabinet.
With 40+ modules, hundreds of presets, and full modular connectivity, unlimited sonic adventures await."
"The most powerful standalone workflow now in the iconic retro MPC look for a
truly timeless music production experience."
And the press release:
AKAI PROFESSIONAL® UNVEILS MPC ONE RETRO STANDALONE
The modern standalone MPC workflow is now available in the iconic Retro MPC colorway for a truly timeless music production experience.
Ft Lauderdale, FL USA (May 11, 2021) — Akai Professional, a leading manufacturer of music equipment for performers and producers today announced the latest addition to their standalone MPC hardware lineup, MPC One Retro. The MPC One Retro retains the modern standalone MPC workflow while revisiting the legendary MPC look that defined generations of music production and beat making.
The Look, The Legacy, The MPC
Spanning through past decades, the lore of 16 gray pads is forever etched into the productions of countless music- makers who were integral to hit songs and multi-platinum albums. Akai Professional has captured that rich history and style with the new MPC One Retro. Featuring the iconic retro-colored housing and gray pads, the MPC One Retro combines all the modern standalone features ready for new musical adventures and legacies.
Definitive Standalone Workflow
MPC One Retro features all the modern MPC functionality contemporary music producers have come to rely on including MPC plugin instruments for inspirational sounds, world-class award-winning insert effects plugins from AIR Music Tech., and a vibrant 7” Capacitive Multi-Touch Screen for a fast, responsive workflow—all encompassed in a solid Quad-core powered standalone unit. From sampling and beatmaking, to conception, creation, and finished masters, the MPC One Retro has stylishly emerged from celebrated musical decades of the past to deliver that modern production style found only on MPC standalone.
Exceptional Standalone Hardware Features
The Akai Professional MPC One Retro experience is all about hands-on creativity without the need of a computer. The brilliant 16 velocity/pressure-sensitive RGB-backlit pads are not only inviting to look at against the retro tone, but also serve as the core input for creating beats, chords, melodies, pulsing hi-hats, basslines and anything else you assign to them. 4 touch-sensitive Q-link knobs are the gateway to controlling many parameters and settings that will help define your signature sound. And when you are looking for more ways to creatively expand, the MPC One Retro integrates into your music world with all the ports and jacks you need including USB, MIDI DIN, LINK, CV/Gate, 1/4” line-level audio input and a SD card slot to save, transfer and share your productions—the MPC One Retro is perfect for pairing with other synthesizers, drum machines, and sound generators. The brilliant 7” multi-touch onboard display brings the experience to a full range of inventive editing capabilities without the need of a mouse
All information subject to change akaipro.com
Unprecedented Standalone Software Control
As a controller, the MPC One Retro comes with MPC2—its counterpart DAW software for those who want to elevate their music productions further on Mac or PC. As a full-scale Digital Audio Workstation software platform, the included MPC2 software boasts 128-track sequencing, real-time time stretching, MIDI editing, clip launching, Ableton Link support, and other advanced features such VST plugin support with other DAWs. MPC2 software enriches the MPC One Retro standalone experience in both standalone and controller modes delivering all the creative potential you need. Akai Professional, Senior Product Manager Dan Gill said “Akai Professional and the MPC have a long-storied history that resonates profoundly with users from all around the world. Each recalls their first MPC encounter and the role it played in their most cherished musical experiences. The MPC One Retro is our tribute to this rich history while proudly asserting our continued commitment to creating the most powerful standalone music production devices in the world. MPC One Retro truly embodies the best of the legendary products throughout the years and the ultimate modern standalone music production workflow.”
MPC One Retro Highlights • Limited Edition retro colorway chassis and gray MPC pads • Exclusive MPC Expansion Pack for MPC One Retro owners • All the features of the MPC One Standalone (No Computer Required) • Standalone music production center with 4GB onboard storage • Fully compatible with projects, programs and sequences from previous MPC versions and legacy hardware • Comes loaded with loops and samples created by industry-leading sound designers • Load up your own custom samples via SD card or USB • 7” touchscreen allows you to edit and chop samples via gestures • 16 velocity and pressure-sensitive pads for programming beats and playing melodies • Includes acclaimed instruments including DrymSynth, Electric, TubeSynth, Bassline, and AIR FX mixing and mastering processors • USB controller input allows you to play sounds with your favorite controller keyboard • 8 CV/Gate outputs for controlling modular synthesizers • MIDI I/O for integrating synthesizers, drum machines, and other hardware • Stereo line-level inputs and outputs on 1/4” TRS connections • USB-A port for thumb drives or control surfaces
"For my audience, Anthony Rolando probably needs no introduction. As the product designer at Make Noise Music, his work is found in almost every modular system you’ll run across. From his earliest designs (such as the Maths) to his latest (like the Morphagene), he’s helping to define the future of modular systems.
Recently, Make Noise has come out with a new standalone device – the Strega. This is a remarkable system-in-a-box that includes integrated effects and tone generation, and is particularly focused on live play. As a collaboration with Alessandro Cortini, the Strega is a deep, opinionated view on noise/sound manipulation, and launches a new perspective on what an ‘instrument’ is all about.
In our discussion, we dive into depth on the development of the Strega, Tony’s personal musical adventures, and a bunch of follow-up from our previous podcast (https://artmusictech.libsyn.com/podca...). As with any discussion with Tony, it was revealing, challenging and inspiring.
"From The Alan R. Pearlman Foundation: A fantastic visual feast through Bill Miller's ARP Journey! (ALERT: A few strobe lighting effects for those who are sensitive.)
Musician / Recording Engineer - Producer / Filmmaker - Photographer - BILL T MILLER has been on the quest for SOUNDS and FUN ending up on a path to ARP SYNTHESIZERS starting with a TOY PIANO on his second birthday, then a bit of tinkering on his grandfather's grand piano, then scoring MAGNUS CHORD ORGAN and an ACETONE ORGAN in his early teens in the late 1960s with his band THE ELECTRIC ONION where he played guitar/bass and a bit of drums and keyboards.
By late teens (in 1975) he ended up at COLLEGE for RECORDING ARTS in San Francisco (in Golden State Recorders Studio) where he studied recording engineering production and took synthesizer classes. Walking into the first synth class revealed ARP 2600 in person..... luv at first sight.
Shortly after graduating and moving to Hollywood with hopes of buying a 2600.... reality set in and he scored a USED ARP ODYSSEY MK1 1974 model, that was purchased in late 1976. Some of the recordings you hear in this video are part of those BTM Bungalow Bill Sessions 1976-77 (although Bill had been playing music for over a decade at that point, those ARP SYNTH tapes are the earliest surviving BTM recordings in existence.)
Working in California doing recording and live sound from 1975-1980, he ended up back on east coast (where he had spent first two decades of his life.) Eventually ending up in BOSTON (1984) working at Daddy's Junky Music (selling recording and sound gear) while doing freelance sessions at studios (PolyMedia, Newbury Sound) and live sound at venues (The Rat, Bunratty's, The Channel) and starting his own semi private project studio HEADROOM.
Fast forward to early 90s... a band BTM had recorded before called CHEATER SLICKS popped into Headroom and said meet our new bass player DINA... and then pointing to BTM's ARP ODYSSEY (that he had hung onto since LA 76 era) said something like... DINA's father's company created YOUR SYNTH....meet DINA PEARLMAN... daughter of ALAN R PEARLMAN. wow. cool. We chatted a moment about how much I luved my Odyssey and she spoke very briefly of her father and some ARP adventures (mentioning Pete Townshend and more) = but then we jumped right into recording the garage punk band tracks where she nailed solid bass guitar for a raw live session.
So... jump way ahead and BTM continues creating experimental music with his own bands... Out of Band Experience (OBE), Kings Of Feedback, Drum Army, King Of Slack, Orgy Of Noise, Zonkulator and recording and photographing tons of OTHER artists (hardcore, garage, punk, metal, noise genres.) All the time digging further out into weirdo land with circuit bent toys, and custom electro acoustic instruments, and of course synthesizers. Always hanging onto that original icon ARP ODYSSEY and his Roland JX-8P and adding an ARP 2600 and modular eurorack synths and more to the mix. Active in various Boston synthesizer synthfests/meetups playing live synth concerts at the DAVID FRIEND RECITAL HALL at BERKLEE in Boston. Then he attended the "Alan R. Pearlman - Everything ARP Symposium" at Berklee finally saw DINA PEARLMAN again with her father and mother and all the ARP family in a sort of THIS IS YOUR LIFE celebration of all things ARP. A moment in ARP history that is beyond words.
Much respect to DINA PEARLMAN for the Alan R. Pearlman Foundation and ARP ARCHIVES carrying on the ARP family legacy in memory of her mother and father and all the ARP family who created and played and sold and loved ARP Synthesizers over the now 50 years. Dennis Colin and David Friend are two of the people that have contributed so much to the ARP legacy, but there are so many others who were there in essentially what amounts to the golden 70s decade of ARP that made it all happen. Now with the help of Dina's love and devotion ARP lives on and on.
Bill T Miller has always LUVED ARP and his first synth the ARP ODYSSEY is still the centerpiece and heart of his studio HEADROOM in BOSTON. Always exploring the weird sonics and basically ignoring the create a patch on a synth to simulate "real" instruments thinking and going for the outer space blip bloop sample and hold I hear a new universe of unreal electronic music.
"This video is not endorsed or sponsored by SOMA Laboratory.
From the SOMA Website about the ETHER V2:
ETHER is a kind of anti-radio. Instead of being tuned to a specific radio station, it receives all the interference and radiation that a traditional radio tries to eliminate in order to create a clean signal. It captures the radio waves “as is” from hertz to gigahertz because it doesn’t contain the tuned input circuit that filters out all frequencies except the narrow band of a specific station. This allows ETHER to perceive the invisible electromagnetic landscape that humans created unintentionally, making possible live electromagnetic field listening and recording.
– New features and improvements to increase the creative potential for sound designers and musicians –
Bristol, UK – 20th May 2020 Modal Electronics, one of the leading boutique synthesiser manufacturers, releases Firmware 2.0 for its ARGON8 series. This significant update includes a vast amount of feature upgrades and many improvements, based on suggestions Modal received by its ARGON8 user community.
Firmware v2.0 for ARGON8 delivers an improved overall Audio Output staging and advanced dynamics options. A new Gain Boost setting applies to all patches. It increases the average output level while expanding the range of the Patch Gain control helps to boost even the quietest patches without introducing unwanted noise.
Long pads, drones and snappier percussion are now even easier to dial in with seven new envelope modes & three new curves (including the much lusted after Long variations for those exploring ambient territory).
A brand-new polyphonic 64 step sequencer mode has been integrated into the 512 note real-time sequencer. It provides an eight note-per-step sequencer, to allow full step-by-step control of melodies and pattern ideas. It also features several Step Modes to unlock significant flexibility to trigger sequences in different ways suiting various setups and performance situations.
With Firmware v2.0, ARGON8 introduces support of the MPE standard. Musicians and sound designers with compatible controller hardware can now enjoy polyphonic expression to design unparalleled sonic textures using ARGON8’s acclaimed wavetable synth engine.
Modal adds a staggering new performance feature in the shape of Chord Inversions to ARGON8 – an intuitive and experimental way to deploy chord inversions and variations in real-time, enabling a huge array of options to explore and greatly simplify complex chord voicings to both seasoned keys players and novices.
Alongside this milestone firmware release, Modal also releases an update for MODALapp, a free editor software available for macOS and Windows computers, as well as iOS, iPadOS and Android mobile devices. To edit and control ARGON8 models directly within a DAW application, AU and VST3 versions will be available, too.
Additionally, Modal releases a dedicated sound set. These new patches showcase many of the new firmware features. Available from Modal’s website as SysEx file, they deliver a perfect starting point for creative musical adventures with ARGON8.
The ARGON8, ARGON8X and ARGON8M models are available through selected retailers worldwide, and the MODALapp is required to install the firmware update."
Published on Feb 17, 2020 Sean Christopher Evoking Emotion with Synthesizers
"A year ago I did this famous synth piece on a Moog One, but decided to recreate....with even a more vintage feel (hopefully) with my Moog Subsequent 37....which is one of my favorite mono synths of all time. Every sound on the track is pure Sub 37 with only reverb and delay FX added, and was multi-tracked using Cubase 10.5 Pro.
From Eikipedias- 'Doctor Who is a British science fiction television programme produced by the BBC since 1963. The program depicts the adventures of a Time Lord called "the Doctor", an extraterrestrial being, to all appearances human, from the planet Gallifrey. The Doctor explores the universe in a time-travelling space ship called the TARDIS. Its exterior appears as a blue British police box, which was a common sight in Britain in 1963 when the series first aired. Accompanied by a number of companions, the Doctor combats a variety of foes while working to save civilizations and help people in need.'"
"This is the Original M5 with the black & orange colour scheme, as used for the later version ARP 2600.
Note that whilst it looks like a later model Rev.3 ARP2600, the M5's sound is both Moog and Oberheim inspired.
[Update: note the lawsuit mentioned below never happened. There was contention over the filter but it never got to that. via Wikipedia: "Early versions contained an imitation of Robert Moog's 4-pole 'ladder' VCF, later the subject of a threatened (though ultimately nonexistent) lawsuit"Also the epoxy covered modules were likely more for performance reasons. Not sure if it was to stabilize temperature and to isolate the modules. See the comments at the bottom of this post for more.]
The original ARP 2600 (Blue Meanie model) that many/most claim sounds best of the 2600's, stole the Moog filter design of course, hence epoxy sealed units, lawsuit, 4072 ARP filter redesign, etc... Plus, the M5 actually dwarfs the 2600 in overall height + size. This M5 is one of around 90 (I think) of the original versions that were hand made between 2005/6, so only 14-15 years old compared with over 40 for a 2600.
It has great build quality courtesy of Ken McBeth. No tiny slider tops or mini jack sockets to fiddle with... On a practical note you can get multiple (man sized) finger tips between the slider tops for patching/mixing/modulation purposes. A joy to play with as you can easily see all patch points, sources, destinations, signal flow, etc.
As regards stability & tuning, many older analogue synths had & still do have problems with these factors. This M5 tunes very accurately and holds tune throughout every session, nor is this dependent on whether it's hot or not - inside or out, as was the downside of many old analogue synths, though it's appreciated some do like such instability... I prefer to start off with known stability & increase detuning/instability if/when needed. There is even a stability pot on Osc#3 for dialing in that effect when required, except it's under your control and not at the mercy of other elements...
IMO the M5 is sonically much more powerful and versatile than the 2600, based on the dual filter type design alone.
"Create your own MIDI plugins: MIDI filters, generative music tools, basic sequencers, MIDI control panels, chaos experiments... Let your imagination take you places.
Mozaic runs inside your favorite AU MIDI host, and gives you practical building blocks such as LFOs, pre-fab GUI layouts, musical scales, AUv3 support (with AU Parameters, transport events, tempo syncing, etc.), random generators and a super-simple yet powerful script language. Mozaic even offers quick access to your device’s Tilt Sensors for expressive interaction concepts!
The Mozaic Script language is designed from the ground up to be the easiest and most flexible MIDI language on iOS. A language by creatives, for creatives. You’ll only need to write a few lines of script to achieve impressive things - or to create that uber-specific thing that was missing from your MIDI setup.
Check out the Programming Manual on Ruismaker.com to learn about the script language and to get inspiration for awesome scripts of your own.
Mozaic comes with a sizable collection of tutorials and pre-made scripts which you can use out of the box, or which can be a starting point for your own plugin adventures.
Features in a nutshell:
- Easy to learn Mozaic Script language: easy to learn, easy to read
- Sample-accurate-everything: the tightest MIDI timing possible
- Built-in script editor with code-completion, syntax hints, etc.
- 5 immediately usable GUI layouts, with knobs, sliders, pads, etc.
- In-depth, helpful programming manual available on Ruismaker.com
- Easy access to LFOs, scales, MIDI I/O, AU parameters, timers
- AUv3; so you'll get multi-instance, state-saving, tempo sync and resource efficiency out of the box
Mozaic opens up the world of creative MIDI plugins to anyone willing to put in a few hours and a hot beverage or two.
Practical notes:
- Mozaic requires a plugin host with support for AUv3 MIDI plugins (AUM, ApeMatrix, Cubasis, Auria, Audiobus 3, etc.)
- The standalone mode of Mozaic lets you edit, test and export projects, but for MIDI connections you need to run it inside an AUv3 MIDI host
- MIDI is not sound; Mozaic on its own does not make noise... so bring your own synths, drum machines and other instruments!
- AUv3 MIDI requires iOS11 or higher"
David Vorhaus Analogue Electronic Music 1979 Published on Sep 13, 2009 JeffreyPlaide
Update: Festival info further below. Thought I would start with a couple of videos featuring David Vorhaus.
"In this historical video excerpt, David Vorhaus talks about two of his analogue inventions - the MANIAC analogue sequencer, and the Kaleidophon from 1979.
The MANIAC (Multiphasic Analog Inter-Active Chromataphonic (sequencer)) was an analogue sequencer having variable step lengths, and the ability to split sequences into several smaller groupings giving considerable sonic potentiality. Addition and subtraction of events was possible, as well as the possibility to chromatically correct the output during performance. David could program his MANIAC sequencer to play a background rhythm or combination of musical events, to then improvise over the top with another instrument or synthesizer.
The Kaleidophon was a double-bass-like instrument using four velocity-sensitive ribbon controllers instead of strings. The instrument is played entirely using the left hand, leaving the right hand free to manipulate the sound via a number of controllers and a joystick.
David speaks about the processes of making electronic music, and the developments that such possibilities can provide for the imaginative electronic musician. This excerpt is taken from the BBC 1979 documentary entitled "The New Sound of Music" hosted by Michael Rodd."
WHITE NOISE Electric Storm in Hell [not quite Full Album]
Published on Mar 9, 2013 musick2138
"The Seventh Wave presents
White Noise - a Fifty Years Celebration of An Electric Storm & Other Sonic Adventures
Voyd - live set / White Noise - live set / White Noise - talk and q&a
Friday 14 June 2019 Doors 6.30 pm.
Curfew 10.00 pm.
The Blue Orange Theatre, 118 Great Hampton Street, Jewellery Quarter, Birmingham B18 6AD.
White Noise - An Electric Storm - Review
When White Noise's debut album, An Electric Storm, landed on Island Records in 1969, it must have sounded like nothing else. Packaged in a striking black and white sleeve that pictured a spark of lightning streaking across a black sky, this was an album that - quite rightly as it turned out - resembled as much a scientific experiment as any conventional musical document.
White Noise came into being when David Vorhaus, an American electronics student with a passion for experimental sound and classical music attended a lecture by Delia Derbyshire, a sound scientist at the BBC's Radiophonic Workshop whose claim to fame was writing the original Doctor Who theme tune. With the help of fellow Radiophonic Workshop composer Brian Hodgeson, Vorhaus and Derbyshire hunkered down at Kaleidophon Studios in Camden to pen an album that reconciled pop music with the experimental avant-garde. The result is a set of eerie, delightful songs that, for all their surface simplicity, shimmer with vestigial synthesiser swells, strange echoes, disembodied voices, and distant music-box trills.
Outside of a few equally adventurous '60s releases - the debut album from US psychedelic pioneers The United States Of America, for instance - this is pretty much uncharted territory, particularly for a major label release. On ''My Game Of Loving'', a dozen multi-tracked voices built to a panting orgasm, while the closing ''Black Mass An Electric Storm In Hell'' ushers the record to a freeform close in a clatter of freeform drums, cavernous echo and chilling, animalistic screams. Perhaps unsurprisingly, An Electric Storm would struggle to find an audience on its release, and in the following years, great leaps in synthesiser technology somewhat diminished White Noise's experimental achievements. One thing that would remain timeless, however, were the songs themselves. An Electric Storm would later become a key inspiration on bands like Add (N) To X and Broadcast, synthesiser explorers who picked through these primitive, vestigial sound experiments, took careful notes, and eventually, set out to craft their own futuristic pop lullabies.
Banco de Gaia (Toby Marks) - he will once again be accompanied by Patrick Dunn on visuals (Patrick produces visual content for Tangerine Dream!!!).
The Black Dog is a British electronic music group, founded by Ken Downie along with Ed Handley and Andy Turner. The group are considered pioneers who, along with acts like Autechre, Aphex Twin, LFO et al came to define the UK techno movement in the early 1990's.
For further information email theseventhwave@btinternet.com
