INTRANINE / full system eurorack jam / outboard mixer and effects

video upload by BRiES

"I'm going from the modular to the mixer with a Voltage Vibes breakout module and a bunch of adapter cables (I still need to drill a hole in the back of my case so the cable mess is out of sight/out of mind).

In this video I'm using 2 stereo outputs routed to my interface, but there's a third stereo group connected just in case I need 3 seperate stems. One group is going through a DBX 1066 compressor. The mixer channel for the kick is wired into the SC input on the compressor so I can do some ducking if I want.

I have a few eurorack effects connected to the aux sends on the mixer and the Lexicon MPX500 is connected to an aux as well. Now I can send reverbs into delays and back again with the twist of (a few) knob(s).

I'm very pleased with how it all turned out. There is some groundloop but it's very silent (less than -40dB) so I'm going to ignore it.

I already had this large mixer (A&H GL2200), I just wasn't using it (in fact it was obnoxiously in my way) so by going this route I actually created some space and saved money in the process. The eurorack solution for all of this flexibility is unfortunately far more expensive than the cost of a few XLR and adapter cables."

M8 Tracker Discord Meetup (Version 3.0)

video upload by Dirtywave

Long overdue Discord meet-up to go over the new firmware version 3.0

Timestamps: (Credit: Simon Wollwage)
0:00:00 Start
0:00:20 Pre-order updates
0:01:20 Firmware 3.0
0:02:40 Random name generator
0:03:20 Song preview in song browser
0:04:00 UI updates
0:04:30 Mixer screen updates

CLICK FOR MORE »

SIDETRACKED / figuring out recording setup / eurorack

video upload by BRiES

"I got sidetracked so much the last few weeks trying to figure out a better way to record signals from the modular. It's not at all straightforward. Here I recorded the bass onto a seperate channel to get the 'oomph' back into it with some nice pre-amp plugin... sounds like a good fix right? But now I can't run it through the sidechain compression which means I can't hear how the track SHOULD sound when tracking it. SMH.

After recording this video I've adopted the 'outboard mixer road' completely. It's a hell of a mess of cables but the flexibility of an outboard desk with 3 stereo outs and 6 aux sends is hard to beat. The mixer I have has a great sound to it as well and after a lot of consideration I realised creating an environment for making music and sounds should always primarily be based on sound rather than practicality (even though both matter and it sometimes is a difficult balance)."

Introducing... ✨CHOMPI✨

video upload by CHOMPI CLUB

"CHOMPI... a quirky, Tape Music instrument inviting you into the magical world of sound design. With its one of a kind sampling engine, unique multi-FX and tape style looper, CHOMPI is ready for immediate FUN. So whether you’ve been playing music for years, or are just starting your sonic journey, this device will quickly become your new favorite buddy."



via CHOMPI Club

CHOMPI is a quirky, Chromatic Sampler and Tape Music Instrument, made for Self-Expression Through Sound Design.

• With its one of a kind sampling engine, unique multi-effects and tape style looper, CHOMPI is ready for immediate FUN.

• CHOMPI is also aesthetically customizable! The instrument is encased in our Black & Gold modular panel enclosure which allows you to upgrade your CHOMPI at any time with our color-way packs to match your unique personal aesthetic (additional color-ways sold separately).

• We've put special care into sourcing quality materials, but we also love customizing our devices and thought you might too. The *Hot-Swap enabled mechanical keyboard is built on MX-Cherry switches (Silent Reds) and the Keycaps can be swapped and customized till you get the vibes just right (if you're into that sort of thing ;)

• CHOMPI is both portable & durable... making it the perfect musical companion to accompany you on your next adventure ⚡️

*Hot-swap keyboard is compatible with all MX Style (3 or 5 pin) Panel-Mount switches


Features

• CHOMPI is built on the powerful Daisy platform (by Electro-Smith) unlocking easy firmware updates, and flexible programmability options.

• Update CHOMPI’s firmware using an easy-to-use web tool, with no extra software required. Just connect to your computer with a USB cable and you’re ready to go!

• Unique SCREENLESS WORKFLOW w/ RGB LED indicators & endless switching encoders for multi-page parameter controls

• Utilizes the widely popular MX Cherryswitches for its Hot-Swap enabled, two octave keyboard(switches & keycaps are infinitely customizable)

• Custom Panel Enclosure allows for limited edition colorways (artist series already in the works)

• Unique Sampling Workflow Encourages User Exploration

• 7 Voice Polyphony

• 6+ hours of Dynamic Sample Time

• 40 Slots to Save/Recall Presets

• SAMPLE Playback Speed & Direction Controls

• SAMPLE Start & End Point Controls (w/ Additional Attack + Decay Envelope)

• Single Knob Multi-FX Section (Multi-Mode Filter, Lo-Fi Saturation, Granular Delay-Reverb, & More!)

• One of a kind SOUND-ON-SOUND stereo looping engine

• Iconic transport knob provides control over: Manual Tape Scrubbing, Loop Playback Speed / Direction, as well as other additional easter eggs to be found by advanced users

• USB-C Power allows for maximum portability

• Built-In MICROPHONE (w/ High Gain Pre-Amp)

• Micro SD Card for Managing Samples

• 3.5mm Stereo Aux Input

• 3.5mm Stereo Line Output

• 3.5mm Headphone Output

• 3.5mm and/or USB-C Midi In & Out

CLICK FOR MORE »

Only grief weathers time | Downtempo electronic synth instrumental

video upload by MIDERA

"I think I have never sat here longer, not knowing a thing to write about, or how to title this track. I've thought about the day, the week, and all my music ever makes me think about is just how fleeting time is - I don't normally feel that way towards anything I listen to, just my music. I wonder if that's how others view their work? Or maybe it's just the focus of what I do? Which reminds me - when I ask if my music invokes 'sadness' I'm often hearing that, no, it doesn't sound sad, which is bizarre, because that is almost always the mood I'm going for.

Ok - I guess that helped me figure out my title. Now I wonder whether I need to add a string of instruments in there... It's what I always do, but I don't like it. So, I guess I won't.

But I better list out what I had because I recently went back to a track and masterfully did not include everything and now I've forgotten.

Roland Jupiter 6 - pads at the beginning and throughout
Roland SH-101 - bass
Sequential Prophet 10 - Arp
DSI Tempest - Druims
Squarp Pyramid - Sequencer
All sounds routed to AUX to Strymon Volante then to Eventide Space"

Feedback Modules MIX BX / MIX CR / MIX KM / eurorack mixer sound comparison

video upload by BRiES

"In this video I run different patches and sounds through these three mixers by Feedback Modules in an attempt to highlight the sound differences between them.

MIX BX, MIX CR and MIX KM have gain to spare and excel at saturating sounds, but they can do clean sounding mixes as well. The channel strips host an equaliser, a gain knob, two auxiliary mono sends (with stereo returns), a panning knob, clickless mutes and a volume control.

For a detailed overview of the features of the MIX BX (which has the same features as the other two mixers) you can take a look at this extensive playthrough video:"

Feedback modules MIX BX / eurorack mixer / extensive playthrough


"In this video I do a complete rundown of all the features this 6 channel eurorack mixer by Feedback Modules (a eurorack maker based in Romania) has to offer.

The MIX BX is perfect for making submixes for your drums or mix (and glue) together synths that benefit from some nice sounding saturation.

I demonstrate how to chain 2 channels to make hardstyle(?) kickdrums and how you can make use of the 2 aux sends to create a bus for parallel saturation.

At the end of the video there's a long 'no talking' segment where I systematically run through different sounds while tweaking the parameters... this might feel like an unnecessary boring part of the video but I really think getting to know what it sounds like is the most important thing... feature-wise the MIX BX is 'what you see is what you get' so there's not a lot of fancy tricks that you can pull of with it, apart from adding tons of character to anything you put through it.

correction: it is capable of amplifying line level signals to modular levels but there's no guarantee that the signal will stay clean

0:00 intro
0:31 hi
2:08 front panel features
12:55 distorted kickdrum trick
18:27 parallel saturation
24:13 no talk runthrough

I was thinking about what to type between 'MIX BX' and 'extensive playthrough' and the things that came to mind were '6 channels of bonkers', 'eurorack 90s grunge mixer', ... but none of that really serves the MIX BX justice. It does all the glue, grit and grime of the Boss BX era range of mixers, but the thing that stood out to me the most, compared to other eurorack mixers I've tried, is the amount of low end on this thing (what I would consider as 'warmth').

You can support my channel at http://ko-fi.com/BRiES - there's some exclusive content and downloads. This includes several patch breakdowns and some designs I made. There's also a seperate shop where I sell virtual instruments (ableton live) and sample packs. If you're interested in getting one on one feedback, guidance, in-depth explanations, etc please contact me at briesmodular at gmail dot com - I just started doing this 1 on 1 thing so it's still very much in its infancy. Send me a message if you're curious!

DISCLAIMER: Andrei from Feedback Modules sent me this mixer because I insisted that he should make some kind of demo to showcase the character (sound) of this mixer, since that's its main feature. I was genuinely interested in the MIX BX and I'm really happy I got the chance to make this video so everyone out there wondering about how it sounds can watch my video and at least get some idea about what it's capable of."

Fender Chroma Polaris Rev 9 with expanded Sequencer Memory SN 300689

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

via this auction

Pics of the inside below.

According to the listing:

"Rare Chroma Polaris multi-timbral analog synth in near mint condition. Rev 9 firmware with maxed out sequencer memory ( 4 X factory)

The Polaris is a highly under rated synth. It has a vintage analog sound along with the flexible MIDI implementation of a modern synth. This synth was ahead of its time obscured by the digital craze at the time.

CLICK FOR MORE »

Mutable Instruments Plaits Update Adds 6-Op FM Model, String Machine, Wave Terrain Synthesis + More

via Mutable Instruments

"I’m releasing this firmware update with a couple of things I kept under my hat throughout 2021 and 2022 just in case the clones/competition would start being a problem (as you can see, it wasn’t really necessary).

Fixed a spurious retriggering of the internal envelope when entering/leaving the speech synthesis model.

Reduced the amount of software filtering on the TIMBRE and MORPH knobs, to increase their responsiveness.

Reduced the amount of hysteresis in the quantizer responsible for converting a voltage into discrete settings (for example, for model selection with the MODEL CV input, or chord selection with the HARMONICS knob and CV input). This makes the relationship between a voltage and a specific setting more consistent when controlled by a sequencer.

The filters used for band-limited wavetable synthesis have been improved, eliminating the amplitude drop observed for the highest notes.

The frequency range selector has a new mode: octaves. In this mode, the right button and FREQUENCY knob combo adjusts the root note, then the FREQUENCY knob transposes this root note up or down. Pressing both buttons simultaneously for a short time enables or disables an alternative way of selecting a synthesis model: the first button selects the previous model, the second button the next one.

This new -/+ control scheme gives access to an orange bank of synthesis models for pitched sounds.

1 Classic waveshapes with filter (HARMO: resonance and filter character - gentle 24dB/octave CCW, harsh 12dB/octave CW, TIMBRE: filter cutoff, MORPH: waveform and sub level, OUT: LP output, AUX: 12dB/octave HP output)

2 Phase distortion and modulation (HARMO: distortion frequency, TIMBRE: distortion amount, MORPH: distortion asymmetry, OUT: carrier is sync’ed (phase distortion), AUX: carrier is free-running (phase modulation)).

3, 4, 5 2-voice, 6-operator FM synth with 32 presets (HARMO: preset selection, TIMBRE: modulator(s) level, MORPH: envelope and modulation stretching/time-travel). The two voices are alternatively triggered whenever a trigger is received on the TRIG input. When the TRIG input is not patched, a single voice plays as a drone, and the MORPH knob allows time-travel along the envelopes and modulations. The LEVEL input is repurposed as a velocity control - controlling loudness or timbre depending on how each preset is programmed. Each model corresponds to a different bank of 32 presets among basses/synths, keyboards/plucked strings/percussions, organs/pads/strings/brass.

6 Wave terrain synthesis with continuous interpolation between eight 2D terrains (HARMO: terrain, TIMBRE: path radius, MORPH: path offset, OUT: Direct terrain height (z), AUX: Terrain height interpreted as phase distortion (sin(y+z)).

7 String machine emulation with stereo filter and chorus (HARMO: chord, TIMBRE: chorus/filter amount, MORPH: waveform, OUT: voices 1&3 predominantly, AUX: voices 2&4 predominantly).

8 Four variable square voices for chords or arpeggios (HARMO: chord, TIMBRE: arpeggio type or chord inversion, MORPH: PW/Sync, OUT: square wave voices, AUX: NES triangle voice, TIMBRE attenuverter: envelope shape). Plug a trigger input to clock the arpeggiator.

The module can receive audio data on its TIMBRE input to load custom data into a synthesis model (only one synthesis model can be altered at a time). This new feature is available for the following models:

6-operator FM: transfer of 32 custom patches in DX7 SysEx format. They will replace one of the built-in banks.

Wave terrain synthesis: transfer of a custom wave terrain.

Wavetable synthesis: transfer of 15 custom waveforms and customization of bank 4’s wave map."

Bass Processing with Soundtoys

video uploads by soundtoys

Playlist:

Bass Processing: Effect Rack Presets for 808 Lovers

Add these two new presets onto their own auxiliary tracks, send your 808 to them, then dial in by taste. Use automation to add further tweaks to morph the sound!

Download the '808 Parallel Growler' preset: https://bit.ly/3fWxlwp
Download the '808 Parallel Stereolizer' preset: https://bit.ly/3VnNw6b

Bass Processing: Synth Bass Edge with Soundtoys FilterFreak

Learn how to quickly add some extra analog edge/sizzle/vibe to synth bass, virtual or otherwise with FIlterFreak. This little trick works on almost any source. Give it a try!

Get FilterFreak at www.soundtoys.com/product/filterfreak

Bass Processing: Delay Grooves with EchoBoy

Learn to create delays that lock to your tempo AND your groove using EchoBoy.

Get EchoBoy at www.soundtoys.com/product/echoboy

Bass Processing: Bass Parallel Smash 101

Watch how a classic bass destruction trick can be used on either a parallel aux track 100% wet, or directly on the bass track blended in with the Mix knob.

We've put this tip into a free preset for Effect Rack: https://bit.ly/3yAp2wO

Bass Processing: A Tour of PhaseMistress Presets for Bass

Take a quick listen and preview how the factory presets in PhaseMistress can instantly transform your bass track.

Get PhaseMistress: www.soundtoys.com/product/phasemistress

Bass Processing: 'Lower Expectations' Effect Rack Preset

Use this preset to quickly add a low octave, some slap delay, and mod to just about any flavor of bass for extra thickness and space.

Download the free 'Lower Expectations' Effect Rack Preset: https://bit.ly/3rQS6ws

Bass Processing with Soundtoys Effect Rack

Parallel processing is the method of sending the original dry signal to another auxiliary track, processing it extremely, and then dialing it back in with the dry signal. This helps preserve the clarity of the original timbre while emphasizing whatever fx you wish to add in a very subtle manner.

In this video, check out how parallel processing can be applied to a bass track. Download the free Effect Rack presets below to try it yourself:

'Quake' Effect Rack preset: https://bit.ly/3rOk7V4
'Baby Bass' Effect Rack preset: https://bit.ly/3SPoGdP

CARRTOONS: Soundtoys Effect Rack Presets for Electric Bass

Ben Carr aka CARRTOONS is a multi-instrumentalist and producer from New York who brings the rich tones of the electric bass to the forefront. He also loves Soundtoys. Watch a quick preview of the Effect Rack presets he created for Bass Processing Week at Soundtoys.

Download the presets for bass guitar: bit.ly/3Ezrmbh Find more about bass processing at www.soundtoys.com/bass-processing

Also see: Creative Drum Processing with Soundtoys - two preset links added in the playlist video list.

PWM Malevolent 10 Patches [No Talking]

video upload by VCO USA

"10 Patches on the PWM Malevolent Analog Synthesizer. Demonstrating the mean and gritty character of the synth while giving you some idea of how it might sit in your mixes!

Timestamps:

0:00 Patch 001
1:13 Patch 002
2:38 Patch 003
4:18 Patch 004
5:23 Patch 005
6:48 Patch 006
8:19 Patch 007
9:22 Patch 008
10:08 Patch 009
11:20 Patch 010

Patch Notes:

CLICK FOR MORE »

Bad Gear - Roland Aira MX-1 Mixer

video upload by AudioPilz

"Welcome to Bad Gear, the show about the world's most hated audio tools. Today we are going to talk about the Roland Aira MX-1 Mix Performer. Is this digital mixer, home studio backbone and live performance centerpiece the final boss of Roland's Aira range?



Chapters:
00:00 Intro tune
01:15 Overview Roland Aira MX-1
01:33 Aira USB integration (TR-8, TB-3, System 1), bus power, compatibility
02:26 Analog connectivity, Midi, Voice Transformer integration, SPDIF
02:50 Software integration, Recording, Playback, Audio/Midi Interface
03:22 Playing the Mixer, Mutes, Faders
03:44 Tone/Filter
04:07 Channel Settings
04:17 Beat FX (Sequencer), Filter, Sidechain, Slicer
04:45 Master FX (Scatter, Roll, Filter, Bitcrush, Delay, Flanger), Combi
05:14 Lack of 'real' FX
05:28 Aux Send/Returns
05:37 DJ features (headphone mixing, tempo nudge)
05:45 Snapshot Scene Memory, Mastering Section
06:06 Out-of-the-box DAW mixer, Ableton Live Controller, switch modes
06:26 Manuals, Pricing, Thanks
06:54 Hate
07:20 Jam 1
08:13 Jam 2
09:33 Finale
10:04 Verdict"

Sequential Prophet Rev2 + Korg Minilogue XD // just a couple of pads hangin' out

video upload by Lost Clouds (Tom Green Music)

"I haven't uploaded anything in a while but I've really been wanting to...so here we are with a pretty simple but (maybe?) interesting track - a fun pad patch on the Rev2 that uses the aux envelope and filter audio mod for a 'rippling' sound, with some onboard delay to add a rhythmic pulse, then some Minilogue XD soft pads (using the arp!) layered over the top."

PWM Malevolent Analog Semi-Modular Synthesizer w/ Original Box

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

via this auction

CLICK FOR MORE »

GearFest UK 22: TX-6 Gets Direct to Disc Recording and more

video upload by sonicstate

"Rarely has a product been more divisive than the Teenage Engineering TX-6 portable mixer. Except perhaps the OP-1 Field :-).

We know that the TX-6 - 12 channel portable mixer and interfaces is expensive. It is also highly desirable which kind of goes along with the whole TE thing - they do make lovely objects, but they are expensive - I guess we'll just have to get over that and buy them or not.

But I do confess I have a bit of GAS for the TX-6 - and TE have already started to update the firmware - as with the original OP-1 which they got a higher amount of life out of a relatively small DSP. The new TX-6 and OP-1 Field have bags of extra processing capacity ready to fill up with features.

The new TX-6 Firmware adds:

usb mass storage disk record/playback for 24-bit 48 kHz stereo wav files, including armed recording with automatic start on audio detect.
PO-sync output on aux and cue, with selectable 8th note for PO-sync and 16th note for modular systems.
external midi control of all TX–6 parameters, for complete remote control over midi.
extended midi support for synth mode to play the synth chromatically using midi notes from an external keyboard.
added 'scenes' to save and load all settings.
usb audio multiple sample rate support: 48 kHz and additionally 44.1 kHz, for compatibility with MPC live etc.
BLE midi clock in/out support with clock routing settings.
BLE host mode to connect peripherals like BLE midi keyboards.
switchable aux and cue outputs, to be able to utilize the higher output level of the aux jack if needed for high impedance headphones.
added balanced mono input mode in addition to the stereo / mono / split modes.
parameters keep their values until a knob is moved, making it easier to switch knob config without undesired behavior.
no snap back of the freeze FX parameter. click to reset instead.
smoother change of FX I send.
stability bugfix for usb midi host mode.
usb audio mode set on menu exit, instead of directly."

Review: Teenage Engineering TX-6 // Polarizing extremes in a tiny box // Pros, cons & alternatives

video upload by loopop

TIMELINE:
0:00 Intro
1:40 Overview
3:25 It’s how small?
4:25 Interface
6:00 Connectivity
8:05 Audio mix
10:00 Knob assigns
11:45 Knob with caution
13:45 Effects
16:45 Cue out
17:25 Using a mic
18:55 Aux out and sends
20:20 Synth modes
21:05 Sequencer
21:45 Tone mode
21:55 Synth options
23:50 Clock sync
24:30 USB audio
25:25 BLE MIDI
26:35 DJ Mode
27:40 Misc settings
28:25 Pros & cons
32:25 Alternatives
33:40 Outro

Fred's Lab Introduces the Manatee - Digital Desktop Synthesizer w/ Spectral Engine Synthesis

via Fred's Lab

BERLIN. 12.05.22

At Superbooth 2022, Fred’s Lab announce working on its new machine: the Manatee

The Manatee is an ode to the golden era of digital machines with personality, together with modern twists and a crystal clear sound quality. With reminiscences of electric organ tones and out-of-this-world but beautifully contained harshness, the Manatee unveils new sound exploration paths.

Loosely inspired by digital classics, the Manatee excels at producing dark & moody pads, snappy or round bell like tones and behaves very well in known VA (virtual analog) territory. At the frontier between the beloved wavetable and the unconventional additive synthesis, by fusing a complex procedural spectral source with a top notch realtime re-sampler, the Manatee allows any musician to efficiently alter their sound timbre as they discover.

Besides the spectral generator, a versatile sub-oscillator (including FM features) and a filtered noise source (with variable sample rate) are on the menu. The sound get further refined thanks to the great sounding filter, and an extra tuned resonator followed by the overdrive module. A per-part stereo delay is also there.

Built like a tank, using only industrial grade pots, switches and connectors, the Manatee is a professional piece of gear and there to last. Would it need repairs, like with all Fred’s Lab products, service instructions including complete schematics are part of the user manual. Latest firmware can be downloaded from our website.

TECHNOLOGY
• Dual core 16 bit fixed-point DSP
• Hand crafted assembly engine
• TI (originally Burr Brown) DACs
• DIN MIDI IN & OUT (with smart THRU)
• Synchronization by ext. clock or MIDI clock
• High contrast / backlit 16x2 LCD display
• 16x aluminum potentiometers
• 25x long lasting illuminated switchs

PRELIMINARY SPECS *
• 3 part 9 voice multitimbral spectral engine
• Extensive MIDI 1.0 with MPE or multimode

PER VOICE
• 1x
• 1x
• 2x
• 1x
PER PART
• 2x
• 1x
• 1x
• 3x
• 1x

GLOBAL
• 1x
superb self-resonant filter model
overdrive module
dedicated loopable envelopes (ENV. F & ENV. A) dedicated filter LFO
spectral modulators (MOD. B - for body & MOD. F for formant) resonator module
long and modulated stereo delay
audio buses mixer (Main, Aux & Reverb)
simple arpeggiator reverb module

• Various Main and Aux buses master EQs

* These specifications will evolve during project development

PROJECT STATE

IMPORTANT: SB22 machines are technological demo units – not final instruments

Changes may include:
• form factor
• audio engine feature list
• enclosure design style
• pricing (around 600E, VAT included)

Although product research and development is self-founded, Fred’s Lab needs additional finances to make this machine production ready (to cover lab testing, procurement costs, tooling, production line rental & associated setup costs...).

Fred’s Lab will eventually run a crowdfunding campaign on Kickstarter (no date to be announced) to produce a limited first run of 150 machines.

The two machines presented @ Superbooth 2022 (so-called “Superbooth Edition”) will be sold on auction, also to help financing the project development. Auctions will take place on Ebay, on the 14/06/2022.

more information @ https://fredslab.net



Click the pics for full size.

CLICK FOR MORE »

Oberheim Matrix 12 vs. Matrix 6 - Sonic Siblings: A Direct Comparison

video upload by Vintage Synthesizer Solutions

0:00 Intro
0:52 Matrix Series Origins
1:28 Circuit Design
2:42 Features
4:12 MSRP
4:38 Factory Sound Comparison!
10:54 Unique Sonic Favorites
18:18 Outro

"Join us while we do a direct comparison of these two classic Oberheim synthesizers. There is often confusion around this product line due to the shared namesake. So, we wanted to clarify some of the differences both in terms of circuit design and sonic character. It is easy to assume that the Matrix 12 is simply a Matrix 6 with double the polyphony, but this is not the case. In fact, the Matrix 6/6R/1000 are quite different than the Matrix 12 and Xpander. In this video, we'll show you why and let you hear the difference!

**The audio is a direct mix of primarily dry signal with a bit of reverb added via an aux buss; no compression or EQ adjustments were made**

***Our Matrix 12 has had a rough past, you'll see many battle scars on the front panel. Rest assured, we have plans to fully restore it to its former glory in the very near future. What out for a video!***

****I am a technician, not a professional keyboardist! :) ****"

Oberheim OB-12

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

via this auction

Specs:

Keyboard -- 49 Keys (Velocity and aftertouch)
* Polyphony -- 12 voices
* Polyphony allocation -- Dynamic allocation + User Voice reserve
* Multitimbre -- 4 parts
* Firmware Upgrade -- via MIDI bulk dump

Sound Generationd Generation
* Oscillators -- 2 w/ noise & ring modulator
* Waveforms on each oscillator -- Sawthoot, Triangle & Square w/ WaveMix
* Oscillator 1 Waveform parameters -- Saw Spread, Tr. Wrap, Pulse width
* Oscillator 2 Waveform parameter -- Pulse width
* LFO's -- Sawtooth, Triangle,Square, S&H noise
* Filters -- 2 - 24 db / octave
* Filters configurations -- Serial, Parallel, Split (user source)
* ADSR's -- With delay time and double decay
* Effects -- Overdrive, Chorus, Delay, Reverb
* Effects Router -- Allows advanced effects configurations
* Equalizer -- 5 Bands graphic / Middle Parametric
* User Program locations -- 256
* User Timbre locations -- 256

Arpeggio & Phrase Recorder
* Arpeggio mode -- Up, Down, Up & Down, Random
* Arpeggio extension -- up to 4 octaves
* Arpeggio management -- Advanced editing for use in multitmbral enviroments
* Tempo controls -- Independent for Arpeggio and Phrase
* Phrase Recorder memory -- 32.000 events- 4 user sets
* Phrase Recorder resolution -- 96 t.p.q.n..
* Event Editor -- Available
* Phrase Recorder management -- Advanced editing for use in multitmbral enviroments

Automation
* Motion Recorder locations -- 2
* Motion Recorder Rec. Time -- 2 min @ 120 b.p.m.
* Motion Recorder Resolution -- 96 t.p.q.n.
* Event Editor -- Available
* Morphing -- Manual or Auto (set in secs or meas@bpm)
* Auto-Morphing time -- Up to 100 seconds
* Sync. -- MIDI Clk. to Morph - MIDI Clk. to Motion

Control Panel
* Timbre controls -- 24 sliders, 22 knobs, 33 buttons "True Analog" feel for real-time editing.

Effects controls -- 5 buttons & 4 knobs (lvl/parameter)
* Arpeggio & Phrase recorder controls -- Independent tempo controls, 5 dedicated buttons
* Automation controls -- 6 buttons
* Control center -- 36 buttons, Encoder, Large graphic LCD
* Others -- Pitch and Modulation wheel, Ribbon pad

Connections
* Analog Outputs -- Main (L/mono-R) - Aux (1-2)
* User bus selection - Stereo Headphones
* Digital Outputs -- Standard S-PDIF
* MIDI -- In-Out-Thru.
* Pedals -- 2 switch, 2 expression
* Power Supply -- From 93 to 240 VAC

CLICK FOR MORE »

Hertz Donut MKIII DEMO clean FM tones with melodic sequence

video upload by brandon logic

"Hertz Donut is the only sound source (two outputs).
Aux out on the HD is going through Rabid Elephant Natural Gate (opened quite a ways so its not doing much gating) then its going through the 4ms DLD for some delay. Aux is set to output operators A and B.
Main out going through TAKAAB 2LPG then through Happy Nerding FX Aid for some reverb.
Sequence from Mutable Marbles going into the main v/oct.
LFO's patched into fold and mod.
In the second half I plug another sequence into operator A and an LFO into operator B."

Aodyo Instruments Anyma Phi: Version 1.0 Sneak Peek

video upload by Aodyo Instruments

"This trailer shows some of the new features of the upcoming version 1.0 update for the Anyma Phi, the physical modelling synthesizer by Aodyo Instruments. Among the new features, you will find: drum trigger and timbre follower modulators, tools for paraphonic patches, granular processor, three exciters, snare drum resonator, internal arpeggiator, MIDI clock sync, microtuning support with onboard editor, patch randomizer, and much more.

Read more about the new features and download the public beta here: https://community.aodyo.com/topic/114... [captured below]

Anyma Phi blends the classic ingredients of electronic music, like oscillators and filters, with physical modeling technology, allowing it to simulate acoustic sound sources, such as strings or reeds, as well as resonating structures, like wood, glass, or metal."

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