Note: Auction links are affiliate links for which the site may be compensated.
via this Reverb listing
"A 3-cabinet authentic, period correct all RA Moog modules system that dates from 1968.
This instrument forms a part of the RL Music Vintage Synthesizer Collection. We have managed to keep some of the very best examples of Vintage Synthesizers that have come through our business over the last 22 years which we kept for our pleasure and interest. Whilst having a privileged position as a specialist dealer in this genre of equipment, we managed to hang on to particular instruments that were interesting and inspiring. The RA Moog Modular IIIC is one of 40 instruments we have, but is the oldest and most historically important.
Showing posts sorted by date for query Force Field. Sort by relevance Show all posts
Showing posts sorted by date for query Force Field. Sort by relevance Show all posts
Wednesday, April 30, 2025
Tuesday, December 10, 2024
Sonic Artefacts Introduces the Sonic Chessboard DIY Kit: Compose like John Cage!
video upload by Sonic Artefacts
"Play chess and compose music, at the same time! This Sonic Chessboard is a passive Optical Octophonic Audio Panner / light sensitive "chessboard", based on the design by Lowell Cross for John Cage's and Marcel Duchamps' musical chess performance Reunion (1968). It routes 16 audio signals via the 64 light dependent resistors to 8 separate audio outputs. Cover the squares on the board with chess pieces or your hands to make sounds roll through a room and add to the spatial distribution of all the different inputs. Best to be played with a strong bright light mounted on the ceiling above the chessboard.
Limited edition DIY Kit, available at: https://sonicartefacts.com/product/so... & https://patch-point.com/collections/s...
The materials were originally made in small series for Wouter Jaspers' installative sound performance "Indeterminate Structures (2023). Big thanks to @Hainbach for playing chess with me and @Sonoscopia for the original sound installation and of course to the great folks of @patchpoint4043 for hosting us!"
Press release follows:
Berlin, Germany – Sonic Artefacts is excited to announce the release of the Sonic Chessboard, a unique DIY musical instrument that merges the worlds of chess and sound. Inspired by Lowell Cross’ design for John Cage’s Reunion (1968), the Sonic Chessboard offers a captivating way to create spatial sound experiences.
The Sonic Chessboard is a passive Optical Octophonic Audio Panner that routes 16 audio signals via 64 light-dependent resistors embedded in the squares to 8 separate audio outputs, changing the volume when a chess piece gets moved from one square to another. By strategically placing chess pieces on the board, users can control the volume and flow of sound, creating dynamic and immersive soundscapes.
Sunday, November 24, 2024
✨🍁 Force Field / Episode 4: Oberheim TEO-5 - November 22nd, 2024 / DnB / House / Funk / Breaks 🎹✨
video upload by Force Field
"This is my first time taking out my new Oberheim TEO-5 instead of my usual OB-6. All sounds besides the drum and vocal samples are created live on the TEO-5.
I'm really enjoying the compact form factor and more modern sound of the TEO. I was surprised when I first got it to find that it sounds more like an OB-X8 than an OB-6 though I have never owned one. That is just based on my experience playing the X8 in a showroom. Looking forward to exploring this synth more and bringing it out for more jams.
Improvised and recorded live in Los Angeles, CA on November 22nd, 2024 🪄✨🌸"
0:00 Intro
4:44 Slow it Down
8:08 Change Up
9:02 Oberheim™️ Chords
11:02 Sunset Strut part I
13:02 Sunset Strut part II
14:33 Shanti Cameo Breakdown
15:12 Sun Appreciation Jam
17:28 Baby When We're Grinding
20:00 Darkness Transition
21:00 Kaleidoscope Caverns
23:15 Love Loop
25:19 What is Love
28:38 Did You See My Reflection?
30:22 Reflections Outro
31:50 Pollen
33:12 Bloom
35:00 What is Love? (Interlude)
36:34 Caverns Part II
38:25 BB BB
39:05 Baby Baby
43:07 Vocal Acid
44:15 Deeper Vocal Acid
45:33 Even Deeper Vocal Acid
47:00 Depth Assessment Outro
50:00 Funk Industries
51:44 Funk Incorporated
52:38 Love Me Baby
53:33 Love Me Baby Breakdown
54:16 Corporate Compromises
55:38 Funk Excursions (A Subsidiary of Funk Industries)
58:55 Mergers & Acquisitions Breakdown
1:00:00 Back in Business
Friday, August 30, 2024
Keith McMillen Has Passed Away
Some sad news in via Keith McMillen Instruments
"It is with heavy hearts that we announce the passing of Keith McMillen.
Keith McMillen, a pioneering force in audio and music technology, passed away this week leaving behind a legacy of innovation and a profound impact on the music industry. Born July 10, 1957 in Bermuda, Keith dedicated his life to revolutionizing how live interactive music is played and experienced.
A passionate advocate for the intersection of technology and music, Keith’s academic foundation was laid at the University of Illinois, where he earned a BS in Acoustics under the mentorship of James Beauchamp. He further honed his skills in classical guitar and composition under the guidance of Herbert Brun, Scott Wyatt, and Sal Martirano. Over the years, Keith developed MAPPS, an integrated computer composition, notation, and performance system that became the bedrock of his group TrioMetrik.
Keith’s professional journey began in 1979 when he founded Zeta Music, a company that would become synonymous with the modern violin. His revolutionary electronic instrument designs set new standards in the music industry, creating a market that continues to influence musicians today.
In 1992, as Vice President at Gibson Guitars, Keith founded G-WIZ, an R&D lab where he developed ZIPI, a groundbreaking musical instrument control language that evolved into the Open Sound Control (OSC) protocol and lay the foundation for MPE and MIDI 2.0.
In 2005, Keith founded Keith McMillen Instruments, a company that quickly became known for its cutting-edge approach to musical technology using patented Smart Fabric sensors. Keith established the company to bring his innovative vision to life, and under his leadership KMI introduced groundbreaking products that combined Smart Fabric with musical artistry, including the K-Bow, QuNeo, QuNexus and K-Board Pro. These instruments, recognized for their versatility and advanced capabilities, reflected Keith’s dedication to pushing the boundaries of what was possible in music technology. His work through the company solidified his reputation as a pioneer in the field and left a lasting impact on the music industry.
In 2014, Keith founded BeBop Sensors with a mission to expand Smart Fabric applications into the fields of wearable sensors and haptics. This led to the development of several products and patents, including virtual reality gloves and insole sensors. This work inspired Keith to form Sensible Robotics, a new company where Keith focused his full attention on Making Robots Feel Better™ by using Smart Fabric to develop robotic skin.
Keith McMillen’s work exemplified a lifelong commitment to exploring how computer intelligence and user interface can enhance and expand musical performance. His passing is a great loss to the world of music and technology, but his innovations and achievements will continue to inspire and shape the future of both fields."
His instruments have been featured throughout numerous posts here on MATRIXSYNTH (271 posts to date including this one). You can find a handful of posts featuring Zeta here.
Thursday, August 24, 2023
Astronaut reverb & delay: All 22 effects on synth (no talk)
video upload by Richard DeHove
"Astronaut by Shiftline isn't a standard reverb or delay pedal. It can certainly do 'standard' reverb and delay but with one or two knob turns you'll find yourself deep into ambience, noise and droneland. There's 22 effect algorithms and here I noodle extensively with each one. As usual I thought it best to show the pedal by itself with no other effects and with minimal cuts to give a clear idea of what it's like to twiddle the knobs.
I bought the Astronaut used on a bit of a whim: It looked good, had a good name and promised weirdness - all excellent reasons. In many ways it reminds me of a Strymon, except way more extreme. Originally I was going to do extensive blabbing about this pedal since there's a lot to talk about, but after almost an hour just of noodling I thought the blab should wait for another day.
Just a couple of things of note: The center knob selects the algorithm, while the four outer knobs all have primary and secondary functions. From left to right the secondary functions are: Volume, HPF, LPF and stereo field. You access the secondary functions by holding down the right-side switch. During the noodling you'll mainly see me adjusting the filters. Otherwise the primary four knob controls are: Character (which changes depending on the algorithm), delay/decay, mix (from dry to 100% wet) and time/speed. If that's a bit murkey then the manual is excellent:
The full manual: https://shiftline-shared.s3.amazonaws...
One aspect that's particularly interesting. There's no save function here. Instead whatever state you happen to leave the algorithm in when you switch to the next one is what you'll get when you come back. This is both incredibly convenient and dangerous: One knob twiddle and your favorite sound is now modified. OTOH there are also 11 user slots where you can easily copy any sound so you could use that as your "don't touch" zone. Those two factors make this one of the best pedals I've used in terms of saving sounds. Often preset management on pedals is painful.
Finally there are all sorts of ways Astronaut can be configured. If you want you can even change the parameter range of the knobs! There's options for MIDI CC control, analog triggers, MIDI clock, line and instrument input. You can even change the beat switch time divisions to your own exotic time signatures. So there's a lot to like.
EFFECTS
0:00 (1) Paradox delay
5:27 (2) Reverse delay
9:19 (3) Reverdox reverb & delay
11:47 (4) Major arp reverb
13:40 (5) Minor arp reverb
16:35 (6) Octave arp reverb
17:50 (7) Random arp reverb
19:46 (8) Universe 1
22:48 (9) Universe 2
24:22 (11) Force microsampler
26:00 (10) Force Roar*
REVERBS:
26:13 (1) Spring reverb
28:27 (2) Plate reverb
31:14 (3) Room reverb
33:12 (4) Modulated
36:42 (5) Skynet 1
40:20 (6) Skynet 2
42:59 (7) Mechanics
45:07 (8) Shimmer up 2
46:55 (9) Shimmer up 1
49:07 (10) Shimmer up-down
51:56 (11) Shimmer down
* Oops accidently deleted most of effects demo 10. I blame my subconscious. I was struggling with this one.
Lots of downloads for supporters on Patreon: https://www.patreon.com/richarddehove
Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/"
Monday, August 21, 2023
War of the Worlds 2023 AI by Cinematic Laboratory w/ Cameos from Todd Barton and Walker Farrell
video upload by Cinematic Laboratory
"The Hague, Netherlands, August 25, 2023 — Step into the immersive musical world of modular artist Cinematic Laboratory as it unveils its latest sonic endeavor, 'War of the Worlds 2023 AI.' The album showcases the fusion of an audio comic with music, 3D field recordings, cutting-edge AI text-to-speech dialogs and Chat GPT ghostwriting. By combining handmade sounds, real analog voltage, and digital magic, Cinematic Laboratory stretching the boundaries of 21st century 'home studio' music production.
'War of the Worlds 2023 AI' features eight music tracks that traverse between B-movie clichés and the real challenges of living in an uncertain future. Each track creates a realm where imagination intertwines with reality, taking listeners on a journey where our own fear is a formidable adversary. What sets this album apart is the groundbreaking use of AI voice actors, infusing the characters with artificial ‘overacting’ and bringing the story to life. They seem to have a mind of their own and turned the story into a comic beyond production control. It just shaped itself. While the use of 'deep fake celebrities' remains a topic of debate and controversy, it adds a bit of realism to the album. The album is accompanied by a single release called ‘Elevator Music 2023 WOTW’ which also doubles as a trailer.
Synopsis: The machinery of an extinct alien Krell civilization decides to bring a gift to Earth. The ability to materialize and realize anything you can think of. After receiving a mysterious transmission, a desert festival for open minded thinkers will be the catalyst for a worldwide invasion as our deepest fears and nightmares manifest themselves and turns against us. The Earth turns into a purple jungle infested by huge tripods, drones, zombies and fungi. Meanwhile, scientists Daisy, Brian and Walker patch up a dream machine that helps us to channel our imagination in a more constructive way. They manage to inspire the US President and together they bring this ‘immersive musical audio comic book’ to a ‘happily ever after’.
Starting from H.G. Wells' timeless book and the 1956 classic movie 'Forbidden Planet,' Cinematic Laboratory's interpretation of 'War of the Worlds' takes an unpredictable direction. Instead of an invasion from Mars, the album delves into the internal battle of the human mind, where our fears and nightmares manifest through ancient alien technology. It is a compelling exploration of the power of imagination and its ability to shape, disrupt, damage, and heal our lives. It's a force that cannot be defeated by the common cold. Just imagine growing up in a world where your reality is forged and can’t always be trusted.
As an emerging modular artist, Cinematic Laboratory is dedicated to pushing the boundaries of musical expression and storytelling. The compositions blend various modern genres and influences, creating a sonic landscape that is both alien and strangely familiar. With 'War of the Worlds 2023 AI,' Cinematic Laboratory aims to establish itself as a rogue ambient music pioneer, exploring new frontiers while sharing the experience on YouTube. The Lab currently boasts over 500 videos online and is a highly appreciated channel devoted to modular synthesis. The album features cameos from Todd Barton and Walker Farrell who make a lot of waves in the modular community.
'War of the Worlds 2023 AI' is available on all major streaming platforms on August 25. Bandcamp offers a special download and contains scripts and an instrumental bonus album.
Album:
https://cinematiclaboratory.bandcamp...."
Friday, November 09, 2018
Kaitlyn Aurelia Smith Tides: Music For Meditation And Yoga on the Buchla Music Easel
Published on Nov 9, 2018 Kaitlyn Aurelia Smith
Pre-Order Now http://www.touchtheplants.com
LP Shipping late December
Worldwide Digital January 11th
///
Recorded in 2013,Tides is a glimpse into the early phase of what has become Kaitlyn Aurelia Smith’s signature approach to electronic music. Composed and played on a Buchla Music Easel––the modular synthesizer that gives Smith’s music its organic feel––this collection of instrumentals is at once uplifting, transportive and meditational. It comes as no surprise that it was commissioned by Smith's mother to accompany her yoga practice.
Tides pulsates and swells like the ocean itself. Field recordings of wind chimes and forest sounds are interspersed throughout much of the album, accentuating the pastoral aspirations of their electronic counterparts. The chirp of a bird might be confused for the elongated intervals of a muted siren, a steam valve opening and closing for the sound of the surf, or a drone for a live organ. The actuality is elusive and secondary to the alchemy at work. Natural and synthetic components become indistinguishable from one another and cohere seamlessly into a unified paean to bliss. Though the ambient nature of these recordings is inextricable, it is belied by an undercurrent of heart-like beats that hint at the visceral force of Smith’s current work.
~
Friday, August 31, 2018
Dave Smith Instruments Rebrands as Sequential
Update: Photo from last night’s announcement party added. It’s the West Coast Synth Brain Trust. Tom Oberheim, Roger Linn, Dave Smith, Dave Rossum, and John Chowning. Quite the group!
"Sequential" (minus "Circuits") is officially back! We saw the brand name come back with the Prophet-6, but the it was still under Dave Smith Instruments. DSI the company is now officially Sequential. It's great to see the Sequential brand name back. You might recall Yamaha owned the rights but gave it back to Dave Smith back in 2015.
The official press release follows:
Dave Smith Instruments Officially Becomes “Sequential”
Dave Smith Returns to Sequential Brand to Mark 40th Anniversary of Prophet-5 Poly Synth
San Francisco, CA—August 31, 2018—In a move auspiciously timed to coincide with the 40th anniversary of his legendary Prophet-5 poly synth, Dave Smith today announced that Dave Smith Instruments will rebrand itself as “Sequential” — reclaiming the mantle of Smith’s original, ground-breaking company. Going forward, all products and services will bear the Sequential® brand.
Company founder Dave Smith explained the decision: “It seems incredible, but this month marks the 40th anniversary of the Prophet-5. That’s a huge milestone. And it felt like the right time for us to completely restore the Sequential brand and bring our journey as a company full circle. The name change also reflects the fact that our instruments are the result of a team effort. It’s not just me, it’s the entire company.”
Founded by Smith in 1974 as “Sequential Circuits,” the original incarnation of the company quickly established itself as a major innovator in the then-nascent field of electronic instruments. In 1978, Sequential Circuits’ flagship keyboard, the Prophet-5, took the music world by storm as the world’s first fully-programmable polyphonic synthesizer—and the first musical instrument with an embedded microprocessor.
Numerous other ground-breaking products soon followed, including the hugely popular Pro-One monosynth, the Prophet 600 (the world’s first MIDI-equipped instrument), the Six Trak (the first multi-timbral synthesizer), and the Prophet VS (the first instrument to feature digital vector synthesis). Sequential Circuits ceased operations in 1987 and the company’s name (shortened to “Sequential” in the mid-1980s) and assets were acquired by Yamaha. Smith went on to consult for Yamaha and Korg, developing the Wavestation and other innovations.
In 2002, Smith established Dave Smith Instruments to concentrate on solo hardware designs and released the Evolver hybrid analog/digital synthesizer. The DSI product lineup steadily grew to include the Prophet ’08, Mopho, Tetra, Tempest drum machine, Prophet 12, Pro 2, Prophet-6, OB-6, Prophet Rev2, and the Prophet X.
In 2015, with the encouragement of Roland’s Founder, Ikutaro Kakehashi, Yamaha returned the Sequential name to Smith in a gesture of goodwill. “Once Kakehashi-san and Yamaha enabled us to re-acquire the Sequential name, I knew we’d fully adopt it again when the time was right. That time has arrived,” said Smith. “The best part is that we have the same sense of excitement and enthusiasm for making the world a more creative place as we did 40 years ago. Sequential is back, better than ever.”
About Sequential
Originally launched in 2002 as Dave Smith Instruments, Sequential is helmed by legendary musical instrument designer and Grammy® award winner Dave Smith. Dave’s many accomplishments include the creation of the Prophet-5 — the world’s first fully programmable polyphonic synthesizer—and his legacy as the primary driving force behind MIDI (Musical Instrument Digital Interface).
The company’s products are used by an ever-growing roster of well-known musicians and are available from music retailers worldwide. Instruments include the Prophet-6, OB-6, Prophet Rev2, Prophet X, and the Tempest analog drum machine. Sequential is based in San Francisco, where its instruments are also manufactured. For more information, visit www.sequential.com.
Friday, June 08, 2018
Waldorf to Introduce New KYRA - All FPGA VA Synthesizer Based on the Exodus Valkyrie at NAMM 2019
Yes, this is real. Waldorf is teaming up with Exodus Digital on their recently announced Valkyrie FPGA synthesizer. It's worth noting the Novation Peak is also FPGA based, however not fully, as it utilizes analog filters. There are also some DIY FPGA synths. A fun side note is that this is the earliest NAMM post to go up for a single year's event. :)
Here's the press release:
Waldorf Music makes world’s first fully FPGA powered synth fit to fly for full production launch at The 2019 NAMM Show
REMAGEN, GERMANY: hot on the heels of having turned heads and opened ears with its innovative flagship, Quantum, a high-class hybrid synthesizer showcased to widespread critical acclaim at The 2018 NAMM Show in Anaheim, California earlier this year, high-quality synthesizer developer Waldorf Music is proud to announce a full production launch and general availability of Kyra — the world’s first fully FPGA (Field-Programmable Gate Array) powered synthesizer featuring 128 voices (regardless of settings and effects), each with 10 oscillators per voice, and eight-part multitimbrality (with each part having its own dedicated nine-module effects unit) — at The 2019 NAMM Show, January 24-27, in Anaheim, California…
As an extremely powerful VA (Virtual Analogue) synthesizer literally like nothing else out there — thanks to leveraging the latest FPGA technology to significantly outperform legacy DSP (Digital Signal Processing) powered competition, Kyra’s crowning glory comes courtesy of its state-of-the-art audio quality: think 32x oversampled hardware with dual wavetables providing over 4,000 waveshapes! With 10 oscillators — that can be doubled to 20 by using two voices — each offering a wide range of features, including true stereo operation, hard sync, FM (Frequency Modulation), and ring modulation, Kyra starts shaping up as a serious sonic force to be reckoned with... without even factoring filtering into an already seriously impressive-sounding instrument! Indeed, Kyra’s resonant filters are accurate oversampled emulations of classic analogue ladder filters with 2- and 4-pole configurations (offering -12dB/oct and -24dB/oct of magnitude decrease, respectively). Saying that, two linked or independent filters can be used in Dual Voice mode, making for even more creative options. On top of that, there are three envelope generators, three stereo LFOs (Low Frequency Oscillators) with 64 shapes and MIDI (Musical Instrument Digital Interface) clock sync, an arpeggiator, full keyboard microtuning, and true polyphonic portamento, as well as a comprehensive 18-channel modulation matrix to Kyra’s notable name.
Notably, Kyra comes highly specified for effects, each of its eight parts featuring a three-band EQ with sweepable mid, dual tube limiters, formant filter, distortion, six-stage phaser, stereo digital delay, comb/flanger/chorus/doubler unit, and a programmable reverb. All effects units on all parts can be used simultaneously and run at Kyra’s native 96kHz sample rate.
Kyra clearly delivers when it comes to connectivity by boasting four assignable, balanced 32-bit/96kHz stereo outputs, a headphone output, low-latency DIN MIDI, a fully class-compliant USB2 implementation for MIDI, and a stereo 24-bit/96kHz audio stream for each of its eight parts. Production-wise, there is also a USB (Universal Serial Bus) audio return feature, so Kyra can render final DAW (Digital Audio Workstation) audio under ASIO (Audio Stream Input/Output). An ASIO driver is provided for Windows users while Mac support is out of the box.
But if any aspects of this impressive instrument already have a ring of familiarity about them then Musikmesse 2018 in Frankfurt am Main may have played its part. Put it this way: Waldorf Music CEO Joachim Flor found himself transfixed there. “It was more of a coincidence to have discovered Valkyrie during a tour of this year’s Frankfurt Music Fair, but I was immediately aware of the fact that this was probably one of the most exciting synthesizers of recent years,” he admirably admits. “I got into conversation with its independent UK developer, Manuel Caballero, and I’m now looking forward to working with this talented, innovative individual, who is also a great guy! Under the direction of Waldorf Music, Valkyrie flies forth into a joint production project called Kyra, which will be shown and delivered at NAMM in 2019.”
Fortunately for Manuel Caballero, the feeling was clearly mutual — Musikmesse mission accomplished. “After nearly four years in the making, I went to Musikmesse with the intention of finding an established partner for Valkyrie,” he reveals. “There's little doubt that Valkyrie's reveal at Musikmesse caused quite a stir in the synthesizer world and I had set the bar high for potential partners to bring the instrument to market. As a result of this, I'm pleased to announce a partnership with Waldorf Music. Few companies can match their track record of innovation and delivery spanning several decades. Working with Joachim Flor and his technical and design team to achieve this is an exciting and efficient partnership as we work together to launch the instrument at NAMM in 2019. Waldorf's proven heritage in product design, manufacturing, and distribution leaves me to do what I do best, which is applying the most advanced technologies to the art of music, and I look forward to a continued deep working relationship with the Waldorf team.”
Kyra is initially scheduled for full production launch at The 2019 NAMM Show, January 24-27, in Anaheim, California, competitively priced at €1,899.00 EUR as a desktop/rackmount model (with a keyboard version to follow later in 2019).
LABELS/MORE:
Exodus Digital,
FPGA,
NAMM,
NAMM2018,
New,
New in 2018,
New Synths,
new synths in 2018,
Waldorf
Friday, February 23, 2018
LAMM Moog Memorymoog SN 2396
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
Moog Memorymoog Plus with the imfamous LAMM upgrade (Linntronics Advanced Memorymoog Modification - priced 7500euro, with a 20 month waitinglist)
The synth is in amazing condition, more 'mint' then 'excellent', as you can see on the pictures. Well cared for, serviced (incl recapped PSU, etc) and ships in a heavy duty pro flightcase (not pictured yet).
Sold with invoice.
Make sure to check out our other stuff!
ABOUT LINTRONICS ADVANCED MEMORYMOOG MODIFICATION (LAMM)
Designed more than twenty years ago and built by Moog Music before 1984, the Memorymoog has earned a reputation for the highest quality analog sound of any polyphonic synthesizer. However, the Memorymoog has been plagued with hardware instabilities and operating system shortcomings that have compromised its reliability and frustrated the players who have used it. Furthermore, current standards of operating system flexibility include a level of MIDI implementation that goes far beyond the feature set that has heretofore been available on the Memorymoog.
via this auction
Moog Memorymoog Plus with the imfamous LAMM upgrade (Linntronics Advanced Memorymoog Modification - priced 7500euro, with a 20 month waitinglist)
The synth is in amazing condition, more 'mint' then 'excellent', as you can see on the pictures. Well cared for, serviced (incl recapped PSU, etc) and ships in a heavy duty pro flightcase (not pictured yet).
Sold with invoice.
Make sure to check out our other stuff!
ABOUT LINTRONICS ADVANCED MEMORYMOOG MODIFICATION (LAMM)
Designed more than twenty years ago and built by Moog Music before 1984, the Memorymoog has earned a reputation for the highest quality analog sound of any polyphonic synthesizer. However, the Memorymoog has been plagued with hardware instabilities and operating system shortcomings that have compromised its reliability and frustrated the players who have used it. Furthermore, current standards of operating system flexibility include a level of MIDI implementation that goes far beyond the feature set that has heretofore been available on the Memorymoog.
Monday, January 08, 2018
Lightfinger Evolution Pack for Novation Circuit
Published on Jan 8, 2018 Lightfinger
"Lightfinger’s Evolution Pack for Novation Circuit consists of 64 Patches, 16 Sessions, the Evolution Sample Set and the Distructo Sample Set. Also included are Patch, Sample Set & Sessions Save Sheets to help keep your Circuit organized.
EVOLUTION SAMPLE SET: Classic and electronic percussion, hi-tech hits, FX stabs, and tonal elements.
DISTRUCTO SAMPLE SET: Get hard with this aggressive kit featuring a ‘stereo’ sample on Pads 63 (Left) & 64 (Right).
64 PATCHES: With moving pads, dirty basses and powerful leads, there are a wide range of Patches that are suitable for many genres of music. All of the Macro Knobs have been assigned dynamic, useful functions with the following helpful standardization:
Monday, June 05, 2017
Delta Modular Force
Published on Jun 5, 2017 Trübüla
"A small experiment about how different instruments can interact each other in a modular synth's ecosystem.
The Delta Harp by Salvi Harps is connected via a contact mic to the synth using the Koma Field Kit. The voltage created by the envelope follower in the kit is quantized by the CopierMaschine program of the awesome mxmxmxm's Ornaments & Crime. 3 of the 4 CV OUT piloting the Sputinik Dual Oscillator and the Make Noise STO.
The Delta Harp is plugged directly in the audio card.
Delays and Reverbs by D16 Repeater & Eventide Black Hole.
So ... Delta and Synth are played by Vanja Contu - Sounds and Synth are disturbed by me.
Recorded live using Pro Tools - Video by Ursula Castaldo"
Tuesday, March 21, 2017
MOOGFEST ANNOUNCES PROTEST STAGE PARTICIPANTS FOR FESTIVAL’S OPENING NIGHT
via moogfest
"Featuring Talib Kweli, Omar Souleyman, Mykki Blanco, BEARCAT, Pie Face Girls, MIT Open Doc Lab, NEW INC, Found Sound Nation, and Goldsmiths
The independent, annual, four-day festival will take place in
Durham, North Carolina from May 18-21, 2017.
This year marks its 11th iteration honoring the spirit of inventor Bob Moog.
$249 for 3-Day General Admission and $499 for 3-Day VIP
All prices exclusive of applicable fees.
March 21, 2017 - Moogfest will dedicate its main stage on opening night to exploring how creative technology tools and protest music can be used as instruments for change. This Protest stage will be led by local and international artists Talib Kweli, Omar Souleyman, Mykki Blanco, BEARCAT and Pie Face Girls, MIT Open Doc Lab, NEW INC, and app developers at Goldsmiths University. The diverse Protest stage program will include performances, talks, and participatory technology experiments. Moogfest invites all presenters and attendees to explore sonic resistance and emerging technology tools for counteraction while celebrating radical inclusivity and intersectionality. New technologies for educating, organizing, and art-making echo Moogfest’s rallying cry: Synthesize Love.
Protest comes in many forms, and no single genre can contain the musicians participating in Thursday’s program. Talib Kweli is a renowned recording artist, entrepreneur, and social activist who uses hip hop to educate, inspire and agitate. He is well known for his work combating racial stereotypes, the prison-industrial complex, and police brutality. Syrian artist-activist Omar Souleyman represents culturally diverse musical traditions that include Kurdish, Ashuris, Arabic, Turkish and Iraqi communities. Fearless noise rap poet and performance artist Mykki Blanco was raised in Raleigh, N.C., but has traveled the globe from art-world stomping grounds in New York to his current home in Los Angeles, spitting subversive rhymes on race and LGBT issues. British DJ/Producer BEARCAT makes politically-charged bass-heavy mixes and represents Discwoman, an esteemed collective showcasing cis women, trans women and genderqueer talent in electronic music. Raleigh-based band Pie Face Girls uses defiant punk music to promote a DIY ethos and attack issues like North Carolina’s HB2. Music is one of the oldest forms of protest, but each of these artists makes their causes urgent anew with the music and community they build.
Intermixed with the musical performances, technologists participating in the Moogfest Protest stage program will present recent and developing projects that empower and facilitate social action. Gan Golan and Ron Morrison of NEW INC present their countersurveillance armor for citizens, The Argus Project, a head-to-toe mobile suit embedded with cameras that allows the wearer and its audience of remote viewers to monitor and record environmental behaviour. Taeyoon Choi, also of NEW INC, presents a protest sign-making workshop, exploring signs as a poetic medium for social engagement in an inclusive space that promotes learning from people with differing views and priorities. Halsey Burgund of MIT Open Doc Lab and Joe Zobkiw present the Land Marking app, which captures the sounds of social movements around the world. During the festival, attendees are invited to contribute their voices or listen to the location-based mix of music and voices contributed by previous participants. Vivan Thi Tang, a postgraduate in the Graduate Entrepreneur program at Goldsmiths University in London, created a customized beta of her irlbb app for Moogfest 2017, that presents a unique opportunity for participants to connect with potential collaborators.
Tuesday, December 13, 2016
KOMA's Field Kit launched on Kickstarter!
"After a year of development, testing and prototyping, KOMA Elektronik is proud to present the latest addition to the KOMA family: the KOMA Elektronik Field Kit! On Kickstarter now! The new KOMA Elektronik Field Kit is the perfect tool for everyone who would like to experiment with electroacoustic sound. Use everyday objects, amplify them and use them to make sound, like our heroes John Cage and David Tudor used to do!
The Field Kit is optimized to process signals from microphones, contact microphones, electromagnetic pickups and able to run DC motors and solenoids. On top of that it can receive radio signals and convert signals from switches and sensors into control voltage. The Field Kit boasts 7 separate functional blocks all focussed on receiving or generating all types of signals. They are designed to operate together as a coherent electroacoustic workstation or alternatively together with other pieces of music electronics with the ability to use control voltage signals:
Four Channel Mixer
Envelope Follower
DC Interface
Analog Switch Interface
Analog Sensor Interface
AM/FM/SW Radio
Low Frequency Oscillator
You can easily interface the Field Kit with a Eurorack modular system. At the backside of the PCB you will find a power connector you can use to power the unit from your system. The total panel width is 36HP. You can buy the Field Kit as a finished unit or build one yourself with the DIY Version."
"All audio has been recorded straight from the Field Kit, using a DC Motor, Solenoid Motor, a DC powered fan, Roland TR-8 and Berlin's local radio station Antenne Brandenburg as audio sources."
Additional details via Kickstarter.
"The KOMA Field Kit
The new KOMA Elektronik Field Kit is the perfect tool for everyone who would like to experiment with electroacoustic sound. Use everyday objects, amplify them and use them to make sound, like our heroes John Cage and David Tudor used to do!
The Field Kit is optimized to process signals from microphones, contact microphones, electromagnetic pickups and able to run DC motors and solenoids. On top of that it can receive radio signals and convert signals from switches and sensors into control voltage!
We have finished development of the Field Kit, are ready for production and we need your support to make it happen!
[Pictured:] The final Field Kit prototype, ready for production!
It's all about the things you connect to the The Field Kit! To get you started we decided to offer an Expansion Pack with a bunch of different sources that you can use and connect to create your own signature sounds.
LABELS/MORE:
eurorack,
KOMA Elektronik,
mechanical,
Musique Concrete,
New,
New in 2016,
New Sound Machines,
New Sound Machines in 2016
Tuesday, November 17, 2015
New Details on the Knifonium 25 Tube Monophonic Synthesizer
See the Knifonium channel for previous posts including video.
"Knifonium is a 25 tube monophonic synthesizer with a 4th order ladder filter and a ring modulator.
Basic Specs:
Oscillator 1 (5 tubes)
-Sawtooth, Triangle, Pulse, Sine
-Sync
-FM
-Octaves 64, 32, 16, 8, 4, 2 -Coarse tune in semitone steps-Fine tune in +/- 100 cents.

-Sawtooth, Triangle, Sine
-is master for sync and modulator for FM
-Octaves 64, 32, 16, 8, 4, 2 -Coarse tune in semitone steps-Fine tune in +/- 100 cents.
Noise (2 tubes):
-Noise generator is a special tube that is subjected to strong magnetic field. -White, Pink and Red.
Ring modulator (3 tubes)
-Input is sine waves from both oscillators or anything from external inputs, feedback et cetera, drive volume can be adjusted
-Very wide nonlinear range available.
Mixer (2 tubes)
-A tube op amp, virtual earth mixer with one external input.
-3 of the input levels can be modulated.
Filter (7 tubes)
-4th order ladder filter.
-Can go from clean to messy to violent depending on levels and resonance.
VCA (2 tubes)
-Transformer coupled variable mu pentode design.
-More than 40dB of linear range. Capable of total shut down. A switch to increase internal level by 10 dB for nice distortion.
Tuesday, May 22, 2012
Syntact New Revolutionary Interface
syntact_tri_MASTER.mpeg
YouTube Published on May 21, 2012 by UltrasonicAudioTech
"Syntact™ - a new musical interface based on the revolutionary technology of non-contact tactile feedback. 121 ultrasonic transducers are focusing acoustic energy into one spatial point, thus creating a tangible vibration in midair. Syntact™ enables musicians to virtually mold and shape the sound with their hands. It allows easy and playful generation of meaningful and diverse musical structures."
www.ultrasonic-audio.com
"Syntact™ is a new musical interface based on the revolutionary technology of non-contact tactile feedback. 121 ultrasonic transducers are focusing acoustic energy into one spatial point, thus creating a tangible vibration in midair. Syntact™ enables musicians to virtually mold and shape the sound with their hands.
The revolutionary technology behind Syntact™ provides contact-free tactile feedback to the musician. By utilizing airborne ultrasound a force field is created in mid-air that can be sensed in a tactile way. The interface allows a musician to feel the actual sound with its temporal and harmonic texture. While an optical sensor system is interpreting her or his hand gestures, the musician can physically engage with the medium of sound by virtually molding and shaping it – i.e. changing its acoustic appearance – directly with their hands.
Syntact™ - graphic representation of (ultra)sound-waves condensing in the focal point of the instrument.
Applications
Live music creation and performance
Virtual reality / telepresence
Public interactive multimedia installations in museums, galleries, science centres etc.
Interactive advertising
Control input:
Syntact™ is operated via optical hand-gesture analysis. An integrated USB camera is used to analyze the hand position in the focal point region of the instrument. Sophisticated image descriptors are then extracted in real-time and converted to MIDI data, which can further be used to drive any desired sound synthesis/processing parameters in any audio production software or hardware environment.
Tactile feedback:
The feedback section of the instrument uses the analog audio output of any software or hardware synthesizer, instrument, sequencer or any kind of audio generator. It uses the audio signal to compute an ultrasound signal mixture that reflects the harmonic and temporal characteristic of the given audio signal. The ultrasound signal mixture is projected through an annular array of 121 ultrasonic transducers, focusing all the acoustic energy in one spot (the focal point).
YouTube Published on May 21, 2012 by UltrasonicAudioTech
"Syntact™ - a new musical interface based on the revolutionary technology of non-contact tactile feedback. 121 ultrasonic transducers are focusing acoustic energy into one spatial point, thus creating a tangible vibration in midair. Syntact™ enables musicians to virtually mold and shape the sound with their hands. It allows easy and playful generation of meaningful and diverse musical structures."

"Syntact™ is a new musical interface based on the revolutionary technology of non-contact tactile feedback. 121 ultrasonic transducers are focusing acoustic energy into one spatial point, thus creating a tangible vibration in midair. Syntact™ enables musicians to virtually mold and shape the sound with their hands.

Syntact™ - graphic representation of (ultra)sound-waves condensing in the focal point of the instrument.

Live music creation and performance
Virtual reality / telepresence
Public interactive multimedia installations in museums, galleries, science centres etc.
Interactive advertising

Syntact™ is operated via optical hand-gesture analysis. An integrated USB camera is used to analyze the hand position in the focal point region of the instrument. Sophisticated image descriptors are then extracted in real-time and converted to MIDI data, which can further be used to drive any desired sound synthesis/processing parameters in any audio production software or hardware environment.
Tactile feedback:
The feedback section of the instrument uses the analog audio output of any software or hardware synthesizer, instrument, sequencer or any kind of audio generator. It uses the audio signal to compute an ultrasound signal mixture that reflects the harmonic and temporal characteristic of the given audio signal. The ultrasound signal mixture is projected through an annular array of 121 ultrasonic transducers, focusing all the acoustic energy in one spot (the focal point).
Tuesday, September 22, 2009
Victoria Vesna - Cell Ghost, Bio Art Installation 2004/05
YouTube via MediaArtTube
"This work captures the viewer moving through space with a live camera, with their image projected in particles that is stored in memory and appear later as a ghost. The person passing by also activates text. The ambient sounds are a composition of data derived from manipulating live biological cells. The piece was originally conceived site specifically for an exhibition held at the former Seodaemun prison in Seoul, Korea.
eodaemun Prison(Hyongmuso), which is located at 101, Hyonjo-dong, seodaemun-gu, Seoul, was built during the japan's occupation at the end of Taehan Empire, and it served as a major site of oppression during their forced colonization. For almost 80 years, it has stood as a living monument of our ordeal, and grief in the tumultuous times of modem Korean history.
When japanese occupid our nation by force, they unveiled their wild ambition to launch a full scale invasion into the continent by using our land as a bridgehead. At that time, they found it necessary to build a prison to house the numerous patriotic martyrs who fought against their invasion was begun in 1907 near Tongnimmun (Independence Gate), which was estabilshed as a symbol of independence during the period of Taehan Empire.
Poem:
Prisons of our minds unlocked by the power of love.
Ghosts of suffering from the past haunt these spaces now.
Waiting for the key to open the door to the future.
Bars of steal dissolved by the heart.
Cell Sounds
Professor James Gimzewski with PhD student Andrew Pelling at the Pico lab, UCLA first made the discovery that yeast cells oscillate at the nanoscale in 2002. Amplifying this oscillation results in a sound that lies within the human audible range. "Sonocytology", the suggested term for this cutting edge field of study, represents a new realm of challenge and potential for scientists, artists, and in particular for musicians. The tool with which the cell sounds are extracted - the atomic force microscope (AFM) - can be regarded as a new type of musical instrument. Unlike microscopes that use optical imaging, the AFM "touches" a cell with its small tip, comparable to a record needle "feeling" the bumps in a groove on a record. With this interface, the AFM "feels" oscillations taking place at the membrane of a cell. These electrical signals can then be amplified and distributed by speakers. Manipulating the cell with chemicals will result in a change of oscillation. Isopropanol (rubbing alcohol) for example, will change a "singing cell" into a "screaming cell". And a chemical such as sodium azide will kill the cell, causing the emitted frequency to die away, leaving only noise.
More info: http://vv.arts.ucla.edu/projects/04-0..."
Victoria Vesna and James Gimzewski - Blue Morph, Intercative Installation / Nano Art, 2008
"Blue Morph is an interactive installation that uses nanoscale images and sounds derived from the metamorphosis of a caterpillar into a butterfly.
Nanotechnology is changing our perception of life and this is symbolic in the Blue Morpho butterfly with the optics involved -- that beautiful blue color is not pigment at all but patterns and structure which is what nano-photonics is centered on studying. The lamellate structure of their wing scales has been studied as a model in the development of fabrics, dye-free paints, and anti-counterfeit technology such as that used in monetary currency. Blue Morpho has intrigued scientists for generations because of its subtle optical engineering that manipulated photons. Today, its dazzling iridescent wings are giving rise to a market trying to mimic its wonder and create a counterfeit proof currency and credit cards. The optics are no doubt fascinating but the real surprise is in the discovery of the way cellular change takes place in a butterfly. Sounds of metamorphosis are not gradual or even that pleasant as we would imagine it. Rather the cellular transformation happens in sudden surges that are broken up with stillness and silence. Then there are the eight pumps or "hearts" that remain constant throughout the changes, pumping the rhythm in the background. During the transformation to emergence each flattened cell of the wing becomes a nanophotonic structure of black protein and space leading to iridescence.
Nano is not only making the invisible visible but also changing our way of relating to "silence" or making the in-audible audible. With all the noise of chattering technologies and minds, we propose the interactivity to be stillness for in this empty space of nano we can get in touch with the magic of continuous change. But most of all we embrace the absurd and in a surge of laughter recognize our limited human viewpoints.
In collaboration with Gil Kuno, Sarah Cross
Production: Shaun Westbrook, Tyler Adams, Laura Hernandez
More info: http://artsci.ucla.edu/BlueMorph/co ncept.html"
Sunday, September 09, 2007
DSI Prophet '08 Samples via Seth
Update:
"Two more samples. These aren't full tunes, they're more like examples of what you can do with the Prophet '08.
http://www.boxoftextures.com/prophet08/music/
The two snippets are called Heavy Sequence and Light Arpeggios. Heavy Sequence is rude and impolite and is done in a single patch. It's also, uh, a little rough around the edges as well. The sequencer is running on one layer and the lead is on the other. I did cheat a bit because I couldn't do two stereo channels at once into my Mac, but it more or less could have been done in one pass with only two hands (if you ignore the pitch bending, that is).
Light Arpeggios is much more polite and gentle. Both arpeggios are again done in a single patch and were recorded in a single pass live.
I then put in a lead-ish type patch on top of that to make it a little bit more interesting.
Seth"
........
"http://www.boxoftextures.com/files/choppersoverhead.mp3
Four tracks, recorded in Live:
1 - Arturia Minimoog V - arpeggios
2 - G-Force Mtron - texture chords
3 - Prophet '08 - fretless bass
4 - Prophet '08 - lead
Notes:
1 - no effects in Live, but the Minimoog V's internal chorus and echo were used as part of the sound
2 - dry
3 - a lot of reverb while it's playing alone for the first few bars at the beginning, then just a little reverb
4 - a bit of reverb
So these were my first two sounds I programmed on the Prophet '08. If you're wondering why the glide in the tune above sounds so different then what you might be used to, it's because each oscillator has its own glide knob (!) so you can set each one for a slightly different glide speed (or a greatly different speed, for that matter). This makes them reach the target note at slightly (or greatly) different times, and the sweep through the intervening frequencies happens differently for each one. Also, four LFOs is fabulous. I used one for vibrato, one for each of the oscillator's pulse width modulation, and I still had one spare.
While programming the bass sound, I held three notes and then latched the arpeggiator down. I then proceeded to spend about half an hour playing with all the controls. Man, that was fun! I wish I had recorded that on video for YouTube. I haven't touched the sequencer yet, but it looks like it'll be just as much fun. Plus, I think you get four sequences as modulation sources and can send then anywhere you want, not just for notes. How about one sequence for notes and then another for pan position? You could have each note happen in a different position in the stereo field and with a different pulse width and cutoff frequency. Add some slapback echo in your outboard gear and you're in for some real fun. You can have the thing chugging along sending notes flying all over the room. Uh, I'm patenting that one, so don't go using the idea, OK?
Oh, and just by the way, all four LFOs can be set to sync with the sequencer. Not only can you put different notes in different places in the stereo field, but you can move them once they're there.
Madness!
The knobs are - different. Not bad by any means, but I'm still getting used to them. The most fabulous thing in the world is that you can touch a knob and turn it, and when you do, the sound changes the way you expect it to. There's no jump, no turning it back and forth until you pass the stored value, they just work. On the other hand, you can't just look at a knob to see what the value is. This feels really odd when choosing waveforms, for example. Again, it's not a bad thing, but it definitely feels different than what I'm used to. On a "normal" synthesizer (i.e., a Minimoog) you look at the knob to see the values. On the Prophet you first find the knob, then you have to find the display to see what's up. It'll take a little getting used to.
Same thing with the envelopes. I've always wanted DADSR envelopes, and now that I got 'em I have to get used to them. I always pictured a steady volume for the initial delay, then the normal envelope.
Problem is, there isn't any steady volume before the ADSR portion, it's just a delay. Totally useful, but definitely not what I'm used to. There's a VCA level control, so you can have the VCA always open a little and have the envelope work the way I expected it to work, but then the VCA is always open even when you don't expect it to be.
Again, none of this is a problem with the Prophet, it's more a problem with me. I can see an incredible amount of things you can do with these, and I can also see using up the four modulation routings in seconds on a lot of patches, and I can see it may take me a little while to wrap my head around it.
In re-reading this I can see that I've said "I have to get used to it" about five times. Hmmm. I guess I'll come back to this post in a week or two to see how I feel then. I've only been knob twiddling for about three hours last night. Six months from now everything I'm noting as different will probably feel completely natural.
So, in my few hours of sound programming I ended up being surprised by what the thing could do so many times that I just can't believe it. Is this why people rave unconditionally about the Evolvers? I've always wondered why. If so, I may just have to pick one up. So much thought went into the Prophet '08. Little things like individual glide controls. Such a simple idea, but a completely unique sound.
Imagine something like oscillator sync, except that now you can apply glide to only -one- of the oscillators. Four LFOs, three envelope generators, four sequencers. Heck, you can even modulate the modulation amounts as all four modulation amounts are also modulation destinations!
The thing is brilliant. That's all I can say.
Seth"
via AH.
"Two more samples. These aren't full tunes, they're more like examples of what you can do with the Prophet '08.
http://www.boxoftextures.com/prophet08/music/
The two snippets are called Heavy Sequence and Light Arpeggios. Heavy Sequence is rude and impolite and is done in a single patch. It's also, uh, a little rough around the edges as well. The sequencer is running on one layer and the lead is on the other. I did cheat a bit because I couldn't do two stereo channels at once into my Mac, but it more or less could have been done in one pass with only two hands (if you ignore the pitch bending, that is).
Light Arpeggios is much more polite and gentle. Both arpeggios are again done in a single patch and were recorded in a single pass live.
I then put in a lead-ish type patch on top of that to make it a little bit more interesting.
Seth"
........
"http://www.boxoftextures.com/files/choppersoverhead.mp3
Four tracks, recorded in Live:
1 - Arturia Minimoog V - arpeggios
2 - G-Force Mtron - texture chords
3 - Prophet '08 - fretless bass
4 - Prophet '08 - lead
Notes:
1 - no effects in Live, but the Minimoog V's internal chorus and echo were used as part of the sound
2 - dry
3 - a lot of reverb while it's playing alone for the first few bars at the beginning, then just a little reverb
4 - a bit of reverb
So these were my first two sounds I programmed on the Prophet '08. If you're wondering why the glide in the tune above sounds so different then what you might be used to, it's because each oscillator has its own glide knob (!) so you can set each one for a slightly different glide speed (or a greatly different speed, for that matter). This makes them reach the target note at slightly (or greatly) different times, and the sweep through the intervening frequencies happens differently for each one. Also, four LFOs is fabulous. I used one for vibrato, one for each of the oscillator's pulse width modulation, and I still had one spare.
While programming the bass sound, I held three notes and then latched the arpeggiator down. I then proceeded to spend about half an hour playing with all the controls. Man, that was fun! I wish I had recorded that on video for YouTube. I haven't touched the sequencer yet, but it looks like it'll be just as much fun. Plus, I think you get four sequences as modulation sources and can send then anywhere you want, not just for notes. How about one sequence for notes and then another for pan position? You could have each note happen in a different position in the stereo field and with a different pulse width and cutoff frequency. Add some slapback echo in your outboard gear and you're in for some real fun. You can have the thing chugging along sending notes flying all over the room. Uh, I'm patenting that one, so don't go using the idea, OK?
Oh, and just by the way, all four LFOs can be set to sync with the sequencer. Not only can you put different notes in different places in the stereo field, but you can move them once they're there.
Madness!
The knobs are - different. Not bad by any means, but I'm still getting used to them. The most fabulous thing in the world is that you can touch a knob and turn it, and when you do, the sound changes the way you expect it to. There's no jump, no turning it back and forth until you pass the stored value, they just work. On the other hand, you can't just look at a knob to see what the value is. This feels really odd when choosing waveforms, for example. Again, it's not a bad thing, but it definitely feels different than what I'm used to. On a "normal" synthesizer (i.e., a Minimoog) you look at the knob to see the values. On the Prophet you first find the knob, then you have to find the display to see what's up. It'll take a little getting used to.
Same thing with the envelopes. I've always wanted DADSR envelopes, and now that I got 'em I have to get used to them. I always pictured a steady volume for the initial delay, then the normal envelope.
Problem is, there isn't any steady volume before the ADSR portion, it's just a delay. Totally useful, but definitely not what I'm used to. There's a VCA level control, so you can have the VCA always open a little and have the envelope work the way I expected it to work, but then the VCA is always open even when you don't expect it to be.
Again, none of this is a problem with the Prophet, it's more a problem with me. I can see an incredible amount of things you can do with these, and I can also see using up the four modulation routings in seconds on a lot of patches, and I can see it may take me a little while to wrap my head around it.
In re-reading this I can see that I've said "I have to get used to it" about five times. Hmmm. I guess I'll come back to this post in a week or two to see how I feel then. I've only been knob twiddling for about three hours last night. Six months from now everything I'm noting as different will probably feel completely natural.
So, in my few hours of sound programming I ended up being surprised by what the thing could do so many times that I just can't believe it. Is this why people rave unconditionally about the Evolvers? I've always wondered why. If so, I may just have to pick one up. So much thought went into the Prophet '08. Little things like individual glide controls. Such a simple idea, but a completely unique sound.
Imagine something like oscillator sync, except that now you can apply glide to only -one- of the oscillators. Four LFOs, three envelope generators, four sequencers. Heck, you can even modulate the modulation amounts as all four modulation amounts are also modulation destinations!
The thing is brilliant. That's all I can say.
Seth"
via AH.
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© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH