"2GETHERAUDIO RELEASES G8TOR, A SEQUENCER SYNTH WITH LIVE ACTION PAD EFFECTS - FOR MUSIC TRACKS NEEDING SOME SERIOUS ANIMATED BITE.
Boston, MA USA (January 8, 2019) - 2getheraudio has released a unique software synthesizer built around three step sequencers add DJ-style pad triggered effects for manipulating the sequences while they're playing. The virtual instrument is called G8TOR and is available for purchase today under 2getheraudio's Pay-What-You-Want business model.
"I'm really excited to bring another Adam Petruszko (http://www.knobz.net) designed virtual instrument to market", stated Jennifer Hruska, CEO of 2getheraudio. "His audio expertise and studio creativity come together to create such unique and utterly musical virtual instruments. G8TOR is no exception. If you like fat VA synths, step sequencers, arpeggiators and playable pad effects, G8TOR is a must have in your plugin arsenal."
Like the name suggests, G8TOR starts its sound production with a fat and edgy sounding synthesizer. A supersaw oscillator, noise source and 2 virtual analog oscillators get the ball rolling followed by a resonant filter with envelope, modwheel and sequencer control. Further refinement includes mono mode with glide and built-in distortion, chorus, stereo delay and convolution reverb effects. The result is a synth capable of super fat basses, filtery pads, blistering leads and just about anything in between.
Then comes the sequencer magic. G8TOR includes three programmable sequencers – an 8-step note sequencer, an 8-step filter sequencer and an powerful arpeggiator with per-step stutter, duration, velocity and filter control in addition to the standard arpeggiator controls. Suddenly, a single note from the G8TOR synth turns into an action sequence, driving bass line, or animated percussion track.
To add even more variety (and avoid the static effect many step sequencers can impart), G8TOR includes eight tempo-sync'd pad effects. Simply start the sequence and trigger the pads for endless sonic variation. The pad effects include bit crusher, low/hi pass filter, flanger/phaser, fractal delay, panner, wah wah, stutter, and cut echo. The pads are MIDI controllable with per-pad trigger options that include one-shot, toggle, hold, mono aftertouch and poly aftertouch. A MIDI learn function helps you quickly assign each pad to an external MIDI controller.
G8TOR supports 64-bit VST, AU, AAX capable DAWs and includes a Standalone app for use without a DAW. It is Mac and Windows compatible. G8TOR is released under 2getheraudio's Pay-What-You-Want business model so nearly all musicians, regardless of their ability to pay, have access to this software. A free trial is available at https://www.2getheraudio.com/instruments/g8tor."
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"Vintage Sequential Circuits Commode 64 MIDI interface
Tested working - The interface allows for sequencing of tracks with the Sequential MAX or Six-Trak
Interfaces with the floppy drive for storage
Includes original box in fair condition
non-smoker owned and used."
"The Grp Synthesizer was developed to offer the enthusiasts of analogical sound a more affordable synth in terms of price and dimension in comparison with the precursor model A8, without renouncing to the quality and performance that characterize our synths. Being featured with the same step sequencer used for the Grp A8, this synth is able to guarantee nearly infinite sound combinations due to the new characteristics which have been implemented in the instrument, with the possibility to filter out external signals and to manage all the important parameters of the analogical generation chain.
The A4 has been derived from an audio section of the Grp A8 (of which it takes over the structure) and it results more versatile and eclectic passing from smooth and extreme clean sonorities to harder sounds thanks to the two distortion installed in the synth (one for each filter) and due to the possibility to make interact synth, ring modulator, external signals and step sequencer in only on mechanism with an immense sonority power. Furthermore, the Loop EG function enables the conditioned and unconditioned repetition of the envelope, in order to reach particular and temporal articulated sonorities."
Left: Manfred Fricke (via Amazona.de) back in the day with his first creations, the MFB-501 drum machine (right), and MFB-601 digital sequencer (left).
2nd image is Manfred Fricke with the MFB SYNTH II at SUPERBOOTH (unknown source).
We lost another legend in the synth world. Sad news in via STROMKULT:
"'On June, 17th around 11am Manfred Fricke from Berlin alias MFB sadly passed away after having had a hard time with cancer for a while already. He left his wife Gloria and his son Jean-Marcel behind, we are all very sad having lost this partner, friend and father.'
HerrSchneider
Manfred Fricke was one of Berlins pioneers of analog synth and drum machine makers. He has been the weapon of choice for many (not only) starting musicians. Let’s be honest, who didn’t have one of his creations early in his or hers journey into electronic musical instruments – or at least thought about getting one – and why shouldn’t you? Manfred Fricke's machines always brought something unique to the table, they were mostly analog, affordable, in small plastic housings and just did the job. Manfred always focused on keeping his products affordable for his clients and the instruments quite often made their way to professional use later on, and the musicians often kept their first units as something almost holy, because it were these machines that paved the way into analog electronic music making.
But it would be too short-sighted to associate MFB only with budget entry-level products. Especially the drum machines Tanzbär and Tanzbär II, or the great Dominion 1 show that Manfred Fricke also built machines that met higher demands. The Tanzbär, in particular, is considered by many to be their favorite drum machine of the last few years, especially in terms of its amazing sound.
We hope that MFB will continue to exist and that it will continue to make it easier for many generations of musicians to enter the world of electronic sound production.
We wish Manfred Fricke's son Jean-Marcel continued success for the future of MFB and extend our condolences to him and his family. And lets hope that Manfred will finally meet up with all the other good guys on the other side.
MFB's Manfred Fricke's first procuct, the Fricke MFB-501 drum machine.
Description via this video:
"This little analog beatbox was developed in 1980 1979 by Manfred Fricke. It was offered at 380 DM. As a low-cost model on the market for analog rhythm generators the small black and white "Switch Box" quickly found a lot of friends, because its configuration could be compared to its expensive far east competitors: 64 patterns and as many fill-ins switchable via micro switches, speed control via potentiometer, 10 analog percussion instruments (activated by means of micro switches), combined mono/stereo outputs (jack), In & Out (5 Vss) and trigger footswitch inputs (jack) for start and fill-in
(retail price for the switch at 16 DM). An external wall power supply provides 12 volts.
Approx. 5000 units of the MFB-501 had been sold. Not so bad for a one-man company. So this drum machine is one of the top-selling devices in the history of the Berlin engineer offices M. Fricke . If you're lucky, this iconic device can still be found on the relevant internet sales platforms.
Today, maintenance of this tiny noise machine is still easily feasible, because Fricke employed only commercially available components. Therefore, 'presumedly dead 501's' can be reanimated without major problems."
MFB 601 Vintage Digital Sequencer, Teardown, Repair and partial analysis
Published on Feb 2, 2015 FPV Electronics
Note this video is FPV Electronics of course, and not Manfred Fricke.
"This device is exclusively built from 7400 and 4000 series basic logic ICs. Making it must have been so much more difficult than just programming a generic µController as we would do today."
1976: MFB was founded by engineer Manfred Fricke. So far there were more than some hundred products constructed and distributed. The first developments and products were primarly video games for industrial playmachines.
1979: A lowcost drummachine was introduced in 1979. (98 DM for the self construction kit). The legendary drumcomputer MFB-501 was finished and sold. Although it was not the most prominent drumcomputer of that time it surely was one of the best selling drum units in Germany. Some shops sold ten times more MFB-501s than Roland TR-808s. More products for the musician followed, such as the Digital-Sequencer MFB-601 and the digital drum machine MFB-512. All of these featured rich products were offered at exceptional low prices.
1984: The E-Drum module series 1000 and 2000 followed with corresponding pads.
1986: A new construction period started in 1986 with product launches of the MIDI-CV converter MFB-201 and the MIDI drummer MFB-SYNTH was finished in 1997, although its development dates back to the eighties. The machine never went into production since 2001, the year of the company´s 25th anniversary because of decreased interest in analogue synthesizer technology especially in the sales channels.
From 1986 Manfred Fricke specialized in products for video applications. Alone 20 different framegrabbers for the Apple II, C-64 und IBM compatible PCs were constructed. A very high percentage of these framegrabbers were and are still in use for special industrial purposes. Custom development is still done here, so these specialized tools are not available for other customers.
1994: MFB introduced the world´s first videomixer below 1.000 DM, the MFB-901. Its successor MFB-902 was available in 1995. Another important development in the video section was the model MFB-912, a digital video memory. This 1998 product was highly acclaimed by the press.
1999: The successor MFB-915 added sound and higher picture resolution. It´s available since October 1999. Another successor is the model MFB-920 with an integrated harddrive offering better options for nonlinear cutting and post processing of the recorded material.
2001: During this year, Manfred Fricke also developed another new MIDI drum-module. MFB-KULT, includes most of the famous sounds of the older machines. Both MFB-SYNTH and MFB-KULT are availabale since December 2001. Because of constant requests for the digital sequencer MFB-601 a successor MFB-602. was introduced in May 2002.
2002: Since August 2002 there´s also a little brother of the MFB-SYNTH, the MFB-SYNTH LITE
"I got recently a 2nd hand Model:Samples and really enjoy it.
For this track, I was deeply inspired by one of my favorite artist : 'The Toxic Avenger' and especially his latest track 'Acid Machine'. I especially loved its bassline.
Again i only used the provided sounds but played extensively with the sequencer, the conditional trigs and the lfo.
I hope you will enjoy it as much as I did composing it !"
DVRST - Close Eyes (Elektron Model:Samples instrumental cover)
"Despite its 64 steps limit, you are not stuck with 4 bars by adjusting the "duration" of each step a little bit like the Roland J-6 sequencer. And with the conditional trigs, you can easily program variations in a single pattern.
Introducing the Akai MPD2 Drum Pad Controllers Published on Jul 6, 2015 AkaiProVideo
"AKAI PROFESSIONAL ROCKS ELECTRONIC MUSIC MARKET WITH STUNNING NEW MPD SERIES MIDI PAD CONTROLLERS
Feature-packed units give artists unprecedented creative musical firepower with Thick Fat backlit MPC Pads, multiple controls and included software
Cumberland, RI USA (July 7, 2015) —Akai Professional, a leading manufacturer of keyboards, mixers and production equipment for performers and recording artists, today announced the introduction of their new MPD Series of pad controllers. These new controllers are a product of over six years of detailed customer research and user feedback. The result is the most capable and user-friendly line of pad controllers Akai Professional has developed to date.
All models feature new, ultra sensitive Thick Fat MPC pads creating an amazingly responsive user interaction. They also have an expanded control set to maximize the sounds and effects available to the user, iOS compatibility using the Camera Connection Kit and over $400 of free software (Big Bang Drums and Big Bang Cinema from Sonivox, Ableton Live Lite, and Software Preset Editor).
Building on the success of Akai Pro’s previous MPD18, MPD26 and MPD32, these new pad controllers introduce greatly enhanced control capability to support the artist’s creative efforts:
- The MPD218 has red light-up MPC pads and a greatly expanded control set of 6 knobs in 3 banks vs. one control on the previous MPD18 model.
- The MPD226 has an expanded control set of 4 knobs, 4 faders, 4 buttons in 3 banks for 36 total controls vs. 12 controls on the MPD26
- The MPD232 boasts an all-new 64-channel 32-step performance sequencer, which the MPD32 did not have.
In addition users enjoy intuitive control editing right from the front panel on the MPD226 and MPD232, and all three models can be programmed via the included easy-to-use Preset Editor, so musicians of any level can enhance their performance right away. This is one of the many things that distinguish the Akai Professional MPD218, 226 and 232 from everything else.
A recap of the new MPD Series features:
MPD218
• 16 Thick Fat backlit MPC Pads with Velocity and Aftertouch
• 48 assignable pads accessible via 3 banks
• 18 assignable 360-degree potentiometers accessible via 3 banks
• MPC Note Repeat and Full Level
• iOS compatible using the Camera Connection Kit (sold separately)
• 16 configurable presets
• Includes Ableton Live Lite
• USB powered, no AC adapter required
MPD226
• 16 Thick Fat RGB illuminated velocity- and pressure-sensitive MPC Pads
• 64 assignable pads accessible via 4 banks
• 4 assignable faders, 4 assignable Q-Link knobs, 4 assignable Q-Link buttons
• 36 assignable controls accessible via 3 banks
• Classic MPC Note Repeat, MPC Swing, 16 Level, Full Level and Tap Tempo
• 30 presets total, with configurations for most popular DAWs
• iOS compatible using the Camera Connection Kit (sold separately)
• MIDI In and Out jacks for controlling external gear
• Dedicated Transport controls
• Includes Ableton Live Lite
MPD232
• 64-part, 32-step sequencer to control pad events
• 16 Thick Fat RGB illuminated velocity- and pressure-sensitive MPC Pads
• 64 assignable pads accessible via 4 banks
• 8 assignable Q-Link faders, 8 assignable Q-Link knobs, 8 assignable Q-Link buttons
• 72 assignable controls accessible via 3 banks
• Classic MPC Note Repeat, MPC Swing, 16 Level, Full Level and Tap Tempo
• Dedicated transport controls
• iOS compatible using the Camera Connection Kit (sold separately)
• 30 presets total, with configurations for most popular DAWs
• Works with virtually any MIDI software or MIDI hardware
• MIDI In and Out jacks for controlling external gear
• Includes Ableton Live Lite
“The MPD218/226/232 family marks an important evolution in our pad controller series. Six years of research and customer feedback has led directly to some of the most capable pad controllers we’ve ever developed,” said Dan Gill, Product Manager for Akai Professional. “Our goal was to create controllers that respond quickly and intuitively to the player’s input, to make their playing experience the best it can be. We’re very excited about these new units.”
The Akai Professional MPD Series will be available in Summer 2015 at Akai Professional dealers and online directly from Akai Professional.
U.S. retail pricing is $199 for the MPD218, $299 for the MPD226 and $399 for the MPD232.
"Today 1010Music announced Razzmatazz a digital drum synth. Really excited to announce that I did some sound design work for this awesome new drum synth by 1010music. This video shows how easy it is to change a snare sound and use the sequencer. I also show how fun it is to use Razzmatazz to expand your existing electronic drums and tabletop setup. PLUS bonus interview with Aaron Higgins of 1010Music at the end."
The World’s Juiciest Groovebox
Create the juiciest beats and tastiest rhythms with nanobox | razzmatazz, a mini drum sequencer that combines powerful FM synthesis and sampling. Featuring advanced voice architecture, razzmatazz puts a huge range of percussive sounds at your fingertips—from deep and gritty kick drums to searing snare hits and crisp hi-hats. Perform using 8 touchscreen pads or your favorite midi controller, and craft up to 16 rhythms using an innovative visual sequencer that allows you to see all pad states and steps simultaneously. Shape the sound of each pad by combining any variation of two FM oscillators and a WAV file—plus two filters, two envelopes, a resonator, a snap generator, and three additional effects. You can even choose from four unique types of distortion to create incredibly distinct and powerful drum sounds. Enjoy massive analog drum sounds and an innovative feature set, all in a compact package that goes anywhere.
Perform with 8 drum and percussion pads using MIDI pads or the intuitive touch screen Make beats right out of the box using 120 preset kits and sequences Explore a huge range of presets and sounds from world-class sound designers—including dub, techno, IDM, classic rock, soul, and more Tap or swipe to create rhythms using the new super stepper visual sequencer, and see the state of all 8 pads across 16 steps simultaneously Record long sequences up to 64 steps, with steps sizes from 1/64 to 8 bars Adjust primary parameters for each drum model using macro controls Design your own percussion sounds by combining FM synthesis and WAV samples Sculpt and fine tune the sound of each drum pad using filters, envelopes, distortion, a resonator, snap transient generation, bit crushing, and rate crushing Add depth and color to your drum sounds using delay, reverb, and a cabinet distortion Record via line input to craft new pad sounds and create samples up to 30 seconds long Load your own WAV files via micro-SD Integrate razzmatazz seamlessly with other synths, drum machines, and audio devices Quickly and easily map MIDI controls to macro parameters and mixer settings Get into the groove with a fast, fluid, and intuitive workflow Make music anywhere thanks to a compact and nearly indestructible design Flexible power options from USB C connector Mini TRS connections for MIDI in and out, clock in, line in and line out 2″ touch screen, 2 knobs and 4 buttons in a 3.75″ x 3″ x 1.5″ package
Update: The new home for this list is now here. You can add to the list there or comment here and I will update both lists. Note that the complete list however will be there as I do not plan on updating this list with updates made there. That would be too much work and would compete with me being able to put up new posts here. Can't let that happen. : ) Related but separate from that list also see https://120years.net. That said...
If you are going to add to the list in the comments, use the same format.
Year - Manufacturer - Model - First at 1837 - C.G. Page (Salem. Mass) - first to produce electronically generated sound (not necessarily associated with a musical instrument). After inventing the Volta in 1800 (an early battery), in 1837 Page was doing experiments with coils and realized when certain coils were attached to a batter they omitted a ringing sound. While he initially thought the ring came from the electrical current was interrupted (battery disconnected), what was actually taking place was the induction through the coils was causing them to vibrate. via Peter Grenader 1885 - Person and Ernst Lorenz -'Elektrisches Musikinstrument' - the first musical instrument designed to produce electrically generated sound. It used electronic vibrations to drive an electromagnet that were connected to resonating boards, which translated these vibrations to sound. via Peter Grenader 1897 - Taddaeus Cahills - Telharmonium - electromechanical instrument. 1936 - Oskar Sala - Mixturtrautonium - first synth using Subharmonic synthesis 1939 - Homer Dudley invents the Parallel Bandpass Vocoder (VODER) - A manually key operated speech synthesizer 1940 - Homer Dudley invents the The Voder speech synthesizer - A device which used the human voice and an artificial voice to produce a composite Both were researched as a way to transmit speech over copper wires (id est, telephone lines) 1948 - Hugh LeCaine - Electronic Sackbut - First voltage-controlled synthesizer 1948 - Dr. Raymond Scott - Wall of Sound - First polyphonic Sequencing Worstation (electromechanical) and the Electronum - first sequencer. 1950 - CSIR - Mk 1 - The first known use of a digital computer for the purpose playing music 1956 - Louie and Bebe Barron - Produced the first all-electronic musical score for a major motion picture - MGM's 'Forbidden Planet' 1957 - Max V. Mathews at Bell Labs - MUSIC - the first digital synthesizer. Technically, it was a computer program, though it set the stage for every digital synthesizer that proceeded it. See Laurie Spiegel with one here. 1963/64 - Buchla - model 100 modular - 1st "modern" modular synth 1967 - Moog - Moog modular synthesizer I, II & III - 1st commercial modular synth. 1969 - EMS - Synthi VCS-3 - first non-modular mini-synth 1970 - MOOG - Minimoog - 1st Mono Synth with keys (non-modular) 1971 - Tonus/Arp - Soloist - 1st preset mono synth 1971 - John Chowning - developed FM synthesis using the MUSIC-IV language (source), a direct descendent of Mathew's MUSIC program. FM synthesis was later licensed by Yamaha, and used in popular synths such as the DX-7. 1972 - Triadex Muse - first digital synth ""is the first digital musical instrument and was produced in 1972. It was designed by Edward Fredkin and Marvin Minsky at MIT. It is an algorithmic music generator: it uses digital logic circuits to produce a sequence of notes based on the settings of various parameters. It has four small sliders in that control Volume, Tempo, Pitch, and Fine Pitch. It is not known how many were made, but they are considered extremely rare. The Muse is the subject of U. S. Patent 3610801" 1973 - Coupland Digital Music Synthesizer - First Digital (Triadex beat it?) Update via Peter Grenader: "No time to read through all these posts to see if it's come up yet, but the Coupland was vaporwear...it never existed. I met Mark Vail, who's now a friend, by writing him a letter informing him that his story about the Coupland in his Vintage Synthesizers book (GREAT book) which mentioned it's only recorded showing was at the AES show in LA in 1978 was a farce. I was there - at their booth and their suite in the Hilton where the instrument was said to be. I was there on the first day, I was there on the last day. The only thing they had was a small model - about six inches across, sitting on a table. The booth was amazing - this radial orb multiple people could sit in, with a cover that came over each person which played what I remembered was a very impressive demo which swirled around four speakers inside the box. I, and everyone else, were blown away. They kept saying...'it will be here tomorrow, it'll be here tomorrow'...so I showed up the last day just to see it, figuring by the then it would have arrived...it didn't. I did see the frst Synthclavier at that show however. Their suite was across the hall from the Coupland folk. That completely kicked the crap out of everything else shown that year." 1973 - Dartmouth Digital Synthesizer - NED - Synclavier prototype - first digital synth 1974 - Roland - SH-3A - first commercial additive synth 1974 - RMI - Harmonic Synthesizer - first commercial additive synth
1975 - Buchla 502 - six voice polyphonic with minicomputer and ability to save patches to tape drive. Development on the 500 series began in 1969.
1975 - Oberheim FVS - four voice polyphonic with Polyphonic Synthesizer Programmer. Not sure if the Buchla 502 or FVS was released first.
1976 - PPG - PPG 1003 sonic carrier - 1st programmable mono/duo synth with patch memory (this, along with the model 1020, might have been the 1st synths to use DCO's as well) 1977 - Yamaha - CS50/CS60/CS80 - first single enclosure polyphonic keyboard synthesizers with the CS80 to be the first synth with poly aftertouch 1977 (late) - Oberheim - OB-1 - 1st commercial programmable mono synth with patch memory 1978 (late) - PPG - Wavecomputer 360 - 1st wavetable synth 1978 - Sequential Circuits - microprocessor control the SCI prophet 10 (briefly) and the P-5 --- again based on existing E-mu tech stuff 1979 - NED - Synclavier - First FM 1979 - Fairlight CMI - First Sampler, First Workstation 1980 - Performance Music Systems - Syntar - First self contained keytar 1982 - Sequential Circuits - Prophet 600 / First Midi Synthesizer (though some argue the Prophet 5 rev 3.2 is pre-MIDI MIDI) 1983 - Yamaha - DX7 - Digital takes over, FM goes mainstream 1983 - OSC - OSCar - First real-time additive with analog filters 1984 - Sequential Circuits - SixTrak - first multitimbral 1985 - Casio - CZ-101 - First battery-powered all digital mini-synth 1987 - Kawai K5 and Technos Axcel - first additive synths 1989 - E-Mu Systems - Proteus - First dedicated ROMpler 1992 - Seer Systems - first host-based software synthesizer in 1992 1994 - Yamaha - VL1 - first physical modelling synth 1995 - Clavia - Nord Lead - 1st Virtual Analog 1996 - Rubberduck - still not the first softsynth but came before Seer Systems Reality. 1996 - Steinberg - VST - Ok not a synth but enabled a lot to be written as plug-ins and used simultaneously 1997 - Seer Systems - Reality - First Modular Soft Synth 2002 - Hartmann Neuron - first neuronal synth 2912 - KalQuestoTron - the first genetically engineered synth. Each cell is an oscillator, filter, and neural sequencer. Can be delivered via injection to always play 'hold music' in your head.
I thought it might be fun to have a "first synth to..." post. There's been a lot of buzz over Sonic State's Top 20 Synths of All Time with good reason. What exactly is a "top synth?" Is it it's influence on the music scene? It's rarity and lust appeal? The number of synths sold? According to Sonic State their list was the result of Sonic State reader's voting for their favorite synths. Blame the voters if you don't like what you see. Based on what has come up on the list so far, the E-Mu Proteus and Roland JV-1080 for example as well as the Roland Jupiter 8 not even making the top ten, I'm guessing a bit of it has to do with the vote and... possibly the most influential/ground breaking synths for their time. The JV1080 and Proteus? Not super sexy in this day and age, but what they offered in their time? Who knows. It's obviously subjective. But there is something that isn't. The most influential synths of all time not because they were super sexy or utilitarian, but because they offered something that was not previously available.
I thought what might be interesting to create a list of the first synths to feature a particular technology or feature. For example what was the fist synth to bring FM to the table? Was it the DX7 or a predecessor? What was the first digital synth and when? The first additive synth? I have a good idea and could probably look it all up, but that wouldn't be any fun, so.... You tell me. I am going to make this an open post that will live over time. You get to participate by putting an entry in the comments. I will update the list and when I do I will change the time stamp of the post to keep it current. That said, for the archives, this post went up with a time stamp of 4/11/07 7:20 PM PST. I'll start the list (btw, do correct me on the MOOG, what model should we be talking about here? The A, B, C or D or all of them?).
Year - Manufacturer - Model - First at 1970 - MOOG - Minimoog - 1st Mono Synth with keys (non-modular) 1978 - Sequential Circuits - Prophet 5 - 1st Programmable Polyphonic Analog ... List continues above.
Analogue Solutions ‘splits’ Colossus AS200 Slim synth into ‘quarters’ to create Colossus AS250 Quartz range of expanders with possible piecemeal purchase
SHATTERFORD, UK: having shed some pounds off its ‘against-all-odds-created’ Colossus AS100 Classic super-synth (that took its inspirational design cues from the colossal classic personified by the rarefied Seventies-vintage Synthi 100, bravely built by British trailblazing entity EMS as one of the largest and most expensive examples ever birthed by anyone anywhere) to create Colossus AS200 Slim as a comparatively slimline version pitched as being a perfect fit for those with a little less studio space to spare or more restricted access for installation, British boutique electronic instruments innovator Analogue Solutions is proud to announce availability of Colossus AS250 Quartz as a range of add-on expanders — effectively ‘splitting’ Colossus AS200 Slim into ‘quarters’ to enhance existing Colossus systems or other modular synthesisers while also allowing for piecemeal purchase benefitting those wishing to build a complete Colossus system over time to spread the cost — as of May 2…
As a range of add-on synth expanders, each Colossus AS250 Quartz ‘quarter’ has a specific set of general features and is named accordingly: AS250-VCO — comprising a bank of 12 voltage-controlled oscillators (OSCILLATOR 1 through to OSCILLATOR 12), plus two noise generators (NOISE GENERATOR 1 and NOISE GENERATOR 2), RANDOM VOLTAGE GENERATOR, SAMPLE AND HOLD, and a 31 x 15 ANALOGUE PIN MATRIX ROUTING panel; AS250-Scope — comprising four discrete voltage-controlled amplifiers (VCA 1 through to VCA 4), four envelopes (ENVELOPE SHAPER 1 through to ENVELOPE SHAPER 4), two low frequency oscillators (LFO 1 and LFO 2), LCD (Liquid Crystal Display) OSCILLOSCOPE as standard or CRT (Cathode Ray Tube) OSCILLOSCOPE optionally available, and TOUCH KEYBOARD CONTROL / SEQUENCER; AS250-VCF — comprising eight voltage-controlled filters (with FILTER 1 through to FILTER 4 each of a SEM-type 12dB multimode design and FILTER 5 through to FILTER 8 each of a Moog-type 24dB low-pass design) with an associated VCA each, four envelopes (ENVELOPE SHAPER 1 through to ENVELOPE SHAPER 4), two spring reverbs (REVERBERATIONS 1 and REVERBERATIONS 2) with three real mechanical springs each, two RING MODULATORS, two SLEW LIMITERS, and a 31 x 15 ANALOGUE PIN MATRIX ROUTING panel; and AS250-Seq — comprising a 64-step analogue SEQUENCER (capable of operating in four different playback modes), four backlit moving-coil SIGNAL METERS, two JOYSTICKS, two MULTIPLES, MAIN MIXER, and two SUB MIXERS.
Modular by nature, it goes without saying, though, that each expander in the Colossus AS250 Quartz range features extensive patching capabilities with almost all parameters connectable via dedicated 3.5mm jack sockets, which when used in combination with those 31 x 15 ANALOGUE PIN MATRIX ROUTING panels — patch using (included) 3.5mm mono mini-jack leads to/from the synth circuits themselves to any matrix channels to be used, then patch using (included) red (10 kΩ) and black (0 Ω) pins accordingly — allow signals to be easily split and sent to multiple destinations with minimal cabling. “It is impossible to test every combination of patch,” proclaims Analogue Solutions Founder Tom Carpenter, before adding: “Some patches might produce unusual but still interesting results, or you could get something not mixing or buffering in quite the way you expect — just remember this is a living analogue synth, not a giant software controller that has clinical ‘perfection’.”
Put it this way: all voice and modulation circuits involved in Colossus construction are 100% analogue; in fact, Analogue Solutions steered purposefully away from digital technology to the extent of avoiding any MIDI (Musical Instrument Digital Interface) connections — those in need can, after all, always turn to third-party MIDI-to-CV boxes or Eurorack modules — though there are, of course, digital elements to the sequencer control involved in the aforesaid AS250-Seq expander that are unavoidable. As a brief aside, it is worth noting here that classic analogue sequencers like ARP’s advanced-for- its-time Model 1601 (launched in 1976) deployed digital logic chips while the colossal EMS Synthi 100 — itself inspiring Analogue Solutions’ Colossus concept from the get-go — even featured a digital sequencer that was truly ahead of its time.
Each expander in the Colossus AS250 Quartz range is — in keeping with that Colossus concept — large scale... think large knobs controlling metal shaft potentiometers, multi-turn vernier-VCOs, and panel-dominating pin matrixes constructed from eye-wateringly expensive Swiss-made broadcast-quality signal routers. Reality has it that the Colossus concept is a no-expense-spared super-synth. Indeed, it is fair to say that high-quality-constructed synthesisers such as the ‘complete’ Colossus AS100 Classic or Colossus AS200 Slim — also art and architecture incarnate, incorporating beautifully engraved wood cabinetry creating exquisite studio furniture in itself — only come around once in a decade, or, possibly, a generation. It is, of course, also fair to say that this comes at a cost. Thanks to the timely introduction of Colossus AS250 Quartz — effectively ‘splitting’ Colossus AS200 Slim into ‘quarters’ to create a range of add-on expanders enhancing existing Colossus systems or other modular synthesisers, piecemeal purchase benefitting those wishing to build a complete Colossus system over time to spread the cost is now an option.
Limited quantities of the Colossus AS250 Quartz expander range are available to order — priced (excluding VAT and delivery) at £6,900.00 GBP (AS250-VCO); £5,500.00 GBP (AS250-Scope); £6,900.00 GBP (AS250-VCF); and £5,500.00 GBP (AS250-Seq) — directly from Analogue Solutions’ dedicated webpage here: https://www.analoguesolutions.com/colossus-quartz"
Title link takes you to shots pulled via this auction.
Details: "Here's the original MPC (not that trendy, flash-in-the pan Akai thingy), the all English, all analog Music Percussion Computer! First, you should know that it is brown. But that's okay because brown is the new black. 1983-ish British answer to the Roland TR-808. Look at all those knobs! They all work! And those pads, all eight of them work too! The pads are beige which just POPS against the brown, don't you think?
I've never seen another US model MPC in person or on the web, so I think I can say this MPC is genuinely rare.
Seriously though, all the knobs and pads really do work. However I'm 90% sure the sequencer does NOT work. I followed the instructions and nothing happens. The 10% is in case it's an easy fix like an internal battery or something. You should assume the sequencer doesn't work. Fortunately, you can still use the keypad to pretend you're Jack Bauer disarming a nuke without fear of harming the MPC or the city of Los Angeles.
I built a trigger-in box which works if you're not into whacking the pads in real time. The triggers work fine using the audio outs of a Roland TR-727 or a Machinedrum, so I would guess most drum machine or synth audio outs will do the trick if you don't have some sort of trigger sequencer. I guess it's also possible to have the MPC modded to work with Kenton's KADI-MIDI box based on some pictures of an MPC in the Netherlands I found here: http://www.mijnalbum.nl/Album=QESYMYG4
It's built into it's own flight case (also brown!) and weighs in at 25 lbs. People know you're serious about your drum machine when it comes in over 20 lbs and is brown. On the bottom of the case is a threaded mount so you can put your MPC on it's own mic stand. Your mic stand better be damn sturdy though.
This particular MPC is wired for US voltage and has an internal power supply so no wallwart hassles.
If you look around the web you'll find the MPC described as having an interface for a Timex/Sinclair computer that expanded its sequencer capabilities. This one has a Commodore 64 interface. I've never found anyone that even knows about the C64 interface, let alone the instructions for it's use. It's a factory interface though because C64 is part of the serial number of this unit as you can see in the pics. I don't have a C64 so I don't know if it works or not.
Update: two new user videos by Honeysmack and Marcus Schmahl added below.
"Combining the rich power of analog with the flexibility of digital, drumlogue provides the ultimate analog sound for your beats.
Featuring newly developed analog circuitry, drumlogue builds a solid foundation for your track; it also helps you stand out with an elevated harmonic richness and thick low end.
Important parameters for each part have dedicated controls on the front panel for quick and intuitive changes – without diving into menus. For even more creative potential, each part has a wealth of further parameters accessible through a powerful onboard editing suite. Even mixing is simple, with dedicated volume controls for the analogue and digital parts.
The track you hear in this video is by Dean Forrest"
Korg Drumlogue: New Hybrid Drum Machine - First Look- Just Sounds video upload by Korg Australia
New Korg Hybrid Drum Machine Drumlogue - Honeysmack's first encounter video upload by Honeysmack
"Get ready for a super nerd session, no talking just me tinkering with the Korg drumlogue for the very first time. Korg Australia were kind enough to give me a play with a sneak preview pre-production model of the drumlogue. Unfortunately I had no manual at the time, so please excuse me in advance. Hopefully this video provides some context to its sound. I feel this will be a winner for Korg, well done! Great sound, neat size, this could be a monster of a machine.
All the sounds and effects in this video are from the drumlogue, there are no external sounds or effects. Simple stereo output from the drum machine. No other drum machines were hurt in the making of this video.
0:00 Does this suit me? Oh what does this do?
2:23 Omph omph omph, ah I see, me likey the kick drum
5:59 Electro ratchets - why not take your time and build a track
9:30 Start with speed carnivale - exploring more latin percussion then I try to break the machine!"
Korg drumlogue drum machine & synthesizer demo - no talking - video upload by Marcus Schmahl
00:00 building drum sounds & a pattern
06:13 switching through preset patterns & sounds
Korg Drumlogue Sound Demo No Talking - no external effects or processing video upload by Limbic Bits
Korg DRUMLOGUE Review // Top Pros & Cons and All 64 Factory Patterns // Full Tutorial video upload by loopop
TIMELINE: 0:00 Intro 1:20 Overview 6:15 Connectivity 7:15 Sample parts 11:40 Analog parts 14:25 Multi engine 15:05 VPM 17:15 Noise 17:55 Nano 21:30 Sequencing 22:10 Live rec 22:50 Motion rec 24:45 Step seq 25:10 Groove 26:10 Probability 27:10 Ratchets 28:00 Ties 28:30 Motion seq 30:20 Shift buttons 31:00 Polymeters 31:35 Send FX 33:35 Master FX 34:45 Sidechain 36:25 Loop 37:10 Select 38:25 Randomize 39:00 Chains 39:35 Audio in and out 41:50 Misc settings 43:45 Pros & cons 49:10 All 64 patterns
Details and pics:
A paradigm shift in drum machines.
drumlogue marks a paradigm shift in drum machines. It offers the raw power and rich sounds of Analog, the flexibility of Digital voices, and drumlogue’s SDK for fully customizable User Custom Synthesizers.
On top of that, its heavy-duty, dynamic sequencer, customizable effects, and intuitive controls will make drumlogue a must-have in your studio to create music for any genre or style.
It’s time to take your beats and entire musical process to a whole new creative level with incredible sounds, effects, customization, and sequencing. Let drumlogue support your craft on your musical journey!
Raw Analog Power
drumlogue was conceived to provide the ultimate analog sound for your beats, and delivers fantastically; featuring completely newly developed analog circuits by legendary Korg analog synth team engineer Junichi Ikeuchi (ARP 2600 M, MS-20 mini, ARP Odyssey…) , the depth and richness of its sound is on a whole new level.
These new analog circuits - (Bass Drum, Snare Drum, Low Tom and High Tom) - will not just provide a solid foundation for your track, but make it stand out with an elevated harmonic richness and a thick low end.
Blending simplicity and ease of use, the most important controls for each of these parts have dedicated knobs on the front panel that can be tweaked at any time without any menu diving necessary, so you can quickly and intuitively fine tune your sound on the fly. For further sound exploration, each part provides many more parameters accessible through the powerful onboard sound editing system.
Last but not least, each part on drumlogue - analog or digital - has a dedicated volume knob that will make your mixing process incredibly smooth and easy.
Digital Flexibility
As the perfect partner for its analog section, drumlogue provides 7 digital parts; 6 sample based and 1 synthesis based (Multi-Engine). The sample based parts can play any of the preloaded PCM banks on drumlogue. You can also import your own User Samples to its memory, making drumlogue an extremely versatile machine with virtually limitless sonic possibilities.
To start with, the 64 preloaded drum kits of drumlogue will provide you with a wide variety of sounds spanning several genres so you can easily kick-start your tracks.
For additional sounds, samples can easily be easily loaded into the drumlogue just by connecting your drumlogue to your computer via USB and simply drag-dropping your samples onto the main memory.
Multi-Engine and logue SDK
The popular Multi Engine from prologue and minilogue xd is now more powerful than ever. In addition to the Variable Phase Modulation (VPM) and Noise generator engines, the Multi Engine features a new User Custom slot that can play full-fledged synth voices that provide vast sonic possibilities, never before heard on a drum machine.
Custom Synths
drumlogue’s synth voices are not simply static waveforms. Custom synths can be built to not only generate sound, even implementing built in filters, LFOs, MIDI controlled polyphony or other parameters is now possible The only restriction for third party developers is their creativity (and CPU usage!), giving you unbound sound exploration.
Exclusive Sinevibes Synth Plugin “Nano”
Korg has collaborated with popular logueSDK plugin developer “Sinevibes” to include a brand new synth plugin “Nano” as a factory preset on drumlogue. This exclusive plugin explores the power behind the expanded Multi Engine and will give all drumlogue users a taste of this new platform.
“Nano” is a full-fledged virtual analog synth with a wide array of features and plenty of customizable parameters. The synth engine has dual oscillators with optional ring modulation, a 4-pole state-variable filter with soft clipping distortion, built-in EG and built-in multi-waveform LFO.
Leads, basses, percussive sounds or cinematic effects, you decide how to use this incredible sonic potential!
A True Sequencing Powerhouse
drumlogue harnesses all of its sonic power to an extremely powerful internal sequencer that is flexible and easy to use.
Tired of the same old beats? drumlogue's heavy duty 64 step sequencer makes it easy and intuitive to create complex rhythm patterns and polyrhythms that elevate your music creation process with innovative features such as per-step probability, per-step alternate trigger patterns, per-step micro offsets, per-track groove patterns and much more.
Thanks to its clear OLED display, it is also very easy to visually follow and edit your sequences.
drumlogue is both great in the studio and playing live. With its Chain mode, creating long and interesting patterns is straightforward and clearly displayed. In Loop mode you can switch between several variations to play your sequence in new and interesting ways. The Motion and Accent recording functions are intuitive and fast and if you want to try new things on your track, the Randomization function is there to help you. These functions and many more on the drumlogue will support and spice up your live performances!
Effects and customization
drumlogue includes several high-quality effects across three categories that can be used simultaneously: Delay, Reverb and Master effects.
The send amounts for delay and reverb effects can be set independently for each part, and multiple return points are available. The master effects allow you to add that final polish to your sound and bring it all together. Master effects can be bypassed on a per-part basis, making it possible to send the effect to specific audio parts. A sidechain bus is also available to master effects which can make use of it.
"32-Key USB MIDI Controller Keyboard with 64 Step Polyphonic Sequencing, Chord and Arpeggiator Modes
The Behringer SWING gives you full control over any synthesizer or virtual instrument in your DAW via USB or MIDI. Featuring a 64-step sequencer with an 8-note polyphonic sequence combined with 32 compact-sized keys and pitch and modulation touch-strips provide unlimited ways to express yourself in a compact and portable package.
The SWING’s 32-compact-sized keys create a perfect balance between size and playability. The keys give you the ability to create more nuanced and colorful passages with velocity and after-touch functionality. Use the Pitch and Modulation touch-strips to add even more character to your music. Chord Play Mode allows you to play a chord with up to 16 notes with one single key for some really enchanting Trance music. The SWING also features a 64-step polyphonic sequencer so you can create any progression imaginable and even play over it. Switch to Arpeggiator mode and create an amazing string of notes that can sync to the clock of any device the SWING is connected to.
The Mode knob on the SWING can select up to 8 saved programs in Sequencer mode, while in Arpeggiator mode, you can select different playing orders such as up, down, inclusive, exclusive, random, note order, double up and double down modes. Select from 8 different time signatures with the Scale knob and adjust the tempo with the Tempo knob or the Tap button. Press the Record button to start recording a sequence. This also doubles as an Append button when holding down Shift. Use this along with the Stop/Clear Last button and you can edit your sequences and arpeggios on the fly.
Update: And a response from Arturia followed by Axel Hartman who designed the physical look of the Keystep:
Arturia:
"Hello everyone,
We have been informed on Sunday November the 22nd of the upcoming release of a new product called Swing, by Behringer.
This product is in no way the result of a partnership between Arturia and Behringer.
We have worked hard to create the _Step range. We have invested time and money to imagine, specify, develop, test and market the KeyStep. Along our distributors we have been evangelizing this product, placing it in stores, explaining it, servicing it.
Of course we accept competition, and would absolutely understand that Berhinger give their own interpretation of a small and smart controller that would also be a sequencer. Others do, we have no problem with that and see good for the customer, as well as for the industry, in fair competition.
But this is not fair competition here.
Coco Chanel once said: “If you want to be original, be ready to be copied”. So we could in a way consider the Swing as a compliment.
We could.
In any case, thank you, everyone who came out and supported us these past 36 hours! It's been very helpful, very much appreciated.
"I do feel the need to comment on the many postings I can find here @ Facebook in several places regarding my thoughts, feelings, but also the truth about the blunt Behringer copy of the Arturia key step.
Arturia and myself, aka my company design box are designing instruments, synthesizers, controllers, interfaces since many years. As industrial designer, I contribute mostly my services on the asthetical side of a product. This is true for almost all hardware products that you know from Arturia. In all cases, Arturia is buying my services - I never licensed any of the designs. Arturia always pays, and naturally owns the output of my work, that - by the way - is alway the result of an in-depth cooperation with their internal team of specialists.
Arturia and myself are working together since many years, and we share the deep desire of designing innovative products. I could never share any of the designs, that came out of that cooperation with any body else, legally not, and not from my personal high attitude in that regards. So anything, pointing in that direction is simply fake information. Neither the company Behringer, nor Uli himself have ever approached me with a request like that. And I would also never ever do something like that - I can not license anything that is not in my possession.
Personally, I feel sad, and am also upset about that sheer copy of a design, that I once created for, and together with Arturia, the team around Frederic Brun. These people have spent lots of efforts and great energy in building a brand and all that belongs to a brands assets. It is simply not right, somebody else is taking advantage of that hard work (which is not only true for Arturia, but for all great brands, that must see their most successful products being copied)
I do not understand (Uli) Behringer - with his huge company and the power of many great R&D teams - some of the best and most respected and innovative companies we know in our business, that Uli was able to simply buy in the past with his money. A product like that copy simply can not represent the core values of the people, he could convince to be part of his company. It is simply sad, and I can not understand that move (like many, it seems)."
And then there's the following mock-up from Atomic Shadow that pretty much sums it up:
Update via Wikipedia: "Music Tribe, formerly Music Group, is a holding company based in the City of Makati, Metro Manila, Philippines.[2] It is chaired by Uli Behringer, founder of Behringer. Music Group rebranded to Music Tribe in December 2017.[3]...
In 2015, Music Group's portfolio included Midas, Klark Teknik, Behringer, Bugera, Eurocom, Turbosound, TC Electronic, TC-Helicon, Lake, Lab.gruppen, Tannoy, TC Applied Technologies and CoolAudio[6]"
"Since various magazines and Arturia have publicly called us out over the launch of our Swing MIDI Controller, we would like to respond and share some facts around the principles of competition and clear up some misconceptions.
Competition is a highly effective tool to drive innovation by empowering Customers to make their best choices and force manufacturers to constantly reinvent themselves. Innovation means progress and this happens on many levels, whether it relates to customer experience, functionality or cost efficiencies etc. There are 4 established marketing strategies: market leader, market challenger, market follower and market nichers. Here is a great article: https://aytm.com/blog/brand-positioning-for-a-competitive-edge-part-3/
The competition law was designed to avoid companies creating a market monopoly and stifle innovation, which would be detrimental to the rights of the Customers to expect better offerings. The law was specifically designed to encourage everyone to fiercely compete, even when it means over the same functionality and design, provided intellectual property such as utility (functional) and design patents as well as trademarks etc. are respected.
How many Fender Stratocaster or Gibson Les Paul clones are out there in the guitar world and how many SM58 clones are available? How many cars or mobile phones look alike? It is not surprising that Gibson recently lost a substantial legal case trying to prevent others from making V-shape guitars or Fender, who lost all trademark cases related to their Stratocaster design. The reason is simple: the law encourages competition and provides maximum freedom for companies to engage head-on, all for the benefit of the Customer.
We are spending large amounts of resources on innovation, which is reflected in products such as X32, XR18, Flow, DDM4000, etc. This made us the global market leader for analog and digital mixers and over the years we have built an extensive patent portfolio: https://community.musictribe.com/pages/intellectual-property However, we also clearly choose to follow successful brands and products, while adding more features and/or competing on price. Much of our innovation is invisible to the Customer as it relates to our highly advanced and automated design and manufacturing processes and for that we are spending hundreds of millions of US$. For this reason, we have become strategic partners with Microsoft, Siemens, Adobe and many other Tier 1 companies as we are pushing for extreme digitization and automation.
The follower marketing strategy is a very common business model in any industry, which is enabled by law to encourage competition. With our new Swing MIDI Controller, we followed an established concept, but of course wrote our own firmware with added functionality. However, these unique features will only come to life when we launch our free DAW.
The free Music Tribe DAW will form the heart of an incredible eco-system, where all our controllers, synthesizers and drum machines etc. will integrate seamlessly, thus dramatically improve connectivity and workflow. This will make it incredibly easy for our Customers to create, edit and share their music. Only our upcoming controllers will feature total integration with our synthesizers, drum machines, digital mixers and other Music Tribe equipment, while also offering standard functionality with all 3rd party products.
For anyone familiar with the industry landscape, Arturia has been cloned for years (Worlde MiniMidi, etc.), while the company has also been “borrowing” from others with their VST replicas of legendary hardware synths, open-source code from Mutable Instruments, the “Expressive Touche” controller or the registration of known “DX7” and “Synthi” marks. Equally, our own analog Xenyx mixers and many other products have been widely cloned. ¬We will absolutely continue to deliver innovative products but also follow our competitors as we expect our products to be cloned - fair play.
We are very cautious when it comes to our follower approach and employ expert intellectual property firms to ensure our products stay within the boundaries of the law; we are committed to never intentionally infringe on other companies’ intellectual property.
Many years ago, we were entangled in bitter lawsuits with Mackie and Pioneer, which we all won. But we also recently lost a case against Yamaha in China related to a simple fader knob design that involved a design patent we were unfortunately not aware of. We changed the design, we will pay the fees and move on. Notably, Yamaha themselves were sued by Dr. Dre over their headphone designs (https://www.cnet.com/news/dr-dre-sues-yamaha-over-headphones/) or entangled in other legal matters (https://www.gov.uk/government/news/musical-instrument-firms-to-pay-millions-after-breaking-competition-law), which clearly shows how competitive business is. The heated Apple versus Samsung disputes are a prime example.
It is our Purpose and Mission to empower Customers who don’t have deep pockets and provide them with the best possible equipment at fair prices. We do understand that we are a fierce competitor and at times controversial as we’re relentlessly push the envelope.
We would like to thank all our Customers who have supported us over the past 30 years. We are absolutely committed to continue to deliver the best possible products at the lowest possible cost."
