Introducing The Bastl Midilooper

Bastl Instruments

Price excluding tax: 239€ - comes to $283.44. Pics with press release below.

"Midilooper is a device that listens to MIDI messages (control information about notes, dynamics and other parameters) and loops them in a similar way an audio looper would loop pieces of audio. However, loops of MIDI messages remain in the control domain, which means a lot of other processes can happen on top of them - timbre modulation, envelope adjustments etc.

more info at https://bastl-instruments.com/instrum...
available now at https://noise.kitchen and through our dealers

Setup 1:
Juno 106 MIDI OUT into MIDI Looper MIDI IN
MIDI Looper MIDI OUT into Juno 106 MIDI IN
SYNC: Modular sends analog clock and reset into MIDI Looper via 3.5mm jacks
Listening to metronome from MIDI Looper

Setup 2:
Keyboard (Reface DX) MIDI OUT into MIDI Looper MIDI IN
MIDI Looper MIDI OUT into 1983 MIDI IN (modular)
1983 receives MIDI on 3 MIDI channels to control 3 modular voices
SYNC: Modular sends analog clock and reset into MIDI Looper via 3.5mm jacks

(Nerdseq sends MIDI to Reface DX MIDI In to control the sound engine, Local control on Reface DX is turned off)

Setup 3:
Roland SPD-SX (drumpads) MIDI OUT into MIDI Looper MIDI IN
MIDI Looper MIDI OUT into Roland SPD-SX (drums) MIDI IN - MIDI Channel 1
MIDI Looper MIDI OUT 2 into Microgranny 2 (glitch) MIDI IN - MIDI Channel 2
SYNC: OP-Z mini jack MIDI OUT (from OP-LAB Module) into MIDI Looper mini jack (MIDI) Clock IN
Listening to metronome from MIDI Looper

OP-Z plays chords and bass
Local control on SPD-SX is turned off

Setup 4:
Moog Sub Phatty MIDI OUT into MIDI Looper MIDI IN
MIDI Looper MIDI OUT into Moog Sub Phatty MIDI IN
MIDI Looper is in Free running mode (no clock needed)

Setup 5:
Keyboard (Reface CP) MIDI OUT into MIDI Looper MIDI IN
MIDI Looper MIDI OUT into Reface CP (e-piano) MIDI IN - MIDI Channel 1
MIDI Looper MIDI OUT 2 into Roland D-05 (pad) MIDI IN - MIDI Channel 2
Roland D-05 MIDI OUT to Make Noise 0-coast (arp) MIDI IN - MIDI Channel 3
SYNC: Roland TR-08 (drummachine) MIDI OUT to mini jack MIDI adaptor to MIDI Looper minijack MIDI Clock IN
Listening to metronome from MIDI Looper
TR-08 trigger out to 0-Coast Gate input
Reface CP Local control OFF
D-05 MIDI Thru ON"

"Bastl is more than excited to announce the Midilooper! Rather than being a sequencer, it is a device inspired by audio looper style workflow with a really fast, performative, single gesture interface.
Looping is a blazing fast way of music making and looping in the control signal domain is a key feature that allows for all remaining parameters of your device to be tweaked and modulated on top of the looped sequence... or MIDI CC looped!

Midilooper has been in development for over 3 years and several iterations of the control interface and connectivity have been extensively tested within the context of a live performance. It has the ability to bring a live setup or a studio to new life and make you explore your gear in a refreshing, hands–on manner.
Midilooper can be synchronised to MIDI or analog clock and it can also run on its own (tap tempo/free running). It has 3 voices that can each be assigned to a different MIDI channel, allowing it to control and loop 3 individual units of gear. Each voice can be individually recorded, muted, overdubbed, or cleared.

Midilooper also offers some basic processing of the recorded information: transposition, velocity locking and shifting, quantisation, shuffle, humanisation (random variations of velocity), adjusting the length of the loop, or doubling and halving of playback speed.

In addition, it features CV and trigger inputs for seamless integration with modular synths: reset, retrigger, velocity, and transpose. It can also be controlled with foot pedals.

Stay tuned to Bastl Instruments YouTube channel for more walkthrough videos. Price excluding tax: 239€
Shipping to dealers now.

Features:
• 3 independent voices (each has MIDI channel assigned) • overdub/overwrite
• transpose mode
• octave transpose
• quantize, velocity lock, shuffle, humanize • odd looplengths, time stretch
• mute, clear, erase
• one MIDI Input and two MIDI Outputs
• clock input (accepts analog clock or TRS MIDI Clock) • analog reset input
• metronome output
• CV input connectivity (transpose, velocity, re-trigger) • pedal control (record, clear, voice selection)
• USB powered
• adjustable divider/multiplier for analog clock"

CLICK FOR MORE »

New Doepfer CV MIDI Modules - A-190-5 & A-192-2

"Module A-192-2 contains two independent CV/Gate-to-Midi/USB interfaces. For each of the two sub-units these inputs are available:

Gate Input (min. +5V)

CVN Input (defines the Midi note number), 1V/octave standard, range 0...+10V (i.e. 10 octaves)

CVV Input (defines the velocity value assigned to the Midi note message), can be used alternatively for Midi volume (CC#7), range 0...+5V

CVC Input (free assignable to any Midi control change number), range 0...+5V

For both sub-units a common CV Transpose input is available (1V/octave, range 0...+10V). The voltage applied to this input is added internally to CVN before the Midi note number is generated. It can be used e.g. to transpose two sequences simultaneously by one voltage.

How it works:
Whenever the rising edge of the Gate input is recogized a Midi note on message is generated. The note number corresponds to the sum of the voltages applied to the CVN input and the common CV Transpose Input. In Velocity mode the voltage applied to the CVV input is used to define the velocity data of the Midi note on message (in Volume mode a fixed velocity value 100 is used). As soon as the falling edge of the Gate input is recognized the corresponding Midi note off message is generated (i.e. with the same note number as the preceding Midi note on message). The voltages at the CVN and CV Transpose inputs during the falling edge of the Gate do not have an effect on the note number of the note off message ! In any case the note number of the preceding note on message is taken. Otherwise hanging Midi notes would occur !
The CVC voltage is permanently converted into the corresponding Midi control change message, as well as the CVV voltage provided that the Volume mode is chosen. The difference between Velocity mode and Volume mode is the function of the voltage applied to CVV. In Velocity mode the voltage CVV is used to define the velocity value of the corresponding Midi note on message and is measured only during the rising edge of the Gate input. In Volume mode the CVV voltage is permanently converted into Midi Volume messages (Midi control change #7).

Adjustment of the Conversion Parameters
The conversion parameters for each unit are adjusted by means of the Learn button in combination with incoming Midi data (e.g. generated by a Midi keyboard connected to Midi In of the A-192-2). The learn mode is initiated by operating the Learn button for about one second. While the unit is in learn mode the corresponding LED is flashing. The next incoming Midi note on message is used to set the Midi channel and note reference for the sub-unit in question. The voltage currently applied to the CVN socket is assigned to the Midi note number of the note message.

Example 1: 0V are applied to CVN (or the CVN socket is left open) and a Midi note message with note number 36 on Midi channel 1 is sent while the upper sub-unit of the module is in learn mode: then a CVN voltage of 0V corresponds to Midi note number 36 for the upper sub-unit and the data are sent on Midi channel 1.
Example 2: +2.5V are applied to CVN and a Midi note message with note number 47 on Midi channel 11 is sent while the lower sub-unit of the module is in learn mode: then a CVN voltage of +2.5V corresponds to Midi note number 47 for the lower sub-unit and the data are sent on Midi channel 11.

If a Midi control change message is sent while the unit is in learn mode the control change number of the Midi message is taken for CVC. In addition program change messages will be used to set other parameters of the unit (e.g. to select the Velocity mode or Volume mode).

The data generated by the module are sent simultaneously on Midi Out and USB. Two or more A-192-2 modules can be daisy-chained via Midi Out - Midi In.

The two LEDs display the activity of the sub-units (i.e. if Midi data are generated by the unit in question).

Typical applications:

Conversion of analog sequences into Midi/USB data (e.g. A-155)

Generating random Midi notes (e.g. with CVN coming from A-118 or A-149-1, Gate e.g. from an LFO)

Generating Midi control change data from analog voltages"

"Module A-190-5 is a four voice Midi/USB to CV/Gate interface. For each voice a pitch control voltage (CV1, 1V/octave standard to control VCOs), a gate output (to control envelope generators) and two additional control voltages (CV2, CV3) are available. The two additional CV outputs can be controlled by Midi velocity, volume, modulation, pitch bend, after touch or free assignable Midi controllers.

These modes are planned (without obligation):

four voice monophonic (i.e. to control four monophonic voices by four succeeding Midi channels)
four voice polyphonic (i.e. to control four monophonic voices by one Midi channel) with several sub-modes (e.g. rotating / non-rotating)
two voice polyphonic (i.e. to control two monophonic voices by one Midi channel)
unisono

The basic mode is selected by means of a momentary switch (probably Mode or Algor.) and is shown in the LC display. Certain parameters of each mode can be edited (e.g. the midi channel(s), the midi reference note for 0V CV, assigned controllers for CV2 and CV3). For this the momentary switch Edit/Play is used. The parameter values (e.g. midi channels) are shown in the display and can be modified by means of the momentary switches 1...4. In Play mode the LEDs of these four switches display the gate states.

The range of the CV outputs (CV1...CV3) is 0...+10V (i.e. 10 octaves for CV1). The resolution is 12 bit. The gate voltages are 0/+5V (maybe even adjustable to 0...+10V for non A-100 applications).

We cannot yet specify a definite release date but hope that it will be available about fall/end of 2012.
But this release date is still without obligation !"

via PatchPierre.net

Future Retro Introduces the 512 Touch Keyboard Playing the Arp 2600 & Buchla Music Easel

Future Retro 512 Touch Keyboard Playing the Arp 2600

Published on Jun 2, 2016 FutureRetroSynths

"Simple test to show the Future Retro 512 keyboard controlling the Arp 2600 modular synthesizer."

Update: New video with the Buchla Music Easel added:

Future Retro 512 touch keyboard playing Buchla Music Easel:

Published on Jun 2, 2016

"Simple demo of the Future Retro 512 keyboard controlling the Buchla Easel. The 512 has an adjustable CV output so you can achieve .469V to 1.34V per octave control voltages to control a wide variety of synths including the common 1V/Oct synthesizers, and this 1.2V/Oct Buchla. Works with EML and EMS synthesizers too!"

New demos here: Future Retro 512 touch keyboard plays the EMS Putney, Minimoog Model D, EML 101, & Eurorack

Previous posts featured the assembly of the new 512 Touch Keyboard from Future Retro. We now have details and what it looks like completed.

Details via Future Retro

"The 512 is a capacitive touch keyboard, packed with a unique blend of truly musical features to enhance your creative experience. The 512 is available with or without the optional rack ears that allow it to fit in a standard 19" rack enclosure, taking up only 4u spaces.

Why is capacitive touch better? Quite simply, eliminating mechanical moving parts found in traditional keyboards makes a product that will never wear out, as mechanical keyboards do. No more intermittent key contacts, or failed aftertouch circuits to worry about! In addition, capacitive touch provides a much faster response time for playing notes, and allows multiple forms of expression to be executed by the performer.

There are five main functions of the 512. It can act as a keyboard, arpeggiator, sequencer, MIDI to CV converter, and MIDI to MIDI converter. The 512 can control both MIDI and CV/Gate synthesizers simultaneously. Pitch, Pitch Bend, Mod Wheel, Gate, Velocity, Aftertouch, and Clock are all available in both their MIDI and CV form. CV's follow the 1V/Oct standard with positive polarity Gate signals, allowing the 512 to control the majority of analog synthesizers both past and present.

KEYBOARD
The 512 provides 9 octave ranges for the 29 full-sized keys (although shorter in length than typical keys) with response to Velocity and Aftertouch. Users can define one of five different Velocity and Aftertouch curves to apply to the keyboard, and dial in the range for each curve to customize the response. The Pitch Bend provides positive and negative pitch bends, and the bend range can be adjusted for full or half range. Mod Wheel is also provided as a modulation source.

ARPEGGIATOR

CLICK FOR MORE »

Digitakt 1.04 Update

Published on Jul 30, 2017 cane creek

"Digitakt updated ok, just so you can see the screen if your having trouble with yours."

"Digitakt OS 1.04 Release Information

CLICK FOR MORE »

Groove Synthesis 3rd Wave OS 1.5 Update Adds MPE Support, Poly Unison, Free Running OSCS & Long LFOs

via Groove Synthesis

3rd Wave OS version 1.5

new in this release:

- support for MIDI MPE controllers - enable MPE from the GLOBAL menu and explore the new modulation sources at the end of the list. Pitch bend range can be set in the MISC menu

- option for free running analog oscillators in the MISC menu which is settable per patch - In the analog waveform mode, which you are using when you select the Axx waveforms like Saw and Square, now has the option to make the waveforms not reset when you start a new note. In this mode, the oscillators will continue to drift from each other as they do on some fully analog synthesizers. There are two side effects if you are using free running for the analog waveforms:

1. When two or more oscillators are running at the same time, the phase of the waveforms will not be reset and could start at any position. As a result, there will be phase cancellation compared to having the oscillators always start at the same point. What you will hear is that the notes will change volume level slightly as the oscillators start and also drift in and out of phase with each other.

2. In the normal mode the oscillator always starts at zero. Now it could start at any point in its phase position. That means when you hit a note, a single oscillator could be at 0, +1.0, -1.0, or anywhere in between. If it starts at or close to +1.0 ot -1.0, you are going from no sound to fully on immediately. This can cause a click at the beginning of the note depending on the phase. It is noticeable mostly when using a sine wave, and not too noticeable with something like a saw or square. If you want to use this free running mode, turn the attack time up to +20 or higher to quickly fade in and avoid the potential click.

CLICK FOR MORE »

NEW APPS AVAILABLE FOR THE LINE 6 MIDI MOBILIZER

"—Transforming your Apple® iPod touch™, iPhone™ and iPad™ into a complete music production studio—

CALABASAS, Calif.—November 18, 2010—Line 6, Inc. (line6.com), the industry leader in digital modeling technology for music-creation products, is proud to announce a dozen new apps for the MIDI Mobilizer™, the only MIDI interface for Apple iPod touch, iPhone and iPad.

“Developers are doing an amazing job of harnessing the power of the Apple devices and turning them into serious music-making MIDI machines – all made possible by MIDI Mobilizer,” remarked Chris Grigg, Mobile Products Manager at Line 6. “Prepare to be completely amazed at how much you can do with such tiny, affordable gear.”

MIDI Mobilizer is the most simple, compact, and portable Line 6 device yet. It easily connects directly with any Apple iPod touch, iPhone or iPad and coupled with MIDI Memo Recorder (a free app available for download on the Apple App Store), it allows musicians to conveniently play, record, and backup MIDI data any time, anywhere.

Following the announcement earlier this summer of the free MIDI Mobilizer Third Party Developer Program, over 70 app developers around the world are working on new apps that will support MIDI Mobilizer. In addition to MIDI Memo Recorder, there are currently a dozen apps available for MIDI Mobilizer: NanoStudio, NLogSynth Pro, NLog MIDI Synth, Music Studio, Pianist Pro, StepPolyArp, MIDI Surface, Little MIDI Machine, MIDI Live, bs-16i, and S1MIDI Trigger. [brief descriptions on each further below]

NanoStudio, for example, is a techno-styled, full-featured virtual recording studio complete with 16 sample trigger pads, a comprehensive sequencer, a sample editor, a mixer and 10 FX units. Another is NLog Synth PRO, which is a professional virtual analogue synthesizer with 192 factory sounds, powerful synth features, and more. Pianist Pro, an 88-key virtual piano for the iPad, has been highlighted in Apple commercials and recommended by the New York Times, Rolling Stone magazine, and others.

These apps are just the beginning – many more are in development and will be available soon.

MIDI Mobilizer is compatible with millions of MIDI (Musical Instrument Digital Interface) devices, from classic to modern, including synthesizers, digital pianos, effects processors, and Line 6 guitar amps and POD® products.

MIDI Mobilizer is available now, with an estimated street price of $69.99."

iPads on eBay
iPads on Amazon

iPod Touch on eBay
iPod Touch on Amazon

Be sure to see the Line 6 label below for demos of apps supporting the Line 6 MIDI Mobilizer.

Update: brief descriptions on each app (links take you to iTunes where you'll find full info):

NanoStudio
"NanoStudio is a virtual recording studio for iPhone/iPod Touch. It has 4 virtual analogue synths, 16 sample trigger pads, a comprehensive sequencer, a sample editor, a mixer and 10 effects units all integrated into a single application.

Record samples using the built-in microphone*, resample NanoStudio's own output or upload your own samples over WiFi using our NanoSync tool for Mac or Windows. NanoStudio comes with a range of samples, loops and drum kits to get you started...."

NLogSynth Pro
"The N E X T L E V E L of IOS musical instruments:
- A PROFESSIONAL GRADE synthesizer in your pocket with extreme value
- 192 IMPRESSIVE FACTORY SOUNDS
- including fresh new soundset by the trance producer 7 Skies (www.7skies-music.com)

- ENDLESS options for SOUND EDITING
- Over one 150 parameters and options
- More than your beloved hardware synths might offer
- Store up to 96 own edits in 3 user banks
- Exchange sounds with your friends by email

- STUDIO QUALITY sounds
- Professional 44.1 kHz Stereo CD quality
- Internal 32bit floating point engine
- Highly efficient sound algorithms
- Enabling maximum CPU performance of your iPad..."

NLog MIDI Synth
"This app is an extended version of the famous "NLog Synthesizer" app providing external access from MIDI keyboards or other MIDI controller. The synth engine has been rewritten to provide polyphonic realtime response. Now you have a real synthesizer out of your IOS device which you can play with your keyboards. A MIDI interface is needed to operate with external keyboards. This version supports Line6's Midi Mobilizer. Other interfaces like Akai's Synthstation will be supported in future updates once they become available. The app is also usable without MIDI interface with on-screen keyboard..."

Music Studio
"Music Studio offers a complete music production environment on the iPhone/iPod touch with features and a sound quality previously only known to desktop applications and expensive audio hardware.

It combines a piano keyboard, 40 studio-quality instruments with sustain, a fully fledged 128-track sequencer, extensive note editing, reverb, real-time effects and much more on a user-friendly interface."


Pianist Pro
"As featured in the latest Apple "iPad is Musical" TV Ad, recommended by The New York Times, The Independent, The Daily Telegraph, Rolling Stone Magazine, and played live by legendary band Squeeze on the Jimmy Fallon show (NBC).

Pianist, the ORIGINAL iPhone piano, turns Professional in an all new iPad-only app with photo-realistic graphics and an unbelievable sound. Pianist Pro was the number one music app for the iPad at release and has remained high in the charts ever since."

StepPolyArp
"StepPolyArp is a midi step polyphonic arpeggiator. The arpeggiator does not play any sound itself, it transmits midi notes to a Mac or a PC to be used in combination with any sequencer, virtual instrument (VSTi, Audio Unit) or midi synthesizer.

The arpeggiator can transform chords into sequences of notes played one after the other in several ways. A matrix polyphonic step modulate arpeggiated notes in time and pitch. The main controllers (velocity, modulation, panning, volume, aftertouch, and pitch bend) are also programmable through a step editor. The integrated keyboard automatically adapts to the selected musical scale."

MIDI Surface
"MIDI Surface is a full-featured MIDI control surface for iPhone and iPod touch, brought to you by the minds at Audiofile Engineering (creators of FiRe - Field Recorder, Backline Calc and other essential audio apps). Designed for use with the Line 6 MIDI Mobilizer hardware accessory, MIDI Surface allows users to easily create and save their own customized MIDI control surfaces. It delivers seamless touch-screen control of MIDI-enabled instruments such as keyboards, drum machines, software synths and more."


Little MIDI Machine
"Little MIDI Machine is an analog-style MIDI step sequencer app for the Line 6 MIDI Mobilizer interface. This app requires you own the hardware Line 6 Mobilizer MIDI interface hardware accessory for full functionality.

Little MIDI Machine gives you the step sequencing power of a hardware analog sequencer on your iPad! Program two independent sequencers that send note and velocity MIDI data out on two MIDI channels to control your hardware synthesizers. LittleMM includes many of your favorite hardware sequencer features such as mute and un-mute notes, skip steps, reverse the sequencer, adjustable clock speed, etc. If you do not have a Line 6 Mobilizer, LittleMM can generate very basic melodic sounds in place of sending MIDI. This will let you play around with the app and try it out, but it is not a feature that will be developed further and is not the primary purpose of the app. LittleMM is intended to be a MIDI sequencer driving external hardware.

With Little Music Machine you can use your Line 6 MIDI Mobilizer interface along with your favorite hardware synth and your iPad to create mind-bending loops and sequences."

MIDI Live
"This application is designed for live performance using the Midi Mobilizer from Line 6. It provides realtime modification of midi file parameters including:

* Song Tempo
* Key Change
* Instrument Assignment
* Song Cue
* Mixing Parameters

It is possible to alter these parameters while the song is playing or save for future playback. Playlists are also supported. Songs can be freely downloaded from the internet or loaded from your laptop.

Note: This application does not make sound on its own, it requires the Midi Mobilizer from Line 6."

bs-16i
"bs-16i is a 16 multi-timbral playback sampler. It supports SoundFont, and can be used for keyboard instrument, MIDI sound module, and MIDI player.

The sampler engine is ported from bs-1 / bs-16, which is developed as professional plug-in for Logic (Audio Units) and Cubase (VST instrument).
Using SoundFont libraries, you can play with your great number of Instruments.
It supports all standard MIDI messages, so it also can be used as a GM (General MIDI) sound module.

As a keyboard instrument, you can play with scalable keyboard, pitch bend wheel, and many control change controllers.

Internal MIDI player supports SMF (Standard MIDI File) format."

S1MIDI Trigger
S1MidiTrigger turns your iPad or iPhone into a customizable touchscreen MIDI controller that can replace hardware devices costing hundreds of dollars. Connect wirelessly to audio workstation applications on the PC or Mac, or use Line 6's MIDI Mobilizer hardware add-on!

You can use the built-in controller screens or design your own, with touch pads (for drums and other instruments), sliders, X-Y pads and more. (Note: This requires a MIDI application -- it does not play music by itself.)

S1MidiTriggger is compatible with the open-source DSMidiWifi server, but for even faster response you can download our free S1 server software for PC or OS X. (A fast wifi connection is recommended.)

Don't worry if you don't have the best musical skills! With S1MidiTrigger, it's very easy to just tap some pads to play simple notes or even complete chords.

Watch a demo of version 3.2 on YouTube" [posted here]

Basic Demonstration 9 Super Steps / Hyper Steps

YouTube via DayflightTrok genoQs Octopus http://www.genoqs.com/

"Short demonstration about the new important function for Live jamming or studio works.
Have fun, it´s sequencing time!"

Update: an image and some info on the genoQs Octopus from Analogue Haven:
Update via lars in the comments. The Octopus is at OS v1.6. See their site linked above for more info. The following pertains to features in OS v1.0 which are still relevant and interesting to me at least. Also, according to lars it should be "hyper steps" not "super steps."
"GenoQs have now released their amazing OS v1.0, which adds many new features to the Octopus sequencer. All new Octopus sequencers ship with v1.0, and older units can be updated by following the update procedure on GenoQ's Downloads page.

In the following, we use the following mark convention:
(***) for new features,
(**) for evolved functionality, and
(*) for minor changes.

FREE TRACK CHAINING (***)
Tracks in a Page may be chained according to any configuration desired by the user.

TRACK PROGRAM CHANGE (***)
Tracks now retain the MIDI program change information as a track specific value.

EDIT TRACK DIRECTIONS (***)
Directions 6-16 are freely editable by the user, including re-trigger and randomize options.

STEP GROOVE ATTRIBUTE (***)
A step may be delayed at playtime by a random amount of time in multiples of 1/192 of a note.

GRID-TRACK MODE (***)
Up to 90 tracks are mapped to Matrix buttons and act as virtual track selectors allowing for direct track operation.

STEP-NOTE RECORDING (***)
Notes may be recorded directly on pre-selected positions in a page, irrespective of timeline and chase-light position.

PAGE SCALE CAD (***)
Changes to a scale may be set to affect the pitch values of the tracks in the page. Whenever the scale is modified, the track pitches are aligned to the new scale, modifying the harmonic structure of a page in a musical way.

VAST MIDI-IN CONTROL (***)
Apart from recording MIDI data, MIDI IN ports can be used to control various functions of the machine via MIDI IN signals. This includes selecting grid sets and toggling grid pages via program change messages, or even creating and modifying scales on the Octopus - all at runtime of course.

VIRTUAL MIDI CHANNELS (***)
Provide an internal wiring of tracks to the Octopus MIDI in. In this way, Octopus tracks may be used to leverage the capabilities of MIDI IN control, right on the Octopus.

MAP FACTORS (***)
Each relevant attribute map now has a map factor, which indicates the amount to which that map is applied to the current output.

EXPORT CONTENT TO SYSEX (***)
Memory content may now be exported as MIDI system exclusive streams, providing a means to store machine state data outside of the Octopus.

PITCH BEND HANDLING (**)
Now pitch bend data can be recorded and worked with, similarly to any other MIDI controller data.

TRACK FLATTENING (**)
The FLT mutator has evolved to new semantics. It is now applied to two or more tracks to create a "stacked" version of that track selection into a single track.

NEW EFFECTOR STATE (**)
Tracks can now take on an additional state with regard to the Effector. In addition to being unaffected, a sender, or a receiver, tracks may now be receiving senders.

CC MAP LEARNING (**)
In addition to programming CC maps, you can now have them learn by listening to MIDI IN input. Saves time and comes in handy.

FORCE TO SCALE INPUT (**)
Externally played notes can be passed through the Octopus and forced to the scale of the current page.

TRACK SPEED MULTIPLIERS (**)
Octopus now features additional track speed multipliers. These include: 1.5 (for direct creation of triplets), as well as the following: 1/1.5, 1/8, 8, 1/16 and 16.

BANK CHANGE MESSAGES (*)
In addition to sending program change messages Octopus now also sends bank change messages.

Sequencer Specifications:

FRAMEWORK
Sequence grid: 144 pages - popularly known as 'patterns'
Tracks per page: up to 10, with up to 16 steps each
Track resolution: up to 1/192 of a note

USER INTERFACE
Elements: 258 pushbuttons, 21 endless encoders
Front panel: 630 x 270 mm

PERFORMANCE
Concurrent play: up to 9 pages or chains thereof
Editing capabilities: full during play, seamless saving
Track play: polyphonic, shuffle, groove, roll

DIMENSIONS
700 x 450 x 140 mm, 8 Kg"

genoQs OS V1.0 Released

"Dear all,
more than a year ago we were proud to announce the general availability of what was to become quickly a quite desirable piece of gear.. says the continuous feedback we get about the Octopus.

Needless to say, we are not only proud, but deeply satisfied to see that what has started as a labour of love and passion has found greatest appreciation by users and users-to-become alike, many of whom we knew and respected highly long before they knew about us.

The feedback, ideas, thoughts and commitment that we have seen in return have helped build a machine that today we are ready, proud and thankful to present to you. We are ready to launch Octopus OS v1.00

This is a key moment in the life of Octopus, and one much anticipated, by many, and for many reasons. Once again, our sincerest thanks go to all who have contributed to the effort that went into creating Octopus what it is today - we leave the description out but would explicitly like to get your feedback on what you feel that
Octopus is to you!

Now - we are listing below an exerpt of our list of new things in OS v1.00..

All the other details are up on our web site.

Enjoy!!

Gabriel Seher + Marcel Achim
________________________
http://www.genoqs.net

In the following, we use the following mark convention:
(***) for new features,
(**) for evolved functionality, and
(*) for minor changes.

FREE TRACK CHAINING (***)
Tracks in a Page may be chained according to any
configuration desired by the user.

TRACK PROGRAM CHANGE (***)
Tracks now retain the MIDI program change information
as a track specific value.

EDIT TRACK DIRECTIONS (***)
Directions 6-16 are freely editable by the user, including
re-trigger and randomize options.

STEP GROOVE ATTRIBUTE (***)
A step may be delayed at playtime by a random amount
of time in multiples of 1/192 of a note.

GRID-TRACK MODE (***)
Up to 90 tracks are mapped to Matrix buttons and act as
virtual track selectors allowing for direct track operation.

STEP-NOTE RECORDING (***)
Notes may be recorded directly on pre-selected positions
in a page, irrespective of timeline and chase-light position.

PAGE SCALE CAD (***)
Changes to a scale may be set to affect the pitch values of
the tracks in the page. Whenever the scale is modified, the
track pitches are aligned to the new scale, modifying the
harmonic structure of a page in a musical way.

VAST MIDI-IN CONTROL (***)
Apart from recording MIDI data, MIDI IN ports can be
used to control various functions of the machine via MIDI IN
signals. This includes selecting grid sets and toggling grid pages
via program change messages, or even creating and modifying
scales on the Octopus - all at runtime of course.

VIRTUAL MIDI CHANNELS (***)
Provide an internal wiring of tracks to the Octopus MIDI in.
In this way, Octopus tracks may be used to leverage the
capabilities of MIDI IN control, right on the Octopus.

MAP FACTORS (***)
Each relevant attribute map now has a map factor, which indicates
the amount to which that map is applied to the current output.

EXPORT CONTENT TO SYSEX (***)
Memory content may now be exported as MIDI system exclusive
streams, providing a means to store machine state data outside of
the Octopus.

PITCH BEND HANDLING (**)
Now pitch bend data can be recorded and worked with, similarly
to any other MIDI controller data.

TRACK FLATTENING (**)
The FLT mutator has evolved to new semantics. It is now applied
to two or more tracks to create a "stacked" version of that track
selection into a single track.

NEW EFFECTOR STATE (**)
Tracks can now take on an additional state with regard to the
Effector. In addition to being unaffected, a sender, or a receiver,
tracks may now be receiving senders.

CC MAP LEARNING (**)
In addition to programming CC maps, you can now have them
learn by listening to MIDI IN input. Saves time and comes in handy.

FORCE TO SCALE INPUT (**)
Externally played notes can be passed through the Octopus and
forced to the scale of the current page.

TRACK SPEED MULTIPLIERS (**)
Octopus now features additional track speed multipliers.
These include: 1.5 (for direct creation of triplets), as well as the
following: 1/1.5, 1/8, 8, 1/16 and 16.

BANK CHANGE MESSAGES (*)
In addition to sending program change messages Octopus now
also sends bank change messages."

Syntecno TeeBee

images via this auction

"Soundwise, this is the best 303 clone out there, plus it has MIDI, a ring mod oscillator, audio input, and 4 CV / gate outputs, and a MIDI merger. It is the swiss army knife of acid.

"The TeeBee is (according to most magazines and customers) the clone which has imitated the sound of the original Roland Tb303 the best. This means :
- The filter (18 dB, 2-pole) & oscillator has been made with the same components as the original TB303.
- The slide (portamento) has been fully integrated and can be controlled with a midi controller, or by using overlapping notes (AutoGlide).
- The accent function of the original has been integrated and can be controlled by sending attack velocities larger then 100.
- The TeeBee is attack velocity sensitive.

All the potentiometers of the TeeBee are able to sent and receive midi controllers.
So, you can record all the movements of the potentiometers while you are in the studio.
Afterwards, you can use these controller-trax at for example a life performance.
The TeeBee will respond to these controllers without any zipper noise or hearable clicks.

All the potentiometers can respond to any controller you assigned them to. This way you can use the TeeBee as an universal midi controller. For example, when you are using an effect processor, it's often possible to assign for example the reverb level to a controller. If you assign the same controller to a potentiometer on the TeeBee, you can now control the reverb level with any potentiometer on the TeeBee. This can be done for all 5 midi controllable potentiometers on the TeeBee.

There are 3 waveforms in the VCO of the TeeBee. (Saw, Square, Ring) The Ring waveform was not included in the original. The ring oscillator of the TeeBee is the same oscillator which is used as in the Korg MS20. The sounds produced with this oscillator are well suited for goa-trance and jungle music. More harmonics and a broader sound describes the Ring modulator.

When you want to filter your samples from your sampler (or other sound sources), you can use the analog input of the TeeBee for this. Just plug the output of your sampler into the analog input of the TeeBee. Now you can filter your samples in real-time, using the potentiometers or midi controllers with an original TB303 filter (the TeeBee). The Cutoff, Resonance, Envelop modulator and Decay potentiometers can now be used to change the characteristic of the filter. Also it is possible to 'overlay' the VCO of the TeeBee at the same time. The analog input of The analog input of the TeeBee is mixable, thus enabling you to mix the VCO of the TeeBee with an external sound source and run them both through the filter of the TeeBee. This results in ultra fat sounds.

If you have older equipment which can only be controlled by CV/Gate, then you can use the TeeBee for making these devices midi controllable. The TeeBee can control almost all synthesizers of Roland, Korg, Moog and other brands. Also you can use any free CV output on the TeeBee for controlling a control voltage input on an analog synth with the potentiometers or with midi controllers. For example, the Korg MS20 has a filter control input. With the TeeBee it's possible to control the analog input with a midi controller. Now you can not only make your MS20 midi controllable, you can also make most of it's parameters (knobs) midi controllable. The CV/Gates respond fast and with good accuracy. Pitch bend information is transmitted very fast through the CV/Gate outputs in both V/Hz mode and V/Oct mode.

The midi merger which is included in TeeBee Mark III, will save you many swapping of midi cables. When you do not have several midi inputs on your computer, you would have to change midi cables all the time. This is caused by the fact that you want to be able to record from your keyboard and at the same time be able to record controllers and sysex dumps from the TeeBee. With the TeeBee Mark III, the 2 midi merge inputs will solve this problem for you. You can connect up to 2 keyboards and record midi information from them and from the TeeBee at the same time.
The midi merger in the TeeBee can also be used as a stand-alone 2-channel midi merger or for being able to control all your midi equipment at the same time from 2 (yes two) computers. Now you can control all your equipment from your ST running cubase and at the same time from your pentium running cakewalk or cubase.

The sync output of the TeeBee will sync your SH101, MC202 or TR808
Changes made to any of the setting of the TeeBee are stored in memory.
All these specs sound very cool, but it's the sound which matters most. And that's what makes the TeeBee the best from all available clones.

The TeeBee is the clone with the best TB303 sound imitation and the most accessories.the Tee

* TeeBee sounds and feels like the original Roland TB303.
* All original sound knobs (Tuning, Cutoff, Resonance, Filter, Decay) can be controlled from front panel.
* These parameters, if changed, are send as MIDI controllers on the MIDI OUT port.
* Original TB303 waveforms : Square and Saw.
* Original TB303 filter : 18 dB, 2-pole.
* Extra waveform : Korg MS20 ringmodulator.
* TeeBee slide can be switched on/off by means of MIDI controller or AutoGlide.
* TeeBee sound is pitch wheel and velocity sensitive.
* Free selectable MIDI channel.
* Mixable analog input for internal filter.
* Polyphony to monophonic selection algorithm.

* Four (4) CV/Gate outputs (CV range 0-5 Volt, Gate range 0-5Volt or 0-10Volt).
* Free selectable MIDI channel for each pair CV/Gate outputs.
* Free selectable Volt/Oct or Volt/Hz for each CV output.
* Free selectable polarity for each Gate output.
* Pitch wheel sensitive CV.
* Sound knobs can control CV of all CV/Gates.
* Polyphone to monophonic selection algorithm.

* MIDI IN, MIDI OUT, MIDI THRU.
* 2 x MIDI Merge input (also suited as stand-alone 2-channel MIDI merger)
* Roland SYNC24 output for synchronizing original TB303, TR606, TR808.
* Free selectable controller number for each sound knob.
* Free selectable controller number for TeeBee slide.
* All parameters are stored in memory.
* Internal 16 midi channel recorder/player.

* Mountable in 19 - inch rack (1 unit).
* Power supply included. (Only for countries with 220V @ 50Hz power mains).
* Owners manual.
* Warranty 1 full year on fabrication faults.
* Software version 4.1 (Features AutoGlide, when using overlapping notes)

Bee is mixable, thus enabling you to mix the VCO of the TeeBee with an external sound source and run them both through the filter of the TeeBee. This results in ultra fat sounds.

If you have older equipment which can only be controlled by CV/Gate, then you can use the TeeBee for making these devices midi controllable. The TeeBee can control almost all synthesizers of Roland, Korg, Moog and other brands. Also you can use any free CV output on the TeeBee for controlling a control voltage input on an analog synth with the potentiometers or with midi controllers. For example, the Korg MS20 has a filter control input. With the TeeBee it's possible to control the analog input with a midi controller. Now you can not only make your MS20 midi controllable, you can also make most of it's parameters (knobs) midi controllable. The CV/Gates respond fast and with good accuracy. Pitch bend information is transmitted very fast through the CV/Gate outputs in both V/Hz mode and V/Oct mode.

The midi merger which is included in TeeBee Mark III, will save you many swapping of midi cables. When you do not have several midi inputs on your computer, you would have to change midi cables all the time. This is caused by the fact that you want to be able to record from your keyboard and at the same time be able to record controllers and sysex dumps from the TeeBee. With the TeeBee Mark III, the 2 midi merge inputs will solve this problem for you. You can connect up to 2 keyboards and record midi information from them and from the TeeBee at the same time.
The midi merger in the TeeBee can also be used as a stand-alone 2-channel midi merger or for being able to control all your midi equipment at the same time from 2 (yes two) computers. Now you can control all your equipment from your ST running cubase and at the same time from your pentium running cakewalk or cubase.

The sync output of the TeeBee will sync your SH101, MC202 or TR808
Changes made to any of the setting of the TeeBee are stored in memory.
All these specs sound very cool, but it's the sound which matters most. And that's what makes the TeeBee the best from all available clones.

The TeeBee is the clone with the best TB303 sound imitation and the most accessories."

Kenton cultivates connections with bi-directional MIDI to DIN Sync convertor

"LONDON, UK: MIDI utilities specialist Kenton is proud to announce availability of the D-SYNC bi-directional MIDI to DIN Sync convertor — an appropriately-named new addition to its growing family of compact and sturdy MIDI utility boxes that cleverly converts MIDI Clock to DIN Sync (sync24) and DIN Sync to MIDI Clock signals — as of August 27…

Appreciating the intrinsic value of this unassuming, yet useful little utility box — as attractively priced as it is — involves an appreciation of electronic musical instrument synchronisation; so, for the benefit of the uninitiated, here goes…

CLICK FOR MORE »

audiowerkstatte midi-restarter & midi-clock-divider

"The midi-restarter helps you to start or stop your MIDI-slave independent of your MIDI-master, but alway in perfect synchronisation.

You push the buttom and the audiowerkstatt midi-restarter sends a MIDI-start/stop-message at the beginning of the next bar to ensure that all following MIDI-devices run in the correct timing.

There are 3 modes of operation:
1. At the beginning of the next bar, a MIDI-stop-message and immediately after that a MIDI-start-message is sent. In this mode, a standing sequencer is restarted and a running sequencer is "pushed" into the correct timing. This mode does not work with all MIDI-devices as some devices require a short break between MIDI-stop- and MIDI-start-message. For these devices, the second mode can be selected.

2. A short time before the next bar starts (one MIDI-clock-message=1/24 quarter-note), a MIDI-stop-message is sent and then at the next bar a MIDI-start-message is sent. In this mode, a standing sequencer is restarted and a running sequencer is - after a very short break - "pushed" to the correct timing. This mode corresponds to the first and is intended for MIDI-devices that require a short break between MIDI-start- and MIDI-stop-message.

3. If the sequencer is running, a MIDI-stop-message is sent at the next bar and if the sequencer is standing, a MIDI-start-message is sent at the next bar. In this mode, a standing sequencer is restarted and running sequencer is stopped at the next bar.

It can be switched between the time-signatures 4/4 and 3/4.

You can also set whether only the newly created MIDI-clock and the MMC commands (start, stop, continue) are sent or the midi-data, received at the MIDI-in, will be mixed with that."

"The audiowerkstatt midi-clock-divider is a clock-divider for the MIDI-clock.

The audiowerkstatt midi-clock-divider divides the MIDI-clock of the MIDI-master, whereby the MIDI-slave runs correspondingly slower. The division-ratios are 1/1, 1/2, 1/3, ..., 1/8, 1/9.

If the division-factor 1/1 is selected, the MIDI-clock is simply passed through. With the division-factor of 1/2 the MIDI-slave runs at half the speed. So 16ths-notes will be 8th-notes and the loop is twice as long.

Very useful to double the loop length of the MIDI-slave (eg MIDI-sequencer or [audio-]looper). When using the division-factor 1/8 and an originally one bar long loop runs over 8 bars.

And good for experimental musicians, especially if an odd division-factor is selected and MIDI-master and slave seem to be not in sync, but from time to time come together in perfect sync.

You can also set whether only the newly created MIDI-clock and mmc commands (start, stop, continue) are sent or the, at the MIDI-in incoming data, will be mixed with that."

Note this is the first audiowerkstatte post on MATRIXSYNTH.

Musikmesse: Cakewalk® Now Shipping New Line of Portable Cable-Based Interface Products

"Cakewalk® Now Shipping New Line of Portable Cable-Based Interface Products

—New Audio Interface and Three New MIDI Interfaces Now Available, Allow Musicians of All Levels to Easily Connect Instruments to their Computer Via USB—

Frankfurt, Germany, Musikmesse (Hall 5.1, Walkway B, Stand 56) (1 April, 2009) - Cakewalk, the world's leading developer of powerful and easy to use products for music creation and recording, announces the UA-1G USB audio interface, and UM-1G, UM-2G, and UM-3G MIDI interfaces are now shipping worldwide.

These cable-interface products are designed to easily connect musical instruments and other components to a computer. Compact and affordable, the interfaces are ideal for a wide range of digital music creators — from hobbyists to professionals — who need to connect instruments, MIDI devices, or other equipment to either a Mac or PC. All interfaces are USB-bus powered, requiring no AC adaptor, and afford users enhanced mobility for recording on the go.

Audio Interface
The UA-1G audio interface is a compact 1 stereo in/1 stereo out USB Audio Interface that offers excellent-quality sound via multiple connection options and a simple, user-friendly design. The UA-1G is a perfect solution for use with a laptop in mobile or portable environments, whether it's the tour bus, hotel lobby, rehearsal studio or and even at home. Hobbyists can use the UA-1G to record tapes or vinyl to a computer, or for a higher-quality audio connection from their computer to their home entertainment system.

Highlights include:

* 24-bit/96kHz audio quality
* Low latency ASIO 2.0 performance (PC); UA-1G is also WDM (Windows Vista, Windows XP) and Core Audio (Mac OS X) compatible
* Large Input Level knob for easy control while recording
* Includes Cakewalk's SONAR LE digital audio workstation for high-quality music recording, mixing, editing, and publishing
* Contains high-end A/D and D/A converters for accurate recording and playback
* An electret condenser microphone input, similar to, but higher quality than the "MIC-IN" on most internal soundcards
* Headphone output with volume control to quickly and easily listen to audio from your computer
* A 1/4" jack with Hi-Z option which is ideal for recording high-impedance instruments like electric guitar or bass
* S/PDIF optical I/O

MIDI Interfaces

The new UM-1G, UM-2G, and UM-3G MIDI interfaces all feature:

* Compact, cable-style interface with a sleek form factor
* Mac and PC compatibility
* Independent MIDI OUT/THRU hardware selection switch for each output, providing convenient functionality even if your computer is turned off
* FPT (Fast Processing Technology) for fast, stable MIDI data transmission, as well as lower latency performance through FPT's Advance Driver mode
* Standard OS-based driver mode for instant connection to computers even when drivers are not available

Specific highlights of each MIDI Interface include:

UM-1G:

The UM-1G is Perfect for hobbyists who want to connect a MIDI keyboard to a computer, or musicians who need MIDI connectivity to control or record music with a computer. Its MIDI interface is ideal for small studios or academic settings where only one MIDI device will be connected in close proximity to the computer. In live performance settings, customers can use the UM-1G to control a synth, drum machine, MIDI light set-up, or master recording console.

* 1-In/1-Out MIDI port (male), with LED indicators for MIDI I/O signal monitoring
* MIDI Check switch for quick troubleshooting of MIDI connections
* MIDI cables are engraved with "Connect to MIDI In" and "Connect to MIDI Out" labels for no confusion when connecting devices

UM-2G:

The UM-2G is the ideal MIDI interface for musicians, producers or recording engineers with more than one MIDI device in a small studio or portable MIDI configuration.

* Features 2-In/2-Out MIDI ports (female), 32 channels of MIDI to control hardware and software
* Provides ability to connect multiple MIDI keyboards, sound modules, control surfaces, and other devices to a computer

UM-3G:

The UM-3G was designed with the mid- to larger-sized studio in mind. It's a great solution for live settings using multiple MIDI applications, including traditional instruments, synths, sequencers and live sound, lighting, and special effects.

* 3-In/3-Out MIDI Ports (female)
* Controls up to 48 channels of MIDI equipment
* Expandable design allows you to daisy-chain up to three UM-3G interfaces providing nine total MIDI inputs and outputs without the need for additional USB Ports
* Advanced Driver mode uses FPT (Fast Processing Technology) to ensure low-latency, even with three UM-3G interfaces daisy-chained together
* Up to 3 units can be rack mounted via Roland RAF-70 kit, available separately
* Out or Thru selectable switches built-in; select between MIDI Out and MIDI Thru for each output port

Availability

Cakewalk's cable-based interface products are now shipping and available through Cakewalk, Roland, and Edirol distribution partners and select retailers worldwide. Local prices may vary, please check with your local Roland or Edirol distributor."

UA-1G and UM-3G pictured

Kenton Announces THRU-25 MIDI Thru Box - 1 MIDI In, 25 MIDI Thru Outs

"Kenton makes room for more MIDI connections with well-thought-through THRU-25 box

LONDON, UK: MIDI utilities specialist Kenton is proud to announce availability of the THRU-25 — an appropriately-named new addition to its growing family of compact and sturdy MIDI utility boxes that effectively allows up to 25 MIDI devices to be connected to one MIDI output port and avoids all the usual problems associated with daisy-chaining multiple MIDI devices — as of September 29…

As implied by name, the THRU-25 boasts no fewer than 25 sequentially-numbered MIDI Thru ports, each with separate drive circuits for optimum performance, plus one opto-coupled MIDI IN (MIDI input) port — and all with an impressive latency of less than one microsecond! Active circuitry helps restore the quality of signals received at that MIDI input as they may have become degraded by losses incurred in the MIDI cable connecting the keyboard, computer, or other ‘master’ MIDI device to the THRU-25. In use, up to 25 ‘slave’ MIDI devices can be conveniently controlled by simply connecting them to those multiple MIDI Thru ports — one MIDI device per port.

Housed in a road-ready metal box attractively finished in brushed aluminium with black screen print measuring merely 300mm (W) x 54mm (D) x 35mm (H) and weighing in at a portable 460g (including the power supply), the THRU-25 is powered by a plug-top, switch-mode power supply (supplied with the unit as one of four types — Australia, EU, UK, or USA — appropriate to the delivery address). As such, there is no need for periodic battery changes to keep the unit up and running. Instead, the ACTIVE LED emits a steady green light to indicate when power is connected and no MIDI data is being received at the MIDI IN port; in turn, that green light flickers when MIDI data is being received — really helpful for trouble-shooting at a glance.

'The THRU-25 is a larger version of our popular THRU-5,' notes Kenton Director John K. Price. 'It is intended for use in recording studios and by users with a lot of MIDI equipment. I had received numerous requests over time for a unit larger than the THRU-5, so I made a prototype that I showed at The NAMM Show 2015 back in January. The unit attracted a lot of attention, so we have now put it into production.'

Proponents of high-count hardware MIDI rigs surely owe it to themselves and their devices to invest in a THRU-25 and avoid all those problems associated with daisy-chaining multiple MIDI devices once and for all — and all without breaking a sweat (or breaking the bank)!

The THRU-25 can be purchased from Kenton’s global network of retail partners or directly for £128.92 GBP (excluding tax and shipping) from here: http://www.kentonuk.com/thru25"

Cyclone Analogic Bass Bot TT-303 Hardware TB-303 Clone Released

Update 11/28: Update on the price:

UK: £449.00 + VAT
EU: €549.00 + VAT
US: $699.99 + VAT

Update: additional pics & PDF via Lorne/kidtronic via Rhythm Active.

Remember the Bass Bot TT-303 demo videos posted here back on October 18?   Well, it is currently available as of today, and it is the first product from a new company named Cyclone Analogic based in Hong Kong (possible sites not yet live: http://www.cyclone-analogic.com | http://www.tt-303.com).  You will find full details on the TT-303 further below.

Before we get to that, Robin Whittle, who brought us the Devilfish Mods for the original TB-303, will be performing them for the TT-303 as well. You can find details on his page here.

Lorne aka kidtronic wrote in to let us know Rhythm Active in Australia, one of our sponsors, currently has the TT-303 available. I also hear Syntaur in the US has them for $649.95 $699.95 plus $14.95 shipping to the lower 48.  Syntaur adds the following details: "There is a nicely-done printed manual - on real paper, with ink! Just like back in the analog days of yore... Also a power adapter, and a MIDI break-out cable. (The TT-303 has a single 8-pin MIDI jack. A standard 5-pin cable can be used for MIDI In only, and the break-out cable - 8-pin jack to two 5-pin cables - can be used for MIDI In and Out.)" Update 11/28: Modular Square in France (one of our sponsors) will have them in stock soon (via Twitter).

The following details are via Superior Sound London, who currently shows them as being sold out in the UK:

"The Bass Bot TT 303 electronic bass synth features a selectable monophonic analog VCO processed through a 4 pole analog cascading filter. It uses 21st-century transistor technology to synthesize tones from super-crisp self-resonating leads to squelchy rhythms and deep subharmonic bass grooves.

Creating music as simple or complex as you want with the Bass Bot is a breeze. Its ground-breaking InstaDJ OS is an artificially intelligent sequencer and can be programmed in two methods: by a human user or by the computer-controlled Bass Bot.

Humans may program musical patterns manually using traditional step entry with control over pitch, time, length and special characteristics such as octave transpose, accent and slide for each note.

Alternatively let the Bot generate a pattern and use it immediately, tweak it to taste, or mutate it into a new pattern altogether at the touch of a button. The Bass Bot TT 303 includes seven different ‘personalities’ each of which generates its own special style of musical patterns. No two Bots will produce the same patterns. Each is as individual as the user, though the basic personalities are the same for every Bass Bot.

The Bass Bot TT 303 features seven unique preset personality programs, capable to generate up to 224 computer generated presets by the Bass Bot ™.

An additional 224 Editable Patterns can compose up to 7 songs of up to 127 bars. All information is saved to onboard flash (permanent) memory and transferable directly to other Bass Bots via 8 Pin DIN cable (cloning) or to PC / MAC (backup) for storage with a downloadable transfer application available on our website. Other platforms to be supported soon.

FEATURES
• Monophonic selectable (saw, square) VCO with 24db 4 pole analogue filter.
• User or Bot generated programmable patterns with InstaDJ ™ sequencer.
• MIDI IN by default / MIDI IN and OUT (with provided splitter cable).
• 13 Colour LED display with user definable console and individual pattern labelling.
• Auto Tune and VCO calibration on demand.
• Arpeggiator.
• Generate new patterns using one of seven unique personality algorithms.
• Mutate Patterns to create infinitely complex pattern structure and variation.
• Live Pitch Transpose (+/- 1/2 step pitch), Live Accent (velocity) & Live Slide (portamento).
• Pattern Rotation (left or right) one step in time.
• Complex file manipulation of pattern banks using Copy & Paste.
• Merge up to 8 patterns to one pattern (maximum 64 steps).
• Portable with battery or ac power options at only 730 g (1.6 lbs).

Warranty: One (1) year warranty from purchase. Online registration required.
Included: Operation Manual / 100-240v adapter 9 volts, 300ma / 8 PIN splitter cable to 5 PIN MIDI IN and 5 PIN MIDI OUT.

SPECIFICATIONS
Selectable Waveform Switch (saw or pulse)
VCO Tune
Cutoff Frequency
Resonance
Envelope Modulation
Decay
Accent
Tempo, Track/Preset and Mode Switch, Power/Volume
Instrument Mix-In Jack to mix audio source with output
MIDI IN (MIDI OUT with included 8 PIN DIN cable)
CV / GATE OUT Jacks (1 volt / octave)
Stereo Headphone Jack
Mono Output Jack
Power In Jack
Physical Attributes:
Power: 100-240v adapter (included) 9v or 6v use with 4 x "C" UM-2 batteries (not included). / Case Material: Plastic ABS.
Weight: 730g / Dimensions: 300(W) x 146(D) x 55(H)mm"

You can find a slightly different write-up doc and the PDF Brochure captured above as images here.

Take Full Control Of Your Synthesizers with TA Programming Studio MIDI And CV Interface

Published on Jul 7, 2019 TA Programming

MPE's missing link: The Studio MIDI & CV Interface (at Octagon Studios)

"TA Programming announces availability of Studio MIDI And CV Interface full synthesizer control system debut

LONDON, UK: following a successful showcase in October at Sheffield’s Synthfest UK 2019, billed as being the UK’s biggest synthesizer event, advanced creative technology designer TA Programming is proud to announce availability of its inaugural Studio MIDI And CV Interface full synthesizer control system — capable of controlling multiple synthesizers simultaneously via voltage control outputs and MIDI/USB with extra-low latency while keeping analogue instruments, vintage or otherwise, perfectly in tune with each other — as of December 20…

According to TA Programming CEO/CTO Tim Aviss, 'We designed this interface to be not just a solution to problems that we’d encountered when controlling synthesizers in the past, but to unlock a whole new world of creativity with synthesizers from one interface.'

CLICK FOR MORE »

Percussa SSP Update 22042019 [Major MIDI Module Improvements; Step Sequencer and Granular Fixes]

via Percussa on Kickstarter

"Hi all

Time for the next update! This will be the last one before we head off to superbooth in the coming weeks.

With this update we’ve covered a variety of requests for the MIDI module as well as simplified the use of the module. This update also comes with 2 presets, new versions of the 8-voice wavetable synth patch demonstrating the changes we made to the MIDI module (see below).

For the download links, visit the forum at https://forum.percussa.com/t/update-22042019-major-midi-module-improvements-step-sequencer-and-granular-fixes/618/2

MIDI Module

* Removed V1-V16 toggles from MIDI Module

* Added CH1-CH16 toggles

* Added CCA-CCH outputs and parameters

* Removed pitch bend data from pitch output

* Added new pitch bend output

In-depth description

It’s now easier to use fader and knob boxes sending MIDI controller data. Previously the MIDI module would only output controllers 74, 7 and 1. With the new CCA-CCH parameters and outputs it’s possible to use 8 MIDI CCs per MIDI module. The P-page can be used to set the controller numbers.

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Future Retro Announces Release of New Mondovox Product

"The Mondovox provides new ways to play, control, and breathe new life into MIDI sound modules. The Mondovox allows you to play up to 16 monophonic synthesizers polyphonically, in ways you would expect to find in features-laden polysynths, and also expanding upon those ideas for many new and exciting possibilities such as three new detune modes for creating truly massive sounds.

Although it's designed to play multiple monosynths (such as our popular XS semi-modular synthesizer), the Mondovox can be used with any monophonic, polyphonic, multitimbral or single voice, analog, digital, virtual synthesizers or samplers.... it doesn't matter, as long as it has MIDI.

With the plethora of inexpensive monophonic synthesizers being manufactured at this time, we believe the Mondovox is the ideal solution to expand their capabilities to include new polyphonic possibilities.

We are now taking pre-orders, and expect the first orders to begin shipping in as soon as 1 week.

List price is $300 USD.

Each unit comes with a universal power supply that can operate at 100~240V mains voltages, and includes an assortment of power plugs for various countries.

For more information, please vist the Mondovox product page at:
http://www.future-retro.com/mondovoxoverview.html"

Additional details and specs for the archives:

"The Modovox takes polyphonic MIDI data and translates it to so that each voice is on its own MIDI channel.

There are nine different polyphonic modes of operation:

UNISON: Stack up to 16 voices to play in unison for one big sound. Unlike traditional polysynths that only allow you to play a single note while in unison mode, the Mondovox allows you to play up to 16 notes simultaneously, creating huge unison chords. Obviously, this will depend on the available voices in the sound module you are controlling. While digital and virtual analog synths usually provide high voice counts to support these unison chords, controlling analog monosynths in this way will activate their auto-glide portamento circuitry.

UNISON DETUNE: Three Unison Detune modes -- detune down, detune up/down, and detune up -- allow you to play up to 16 notes in unison, as well as detune all voices to varying degrees simply by moving the pitch bender. Once you discover this feature, you will wonder how you ever made music without it. As you increase the pitch bender value, small amounts of detune will create "true chorus" effects, unlike traditional cyclic DSP chorusing effects. Increase the pitch bender more to discover that you can make any sound module take on that "super saw"-like quality, although obviously you're not limited to just sawtooth waveforms. Increase the pitch bender even more and sounds take on buzzing swarm effects, and finally as you move into extreme settings, a dark side reveals itself, producing eerie dissonant sound effects perfect for any scary movie. Releasing the pitch bender retains the degree of detuning so you're free to concentrate on playing and tweaking your sounds. Moving the pitch bender in the negative range will then clear the detune setting, bringing all voices back into perfect unison.

Just like in Unison mode, you can play up to 16 of these detuned unison voices polyphonically, so long as your sound module supports that many voices. By the way, that's 256 voices, for those wondering. Let's just say you haven't experienced "phat" until you've tried the Mondovox!

Another interesting fact about these detune modes is that you can detune the voices, then select a different polyphonic mode in the Mondovox and it will remember the detuning for each voice. This capability creates a wonderfully simplistic way to get boring "perfectly tuned" digital synths out of their static element and into new experimental territory.

UNISON POLY: In this mode, playing a single note will cause all active voices to play in unison. Playing a second note will reassign half the voices to the new note value, and playing additional notes will further allocate the available voices as evenly as possible between the number of notes currently being played. Unison Poly mode allows the overall weight of a musical part to remain fairly consistent when alternating between playing single notes and chords.

DON'T PANIC: If you are an intergalactic traveller you probably already know what this mode is for. However for those of you who aren't, it's simply a means for you to stay calm if the sound module you are controlling is not be able to comprehend the large amounts of MIDI data the Mondovox is capable of producing. In other words, it sends an "All Notes Off" MIDI message to clear voices should they become latched. Selecting the proper processor routing mode (mentioned later), will usually elliminate the need for such panic.

POLY RANDOM: Poly Random mode allows notes played to be randomly sent to 1 of up to 16 voices, adding more variation from one note to the next when similar sounds are played. You may also assign different sounds to each MIDI channel within a sound module, and this mode will then randomly play those different sounds at the current pitch.

POLY CHASE: This mode plays one available voice after another sequentially. Sometimes this is referred to as "round robin." Poly Chase ensures that if you play a single note repeatedly, that it will sound slightly different with each new key press. In addition, the Mondovox lets you use this mode as a psuedo sequencer, allowing you to play different sounds sequentially on different MIDI channels. You can set the loop point from 1 to 16 steps by the number of voices you define. The Mondovox will reset to begin playing voice 1 each time you select this mode.

POLY FIRST: Poly First mode always plays voice 1 first, and as more notes are played simultaneously, voices 2, 3, 4, etc. will sound. Repeatedly playing and releasing a single note will allow voice 1 to play only. This feature allows the voices played to be more predictable with repeatable results.

CHORD MEM: While in Poly First mode, you can play and hold up to 16 notes, and switch to the Chord Memory selection to latch the chord into memory. You can then play that same chord by playing a single note on your MIDI controller. The root of the latched chord will be the first note you played while in Poly First mode. Not only can you play chords with single keys, you can play up to 16 transpositions of this chord by playing up to 16 keys. Of course this will be limited by the number of available voices in the sound module you are controlling.

DEFINE VOICES: When in Define Voices mode, you can enter the number of voices to be enabled by simply tapping a key on your MIDI controller once for each voice. The number of voices defined will remain in memory even when the unit is turned off.

DEFINE ROUTING: This mode determines how MIDI is handled by each of the four internal MIDI processors. Routing 1 allows each of the four processors to play all 16 MIDI channels -- useful when controlling a multitimbral sound module and you only need to use a single MIDI output. However, you could connect up to 16 multitimbral sound modules to play giant stacks of up to 256 voices at once using all available MIDI Out ports. Routing 2 assigns each processor to handle four MIDI channels in sequential order, allowing faster MIDI timing than the Routing 1 option while still maintaining easy routing when using lower voice counts. Routing 3 assigns each processor to handle every fourth MIDI channel, provideing the fastest MIDI timing, as four notes can be sent over MIDI simultaneously. The routing selection is stored in memory even when power is turned off.

The Mondovox will detect the MIDI channel of the first note it receives after being powered on, and it will automatically set the incoming MIDI channel to that value.

A universal DC power supply is provided with each unit, that can operate anywhere in the world.

Each Mondovox is handmade in the USA using only the finest components, with a great deal of attention going into every unit. A rugged all-steel chassis makes this unit nearly indestructible, and the unique finishing technique used on the brushed stainless steel front panels is truly an industry first.

Although simple in its design with only a single control, the Future Retro Mondovox offers an amazing range of possibilities!
A must-have piece for any MIDI user."