Superbooth 2019 Superlative Instruments SB-1 Space Bee (Roland SH-101) Demo

Published on May 9, 2019 SynthBae

Here it is. See the Superlative label below for more.

"Superbooth 2019 Superlative Instruments SB-1 Space Bee sh101 super flat portable battery powered. Fat 101 sound. apologies for the handcam."

New Superlative Instruments B-1/Space Bass / SH-101 Pics

New pics added to the bottom of this post.

Superlative Instruments Buchla Format Module

via playsuperlative

"special project"

New Superlative SB-1/Space Bass - SH-101 Style Rechargable Synthesizer

Coming to SUPERBOOTH19

"Replica 3340 voltage controlled oscillator and classic 4-pole OTA VCF with discrete envelope--
It’s exactly what you think it is.

USB, MIDI, and CV/gate input and output allow for simple musical interfacing with other synthesizers and modular gear.

The SB-1 utilizes a newly-developed full-size keyboard based on tactile rubber dome switches for a fast and responsive feel.

A precision engineered chassis enables a new form factor that is thinner than one inch, yet rugged enough for everyday portability and use.

The SB-1 is the first ever analog synthesizer to incorporate a rechargeable battery, allowing all-day playability between charges.

A new dual-layer sequencer allows for synchronized control of a second instrument via CV/gate or MIDI for a dynamic synth duet."

CLICK FOR MORE »

FXpansion Introduces Geist2 Beat Production System

Published on May 19, 2016 FXpansion

"FXpansion forges ahead with Geist2 beat production system

LONDON, UK - MAY 19: audio software developer FXpansion is proud to announce the availability of Geist2, an all-new incarnation of its award-winning Geist. Geist2 is a powerful sound-sculpting and beat production system with streamlined sample manipulation, arrangement, and modulation capabilities for intuitive and accelerated workflow. Available for Mac OS X (10.9 or higher) and Windows (7 SP1 or higher), as 64-bit only AAX, 32- and 64-bit AU and VST, and Standalone versions.

Geist2 is an advanced step-sequencer and sample-based drum machine realised in software and sympathetically styled so that creativity comes to the fore. First and foremost, it allows an elegant and ergonomic way to effortlessly build beats (although is equally well suited to work with all kinds of music material). Grooves and rhythms can be performed and programmed quicker than ever, thanks to its redesigned, resizable (Retina/4K-compatible) interface that’s as easy on the eye as it is to use.

There’s so much more to Geist2 than first meets the eye. Equally at home as a triggered sample player, loop machine, performance beatbox, production system, or all of these things at once, anyone can approach beat making in their own way with Geist2.

For slicing longer loops, the refined Slicer combined with up to 64 pads allows for fast, non-destructive chopping of beats with automatic pattern extraction — easily create custom loops, thanks to drag-and-drop MIDI and audio export functionality.

When capturing samples with Geist2’s Sampler, whether working with multiple loops or threshold-based single hits, the integrated browser and an ability to record directly to the pads provides an easy-going environment for creating custom kits to hit that perfect beat!

But what about taking things to an even higher level of interest, musical-sounding or otherwise? Geist2’s got it covered, thanks to the TransMod system. Automate almost any parameter with interacting modulators like LFOs, step-sequencers, envelopes, maths functions, and macro controls to morph and evolve sounds in new and creative ways.
Each of Geist2’s eight engines feature a 64-track Sequencer with 24 pattern memories — all with individual track lengths to create evolving polyrhythmic patterns. Event probability, micro-timing shifts for ‘off-the-grid’ organic grooves, and parameter step- automation for adding new dimensions to beats are also available.

When working in Song mode, building complex, evolving arrangements is easy and fun; record scene changes live in real time or just start playing — capturing it all afterwards and never missing an idea with retro recording functionality.

Finally, Geist2’s powerful sampling and effects engine can twist and transform sounds into something completely different. Layer samples with individual effects and use crossfaded loop point modulation alongside Zynaptiq’s ZTX — a cross-platform technology for high-quality time-stretching, pitch-shifting, and pitch-correction — to create new sounds and textures. New effects also include FXpansion’s own Bloom (creative delay and diffusion effect) and Maul (distortion and tone shaper) algorithms alongside low fidelity DAC (Digital to Audio Convertor) modelling, high-quality reverb, frequency shifting, granular freezing, classic DCAM (Discrete Component Analogue Modelling) compression, filters, drive, and much more.

With its inbuilt intelligent browser for navigating a superlative sound library from Splice Sounds — a passionate team of engineers, designers, writers, musicians, and music-lovers devoted to producing some of the best loops, samples, and sounds around — Geist2 is ready and able to take beats and grooves to the next level" https://www.fxpansion.com/products/geist2/

Arturia Dark Force Rising with BeatStep and MiniLab Black Edition

"The Dark Force is rising again at Arturia with two new Black Editions of BeatStep and MiniLab!!!

With its new design the BeatStep Black Edition comes charged with Oberheim SEM V, Analog Lab and Ableton Live 9 Lite. It also comes with the latest 1.2 firmware update.

MiniLab Black Edition is not left behind, we have packed it with Oberheim SEM V, Analog Lab, Ableton Live 9 Lite, and UVI Grand Piano Model D."

And the press release:

"Arturia announces availability of software-bundled black BeatStep and MiniLab controllers

GRENOBLE, FRANCE: music software and hardware developer Arturia revolutionised the concept of what a priced-to-go compact controller can be with both its award-winning BeatStep Controller & Sequencer and MiniLab Universal MIDI Controller truly turning heads at past NAMM shows; today, within weeks of stealing the show at The NAMM Show 2016, January 21-24 in Anaheim, California, USA with more major product launches, itis proud to announce availability of limited-edition black versions of both the BeatStep and MiniLab that represent better value than before bybundling them with award-winning Arturia and third-party software...

Like its original white namesake sibling launched at The NAMM Show 2014, the BeatStep Black Edition is a chameleon-like controller and sequencer that matches many musical environments effortlessly. Compact and rugged, it is the perfect companion on the road or in the studio, offering a degree of functionality and performance hitherto unheard of in a portable pad controller — certainly at its tempting ‘takeaway’ €99.00 EUR/$129.00 USD asking price!

Speaking of which, the BeatStep Black Edition is bundled with Oberheim SEM V— Arturia’s award-winning authentic software recreation of the original Oberheim Synthesizer Expander Module® (SEM), which was itself conceived back in the Seventies as a way of beefing up weaker-sounding compatible analogue monosynths of the time, thanks to its rich two-oscillator driven sound, soon after forming the muscular musical backbone of several subsequent trailblazing Oberheim polysynths — alongside Arturia’s Analog Lab, a n a b u n d a n t l y -powerful software synthesizer solution with 6,000-plus presets by internationally-renowned sound designers derived from Arturia’s award-winning Analog Classics, a range of authentic-sounding software recreations of classic analogue instruments. Included third-party software comes courtesy of Ableton Live 9 Lite, a customised version of the Ableton Live music-making software, featuring selected instruments and effects plus all the essential workflows to write music, record audio, and songs intuitively in an innovative way — thanks to BeatStep Black Edition, triggering clips in Live 9 Lite areas easy as exercising your trigger finger! — and Grand Piano Model D from fellow French developer UVI, a sample-based virtual instrument delivering the sought-after sound of the superlative Steinway Model D concert grand piano with all the warmth, expressiveness, and detail of the real thing.

To sweeten the deal further still, BeatStep Controller & Sequencer and its younger brother, BeatStep Black Edition, both benefit from a firmware update (to Version 1.2) with neat new features such as resetting factory presets — either everything or everything except pad calibration — particularly proving to be well worth the wait.

When launched in dazzling white at The NAMM Show 2013, the diminutive yet feature-rich MiniLab Universal MIDI Controller proved an irresistible draw as one of the most feature-packed, compact control systems on the market, marrying sought-after hands-on control with portability par excellence. Engineered for the musician on the go or the performer with limited space, it offers a comprehensive set of features in a portable package that is as sturdy as it is easy on the eye. Discover new melodies with 25-mini keys plus pitch and modulation touch-strip controls. Drum out incredible rhythms with two banks of velocity-sensitive backlit performance pads, and tweak software to your musical heart’s content with 16 full-size rotary encoders. When combined with the included Analog Lab it becomes a real hybrid synthesizer.

Still one of the most feature-packed, compact control systems on the market today, it too benefits from the triumphant back in black treatment to remerge refreshed and reinvigorated as the MiniLab Black Edition — even better value than before, thanks to also being bundled with additional software from Arturia (Oberheim SEM V), UVI (Grand Piano Model D), and Ableton (Live Lite).

Black or white, then, the choice is out there... but beyond the plain to see colour change there is so much more to the BeatStep Black Edition andthe MiniLab Black Edition than meets the eye. Even though they still respectively represent a compact control powerhouse and the world’s premier mobile keyboard solution, they are all the better for being bundled with that additional software. Now they represent really remarkable bang for the buck. Best be quick, though... they are limited-edition bundles, after all!"

Crumar/Chase Bit One - vintage 6 voice analogue synth with MIDI

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

via this auction

"Crumar/Chase Bit One - vintage 6 voice analogue synth with MIDI

Quirky 80s DCO analogue from the same designer as the superlative Elka Synthex.

Has dedicated detune and noise sliders, with keyboard aftertouch, split and unison modes (very fat!!).
Features MIDI In/Out and an analogue trigger input!

All fully working. Built like a tank, but with some blemishes on the case.
Some slightly worn legending. Value buttons occasionally require a harder press, but all working."

CLICK FOR MORE »

Spitfire Audio Introduces EVO GRID 004 WOODWINDS for their EMS VCS3 Inspired Virtual Instrument

Published on Sep 3, 2015 Spitfire Audio

"Spitfire Audio adds another ‘off-grid’ twist to evolving, EMS VCS3-inspired VIs for its Producer Portfolio

LONDON, UK: Spitfire Audio, purveyors of the finest virtual instruments from the finest musical samples in the world, is proud to announce availability of PP025 EVO GRID 004 WOODWINDS, the latest creative chapter in its evocatively-named, evolving EVO GRID series of ‘off-grid’ sample-based virtual instruments initially inspired by the trailblazing late-Sixties-vintage EMS VCS3 portable analogue monosynth and perfectly executed for the Native Instruments KONTAKT platform-compatible Producer Portfolio range — itself launched to satisfy repeated requests for drier-sounding, more manipulative samples for more non-orchestral material, as of September 18…

Following on from the success of Spitfire Audio’s prototypical PP017 EVO GRID 001 STRINGS and its phenomenal PP020 EVO GRID 002 STRINGS followup, as implied by name, PP025 EVO GRID 004 WOODWINDS takes the so-called ‘Evo’ concept from its inception in strings into the wonderful world of woodwinds. What is an Evo, exactly? Evos are hyper-long, sample-based articulations that evolve — sometimes subtly, sometimes severely — over time before looping. These are then organised on a grid so users can plot which evolution or ‘Evo’ sits on which key range, resulting in a GUI (Graphical User Interface) inspired by the breakthrough British EMS VCS3, which made musical history upon its introduction in 1969 by being the first commercially portable synthesiser available anywhere in the world, thanks to its innovative modular matrix-based patchboard dispensing with the telephone exchange-like cabling of other (much larger) modular systems in favour of making space-saving connections with (removable) coloured pins.

PP025 EVO GRID 004 WOODWINDS heads on a similarly flexible sonic bearing, but within the computer-hosted context of a truly 21st Century sample-based virtual instrument fit for ‘off-grid’ minimal musical explorations. Employing some of the UK’s finest, most progressive, and avant-garde woodwind players performing beautifully-orchestrated long notes that increase in intensity and expression, evolving into out-of-this world soundscapes, this eclectic collection of woodwind evolutions designed by Ben Foskett foster an exceptional edge to anyone’s musical endeavours. Returning to record at the ultra-dry, yet warm-sounding surroundings of Central London’s Air-Edel Recording Studios using the finest vintage microphones, Neve preamps, and the last Cadac studio console ever built, ‘Foskett & Co.’ set about creating a product that oozes originality and positively provides inspiration to all that use it. The result? 3,312 superlative samples — some 18.5GB of uncompressed .WAV files — that do just that by doing things with woodwinds that are totally unexpected, yet uniquely musical in execution.

At Air-Edel Recording Studios two subtly different performing lineups — Band A comprising FLUTE (3), ALTO FLUTE (1), BASS FLUTE (1), CONTRA BASS FLUTE (1), Bb CLARINET (3), and Bb BASS CLARINET (3); Band B comprising OBOE (3), COR ANGLAIS (2), Bb CLARINET (2), Bb BASS CLARINET (1), Bb BASS CLARINET (1), BARITONE SAX (1), and BASSOON (3) — led Spitfire Audio to ultimately provide PP025 EVO GRID 004 WOODWINDS users with a nuanced selection of sounds. Some are more reedy-sounding, others more flutey. This time the resultant Evo count stands at a healthy 48 spread across 12 pitch regions — including an additional five grids of wonderfully-warped, saturated, and totally transformed versions of each and every Evo — resulting in an almost infinite number of possibilities. Pressing the save button is important… all the more so given the many randomisation options that are also provided!

Fortunately for (potential) PP025 EVO GRID 004 WOODWINDS purchasers, Spitfire Audio has helpfully seen fit to carefully curate those extraordinary Evos into a number of spring-right-out-of-the-box-style patches — from seemingly-simple tutti-type affairs, featuring all Evos evenly spread across the keyboard, through to various diagonal patterns, as well as a handy feature for randomly creating pinned patterns from the near-infinite number of configuration possibilities — perfectly demonstrating not only the tense and extreme elements of the library but also the effortlessly-engaging ‘episodic’ Evos! Easily-accessible front panel-positioned FX controls (for Reverb, Delay, and Tape Sat.) help make this into a tool truly designed for producers — hence the Producer Portfolio range association, as well as composers, editors, and sound designers alike. Anyone needing a spellbinding solution from the moment they touch the keyboard, in other words! Like the self-explanatory SIMPLE TENSE SCARY subtitling of the PP017 EVO GRID 001 STRINGS and TRADITIONAL EPISODIC EXTREME subtitling of PP020 EVO GRID 002 STRINGS before it, PP025 EVO GRID 004 WOODWINDS can be as time-saving as the trailblazing EMS VCS3 was once space-saving.

Saying that, PP025 EVO GRID 004 WOODWINDS perfectly compliments that recently-released PP017 EVO GRID 001 STRINGS sample-based virtual instrument — an extraordinary collection of long, evolving chamber strings orchestrated by Ben Foskett before being given Spitfire Audio’s adventurous Evo treatment — and its PP020 EVO GRID 002 STRINGS sibling. Says Spitfire Audio Director Paul Thomson: “We’ve got a collection of incredible players here — very progressive, avant-garde wind players, playing beautifully-orchestrated long notes from Ben Foskett that evolve with increases in intensity and expression and different techniques to give you a really beautiful series of long, evolving tones that you can use to work with in a similar way to the STRINGS EVO GRID releases. The EVO GRID GUI is the same as before, so you’ll recognise all of the controls. There are lots and lots of possibilities — millions of possibilities, in fact, so it’s a really creative tool. We’re very proud of it. It’s very different from the strings evolutions that we’ve put out so far, but it’s very, very useful.”

Indeed it is. In this day and age of delivering more musical content against a backdrop of diminishing deadlines and budgetary constraints, composers are often asked to engage the listener by doing very little — least of all changing notes, all those EVO GRID releases represent Spitfire Audio’s masterplan for providing them with a solution to this taxing conundrum. Just ask award-winning composer — and fellow Spitfire Audio Director Christian Henson. Commissioned to write 13 hours of music for a sprawling, epic TV series, but with no budget for orchestra and only three months in which to do it, a quick string sampling session subsequently ensued, during which he fortuitously recorded a series of greatly differing long strings evolutions. Staggered by the resulting sample instrument, where the chaotic nature of different evolutions placed over different intervals made for exciting and unexpected results, he semi-seriously stated, “I could literally hit a big C minor chord, hold my sustain pedal down, reach for my sandwich, and the thing would still be writing itself a minute later while I was wiping mayo off my beard!” From the smallest seed… and all that jazz.


PP025 EVO GRID 004 WOODWINDS and its PP017 EVO GRID 001 STRINGS and PP020 EVO GRID 002 STRINGS sample-based virtual instrument siblings can be purchased and downloaded directly from Spitfire Audio for £179.00 GBP (subject to VAT within the EU) from here:
http://www.spitfireaudio.com/products-page (Note that Spitfire Audio’s free Download Manager application for Mac or PC allows you to buy now and download anytime while a full version of Native Instruments KONTAKT 5 is needed to run these Producer Portfolio products.)


For more in-depth info, including an ear-opening audio demo, please visit the PP025 EVO GRID 004 WOODWINDS webpage here: http://www.spitfireaudio.com/pp-evo-grid-4-woodwinds"

Sample Logic Introduces Balinese Gamelan VI

"Sample Logic morphs and mutilates best Balinese gamelan instruments into VI fit for a new world

NEW YORK, USA: award-winning sample library company Sample Logic is proud to announce (upcoming) availability of GAMELAN — the latest in a lengthening line of superlative sample-based virtual instruments powered by Native Instruments’ industry-standard KONTAKT PLAYER platform, this time morphing and mutilating 25 world-class Balinese gamelan instruments to create a stunning selection of inspirational cinematic-quality atmospheres, melodic instruments, thundering percussive impacts, and twisted loops — as of September 1…

GAMELAN is where world instruments meet hybrid synthesis. Achieving this is easier said than done, though that is exactly what the talented team at Sample Logic has achieved with relative ease… well, with a little help from their friends. Recorded on the celebrated scoring stage at Skywalker Sound in Marin County, California, GAMELAN features over 1,700 world-class traditional and morphed gamelan instruments which will surely blow the creative minds of sound designers, composers, musicians, and producers alike. No fewer than 25 instrumental (Grantang, Jegogan, Jublag, Kajar, Kantilan, Kempli, Pemade, Penyacah, Reyong, Suling, Trompong, and Ugal) and percussive (Cedugan Wadon, Cedugan, Ceng Ceng, Gentorag Chime, Gong, Gupekan Wadon, Gupekan, Kempur, Klentong, Krumpungan Wadon, Krumpungan, Rebab, and Vocalese) Balinese instruments were recorded there in 24-bit/88.2kHz, then morphed and mutilated to craft the highly-creative content for GAMELAN.

GAMELAN welcomely weighs in at over 14GB as a result. As such, it features a diverse library of 1,700 KONTAKT PLAYER-compatible patches, perfectly divided into the following categories: 421 ATMOSPHERES (58 BIZARRE, 97 DARK - MYSTERIOUS, 71 ELECTRONIC - EFFECTUAL, 87 MIXED EMOTIONS, 28 STINGERS, and 79 WORLD ORGANIC); 316 INSTRUMENTALS (55 ARPEGGIATED, 104 WORLD ORGANIC, 74 SYNTH, and 82 TRADITIONAL); 332 LOOPS (84 ACTION PACKED, 120 ELECTRONIC - EFFECTUAL, 51 POP HOP, 56 WORLD ORGANIC); 368 PERCUSSIVES (31 ARPEGGIATED, 11 HIT ENSEMBLES, 266 IMPACTS, 17 TRADITIONAL, and 42 TRANSITIONS); and 260 MULTI CORES (34 ATMOSPHERES, 71 INSTRUMENTALS, 53 LOOPS, and 47 PERCUSSIVES). Explore unlimited possibilities within GAMELAN by combining those ATMOSPHERES, INSTRUMENTALS, LOOPS, and PERCUSSIVES within a single, easy-to-use interface. Moreover, mix up to eight ‘Soundsources’ while retaining nuanced control over each sound to create massive ambiences, crushing impacts, complex loops, soaring leads, or even stacked multis with all of the above triggered by a single note! Alternatively, why not simply use one of the thousands of included preset instruments for instant inspiration?

CLICK FOR MORE »

E-RM Introduces multiclock - Ultra-Reliable Multi-Channel, Multi-Format Sync Box

"E-RM effectively solves studio and stage sync and timing troubles with multiclock multi-format sync box

BERLIN, GERMANY: professional audio synchronisation specialist E-RM Erfindungsbüro is proud to announce availability of multiclock — an ultra-reliable multi-channel, multi-format sync box that builds a musical bridge between DAWs and external (MIDI, DIN Sync/sync24, and analogue modular) musical gear like no other by converting clock signals for tight integration into digital production workflow without troublesome timing issues, as well as providing helpful and creative realtime shift and shuffle controls to independently compensate for sloppy slave machine delays and also add groove to each creative channel — as of August 12…

multiclock’s ‘mission impossible’ is to therefore act as a one-stop shop for creatively synchronising all kinds of musical equipment to a master DAW with the greatest of ease and, obviously, precision. Put simply, it is built to overcome all of the well-documented problems associated with achieving tight synchronisation of sequencers, drum machines, arpeggiators, and other external equipment with each other and also within the workflow of a DAW. Doing this is easier said than done from a technical standpoint, so how has E-RM Erfindungsbüro apparently achieved the impossible with something so small and simple to use, then?

The key to multiclock’s reliability and innovation is its ability to acquire a variety of sync signals from an Audio Sync track, as opposed to relying on a MIDI Clock signal. Synchronising multiclock to a master DAW relies on a sample-accurate audio clock stream, which, in turn, guarantees gloriously-tight clock signals to within ±1 sample of jitter — jitter being defined as the undesired deviation of a periodic signal from the ideal timing. To put that fanciful figure into its rightful context, consider that jitter here is as low as ±20 μs (microseconds) and that one microsecond is to one second as one second is to 11.574 days! Do the math. multiclock makes such superlative synchronisation possible by providing an audio INPUT (1/4-inch jack socket) to process a special sync track generated from the company’s downloadable multiclock AU/VST plug-in (for Mac OS X/Windows) namesake. Alternatively, another way of simply synchronising multiclock to a DAW is to load the special sync sample downloadable from the dedicated E-RM Erfindungsbüro webpage (http://www.e-rm.de/support/downloads.php). Whichever route discerning users choose to take, the result remains the same: seamless integration of all external devices with the host computer, courtesy of those celebrated clock signals. Simply said, this thing is tight to within a gnat’s whisker of perfection!

Perfect DAW synchronisation notwithstanding, when acting as a standalone master clock generator for hardware-only setups multiclock means business by coming into its own as a seriously creative tool. Tempo ranges between 30-300 BPM, while time signature settings can be changed from 3/8 to 32/8, so slave machines always start in sync with the downbeat of the next bar. But there’s more… multiclock can cleverly shift all four of its output clock channels — conveniently labelled as channel 01, channel 02, channel 03, and channel 04 — back and forth in realtime against each other and also relative to the master clock. Connectivity comes courtesy of four corresponding DIN sockets, fully configurable to transmit MIDI Clock (MIDI), DIN Sync/sync24 (DIN) or analogue clock (Analog) on each channel. channel 01 even comes complete with an additional 1/4-inch TRS output jack to provide an analogue LFO (LFO) with various waveforms and a 0-5V range, while modular synth connectivity is easily accomplished via any channel using an E-RM modular whip to convert DIN sockets to two mini jacks for clock and signal runs. Up to ±300 ms of Shift Range ensures easy compensation of sloppy slave machine delay and audio buffer latencies can be compensated for by setting a constant Offset calibration for each channel, conveniently leaving more than enough headroom to get into the groove, whether working with or without a DAW (since it is always necessary to compensate for the starting time lag of external equipment). Elsewhere, those shift and shuffle knobs can be configured to emit MIDI Control Change commands, should a user happen to have any unused clock channels available on their multiclock.

More to multiclock than might first meet the eye, surely? Says E-RM Erfindungsbüro CEO Maximilian Rest, “multiclock is not only a perfect synchronisation solution for live and studio applications, but you can also use it as an instrument in itself. If you get your hands on this machine, you can start playing with the phase of your sounds, effectively changing the timbre of layered tones or setting the groove between individual drum tracks.”

Time to get into the groove, then! To start shifting clocks and shuffling beats with multiclock — also available with an additional class-compliant USB MIDI module add-on to enable other MIDI commands to be sent from a DAW to external slave devices while still syncing to the sample-accurate audio clock stream — is a musical game-changing experience like no other. Why wait to hit that perfect beat?

multiclock is available to purchase for €449.00 EUR (Classic version) and €519.00 EUR (USB version) — including 19% VAT — via E-RM Erfindungsbüro’s expanding global network of retailers listed here: http://www.e-rm.de/shops/shops.php

For more in-depth info about multiclock, please visit the dedicated webpage here"



Note there are two versions, one with, and one without USB.

XILS-lab Releases Syn’X 2 Polytimbral Virtual Analogue Synthesizer Plug-In

Tutorial videos previously posted here. Press release follows:

"XILS-lab relaunches revolutionary virtual analogue soft synth with modern-day makeover

GRENOBLE, FRANCE: music software company XILS-lab is proud to announce availability of Syn’X 2 — a multi- format (AAX, AU, RTAS, VST), 32- and 64-bit polytimbral virtual analogue synthesizer plug-in for Mac (OS X 10.5 and later) and PC (Windows XP, Vista, and Windows 7/8) that not only continues to pay perfect homage to the legendary Elka Synthex Eighties-vintage Italian instrument from an original-sounding sonic standpoint, but balances that musicality against a multilayer card-based architecture that is inspired by similarly sophisticated hardware analogue synthesizers, such as Oberheim’s mighty Matrix 12, to create one of the most powerful and complex virtual analogue synthesizers of the modern era — as of June 22...

At the time of its 1982 launch the eight-voice polyphonic Elka Synthex sounded like no other synthesizer around — analogue or otherwise, and brought with it high hopes of being instrumental in ending the dominance of oversized (and overpriced) Japanese and American analogue programmable polysynths, thanks to the eight monophonic synthesizer circuits central to its innovative 16-DCO (Digitally Controlled Oscillator) driven design by independent Italian synth-master Mario Maggi. Many — meaning 1,000! — ICs (Integrated Circuits) were used in that design, however, meaning that it was not necessarily the most reliable around and did not come cheap. Consequently, not that many — not much more than the number of ICs in each instrument, in fact — were sold before being discontinued in 1985 (with one last production unit being made especially for legendary American singer-songwriter Stevie Wonder) as a ‘new wave’ of considerably cheaper and more reliable digital synthesizers boasting better MIDI (Musical Instrument Interface) implementation brought about its untimely demise. Not that this mattered much to French electronic music pioneer Jean-Michel Jarre, who has three to his not insignificant name to this day, with well-known Laser Harp performances still emanating exclusively from an amazing-sounding Synthex patch produced by one-time UK demonstrator/programmer Paul Wiffen (and audible in isolation in ‘Second Rendez-Vous’ on Jarre’s super-selling Rendez-Vouz album of 1986).

Today the Elka Synthex is one of the most sought-after synthesizers around. As a result of its superlative sound design and avant-garde architecture, it’s a true musical instrument that’s truly stood the test of time. Today it sounds as fresh as it did back in 1982. Just ask Jean-Michel Jarre, who is on record as saying, “The Synthex allowed me to also develop something I had in mind with electronic music — epic, symphonic type of sounds that you probably had with the modular Moog before, such as those that Walter/Wendy Carlos used for Switched On Bach or A Clockwork Orange — a deep, mad, classical approach to a polyphonic synthesizer.” Truly, madly, deeply, indeed.

Indeed, given that finding an Elka Synthex in fine working order has become such a pricey (and patient) proposition, is it any wonder that in 2011 XILS-lab decided to effectively emulate it in software, even going so far as to enlist the eager ears of Paul Wiffen himself. “The sonic results are uncannily close to the original,” he promptly pronounced. Surprisingly, Syn’X has already been available to purchase and download from the XILS-lab web store for longer than the production lifespan of the original hardware synthesizer from which it drew so much musical inspiration. It’s time, therefore, for a serious update, and with it some fanciful features that look beyond merely modelling the Elka Synthex...

So what, exactly, is it, then, that makes Syn’X 2 so different and so much better than its predecessor? Well, wouldn’t it be wonderful if you could create a synthesizer with the sophisticated multilayer architecture of Oberheim’s mighty Matrix 12 analogue polysynth, say, with an abundance of modulation matrixes per layer — effectively enabling flexible routing to rival the monstrous modular systems that preceded it in decades gone by, but then musically married that to the expansive Elka Synthex sound? Well, with Syn’X 2 that’s no longer a dream synth, but rather reality! Roll up your sleeves and delve deeper into sound design than was previously dreamed possible, thanks to the talented teamwork of XILS-lab.

Lest we forget, Syn’X 2 offers a unique combination of clear and punchy DCOs with cutting-edge analogue-modelled multimode filters to faithfully reproduce the superlative sound that so clearly defined the Eighties era, but, because it’s polytimbral, users can access up to eight individual synthesizers simultaneously with 16 oscillators, eight 0DF (Zero-Delay Feedback) analogue-modelled filters, 32 D-ADSR (Delay, Attack, Decay, Sustain, Release) envelopes, and modulation matrixes addressing any of 132 possible destinations when creating their own patches — truly a sound designer’s dream come true!

This being a XILS-lab product, predictably, perhaps, there are many more features to make a serious song and dance about. All-important additions to Syn’X 2 include: oscillators with (up to 40) cumulative waveforms (per patch); new 0DF PWM (Pulse Width Modulation)/hard sync oscillator algorithms; unique CHAO (2D space movement) and (five rhythmic effects) RTHM LFOs (Low Frequency Oscillators) with (up to 50) cumulative waveforms (per patch); two arpeggiators; two keyboard zones — Upper and Lower, suitable for split and layered instruments; guitar multitimbral mode — whereby all layers can be assigned to independent MIDI channels, so playing different sounds with each guitar string, for instance, is possible; polyphonic SEQUENCER (that also acts as a modulation source); vintage-sounding CHORUS, DELAY, PHASER, and EQ effects (with proprietary True Stereo Technology); and 300 phenomenal presets programmed by professional sound designers, to name but few.

Fortunately for some, a helpful Easy mode provides programmers with an intuitive and powerful yet streamlined environment, similar to XILS-lab’s recently released miniSyn’X polyphonic, duo-timbral virtual analogue synthesizer plug-in, but with additional envelopes and LFOs, etc, easily accessible. Alternatively, the Advanced mode makes all aspects of Syn’X 2 available, allowing users to create complex, thick, and never-heard-before patches with a radically reworked workflow, which, it turn, makes it one of the most powerful and complex virtual analogue synthesizers of the modern era!


Syn’X 2 is available to purchase as a USB eLicenser or iLok (1 and 2) protected plug-in for an introductory discounted price of €127.00 EUR until July 21, 2015 (rising to €169.00 EUR thereafter) on the XILS-lab web store here: https://www.xils-lab.com/products/Syn'X-%3A-iLok-or-eLicenser-protected.html

Syn’X 2 can also be purchased as a bundle together with the miniWork’X sound library — featuring 268 miniSyn’X sounds for Syn’X 2 programmed by Lotuzia — for an introductory discounted price of €148.00 EUR until July 21, 2015 (rising to €198.00 EUR thereafter).

Note that owners of the original Syn’X can upgrade to Syn’X 2 for free while owners of miniSyn’X can upgrade to ‘full-blown’ Syn’X 2 status for an introductory discounted price of €93.00 EUR until July 21, 2015 (rising to €124.00 EUR thereafter).

Syn’X 2 can be directly downloaded as a multi-format (AAX, AU, RTAS, VST), 32- and 64-bit polytimbral virtual analogue synthesizer plug-in for Mac (OS X 10.5 and later) and Windows (XP, Vista, and 7/8) from here: https://www.xils-lab.com/pages/Syn%27X_Download.html

Several superb audio demos showcasing Syn’X 2 can be heard here: https://www.xils-lab.com/pages/Syn%27X_Audio.html"

Squarp Instruments Pyramid Polyrhythmic Sequencer Now Accepting Preorders - Additional Details

You might recall the demos and intro post with initial details on the upcoming Pyramid Polyrhythmic Sequencer. The following is the latest press release:


"Squarp set to revolutionise hardware sequencing workflow with polyrhythmic Pyramid

PARIS, FRANCE: avant-garde musical hardware researcher and developer Squarp Instruments is proud to announce that it is already accepting preorders on its inaugural Pyramid Polyrhythmic Sequencer breakthrough — an advanced hardware standalone sequencer running proprietary PyraOs realtime processing firmware and boasting (multiple) MIDI, USB, CV/Gate, and (Sync48- and Sync24-configurable) DIN Sync connectivity, together with a host of fanciful features belying its compact and bijou form factor — as of May 21...

Most notably, and arguably an absolute rarity in this day and age, Pyramid Polyrhythmic Sequencer is fully polyrhythmic, meaning different and unusual time signatures can be set for each of its 64 tracks to cleverly create shifted-beat sequences — set a track to 4/4 and add other tracks to simultaneously run with it in 5/4, 6/8, 15/8, or whatever — to bring stirring new musical flavours to productions. Pyramid Polyrhythmic Sequencer... it is incontestably an appropriate appellation, after all! Apart from that, though, what makes this standalone sequencer so special and also why resolutely return to hardware in this day and age of commonplace software-based sequencing solutions, courtesy of all-singing, all-dancing DAWs (Digital Audio Workstations)?

Well, to truly get a feel for the flexible future of state-of-the-art and easy-to-use hardware sequencing in the present, perhaps it pays to look to the past? Which is exactly what the forward-thinking research and development team at Squarp Instruments did. “Our aim was to create a hardware sequencer in ‘sync’ with the new styles of electronic music being written nowadays,” notes company co-founder and R&D engineer Tom Hurlin. “There’s a huge gap in the market for this, which is kind of weird, because most popular music from the early-Eighties to the late-Nineties was produced using sequencing hardware. Hip-hop, for example, originated on the MPC series, which actually revolutionised all kinds of music — Madonna to Bryan Ferry to Whitney Houston. How come these machines were suddenly replaced by the computer?”

Good question. One which Squarp Instruments musically meditated on while dreaming up the knockout conceptual design of Pyramid Polyrhythmic Sequencer. So, by cleverly combining computer, sequencing software, controller, and interface, the robust result is an amazingly accomplished sequencing solution that is as practical in use as it is easy on the eye while its road-ready aluminium casing merely measures 268 x 206 x 44 mm. Muses Tom Hurlin: “We felt that we had to create a machine that you could really feel — one that could satisfy any musician from any musical background. We wanted to have nice and playful controls, such as a multipoint touchpad, which was inspired by Korg’s Kaoss Pad and Kaossilator, and to be able to go from basic four-on-the-floor house beats to very experimental rhythms. Really, the important thing is that if you go from the computer to Pyramid then you don’t feel frustrated. The machine should enable you to do exactly what you had in mind when you started working with it, but also allow for some happy accidents along the way when tweaking!”

Two years of research and development, three prototypes, and multiple musical dialogues with various live and studio-based artists later, the cutting-edge electronics and advanced (updatable) firmware — the realtime processing PyraOS operating system allows any parameter to be controlled on the fly and any changes to be listened to immediately — implemented in the production Pyramid Polyrhythmic Sequencer makes for a standalone sequencer par excellence, enabling users to agilely access a wide-ranging workflow based around 64 tracks. Each track can be up to 64 bars in length and acts as a loop that contains polyphonic or monophonic notes, automations and effects, plays repeatedly and controls one of the electronic musical instruments connected to the MIDI 1, MIDI 2 +sync (DIN Sync), CV, and USB outputs. Of course, those instruments could be hardware (such as drum machines, synthesizers, and modular synth systems), virtual instruments (running on a connected computer or even an iOS device, such as Apple’s all-pervasive iPhone smartphone or iPad tablet), or combinations thereof. The full flexibility of CV, G (Gate), and ENV — useful for sequencing any voltage-controlled parameter, such as an envelope generator or filter — connectivity will absolutely appeal to modular synth system aficionados, all the more so since the ever-present Eurorack small-format modular system is increasingly being popularised (and heavily populated) by an ever-growing band of merry ‘boutique’ manufacturers now numbering hundreds worldwide!

With Pyramid Polyrhythmic Sequencer’s high-precision clock, rest assured that the sequencer itself is a superlative synchronisation tool for vintage and modern devices alike. All connected instruments will always remain perfectly in time, however rhythmically complicated those polyrhythmic sequences end up being — by grand design or happy accident! And with whatever users choose to connect to wherever, workflow is cleverly conceived for both stage and studio use, courtesy of four clear-cut, colourful (and colour-coded) modes. Make musical patterns from scratch and program MIDI effects and automations in (red) LIVE or (green) STEP modes by recording performances using the built-in one-octave keypad and so- called smartpads — each configurable as a chord harmoniser, advanced beat repeater, or scaled piano — or creating rhythms and melodies with the self-explanatory step sequencer, then manage and arrange tracks in (yellow) TRACK or (blue) SEQ modes by muting/un-muting tracks on the fly to build songs live or arranging and linking sequences — groups of muted/un-muted tracks — to create complete, structured songs.

Similarly, Pyramid Polyrhythmic Sequencer’s hands-on hardware user interface includes six accurate and clickable encoders, a wide, multi-finger touchpad, and an accelerometer — all of which can easily be assigned to an effect parameter, a MIDI CC message, or even the two CV inputs! Beautifully backlit, the white LCD clearly highlights all functions, fanciful or otherwise. One particularly noteworthy mention must go to the algorithmic euclidian sequencer engine available to each track to auto-generate atypical and rich rhythmic patterns... plucky users can change the number of total steps, the number of filled steps, the step width, and rotate the pattern — again, all on the fly!

For the keyboardist seeking a powerful performance partner to get the most from their chosen instrument, the live performer looking for a complete sequencing solution to help handle their set, or the studio musician making music from scratch, Squarp Instruments’ innovative Pyramid Polyrhythmic Sequencer surely delivers. Hardware sequencing is back with workflow advancement and flexible features to musically die for. Vive la standalone sequencer!


100 Pyramid Polyrhythmic Sequencers are available to preorder online for €699.00 EUR/$799.00 USD/£524.00 GBP (including VAT) from the Squarp Instruments Store here: http://www.squarp.net/store.html (Shipping is scheduled to start in June 2015, including free delivery to 28 European Union member states, with a second batch becoming available worldwide in early Q4 2015.)

For more in-depth info, please visit the dedicated Pyramid Polyrhythmic Sequencer webpages here: http://www.squarp.net

Watch Squarp Instruments’ informative series of Pyramid Polyrhythmic Sequencer demonstration videos here."

Softube Introduces Heartbeat - Innovative Software Drum Synth

"Softube sets pulses racing with innovative software drum synth in major musical move

LINKÖPING, SWEDEN: in a major musical move, Swedish high-end software developer Softube set pulses racing when showcasing Heartbeat — its innovative software drum synth with comfortably familiar, yet special sound characteristics — at Musikmesse 2015, April 15-18 in Frankfurt, Germany...

Come its scheduled summertime release date, however, Heartbeat is likely to cause severe palpitations! Why? Well, by bringing back classic drum synthesis with a vengeance, Heartbeat harkens back to yesteryear’s much-loved modeled analog synthesis approach, but brings a wealth of forward-thinking features and flexibility to bare on what could well be the ultimate dream drum synth software solution suited to satisfying (almost) anyone’s beat-making needs! Now if that still sounds like a tall order... read on!

So what makes Heartbeat so special? Well, while it draws its inspiration from the best Eighties-vintage analog drum machines, it does not emulate any existing drum machine. The superlative sound beating at its rhythmical heart mostly originates from Softube’s proprietary analog-modeled synthesis engines, engineered to drive the resulting rhythms to wherever the user wishes to take them.

The core consists of eight individual instrument channels. Here Heartbeat users will find two different bass drum channels (BASS DRUM 1 and BASS DRUM 2) — perfect for producing punchy, deep kicks, but also perfectly capable of creating snappy and hard-hitting woody textures. Tonal adjustments abound, with several dedicated controls for both BASS DRUM 1 (DECAY, ATTACK, ATTACK TYPE, PITCH, BEND, and HARMONICS) and BASS DRUM 2 (DECAY, ATTACK, PITCH, and HARMONICS) positioned directly above their associated channels. The two dedicated snare drum channels (SNARE/RIM SHOT and SNARE/CLAP) have several identical parameters associated with each of them — WAVE SYNTH sliders, plus two TYPE, PITCH, and DECAY controls — to achieve anything from edgy rimshots, soft and whispery snare rolls, to machine-like claps. Correspondingly, those same flexible parameters are also available for the adjacent HIHATS channel. Time to applaud those proprietary analog-modeled synthesis engines, perhaps? Feel free to rev them to your beat-making heart’s content! Continuing our eastward instrument channel journey, the two percussion channels (PERC 1 and PERC 2) are identical, and can be used to model Eighties-style toms to cowbells and (almost) anything in- between, thanks to their flexible controls — simply select the MODE (from SINGLE, DUAL, FM."

Arturia Introduces V Collection Classics

Published on Apr 1, 2015 Arturia Web

"Arturia launches legendary soft synth classics collection to lead into musical temptation

GRENOBLE, FRANCE: following in the footsteps of its super-successful V Collection 4 premium software collection, launched to critical acclaim late last year, music software and hardware developer and manufacturer Arturia is proud to announce availability of V Collection Classics — conveniently rounding up five of its most sought-after Analog Classics soft synth emulations of five legendary analogue synthesizers from five legendary brands into a musically tempting, competitively-priced package — as of April 2...

ARP, Moog, Oberheim, Roland, and Sequential Circuits... classic analogue synthesizer-manufacturing names all. And all of those classic companies — past and present — have produced at least one legendary instrument that truly impacted the music industry throughout the Seventies and into the Eighties and beyond. Indeed, the sought-after sounds of these instruments still resonate today. Think ARP 2600 (1970-81), MinimoogTM (1970-81), Synthesizer Expander Module® (1974-79), Jupiter-8 (1981-84), and Prophet-5 (1978-82). And Arturia has played a not inconsiderable part in bringing these still- sought-after sounds into today’s computer-centric recording and performance workflow thanks to TAE® (True Analog Emulation), an advanced proprietary technology allowing accurate modelling of analogue circuitry behaviour on personal computers. Conveniently, all five of Arturia’s award-winning Analog Classics soft synth emulations of those analogue classics are available to musically tempt as a must-have, competitively-priced package... please welcome, V Collection Classics! Come join us, then, as we make the musical introductions...

Arturia’s ARP 2600 V is a truly versatile sound creation tool with a massive musical bite; indeed, its raw and dirty character is perfectly suited to creating massive drum ’n’ bass stabs to growlin’, funky bass lines and spaced-out drones, with much in-between. From the starship funk lead lines of the Seventies to the gangsta whine of mid-Nineties hip-hop, the ever- present MinimoogTM has been making its phat presence felt for four-plus decades; Arturia’s award-winning Mini V even offers polyphony and additional modulation options, effectively turning it into an authentic-sounding Memorymoog emulation... well, sort of. Oberheim’s Synthesizer Expander Module® (SEM) started life as an add-on synthesizer module for fattening up Minimoogs before becoming a sought-after sound in its own right, with up to eight embedded in Oberheim’s groundbreaking Seventies-vintage polysynths; still sought-after today for its stunning-sounding multimode filter, Arturia offers all this and more in its outstanding Oberheim SEM V emulation. The runaway success of Roland’s then-flagship Jupiter-8 programmable analogue polysynth took the synth world by storm upon its 1981 release, boosting its already superlative sonic capabilities by adding an arpeggiator that helped make many mega hit singles shine forth musically — think Duran Duran (‘Save A Prayer’) and Howard Jones (‘New Song’); similarly, Arturia’s Jupiter-8 V is a real musical workhorse, capable of creating a very versatile range of sounds — stretching from fat to ‘crystalline’ — while going above and beyond the capabilities of the original instrument, thanks to its additional modulation possibilities and inbuilt effects. Last but not least, the Prophet-5 is truly a legend in its own lifetime as the world’s first fully-programmable polyphonic synthesizer; again, Arturia’s Prophet V faithfully brings back to life those historic and superlative sounds, together with those of the 1986-vintage, California-created classic Prophet VS Digital Vector Synthesizer, Sequential’s first digital design (and, alas, the final synth, sadly, from the iconic innovative instrument manufacturer). Must we say more?

Maybe just one more thing, then: thanks to V Collection Classics"

Vince Clarke Enters the Eurorack Market with New Line of MIDI to CV Utility Modules

Vince Clarke Circuits - The VCM & VCS Auto Tune System from erasureinfo on Vimeo.

In collaboration with Analogue Solutions.

"This self contained Eurorack expandable Midi to CV converter/calibration system offers an uncomplicated solution to the problems of tuning and scaling both vintage synthesisers and modern VCO Eurorack modules. With 16 bit voltage resolution and a tune time of 10 seconds. The unit can compensate for VCO alignment issues and environmental factors that cause tuning drift with the push of a button. Its Digital Automatic Audio Gain Control Circuitry (DAGCC) enables the unit to be connected to most synthesiser outputs, and has been tested on a large array of makes and models. While obviously not being capable of fixing the problems of faulty circuitry it will however save time and money on re–calibration, and ensure the technical side of synth ownership doesn't impinge on the creative process.

MORE DETAILS:
http://www.vinceclarkemusic.com/circuits/"

And the press release:

"Vince Clarke keeps tuneful tracks tuned with namesake clever CV/Gate tuning system

BROOKLYN, NY, USA: synth-pop Svengali Vince Clarke is proud to announce that he will be releasing a series of creative and utilitarian modules for the ever-present Eurorack small-format modular system under the namesake Clarke company name, designed and built to exacting standards in close collaboration with British ‘boutique’ analogue synthesiser and accessory designer/manufacturer Analogue Solutions, starting with the now-available Auto Tune — a self-contained, expandable Eurorack-compatible MIDI-to-CV converter/calibration system offering an uncomplicated solution to the problems of tuning and scaling both vintage analogue synthesisers and modern Eurorack VCO (Voltage Controlled Oscillator) modules — as of March 18...

So why simultaneously sidestep into this creative and utilitarian synthesiser module manufacturing (ad)venture alongside superlative synth-pop music compositional creativity? Who better qualified to address this than the Ivor Novello Award-winning songwriter himself... hardly surprising, really, since Vince Clarke can, of course, comfortably find his way around a notable number of synthesisers, too, as attested to by the well-earned songwriting success-funded collection of analogue classics currently residing at his NYC studio, relatively recently relocated from a custom-built cabin in rural Maine to inner-city Brooklyn. But this is no millionaire’s museum piece, but rather a unique personal workspace, where each and every awe-inspiring analogue instrument included in his sizeable collection of vintage and modern synthesisers comfortably housed within regularly earns its keep on a variety of musical projects, be they synth-pop based or otherwise. “For those of you who work with synthesisers using CV and Gate, you will all be aware of the problems of calibration,” notes Vince Clarke, continuing: “Having tried many a cumbersome software-based package over the years, I wondered if there might be a neater solution — a kind of all-in-one MIDI-to-CV convertor with auto-calibration.”

And, as if by musical magic, the collaborative Clarke company concept was born. And with it the first of those creative and utilitarian modules for the ever-present Eurorack small-format modular system that is increasingly popularised (and heavily populated) by an ever-growing band of merry ‘boutique’ manufacturers now numbering hundreds worldwide... welcome into the world Clarke’s clever Auto Tune system! So, let’s learn a little more about what it is, what it does, and how, exactly, it does it...

In a nutshell, then, the Auto Tune system consists of a VCM20 master module, which can control up to 16 VCS20 slave modules, each of which provides one channel of CV (Control Voltage) and Gate. With 16-bit voltage resolution and a tune time of 10 seconds, this straightforward system can compensate for VCO alignment issues and environmental factors that cause tuning drift quite literally at the push of a button!

The VCM20 master module has an LED (Light Emitting Diode), an increment push button to select the MIDI (Musical Instrument Digital Interface) channel, and MIDI IN and MIDI THRU sockets; the VCS20 slave module has four 3.5mm jack sockets for communicating with the outside analogue synthesiser world, which is where the tuning action really gets going: CV1 connects to the synthesiser’s pitch control voltage and can be set to either V/oct (Volts per octave) or Hz/V (Hertz per Volt); CV2 is mapped to keyboard velocity — typically to control a VCF (Voltage Controlled Filter) or VCA (Voltage Controlled Amplifier); the 11 Volt GATE output can be set to either V-Trig (Voltage Triggers) or S-Trig (Switch Triggers), its use being indicated by the Gate LED; the VCO input connects to the synthesiser’s waveform or audio input and allows the VCS20 slave module to read audio frequencies during the calibration process — a square, sine, or sawtooth waveform without modulation is recommended for doing this. The oscillator output can either be split or an unused waveform connected in the case of modular system setups while with typical hardwired analogue synthesisers it’s a case of splitting the audio output or, in most cases, using the headphone output. Either way, the synthesiser needs to be set to output a single oscillator without filter or modulation with the VCA envelope set to zero attack, zero decay, full sustain, and zero release. For the most accurate calibration of the control voltage the synthesiser’s oscillator range should be set to 8’ or its initial oscillator frequency set midway.

Having correctly connected everything, pressing the VCS20 slave module’s Tune button automatically tunes the analogue synthesiser, compensating for calibration errors between 0.5 and 1.5 V/oct. (During the tuning process, the Gate opens and its associated LED lights up, going out once complete.) Calibration data is duly stored — solving the problem with a neat solution! Still better, the VCS20 slave module retains the calibration data on power down — no need, necessarily, to repeat the process.

Suffice to say, Vince Clarke’s canny vision of an all-in-one MIDI-to-CV convertor with auto-calibration has truly become reality with the Clarke Auto Tune system since it is possible to set the individual MIDI channel for each VCS20 slave module and see which MIDI channel a slave module is set to at any time by simply pressing its Show button. Beauty is in simple things, after all. Equally easy, the VCS20 slave module’s Oct. (octave) button transposes the incoming MIDI signal by one octave with each push, cycling around four octaves — useful if the synthesiser’s range circuit is detuned. Don’t forget, each VCS20 slave module connected can be individually set to work with V/oct or Hz/V synthesisers so a variety of older and newer analogue instruments can be calibrated and automatically tuned by the Clarke Auto Tune system. Start with a VCM20 master module and one VCS20 slave module, maybe? Then simply add more VCS20 slave modules as your analogue instrument collection grows... guaranteed to stay in tune, each and every one of them — just like Vince Clarke’s Brooklyn-based sizeable collection of vintage and modern synthesisers! Synth-pop songwriting success, sadly, cannot be guaranteed.

The Clarke Auto Tune system is priced at £189.00 GBP (plus tax and delivery) for the VCM20 master module and £189.00 GBP (plus tax and delivery) for the VCS20 slave module; all are available to order online from Analogue Solutions here: http://analoguesolutions.com/clarke/

For more detailed information, please visit the Clarke webpage here: http://www.vinceclarkemusic.com/circuits/"

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Rob Papen edges EDM community closer to the cutting edge by releasing RAW soft synth

Published on Dec 19, 2014 Rob Papen

"ECHT, THE NETHERLANDS: virtual instrument and effects plug-in developer Rob Papen Soundware is proud to announce availability of RAW — an easy-to-use, all-new Mac (32- and 64-bit, AAX, AU, and VST for Mac OS X 10.6 or higher) and PC (32- and 64-bit, AAX and VST for Windows Vista, 7, and 8) compatible soft synth specialising in ‘distorted’ sounds specifically suited to electronic dance music production (and beyond) — as of December 19...

When namesake company founder and sought-after sound designer Rob Papen attended the Dutch Dancefair earlier this year on his home turf to demonstrate his sought-after (soft)wares, little did he know that he would come away with an almost fully-formed idea for an all-new soft synth. So how, exactly, did that happen? Haphazardly, as it happened. Here producers Sebastian Hoff and Freek Vergoossen (a.k.a. DJ Promo and DJ Free-K, respectively) made an approach to propose a synthesizer that focused more on ‘distorted’ sounds with an easy-to-use layout. Always open to the idea of delivering fresh, cutting-edge, and — moreover — musical plug-ins for producers, whatever their musical leanings, Rob responded favourably by inviting the two DJs to his well-stocked studio for a brainstorming session. Said session resulted in a list of ‘must-have’ features and tools, sowing the seeds for RAW.

Reason has it that might just as easily not have happened, had Rob Papen not had the foresight and wherewithal to see the curious concept through to its cutting-edge completion. “While I’m always seeking new directions, I noticed that I also have roadblocks to my way of thinking,” he states in a moment of refreshingly raw honesty. “Maybe this is because of my long-lasting association with classic analogue hardware synthesizers like the Minimoog and Roland Jupiter-8 that don’t have onboard effects or EQ. I can clearly remember the first synthesizers that came complete with EQ, which was weird. ‘EQ is for mixing desks,’ I thought! On the other hand, I enjoyed effects like chorus, phaser, delays, and so on when they started showing up on synths. So the moment that DJ Promo and DJ Free-K discussed this idea of synthesizers having more ‘distortion’ and EQ, my immediate thought was, ‘EQ in a synth? Mmm...’ Then I said to myself, ‘Rob, you must get past this roadblock and look into this with an open mind.”

Mindful of those ideas, the Rob Papen development team truly thought outside of the box and now — within a matter of months of that fateful first meeting — RAW is here for all to see and hear. How does it differ from other developers’ soft synth offerings — as well as those musical must-haves from Rob Papen, of course — currently out there, then? Its co-creator comes clean about its inherent idiosyncrasies: “RAW has a focus on ‘distorted’ sounds, so this means that it has a different signal setup, synthesizer-wise. We have two oscillators and a FILTER, but what is new when compared to our other synthesizers is that you have an EQ that can be pre- or post-distortion. After that, there is also a WAVESHAPER and dedicated DISTORTION module with several types of distortion, as well as a LOW FI control. This is new to this synthesizer, and it’s part of the concept that the distortions are on the voice level, so it’s not just a case of a total signal going into the distortions, but rather each voice has its own WAVESHAPER, DISTORTION, and LOW FI — plenty of options to shape the sound here!”

However, in typical Rob Papen style, that’s not all. Far from it, in fact. In addition to the flexible X/Y fields found in the feature-packed OSC 1 and OSC 2 sections (which will already be familiar to refined Rob Papen Predator and BLUE-II soft synth users), RAW users can effectively draw their own ‘waveforms’ to be used as LFO waveforms, enabling the creation of unique ‘wobble’ sound movements — perfect for dubstep and other EDM styles. Other effects such as CHORUS, FLANGER, PHASER, and STEREO DELAY — not forgetting Rob Papen’s proprietary high-quality REVERB — all add to the superlative sound sculpting possibilities on offer, as does the super-cool step sequencer/ arpeggiator, and many more fanciful features above and beyond. But mindful of that original easy-to-use layout request, a self- explanatory Easypage makes things even easier to understand and use — grab and go, so-to-speak!

Speaking of which, user presets are arguably always where it’s at when it comes to true originality, of course, but by enlisting the tuned-in talents of world-class DJs and producers — such as Deathmachine, DJ Hidden, DJ Promo, DJ Thera, D-Passion, Ophidian, Mad Dog, Rob Fabrie, N-Vitral, The Playah, The Viper, Warface, and many more besides — to create crowd-pleasing presets galore for RAW alongside the numerous creative contributions from Rob Papen himself instant inspiration is truly guaranteed. Just add tunes, turn up the distortion, and mix to taste... you’ll soon be sounding really RAW! All in the best possible taste, of course.


RAW can be purchased as a boxed version from authorised Rob Papen dealers worldwide or downloaded directly from Rob Papen for an attractive introductory price of €119.00 EUR (including VAT/tax)/$143.00 USD until the end of 2014 — thereafter rising to €149.00 EUR (including VAT/tax)/$179.00 USD — from here: http://www.robpapen.com/buy-raw.html

Note that eXplorer-III, Rob Papen’s all-encompassing software bundle, now includes RAW as standard, bringing its total product count to 13; competitively priced at €585.00 EUR (including VAT/tax)/$699.00 USD, this represents a significant cost saving of around 50% when compared to separately purchasing each and every Rob Papen virtual instrument and effects plug-in included!

For more in-depth information, please visit the dedicated RAW product webpage here: http://www.robpapen.com/raw.html

Watch Rob Papen’s riveting RAW promo video here: http://youtu.be/jbu9JkTZ4lM

Several awe-inspiring audio demos showcasing RAW from the likes of Noisia can be heard here: http://www.robpapen.com/raw-mp3.html"

XILS-lab breathes virtual life into prototyped EMS VCS4 analogue matrix modular monster

"'XILS 4: a life-changing tool... absolutely 100 percent indispensable modular heaven!'

- Anthony J. Resta (record producer and multi-instrumentalist)

GRENOBLE, FRANCE: music software company XILS-lab is proud to announce availability of XILS 4 — an authentic software emulation of the legendary VCS4, a ‘dual VCS3’ analogue matrix modular synthesizer prototyped by EMS back in 1969, but never commercially released — as of May 19...

EMS (Electronic Music Studios), a British company founded by the pioneering Peter Zinovieff, made musical history in 1969 with its introduction of the VCS3, the first portable synthesizer commercially available anywhere in the world. Its innovative modular matrix-based patchboard dispensed with the telephone exchange-like cabling of other (much larger) modular systems in favour of making connections with (removable) coloured pins, so it could be comfortably housed in a small wooden (solid afrormosia) cabinet.

Needless to say, the (hi)story of the EMS VCS3 is well documented, with XILS-lab later playing its part in resurrecting its still-sought-after sound with its cost-conscious and award-winning XILS 3 software emulation for Mac (OS X 10.4 and above) and PC (Windows 7, Vista, and XP) proving popular with both first-time buyers beginning a wonderfully in-depth journey into the wonderful world of modular synthesis and also seasoned synth explorers, including renowned sound designer Richard Devine and original VCS3 aficionado Tim Blake (Hawkwind), and even Peter Zinovieff himself, who commented kindly: “A great step forward!”

Not so well documented, though, is the stuff of legend: the 1969-vintage VCS4 was EMS designer David Cockerell’s so-called ‘Live Performance Module’, comprising two VCS3s sat side by side, together with a five-octave keyboard, a mixer, and a signal-processing unit, all housed in a single wooden cabinet. Only one prototype was ever produced, its ear-opening sounds lost in the sands of time... until now, that is!

By being based on two intricate and interacting VCS3 (‘Synthi’) cores — following in the fanciful footsteps of its one-off analogue ancestor to a tee, XILS-lab’s XILS 4 favourably emulates EMS’ VCS4. Indeed, those two cores can be set to work side by side or operate in serial (with one feeding the other). Each and every module on one side can be used to modulate or feed anything on the other side with stunning sound possibilities plus weird and wonderful effects readily available in abundance as a direct result. That said, XILS 4 shows its true 21st Century colours by also allowing amount settings to be individually applied to each patch ‘pin’. Providing patchboard power par excellence to an already special soft synth shows that there is clearly so much more to XILS 4 than solely emulating vintage hardware — rare as the vintage hardware in question clearly is. Little wonder, then, that XILS 4 is billed by its creator as being the Ultimate Analog Matrix Modular Synthesizer!

XILS-lab has sought to take things severals steps further still by coupling those cores with the SEQUENCER 256 module, inspired by EMS’ trailblazing Synthi Sequencer 256 namesake. Needless to say, this three-layer sequencer with analogue-to-digital and digital-to-analogue converters to enable digital processing of control voltages to drive multiple analogue synthesizers or multiple parameters with storage of up to 256 ‘events’ was well ahead of its time when released in 1971. Here in the virtual world, XILS-lab has well and truly transported it to the present day with three independent layers, slew rates, and recording modes, together with added abilities like sequencer layers acting as modulation sources in a dedicated SEQ MATRIX — matchless, even by today’s most sophisticated DAW standards!

So is that all? No, not at all! Adding a second ‘pin matrix’, two additional envelopes, an LFO, comprehensive SAMPLE AND HOLD module, and VOLTAGE PROCESSOR, plus several new input modules — including GATE, ENVELOPE FOLLOWER, and PITCH TRACKER — means that there are hundreds of additional connections available to the discerning synthesist set on exploring XILS 4 to the full as a superlative soft synth or as a powerful effects processor plug-in in its own right. The fact that there are over 1,140 possible connections per patch makes for a literal lifetime of programming possibilities that will surely far outlast the host computer concerned, though those in need of a helping hand have easy access to almost 700 professionally-programmed presets from world-renowned sound designers, including the complete XILS 3 factory library and over 350 presets specifically designed for XILS 4. A selection of tutorial-style patches are also available to help users seeking to take their first tentative steps towards scaling the heady heights of this mountainous modular monster of a soft synth!

Simply put, with a whole host of modules and associated far-reaching functionality — for starters, 12 aliasing-free oscillators, grouped in six pairs with wave-shaping and hard sync — yesteryear’s impossibilities have become today’s possibilities with XILS 4... a great step forward, indeed! A giant leap for modular synthesis software, some might say.


XILS 4 is available to purchase as an eLicenser or iLok copy-protected virtual instrument and effects plug-in for an introductory discounted price of €149.00 EUR (rising to €179.00 EUR on June 17, 2014) from the XILS-lab web store here: http://www.xils-lab.com/pages/STORE.html (Note that this time-limited offer also includes the XILISTICS sound bank with 160-plus presets worth €25.00 EUR, plus a free USB-eLicenser copy-protection dongle!)

XILS 3 owners can upgrade to XILS 4 for an introductory price of €29.00 EUR (rising to €49.00 EUR on June 17, 2014). XILS 4 can be directly downloaded as a 32- and 64-bit-compatible virtual instrument and effects plug-in for Mac (AAX, AU, RTAS, VST) and Windows (AAX, RTAS, VST) from here: http://www.xils-lab.com/pages/XILS4_Download.html

Check out several informative XILS 4 tutorial videos here: http://www.xils-lab.com/pages/XILS4_Videos.html"

Rob Papen pulls out all stops with all-encompassing eXplorer-III bundle

"ECHT, THE NETHERLANDS: virtual instrument and plug-in developer Rob Papen Soundware is proud to announce availability of eXplorer-III — combining all of its award-winning Mac- and PC- compatible virtual instruments, including the recently-released breathtaking BLUE-II soft synth, alongside its critically-acclaimed effects plug-ins into an attractively-priced performance and sound design dream bundle to die for — as of May 1...

Self-confessed synth freak and world-renowned sound designer Rob Papen knows a thing or two about creating the sounds that people want to hear. He’s even published an informative instructional book/DVD set based on his subtractive synthesis masterclasses called The 4 Element Synth — perfectly pitched for the long-running analogue revival, but is best known for his namesake software company, dedicated to producing its trademark Inspiration Soundware. Several years after its inception, Rob Papen, the company, collectively has 11 superlative software products to its well-known name: Blade (representing the cutting-edge of today’s synthesizers), BLUE-II (so-called ‘Crossfusion synthesis’ since it covers so much musical ground so effectively), Predator (‘phat’ analogue synth with killer presets and first-class features), Punch (speaker-busting, body-rattling drum machine), SubBoomBass (ultra-deep bass synth with built-in step sequencer), RG (electric and acoustic guitar grooves with sequencer and synth effects), RP-AMOD (modulation effects to spice up vocal tracks, enliven instruments, or even beef up drums and loops), RP-Delay (with six delay lines, eight filters, four LFOs, reverser, and more), RP-Distort (for distorting and dramatically altering tracks), and RP-Verb (advanced, transparent, and musical algorithm reverb).

Now all of those award-winning Mac- and PC-compatible virtual instruments and critically acclaimed effects plug-ins that have found favour with so many of the world’s leading music producers and artists are available in the all-encompassing eXplorer-III bundle — billed as being The Complete Rob Papen Synth & Effect Collection. To quote a few notable names for whom Rob Papen’s Inspiration Soundware has proved inspirational indeed:

“I love BLUE-II! The patches are so good. I opened it up and started using it immediately in my current project. You read my mind on what I was looking for.” (Rod Abernethy: RAGE, TERA, Alpha Protocol, Star Trek, and The Hobbit composer)

“Rob Papen definitely makes some amazing plug-ins; we use Predator all the time, because it has such amazing sounds!” (Dave Stewart: musician, songwriter, record producer, and Eurythmics co-founder)

“[Punch is] very cool and delivers very fast results for instant creativity! It’s easy to use and sounds great.” (Armin van Buuren: music producer and DJ)

But best of all, anyone purchasing eXplorer-III is saving themselves around 50% when compared to separately purchasing each and every Rop Papen virtual instrument and effects plug-in included. Imagine what they could do with the money saved? Treat themselves to a nice new pair of studio monitors to listen to those thousands of superlative sounds in all their professionally-programmed glory? Go for it! Open your wallet and your ears to take your productions to hitherto dreamed of levels of Inspiration Soundware sublimity with this attractively-priced performance and sound design dream bundle to die for. Just ask Rod Abernethy, Dave Stewart, and Armin van Buuren — or even Rob Papen himself!


eXplorer-III can be purchased as a boxed version from authorised Rob Papen dealers worldwide for €585.00 EUR (including VAT/tax)/$699.00 USD or downloaded directly from Rob Papen here: http://www.robpapen.com/buy-explorer-3.html

Various upgrade options are also available: eXplorer-II bundle owners can upgrade to eXplorer-III for €44.00 EUR (including VAT/tax)/$49.00 USD while owners of the original eXplorer bundle can upgrade to eXplorer-III for €119.00 EUR (including VAT/tax)/$139.00 USD."

Yamaha SS-30 analog string synthesizer

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

via this auction

"If you want classic analog strings ,this is what the Yamaha SS-30 excels at.All this machine does is make superlative string sounds - there's no Brass or Organ settings here. If you won't take my word for it , just look at the following Youtube link of Ultravox's 1982 Monument tour where two Yamaha SS-30s were used by Billy Currie and Midge Ure. [video here] This synth is all over the first 3 post-Foxx albums - Vienna , Rage in Eden and Quartet.Opening chords on The Voice , Reap the Wild Wind, Vienna,Hymn Also used a lot by John Foxx on Metamatic

This synth totally blows away the Moog Opus 3 , Korg Delta , Roland RS-09 , RS-202 and it's only competitor is the Roland RS-505 Many people looking at this auction will also have Peter Forrest's excellent A to Z of analog synths book and i would urge you to read his review of the SS-30:- "played in a realistic manner,sounds very good.Even without the Orchestra modulation on,it sounds very good.And through a classy hall room reverb setting it sounds very,very good.It just goes to show that it's better to do one thing well,than three things to a so-so standard" i think this was a little dig at the Moog Opus and Korg Delta and some of Yamaha's own SK range. The real beauty of this machine is the phasey string sounds which come from Detuning the oscillators and swithching on the ensemble mode. The Decay is fully variable and the whole thing is built like a tank and weighs a ton.."

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Rob Papen PunchBD RE Introduction

Published on Dec 18, 2013 Rob Papen·37 videos

"PunchBD-RE is a versatile and easy to use bass drum synthesizer for your Reason Rack. With PunchBD-RE you get two modelled synthesizer drum modules, a click/noise module and a sample module to help you shape the main beat for your productions. From Dance and electronic and Hip-Hop to soundtrack. PunchBD-RE has it covered."

Update: the official press release:

"Rob Papen provides perfect kicks for Reason with PunchBD-RE

ECHT, THE NETHERLANDS: virtual instrument and effects plug-in developer Rob Papen Soundware is proud to announce availability of PunchBD-RE, a versatile and easy-to-use bass drum synthesizer Rack Extension for Propellerhead Reason 6.5 (or higher), as of December 19...

When Swedish music software application, interfaces, and technology standards specialist Propellerhead Software first unveiled its revolutionary Rack Extension — an ever-expandable, freely-routable rack of instruments, effects, and sounds — for its well-received Reason music-making and recording studio software solution, namesake company founder and synthesizer developer Rob Papen promptly pronounced it as being “...a brilliant concept.” Continuing, he then summarised its advantages as follows: “What we face as a developer is having to have a PC version and a Mac version, and if you run them in your regular host, you can crash your host. That’s a real, big battle. People, if they use Reason, learn that things are connected. It’s cross-platform; everything works. It’s a major leap forward for Reason, and productions coming out of Reason will sound totally different. Reason remains Reason, but, now, it’s open.”

Open to the likes of Rob Papen to develop distinctive and desirable third-party Rack Extensions for Reason. Little wonder, then, that Rob Papen was amongst the first to do just that, starting by porting over its popular, ‘phat’-sounding soft synth Predator as Predator-RE, rapidly followed by its SubBoomBass-RE dedicated virtual bass synth and self-explanatory PR-Verb RE and PR-Distort RE virtual effects.

Now, with the timely introduction of PunchBD-RE, Rob Papen’s persuasive Rack Extension offerings are more enticing than ever before. Based upon its award-winning Punch drum synthesis/sampler software instrument’s kick-ass bass drum module, the Rack Extension version features the same high-quality algorithms attributed to Punch’s punchy sound. Saying that, other ‘models’ from Punch have been cleverly combined so users can stack them together to create hitherto unheard bass drum sounds. Take the SAMPLE module (including various samples, plus Rob Papen Library samples) and mix in a synth bass drum module, for example... what a beautiful combination!

Better still, there are actually two synth bass drum modules within PunchBD-RE: MODEL 1 and MODEL 2 are already positively powerful in their own right, but an additional CLICK/NOISE module is also available to add clicks (based on a sinus waveform) or noise. Using pink noise, this can create an awesome room sound! Stereo room/noise effects can be easily added to the bass drum sound using the SPREAD and OFFSET controls.

Similarly, the SAMPLE module not only includes sample-based bass drums, but bristles with an assortment of creative controls helpfully broken down into more manageable sections — TUNING, FILTER ENV, AMP ENV, FILTER, STEREO SWAP, and more — to help modify those samples.

All of those superlative sound sources are blended together in the MIXER, though they can first be sent to the dedicated DISTORTION module where 19 different distortion algorithms are available to treat them as appropriate. Moreover, modulation options are well catered for, courtesy of a free ENVELOPE, LFO, and all-embracing modulation matrix. Also, an analogue-modelled FILTER can capably change whatever composite sound is being routed from the MIXER.

It’s also worth noting that PunchBD-RE can play at a fixed pitch or ‘tuned’ over the complete keyboard range — a useful feature for many modern-day music stylings.

Finally, ‘flipping’ the PunchBD-RE Rack Extension around reveals a back panel packed with CV inputs and gate trigger options, separate audio outputs, and all manner of other connections for creative connectivity. Cable those kick-ass bass drum sounds to wherever you want to take them, routing-wise... within Reason! Reasons Rob Papen, positively: “I’m totally amazed that it all works.” We’re sure you will be, too!


PunchBD-RE can be purchased and directly downloaded for an introductory discounted price of €39.00 EUR/$49.00 USD (rising to €49.00 EUR/$59.00 USD on January 1, 2014) from the Propellerhead Shop here: https://shop.propellerheads.se/product/punchbdre-instrument/ (Propellerhead operates a try-before-you-buy service for those wishing to test Rack Extensions.)"