"The Body Synths Metal Fetishist is a Percussion Synthesizer featuring a loopable randomness sequencer and a eurorack-compatible control-voltage interface.
The Metal Fetishist is a beat-making platform designed for rythm discovery and percussive sound design. The unapologetically digital sound engine includes a single oscillator, a white noise source, a resonant multi-mode filter and a digital distortion section featuring downsampling and overdrive."
Four Body Synths Metal Fetishist percussion synths playing together
"Sequencing 4 Metal Fetishist units with an Arturia Beatstep Pro. Spring reverb from Roland VX-55. Analog delay from Roland DC-20."
"The Body Synths Metal Fetishist is a Percussion Synthesizer featuring a loopable randomness sequencer and a eurorack-compatible control-voltage interface.
Explore percussion by synthesizing simple Kicks, harsh Noise, fuzzy Drones, digital Glitches and plucky microtonal Melodies
The Metal Fetishist is a beat-making platform designed for rythm discovery and percussive sound design. The unapologetically digital sound engine includes a single oscillator, a white noise source, a resonant multi-mode filter and a digital distortion section featuring downsampling and overdrive.
Random sequencing with control
The Metal Fetishist features two randomness generators. At every trigger step of the sequence, the Random Step Mod section creates a new modulation value that can modify the Pitch, the amount of Noise or the filter Cut-Off value, while the modulation amount can be selected manually. At every sequence step, the Random Skips control decides if the current step will trigger or not, based on the skipping amount selected. The big STEPS knob won't do anything at its OFF position, leaving the synth in completely random mode! But as you turn it right it will lock the previously generated random step values into repeatable sequences of length 2, 4, 8, 10, 16 or 32. Have fun with it!"
You might remember the I♥SYNTHS interview with Richard Devine previously posted here. Jim Smith of I♥SYNTHS has been sharing new interviews on The MATRIXSYNTH Lounge. There are currently a total of nine artist interviews. The following is a list of each with with one pic, one quote and one link to the full interview. You'll find some great synth spotting throughout and of course you'll get some insight and perspectives on the synths and more from each artist. You can also find I♥SYNTHS on Facebook.
Shawn Rudiman: My first synth was a Yamaha b200 M. That was what started me on this wild ride. It was a Prosumer FM 8 voice / 4 op poly. I got it for Christmas in 1990. I believe I was 18 and It was my first real love. That poor synth has had a lot of flight time hours on it. They keys have started to degrade and melt and the buttons are all in need of serious replacing as well. I still love it and pull it out sometimes. The next day after that Christmas, I went out and picked up an HR16b, with whatever money I had saved. I still have that as well and it’s been modified now with the patch bay-hack that scrambles the 16-bit data lines which makes the sounds totally into something new."
"I♥SYNTHS: You’ve done some custom synths for celebrities and famous musicians. What was your most unique or original project?
Custom Synth: One of the most unique projects was for Tom Rowlands (The Chemical Brothers studio). I built a midi controller keyboard to sit in the bumper rail of a large SSL mixing desk. It has a detachable cover to match the rest of the desk and two modular cabinets. One was for the Serge modular system in a two piece metal arch and the other was a MOTM system to match the Roland 700 system."
Kebu: A new Kawai K1 II, which I hated because it didn’t have a decent piano sound and the black keys were harder to press than the white keys. I probably would appreciate it now for what it is, but back then I would have needed a PCM-based workstation, like a Korg M1 that I lusted for, but couldn’t afford back then. Soon after, I found a used Roland SC-155 (Sound Canvas module), which I really liked but realized that I really need the patch storage capability for live use, which the SC-155 lacked. I then realized that synths are VERY different from each other. Not in terms of nuances, like with different types of guitars, but more like apples and oranges. I also realized that by learning and trading on the second hand market I could try many different synths without loosing too much money. So the Kaway K1 was the first and only new synth I ever bought. After that, I’ve had over one hundred different hardware synths."
"I♥SYNTHS: What’s your go-to piece of gear that defines the Soft Lighting sound?
Soft Lighting: I usually choose a different set of tools for each album because I think it helps give that body of work a uniqueness. The first album, “Slow Motion Silhouettes” was all done on the Juno 60 and the drums where a lot of old Casios so it has a real washed out lo fi vibe. “Portraits” was made with the DX7, Juno 106 and Roland drum machines so it has a cleaner more digital sound. Now I’m working a lot with my Virus TI which is taking the sound out of the realm of vintage 80s and taking it to a more contemporary place."
"I♥SYNTHS: What was your first synthesizer and how old were you when you started collecting?
Synth.nl: I still remember exactly what my first synthesizer was, the Yamaha TX81Z. It is a rack module so I had to buy an extra midi keyboard, that at that time wasn’t even velocity sensitive. It must have been around 1987 when it was just released. So, I was 17 I guess. That adds up, since I bought it from the money I got to buy a moped from my parents, when I didn’t smoke until my 16th birthday. I guess their trick worked since I still don’t smoke. I also still have the TX81Z with my original sounds I made back then. I can also remember well, that FM programming was not easy and still isn’t easy."
"I♥SYNTHS: What is your go-to synthesizer when writing music? Is there one synth that defines the Richard Devine sound?
Richard Devine: My go synth would have to be the Nord G2 modular. This is hands down one of my favorite synthesizers. The concept is that its a virtual modular software environment where you can create basically anything you want. You then can assign multiple pages and knobs over the the synthesizer for all your patches. So ahead of its time, and I wish Clavia would bring it back."
"I♥SYNTHS: When did you start collecting gear and what is your prized possession?
Dallas Campbell: This dude I knew in college let my roommate and I borrow a four track cassette recorder. I was pretty much hooked on gear and music after that. I started buying synths about 10 or so years ago. I’m guessing the rarest thing I have is a Yamaha SY20. I don’t think it was ever released outside of Japan. All the writing on the synth is in Japanese! My favorite synth is probably my SCI Pro-One for mono and the Korg Polysix for poly. As for favorite fx units, I would say the Dimension D Chorus, Multivox Multiecho Delay, the Eventide Space Reverb, and the Roland SBF-325 flanger."
"I♥SYNTHS: What is your favorite synthesizer that you can’t live without?
RetroSound: My absolute favorite synthesizer ever is the Oberheim OB-X (not the later OB-Xa). The raw sound and the power is pure sex. It’s really the best!"
"mx.synths is a collection of eclectic polyphonic synths.
each synth has a specific style that can be tweakable via “mod” parameters. their are four mod parameters and they are synth-specific (though usually mods 2 and 3 are frequency and resonance respectively and usually mod 4 is detuning). all other parameters - found in the MX.SYNTHS PSET menu - are shared for each synth. most the parameters are evident (delay send, adsr, etc.). one special parameter is called “sub”. sub is synth specific (and not implemented in every synth) which activates some sound with low-note priority. many of the parameters have lfos."
"synthy is a polyphonic synth composed of two saw-wave oscillators per note which are mildly chorused plus a pulse-wave sub-oscillator that responds with low-note priority as a monophonic bass.
synthy’s mind is its own and obeys an internal stochastic rhythm. synthy may decide to shrink or grow and when it does, it causes a global filter to close (when shrinking) or open (when growing). you can use E3 to manually take control, but after you stop turning E3 the synthy will revert to its own behavior after a certain time (available to change as a setting).
synthy’s body is modeled as six revolute joints which are kinematically re-positioned when moving with E2 or E3. the x- and y- flucuations from the kinematics of the body movement do detuning and tremelo respectively. the degree of modulation is available to change in parameters (“squishy detuning” or 'squishy tremelo').
plug in a midi keyboard to play synthy. if you don’t play any notes, synthy will try to help you out. synthy knows 1,000 chord progressions which can be recalled randomly with K2 and start/stopped with K3."
Wolfgang Palm posted the following on his website (see my notes below)
"The first time I thought about an iPad project was last autumn. The more I got into it and the more information I collected, it sounded interesting to me.
I first did a pilot project on PC, just to check out the possibilities of a creative wavetable construction system, where you draw your waveforms and spectra and hear the result directly. This is especially challenging with the touch panel on the iPad.
When I had done this and convinced myself that it is a great tool and gives fantastic audio results, I bought a Mac and an iPad, and started programming for the real device. I inducted Cornel Hecht into the project, and he helped with the cool graphics and had many great ideas as well.
Later I invited some very experienced people like Peter Gorges and Jay de Miceli to help me with beta-testing and sound design. We also have 'nachtsmeer' and Kenneth Abildgaard in the team who have also contributed countless ideas.
I am also very thankful for the help of Russ Hughes who runs Sociatech, a specialist marketing and PR company, his expertise in helping get the message out has shown amazing results. If you have any kind of tech product you need to tell people about, then I recommend him to you.
So yesterday the WaveGenerator app was sent to Apple for approval, and we hope that it will be in the Apple App Store soon.
It is good to be back and to be able to share my creative ideas with the world in these new ways – I had a vision and here it is, it has the DNA of my first baby, but this grandchild has a 21st century personality.
Thank you for your support!"
It's great to see him back and it's great to see him embrace the iPad.
------
On the Death of Digital Hardware Synths:
Traditional digital hardware synths that is. The iPad is hardware after all. (see Update2 below)
For a while I've been thinking the iPad will be the death of traditional digital hardware synthesizers for several reasons - lower cost, size, ability to morph into whatever you want it to be, and it acts and feels like real hardware because it is real hardware. It's just as much hardware as any other traditional hardware synth running digital synthesis software. The iPad should not be equated with running software emulations on the PC or Mac, it should be equated with hardware synths with touch interfaces like the Korg Kronos and Jupiter-80, or the PPG Realizer. All digital synths are software based. My lust for digital hardware diminished ever since I picked the first gen iPad and Sunrizer and compared it with my Roland JP-8000. I picked up the JP-8000 new for about $1100 back when it came out. I picked up Sunrizer when it was called Horizon Synth for $4.99. Think about that. $4.99 for a full blown VA synth with a morphable touch interface and it sounds great. The cost of the iPad and Sunrizer was less than the JP-8000 and you have access to a plethora of other synths, sequencers and controllers. Hook it up to your MIDI keyboard of choice and with the likes of Animoog, NLogSynth Pro, Magellan, Cassini Synth, Peter Vogel CMI (a Fairlight for $50!!!), Korg's iMS20, SynthX, and now the PPG WaveGenerator and Waldorf & Tempo Rubato's upcoming synth, and you have a hardware synth. With the iPad in it's third generation, older models will only continue go down in price, so the ability to have multiple iPads for cheap isn't too far off. There is one concern I had lingering though. Battery life. Eventually I'm guessing the batteries in the iPad will die, but I say had, because with something like the Alesis iO dock this may not be an issue. You can power it and have all your IO available at the same time. I should note my first gen iPad battery is still going strong.
It will be interesting to see what hardware synth manufacturers do next. They will have to offer synthesis methods not available in apps for the iPad, and as time goes on those differences will only shrink. You can't replicate analog, so maybe we will see more of that including hybrid synths. As for full blown digital, I can see manufacture's having a flagship synth for the pro musician on the road, a flagship controller for the iPad, and apps to go along with it. I think there will always be an audience for each, but there is no denying the iPad has become a option for digital hardware synthesis.
Update2 6/30/2014: I wanted to expand on my initial commentary on the "death of digital hardware" above. If you read it, you might think I prefer the iPad to dedicated hardware synths when it comes to digital only. Far from it. It was written from the perspective of the potential impact the iPad could have on the world of hardware synthesis. It was a look into the possible future and not meant to be a look into the present or even the near future. The thought was that if you had a portable hardware device capable of turning into any digital hardware synth you might need, at a fraction of the price of a full blown hardware equivalent, what would you do? The answer? It depends on your needs, preferences and funds. Personally, I like the convenience and portability of the iPad but I love the feel and tactile relationship dedicated hardware instruments have to offer. The iPad offers the engine, but lacks the body unless you're Synth-Project. The new Akai MPC line tries to bridge some of that, but is it enough?
The Features:
- Dynamic, shoulder-worn performance keyboard with attention-grabbing looks
- The first USB keytar controller—works with all of your software instruments & synths on Mac, PC, & iOS* devices
- USB and traditional MIDI jacks for use with virtually any synth, sound module, or other MIDI hardware or software
- Embedded, MIDI-assignable accelerometer for performance parameter control by tilting the neck
- Thumb-controlled volume slider, sustain button and pitch-bend wheel on neck
- Finger-controlled MIDI-assignable touchstrip, sustain, and octave-control buttons on neck
- 37 velocity-sensitive keys with aftertouch for compact, yet complete melodic range
- Eight velocity-sensitive drum pads/sample triggers enable you to create beats or trigger clips
- Large transport & patch-select controls for instant access
- Includes strap; standard guitar strap pegs are compatible with virtually any strap
- Bus powered when USB-connected to Mac or PC; battery compartment for use with MIDI modules and iOS devices
The Description:
"STORM THE STAGE
It's time to experience outrageous, unprecedented keytar performance with the Alesis Vortex. The Vortex eliminates the barrier between you and your audience by giving you the freedom to move around the stage and take the lead. With an extensive layout of touch-sensitive keys and velocity-sensitive pads on its pearlescent white body, and radical pitch and modulation controls on its neck, the Vortex empowers you to rule the stage.
WHIP IT
The Vortex is the first keytar to include a MIDI-assignable accelerometer. Now, you can get out from behind your keyboard stand and be just as visual as guitarists and singers with an instrument that will respond to your motion. You’ll be able to create incredible volume swells, amazing pitch bends, vibratos, filter cutoffs and more by tilting the Vortex’s neck in the heat of the moment during live performances.
KEYS, CONTROL AND MORE
The Vortex includes even more features never before found on any keytar: both traditional MIDI and USB MIDI are onboard, empowering you to use the Vortex with all of your software instruments and synths on Mac, PC, and iPad*. You'll have a virtually unlimited palette of sounds, ready to command with one of the most exciting keytar controllers ever.
The Vortex comes ready for instant performance, automapped for today’s most popular software synths and DAWs. Plus, you can customize and create your own mappings for virtually any MIDI software.
FULL EXPRESSION
Breathe new life into every performance with the most expressive keytar ever produced. The Vortex’s neck controls are laid out ergonomically: your thumb controls a volume slider and pitch-bend wheel while your fingers command nine front-facing controls that include a MIDI-assignable touch strip, and buttons for octave selection and sustain. Large transport and patch-select controls are centrally located on the Vortex’s body for instant access, and synth lovers will be happy to know that the Vortex’s 37 velocity-sensitive keys feature aftertouch to enable instant creative flourishes.
EVERYBODY WANTS TO RULE THE WORLD
But you can rule the stage. The Vortex is for controllerists, for those who want to perform without limitations to their movement or their sound set. The Vortex is bus powered when connected to a Mac or PC, and can also be powered by batteries when used with MIDI modules and iOS devices including the iPad. Standard strap pegs are located on the Vortex's neck and body, and an adjustable strap is included.
Outrageous keytar performance in a pristine, pearl-white body—the Vortex is the perfect storm of stunning design and incredible performance capability.
This one in via Body of The Thames who had the following to say:
"The 'Oberheim sound is famously about big sawtooth pads and pulse wave modulated strings and the oscillators & filter are certainly truly awesome for that 'signature' feel.
I do love programming drums & percussion on analog synths as well however.
Perceived wisdom is that you need a 24db self-oscillating filter for kicks & toms etc & the OB-6 has a 12db filter which doesn't self-oscillate.
What it does have though is is an LFO which goes well into audible range plus powerful cross-modulation possibilities and so I think perhaps this pack shows another side to the OB-6 that might surprise a few people."
That said, here are the track details from BandCamp:
"This track is a short demo created entirely with just a few of the samples from the OB-6.
To download the entire sample pack simply download this track - included with the mp3 is a file containing your link to the full pack.
The track & therefore the sample pack is offered as 'name your own price – no minimum' so in principle it is free but the more you give, the more material will be available in the future. :)
thank you
Release notes:
Oneshot samples made by Body in the Thames using a Dave Smith Instruments Tom Oberheim OB-6 analog synthesizer.
"techniques (physical modeling and granular synthesis) in an easy-touse semi-modular package. It’s laid out a bit like an acoustic instrument; the GRANULATOR module acts like the player’s touch, exciting one or more tuned objects (here, the RESONATOR module, based on physical models of resonant objects) that come together in a central resonating body (the BODY module, also physics-based)."
"Last but not least we look at Kaivo. Kaivo is what I call experimental physical modeling. The instrument itself is fully customizable (modular) and when you combine that with a granular sound engine and a physical modeling section you’re going to get some wild results. As you’ll see in the video what you select for the resonator and for the body (the physical modeled modules) has a huge impact on the final timbre that’s produced. Note that unlike PianoTeq or String Studio this instrument requires you to use samples. Therefore physical modeling is just one aspect of this instrument and is used more like an effect that you can blend to taste rather than a dedicated method."
"I try to figure out all the things that granular synths can do with the help of the granular synth daddy himself, Barry Truax.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
0:00 Intro
2:05 Time Stretching
5:09 Barry Truax's Granular Synth
7:49 What Is Granular Synthesis Actually
12:25 Outro"
Kaivo is a software instrument combining two powerful synthesis techniques (physical modeling and granular synthesis) in an easy-touse semi-modular package. It’s laid out a bit like an acoustic instrument; the GRANULATOR module acts like the player’s touch, exciting one or more tuned objects (here, the RESONATOR module, based on physical models of resonant objects) that come together in a central resonating body (the BODY module, also physics-based)."
"Modular Equinox: Drew McDowall (Coil) + many more--installations and workshops
LDP Institutes present an extravaganza sized Modular Synthesizer Spring Equinox complete with performances, presentations, workshops and installations. All afternoon and night.
5:30 doors open: the Modular Equinox will be in the Silent Barn artists in residence spaces and the Champagne Room.
6:00 Narwhalz presentation on hallway installation (PAiA synth/eurorack light and noise hallway install)
Back on March 31, I put up a post on Hataken, a Japanese DJ artist who primarily uses analog synths. At the time, Shane Chisolm, the manager of Don Juan Dracula mentioned Hataken was working on a remix version of DJD's "Take Me Home". Shane asked me if I'd be interested in doing an interview with Hataken, and I thought why not. It would be interesting to hear his perspective on the world of synths as a live DJ artist. The following is the result of that interview. Note, this is a long one. You will want to use page down to scroll through. If it is too long for you, I recommend reading one or two questions each time you visit the site. Each DIY item below would typically have been a separate post. There is a lot of interesting stuff here. That said, I start with an introduction followed by asking Hataken how it all started for him. Note the focus is primarily on synths as this site is about everything synth, and Hataken delivers. The gear he has both worked with and designed to meet his specific needs is overwhelming. There's also an interesting interlude on experimenting with frequency counters to produce specific frequencies of sound known to have healing properties, and of course there is a bit of the age old discussion of digital and analog.
Before we start the interview, I want to thank Hataken for taking the time out for this, and I want to thank Shane for suggesting it. It's a fascinating history of a DJ synth artist with interesting perspectives that I'm sure I will come back to over time. Be sure to check out the video and link to more at the end. And of course be sure to check out Hataken's website.
1. “Step Up” with the SQ-64 Polyphonic Sequencer
2. Korg’s SQ-64 Polyphonic Sequencer: A Brief Overview
3. KORG SQ-64 Review and full tutorial - leploop
"There's nothing that offers the combination of CV control, MIDI & Audio sync,
and polyphonic multitrack sequencing that Korg’s SQ-64 does. Compact as it may
be, it gives you three tracks, each with dedicated Pitch, Mod, and Gate output,
plus a fourth Drum-Sub track with a total of 16 triggers; eight gates and eight
over MIDI. Each of the 64 step buttons uses graduated LEDs to show you exactly
what's going on in your track, and a crisp OLED screen gives you an at-a-glance
look at details. It's all packed into a rugged aluminum case roughly an inch
thick for durability and portability - every step of the way"
"The SQ-64 is an incredibly powerful and compact Polyphonic Step
Sequencer with amazing hands-on intuitive controls and deep editing options to
give you all the flexibility and sequencing power needed for all your musical
projects. With its 64 step pad Matrix, Crystal clear OLED display, sturdy and
elegant aluminium body, a wealth of connections and a variety of modes and
features, the SQ-64 will become the central piece of your music studio providing
total and seamless control over all your instruments so you can focus on what
matters most; your music!
Despite its compact size, the SQ-64 has unparalleled connectivity and will allow you to easily control, connect and make the most of all your analog and digital gear. MIDI IN (x1) and OUT (x2), micro USB type B, Sync IN & OUT, 3 Melody tracks each with MODULATION, PITCH and GATE outputs and a DRUM track with 8 individual trigger outputs for controlling analog synths, Eurorack, and drum machines.
Each of the Melody tracks (x3) has 16 Patterns of up to 64 steps each, and the Drum track (x1) has 16 Sub-tracks also with up to 64 steps each, that can be played, chained and edited in a variety of ways.
Melody tracks and patterns can be edited in several modes (GATE, PITCH and MODULATION) so you can alter the information sent by your sequencer on each of these steps in many interesting ways.
The DRUM track outputs can be fine-tuned to match the polarity and voltage of your connected device(s).
Its audio Sync In & Out connections will allow you to seamlessly control all your other Korg gear such as the volca synthesizer series, minilogue, monologue, minilogue xd, prologue and many others!
Whether you are into Analog synths, Eurorack semi-modular synths, Digital drum machines, or do everything on your DAW with digital plugins, the SQ-64 will give you instant and precise hands-on control of each and all of these.
The SQ-64 has 64 beautifully LED-lit Step button pads that not only let you see the whole picture at once, but also allow for super-fast and satisfactory editing with its encoder knobs and dedicated mode buttons that will simplify and speed up your workflow. Each step has graduated lighting; the higher the modulation value, the stronger the button lights up to give you a clear visual on what’s going on in the sequence.
The OLED Display is crystal clear, bright and visible from any angle, so you can have access to all the information you need no matter whether you are making music at home, in the studio or playing live!
The 3 melody tracks include a MODULATION output, so every step on your sequence can be creating complex modulations on your gear of choice, greatly expanding your options and possibilities for sound creation. It has never been easier to create polyphonic chords patterns, melodies, complex poly-rhythms and modulations on the fly and record them as data on each of the 64 project slots available.
REAL-TIME CONTROL
The SQ-64 won’t just allow you to create incredible sequences; it packs several features and modes that will let you edit on the fly and play any of your gear real-time.
The 64 pad Matrix can be also be used as a Keyboard, allowing for several layouts to be used for maximum flexibility (several scales can be assigned to any of these and a number of other parameters can be easily changed)
"Organic, inspirational, and mind-blowingly powerful, wave sequencing 2.0 is expanding its lineup to include wavestate SE, wavestate Limited Edition Platinum, and wavestate mkII.
In 2020, the acclaimed wavestate brought the the legendary Wavestation's Wave Sequencing synthesis to the next level. Featuring the radically re-imagined Wave Sequencing 2.0, the wavestate delivers astonishing, ever-changing sounds with extensive hands-on control, taking cues from sources as diverse as modular synths, groove boxes, and algorithmic composition.
The mk2 expands its unique palette of lush, evolving pads and driving rhythms with improved polyphony (96 stereo voices), new and updated sounds, and a refreshed look. It has 4 GB of user space to import samples and its compact form-factor, with 37 full-size keys, transports easily and fits neatly into any stage, studio, or desktop setup.
Made in Japan, the wavestate SE features Korg’s premium 61-note natural-touch keyboard with aftertouch, for the same superb feel as Korg’s high-end workstations. Aftertouch provides fingertip control of the wavestate's unique, evolving sounds.
Factory Performances have been updated for Aftertouch, and new sounds have been added as well.Under the hood, wavestate SE also features an astounding 120 stereo voices of polyphony–almost twice as many as the original wavestate, and also includes 4 GB of space to import your own samples.
The metal body is sleek and strong, ready for gigs and studio alike. The metal knobs have just the right weight for easy tweaking.
wavestate SE is also available in a Limited Edition Platinum finish. And both versions ship in a dedicated hard case, including space for cables and a sustain pedal."
"Korg's legendary Wavestation introduced the world to wave sequencing, and the 37-key wavestate builds on that legacy with a reimagined, compact synth designed from the ground up to satisfy today's demanding musicians and producers.
The mk2 expands its unique palette of lush, evolving pads and driving rhythms with improved polyphony (96 stereo voices), new and updated sounds, and a refreshed look alongside its vector synthesis, modelled filters, and extensive hands-on control. It has 4 GB of user space to import samples and its compact form-factor, with 37 full-size keys, transports easily and fits neatly into any stage, studio, or desktop setup."
"wavestate SE is the powerful evolution of Korg's legendary Wavestation, taking Wave Sequencing to a new level. Designed in Calitornia and built in Japan, wavestate SE includes a premium 61-note keyboard with aftertouch, in an all-metal chassis. Factory Performances have been updated for aftertouch, new sounds have been added, and there are 4 GB of space to import your own samples. Built for a new era of musicians, composers, and producers, wavestate SE features hundreds of dynamic sounds, extensive hands-on control and 120 notes of stereo polyphony to inspire new levels or creativity.
wavestate SE is also available in a Limited Edition Platinum finish. Both versions ship in a dedicated hard case, including space for cables and a sustain pedal."
Wavestate SE & MK2 Review // 20 ideas for making the most of this interesting generative synth
"Wavestate from Korg has become one of the most interesting generative synths
you can buy. In this video I take a look at what's new in wavestate SE and MK2,
and then 20 patch ideas for making the most of this original and innovative
synth."
Organic, inspirational, and mind-blowingly powerful, wave sequencing 2.0 is expanding its lineup to include wavestate SE, wavestate
Limited Edition Platinum, and wavestate mkll. In 2020, the acclaimed wavestate brought the the legendary Wavestation's Wave Sequencing synthesis to the next level. Featuring the radically re-imagined Wave Sequencing 2.0, the wavestate delivers astonishing, ever-changing sounds with extensive hands-on control, taking cues from sources as diverse as modular synths, groove boxes, and algorithmic composition.
The mkll expands its unique palette of lush, evolving pads and driving rhythms with improved polyphony (96 stereo voices), new and updated sounds, and a refreshed look. It has 4 GB of user space to import samples and its compact form-factor, with 37 full-size keys, transports easily and fits neatly into any stage, studio, or desktop setup.
Made in Japan, the wavestate SE features Korg's premium 61-note natural-touch keyboard with aftertouch, for the same superb feel as Korg's high-end workstations. Aftertouch provides fingertip control of the wavestate's unique, evolving sounds.
Factory Performances have been updated for Aftertouch, and new sounds have been added as well. Under the hood, wavestate SE also features an astounding 120 stereo voices of polyphony-almost twice as many as the original wavestate, and also includes 4 GB of space to import your own samples. The metal body is sleek and strong, ready for gigs and studio alike. The metal knobs have just the right weight for easy tweaking.
wavestate SE is also available in a Limited Edition Platinum finish. And both versions ship in a dedicated hard case, including space for cables and a sustain pedal.
"This ESQ-1 has been completely overhauled and restored and features upgraded LED sliders. It includes an original Ensoniq ESQ-1 E2 PROM Storage Cartridge.
You're not likely to find another ESQ-1 for sale like this one any time soon. Yes, you might see so-called "professionally refurbished" synths out there, but none like this.
There were no compromises when it came to restoring this ESQ-1. However, I did not attempt to restore this ESQ-1 cosmetically, so there are nicks, light scratches, and other signs of age and use. Read on to see what was done:
CLEANING:
This ESQ-1 has been completely stripped down, literally every part removed and thoroughly cleaned by hand.
For the body, buttons, and keys, I used hot, soapy water, brushes, cloths, and towels to remove all gunk and nastiness that built up over the years.
Every key was removed, cleaned, and if there were chips or holes they were filled and repaired.
The wires and contacts along the keybed were all cleaned and adjusted where necessary.
Every body part was removed and cleaned as described above - no body part was left in place before cleaning.
Each button was removed and cleaned, along with the display cover.
Old flux and grime and dust were all cleaned off the PCBs using appropriate solvents and cleaners. The jacks were all cleaned out. The cartridge port contacts were cleaned.
The pitch and mod wheels and mounting hardware were removed, scrubbed, and cleaned.
"Modular Day is the festival of Modular Synthesizers - Eurorack - in Barcelona. This year in its 10th edition with Manufacturers, Shops, Workshops, Conferences and Concerts. We wait for you on September 23rd at Hangar."
Modular Day Barcelona #10 Concerts
video upload by Befacosynth
"Modular Day is the festival of Modular Synthesizers - Eurorack - in Barcelona. This year in its 10th edition with Manufacturers, Shops, Workshops, Conferences and Concerts. We wait for you on September 23rd at Hangar.
We are thrilled to present these artists and friends of our event."
"There are few in the Czech electronic music culture with a background as storied as HRTL, the performing alias of Prague-based synthesiser musician Leoš Hort. Iconically performing from the centre of the dancefloor, HRTL is a force of the wildest nature on his instruments of choice, a carefully curated setup of modular synthesisers and tabletop instruments. Infamously electrifying and always improvised, each of his live club performances is quite literally one-of-a-kind; generative breakbeat rhythms meet with liquefying acid, and synths sliced from the utmost peaks of euphoria."
Details:
"Roland GR-500 and GS-500 Guitarset including controllers and cables. very rare because you won't find this combination anywhere! only a few where made in the past. As used by Mike Rutherford of Genesis and Alex Lifeson of Rush.
Here is a description:
''This is THE first guitar synth ever made & it came out in 1977! It came with an Ibanez made Les Paul type guitar with tons of knobs to control various parameters of the 3 separate synth's that were built in to the module. The synthesizer module included Bass, Solo Synth, and String sounds based on previous Orchestral and analog mono-synths from Roland. There are plenty of sliders to adjust the VCO, VCF, VCA, and LFO sections. The guitar utilizes a special pickup system that is connected to the synth module via Roland's own 24-pin interface and controlled it using CV/GATE signals generated by the guitar's pickup system while playing the guitar. In addition to the modified pickup, there were magnets under the face of the guitar that could increase its sustain''
This is the complete set including the guitar, the PC-50 Preset Controller footswitch, 24-way cable and the synthesizer unit (GR500). The guitar has a very nice honeyburst finish.
The playability is very good, with a nice comfortable neck and low string action.
The sound is very very very versatile as you may expect. You can create anything with this one, Because of the Les Paul style body this guitar sustains for days and has a nice warm tone. I'm sure the guitarsynth experts know what i'm talking about.
The condition is good. Just light playwear. Some scratches here and there, but nothing serious. A hardcase is included for the guitar.
Here is another description for the high tech guitarplayers among us:
The GS500 was a heavily modified Ibanez guitar, with a single humbucker plus a hexaphonic pickup for driving the GR500, individual on/off switches for each of the four synthesis sections, switches to select the sound of the guitar itself, the synthesizer, or both simultaneously, plus EQ. All this appeared as a beautifully crafted, but very heavy instrument whose body contained magnets that fed the audio output back to the strings, thus creating an 'infinite sustain' system. The GS500 really was far more than just a guitar plugged into a sound generator!
If the GS500 had a limitation, it was that you could only connect it to the outside world using a heavy, multi-core cable unique to the GS/GR500 combination (shown in the above picture). Without this, you owned nothing more than a large, heavy paperweight. Given that there are now no spares left, you cannot even build a new one, and the similar-looking cable used for future Roland guitar synths was wired differently and does not work correctly. While players were to find this very frustrating, it had a huge benefit for Kakehashi and Roland when the prototype was stolen — and then returned as 'unusable' — just hours before its world launch in Australia.
The synthesizer module (shown below) was amazing, with five sound generation sections — G, P, B, M and S — that you could play individually or in any combination. These were the straight-through Guitar, Poly-ensemble, Bass, Melody, and an 'external synthesizer' section designed to interface with and control an SH5, System 100 or System 700. The Poly-ensemble, which treated the independent outputs from the 'hex' pickup, was interesting, and produced what would later become Roland's signature 'bowed guitar' sound, but it was the Melody section that captured players' imagination because it was here that the real synthesis took place.
Sounds were generated by a conventional VCO/VCF/VCA architecture reminiscent of the earliest SH-series synths, but with a number of very important bonuses. For example, the VCA was 'touch sensitive', and the output from the Poly-ensemble was an input in the solo synth's mixer, so you could inject the polyphonic sound into the VCF/VCA signal path. Another superb innovation was the output buss system that allowed you to direct the sounds generated by each of the sections to any one of three outputs as well as a global 'Mix' output.
In addition, the PC50 Preset Controller was a floor unit that allowed you to set up three mixes for the P, B, M and S sections and select between them using stomp switches. A fourth switch returned control to the guitar. I have never seen mention of the PC50 in any of Roland's documentation"
"Very rare full keyboard version of this 90's monster classic. You usually only see the desk top version. This is the king of the late 90's / early 00's VA synths and was used by NIN, KMFDM, Crystal Method, etc. I just bought way too many synths and have to sell a couple.
Monster specs! - 16 part multitimbral and you can set where you want parts split or layered on the keyboard - 24 voice polyphonic - 3 osc per voice including the usual analog wave shapes plus fm and 64 digital waveforms - 3 lfos with 68 waveforms! - 2 multimode filters with series or parallel routing and resonant spacing and overdrive - 82 simultaneous effects - 61 full sized keys with velocity and aftertouch - 32 band vocoder - over a thousand patch memory slots.
You don't see too many synths with specs like that anymore. Built super solid with wood and metal. No crappy 5 pound plastic body here."
"Marketed as "Learning Guitars", the Yamaha EZ-EG and EZ-AG are secretly a powerful instrument for controlling softsynths!
Besides their normal MIDI messages, these guitars also send out SysEx for each fret pressed and released. This allows us to create our own performance modes not originally found in the EZ-EG instruments.For those of you interested in pursuing alternate midi controllers...
Last year Yamaha released their "EZ" series of "learning guitars" -- guitar shaped devices with a fretboard full of backlit keys (to aid in learning chords) instead of strings. While these are marketed as learning guitars, their midi controller capabilies have been generally overlooked (even by Yamaha's own marketing dept). To the best of my ability, I will try to clear that up here.
First off, the good news. This thing sends out a reliable and relatively expressive stream of midi data! Your host sequencer will recieve exactly what you played, with accurate velocity, no extraneous pitch-bends and no tracking delay. Hallelujah!
There are 72 very light action "keys", laid out in a fretboard pattern (12 frets x 6 rows). They depress very easily and light when pressed (handy for cleaning up your playing technique). All keys send midi note-ons ( 28-88 ) and are triggered by both fretting the notes and strumming the triggers (a set of bars on the body, laid out in six-string pattern).
Hidden gem #1: fretting notes (no strum) sends out a very low velocity (vel=14) note-on. This sounds remarkably realistic using the onboard guitar patches, but is worth far more when used with synths or VSTi's. By varying your synths' velocity sensitivity you can add some expressive elements to your performances. Best of all, by lowering or eliminating velocity sensitivity you can play synths simply by fretting notes (no strum necessary). This greatly reduces stray notes, and is a feature found on Starr Labs midi controllers.
"THREE BODY by Schlappi Engineering takes care of 100% of the bass arpeggio in this video (aka the main synth). It's very interesting to be able to get all this grit without losing the ability to turn it down for a less harsh sound and without having to worry about relative pitches of your carrier and modulators. No processing was done to the audio coming from THREE BODY afterwards (apart from some low and mid cut EQ and a smidge of compression).
The sequencing for the bass (and part of the higher pitched arp and hihats) is done with eurorack sequencers, I recorded the main part in one take (which I recorded). The poly synth stabs were created with my own plugin PLL-102 (which you can buy as part of my VST pack 'SYNTHS one' on the Decent Sampler webshop).
There's no play-back going on in this video, everything you see happening was recorded live and used unaltered (apart from gentle eq, some compression and autotune - Melda Productions MPitch - for the vocals).
Your boi BRiES takes care of 100% of the singing (which I autotuned in this version of the upload) so be prepared for some vocal cringe.
I spent most of my birthday recording the audio and video for this cover. It's something that I've been wanting to do for a long time (recording a cover where the main part is taken care of by a eurorack system). The song 'heartbeats' (the José Gonzales version) popped into my head a few days ago and I just had to give it a try.
To whom it may concern:This is a cover of the song 'Heartbeats' by The Knife. This video isn't monetized nor is it sponsored (no one is making money off of this video). All rights to the song and lyrics are reserved to The Knife."
"ModularSquare opens its doors on November 19-20! Play music in a different way!
For all fans of modular synths, analog synths, ribbon synths, theremins, sensors interfaces and controller of all kinds... ModularSquare opens its door around the thema: oPlay music in a different way. In a digital world where music has become digital, what means playing music in a different way? It might be using the best of all technologies from yesterday or today, explore unknown spaces and sounds, travel in the past and also in the future... Have you ever controlled a modular synth with sensors sticked on your body? Have you ever controlled Ableton Live with a Persephone mkII or with a theremin? from 2.00pm to 6.30pm. Information at 01 45 15 41 95 info@modularsquare.com
ModularSquare ouvre ses portes les 19 et 20 novembre ! Faire de la musique autrement
Pour tous les passionnés de synthés modulaires, synthés analogiques, synthés à ruban, à bandes, theremins, interfaces à base de capteurs.... ModularSquare ouvre ses portes sur le thème faire de la musique autrement. Dans un monde où la musique est devenue numérique, faire de la musique autrement, c'est quoi ? C'est peut-être utiliser les meilleures technologies d'hier et d'aujourd'hui, explorer des zones encore inconnues, voyager dans le temps, dans le passé mais aussi dans le futur. Avez-vous déjà contrôlé un synthétiseur modulaire avec des capteurs ? Contrôlé Ableton Live avec un Persephone mkII ou avec un theremin ? Découvrez le son des synthés analogiques de légende, Moog, Dave Smith Instruments, le Persephone mkII d'Eowave, venez patcher, venez vous retrouver entre passionnés... De 14h à 18h30. Renseignements au 01 45 15 41 95 info@modularsquare.com"
"This is a 100% modular synthesizer party.
All live sets.
Cables of Love
From subtle minimal and classic Techno, House & Acid, roaring noise and gently massaging subs to laser light shows & live visual projections of sound, Cables Of Love with the Humboldthain bring together a diverse range of local, pan-European and international talent for an extravaganza of ear-pleasing and booty shaking pleasure.
2 Stagess: 1 for Techno / House / Acid Party Dancing, 1 for Experimental, lots of live acts with their various Modular and DIY Synths.
Further additions to the Line Up TBA in due time but for now, here's some of the acts and their bios can be found below:
Laser Bros (AT/CZ)
Laser Bros creates a synesthetic experience of beauty by connecting 2D-laser projections and body shaking electric sound waves generated in real time by an analog modular synthesizer. Changing the visual will modify the audible and vice versa.
Laser Bros is a collaboration of Bernhard Rasinger (a.k.a. BR Laser) and Václav Peloušek (a synthesizer inventor at Bastl Instruments).
Details:
"ARTON ME-01 is the floor guitar synthesizer. A little brother of the famous soviet analog guitar synths like LIDER-1 and Lider-2. A REALLY NICE ANALOG GUITAR SYNTHS AND MULTI FX PROCESSORS - LOOKS LIKE ROLAND GR-300 ANALOG GUITAR SYNTH BUT THE LIDER AND ARTON ME-01 IS MUCH MORE RARE. YOU CAN USE IT WITH SYNTHS AND GUITARS! IT WAS MANUFACTURED IN 1981 by FORMANTA, A SOVIET MILLITARY RADIO PLANT AT KACHKANAR CITY, NEAR SVERDLOVSK CITY. The same one wich manufactured now legendary POLIVOKS synth. It is built like a rock, pure military technology. The body is solid and the knobs feel nice."
