Roland Supercharges FANTOM Synthesizer Series

Roland FANTOM EX Synthesizer | Performance featuring LZARUS
video upload by

"FANTOM EX is the latest chapter of the FANTOM legacy. Watch producer and session keyboardist Laurence Jepson, aka LZARUS, perform with the most advanced creative synthesizer ever. Check out an array of FANTOM EX features in action, including German Grand V-Piano Expansion, JUPITER-8 ACB Expansion, live bass recording with JX-8P Model Expansion, TR-REC step sequencing, vocoder, n/zyme Model Expansion, and Shimmer Reverb.

About FANTOM EX

FANTOM EX provides a complete creative ecosystem for professional sound design, sequencing, and performance.

Explore the most advanced Roland sound engines—ACB, ZEN-Core, V-Piano, SuperNATURAL, Virtual ToneWheel, and other Roland technologies. Plus, SH-101, JUPITER-8, and JX-3P* ACB Model Expansions and six additional pre-loaded ZEN-Core Model Expansions, including n/zyme for advanced wave design, vintage-inspired instruments, premium pianos, essential organs, and more.

Integrate seamlessly with any computer-based setup with dedicated modes for Ableton Live, Logic Pro, MainStage, Cubase, and Studio One. Sample directly into the synth and trigger, loop, program, create new tones from partials, or use multi-track sampling to stack sources into complex sounds. Then, refine your sound with Master FX and preset templates.

Developed in collaboration with renowned synth designer Axel Hartmann, the FANTOM EX hardware and user interface is built to support your creativity with intuitive operation and world-class playability."

Roland Fantom EX - Expansion In Use - Sonic LAB

video upload by sonicstate

"Roland's latest iteration of the Fantom is now the Fantom EX which is essentially the same Fantom you could buy yesterday, but now with the EX software expansion.

David aka @superfrogsavestokyo has a look at the new EX features, but with the regular Fantom hardware. He builds some musical sketches to demonstrate the new ACB models and the n/zyme Wavetable synthesizer."

Roland press announcement follows:

The Acclaimed FANTOM Synthesizer Series, Supercharged with the Latest Roland Sound Technologies and Updated Creative Tools

Los Angeles, CA, April 25, 2024 — Roland announces FANTOM EX, a new flagship synthesizer series for professional musicians and producers. Updating and expanding the popular FANTOM platform with the latest Roland technologies, the next-generation FANTOM EX delivers a complete creative ecosystem for sound design, sequencing, and performance. In addition to the FANTOM 6 EX, FANTOM 7 EX, and FANTOM 8 EX models available to new purchasers, current FANTOM owners can expand their instruments with all EX sounds and features through the FANTOM EX Upgrade for sale on Roland Cloud.

Introduced in 2019, the Roland FANTOM has received worldwide acclaim for its diverse range of high-quality sounds, powerful synthesis tools, premium playability, and free-flowing user interface. FANTOM EX builds on the original’s foundation, supplementing the core feature set with Roland’s Analog Circuit Behavior (ACB) engine and numerous sound expansion titles, including the recently developed JX-3P ACB Expansion. New effects and a host of fresh workflow enhancements are also included.

Each FANTOM EX model provides the most expansive collection of premium sound engines available in a hardware instrument. Roland’s ACB, ZEN-Core, V-Piano, SuperNATURAL, and Virtual ToneWheel technologies spark inspiration at every turn, providing expressive and inspiring sounds for every musical style.

With FANTOM EX, users can compose and perform with over 7000 genre-defining Roland sounds and go further with premium sound content on Roland Cloud. Eleven sound expansion titles come as standard, including JUPITER-8, SH-101, and JX-3P ACB Expansions; n/zyme, JD-800, JUNO-106, JUPITER-8, JX-8P, and SH-101 Model Expansions; the German Concert V-Piano Expansion 01; and the SuperNATURAL Acoustic Piano 3 Expansion.

The powerful custom processors in FANTOM EX provide smooth and precise operation with plenty of overhead, enabling loads of polyphony and full patch remain for seamless transitions. There are dozens of simultaneous effects, including new studio-grade reverbs and updated Master FX for shaping the overall sound. A characterful analog filter is also available, perfect for infusing tones with extra warmth and grit.

FANTOM EX is primed to be the center of any production universe. Users can directly shape sounds and develop musical ideas with a friendly, ergonomic panel filled with buttons, knobs, and sliders. The color touchscreen dynamically changes to support the task at hand, and it’s now possible to personalize the look by importing custom images for the screensaver and startup view.

The deep onboard sampling and composition tools in FANTOM EX support fast sound creation and quick arrangement of song ideas. Multiple workflow options include the classic Roland TR-REC step sequencer, real-time recording with piano roll editing, and 16 RGB pads for triggering sounds, samples, and clips.

FANTOM EX flows effortlessly into any computer-based production setup. There are dedicated modes for popular software platforms, including Ableton Live, Logic Pro, MainStage, Cubase, and Studio One. With the built-in 16x3 audio/MIDI USB interface, users can mix and layer soft synths with hardware sounds, send sequencer parts to computer tracks, route DAW sources through FANTOM EX effects, and more.

The loaded FANTOM EX rear panel supports connections with a wide range of gear. There are XLR combo connectors for mics and instruments and eight 1/4-inch outputs to route sounds to external destinations. MIDI I/O is also available, along with dual CV/Gate outputs for driving modular and analog synths.

Each FANTOM EX model comes equipped with a premium keyboard and aftertouch support. The FANTOM 8 EX offers the ultimate weighted experience with 88 hammer-action keys, while the 61-note FANTOM 6 EX and 76-note FANTOM 7 EX feature semi-weighted synth action. Precision-crafted with decades of Roland development knowledge, these inspiring keyboards deliver the most expressive playability available.

Released in November 2023, the FANTOM EX Upgrade on Roland Cloud allows owners of the original FANTOM 6/7/8 models to outfit their instruments with the newly added EX features, including JUPITER-8, SH-101, and JX-3P ACB Expansions, n/zyme and JD-800 Model Expansions, two new grand pianos, and all other EX enhancements.

Availability & Pricing
The Roland FANTOM 6 EX, FANTOM 7 EX, and FANTOM 8 EX will be available in the U.S. in April for $3,199.99, $3,699.99, and $4,199.99 respectively."

Allinaire Korg PS3200 (PS3300 Emulation MAM RS3 Res) MS50 MS20 MS10 VC10 Vocoder SQ10 Seq SE500 Echo

video upload by Allinaire

"As a huge Korg fan I got to put together an Ensemble piece using 1978 era Korg Synths. The hero is the mighty PS3200 polyphonic synth playing homage to its big brother (and, as of 2024, soon to be re-released by Korg, the PS3300) by using the direct out of the 3200 into a MAM RS3 Resonator which recreates the famous PS3300 & 3100 modulated resonator circuit. The 3200 plays pads, base and noises.
Lead lines and extra pads via an MS20 into a VC10 Vocoder combo give a haunting breathy sound.
The SQ10 Sequencer drives the MS50 and MS20 synths for a rhythmic sequence and the MS10 with its famous pulse width modulation provides additional baselines.
Effects include the SE500 Tape Echo and the more modern Kaos Pad Mini.
All recorded on a Zoom R24 recorder.
Percussion utilises some sounds sampled from the various Korg Synths and is added in Ableton Live.

Recorded in April 2024, Wollongong courtesy of Jondent, with some additional sounds from my own original MS20 in Sydney.

The Video is mixed together bits of footage from the session but missed most of the playing and modulation action - but still it’s always nice to see some vintage Korg gear in action!

Additional notes: Some subtle detuning of the PS3200 individual notes was made possible via the Temperament Adjust mini pots. The PS3010 keyboard also provides for some interesting modulation effects via the joystick and the unique note triggering control. A Korg 3100 in the same studio verified the RS3 Resonator accuracy and the RS3 unit also is CV controllable like on the 3300. By using it with the PS3200 (which has 2 oscillators per note) it gets close to the functionality of a PS3300 but of course misses the fact that the 3300 has 3 Oscillators and 3 resonators etc. I look forward to the new PS3300FS announced by Korg at NAMM 2024."

Roland G-505 Guitar Synthesizer Controller, GR-300 Polyphonic Guitar Synth

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


via this listing

"Up for sale, a 1980s Roland G-505 Guitar Synthesizer Controller and GR-300 Polyphonic Guitar Synthesizer [SN 090427] in 100% original condition and in perfect working order, complete with the original 24-pin cable. First introduced in 1980 as a follow-up to the GR-500, the GR-300 is perhaps best known for its usage by Pat Metheny; produced at the venerable Fujigen factory in Japan, this versatile guitar synth can deliver a huge range of decidedly unique sounds, with a hexaphonic fuzz circuit, VCO synth, and combinations of the two. This GR-300 comes complete with the G-505 Guitar Controller, taking its design cues from a Strat with a sleek ash body, one-piece maple neck, and a trio of single coil pickups alongside the synth pickup.

The G-505 Guitar Controller guitar has plenty of natural sparkle and shimmer, and the Roland PU-134S pickups deliver a bevy of Strat-style tonalities via the five-way selector switch. Weighing 8lbs 12oz, the G-505 has been professionally setup here at Mike & Mike’s Guitar Bar with 10-46 strings, low action, and spot-on intonation.

The maple neck has a slender C-shaped profile carve with good shoulders, gaining appreciably more heft and roundness in the upper registers, measuring .810” deep at the 1st fret and 1.015” at the 12th. The fretboard exhibits light finger wear through the gloss, and the slender fretwire ostensibly benefits from a level and crown in this guitar’s lifetime, showing virtually no wear. This Roland plays cleanly up the 25 1/2“ scale with a straight neck and a responsive, optimally-adjusted truss rod, and the nut measures 1.650” (42mm) in width. The headstock features a bullet truss rod nut and gold “GR” logo, and the Gotoh tuning machines function reliably. The back of the headstock retains the silver foil serialized sticker.

The electronics on the guitar controller are untouched, with a control scheme including Master Volume, Guitar Tone, Guitar/EG Balance (Blend), VCF Cutoff Frequency, VCR Resonance, and LFO (Vibrato) Depth knobs. Additionally, the three-position Mode toggle enables on-the-fly switches between Hexaphonic Fuzz only (Mode 1), Fuzz and VCO synth tandem (Mode 2) and Synth only (mode 3). The controls are capped by the original sextet of knobs with ridged grips for easy adjustments, and the three-ply white pickguard rounds out the plastics.

Cosmetic wear on the gloss Metallic Blue finish includes a number of nicks and dings on the body as a whole, most prominent along the lower bout perimeter, with some finish chipping adjacent to the output jacks, and some very subtle texturing in the finish on the top. The neck profile retains its smooth gloss, with a handful of shallow marks that have no impact on playability.

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Making a Novation Circuit Live Set

video upload by Gabe Miller Music

Timestamps:
00:00 The Setup
01:33 Track 1
10:12 Track 2
13:52 Track 3
22:33 Track 4
27:30 Big ol chords
30:26 My favorite part
35:49 Track 5: it gets faster
41:43 Answering questions

New L-1 Triple Discrete Midside/Stereo VC Equalizer/Resonator. First fireup and workability test.

video upload by Aleksei Laman

"New module from L-1 Synthesizer - VC Equalizer/Resonator.
- 3 stereo/midside channels. 6 channels total.
- Midside, Stereo, Dual Mono modes.
- Oscillation mode.
- Equalizer and Resonator (bandpass filterbank) modes.
- Voltage control on cutoff Frequency accurately responds v/oct.
- Voltage control on Bandwidth.
- Bipolar voltage control on Level (negatibe voltage cuts, positive voltage boosts).
- Switches from bandpass to Low and High shelves.
- Bypass switch.
- Input level attenuator with overload LEDs.
- analogue circuit based on discrete components (matched transistor pairs).

Also available in mono - Quad (4 channels) and Dual (2 channels) variants."

DEMO - From Goa To Psytrance 2 - Novation Circuit Tracks Pack by A Force Truly Evil

video upload by Isotonik Studios

"A collection of 128 velocity-sensitive patches (64 original new patches + 64 additional bonus variations) focus on Psytrance and Goatrance sounds.

Includes hypnotic basslines, evolving synths, Virus-inspired sharp FM leads, 303 acid lines, Psychedelic effects and much more…

32 Basses (also usable as leads)
32 Leads/Arps
32 Polys
16 Pads
16 Effects
This pack is complete with 64 Psytrance samples with synthetic kicks and snares combined with an extensive collection of percussion, effects and synths.

11 Kicks
13 Snares/claps
8 Hi-hats
16 Percussions
8 Effects/Voices
8 Bass/Synths
PLUS!

24 Additional samples of kicks, snares, basses and synths.
18 High quality sessions/projects covering a wide spectrum of Psychedelic Trance styles, Full On, Classic Goa, Nu Skool Goa and Dark Psy.
Sessions include several scenes.
Includes additional sessions with new reverb and delay settings.
FROM GOA TO PSYTRANCE 2 MACRO SETTINGS

All macros follow the parameters assigned on Circuit Tracks.

Macro 1: Fatness and wideness, mix of oscillator detuning, unison and chorus for a fattened sound with more stereo amplitude/FM amount.
Macro 2: Filter frequency modulation via LFO/LFO rate.
Macro 3: Amp envelope release/amp envelope decay.
Macro 4: Filter envelope depth (first half for negative modulation, and second half for positive).
Macro 5: Filter frequency.
Macro 6: Resonance.
Macro 7: Portamento.
Macro 8: Distortion.

PLEASE NOTE: From Goa To Psytrance 2 is only compatible with Circuit Tracks, only From Goa To Psytrance is compatible with Circuit Tracks and Original Circuit.

AVAILABLE HERE: https://isotonikstudios.com/product/a..."

Mooging On A Saturday Afternoon

video upload by Circuit 3

"[Headphones On!] Did a little bit of Mooging today. Tomorrow I'm going to try some generative ambient with these two beautiful instruments."

Ekzil - "Fantasy dream" : Circuit Track + Volcas sample / keys / bass

video upload by Geoffroy AULAGNER

"for 2024 I decided to challenge myself to release a new song every month 😃
I'm already a little late, so I should release 2 songs this month 😅

I decided once again to use my Volca samples. I think it's my first video with the 3 Volcas !

This last song has many parts. I would really appreciate if you tell me what your favorite part is, and which part would need to be reworked for the "mastered" version 😉

I resumed a music that I had composed on Ableton Live some time ago. I decided to take it again in dawless format 🎹
You can listen the original one here : https://soundcloud.com/ekzil/enter-th...

I hope you enjoy listening to it as much as I enjoy making it 🤩

Setup:
Novation Circuit Tracks: Drums, pad, second melody
Volca Samples: second layer of drums / transitions
Volca Keys: Lead melody
Volca Bass: Bass
Korg NTS-1: reverb, chorus, build up with the noise oscillator
"

JCS BN-1 "Bakery of Noise" Digital PCM Synthesizer – One of a Kind

Note: Auction links are affiliate links for which the site may be compensated. "JCS BN-1" 4-Bit Linear PCM Synthesizer - Part 1 (Prototype)

video upload by blarrer20

"JCS BN-1" 4-Bit Linear PCM Synthesizer - Part 2 (Finished)

video upload by blarrer20

"This video demonstrates the final version of a 4-bit Linear PCM synthesizer that I have designed and built over about two months. It makes use of mostly Soviet clones of 7400 and 74LS series TTL chips, with no microcontrollers involved. It has a 256 x 4 SRAM chip that allows the user to program whatever waveforms may be desired, with looping capability, and starting at whatever point desired. Most importantly, it is able to be controlled by an external source, for example a keyboard instrument. It also has a frequency doubler circuit. This video is part 2 of 2, showing the finished product.

If you want to skip right to the sounds, go to 27:08"

via this listing

Pics of the inside below.

Details from the listing:

CLICK FOR MORE »

Behringer Edge Modular Patches/Patterns/Samples No Talk Demo

video upload by Anton Anru

"Behringer Edge «Modular Grooves» is a collection of 50 patches + patterns: 17 Percs/Drums, 16 Basses, 17 Synths. It is dedicated to the modular vibe, loved for its analog warm sound, experimental attitude, rich opportunities, unique features and tones, and inspirational workflow.

💎 The presets feature various colors: warm, noisy, detuned, distorted, as well as mild, clean, soft, punchy, dark, bright, deep, and airy.
Some timbres are great to play the first role in tracks or jams, while others will work perfectly as additional parts.
You may use the patches as they are, but I strongly recommend tweaking the knobs to develop the timbre during your performance and get an exciting experience.

📥 Get the soundset: https://antonanru.sellfy.store/p/edge...

💽 The soundset also includes 24/41000 WAV samples, accompanied by BPM and scale information. You can use them as they are, or you're free to resample, edit, and apply effects. These samples offer a versatile material for your experimentation.

📚 The soundset is presented in PDF format. Each page contains notes that explain how the patch works, what parameters are worth tweaking during playback, and how to develop the timbre during a performance. If you make all the settings consciously and try the things mentioned in the notes, you will learn a lot about the synth and discover its true depth.

🎧 There are audio examples of all patches inside the folder with the soundset.
To recreate these patches, you need up to 3 patch cords.

Tuning is an important part of the final result, but it’s quite difficult to depict the settings of oscillators frequencies and sequencer knobs as they are quite small, and even a tiny movement may shift the pitch. I tried to be as accurate as possible to draw these settings (the way they play in the audio examples), but don’t be upset if you can’t recreate the same melody. You may spend some time to catch the same melody, or you may use the settings as a starting point for your own melodic or percussive lines.

I used an external USB clock from Ableton Live. When external clock is used, TEMPO knob has no effect, so I left its value on some default position. Only tempo division (SCALE) changes the playback. If you use EDGE as a master clock device, change TEMPO to your taste.

🔔 The video contains demo tracks featuring these presets. I've added other samples, drums and pads, to create a complete musical context. The EDGE sequences can be quite complex, producing various timbres at once, like bass and percussion. To help you distinguish, I've marked the EDGE and ADDITIONAL SOUNDS with different colors.
These ADDITIONAL SOUNDS are not included in the soundset.

CLICK FOR MORE »

Roland Jupiter 4 Jam

video upload by Circuit 3

"#SynthSunday When I rebuilt my studio last year to make a more creative space I hooked up the TR606 drum machine to trigger my Roland Jupiter 4. A great combo. Jammed live including a little @thomasdolby reference near the end . #Synth #Music"

Chase Bliss Generation Loss MKII Sound Demo (no talking) with Synths: Circuit Tracks / Roland S-1

video upload by Limbic Bits

0:00 Ambient Pattern
1:22 Broken Tape from the 80s
2:27 Ignite
3:21 Ambient IDM Lead
4:12 Chillout Base
5:57 Indie-Lead (old and overdriven tapes)
7:22 Dronabinol (Ambient with subtle wow / flutter)
9:56 Generation Loss MKII as Drum Processor
11:16 Epic VHS Outro
11:56 Formant Acid (Classic Mode)
13:15 Generation Loss MKII as Sound Source (Drone)

▶ Online shop with Patch Banks for Ambient, Techno, IDM, and Electronica: https://limbicbits.com

Circuit 3 New Collaboration

video upload by Circuit 3

"#NewMusicMonday an as-yet unreleased collaboration 'I Could Not Breathe'. Can't wait to share this. Worked with some great friends on this track. #synth #collaboration"

Sonic Seed Trot & Hadouken

video uploads by Sonic Seed

Hadouken via Sonic Seed

S&H In S&H trig S&H out

S&H In 8, S&H Trig 9, and S&H Out 10 are a set of sampling and holding circuits. S&H In 8 inputs the signal that needs to be sampled,S&H Trig 9 inputs the Trig signal that samples the input of S&H In 8, and the sampling result is held until the next Trig signal triggers a new sampling, and the result is output at S&H Out 10. When S&H In 8 is not plugged in, the Trig signal of S&H Trig 9 samples the Noise Out of 2, resulting in a nearly random sampling result. The sampling-hold function can be triggered by pressing button 5 when the S&H Trig 9 has no insertion line.

Noise Trig & Noise Out

Noise Trig 1 and Noise Out 2 are part of the Noise generator, which continuously outputs a Noise without any input, which is the result of the sound amplified many times after the breakdown of the Zener tube. If a wire is inserted into the Noise Trig jack, the Zener tube will stop the breakdown state. At this time, give a signal, which can be Trig, square wave or any other signal, only if it is higher than 3.3v, it will again break through the Zener tube, constantly reciprocating, changing the output effect of the Noise Out.

Offset Out

Knob 3 changes the output voltage value of Ofset Out 4, when the button is pressed 5.Ofset Out 4 will output voltage according to the position of the knob, release the button, and the output is terminated.

Aux in & out

Aux In 6 and Aux Out 7 are a set of envelope non-tunable Vcas triggered by button 5. Aux In6 can be an audio input or other signal input, press button 5,Aux In6 input will be output from Aux Out 7 after adding an envelope control. Noise Out2's noise output is added to AuxIn 6 when AuxIn 6 is not plugged in. This means that you can directly control the noise output in Aux Out 7 by pressing button 5."

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Introducing Vongon: Replay // Polyphonic Synth & Muti-Mode Arpeggiator

video upload by MAS Distro

Update: new demos added below.

"Join us as we embark on a sonic journey with Replay, a new polyphonic synthesizer and multi-mode arpeggiator from Vongon. First up we test its prowess in the realm of synthwave - spoiler alert: it excels! In the latter half, we delve into the interface and its versatile capabilities complete with an immersive sound exploration, unleashing the arpeggiator and tweaking various parameters for a mesmerizing experience. Video and music production crafted by DeadMidi.

Gear Used:
Vongon Replay Polyphonic Synth/Arpeggiator
Vongon Polyphrase Stereo Echo
Vongon Ultrasheer Stereo Pitch Vibrato & Reverb"

Vongon Replay!

video upload by Fireghosting

"Replay is a six-voice polyphonic synthesiser and a little window into synth heaven. Lush pads, tiny plinks, snappy arpeggios, warbling melodies, resonant filters with midi connectivity and a sleek web interface!"

Vongon Replay Virtual Analog Synth | Overview + Exploration

video upload by Sarah Belle Reid

"A demo and walkthrough of the new polysynth Replay, by Vongon. Replay is a 6-voice polyphonic synthesizer with a compact form factor that takes inspiration from classic poly synths from the 1980s, like the Roland Juno series + the Korg Polysix.

This video includes an overview of what Replay is and how it works, along with a number of sound examples demonstrating Replay on its own and in combination with FX pedals, to create a wide range of sounds from classic synth leads, pads, and arpeggios to more experimental textures and noisy sound worlds."

TIMESTAMPS:
00:00 Intro
02:45 Replay Overview & Tour
17:03 Musical Demo
19:09 Filter Experiments on Replay
23:50 Exploring the Arpeggiator
28:00 Combining Replay with FX

Vongon Replay: This synth rules!

video upload by Matt Lowery

"Today we take the beautiful Replay by Vongon out for a spin and also have a conversation about synthesis basics in honor of my five year synth-a-versary. Vongon really hit it out of the park with this instrument and--whether it's your first synth or your 10th-- there's a lot here to love."

VONGON REPLAY Polyphonic Synth & Arpeggiator | Can I write a synth-pop track with it?!

video upload by Ambient Endeavors

"Man, I just love gear that makes you approach writing differently. That reminds you how fun it can be to find new sounds and feels, explore new ways of composing. And today, the new Vongon Electronics REPLAY is doing that for me - a super fun, approachable, compact polyphonic synth and arpeggiator."

via Perfect Circuit

"The Replay is the first synthesizer offering from boutique pedal designers Vongon, offering a six-voice virtual analog sound engine with multi-mode arpeggiator. Inspired by beloved keyboard synths of the early 80s like the Roland Juno and Korg Polysix, the Replay faithfully delivers warm and lush vintage timbres in a compact package that drips with modern aesthetics and utility. In Replay, Vongon has struck an impressive balance between scope of features, user experience, and overall sound quality. The result is an instrument that sounds wonderfully rich and nostalgia-laden, with an interface that is easy to understand - perfectly approachable for a beginning synthesist, yet deep enough to inspire veteran wigglers to explore the edges of its capabilities.

Replay's front panel is incredibly straightforward, with simple controls for its primary functions conveniently accessible. Additional options are selected via the "secret menu" alt functions. At the heart of Replay's sound engine are multiple selectable waveforms for its primary oscillator, with ramp, square, triangle, and sine modes. Noise amount, pulse width modulation, and LFO pitch modulation offer further timbral manipulations before passing to the four-pole, low-pass filter. Highly resonant and warm, the filter includes modulation depth controls from the primary envelope, keyboard tracking, and the LFO. The VCA features options for maximum amplitude and modulation source. An organic and responsive ADSR envelope and the on-board LFO round out this straightforward voice, with flexible modulation routing options between the main controls and alt functions.

The multimode arpeggiator on the Replay opens up a variety of fun and engaging options for controlling the synthesizer voice. Latch and keyed modes, in addition to the three poly modes available on the alt functions, offer a variety of ways for creating snappy and spiraling arpeggios and fuzzy, morphing pads. Up/Down, order, and random modes provide further ways to organize pitch material. The alt functions allow the LFO to be clocked by the ARP speed, creating rhythmically modulated phrases that are a joy to get lost in.

All in all, the Vongon Replay delivers a premium virtual analog experience that feels streamlined and purpose-built for getting beautiful analog sounds quickly. With plenty of depth in sound color and just the right amount of tricks up its sleeve to keep you immersed in music making rather than menu diving, the Replay is sure to become a go-to instrument for lush pads and other classic synth timbres. Its physical design is beautifully simple, and the responsive feel of its Cherry MX keys invite playful interaction that is hard to put down. Of course, the Replay is a lovely source for running through Vongon pedals, creating an instant synthwave or soundtrack machine paired with an Ultrasheer or Polyphrase. If you're needing a straightforward synth with limitless sonic charm, the Vongon Replay is a wonderful choice.

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Robust 🦸‍♂️ (Roland TR6S Rhythm Performer // S1 Tweak Synth // J6 Chord Synth) Synthwave

video upload by 2-Minute Warning

"In the wake of my previous video, here's a synthwave-like jam featuring the same 3 little boxes from Roland: the TR-6S (Drums), the S-1 (Bass) and the J-6 (Arp/Chords) 😉

The track starts with a drum pattern from the TR-6S where I only used the TR-707 Analog Circuit Behavior engine (I.E. no static 707 samples), modeling the quirks and instabilities of the analog envelope and amplifier stages that came after the D/A converter 🤩 (the TR-707 was PCM based, but still had some randomness thanks to the analog part after the D/A converter).

I also used the DRIVE master effect of the TR-6S to add some dirt and energy (the DRIVE somehow also act like a compressor).

I recorded 3 DRUM patterns (2 main parts and 1 break) but as I used the probability, sub probability, parameter-lock features etc. the drum patterns seem to be longer than 1 bar!

Then come the BASS (played by the S-1, I recorded 4 patterns which are 4-bar long for this) and the ARP/CHORDS played by the J-6 (I decided not to sequence this instrument as I wanted to trigger it live and bring some organic fluctuations to the track 😊).

For the sync part, the TR-6S is sending MIDI to the S-1, and the S-1 is sending analog clock to the J-6 (there was no need to start the J-6's sequencer as the ARP/CHORDS were triggered in real-time)."

Corsynth Drum Modules + Transistor Mixer

video upload by NOISEBUG

"Corsynth - Massive Drums + Harmonic Mixer

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.

#synthesizer #modularsynth #synth #mumodular #dotcom #corsynth #5u"

https://www.noisebug.net/

Meet Novation's Synth Family: Bass Station II, Circuit Tracks, & Summit

video upload by B&H Photo Video Pro Audio

"There are 100s of synths to choose from, so which do you buy? Gabe discusses 3 synths from Novation--the Bass Station II, Circuit Tracks, and Summit to check out how they sound together and individually!"

0:00 Intro
1:25 Opening Demo
3:30 Bass Station 2 Overview
2:42 Firmware updates & added functionalities
4:49 AFX Mode
5:48 Synth Controls Overview
6:38 Bass Station 2 Demo
8:26 Circuit Tracks Overview
9:26 Creating Patterns
11:04 Sequencing External Gear
11:46 Effects and Sidechain
12:55 Customizing via Components
13:23 Summit Demo
15:48 Summit Overview
17:38 Performance and Modulation Controls
18:08 Front Panel and Synth Controls
19:14 On-board Effects
20:06 Final Thoughts

Fun Times with CV & Gate

video upload by Circuit 3

"If you know synths and are a bit of an expert this video isn't for you. But: are you synth curious? Grab a drink and make yourself comfortable. Watch me learn how to use some of my synth equipment. My goal was to use only "old school" voltages to control the equipment. CV stands for 'control voltage' and gate means a pulse of electricity which can be used to cause a note to start playing or to tell an electronic instrument what the tempo is. If you liked this ... buy my music!

If you'd like to hear what happened when I pressed record and improvised live?"

Patience [Live Performance]

video upload by Circuit 3

"Recorded live using analog synthesizers controlled by a hardware sequencer. My goal was to use only "old school" voltages to control the equipment. This is part of a project in development. It will probably feature but possibly in a new mix and edit."

Novation Circuit Tracks Pack by Techtronix

video uploads by Isotonik Studios

AVAILABLE HERE: https://isotonikstudios.com/product/k...

"Ever wanted a real sounding piano Patch on the Circuit tracks? Or maybe an acoustic guitar bass, that could pluck more if you hit it harder, and yet retain its low end autheticity. Keys brings an end to this search allowing you create realistic sounding acoustic music such as rnb and soul and a lot more. no more trying to work out a way to get a piano in your sample pool.

Using old synthesis techniques such as La Synthnesis, Freqency modulation, and slight wavetable manipulation, it is possible to create the slight nuances that make things resonate in an authentic way and play naturally on a keyboard or circuit Keys does this in order to bring you traditional sounding acoustic instruments.

Featuring a huge amount of authentic sounding instruments in the patches and crackle samples, aswell as chord samples. This pack makes it very easy to create your own version of an nostalgic track in any genre and add that flavour to sound.

With over 16 sessions boasting 9 different genres, Keys leaves no stone unturned transforming the circuit tracks in to something beyond what it was intented for. you will find many new techniques in the sessions such as shifting steps, swing, a new scale probability trick if you can find it!?!?

Velocity sensitivity is key here, please make sure to turn it on.

You will find that if you play softly on bass guitar, it is more subby, but if you play hard or programme in loud notes you will here the twang. similarly on all live instruments, velocity plays a big part.

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