Multi-timbral / Multi-Voice FM and sampling demo on the Percussa mSSP

Published on Dec 17, 2018 PERCUSSA

"Layered FM and sampling multi-timbral demo, in which we tweak ratio/detuning parameters of FM operators of the FM part of the patch. Each voice in the patch consists of 2 sine oscillators with amplitude envelopes, as well as one sample player, looping a vocal sample. The voices go to an internal bus and reverb module. In the second part of the video we switch to a different FM patch without sample playback in the voices, where we tweak amplitude and modulation envelopes of the FM operators. All sound synthesized on the mSSP and recorded on the big SSP.

Back the Percussa mSSP at https://www.kickstarter.com/projects/...

Sample by elnaturel on freesound.org, see https://freesound.org/people/elnature..."

New FREE Synth for iOS !! - King Of FM from Audiokit!

video upload by Electronisounds Audio

"New 100% FREE synthesizer from Audiokit for iOS!

Grab it here for FREE: https://apps.apple.com/us/app/king-of..."

"Completely Free, Forever! Exclusive sounds from a hit-making synth. Make music. Share it. We want to hear YOU! Feel free to tag me, Thanks - @AnalogMatthew

Classic & new presets, faithfully recorded from original retro 80s Synthesizers: DX7, DX7II, TX81z, and SY77 sounds

This app contains the exclusive “Holy Grail” DX7 samples used by Herbie Hancock in the studio. Plus, this app is used by producers for Sting, Jay-Z, Alicia Keys, John Legend, and more!

KING OF FM is the reboot of FM Player. For the first time, these award-winning sounds are available for iPhone & Silicon Mac. It’s no longer the sound of the past. These sounds are being used on hit records now. This app is the sound of TODAY!

'This app filled my eyes with tears when I first played through the sounds. It brought back memories of my youth, I was transported to a time when anything and everything was possible.'

Who knew a humble iPad musical instrument could bring so much joy to people?"

Electronisounds:
WEBSTORE ► https://www.electronisounds.com/
PATREON ► https://www.patreon.com/DeanDaughters
INSTAGRAM ► https://www.instagram.com/electroniso...
TWITTER ► https://twitter.com/electronisounds

Webcor The Music Machine w/ Original Box

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

via this auction

You can find a demo of the Sankei model here.

"1978 Sankei TCH-8800 Organ Rhythm Drum Machine Radio Cassette Combo Japan RARE!

This one was relabelled as one of the last hurrahs for Webcor of 1950s and 60s tape recorder fame, and named The Music Machine.

Electronic organ and sound system made by Sankei Manufacturing Co Ltd, Japan, 1978.

A four-in-one electronic organ combination sound system consisting of electronic organ, automatic rhythm unit, cassette player, mixer, amp, and radio.

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Moog Minimoog Voyager White (Performer Edition)

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

"Moog Music presents the award-winning minimoog Voyager Performer Edition, an all analog performance synthesizer incorporating virtually all of the functions of the original minimoog synthesizer, produced from 1971 to 1984, and a number of new features that makes this the minimoog for the 21st Century.

This investment will last you a life-time. The Voyager is paneled in ash with a stunning custom finish. Features include 3 ultra-stable oscillators, dual moog filters, 4-stage analog envelope generators, flexible modulation busses, and much much more...

If you want THE Moog sound, this is it. Period. This has Bob Moog's legendary synthesizer design expertise in its circuits. Say no more. It sounds amazing, looks amazing, and feels amazing. There is no substitute.

The Voyager has been awarded a "Key Buy" award from Keyboard magazine, a "Platinum Award" from Future Music magazine, an "Excellence Award" from Music Tech magazine, a TEC award from Mix magazine, and the "2003 Editor's Choice award" from Electronic musician magazine.

Wait...

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Vintage Bell Labs Digital Synthesizer 1977 Demo Video by Creator Hal Alles

Vintage Digital Synthisizer 1977 Published on Jun 15, 2015 urcich

Roger Powell at 5:22. Further below is a video of Laurie Spiegel playing the synth. See the Bell Labs channel label at the bottom of this post for more.

It's fascinating to hear what the initial intent of this synthesizer was.

via Hal Alles on the Synergy list:

"Since a few people have expressed interest, I posted a video on youtube of a demo using the synthesizer I developed at Bell Labs.

This demo was made as a backup for a live demo for the celebration of the 50th Anniversary of Talking Motion Pictures.

Hence the references to the movie industry.

The live demo was done on the stage at the Palladium in Hollywood in 1977, so the backup was never shown.
It started life as studio video tape made a few days before the show, converted to 16 mm film, then later to VHS tape, then to DVD, and finally the digital version posted.

Very few people have seen this – I did not have a copy until 1995.

Hal Alles"

Laurie Spiegel plays Alles synth - temporary replacement

Uploaded on Apr 27, 2009 Laurie Spiegel

"This 1977 tape is one of the earliest examples of purely digital realtime audio synthesis. It manages to achieve an analog synth sounding quality, but it is entirely digital synthesis and signal processing.

The interactive software I wrote and am playing in this video recycles my keyboard input into an accompaniment to my continued playing, which is why I called it a "concerto generator". I use part of one of the keyboards for control data entry, and the small switches upper right to access pre-entered numerical patterns. The sliders are mainly pre-Yamaha FM synthesis parameter controls, for the number of harmonics and amplitude and frequency of the FM modulator and carrier that constituted each musical voice.

Until they restore the copy suffering from data corruption please look at this copy instead.

Comments can continue to be left on the original's page where there have been many views and comments views, here:

http://www.youtube.com/watch?v=K4T3eT...

Thanks for watching,

- Laurie"

Update via Spiegel's Reflections in the comments: "I've posted some additional info about the synth Hal Alles built that's featured here along with a link to more technical info. See my extended comment near the bottom of this page":

"I never heard this called "Alice" till the last couple years. Don't know when that name first surfaced.
A correction: This was at the time considered the world's first ***realtime*** digital (not "additive") synthesizer. Yes, it could do additive synthesis but was quite flexible as to how the oscillator could be used. I used them as FM pairs, with both the modulator and carrier of each FM pair being additive, with the number and amplitude of their harmonics controlled by the slide pots. (This video of me playing it shows is a rare example of pre-Yamaha DX-series FM synthesis.) The breakthrough was to do digital synthesis in realtime so it could be interactive. Prior to this technology, digital computers were not fast enough to produce audio in real time and it was not possible to do digital audio interactively.
There were 72 slide pots. (72 oscillators were mentioned above instead). The number of oscillators depending on how the components were programmed to interconnect. For the specifics of its synthesis architecture, please see Hal Alles's paper describing the system in Computer Music Journal, Vol. 1 #4, which you can find on my website at http://retiary.org/ls/obsolete_systems/Alles_synth_1977.pdf
The system was not dismantled as it says here, but donated to the Oberlin College Music Dept. For all I know it is still there. I'm not sure why Gary Nelson and the group there were not able to get it running. I had heard that it was dropped during the move, but alternatively, we programmed it remotely from (if I remember right) an LSI 11/45 computer in another part of the Labs. I don't know to what extent it could be programmed independently of an external computer with a compiler etc. installed, so that might have been a major hurdle for them. This was 1977 at Bell Telephone Labs, so the purpose of the system was never to make a marketable music system but to develop and test the new designs of its components, and I was under the impression a bunch of new patents resulted, The ideas built into this instrument were not lost to music though. Crumar created various synthsizers based on its internal architecture. I think (but am not sure because I never had direct experience with them) that those included the Crumar GDS and Synergy.
From the liner notes of my 'Obsolete System' cd:
This composition was commissioned by Bell Labs and the Motion Picture Academy for the 50th anniversary of talking pictures. Working with the Alles synthesizer, with its extensive array of input and output channels for control, was a real pleasure after years of GROOVE's extreme restrictions. The interactive software I wrote for this composition recycles the player's keyboard input into an ongoing accompaniment. However, writing the software from a remote DEC PDP-11 computer [..] in the new "C" computer language still undergoing frequent change, within a still-experimental UNIX operating system, without the control inputs or sonic output, under a tight deadline, while the Alles synthesizer hardware was still under construction, turned out to be quite an adventure.

It's also not necessarily true that only 1 composition survives from this instrument. Roger Powell also composed something on it I believe, though I don't know if he finished or recorded it. And I have a couple of reel-to-reel tapes I recorded on it that I haven't listened to since then (1977). It is possible that something on one of those open reels might be worthy of being considered additional music. At some point I will work up to transferring them to digital and find out."

TOTO'S 1981 YAMAHA GS-1 FM SYNTH SN 1013

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

via this auction

"Up for sale is a Synth that Toto had during the "Rossana/Africa" days. Apparently I was not clear in my earlier listing that THIS ACTUALLY BELONGED TO TOTO. I can provide evidence of this; call my customer service if you doubt that. There were only 100 of these built- they cost $25,000 and are pretty heavy. This was the immediate predecessor to the Yamaha DX-7 which was also based upon the new FM Synthesis theories developed by Professor John Chowning at Stanford University. (Baldwin & Hammond are STILL kicking themselves for NOT jumping at Prof Channing's formulations).

For the history of this unit, Sound on Sound dot com has a lengthy overview of not only this instrument, but the battle that was waging between the different companies of the time...

The controls are deceptively simple and studio musicians LOVE these machines because of the sounds, and textures that can be coaxed out of them when in the right hands. To the left it has Pitch Control (there is a master pitch conroller underneath to Tune the unit (see last photo)). Next there are TREMELO & VIBRATO- each is Variable and controlled by the left two foot pedals. The Right Foot Pedal is a damper. Next is an ENSEMBLE button to the left of the TOUCH CONTROL button. These two buttons woking together might be called "PSYCHEDELIA", because the combination of the two is Startling. Sometimes Ensemble sounds like a Chorus Effect. When you Really slam a key the effect is HEAVY Distortion. (i.e. THIS is a PLAYER'S EXPRESSION MACHINE).

Three band EQ.

There are 16 SOUND BUTTONS that light up when One is selected. The sounds are loaded from the SOUND STRIPS which are like little tiny plastic bookmarks with magnetic backing. As the photos show, I have both the SOUND LIBRARY & VOLUME ll of the SOUND LIBRARY.

AS MENTIONED ABOVE, THE FIRST SOUND STRIP (A-1) IS MISSING !!!

You place the "A" End of the SOUND STRIP in the mouth of the reader to the right of the keyboard. When you press the designated sound button (1-16) the mechanism pulls the SOUND STRIP inside much like a credit card machine. When it has read the "A" end, the SOUND STRIP is returned to you. You have Now loaded sound onto ONE of the TWO onboard computers in the GS-1. You can now load the "B" end of the sound strip onto the SECOND Computer. UNLESS you want to experiment and load another "A" or "B" end into the second computer (Yamaha actually encouraged "mixing it up".). If you like the new sound you have created, you can record it and store it on a BLANK SOUND STRIP. (there are 8 blank strips provided). Again, THIS is a PLAYER'S EXPRESSION MACHINE!

The Yamaha engineers REALLY "knocked themselves out" on the design of this- the way the sounds can be loaded into the TWO computers, giving the option of 16 sounds YOU HAVE CREATED coupled with the interplay of the Touch-Sensitivity and the Expression functions, coupled (again) with the real-time pedal control of both the Vibrato and Tremelo functions - it's like "The Space Shuttle for Keyboard Players".

If you look at the video of Toto's AFRICA, you will see this machine on stage. Perhaps you are not much of a keyboard player, but a HUGE Toto fan, and turned your dope dealing money into a fortune on Wall Street. Wouldn't it be nice to have this in your living room so your kids could learn the "bum bum bum ba bum bum bum" intro to "Africa"? Or perhaps you are a PLAYER, and want the challenge of the predecessor the the famed DX-7 (which "kicked butt and took names"). Or you have a studio and need THIS to complete your keyboard stable- your clients might feel a tad humbled to be able to sit at Toto's Keyboard. ('let's see shall I up my rates 20, 30, or 40 per cent?')."

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NAMM2021: Yamaha Introduces YC73 and YC88 Stage Keyboards with YC OS v1.1

The YC61 (additional posts) was introduced back in NAMM 2020. The YC73, YC88, and OS v1.1 are new. Details follow.

"YC stage keyboards feature great sound, expressive touch and modern design. YC is powered by our proprietary Virtual Circuitry Modeling (VCM) organ engine which recreates individual component behavior to reproduce classic organ character and most important - sound. It all comes with acoustic/electric pianos, and iconic FM synth sounds that Yamaha made famous.

Three keyboard actions are available for different players: YC61 features 61 semi-weighted 'waterfall' keys for organ-focused players, YC73 has 73-key weighted and balanced keys for keyboardists, and YC88 uses an 88-key weighted triple-sensor action with synthetic ebony and ivory keytops for pianists."

Some key features include:
- Exclusive Yamaha Virtual Circuit Modeling (VCM) to capture not only the sound of classic “drawbar” organs, but also their behavior down to the component level
- A distinctive rotary speaker effect
- Nine drawbars that shape the sound by controlling individual footages and essentials like percussion and vibrato/chorus enhance the tone
- The organ section also features FM synthesis, the now-famous synthesis method pioneered by Yamaha

In addition to the new YC73 and YC88, Yamaha has also introduced YC OS v1.1, the first OS update for its popular YC Series Stage Keyboards.

And the press release:

Yamaha YC73 and YC88 Stage Keyboards Put Classic Drawbar Organs and Vintage Keys in Packages for All Musicians

BUENA PARK, Calif. (January 14, 2021) — Yamaha will be showcasing the YC73 and YC88 Stage Keyboards during NAMM’s virtual Believe in Music week starting January 21, 2021. The YC73 and YC88 combine great-feeling new keyboard actions with the soulful sounds, drawbar control, and gig-ready ease of use of the YC61 (introduced in January 2020). The YC73 features 73 weighted, balanced keys and is ideal for keyboardists who divide their playing between organ, piano, electric piano, clavi, synth, and other staple keyboard sounds. The YC88 is meant for musicians who prioritize the touch and response of an acoustic piano, offering 88 weighted Natural Wood keys with triple-sensor action, synthetic ebony and ivory key tops. Both add options alongside the semi-weighted “waterfall” action of the YC61 — the key shape preferred by organ players.

The YC73 and YC88 employ exclusive Yamaha Virtual Circuit Modeling (VCM) to capture not only the sound of classic “drawbar” organs, but their behavior down to the component level. VCM also reproduces the distinctive rotary speaker effect, which most keyboardists consider inseparable from the organ itself. In other words, the YC series does not merely take a digital snapshot of the world’s most imitated organ sound — it builds that sound from the ground up. This results in unprecedented authenticity.

In true vintage fashion, nine drawbars shape the sound by controlling individual footages, and essentials like percussion and vibrato/chorus enhance the tone. The player can also customize key click, “leakage,” rotary speaker speed changes, and more. The keyboard may be split between upper and lower organ registrations. In addition to VCM modeling organ, the organ section also features FM synthesis, the now-famous synthesis method pioneered by Yamaha.

Complementing the organ, two “Keys” sections utilize proprietary Yamaha “Advanced Wave Memory” which provides authentic acoustic and electric pianos, strings and brass, analog-style synth sounds, and much more. The Keys section features two dedicated effects processors along with configurable envelope and filter controls for real time manipulation and interaction. Like the Organ section, the Keys section also features FM synthesis for many classic sounds like DX7 electric pianos, leads, basses and more. The Keys section may also be split with the organ section across the keyboard or played from an external MIDI controller keyboard to either the Organ or Keys section.

“A staple of keyboard playing is access to classic keyboard sounds,” says Nate Tschetter, manager, Synthesizer Marketing, Yamaha Corporation of America. “Now more than ever, players want more control of those sounds to express themselves. The YC series gives them that control to easily make adjustments on the fly. And now with the introduction of YC73 and YC88, there are options to suit every player in every situation from the perfect ‘top keyboard’ in YC61 to the great ‘all around’ YC73 and finally our best stage piano action in YC88.”

Pricing and Availability

The Yamaha YC73 and YC88 Stage Keyboards will ship to retailers beginning January 21, 2021, at manufacturer’s suggested retail prices (MSRP) of $2,999 and $3,499, respectively.

To see the Yamaha YC73 and YC88 Stage Keyboards on display during Believe in Music week, January 21-24, 2021, please register online at https://attend.believeinmusic.tv

For more information about the YC78 and YC88, visit http://yamaha.io/YC

Bitwig and Bastl Instruments Promotion

Published on Jun 1, 2016 bitwig

"Today we bring great news to all lovers of hardware synthesizers:

Buy Bitwig Studio between June 1st and June 5th, 2016 (23:59 CET) and get a Bastl Instruments Trinity hardware synthesizer for free.

Pick one of three Bastl Instruments Trinity modules: Drum, Mono FM and Poly.

Already have a license? Get a great deal from Bastl Instruments and claim a 15% discount off any product in their webshop.

We're giving away 3 Bastl Instruments Trinity Modules in our #MyBitwigSetup contest:
While the promotion is running, follow @bitwig on Instagram, share a picture of your setup featuring Bitwig Studio, and use the hashtag #MyBitwigSetup. Good luck!"

Playlist:
Bitwig and Bastl Instruments Promotion

Trinity Drum - "The Trinity drum is a powerful 5 voice polyphonic drum sample player combined with a step sequencer."

Bastl Trinity Mono FM - "The Trinity Mono FM is an experimental monophonic FM synthesizer equipped with 1 oscillator, 3 modulators and LFO."

Trinity Poly - "The Trinity Poliy is a 3 voice polyphonic synthesizer. A great device for creating vast sound variations, from drums to melodic lines."

NAMM: Sneak Peak on New MOOG Products

via Peter Forrest on the AH list:

"If I missed some posts, forgive me.. but I just saw that Future Music February UK edition has details of three interesting Moog items:- a Little Phatty II with arpeggiator and USB; a retro Voyager with no MIDI, presets, or touchscreen but 'enhanced modulation', different knob layout, and a lower price; and the MP-201 pedal - USB, MIDI, and four CV outputs.

Maybe, I just thought, FM jumped an embargo on this. In which case apologies to Amos and the Moog company, but if the guys who read FM can know about it, I guess AH can as well. [and MATRIXSYNTH]

Same mag has my interview with Peanut, the keyboard player with the Kaiser Chiefs, whose favourite stage instrument is and always has been the SH-101. He's had all his keyboards re-finished in white by list member Jeff Toman of Custom Synth. They look very good indeed. (Kaiser Chiefs are one of the top indie/rock bands in the UK, and their live shows are legendary.)

Peter F"

Regarding photos:
"There were photos, yes.
But although watson asked really nicely, I'm not going to do it.
I just checked on the Moog site, and it's obvious that FM did forget an embargo, and that's basically cheating in magazine / manufacturer circles.
I doubt they meant to, but there we go.
Both look good. The retro Voyager is like a cross between a Mini and a modular in visual design - lots of module-like vertical divisions between sections.
I expect pics will be up soon enough on the web.
Peter"

I completely respect Peter on this one, but if you have a shot, and feel like sending it in, feel free. FM UK is print and it's been released meaning all of the UK can see it. If no one does send one in, we'll know soon enough as NAMM starts tomorrow.

Pittsburg Modular Officially Introduces Lifeforms Eurorack Systems

"Introducing Lifeforms Eurorack Systems
Our best sounding synthesizer yet, Lifeforms systems are available in three configurations. System 101, System 201, and System 301 are the perfect gateway to the eurorack modular synthesizer world.

Interactive inspiration machines. The next generation of our System line of eurorack synthesizers harnesses the power of the new Lifeforms modules and Structure enclosures. Designed around the Lifeforms SV-1 modular analog synthesizer voice and anchored by the classic Pittsburgh Modular filter and two full range analog oscillators packed with harmonically rich waveforms, the Lifeforms Systems offer a rich sound palette with the flexibility of an open, fully patchable analog voice architecture.

The System 201 and System 301 also include the Lifeforms KB-1 pressure sensitive keyboard controller. The pressure sensitive keyboard maximizes the creative process with arpeggios, sequences, triggers, voltage memory, and more. More information on the entire Lifeforms line is available at lifeformsmodular.com.

Evolution of the Synthesizer Voice
The Lifeforms SV-1 is a fully patchable synthesizer module, destined to be the heart and soul of any eurorack modular system. It features two independent, full-range analog oscillators, and the unmistakeable sound of the Pittsburgh Modular filter paired with a highly curated set of modular tools designed to fuel the creative fire. More information on the Lifeforms SV-1 is available at lifeformsmodular.com/sv-1.

Control At Your Fingertips
Shape music like never before with the Pittsburgh Modular Lifeforms KB-1 pressure sensitive controller. The Lifeforms KB-1 eurorack module provides a multi-function, expressive, capacitive touch keyboard designed for performance. It contains a powerful one octave pressure sensitive keyboard complete with arpeggiator, step sequencer, preset voltage memory array, and a pair of multi-mode trigger pads. Eleven patchable outputs and a deep feature set enable an unprecedented level of control over any eurorack system. More information on the Lifeforms KB-1 is available a lifeformsmodular.com/kb-1."

Lifeforms SV-1
Analog Modular Synthesizer
Suggested Retail Price $699

"The Heart and Soul of Modular Synthesis
The Pittsburgh Modular Synthesizers Lifeforms SV-1 is a complete dual oscillator synthesizer, designed to be the core of your eurorack modular system. Building on the sound and legacy of our celebrated Waveforms oscillator, the SV-1 module features two full-range independent analog oscillators; sound sources that are perfect for dynamic and inspired performances. In addition to these two high-performance oscillators, we stuffed the SV-1 with a perfectly curated set of modular synthesis tools including dual, chained mixers, a plucky, four stage envelope generator, and of course, our legendary analog state-variable filter.

The Lifeforms SV-1 is a synthesizer powerhouse, providing absolutely everything you need to create gigantic and iconic synth sounds: roaring bass, shimmering leads, lush pads and warm drones are only a few knob turns away. Instantly, out of the box, a rich feature set with a fluid, easy to understand interface empowers you to create vibrant, thick tones. Modulation and Tools sections fill out the analog SV-1 modulation capabilities with a triangle and square LFO, two sub-octave oscillators chained to the main oscillator, and noise with sample & hold.

Your Sound, Your Way
Pre-patched under the hood, patch cables are not necessary to get started. But as soon as you begin patching, you will feel the power provided by the 53 patch points and 21 knobs. By breaking each feature of the synthesizer out with patch cables, a tremendous amount of flexibility and control emerges to patch up any sound your imagination can dream up. All the tried and true analog classics are there at your disposal: sine, sawtooth, triangle and square. In addition, our exclusive and powerful blade wave on Oscillator 1 adds a unique weapon to your sonic arsenal. Deep modulation options award you complex control of nearly every function of the SV-1.

A Team Player
We’ve designed the Lifeforms SV-1 to be the perfect centerpiece of any eurorack synthesizer regardless of size. In a smaller system, the SV-1 provides a wide variety of synthesis options through a hefty set of synthesis tools. Combined with a larger collection of modules, you can unlock never-before-heard expressiveness and unparalleled control over the rich feature set of the SV-1. The ability to patch and integrate the SV-1 with other existing eurorack compatible gear gives you truly infinite modulation and expansion options.

Integrated Synthesizer Components

MIDI
We started with the core of our rock solid MIDI 3 module then modified the source code to create a feature set specifically designed for the SV-1. This MIDI to CV converter enables you to connect all your MIDI-compatible gear and convert it to control voltage right inside the SV-1. Volt per octave and gate outputs allow you to connect to your MIDI keyboard or DAW and take control of the SV-1 your way.

Extensive patch options give you access to glide, CC, and velocity. A digital clock-syncable LFO with triangle and quantized random voltage waveforms provides even more modulation options. A clock input allows you to override the internal or MIDI clock and sync to external CV and gate clock signals. A built-in arpeggiator provides all of the deep arpeggio responses from the MIDI 3, including as played, double triggered, random, and random with random gate. This unlocks another level of playability and the capacity to create complex and fresh musical patterns out of just a few notes.

Oscillator 1 and Oscillator 2
Our next-generation dual analog oscillator provides the sonic framework for massive synth sounds or deep exploration of west coast style frequency modulation. Sine, triangle, saw, and square waves are at your control, all available to modulate via FM and hard sync. As a bonus, Oscillator 1 also contains our unique blade wave. The shape of the blade wave can be controlled using the width CV input, creating a sweeping or chorusing effect. Oscillator 2 is normalled to the FM of Oscillator 1, providing jaw-dropping analog FM bass, deep percussive hits, searing leads, and thick, warm analog pads which all come to life from these two modern, organic sounding oscillators. Both analog oscillators dip well below audio rate, allowing them to function as voltage controllable LFOs.

Modulation and Tools
A wide-range utility LFO with triangle and square wave outputs is ideal for VCA or Filter frequency sweeps. Or, turn it up and release the dynamic FM capabilities of either oscillator. A Tools section provides access to two sub-octave oscillators, derived from Oscillator 1’s core frequency. Analog noise and sample & hold finish out the Tools section — the hold function is initially pre-wired to MIDI clock, and equips you to create perfectly timed, random voltage steps.

Mixer
This versatile four channel mixer comes pre-wired for fast access to Oscillator 1’s sine, saw, pulse and sub. However, you are just a patch cable away from instantly making your own unique blend of waveforms from the SV-1. The mixer can be split into two independent two channel mixers simply by patching into the top output.

State Variable Filter
Rich and thick, the sound of the revered Pittsburgh Modular Filter is unmistakable. Absolutely stunning harmonic character with voltage control over the entire frequency range. A provided attenuverter lets you dial in exactly how much CV to feed the frequency input, even inverting the input for dramatic changes in modulation. Separate highpass, lowpass, and bandpass outputs are provided as breakout options, each with their own powerful sonic timbres. Turn up the resonance for an added growl, giving your tones an aggressive edge that no softsynth can match.

Four Stage Envelope Generator
Designed specifically for the Lifeforms SV-1 with a plucky, organic feel, our four-stage analog ADSR allows you to generate envelopes with remarkable, precise control over each stage. Pre-patched to receive gate signals directly from MIDI, the gate input may be overridden by any available clock, trigger, or square wave source.

Voltage Controlled Amplifier
The amplifier section not only controls the overall level of the output, but is voltage controllable. A clean, responsive VCA, capable of everything from transparent control to mild overdrive contours audio or CV signals. The ADSR is pre-patched to the level CV providing shape to the synthesizer audio.

Splitters
Two unbuffered audio or CV splitter sections allow you duplicate your signal in creative ways, routing a single audio or CV source to multiple destinations.

Line Level and Headphone Outputs
High quality stereo headphone amplifier and monophonic line level outputs controlled by a master volume knob.

User Manual
Coming soon...

Module Specifications
Panel size 48hp | Depth 35mm | Power consumption 230mA with reversed power polarity protection"

Lifeforms KB-1
Pressure Sensitive Keyboard Controller
Suggested Retail Price $499

"Take Control
Shape your music like never before with the new Lifeforms KB-1; a unique and intuitive set of tools designed for controlling your eurorack modular system. The Lifeforms KB-1 provides a multi-function, expressive, capacitive touch keyboard designed for performance. The KB-1 contains a powerful one octave adjustable, pressure sensitive keyboard complete with arpeggiator, step sequencer, four voltage memory pads and two trigger pads. Eleven outputs and a deep feature set enable you to explore new sonic territory with an unprecedented level of control.

Monophonic and Duophonic response modes with user-selectable note priority and retrigger options let you customize the KB-1 specifically to your needs. Octave buttons provide quick selection of one of seven available octaves for a wide sonic range. Monophonic mode allows you to perform soaring leads, buttery basslines with legato, or classic arpeggios. Or, take control of two separate oscillators in Duophonic mode to create rich soundscapes, complex drones and arps, lush pads, and thundering bass.

Easily program melodic sequences with maximum flexibility. Along with immersive keyboard features, there is also a powerful ten note arpeggiator and sixty-four note sequencer, each focused around playability, empowering you to craft inspiring melodies, or utilize the stepped voltage as control for other parameters, such as filter frequency or VCA control.

The Next Step
The Lifeforms KB-1 features a playable, ten note arpeggiator. This robust arpeggiator can cycle through one to three octaves. The arpeggiator in the Lifeforms KB-1 contains three different arpeggiator modes, including single or double note trigger, and random monophonic or duophonic note cycling with random gates . Probability gate burst mode can trigger additional random gates to add complexity to arpeggios. This feature, unique to the Lifeforms KB-1, enables you to have rolling pulses divided by the clock source, allowing for dramatic rhythmic variations of your sequence.

A feature-packed sixty-four step sequencer with multiple play modes gives you precise control over the cycling of your sequence. Sequences can be played forward, reverse, or random. Sequences are quickly created by step programming and each step can have one of six step modifiers: pitch bend, tie, single trigger, double trigger, quad trigger, and whole note. Once the sequence is complete, the first note of a sequence can be shifted back or forward, resulting in generating new sequences out of your initial performance. Probability gate burst mode is also available to sequences adding realtime complexity to a performance.

Express Yourself
The two assignable trigger buttons enable you to unleash your creative potential in new ways. Trigger 1 and trigger 2 can be independently assigned to one of six different trigger button modes including pressure sensitive pitch bend, gate, latch enable/disable, trigger, pressure sensitive trigger burst generator, and a pressure sensitive clock divider.

Preset Voltage Memories
The programmable voltage memory section can function as a four channel sequencer, cycling forward, reverse, or randomly; or the active channel can be selected manually allowing the section to function as a 4 channel voltage memory. Voltages are unquantized analog voltages between 0 and 5 volts. Multiple clocking options are available to drive the preset voltage memory sequencer.

On the Beat
The Lifeforms KB-1 can be clocked internally via tap tempo or from an external clock source such as a sequencer, square wave, trigger, or clock divider. This allows you to either play on your own, or perform locked in time with external devices.

User Manual
Coming soon...

Module Specifications
Panel size 42hp | Depth 38mm | Power consumption 160mA with reversed power polarity protection"

Synth Jams by Jay Hosking

Published on Jul 26, 2019 Jay Hosking

Spotted the first video in the playlist above on discchord.com. The Playlist contains 21 videos. You can use the player controls to skip around. Descriptions for each are below. All videos feature various gear so you should be able to get an idea of some of the capabilities of each featured. You can check out Jay Hosking's music at https://jayhosking.bandcamp.com/.

Note, more will likely get added over time. The following playlist is as of this post:

1. Jam w/ Vermona PERfourMER MkII, Elektron Analog Rytm MkII, OTO Bam, Styrmon Big Sky, Fugue Machine

A live, semi-improvised performance, all on hardware, and inspired by some pretty tough news that has me sentimental.

I loved the Elektron Analog Four MkII so much that I picked up the Analog Rytm MkII. My feelings on the Rytm are mixed. On the one hand, it's missing that spontaneity and spark of units like the Arturia DrumBrute Impact and Teenage Engineering OP-Z, with no readymade performance effects, roller bar, or global randomization, and a slower workflow. On the other hand, I really like its analogue sound engines, any unused tracks can be converted into impressive analogue mono synths, it does beautiful things to samples, and like all Elektron boxes it integrates the effects into the sequencer really nicely.

As for the Vermona PERfourMER MkII, I'd been pining over it for ages, and it was fun to finally tinker with it. The Perfourmer definitely excels in the mid- and high- range, and I love how the independent voices making really interesting voices for chords.

Vermona PERfourMER MkII + OTO Bam — Three synths (left chord note, right chord note, melody)
Vermona PERfourMER MkII + Strymon Big Sky — Bass chord note synth
Elektron Analog Rytm MkII — Drums, samples, sample melody, punchy bass
Fugue Machine (iOS) — Sequencing
IK Multimedia iRig Pro Duo — MIDI out from iOS

Written and performed within a 24-hour period, and uploaded as is, with only a little sidechain compression on the Perfourmer (to emphasize the sound that the Rytm was already making), and compression/limiting on the master.

https://jayhosking.bandcamp.com/

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Moog Voyager Old School Blowout

via mark:

"Nova is blowing them out for $1899 on their site. Won't last long. Get yours today!"

"The MINIMOOG VOYAGER Old School Synthesizer is a monophonic analog performance synthesizer. It has extensive patching facilities, and expanded modulation capabilities.The signal path starts with a bank of three wide-range, high-stability voltage controlled oscillators, one noise source and one audio preamplifier for externally-applied audio signals. The sound modifiers are two Moog filters and one stereo VCA (Voltage Controlled Amplifier).

Control devices include a 44-key keyboard with velocity and afterpressure outputs, pitch bend and modulation wheels and many control/pedal input jacks.The MINIMOOG VOYAGER OS has a hinged, multi-position panel and a solid hardwood cabinet. The power supply accepts any power voltage from 100 volts to 240 volts.

Oscillators Module
Three wide-range, high stability VCO’s (Voltage Controlled Oscillators) with continuously-variable waveforms. * FREQUENCY controls (2) vary the frequencies of Oscillators #2 and #3 over a +/-7 semitone range with respect to Oscillator #1.* OCTAVE selectors (3) set the frequency ranges of the oscillators in six octave steps.* WAVE controls (3) provide continuous control over the waveforms of the oscillators, from triangular, to sawtooth, to square, to narrow rectangular.* 1-2 SYNC switch synchronizes the Oscillator #2 waveform to the frequency of Oscillator #1, for dramatic timbral effects.* 3-1 FM switch provides linear frequency modulation of Oscillator #1 by Oscillator #3.* 3 KB CONT switch disconnects Oscillator #3 from control by the keyboard, thereby enabling it to function as a drone.* 3 FREQ switch lowers the frequency of Oscillator #3 into the sub-audio range, thereby enabling it to function as a low frequency audio or modulating oscillator.

Mixer Module
Five-input mixer for combining the audio sources prior to filtering. * Input Level controls (5) adjust the relative levels of the oscillator, noise, and external audio input signals.* Input switches (5) enable the player to quickly switch individual audio signals in and out.* External Level LED enables the player to set the correct external audio signal level.

Filters Module
Dual mode filter module includes dual lowpass and highpass-lowpass filtering. Dual lowpass mode consists of two Moog lowpass-resonant filters in parallel, one per output channel. Highpass-lowpass mode consists of Moog lowpass filter in series with a highpass filter.* CUTOFF control sweeps the frequencies of both filters throughout the audio range.* SPACING control sets the spacing between the frequencies of the two filters, over a +/-3 octave range.* RESONANCE control adjusts the resonance of both filters, from none (pure lowpass response) to filter oscillation.* KB CONT AMOUNT control sets how much the filters open and close as the player presses different keys on the keyboard.* Dual Lowpass/Highpass-Lowpass switch selects between dual lowpass operation or highpass-lowpass operation.

Envelopes Module
The Envelopes Module generates two wide-range ADSR (Attack Decay Sustain Release) envelopes. The Filter Envelope sweeps the filter and is available for modulation shaping. The Volume Envelope shapes the overall volume.* ATTACK controls (2) determine the attack times of the envelopes.* DECAY controls (2) determine the decay time constants of the envelopes.* SUSTAIN controls (2) determine the sustain levels of the envelopes.* RELEASE controls (2) determine the release time constants of the envelopes.* AMOUNT TO FILTER control determines how much the filter envelope will open and close the filter, from full negative (inverted envelope) to full positive (non-inverted envelope).* ENVELOPE GATE SWITCH selects whether the envelopes will be triggered by the keyboard, on , or by an externally-applied gate.

LFO Module
Low Frequency Oscillator generates triangular, square, Sample & Hold, and smoothed Sample & Hold waveforms for use as modulating signals.* RATE control sets the LFO rate over the range 0.2 Hz (one cycle every five seconds) to 50 Hz (fifty times a second).* WAVE LFO selector selects Triangle, Square or Sample & Hold (Stepped or Smooth) waveforms for use with the Mod Busses. * RATE LED provides visual indication of the LFO rate.

Enhanced Modulation Busses Module
Selects the sources, destinations, and shaping signals for the two modulation busses.* SOURCE selectors (2) selects the modulation source from the LFO, Oscillator 1, Oscillator 2, Oscillator 3, noise or the external modulation input (MOD2).* DESTINATION selectors (2) selects the modulation destination from Pitch, Oscillator 2, Oscillator 3, the filter cutoff frequencies, the oscillator waveforms, or LFO Rate.* CONTROLLER selectors (2) selects the Mod Wheel, MOD1, Velocity, Pressure, Filter Envelope or Volume Envelope to shape the modulation signal on that bus.* AMOUNT controls (2) sets the overall modulation amount for each bus."

Ciat-Lonbarde Plumbutter Videos by kozepz

kozepz·14 videos

Remember, if you are pressed for time, you can forward through the playlist via the controls at the bottom of the player.  They are all worth a listen on a good sound system.  Ciat-Lonbarde magic here.  BTW, be sure to check out the interview with Peter Blasser of Ciat-Lonbarde here.   And of course, if you want to get completely lost in his work over the years, see the Ciat-Lonbarde label.

Playlist:

1. Plumbutter dub variation number aa - Published on Jun 12, 2013
Left output of plumbutter clean, right output through fx in daw. Audio output of deerhorn goes into the blues and oranges out into the green of d'horn to get some sort of gated effect. A good low end will enhance listening pleasure!

2. Plumbutter dub variation number be - Published on Jun 12, 2013
Left output of plumbutter clean, right output through fx in daw. Audio output of deerhorn goes into the blues and oranges out into the green of d'horn. A good low end will enhance listening pleasure!

3. Plumbutter dub variation number ce - Published on Jun 15, 2013
Left output of plumbutter clean, right output through fx in daw. Right gong/avdog get triggered by deerhorn or by accident, top ultrsound receives both left and right audio out from d'horn.

4. Plumbutter drum variation - Published on Aug 13, 2013
This is a nice way to bring some variation in your pb 4/4 rhythms.

Patch:
Quantum dust modulates the fm of the 4/4 gong (in trad) when signal enters the comparator.
Feeding signal manually would give you nice control over change.

In the last part the cable is patched, and changing the response of the upper gong gives you periodic control over change.

5. Plumbutters Orange Voltages

6. Plumbutter handshake

7. Searchin for a plum dub - Published on Aug 10, 2013
When I go dubbin with the plumbutter this is normally how I like to start.
Left output clean, right output through fx, patch a few cables and than just playin for hours and hours..

Patch:
3-roll provides pulses for left and right gong
4-roll pulse provides pulse for mwrs, more or less in tempo with the 3-roll, so the pulse modulating the gong fm will always move and give interesting effects

mwrs orange pulse out modulates fm of right gong which gives the changing timbre of the 'chord'.

playing with the response time of the right gong gives interesting changes in delay movements

feeding signals, as deerhorn and quantum dust, into the ultrasound, which goes through the same fx as the chord, give those drone-ish, noisish sounds

8. Plumbutter dub variation S04D3 - Published on Apr 21, 2013
left output dry, right output through ableton fx

Opal - rhythm machine & drum synthesizer

video upload by Fors

"Opal is an instrument made for intricate pattern creation. With parameter locks, probability, conditionals, ratcheting, independent track length, time division and traversal, it’s a breeze to program exciting patterns.
Opal comes with four distinct, highly malleable, synthesizers and two sequenceable effects. While the synths are tailored for creating drum sounds, it’s up to you to choose where, or if, the line between percussion and melody is drawn.

As always, every single sound and effect in this video is made with Opal."



via Opal

To sum it up

Step-sequencer with:

Parameter locks
Probability
Step logic
Ratcheting
Per-track length
Per-track direction
Per-track time division
Five tracks with:

Gem FM Synthesizer
Mass Modal Synthesizer
Dust Pulsar Noise Synthesizer
Slate Granular Sample Player
Void Reverb & Flux Sampler

+ Modulation

Gem
Gem is an FM synthesizer capable of a wide variety of sounds, from deep and heavy bassdrums to glistening lead melodies. At its core, Gem consists of 2- Operator sinewave-based phase modulation (commonly referred to as FM) that has been fine-tuned to sound rich and punchy.

With bipolar modulation and feedback, it's possible make a vast range of different waveshapes- including common analog shapes such as square, triangle or sawtooth. It's a highly malleable form of synthesis that has been boiled down to its essentials, with an emphasis on the sheer quality of execution.

Mass
Mass is a modal synthesizer, which is a type of physical modeling synthesis that employs a bank of bandpass filter to generate its sound. Typically, physical modeling is used to mimic real-world sounds, but with Mass the essence of the synthesis method is used to make all sorts of wildly synthetic sounds, often with an otherworldly quality due to its physically-inspired origins.

The sounds possible with Mass ranges from semi-realistic percussion, bells, textures, noises, strange phase-y melodic sounds to clean and precise timbres reminiscent of additive synthesis.

Dust
Dust is a noise generator that is based around the concept of Pulsar synthesis, which is a method adjacent to Granular synthesis. The sound is composed of very short particles of sounds that creates a texture when played fast and/or dense.

Dust combines concepts from all kinds of different types of synthesis methods to create anything from pure white noise to perfectly soft spectral washes. By layering multiple oscillators Dust can also generate classic electronic metal sounds which is very useful for making hi-hats and cymbals.

Slate
Slate is a sample playback engine equipped with a granular mode that can wildly transform any sample. At its core is a high quality sample playback engine with edge smoothing (click-less playback and looping), single cycle waveform support and a flexible loop mode.

The granular mode let’s you go deeper in sound design by playing back small particles in a pattern that essentially reconstructs the original sound, but with the possibility to dramatically change the speed and pitch independently

Void & Flux
The FX (effects) track hosts two different effect engines: Void and Flux.

Void is a reverb that has been fine-tuned to sound great with a wide variety of input sounds, with an emphasis on delivering good transient response. With in-depth EQ:ing of the input and reverb signal, it’s possible to greatly shape the overall tone of the effect.

Flux is an automatic sampler that continuously records the output of all the other tracks and divides it into 16 slices that can be played back by the FX track. Think of it like an always-recording tape loop that you can use to repeat or transform sections of your pattern by playing different snippets as single shot samples.

Modulation
Each engine has a dedicated modulation page with four different modulation sources that can be routed to any parameter via a modulation matrix. The different sources are Vel - velocity received from the sequencer steps (or a MIDI note), A dedicated LFO and Envelope per track, and a random value (Rand) that is received on each trigger of a step or MIDI note.

Free Old School (CASIO, YAMAHA) Toy Keyboard Loops from AudioKit

via AudioKit, where you'll find the download and audio demos:

"Over the holidays, I discovered an old project I started as a kid almost 20 years ago - Over 600+ megabytes of vintage Casio/Toy Keyboard sample loops.

As some background, I saved up my money from working after school at White Castle (a dangerously delicious burger chain) to buy a Sound Blaster 16 card. It was thrilling. The Sound Blaster transformed my family’s Windows 95 machine into a futuristic recording studio. Thus, my dreams of working in the music tech industry were alive and well. (I’m still working on that dream).

CLICK FOR MORE »

Free DX7 Sample Based AudioKit App for iPad

Published on Dec 5, 2017 redskylullaby

"Demo of new and totally Free sampled DX7 app from AudioKit" coming December 7th.

You might remember Analog Synth X also based off of the AudioKit framework. I was playing with it just the other day and it is a great sounding synth, (although personally I couldn't get it to work with an external MIDI controller - an Arturia KeyStep connected directly via USB). AudioKit Pro is a framework for building synths on the iPad.

"FM PLAYER: CLASSIC DX

COMING SOON (DEC 7TH)

Classic presets, faithfully recorded from the original retro 80s Synthesizers: DX7, DX7II, TX81z sounds
Over 50+ presets included, completely free!
FX: Reverb, Ping-pong dealy, Auto Pan, Bit Crush, Stereo Fatten, and more!
MIDI in (Play with a MIDI Keyboard or AudioBus 3)
Filter: Low-pass Cutoff, Rez, and Filter LFO
AudioBus 3 & Inter-App Audio (IAA) integration. Use these amazing sounds w/ GarageBand, and other apps
Save your preset settings
All knobs have MIDI Learn"

Ultra-rare Yamaha DX-1 FM Synthesizer Overview - Approximately 140 Initially Made!

Published on Oct 5, 2018 Alamo Music Center

Forward ahead for demos and to see it from the side view. It's like the Matrix-12 or Rhodes Chroma of FM synths.

"Do you love Yamaha's groundbreaking DX-7 FM synthesizer? Well how about 2 DX-7s in one unit, with weighted keys, upgraded programming interface, multiple outputs, and the ability to spilt and layer patches? Well we have it right here, and it's RARE! Approximately 140 were produced and we haven't been able to find solid number on the number in existence today, but we bet it's less than 140! Notable player of the instrument are: Depeche Mode, Herbie Hancock, Vince Clarke, and Elton John. Play A Note, Change Your Life!"

FM Player 2 by AudioKit - Pre-Release Demo for the iPad - Live Stream

Published on Jul 23, 2019 The Sound Test Room

John Bowen Solaris Test Drive by Carbon111

via Carbon111, via this VSE thread where you will find more images and info.

"I was privileged today to have given John Bowen's Solaris a test drive in my studio! Though its not quite finished yet and there are some re-designs in progress, I can honestly say its a programmer's as well as a player's dream!

It sounds absolutely wonderful and is very powerful! It took a few minutes for the interface to sink in, but once it did...wow! Flexible, deep and yet relatively easy to program due to the excellent UI despite the huge number of available parameters and choices. Most parameters are not buried in menus and are easy to access and tweak.

There are a ton of audio-rate modulations available on this thing, none of which generate any artifacts or aliasing at all...lots of FM possibilities, linear as well as exponential. The Moog-style filter was as warm and squelchy as one could want and could be run in other modes besides LP! The "Obie" clone was a good state-variable emulation. The oscillators were plentfull in both quantity and variety. Each patch has a unique architecture, essentially a massively parallel yet integrated "multi" unto itself.

I was suprised at how organic and non-digital it sounded! A one-on-one "taste test" against my analog gear proved this thing has that elusive low-end "beef". Its no slouch as a complex wavetable synth either, holding its own easily against my Waldorf Microwave XT and Ensoniq Fizmo.

You can do FM, physical modeling, subtractive, wavetable and vector synthesis on it as well as the warmest VA I've yet heard.- I'm really blown away! Time to start saving...or figuring out what will have to go"

Also check out the official John Bowen Synth Design.

Some specs via this thread on the John Bowen Synth Design Forum (BE SURE TO CHECK OUT THE THREAD FOR MORE including clarifications):
"The hardware Solaris has the equivalent of approximately 6 Scope boards (the 14 DSP cards), so 6 x 14 = 84 Scope generation DSPs - but remember, you would have to be running your Scope Project at 96 kHz as well...

We have lots of software to finish, so I can't report exactly as to the polyphony count, but here are some of the other specs:

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New Plogue Chipsynth MD - Awesome Sega Megadrive Synthesizer

Published on Sep 4, 2019

"Plogue is continuing their deep dive into preserving old synth chips found in game consoles. This time it's the legendary Yamaha chip found in the Sega Megadrive. It sounds amazing. I love it."

Update: and a video from plgDavid

chipresearch 0x04: The rigs we've created for chipsynth MD

Published on Sep 4, 2019 plgDavid

via Plogue

"16-bit four operator FM synthesizer

This member of the chipsynth line is a feature-rich four operator FM synth that packs quite a punch!
The Mega Drive™ - also known as Genesis™ - is a much beloved console system that brought the bright and sparkly sound of FM to the masses. It resulted in the creation of numerous fast paced and exciting soundtracks, and it still drives the creativity of composers to this day.

As we designed chipsynth MD, we couldn't help ourselves but to jam pack it with features that take it to the next level, with an access to every component of the hardware no matter how obscure, and an intelligent layering system that lets you turn any OPN2 patch into a monstrous ear-splitting 6-layer wall of sound!

CHIPSYNTH MD
MD features a bit accurate OPN2 (YM2612) emulator. We combined it with a SN76489-compatible square wave core (SPSG) and a special emulation of the very crunchy sample playback found in games, and we multiplied all of this by 6 to make it polyphonic in every situation imaginable. A complimentary VGM file player allows you to audition hundreds of vintage soundtracks just like they were meant to be heard.

Plogue's reverse-engineering team worked very hard to make sure that even the rarest corner-cases involving the special features of the OPN2 chip are emulated bit-perfectly, backed by large amounts of testing on special hardware rigs. Add the DAC and impulse-response emulation to that, and you get a degree of realism that has never been reached before!

Oh, and as always, it is done how it should: without using samples!"

Previous Plogue posts.