NAMM: Pacarana—Supercomputer for Sound

The Symbolic Sound Pacarana is here.
"Most powerful sound design workstation on the planet
That’s what Electronic Musician magazine calls the Kyma sound design environment. Future Music calls it the Holy Grail of sound design. Kyma's strength arises from its unique set of algorithms, the ease with which you can create endless combinations of those algorithms, and the unprecedented degree of real-time responsive control over the sound parameters.

You’ve already heard the sounds of Kyma in films like WALL•E, The Dark Knight, Master and Commander, Finding Nemo. And you've heard the interactive musical sounds of Kyma both on albums and in live sets by legendary musicians and producers like John Paul Jones, A.R. Rahman, Rich Costey, BT, and many others.

In 1990, Symbolic Sound revolutionized the sound design and music software industry with the introduction of Kyma, a graphical modular software sound design environment accelerated by the software-reconfigurable Capybara multi-processor sound computation engine. Symbolic Sound is committed to bringing the most advanced and flexible sound design technology to sound designers, musicians, educators, researchers, and creative professionals through its innovative hardware and software offerings.

What comes next?

A supercomputer designed for sound"

The flagship model Pacarana is 150% the power of a fully-loaded Capybara-320 for less than half the price. The entry-level Paca costs less than a Basic Capybara-320, but the new entry-level model is 5 times more powerful.

Falling in love with Kyma
What is it that people love about Kyma? For some people it’s having an unbounded environment for creating sounds that have never been heard before. Others cite outstanding technical support and the super-stability and reliability of the Kyma software during live performances. Still others rave about the continuous stream of free software updates full of new features and synthesis/processing algorithms. And everyone loves the legendary Kyma sound.

What’s the secret behind the ‘Kyma sound’? The secret is in the software. When you have a supercomputer dedicated entirely to capturing, processing, and synthesizing sound, you have the luxury of being able to do things right. We don’t cut corners, and you can hear the difference."


"On the back of the Pacarana—all the high-speed connectivity you want and need for digital audio production: two FireWire 800 ports, 2 USB ports, 100-base T Ethernet jack, and more…

A DC power plug connects the Pacarana to an external power supply that auto-senses voltage and frequency of the AC power source no matter where in the world you travel.

The Pacarana communicates with the Kyma X software running under Mac OS or Windows via FireWire 800 (IEEE1394B) or an 800-to-400 adapter cable.

Audio and MIDI input and output is handled via an external FireWire or USB converter or, for current Kyma owners, through a Capybara-320 with Flame FireWire I/O. Connect additional USB MIDI controllers like keyboards or fader boxes via the second USB port."

The above is just an excerpt. You can find more on the Symbolic Sound Pacarana website.

Update: the official press release came in at 4:33 PM:
"New Supercomputer for Sound:
Pacarana for Kyma Sound Design Environment

Champaign IL, January 12, 2009:
Musicians and sound designers for film, games and live electronic music now have a new supercomputer designed specifically for interactive sound exploration and live performance. The Pacarana and Paca are two new multiprocessor computers optimized for capturing, processing and synthesizing sound for the award-winning Kyma Sound Design Environment. Designed by Symbolic Sound Corporation to serve as a smaller, more affordable and more powerful replacement for the Capybara*320 sound computation engine, the new entry-level system is 5 times more powerful and costs $500 less than the older entry-level configuration. The power of the higher-end model exceeds that of a fully-loaded Capybara*320 but costs far less than half as much.

http://ssc-media.com/Pictures/Pacarana/Front%20(full%20res).JPG

http://ssc-media.com/Pictures/Pacarana/Nick%20Paca%20trimmed.jpg

Kyma, the Paca(rana), and backwards compatibility
Favored by sound designers for its unique set of algorithms, the ease with which one can create endless combinations of sound processing and synthesis algorithms, its reliability during live performances, and the responsiveness of real-time control over sound parameters, the Kyma sound design environment benefits from the new Paca(rana) platforms in the form of more polyphony, denser textures, faster loading times, more memory for live sampling and playback, enhanced portability, refinements in sound quality and the potential for future developments.

According to composer/performer and early adopter Phil Curtis of SoNu (http://www.sonusound.com):
I'm loving the new Pacarana. [M]ost of my old sounds just barely register on the meter, even sounds that just barely worked on the Capybara....I can already see that this is going to be a big leap in what I can do and paves the way for years of further development.

Sound designers who have been using Kyma X on the Capybara*320 can open and continue working on their current projects using the new hardware. Switching back and forth between the Capybara and the new hardware is completely transparent, and Symbolic Sound will continue to support Kyma X on the Capybara-320. Kyma users also have the option of keeping their Capybara*320 computer running alongside a new Pacarana, augmenting, rather than replacing, their current hardware.

Smaller, lighter, easily portable
With more sound designers going freelance, more musicians going on tour, and the airlines charging for each checked bag, Symbolic Sound decided to make the Pacarana and Paca small and light enough to fit into a backpack, laptop case or in a small rolling rack. The Pacarana footprint is the same as that of a MacBook Pro 15" (the Paca is about 3 inches shorter) and is 1 rack unit in height: ideal for live performances, working on the road, transporting from home studio to sound stage or from work to home.

Connectivity
On the back of the Paca(rana) are 2 USB ports, 2 FireWire 800 ports, and a DC power plug that connects to an external power supply brick (about the same size as the Mac Mini's power brick).
http://www.ssc-media.com/Pictures/Pacarana/Back%20(full%20res).JPG

The Paca and Pacarana communicate with the Kyma X software running under Mac OS or Windows via FireWire 800 (IEEE 1394B) or FireWire 400 (IEEE 1394A) using an 800-to-400 adapter cable.

Audio and MIDI input and output is handled by an external FireWire or USB converter or, for current Kyma owners, through a Capybara-320 with Flame FireWire I/O.

Additional USB MIDI controllers like keyboards or fader boxes can be connected via the second USB port.

More Audio and MIDI Input/Output options
Symbolic Sound decided to decouple the sound conversion from the sound computation functions in order to give customers more options for customizing their studio and mobile setups. Customers can now select from among a full range of high-quality third-party 1394TA AMDTP-standard FireWire and class-compliant USB audio converter devices available in nearly every size and price range. The growing list of qualified third-party converters includes the TC Electronic Konnekt series, the MOTU UltraLite-mk3, the Apogee Duet, and, on the USB side, the M-Audio Fast Track Pro and Logitech and Sennheiser USB headsets.

The Kyma Sound
Early reports from alpha and beta testers confirm that the sound quality of the Pacarana matches and, in some cases, surpasses that of its predecessor.

"People tell me that Kyma has an excellent word-of-mouth reputation for audio quality, and they usually attribute the quality to the Capybara*320 converters," says company president Carla Scaletti. "While it's true that the Capybara converters are excellent, the real secret to high-quality audio is in the algorithms. When you have a computer entirely dedicated to computing sound, you don't have to cut corners; we don't have to share our sound computer with a CPU-hungry operating system or a graphics subsystem; all Paca and Pacarana cycles are dedicated to computing high quality sound."

Live Control
You can use any USB or FireWire MIDI device or software for controlling sound parameters on the Paca(rana). Symbolic Sound has been working closely with Haken Audio (http://www.hakenaudio.com) to create seamless plug-and-play operation with the new MIDI-based Continuum fingerboard. Additional controllers with a high degree of Kyma integration include the Wacom tablet, the MotorMix, and the controllers supported by Camille Troillard's OSCulator (http://www.osculator.net) software, including the Nintendo Wiimote, the Jazz Mutant Lemur, the Logitech Space Navigator, and others.

Backpacking
The Paca(rana) fits perfectly into the hard-shell laptop sleeves made by Tom Bihn (http://www.tombihn.com) and Symbolic Sound is making the Tom Bihn Brain Cell sleeve and Brain Bag backpack available with the purchase of a Paca or Pacarana for hands-free transport of your laptop, Pacarana and other mobile audio gear.

Price and availability
Symbolic Sound is now shipping both the Paca and the Pacarana. The entry-level Paca is available for US $2970 and the professional studio model Pacarana is available for US $4402. To place an order, please visit http://www.symbolicsound.com or send email to info-kyma@symbolicsound.com

Summary
A lower entry-level price, a smaller footprint, and a whole lot of extra horsepower make Kyma X + Paca(rana) a supercomputer for sound designers and musicians!

Background
Symbolic Sound first revolutionized the sound design and music software industry in 1990 with the introduction of Kyma, a graphical modular software sound design environment accelerated by the software-reconfigurable Capybara multi-processor sound computation engine. The Paca(rana) is the fifth in a series of increasingly powerful sound computation engines designed and produced by Symbolic Sound to work in conjunction with the Kyma sound design environment (now in its sixth major release, not counting the hundreds of free updates between each major release). Symbolic Sound is committed to bringing the most advanced and flexible sound design technology to sound designers, musicians, educators, researchers, game developers, and other creative professionals through its innovative hardware and software offerings.

Symbolic Sound, the Symbolic Sound logo, Kyma, Pacarana, Paca, and Capybara and their logos are trademarks of Symbolic Sound Corporation. Other company and product names may be trademarks of their respective owners."

Superbooth 2019 Make Pro Audio Networked Controllers

Published on May 10, 2019 sonicstate

Previous posts.

New eurorack module:

"We all love Eurorack for all the infinite possibilities it presents to create new sound machines. However, when you aspire for more voices and more timbres within Eurorack, that usually requires a significant amount of space and budget outlay. That leaves you no viable options, other than to leave your Eurorack and attempt to connect with outboard gear that does not easily integrate. Now – with Dino Park – you gain access to a world of infinite sonic possibilities, while staying within your Eurorack!

Dino Park is not fixed synthesis architecture – it is as flexible as your Eurorack. It can load different “synth models” which feature radically different forms of synthesis – including vintage subtractive, additive, wavetable and FM – providing infinitely expandable and exciting sonic capabilities in every Eurorack.

Now increasing the sonic potential of your Eurorack has never been easier, or more affordable! . For newbies, Dino Park offers an easy, cost effective and gratifying way to start off their rack journey with a big sound foundation. For Eurorack veterans, Dino Park can close a lot of gaps and enrich any Eurorack performance. True “ best of” utility in big analog sound with the recall-reliability of digital.

We offer three Dino Park kits for the Eurorack"

CLICK FOR MORE »

SynthFest UK 2017 Round-Up by Sound on Sound

Published on Oct 9, 2017 Sound On Sound magazine

Check out the Powertran Transcendent Polysynth at :21.

"Saturday 7 October saw the UK’s biggest synthesizer event return to Sheffield for its second year. Organised by Sound On Sound magazine, Synthfest UK is a celebration of all things synth, with an exhibition hosting manufacturers, retailers and universities, as well as a seminar programme with big names in the synth world and a Modular Meet where people could show off their own rigs."

Arturia Officially Announces DrumBrute Impact

Published on Jul 19, 2018 Arturia

"Packing 10 beefy high-impact sounds, a unique "Color" layer, output distortion, and probably the best step sequencer on the planet. Say hello to DrumBrute Impact; your new go-to drum machine."

You might have caught the DrumBrute Impact demo posted yesterday afternoon here. The official videos, press release, and a few more user videos are in and captured here.

DrumBrute Impact Tutorials


Playlist:
DrumBrute Impact Introduction Tutorials: Episode 1 - Sounds and Steps
DrumBrute Impact Introduction Tutorials: Episode 2 - Color and Distortion
DrumBrute Impact Introduction Tutorials: Episode 3 - Adding Feeling

DrumBrute Impact: Users & Press


Playlist:
Arturia Drumbrute Impact Live Jam - LOOK MUM NO COMPUTER
Arturia DrumBrute Impact - Rick Feds
New DrumBrute Impact Review and Full Sound Test - loopop
DRUMBRUTE IMPACT REVIEW & SOUND DEMO - BoBeats
Dualtrx - Live Sessions // 20 (Arturia Drumbrute Impact, Minibrute 2S and 0-Coast)
Arturia-DrumBrute Impact first sound pattern and new color mode - Dziam Bass
DRUMBRUTE IMPACT VS ORIGINAL DRUMBRUTE - Side by side comparison & sound demo - BoBeats

"Analog pioneers Arturia are set to release DrumBrute Impact, an exciting new hardware drum machine that combines raw, energetic sounds, advanced sequencing, and fast, fun workflow into an addictive little powerhouse you won’t want to put down.

The newest member of the “Brute” analog hardware family, DrumBrute Impact really lives up to the name. Featuring attitude-packed, tweakable analog drums sounds, an all-new “Color” layer, output distortion, and arguably the best sequencer on the planet, DrumBrute Impact promises to redefine the way you create rhythm, drums, and percussion, both in the studio and on stage.

In the sound department, DrumBrute Impact features 10 fantastic sounds accessible through 8 responsive performance pads:

KICK : pounding bass drum with nice attack transients and variable pitch and decay. protocol.
SNARE 1 : a big-bodied snare with great, editable snap and decay.
SNARE 2 : a trashy snare with a hint of clap, with adjustable tone and decay.
TOM HIGH : simple but powerful high tom with sweepable pitch.
TOM LOW : pants-shaking low tom that can get so low you could use it as a 2nd kick.
CYMBAL : zingy, metallic crash with adjustable decay.
COWBELL : a simple but effective percussive cowbell.
CLOSED HAT : hard-hitting hat with variable tone that also effects the Open Hat.
OPEN HAT : open up the hat sound with changeable decay with a mute controlled by the Closed Hat.
FM DRUM : a percussive synth voice with adjustable carrier pitch, decay, FM amount, and mod pitch.

These sounds have been carefully crafted by Arturia’s sound designers to not only sound exciting and visceral, but to also create a cohesive “kit” sound that truly gives DrumBrute Impact a unique, inspiring voice.

CLICK FOR MORE »

New Roland FA-06 & FA-08 Music Workstations

Published on Jan 14, 2014 RolandChannel·828 videos

"Featuring a huge selection of Roland's best sounds, a 16-track sequencer, seamless DAW integration, an easy-to-use sampler, and much more, the new FA series completely reimagines the music workstation for effortless real-time power, ultra-fast workflow, and maximum versatility."

Description via Roland:

"Roland’s new FA series completely reimagines the music workstation, streamlining it for effortless real-time power, ultra-fast workflow, and maximum versatility. Ready to support any type of music you play, the FA-06 and FA-08 come packed with a massive sound collection inherited from the flagship INTEGRA-7, a ton of studio-quality effects, and expressive real-time controls, plus onboard sampling with zero load time for instant audio playback from the 16 backlit pads. The sequencer features simple operation and non-stop loop recording, letting you capture songs and ideas as they come and export them as multitrack data to use with your DAW. Flowing seamlessly into every part of your creative world, the FA series morphs instantly from standalone use to become the command center of your computer music studio, with USB audio/MIDI interfacing, powerful real-time controllers, DAW transport controls, and much more.

Reimagined music workstation designed to maximize your creative flow
Light, mobile body with 61-note velocity-sensitive keyboard (FA-06) or 88-note Ivory Feel-G Keyboard (FA-08)
Over 2000 sounds from the flagship INTEGRA-7 sound module, including SuperNATURAL synth and acoustic tones and drums; add even more tones via internal wave sound expansion slots
SuperNATURAL synth engine is fully compatible with the expansive collection of free INTEGRA-7 synth tones available from Roland’s Axial sound library site
16-track sequencer with non-stop loop recording makes it easy to build songs quickly; export your sequencer tracks to an SDHC card as a complete stereo mix, or as multitrack audio or MIDI data for use in your DAW
Onboard sampler based on the SP-404SX features 16 pads x 4 banks and direct recording/playback via SDHC cards
Polish your sounds with a multitude of studio-quality effects, including 16 independent MFX engines, six COMP+EQ processors for drums, unique TFX (total effects), and global EQ, chorus, and reverb
Tweak tones, effects, and external MIDI devices in real time with six user-assignable Sound Modify knobs
Intuitive, streamlined interface with large color LCD
Press one button to instantly configure the FA-06/FA-08 for use with your DAW via USB
D-Beam, Rhythm Pattern, Arpeggiator, and Chord Memory functions to expand your creative palette
Guitar/Mic and Line input jacks for performing, sampling, and DAW audio recording; dedicated input reverb provides ambience for performing/recording
USB ports for sound expansion data, updates, and audio/MIDI interfacing with a computer; MIDI communication with the iPad is possible when using Apple’s iPad Camera Connection Kit
No Work, All Play
Music workstations play an important role for keyboardists in a wide range of creative activities, from live performance to song development to production in the studio. However, they can often be complicated and difficult to use to their full potential, bogging down the creative process and inhibiting the flow of ideas. In developing the FA series, Roland has completely reimagined the music workstation to provide musicians an inspiring platform that’s extremely powerful and versatile, yet simple and intuitive at the same time. With a streamlined interface and focused, practical features that maximize your creative flow, the FA series allows you to experience newfound freedom to deeply explore and develop your musical ideas with less effort than ever before.

Perform and Record with a Massive Selection of Roland’s Very Best Sounds
The true measure of any music workstation lies with the quality and diversity of its sounds. Filled with over 2000 tones directly inherited from the INTEGRA-7, Roland’s flagship pro sound module, the FA series truly delivers in this area and then some. All of the INTEGRA-7’s SuperNATURAL synth and XV-5080 PCM tones are onboard, plus an essential collection of ultra-expressive SuperNATURAL acoustic tones that includes pianos, organs, drums, bass, strings, and more. The sound engine in the FA-06/FA-08 is fully compatible with the large, growing collection of INTEGRA-7 synth tones available as free downloads from Roland’s Axial sound library site, and it’s also possible to expand the onboard sound set with FA-series wave sound expansion collections.

Capture Ideas and Create Songs Without Interruption
Simple yet powerful, the intuitive 16-track sequencer in the FA series has been designed to let you capture your inspiration as it happens—recording is always just a simple button press away, ensuring that you’ll never lose an idea. In a flash, you can build a full arrangement with the workstation’s huge array of sounds, and with continuous recording in loop mode, you’re able to fill up all 16 tracks without ever stopping! In addition to real-time capture, step recording is also possible, and you have complete control to edit and mix your tracks as you go and save your song to an SDHC card as a stereo audio file. It’s also possible to export your tracks as individual WAV audio files and/or MIDI data for further development in your DAW, making the FA-06/FA-08 a powerful sketchpad for capturing initial sparks that will form the basis for your full-scale computer music productions.

Seamless Hardware Integration with Your DAW
In addition to standalone use as a performance instrument and composing workstation, the FA-06/FA-08 transitions into your computer-based music production world with ease. A simple press of the dedicated DAW Control button instantly sets up the workstation to communicate with your computer via USB*, letting you use the keyboard and knobs to send MIDI data to your DAW for playing software synths, controlling plug-in effects, and more. The FA series also includes control maps for popular DAWs, providing a quick and easy setup to control transport functions and more in your specific software. You can even use the FA-06/FA-08 as a USB audio interface to record a variety of different sources directly into your DAW, including a mic, guitar, or stereo line level device connected to the rear-panel input jacks, and you can capture the workstation’s internal sounds and sampler playback as well. Sound output is also supported, allowing you to monitor the DAW output through the stereo output and headphones jacks on the FA-06/FA-08.

* USB communication requires installation of the FA-series USB driver on your computer.

Instant-Access Performance Sampler Onboard
Based on Roland’s mega-popular SP-404SX, the sampler in the FA series features fun, fast, hands-on operation and sampling/playback via convenient SDHC cards. You can play audio samples directly from the 16 pads on the panel, making it easy to expand your performances with loops, backing tracks, one-shots, vocal phrases, sound FX, and more. Thanks to SDHC flash memory, your samples load instantly with no wait time, and you can use the four pad banks and clipboard function to rearrange your samples as needed for any performance. It’s super-easy to sample the workstation’s own sounds or external sources via the Mic/Guitar and Line inputs, and you can even play WAV, AIFF, or MP3 samples that you’ve transferred from your computer. A variety of editing features allow you to tweak your samples to taste, including quick adjustment of playback position and level. In addition to sample triggering, the pads can be used for numerous functions such as muting parts, entering numeric values in the display, and more.

Enhance Your Sounds with a Wide Range of Simultaneous Effects
With its large selection of pro effects, the FA series provides numerous options for polishing your sounds and sequencer tracks to studio-level perfection. Independent MFX engines are available for all 16 parts of a Studio Set, giving you an enormous level of sound shaping for both live playing and song mixing. Each MFX engine contains 67 different effects types to choose from, with an additional option of a vocoder when MFX are used with Part 1. Six separate COMP+EQ processors are dedicated for individual drum sounds, while global EQ, chorus, and reverb are on tap to add a finishing touch to any of your parts as needed. With the unique TFX (total effects), you also have the ability to process the entire output of the workstation with dramatic effects such as DJ FX Looper, Isolator, and many others. All the effects can be tweaked in real time via the Sound Modify knobs, making it simple to enhance your keyboard playing, sampling, and sequencer tracks with dynamic sonic textures.

Fast Workflow and Intuitive Real-Time Control
You can feel the speed of this new breed of instrument the moment you hit the power switch—unlike many workstations that can take a minute or more to boot, the FA series is ready to play in seconds. The panel is logically organized into dedicated sections, and the large color LCD presents a gorgeous look with inviting hi-res graphics for selecting tones, working with the sequencer, and adjusting various settings. It’s easy to navigate through the workstation’s large sound selection by category and assign favorites for fast recall, while dedicated buttons deliver instant access to often-used functions such as transpose, octave range, and many others. With six knobs and a powerful yet easy-to-use assignment matrix, the Sound Modify section lets you control a wide range of parameters in real time for maximum expression while performing live and working in the studio."

http://www.rolandconnect.com/product.php?p=fa-08

Updates:

Sonicstate Exclusive: Roland FA-06 preview

Published on Jan 15, 2014 sonicstate·594 videos

"Roland popped down a couple of days ago to give us the skinny on a new product which was released today. Taking the legacy of the Fantom workstations and combining the pallette of the sonically stuffed Integra-7 sound module, and performance chops from the recent Junos and Jupiters,plus a large colour display, the FA06 and FA08 (88 weighted keys) are Roland's new take on the keyboard workstation.
With 128 voice polyphony, 16 part sequencer (each with dedicated FX plus a total FX), it's got enough voices to handle some complex productions.
The all new (ground up design) sequencer integrates with the on-board sampler to create a flexible workflow as far as we can see."

Roland FA-08 Workstation First Look - Keyboard Magazine

Published on Jan 15, 2014 keyboardmag1·330 videos

"Dave Bryce checks out Roland's first new workstation since the Fantom-G, the FA series."

Roland FA-08 Workstation First Look 2 of 2

Published on Jan 15, 2014

Ableton Push 3 Gets Expressive: Here's how it competes! // Review & Tutorial

video upload by loopop

"Find out how Push 3 compares to Push 2, other expressive instruments, Akai's Force & MPC and Maschine+, and which version you might want to get, standalone or controller. #AbletonPush3" TIMELINE:
0:00 Intro
1:25 What’s new v P2
1:45 Poly X & Y
3:00 Cross pad bends
3:30 Pad settings
4:10 MPE instruments
4:55 MPE kits
5:25 P3 Standalone
8:25 Audio & I/O
10:25 More controls
12:50 New views
13:20 Similarities
14:25 Session grid
16:15 Note layouts
18:15 Screen controls
19:25 Live recording
22:05 Step seq
24:10 Automation
25:55 Sample chops
27:45 Adding devices
28:05 Live versions
29:50 Misc topics
31:10 Pros & cons
31:30 Standalone?
37:25 Plugins?
38:40 CPU power?
41:05 vs controllers?
41:50 vs MPC/Maschine?
44:20 vs MPE synths?
45:55 Outro

SOS Product Preview: Ableton Push

video upload by Sound On Sound magazine

"Ableton announce the release of the latest version of Push, their pad-based hardware instrument and controller. With a design focused on expressive playing and performance, the new Push can be used as a standalone instrument or in conjunction with a computer and now incorporates MIDI Polyphonic Expression (MPE).

Simon from Ableton gives us a first in-depth look on release day at what's new in the updated Push and how to make the most of its new performance features.

You will be able to read our full SOS review of the new Ableton Push in the July 2023 edition of Sound On Sound magazine.

00:00 - Intro
00:25 - Navigating Push With The New Jog-wheel
03:29 - Built-in Audio Interface
04:10 - ADAT, USB & CV Connections
05:00 - Playing Sounds With MPE-enabled Pads
08:08 - Fine Tuning Pad Response
09:10 - Playing Drums With Pads
09:58 - Transferring Sets Between Push & Live
11:01 - Standalone Operation & WiFi
12:38 - Connecting A MIDI Keyboard
13:30 - Launching Clips Using The Jog-wheel
14:37 - Momentary Buttons
15:17 - Outro Jam"

Ableton Push Standalone - Hardware LIVE is here - First Look

video upload by sonicstate

"Hell yeah! Ableton have announced a new Push with built in sound card, upgraded pads and more. There's also a standalone version which can run Ableton Live Suite and all its devices and MAX4Live too. Sessions can be transferred between Live on a host computer and the Push Standalone.
Push comes in two versions: Regular (MPE MIDI controller, and sound card) which will link to your host computer running Live, and the Standalone version - which has an Intel NUC processor card, 8GB RAM and a 256GB SSD for asset and project storage."

Ableton Push 3 Pad response

video upload by

"Just a very brief video demonstrating the sensitivity and expression available on the Ableton Push 3 pads"

DATA79 - Push 3 performance - Somewhere between here and now

video upload by MrDataline

New Roland Jupiter-80 Pics & Specs Leaked?

via the Roland Clan Forums

This one in via Soviet Space Child

Also see this post.

via wladymeer in the Roland Clan Forums thread:
"As it's meant for live performers, I don't think it's wrong at all. Especially because you could probably enter effect selection with SHIFT+ON/OFF shortcut and assign, lets say, distortion or delay instead of effect. Afterall, Juno-Stage had such knob next to high/low EQ.

Face it, Jupiter-80 is not gonna be next Fantom. Consider it more as a advanced stage piano. In other words, as a Nord Stage. I saw on one website that Nord Stage 73 costs $3.299,00 - you tell me - why Jupiter-80 can't cost the same if it's not workstation?

And here's my overview of front panel buttons:

• USB MEMORY SONG PLAYER/RECORDER - guess we can record directly on USB thumb drive?
• D-BEAM section with typical assign: PITCH, VOLUME and ASSIGNABLE
• CONTROL section with:
Arpeggio: HOLD, ON/OFF for LOWER and UPPER and TEMPO (probably tap tempo)
bellow something that's called either VISUAL CONTROL or V-LINK CONTROL and HARMONY INTELIGENCE
and last is typical Roland TRANSPOSE, OCTAVE DOWN and UP
• PART BALANCE section:
LOWER, UPPER, SOLO faders with ON/OFF buttons
I can't read what's on that white fader, but my guess is just for piano sounds. You can see there are 3 "gray" buttons saying piano, e. piano and clav so my guess that fader is just for that type of sounds.
• Then we have some MENU and SHIFT buttons below display and 4 encoders in between with display showing what they're controlling, typical DEC/INC, wheel, EXIT and WRITE on the right...
• REVERB section with ON/OFF button
• SONG PLAYER/RECORDER with usual controls (so I guess, phrase recording will be possible)

And last row seems to have next (my best guess with (?) where I'm not sure):

• ROTARY SOUND section ON/OFF and SLOW/FAST buttons
• LOWER section:
- SPLIT
- BASS
- PAD
- CHOIR
- STRINGS
- SYNTH STRINGS (?)
- BRASS / SAX
- SYNTH BRASS (?)
- WOOD WINDS (?)
- Something white labeled
- ALTERNATE ON/OFF (guess every button has two alternates?)

• UPPER section:
- PIANO
- E. PIANO
- CLAV
- CHURCH BELLS (?)
- ??? BELLS (?)
- THEATER ORGAN (?)
- GUITAR
- SYNTH LEAD
- VIBES/MARIMBA
- ACCORDION/HARMONICA
- Something white labeled
- ALTERNATE ON/OFF

• SOLO section:
- VIOLIN
- TRUMPET
- SAX
- FLUTE
- OBOE (?)
- BELL
- Something white labeled
- ALTERNATE ON/OFF
- SOLO SPLIT

Beneath keybed, there is WRITE (or maybe REC?), PREV and NEXT buttons on the ends and in between it seems that it will have SH-201 system with 4 banks up with 8 patches per bank. Hope it's just USER bank but then again... come on... it's 2011 we're talking about! What's wrong with 1000 user slots idea?"

And via IgorChristo:
"This is the advertising on Keyboard Magazine - May 2011
I've managed to get a copy of the entire magazine (I know this is wrong!) from another forum, and this ad is at the beggining of the magazine.

I beleave he got it in this leaked version of the magazine."





Update 5/5/2011: Sounds & Demo Video from Musikmesse 2011 YouTube Uploaded by delamartv on Apr 5, 2011

"Roland Jupiter 80 http://www.delamar.de/news/musikmesse/

In diesem Video kannst Du den Roland Jupiter 80 etwas eindringlicher hören und sehen. Erfahre, wie dieser Synthesizer klingt, was der Roland Jupiter-80 kosten wird und wann er auf den Markt kommt.

Viel Spass bei diesem Roland Jupiter-80 Video"

Roland Jupiter-80 Musikmesse 2011 PREVIEW :)


Update:

Original Jupiter 8 Explained

YouTube Uploaded by DanKrisher on Apr 5, 2011

"The original JP8 was a live performance synth."

And some pics from Create Digital Music's post on the Jupiter-80 where you'll get Peter Kirn's take on the new synth. In simplest terms, the Jupiter-80 is being touted as a performers' synth with the emphasis on performance and playability. The video above makes the connection with the mindset behind the original Jupiter-8.

On the synthesis front, the Jupiter-80 uses Roland's SuperNATURAL engine.

"SuperNATURAL is more than a single sound, effect, or operation. Each type of instrument, whether string or keyboard, wind or percussion, ethnic or even electronic, subtly shapes sound in its own unique way. Particular characteristics enable different forms of tonal expressiveness. SuperNATURAL provides the ability to realistically shape the physical parameters of virtual instruments in organic and expressive ways. Across the broad and varied forms of Roland musical instruments, SuperNATURAL is the gateway to a new universe of expression.

SuperNATURAL is available in many forms. There are SuperNATURAL ARX expression boards for Fantom-G, for example. First out of the gate are the stunning ARX-01 Drums board and the ARX-02 Electric Piano Electric Piano. The RD-700GX has SuperNATURAL Electric Piano built in, giving you amazingly expressive electric piano sounds. In addition, thanks to SuperNATURAL technology, all the characteristic control of acoustic organs are provided on Roland’s Music Atelier Organs."





Update: the official description:

"One of the most revered prefixes in the history of synthesis returns. Welcome the arrival of the JUPITER-80— a live-performance powerhouse that pays homage to its legendary namesake with road-proven hardware and massive sound, yet blasts into the future with advanced SuperNATURAL technology. The JUPITER-80’s expressive, organic approach to synthesis makes a new world of sound design possible with multilayered SuperNATURAL textures under the control of a full-color touchscreen and creative hands-on controllers. Experience the metamorphosis of a legend with the all-new JUPITER-80!

Powerful integrated SuperNATURAL synthesis engines designed for legendary vintage synth sounds to realistic organic acoustic sounds and more
Single Tone is equivalent to the performance of powerful single synthesizer—stack four of these to create a mind-blowing “Live Set”
Tone Blender tweaks multiple parameters of tones in realtime for complex, emotive sonic movement during performance
Fast, friendly operation with intuitive front panel and color touchscreen optimized for live performance
76-note semi-weighted synth keyboard, and 256 polyphonic voices (varies according to sound-generator load)
USB-memory Song Player/Recorder for backing tracks or quick idea capture
Easy integration with computers via built-in USB-MIDI/Audio interface

Past, Present, and Future Sound

The JUPITER-80 nods to its past with lethal, multi-layered SuperNATURAL synthesizer tones so fat you’ll need a knife to cut through it, but that’s only the beginning of what this powerhouse synth will do. Gigging musicians will love the stockpile of essential sounds onboard, including Roland’s famous SuperNATURAL Piano, strings, brass, and much more. The JUPITER-80 puts a fast-access user interface under your fingers—a dream for live performance. Its heavyweight design, complete with metal side panels, recalls the legendary JUPITER but with a modern twist.
Powerful Live Sets Featuring Four-Tone Structure and Registrations

JUPITER-80’s sound engine handles four x tones with dedicated DSP per tone as a basic unit “Live Set” for manual performance. Layering of Upper and Lower Live Sets, plus a specialized “SOLO” part, means the incredibly massive nine-tone-stack sound. Customized complex settings can be saved as Registrations, and easily recalled during live performance.
Tone Blender

You will love the deep possibilities of the stackable SuperNATURAL architecture and unique features such as Tone Blender, which tweaks values of multiple parameters simultaneously and lets you “Capture” any new combination and save it as a Live Set. Create complex, emotional textures that respond, react, and evolve like nothing you’ve heard before. Tone Blender can also dramatically enhance your live-performance capabilities by letting you assign its multiple parameters to controllers such as the D Beam."

And the official site is live. You'll find the intro video there.

Updates 4/6:: new demos added below.




Howard Jones and the Roland Jupiter-80 Synthesizer

YouTube Uploaded by SoundsLiveShop on Apr 6, 2011

"Howard Jones, he of the amazing haircut and baggy jumpers, knows a thing or two about synths and live performance. Here, Howard Jones talk about the new Roland Jupiter 80 synthesizer. Launched at Musik Messe 2011, the Roland Jupiter-80 revives one of the great names in music synthesis and it's a recognition of the renewed interest in synths by musicians of all genres."

Roland Jupiter 80 Synth Overview

Uploaded by SoundsLiveShop on Apr 6, 2011

"Roland promised something big for Musik Messe 2011 - it is! The Jupiter-80 brings one of the most revered names in synths into the modern era. Roland appear to be aiming the Jupiter 80 squarely at the live performer who wants easy access to some of the best sounds available. The Jupiter-80 is absolutely stacked: - SuperNatural synthesis engines for vintage sounds - Stackable tones to create 'multi-synth' live sets - Tone Blender - 76 semi-weighted keys - Built-in USB-MIDI/Audio interface The Roland Jupiter-80 - Check it out!"

Update 4/6 10:21 PST:

MusikMesse 2011 - Roland Jupiter-80 1/3

Uploaded by accordoTV on Apr 6, 2011

"MusikMesse 2011 - 1"

MM2011 - Roland Jupiter-80

Uploaded by accordoTV on Apr 6, 2011

http://audio.accordo.it/articles/2011/04/51102/mm2011-roland-jupiter-80.html


Uploaded by RockoNCompany on Apr 6, 2011


YouTube Uploaded by HarmonyCentral on Apr 6, 2011

"Choosing the demo for this video was a tough call, because the demo player did three totally different ones - from a Zappa-esque piece in 15/16, to a more lyrical demo, to an electro-type mashup called "Oh My God." This is the techno one, because I think most people weren't expecting that kind of sound from the Jupiter-80. Yes, it does strings, brass, pianos, and all that...but this demo shows that there's more to this synth than meets the spec sheet."


YouTube Uploaded by musotalk on Apr 7, 2011

Ult Sound DS-4 Toyo Gakki Drum Synthesizer Demo

Published on Nov 26, 2013 kanallı kanal·36 videos

Googlish description further below.

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Spectral Audio Neptune

images via this auction
"Spectral Audio Neptune Analog Mono Synth & MIDI-CV converter
The Neptune is an all-analog mono synthesizer with plenty of features to keep the sonic explorer happy. Real knobs and switches make it a joy to work with live, and the inclusion of the built-in MIDI to CV converter means it can be used to interface modern MID gear to older analog equipment. The Neptune also includes an audio input for processing external signals (guitar, vocals, drum machines, etc.) through the Neputne's sound- shaping circuitry. This particular unit is gold-faced, and in like-new condition. Here is the conclusion from Sound On Sound magazine's review of the Neptune:

"The continuing popularity of analogue synths is founded on two main features: their sounds, and the immediacy with which those sounds can be created and tweaked. Spectral Audio's Neptune achieves pretty well in both respects. Sound-wise, it's a reasonably versatile monosynth with a few unusual features, which make it particularly suited to the production of weird noises. And although there are no patch memories, and the controls don't transmit MIDI data to be recorded in a sequencer, it's a breeze to use, what with every parameter having a dedicated (and clearly labelled!) knob, switch or button. Those seeking to add a bit of genuine analogue sparkle to their studios will not regret putting the Neptune on their auditioning list." (read the entire Sound on Sound review here)

Performance Features
Oscillators:
* 3 very stable VCOs; 1 & 2 offer Sawtooth and Pulse Waves
* 4 Octave Range Switch for VCO2
* Ring Modulation and Sync Features for VCO 1 & 2
* VCO 3 can be switched between LFO and Sub Oscillator Modes
* White Noise Generator
* Slide Function, switchable by MIDI Controller 65 (Portamento)
* External Signal Input

LFO:
* 5 Shapes; VCO 2 can also be a Modulation Source
* LFO MIDI Clock Sync
* 4 Modulation targets: VCO 1 and 2, Cutoff and Mixer

Filter:
* 24 dB MOOG Style, Self-resonant Filter with Highpass and Lowpass Modes

Envelopes:
* Dedicated ADSR Envelope for the Filter with Positive or Negative Modulation
* Second ADSR Envelope for VCA Volume

Effects:
* Distortion and ‘Fuzzer’ Effect

MIDI:
* 5 Octave Range MIDI-CV Converter
* MIDI controlled Cutoff and Modulation
* Velocity Sensitive
* CV and Gate In/Output (switchable)

General:
* Pure Analogue Technology
* 2 Unit Rackmount Enclosure
* Violet, Silver or Gold coloured Front Panel

Spectral Audio (click on the Neptune link to get to the audio demos)."

Nord Keyboards announces Nord Lead A1 analog modeling synthesizer

"Nord Keyboards are proud to announce the new Nord Lead A1 analog modeling synthesizer. The Lead A1 combines the latest analog modeling engine with an innovative streamlined interface for fast-track programming.

ANALOG MODELING
The Lead A1 is equipped with an analog modeling sound engine capable of reproducing the character and nuances of the vintage synths of your dreams with breathtaking accuracy. 24-voice polyphonic and four part multi-timbral, the Lead A1 is a flexible choice for either stage or studio, delivering a stunningly rich and versatile palette of sounds.

THE NEED FOR SPEED
The Lead A1 introduces a new front-panel user interface designed to make programming quick and easy, while retaining hands on flexibility.
"We’ve been thinking about and honing this interface for a number of years in response to what we hear from many professional players regarding the ever-increasing time pressures in creating sounds for stage or studio. ” says Hans Nordelius, CEO and head designer.
One of the main features of the new interface is the Oscillator section, where Oscillator configuration shortcuts allow patches to be created and edited far quicker than is usually possible for synthesis of this complexity.
Using a single LFO and simplified Modulation Envelope with intuitive controls on the front panel, it is also very quick to experiment with modulations, always with a clear overview of the structure of the patch.

FILTERS
The on-board filters include Low Pass, High Pass and Band Pass, along with new stunningly accurate modeled Ladder M and Ladder TB filters.

EFFECTS
The Lead A1 features an independent effects processor for each of its four slots. Delay, high quality Reverb, plus a choice of Drive, Ring Modulation, Phaser, Flanger, Ensemble or Chorus are available per slot. The impressive new Ensemble and Chorus effects are analog models of specific classic synths, bringing vintage analog warmth and feel.
Nord's acclaimed Morph function via Velocity or the Mod Wheel is also included, allowing multiple parameters to be morphed in real time and with exceptionally easy control.
Additional functions include an independent arpeggiator for each of the four slots, Master Clock sync of the LFO, delay and Arpeggiator, MIDI over USB, and four independent outputs. The Lead A1 also includes the Nord Sound Manager software patch librarian.

Like all Nord products, the Lead A1 is handmade in Sweden with meticulous attention to detail and quality control.

The Nord Lead A1 will be available in April 2014 with an estimated price of $ 1799 MAP
For more information please visit www.nordkeyboards.com/a1/

Visitors to the NAMM Show can see the Lead A1 on the booth of USA distributor American Music & Sound, B6464."



Discussion on The MATRIXSYNTH Lounge

Update: NAMM video:

NAMM 2014: Nord Lead A1 - First look

Published on Jan 23, 2014 sonicstate·601 videos

Don't miss the extended oscillator section at 9:45 on.  That is pretty cool.

"NAMM 2014: Nord Lead A1 - First look New VA on behind closed doors"

Update2:

Nord Lead A1 - NAMM 2014

Published on Jan 23, 2014 Sound On Sound magazine·673 videos

"Analog Modeling Synthesizer"

SynthFest UK 2018 Round-Up

Published on Oct 9, 2018 Sound On Sound magazine

"SynthFest UK returned to Sheffield on Saturday 6 October, marking the third outing of the UK’s biggest synthesizer event.

Organised by Sound On Sound magazine, SynthFest UK is a celebration of all things synth, with an exhibition hosting manufacturers, retailers and universities, as well as a seminar programme with big names in the synth world and a Modular Meet where people could show off their own rigs.

Video & Music: Geosynths (https://www.youtube.com/user/magikroom)"

See the SynthFestUK label below for more.

Trevor Horn - The Art of Record Production

Published on May 1, 2019 Sound On Sound magazine

LinnDrum, Minimoog, Fairlight (80 grand - he was one of the first 10 owners)

"Trevor Horn is one of the worlds most successful and innovative producers, sometimes referred to as the man who invented the 80’s. We talk to Trevor and get some great stories from his past and present, as well as learn about the techniques used in some of his earlier recordings.

If you enjoyed this interview watch Trevor talking about how the YES track "Owner Of A Lonely Heart" was recorded:"

Trevor Horn - YES, 'Owner of a Lonely Heart' Track Breakdowns - Original and Reimagines the 80s

Published on May 1, 2019 Sound On Sound magazine

"We talk to Trevor about his new album ‘Trevor Horn Reimagines The eighties’ and we look at the multi-track sessions of 'Owner of a Lonely Heart' by Yes and Trevor’s updated version from Trevor Horn Reimagines the Eighties."

Waldorf Demos with Saga's Jim Gilmour at the Frankfurt Musikmesse in 1992

Saga - Jim Gilmour Demo - Musikmesse Frankfurt 1993 1992 Published on May 12, 2013 MadSevenFilms

"Jim Gilmour ( Saga keyboardist) in a demo at the Waldorf stand during the musikmesse in Germany.
Humble Stance, Wind Him up, Don't be late, Careful where you step, On the loose,etc ...."

Update: according the swissdoc, these videos are actually from 1992. That would make the appearance of the prototype Wave in 1992, not 1993. This post has been updated to reflect that. Note swissdoc's write-ups are from 1993 as you can see in the datestamps for the links, and I believe the production model Wave was indeed released in 1993.

Here's a blast from the past featuring a bit of Waldorf history in via swissdoc. This may very well be the only Waldorf footage from the event. Check out the non-working prototype of the Waldorf Wave in the background. 1992 was the year it made its first appearance to be released in 1993. Note the Microwave rack was released earlier in 1989. Further below you will find some notes on Musikmesse 1993 (the following year after these videos) from swissdoc, followed by a transcription of the Wave flyer. This is a fascinating look back on synth history. But first, one more video from the 1992 Musikmesse.

Update2 via swissdoc: "In addition, for those who can read and understand German, there is a big series of three articles available for download (email has to be provided) from the German Keyboards magazine. Inside Wave. Amazing level of detail plus in part three an interview with developers and users plus additional interviews with the people behind the Wave.

https://www.keyboards.de/heftarchiv/1994-10/inside-wave-1-wave-intro/
https://www.keyboards.de/heftarchiv/1994-11/inside-wave-2-tech-talk/
https://www.keyboards.de/heftarchiv/1994-12/inside-wave-3-wave-story/"

Update3: The following scans have been added to the bottom of this post:
Messe.1992.TSI.Messeinformation
Messe.1992.Preliminary.Wave.Info
Messe.1993.TSI.Show.Information
Messe.1993.Wave.Flyer

Saga - Jim Gilmour Scratching the surface - Musikmesse Frankfurt 1993 1992

Published on May 13, 2013 MadSevenFilms

"Jim Gilmour ( Saga keyboardist) in a demo at the Waldorf stand during the musikmesse in Germany.
Scratching the surface"

---

The following is a Musikmesse 1993 recap via swissdoc aka George Mueller, who attended, from way back in 1993 (you'll find a transcript of the Waldorf Wave flyer text further below). P.S. for a quick look at the gear released at the 1993 Musikmesse see here and here, both from swissdoc.

"Before I go into this Wave stuff, I'd like to tell you a little about the Frankfurt Musik Messe. Those restless gear junkies, skip the next 24 lines.

The Frankfurt International Music Fair was held for the 14th time and was attended by a record number of exhibitors: 1194 from 40 contries. So it's the leading event for the music business.

The Messe Frankfurt has 10 halls of different sizes, three of them are used by the Musik Messe. Hall 9.0 is the most interesting, it's for electronic instruments, 9.1 is for guitars and amps, 9.2 is for stage light, sound and mixers. These halls are middle in size, rows range from A to F, with booth numbers up to 90 each. Hall 8 is for acoustic instruments and publishers; it's funny, all that noise from test-playing violins, flutes and so on. This is the biggest hall, rows from A to P. The monster booth of Yamaha is in the back of this hall with all their synths, FXs and personal keyboards. So it's a long walk to Yamaha. It's a bit risky in this hall, if you enter one booth, browse thru the pages of some book, after talking to the salesman you probably lost your orientation. Hall 10.1 is reserved for grand pianos and uprights. No elctricity allowed there.

It's funny, when you change from 9.0 to 9.1, all those long haired heavy metal guys. One amp or guitar company has a Hard Rock Cafe at their booth, evertime overcrowded with guys drinking cocktails or beer.

So, here we are, the promised report on the TSI shows WAVE MUSIC DEMO and INSIDE THE WAVE.

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GForce Virtual String Machine (VSM) - Version 3.0 Update

via GForce Software

"As technological developments advanced through the late 1970s & early 1980s, the polysynth enveloped the capabilities of the string machine family of instruments, seemingly consigning them to the 'where are they now' dustbin.

But in much the same way that we played a big part in the rediscovery of the mellotron sound, in 2007 we had a similar role in resurrecting the tones of a range of iconic string machines, including the Freeman String Symphonizer, Eminent 310 and Solina String Ensemble, and bringing them back into vogue with release of VSM. In 2014 the addition of the VSM Expansion Pack (now updated) further expanded the range of available instruments and tones helping establish VSM as the go-to instrument for this wonderful family of instruments.

While the likes of Sound On Sound magazine were singing the praises of VSM ("It sounds absolutely gorgeous.") we always felt it lacked one crucial component found on some of our favourite string machines - stereo playback.

Instruments such as the Solina String Ensemble and Roland's wonderful 505 offered stereo outputs allowing their sublime, moving ensemble textures to sit perfectly within a wide stereo field. This one feature set such instruments apart highlighting just how stunning these, now ancient, analogue machines could sound.

VSM Version 3.0 rectifies this by providing stereo playback of a range of previously unreleased, carefully crafted stereo sounds-sets, plus two new interfaces sizes in two designs, and an additional LFO destination.

And it is FREE to registered users of VSM.

Now in stereo!
Along with the existing library of 17 instruments and 66 sound-sets, VSM Version 3.0 comes with a huge (3.5GB ) supplementary library of predominately stereo sound-sets from the following instruments; the aforementioned Solina String Ensemble and Roland 505, Roland's Juno 106, Yamaha's CS-60 and CS-80 providing 34 new sound-sets.

Several of the new sound-sets have been processed through a range of vintage effects such as the Boss CE-1 Chorus Ensemble pedal, Roland's Dimension D and the sublime Ventris Dual Reverb.

In addition to the sound-sets, over 150 new Patches are included, many providing the ideal starting point for your own tweaking, while others show off VSM in all its stereophonic glory.

2 new interface designs, each in 2 sizes


VSM Version 3 features a completely redesigned user interface with Small and Medium sizes in both Tolex and Wood guises.

The Small version is 1230 x 610 pixels in size with the Medium being 1640 x 813."

VINTAGE RHYTHM ACE FR-6

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

via this auction

Update via Christopher Keep in the comments: "I own both an FR 6 and a CR 78. Heart of Glass was definitely recorded with a CR 78. There's no pulse out on the FR 6, and hence no way to sync it with the LFOs on the Roland SH 1000 used for the sweeping pulse effect. That said, the FR 6 is pretty cool; you can pop the hood off and adjust the volume and tone of all the individual sounds using the tunable pots. A modders dream."

"VINTAGE RHYTHM ACE FR-6 old school analog drum machine manufactured by Ace Elcetronic Industries in Japan. this is the RARE AND HIGHLY SOUGHT AFTER weird little rhythm unit that came into vogue on early electro records and used on disco and house tracks of the 60s/70s/80s....EXACTLY the one heard on everything from Blondie's 'Heart of Glass' to today's electro punk and indie freakouts."

Some claim the Roland CR-78 was used, but others state the sound was closer to the FR-6. Wikipedia currently has the following:

"The production of 'Heart of Glass' was discussed in detail by Richard Allinson and Steve Levine on the BBC Radio 2 radio program The Record Producers that was aired on May 25, 2009. As explained in the program, the production of 'Heart of Glass' was built around the use of a Roland CR-78 drum machine. The CR-78 was first introduced in 1978, the same year that Parallel Lines was recorded, and the use of this device on 'Heart of Glass' was, according to the program, among the earliest uses of this device in popular music. As the program explained, it was also very unusual to use a drum machine in the context of a rock band.

In deciding to use the CR-78 for 'Heart of Glass,' the choice was made to combine the sound of the drum machine with the sound of actual drumming. This reflected the hybrid nature of the song, the combination of a drum machine that was typically used in the context of dance music with the actual drum sound that was a traditional aspect of rock recordings. In combining these elements, the sound of the drum machine was first recorded on an individual track. To synchronize the actual drum play with the drum machine, the drums were also recorded on separate tracks, with the bass drum recorded separately from the rest of the drums.

Having combined the drums with the drum machine, another important feature of the CR-78 was that it could be used to send a trigger pulse to the early polymorphic synthesizers. This trigger pulse feature was also used on 'Heart of Glass.' The trigger pulse created by the CR-78 became a distinctive electronic/synth element of the song. The additional synthesizer portions of the song were played separately.

For the guitars, each guitar part was again recorded on separate tracks. For the vocals, a single track and a double track of Debbie Harry's voice were combined into a single vocal recording.

In an interview in the magazine that is part of the collector's edition for the ninth Blondie studio album Panic of Girls, Debbie Harry explained that band members Chris Stein and Jimmy Destri had purchased the CR-78 from a music store on 47th Street in Manhattan, and that this is how the device had become part of the production of 'Heart of Glass': 'Chris and Jimmy were always going over to 47th Street where all the music stores were, and one day they came back with this little rhythm box, which went 'tikka tikka tikka'... And the rest is history!' Stein also credited Destri with influencing the song's sound, saying he 'had a lot to do with how the record sounds... It was Jimmy who brought in the drum machine and a synthesiser. Synchronising them was a big deal at the time. It all had to be done manually, with every note and beat played in real time rather than looped over.'[6]"

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Synth East 2024 - Synth and Modular festival in Norwich

video upload by

"Synth East is a festival of synths and modular in Norwich from Friday the 23rd of February to Sunday the 25th. Brought to you by the Norwich Arts Centre, Electronic Sound Magazine and Molten Modular.

Tickets are available for each event separately. There's a discount if you order the Saturday Expo and evening gig at the same time.

Friday: Subotnick documentary [trailer here], Adam Buxton interviews Steve Davis and music from Luke Sanger.

Saturday daytime: Synth Expo with performances

Saturday evening: Blancmange, Ultramarine and Molten Modular

Sunday: DIY Workshops from Thonk and Befaco.

http://www.syntheast.com"

Update: press release follows:


"Pouring from the heart of Norfolk, hosted by the Norwich Arts Centre, curated by Electronic Sound Magazine and run by Molten Modular, Synth East is back. After a devastatingly successful 2023 show the sold-out Norfolk-based festival of synthesizers returns in 2024 but this time it's been widened into a full weekend experience.

The all new Friday evening Synth East event is curated by Electronic Sound Magazine and kicks off with (possibly) the UK premiere of a documentary on electronic musician Morton Subotnick, who at 90 years old, is known affectionately as the Father of Techno. It’s called Subotnick, Portrait of an Electronic Music Pioneer by Waveshaper Media who brought us the intoxicating 2014 documentary, I Dream of Wires.

Following the film we have writer, broadcaster, comedian and musician Adam Buxton chatting with Synth East alumni Steve Davis about music, life and modular synths. Finishing off the evening we have an ambient set from modular musician Luke Sanger as we relax into some beers in preparation for what’s to come for the rest of the weekend.

Saturday’s Synth East Expo is a carnival of control voltage, a festival of synth sounds and a party of epic performances. Dozens of manufacturers will be filling the Arts Centre with synths and modulars to give you an opportunity check out their marvellous machines and bask in the glow of synthesiser technology. You’ll be able to chat with the makers about the gear and even have a personal demonstration. Simply walking through the auditorium in the company of such exciting gear is completely thrilling.

Throughout the day we’ll be having some performances from local artists Hardwired and Tristan Burfield before we once again embark on the awesome modular experiment of the all-star patch off. This year, joining Robin "Molten Modular" Vincent, Steve Davis and Gaz Williams will be Mylar Melodies, Nina Richards, and Jason Jervis. These are unique, improvised performances that you’ll never see anywhere else.

Saturday night’s synthesiser explosion features the 80s synth legends Blancmange who have kindly agree to fit us in before their extensive Everything is Connected: The Best Of Blancmange tour of the UK. Supporting Blancmange we have eclectic electronic music duo Ultramarine featuring Ian Cooper and Paul Hammond. And in the warm up slot is our own Robin “Molten Modular” Vincent and a special guest.

On Sunday we are hosting some Eurorack DIY workshops presented by Befaco and Thonk. They will be held at Electronic Sound HQ at Capital House over a few hours. The idea is that you buy a ticket for the workshop and then order the kit that you hope to build directly with Befaco or Thonk.

Synth East 2024 runs from the 23rd to the 25th of February. Each event is available as a separate ticket and there's a bundle deal on buying the Saturday Expo and evening performance together.

Our intention is to revel in the world of synthesizers, modular and electronic musical boxes. We want to explore sound through performance, discussion and hands-on interaction. It's a lot of fun and open to anyone with an interest in bleeps, tones and noises."

Anatomy of a Drum Machine: Roland TR-909 Emulator JOMOX 09 (HQ Sound).

Published on Sep 27, 2013 massivebeatzz·58 videos

"Test, Review, Jam - SOUND CHECK. Here's something you may want to read while watching:

Built from 1997-2005 this now legendary drum box was first reviewed in June 1997 by SOS (Sound On Sound Magazine) asking: "So what do you get when you cross '80s retro with '90s know-how?"

They wrote:
XBase 09 is serious about emulating the Roland TR-909. Like the 909, it is an analog drum machine, and it sounds just like the 909, and more! It offers the same types of analog controls that the TR-808 and TR-909 did such as tuning, level, decay, snap, etc. However it provides more of these controls for more sounds than the originals ever did and has MIDI implementation and Patch memory making the XBase 09 a much more versatile machine than those originals.

Kick and snare are true analog, not emulation and not sampled. The Hihats, cymbal, ride, rimshot, claps and noise sounds are samples but are still quite tweakable. All your edited sounds can be stored into the 100 patches of memory. Use the built-in LFOs to modulate the Bass drum pitch, Snare Tune, Snare Snap, Snare Noise Tune, HiHat Tune or LFO 2.

The XBase 09's built-in sequencer is also more advanced yet faithful to the style of its mentors. Step or Real-Time programming just like it's done on the 909 and 808! However, on the XBase, any edits to the sounds will also be stored with the pattern or song! This really liven's up your beats and allows you freedom and control to do things not easily possible on the original beat boxes! There's also an extensive Shuffle mode. Of course the XBase 09 is also happy as a simple drum tone module, with all editable controls accessible using MIDI. The controls also send MIDI data when tweaked so you can record real-time edits into your external sequencer.

The XBase09′s editable controls include...
Bass drum -- TUNE (controls the pitch envelope amount), PITCH (VCO tuning parameter), DECAY (controls the decay time), HARMONICS (changes the harmonics of the VCO using a diode limiter), PULSE (square wave impulse), NOISE (clap-like sound), ATTACK (controls how much of the PULSE and NOISE mix is added), EQ (smoothes the sound with a filter).
Snare drum -- TUNE (controls the pitch of the two oscillators), NOISE TUNE (tunes the noise filter), XSNAPP (controls the proportion of noise), DECAY (noise decay time), DETUNE (detunes the two oscillators), NOISE TUNE (tunes the noise filter).
Sample section -- OH DECAY (controls the decay time of the analog volume envelope for sample assigned to OHH), CH DECAY (same but for CHH), HH BAL (controls the volume balance between the samples assigned to OH and CH), TUNE defines the playback speed (pitch) of the sample."

Yamaha VL1-m

Title link takes you to shots pulled via this auction.

Some details (see the auction for more):
"The VL1 was truly revolutionary and expensive ($6K) when it was first introduced. Although Yamaha was expected to release an even pricier polyphonic synth (the mythic VP1), soft sales of the VL1 led Yamaha to go the other way, cut the capabilities and release the VL-70m, which is roughly half the device. Although the VL70 can be tweaked to produce a satisfactory sound, and although some sort of physical modeling is included in the capabilities of a wide variety of synths today, most discerning players would agree that the VL1 has never been matched, particularly in the way that the sounds can be customized. You can hear this for yourself by comparing the sounds presented on the sites listed above [below in this post] with the sounds of any other synth, real or virtual. Others may sound similar, but the VL1 has an added depth and realism that can be clearly heard.

This synth is the sound designer's holy grail, and sound design is what I used it for. An unbelievable range of sounds can be produced quite quickly, and there's almost no limit if you're willing to spend time digging into the parameters. The time spent is truly enjoyable... you'll see hours slip by as you revel in your creations. You can program sounds on the device itself, or there are two programs that Yamaha released for Macintosh OS 9: a Visual Editor and an Expert Editor (the Expert Editor has been replicated for Windows 98). The visual editor is pure fun, and quite easy... you can mix and match a number of different parameters by simply clicking on options. The Expert Editor is where you can dive deep and really tweak things to either make them more real or truly unreal. I will include the Visual Editor for Mac OS 9 and the Expert Editor for both OS 9 and Windows 98 on a CD, along with the original floppy disks supplied by Yamaha."

Sound On Sound magazine's original 1994 review of the VL1 (the keyboard version)
Ken Barry's web page devoted to the VL1-m, including sounds generated by his Yamaha WX7
International Wind Synthesis Association
A couple of Harmony Central user reviews
Patchman Music patch samples for the VL1

LAMM Moog Memorymoog SN 2396

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via this auction

Moog Memorymoog Plus with the imfamous LAMM upgrade (Linntronics Advanced Memorymoog Modification - priced 7500euro, with a 20 month waitinglist)

The synth is in amazing condition, more 'mint' then 'excellent', as you can see on the pictures. Well cared for, serviced (incl recapped PSU, etc) and ships in a heavy duty pro flightcase (not pictured yet).

Sold with invoice.

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ABOUT LINTRONICS ADVANCED MEMORYMOOG MODIFICATION (LAMM)
Designed more than twenty years ago and built by Moog Music before 1984, the Memorymoog has earned a reputation for the highest quality analog sound of any polyphonic synthesizer. However, the Memorymoog has been plagued with hardware instabilities and operating system shortcomings that have compromised its reliability and frustrated the players who have used it. Furthermore, current standards of operating system flexibility include a level of MIDI implementation that goes far beyond the feature set that has heretofore been available on the Memorymoog.

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