Squarp Instruments Pyramid Polyrhythmic Sequencer Now Accepting Preorders - Additional Details

You might recall the demos and intro post with initial details on the upcoming Pyramid Polyrhythmic Sequencer. The following is the latest press release:


"Squarp set to revolutionise hardware sequencing workflow with polyrhythmic Pyramid

PARIS, FRANCE: avant-garde musical hardware researcher and developer Squarp Instruments is proud to announce that it is already accepting preorders on its inaugural Pyramid Polyrhythmic Sequencer breakthrough — an advanced hardware standalone sequencer running proprietary PyraOs realtime processing firmware and boasting (multiple) MIDI, USB, CV/Gate, and (Sync48- and Sync24-configurable) DIN Sync connectivity, together with a host of fanciful features belying its compact and bijou form factor — as of May 21...

Most notably, and arguably an absolute rarity in this day and age, Pyramid Polyrhythmic Sequencer is fully polyrhythmic, meaning different and unusual time signatures can be set for each of its 64 tracks to cleverly create shifted-beat sequences — set a track to 4/4 and add other tracks to simultaneously run with it in 5/4, 6/8, 15/8, or whatever — to bring stirring new musical flavours to productions. Pyramid Polyrhythmic Sequencer... it is incontestably an appropriate appellation, after all! Apart from that, though, what makes this standalone sequencer so special and also why resolutely return to hardware in this day and age of commonplace software-based sequencing solutions, courtesy of all-singing, all-dancing DAWs (Digital Audio Workstations)?

Well, to truly get a feel for the flexible future of state-of-the-art and easy-to-use hardware sequencing in the present, perhaps it pays to look to the past? Which is exactly what the forward-thinking research and development team at Squarp Instruments did. “Our aim was to create a hardware sequencer in ‘sync’ with the new styles of electronic music being written nowadays,” notes company co-founder and R&D engineer Tom Hurlin. “There’s a huge gap in the market for this, which is kind of weird, because most popular music from the early-Eighties to the late-Nineties was produced using sequencing hardware. Hip-hop, for example, originated on the MPC series, which actually revolutionised all kinds of music — Madonna to Bryan Ferry to Whitney Houston. How come these machines were suddenly replaced by the computer?”

Good question. One which Squarp Instruments musically meditated on while dreaming up the knockout conceptual design of Pyramid Polyrhythmic Sequencer. So, by cleverly combining computer, sequencing software, controller, and interface, the robust result is an amazingly accomplished sequencing solution that is as practical in use as it is easy on the eye while its road-ready aluminium casing merely measures 268 x 206 x 44 mm. Muses Tom Hurlin: “We felt that we had to create a machine that you could really feel — one that could satisfy any musician from any musical background. We wanted to have nice and playful controls, such as a multipoint touchpad, which was inspired by Korg’s Kaoss Pad and Kaossilator, and to be able to go from basic four-on-the-floor house beats to very experimental rhythms. Really, the important thing is that if you go from the computer to Pyramid then you don’t feel frustrated. The machine should enable you to do exactly what you had in mind when you started working with it, but also allow for some happy accidents along the way when tweaking!”

Two years of research and development, three prototypes, and multiple musical dialogues with various live and studio-based artists later, the cutting-edge electronics and advanced (updatable) firmware — the realtime processing PyraOS operating system allows any parameter to be controlled on the fly and any changes to be listened to immediately — implemented in the production Pyramid Polyrhythmic Sequencer makes for a standalone sequencer par excellence, enabling users to agilely access a wide-ranging workflow based around 64 tracks. Each track can be up to 64 bars in length and acts as a loop that contains polyphonic or monophonic notes, automations and effects, plays repeatedly and controls one of the electronic musical instruments connected to the MIDI 1, MIDI 2 +sync (DIN Sync), CV, and USB outputs. Of course, those instruments could be hardware (such as drum machines, synthesizers, and modular synth systems), virtual instruments (running on a connected computer or even an iOS device, such as Apple’s all-pervasive iPhone smartphone or iPad tablet), or combinations thereof. The full flexibility of CV, G (Gate), and ENV — useful for sequencing any voltage-controlled parameter, such as an envelope generator or filter — connectivity will absolutely appeal to modular synth system aficionados, all the more so since the ever-present Eurorack small-format modular system is increasingly being popularised (and heavily populated) by an ever-growing band of merry ‘boutique’ manufacturers now numbering hundreds worldwide!

With Pyramid Polyrhythmic Sequencer’s high-precision clock, rest assured that the sequencer itself is a superlative synchronisation tool for vintage and modern devices alike. All connected instruments will always remain perfectly in time, however rhythmically complicated those polyrhythmic sequences end up being — by grand design or happy accident! And with whatever users choose to connect to wherever, workflow is cleverly conceived for both stage and studio use, courtesy of four clear-cut, colourful (and colour-coded) modes. Make musical patterns from scratch and program MIDI effects and automations in (red) LIVE or (green) STEP modes by recording performances using the built-in one-octave keypad and so- called smartpads — each configurable as a chord harmoniser, advanced beat repeater, or scaled piano — or creating rhythms and melodies with the self-explanatory step sequencer, then manage and arrange tracks in (yellow) TRACK or (blue) SEQ modes by muting/un-muting tracks on the fly to build songs live or arranging and linking sequences — groups of muted/un-muted tracks — to create complete, structured songs.

Similarly, Pyramid Polyrhythmic Sequencer’s hands-on hardware user interface includes six accurate and clickable encoders, a wide, multi-finger touchpad, and an accelerometer — all of which can easily be assigned to an effect parameter, a MIDI CC message, or even the two CV inputs! Beautifully backlit, the white LCD clearly highlights all functions, fanciful or otherwise. One particularly noteworthy mention must go to the algorithmic euclidian sequencer engine available to each track to auto-generate atypical and rich rhythmic patterns... plucky users can change the number of total steps, the number of filled steps, the step width, and rotate the pattern — again, all on the fly!

For the keyboardist seeking a powerful performance partner to get the most from their chosen instrument, the live performer looking for a complete sequencing solution to help handle their set, or the studio musician making music from scratch, Squarp Instruments’ innovative Pyramid Polyrhythmic Sequencer surely delivers. Hardware sequencing is back with workflow advancement and flexible features to musically die for. Vive la standalone sequencer!


100 Pyramid Polyrhythmic Sequencers are available to preorder online for €699.00 EUR/$799.00 USD/£524.00 GBP (including VAT) from the Squarp Instruments Store here: http://www.squarp.net/store.html (Shipping is scheduled to start in June 2015, including free delivery to 28 European Union member states, with a second batch becoming available worldwide in early Q4 2015.)

For more in-depth info, please visit the dedicated Pyramid Polyrhythmic Sequencer webpages here: http://www.squarp.net

Watch Squarp Instruments’ informative series of Pyramid Polyrhythmic Sequencer demonstration videos here."

Elektor Formant Music Synthesizer DEMO CASSETTE

Note: Auction links are affiliate links for which the site may be compensated. Formant Musik-Synthesizer #2 Demo-Tape 1978 (German)

Uploaded on Jul 27, 2011 MonoThyratron

Part 1 had embedding disabled. You can find it here. I found this video after seeing the auction listing for the tape below.  I'm guessing this is the same, but of course I have no way of knowing for sure.  If you know feel free to comment.  Below is the video description in Googlish, followed by original German.  It was massive so I opted to put it with the pics.

via this auction

Cool little bit of obscure synth history you don't see everyday.


Googlish description for the video above (original German after the dotted line break below):

"For educational purpose only!

This demonstration was part of the band, published by the publishing house Elektor book "Formant music synthesizer" (1978) will be presented operation and sound examples of Formant -.. Part 2/2

"The synthesizer is even for many experienced musicians a difficult instrument whose musical dimensions are in contrast to the conventional instruments is often not readily recognizable.

That an intensive study of this unusual musical instrument worth, takes the reader to the formant series hardly proven to be. After the positive reactions to the formant by readers and also by the music trade press, the following setting examples and musical hints supplement the formant series into a single unit.

By the way can also be used in an appropriate form to play the other synthesizer most tips for the synthesis of realistic instrument sounds. Specifically, the highly detailed settings described the resonance filter that play a central role in generating credible timbres, can basically for any electronic musical instrument very use to the advantage of the sounds produced.
The setting examples are divided into two main parts: First, it is important to learn how to operate the individual formant modules properly and exhausts its possibilities. This saves the less experienced formant owners that first game attempts to exist alone. The given guidance, transporting the player in a relatively short time in the position of having independently over the sonic possibilities of his instrument.

The second main part describes combinations of basic settings that make it possible to create differentiated instrumental sounds with the formant. Thus, for example, describes the settings for the sound producing a wooden flute, a trumpet, a trombone, a tuba, a vibraphone, string instruments, a clarinet, a bassoon, an oboe, a flute, a piano and so on in detail and illustrated by Einstellskizzen. An important role is played by the resonance or formant filtering education that includes an important and, audible 'improving sound shaping. The numerous tips that are presented here, can be easily used for other synthesizer and in general all electronic musical instruments.

Finally, it is explained briefly what benefits eg a Miniformant and polyphonic playing mitsichbringen. Using the manual you get to know the formant better. The settings described contribute also the handwriting of the author '. They are therefore not to be regarded as the only true, but to fuel creative doing. About own sound discoveries the joy is greater than on predetermined settings. "

Source: C. Chapman, music with the synthesizer, setting examples and tips for playing music with Formant, in: Formant music synthesizer, Elektor Verlag Gangelt 1978, p 80
ISBN 3-921608-10-4"

---------------------------------

Original German:

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Korg Gadget iPad App and Korg Synthepedal, House Demo by Jordan Passmore

Published on Nov 6, 2014 Jordan Passmore

iTunes: KORG Gadget - KORG INC.

"This demo highlights the Korg Gadget iPad app and the following 'Gadgets' (various instruments for use inside of the App itself): Marseille (A rompler-esqe synth doing the sustained chorused string chord), Bilbao (A sampler doing the drums using a medley of TR-707, TR-606, TR-909 and TR-808 samples) and Chicago (a monosynth doing the bassline). The whole mix is then ran through a Korg Synthepedal, a band-pass analog filter pedal from the mid 70's. The pedal has an envelope follower with a variable threshold allowing the band-pass filter (marked as "Traveller" on the Synthepedal) to open and close at certain signal levels. Since the follower adjusts both the high and low-pass elements at the same time, you get a sort of pumping effect, choking the signal reminiscent of what can be heard in a lot of early French House. The bassline is ran though the Korg decimator effect built into Chicago, giving the demo a very aliased sound. There was no outside EQ or processing involved; iPad mini into the Synthepedal, followed by my audio interface."

KDJ-ONE Portable Hardware Music Studio Promo Video with Sid Wilson from Slipknot

Published on Oct 27, 2014 KDJ ONE

"KDJ-ONE Official Website: http://www.kdj-one.com/
The video feature interviews with Sid Wilson (DJ Starscream) of the internationally-acclaimed metal band, Slipknot and avid user of the KDJ-ONE during its early testing stages. Watch DJ Starscream create several songs on the fly, demonstrating the device’s wide range of features."

See the KDJ-ONE channel for previous posts including video from the Musikmesse and NAMM. It appears the design has changed a bit.

And the press release (full details on the KDJ-ONE further below):


"CyberStep, Inc. (based in Tokyo, Japan) is proud to announce the release of the first promotional videos for their portable Music Studio, the KDJ-ONE. The videos feature interviews with Sid Wilson (DJ Starscream) of the internationally-acclaimed metal band, Slipknot and avid user of the KDJ-ONE during its early testing stages. Watch DJ Starscream create several songs on the fly, demonstrating the device’s wide range of features.

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The Weather Warlock - Weather Controlled Analog Synthesizer

You might remember Quintron's Singing House. It was an analog "drone synth" from New Orleans experimentalists Quintron and Miss Pussycat. The instrument was unique in that it was capable of being completely modulated by the weather. It is now called The Weather Warlock and currently streams at WEATHER FOR THE BLIND, a new website dedicated to the instrument.

Weather Warlock is also the name given to a heavy drone ritual (click through for details) which "only happens at sunrise or sunset involving zero to nine members performing sets which may last from 30 minutes to one year long."  I'm guessing the never ending Weather Warlock instrument is the one band member that continues to play endlessly all year long.

The following are some details pulled from WEATHER FOR THE BLIND for the archives:

"Since 2011 Quintronics – the company which brought you the Drum Buddy – has been actively developing a low voltage weather controlled drone synthesizer. Base station number 1, called WEATHER WARLOCK was finally finished in the Spring of 2014 at the Robert Rauschenberg Foundation in Captiva, Florida.

www.weatherfortheblind.org will stream sounds from this musical weather station most every day and night as a free public service. This giant analog synth and it’s weather sensors will live primarily in New Orleans Louisiana at the Spellcaster Lodge. The entire apparatus will occasionally travel as part of a live band, also called WEATHER WARLOCK or as a part of QUINTRON AND MISS PUSSYCAT.

A weather controlled synthesizer had long been on the books for Quintronics but it took a fairly serious health crisis and a forced “vacation” from touring to steer these sounds towards consonant drone…E major to be exact. Mental and cellular relaxation became a part of the invention process.

This site is called “weather for the blind” in reference to a circadian rhythm sleep disorder suffered by many sight impaired persons. Our hope is that this instrument could be of some help to those experiencing any type of sleep disorder or to anyone suffering from stress or health issues which might benefit from a direct musical connection to nature. Windowless office buildings and crappy hotels may want to tune in as well.
Another future mission for this endeavor is that more base stations be built around the world so that listeners may experience musical interpretations of a variety of different climates and time zones – from Iceland to the Amazon. Please contact rhinestonerecords@hotmail.com if your museum, school, or private institution would be interested in commissioning a custom base station.

Occasionally weatherfortheblind.org will broadcast other sounds, stories, and special events. We will also invite guests manipulators to come and jam on the base station knobs and communicate with the weather gods for our listening pleasure. Thanks for visiting and please enjoy.

This project would not have been possible without the assistance of the Robert Rauschenberg Foundation, New Orleans Airlift, Tulane University, artist / engineer Mars Brown, Rami (Ballzack) Sharkey, and the ever brilliant advice of Miss Pussycat."

VINTAGE RHYTHM ACE FR-6

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

via this auction

Update via Christopher Keep in the comments: "I own both an FR 6 and a CR 78. Heart of Glass was definitely recorded with a CR 78. There's no pulse out on the FR 6, and hence no way to sync it with the LFOs on the Roland SH 1000 used for the sweeping pulse effect. That said, the FR 6 is pretty cool; you can pop the hood off and adjust the volume and tone of all the individual sounds using the tunable pots. A modders dream."

"VINTAGE RHYTHM ACE FR-6 old school analog drum machine manufactured by Ace Elcetronic Industries in Japan. this is the RARE AND HIGHLY SOUGHT AFTER weird little rhythm unit that came into vogue on early electro records and used on disco and house tracks of the 60s/70s/80s....EXACTLY the one heard on everything from Blondie's 'Heart of Glass' to today's electro punk and indie freakouts."

Some claim the Roland CR-78 was used, but others state the sound was closer to the FR-6. Wikipedia currently has the following:

"The production of 'Heart of Glass' was discussed in detail by Richard Allinson and Steve Levine on the BBC Radio 2 radio program The Record Producers that was aired on May 25, 2009. As explained in the program, the production of 'Heart of Glass' was built around the use of a Roland CR-78 drum machine. The CR-78 was first introduced in 1978, the same year that Parallel Lines was recorded, and the use of this device on 'Heart of Glass' was, according to the program, among the earliest uses of this device in popular music. As the program explained, it was also very unusual to use a drum machine in the context of a rock band.

In deciding to use the CR-78 for 'Heart of Glass,' the choice was made to combine the sound of the drum machine with the sound of actual drumming. This reflected the hybrid nature of the song, the combination of a drum machine that was typically used in the context of dance music with the actual drum sound that was a traditional aspect of rock recordings. In combining these elements, the sound of the drum machine was first recorded on an individual track. To synchronize the actual drum play with the drum machine, the drums were also recorded on separate tracks, with the bass drum recorded separately from the rest of the drums.

Having combined the drums with the drum machine, another important feature of the CR-78 was that it could be used to send a trigger pulse to the early polymorphic synthesizers. This trigger pulse feature was also used on 'Heart of Glass.' The trigger pulse created by the CR-78 became a distinctive electronic/synth element of the song. The additional synthesizer portions of the song were played separately.

For the guitars, each guitar part was again recorded on separate tracks. For the vocals, a single track and a double track of Debbie Harry's voice were combined into a single vocal recording.

In an interview in the magazine that is part of the collector's edition for the ninth Blondie studio album Panic of Girls, Debbie Harry explained that band members Chris Stein and Jimmy Destri had purchased the CR-78 from a music store on 47th Street in Manhattan, and that this is how the device had become part of the production of 'Heart of Glass': 'Chris and Jimmy were always going over to 47th Street where all the music stores were, and one day they came back with this little rhythm box, which went 'tikka tikka tikka'... And the rest is history!' Stein also credited Destri with influencing the song's sound, saying he 'had a lot to do with how the record sounds... It was Jimmy who brought in the drum machine and a synthesiser. Synchronising them was a big deal at the time. It all had to be done manually, with every note and beat played in real time rather than looped over.'[6]"

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Last Call for Rebirth for iPhone!

As previously posted here, today is the last day you will be able to pick up Rebirth for iPhone. It's only $2.99. Get it now before it's too late.

I was going to skip it as I already have it for the iPad and plan to get an iPad Mini when a retina version comes out but I realize there's times where I just want to mess with my iPhone and there might be a time where I want to sync it up with the iPad version.  At $2.99 it's a non issue as far as my budget goes. It's less than a sandwich.


"Features
2 x TB-303 Bassline Synthesizer with pattern sequencer
The original Acid House and Techno bass synth. Unrivaled power, unmistakable sound.

TR-808 Drum machine
Roland's sub-heavy 1984 beat computer. Instant hip-hop.

TR-909 Drum machine
The go-to beatbox for everything House and Techno. Press play and you're dancing.

Tempo-synced digital delay
Bouncy and hypnotic, always in time with your music.

Compressor with threshold and ratio
A streamlined compression unit for added beefiness.

Distortion unit with amount and shape
Raw and rugged distortion for that extra edge. Works wonders with any 303 bassline.

PCF effect
Pattern controlled Low-pass / Band-pass filter - a tweaker's delight.

Mixer
Device specific mixer sections with pan, delay sends and FX switches

Mod support
Includes 5 original user mods with alternative soundsets and graphics

What's New in Version 1.2
Wireless sync-start over Bluetooth with WIST compatible apps.
You can now sync with your friend’s iPad or iPhone to create dynamic live performances. Compatible apps include Korg iElectribe, iMS-20 and of course ReBirth 1.2 on other iPhones and iPads"

iTunes:
ReBirth - Propellerhead Software AB

Teenage Engineering OP-1 OS Update with New DNA Synth & CWO Effect

OP-1 May 2013 OS Update - DNA and CWO

Published on May 29, 2013 djthomaswhite·83 videos

Additional videos below.

"This video is an introduction and demo of the May 2013 OS update to the amazing Teenage Engineering OP-1 synthesizer music machine. In this update two astounding new features are added in the form of the "DNA" synthesizer engine and the "CWO" Frequency Shifting Delay. The DNA engine is a noise engine capable of complete aggression and fax machine battle while at the same time possessing the ability for harmonic tonal leads and chords. The CWO FX is a Frequency Shifter with a wide range that make it possible to do phasing, flanging, chorus, tremelo, ring mod and comb filter types of sounds. You have to hear it to believe it. CWO also represents the first partnership by Teenage Engineering with an outside developer to co-op code to add to the OP-1's already heavy arsenal of sound capability. This developer is the one and only sonic master mind Magnus Lidström of Sonic Charge.

I hope you enjoy the video and the demo. There is a longer video with more blabber and explanation of what is going on here http://youtu.be/WntQUO0A6qw (Keep in mind that the visuals you see were from a beta build and show graphics which have since been refined and polished. It's actually a good preview for those of you who wonder what steps are involved in an OP-OS Beta Testing process. Soon you will be able to upload this OS yourself and I look forward to hearing (and seeing) what you can create with this as well as part of the OP community.

The Song played on the iPhone in this demo is from my band Santoma and is called "See Me." We have other songs on Large Music and are planning the release of our completed downtempo/lounge album soon.

Note: This is a pre-release build and final features may vary slightly from those shown in these clips. All music is original and no creative rights have been infringed upon in the making of this video."


And the PRESS RELEASE followed by a longer version of the video above:

"Finally here, the new OP-1 OS is ready! This time we're again adding something completely new. For the first time in the history of the OP-1 we have teamed up with an external developer and invited them to create something fresh and unique for our unit. The result of this first collaboration is something truly spectacular.

CWO - Frequency Shifting Delay

From the sonic master mind Magnus Lidström of Sonic Charge comes CWO

We first met Magnus Lidström a few years ago at a developer party here in Stockholm, Sweden. Even before that we have all been huge fans of Magnus' work, such as Microtonic, Synplant and Bitspeek. When first thinking about doing something together for the OP-1 platform we discussed what could be ported. We soon came to the conclusion that an effect would fit really well. Inspired by Magnus' own Echobode, the new CWO effect is a frequency shifting delay with a twist, modified for the OP-1 format.

'I like the limitations. The four knobs on the OP-1 have been highly optimized, so that each one produces a drastic change in sound on its own. This combination of effects is uncommon and capable of producing a wide arrange of sounds, such as phaser, flanger, tremolo and dub echo. It is really good on drums and for making simple sounds more fun and complex.'

Magnus Lidström, Sonic Charge
We made the graphics for CWO to resemble a cow, digesting and processing the audio signal through it's four stomach compartments, producing a very unique result. We hope you will like it and look forward to hearing your sonic experiments! Chew away!

DNA - CPU ID Noise Synthesis

Also new in this update is a completely new synthesis engine: DNA

The new DNA synthesis engine adds CPU ID Noise Synthesis, meaning it's a noise synth, based on the Analog Devices 64-bit Blackfin processor ID, unique to every single OP-1 unit. Every synth will therefore potentially have a slightly different sound. Sometimes tonal, sometimes not, this engine adds a truly expanded sonic pallet to the OP-1. Filter, Wave number, Wave modifier and Noise can be directly controlled via the knobs. The DNA graphics is set to resemble a Kaleidoscope, where sound and visuals are abstractly interlinked. Developed in-house.

OS intro video by DJ Thomas White

INTRO VIDEO BY DJ THOMAS WHITE [video above]

Long time OP-1 user and beta tester DJ Thomas White made a sweet video introduction and demo of the OS update.

Watch and listen as he explores the power of DNA and CWO, resulting in a wide array of sounds, all created with the new OS. Available as a free preset pack!

Thanks Thomas!"

Teenage Engineering OP-1 May 2013 OS Update
Published on May 29, 2013 djthomaswhite·83 videos

"(Introductory NOTE: This is a longer original introduction to the new OS that I put together. It has outdated graphics that have since been polished. This is one example of what takes place during beta testing. All sound features are unchanged. There is a much more in depth level of explanation of operation of the new OS here and it would be a shame to have this sit on a shelf... so here you go.)"

And one by kubistah:

Teenage Engineering OP-1 DNA Synth Visuals
Published on May 29, 2013 kubistah·13 videos

XILS-lab launches classic keyboard vocoder emulation plug-in

First announced here, videos here (human vocies), here (glide and layered sounds), and here (strings), the following is the official press release for XILS-lab's new XILS V+ vocoder emulation.  You'll find some additional renders at the bottom of this post. Be sure to click on them for the super size shots.

"GRENOBLE, FRANCE: music software company XILS-lab is proud to announce availability of its XILS V+ virtual instrument and effects plug-in, a faithful emulation of a well-known keyboard vocoder classic, as of May 27...

Following a year of intense instrument modelling deep inside XILS-lab’s ear-opening laboratories, the XILS V+ virtual instrument and effects plug-in has finally emerged, sounding nigh on indistinguishable from an instantly-recognisable keyboard vocoder classic much loved by both contemporary and acclaimed artists alike. But what keyboard vocoder are we talking about here exactly? And what’s a vocoder, anyway?

By definition, a vocoder is a synthesizer that produces sounds from an analysis of speech input. Vocoders arguably had their musical heyday in the Seventies with the likes of British record-producing heavyweight Jeff Lynne’s symphonic rockers ELO making much use of them throughout several striking recordings — think smash hit ‘Mr Blue Sky’ and the Time album (featuring the Roland VP-330 Vocoder Plus keyboard) — while German techno pop pioneers Kraftwerk crafted themselves an ongoing robotic vocoder-led career that’s still resonating throughout EDM’s many modern-day stylistic offshoots; French house music stalwarts Daft Punk became big vocoder fans with several memorable club-friendly hits to their eminently danceable name, par exemple. Historically speaking, the aforesaid Roland VP-330 Vocoder Plus is also musically immortalised on celluloid thanks to Greek synth wizard Vangelis’ memorable early-Eighties electronic scores to the Oscar-winning Chariots Of Fire and Ridley Scott’s sci-fi film noir classic, Bladerunner, both of which made much use of the instrument’s signature Strings — ‘emulating’ the sustained portion of orchestral strings — and Human Voice Ensemble ‘choir’ — remarkable and unique — sounds. Subsequently the long-since-discontinued VP-330 Vocoder Plus has become something of a sought-after classic itself... for those in the musical know. Yet finding a fully-functional, pristine example of this 30-plus-year-old temperamental hardware has become nigh on impossible. Which is exactly where XILS V+ comes into play, of course, thanks to XILS-lab’s labours.

So how, technically, does that historic hardware produce those distinctive sounds? And, more to the point, how has XILS-lab been able to magically model them? First things first. Just like the real thing, XILS V+ is based on a Top Octave Divider oscillator — the hidden heart of almost all vintage string machines. Basically, back in the day, this clever concept enabled hardware designers to achieve 49 notes (or more) of polyphony without having to stabilise and tune 49 (or more) oscillators! Instead, a single square wave-generating so-called Top Octave oscillator designed to oscillate at very high specific frequencies is ‘divided’ to provide 12 standard tempered frequencies over four (or more) octaves that are then used to create the waveform for each individual note. All notes are kept in phase with no drift between octaves and only a single tuning circuit is needed for the complete keyboard range. This was quite a technological breakthrough by Seventies standards, but by its very nature there were some divisive downsides — no polyphonic attack stage to the sound which we take for granted today, for instance. Yet, thanks to today’s cleverer computer world, XILS V+ offers polyphonic attack (and also monophonic attack for the sake of authenticity).

So, just like the real thing, XILS V+ features a 10-band VOCODER, Top Octave Divider-based STRINGS and HUMAN VOICES — or, indeed, sophisticated layering of any these three elements! It successfully captures the keyboard in question’s Top Octave Divider oscillator’s unique sound (that no sampling technology or other simple synthesis techniques can reproduce); the ensemble (chorus) circuitry, featuring a compander and no less than four bucket brigade delays; the voice and vocoder ‘vibratos’ (based on two more bucket brigade delays); the 14 filters involved in producing that heavenly Human Voice Ensemble sound; the three filters used for the Strings section; the 40 ‘vocoder’ filters; and sophisticated Attack, Release, and Glide circuitry. Visually, the main control panel section above the keyboard basically mirrors that found on its inspirational hardware predecessor so anyone familiar with the VP-330 Vocoder Plus will immediately feel right at home here — right down to the classic colourful rocker switches!

But that’s not all: rather than simply producing a feature-by-feature emulation of the original hardware, XILS-lab has truly taken the opportunity to bring this Seventies-vintage keyboard vocoder concept kicking and screaming into the convenience of present-day DAW workflow with four additional panels boasting advanced settings: Mixer/ARP allows users to fine-tune the internal sound generators — from adjusting the relative level of the Male 8 and ML/FM 4 Human Voices to tweaking voice formants, the Top Octave Divider waveform, as well as the Strings filter shape — while a built-in arpeggiator is also provided; Vocoder allows users to adjust the analogue-like Pitch Tracking, the ATT (attack) and REL (release) of the ANALYZE algorithm, as well as FILTERS parameters; Effects provides three built-in effects (STEREO SPACE, based on XILS-lab’s now-well-known Stereo Dynamic Engine; a simple, but efficient REVERB; and an analogue-like resonant PHASER); and last, but by no means least, Modulations with over 14 sources and 24 destinations!

So there you have it. If you’re lusting after those classic keyboard vocoder sounds — and more besides, perhaps, but could never afford or find a suitable hardware original, then your prayers have surely now been answered by XILS-lab. Load up multiple instances of XILS V+ into your favourite DAW. Play. Smile. After all, it’s even better than the real thing!


XILS V+ is available to purchase as an eLicenser or iLok copy-protected virtual instrument and effects plug-in for €99.00 EUR/$128.00 USD until June 30 from the XILS-lab web store: http://www.xils-lab.com/products/XILS-V%252b-%3A-iLok-or-eLicenser-protected.html (Thereafter its MRSP will rise to €149.00 EUR/$194.00 USD.)

XILS V+ can be directly downloaded as a 32-bit (Intel and PowerPC) and 64-bit (Intel) compatible virtual instrument and effects plug-in for Mac and Windows in various formats (AAX/RTAS, AU, VST2.4, and VST3) from here: http://www.xils-lab.com/pages/XILS-V%252b_Download.html

Various videoed A/B comparisons of XILS V+ and the original hardware it has been so successfully modelled from can be seen and heard here: http://www.xils-lab.com/pages/XILS-V%252b_Video.html"

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Rob Papen goes in for the soft synth kill with Predator 1.6.4

"'Rob Papen definitely makes some amazing plug-ins; we use Predator all the time, because it has such amazing sounds!'

- Dave Stewart (musician, songwriter, record producer, Eurythmics co-founder)

ECHT, THE NETHERLANDS: virtual instrument and plug-in developer Rob Papen Soundware is proud to announce availability of Predator 1.6.4, the latest update to its killer ‘phat’-sounding soft synth, as of May 21...

Rob Papen Soundware soft synths have always defined cutting-edge contemporary music production: powerful virtual instruments and plug-ins that intermix innovative design, uncompromising sound quality, and musical, production-grade presets designed to make tracks truly shine, whatever the musical genre. Predator — a ‘phat’-sounding killer soft synth that combines inspiring presets and first-class features to create the perfect ‘go-to’ synth for contemporary music production — has been successfully doing just that since its introduction in 2009, as attested to by the long list of professional producers and musicians who have happily put aside their beloved synthesizer hardware in favour of this ambient, drum ’n’ bass, club, hardstyle, hip-hop, and house music mainstay’s thousands of tailor-made presets — many made by Rob Papen himself, long since established as a sought-after sound designer in his own right, having created presets for several well-known companies before going on to found his own namesake company.

There is always room for improvement, however, and with Predator 1.6.4 the best just got a whole lot better — and bigger! First and foremost, studio-based producers and musicians maximising ‘screen estate’ to speed up DAW workflow will appreciate the appropriately- named new Big Screen graphic mode, which instantly increases the original Predator GUI by 150%. After all, making things easier on the eye clearly helps when it comes to making things easier on the ears in this day and age of visually enhancing the computer-based composition and recording process with big screens!

Of course, sound is where the art is, and, given its pedigree, Predator 1.6.4 does not disappoint with over 450 new presets to its numerically lengthened name conveniently arranged in Dance, Classic Synth, Ambient, DubStep, and Hardstyle BD Basses groupings. Indeed, Rob Papen himself is in the fortuitous position of being personally in contact with many of the world’s top producers and musicians who regularly use his company’s products and so can quickly act upon providing requested sounds and features to comfortably remain on the cutting edge of contemporary music production with Predator.

For example, a visit to the Rob Papen HQ by Headhunterz (a.k.a. Dutch hardstyle DJ/producer Willem Rebergen) — recently ranked 11th in DJ Magazine’s annual Top 100 DJs poll — resulted in the aforesaid dedicated HardStyle BD Basses sound bank and also a new distortion effect within Predator 1.6.4 — proof positive of the soft synth’s versatility. Additionally, Dutch DJ Rob Fabrie (a.k.a. DJ Headbanger, The Alienator, Gizeh, and Waxweazle) contributed the new Hardstyle Core BD Basses RF sound bank to Predator 1.6.4 while JoMal has also added his own artist bank of distinctive sounds to the update.

Existing Predator owners can simply login to their Rob Papen user account and download the Predator 1.6.4 update installer for free to access these new cutting-edge sound banks!

Other features new to Predator 1.6.4 include additional Clipper Distortion (with symmetry control) and Tape Chorus effects; Vowel, Formant 2-band, and Formant 4-band readouts (which when selected result in the Distortion dial displaying VOWEL or BANDWIDTH); and External MIDI Capture Mode (that allows a parameter to start changing as soon as the external MIDI controller reaches the displayed preset value).

Looking to add some bite to your contemporary music productions? Then look no further than Predator — now better than ever, thanks to this latest update!


Predator can be purchased as a boxed version from authorised Rob Papen dealers worldwide for €149.00 EUR (including VAT/tax)/$179.00 USD or downloaded directly from Rob Papen here: http://www.robpapen.com/buy-predator.html

Listen to examples of new Predator 1.6.4 presets here:
http://www.robpapen.com/dmdocuments/Predator1.6.4_ambient.mp3
http://www.robpapen.com/dmdocuments/Predator1.6.4_classic_synth.mp3
http://www.robpapen.com/dmdocuments/Predator1.6.4_HardStyle_BD_Basses.mp3"

Yamaha AN1X SN NM02245

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

Yamaha's first virtual analog synth. A look back at the product description and features further below.

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Arturia ships SPARK EDM and EDM Expansion Pack

Published on Mar 15, 2013 Arturiaweb·83 videos

"SPARK EDM brings a complete and powerful production suite to the Electronic Dance Music producer.

Featuring a comprehensive library of 30 kits / 480 instruments and 960 patterns , varying from big room floor filling stormers, to underground tech house gems. Spark EDM delivers the drums, stabs, one shots, and fx that will give your tracks the sound they need to produce dance floor hits."

"Arturia ships SPARK EDM and EDM Expansion Pack

GRENOBLE, FRANCE: music software and hardware company Arturia is proud to announce availability of SPARK EDM, a powerful production and performance software suite dedicated to EDM (electronic dance music) production, and EDM, another aptly-named Expansion Pack for its revolutionary SPARK Creative Drum Machine and SparkLE Creative Drum Machine hybrid hardware/software beat production centres, as of March 15...

Capable of standalone operation or seamless integration with any DAW as a VST, VST3, RTAS, or AU plug-in, SPARK EDM caters to the rhythmically remarkable requirements of EDM producers. However, as any discerning dance floor-filling EDM producer knows only too well, EDM, of course, covers a lot of musical ground. So it’s just as well that SPARK EDM comes complete with no fewer than 30 cutting-edge kits — ranging from electro to dubstep, techno to tech house, with much in-between and beyond, it’s all there for the taking!

But that’s barely scratching the creative surface of SPARK EDM. Each of its superb-sounding 480 instruments are based on Arturia’s acclaimed TAE® (True Analog Emulation) synthesis technology and high-resolution sampling, each with 12 adjustable parameters, allowing users to sculpt sounds to their danceable heart’s content — punch through the mix with a filtered kick-ass kick drum, adjust a synth hit’s attack or decay time, re-pitch a tom, and much more besides!

Besides that, SPARK EDM users can customise or simply use any of the 960-plus preprogrammed patterns as the building blocks for kick-starting their next EDM masterpiece. Moreover, thanks to the integrated 16-track mixer, levels, pans, and sends can all be automated, and the mix can be further fine-tuned with 14 high-quality effects (including bit crusher, chorus, delay, destroyer, distortion, flanger, limiter, multi-band compressor, multi-band EQ, phaser, plate reverb, reverb, space pan, and sub generator).

SPARK EDM’s powerful, yet inherently user-friendly interface makes beat- and pattern-creation a breeze — especially when using the onscreen step sequencer situated at the top of the default centre panel. Hardware drum machine enthusiasts will feel right at home here. And thanks to advanced looping modes cleverly combined with the onscreen XY pad’s real-time slicing and filtering controls, users will be producing phenomenal EDM beats with the best of them in no time at all — perfect for live performance!

Speaking of live performance, all of SPARK EDM’s onscreen knobs and pads are easily MIDI-assignable, making them compatible with a variety of keyboard- and pad-based controllers.

At the same time, those SPARK Creative Drum Machine and SparkLE Creative Drum Machine owners out there already hooked on hands-on beat-making need not feel left out in the cold since the EDM Expansion Pack adds those same 30 cutting-edge EDM kits to the already extensive libraries within Arturia’s acclaimed hybrid hardware/software beat production centres. Clearly every beat and sound can be twisted and tweaked therein, thanks to the intuitive and creative workflow that’s at the very heart of the Creative Drum Machine concept.

Quite simply, SPARK EDM and EDM Expansion Pack provide all the drums, stabs, one-shots, and FX needed to produce propulsive dance floor hits! So start afresh with SPARK EDM or expand your Creative Drum Machine hybrid hardware/ software combo... and get the party going on the dance floor.


SPARK EDM can be purchased as a software download for €99.00 EURO/$99.00 USD or boxed for €119.00 EURO/$129.00 USD from Arturia’s Online Shop: http://www.arturia.com/evolution/en/buy/online-shop.html

The EDM Expansion Pack requires SPARK Creative Drum Machine Version 1.5 (or higher), and can be purchased as a software download for €29.00 EURO/$29.00 USD from Arturia’s Online Shop: http://www.arturia.com/evolution/en/buy/online-shop.html"

Skrillex - Bangarang - Old School Computer Remix

Published on Mar 13, 2013 bd594·24 videos

I spy MATRIXSYNTH in this one. :)

".
Skrillex was the most requested so your wish is my command. Bangarang was a complicated song with respect to timing and now I have a new respect for Dubstep. For all the haters out there the audio in this video is 100% in sync with the original song. If you don't believe me then test it out for yourself.

Vocals were performed with the DECTalk Express. The same speech synthesizer used by Stephen Hawking back in the eighties. The main vocals are the Betty and Rita presets overlapped. Kit and Dan vocal presets were also used.

Back in 2009 I used an 8 inch floppy drive in my Bohemian Rhapsody video but this time I wanted to update it with Sammy1am's Arduino version. I find 3.5 inch floppy drives only sound good when playing short duraton notes with a fast tempo.

DECTalk - vocals
HP Scanjet 3C - lead
Yamaha CX-5 computer - guitar
Floppy and CDROM - lead bass solo
Modified Toy Laser Guns
Robot Bass, Snare and Cymbal"

Also see the following or click here for all of them in order:
FUN - We Are Young - Old School Computer Remix
Gotye - Somebody That I Used to Know - Old School Computer Remix
Robot Band EOL covers Maroon 5 "Moves Like Jagger"
Little Drummer Boy Performed by Robot Snare Drum and HP Scanner
The Animals House of the Rising Sun Old School Computer Remix
The Bit-52's The World's Greatest Parts Band playing The B-52's - Rock Lobster
Queen Bohemian Rhapsody Old School Computer Remix
Funkytown Remixed with Old Computer Equipment

And BD594 - Living on Video for a traditional synth cover.

Yamaha AN1x Control Synthesizer

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

A look back at the product description.

"The classic analog synth sound is invading the airwaves and dance floors of the world and taking modern music to ever higher levels of creativity and style. And now, with the arrival of the Yamaha AN1x Control Synthesizer, you can assume control of your sound and expand your musical universe like never before. Featuring Yamaha's new Analog Physical Modeling Synthesis, which faithfully - and reliably - models analog sound digitally, the AN1x brings the fat, familiar sounds of the classic analog synths together with intuitive realtime control features in one futuristic, highly intelligent package that will change forever the way you create and perform your own music. A truly innovative, truly incredible sounding synth that's designed from scratch for techno, trance and every other type of modern dance music existing or yet tonceived, the AN1x gives you the power to create fresh and inspiring music every time you switch it on.

Assume Control

The classic analog synth sound is invading the airwaves and dance floors of the world and taking modern music to ever higher levels of creativity and style. And now, with the arrival of the Yamaha AN1X Control Synthesizer, you can assume control of your sound card and expand your musical universe like never before.

Analog Physical Modeling Synthesis

Featuring Yamaha's new Analog Physical Modeling Synthesis, which faithfully - and reliably - models analog sound digitally, the AN1X brings the fat, familiar sounds of the classic analog synths together with intuitive realtime control features in one futuristic, highly intelligent package that will change forever the way you create and perform your own music.

Innovative

A truly innovative, incredible sounding synth that's designed from scratch for techno, trance and every other type of modern dance music existing or yet unconceived, the AN1X gives you the power to create fresh and inspiring music every time you switch it on.

2 Scene Memories With Realtime Morphing Between Scenes

Each AN1X voice has two Scene memories which let you store "snapshots" of specific control knob settings, to effectively give you two distinct sounds - each of which are available at the touch of a Scene switch.

Scene Control Feature

You can activate the "Scene Control" feature which lets you use the Modulation Wheel (or a Foot Controller, or any other assignable continuous controller) to morph, or cross-fade between Scenes in realtime as you play. If there's a particular sound during the morph that you want to keep, you can easily store it to one of the Scene switches for the selected voice. You can even load Scene data from another voice to the current voice.

Intuitive "Modeless" System With Assignable Control Knobs

The ANX1 basically always operates in Voice Play/Edit mode, which means that you can edit the sound as you play by turning the 8 control knobs to do things like open a filter, tweak the resonance, adjust the ring modulator, reshape the envelope, and much more.

Control Knobs

Each control knob gives you quick and easy access to one of many tone generator parameters. You can even assign a specific parameter to each knob for customized control over detailed aspects of your sound during performance. Each knob can also send Control Change messages to control specific parameters of external MIDI instruments.

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Yamaha AN1x Synthesizer Workstation

via this auction

Auction description from Yamaha:
"The classic analog synth sound is invading the airwaves and dance floors of the world and taking modern music to ever higher levels of creativity and style. And now, with the arrival of the Yamaha AN1X Control Synthesizer, you can assume control of your sound card and expand your musical universe like never before.

Analog Physical Modeling Synthesis
Featuring Yamaha's new Analog Physical Modeling Synthesis, which faithfully - and reliably - models analog sound digitally, the AN1X brings the fat, familiar sounds of the classic analog synths together with intuitive realtime control features in one futuristic, highly intelligent package that will change forever the way you create and perform your own music.

Innovative
A truly innovative, incredible sounding synth that's designed from scratch for techno, trance and every other type of modern dance music existing or yet unconceived, the AN1X gives you the power to create fresh and inspiring music every time you switch it on.

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Billy Cardine: Looking Forward, Looking Back & The Moog Lap Steel

Playlist:
Billy Cardine: Looking Forward, Looking Back
Improvisation for Moog Lap Steel, Synthesizers & Effects
Billy Cardine on the Moog Lap Steel & the MakeNoise René (previously posted)
The Moog Lap Steel (previously posted)
The Moog Lap Steel [2nd vid]

"Moog Lap Steel powers groundbreaking EP exploring uncharted expanses of Ameritronica

ASHEVILLE, N.C. (September, 2011) Mix cutting-edge electronic vibration control technology with an instrument born on a train track, put it in the hands of musical omnivore Billy Cardine and the result is music with one foot in the past, one foot in the future and both ears wide open. Refining a lifetime of musical influences and liberating them with a combination of string and studio wizardry, his new EP Looking Forward, Looking Back shines a light on a musical future true to its roots yet constantly growing and evolving.

To know where you’re going though, you have to know where you’ve been…

The story goes that the lap steel guitar was invented in the 1880s by seven-year-old Joseph Kekuku as he walked along a Hawaiian railroad and experimented with playing his guitar using a metal bolt he found. By the 1930s, Hawaiian music had become one of the first waves of American interest in exotic “world music” and the lap steel became the first stringed instrument to be electrified, predating Les Paul’s first electric guitar. Also in the ‘30s, the Sacred Steel tradition was born in African-American House of God churches, fueled by the low cost and highly expressive nature of this new instrument. From there it spread to many far-flung homes, including Indian classical music and American country and bluegrass, the genres in which it and its musical progeny, the dobro and pedal steel guitar are most closely associated.

Fast-forward to the present… While a spin across the radio dial today results in very little country music featuring the lap steel, the instrument has been embraced by a number of innovative players pushing musical boundaries, including U2 producer Daniel Lanois and Wilco guitarist Nels Cline.

The lap steel guitar itself is now even more suited to “boundary pushing” with the introduction of The Moog Lap Steel, an instrument that brings state-of-the-art control technology to the instrument born on a 19th century Hawaiian train track. It incorporates the same electronics that earned The Moog Guitar numerous industry accolades including Guitar Player Magazine's Reader's Choice Award, Electronic Musician Magazine's Editor's Choice Award, NAMM "Best In Show" honors, a “Best of What’s New Award” from Popular Science magazine and a Mix Foundation TEC Award.

Billy Cardine is an Americana/Bluegrass phenomenon who has performed everywhere from Carnegie Hall and the Kennedy Center to the Ryman Auditorium and Bonnaroo. He is a member of the renowned Americana band Acoustic Syndicate and leader of the new music ensemble The Billy Sea. He also studied in India and will perform at the 2011 Bangaluru International Arts Festival with chitravina master Ravikiran. Billy was instrumental in the development of the Moog Lap Steel and played an early prototype for its debut at Moogfest 2010.

“In one of those moments of wonderful synchronicity, I met Billy about the same time I finished the first Moog lap steel prototype which I had dubbed “The Monster” said Moog Music’s Chief Engineer, Cyril Lance. “Billy and I got together and the first music he made on this crude instrument was stunning. It was immediately clear that not only was Billy perfect for this instrument, but the instrument was perfect for Billy. This began an extremely rewarding collaboration that resulted in the current Moog Lap Steel.”

Combining the unique expressive qualities of the lap steel with the innovations of the Moog Guitar results in an instrument with unlimited sonic potential. Like the Moog Guitar, it is in not a guitar synthesizer, but features an onboard Moog filter (with control voltage input) that places it firmly in the Moog family tree and allows for some amazing creative connectivity with devices ranging from theremins to massive modular synthesizers.

"For me the Moog Lap Steel represents the invention I've worked on for so many years finally taking flight on its own.” said Moog Guitar inventor Paul Vo. “Cyril Lance had the inspiration that really drove this project home. He expertly placed the same vibration control technology that I developed for the Moog Guitar into this beautifully crafted instrument, co-designed by luthier Wes Lambe. I mostly just watched. Now Billy Cardine, virtuoso of the lap steel and dobro, brings it all together and takes it to heights of musical expression that completely amaze me. I am a very grateful spectator!"

“Looking Forward, Looking Back”, the historic first EP of music for the Moog Lap Steel, is the creation of a composer and player at the height of his powers in control of an instrument that extends those powers like no other innovation since it was first electrified.

The EP kicks off with the opening track “Moolodious” whose soaring melodies and pulsating beats sweep the listener along so thoroughly that it is easy to miss the technology behind the magic. While the Moog Lap Steel plays long anthemic notes that seem to defy the laws of physics, its big brother The Moog Guitar cranks out rhythms that, although created using advanced modular synthesis techniques (routing beat-synced control voltage signals from ProTools to The Moog Guitar’s onboard analog filter), are still very much the product of strings, a pick and a guitarist’s callused fingertips… in this case, the fingertips of Moog’s Cyril Lance.

“Jet Li”, the second track moves from Americana to Asiana. Inspired by the fluid movements of martial artist Jet Li, it starts with the low rumble of Moog Taurus Bass Pedals and a unique melody created with a two-handed phrasing technique impossible on an instrument without the precise sustaining abilities of The Moog Lap Steel. This may be the first recording in history in which a lap steel gets mistaken for an erhu.

The title track “Looking Forward, Looking Back” takes the Moog Lap Steel and Moog Guitar in a new direction. As it unfolds, the Lap Steel’s timbre is more reminiscent of a dobro while the Moog Guitar takes on a surreal, funky banjo-like role. When the long, sustained-note melody comes in, being played on the same instrument with the same strings creates a pleasing timbral cohesiveness.

“Stacks”, the most electronic of the tracks, showcases the instrument at play with its other Moog siblings. Built on an analog filtered drum beat, the Moog Lap Steel intertwines with the sounds of the Moog Guitar and Slim Phatty synthesizer while a Little Phatty synth generates a beat-synced control voltage making the Lap Steel’s filter dance in time with the rhythm. Meanwhile other keyboards and vocal processors fill out a soundscape proving that analog and digital can get along quite nicely.

The closing track, “The Curious Boo” was written on the original Moog prototype and combines sacred steel feel with an Indian approach to slide guitar phrasing. A Moog MF-102 ring modulator adds a unique metallic edge to these fluid lines.

The Roman god Janus, for whom the month January was named, is depicted as having two heads, one looking into the past and the other into the future, making him the archetype of beginnings, transitions and gateways (and New Year’s parties). When listening to “Looking Forward, Looking Back”, it’s hard not to hear the music in a similar light… as a harbinger of new beginnings, transitions and gateways… as a new voice… as “Ameritronica”. It’s also hard not to hear it as just damn good music.

Looking Forward, Looking Back is available from Indidog Records through bandcamp at:

http://billycardine.bandcamp.com/album/looking-forward-looking-back



Visit billycardine.com for more information."

Via Chris Stack of experimentalsynth.com

Death By Venom: Avid/M-Audio Synth Demo III

YouTube Uploaded by FlakeStick on Jun 22, 2011 - video re-uploaded below.

"More Venom sound demos at http://gstormelectronica.blogspot.com/
These patches will be available for download soon at http://gstormelectronica.blogspot.com/
This is another quick-n-dirty demo showing the sonic versatility of M-Audio's new synth, the Venom. All patches are my original creation.

All original patches in this vid are by me:
Atlas Sound - Sonics inspired by the band w/ the same name. RE: Quick Canal
Sinister FM - Evil FM bass sound
Whirrrrr - FX sound, like a computer fan
OBStringz - Gritty Obie String Sound
OBLimuidz - Recreation of probably my favorite factory patch from the Oberheim Matrix Synths
Gunslinger - Recreation of a Memorymoog lead patch I made for my track 'Gunslinger'
Organ Drive - Distort-y Organ going through a guitar amp
Wavepunkd - Steampunk sound from the Korg Wavestation or PPG Wave
MS-TRON - MS-20 lead used a lot on Ladytron's stuff
USA Muscle - Classic Minimoog lead sound
JunoBass01 - Classic Roland Bass
Vintage Vibe - Nostalgic 70's keys
LatelyBass - Yamaha DX-series (DX7, TX81Z, etc) bass heard on countless recordings
System 100 - Nice chunky Roland sequence bass
Comeback - Super-chunky Oberheim Matrix bass like on my track "Miranda By The Sea'
Short&Long - Minimoog bass w/ fast attack and swell RE: FSOL 'Calcium'
DeepFM - Entrancing progressive house harmonics
Poly6Bass - Korg Polysix unison bass.
MingLovesU - A cross between Ming the Merciless theme and Prince's 'Lets Go Crazy' organ sound.

Recorded straight into Macbook w/ no additional effects - ALL VENOM."


Uploaded by gstormelectro on Jul 9, 2011

KORG KRONOS Details

via Hispasonic, translated to Googlish from Spanish:

"We have the first data and images of Kronos, the new Korg workstation. The Japanese brand has pulled the house out the window, bringing to market a synth with more than 12 GB SSD hard disk samples, 9 synthesis engines together, 16 units of effects and KARMA technology.

Features in detail

There are 9 synthesis engines on a single workstation, available in 61, 76 and 88 keys. The engines are:

* SGX-1 Premium Piano: German piano with more than 4 GB in samples. 8 layers and the choice of opening angle of the tail of the piano.
* EP-1 MDS Electric Piano, electric pianos (with sound "signature" by George Duke, Herbie Hancock Rodan Rudess or others)
* CX-3 Organ Tonewheel: integrating technology famed CX-3 in the Kronos. Drawbars controllable from its faders. Leslie Posilibidad to adjust the joystick, from speed to the position you just rotate.
* MS20-EX Legacy Analog Collection: emulation of vintage Korg MS20 synth.
-EX * Polysix Legacy Analog Collection: Polysix emulation.
* AL-1 Analog Synthesizer
* NOD-7 Waveshaping VPM Synthesizer
* STR-1 Plucked String Synthesizer: a new generation of modeling. You can choose from the material of the rope, until the tension, the execution (if pick, rub with your finger ...)
* HD-1 High Definition Synthesizer: A portion of all types of samples.

Account with a set of 16 "sets" may be, from Programs, to vans, to sequences. What makes the live performance much easier and full of possibilities. One of the most exciting new features is that you can move from one set to another without interruption of sound (so if you keep notes of the previous set, still playing).

It eliminates the concept appears rompler and integration / provision of more than 12 GB of content hosted on a hard disk SSD.

Has integrated USB connection to your computer, not just save / edit, but also as a USB interface with 2 inputs and 2 outputs.

Section 16 effects available. 9-band equalizer general. Flexible Routing. Mastering tools. 16-track sequencer."



Update:

Korg KRONOS Music Workstation- Official Product Introduction video added below.

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CME WaveIdea NeoSynth UF Universal Sound Expander

via this auction
Googlish Description:
"The wave idea NeoSynth 24 is an audio / MIDI GM built-in sound module for CME UF keyboards of the series. It offers high-quality sounds and effects and adds to add the CME keyboards great tonal possibilities.

High quality and update negotiable instruments
NeoSynth offers an internal sound bank (64 MB/256 Mbits), which may be updated according to your needs and enables completely new sounds in the same keyboard.
Various sound banks are available: General MIDI standard set, Grand Piano, Hip Hop, Techno / House, RnB, and many more. These sound banks are available on SD cards and can be ordered separately for replacement of the internal sounds. After the update, the SD card can be removed from the slot.

All available sound banks are made of high quality sampled instruments with 16 to 24-bit resolution at up to 96 kHz sampling frequency.

NeoSynths built, high-performance DSP allows a polyphony of up to 124 votes.

Built-in audio effects
NeoSynth offers state-of-the-art effects with two effects, one is responsible for the synth part, the other is the audio inputs.

Among these effects are for example Hall, Delay, parametric, multi-band equalizer, chorus, etc. Spazializer that can be used simultaneously and their parameters using a comprehensive MIDI implementation can be edited in real time.

Multiple inputs and outputs
NeoSynth offers a variety of inputs and outputs, both digital (S / PDIF) and analog, which can be integrated easily into any studio setup and equipped with 24-bit A / D and D / A converters are. The dynamic range of converters is between 100 and 106 dB, which delivers pure sound quality. All signal paths can be routed without using a patch editor software. For example, it is possible to route a certain MIDI channel to a particular auxiliary output, while all other channels lie on the main exit - so no limits.

A USB connection allows the NeoSynth MIDI input plug and play to use as an external MIDI interface for PC or MAC. An extra driver is not necessary.
A headphone output can also operate up to 16 Ohm headphones.

Great MIDI implementation
A few hundred parameters can be controlled in real time via MIDI commands, allowing a deep intervention in the affairs of NeoSynth sound from any MIDI controller or MIDI software.
The attached patch editor software for PC and MAC controls the most-used parameters, including the routing, effects and channel parameters and is easy to use. Furthermore, taking full load of patches and NeoSynth. In addition, enclosed is a software for PC and MAC to upgrade the firmware of the NeoSynth for future capabilities to be able to.

Features
* MIDI / USB expansion for CME UF Series
* Up to 124 voices polyphony
* Built-in effects processor
* Reverb, Delay, EQ, chorus, ...
* Up to 64 MB GM sound bank
* Updatable sound banks from an SD card (order)
* Different music styles available
* Class compliant USB MIDI (no driver)
* 24 bit / 48 kHz audio ways
* Main stereo output (24 bit D / A converter)
* Stereo individual outputs (24 bit D / A converter)
* Headphone output
* Analog Stereo Audio input (24-bit A / D converter)
* S / PDIF Stereo Digital Audio Output
* Available for UF and VX Keyboards
* Comprehensive MIDI implementation
* And more ...
* Silver version for CME UF keyboards"

ReBirth for iPad Now Available

via Craig. video below
"ReBirth is back! Propellerhead Software's legendary Techno Micro Composer has been resurrected and customized for the iPad. ReBirth faithfully emulates dance music's three backbone devices: The Roland TB-303 Bass synth and the Roland TR-808 and 909 drum machines. Combine these with FX units, fully featured pattern sequencers and a gorgeous-looking interface and you're ready to make killer tracks on your iPad. Share your music with friends on Facebook, Twitter and more using the built in sharing features.

Features
2 x TB-303 Bassline Synthesizer with pattern sequencer
The original Acid House and Techno bass synth. Unrivaled power, unmistakable sound.

TR-808 Drum machine
Roland's sub-heavy 1980 beat computer. Instant hip-hop.

TR-909 Drum machine
The go-to beatbox for everything House and Techno. Press play and you're dancing.

Tempo-synced digital delay
Bouncy and hypnotic, always in time with your music.

Compressor with threshold and ratio
A bare-bones compression unit for added beefiness.

Distortion unit with amount and shape
Raw and rugged distortion for that extra edge. Works wonders with any 303 bassline.

PCF effect
Pattern controlled Low-pass / Band-pass filter - a tweaker's delight.

Mixer
Device specific mixer sections with pan, delay sends and FX switches

Mod support
Includes 7 original user mods with alternative sound sets and graphics

Sharing features
Share function with easy publication of songs to Facebook, Twitter and other social networks."


YouTube via PropellerheadSW | October 31, 2010

"ReBirth, the legendary Techno Micro Composer, is on the iPad now! In this video ReBirth guru Kurt "Peff" Kurasaki gives us a walkthrough of the new iPad features, teaches beat-making Rebirth style, and shares his thoughts on the legacy of the app."


iPads on eBay
iPads on Amazon