The T-420 Ultra High Grade is the latest addition to the T-420 family. It features the same core functionality as the original T-420 with some massive improvements.
It is a 12HP euro rack format module but can be used as a standalone module that takes a standard 12V input with the use of an optional baseplate.
The most notable improvement is the addition of 3 new effects. They can be switched on or off via the slide switch and the intensity can be altered with the corresponding knob. Each effect can also be externally switched with a gate source, it can do this all the way up to video rate frequencies.
FX1 - Chroma Bloom (creates washes of banding colours and high saturation)
FX2 - Horizontal displace (a feedback patch that created jagged horizontal lines)
FX3 - Edge Trace (creates ringing feedback effects that trace the bright parts of an image)
There is also a bipolar CV input with a trim control, this controls the overall behaviour of the video processor and thus influences the FX listed above.
A "soft bypass" switch allows you to mix some unaffected video signal with the effected video signal to help stabilise the signal and change the flavour of FX altogether.
A wonderful addition to any modular video synth setup or a great way to introduce some synced CRT visuals to your audio modular."
"Can the Per4mer effects trail be adjusted? Of course. This is actually a day one feature. Each of Per4mer’s 4 effects has a built in AR (attack release) envelope. It’s adjustable from 5 ms to 5 s.
If you really want to get creative, try these adjustments on any of the 4 effects. Try experimenting with the AR envelope on Glitch and Tape Stop with wet dry set to 50% or so for some really cool sound on sound effects."
The T-420 Ultra High Grade is the latest addition to the T-420 family. It features the same core functionality as the original T-420 with some big improvements.
It is a 12HP euro rack format module but can be used as a standalone module that takes a standard 12V input with the use of an optional baseplate.
The most notable improvement is the addition of 3 new effects. They can be switched on or off via the slide switch and the intensity can be altered with the corresponding knob. Each effect can also be externally switched with a gate source, it can do this all the way up to video rate frequencies.
FX1 - Chroma Bloom (creates washes of banding colours and high saturation)
FX2 - Horizontal displace (a feedback patch that created jagged horizontal lines)
FX3 - Edge Trace (creates ringing feedback effects that trace the bright parts of an image)
There is also a bipolar CV input with a trim control, this controls the overall behaviour of the video processor and thus influences the FX listed above.
A 'soft bypass' switch allows you to mix some unaffected video signal with the effected video signal to help stabilise the signal and change the flavour of FX altogether.
A wonderful addition to any modular video synth setup or a great way to introduce some synced CRT visuals to your audio modular."
Disruptive ease, incredibly powerful Numa X Piano represents a real revolution for digital piano players. Like never before unlimited hi-end features, sounds and SFX have been designed and organized to be controlled in such an easy, intuitive and effective way to offer the best feeling in performance, under every aspect and in every context. In other words, Numa X Piano is the perfect merger between a top-quality musical instrument based on a new Sound Generation architecture, with a four Zone MIDI Controller derived from the renowned SL Line, with the addition of a 4 Tracks Digital Mixer. A powerful combination for Studio and Live gigs, with a brand new disruptive UX Experience.
UXlogic: a revolutionary (and stylish) UX Experience UX logic is the name of our innovative adaptive color user interface. The color display and the color-coded Encoders are always synchronized with the selected Zone, allowing to have a clear and easy access to all functions with a direct approach and might allow to navigate all real time settings in an intuitive way. An uncrowded control panel, which contributes to the elegant design of Numa X Piano, is the pleasant “side effect” of such an effective and rational interface.
Powerful Acoustic and Electric physical modeling, plus HD Sound FX The Sounds engines are based on a powerful mix of Sampling, Wave Shaping and a real Physical Modeling. Besides the 8 Insert FX, 2 for each Zone and the Master Delay and Reverb (with FDN Technology) sections, the Acoustic Piano Sounds have dedicated DSP Effects to simulate Strings and Duplex Resonances, plus Release, Key Off and Damper noise sounds. Specific ZOOM settings are available, allowing to obtain an endless variety of sounds just making different settings of some editing parameters, which can be stored in each Program.
Let your fingers go with the FATAR touch Numa X Piano models are equipped with the most up-to-date evolutions of Fatar hammer action keyboards: the TP/400 Wood with 3 contacts and Escapement, plus Aftertouch control, or the new TP/110 with 3 contacts and Aftertouch.
Designed to be versatile... and to meet the needs of every musician!
NUMA Manager and Sounds database expansion A big section of the internal memory is left free for additional Sounds, to be published on our website. All Factory and new User Sounds can be moved to other positions in the list, thanks to the Numa Manager desktop app, that will also allow to update the Firmware and organize the Programs in a fast and easy way.
Audio over USB Thanks to the USB-Audio feature, you can exchange sounds in digital format with your computer or tablet and even use the instrument as an Audio Board, with a local direct Control on the Audio Levels.
Built-in Digital Mixer Numa X Piano also includes 4 Audio Inputs and a 4 tracks Digital Mixer with Gain, Bass, Mid and Treble controls, allowing to use this unique feature as a built in Mixer for external sources, such as microphones, bass, guitars or other keyboards.
And the
blue synth
is revealed. Meet Model Electronics new Cobalt 8. Priced at $749.99 USD, £579.99 GBP, and €649.99 Euro. See the dealers on the right for availibility.
Playlist:
1. Modal Cobalt 8 Sound Demo (no talking) - Limbic Bits
2. Modal Electronics Cobalt 8 Sound Demo (no talking) - Bonedo Synthesizers
3. COBALT8 review & comparison with Argon8 // Which synthesizer is right for you?!
- BoBeats
4. Cobalt8 Modal Electronics - 1st Look - sonicstate
And the press release (hi-res pics below):
"Modal Electronics creatively kickstarts new synthesiser series with COBALT8
–
8-Voice Extended Virtual-Analogue Synthesiser –
Bristol, UK: leading
British synthesiser manufacturer Modal Electronics is proud to announce
availability of COBALT8 — an immensely powerful, eight-voice extended VA
(Virtual-Analogue) synthesiser that brings traditional and entirely new
analogue-style sound textures to modern music creation and production as an
innovative, sophisticated synthesis concept comprising two oscillator groups
with selectable algorithms in self-contained elements enabling multiple
oscillator modulations, an all-new 4-pole morphable ladder filter with
switchable configurations, an unparalleled modulation engine, and much more
besides, extending far beyond the limits of its analogue forefathers — as of
October 29…
Creatively kickstarting a new synthesiser series by
building on the tradition of warm and punchy analogue-style synth sounds seeded
by bygone legendary synthesisers, COBALT8 creatively unlocks the full potential
of analogue waveforms with up to 64 high-resolution VA oscillators with extended
drift — up to eight for each of its eight true polyphonic voices. The two
independent and self-contained Osc (oscillator) groups include sine, pulse,
triangle, and sawtooth waveforms alongside 34 unique algorithms allowing for
complex analogue synthesis techniques, built-in cross-modulation (sync, ring
modulation, and more), PWM (Pulse Width Modulation), smooth morphing between VA
waves, bit crushing, and filtered noise — unlike any other VA synthesiser before
it, increasing creative options for new-generation synth sounds. Speaking of
which, Algorithm1 and Algorithm2 each have an associated simple-to- use pair of
controls — A1 and B1, A2 and B2 — chosen to suit the particular algorithm or
character, providing musicians with the power of traditionally complex
oscillator modulations or processes spontaneously.
Rob Papen sharpens soft synth breakthrough by bringing boosted BLADE-2 to existing bundle owners and wider world beyond
ECHT, THE NETHERLANDS: virtual synthesizer, instrument, and effect plug-in developer Rob Papen Inspiration Soundware is proud to announce availability of BLADE-2 — boosting its original BLADE soft synth with fantastic features making it a dream synth for synth lovers who like to think out of the box while working in the box, and available at no extra cost to existing owners of the company’s expansive eXplorer-6 and sure-fire SoundDesign-X bundles — as of October 28…
When the original BLADE was released back in 2012, it had a unique concept — controlling the waveform harmonics (HARMOLATOR) using its recordable XY PAD, which was a very different approach to additive synthesis, and remains so to this day. Indeed, it was the first Rob Papen soft synth to include this feature, facilitating flexible sound editing, recording, and tempo-based playback. Put it this way: when putting this extraordinary combination into action, BLADE users can creatively generate very different tones — far from the sound of the subtractive synthesis crowd, and even those of other additive synthesizers.
"Drum Modulator is an advanced modulation and pitched noise source with focus on rhythmic (but not limited to) compositions in mind. It features two identical syncable to the BPM LFOs/noise sources with morphing waveshapes.
In this video we explore 12 different patches with Modulator together with various modules from the Techno system.
0:18 - #1 GABBERLINE (Modulator + Bassline) LFO1 is modulating FM and accent, LFO2 is in noise mode modulating cutoff.
2:19 - #2 CYMBALLER (Modulator + Cymbals) LFO1 is synced to the same BPM as Cymbals trigger source and is modulating tune. LFO2 is free running and modulating decay of Cymbals.
4:12 - #3 ANOTHER SUPER COMPUTER (Modulator + Bassline) Both LFOs in S&H mode modulating cutoff, accent and FM in of Bassline.
4:59 - #4 TECHNOID (Modulator + Bassline) LFO1 is modulating FM and accent, LFO2 is modulating cutoff.
5:24 - #5 STEAMER (Modulator + Bassline) LFO1 is in noise mode modulating FM and cutoff, LFO2 is modulating accent and gate.
5:43 - #6 FROGGER (Modulator + Bassline) Both LFOs modulating cutoff, accent, 1v/oct and FM.
5:59 - #7 SNARECANDANCE (Modulator + Snare) LFO1 is synced to the BPM of Snare trigger and is modulating tune, LFO2 is synced to LFO1 tempo and modulating decay.
7:09 - #8 BALLOON FIGHT (Modulator + Bassline) LFO1 is modulating FM and accent, LFO2 is modulating cutoff and gate.
7:54 - #9 CYMBA (Modulator + Cymbals) Both LFOs are synced to Cymbals trigger BPM and modulating tune and decay. LFO2 is also modulating rate of LFO1.
8:40 - #10 HI-HATTER (Modulator + Hi-Hats D + Dual FX) LFO1 is modulating dry/wet of FX1 & FX2, LFO2 is modulating decay and tune of Hi-Hats.
9:54 - #11 S&H EVERYTHING (Modulator + Pico Drums + Dual FX) Both LFOs in S&H mode triggering and selecting sample on Pico Drums, modulating delay time of FX1 and dry/wet of FX2.
11:08 - #12 BAZZDRUM (Modulator + Bassdrum) LFO1 is modulating gain and drive of the first Dual Drive stage, LFO2 is modulating gain and drive of second Dual Drive stage."
Erica Synths Modulator is an advanced modulation and pitched noise source with focus on rhythmic (but not limited to) compositions in mind. It features two identical syncable to the BPM LFOs/noise sources with selectable morphing waveshapes. LFO frequency can be manually adjustable, as well as they provide frequency divisions and multiplication in Sync mode. Each LFO has two outputs- main one and secondary one with adjustable phase, so you can create evolving modulations. Furthermore, LFOs can be linked to work at the same frequency and the first LFO has built in VCA to control output signal amplitude.
Features
Two independent modulation/pitched noise sources
7morphing waveshape + noise
LFO Sync, frequency divisions and multiplications
Integrated VCA for first modulation source
Two main outputs
Two outputs with an adjustable phase shift
LP and HP filter on outputs in pitched noise mode
CV control over LF rate/noise pitch
Each of the 8 User Templates are the same except they contain the MIDI Channel that correlates with the first 8 tracks on the OP-Z so I can cycle through all the tracks and edit all the parameters on each track.
The Faders control Volume for each Track.
The 16 buttons on the bottom are assigned to various Punch-In FX.
This tutorial will teach you how to:
- Use 4 different synth layers in one preset sound
- Assign synths to the morph groups
- Turn morphing on
- Use automorphing, including different modes, loops, and speeds
- Write & erase an automorphing path
- Add modulation to the path
- Get creative creative with Morphology!"
And a couple of videos from SYNTH ANATOMY, followed by pics and details from iTunes:
"My first Video of a simple sunday evening patch I played and recorded for myself. I use this for the documentation of my modular patch experiments.
The Drone: Is a Braids with the VOWL model, going thru the RT451 stereo multimode filter, one with HP the other with LP. They go to two channels of the 4ms VCA Matrix. The VCA Matrix is triggered from the Vermona Fourmulator, each LFO 90° shifted, so I get a quadrophonic effect in my studio with 4 speakers around my head.
Kickdrum: I used the Synthrotek ds-m, a wasp from doepfer, a channel from the HexVCA and a envelope from Intellijel. Triggered directly from the ALM Pamela's Workout.
The rhythmic plingplong: Is coming from the OSC-03 form MFB, triggered by the doepfer sequencer, the trigger is multiplied according to the voltage delivered to the A160-5 ratcheting controller.
The snare: Is a noise, going only thru the doepfer VCA in exponentional mode, controlled by an envelope, and then thru a Roland Demora stereo delay.
Hi everyone, you might remember, back in July I posted some pics of my newly acquired UltraNova, and mentioned that review posts would eventually follow. Well, I’m happy to tell you the first post is here. The UltraNova is one powerful synth, so to make the overall review a bit more consumable, it will be broken up over time. This first section includes an Overview, the Oscillators, and the Mixer sections. When new sections go up, I will be sure to let you know via a new post.
As with most of my reviews, I will say this one goes pretty deep into the synth engine and all editable parameters. If you are the type of person that likes to dissect and explore all of the available parameters on a synth, then this post is for you. I will touch on what each parameter does and will call out any interesting features and limitations as I do so. There are some pretty special parameters on the UltraNova that give you control beyond most other synths. Hopefully this review will give you some insight into what makes the UltraNova special.
Overview & Quick Comparison to Previous Nova Synths
The Novation UltraNova, released back in 2010, is a 20 voice virtual analog & wavetable synth with three oscillators, two ring modulators and one noise source per voice. The UltraNova also features two audio ins that can be assigned to the oscillator section and/or a 12-band vocoder. It’s worth noting that the Novation Nova from 1999 featured a 40-band vocoder, while the Supernova II from 2000 featured a 42-band vocoder. The UltraNova is a monotimbral synth while the 12 voice Nova was six part multitimbral and the Supernova II (24, 36, or 48 voice) was eight part multitimbral. The UltraNova supports up to 5 simultaneous effects per patch. The Nova supported 42 simultaneous effects, while the Supernova II supported up to 56. The Supernova II also supported FM synthesis while the Nova and UltraNova omit it.
The UltraNova, however, is the first Nova synth to feature wavetable synthesis. An interesting side note is that all of the oscillators on the UltraNova are actually stored as wavetables, including the standard waveforms. According to Novation, “The wavetables in the Supernova series are all calculated. The wavetables in the UltraNova, even the standard analogue waves are wavetable oscillators. This change in oscillator generation was first used on the A-Station and K-Station and subsequently in the KS series, X-Station and Xio.” This allows the UltraNova to have some advanced tricks when it comes to the oscillator section, which will be covered in detail below.
I asked Novation about the lack of FM synthesis and they told me, “FM would have been a lovely addition to the UltraNova, but it would have been asking too much of the DSP to be able to run everything the UltraNova can do and also add in FM. The wavetables were a really good way to introduce a new (to Novation) type of synthesis that is able to cater for some of the synth sounds that FM is known for and also to be able to create lush evolving pads.”
The UltraNova features two routable filters per voice with a total of 14 filter types to chose from including 6dB (no resonance), 12dB, 18dB, and 24dB with Lowpass, Bandpass and Hi-pass modes. The Nova and Supernova II lacked a 6dB mode.
As for hardware, although the UltraNova may have fewer knobs per function than its predecessors, it is extremely well laid out and super intuitive to use. Along with both keyboard velocity and aftertouch, the UltraNova has touch sensitive knobs. They literally respond to touch and can be assigned to various parameters. Worth noting, velocity is configurable, however, aftertouch is not. I found the aftertouch to be good, but it does require a little extra force than I prefer; it’s good for not accidentally triggering it, but not so good for subtle, natural performance.
Please note the above comparisons with the Nova and Supernova II were only for quick reference. The UltraNova of course is its own synth with a few tricks up its sleeves that are lacking in the original Nova line, including a level of control over the synth engine often only found in the modular realm. It sounds incredible, and for the price, currently only $599 new, it is an extremely flexible and powerful synth. You get the current top-of-the-line Novation Nova synth engine with new wavetables and more. The UltraNova is both a performance oriented synth as well as a synth programmers dream. It can be configured for easy access to specific parameters for a live situation, or you can dig as deep as you want with a clearly well thought out interface.
That said, let’s dig in.
The following review and overview will essentially go over the signal flow of the UltraNova followed by performance controls including the arpeggiator and the hardware interface. I’ll go into a little detail on what each feature can and cannot do in an attempt to give you a detailed idea of what the synth is capable of. Because my reviews tend to be a bit on the longer side, I will be posting the sections in chunks over time to make it easier on you to consume and for me to compose.
Kenza Farah - "Toi Et Moi" (Elektron Octatrack + Analog Four Remix)
Published on May 31, 2015 Paul Shemyakin
Second track below.
"This is my remix of the very sentimental song “Toi Et Moi” written by my favorite French singer – Kenza Farah.
The remix was created using hardware synthesizer and sampler - Elektron Analog Four + Elektron Octatrack DPS-1. No software was used for remix creation, performance and recording. Yes, these Swedish Elektron machines can be used for creating the complete pop-music composition :)
This is a short description of how it’s been made. During the composition only 15 patterns are used. Octatrack & Analog Four are synced for pattern changes. Octatrack is in Arranger Mode (automatically switches patterns for me).
Tracks:
A. Elektron Octatrack (15 patterns, 6 scenes):
TR1: Kick + Clap / One Shot Samples, FX - Filter+Dark Verb
TR2: Hats
TR3: Sliced Loop (different slices&locks per step, linear slice locks function was used for cutting and rearranging the drum loop)
TR4: Pad (loop)
TR5: “Toi Et Moi” original track (Piano+Vocal only), stretched by Octatrack to 95 bpm.
TR6: FX slices from original track + Periodical Additional Melodic/Reversed Loops + Crash (Crash is programmed with one shot triggers, activated by Function+YES during performance)
TR7: Additional loop – Acoutic Drums & Breaks Loops
TR8: Master Track (FX1 – Filter, FX2 – compressor in parallel, mix 50/50)
B. Elektron Analog Four (15 patterns):
TR1: Pluck Lead
TR2: Arp/Pluck Lead
TR3: Bass
TR4: Lead
+ 3 performance mode settings (A: TR1+TR2 filter opening/closing, B: TR3 filter opening + decay time, C: TR4 – Filter Opening+Reverb Send Amount)
Original track is from Kenza Farah’s album Authentik.
Thank you, Kenza, for the inspiration and great song!
Lots of Respect from Moscow, Russia. ;)
Enjoy! ;-)"
Elektron Octatrack Trance & Breaks Remix Live (Neonim - "Grenadin")
Published on Jun 13, 2012 Paul Shemyakin
Good overview on this one.
"SORRY FOR MY ENGLISH
Remix starts at 3:00! (please, skip my bla-bla-bla).
This track is the example that you can make the whole track using only two devices, and the Octatrack can be used as DAW - playing beats, vocal samples, doing some midi sequence.. Very cool, magical device!
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"Polyphony: 28 voices
Oscillators: 2 osc per voice : 128 synth waves, 365 drum and percussion samples
Filters: 24dB and 12dB slopes, Hi and Low pass filters with resonance and overdrive
Effects: FX1: reverbs, stereo delays. FX2: chorus, flanger, delays
Vocoder: 16 vocoder presets, 11 band programmable settings. ** mic not included **
Arp/Sequencer: 16 pattern arpeggiator / 7 track sequencer with tap tempo
Keyboard: 49 velocity sensitive keys
Memory: 384 patches (288 presets on banks A, B & C and 96 user on bank "U"), 16 vocoder patches, 20 percussion kits
Control: MIDI has 7 parts; 3 synth and 4 drums - each with separate midi channels. - This means it's like having THREE! THAT'S RIGHT 3! It's like having 3 synthesizers AND a drum machine all in one unit!"
"DISCLAIMER: I've never seen (nor heard) a Roland TB-303 in person (excluding audio recordings), nor really sought out the sound (why am I doing this then? See below). I'll change the title if this in no way resembles the sound of the TB-303. Youtube demo's and sound design forums only tell you so much. Now, who would want an RT Spectralis when the Roland TB-303 is cheaper? Well... it's not cheaper. It's vintage, thus expensive and sought after (the original, at least). It is what it is, it's different than the spectralis, but if you already have the spectralis, perhaps you can get that TB-303 sound. Any thoughts on improving this sound? Let me know, I will make a video of how to make this sound if indeed it sounds similar, but will also take suggestions on improvements. Enjoy (further details below)!
Someone on the Radikal Technologies forums suggested a tutorial on recreating that TB-303 sound. Of course, with no prior knowledge of the synthesis involved, I looked it up and found a Access Virus thread on the subject (see below). Basically, the spectralis doesn't have the right filter. It has a 24dB LP filter (which doesn't open all the way) and a MultiMode 12dB LP/HP/BP filter. I set my oscillator through the MM filter, using the LP portion (specifics below). I then decided to just make a long video and got carried away. One thing I learned on this adventure: INDIVIDUAL PANNING FOR EACH FILTERBANK FREQUENCY!!!!! I used that for OSC3 and OSC4... it was fun and completely unrelated to the TB-303 sound I was going for... Enjoy!
"The Quasimidi Technox is a rack mounted synthesizer which focuses on the instruments and sounds of rave, dance and techno music. The presets loaded on the Technox include dance basses, rave leads, hoover synths, acid squeals, space pads and also includes various drum kits. Many drum kits are based on popular drum machines such as the TR-808, 909 and 606.
In all there are 512 presets which can be edited and manipulated. The Technox also has a built in sequencer which can address up to 16 MIDI parts. Each part has its own level, pan, effect send and more. The technox is also multitimbral. Channel 1o is fixed to drums while the other 15 channels can be used freely.
The Quasimidi is a useful tool for any electronic musician as it provides many of the classic sounds found in various genres of electronic dance orientated music all in the one unit.
Specifications
Polyphony - 21 voices
Multitimbral - 16 parts
Oscillators - ROM sample playback. 3 samples per performance.
Waveforms - Various ROM samples. 64MB ROM sample bank.
LFO - Yes
Filter - Single low-pass filter per performance.
Envelope - ADSR envelope.
Effects - 18 effects across 2 effects units, FX1 for delay & reverb, FX2 for modulation (chorus, delay, flanging etc).
"iBlofeld v1.2.1 offers the following new features: ARP • All ARP general parameters. • All ARP User Pattern steps (1-16) and all parameters (Step, Accent, Glide, Timing, Length) for each User Pattern Step. • 1 slider per ARP User Pattern Step parameter (byte demultiplexing). FX • All FX. • All FX parameters. • Dynamic allocation of FX parameter name and values based on FX Type selection. When you select FX1 and FX2 Types on Page 1, iBlofeld automatically displays the relevant FX parameters on Page 13. OSC Octave • 128' to 1/2' continuously (9 values) (byte discretization). Modulation Destination • Support of 2 additional destinations (O1 Wavetable / Sample and O2 Wavetable / Sample) as per latest firmware. Exhaustive of all parameters • More than 300 parameters. • Organized on 19 workflow efficient Pages."
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