"The Percussion Interface (PI) and PI Expander are a pair of Eurorack modules that generate gates and envelopes from acoustic drums, samplers, drum machines and virtually any audio source. Converting microphone, instrument, line and modular signals into CV and clock/gate signals, the PI and PI Expander are suited for synchronizing sequencers or other modules to the rhythm of an audio track or live percussion. The modules can simultaneously be used as a pre-amp for microphones or line-level signals, while generating inverted envelopes useful for side-chaining. The PI module contains all the core functionality and can be used without the Expander to conserve space. The Expander requires the main PI module and adds three gain stage options, a modular-level audio output jack, a 1/4” (6.35mm) input jack, and envelope attenuation capabilities.
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Percussion Interface and PI Expander features:
Sensitivity knob, Low/Medium/High gain switch, and clipping LED
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Sustain control to prevent misfires, increase gate length, and control the envelope
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Envelope decay control
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Non-inverted and inverted envelope outputs, useful for side chaining
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Four envelope outputs: two attenuated with independent attenuators, and two non-attenuated
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Envelope following or generation modes
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Gate output for clocking sequencers or any unit with a clock or trigger input
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Compatibility with drums, samplers, microphones, drum machines, etc.
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1/4" input jack (6.35mm)
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4HP each
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$165"
Pittsburgh Modular Crew - Behind The Scenes With Ask.Audio
Published on Sep 13, 2016 Ask.Audio
"Some Of The Pittsburgh Modular Crew drop by the Ask.Audio Academy for a Live Masterclass featuring their Lifeforms Series of analog synths. See the full MasterClass here: https://ask.audio/academy?nleloc=lect..."
"The Pittsburgh Modular Lifeforms Percussion Sequencer is a seriously featured, 4 channel eurorack beat programmer with a classic drum machine style interface. The familiar interface allows for quick mastery of all the features leaving the focus on the music. Seamlessly move around the module tweaking patterns and effects without ever stopping the beat. Easily create new patterns using the live performance or step recording modes, then add one of the powerful pattern effects to each channel to take the sequence to a new level. Eurorack drum programming has come to life.
Lifeforms Percussion Sequencer Features include:
32 Step, 4 Channel Sequencer
32 Sequence Non-Volatile Memory
6 Adjustable Pattern Effects (Shift, Glitch, Density, Morph, Swing, Add/Drop)
4 Percussion Tuned Analog Envelopes
4 High Quality Analog VCAs
Seamlessly Switch Between Play and Record Modes
Live Performance and Step Recording Modes
Internal Tap Tempo or External Clock Source
Variable Sequence Length
Channel Mute
Four Channel Programmable Drum Controller
Suggested Retail Price $349
The Pittsburgh Modular Lifeforms Percussion Sequencer is a seriously featured, 4 channel eurorack beat programmer with a classic drum machine style interface. The familiar interface allows for quick mastery of all the features leaving the focus on the music. Seamlessly move around the module tweaking patterns and effects without ever stopping the beat. Easily create new patterns using the live performance or step recording modes, then add one of the powerful pattern effects to each channel to take the sequence to a new level. Designed to integrate into any size eurorack system, simply patch 4 audio signals through the integrated high quality VCAs to create a set of unique percussion voices. Eurorack drum programming has come to life.
Anything is a Drum
Traditionally, patching up a modular drum kit was constrained by the amount of envelope and VCA modules in a system, restricting the number and complexity of percussion voices in most systems. Another option was to use dedicated drum modules that offer a limited sonic palate and few modulation options. The Lifeforms Percussion Sequencer breaks through these barriers by including a percussion tuned analog envelope and VCA on each channel. Patching anything from a basic sine wave to heavily modulated and processed noise sources through the Lifeforms Percussion Sequencer will quickly create a distinctive drum kit that takes full sonic advantage of the unique synthesis options available in any system.
"Running guitar through the 4ms Sound-on-Sound System, a Noisebug Exclusive!
The 4ms Sound on Sound System was designed here at Noisebug to offer a small, compact sampling system that can be used in a variety of different situation, using a variety of different instruments.
The Percussion Interface (PI) and PI Expander are a pair of Eurorack modules that generate gates and envelopes from acoustic drums, samplers, drum machines, and virtually any audio source that is plugged into its input, making this system a true sampling powerhouse!
Next is the Stereo Triggered Sampler, a high fidelity, two-channel stereo sample recorder and playback module. The STS can record high quality stereo files, while simultaneously playing two different stereo files. A maximum of 600 samples can be loaded from the removable/swappable microSD card, in a variety of formats up to 96kHz/32-bit/stereo WAV. All sample parameters (1V/oct pitch, sample file selection, length, and start position) are CV controllable and can be controller directly from your incoming audio's amplitude using the envelope outputs on the Percussion Interface.
Just to the right of the STS is the Dual Looping Delay. A modern looping devices grew directly from hardware digital delays of the late 70s and early 80s. A looping delay, modeled on units such as the classic Lexicon PCM42, has the very long storage times associated with dedicated looping, but without triggered record and playback functions.
By default, a looping delay records and plays continuously, though recording can be suspended at any time with Infinite Repeat. Sustain of delays and loops is mainly accomplished with regeneration, allowing an organic, evolving approach to sound creation as new material replaces old, more or less gradually. The 4ms Dual Looping Delay also provides advanced clock input and output facilities that allow for locking delayed and looped material with sequencers and rhythmic devices.
The final stage in this system is the Listen Four Quarters, a four channel stereo mixer with 1/4" (6.35mm) TRS balanced outputs and 1/8" (3.5mm) headphones output. Two mono channels with Pan knobs and two stereo channels with dual inputs provide optimal compatibility with both stereo and mono signals. The Listen Four Quarters can be daisy-chained to other Listen modules to create a larger mixer with sub-mix outputs.
This wonderful machine has been serviced by our tech and all contact were cleaned or replaced.
Expanding the Sequential TOM to hold 16 "cartridges"
I bought my TOM a few years ago, and had always intended to make some sort of switch-able cartridge for it. I decided recently that it would be nicer to have everything inside the TOM, if possible, and control it using the TOM user interface. There are two advantages to doing it this way:
1) Cartridges can be selected without unplugging and replacing EPROMs, which can get damaged by ESD or bent pins.
2) Both the internal sounds and the cartridge can be swapped out, so all 15 sounds can be changed, not just the top 7. There are two "slots" - internal and cartridge. Any of the 16 "cartridges" can be placed in either slot. If a cartridge has seven sounds in it, and is placed in the internal slot, button 8 will not make a sound. All of the cartridges I have made have 8 sounds. If they are placed in the internal slot, all 8 are available. If they are placed in the cartridge slot, only the first 7 sounds are available.
The board plugs into one of the internal sound ROM IC sockets, after both chips have been removed. It also needs A15b and A16b which are not available in either socket, so two short wires are used. I use A15b and A16b instead of A15 and A16 to avoid connecting to the Wonder chip signals. Luckily there are eyelets on the TOM board right where I needed them to be for these two signals.
Here is a photo showing the newer version of the pcb, which has a third wire. The original two wires are connected exactly as before, while the third wire attaches to the lower end of the 10K resistor near the battery. I have added a small circuit which should allow inserting a cartridge (for testing) into the TOM while the TOM16 is installed. In this case, the only sounds available would be the ones on the cartridge, as the TOM16 EPROM is disabled.
How does it work? I added code to the TOM V1.6 OS firmware (the final SCI version) to allow selecting cartridges using the std user interface. Once the selection is made, these values are sent using the Wonder chip in a special way to a PIC micro-controller on my board. That chip presents the two cartridge select 4-bit codes to a dual 4:1 mux that feeds the correct one to an 8 Mbit EPROM. I do not plan to release the PIC code, or provide the source for my version of the TOM OS at this time. The only changes that I made to the TOM OS firmware were for TOM16 support. No other changes were made.
I am currently offering fully assembled pcb's for $105 including Priority Mail shipping to USA addresses. If you are outside of the USA, please contact me for the additional shipping cost. In order to install the board in your TOM, you will need to upgrade the (socketed) firmware EPROM with one that I supply. You will also need to remove the two (socketed) sound ROM chips I610 and I611. And finally you will need to carefully solder three wires, (which I will supply) into small holes in the TOM pc board and in my board."
"WMD fuels fire for expanding Eurorack world with singular-sounding Fracture multi-particle percussion synth module
DENVER, CO, USA: modular synthesizers, guitar pedals, and standalone musical instruments manufacturer WMD is proud to announce availability of Fracture — a multi-particle percussion synthesizer module for small-format Eurorack modular systems that applies concepts from classic analogue clap circuits to granular synthesis techniques to generate a wide palette of sounds while maintaining a simple, intuitive interface — as of April 20…
Initially inspired by audience applause, hip-hop samples, and classic drum machines, Fracture is much more than another percussion module or ‘sample player’ for expanding Eurorack modular system setups since it uses granular synthesis techniques to generate a wide palette of sounds while maintaining a simple, intuitive interface. In itself, that’s no small feat. For granular synthesis is a technique that operates on the microsound time scale (specifically shorter than one tenth of a second and longer than 10 milliseconds, including the 20 Hz to 20 kHz audio frequency range and the infrasonic frequency range below 20 Hz); based on the same principal as sampling, samples are not conventionally played back, but split into smaller segments or grains (of around one to 50 milliseconds) that may be layered on top of each other, played at different speeds, phases, volume, and frequency (amongst other parameters).
Proprietary micro-samples — specifically recorded for this purpose by WMD — is where it all starts for Fracture. It ends with an engine built to suit those samples, ultimately. Unlike WMD’s first Eurorack percussion synthesizer module, Chimera, which involves impulse-rich samples at its tonal centre, Fracture uses single-impulse samples such as claps, ping-pong balls, opening a beer can, and many more. Moreover, it then plays back a group of similar such samples in a pseudo-random order resulting in unique hits. DENSITY, DECAY, and TAIL settings all affect tone and how ‘tight’ the user’s virtual clappers are to playing together.
Trying to design a clap percussion module with wide-reaching range — from classic drum machine claps all the way to full audience applause — was WMD’s definitive design goal for Fracture. Fortunately, Fracture exceeded expectations, ending up as a module capably covering an amazing array of timbres that reach way beyond the scope of claps.
Fracture features a number of other outstanding sound-sculpting tools packed into its slender (8HP width) frame, including a stereo output (OUT L and OUT R); built-in H (Hall) and R (Room) REVERB; two trigger inputs for different sound types — TRIG triggers a burst of particles and TICK triggers a single particle (independently of the TRIG input); three types of filter; three types of envelope; and a free-running, voltage-controlled ‘applause’ capability. CV (Control Voltage) over all parameters is also available of course.
Creating singular-sounding percussion that fuels fire for the ever-expanding Eurorack world is perfectly possible with WMD’s latest (multi-particle percussion synthesizer) module. Making room for Fracture is surely space well filled and money well spent!
Shipping now, Fracture is available to purchase through WMD’s growing global network of authorised dealers"
The Limited Edition WAVEDRUM ORIENTAL boasts a massive infusion of popular, unique, and accurate Arabic percussion sounds, all eminently playable from the dynamic rim and real drum head surface.
The WAVEDRUM is distinguished by its revolutionary synthesis technology, and by an interface that allows a direct physical method of performance, making it the ideal instrument for replicating and articulating these exacting Arabic sounds. Arabic percussion – indispensible to belly dancing, world music, and other popular genres – owes its groove and exotic atmosphere not just to its non-western musical theory and unique performance techniques, but also to the distinctive sound of specific percussion instruments including the doumbek, darbuka, riq, def, and tar, even the bendir. The striking surfaces of these Arabic percussion instruments are extremely simple, yet they are able to produce a wide range of timbres, one of the essential requirements for playing these inimitable Arabic sounds.
To the award-winning WAVEDRUM, the new WAVEDRUM ORIENTAL adds a full range of algorithms and PCM samples dedicated to Arabic percussion. All of these sounds faithfully simulate the distinctive ways in which the tone is affected by subtle nuances in playing technique and the position of the strike on these acoustic instruments – the Darbuka with its thin single skin, the Riq with its single skin and jingles, and the dual-skinned Bendir. The number of preset programs has been increased from the previous 100 and now stands at 150 preset programs. Together with the 150 user programs, you can now choose from a total of 300 variations. The appearance has also been enhanced. The body is a white tone reminiscent of a high-quality darbuka's ceramic body, complemented by a deep red wine-colored rim suggestive of the riches of Arabian culture.
As the standard-bearer of a new musical movement, or as the perfect instrument for the percussionist seeking a broader range of sounds, the WAVEDRUM ORIENTAL will deliver performances that are both traditional and creative."
Update:
NAMM 2011 - KORG WaveDrum Oriental Product Demo
YouTube via SynthMeTV | January 15, 2011 |
"KORG's WaveDrums have offered a new and unique way to play electronic percussion in a new interactive way. Loaded with hi-resolution ROM sounds, effects and a unique combination of contact mics and an ultra responsive head that allows for an ultra-sensitive interface that responds life-like to the player. KORG have extended the line with the WaveDrum Oriental that features new sounds and more that you can see in the demo video from NAMM 2011."
"We actually gave the Ensemble Oscillator from 4ms an award at NAMM this year so we were happy to hook up with Dan Green to take another look at it and see how things were progressing with production. We also took a look at their new Percussion Interface module.
The Ensemble Oscillator is a unique Eurorack oscillator cluster, it blurs the lines between waveshaping and polyphony in some very interesting ways. You can quantize the oscillators to scales or a series of harmonics to get crazy and interesting combinations."
"AWM Sound All sounds in the CBXT3 are produced using AWM (Advanced Wave Memory) technology. AWM is a technique for digitally recording waveform data of original sounds, resulting in a very accurate recorded sound. Sound samples are stored in the CBXT3's internal ROM (Read Only Memory).
Voices The CBXT3 uses the elements stored in its ROM to form Voices. The 192 basic instrument Voices include: piano, electronic piano, guitar, bass, strings, brass, and more.
Multi-Timbral The CBXT3 is Multi-Timbral, meaning it can produce up to 16 different Voices simultaneously.
Polyphony The CBXT3 is 28-note polyphonic, meaning it can play up to 28 elements simultaneously. The 28 notes used are automatically and dynamically allocated among the CBXT3's 16 parts. With this feature, the CBXT3 can easily simulate a large band or orchestra.
Drum and Percussion Sets The CBXT3 can generate a wide variety of drum and percussion Voices. These drum and percussion voices are all assigned to Part 10 and are divided into 10 style specific drum and percussion sets.
Digital Effects The CBXT3 contains a DSP (Digital Signal Processor) which is used to generate 8 digital effects, including reverb and delay.
MIDI Equipped The CBXT3 is equipped with 16 MIDI channels and each channel has its own monitor LED on the front panel. And LED will light when its corresponding channel is being played.
Dynamic Voice Allocation The CBXT3 uses a DVA (Dynamic Voice Allocation) system to automatically assign notes and MIDI channels. Up to 28 notes are available at any time, no matter which MIDI channel is being used.
Computer Interface The CBXT3 has an integrated computer interface, which translates a digital instruments MIDI language into the personal computer's language and vice versa. This interface can be connected directly to a computer's serial or modem port. Third Party Song Data The CBXT3 is compatible with various third-party song data collections, including the General MIDI standard (General MIDI Level 1), general third party supplied data song collections for the computer."
"We're using our Tymp Legio stereo percussion module to make BFFs with the BIA, patch a snappy bass, make some Miami Vice Toms, create ducking effects, and build a drum kit!
Inspired by our love of all types of percussion, Tymp Legio isn’t your normal drum-kit module with samples or emulations of simple sounds. Instead, we took the challenge of a small percussion module as an opportunity to fit the drum sounds we wanted quick access to in 6hp.
Tymp Legio’s simple interface puts a massive tonal and textural range under your control. The modes (Boot, Cat, Boing) are an onomatopoetic guide to the sounds each encompasses. Each mode is offset by three octaves but dial them up or down for even more versatility. Toggle the Tang switch to select the palate within each mode that suits you.
The Quack inputs will duck your audio to your percussion (or pass through in Boing mode), making Tymp Legio a fantastic performance-percussion module."
"Los Angeles, CA, January 14, 2010 — Roland is proud to announce the OCTAPAD™ SPD-30 digital percussion pad. Featuring eight trigger pads, built-in sounds, multi-effects, and external trigger inputs, the OCTAPAD SPD-30 is the perfect portable electronic percussion instrument for any playing application.
Using the latest trigger technology from Roland’s industry-leading V-Drums®, the pads on the OCTAPAD SPD-30 feature an extremely natural and responsive playing feel. The eight separate trigger surfaces provide superior dynamic response, trigger consistency over a pad’s entire surface, and the elimination of crosstalk.
The OCTAPAD SPD-30 includes 50 kits and hundreds of cutting-edge drum and percussion sounds. Powerful onboard effects include 30 types of multi-effects that can be used on individual kits, and Ambience with an Equalizer and Limiter that can be applied to the overall OCTAPAD SPD-30 sound.
The Phrase Loop recording feature allows the player to loop record sounds in real time, and then overdub additional parts or sounds. With the ability to record three parts per phrase, Phrase Loop is a powerful creative tool for live performance and recording.
With its large backlit LCD and intuitive interface, navigating menus and editing parameters on the OCTAPAD SPD-30 is extremely easy. The pads also feature illuminated LEDs, helpful for performing in low-light settings.
The external trigger/control inputs allow players to connect additional pads, and a hi-hat controller to create a powerful yet portable mini-electronic kit. The OCTAPAD SPD-30 is also compatible with Roland RT-Series acoustic drum triggers, creating additional options for drummers who want to add electronics to their acoustic drum set.
In addition, the OCTAPAD SPD-30 has USB connectivity for both data backup and MIDI allowing players to expand their recording capabilities with personal computers. Standard MIDI connections are also included, allowing connection to external sound modules, samplers and other MIDI devices.
"The new Roland Octapad SPD-30 from the NAMM 2010. Michael Schack Roland Info: Rolands original Octapad profoundly changed the landscape of electronic percussion. The size of a briefcase, the Octapad offered drummers and percussionists the equivalent of an entire electronic rig in one self-contained unit — a new level of convenience and expression. Today, decades later, an exciting new chapter in Octapad history begins. The SPD-30 blends the worlds most essential sounds with the latest triggering technology in a road-tough package thats ready for the most demanding performers. * Packed with new percussion sounds from around the world, plus 30 types of multi-effects * The latest pad-sensing technology developed for V-Drums provides even and accurate pad triggering with excellent isolation between pads * Four dual-trigger inputs plus hi-hat controller for adding pads to create a mini kit, or for accepting triggers from acoustic drums * Phrase Loop function inspires your creativity; record your playing in real time and overdub up to three layers * USB connectivity for MIDI and memory storage * Large backlit LCD and pad indicator lights for easy operation onstage or in any environment * Rugged, road-worthy design
Sound Bank
Unlike the original Octapad PAD-8, which was strictly a MIDI controller, the Octapad SPD-30 is a controller thats packed with its own internal bank of sounds. Fifty kits are built into the SPD-30 — essential sounds that span a musical universe of styles. You can customize the sounds with the onboard controls for tuning, muffling, attack, pitch sweep, and more. Its like having a truckload of customizable drum and percussion instruments in one portable package. Multi-Effects
Based on Rolands world-leading effects technology, the SPD-30s multi-effects engine will take your performances to another level. There are 30 types of internal multi-effects onboard, plus EQ, limiter, and seven Ambience types. Phrase Loop Function
The onboard Phrase Loop function lets you instantly create layered loops and phrases. You can record and store 50 phrases internally, with each containing up to three layers. You can also save your phrase data to optional USB memory. Advanced Triggering Technology
The Octapad SPD-30 benefits from Rolands most advanced V-Drum triggering technology. Each pad is a separate, isolated unit, providing the ultimate in sensitivity with complete crosstalk rejection. In addition, you can connect four dual-trigger inputs plus a hi-hat controller (compatible with Roland FD-8, VH-11) to create a mini drum set with external pads (Roland KD / PD / PDX / CY series), as well as to accept triggers from acoustic drums through Rolands RT series."
"FORCE 3.1 delivers the most creative, feature-packed update to FORCE ever with new plugin instrument sounds, new insert effects, the AIR Vocal Suite, and for the first time to Akai Professional standalone devices, Disk Streaming."
"The ultimate standalone performance system is expanded with 3 new plugin instruments, 7 insert effects, the new AIR Vocal Suite, class-compliant audio interface support, Disk Streaming, and much more. Visit akaipro.com/force to discover FORCE Features Update 3.1."
Akai Force V3.1 First Look - Sonic Lab Presentation
AKAI PROFESSIONAL ANNOUNCES FORCE FEATURE UPDATE 3.1 WITH NEW INSTRUMENTS AND EFFECTS, DISK STREAMING, USB AUDIO INTERFACE SUPPORT, AND MORE
FORCE 3.1 Feature Update introduces 3 new synth plugin instruments, 7 new plugin insert effects including a Vocal Suite, Disk Streaming, Class Compliant USB Audio Interface Support, and many other major upgrades for new and existing Force users.
Ft Lauderdale, FL USA (October 19, 2021) — Akai Professional, a leading manufacturer of music equipment for performers and producers, is proud to announce FORCE 3.1, its latest and most substantial update to the FORCE standalone music production system. FORCE 3.1 introduces the next chapter of standalone performance with revolutionary features and functionality alongside inspiring new sounds and sound processing. Powered by the unrivaled tactical control and interface of FORCE standalone hardware, the FORCE 3.1 update will engage the modern music creator like never before.
New Instruments, Insert Effect Plugins, and AIR Vocal Suite From the beginning, FORCE set a new bar for what standalone hardware music production could be. The FORCE 3.1 update builds on that precedent with 3 new plugin instruments: AIR Solina, AIR Mellotron, and WayOutWare’s Odyssey. These new plugin instruments are faithful recreations of iconic synthesizer and keyboard instruments, now with powerful graphic interfaces for visually striking feedback and interaction. Mellotron and Solina feature the Flavor effect processing sections, enabling creative applications of additional texture and character to your sounds with Distortion, Noise, Flutter, and more.
FORCE 3.1 also introduces 7 new plugin insert effects for creative arranging and performance, as well as mixing and mastering. The versatile group of insert effects including Stutter, Half Speed, Granulator, Diffuser Delay, and Stereo Delay will quickly insert an inventive spark into your tracks for unique drops, edits, and transitions. Diode Clipper will add grit and distortion to any source while AIR Limiter will bring dynamic signal processing to your music for a punchy, finalized mix.
The creativity doesn’t stop there as the new AIR Vocal Suite delivers the power to create, record, and mix the perfect vocals right inside FORCE. The adaptive Vocal Tuner handles any tuning tasks from subtle pitch correction to the modern auto vocal tuned sound found in all genres of modern music. AIR Doubler adds depth and dimension to solo or group vocals with spectrum-filling width and presence. Finally, the AIR Harmonizer will transform any single voice into 4-part harmony instantly. Create full background vocal arrangements with ease and accuracy with built-in volume, pan, delay, and eq.
Now Streaming Superior Performance The essence of the standalone experience is hardware that responds immediately to the needs of your dynamic workflow. Users can now enjoy a more accessible and efficient workflow with the power of Disk Streaming from external storage devices. Disk Streaming enables better system resource allocation and performance for expanded creativity and performance. Record and playback longer audio tracks, perform an entire DJ set, or create larger keygroup programs all while enjoying faster project load times.
Major Workflow Enhancements, Engine Updates and Expandability With the power of Disk Streaming comes added expandability. With FORCE 3.1, instantly expand your hardware connectivity with Class Compliant USB Audio Interface Support. Route up to 32 audio inputs and outputs to-and-from FORCE, all via a single USB cable. Increase your input count to record more tracks directly to FORCE, or route audio into your favorite outboard gear.
Get more performance out of the drum and keygroup engines with the new portamento function for gliding notes and percussion, like 808 kick drums. Dial-in the perfect sample shape with dedicated pitch envelope. Smooth out your drum breaks and chops with Akai Sample Tail and access up to 10 drum pad effects including Ringmod, Bitcrush, Tubedrive, Lowpass, and more.
Force 3.1 also ads new functionality to Buses (Submixes/Returns/Masters) for more control and creativity. Now the Recording, Playback and Editing of automation follows the same workflow on buses as other tracks. Control submix and master tracks with the “Select,” “Rename,” and “Clips” functions as well as dialing in automation on the fly.
Finally, Force 3.1 expands MIDI integration with the ability to load and export MIDI files to and from FORCE. For even more MIDI integration, assign your FORCE parameters to your 3rd party MIDI controller for additional tactical control.
New FORCE 3.1 Features Include:
• 3 New plugin instruments Solina, Odyssey, and Mellotron • New AIR Vocal Insert Effect Suite with Automatic Vocal Tuning, AIR Doubler, and AIR Harmonizer Plugins • Disk Streaming: Audio files can now be streamed from disk • Class-Compliant Audio Interface Support • New MIDI file Compatibility enabling MIDI file loading • 7 New Insert Effects such as Half Speed, Diode Clipper and Stutter • Drum and Keygroup Engine Enhancements including Akai Pro Sample Tail, Dedicated Pitch Envelope, and Keygroup Portamento • 10 New Drum Pad Effects including Ringmod, Bitcrush, Decimator and more • New functionality to Buses (Submixes/Returns/Masters) including Automation • Automatic sample Key Detection
“Force Features Update 3.1 is not only a major upgrade for Force users, but it’s also a major evolution in standalone music production,” said Akai Professional, Senior Product Manager, Dan Gill. “Disk Streaming is a significant advancement to this product as well as standalone music production in general, because it opens up recording and playback possibilities without content limitations. Combine that with a Vocal Suite which includes an adaptive Vocal Tuner, and powerful new synths and insert effect plugins, and you have an inspirational modern music creation system for any genre.”
FORCE 3.1 will be available on October 19, 2021, as a free update for FORCE users.
For more information on FORCE 3.1, visit www.akaipro.com/force
Next-generation instrument, combining massive cinematic percussion with unique and inspiring found sounds
Enhanced new user interface offers high performance workflow for composers and producers
Over 50GB of audio, recorded at Lucasfilms’ Skywalker Sound in California using a unique array of more than 70 microphones
THE ICON RETURNS
Give your compositions big screen impact with this thrilling sequel to Heavyocity’s legendary percussive production tool. Damage 2 delivers flat-out epic percussion, combining the highest quality of sampled drums with a signature dose of Heavyocity’s DAMAGED brand of sound design. The newly-designed user interface offers immediate access to over 1600 sources, allowing you to quickly and easily select from a wide range of Organic, Hybrid, and Damaged percussion, tweaking and blending the five discrete mic positions to your taste. The result is the first next-generation cinematic percussion tool: a vast array of huge, blockbuster-style impact sounds, rolled into one creative instrument."
"Axon 2 is a drum synth driven by artificial intelligence. (Well, "intelligence" might be a strong word. Artificial something-or-other.) An experimental instrument, Axon uses a modified artificial neural network as a sequencer, and features seven FM-based percussion voices, that are really a single 18-operator FM voice.
If that sounds weird, you ain't seen nothing yet. It is surprisingly intuitive once you get the knack of it, and is capable of all-new, complex rhythms that repeat in surprising ways. It often gets referenced as a "random sequence generator," but there is nothing random in Axon; it is entirely determinative.
The sequencer features seven "neurons" that trigger a voice and send a pulse when they have received a predetermined number of pulses. You can wire the output of any neuron to the input of any other (with built-in loop detection to prevent runaway feedback), and in this manner pre-program the artificial neural network without having to go through a "learning" phase.
The seven individual drum voices, each triggered by its attendant neuron, are 2-operator FM voices in a configuration to best make percussion sounds, with additional FM and AM busses that all voices send to and receive from. Each voice has a HPF, distortion circuit, and white noise generator to provide a full range of percussion-oriented voicing individually, while interacting with each other in new and unique ways.
Features
• Artificial Neural Network sequencer features seven neurons, and is easily programmed to create strange new repeating rhythms.
• Seven FM percussion voices that also buss together to create a single monolithic complex percussion synthesizer.
• Full mixer with pan, level, mute, and solo on each voice.
• Built-in stereo delay with X/Y pad control over feedback and filter frequency, for live playability.
• MIDI input, including Bluetooth MIDI, for driving Axon from DAW and hardware sequencers, and Virtual MIDI Output (standalone only) for driving other software with the Axon sequencer.
• Inter-App Audio, including transport synchronization, in standalone mode.
• Internal transport for non-synchronized playback.
• Resizable vector-based user interface.
• Drawn reciprocation dingle arm to reduce sinusoidal depleneration.
• XML-based cross-platform, human-readable preset system, with copy/paste, for easy transferring of your own presets and third-party offerings.
Please Note: This application will work fine on an iPad Mini, but the user interface may be difficult to use due to the size."
1. Lippold Haken - Hardware Evolution Of The Continuum Fingerboard :: ContinuuCon 2019
62 years before I started working on the Continuum Fingerboard, Leon Theremin built his instrument with pitch and dynamics determined by the performer in an electromagnetic control loop. This is the 37th year that I have been working to create the best electromagnetic instrument I can, with the performer in a timbre control loop that is fast, sensitive, and organic. This is the 18th year without sales price increases for the Half-size and Full-size Continuum Fingerboards. In this presentation I will show recent and ongoing improvements to the mechanical, electrical, and magnetic design of the Continuum Fingerboard. In addition, I will discuss my efforts to avoid sales price increases in the face of increasing component costs. Finally, I will take apart a ContinuuMini, and show how its hardware design retains important core aspects of its big brothers, but at a much lower price point. - Learn more at www.continuucon.com
2. Ed Eagan - Sound Design, Creating a Bullroarer :: ContinuuCon 2019 Haken Continuum Conference
2019 brought ContinuuCon back to Asheville, again hosted by the University of North Carolina Asheville Department of Music.
Performers, sound designers, composers and electronic music enthusiasts who attended ContinuuCon explored this uniquely expressive instrument through music, workshops, lectures and more. Dr. Lippold Haken, inventor of the Continuum and ContinuuMini, and Edmund Eagan, developer of the Continuum’s synthesis engine EaganMatrix, along with many other technologists and performers, openly shared their knowledge, history and musical talents at this event.
Acoustic percussion instruments are inherently expressive. Electronic percussion instruments? Not so much. Adding the subtlety of acoustic percussion into electronic performances requires understanding how the percussionist’s gestures translate into sonic changes. The talk examines the types of expression achieved from acoustic percussion instruments in terms a synthesist can appreciate and use in sound design.
5. Roger Linn - Importance Of Expressive Touch Control :: ContinuuCon 2019 Haken Continuum Conference
Music made with the on/off switches of MIDI keyboards and drum pads has tended to be used for background music— background for singers, dance or picture. Expressive touch control is enabling a new generation of solo instrumentalists that are bringing solo musical performance back into the focus of attention.
6. Roger Linn - The Future Of Synthesis Under Expressive Control :: ContinuuCon
7. Christophe Duquesne - Kinetic Physical Modeling :: ContinuuCon 2019 Haken Continuum Conference
Explanation and demonstration of a new space-based physical-modeling module for the Eagan Matrix.
Our reinterpretation of the analog bass drum from the 80´s with a full sustain decay on the edge of the potentiometer for deep sound atmospheres and penetrating kick drum sounds.
"Axon 2 is a drum synth driven by artificial intelligence. (Well, 'intelligence' might be a strong word. Artificial something-or-other.) An experimental instrument, Axon uses a modified artificial neural network as a sequencer, and features seven FM-based percussion voices, that are really a single 18-operator FM voice.
If that sounds weird, you ain't seen nothing yet. It is surprisingly intuitive once you get the knack of it, and is capable of all-new, complex rhythms that repeat in surprising ways. It often gets referenced as a "random sequence generator," but there is nothing random in Axon; it is entirely determinative.
The sequencer features seven "neurons" that trigger a voice and send a pulse when they have received a predetermined number of pulses. You can wire the output of any neuron to the input of any other (with built-in loop detection to prevent runaway feedback), and in this manner pre-program the artificial neural network without having to go through a "learning" phase.
The seven individual drum voices, each triggered by its attendant neuron, are 2-operator FM voices in a configuration to best make percussion sounds, with additional FM and AM busses that all voices send to and receive from. Each voice has a HPF, distortion circuit, and white noise generator to provide a full range of percussion-oriented voicing individually, while interacting with each other in new and unique ways.
Features
• Artificial Neural Network sequencer features seven neurons, and is easily programmed to create strange new repeating rhythms.
• Seven FM percussion voices that also buss together to create a single monolithic complex percussion synthesizer.
• Full mixer with pan, level, mute, and solo on each voice.
• Built-in stereo delay with X/Y pad control over feedback and filter frequency, for live playability.
• MIDI in and out, for driving Axon from DAW and hardware sequencers, or driving your drum rack or other samples from Axon.
• Internal transport for non-synchronized playback.
• Resizable vector-based user interface.
• Drawn reciprocation dingle arm to reduce sinusoidal depleneration.
• XML-based cross-platform, human-readable preset system, with copy/paste, for easy transferring of your own presets and third-party offerings."
"SUPER 8 is a modern take on classic analog polysynth instruments. Check out 350+ presets, then tweak all you want with the intuitive modern interface."
"Berlin, May 2nd, 2019 – Native Instruments today introduces SUPER 8, a new instrument that brings together vintage analog polysynth sounds with an intuitive modern interface. With more than 200 presets, SUPER 8 provides fast access to a diverse array of classic sounds and textures. The instrument also makes it simple to customize sounds while always keeping users within the instrument’s sweet spot. SUPER 8 runs in REAKTOR 6 and the free REAKTOR 6 PLAYER, and is available now at the NI Online Shop for 69€.
Extensive presets
With SUPER 8, users can start creating right away by choosing from 200+ presets – including rich analog strings, ethereal pads, deep basses, biting leads, electronic percussion, and unusual effects. Patches were inspired by iconic analog synths, but SUPER 8 has a character all its own. Modern presets provide combinations of oscillators, filters, and modulation settings that wouldn’t have been possible on original hardware.
Designed for tweaking
SUPER 8 makes it fun and easy to tweak sounds through a clean, next-generation interface. Simple sliders enable users to blend up to four waveforms for each of the two oscillators. They can mix the oscillators, sync them, and add FM oscillation for a digital edge. Users can also adjust low-pass, band-pass, or high-pass filtering, then move ASDR sliders to make quick changes to filter and amplifier envelopes.
The interface’s modulation section lets users easily add motion to sounds. They can choose one or more mod waveforms, then dial in speed and phase. For maximum creative flexibility, users can capitalize on mod routing to map almost any source to any destination.
Built to be played
Users can explore the full creative possibilities of SUPER 8 by controlling the instrument with a MIDI controller. Driving the SUPER 8 pitch wheel, mod wheel, and touch strip from a controller can produce expressive leads, shifting soundscapes, and evolving textures. Users can set parameters directly from the interface’s front page – or take advantage of automatic parameter mapping with a KOMPLETE KONTROL keyboard. Flexible mod routing enables users to adjust pitch, modulation, filtering, keytracking, and other parameters in real-time.
Pricing and availability
SUPER 8 runs in REAKTOR 6 and the free REAKTOR 6 PLAYER and is available now at the NI Online Shop for $69/ 69€ / ¥8780 / £59 / AU$99/ CA$89/ RMB 549"
Updates: new Yamaha reface promo videos added above, Sonicstate, Gear4music and Keyboard Mag videos below. Tons of additional picks including the interface screen of the reface DX added below. Click each pic for the full size shot.
Yamaha reface Videos from Keyboard Magazine
Yamaha reface Sonic State First Look Videos
Yamaha reface Gear4music Demos
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Your Sound. Any Place, Any Time
Published on Jul 3, 2015 Yamaha Corporation of America
And the press release, full details & a ton of pics are in.
"NASHVILLE (July 9, 2015)—Yamaha today introduced the new reface Mobile Mini Keyboards, portable yet powerful sounding keyboards that descend from a distinguished pedigree.
Why should guitarists have all the fun playing outdoors or anytime inspiration strikes? Even for beginners, these boards are fun to play because there are no deep, complicated control panels to learn: turning knobs and sliding faders brings an instant change in sound and players are able to create their own tones for a fun, tactile experience.
Building on Yamaha’s 40-year heritage of creating some of the most heralded and renowned electronic keyboards in music history, reface reimagines the interface of four classic Yamaha instruments – some of which are difficult to find in the vintage market and weigh too much to carry around. The new series offers thick, booming sound, built-in speakers, 37 keys with professional-grade HQ-Mini action (derived from the flagship Motif XF professional synthesizer) and battery-powered portability for making music on the go. But more than mere travel companions, these versatile keyboards connect with external speakers, smartphones, tablets, MIDI devices and computers for use on stage and in the studio.
reface DX draws its inspiration from the iconic DX7, which debuted in 1983 and became the first commercially successful electronic keyboard used extensively by a multitude of bands throughout the decade and beyond, including Toto (“Africa”), the Doobie Brothers (“What a Fool Believes”) and the theme from “Beverly Hills Cop” (Axel F”). With the press of a button, the reface DX changes from retro-80s tones to cutting-edge modern sounds perfect for EDM. A new Multi-Touch Control interface makes it easy to customize your sound with the powerful FM (frequency modulation) synthesis engine. The instrument includes 8-note polyphony, 32 Voice Memories and a backlit display.
reface YC reimagines the YC Yamaha Combo organs, introduced in the late 1960s and used by Pink Floyd, Tangerine Dream and others. The YC offers all the expression of drawbars, rotary speaker, percussion and effects. It includes five retro organ sounds—ranging from tonewheel to transistor to the original Yamaha Combo organ—and 128-note polyphony.
reface CP redesigns the Combo Piano, launched in 1975 and ubiquitous on stages during that era. The sound enhanced the work of Keane, U2, Genesis, Billy Joel and more. The CP model features six electric piano sounds including tine, reed, clav, toy and CP80 plus direct control of six different 1970s-style effects built into its retro-chic design. It also includes a sustain pedal input with a half-damper response and 128-note polyphony.
reface CS rekindles the legacy of the CS-series Control Synthesizers, introduced in 1976 and played by Vangelis, Stevie Wonder and Michael Jackson, among others. Offering 8-note polyphony, reface CS uses virtual analog synth technology and five flexible oscillator modules to create a wide variety of complex sounds from analog to digital.
reface features a 'one to one' control scheme, meaning the panel controls perfectly match the tone generator for direct sound creation and musical inspiration.
'reface offers high-quality touch, tone, interface and superior design at an affordable price,' said Nate Tschetter, marketing manager, Music Production, Yamaha Corporation of America. 'These inspiring, horizon-expanding instruments are fun to play and let keyboard players take their music anywhere.'
The reface YC, CP, CS and DX mobile mini keyboards (MSRP: $799) will ship in September 2015.
Published on Jul 23, 2015 Pittsburgh Modular Synthesizers
"Packed with six unique multi-mode sequencers and a fully voltage controllable user interface, the Game System is deep! Each game represents a different type of sequencing, from classic step sequencers, to unique multi-dimensional clock dividers, to chaotic gate generators. Individual sequencers in the Game System would make great standalone modules. Bundled together, they offer an entire arcade of sequencing options, with lots of room for creativity."
"Packed with six unique multi-mode sequencers and a fully voltage controllable user interface, the Game System is deep! Each game represents a different type of sequencing, from classic step sequencers, to unique multi-dimensional clock dividers, to chaotic gate generators. Individual sequencers in the Game System would make great standalone modules. Bundled together, they offer an entire arcade of sequencing options, with lots of room for creativity.
A Unique Set of Controls
The Game System uses a thumb joystick and button press interface for fast and intuitive navigation of the sequencers. Joystick movements and button presses are voltage controllable, inviting external CV and gate signals to take control of the gaming experience. The Game System can also be computer controlled, freeing the sequencers to shift and morph with the zeros and ones.
Price, Availability, and More Information
The suggested retail price for the Game System module is $299 and it begins shipping to our dealers July 31. More information available at pittsburghmodular.com/game-system.
Game 1: Meteor Shower
Meteor showers have inspired musicians since the dawn of time. The Game System transforms these celestial events into an 8x8 matrix filled with pixelated meteors, explosions, and one panicked spaceship. Pilot your unarmed ship through the matrix while dodging falling meteors. Explosion based gates and random control voltages react to the action and provide the perfect score to the amazing events taking place in the simulated night sky. God speed, fearless astronauts.
Game 2: Music Programmer (CV/Gate Sequencer)
Create your own musical masterpiece, a melody that defines a generation. Music Programmer is a classic 32 step CV and gate sequencer that is programmed with the joystick or auto-generated using control voltages. Sequences can vary in length from 1 to 32 steps and can be played in forward, reverse, pendulum, or random order. CV output is quantized to 1 volt per octave to keep the resulting patterns well tempered.
Game 3: Percussion Programmer (4 Channel Gate Sequencer)
Hmm.... Percussion can mean anything. A short (or long) burst of sound (or silence) used to create rhythmic patterns (or not) that drive (or don't) the beat of a song (or endless noodle). Regardless of the definition, the Percussion Programmer game features four channels of programmable gate sequencing that can be used for, um... anything. Rock and roll would probably assign the channels to kick, snare, high hat, and crash while EDM would go with something closer to kick, high hat, kick, and kick. Whatever gets you moving....
Game 4: Time Traveller (4 Channel Clock Divider)
A way to be in four places at once. Time Traveller is the first two dimensional clock divider. A game that shifts outputs freely within clock divisions and offsets. Using the idea of a time grid, clock divisions from 1 to 8 are laid out on the x axis allowing the y axis to be assigned to 8 steps of offset. The four outputs can be independently set to a static location, or allowed to freely roam the time grid creating unpredictable results. Time travel can be complicated; don't forget your towel.
Game 5: Probability Machine (2 Channel Chaotic Gate Generator)
The real world is a crazy place and music should reflect that. The Probability Machine creates chaotic gates based on a cascading chance algorithm. The resulting patterns are always in sync with some multiple of the clock, allowing for stuttering but not disjointed patterns. The density of the gates is based on a two dimensional probability field. The X axis defines the potential of an event and the Y axis defines the the depth of the event while the joystick button adds additional layers of complexity to the outputs. Spaztastic!
Game 6: Euclidean Rhythms (Algorithmic Gate Sequencer)
Impress your friends by applying all that geometry you learned in school. Inspired by the paper by Godfried Toussaint, the Euclidean Rhythms game is an auto-generating gate pattern sequencer that organizes complexity. Mathematically, the Euclidean Rhythms sequencer works to evenly space the number of active beats over the length of the sequence. Musically, the Euclidean Rhythms effortlessly creates organic patterns steeped in both Western and non-Western musical philosophies. Add a bit of CV control to create sequences that evolve with the incoming voltages, and suddenly math never sounded so good."
