Update: moving this post up once as new videos have been added. Bookmark this post for updates.
Use the player controls to skip around.
Playlist:
1.SynthfestUK 24: Knobula - Synth Modules and Toy Pianos
At SynthfestUK 2024, we met up again with Jason, who gaves us the updates in the world of Knobula. On display was the new 'dark mode' Poly Cinematic module, for more monochrome rigs ;-]
2. SynthFestUK 24: PWM - More Mantis News
At the show we made a beeline for the PWM stand, where Paul gave us the latest Mantis news.
And yes, it's out there in the world now!
3. SynthfestUK 24: Roland Unveils the Juno-D Series with Zen-Core Sound
We caught up with Andrew and Ludwig who showed us around the new updated Juno-D series: Juno-D6, D7, and D8. They have the same keyboard action as the Fantom-O series and a new colour screen, making it easier for performers to navigate on stage. And they can be powered by a USB-C mobile battery, perfect for buskers ;-)
Running Roland's Zen-Core sound engine, they also incorporates features like a 64-step sequencer and a phrase pad for live sample triggering.
Prices range approximately from £949 to £1199.
"I wanted to see if the Roland P-6 could replace my MPC 60ii when it comes to texture and sound quality, TL:DR nope. BUT the P-6 definitely has its own sound that is unique to itself."
00:00 The Goal!
00:54 Simple Straight Clean drum beat
01:44 Trying to get 'Crunch'
02:14 11kHz vs 14.7kHz vs 40kHz
02:44 Drum Sounds Alone
03:26 Getting 'Dirty' clipped drums on both machines
04:12 P-6 Pros vs the MPC60ii
05:08 Piano Chords and Synths
06:04 Now this sounds crazy
07:10 Why no 44.1 on the P-6?
08:00 Another Plus for the P-6. Chromatic Range
09:35 Sampling a whole 'song'
11:16 What a 'whole track' sounds like on each device
11:55 Final Thoughts, did we learn anything?
"Ekkko Station is an echo laboratory you load into Pure Data or Plug Data
It is an attempt to bring software into hardware reality using a very simple MIDI cc driven OS and using any MIDI controller.
Ekkko Station, together with a custom built hardware stereo tube spring reverb, have been created for a new percussion album I have been working on. It was also born out of frustration and nostalgia. I’m a guitarist and percussionist and have had delay pedals/processors since I started playing in the late 1970s. My first effects were part of a somewhat rare British amp called the Redmere Soloist. I have always had a soft spot for old sounding electronic echo (who doesn’t), be it from The Radiophonic Workshop or Tangerine Dream and thought, 'with the world so inside-out at the moment, what we really need is yet another echo machine. Time machines allow us to reflect on the past and this one, ES, is special!'"
"Euclidean sequencers are fun, but nowhere near as much fun as polyrhythmic clocks. Turns out every track on the Modor DR-2 has three clocks. Here I demonstrate some very tame examples sticking mainly to time signatures that won't disrupt the metabolism. Truly strange options abound, the vast majority of which could turn any simple pattern into a jazzified moosh worthy of an opening night of free-form interpretive dance at a modern art gallery.
If my examples here aren't too horrendous I may have another go at some more challenging. For example, mismatched time signatures partially sticjed back together with delicately timed flams and tuplets.
Also demoed here is the Euclidean sequencer. This is a more common feature of many drum machines. What makes this one a little different is that you can have up to 64 steps and hits in each track.
0:00 Activating the clocks
2:15 Assign a clock
2:48 Simple example
4:47 Warping a basic pattern
5:54 Warping a complex pattern
11:03 Euclidean sequencer
Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/
My other channel 'IntraCosmos' of long-play dark ambient textures: / @intracosmos"
"How to make a thriller/slasher track with both old and new synths, samplers and drum machines. Put together and mixed as it would have sounded coming out an 80s movie. I've always been a huge fan of the "giallo" thriller/slasher movie subgenre championed by Italian directors like Dario Argento, Mario Bava, Sergie Martino and more. These movies often had absolutely mind-blowing violence topped with fantastic music. One of these composers, Claudio Simonetti did many awesome tracks for Dario Argento, and among them the themes from 'Tenebre' (Tenebrae) a thriller in the giallo style, from 1982. Another composer I draw a lot from is Fabio Frizzi. His work with Lucio Fulci has always been a great source of inspiration to me.
Midnight Drive 5 is my go at making a similar styled track. I've gone overboard with the intro which is supposed to be from a film, but these are all sound effects I've put together for this.
Find the track here:
00:00 Intro 01:25 Bass (Prophet VS) 03:00 Strings (Juno-106) 05:24 Synthbrass in the intro of the song (Prophet X) 07:16 Main Synth Theme 08:26 Counterpoint to the synth theme 09:23 Intro synth part to signal violence 10:22 Putting it all together and adding on 15:13 Making it sound like movie violence (sound effects) 18:12 The importance of reverb or NOT reverb 21:14 Drums 22:40 Bass 23:00 Strings 24:14 Vocal effects (chopped up) 26:07 Vocal choir 27:37 Counterpoint brass (Fabio Frizzi tribute) 28:37 Ending 29:59 Closing thoughs"
"The Mutant Rimshot is a fully analog rimshot and clave generator inspired by the rimshot found in the legendary 909 drum machine; a triple bridged-T oscillator coupled with a state variable filter. The clave sound (not a feature of the original 909 rimshot) is achieved by using just one of the oscillators. Redesigned by Erica Synths in close collaboration with Hexinverter.
Timeline:
00:00 - Jam 1 / 4x Rimshot modules mixed with the Hot Glue. No external FX 01:01 - Take 1 / Going through different modes, adding noise to VCF in 02:27 - Take 2 / FM radio into VCF in, Rimshot is triggered with the first LFO of the Modulator and CVF is modulated with the second LFO output 03:08 - Take 3 / Rimshot with VCF in Hi-Pass mode triggered and modulated with the Modulator 04:15 - Jam 2 / 4x Rimshot modules mixed with the Hot Glue. No external FX 04:57 - Take 4 / Another take with FM radio on the Rimshot VCF in 06:04 - Jam 3 / 4x Rimshot modules mixed with the Hot Glue. With some reverb form the Black Hole DSO on 2nd ant 4th rimshot"
"The Mutant Rimshot is an analog rimshot and clave percussion synthesis module inspired by analog drum machines of the past. Like the other Mutant Drums, the Rimshot is capable of going above and beyond vanilla sounds. Expressive CV options, an external input and a multi-mode analog filter let you create unique percussion sounds in your modular synthesizer.
Features:
Three oscillator modes
Rimshot HI mode brings classic rimshot sounds Rimshot LO gives a lower pitch range; try playing with the filter on this setting to get low tom and kickdrum sounds. CLV (Clave) mode uses just one of the oscillators to give you a brighter, higher percussive sound. A switch on the back lets you select between original and extended pitch modes. Original mode can give you rimshots exactly modelling that of classic machines (in Hi mode), whereas extended mode gives a wider range of pitch, at the expense of classic accuracy. Three filter modes Use the lowpass or highpass filter modes for classic sounding rimshots Highpass and bandpass can give a wider range of clave and rimshot sounds, as well as completely different percussive elements (especially when turning the resonance up!)
VCF IN lets you blend the clave or rimshot with other sounds. Try adding some filtered noise for a more acoustic sounding rimshot, or for pseudo-snare type sounds. Novel decay and filter mod controls The MOD DECAY envelope controls the decay of the VCA envelope The VCF MOD attenuverter allows you to modulate the filter cutoff with the MOD DECAY envelope Alternatively, a switch on the back lets you modulate the filter cutoff with the pitch-controlled internal VCO, for filter FM style percussive hits."
// I’ve installed one of the first Revolution 909 firmware upgrades from Addictive Instruments into my own personal Roland TR-909 and I released a little enthusiastic clip about how delighted I am to have 33 year old serious problems resolved. This is the first of a few posts planned for today to show you why it’s so amazing to me.
3. TR-909 FIRMWARE VERSION 5 - Demonstration 2 - SWITCH BETWEEN PLAY AND WRITE MODE IN REAL TIME
// This is something that I’ve been thinking about since 1991 when I first got my own TR-909: The ability to switch between pattern play and pattern write without having to stop the sequencer.
WHY IS THIS IMPORTANT? The TR-909 in pattern write mode allows us to do some clever things. We can change the length of the pattern using last step, and we can add and subtract notes and accents (internal and external) to develop our pattern. However, we can only do this in write mode. So in order to do these things in performance we have to A ) stop, change modes, and start again B ) stay in write mode always (can’t change patterns in write mode) C ) program our drums from another device entirely D ) add all the chaos, and then use the level knobs to bring sounds in and out (the way maestro Jeff Mills makes magic!) or E ) make a ton of patterns ahead of time and switch between them as our performance. We can do mutes on a mixer, use a midi controller. There are options, but when I’m playing live it’s just me. I have stuff happening. It’s a lot to navigate and keep track of. Changing mixer settings, dealing with midi controllers, or even flipping through preset patterns can be distracting and a bummer. Adding the ability to just get into write mode and change the length for a fill, or a sidetrack, or a totally new in the moment idea is fantastic!
4. TR-909 FIRMWARE VERSION 5- Demonstration 3 - MUTES
// This is something which I didn’t anticipate being so amazing. I use mutes on the mixer as a fundamental part of how I perform live, but I don’t tend to reach for instrument mute functions on the actual devices. This is not a personal bias, but rather a point of clarity. I’m doing like 25 things at once in any given performance (and singing) so it’s pretty easy to forget what I’ve muted or un muted unless it’s in central place (like on the mixer), but after all I just explored in demonstration clip 2 about ways to add and subtract sounds live, mutes are a marvelous and really powerful addition to this list of ways to address patten complexity in a live performance.
// Ok, this is really simple, but it’s so super extra totally bad ass.
Fig.1 INSTANT PATTERN CHANGES The thing about the TR-909 is that it doesn’t instantly change patterns. You have to wait for the end, and then it starts the next selected pattern. To get around this you can do some stuff: • make some really complicated patterns • make one big complex pattern and then use the mixer to bring things in and out (fun!) But this is fantastic! Just hold down shift and start instantly jumping between patterns. Add a crash from a crashy pattern, start a fill, and switch to just a kick drum, mix and match patterns and really get something heavy going - THEN get involved with the mixer, and it’s a gorgeous avalanche of TR-909 awesome!
In my example here I’m just showing you that it’s possible now. The rest is up to you.
Addictive Instruments have released firmware version 5 for the Roland TR-909 and the RE-909. It’s a real upgrade which requires soldering and while it isn’t easily reversible, the upgrade also includes firmware v1 and v4 so you can revert by choosing another firmware and booting it that way (no one would ever know).
Find out more at revolution909.fr This first batch is limited to 100 so if you’re as happy about this as I am, hurry up! That said, I believe in these guys and totally hope that this all goes well, and this will continue to be available (and more!) until all the TR/RE-909’s have one inside.
This was demo 4, one more and I’ll leave the rest to you.
// I’ve been using the EXT INST function of the Roland TR-909 since the day I got it. I love triggering samples, basslines, and other drum machines from the stately TR-909’s main panel. The hassle has always been that the notes it generates can’t be changed. So you get an octave or so of fixed notes and that’s all. I’ve spent a lot of time messing with samplers and getting the sounds I want to trigger from the notes I have to offer, and while it’s fun, and useful, it can be a drag. Fact is, a lot of people never even explored it.
Fig.1 CENTRAL CONTROL WITH TR-727 The TR-727 doesn’t allow us to control its midi notes either, but the Addictive Instruments firmware v.5 update has presets and it has a user mode (fig.2). So we can play any note we want on any channel we want at any velocity we want now. My 727 is upgraded with Harry Axten‘s perfect sound rom upgrade, and this is my own custom rom, and here it is being beautifully programmed by my beloved TR-909!
Fig.3 BASSLINE This is an example of using the user template to create a chromatic keyboard and programming a bassline which is saved with my drums, and subject to all the new and original functions of the 909. So much fun!
Clearly I was already in love with my TR-909, but I’ve fallen all over again here.
The external instrument mode is expanded, and it much more powerful now, it’s also nicely documented (at last) in the manual. It is more complicated than plug it in and go if you want to make the most of it, and it’s worth it. This is something wonderful.
"Elektron's new Digitakt II is here! One of Elektron's most successful drum machine samplers has grown up with a plethora of new features beat makers are going to love. Most notably the Digitakt II is a 16 track, stereo sampler with 16 MIDI tracks, 128 step sequencer, 20GB of storage, 400MB RAM with access to 1024 samples per projects. In this video we unbox the new Digitakt II and have our first play with this sampling powerhouse. All the sounds on this video are purely from the Digitakt II, no additional processing or external sound sources were used.
The Digitakt has gained almost cult like following since its release in 2017. Beat makers across the spectrum of electronic dance music have loved how immediate the original Digitakt was at sampling and performing especially with that legendary parameter locking Elektron sequencer, all in a neat little package. The original Digitakt truly fulfilled its potential to the max.
Elektron have listened and designed the new Digitakt II in a familiar shape, with all the same recognizable playfulness, but now offering so much more than before. Original Digitakt users will salivate over the new Digitakt II features with more machines, more LFOs, more filters, more effects, more everything! The new features on the Digitakt II makes it more of a groovebox; a potent addition to your studio and for performing live with.
Here's what Elektron are saying:
Send yourself to another sampling dimension. 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. Preserve or distort reality as you so desire with 16 tracks ready for stereo or mono samples, or MIDI. Choose from several swappable filters for each track and utilize a wide assortment of effects and modulation, pull on enhanced processing power, and enough memory for a lifetime of samples. Further tasty features like a Euclidean sequence generator, an extended 128 step sequencer, kits, trig modes, an extensive sample library, and a modular workflow to play with ensure your sonic-montage sculpting potential will know no beat-making bounds."
"We are delighted to announce the release of Digitakt II - Send yourself to another sampling dimension, weaving splinters of sound in stereo, ripped from the moment and brought to your fingertips for marvelous audio manipulation and beat arraying. Preserve or distort reality as you so desire with 16 tracks ready for stereo or mono samples, or MIDI. Choose from several swappable filters for each track and utilize a wide assortment of effects and modulation, pull on massive processing power, and enough memory for a lifetime of samples. And with further tasty features like a Euclidean sequence generator, an extended 128 step sequencer, kits, trig modes, an extensive sample library, and a modular workflow to play with, your sonic-montage sculpting potential will know no beat-making bounds.
Digitakt II is available to purchase from the Elektron website or from retailers carrying the Elektron range of products. Pricing on elektron.se is 999 USD/1049 EUR."
"Digitakt II offers endless drum collage with 16 audio tracks all ready for stereo or mono samples or MIDI, swappable filters, 3 LFOs per track, a 128-step sequencer, expanded memory and power, and so much more. Here, Risa T talks through a bunch of the awesome features on offer, and takes us all on some sweet sonic escapades."
Review: DIGITAKT II vs OG Digitakt // Everything new in Digitakt 2 // Detailed tutorial
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"
if you're already planning on purchasing any software and want help support me,
purchasing any software via the above link helps me out with a %15 commission
Thank you"
Unfiltered Audio Battalion videos by Plugin Alliance
video uploads by Plugin Alliance
"Here, you will find all you need to know about the new drum machine plugin from Unfiltered Audio. Battalion combines samples and synthesis to deliver the ultimate beat creation plugin. See how versatile and intuitive this new drum production plugin can be. Watch the trailer for this beat-making plugin and learn more about its features and functionality as a drum sequencer plugin."
"Battalion delivers the diverse tonalities and parameters of iconic drum synths with the sampling capabilities and accessibility of modern drum machines. Whether you want to generate solid-studio beats in minutes or tweak and experiment to create something completely original, Battalion has all the tools you need.
Quick and diverse beat generation
Make beats with Battalion in three easy ways: create beats in the synth section, use Battalion's vast sample library, or process your own samples.
Responsive beat arrangement
Arrange your beats into compelling combinations with the intuitive graphic sequencer. Create patterns from scratch or adapt presets to your needs.
Essential and deep beat transformation
Enhance and radically manipulate your beats with a wealth of essential and other-worldly synth parameters in the dedicated Tone, Modulation, Envelope and LFO sections.
Beats for all genres
From driving trap beats to haunting industrial pulses, regardless of your genre, Battalion has the beats for you.
Command the stage with performance mode
Use Battalion’s performance mode in your DJ sets or live performances to trigger, loop, and manipulate sounds on the fly and create moments of inspiration with ease.
Synth section
Create compelling tones and timbres from the ground up with a synth section featuring 20 distinct synthesis engines. Explore iconic 80s drum machine sounds, 00s clicks and cuts, and synth sounds that will take you to another dimension - all the essential synth sounds you need for drum production.
Sampler
Battalion’s sample section is a dedicated space for loading, playing, and modifying samples, featuring four sample modes: Classic, Phase Warp, Cloner, and Granular.
Combine synth and sample generators
Seamlessly move between sampling and synth generators with the on-board BLEND slide for the best of both worlds and totally unique combinations.
A versatile and intuitive drum production environment
Give your performances something special, deliver solid beats quickly, layer complex rhythms that pulse with life, and create beats that sound like nothing you’ve ever heard – all with the power of Battalion."
Oli Freke is the man behind the "Synthesizer Evolution", "Vintage Synths", and "Drum Machines and Samplers" books previously featured here.
"In which I have a first play with a Prophet 5 rev 3 (a friend's, not mine!). As you can tell I have a predilection for hard sync / FM type sounds, which may not be the usual lush analogue chords you might initially be expecting!
It was actually quite a lot more digital sounding in that way - cross-modulation and FM giving rise to those harsher/brighter sounds I guess.
I'll have to do another one that's a bit more 'Stranger Things'! :-)"
The Corsynth drum collection for MU format modular sounds nothing short of massive! Especially when all drums are patched into the Moog-Style C111 mixer. Feed the mix back into itself and quickly witness the clean analog saturation get completely destroyed (in a harmonically satisfying kind of way)
The Corsynth drum modules are available now at Noisebug.
The DR-01 Bass Drum is the first of a new series of Corsynth modules dedicated to analog drum synthesis and it’s also the first module of this kind commercially available in MU format. Create a drum sounds from scratch using a modular synthesizer is always time and resourcing consuming. With the DR-01 you will save a lot of space, money and modules that can be used for other purposes. The DR-01 has all you need to create bass drums , toms a many other percussive sounds in just one single space. And thanks to the Tune CV input is even possible to use the DR-01 to create bass lines. Punchy techno drums, industrial drums, drum sounds of the firsts analog drum machines, FM sounds... With the DR-01 is really easy to get the sounds that you need at every moment. All the parameters in the module have been carefully chosen to be used in a drum synthesis context (envelope times, oscillator frequencies, oscillator waveform etc ). These are the DR-01 Bass Drum main features: * A voltage controlled oscillator with dedicated CV input for tuning. * A voltage controlled timbre circuit. * A dedicated tune modulation envelope. * An amplitude envelope with three different settings for the attack time. It’s time to add drum sounds to your synth sequences! .
The DR-02 Snare Drum is the second module in the DR series dedicated to analog drum synthesis. This module is designed to synthesize electronic snare drum sounds of any kind. From the classic preset drum machines from the 70s to TR-XXX, electro snares, zaps... But thanks to its 12 knobs and 3 CV inputs the DR-02 Snare Drum can synthesize much more than snare drums, sounds like hit-hats, toms, cymbals , congas, FXs are also possible and even it can be used as an oscillator. The DR-02 is composed for two different sections , Head and Snare each of them with its own volume control. The Head section has two voltage controlled oscillators with a fixed frequency interval between them. One modulation envelope to modulate the oscillators tuning and one VCA with an AD envelope to control de decay of the snare head. The Snare section is composed by a noise generator , two voltage controlled filters connected in series ( one 12db resonant high pass filter and one 6db non- resonant low pass filter). One envelope to modulate the high pass filter cutoff frequency and one VCA with an AD envelope to control de decay of the snare.
The DR-03 Hi-Hats / Metal is the third module in the DR series dedicated to analog drum synthesis. It is designed to synthesize Hi-Hats and metal percussion like cowbells or cymbals and even FX. Three different voices are available at the same time Closed Hi-hat, Open Hi-hat and Metal plus a Hi-Hat mixed output .
Hi-Hats To synthesize a Hi-Hat there is a key element that defines the final result, the primary sound used to create it. The DR-03 has three possible sound sources , a white noise generator, a mix of six square wave oscillators and a mix of ring modulated square wave oscillators. These three sound sources, together with the VC Band Pass filter and the Low Pass Filter allow the DR-03 to create a wide range of hi-hat sounds. Another interesting feature is that the Open Hi-hat decay time is voltage controlled and it can be triggered independently or conditioned to the Closed Hi-hat. Metal The Metal sound is created using two ring modulated square wave oscillators and a VC Band Pass Filter. The frequency of one oscillator can be manually controlled and the other one has a fixed frequency. The variable oscillator can modulate the cutoff of the BPF to create metallic FM sounds.
"Welcome to Bad Gear, the show about the world's most hated audio tools. Today we are going to talk about Roland TR-06 . Does it even make sense to release a digital drum machine based on the not so iconic Roland TR-606 ? Was the analog Behringer RD-6 first this time? Did we need another Roland Boutique reissue of a a vintage drum machine and 80s classic like the tr606 and why would anyone want this ? Do the additional sounds taken from other machines like the Roland TR-808 and Roland TR-909 make a difference?"
Chapters:
00:00 Intro tune
01:04 Overview Roland TR06
01:29 Drum Sounds
01:56 Tweaking the Drum Sounds
02:30 Additional Drum Sounds ( 808 , 909 ,...)
02:56 FX Section
03:21 Sequencer
03:43 Step Loop, Triggers for Modular / Eurorack
03:53 What else??? Pricing, Thanks
04:24 Hate
04:49 Jam 1 ( Electro Funk )
05:46 Jam 2 ( Downtempo Acid )
06:41 Finale ( 90s IDM Breakbeat )
07:14 Verdict"
"The trusty DB-01 teamed again with the Zen delay. What you see is what you hear - there's no other sound processing of the music, not even a final limiter. Nor is there any volume tweaking of different parts. It was all recorded in one pass although it was cut down from about 5 minutes to three. The vocal samples are from a 1958 sci-fi movie 'The Day the Sky Exploded' about a swarm of asteroids threatening the Earth and the world uniting to destroy them.
The silly title 'It's not you it's me' refers to me having bought the Zen delay for the third time - a new record in the cycle of GAS and regret. But I'm reasonably confident I've finally accepted what I don't like about the Zen and the fact that I will never find the perfect delay - the 'Zen' name adding a final dollop of irony to the whole thing.
The re-buy was also helped along by the sad story of my new 'blackout' Line6 DL-4 delay. Imported it from Thomann in Germany and it was dead on arrival. Well, not quite dead, it would work for anywhere between 30 seconds and two minutes and then freeze. A shame because it sounded pretty good from the little previews I managed to hear.
You may notice I added another cable to the DB-01 rear from the clock out to the gate in. It adds little sixteenth note clicks. The waveform displays the interesting left-right variation created by the Zen.
In other news, it may be time to create a DB-01 'masters' school. Your rank will be determined by how much text from your interface has been rubbed away. At least with my two machines I can tell which one I bought first.
"Another demo, this time a bit more involved. Patches are my own, playing is a little rough as usual, all sounds are from the Prophet except the drums. Actual tunes are not lifts, just for demo purposes. I also tried to duplicate a pair of famous bass sounds.
0:00 Chameleon
1:49 Bells jam
2:55 Birdland - I did this one for the FVS demo, figured I'd see how it turns out on the Prophet. This was interesting, I think the bass is better on the Prophet but the FVS certainly does nice chords.
3:48 Blues jam - two slightly different organ patches, using Double mode to combine them.
5:57 Nice to nuts - for the last 6 minutes, I played the controls live on both manuals, ending up with spaceships, machines, room tones and whatever else comes out of two Prophets."
"The Sequential TOM was already a great drum machine at the time it was released, with a lot of nice features, especially regarding MIDI implementation. You could play, record, synchronise the machine over MIDI and adjust sample direction, volume, pitch and pan of every sample either on the device or over MIDI, in real time and for every step ! That gives you lots of possible variations. Not many drum machines could could achive that at the time.
And now thanx to another amazing engineering by Tauntek you can have 16 kits in the instrument at all time, without the need to switch cartridges. And even more important: you can swap the internal kit samples as well as the cartridge ones, enabling for any combination of 2 kits you wish. This is impossible with cartridges or other upgrade available, and only possible thanx to Tauntek firmware. And that makes a huge difference. Note that you can only have 15 sounds at hand not 16. The 8th pad from the cartridge layer is always a trigger out message and won't trigger a sound, even if the loade kit has 8 sounds.
You can even make your own kits if you have access to an Eprom programmer. Check Tauntek dedicated page for more info (http://www.tauntek.com/TOM16cart.htm) This unit also had its RAM maxed out, expanding the internal 8k to 32k and thus bringing the stock 2,300 notes capacity to a whopping 10,400. And believe me you run very quickly out of memory if you make some complex patterns with different variations.
So here is the demo, i didn't make patterns demos for each of the 16 kits but you'll get the idea, and I didn't go too deep into external MIDI playing/programming but bare in mind you can record instrument tuning pitch, volume, pan and sample direction (reverse) for every instrument on every step.
Here is the timeline: 00:00 stock kit patterns 02:28 TR808 kit patterns 03:56 TR909 kit patterns 05:08 TR606 kit patterns 06:25 CR78 kit patterns 07:17 sound preview of all the kits included in the box 11:18 quick realtime patterns programming using external pads
list of the kits included in the TOM16: SCI Internal SCI Basic Percussion SCI Contemporary SCI Latin Percussion SCI Special Effects Drumware Rock Drums Drumware Techno Drums Drumware Orchestral Drumware Percussion 3 Drumware Hippefex Drumware Analog Drums Roland TR808 Roland TR909 Roland CR78A Roland CR78B Roland TR606"
"Here's another Gotharman's Little deFormer 3 groovebox song-mode thing. A weird synth cover of Death Cab for Cutie's 'Crooked Teeth'. Some liberties were taken ;-P
All sounds created and sequenced on the LD3. Voice recorded separately and mixed and processed on a Zoom R16."
Fell in Love with a Girl / The White Stripes / Covered with Gotharman's Little deFormer 3 #TTNM
"Gotharman's Little deFormer 3 synthesizer covers The White Stripe's 'Fell in Love with a Girl'. This has been a favorite song of mine, ever since I learned power chords on my Squier electric guitar. I'm way past that though and just let synths play for me nowadays. Well ... after I program those songs manually into their memory for hours on end ... although with the Little deFormer 3's "song mode" it's actually fun and even a zen-like experience ;-P
All sounds made on the LD3. Voice sampled and sequenced and then deFormed with onboard FX."
"Six years after the last major OS release a new OS version for both Octopus and Nemo is here: the CE (Community Edition) OS v5.30 is now available!
It is yet another milestone moment and one in which we would like to pass all credit and our deepest gratitude to the group of CE OS creators and testers!
The new 5.30 release introduces a significant number of new features, additional workflow enhancements and a number of bug fixes:
Features and Workflow improvements (not comprehensive): - On-The-Measure operations for Mute, Solo and Record - New Page Cluster operations (Move, Copy / Paste & Clear) - Track-Across-Cluster operations for Mute and Solo - Enhanced Grid-Track Mode - Dynamic Step Performance features - Step Selection enhancement - Effector enhancement - Track Rotate of Step Skip condition - Step Event Track Toggles - Keyboard Transpose
Bug Fixes: - Chord stacking using a keyboard can loose notes when inverting the root - Effector Note Pool computations incorrect when using multiple Feeders - Hypertrack Step VEL values inverting when offsets take their values below zero - Using x1.5 Track Speed within a Track Chain causes timing errors - Restarting a paused Track with a Speed multiple of >1 will Play the Track at x1 speed. - Skipped Steps & Hypersteps not displaying properly in Step Zoom - When sequencer is stopped, not possible to set track multiplier to 1/1.5.
The new OS is available at www.genoqs.net. For support questions regarding the installation please refer to forum.genoqs.net."
"This was bought brand-new in August of 1983 and acquired from the original owner. It is as close to a time-capsule piece as I’ve ever seen and I’ve had 10 LinnDrum’s in the last 3 1/2 years alone. There are just a few very fine marks on the face (the small flecks in the 2nd photo are just dust) that keep it from truly being ‘mint’ which is pretty wild because the original owner actually used it. These were $2,700 back in 1983, which is over $8,000 in today’s dollars, so it’s not surprising someone took great care of it. It has been meticulously restored and is functioning as well or better than it ever did even back when it was brand-new! The circuit is unmodified to retain it’s original spec and for the fact it is so well-preserved. Another huge bonus is the individual tuning pots for the voices actually function properly and sweep with consistence. A vast majority of these machines have some degree of instability in the tuning pots due to age (DeOxit does not normally fix this issue). Not this one, though. A true collector‘s piece and one you can actually use consistently.
- Full electrolytic recap
- Auxiliary board cleaned and refurbished with battery holder and new rechargeable batteries
- All buttons cleaned and rebuilt
- All 32 faders removed, disassembled, cleaned (and repaired where necessary), lubricated, greased, and rebuilt
- ZIF quick-release sockets added to 7 voices (bass, snare, congas (x2), toms (x2), and clap)
- Factory presets reloaded
This classic piece is essentially ubiquitous with popular music starting from the day it was released. Nearly every major label recording artist and/or band used one of these somewhat extensively (that had hits, anyway). Part of that is due to Roger Linn & Co. dishing them out like tic-tacs in order to promote the machine, but that’s beside the point. The fact of the matter is this machine is all over so many songs, it would be nearly impossible to catalog them all. It’s a who’s who list of household name because it clearly made the impression they’d hoped. And the best part about it is it’s as relevant to today’s scene as it was back then. You can even swap in sounds from your other favorite drum machines to create a truly versatile, desert island instrument!
Most of these are banged up, corroded from battery acid leakage, modified poorly, unrestored, or all of the above. This is the nicest, most-complete LinnDrum available anywhere in the world. Includes original box, sales receipt, user manual, promotional paperwork, and cassette with pre-sets."
