MATRIXSYNTH: Search results for Pro Synth Network

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Showing posts sorted by date for query Pro Synth Network. Sort by relevance Show all posts

Wednesday, January 30, 2019

Prophet X Receives 2019 TEC Award -- Best New Musical Instrument

First mentioned here, the official press release follows.

Congrats to Sequential! :)

"Prophet X Receives 2019 TEC Award for Best New Musical Instrument

San Francisco, CA—Jan 30, 2019—The NAMM Foundation has awarded the Sequential Prophet X its prestigious Technical Excellence & Creativity (TEC) Award for “Best New Musical Instrument.” The Award was presented at the Foundation’s annual awards ceremony at the National Association of Music Merchants convention in Anaheim, California. The award marks the third TEC award for Sequential and the second TEC award for 8Dio’s Troels Folmann, sample content developer for the instrument.

The TEC Awards are the “Oscars” of the pro audio and sound recording industry and recognize the most outstanding products and technical achievements in the world of music making, live performance, video games, television, and film. Winners represent superior accomplishments in their respective fields and categories.

In addition to the TEC award, the Prophet X has garnered wide critical acclaim from both the music industry press and users alike for its sonic versatility and depth. Its powerful, yet easy to use combination of synthesis-plus-samples technology powers two simultaneous 16-bit, 48kHz sample-based instruments plus two high-resolution digital oscillators with waveshape modulation — all processed through analog filters.

It boasts an internal library of 150 GB of sample content from Academy-award winning sample developers 8Dio, as well as the ability to import up to 50 GB of additional user samples and third-party add-on content. Users can shape the samples through loop manipulation, sample stretching, and a full complement of synthesis functions which include 4 envelope generators, 4 LFOs, and a deep modulation matrix. A dual-effects engine, 64-step polyphonic step sequencer, and arpeggiator add additional performance features.

Sequential founder Dave Smith commented: “We’re proud that the Prophet X has been recognized by both the NAMM Foundation and by the public for what it is — a great-sounding, easy to use creative tool that puts powerful technology in the hands of musicians. That’s always been our philosophy and that’s what we continue to do.” 8Dio co-founder Troels Folmann added: “Receiving a TEC award is always a gratifying experience, but we’re particularly pleased to receive it for our work on the Prophet X because the synth gives musicians a very immediate, expressive, and tactile way to use our deep-sampled instruments.”

The Prophet X ($3,999 US MAP) and Prophet XL ($4,399 US MAP) are available from Sequential’s worldwide network of dealers."

Thursday, March 22, 2018


Update: one thing I forgot to mention is the impact Trumps new tariffs may have on the price of synths in general and other goods. If you haven't heard, read the news. The cost of imports including the materials used to make gear will likely go up.

I think this is the first time I've heard of the price of a synth going up instead of down over the years. The MatrixBrute was officially introduced in January of 2016. Curious what this will do to sales after July 1st. How do you convince yourself to buy something new that you could have gotten for less?

via Arturia:

"Grenoble-based hardware and software synth creators Arturia have announced that the retail price of their flagship analog monosynth will rise from July 1st, 2018.

Due to increasing cost of the internal analog components, manufacturing, and shipping, Arturia have made the decision to raise the price of the MatrixBrute, which was announced at NAMM 2016, and has gone on to win multiple media, consumer, and pro audio awards since its release.

'Arturia has always been keen on delivering instruments that offer high value for money. This is what we did with MatrixBrute, I believe, making a real statement that we could bring an outstanding synthesizer at reasonable price.' remarked Frédéric Brun, Arturia's founder and president.

'The decision to raise this price hasn't come easily, and we waited to make the change for as long as we could. Due to increasing component costs, and to aid our distributors and retailers in a context where several Euro/US$/£ have fluctuated since the introduction, we considered that now was the right time.'

From the start of July, the price of the Arturia MatrixBrute will see the following increases:

In the Eurozone, the retail price will change from 1999 € to 2299 € .

In the USA, the price will change from 2199 US$ to 2499 US$ .

Even with this price rise taken into consideration, it’s still one of the most exciting, experimental, and inspiring premium synthesizers on the market.

Arturia’s global network of distributors and their retailers have been notified, and are ready to reflect the change in cost from this date.

To find out more about the Arturia MatrixBrute, visit the Arturia website, or any good instrument store."

Monday, February 20, 2017

SOUNDMIT 2017 - International Sound Summit - Torino - 3/5 November 2017

Published on Feb 20, 2017

"Born in 2017 from the experience of SYNTHMEETING event in Torino, It is its natural evolution and inherits all the know-how acquired in six long years of work and success.

SOUNDMIT - International Sound Summit, created from the same working group of SYNTHMEETING, is the new and biggest event dedicated to musical instrument's world in Italy.

Entered in the Turin art week on 3/5 November 2017, SOUNDMIT welcomes the SYNTH MEETING and opens the doors to other sectors of the musical world: Software, Dj Point, Makers, Schools, Recording studios, Record labels, Luthiers, Dealers and Manufacturer are just some of the innovations included in this new event."

And the official press release:

"Torino, February 2017

SYNTH MEETING present SOUNDMIT (International Sound Summit)

We are pleased to finally announce the developments of the S YNTHMEETING o f Torino during the last months.
The SYNTHMEETING , which began in 2011 from an idea of F rancesco Mulassano a nd ran till 2016 together with Luca Torasso, will be part of a newest and bigger event.

After the success of the sixth edition which brought over 2 500 visitors and 60 international brands to Torino, we have decided to take a step forward.

In 2016 we set up the Associazione Culturale NOISECOLLECTIVE with the founding members being Francesco Mulassano, Luca Torasso and Luca Minelli ( ) then we enlarged the network with some acquisitions. Are part of NOISECOLLECTIVE :

- SYNTHMEETING , the only event dedicated to the world of synthesizers and electronic musical instruments capable of involving over 2500 people and 60 international brands (data from 2016)
- The Facebook group SYNTH CAFÈ, with more than 14,000 members is a reference point in the field of synthesis and electronic music in Italy, created by L uca Minelli in 2011.
- The music portal ULTRASONICA h as been an online reference point since 2004 for music news and live event photos with an exclusive photographic archive which hosts over 12,000 photos.

- The Facebook group STRUMENTI MUSICALI USATI with 5400 members is among the largest and most active italian groups for buying and selling musical instruments on Facebook.

These acquisitions have immediately incremented the network guaranteeing a group of nearly 22,000 members.
After the closing of the sixth edition of the meeting we immediately started working on creating a new event which inherits the know-how gained through the experience of the SYNTHMEETING and the other events which followed in these months (MOD01, OpenDay, The Golden Synth Era with Felice Manzo, Arduino and Synth with Pier Calderan, Modular Synth Masterclass con Gino Robair).

SOUNDMIT - International Sound Summit (

Tuesday, January 10, 2017

Moogfest 2017: Program Themes & Lineup Announcement

Just a heads up, the lineup for Moogfest 2017 has been announced. As always, check out for full details on the event. The following is a small capture for the archives via the Moogfest newsletter.

"Hailed as 'the most adventurous and cutting edge' festival of 2016, Moogfest returns with a commitment to futurist conversations and performances that wrestle with our historic moment, and reflect on the festival’s home in North Carolina.

In celebration of its 11th iteration, Moogfest will unveil its lineup over the next 11 weeks through their weekly “Future Thought Future Sound” email newsletter, inviting the Moogfest community to explore program themes like Transhumanism, Techno-shamanism and Protest.

Monday, November 16, 2015

Audio Damage Odio and IOS Apps: Ep4 - Amazing Noises Reverb

Published on Nov 16, 2015 Synth Anatomy

"In this video, I connected my iPad with the Reverb - Feedback Delay Network App to the Audio Damage Odio Module. I want to show you how easy IOS Effects integrates into EuroRack Modular Synthesizers.

Odio is a 2-in 2-out USB audio interface that runs at modular audio levels, designed primarily for use with iOS devices such as the iPad and iPhone. Easily integrate iPad effects and instruments in to your modular rig for live performance or sketchpad recording, or use a Microsoft Surface Pro or netbook and a simple host to use VST plug-in effects as inserts in your modular."

Tuesday, September 08, 2015

percussa wireless audiocubes digital modular synth demo 2

Published on Sep 8, 2015 AudioCubes by PERCUSSA

"In this video a wireless AudioCube is linked to a Noise processor in Synthor, inside MIDIBridge. The frequency and amplitude of the Noise processor can be controlled using two of the four AudioCube sensors."

Some additional info via the Percussa newsletter:

"In the video above, you’ll see a Macbook laptop running my latest Synthor build (email me if you’d like to try the latest version). The laptop is connected to an AudioCube PRO via USB, which is the base station for the AudioCubes PRO network (you can use up to 16 cubes wirelessly). The AudioCube we hold in our hands is fully wireless and communicates with the base station cube. It’s all plug-and-play, no drivers necessary, and you can also hot plug the cube network, and swap cubes around if you like (any cube can become the base station cube, all without restarting software or stopping or starting audio).

In the video the wireless cube is linked to a Noise processor in Synthor, inside MIDIBridge. The Noise processor generates white noise, but with variable frequency and amplitude. The sound is passed through a reverb section which is now also built into Synthor. The frequency and amplitude of the Noise processor can be controlled using two of the four AudioCube sensors. The other two are unused in this demo, but I have some exciting plans to map those to two other parameters of the processor :-)

What’s cool about this demo is that you can see how gestural you can get with this simple setup and the variety of results you can get. You can also see the green bar graphs on the laptop in the back which show the distance sensing in real time for the 4 sensors of the AudioCube. All you need to replicate this setup is a Mac or PC laptop, two Wireless AudioCubes PRO and our free MIDIBridge software (includes Synthor). You don’t need any other software or hardware."

Thursday, January 22, 2015

Arturia Announces BeatStep Pro

Arturia presents BeatStep Pro, Pure Sequencing Powehouse

Published on Jan 22, 2015 Arturia Web

"Arturia’s musical heart beats bigger and better with world-class controller and step sequencer

GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to launch BeatStep Pro — an all-new world-class controller and dynamic performance step sequencer — at The NAMM Show 2015, January 22-25 in Anaheim, California...

Having wowed crowds at last year’s Winter NAMM show with the introduction of its breakthrough BeatStep, a compact chameleon controller and step sequencer that’s as powerful as it is portable, this time Arturia is taking things several steps further forward by introducing its bigger brother, BeatStep Pro. As an all-new world-class controller and dynamic performance step sequencer that is unmatched in power and connectivity, BeatStep Pro has been designed to professionally perform — onstage or in the studio. Whether you’re working with MIDI-, USB-, CV/Gate-, or DIN Sync-equipped gear, BeatStep Pro helpfully has your back by covering all bases and more besides. Indeed, its CLOCK connections can work as a 1:1 clock with an external clock generator or DIN Sync, so you can be sure that anything and everything you’ve got connected will play happily in time together leaving you to focus your energies on creative performance.

Put simply, BeatStep Pro has been designed from the ground up to provide an amazing hands-on hardware sequencing experience with 16 touch-sensitive knobs for entering of pitch, gate, velocity amounts, and timing shifts per step. It includes two independent (colour-coded) monophonic step sequencers, each with dedicated displays to show the current playback position and bank length of the currently selected sequence. SEQUENCER 1 and SEQUENCER 2 have been greatly expanded with up to 64 steps per sequence, 16 sequences per project, and 16 projects, making BeatStep Pro one of the most impressive step sequencers ever made. Moreover, each sequencer has its own 1V/Oct CV (Control Voltage) and (10V) GATE outputs to connect to suitably-equipped analogue monosynths, such as Arturia’s award-winning MiniBrute or MicroBrute, together with a separate VELO (Velocity) output to allow for even more possibilities when working with a modular synth system setup.

An additional DRUM sequencer allows for 16 separate tracks of sequencing. Record in quantised realtime via the 16 pressure sensitive pads or use the 16 step buttons for a classic drum machine workflow. Speaking of which, when working in SEQ1 and SEQ2 mode those pads can control pitch transposition as well as accessing various musical scales — such as Chromatic, Major, Minor, Dorian, Mixolydian, Harm Minor, Blues, and also a User setting — while the DRUM sequencer itself also has eight DRUM GATES at its disposal (to send gate outputs from the corresponding pads for triggering external devices). Drums and sequences living in perfect harmony, see? Believe us, seeing is believing!
BeatStep Pro is also a controller, of course. Switching from PROJECT to CONTROL MODE means users can trigger clips in their favourite DAW (Digital Audio Workstation), play drum sounds from an external module, or adjust parameters in their favourite plug-in. Possibilities are (almost) endless, limited only by (lack of) imagination.

Indeed, the well-specified, super-slender BeatStep Pro is a highly-desirable design. One which goes well beyond any other step sequencer currently on the market, thanks to an added arsenal of performance effects such as a realtime ROLLER/LOOPER touch strip; PROBABILITY, RANDOMNESS, and SWING settings; plus other hands-on controls that are sure to make it a modern-day classic for tomorrow. To see one is to surely want one. Just as well, then, that it comes complete with a Kensington lock to ensure that it stays with its rightful owner!

BeatStep Pro will be shipping in Spring 2015 and available to buy directly from Arturia online or through the company’s global network of dealers and retailers for €249.00 EUR/$299.00 USD."

Wednesday, December 10, 2014

Radikal Technologies SAC 2.2

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

via this auction

This one made me to a double take. It is not a synth, but is indeed from the synth company Radikal Technologies, as you can see here. I thought it was worth capturing for the archives.  It's always interesting to see what other products interest boutique synth manufacturers.

The SAC 2.2 is a "Multi-platform Moving-fader USB / MIDI Control Surface

Full info:
Gain instant hands-on control of your audio software with the SAC-2.2 Software Assigned Controller!

There's no need to install or program this sleek control surface for interaction with your favorite music software. The SAC-2.2 connects to your computer via USB bus, and you instantly gain a new operational surface. Then, the SAC-2.2 lets you perform all your essential audio production operations - EQs, dynamic processing, effects, etc. There are plenty of motorized faders, rotary encoders and buttons. The rotary LEDs of the 12 encoders and 2x40 symbol displays further facilitate your music production. And the USB bus gives you an enormous advantage in speed of transmission compared with MIDI transfer of data. It's compatible with Pro Tools, Cubase, MOTU's Digital Performer, Logic, and many others!

One of the coolest new features of the SAC-2.2 is that you can control several different programs simultaneously and switch between them in real time. The SAC-2.2 will automatically update itself with the correct operating mode and parameter settings as you switch between programs! In addition, this feature is networkable, meaning it will allow you to control different programs on different computers on your network! Got a great Mac-based sequencer and an awesome PC-based sampler? No problem. One SAC-2.2 integrated into your network means you can control them both at the same time - without the need to re-configure and re-boot! Save time and money with the versatile Sac 2.2 control surface!

• 9 touch sensitive motorized faders

• 12 rotary encoders with 31 step LED displays

• 3 2x40 symbol displays

• 1 locator-Display

• 9 track select buttons

• 8 mute/solo switches

• 10 buttons for selection of mixer-parameters (pan, send/insert selector switch, send/insert 1-4, 4 EQ select buttons)

• 6 buttons for track-selection (audio, MIDI, input, instrument, bus, group)

• 4 buttons for track bank selection (1-8,9-16,17-24,25-32)

• 12 software navigation buttons, which can also be used for numeric input

• 5 channel-strip buttons • 5 transport-control buttons (play, record, stop, rewind and forward)

• 1 jog wheel

• 4 location markers

• 1 scrub-button

• 1 system button

• 1 shift button

• USB port with one input and a 4 way HUB for connection of additional USB devices

• MIDI port with MIDI-in, out, thru and power jack"

Thursday, July 10, 2014

First Look at the New Modulus Synthesizer Keyboard - Video, Press Release & Price

video upload by sonicstate

And the press release:

"Breakthrough modulus.002 takes British synth power polyphonically to world stage

BRISTOL, UK: breakthrough British electronic musical instruments manufacturer Modulus is proud to announce availability of modulus.002 — the first analogue/digital hybrid polysynth to have been designed, developed, and manufactured in the UK for four decades — as of July 10...

Even though the technology for mass-market synthesisers was patently pioneered in the UK in the leafy London suburb of Putney at the tail end of the Swinging Sixties, the last time that a polyphonic/multitimbral analogue synthesiser was designed, developed, and manufactured in the UK — actually within Wales — was way back in the late Eighties. It is with utmost pride, therefore, that Bristol-based Modulus has not only succeeded in bringing back that pioneering spirit to Blighty with the mighty modulus.002 but has admirably succeeded in doing so by creating an amazing modern-day musical instrument that truly represents one giant leap for ‘synthkind’ with a sizeable number of notable new features to its innovative name. No easy task in climatically cynical conditions during an era of increasingly shortened attention spans, synth-wise or otherwise. Been there, done that, bought the (Moog) T-shirt, some might cynically say!

Yet surely soothsaying is a better bet in this case? Why? Well, modulus.002 even sports some world firsts! So what makes modulus.002 tick, then, and what, exactly, is it that makes it so special in comparison to today’s commercial and ‘boutique’ offerings from other manufacturers, both bigger and smaller? Let’s look at some straightforward facts for starters...

As an analogue/digital hybrid keyboard synthesiser (using an aftertouch-enabled premium Fatar semi-weighted, five-octave key mechanism), modulus.002 provides 12 discrete voices of polyphony with full multitimbrality if so desired. As such, it features two NCOs (Numerically-Controlled Oscillators) per voice for exceedingly high resolution and stability with wide-reaching waveform selections, together with two sub-oscillators, individually (and uniquely) switchable from a traditional square wave to having the same waveform as the main NCO to effectively produce four oscillators per voice; a Modulus-designed 24dB/octave four- pole transistor ladder filter featuring some very unusual morphing or ‘polesweeping’ effects, enabling ear-opening transitions from 24dB/octave four-pole to 6dB/ octave one-pole filtering and anywhere in between; one LFO per voice as well as a global LFO; wide-ranging modulation options, all accessible directly via the front panel — no navigating convoluted and confusing menus; a pure analogue signal path from the oscillators right the way through to the combined XLR/TRS balanced/unbalanced outputs (with all 12 voices individually available for external processing via a dedicated D-Sub connector); two audio inputs enabling internal audio processing from the VCF onwards... and that’s only scratching the surface. Not literally, of course!

While all voice control parameters are accessible via a well-thought-through front panel that is both attractive and intuitive in use thanks to sticking to traditional synthesiser workflow, what lies beneath is really remarkable. Radically departing from the norm, modulus.002 is blessed with an unrivalled user interface based around a high-quality 4.3-inch screen with wide viewing angle. It is context sensitive, whereby the control parameter of any control knob touched by the user is immediately displayed onscreen. Synthesiser savants and audio aficionados will surely unite in their appreciation of the sonic depths that this well-specified speedy dream machine can deeply dive into!

Forget about an analogue renaissance here, however; let’s talk truly revolutionary design features for a moment. modulus.002 represents a unique approach to synthesiser design, taking traditional analogue circuitry combined with modern, reliable digital developments and marrying it all to a completely new control platform. Phenomenally, modulus.002 brings cloud functionality to a synthesiser for the first time! The Ethernet port means modulus.002 can be connected to a network to enable updates via the Internet — no more MIDI SysEx dumps to get you down in the dumps — and access to the means user profile settings, sound patches, sequences, and other content can be easily replicated to a cloud-based server platform to enable rapid resynchronisation to another modulus.002, regardless of whether it is owned by the same user or a collaborator at a remote location. Let’s be honest here. We’re well into the 21st Century now, so why not provide modulus.002 users with data management features that are expected as the ‘norm’ in modern consumer technology devices, yet have hitherto eluded the electronic musician? Makes sound sense to the Modulus team, that’s for sure! And we’re sure it will make sound sense to modulus.002 users, too.

So what other notable modulus.002 features are worth making a song and dance about? An inbuilt MIDI-sync-able 16-track, 12-row, 32-step sequencer with 16 front panel-positioned step-time editing controls can give any hardware rivals already out there a serious run for their money. For sequences can not only be transposed dynamically while running but sophisticated so-called ‘mini arpeggiator sequences’ created using the arpeggiator’s Hold mode can be speedily saved as sequences for latter recall and editing using the sequencer. Moreover, modulus.002’s Animator allows any control to be sequenced, enabling complex filter transitions, waveform changes, and modulation matrix changes to be sequenced. Lest we forget, 12 ‘quick recall banks’ are accessible directly from dedicated front panel buttons. Build up set lists of presets, sequences, and animations, making modulus.002 a live performance partner par excellence.

Plain and simple? Far from it, it seems! So who better qualified, then, to explain the whys and wherefores of taking a truly thrilling synthesiser design from the drawing board to an equally enthralling production-ready product launch like this in under a year than company co-founder and principal designer Paul Maddox, a top-tier talent with proven production pedigree, best known within the synthesiser industry for his well-received MonoWave, a limited-run, 19-inch rack-mountable, MIDI- controllable monosynth inspired by Germany’s legendary PPG Wave series — arguably amongst the most coveted high-end synthesisers of the early Eighties — featuring two digital oscillators with 256 samples per waveshape and an analogue 24dB transistor ladder filter, as well as his more recently-released VacoLoco range of ‘pocket synth’ designs. Do tell. Why now? Why the big step up to the brave new world of modulus.002? Muses Maddox: “This came about because I’ve had a long-held dream to build a polysynth since I was knee high. I’ve nearly got there several times, but it was a golden opportunity in July last year when my business partner, Philip Taysom, and myself sat together and said, ‘Now is a good time to do it.’ Both Philip and myself are passionate about synthesisers, and we feel that the synthesiser market has been neglected for a long time in terms of high-end, pro — in quality and feel — instruments. I quite often equate this to a PRS guitar. There is nowhere in the synthesiser industry that I’m aware of where you can go and buy the equivalent of a PRS. That’s what we’re aiming at — top quality, top to bottom.”

So there you have it, folks. With top-quality components sourced and designed throughout its robust, road-ready construction coupled with upmarket design flourishes like leather-bound end cheeks — quite possibly another world first, modulus.002 is a fighting force to be musically reckoned with. British synth power is alive and kicking, and Modulus has just fired its impressive opening synth salvo that more than lives up to its Machines for Musicians tagline. It’s aim is true, so watch this space...

modulus.002 is available to purchase for £2,995.00 GBP (plus VAT). EU pricing — correct at time of writing — is €3,795.00 EUR (plus VAT). US pricing — correct at time of writing — is $5,200.00 USD (plus local sales tax). Contact California-based agent Geoff Farr ( for all United States sales enquiries. All other enquiries relating to the rest of the world should contact
Feel free to visit for more detailed modulus.002 information"

Update: Full specs & press pics:

modulus.002 provides twelve discrete voices of polyphony with full multi-timbrality if desired
Two oscillators per voice with two sub oscillators, which can be switched from being either traditional square wave to having the same waveform as the main oscillator – in effect making four oscillators per voice

Analogue / digital hybrid architecture uses NCOs for very high resolution, and very stable oscillators. Over 50 different waveforms, ranging from classic analogue sounds to more unique digital shapes
modulus designed 24db per octave four pole transistor ladder filter, with some very unusual morphing characteristics or ‘polesweeping’, enabling transition from four pole through bandpass to one pole 6db per octave, or anywhere in between

Two LFO’s, one per voice and one global

Extensive modulation options, all accessed directly from the front panel – no menu options!
modulus.002 features a range of sequencing options – a built in 16 Track, 12 row, 32 step sequencer with 16 dedicated step time editing knobs on the front panel and MIDI sync capabilities. Sequences can also be transposed dynamically while running

A very highly featured arpeggiator with a wide range of different modes, including modulus ‘hold’ mode, enabling arpeggiator-based sequences to be created

The modulus Animator, which enables any control parameter on the modulus.002 to be sequenced, enabling very complex filter transisitions, wave form changes and modulation matrix changes to be sequenced

Superb UI, a great departure from the norm of synthesisers, featuring a very high quality 4.3″ screen with wide viewing angle, display is context sensitive where the control parameters of any control knob that is touched by the user, is immediately displayed

Twelve ‘quick recall banks’ are accessible directly from the front panel, enabling performing musicians to get rid of their set sheets and build set lists of presets, sequences and animations, all quickly accessible from dedicated front panel buttons. Up to ten banks of quick recalls can be created, making live performance a doddle
VCF and VCA envelope generators

Four Key Modes – Poyphonic, Monophonic, Unison and Stack

Very high quality construction, uses a premium FATAR semi-weighted five octave key mechanism with aftertouch
All voice control parameters are accessible from a well designed and intuitive front panel, that follows a traditional synthesiser work flow

Pure analogue signal path with combined XLR/TRS sockets for balance / unbalanced outputs. Further, each of the twelve outputs can be brought out individually via a dedicated dsub socket

Two audio inputs enabling audio processing from the VCF onwards plus external MIDI in and out

XY joystick and Sustain and Expression pedal inputs for performance controls – any control parameter can be assigned to any joystick axis (X+, X-, Y+, Y-) by pressing the dedicated front panel selector button

Ethernet port to connect your modulus.002 to your network and enable updates via the internet (no more midi sysex dumps) and access to the Modulus cloud features

Tuesday, December 03, 2013

IK Multimedia Announces iRig KEYS PRO

iRig KEYS PRO Overview - The full-sized-key universal mobile keyboard for iPhone, iPad, Mac/PC

Published on Dec 3, 2013

"iRig KEYS PRO gives you the best of both worlds. It's a super-compact, bus-powered, "plug and play" MIDI controller that you can use anytime and anywhere. Yet despite it's small footprint, if offers full-size, velocity-sensitive keys, allowing for a realistic playing feel. With its 37-key (3-octave) keyboard, you can play legitimate two-handed parts. What's more, it has loads of pro performance features, and comes with cables and software for iOS devices — Lightning and 30-pin — and USB for Macs or PCs.

Continue reading at"

iPads deals on eBay | Cyber Monday deals on eBay

Thursday, July 18, 2013

Bob Moog Foundation Objects to Archives Moving to Cornell, New York

via Mountain Xpress where you'll find the full article (you'll find my notes at the bottom of this post):

"A move to ship Bob Moog's archives from Asheville to New York is creating family discord over the best way to preserve the late inventor's legacy.

An electronic music titan, Bob Moog founded Moog Music, the world's leading manufacturer of analog synthesizers. His widow, Ileana Grams-Moog, announced July 18 that she's planning to donate his personal archive of notes, plans, drawings and recordings to the Cornell University Library's Division of Rare and Manuscript Collections in Ithaca, N.Y.

'It was Bob‘s wish that his archives be preserved and made accessible to other scientists, inventors, engineers and innovators,' Asheville resident Grams-Moog said in a press release. 'The Cornell Library makes its extensive rare collections accessible to students and scholars all over the world.'

Noting that Moog earned his Ph.D. in engineering physics from Cornell in 1965, she added: 'It has been eight years since my husband’s death and I am happy that my gift to Cornell will finally make this rich collection available. Bob would be pleased to know his life’s work is finally being properly preserved and made available to current and future generations to advance upon his work.'

However, Grams-Moog makes no mention of the Bob Moog Foundation in her announcement, which has overseen the preservation of those archives for the last seven years in Asheville, where Moog lived from 1979 until his death in 2005. The foundation is a nonprofit organization run by Michelle Moog-Koussa, the inventor's daughter, who says that she and other family members are surprised and disappointed by the decision to ship the archives out of town..."


"Upon hearing of Grams-Moog's intentions to move the archives out of town, Moog-Koussa says the foundation is now 'considering our options.'

She adds: "No matter what happens, the Bob Moog Foundation will continue to carry on Bob Moog's legacy, and that his legacy is alive and well in our educational projects, which are thriving in this area.'"


My notes:

What is your opinion on this?  Personally, the number one priority in my opinion is keeping the documents safe.  I think they would be safe at either Cornell or The Bob Moog Foundation, so that imo is not an issue. The issue then is where would they be of the most value to the community and how do you define that? Exposure to the public or access to researchers? I don't see Cornell being as pro-active in spreading the works of Bob Moog as The Bob Moog Foundation. I think the archives may be safe in Cornell but my fear is that they will be all but forgotten aside from those that take the time to research them and then share that research with us. In other words, they will essentially disappear into the ether, unless someone makes the effort otherwise. The BMF was doing that. With the Bob Moog Foundation, his research would be at the forefront and present in everything they do. Your opinion? Click on the comments link below. Note although it currently reads 0, Facebook comments are there. Blogger only counts blogger comments in the count. It might take a sec for the Facebook comments to load after clicking the link.

Update: The following is the official press release on the move.  I received it from Moog Music and Hummingbird Media a separate press outlet:

"Bob Moog's Archives Donated To World-Class Facility at Cornell University
Inventor’s Alma Mater to Receive Rich Collection

Yesterday Cornell University announced the archives of Dr. Robert A. Moog have found a home at their Sidney Cox Library of Music & Dance, thanks to a generous donation from his widow, Dr. Ileana Grams-Moog.

Dr. Robert A. Moog is the founder of Moog Music, the world’s leading manufacturer of analog synthesizers, and the inventor of the legendary Moog synthesizer. He received his Ph.D. from Cornell in engineering physics in 1965 and was a longtime resident of Trumansburg, N.Y. His personal archive of notes, plans, drawings, recordings and more will be housed in the Library’s Division of Rare and Manuscript Collections.

“It was Bob‘s wish that his archives be preserved and made accessible to other scientists, inventors, engineers and innovators,” Grams-Moog said. “It has been eight years since my husband’s death and I am happy that my gift to Cornell will finally make this rich collection available. Bob would be pleased to know his life’s work is finally being properly preserved so that current and future generations may advance upon his work.”

Cornell has flourished as a center for research in music since the Sidney Cox Library of Music & Dance was founded in 1929, and its extensive holdings include a special focus on historical keyboard instruments. It collects heavily in 20th- and 21st-century music of Europe and the United States, including electronic music and music by Cornell composition alumnae.

“We’re thrilled to welcome this donation to Cornell, and we look forward to welcoming researchers from all over the world who hope to learn more about Dr. Moog’s life and work, ” said Anne R. Kenney, Carl A. Kroch University Librarian. “We pride ourselves on not only preserving valuable historical knowledge, but providing access to one-of-a-kind, original materials to as many people as possible.”

Dr. Grams-Moog continued, “Cornell is a 150-year-old institution with a long history of stewardship and dissemination of rare and valuable collections for education and research. Donating Bob’s archives to the university is the best opportunity to preserve and protect them so they will finally be accessible to students and scholars worldwide. In addition, they will be available to future generations long after we’re all gone.”

About Cornell University Library
Cornell University Library’s rich collections, expert librarians, responsive services and welcoming spaces inspire and nourish scholarship and learning throughout the university. Its world-class collection — nearly 8 million print volumes, nearly a million e-books and 5 million journal article downloads per year — covers incredibly diverse fields. The Sidney Cox Library of Music & Dance provides extensive holdings of printed materials and recordings to support the study of music."


Update2: Michelle Moog-Koussa of The Bob Moog Foundation issues statement:

"Dear Friend,

The Bob Moog Foundation takes seriously its role as the only non-profit organization dedicated to preserving, protecting and promoting my father’s work for future generations. In was in this capacity that the Foundation made significant investments over the past seven years to rescue the majority of my father’s archives, and to protect and preserve them to prevent further deterioration from occurring.

Our efforts have included re-housing the collection in archival quality storage materials, securing climate controlled storage, cataloging thousands of items, cleaning and restoring a breadth of materials including almost 100 reel-to-reel tapes in the collection, and most recently securing state-of-the-art archival storage and processing facilities where researchers from around the world could acess the archives.

We have also worked to share the archives through many exhibits from California to our local region, exposing tens of thousands of people to the unique information and insights that the archives contain.

We did this based on a verbal understanding that these documents would eventually be donated to the Foundation.

Yesterday, an annoucement was made that Cornell University will be receiving Bob's archives. The announcement was made by Bob's widow, Ileana Grams-Moog, with whom we have been working closely for the past seven years, up until as recently as February 18, 2013.

The decision to abandon a pending agreement, which ignores the Foundation’s stewardship of my father’s archives, and move them out of Western North Carolina is disappointing and, we believe, not in keeping with my father’s intent. Asheville was my father’s home for 25 years and, in the end, his spiritual home. It is important that his archives remain in Asheville and that they are administered by the Bob Moog Foundation, where they can be considered within a wide musical and technological context and where they will benefit from being interpreted by the unified network of experts that surround the Foundation’s work.

The Moog Family is saddened and surprised not to be part of the discussion to move our father’s archives away from the organization where they would receive the most well-rounded care, and away from the area where the Bob Moog Foundation, Moog Music, and Moogfest are located.

Over the years, you have been witness to all of the dedicated work we have done for the archives. Many of you have visited our exhibits and complimented our efforts. At this time, we ask that you support us on Facebook and other outlets by reposting and commenting in ways that are reflective of our work.

With or without Bob's archives, the Bob Moog Foundation Archives remains a robust collection of historic materials that we have obtained, or that have been donated to us. We remain a repsitory of materials that represent the evolution of electronic music history. We are excited to be sharing some of the incredible material that we have obtained with you over the coming months. Please keep your eyes open for that.

I may be reaching out soon with other ways that you can help. Until then, I remain

Devotedly yours,


Michelle Moog-Koussa
Executive Director
Bob Moog Foundation

P.S. Should you have any concerns about this topic, please be in touch at"

Update3 (also posted here):

Online Petition to Keep Bob Moog's Archives in Asheville with the BMF

You'll find the petition here.

The petition was setup up via Michael Koehler who sent in the following:

"I am not involved with the BMF, but am friends with Michelle. She knows that I am doing this.

I am very passionate about it because I was fortunate to knew Bob for a short while and know that he would not want things to go the way that they are going right now. I am not trying discredit Cornell or say anything bad about them. They are a fine institution. I am just trying to help them see what moving the archives would mean.

There is so much more to this material. It is not simply 'Bob's stuff'. In Bob's work, he always included colleagues and musicians in the development of his works. If we send these notes off to some storage facility where only scholars can reference them, most of this is lost. The BMF is connected with many of the musicians that worked with Bob. They have the ability to connect the information that Bob wrote down from the engineering standpoint and re-connect it with the musicians that worked with Bob to create it. I have witnessed this first hand. I am telling you, this type of documentation and interpretation would be impossible with the items at Cornell. Think of all of the nuggets that have come out of the BMF. Stories, video clips, etc. Remember all of those insights? It is almost as if Bob were still here. Cornell will most definitely have a totally different output. It will be much more sterilized and scholastic.

I saw first hand the work that Michelle and her team have done. There were literally rooms of material laying in in total disarray. One piece of gear that was salvaged by her team was the very last minimoog made from the original factory. The synth was barely salvageable at the time. That was in 2006. Had it laid there, out in the shed, exposed to the elements, do you think it would even be salvageable today? And, even if it were, do you honestly believe that Cornell would even restore it? In the list of items, it most likely would not be on the top of the list. But the reason that this synth was so iconic to save was that back in the day, Bob had the fore-site to know that something like this should be preserved. Remember, this was at a time when you couldn't give analog synths away! Bob was like that, he knew to save things not for himself or his own legacy, but because some day, these things will be important to someone.

Another example, the BMF has restored 100 recordings. I have heard some of these. Amongst them is a recording where Bob sent a minimoog prototype to Sun Ra to play with and asked Sun Ra to let him know what he thought of the synth. Sun Ra used it in a performance the night that they received it. They did not have a user manual or any instructions, they just went with it. Sun Ra recorded this performance and sent the tape to Bob. This was the first recording of the minimoog and it was also an iconic recording of a concert as well. I can tell you that if this recording goes to Cornell, no one will be able to hear it. The licensing rights will never be able to be cleared by them for public consumption. No way a record label will give that away easily. Way too broad of a license. Where as the BMF would be allowed to play these recording during their exhibits and seminars because they would be able to keep custody of the recording preventing broad public dissemination.

I could go on, but I have probably typed your eyes out! :)"

You'll find the petition here.


BMF Board President Bryan Bell Responds to Ileana Grams-Moog

"On July 26th, Ileana Grams-Moog issued an online statement regarding her decision to transfer Bob's archives to Cornell University. After much consideration, President of the BMF Board of Directors, Bryan Bell, has decided to issue an open letter to address the misinformation in that statement.

An Open Letter from Bryan Bell, President of the Board of Directors, The Bob Moog Foundation

The past three weeks have been hard ones for the children of Bob Moog and the staff, board, and friends of the Bob Moog Foundation (BMF). As President of the BMF Board of Directors, I am profoundly disappointed in Dr. Ileana Grams-Moog’s decision to withdraw her support for the BMF, a not-for-profit organization devoted to perpetuating Bob’s love of music and innovation, the manner in which she chose to do it, and her exclusion of key facts.

I knew Bob well. We were colleagues and friends for more than 30 years. During that time, we collaborated on projects and solved problems that changed the way music is made. I serve on the BMF board because it is the truest representation of Bob’s legacy. That is why I also know how sad it would make him to see what is happening in his name, and why we should all be asking Ileana a few questions.

What’s behind the sudden decision to take the archives away from the BMF?

On Feb. 14, 2013, after 18 months of personally and directly negotiating with Ileana, we agreed upon the BMF’s temporary custody of the archives and management of Bob’s Rights of Publicity (his name, image, signature, and voice). This was the first step towards a much larger agreement between us. In the words of the interim agreement, we were working “together in good faith to define and execute a mutually satisfactory [larger] Agreement as rapidly as possible,” or so I thought.

Suddenly, on February 25, Ileana notified me that she would not sign the interim agreement, based on information she had received from Moog Music President Mike Adams. (Note: Mr. Adams was a BMF board member at the time these discussions took place.) The BMF quickly addressed Ileana’s concerns in writing, concerns that she never voiced to me as the BMF board president and concerns that were later proven to have no basis in fact.

Why was there no consultation with Bob’s children about the future of their father’s archives and his Rights of Publicity?

What about money?

We all agree that Bob’s legacy is priceless, but his share of Moog Music and his Rights of Publicity have price tags. Because Ileana has chosen to publically disclose the BMF’s offer to purchase the archives, I challenge her to disclose the detailed terms, both financially and legally, of her sale of Bob’s share of Moog Music and her sale of Bob’s Rights of Publicity to Mike Adams.

Was there a financial contribution to Cornell from Moog Music regarding the archives? Will Moog Music, for example, have access to the Cornell Archives for their commercial purposes? Will the Bob Moog Foundation and Bob’s children have access to the archives for their own use?
Has The BMF been a good steward of Bob’s archives?

The answer is an unequivocal YES. For seven years The BMF has consistently acted in the best interest of Bob's legacy, rescuing his archives from moisture, dirt and mildew; storing the archives in secure climate controlled storage; entering into a lease with the N.C. Department of Cultural Resources to secure state-of-the-art archival facilities in Western N.C.; and making the difficult but prudent decision to defer a capital campaign to fund building of the Moogseum.

Ileana has said that her decision to move the archives was based, in part, on the fact that construction has not started on The Moogseum, the eventual Asheville home for Bob’s archives. At no time did she ever communicate that requirement to the BMF Board or me. Furthermore, during her tenure as president of the BMF Board, Ileana personally oversaw the decision to postpone the Moogseum’s capital campaign until the economy recovered from the nation’s worst financial crisis since the Great Depression. The economy aside, great museums take a long time to build. The Rock and Roll Hall of Fame, for example, took 16 years to plan before breaking ground.

The BMF’s leadership, board and staff have intentionally stayed above the fray, and we encourage our supporters to do the same. Ileana’s decision to move the archives, which was announced in a press release written and distributed by Moog Music’s public relations firm and posted on Moog Music’s website, has unleashed negative comments, many of which raise questions about the role Mike Adams and Moog Music played in Ileana’s sudden change of heart. The BMF has chosen to take the high road, and we will continue to do so, despite many inaccurate comments from Ileana and Mike Adams. That’s what Bob would expect of us. But Ileana’s decision and its timing, the wording of the announcement and the secrecy surrounding its release raise troubling questions about whose interests are really being served by Ileana’s actions.

As for The BMF, we will continue to do what we do best – inspiring and igniting creativity through historic preservation of the Bob Moog Foundation Archives and creating programs like Dr. Bob’s SoundSchool, that introduce children to the power of music, science, and innovation. Nothing would have made Bob happier or prouder.

(Trademarks referred to in this letter are the property of their respective owners)


Bryan Bell, President

Bob Moog Foundation Board of Directors

Bryan Bell is President and Founder of Synth-Bank Consulting, LLC (Synth-Bank®) a technology practice focusing on using technology to enhance business and creative processes. Bryan spent 20 years consulting and pioneering technology innovation for high-profile corporations and entertainers, including Apple, Domain Chandon, NBC, GEIS, Herbie Hancock, Carlos Santana, Neil Young, Branford Marsalis and INXS. He has served continuously for over 20 years on the board of directors of The Bridge School. Bryan holds a DIS from Harvard University’s Graduate School of Business Administration and has been a speaker at conferences around the world. Bryan Bell’s latest music production project, “Duality”, by Nestler and Hawtin was recently released on iTunes."

Saturday, February 16, 2013

CENTRIC Tech 003 - Pink Floyd Midi Sequence: iPad to Analog

video upload by

Published on Feb 16, 2013 CENTRICvideo·7 videos

"In this episode I demonstrate the iPad Camera Connection Kit's ability to process midi in and out simultaneously. To do this I play Pink Floyd's "On The Run" sequence using the Little Midi Machine App for iPad to send midi to a Novation Bass Station analog synth, while play the bass riff for "Money" on the iPad app Animoog via an Arturia midi controller. Furthermore I show how you can actually control the sound parameters of an external synth using a custom made midi template in the app Midi Designer"

Little MIDI Machine - Synthetic Bits, LLC
MIDI Designer Pro - Confusionists LLC
Animoog - Moog Music Inc.
iOS Devices on eBay - Daily Tech Deals

Update via David Warman in the comments: "The CCK driver in iOS is actually very complete. I have the following hooked up to my iPad (3rd gen) in my desktop setup:

7 port USB 2.0 hub with:

USB MIDI from an Akai SynthStation 25

USB Audio Mobile-Pre

USB MIDI (1x el cheapo) gateway to/from my MIDITap network (leads to my Mac and external synths and A-80 keyboard)

USB MIDI (2 logical ports) from UC-33 pot box with a KX-5 on its external MIDI port

USB MIDI Korg nanoKONTROL2 pot box

USB MIDI (1x el cheapo) PG-300 pot box for MKS-50 (external device) - need mapper from its Sysex to CC for iPad controls

USB LED lamp (doesn't really count except for power)

I power the hub from a 12Ah USB charger battery, seemingly never runs down. Everything else is USB powered from the hub.

Everything shows up in MidiBridge and works as expected, no noticeable latency playing live into any of the mIDI devices.

You can tell I'll be first in line for the iConnectMIDI4+ :)"

Friday, July 20, 2012

NLogSynth PRO & NLog MIDI Synth Updated

"Today new updates 5.0 of NLogSynth PRO for iPad and NLog MIDI Synth for iPhone/iPod touch will be available via App Store for free.

While working hard at the new NWave app in collaboration with Waldorf, we took some time to update the classic virtual analogue synth apps of TempoRubato. In the last couple of months the codebase was renewed to add flexibility for projects like the NWave app and more to follow.

The NLogSynth update adds most wanted user requests and further complements the app with outstanding features:

- MIDI Learn
- Overdub Recording & Looping
- Sound Bank Import & Export
- True Mono/Legato Mode
- Export Media Files in another App
- Core MIDI Network Support
- Reset Parameter to Default Value
- Full MIDI CC Range 0-127 for external control
- New Default Sound
- Running Phase parameter improved & fixed.
- Update to new SDK for Akai SynthStation 25
- Modulation of the keytrack source has been increased within modulation matrix (iPad only)
- The “flat” setting for envelope slopes fixed (iPad only)
- Optimization for devices with arm7 based CPUs
… and many other fixes and improvements.

Our feature lists are fully packed with further ideas, user requests and more for upcoming updates. TempoRubato will continue to further develop NLogSynth apps apart from releasing new apps.

The Mac standalone app and AudioUnit version of NLogSynth will follow with a corresponding update in the following weeks.

Happy Synth!"

tempo rubato
iPads on eBay
iPod Touch on eBay

Friday, May 18, 2012

SoundPrism 2.5 Update - Videos

Note: Auction links are affiliate links for which the site may be compensated.
YouTube Published on May 18, 2012 by Audanika

"An overview over all the new features in SoundPrism and SoundPrism Pro 2.5"

Update: SoundPrism 2.5
SoundPrism Pro and StepPolyArp
SoundPrism 2.5 Sound Demo with MoDrum, NLog Pro and Sunrizer
MIDI-In in SoundPrism Pro 2.5
Touch Point Visualization in SoundPrism
Switching between Keyboard View and Pitch Selections
Velocity in SoundPrism Pro 2.5
Advanced MIDI Settings in SoundPrism Pro 2.5
Disabling "React to local MIDI" in SoundPrism Pro 2.5
Enabling Fullscreen Mode in SoundPrism

SoundPrism Pro - Audanika GmbH
StepPolyArp - Midi Step Polyphonic Arpeggiator - Laurent Colson
MoDrum Rhythm Composer - finger
NLogSynth PRO - tempo rubato
Sunrizer synth - BeepStreet

iPads on eBay

The press release:

"Erfurt, Germany, March 18th 2012

Audanika, developers of the iOS touchscreen instruments SoundPrism and SoundPrism Pro have today released a new version of their popular apps featuring new MIDI control features (Pro only) and support for the new gorgeous display of the new iPad. SoundPrism, which has already been downloaded by more than 500,000 musicians, producers and DJs lets users create pleasing music using a simple and beautiful interface without any prior knowledge of music theory.

With its new MIDI features SoundPrism Pro is now able to be used as a destination for other MIDI controllers which means its sound packs can be triggered by other iOS MIDI apps, or even external controllers like USB MIDI-keyboards. It is now even possible to route the MIDI information generated by SoundPrism Pro to iOS arpeggiators like StepPolyArp and back again into SoundPrism Pro. Furthermore SoundPrism Pro is now also compatible to the DSMI standard which lets it connect to Mac, Windows and even Linux systems.

To get a better idea of the amazing possibilities of SoundPrism Pro’s MIDI control features take a look at our YouTube video here.

Soundprism Pro can connect with your PC/Mac via a wireless network or USB MIDI using the iPad Camera Connection Kit. It is available for $7.99 (50% sale from $15.99 for a limited time) whilst the standard app is a free download.

About Audanika
Audanika GmbH creates innovative digital music instruments. We're a group of academics with a background in software development and new media who have dedicated large parts of our lives to either learning, playing or teaching music. Our goal is to enable more people to do so and fall in love with their creations just as we did."

Saturday, November 26, 2011


via this auction

"This is the Receptor PRO Jr., meaning it has the upgraded CPU and RAM but origanlly had 400 gb smaller hard drive and was upgraded to a 750 gb drive which was the largest in this series of units, so you have more than enough space.

It is mounted within a 2"foam re-inforced Anvil road with removable front and back case.

Also included are the following software programs (worth hundreds of dollars): Spectrasonics Atmosphere, Native Instruments B4II, Kompakt Nostalgia, Bosendorfer Ivory, MTron, and SampleTank 2. Look them up. You would pay over $800 in software to buy these package programs. I have never toured with this rig and it has limited hours on the machine. I used it in 2008 for a recording session. The strings/mellotrons on Rocco Deluca's "Mercy" album, recorded with Daniel Lanois were from this Muse Receptor.

Also incuded is a 17" Envision Monitor, a full sized typing keyboard and a mouse.

Other soft-synth programs that come inside this machine ( I am picking out the better ones... ) include: 4 Front Bass Module, 4 Front EPiano Module, 4 Front Piano Module, 4 Front Rhode Module, A Sine, Cheese Machine, Claw, ComboSister, CosmoGirl, Crystal, daAlfa2k, daHornet, Delay Lama, Drawbar, Drum Kid 4, DX10, E-Flex, EMM Knagalis, Enigmatron, ePiano, EVE, Express 3, Free Alpha, GTG 7, GTG Micro, JG-3, LogSynth, MPS.1, Mysteron, OnePingOnly, Pandemonium, PDPoly, Piano, PQNCooly, PQN Mopar, sf2, Synger

Sunday, August 28, 2011

shape sample test

YouTube Uploaded by humbletune on Aug 28, 2011

"Just a small shape synth sampler test. You can use the internal mic, but I used the iRig and an external one..."

"--- :::: NEW :: CoreMIDI :: /NEW :::: ---

Shape is a polyphonic synthesiser allowing the user to draw the shape of the oscillator waveform. The positive side of the oscillation is represented by 32 blocks and the negative side is its mirror, generating all sorts of possible raw retroish sounds. Shape is best experienced with akai synthstation 25.

Powered by Sparrow.

+++ 16 voices.
+++ Attack.
+++ Decay.
+++ LFO envelope.
+++ Delay.
+++ Akai synthstation 25 compatible.
+++ CoreMIDI (USB or Network).
+++ On screen 25 key stylophone style keyboard.
+++ Arpeggio.
+++ Tape.

Support for Akai Pro's SynthStation25 keyboard controller is included. SynthStation25 delivers instant hardware control for improved performance capability and expression. For more information on SynthStation25, visit

What's New in Version 1.6

+++ Email tapes (send on export on/off button in settings).
+++ Embedded file manager (email files, delete files).
+++ CoreMIDI input (tested with camera connection kit and wifi).
+++ Sequencer.
+++ myTape number setting (allows you to reset/set this unique character.)."

shapesynth - Erik Sigth
iPads on eBay
iPod Touch on eBay

Thursday, December 09, 2010

The Rhizome Now Available

YouTube via Feeltune

"The Rhizome: the groove machine with and for VST has just been released.

The dream to combine the power of a PC and the ergonomic of a real musical instrument is becoming reality.

Feeltune announces the release of the Rhizome; one of the highlights of the MusikMesse when it was first presented last March. Many sites and magazines rated it best of the 2010 trade show! The Rhizome is the future of groove machines.

What are the differences with the competition? The Rhizome is a hybrid in which you install virtual instruments and effects in a VST/VSTi format (For Pc). No more limitations in terms of sounds and effects; with the Rhizome you choose the style of sound and instruments you want to play. Once downloaded you can mix your plug-in with the mixing desk; create your sequences, patterns and tracks with the multi modes and multi tracks sequencer which is the brain working behind the scene.

What are the differences with the other hybrids already on the market? The Rhizome is not just a keyboard with a Pc or a Pc Rack; it is a real musical instrument which has been designed for the pleasure to play and compose music and is equipped with software running an innovative interface with numerous displays and controllers.

The Rhizome is a real-time instrument: programming, recording, sampling, adding instruments and effects, tuning; all you do is live! There is no interruption when you play on stage or record in a studio. The objective: to free up your inspiration and creativity.

The development of the Rhizome took several years of R&D; 50 engineers and the validation of around 10 user groups. Today the Rhizome is an aggregate of the best technology and know-how.

For the Audio it is RME that does the job; it has been chosen because of its stability and sound quality which is recognized by everybody.

For the display; forget the small monochrome displays; the Rhizome offers 4 large displays (24 bit colors)

For the controllers; the Rhizome has 102 controllers in which you find 16 dynamic pads and 32 endless knobs

You get the Windows XPE which is a version of Windows XP Pro that has been redesigned and compiled especially for Feeltune. It offers a better stability and a total compatibility with VSTs.

For the effects and instruments; some of them have been developed by Ohm Force, well know key player of the market.

A Design and solid ergonomic; a size and weight that allows bringing the Rhizome with you as hand luggage when you travel by plane.

For its embedded system; you get power and reliability: Intel processor and mother board, server AC, silent fans.

Software, proprietary electronic card and box: build, assemblage and control in France.

Connections: The several in/out allow you to connect and use screens, mousse, midi controllers; hard disk and/or additional audio card.

Communication: The Rhizome is the first instrument to totally implement CopperLan; a new protocol that above the Midi transcription really revolutionize the communication between audio-video machines.

Technical Specifications

Rhizome SE :
- Intel Core 2 Duo 2,93 GHz x 2
- RAM / HD : 2 Go / 250 Go
- Plugs : 1 FireWire, 6 USB, 1 DVI, 1 HDMI, network Gigabit 100/100
- Audio : 1 headset, 2 balanced analog inputs and 2 balanced analog outputs, 1 ADAT, 1 SPDIF/AES, 1 E/S MIDI
- Feeltune software :
o Multitrack sequencer
o Virtual mixing desk
o VST/VSTi Host
o Drum Sampler
o Program Sampler
o Effects: Vocoder, Reverb, EQ, Distorsion, Filter, Flanger, Chorus, Delay, Compressor, Limiter, Bit Crusher, Pitch shifter, Stereolizer, Auto Pan, Enveloper, Multiband distortion, Deeser
o Synths : AcidLiner, SimpleSynth, Napper, TR 8s8, TR 9s9, TR6s6, TR 7s7, TR 7s27, L1nn Drum, DrumLator
- Ohm Force Sympthom synth
- CopperPlug LE (over lan control)

Dimensions : 52,4 x 42,7 x 14,1 cm (20.63 x 16.81 x 5.55 in)
Poids : 12,5 kg (27,55 lb)

Rhizome XE :
The same than SE with :
- Intel Core 2 Duo 2,93 Ghz x 2
- RAM / HD : 2 Go / 250 Go
- 6 balanced analog inputs
- Gforce Oddity
- Gforce Minimonstra
- Tight VNC
- CopperPlug MAX (over lan control)

Rhizome UXE :
The same than XE with :
- Intel Core 2 Quad 2,5 Ghz x 4
- RAM / HD : 4 Go / 500 Go
- Gforce Oddity
- Gforce Minimonstra
- Tight VNC
- CopperPlug MAX (over lan control)
- Other software sequencers or VST host compatible
More informations, medias and customer forum at"

Wednesday, April 21, 2010

Wireless MIDI via OSC using Pianist Pro

Another step closer. Is this the first iPad instrument/synth app with native OSC support?
YouTube via MooCowMusic — April 21, 2010 — "New for Pianist Pro in the V1.2 update.

Control your DAW and hardware synths wirelessly via OSC with Pianist Pro. Use Pure Data (a free application for both OSX and Windows) on your PC to receive the OSC calls and translate them into MIDI messages to suit your setup.

Play your digital piano from the sofa, or even from another room...

For more information see our website at-"

via MooCowMusic:
"We've added OSC support so that you can use your iPad to control your DAW or hardware synths wirelessly. All you need to do is install a simple (and free) application called "Pure Data" onto a PC / Mac on the same wireless network as your iPad, and use the provided patch to convert the OSC messages sent by Pianist Pro into MIDI messages. Those MIDI messages can be recorded on your DAW, and control soft or hardware synthesisers. Pure Data patches are easily configured to suit your setup. Play your digital piano from your sofa, or even from another room!

We are just putting the finishing touches to this free update and hope to have it submitted to Apple in the next couple of days.
For more information about Pianist Pro, please see our website-"

moocowmusic on iTunes:

Another step closer. Is this the first iPad instrument/synth app with native OSC support?

The holy grail will be the ability to go directly from your iPad to your hardware synths for multi-track sequencing (with virtual sliders and knobs to control assignable parameters), along with the ability to sync your native iPad synths with your external gear, all, of course, wirelessly. The only way this will scale across multiple apps is if we have a new standard - here's hoping OSC becomes that standard.

Currently I'm aware of three manufacturers with hardware MIDI for the iPad:
Akai's SynthStation25
Line 6's MIDI Mobilizer
iConnectivity's iConnectMIDI
I'm not sure if any of these plan to use OSC. If you are watching, please look into this.

Currently I have my eye on iConnectMIDI. There's no mention of OSC, but if you look at the iPad/iPhone app icons on their website, you will see what looks like an icon for Pianist Pro.

BTW, I just created an OSC label. As you can imagine searching on OSC brought up a ton of posts mentioning oscillators rather than Open Sound Control. That said, I'm sure I'm missing a ton of OSC posts in the archives. If you spot any, comment in the post, or shot me an email and I'll update it.

Patch n Tweak
Switched On Make Synthesizer Evolution Vintage Synthesizers Creating Sound Fundlementals of Synthesizer Programming Kraftwerk

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