XILS-lab PolyM Polymoog Soft Synth Released

You can find a few videos previously posted here on the XILS-lab label (scroll down to previous posts).

via XILS-lab


"XILS-lab literally creates plug-in pleasure principal when recreating revolutionary polysynth

GRENOBLE, FRANCE: audio software company XILS-lab is proud to announce availability of PolyM — an authentic recreation of the pioneering Polymoog polysynth, dreamed up by American designer Dave Luce and produced by Moog Music between 1975-1980, but benefitting from finest French software skills to truly create a plug-in pleasure principal as arguably the best ‘virtual’ divide-down oscillator technology-toting soft synth available anywhere and teaching the old dog some new tricks in the process — as of July 3...

That’s today. Putting PolyM in its present-day context involves initially looking back. But back in the early-Seventies, setting out to create an analogue, functional voltage-controlled synthesizer that was polyphonic against a backdrop of monophonic mainstays proved problematic for many. Moog’s musical solution came quicker than most, making an appearance in 1975 in its extremely expensive ($5,295 USD), nine-preset original form as the Polymoog keyboard (model 203a). It included a front panel packed with an almost continuous row of slider pots (permitting presets to be fully modified into more individualised analogue sounds via various subtractive synthesis parameters, including a 24dB Moog ladder filter section — allowing modulation modulated from its own envelopes and low frequency oscillation — alongside a unique and flexible three-band resonant filter section with lowpass/bandpass/high-pass filter modes) before being joined in 1978 by a marginally more economically-viable ($3,995 USD), 14-preset stripped back version (with editing reduced to volume, tuning, high-pass filtering, and basic LFO — Low Frequency Oscillator — features), which was also (confusingly) called the Polymoog keyboard (model 280a), though the original fully-variable version was then rebadged, admittedly, as the Polymoog Synthesizer.

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Broken radio - RF Nomad and a random antenna

Published on Apr 15, 2017 Andor Polgár

"This time I 'cheated' a little bit - I had recorded the sounds the night before I recorded this video. I planned to make the video along with the performance, but in the daytime here in Haarlem I couldn't find any radio stations, only static noise.

The signal path: Antenna - Evaton Technologies RF Nomad - Analogue Solution Telemark band pass filter - Mutable Instrument Clouds"

BeatStep Pro controlling TB-303 Borg & MFB-522 Drum Machine

Published on Apr 17, 2016 Guy Schneerson

"Equipment Used:
* Arturia BeatStep Pro
* Arturia BeatStep 1
* Roland TB-303 analogue Bass Synth with Borg modification by Analogue solution - CVs & Gates
* MFB-522 Drum Machine* Alto ZMX122

Configuration CV - control voltage:
Arturia BeatStep Pro - Ch 1 Pitch --- TB-303 CV
Arturia BeatStep Pro - Ch 1 Gate --- TB-303 Gate
Arturia BeatStep 1 - Ch 1 Gate --- TB-303 Accent

Configuration MIDI:
Arturia BeatStep 1 Midi --- Arturia BeatStep Pro Midi
Arturia BeatStep Pro MIDI --- MFB522 MIDI"

how to transpose with a mixer module eurorack modular synth basic tutorial

Published on Mar 10, 2016 DavidH

"send the sequencer to a mixer
mix with a CV/gate keyboard out
and send the mix to the oscillator 1v/oct input
here and example with a malekko wiard richter system, but you can mix with a makenoise maths, any other mixer should also work, give a try to a MX224 Analogue Solution, it is a fantastic little mixer for you transport things. Ask question if you like, ,cheers"

Arturia Dark Force Rising with BeatStep and MiniLab Black Edition

"The Dark Force is rising again at Arturia with two new Black Editions of BeatStep and MiniLab!!!

With its new design the BeatStep Black Edition comes charged with Oberheim SEM V, Analog Lab and Ableton Live 9 Lite. It also comes with the latest 1.2 firmware update.

MiniLab Black Edition is not left behind, we have packed it with Oberheim SEM V, Analog Lab, Ableton Live 9 Lite, and UVI Grand Piano Model D."

And the press release:

"Arturia announces availability of software-bundled black BeatStep and MiniLab controllers

GRENOBLE, FRANCE: music software and hardware developer Arturia revolutionised the concept of what a priced-to-go compact controller can be with both its award-winning BeatStep Controller & Sequencer and MiniLab Universal MIDI Controller truly turning heads at past NAMM shows; today, within weeks of stealing the show at The NAMM Show 2016, January 21-24 in Anaheim, California, USA with more major product launches, itis proud to announce availability of limited-edition black versions of both the BeatStep and MiniLab that represent better value than before bybundling them with award-winning Arturia and third-party software...

Like its original white namesake sibling launched at The NAMM Show 2014, the BeatStep Black Edition is a chameleon-like controller and sequencer that matches many musical environments effortlessly. Compact and rugged, it is the perfect companion on the road or in the studio, offering a degree of functionality and performance hitherto unheard of in a portable pad controller — certainly at its tempting ‘takeaway’ €99.00 EUR/$129.00 USD asking price!

Speaking of which, the BeatStep Black Edition is bundled with Oberheim SEM V— Arturia’s award-winning authentic software recreation of the original Oberheim Synthesizer Expander Module® (SEM), which was itself conceived back in the Seventies as a way of beefing up weaker-sounding compatible analogue monosynths of the time, thanks to its rich two-oscillator driven sound, soon after forming the muscular musical backbone of several subsequent trailblazing Oberheim polysynths — alongside Arturia’s Analog Lab, a n a b u n d a n t l y -powerful software synthesizer solution with 6,000-plus presets by internationally-renowned sound designers derived from Arturia’s award-winning Analog Classics, a range of authentic-sounding software recreations of classic analogue instruments. Included third-party software comes courtesy of Ableton Live 9 Lite, a customised version of the Ableton Live music-making software, featuring selected instruments and effects plus all the essential workflows to write music, record audio, and songs intuitively in an innovative way — thanks to BeatStep Black Edition, triggering clips in Live 9 Lite areas easy as exercising your trigger finger! — and Grand Piano Model D from fellow French developer UVI, a sample-based virtual instrument delivering the sought-after sound of the superlative Steinway Model D concert grand piano with all the warmth, expressiveness, and detail of the real thing.

To sweeten the deal further still, BeatStep Controller & Sequencer and its younger brother, BeatStep Black Edition, both benefit from a firmware update (to Version 1.2) with neat new features such as resetting factory presets — either everything or everything except pad calibration — particularly proving to be well worth the wait.

When launched in dazzling white at The NAMM Show 2013, the diminutive yet feature-rich MiniLab Universal MIDI Controller proved an irresistible draw as one of the most feature-packed, compact control systems on the market, marrying sought-after hands-on control with portability par excellence. Engineered for the musician on the go or the performer with limited space, it offers a comprehensive set of features in a portable package that is as sturdy as it is easy on the eye. Discover new melodies with 25-mini keys plus pitch and modulation touch-strip controls. Drum out incredible rhythms with two banks of velocity-sensitive backlit performance pads, and tweak software to your musical heart’s content with 16 full-size rotary encoders. When combined with the included Analog Lab it becomes a real hybrid synthesizer.

Still one of the most feature-packed, compact control systems on the market today, it too benefits from the triumphant back in black treatment to remerge refreshed and reinvigorated as the MiniLab Black Edition — even better value than before, thanks to also being bundled with additional software from Arturia (Oberheim SEM V), UVI (Grand Piano Model D), and Ableton (Live Lite).

Black or white, then, the choice is out there... but beyond the plain to see colour change there is so much more to the BeatStep Black Edition andthe MiniLab Black Edition than meets the eye. Even though they still respectively represent a compact control powerhouse and the world’s premier mobile keyboard solution, they are all the better for being bundled with that additional software. Now they represent really remarkable bang for the buck. Best be quick, though... they are limited-edition bundles, after all!"

Vince Clarke Music Introduces New IMAGINATOR VCX-378 Eurorack Module for the Holidays

Vince Clarke Circuits - The Imaginator (Demonstration Video) from erasureinfo on Vimeo.

"Vince Clarke is proud to announce the second in a series of Eurorack modules, the Imaginator.

'I wanted a practical writing tool that would generate musical patterns based on user controlled variables'

With an ingenious use of high-level algorithms and a calculating time of less than two seconds, The Imaginator will produce inspiring musical phrases well beyond the 12 days of Christmas."

Official press release & pics below.


Vince Clarke Circuits - The Imaginator (Overview & Set-Up Video) from erasureinfo on Vimeo.


Vince Clarke Circuits - The Imaginator (User Video Manual) from erasureinfo on Vimeo.

On the heels of Vince Clarke's first eurorack modules, we have the IMAGINATOR VCX-378 musical phrase generator.


"Vince Clarke lets his musical imagination run riot with new namesake Eurorack module

'I wanted a practical writing tool that would generate musical patterns based on user-controlled variables.'
- Vince Clarke, 2015

BROOKLYN, NY, USA: synth-pop pioneer Vince Clarke is proud to announce availability of the IMAGINATOR VCX-378 — the second product release in an ongoing series of creative and utilitarian modules for the ever-present Eurorack small-format modular system under the namesake Clarke company name, designed and built to exacting standards in close collaboration with British ‘boutique’ analogue synthesiser and accessory designer/manufacturer Analogue Solutions — as of November 24…

Musical imagination is a wonderful thing. Synthesisers and associated modern-day music technology can help make that happen in wonderful ways. With an amazing number of hit singles and chart-topping albums to his Ivor Novello Award-winning songwriting name and an accompanying hard-earned and hard-working synthesiser collection to die for, synth-pop pioneer Vince Clarke clearly has it all in spades. So just imagine if you could call upon an amazingly musically inspirational device for assistance when seeking that defining elusive musical hook… well, you need not imagine anymore as the IMAGINATOR VCX-378 does just that, fresh from the imaginative musical mind of Vince Clarke! After all, sometimes serious songwriting synth-pop pioneers still need a helping hand (or Eurorack module): “I wanted a practical writing tool that would generate musical patterns based on user-controllable variables.”

Vince Clarke got what he wished for… the ingenious IMAGINATOR VCX-378 produces one-bar musical phrases based on either user-control of the Clarke company’s clever bespoke musical algorithm or a quasi-random solution. So anyone seeking to trigger their own musical imagination (and MIDI synthesisers) should simply add an IMAGINATOR VCX-378 to their Eurorack small-format modular system setup. The result? Almost unlimited combinations and permutations that will both inspire and amaze as it helps when searching for that defining elusive musical hook.

Housed in a 36 HP-width Eurorack module, the IMAGINATOR VCX-378 has a front facia-located one-octave ‘keyboard’ — with each ‘note’ having a push button and associated LED — alongside two Quantize sections, Octavize and Transpose sections, a Velocity treatment, plus internal (Sequencer) and external (Midi/Clock) clocking, as well as a full MIDI interface.

In most cases, users will want to sync to their sequencing software by sending the IMAGINATOR VCX-378 a MIDI note clock. This can be downloaded from the Clarke company website. The IMAGINATOR VCX-378 then references these notes and uses this information to clock the musical patterns it produces. With everything correctly connected, users can use soft synths or send those musically imaginative patterns out to an external synthesiser — something close to Vince Clarke’s musical heart.

Helpfully, Vince Clarke himself has taken time out from an always musically successful schedule to prepare some seriously user-friendly tutorials to transport the new IMAGINATOR VCX-378 user from novice to expert in no time. “For full operation of the unit, I suggest you make yourself a nice cup of tea and watch the user video,” he says, before later concluding: “Thanks for watching… and now I must get back to my day job.”

Jesting aside, while the IMAGINATOR VCX-378 makes for a musically imaginative holiday season gift for the seasoned synth lover in someone’s life, note that it will produce inspiring musical phrases well beyond the 12 days of Christmas! Let’s hand off here to ‘tutor’ Vince Clarke to blow our musical minds with some insightful IMAGINATOR VCX-378 note-related number crunching: “With one note there are 16 possible positions within one bar for the note to go. With two notes there are 120 possible positions. With three notes there are 560. This increases and then decreases exponentially. So, if we do the math, we can say that using one to 16 notes there are a possible 65,535 combinations. Remember: we are only talking about one note. Once you start adding pitch to this equation then the numbers really go through the roof. No wonder there seems to be an unlimited number of one-bar patterns.” Perhaps the IMAGINATOR VCX-378 is not just for Christmas, after all?

The IMAGINATOR VCX-378 is priced at £349.00 GBP (plus tax and delivery) and available to order online from Analogue Solutions here.

For more detailed information, please visit the Clarke webpage here."

Novation Introduces Circuit - New Stand Alone Grid-Based Groove Box

Uploaded on Sep 23, 2015 NovationTV

Novation reveals what's behind their "Start Something" campaign (previously posted here). Watching the videos I was expecting some sort of DAW software or controller. When I first saw the image of the Circuit, I thought my expectations where confirmed.  Well, it might look like another DAW controller, but it isn't. This is a stand alone production system with the synth engine built in. The engine includes two six voice Novation analog modeling synths with wavetables, a four-part drum machine, and built-in delay and reverb. Don't miss by Q&A with Novation at the bottom of this post!  The Circuit can be battery powered and has built-in speakers for full portability. All for a MAP of $329, available in October.  Full details follow.

"This is Circuit. In this performance video, Harry Coade takes us through just some of the functionality of Novation's latest release. Sequencing beats with the 4 part drum machine, playing in harmonic sections with 2 desktop poly synths, adding mixer and fx tweaks and browsing through 32 different performance sessions allows you to start something quickly."

"Sometimes, starting a track can be a difficult and daunting task. We're sure that like us, you've sat staring at a screen overwhelmed by the choice of plug-ins, struggling to write a beat that inspires you, a melody that doesn’t sound corny.

As our 'Start Something' series has illustrated, inspiration can come in many shapes and forms, from taking a break from the studio and just living life to digging through vinyl and hunting for that elusive sound to get the ball rolling.

We suffer from this problem too and wanted to create a solution. We wanted something small and portable, something that doesn't sound like a toy, something that gives maximum creative output from minimum input, something that encourages exploration and creates ‘happy accidents’. That's why we created Circuit.

Circuit is a standalone groove box that combines Nova-heritage synths with expertly sculpted drums. It’s all you need to make music anywhere. You don't need to buy three different things. With Circuit you can create an entire tune by combining up to 128 steps of synth and drum patterns, then add space, depth and energy to your music with built-in effects. It even has built in sidechain. When you’re done, save your tune to one of 32 slots.

The intuitive navigation delivers immediate results, scale modes ensure that you never hit a bum note and cleverly mapped macros deliver deeper personalisation, ‘happy accidents’ and moments of genius.

With Circuit, making a genuinely decent sounding track requires very little effort and takes minutes not hours. And because it’s battery powered you can do it all on the bus, then take it back to your studio and finish it in your DAW.

Make new electronic music quickly and easily with a standalone groove box that combines Nova-heritage synths with expertly sculpted drums.

Circuit is designed to inspire. Two Novation polysynths and a four-part drum machine, combined with an intuitive grid-based sequencer in a standalone box that will have you making electronic music in minutes. Hit some pads, tweak the knobs and your track will start to emerge, all locked in time and key. Play around with effects, patterns and sounds in real time, to produce your track, brimming with fat grooves and beats.

Compact and battery powered with a convenient built-in speaker, Circuit can be used to make music entirely on its own. In the studio it will work alongside your standalone synth gear and run in sync with your music software too. In short, it's all you need to inspire, create and play new tunes.

Ideas in Seconds. Tracks in Minutes
Circuit inspires, straight out the box. It combines a 2-part synthesiser and a 4-part drum machine with a 4x8 RGB velocity-sensitive grid sequencer, which will have you finding new musical directions and creating electronic grooves in no time.

Stand Alone
Compact and battery-powered, Circuit truly stands alone. You can create entire tunes from scratch without a laptop, then save them and play them back live. You don’t even need speakers, because it has a one built in. Of course, Circuit will plug in to your sound system and work with your computer and other synth gear too, via its Line outputs, USB and MIDI ports.

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Spitfire Audio Introduces EVO GRID 004 WOODWINDS for their EMS VCS3 Inspired Virtual Instrument

Published on Sep 3, 2015 Spitfire Audio

"Spitfire Audio adds another ‘off-grid’ twist to evolving, EMS VCS3-inspired VIs for its Producer Portfolio

LONDON, UK: Spitfire Audio, purveyors of the finest virtual instruments from the finest musical samples in the world, is proud to announce availability of PP025 EVO GRID 004 WOODWINDS, the latest creative chapter in its evocatively-named, evolving EVO GRID series of ‘off-grid’ sample-based virtual instruments initially inspired by the trailblazing late-Sixties-vintage EMS VCS3 portable analogue monosynth and perfectly executed for the Native Instruments KONTAKT platform-compatible Producer Portfolio range — itself launched to satisfy repeated requests for drier-sounding, more manipulative samples for more non-orchestral material, as of September 18…

Following on from the success of Spitfire Audio’s prototypical PP017 EVO GRID 001 STRINGS and its phenomenal PP020 EVO GRID 002 STRINGS followup, as implied by name, PP025 EVO GRID 004 WOODWINDS takes the so-called ‘Evo’ concept from its inception in strings into the wonderful world of woodwinds. What is an Evo, exactly? Evos are hyper-long, sample-based articulations that evolve — sometimes subtly, sometimes severely — over time before looping. These are then organised on a grid so users can plot which evolution or ‘Evo’ sits on which key range, resulting in a GUI (Graphical User Interface) inspired by the breakthrough British EMS VCS3, which made musical history upon its introduction in 1969 by being the first commercially portable synthesiser available anywhere in the world, thanks to its innovative modular matrix-based patchboard dispensing with the telephone exchange-like cabling of other (much larger) modular systems in favour of making space-saving connections with (removable) coloured pins.

PP025 EVO GRID 004 WOODWINDS heads on a similarly flexible sonic bearing, but within the computer-hosted context of a truly 21st Century sample-based virtual instrument fit for ‘off-grid’ minimal musical explorations. Employing some of the UK’s finest, most progressive, and avant-garde woodwind players performing beautifully-orchestrated long notes that increase in intensity and expression, evolving into out-of-this world soundscapes, this eclectic collection of woodwind evolutions designed by Ben Foskett foster an exceptional edge to anyone’s musical endeavours. Returning to record at the ultra-dry, yet warm-sounding surroundings of Central London’s Air-Edel Recording Studios using the finest vintage microphones, Neve preamps, and the last Cadac studio console ever built, ‘Foskett & Co.’ set about creating a product that oozes originality and positively provides inspiration to all that use it. The result? 3,312 superlative samples — some 18.5GB of uncompressed .WAV files — that do just that by doing things with woodwinds that are totally unexpected, yet uniquely musical in execution.

At Air-Edel Recording Studios two subtly different performing lineups — Band A comprising FLUTE (3), ALTO FLUTE (1), BASS FLUTE (1), CONTRA BASS FLUTE (1), Bb CLARINET (3), and Bb BASS CLARINET (3); Band B comprising OBOE (3), COR ANGLAIS (2), Bb CLARINET (2), Bb BASS CLARINET (1), Bb BASS CLARINET (1), BARITONE SAX (1), and BASSOON (3) — led Spitfire Audio to ultimately provide PP025 EVO GRID 004 WOODWINDS users with a nuanced selection of sounds. Some are more reedy-sounding, others more flutey. This time the resultant Evo count stands at a healthy 48 spread across 12 pitch regions — including an additional five grids of wonderfully-warped, saturated, and totally transformed versions of each and every Evo — resulting in an almost infinite number of possibilities. Pressing the save button is important… all the more so given the many randomisation options that are also provided!

Fortunately for (potential) PP025 EVO GRID 004 WOODWINDS purchasers, Spitfire Audio has helpfully seen fit to carefully curate those extraordinary Evos into a number of spring-right-out-of-the-box-style patches — from seemingly-simple tutti-type affairs, featuring all Evos evenly spread across the keyboard, through to various diagonal patterns, as well as a handy feature for randomly creating pinned patterns from the near-infinite number of configuration possibilities — perfectly demonstrating not only the tense and extreme elements of the library but also the effortlessly-engaging ‘episodic’ Evos! Easily-accessible front panel-positioned FX controls (for Reverb, Delay, and Tape Sat.) help make this into a tool truly designed for producers — hence the Producer Portfolio range association, as well as composers, editors, and sound designers alike. Anyone needing a spellbinding solution from the moment they touch the keyboard, in other words! Like the self-explanatory SIMPLE TENSE SCARY subtitling of the PP017 EVO GRID 001 STRINGS and TRADITIONAL EPISODIC EXTREME subtitling of PP020 EVO GRID 002 STRINGS before it, PP025 EVO GRID 004 WOODWINDS can be as time-saving as the trailblazing EMS VCS3 was once space-saving.

Saying that, PP025 EVO GRID 004 WOODWINDS perfectly compliments that recently-released PP017 EVO GRID 001 STRINGS sample-based virtual instrument — an extraordinary collection of long, evolving chamber strings orchestrated by Ben Foskett before being given Spitfire Audio’s adventurous Evo treatment — and its PP020 EVO GRID 002 STRINGS sibling. Says Spitfire Audio Director Paul Thomson: “We’ve got a collection of incredible players here — very progressive, avant-garde wind players, playing beautifully-orchestrated long notes from Ben Foskett that evolve with increases in intensity and expression and different techniques to give you a really beautiful series of long, evolving tones that you can use to work with in a similar way to the STRINGS EVO GRID releases. The EVO GRID GUI is the same as before, so you’ll recognise all of the controls. There are lots and lots of possibilities — millions of possibilities, in fact, so it’s a really creative tool. We’re very proud of it. It’s very different from the strings evolutions that we’ve put out so far, but it’s very, very useful.”

Indeed it is. In this day and age of delivering more musical content against a backdrop of diminishing deadlines and budgetary constraints, composers are often asked to engage the listener by doing very little — least of all changing notes, all those EVO GRID releases represent Spitfire Audio’s masterplan for providing them with a solution to this taxing conundrum. Just ask award-winning composer — and fellow Spitfire Audio Director Christian Henson. Commissioned to write 13 hours of music for a sprawling, epic TV series, but with no budget for orchestra and only three months in which to do it, a quick string sampling session subsequently ensued, during which he fortuitously recorded a series of greatly differing long strings evolutions. Staggered by the resulting sample instrument, where the chaotic nature of different evolutions placed over different intervals made for exciting and unexpected results, he semi-seriously stated, “I could literally hit a big C minor chord, hold my sustain pedal down, reach for my sandwich, and the thing would still be writing itself a minute later while I was wiping mayo off my beard!” From the smallest seed… and all that jazz.


PP025 EVO GRID 004 WOODWINDS and its PP017 EVO GRID 001 STRINGS and PP020 EVO GRID 002 STRINGS sample-based virtual instrument siblings can be purchased and downloaded directly from Spitfire Audio for £179.00 GBP (subject to VAT within the EU) from here:
http://www.spitfireaudio.com/products-page (Note that Spitfire Audio’s free Download Manager application for Mac or PC allows you to buy now and download anytime while a full version of Native Instruments KONTAKT 5 is needed to run these Producer Portfolio products.)


For more in-depth info, including an ear-opening audio demo, please visit the PP025 EVO GRID 004 WOODWINDS webpage here: http://www.spitfireaudio.com/pp-evo-grid-4-woodwinds"

Korg Delta Vintage 80s Analog String Synth DL-50

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"These are cool little synths for a certain kind of sound, along the lines of a Moog Opus III, being a fully mixable 'synth' & 'string' section, fairly straightforward, but still characterful.

The synth is more like an organ with slider volumes for various footages, which can be put through the ADSR & analogue filter.

The strings have a balance, EQ & AR envelope knobs.

Tones are nice & strong as is, can be wonderful through a delay, reverb or phaser!

Soundwise, I think if you're a fan of the instrumental side of 'Low' (the album) you'll get the idea. Deltas were also used by Broadcast & The Human League (the reason I kept an eye out for one), so darn fine company, I'd say.

Condition, I'd say good for age, there are marks & scrapes but nothing too extreme, some of the lettering has worn away in places, but no cracks or dents.

There are 2 things that affect at least half of all the Deltas I've seen..

Sure enough, the joystick is snapped off at the top. It is still useable & fully working. If you wanted you could add a sleeve of metal tubing to extend it's length again, that could crimp on at the bottom. Another solution is simply to pop a biro lid on the top, fits a treat!

The other really common issue is a fault on the filter which causes the synth section to stop working. This one was no exception, but I replaced the offending capacitors (did a good job!) & it's been perfect ever since (about 2/3 years).

This particular synth is fully functional apart from one slider, which has never worked in those 2/3 years, but after 6 months of inactivity has suddenly burst back into life.. The noise slider in the synth section is (was) inactive, but now seems to be fully working. But I'd still look at this as 'Noise not working'. You can absolutely live without it, but it does sound nice for those filtered White Noise sweeps. I reckon this would have to be the slider or a solder joint in that section, can't think of any components that would die then come back to life again.

Worth pointing out that I always clean everything I get, so no gunk on the knobs, no dirty keys, all the switches, jacks & sliders were Servisol'd & the front panel was polished while I repaired the filter."

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E-RM Introduces multiclock - Ultra-Reliable Multi-Channel, Multi-Format Sync Box

"E-RM effectively solves studio and stage sync and timing troubles with multiclock multi-format sync box

BERLIN, GERMANY: professional audio synchronisation specialist E-RM Erfindungsbüro is proud to announce availability of multiclock — an ultra-reliable multi-channel, multi-format sync box that builds a musical bridge between DAWs and external (MIDI, DIN Sync/sync24, and analogue modular) musical gear like no other by converting clock signals for tight integration into digital production workflow without troublesome timing issues, as well as providing helpful and creative realtime shift and shuffle controls to independently compensate for sloppy slave machine delays and also add groove to each creative channel — as of August 12…

multiclock’s ‘mission impossible’ is to therefore act as a one-stop shop for creatively synchronising all kinds of musical equipment to a master DAW with the greatest of ease and, obviously, precision. Put simply, it is built to overcome all of the well-documented problems associated with achieving tight synchronisation of sequencers, drum machines, arpeggiators, and other external equipment with each other and also within the workflow of a DAW. Doing this is easier said than done from a technical standpoint, so how has E-RM Erfindungsbüro apparently achieved the impossible with something so small and simple to use, then?

The key to multiclock’s reliability and innovation is its ability to acquire a variety of sync signals from an Audio Sync track, as opposed to relying on a MIDI Clock signal. Synchronising multiclock to a master DAW relies on a sample-accurate audio clock stream, which, in turn, guarantees gloriously-tight clock signals to within ±1 sample of jitter — jitter being defined as the undesired deviation of a periodic signal from the ideal timing. To put that fanciful figure into its rightful context, consider that jitter here is as low as ±20 μs (microseconds) and that one microsecond is to one second as one second is to 11.574 days! Do the math. multiclock makes such superlative synchronisation possible by providing an audio INPUT (1/4-inch jack socket) to process a special sync track generated from the company’s downloadable multiclock AU/VST plug-in (for Mac OS X/Windows) namesake. Alternatively, another way of simply synchronising multiclock to a DAW is to load the special sync sample downloadable from the dedicated E-RM Erfindungsbüro webpage (http://www.e-rm.de/support/downloads.php). Whichever route discerning users choose to take, the result remains the same: seamless integration of all external devices with the host computer, courtesy of those celebrated clock signals. Simply said, this thing is tight to within a gnat’s whisker of perfection!

Perfect DAW synchronisation notwithstanding, when acting as a standalone master clock generator for hardware-only setups multiclock means business by coming into its own as a seriously creative tool. Tempo ranges between 30-300 BPM, while time signature settings can be changed from 3/8 to 32/8, so slave machines always start in sync with the downbeat of the next bar. But there’s more… multiclock can cleverly shift all four of its output clock channels — conveniently labelled as channel 01, channel 02, channel 03, and channel 04 — back and forth in realtime against each other and also relative to the master clock. Connectivity comes courtesy of four corresponding DIN sockets, fully configurable to transmit MIDI Clock (MIDI), DIN Sync/sync24 (DIN) or analogue clock (Analog) on each channel. channel 01 even comes complete with an additional 1/4-inch TRS output jack to provide an analogue LFO (LFO) with various waveforms and a 0-5V range, while modular synth connectivity is easily accomplished via any channel using an E-RM modular whip to convert DIN sockets to two mini jacks for clock and signal runs. Up to ±300 ms of Shift Range ensures easy compensation of sloppy slave machine delay and audio buffer latencies can be compensated for by setting a constant Offset calibration for each channel, conveniently leaving more than enough headroom to get into the groove, whether working with or without a DAW (since it is always necessary to compensate for the starting time lag of external equipment). Elsewhere, those shift and shuffle knobs can be configured to emit MIDI Control Change commands, should a user happen to have any unused clock channels available on their multiclock.

More to multiclock than might first meet the eye, surely? Says E-RM Erfindungsbüro CEO Maximilian Rest, “multiclock is not only a perfect synchronisation solution for live and studio applications, but you can also use it as an instrument in itself. If you get your hands on this machine, you can start playing with the phase of your sounds, effectively changing the timbre of layered tones or setting the groove between individual drum tracks.”

Time to get into the groove, then! To start shifting clocks and shuffling beats with multiclock — also available with an additional class-compliant USB MIDI module add-on to enable other MIDI commands to be sent from a DAW to external slave devices while still syncing to the sample-accurate audio clock stream — is a musical game-changing experience like no other. Why wait to hit that perfect beat?

multiclock is available to purchase for €449.00 EUR (Classic version) and €519.00 EUR (USB version) — including 19% VAT — via E-RM Erfindungsbüro’s expanding global network of retailers listed here: http://www.e-rm.de/shops/shops.php

For more in-depth info about multiclock, please visit the dedicated webpage here"



Note there are two versions, one with, and one without USB.

Novation KS Rack MIDI CC / NRPN Control Madness

Published on May 6, 2015 vyd239

Some good points in this one, both the video and the description.

"Novation KS Rack synth with extensive MIDI control via an Edirol PCR 300 midi keyboard controller.

With the ever increasing craze of the current modular scene, many electronic musicians and sound designers have been going mental buying tons of expensive and complex modular units.

After realising my budget would not stretch to accommodate enough units to accomplish generative soundscapes, random, glitchy noises and drones, I decided to create an alternative solution with my cheap and cheerful digital gear.

I couldn't give two shits whether it's digital or analogue, if it sounds good (or disgusting), that's all that matters. I consider the KS Rack an extremely capable and very underrated synth that I will never part company with. It's strongest feature is the non-destructive editing of programs whilst in Performance mode, as the performances store the parameter settings for programs independently from the originals - what's more, it cost me £140 off Gumtree 3 years back.

The KS Rack's CCs and NRPNs were mapped in a logical fashion, primarily for each oscillator.

The sliders, knobs, mod wheel, crossfader and pads provide additional control over multiple external and internal parameters, using the PCRs editor application.

Very simple to use and very effective.

The results of this extended control are far more interesting than manually menu diving to modify them. You can basically mould' the sound on the fly, rather than modifying it step by step, thus loosing your creative flow by getting caught up in menus and button pushing.

Mapped controls are:

R1 - CC 72(48) - OSC 1 Level
R2 - CC 73(49) - OSC 2 Level
R3 - CC 74(4A) - OSC 3 Level
R4 - CC 40(28) - OSC 1 Semitone
R5 - CC 48(30) - OSC 2 Semitone
R6 - CC 56(38) - OSC 3 Semitone
R7 - CC 43(2B) - OSC 1 Pitch Mod Amt
R8 - CC 51(33) - OSC 2 Pitch Mod Amt
R9 - CC 59(3B) - OSC 3 Pitch Mod Amt
S1 - NRPN 50 - OSC 1 Wave
S2 - NRPN 51 - OSC 2 Wave
S3 - NRPN 52 - OSC 3 Wave
S4 - CC 80(50) - LFO 1 Non-Sync Speed
S5 - NRPN 53 - LFO 1 Waveform
S6 - CC 83(53) - LFO 2 Non Sync Speed
S7 - NRPN 54 - LFO 2 Waveform
S8 - NRPN 0 - FM Fixed Level
S9 - CC 71 - OSC 1/2/3 Octave
A1 - NOTE 64 - Triggers a sustained/infinite note
BEND - CC 19 - Non Sync Delay Time (left / right)
MOD - CC 92 - Delay Amount (up / down)"

Pittsburgh Modular Officially Announces Modular Effects Pedals

You saw the teaser pics here. The following is the official press release:

"Pittsburgh Modular makes modular effects pedals dream come true at Musikmesse 2015

PITTSBURGH, PA, USA: modern, fully-patchable, modular synthesizers and accessories manufacturer Pittsburgh Modular is proud to launch its Patch Box line of modular effects pedals — redefining both modular synthesis and the venerable stomp box by creating unique patchable effects units for guitarists and keyboardists — at Musikmesse 2015, January 15-18 in Frankfurt, Germany...

In a seismic shift in the definition of what a modular synthesizer can be, Pittsburgh Modular’s Patch Box redefines modular synthesis around the venerable stomp box by creating a monster performance device for guitarists and keyboardists alike — a patchable, modular system designed to handle anything. As a playground for unrestricted creativity, the Patch Box is a fully-patchable, customisable performance pedal enclosure. Its open architecture allows users to create unique effects unattainable with standard, fixed-signal path guitar effects. The Patch Box is not just another empty Eurorack case, however. Rather it can be packed to the gills with the functionality of (up to) five highly-tuned modules integrated into a heavy-duty steel enclosure that’s as road-ready as it is ready to use.

To protect the tone of user instruments, thoughtfully the Patch Box features a true BYPASS and a unique preamp with extremely high headroom in addition to a pair of fully-buffered outputs. Custom-engineered soft-limiting circuitry built into the preamp adds character without unwanted noise at higher gain settings. Said preamp has dual, buffered outputs to allow for complex signal routing, but for patching a single modulation or audio source into two destinations, the patchable signal splitter is a perfect solution. Also known as a MULTIPLE, the signal splitter has one input and two outputs, allowing any signal to be routed to two destinations.

Dual, assignable expression pedal INPUTS allow the Patch Box to easily integrate third-party expression pedals anywhere into the signal path to allow for realtime foot control of any voltage-controllable parameter or split the signal from the foot controller to control two parameters at once. Dual, assignable A/B foot switches — SWITCH 1 and SWITCH 2 — expand signal routing options. Perfect for use as on/off switches or to flip between two signals, the foot switches can be patched up to enable/disable individual modules or route audio and control voltages. Try patching a modulation source, such as an LFO (Low Frequency Oscillator) or external expression pedal, through the foot switch to enable or disable the modulation while playing. Patch the outputs of two effects into one of the foot switches to bounce between effects. With two independent, patchable foot switches to play with, there are countless options for realtime signal routing. The last stage of the Patch Box signal path is a master OUTPUT level control. Adjust the output signal level to connect with a wide range of devices.

Furthering flexibility, the Patch Box is available as an empty case, ready and waiting for user-customisation, courtesy of an ever-increasing selection of Pittsburgh Modular, Dwarfcraft Devices, or other compatible Eurorack-format modules. Meanwhile, the Patch Box is also available in a number of preconfigured so-called Complete and Core effects systems that highlight the wide range of Pittsburgh Modular and Dwarfcraft Devices effects modules — from stunning filters to character-rich analogue delays, sweeping phase shifters to nasty distortion, and much more besides... all are available to interact with and manipulate in entirely new ways! Why don’t we take a closer look at what’s on offer?

Being billed as “A Modular Exploration of Time and Space,” Time Box Complete comes complete with a Patch Box enclosure, Analog Replicator (wide-range analogue delay module), Reverb (voltage-controlled digital reverb module), Lopass Gate (integrated lowpass filter, VCA, and lowpass gate module), LFO2 (dual modulation source module), and Multiple (dual passive signal splitter), plus a 12-pack of patch cables from premier Eurorack modular synthesizer accessory specialist Nazca Audio. Alternatively, Time Box Core comprises Patch Box-housed Analog Replicator and LFO2 modules, plus a six-pack of Nazca Audio patch cables.

Next up, Filter Box Complete makes modular filtering and signal-crushing downsampling a flexible musical experience, thanks to a Patch Box-housed Filter (multimode state variable filter module), Lopass Gate, Crush (analogue downsampling module), Follow (envelope follower module), LFO2, and Multiple, plus a 12-pack of Nazca Audio patch cables. ‘Downsizing’ somewhat, Filter Box Core offers filter sweeps courtesy of a Patch Box-housed Filter, Follow, and LFO2 modules, plus a six-pack of Nazca Audio patch cables.

Phase Box Complete comes complete with a Patch Box enclosure preconfigured with a Phase Shifter (16-stage analogue phase shifter module), Lopass Gate, LFO2, and Multiple, plus a 12-pack of Nazca Audio patch cables. Phase Box Core makes massive liquid simplicity reality with Patch Box- housed Phase Shifter and LFO2 modules, plus a six-pack of Nazca Audio patch cables.

A collaboration with Eau Claire, WI, USA-based handmade effects pedals and synthesizers specialist Dwarfcraft Devices, Dwarf Box Complete celebrates this partner company’s expertise in sonic destruction by partnering up their Big Distortion Sound Machine (parallel distortion module with two distinctly different fuzz flavours) with Pittsburgh Modular’s Filter, Chain Reactor (quadraphonic, voltage-influenced chaotic waveform generator), and Toolbox (multi-purpose slew, noise, sample & hold, and inverter) modules in a Patch Box enclosure, plus a 12-pack of Nazca Audio patch cables. Coming full circle, those favouring a more streamlined approach to a destructive palette could consider the Dwarf Box Core, comprising Patch Box- housed Big Distortion Sound Machine and LFO2 modules, plus a six-pack of Nazca Audio patch cables.

There it is, then. Nine new products, no less — Patch Box enclosure, available without any modules, and two sets of four preconfigured systems, each offered as a Complete system, full of modules, or as a Core system, partially filled with room for additional modules. Pittsburgh Audio has truly made the dream of modular effects pedals come true. They will all be being demoed and displayed in Hall 5.1, Stand C53 at Musikmesse 2015, April 15-18 in Frankfurt, Germany. Come check them out!


The Patch Box modular Eurorack performance pedal enclosure will be available to purchase from Pittsburgh Audio’s authorised dealer network in May 2015 at a suggested retail price of $349.00 USD.

Time Box Complete will be available in June 2015 at a suggested retail price of $1,199.00 USD; Time Box Core will be available in May 2015 at a suggested retail price of $779.00 USD.

Filter Box Complete will be available in June 2015 at a suggested retail price of $1,149.00 USD; Filter Box Core will be available in May 2015 at a suggested retail price of $739.00 USD.

Phase Box Complete will be available in June 2015 at a suggested retail price of $1,029.00 USD; Phase Box Core will be available in May 2015 at a suggested retail price of $799.00 USD.

Dwarf Box Complete will be available in June 2015 at a suggested retail price of $1,199.00 USD; Dwarf Box Core will be available in May 2015 at a suggested retail price of $689.00 USD.

For more detailed information, please visit the Patch Box product webpage from here: http://www.pittsburghmodular.com"

MFB Tanzbar Analog Drum Machine / Synth

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"This is a fantastic drum machine, the best sounding one I've ever had. It's generally out of stock in the US. This one was obtained from Schneiders Laden in Germany. It shows no signs of wear/scratches and it's been used only in my smoke-free studio. I'm selling everything and this is the last one to go since I love it so much. It retails at $1,200. It came with a German power supply but I will include the US adapter.

Info:

mfb's tanzbãr drum-computer offers fourteen analogue percussion instruments as well as a synthesizer for bass- and melodic voices. its integrated step-sequencer allows flashlight-programming and storage of up to 144 patterns. all parameters can be recorded per step! because of its ability to control and call up all functions on the fly, while the unit is running, tanzbãr is ideally suited for live performances.

using the fill-function, patterns can be chained for longer sequences. in addition, every pattern offers a/b variations that can be switched manually or automatically for further flexibility. also, tanzbãr allows saving 16 flame and roll-variations.

the step-length is controllable per instrument, allowing easy creation of polyrhythmic structures. possible resolutions are 32th and 16th steps as well as 16th- and 8th triplet-steps. the shuffle amount can be continuously controlled globally and per instrument.

each instrument offers three accent intensities. add the bend-function to create glides and lfo-like sweeps for bass drum 1/2, snare drum and toms 2/3.

in addition to the percussion-instruments, tanzbãr offers addressing external instruments using its two cv/gate outputs; one being able to control dynamics via a third cv-output. the same tracks are routed to the internal bass- and melody-synthesizer voices. an ideal solution to pre-listen and program patterns without any need for external equipment.

the cv/gate-sequencer offers a range of three octaves and is programmable using two methods. all parameters are output via midi, allowing control of external instruments. the drum-computer can be synchronized via midi- and clock-signals.

finally, tanzbãr not only offers a master volume knob but individual level controls and mute-functions per instrument. the unit provides a stereo output as well as twelve individual outputs.

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Vince Clarke Enters the Eurorack Market with New Line of MIDI to CV Utility Modules

Vince Clarke Circuits - The VCM & VCS Auto Tune System from erasureinfo on Vimeo.

In collaboration with Analogue Solutions.

"This self contained Eurorack expandable Midi to CV converter/calibration system offers an uncomplicated solution to the problems of tuning and scaling both vintage synthesisers and modern VCO Eurorack modules. With 16 bit voltage resolution and a tune time of 10 seconds. The unit can compensate for VCO alignment issues and environmental factors that cause tuning drift with the push of a button. Its Digital Automatic Audio Gain Control Circuitry (DAGCC) enables the unit to be connected to most synthesiser outputs, and has been tested on a large array of makes and models. While obviously not being capable of fixing the problems of faulty circuitry it will however save time and money on re–calibration, and ensure the technical side of synth ownership doesn't impinge on the creative process.

MORE DETAILS:
http://www.vinceclarkemusic.com/circuits/"

And the press release:

"Vince Clarke keeps tuneful tracks tuned with namesake clever CV/Gate tuning system

BROOKLYN, NY, USA: synth-pop Svengali Vince Clarke is proud to announce that he will be releasing a series of creative and utilitarian modules for the ever-present Eurorack small-format modular system under the namesake Clarke company name, designed and built to exacting standards in close collaboration with British ‘boutique’ analogue synthesiser and accessory designer/manufacturer Analogue Solutions, starting with the now-available Auto Tune — a self-contained, expandable Eurorack-compatible MIDI-to-CV converter/calibration system offering an uncomplicated solution to the problems of tuning and scaling both vintage analogue synthesisers and modern Eurorack VCO (Voltage Controlled Oscillator) modules — as of March 18...

So why simultaneously sidestep into this creative and utilitarian synthesiser module manufacturing (ad)venture alongside superlative synth-pop music compositional creativity? Who better qualified to address this than the Ivor Novello Award-winning songwriter himself... hardly surprising, really, since Vince Clarke can, of course, comfortably find his way around a notable number of synthesisers, too, as attested to by the well-earned songwriting success-funded collection of analogue classics currently residing at his NYC studio, relatively recently relocated from a custom-built cabin in rural Maine to inner-city Brooklyn. But this is no millionaire’s museum piece, but rather a unique personal workspace, where each and every awe-inspiring analogue instrument included in his sizeable collection of vintage and modern synthesisers comfortably housed within regularly earns its keep on a variety of musical projects, be they synth-pop based or otherwise. “For those of you who work with synthesisers using CV and Gate, you will all be aware of the problems of calibration,” notes Vince Clarke, continuing: “Having tried many a cumbersome software-based package over the years, I wondered if there might be a neater solution — a kind of all-in-one MIDI-to-CV convertor with auto-calibration.”

And, as if by musical magic, the collaborative Clarke company concept was born. And with it the first of those creative and utilitarian modules for the ever-present Eurorack small-format modular system that is increasingly popularised (and heavily populated) by an ever-growing band of merry ‘boutique’ manufacturers now numbering hundreds worldwide... welcome into the world Clarke’s clever Auto Tune system! So, let’s learn a little more about what it is, what it does, and how, exactly, it does it...

In a nutshell, then, the Auto Tune system consists of a VCM20 master module, which can control up to 16 VCS20 slave modules, each of which provides one channel of CV (Control Voltage) and Gate. With 16-bit voltage resolution and a tune time of 10 seconds, this straightforward system can compensate for VCO alignment issues and environmental factors that cause tuning drift quite literally at the push of a button!

The VCM20 master module has an LED (Light Emitting Diode), an increment push button to select the MIDI (Musical Instrument Digital Interface) channel, and MIDI IN and MIDI THRU sockets; the VCS20 slave module has four 3.5mm jack sockets for communicating with the outside analogue synthesiser world, which is where the tuning action really gets going: CV1 connects to the synthesiser’s pitch control voltage and can be set to either V/oct (Volts per octave) or Hz/V (Hertz per Volt); CV2 is mapped to keyboard velocity — typically to control a VCF (Voltage Controlled Filter) or VCA (Voltage Controlled Amplifier); the 11 Volt GATE output can be set to either V-Trig (Voltage Triggers) or S-Trig (Switch Triggers), its use being indicated by the Gate LED; the VCO input connects to the synthesiser’s waveform or audio input and allows the VCS20 slave module to read audio frequencies during the calibration process — a square, sine, or sawtooth waveform without modulation is recommended for doing this. The oscillator output can either be split or an unused waveform connected in the case of modular system setups while with typical hardwired analogue synthesisers it’s a case of splitting the audio output or, in most cases, using the headphone output. Either way, the synthesiser needs to be set to output a single oscillator without filter or modulation with the VCA envelope set to zero attack, zero decay, full sustain, and zero release. For the most accurate calibration of the control voltage the synthesiser’s oscillator range should be set to 8’ or its initial oscillator frequency set midway.

Having correctly connected everything, pressing the VCS20 slave module’s Tune button automatically tunes the analogue synthesiser, compensating for calibration errors between 0.5 and 1.5 V/oct. (During the tuning process, the Gate opens and its associated LED lights up, going out once complete.) Calibration data is duly stored — solving the problem with a neat solution! Still better, the VCS20 slave module retains the calibration data on power down — no need, necessarily, to repeat the process.

Suffice to say, Vince Clarke’s canny vision of an all-in-one MIDI-to-CV convertor with auto-calibration has truly become reality with the Clarke Auto Tune system since it is possible to set the individual MIDI channel for each VCS20 slave module and see which MIDI channel a slave module is set to at any time by simply pressing its Show button. Beauty is in simple things, after all. Equally easy, the VCS20 slave module’s Oct. (octave) button transposes the incoming MIDI signal by one octave with each push, cycling around four octaves — useful if the synthesiser’s range circuit is detuned. Don’t forget, each VCS20 slave module connected can be individually set to work with V/oct or Hz/V synthesisers so a variety of older and newer analogue instruments can be calibrated and automatically tuned by the Clarke Auto Tune system. Start with a VCM20 master module and one VCS20 slave module, maybe? Then simply add more VCS20 slave modules as your analogue instrument collection grows... guaranteed to stay in tune, each and every one of them — just like Vince Clarke’s Brooklyn-based sizeable collection of vintage and modern synthesisers! Synth-pop songwriting success, sadly, cannot be guaranteed.

The Clarke Auto Tune system is priced at £189.00 GBP (plus tax and delivery) for the VCM20 master module and £189.00 GBP (plus tax and delivery) for the VCS20 slave module; all are available to order online from Analogue Solutions here: http://analoguesolutions.com/clarke/

For more detailed information, please visit the Clarke webpage here: http://www.vinceclarkemusic.com/circuits/"

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Rob Papen Quad Introduction

Published on Oct 22, 2014 Rob Papen

"RE synthesizer for Propellerhead Reason 7.1 or higher.

QUAD is the first Rack Extension synthesizer built from the ground up for Reason by the Rob Papen team. It features two oscillators with a seemingly simple arsenal of classic waveforms. The sonic palette is huge though, through the vast modulation possibilities that QUAD has to offer.

The oscillators can be combined through many cross modulation functions – generating a wide range of harmonics. The next steps in the sound sculpting are the Phase Distortion and Wave Shaper. These tools are brought to life by four XY-Pads, which can be moved through an extensive modulation matrix. The movements can be recorded as automation directly into Reason’s sequencer.

QUAD’s oscillators are complemented by two top notch analogue modelled filters, an arpeggiator and two high quality effects processors.

Welcome to the new refreshing synthesizer QUAD – only in Reason!"

Reminds me of wavetable synthesis but instead of using pre-existing wavetables, they are generated on the fly.

Update: and the official press release:

"Rob Papen produces quick-fire QUAD as its first RE release built from the ground up for Reason


ECHT, THE NETHERLANDS: virtual instrument and effects plug-in developer Rob Papen Soundware is proud to announce availability of QUAD, its first Rack Extension synthesizer built from the ground up for Propellerhead Reason, as of October 28...

When Swedish music software application, interfaces, and technology standards specialist Propellerhead Software first unveiled its revolutionary Rack Extension — an ever-expandable, freely-routable rack of instruments, effects, and sounds — for its well-received Reason music-making and recording studio software solution, namesake company founder and synthesizer developer Rob Papen promptly pronounced it as being “...a brilliant concept.” Continuing, he then summarised its advantages as follows: “What we face as a developer is having to have a PC version and a Mac version, and if you run them in your regular host, you can crash your host. That’s a real big battle. People, if they use Reason, learn that things are connected. It’s cross-platform; everything works. It’s a major leap forward for Reason, and productions coming out of Reason will sound totally different. Reason remains Reason, but, now, it’s open.”

Open to the likes of Rob Papen to develop distinctive and desirable third-party Rack Extensions (RE) for Reason. Little wonder, then, that Rob Papen was amongst the first wave of developers to do just that, starting by porting over its popular ‘phat’-sounding soft synth Predator as Predator-RE, rapidly followed by its SubBoomBass-RE dedicated virtual bass synth, self-explanatory PR-Verb RE and PR-Distort RE virtual effects, plus PunchBD-RE, a versatile and easy-to-use bass drum synth.

Soft synths have always been at the core of Rob Papen’s productive business model, so it’s hardly surprising that they put some serious time and effort into porting some of their most popular products over to Propellerhead’s popular Reason platform. Yet what distinguishes QUAD from its aforementioned admired RE predecessors is that this time the company has chosen to build a Rack Extension synthesizer from the ground up. Why? Well, according to Rob Papen’s namesake founder, it “...offers a different and refreshing synthesis for your rack!”

Really? Really. “QUAD is still ‘subtractive synthesis’ like you know from Predator and so on, but the oscillator part has some interesting new features that vastly expands the sound options and makes QUAD very different from any other regular ‘subtractive synthesizer’,” reasons Rob Papen.

Put simply, QUAD has two oscillators (OSC 1 and OSC 2) at its sonic core, each endowed with a seemingly simple selection of classic waveforms (Sine, Triangle, Saw, White Noise, and Pink Noise), together with a SPREAD function (adding multiple oscillators with slightly higher and lower pitch to the main oscillators to fatten up the sound), and a SUB oscillator tuned one octave below with two selectable waveforms (Sinus and Square). Straightforward-sounding so far? Arguably yes. Yet those oscillators can be combined with many cross modulation functions, generating a wide range of harmonics. How so? “This is arranged inside OSC 1, where we also have several interesting modulation types. Also, OSC 1 can be shut down for going into the filter, so it can be exclusively used as a modulator for OSC 2.”

These already stunning sound sculpting tools are all brought to life by the four XY pads that dominate the main screen, giving OSC 1 and OSC 2 their distinctive PHASE DISTORTION and WAVE SHAPER capabilities — and also giving rise to the QUAD name. Notes Rob Papen: “For each we have several distortion or wave-shaping types. With the XY dials or XY field you can change this dynamic. The very cool thing is that with minimal effort you can quickly create a new sound and preset.”

Of course, Rob Papen himself is an internationally recognised sound designer of considerable standing, so it should come as little surprise to learn that QUAD is packed with wide-ranging Rob Papen-designed presets so you don’t have to (if you don’t want to). Those that do, of course, can delve deeper courtesy of an extensive MODULATION matrix; two effects processors (FX 1/2) that can be automated within the MODULATION matrix or via the ‘back panel’-positioned ‘external’ CV; LFO 1/2 and ENVELOPE 1/2 that can be tempo-synced; AMP section for controlling the volume contour; and more.

Moreover, QUAD offers no fewer than 28 filter types via two top-notch analogue-modelled filters (FILTER 1/2) with various routings, as well as an artistically-inspirational arpeggiator (ARP) with several playback modes. Maintains its co-creator: “It’s a big synth with many features!” For Reason users it really does offer a refreshing and different approach to synthesis, so why not extend your Rack right now?


QUAD can be purchased and directly downloaded for €99.00 EUR/$119.00 USD from the Propellerhead Shop here: https://shop.propellerheads.se/product/rob-papen-quad-instrument/ (Propellerhead operates a try-before-you-buy service for those wishing to test Rack Extensions.)"

Arturia Introduces Spark 2

Published on Apr 30, 2014 Arturia Web·127 videos

"Spark is an innovative drum production solution. Its cutting edge sound library, multiple synthesis engines and advanced sequencing functionalities will get you creative on your beatmaking tasks. Real-time performance tools and effects are here to explore new sonic territories, in the studio or on stage.

All sounds and patterns in this movie were made on Spark 2.

More info at:
http://www.arturia.com/evolution/en/p...

Arturia would like to specially thank the Arts Center MC2 in Grenoble for letting us shoot the movie in the Auditorium.
http://www.mc2grenoble.fr"

Spark2 Tutorials


And the press release:

"Arturia announces availability of outstanding SPARK 2 drum machine software

“I love the quick and easy ways to get results using SPARK 2. The ability to build up your own kit mixed with your own samples is very cool. My favourites to go for in SPARK 2 are the vintage drum machines. They have an analogue sound and no one hit is exactly the same, so you don’t get the ugly ‘machine gun’ effect — really useful!”

- Trentemøller, 2014 (electronic music producer and multi-instrumentalist)

GRENOBLE, FRANCE: having made its beat-making mark when premiered to critical acclaim at the 2014 NAMM Show in Anaheim, California, music and hardware company Arturia is proud to announce availability of SPARK 2 — bringing a new look, new feel, and new features to its premier sound- sculpting and performance drum machine software for Mac and Windows — as of April 30...

With the timely introduction of SPARK 2, Arturia has given its beat creation software a new look, new feel, and a whole host of new features fit to make it the premier sound-sculpting and performance drum machine on the market — all the more so when perfectly paired up with the award-winning SPARK Creative Drum Machine and SparkLE Creative Drum Machine controllers. It’s a match made in hybrid heaven that’s more flexible than ever before!

While SPARK has always been built on a fully-modular VA (Virtual Analogue) sound engine, originally only developers had access to this wonderful-sounding rhythmical power source. Not now. With the all-new MODULAR screen, SPARK 2 users are now free to add and subtract modules (including Oscillator, multimode Filter and Karplus-Strong Filter, Envelope, Lfo, MiniMixer, RingMod, and Bode Frequency Shifter); create their own patch routings; and assign up to six macro controls for immediate control. Clearly, it’s this truly modular, fully-accessible sound engine that makes SPARK 2 truly shine as the ultimate drum synthesizer!

With SPARK 2, Arturia has taken the opportunity to update the look and feel of SPARK to allow for faster workflow, while creating a layout that allows it to grow well into the future and secure its longevity — no easy feat in today’s here today, gone tomorrow’s world of rapidly disposable developments. New tabbed pages provide a cleaner look, more screen space, and faster access to the most needed features — features like an all-new MIXER window (with level, pan, and insert effects and sends — to 14 unique professional-grade effects, no less), expanded PATTERN edit screen, and enhanced LIBRARY page for better data management.

SPARK 2 also adds 50 new kits — including no fewer than 800 new instruments — that span many more musical genres than ever before, including trap, hip-hop, tech house, and nu disco, to name but a few modern electronic music styles, as well as acoustic drum kits capably spanning modern rock, funk, R ’n’ B, pop, vintage rock, and latin percussion. Vintage drum machine enthusiasts are also well catered for with ear-opening emulations of the likes of Roland’s TR-808, TR-909, TR-707, TR-606, and CR-78; LinnDrum, Linn 9000; Oberheim DMX; E-mu Drumulator; Sequential Circuits Drumtraks; Yamaha RX5; and Simmons SDS-V — analogue and digital classics all. And all kits come complete with 32 patterns that can be used by themselves or form the basis of user-programmed beats.

Bringing up the rear, SPARK 2 sees SONG mode updated, too. Song segments can now be configured and then replayed at the touch of a button. Users can create song sections that will play from one pattern to another and then recall these sections via the step buttons on the SPARK Creative Drum Machine and SparkLE Creative Drum Machine controllers — perfect performance enhancements!

Indeed, integration with the outside world works on multiple levels: as a 32- and 64-bit compatible virtual instrument for Mac and Windows, SPARK 2 can be run standalone or used as a plug-in with popular host DAWs (supporting 16 audio outputs that can be routed and assigned within the host); AIFF, WAV, REX2, and MIDI files can all be imported with drag and drop export of WAV format patterns and MIDI sequence formats into DAWs; and all parameters on SPARK 2’s MAIN screen are MIDI-assignable for control via any external MIDI device.

So why not get behind the wheel of a truly creative drum machine and let SPARK 2 help you create truly driving rhythms with minimum fuss and maximum musical output. No driving lessons required!

SPARK 2 can be exclusively purchased online from Arturia for an introductory promotional price of €129.00 EUR/$129.00 USD between May 1 and June 30, inclusive (rising to €169.00 EUR/$189.00 USD thereafter); alternatively, Arturia is also offering a promotional pricing of €199.00 EUR/$199.00 USD on the SparkLE Creative Drum Machine controller (with SPARK 2 included) between those same dates (rising to €249.00 EUR/$299.00 USD thereafter) from any authorised dealer or online from here: http://www.arturia.com/evolution/en/buy/spark2introductorypromotion"

MFB Tanzbar Analogue Drum machine

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"MFB's Tanzbär drum-computer offers fourteen analogue percussion instruments as well as a synthesizer for bass- and melodic voices. Its integrated step-sequencer allows flashlight-programming and storage of up to 144 patterns. All parameters can be recorded per step! Because of its ability to control and call up all functions on the fly, while the unit is running, Tanzbär is ideally suited for live performances.

Using the fill-function, patterns can be chained for longer sequences. In addition, every pattern offers A/B variations that can be switched manually or automatically for further flexibility. Also, Tanzbär allows saving 16 flame and roll-variations.

The step-length is controllable per instrument, allowing easy creation of polyrhythmic structures. Possible resolutions are 32th and 16th steps as well as 16th- and 8th triplet-steps. The shuffle amount can be continuously controlled globally and per instrument.

Each instrument offers three accent intensities. Add the bend-function to create glides and LFO-like sweeps for bass drum 1/2, snare drum and toms 2/3.

In addition to the percussion-instruments, Tanzbär offers addressing external instruments using its two CV/Gate outputs; one being able to control dynamics via a third CV-output. The same tracks are routed to the internal bass- and melody-synthesizer voices. An ideal solution to pre-listen and program patterns without any need for external equipment.

The CV/Gate-sequencer offers a range of three octaves and is programmable using two methods. All parameters are output via MIDI, allowing control of external instruments. The drum-computer can be synchronized via MIDI- and clock-signals.

Finally, Tanzbär not only offers a master volume knob but individual level controls and mute-functions per instrument. The unit provides a stereo output as well as twelve individual outputs.

TANZBAER has the following dimensions: 330 x 170 x 60 mm. An external power supply is included.

analogue drum-computer with tight step-sequencer and 16 instruments
immediate control, integration of MIDI and CV/Gate
different step-lengths per instrument
programmable accent- and pitch-bend-functions
144 patterns with A/B-variations, fill-function to chain various patterns
3 CV- and 2 Gate channels
roll- and flam-recording
individual and global swing-quantization
recording of control-value per step
12 individual outputs, stereo output
MIDI- and clock-sync, MIDI-dump
metal chassis with wood side panels"

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New Elektron Mystery Box NAMM Teaser

Elektron mystery box opened

Published on Jan 17, 2014 Elektron·43 videos

"See you at NAMM!"

Update:

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Rob Papen PunchBD RE Introduction

Published on Dec 18, 2013 Rob Papen·37 videos

"PunchBD-RE is a versatile and easy to use bass drum synthesizer for your Reason Rack. With PunchBD-RE you get two modelled synthesizer drum modules, a click/noise module and a sample module to help you shape the main beat for your productions. From Dance and electronic and Hip-Hop to soundtrack. PunchBD-RE has it covered."

Update: the official press release:

"Rob Papen provides perfect kicks for Reason with PunchBD-RE

ECHT, THE NETHERLANDS: virtual instrument and effects plug-in developer Rob Papen Soundware is proud to announce availability of PunchBD-RE, a versatile and easy-to-use bass drum synthesizer Rack Extension for Propellerhead Reason 6.5 (or higher), as of December 19...

When Swedish music software application, interfaces, and technology standards specialist Propellerhead Software first unveiled its revolutionary Rack Extension — an ever-expandable, freely-routable rack of instruments, effects, and sounds — for its well-received Reason music-making and recording studio software solution, namesake company founder and synthesizer developer Rob Papen promptly pronounced it as being “...a brilliant concept.” Continuing, he then summarised its advantages as follows: “What we face as a developer is having to have a PC version and a Mac version, and if you run them in your regular host, you can crash your host. That’s a real, big battle. People, if they use Reason, learn that things are connected. It’s cross-platform; everything works. It’s a major leap forward for Reason, and productions coming out of Reason will sound totally different. Reason remains Reason, but, now, it’s open.”

Open to the likes of Rob Papen to develop distinctive and desirable third-party Rack Extensions for Reason. Little wonder, then, that Rob Papen was amongst the first to do just that, starting by porting over its popular, ‘phat’-sounding soft synth Predator as Predator-RE, rapidly followed by its SubBoomBass-RE dedicated virtual bass synth and self-explanatory PR-Verb RE and PR-Distort RE virtual effects.

Now, with the timely introduction of PunchBD-RE, Rob Papen’s persuasive Rack Extension offerings are more enticing than ever before. Based upon its award-winning Punch drum synthesis/sampler software instrument’s kick-ass bass drum module, the Rack Extension version features the same high-quality algorithms attributed to Punch’s punchy sound. Saying that, other ‘models’ from Punch have been cleverly combined so users can stack them together to create hitherto unheard bass drum sounds. Take the SAMPLE module (including various samples, plus Rob Papen Library samples) and mix in a synth bass drum module, for example... what a beautiful combination!

Better still, there are actually two synth bass drum modules within PunchBD-RE: MODEL 1 and MODEL 2 are already positively powerful in their own right, but an additional CLICK/NOISE module is also available to add clicks (based on a sinus waveform) or noise. Using pink noise, this can create an awesome room sound! Stereo room/noise effects can be easily added to the bass drum sound using the SPREAD and OFFSET controls.

Similarly, the SAMPLE module not only includes sample-based bass drums, but bristles with an assortment of creative controls helpfully broken down into more manageable sections — TUNING, FILTER ENV, AMP ENV, FILTER, STEREO SWAP, and more — to help modify those samples.

All of those superlative sound sources are blended together in the MIXER, though they can first be sent to the dedicated DISTORTION module where 19 different distortion algorithms are available to treat them as appropriate. Moreover, modulation options are well catered for, courtesy of a free ENVELOPE, LFO, and all-embracing modulation matrix. Also, an analogue-modelled FILTER can capably change whatever composite sound is being routed from the MIXER.

It’s also worth noting that PunchBD-RE can play at a fixed pitch or ‘tuned’ over the complete keyboard range — a useful feature for many modern-day music stylings.

Finally, ‘flipping’ the PunchBD-RE Rack Extension around reveals a back panel packed with CV inputs and gate trigger options, separate audio outputs, and all manner of other connections for creative connectivity. Cable those kick-ass bass drum sounds to wherever you want to take them, routing-wise... within Reason! Reasons Rob Papen, positively: “I’m totally amazed that it all works.” We’re sure you will be, too!


PunchBD-RE can be purchased and directly downloaded for an introductory discounted price of €39.00 EUR/$49.00 USD (rising to €49.00 EUR/$59.00 USD on January 1, 2014) from the Propellerhead Shop here: https://shop.propellerheads.se/product/punchbdre-instrument/ (Propellerhead operates a try-before-you-buy service for those wishing to test Rack Extensions.)"

MFB-Tanzbär Now Shipping

Click here for all posts on the MFB-Tanzbar including audio demos, pics, and videos from the Musikmesse. The following are the details from the MFB site including the price of 840 Euro which currently coverts to $1077.55.

"analogue drum-computer with tight step-sequencer and 16 instruments
immediate control, integration of MIDI and CV/Gate
different step-lengths per instrument
programmable accent- and pitch-bend-functions
144 patterns with A/B-variations, fill-function to chain various patterns
3 CV- and 2 Gate channels
roll- and flam-recording
individual and global swing-quantization
recording of control-value per step
12 individual outputs, stereo output
MIDI- and clock-sync, MIDI-dump
microshift-function via MIDI (future update)
metal chassis with wood side panels
MSRP: 840,- Euro


MFB's Tanzbär drum-computer offers fourteen analogue percussion instruments as well as a synthesizer for bass- and melodic voices. Its integrated step-sequencer allows flashlight-programming and storage of up to 144 patterns. All parameters can be recorded per step! Because of its ability to control and call up all functions on the fly, while the unit is running, Tanzbär is ideally suited for live performances.

Using the fill-function, patterns can be chained for longer sequences. In addition, every pattern offers A/B variations that can be switched manually or automatically for further flexibility. Also, Tanzbär allows saving 16 flame and roll-variations.

The step-length is controllable per instrument, allowing easy creation of polyrhythmic structures. Possible resolutions are 32th and 16th steps as well as 16th- and 8th triplet-steps. The shuffle amount can be continuously controlled globally and per instrument.

Each instrument offers three accent intensities. Add the bend-function to create glides and LFO-like sweeps for bass drum 1/2, snare drum and toms 2/3.

In addition to the percussion-instruments, Tanzbär offers addressing external instruments using its two CV/Gate outputs; one being able to control dynamics via a third CV-output. The same tracks are routed to the internal bass- and melody-synthesizer voices. An ideal solution to pre-listen and program patterns without any need for external equipment.

The CV/Gate-sequencer offers a range of three octaves and is programmable using two methods. All parameters are output via MIDI, allowing control of external instruments. The drum-computer can be synchronized via MIDI- and clock-signals.

An additional MIDI-input is available to control further functions, such as microshift (planned for future update). In addition, an editor is planned.

Finally, Tanzbär not only offers a master volume knob but individual level controls and mute-functions per instrument. The unit provides a stereo output as well as twelve individual outputs.

Instrument parameters:
Bassdrum 1: Decay, Pitch, Pitch Modulation, Transient Level, Transient Type, Noise Level, Noise Filter, Distortion
Bassdrum 2: Decay, Pitch, Transient Level
Snare: Pitch, Detune, Noise Level, Noise Decay, Blend Tone 1/2, Decay, Tone Pitch
Rimshot: Pitch
Cymbal: Decay, Tone, Blend Ping/Cymbal
Open Hihat: Decay, Tone
Closed Hihat: Decay, Tone
Claves: Decay, Pitch
Claps (Stereo): Decay, Reverb Length, Clap Intensity, Clap-Number/Pattern
Low Tom/Conga: Decay, Pitch, Noise Level
Mid Tom/Conga: Decay, Pitch, Noise Level
Hi Tom/Conga: Decay, Pitch, Noise Level
Cowbell: Decay, Pitch
Maracas: Decay
Bassline: Filter, Pitch
Melody: Pitch

Additional functions planned for possible future updates."