Wretch Jam #6

Published on Apr 19, 2014 Smokey Quartz·7 videos

"Another wretched jam with the Metasonix Wretch Machine, D-1000, and R-56."

All parts here.

Introducing Intellijel SEALEGS Eurorack Delay Module

video upload by mylarmelodies

"Yarr!! Today Intellijel be commission' me to demo their new stereo delay module with added reverb! First tutorial, then jams from 21:01!

JOIN ME PATREON & SUPPORT THE SHIP!
➡️ https://www.patreon.com/mylarmelodies

CHAPTERS
00:00 Intro Montage
01:01 What Be Sealegs?
02:42 Learn the Ropes (Panel Walkthru)
12:00 Modes: TAPE
14:24 Modes: BBD
16:59 Modes: DIGI
20:34 Rhythmic Delay Jam!
25:15 Sealegs on Drum Machine!
30:33 Fog (Reverb) Only!
33:13 Chorusy Stereo and Karplus Jam!
35:41 Self-CV-Modulation Jam!
38:38 Driven & Colour CV Mod Jam!
41:24 Wobbly Plaitsy Jam
45:06 Ambient Seafoam
47:56 Join the crew"

And a video coming up from Intellijel: Update: video is now live.

Intellijel Sealegs

video upload by Intellijel

"Our design goal for Sealegs was to create the warmest, most musical and organic delay module possible — something that would sweeten and enhance any audio one chose to feed into it. As such, great care has gone into modeling the most distinctive and desirable sonic characteristics of three different types of delay circuits: Tape, Bucket Brigade, and Crossfading Digital.
A plethora of onboard controls enable you to dial in exactly the sound you want; synced or un-synced delays times (for both left and right channels); saturating input drive; a built-in modulator with 7 morphing waveshapes, Wow & Flutter emulation, and an envelope follower; plus dedicated low- and high-pass filters; built-in hiss & crackle noises; per-model color controls; a spacious reverb; and a re-configurable signal flow through the unit. In addition, attenuverted modulation inputs abound — ensuring the delay ebbs and flows with your musical needs.

Features:
- Three Unique delay models — Tape, Bucket Brigade, and Crossfading Digital
- Per-model Color, Modulation behavior, and Saturation/Limiting
- True Stereo delay with separate L/R buffers
- Three Stereo configurations (PONG, Time/Width, L/R)
- Three Range variations for short Chorus/Flanger style delays to Long ambient repeats.
- Up to 6(L) and 8(R) seconds of delay time (Width can add up to 33% to Time)
- Built-in modulator with Wow & Flutter, Envelope Follower, and 7 morphing wave shapes
- Lush 1970s-inspired reverb with 3 insert positions.
- Saturating input drive with level trim
- Stable external clock (or tap tempo) sync for Delay Times or Modulation
- Highpass and Lowpass filters for filtered repeats
- Freeze functionality for holding the buffer and looping
- Nine CV inputs with attenuverters
- 96 kHz 24-bit Stereo I/O and 32-bit floating point internal processing"

Tone Science Module No.2 Elements and Particles Demo Mix

Tone Science Module No.2 Elements and Particles, set to be released on Oct 19, features the following supporters of MATRIXSYNTH: Todd Barton, Parallel Worlds, and Dave Bessel.

Details:

"Various Artists Tone Science Module No.2 Elements and Particles DiN:TS02

Release date 19th October 2018

Limited to 500 copies. Digipak CD format.

Tone Science sub-label, from DiN records, continues to explore the world of modular synth music.

This second compilation “Module No.2 Elements and Particles”, like its predecessor, features nine artists from different musical backgrounds with the common thread being that all the tracks were composed entirely with a modular synth system.

The album opens and closes with the ambient soundscapes of two tracks by Todd Barton and
 r beny. Barton is a world renowned exponent of Buchla modular systems as well as the Music Easel employed on this track. Austin Cairns (aka r beny) has a penchant for lo-fi looped synth atmospheres which combined, in this case, with a field recording creates a haunting, evocative piece. The next three pieces by Bluetech, Parallel Worlds and Paul Nagle build up rhythmic and sequenced elements with a fascinating amount of detail that modular systems are so good at. They also all use various methods to produce a poly-rhythmic, fractal feel as patterns shift and change throughout their tracks. The middle of the album then sees a fascinating experimental ambient interlude by Dave Bessell (a member of the synth group Node) using waveguide physical modelling in the analogue domain. The second half of the album has a rawer, more gritty feel with Richard Quirk building up a crescendo of wonderful textures in his track “Radar Hill”. This is followed by Hainbach using the exotic Ciat-Lonbarde series of hand built instruments to produce, in his words, a piece of “pure electronic music”. Nathan Moody then brings proceedings to a climax with a gnarly, muscular track using a Buchla modular system before the blissful ending piece “Marine Layer” closes out the 60 minute sonic journey the listener has just travelled.

Boddy has curated both the artists and tracks on this album to flow in a musical way and not just be a collection of equipment heavy demos. Though fascinating and always cool to look at, it is important not to get lost in the gear for gear’s sake syndrome. Having said that this album features Eurorack, Serge, Buchla & Ciat-Lonbarde modular systems and the nine tracks show how varied and flexible these instruments can be.

'Tone Science Module No.2 Elements and Particles' continues the journey down the rabbit hole of possibilities and sound worlds inhabited by artists and musicians working in this ever fascinating and varied musical field.

01 Floating World by Todd Barton 8:41
02 Magnetic Lullaby by Bluetech 6:36
03 Additive Procedure by Parallel Worlds 5:56
04 Euneirophrenia by Paul Nagle 7:52
05 Overtone by Dave Bessell 6:37
06 Radar Hill by Richard Quirk 7:22
07 Your Strange Glitter by Hainbach 5:02
08 Prophet & Loss by Nathan Moody 5:02
09 Marine Layer by r beny 7:02

Total Time: 60:24

Released by: DiN

Release date:
19 October 2018"

Buchla Music Easel & Vermona Drum

Published on Jul 4, 2014 DJjondent

"Mucking around with the BEMI Buchla Easel and a Vermona DRM 1.
The Drum is triggered via a Synovatron CVGT1 & Delphtronics TriggerMan. Towards the end I'm testing a Metasonix R-56 Reverb.

The distortion dial is pure evil (or is it genius). I love the sound of Vacuum Tubes in the night. Thanks AC.

I'll post some pics later on my blog."

Plant Music #1 (Knas + MIDI Sprout)

Published on Jan 24, 2017 Smokey Quartz

"In this video I try out the MIDI Sprout for the first time, connecting a Flamingo Flower (Anthurium andraeanum) to the Knas Ekdahl Polygamist synthesizer. The MIDI Sprout is a “Biodata Sonification Device” that allows plants to play synthesizers! Everyone and everything should be allowed to play synthesizers! Listen to how the sounds change as I touch the plant leaves and flowers."

CLICK FOR MORE »

Wretch Jam #7

Published on Apr 20, 2014 Smokey Quartz·8 videos

"Another hypnotically horrible Wretch jam with the Wretch Machine and R-56 spring reverb module."

All parts here.

Final Set of A-Z of Analogue Synthesisers

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

via this auction

The listing is from the author Peter Forrest who states this is likely the last set.  These are great books and imo the most comprehensive.  Click on the pics to get an idea of what they are like.  Peter also has other items listed including The Museum of Synthesizer Technology and Synthesizer von Gestern II.

CLICK FOR MORE »

Tone Science Module No​.​2 Elements and Particles (DiN​:​TS02)

"Tone Science sub-label, from DiN records, continues to explore the world of modular synth music.

DiN was initially set up in 1999 by well known UK synthesist Ian Boddy to bridge the gap between the analogue music of his heritage and the emerging digital possibilities of the future. This label has always forged its own independent path and to date has released 56 physical CD albums as well as 21 download only releases.

Even after being involved in music since the late 1970’s Boddy has continued to explore new sonic territories and in 2016 he released what was probably his most experimental album in “Tone Science” (DiN48). This album comprised five long, slowly evolving self playing compositions realised entirely on his vast arsenal of modular synthesisers. Boddy’s love of the analogue sound has been well documented not only through his own releases but many sound and sample libraries. These instruments all but disappeared in the 1990’s but recent years has seen an unprecedented growth in interest in this form of synthesiser with a proliferation of both module manufacturers and performers using these highly flexible and personal systems.

Thus, inspired by his “Tone Science” release, Boddy has set up this sub-label to feature artists and performers working in the field of modular synthesis. The first release “Module No.1 Structure and Forces” was released in March 2018 and has garnered a lot of critical acclaim. This second compilation “Module No.2 Elements and Particles”, like its predecessor, features nine artists from different musical backgrounds with the common thread being that all the tracks were composed entirely with a modular synth system.

The album opens and closes with the ambient soundscapes of two tracks by Todd Barton and
 r beny. Barton is a world renowned exponent of Buchla modular systems as well as the Music Easel employed on this track. Austin Cairns (aka r beny) has a penchant for lo-fi looped synth atmospheres which combined, in this case, with a field recording creates a haunting, evocative piece. The next three pieces by Bluetech, Parallel Worlds and Paul Nagle build up rhythmic and sequenced elements with a fascinating amount of detail that modular systems are so good at. They also all use various methods to produce a poly-rhythmic, fractal feel as patterns shift and change throughout their tracks. The middle of the album then sees a fascinating experimental ambient interlude by Dave Bessell (a member of the synth group Node) using waveguide physical modelling in the analogue domain. The second half of the album has a rawer, more gritty feel with Richard Quirk building up a crescendo of wonderful textures in his track “Radar Hill”. This is followed by Hainbach using the exotic Ciat-Lonbarde series of hand built instruments to produce, in his words, a piece of “pure electronic music”. Nathan Moody then brings proceedings to a climax with a gnarly, muscular track using a Buchla modular system before the blissful ending piece “Marine Layer” closes out the 60 minute sonic journey the listener has just travelled.

Boddy has curated both the artists and tracks on this album to flow in a musical way and not just be a collection of equipment heavy demos. Though fascinating and always cool to look at, it is important not to get lost in the gear for gear’s sake syndrome. Having said that this album features Eurorack, Serge, Buchla & Ciat-Lonbarde modular systems and the nine tracks show how varied and flexible these instruments can be.

“Tone Science Module No.2 Elements and Particles” continues the journey down the rabbit hole of possibilities and sound worlds inhabited by artists and musicians working in this ever fascinating and varied musical field.
credits
releases October 19, 2018

1. Todd Barton Floating World 8:41
This is an exploration of layering various timbres and textures, each having its own
diverse panning structure and speed. Performed on a Buchla Music Easel with a
TC Electronic Ditto x4 looper and TC T2 reverb.
toddbarton.com

2. Bluetech Magnetic Lullaby 6:36
Multitracked sequencers in long takes at different clock speeds to get a fractal layer of shifting melodies evolving at different rates with Strymon modulation at different times for complexity.
bluetechonline.com

3. Parallel Worlds Additive Procedure 5:56
Eurorack, Analogue Systems and Serge modular systems, using harmonics created via waveshaping/wavefolding & the Verbos Harmonic Oscillator & RS370/375 Polyphonic Harmonic Generator.
parallel-worlds-music.com

4. Paul Nagle Euneirophrenia 7:52
The peaceful state of mind after a pleasant dream. In this mellow polymetric excursion, Cirklon's CVIO juggles a Quadnic, NW1, Plonk, Rings and Plaits.
bogusfocus.com/pn/

5. Dave Bessell Overtone 6:37
Between two worlds, the technical and the theatre of the imagination, the apparently real and the obviously synthetic play hide and seek with your perception. Realised with an all analogue signal path, this is a study in waveguide physical modelling.
sites.google.com/site/davebessellmusic/home\

6. Richard Quirk Radar Hill 7:22
This track is taken from an ongoing collection of music based on abandoned radar stations. Created with an AJH Eurorack system along with a Voltage Multistage, Bark filter, Magneto delay, Radiomusic and a tube Echoplex.
richardquirkmusic.bandcamp.com

7. Hainbach Your Strange Glitter 5:02
Aiming for purity I focused entirely on the Ciat-Lonbarde Plumbutter, Sidrax and Cocoquantus. I wanted this piece to feel like “synthesizer music”, clear and shimmering, yet alien, not rooted in a real acoustic space.
hainbachmusik.com

8. Nathan Moody Prophet And Loss 5:02
This piece was created using a Buchla modular synthesizer (200 & 100 series modules) as a meditation on the false piety of tyrannical populists in the early 21st Century.
nathanmoody.bandcamp.com

9. r beny Marine Layer 7:02
Fog conjuring with Mutable Instruments Rings loops being processed by Orthogonal Devices ER-301, Mannequins Three Sisters, and Strymon Magneto.
rbeny.bandcamp.com


Total Time 60:24
license
all rights reserved"

Follow-up to:
Tone Science Module No.2 Elements and Particles Demo Mix
Todd Barton Autumn Tour & New Release

A Space Full Of Everything | Modular World 2 Year Anniversary Performance | Sworn64

video upload by Sworn64

"Modular Synthesizer Performance From The Modular World 2 Year Anniversary Show"

Full show (part 2 further below):

2nd Anniversary Show (Part 1, May 14)
video upload by Modular World

"Spanning two days (May 14 & 15, 2022), 140 Artists from 23 countries will come together for this historic celebration of the global modular synthesizer scene as Modular World celebrates its 2nd Anniversary.

0:00 - Intro/outro music:
IIITAIII, from his brand new release, Panic In Slow Motion, available for the first time TODAY:
http://iiitaiii.bigcartel.com/
https://www.instagram.com/iiitaiii/
05:03 - Welcome to the show!

Artists performing (in blocks) on May 14, their countries and Instagram handles:

CLICK FOR MORE »

Rare Dewanatron Swarmatron FM Modulation Analog Ribbon Synthesizer

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

via this auction

"For your consideration is a very rare Swarmatron 8 Oscillator FM Modulation Analog Ribbon Synthesizer. It is in excellent physical, and 100% operational condition. Please refer to the specs and description below. Payment via paypal to include $ 85.00 shipping in the Continental U.S. within 48 hours of auction end. Overseas or International shipping is set at $ 250.00

This is a synth like no other, eschewing conventional controls, nomenclature and even an ordinary on/off switch. Is it destined to become a cult classic?

CLICK FOR MORE »

$220,736.00 / 160,000.00 Euro Synth Auction

via this auction

This one spotted by Adrien.

The list:
"1. ARP AXXE
2. ARP PRO DGX
3. ARP QUADRA
4. MOOG Realistic MG 1
5. MOOG Polymoog Keyboard
6. MOOG Polypedal Controller
7. MOOG Taurus II mit Pedal
8. MOOG Keyboard Controller 950
9. MOOG Memorymoog
10. MOOG Satellite
11. MOOG Sonic Six
12. Korg Trident MK II

CLICK FOR MORE »

A few cool KORG microSTATION patches

Published on Aug 29, 2018 SynthMania

00:10 L/R Piano
01:34 Suitcase
02:29 DarkJazzOr
03:26 Slow Choir
04:30 Fresh Vox
06:19 Film Brass
07:14 TremoloGtr
07:55 PureSynPad
08:49 DW8000Lead
09:39 PowerKit 2
10:29 Night EP
10:40 Wurly Jam
13:02 ElectroEye
13:57 Dream Pad
14:56 HardRock74
16:34 Misty Rain

AJH Synth Wave Swarm *Turn 1 VCO into 12 or your new "MAKE IT BIGGER" generator*

Published on Aug 10, 2018 DivKidVideo

"TIMING INDEX / SECTIONS BELOW - Here's the new Wave Swarm from AJH Synth. It's a dual 6 stage wave animator that can function as two independent (can do stereo) multi stage waveform animators or one big 12 stage animator. The animation is based on creating shifting versions of the input wave which when stacked with the dry sound or when stacking several stages sounds like mixing several detuned oscillators together. You can play around with each stage to emphasise or minimise the tremolo like sounds from the phase cancellations as the sounds modulate against each other. Typical applications would be turning a saw wave into a super saw but it will also do gorgeous subtle shifts in tone and harmonics with softer sines and triangles too. It will create thicker and almost glitchy effects with already modulating wavetables and complex tones while continuing to track the input wave. Determined to bend and push it beyond the basics I used it as a two distortion device and a weird wonky clock generator too.

TIMING INDEX / SECTIONS

00:00 Hello and previews of what's to come

00:56 Feature run down

01:31 Sound demo - triangle waves - looking at turning triangles to sines and then soft clipping them alongside the 6 stage animation

02:50 Sound demo - saw waves - making super saws! 6 stage and 12 stage animation

04:16 Stereo sources - two oscillators tuned a fifth a part animated independently one in each channel of the Wave Swarm. Looking at independent processing down stream for a wide stereo sound too.

05:53 Animating already complex waves - using the new V-Shape to twist and distort/fold a sine wave into something already complex and moving then letting the Wave Swarm further animate that for unison modulated 'stacks' of the sound. There's also some clipping to round off the wave.

08:14 Animating morphing wavetables - a second patch with more complex already modulating/morphing inputs. We also get into dual layer processing with the two outs here to create more simple pulses then swells of big detuned sound for more interesting patching from a single source.

12:42 Trying to animate drum sounds - also using the clipping stages as a dual (in series) distortion to drive the low end in some drum beats.

14:15 Wave Swarm - the new hot clock module! Ok ... maybe not, but while pushing and pulling this thing around as I often do before filming I managed to get one of the internal LFOs from the animation stages to feedback and 'thump/click' through the output. I used this as an audible percussion source as well as a clock source for clock dividers/multipliers and then made a beat from it. Adding other animation stages in creates a wonky clock that seems to trip over itself. This great as the modules down stream "trip up" and go a bit chaotic.

16:20 Stereo Wave Swarm animation, AB mono additional shaping and a lovely musical drone bathed in Finaliser R-EQ verb."

Musikmesse: Cakewalk announces the SONAR V-Studio 100 portable music production studio

"Cakewalk® Announces SONAR V-Studio 100™

—Second product in the SONAR V-Studio line of integrated hardware and software from Cakewalk and Roland provides a compact, feature rich music production studio that enables musicians to create, record, produce, and perform music with or without a computer. SONAR V-Studio 100 integrates a USB 2.0 Audio Interface, DAW Controller, Digital Mixer, SD Recorder, and VS Production Pack for Mac & Windows—

Frankfurt, Germany, Musikmesse (Hall 5.1, Walkway B, Stand 56) (1 April, 2009) - Cakewalk, the world's leading developer of powerful and easy to use products for music creation and recording, announces the SONAR V-Studio 100 portable music production studio.

Essential tools for music production in one affordable package

SONAR V-Studio 100 elegantly combines the most essential tools needed by today's modern music producers and performing musicians in a compact and affordable package.

* High Speed USB 2.0 Audio Interface
* Universal DAW Controller
* Personal Digital Mixer
* SD WAV Recorder
* VS Production Pack suite of virtual instruments and effects (Mac/Win)
* SONAR VS digital audio workstation (Win)

Use SONAR V-Studio 100 with or without a computer

Customers can take control of their music productions by using the VS-100 as a 24-bit/96 kHz high speed USB 2.0 audio, MIDI interface and universal DAW controller. SONAR V-Studio 100 also includes the VS Production Pack, a powerful suite of high quality instruments and effects. The VS-100 hardware and VS Production Pack have been designed to enhance productions on both Mac and Windows in conjunction with popular DAW software including SONAR, Cubase, Logic, Ableton Live, and others. For PC customers just getting started with digital recording, SONAR V-Studio 100 includes the SONAR VS digital audio workstation.

When inspiration strikes, the VS-100 is the ideal tool to get ideas down fast, without the need to boot up a computer. In standalone mode, the VS-100 hardware functions as a personal digital mixer and SD Wave recorder. Customers can use the VS-100 to record and mix rehearsals and live gigs and can also use it to play backing tracks (even while recording). Customers can then simply transfer the stereo recordings to their favorite DAW software to use as the basis for new tracks or for further editing and sweetening, to upload to the Internet, and more.

Second product in the next generation SONAR V-Studio line

SONAR V-Studio 100 is the second product in the next generation V-Studio line of Cakewalk branded hardware and software solutions from Cakewalk and Roland. Following the release of the flagship SONAR V-Studio 700, two great music technology leaders have again combined the best in hardware and software engineering to address the varied needs of today's modern music producers and performing musicians.

SONAR V-Studio 100 Hardware Features

High Speed USB 2.0 Interface

SONAR V-Studio 100 is a high quality USB 2.0 audio and MIDI interface utilizing world-class Roland engineering design and component technology.

* 8 in + mix / 6 out, 24-bit/96 kHz quality
* 2 mic pre-amps w/phantom Power, hi-z guitar input; MIDI I/O
* ASIO, WDM, WASAPI, Core Audio support
* Compatible with DAWs such as SONAR, Logic, Live, Cubase, and Digital Performer

Universal DAW Controller

SONAR V-Studio 100 is a universal DAW controller that supports all popular digital recording software for Mac/PC via Mackie control protocol, including Logic, Live, Cubase, and Digital Performer. Additionally, V-Studio 100 provides extended control capabilities over SONAR through the implementation of Cakewalk's Active Controller Technology (ACT).

* 100 mm motorized, touch-sensitive fader
* 5 rotary encoders, 11 buttons and transport control
* Use with any DAW through Mackie Control protocol
* Advanced control of SONAR through Active Controller Technology

Personal Digital Mixer

SONAR V-Studio 100 is an ideal digital mixer for small groups or solo performers who need easy control of few instruments and vocals mics; DJs, MCs, and any electronic musician who needs to mix multiple sound sources. All users can enhance their live sound with the pro-quality on-board effects which offer easy routing and accessibility.

* Ideal for mixing small bands, solo musicians, DJs, home studios
* 8 inputs, 6 outputs plus headphones
* 4 types of reverb and 6 channels of EQ and Compression

Mobile SD Recorder Live Player

SONAR V-Studio 100 can capture that creative moment whenever inspiration strikes by providing high quality digital recording that can be used without being connected to computer. Record directly to the VS-100's SD-card to capture song ideas, rehearsals, or live performances. Create backing tracks on your DAW of choice and transfer them to the VS-100's SD-card for playback during live performance (even while recording). Likewise, recorded performances can be easily transferred from the VS-100's SD-card for additional editing, tracking, and sweetening.

* Record away from your computer
* 2 channel wave recording and playback
* Capture rehearsals and live performances
* Play and record along to backing tracks
* Built-in metronome
* Insert markers during record and playback
* Loop a region for practicing parts or jamming
* Easily transfer audio to and from any computer via USB

SONAR V-Studio 100 Software Features

VS-100 Production Pack (Win/Mac) suite of effects and instruments includes:

VX-64 Vocal Strip is a seven-stage processor designed specifically for shaping and sculpting incredible sounding vocal tracks. Each of the VX-64's stages have been fine-tuned to be vocal-specific, taking the work out of dialing in an entire chain of vocal processors. The VX-64 features a new Cakewalk technology that employs phase-coherent, multi-band saturation to avoid unwanted distortion; unique filtering to avoid harsh artifacts at extreme high and low frequencies; and an auto-leveling circuit that prevents the tube saturation from sounding too harsh when high gain transients are processed by it. VX-64 also employs a new de-essing algorithm designed with Cakewalk's LP64 linear phase effect filtering technology to remove sibilance without creating any frequency smearing.

Processing stages include:

* Input — simulates a tube pre amp
* De-esser — removes sibilance without smearing
* Compander — vocal compressor with an expander to reduce unwanted background noise
* Tube EQ — for adding character ranging from subtle warmth to intense heat to the vocal
* Doubler — advanced doubling effect providing the quality of actual re-tracking
* Delay — preset delays useful for vocal tracks with tempo sync
* Output — provide saturation control with a built in soft-clipping filter
* Order of processor stages is user definable with click & drag reordering

Channel Tools — provides easy and powerful control over individual placement of the left and right channels anywhere in the stereo field. Ideal for adjusting L/R channel placement, gain, pan/width, and phase; also provides a widening or narrowing effect to stereo recordings through adjustments to mid-side gain.

Boost 11 Peak Limiter — gives your tracks radio-ready punch through transparent peak limiting and volume maximization without additional coloring of the source material. Boost 11 employs a "look-ahead" limiter and PDR (Program Dependent Release) to provide professional results with a simple interface.

Native Instruments Guitar Rig 3 LE — built on the latest award-winning guitar amp modeler from Native Instruments; 3 amps and cabinets, 11 effects, tuner, metronome, and over 50 presets.

Dimension LE — a streamlined version of the acclaimed Dimension Pro instrument from Cakewalk. Dimension LE features over 400 sound programs, ranging from bass, organ, and electric piano samples to cutting-edge synth sounds, rhythmic grooves, and a special edition of Garritan Pocket Orchestra.

Rapture LE — is a special version of the award winning Rapture wavetable synthesizer. It includes over 200 programs and hundreds of oscillator shapes. Rapture LE is perfect for performing the modern synthesized sounds igniting today's pop, dance, and electronic music.

Cakewalk Studio Instruments — a collection of four virtual instruments that provide a fast and easy way to create backing tracks using a photo-realistic, interactive user interface. Instruments include a Drum Kit, Bass Guitar, Electric Piano, and String Section.

SONAR VS digital recording software (PC only) — a special entry level DAW based on the powerful SONAR 8 audio engine but offering a streamlined user interface.

Availability

SONAR V-Studio 100 will ship with the VS-100 hardware (Mac/Win), the VS Production Pack (Mac/Win) and SONAR VS (Win) software available in English, German, French, Spanish, and Italian; Online Help contained in all versions in English, German, French, Spanish, and Italian; printed documentation is in English.

SONAR V-Studio 100 will be available through select music and sound retailers throughout the world beginning in June 2009. For more information on SONAR V-Studio 100 please visit www.sonarvstudio.com . Local prices may vary, please check with your local Roland or Edirol distributor, or SONAR V-Studio 100 retailer for more details."

OP-X PRO-II: Platinum Bank Demo

YouTube Published on May 5, 2012 by virtualoberheim

"http://www.sonicprojects.ch/opxpro2/description.html

Demo of the new Platinum bank for the SonicProjects OP-X PRO-II virtual Oberheim VSTi synth plugin. No external effects or any other treatment are involved. All sounds are coming directly from OP-X PRO-II which was played live and recorded directly to disk.

The bank features 82 stunning patches capturing the magic and the special character of some of the most sought after early voltage controlled polyphonic analog synths including:

CLICK FOR MORE »

MATRIXSYNTH Review and Overview of the Novation UltraNova

Hi everyone, you might remember, back in July I posted some pics of my newly acquired UltraNova, and mentioned that review posts would eventually follow. Well, I’m happy to tell you the first post is here. The UltraNova is one powerful synth, so to make the overall review a bit more consumable, it will be broken up over time. This first section includes an Overview, the Oscillators, and the Mixer sections. When new sections go up, I will be sure to let you know via a new post.

As with most of my reviews, I will say this one goes pretty deep into the synth engine and all editable parameters. If you are the type of person that likes to dissect and explore all of the available parameters on a synth, then this post is for you. I will touch on what each parameter does and will call out any interesting features and limitations as I do so. There are some pretty special parameters on the UltraNova that give you control beyond most other synths. Hopefully this review will give you some insight into what makes the UltraNova special.

Overview & Quick Comparison to Previous Nova Synths

The Novation UltraNova, released back in 2010, is a 20 voice virtual analog & wavetable synth with three oscillators, two ring modulators and one noise source per voice. The UltraNova also features two audio ins that can be assigned to the oscillator section and/or a 12-band vocoder. It’s worth noting that the Novation Nova from 1999 featured a 40-band vocoder, while the Supernova II from 2000 featured a 42-band vocoder. The UltraNova is a monotimbral synth while the 12 voice Nova was six part multitimbral and the Supernova II (24, 36, or 48 voice) was eight part multitimbral. The UltraNova supports up to 5 simultaneous effects per patch. The Nova supported 42 simultaneous effects, while the Supernova II supported up to 56. The Supernova II also supported FM synthesis while the Nova and UltraNova omit it.

The UltraNova, however, is the first Nova synth to feature wavetable synthesis. An interesting side note is that all of the oscillators on the UltraNova are actually stored as wavetables, including the standard waveforms. According to Novation, “The wavetables in the Supernova series are all calculated. The wavetables in the UltraNova, even the standard analogue waves are wavetable oscillators. This change in oscillator generation was first used on the A-Station and K-Station and subsequently in the KS series, X-Station and Xio.” This allows the UltraNova to have some advanced tricks when it comes to the oscillator section, which will be covered in detail below.

I asked Novation about the lack of FM synthesis and they told me, “FM would have been a lovely addition to the UltraNova, but it would have been asking too much of the DSP to be able to run everything the UltraNova can do and also add in FM. The wavetables were a really good way to introduce a new (to Novation) type of synthesis that is able to cater for some of the synth sounds that FM is known for and also to be able to create lush evolving pads.”

The UltraNova features two routable filters per voice with a total of 14 filter types to chose from including 6dB (no resonance), 12dB, 18dB, and 24dB with Lowpass, Bandpass and Hi-pass modes. The Nova and Supernova II lacked a 6dB mode.

As for hardware, although the UltraNova may have fewer knobs per function than its predecessors, it is extremely well laid out and super intuitive to use. Along with both keyboard velocity and aftertouch, the UltraNova has touch sensitive knobs. They literally respond to touch and can be assigned to various parameters. Worth noting, velocity is configurable, however, aftertouch is not. I found the aftertouch to be good, but it does require a little extra force than I prefer; it’s good for not accidentally triggering it, but not so good for subtle, natural performance.

Please note the above comparisons with the Nova and Supernova II were only for quick reference. The UltraNova of course is its own synth with a few tricks up its sleeves that are lacking in the original Nova line, including a level of control over the synth engine often only found in the modular realm. It sounds incredible, and for the price, currently only $599 new, it is an extremely flexible and powerful synth. You get the current top-of-the-line Novation Nova synth engine with new wavetables and more. The UltraNova is both a performance oriented synth as well as a synth programmers dream. It can be configured for easy access to specific parameters for a live situation, or you can dig as deep as you want with a clearly well thought out interface.

That said, let’s dig in.

The following review and overview will essentially go over the signal flow of the UltraNova followed by performance controls including the arpeggiator and the hardware interface. I’ll go into a little detail on what each feature can and cannot do in an attempt to give you a detailed idea of what the synth is capable of. Because my reviews tend to be a bit on the longer side, I will be posting the sections in chunks over time to make it easier on you to consume and for me to compose.

First we start with…

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Machina Bristronica 2023 - Walkthrough and best new things

video upload by

"I attempted to capture the vibe of Machina Bristronica on a 360 camera, so here's a walkthrough of the entire thing. Plus I highlight some of the cool new things I saw and share my thoughts on how it all went."

https://machinabris.wpengine.com/

Index:
Intro - 0:00
The Grand Tour - 2:12
DivKid Stage - 2:29
Live Space - 3:15
Main Hall - 3:21
DIY Workshops - 3:58
All the synths and modular - 4:13
Data stage - 4:40
Synths! - 5:03
Discussion Stage 18:52
Live Space and bar again - 21:04
Highlights - 22:32
Tiptop Audio ART - 23:56
RYK new FM module - 27:03
Venus Instruments VENO-LOOPER - 28:10
Vostok Atlas - 28:55
Stochastic Instruments Strange-R-Things? - 30:10
PlayFader - 32:45
Befaco FX Boy - 33:50
Gaz cable thingies - 34:14
Julia Bondar live - 34:37
Conclusions - 35:43

See the Machina Bristronica label below for additional coverage of the event.

Yamaha CS 60 - She is Alive

Published on Jul 31, 2019 Metralon

The playlist above starts with a demo with the description directly below, followed by a number of restoration videos.

"SKIP to 1:49 if the LFO detuning at the beginning of this video is too much.

Very first improvisation after one year of restoration work.

Ok that was a lie: it was my third improv. The first one was utterly magical and was not recorded; at one time the synth spoke to me, I swear! That was a couple of days ago. The second improv happened yesterday and wasn't all that great. So you'll have to do with this third one as a first encounter. In the notes of John Williams: d4-e4-c4-c3-g3.

With due apologies for the length and randomness of the improv; the CS60 universe envelops you and before you know it you're 40 minutes in.

CUE LIST:

00:00 Slow and deep detune
01:49 That's more like it
05:15 Squarelling
07:36 Did you saw that? (terrible pun i know)
09:08 Rectangles with Sinusitis
10:21 Doctor Sine to save the day
11:30 noise-R-us
13:52 Don't ignore me
15:01 Good job, you turned off all oscillators mate
15:17 Square waves in curved oceans
16:28 Under the hood (showing off the voice LED mod, thanks to Golt)
17:05 Tinsel fantasy
18:52 Sawlo
20:36 Silo - with slight oxidation
21:34 Sawdust with square hinges in a bed of sins
22:48 Opening that filter
23:27 Get ready for take off
24:44 Across the horizon
25:54 Pulse 1 (fiery chariots)
27:46 Filter ride
28:46 Put a ring on it
29:06 Pulse 2 (deep)
29:56 R U sure?
31:06 Dusk - Chapel - Dawn
33:47 A square beginning
36:53 Still not done
39:05 Final s(tr)aw, then we're square

Ok I'm done with puns now

SINE-ing out

ugh"

Don't Bore Us

video upload by Cylob Sonic Research

"The Michigan Synth Works MSW-810 is a replica of a Roland analog monosynth from 1983, a cousin of the much more famous MC-202. But it has its own distinct sound, somewhat beefy and powerful, reminiscent of even earlier Roland synths from the seventies. What will happen when the MSW-810 meets modern replicas of vintage Boss chorus pedals? Let's find out!

Putting in a cameo appearance is the Michigan Synth Works SY0.5, a eurorack adaptation of the vintage Pearl Syncussion. Everything controlled by two Launchpads together with some custom SuperCollider patches.

00:00 Intro
00:03 Setup
00:46 Noodling
03:56 Chorus
06:41 Dimension
09:58 Multitracking
11:07 Stacking the recordings
11:32 Track one
16:30 Dramatic stabs
16:53 Track two

Thumbnail typeface credit: RoyDioC @ diypedals Subreddit
https://www.reddit.com/ r/ diypedals/ comments/ ni9img/ boss_pedal_otf_font_japan_stompbox/"

Click here for additional posts featuring the Michigan Synth Works MSW-810.

Two Erica Synths DB-01s attempt Subharmonicon ambience

video by Richard DeHove

"Can two Erica Synths DB-01 Bassline machines achieve Subharmonicon-style ambience? They are wildly different in design and capabilities but the DB-01s can do a surprisingly good impression of "meandering ambience". Here I run through the entire setup and tweaks with less talking as the video goes on. What I did find is that the wonderful Polivoks filter won't be denied and the machines seemed to naturally gravitate to grit and filth and finally ended up in dark ambient territory. For contrast listen at 4:35 and then jump to 20:20. Both machines are running through the same Fabfilter Pro-R reverb setting at a 25% mix.

PS: The focus becomes steadily softer through the video. Why? Who knows, but it's the last time that camera will fail me. Next time, a new camera.

0:00 Intro blather
0:24 Adding steps and setting the scale
0:39 Step cycling
1:00 Setting the LFO
1:36 Polymeters
2:03 Percentage probabilities
2:39 Second LFO adjusted
3:08 Polymeter and LFO settings overview
3:23 Music finally starts!
3:37 Drone mode added
3:53 Setting the random pitch range
4:35 Subharmoniconicky yet?
6:45 Restricting pitch to one octave
8:15 One high; one low
8:55 LFOs to sample and hold
9:28 A few extra steps
11:06 Slowest possible synced LFO
12:40 Both set to two octave range
13:26 Thinning out the patterns
14:00 Grit appears
14:56 Both to triangle waveform
15:08 Getting dark and dirty
17:40 The Polivoks Revenge
20:20 Outro jam: the DB-01s back in character

My site: https://richarddehove.com/
Lots of downloads for supporters on Patreon: https://www.patreon.com/richarddehove"

Richard DeHove Erica Synths DB-01 posts