"Time Oddity Chorus (TOC) delivers intricate modulation, stereo expansion and rich textural layering. Whether it’s bringing life to a guitar track or adding immersion & movement to a synth pad - TOC transforms the ordinary into a panoramic soundscape, ensuring every instrument resonates with depth and character.
Modalics Unveils “Time Oddity Chorus” A modulation plugin that effortlessly bridges the gap between delicate stereo enhancements and rich, modulated soundscapes. TOC boasts a distinct character, seamless user experience, and superior sound quality.
Modalics, a trailblazer in the world of professional audio innovation, is excited to announce the release of "Time Oddity Chorus" (TOC). As a follow up to their latest plugin “BitFuzzer” this latest offering reaffirms Modalics' commitment to developing tools that not only enhance the creative process but also enrich the final sound. "Time Oddity Chorus" is engineered to breathe life into any track, offering a spectrum of sounds that range from subtle stereo enhancements to deeply textured, phaser-like intensities.
Modalics founders added - “Time Oddity Chorus is the first in a series of products based on our new ”Time Oddity“ engine, this new engine was developed in order to produce great sounding modulation and spatial effects. We’re already working on several follow ups to TOC and we’re aiming to eventually have a complete modulation suite available”
Main Features:
Unique Sonic Character: The plugin offers a distinct sonic signature that can't be found in other chorus effects. TOC's unique processing algorithms and filters offer a truly singular, finely tuned experience - inspired by the holistic approach of our favorite pedals and devices.
Intuitive Interface: In true Modalics fashion, TOC boasts an easy-to-navigate interface, each control is shaped to offer a plethora of exciting, musical tones across it’s range.
4 LFO Types: Time Oddity Chorus features four distinct LFO options, enabling users to sculpt the modulation movement to their liking. Each LFO selection introduces a unique modulation character, from subtle undulations to vibrant waves.
Dynamic Voices Control: TOC’s “Voices” control is a powerful tool for shaping the depth and dimension of your sound. By dictating the number of times the processed audio is duplicated and modulated, users can navigate between wildly detuned yet focused tones to lush, expansive three-dimensional soundscapes.
Versatile Sound Shaping: With its ability to blend classic and modern modulation, TOC is adept at everything from gentle stereo widening to creating complex, layered soundscapes. This versatility makes it suitable for a wide range of musical genres and production styles.
Visual Feedback: TOC features an advanced visualizer that not only serves as eye candy but also provides invaluable insight into how the effect modulates the audio signal. This visual feedback helps users intuitively understand the depth and movement being applied, enabling more informed adjustments and creative decision-making.
Compatibility: PC/MAC - VST | AU | AAX Formats Available
Time Oddity Chorus is now available at an introductory price of $29 (With the MSRP being $39) Available for purchase through www.modalics.com/products/timeodditychorus"
"Up for auction is a VERY rare Sequential Circuits Inc - ProFX Programmable Modular Effects System produced in the early 1980's.
This particular ProFX is even stranger as it is a preconfigured system dubbed the "Ambient Package" it includes the 524 Digital Delay, 522 Flanger/Chorus and 518 Spring Reverb modules and is housed in the Model 500 Chassis with System Controller.
there is alot of info online : google - sequential circuits ProFX
This instrument has been recently fully cleaned and checked out by a qualified professional audio service technician.. the pro-fx is very clean and fully working.
details on the particular effects in this rack:
500 System Controller:
The Pro FX Model 500 System Controller is the brain behind the Pro-FX Audio Processing System. Although the System Controller has no Audio Processing functions, this piece is required to supply power and programmable memory to the various effects modules. There is room for 64 patch memories within the onboard memory (ROM). Random Access memory (RAM) is required for extra modules to work with an expanded system. Two Operating Systems are known to exist 1.5 and 2.0 .
Other features of the Model 500 are Tape Sync for stepping through patches, memory back up via Tape Interface, Data Interface for daisy chaining 500 controllers, as well as
Footswitch INs and a CV in for routing control pedals to the functions of various modules.
OS: 2.0 is included, the internal backup battery was recently replaced durning testing (Oct 2012)
518 Reverb (module and tank)
The Model 518 Reverb includes a compact, rackmount six spring delay line, and a three-band equalizer which filters the input to and output from the reverb unit. The LP (lowpass) filter limits frequencies above its setting from 200Hz to 20 kHz. The HP (highpass) filter limits frequencies below its setting from 20Hz to 2 kHz. The MID (midrange) band filter has separate frequency (50 Hz to 5 kHz) and EQ boost/cut controls. For example a typical use would be to use the HP filter to prevent a bass drum from dominating the reverb. The module also features automatic limiting which reduces undesirable spring colorations. It contains a PEAK LED indicator for optimizing signal levels.
Walkthrough: Orbis Uploaded on Jul 16, 2019 Spitfire Audio
"Paul takes us through the new Orbis library- a one-of-a-kind synthesizer born out of rare recordings from around the globe, presented in Spitfire's sophisticated eDNA Engine."
Official press release follows:
Spitfire Audio announces availability of ORBIS plug-in presented in eDNA engine as a horizon-expanding ‘world synth’
“Great film music often blends sounds from different cultures to create a rich tapestry; ORBIS lets you infuse your music with DNA from around the world — from incredibly useful, original recordings through to beautifully evolving textures.”
- Paul Thompson, composer and Spitfire Audio co-founder
LONDON, UK: Spitfire Audio is proud to announce availability of ORBIS — offered as a horizon-expanding ‘world synthesizer’ standalone plug-in, presented in the sound-specialising British music technology company’s sophisticated eDNA engine, enabling exceedingly creative access to 2,500 extraordinary sounds born out of organic performances treated and transported to new dimensions, designed for progressively-minded composers as a gargantuan creative compendium comprising distorted loops to evolving textures and visceral one-shots, subsonic low-end to ethereal pads, perfect for producing rich-sounding, panoramic scores from nature documentaries to sci-fi movies — as of July 18…
Sometimes a score needs more than an orchestra. ORBIS reimagines the work of David Fanshawe (1942-2010), an English composer, sound explorer, and ethnomusicologist who travelled the globe to gather an archive of approximately 2,000 hours of music, documented for posterity at a time of great change. “The present is almost history; every day is worth recording.” So stated the man himself.
However, ORBIS itself is so much more than a collection of organic field recordings; rather it includes 90% treated content, with over 200 presets, plus loops, textures, one-shots, and pads created by Spitfire Audio’s accomplished team of engineers in its own journey of sonic discovery, distilled — alongside clean recordings, rich in history, character, and emotion — in the sound-specialising British music technology company’s sophisticated eDNA engine to provide users with virtually endless parameters and possibilities for enhancing their own scores with the DNA of countless cultures from across the globe.
Enduring and enthralling, David Fanshawe’s rarefied recordings have already made themselves heard in scores to major movies such as 1997’s Seven Years In Tibet (John Williams) and 2002’s Gangs Of New York (Howard Shore); now they are ready and able to empower anyone’s scoring sensibilities as an essential resource for producers, composers, or sound designers intent on seeking out new sounds — or even civilisations! After all, sounds are the fabric from which music is weaved.
With that thought in mind, maybe it was inevitable that Spitfire Audio would creatively cross paths with the David Fanshawe World Music Archive. As such, ORBIS was effectively conceived back in January 2015, when widow Jane Fanshawe introduced Spitfire Audio co-founder and composer Paul Thomson to the global sonic explorer’s namesake legacy. “Listening to these extraordinarily vivid recordings is like looking through a window into a different time and place,” pronounces the clearly captivated listener.
Literally placing them into a different time and space, Spitfire Audio subsequently handpicked thousands of extraordinary sounds from those extraordinarily vivid recordings, really resulting in a so-called ‘world synthesizer’ since ORBIS users are able to delve deeper into some of the most rare and distinctive sounds and loops on the planet, rich in history, character, and emotion encompassing a range of cultures and communities, many of which no longer exist; enhancing every sound still further with ORBIS’ own exploratory eDNA is inevitable.
Imagine the eDNA engine as a set of two turntables alongside a highly-sophisticated DJ mixer. It includes two sound bays — A and B, each designed to create differing sonic treatments, with individual and independent modulators and control of TRIM, BEND, GLIDE, CLONE, TUNE, ADSR (envelope), HI-PASS (filter), LO- PASS (filter), and WOBBLE (modulating VOLUME, PITCH, and FILTER). Furthermore, the GATE SEQUENCER allows for independent gating of those two bays and unified control of amount, speed, and LENGTH of sequence. These two signals are then unified with an x-fader; move between the sounds with the mouse or the factory default-assigned modulation wheel. Elsewhere, eDNA’s five-stage FX (effects) path contains 41 custom plug-ins, including preloaded bespoke IRs (Impulse Responses). The BAY A FX and BAY B FX stages affect sound bay A or B, while an AUX FX stage can be sent via the layers or MASTER FX stage.
Obviously ORBIS easily enables sonic journeying of its own doing. Discover hundreds of presets treated in various ways, with Spitfire Audio’s acclaimed sampling expertise and technology twisting and turning every sound through 3,000 lines of code! Some sound subtly manipulated while others are heavily processed, unrecognisable from their original source material.
Musically-speaking, ORBIS travels far — from playable one-shots and short phrases to tuned and untuned rhythmic loops and recordings up to a minute long. Ultimately, unearthing sounds with subtle movement, complexity, and evolution is an ear-opening experience. Throbbing basses and pulsing loops, ideal for dance music; thunderous drones, subsonic low-end and visceral, tortured drum hits, for adding movement and depth; Blade Runner-style synths, made from antelope horns; and ethereal pads and breathtakingly beautiful evolving textures, for three-dimensional cinematic soundscapes... the very nature of ORBIS’ design takes its users to new levels of sonic exploration and adventure. A lifetime of inspiration as an essential resource awaits anyone creatively climbing aboard.
As to the finished product’s potency, Paul Thomson is clearly qualified to comment, enthusiastically ending on a high note: “This is a really rich tapestry of sounds; it’s almost like a new kind of ‘world synth’ which goes from the raw sounds that are incredibly useful all the way through to beautiful, undulating, evolving textures made from these incredible organic recordings.”
ORBIS can be purchased and digitally downloaded as an AAX-, AU-, and VST-compatible plug-in that loads directly into a DAW (Digital Audio Workstation) for a time-limited introductory promo price of £229.00 GBP (inc. VAT)/$269.00 USD/€269.00 EUR (inc. VAT) until August 1, 2019 — rising thereafter to an RRP of £299.00 GBP (inc. VAT)/$349.00 USD/€349.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/orbis/"
"Erica Synths have prepared a lot of new products to present at this years Superbooth in Berlin. 13 new modules and... a new system! You read it right.
And this isn't even all that we have planned to release in the rest of 2019
Reminding that you can find us at the first floor lobby, booth E245.
Just look for all black everything!
Version 8 enhances the Ableton vision of creative, real-time digital music with a wealth of new techniques, effects and most-wanted workflow improvements.
Groove patterns can add life and swing to straight sequences. Live 8's new groove engine lets you apply groove patterns in real time, extract grooves from audio or MIDI sources, quantize audio and MIDI in real time. It also comes with a new groove library.
Live 8 introduces a new, more direct way of working with warping and some important Warp Mode enhancements. You can now warp audio events by adjusting the events themselves on the timeline. Beats Mode has been updated, and there's a completely new Complex Warp Mode. Plus you can slice audio files to MIDI tracks based on transients.
A much-requested feature, the Ableton Looper effect gives you classic sound-on-sound looping without the limitations of a hardware device. Looper is set up for remote operation, so you can record, overdub, undo and more without touching the computer.
Live 8 includes five powerful new effects: Vocoder, Multiband Dynamics, Overdrive, Limiter and Frequency Shifter. These effects cover all the well-known aspects of these devices, but really shine due to some innovative features and enhancements from the Ableton labs.
Version 8 makes Live easier with a number of most-wanted enhancements and some deceptively simple detail work including real-time crossfades in the Arrangement View, enhanced MIDI editing, group tracks, a screen magnifier and more."
New in Ableton Live 8
Version 8 enhances the Ableton vision of creative, real-time digital music with a wealth of new techniques, effects and most-wanted workflow improvements. imageNew groove engine Groove patterns can add life and swing to straight sequences. Live 8's new groove engine lets you apply groove patterns in real time, extract grooves from audio or MIDI sources, quantize audio and MIDI in real time. It also comes with a new groove library. imageNew warping engine Live 8 introduces a new, more direct way of working with warping and some important Warp Mode enhancements. You can now warp audio events by adjusting the events themselves on the timeline. Beats Mode has been updated, and there's a completely new Complex Warp Mode. Plus you can slice audio files to MIDI tracks based on transients. imageLooper A much-requested feature, the Ableton Looper effect gives you classic sound-on-sound looping without the limitations of a hardware device. Looper is set up for remote operation, so you can record, overdub, undo and more without touching the computer. imageNew effects Live 8 includes five powerful new effects: Vocoder, Multiband Dynamics, Overdrive, Limiter and Frequency Shifter. These effects cover all the well-known aspects of these devices, but really shine due to some innovative features and enhancements from the Ableton labs. imageWorkflow enhancements Version 8 makes Live easier with a number of most-wanted enhancements and some deceptively simple detail work including real-time crossfades in the Arrangement View, enhanced MIDI editing, group tracks, a screen magnifier and more.
New in Ableton Suite 8 Ableton Suite 8 is a package which gives you a rich world of sound, perfectly complementing the tools and features in Live 8. Suite 8 provides all the instruments a musician could hope for, including a wide range of synths, a powerful sampler, electric and acoustic drums, mallets, numerous sampled instruments: 10 instruments in all. Here's what's new in Suite 8.
Ableton Suite 8's library completely surpasses everything that Ableton has ever offered before. With the creative professional in mind, Ableton has put together a well-balanced and comprehensive tool set and, above all, a wide-ranging set of beautiful sounds.
Collision is a unique instrument for authentic mallet sounds and creative percussion. Co-developed with AAS, it uses physical modeling technology to reproduce real-world instruments such as xylophones, marimbas and glockenspiels, but also provides enough depth to create truly dramatic new instruments and sounds.
Latin Percussion is a collection of acoustic percussion instruments such as congas, bongos, timbales, claves, shakers, tambourines and bells from the worlds of Brazilian, Afro-Cuban and African music. It also comes with clips and grooves, so you don't only get the drums, you also get the drummer.
Operator, Ableton's renowned do-it-all synthesizer, has been given a major overhaul. We opened up the hood, took a long hard look inside and did some serious hot-rod stuff. New filter types, more modulation routing options and additive wavetable synthesis with drawable partials make Operator more powerful and flexible than ever."
Posted by Ivan on AH: "I've seen quite a few comments here regarding people selling synths for silly prices. My mildy warm mini-rant follows:
Regarding high-end dealers like Mini and others - They provide a service selling vintage but good condition product that has been refurbished. I've done this type of work, and it is very time consuming. Their reputation will determine their market value to a large extent. If something is priced ridiculously and doesn't sell, then the price has to come down to a point where it does sell. If the repair work is done poorly, the value will be less. Yes, it might be purchased by someone with more money than brains, but that in itself determines the market value for that product at that time. I have a local guitar dealer that specializes in vintage guitars. They get insanely high prices for guitars but they are known for having quality product. And people are willing to pay for it. Thus a free market system where they price product based on what the customer will pay.
I've found deals on old gear and have fixed it up and sold it in the past. I sold it for top dollar. But considering the time invested I wasn't making a huge profit. I've also recently sold 'fixer uppers' for no profit and because I felt they were going to a good home. But if I can I try to make as much money on a deal as possible. It would be nice to help out people who can't afford vintage gear, but I am in no position to be a benefactor for less fortunate synth lovers. So this idea of profiteering, as some have put it, is pretty silly in my opinion. If and when I sell my house I will be trying to get top dollar for it as well. Is that profiteering? Last time I checked it was known as how to stay afloat and actually afford to keep a roof over my head. I don't want 30 years of mortgage payments, and I don't want bank loans to fund new gear purchases. Unfortunately I don't have time anymore to do much gear fixing up and selling. But when I do have that time again I intend to sell items for what I can get. If someone else wants to start a synth charity business then that is great. If I become independently wealthy I'll consider a home for wayward synthesists and donate vintage synths like some people loan out their Stradivarius. But until then, it is good old fashioned work and the resultant profit for me.
My final point is that nobody is getting rich in this business. I'm VERY glad that people like Paul Schreiber and Ken Macbeth decided to go into business and provide us with great products. Neither of them are likely to hit the Forbes list any time soon. And the same applies to Mini, or Shawn Cleary, or any of the other synth-sellers out there. If they can't sell products then they don't make money, and they don't survive as a business. It's just that simple. So complain if you want, but don't expect for people to give away gear in the name of our art. There are enough people self-righteously ripping off software and getting something for nothing. If you want a deal on vintage synths, learn how to fix gear and then cruise pawn shops, garage sales, and Craigslist. Otherwise be prepared to pay market value just like the rest of us poor afflicted gear addicts.
"W I N D C H I M E S ELECTRONICS is Amanda Eicher and Yasi Perera making things that seem to depend on mass means, with the help of many collaborators, among them Thomas Buckler (web and graphics), Chris Cohen (accounting), Randall Fontes (state) and Walter Funk (waveforms)."
Yasi worked with Don Buchla & Associates. W I N D C H I M E S current project is what they call "a light harmonizing time house". The following is captured for the archives here. Click through above for the animated gif and of course the rest of the site.
"It generates a single signal, suitable for both lighting and audio, in resolution of detected/imagined stimuli taken in by its touch and light sensors. It attempts to follow the circadian light-time around it and contribute to the harmony of its local time.
The visualization at left shows the kitten-sized cast-plastic structure, built to hold shoji paper screens. The patterned windows diffuse light from a complex of LEDs and electronic filters designed to behave like moving post-'black body' flame.
The pattern of illumination is, filtered differently, available at an 1/4" audio output, ready to drive an instrument amplifier. The audio is optionally emitted combined with sub-audio control signals, which can be demodulated to use later in the signal path by future modulation-aware signal processors packaged in 'stompbox' format.
The top, snooze bar, is a silver zigzag - capacitive touch sensor and CdS light sensor synthesizing touch and light information into a microprocessor-mediated response.
The Light Harmonizer is sensitive to touch-kinds: lightness of touch, timing of approach, and motions across and around. Unfinal attempts at categorical perception. First touches dim the light briefly, then it comes back in viscosity. Regular patterns of touches, it tries to predict and continue. ALSO 'day' to 'day': say, touches you give at lunch - every lunch - even if not regular per our usual clocks, are taken, speculatively, as regularities. Deviations from your regular lunchtimes, shown back in flushes, noticing what is astral weeks, what is dim weeks, when is the decade of french revolutionary 10 day weeks. In searching, we keep the memory sparse; without many bits, we find salience in action.
Its illumination varies also at frequencies we may hear, so at the audio output, fingers thump: bass drums, chimes, 100 metronomes' granular synthesis: embers, wind-through-trees, -through-chimes. We establish a circular heieracrchy of sound types: percussion, arrayed algorithmically, then stochastically, until, being noise, they form the elements of other drum sound syntheses. This carries on early work in computer music by Paul Berg, Herbert Brün, Arun Chandra, Rich Gold, S. R. Holtzman, G. M. Koenig, and Iannis Xenakis, among others, exploring sound manipulation at the machine instruction level as compositional. A physical platform for the exploration of seminumerical algorithms (Knuth's term) in relation to experience- both the experiences of music, and lived time. We take 'seminumerical' to pertain to aspects of postulation beyond Knuth's computer-scientific notion of 'hardware', into pertinence of form. Peter Naur displays this connection in examining problems, tools, and people as mutually constitutive.
We hope to take time as a place to display and collect user interface, generating informational 'persistence' in time itelf as a basis upon which to 'communicate'. 'Persistence in time' implies an expanded notion of rhythm, as qualia, consistent with classical concepts."
"An amazing hand made custom art synthesizer from Arius Blaze and is signed and only produced 12. And The videos up on youtube are from this unit back years ago when he posted them ( I waited so he could make them) This may be first produced.
Published on May 19, 2016 ARTURIA - Update: new video uploaded May 30, 2016
Update: Clarification: the NED Synclavier is not an emulation but a port of the original software:
"this is not an emulation - it is the real thing, the real mccoy. Cameron Jones himself ported the original Synclavier code to run on PC/MAC/VST etc.
- you have the choice of playing each patch either in the original 8-bit depth, or change it to 4-bit (!), 10-bit, 12-bit, 14-bit, 16-bit, 18-bit, 20-bit, 22-bit or 24-bit depth.
- resynthesis: not implemented in the current release but there may be plans to put it in a future release. However some of the original factory patches included (83 total) are resynthesis-based
- the partials/timbre frame functionality was vastly expanded"
Video description:
"The new V Collection 5 is a giant leap forward in our quest to create the greatest legendary keyboards collection ever, including 5 new softwares instruments: Piano V, Synclavier V, B-3 V, Stage-73 V, Farfisa V.
Update:It's not clear if the Synclavier V supports sampling resynthesis (see above), although it does take the FM and additive synthesis with partials to a new level. For reference, you can find the history of features for the original Synclavier on Wikipedia here.
"Arturia announces the Synclavier V, the first recreation of the legendary digital synthesizer made in collaboration with Cameron Jones, the inventor of the original instrument.
The Synclavier V faithfully recreates the elite digital synthesizer/workstation that started it all, powering some of the biggest hits and film soundtracks of the early ‘80s with its unique rich, edgy sounds.
While the Synclavier V expertly brings this historic instrument to life, we’ve improved it dramatically by taking advantage of today’s processing power. We’ve also infused into it everything we’ve learned over 16 years of developing award-winning software synthesizers. The result is a thoroughly modern, cutting-edge instrument that stands alone among hardware and software synths alike.
Update: some details on the synth engine:
Timbres consist of up to 12 Partial Timbres
Much of the magic of the original Synclavier owed to the ability to build Timbres (presets) by creating and layering four completely different sounds or Partial Timbres to realize massive, complex sounds. With the Synclavier V, we’ve taken the number of Partial Timbres to 12, dramatically expanding the creative possibilities. Since each Partial Timbre is a complete sound, that means that you can stack many different sonic elements into electrifying Timbres resounding with rich complex textures brimming with subtleties.
Partial Timbres are each compete synth engines
Each of the 12 Partial Timbres has two digital oscillators that combine the principles of both additive and frequency modulation (FM) synthesis. Rather than using filters to subtract harmonics from simple oscillators, additive synthesis builds up complex sounds by selectively adding harmonics in this case. The Synclavier V goes way beyond that, combining these oscillators in an FM architecture where the carrier (main) oscillator is modulated by the second harmonic oscillator. The fusion of additive and FM technologies make for a stunningly diverse and unique universe of cinematic pads, epic leads, evolving bass lines and more.
Time Slices animate long passages
Time Slices allow you to specify up to 50 snapshots of the 12 Partial Timbres of additive and FM synthesis goodness, and animate through them over time. For each Time Slice, you can set the volume, pitch, FM modulation amount, and delay. The ability to set parameter crossfades of up to 30 seconds between Time Slices—over a total time of 5 minutes—makes it possible to create long evolving ambient pads and cinematic cues of incredible complexity.
Improvements make a great instrument even greater
We’ve made a lot more improvements beyond boosting the sound engine from four Partial Timbres to 12. Where the original modulation oscillator was only a sine wave, now you can also choose sawtooth, square, or triangle—or graphically build your own waves comprised of 24 phase-controllable harmonics. These enhancements allow you to create outrageous textures never possible before. Each Time Slice can now even have a separate FM modulator waveform. Variable bit depth between 4- and 24-bits, on-board effects, and a MIDI Learn feature are just some of the many examples of the new options available to you in Synclavier V.
With the Synclavier V, digital synthesis meets total creative and performance expression.
Sure, all synths have LFOs, but the vibrato section of the Synclavier V is exhaustive, giving you control over LFO attack, phase, quantizing, bias and more. Things get even more interesting when you apply the LFO to the FM harmonic oscillator that, in turn, modulates the carrier. Let that sink in for a minute!
Want to take your listeners on an animated journey? Add extra energy to your pads and soundscapes with the stereo modulation section. It actually takes the form of separate linkable tremolos for each channel, making for unique spatial animation effects that will have everybody’s heads spinning.
Imagine performing with expressive nuances never possible before. Press harder on the keyboard to change the amount of FM modulation. Ride the expression pedal to affect the frame speed of your Time Slices. Grab the mod wheel to rock the FM modulation ratio. These are just some examples of what’s possible when you use the modulation matrix to easily map any of your favorite MIDI controllers to dozens of sound engine parameters—discretely for each Partial Timbre."
Update: the official press release for the entire V Collection 5 [Note: The Analog Lab press release below was the first to go up. Apologies for the all the updates, but this is how it comes in, and posts here on MATRIXSYNTH are about capturing that]:
"Arturia advances industry-standard V Collection of virtual classic keyboards
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of V Collection 5 — the latest incarnation of its impressive industry-standard collection of authentic-sounding virtual instruments, expanded and updated to include five all-new additions alongside new versions of ‘old favourites’ (plus Analog Lab 2) — as of May 19…
With no fewer than 17 virtual instruments that recreate hard-to-source synthesizers and classic keyboards, V Collection 5 represents really remarkable value on many musical levels. At an attractive monetary level, it’s a no-brainer! Bringing something special to the 21st Century performance and production table, five all-new authentic-sounding additions lead this latest V Collection charge.
B-3 V beautifully recreates the distinctive tones of the B-3 tonewheel organ, one of the most iconic and influential instruments of all time. It truly transcends time and place by bringing this still-sought-after sound to the computer-based music-making masses. Meanwhile, Farfisa V virtually puts players in the driving seat of the sound that drove the hits of several decades as a superb software simulation of the famous Farfisa Compact Deluxe organ. Pushing the physical boundaries of an acoustic piano, Piano V meticulously models the sound and behaviour of one of the most important instruments history has yet thrown up — albeit not as one but rather nine virtual instruments rolled into one! An authentic-sounding software simulation of the Seventies-vintage Stage and Sixties-vintage Suitcase 73-key electric pianos, Stage-73 V is the sound of the Sixties, the sound of the Seventies… the sound of today, the sound of tomorrow! Thanks to Arturia’s close collaboration with original Synclavier® software developer Cameron Jones, Synclavier V takes everything the trailblazing Synclavier® could do as the most powerful additive and FM synthesizer ever created and makes it more powerful!
Put it like this: thinking about all those thousands of new sounds and styles in V Collection 5 that are available at the touch of a (virtual) button beggars belief, but Arturia’s aim is true… to create the tools that lend a helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow. The 12 remaining virtual instruments in V Collection 5 — ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V analogue synthesizers; Prophet VS digital synthesizer; Wurli V electric piano; VOX Continental V electronic organ; and Solina V string machine — do just that, too. All are updated with resizable (Retina/4K-compatible) GUIs that truly have to be seen to be believed! But digging deeper, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — naturally features across the board. As does AU, AAX, VST2, and VST3 compatibility, standalone operation, plus MIDI Learn (to easily map all parameters to a MIDI CC).
Continuing Arturia’s quest for absolute authenticity through TAE® (True Analog Emulation), physical modelling, and additional technologies, anyone prepared to dig deep into V Collection 5’s treasure trove of hard-to-source synth and classic keyboard recreations will be musically rewarded in kind. Conversely, Analog Lab 2 is a powerful yet painless way of accessing a broad selection of sounds from across V Collection 5 within a single application. As it supports Arturia’s many MIDI controller devices natively, it adapts to reflect their physical controls when they are connected… connect with V Collection 5, then, and accept Arturia’s helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow!"
The Analog Lab press release:
"Arturia advances Analog Lab composite virtual instrument to include V Collection 5 sound selection
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Analog Lab 2 — an all-new incarnation of its composite virtual instrument that gathers together a broad selection of sought-after sounds from its V Collection 5 software bundle — as of May 19...
Analog Lab 2 is a powerful yet painless way of accessing a sought-after selection of sounds from all 17 of Arturia’s authentic-sounding virtual instruments as a single application. Included are sounds from eight emulated analogue synthesizers (ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V), two digital synthesizers (Prophet VS and Synclavier V), two electric pianos (Stage-73 V and Wurli V), an acoustic piano (Piano V), and three electronic organs (B-3 V, Farfisa V, and VOX Continental V). Those virtual instruments recreate hard-to-source hardware synthesizers and classic keyboards of the past and conveniently transport them to the present-day desktop.
Analog Lab 2 invites instant exploration as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Its redesigned, resizable (Retina/4K-compatible) GUI (Graphical User Interface) is as easy on the eye as it is to use. Studio View shows the original historic hardware, helpfully bringing up the best presets from each instrument in question. But there’s a whole lot more to Analog Lab 2 than good looks alone.
Accessing those sought-after sounds at the speed of sound is simple, thanks to a new preset browser. Browse presets by TYPES, BANKS, sonic CHARACTERISTICS, and INSTRUMENTS (crossing categories). Create PLAYLISTS. Or simply Search for presets by NAME. Needless to say, with 4,500-plus presets to choose from there’s always a sound to suit every mood, every ambiance, and every music style — sounds that transcend time and fashion.
For those wishing to dig deeper then the dual-instrument MULTI feature with independent MIDI settings panel for each instrument will make their musical day. Drag and drop splits and layers of those presets to take ownership of the sound. Sounds and Multis can be organised in the PLAYLISTS area for instant recall via program change messages, making Analog Lab 2 a best friend in the studio and a pillar of live performance.
Put simply, Analog Lab 2 is so much more than just a sound library. It’s a substantial sound design tool and an amazing live performance instrument integral to immeasurably improving everyday workflow. When connected to one of Arturia’s many MIDI (Musical Digital Instrument Interface) controller devices, Analog Lab 2 will automatically adapt to reflect their physical controls. Generic MIDI controllers of course can also be used with MIDI learn to easily map all parameters to a MIDI CC (Control Change).
Changing the sound of Analog Lab 2 is even easier thanks to two EFFECTS slots with pre/post fader switch per instrument. Included Bitcrusher, Chorus, Delay, Destroy, Dub Delay, Eq4, Flanger, Overdrive, Phaser, Pitchshift, Reverb, Roundpanner, and Vocal Filter effects ensure that Analog Lab 2 always sounds the way you want it to.
Take your sound and workflow to another level with Analog Lab 2, an easily-accessible environment at an easy-to- swallow price point. What’s not to like?"
Arturia B-3 V Tutorial
Published on May 19, 2016
"The B-3 V delivers the most authentic tonewheel organ and rotary speaker experience you’ll find anywhere, plus customizations that open up new creative opportunities."
"Arturia pulls out all the software stops to realistically recreate tonewheel organ combo classic
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of B-3 V — an authentic-sounding software simulation of the classic B-3 tonewheel organ and Leslie rotary speaker combo — as of May 19...
B-3 V realistically recreates the special sound of the B-3 tonewheel organ. One of the most iconic and influential instruments of all time. One which has graced many of the greatest recordings of all time. Today Arturia brings this to its award-winning Analog Classics family of virtual instruments that recreate hard-to-source synthesizers and classic keyboards.
Keyboard players have made their mark in all forms of popular music with the B-3, back from its inception in the Fifties way past its discontinuation through to today. Procol Harum’s hit ‘A Whiter Shade Of Pale’ proved particularly memorable with a melancholic countermelody displaying an altogether softer side to the B-3. But raucousness remains the order of the day for the blues, jazz, and gospel genres with which it first found favour. After all, it had historically been aimed at churches as a more compact and affordable alternative to conventional pipe organs.
One saying springs to mind: Pulling out all the stops — to hold back nothing — is an allusion to organ stops being pulled out to turn on each set of sounds in a pipe organ. The B-3 effectively ‘emulates’ this with its drawbars. Doing this and a whole lot more is what B-3 V does best, thanks to Arturia pulling out all the software stops to make it happen!
Thirties-developed tonewheel technology originally made that special sound happen. An electronic current is created when rotating a metal tonewheel near an electromagnetic pickup and amplifying that signal. The B-3 has 91 of those tonewheels with each key connected to a fixed set of tonewheel outputs. Drawbar settings control how these are mixed together. The tube preamplifier subsequently shapes the sound a little further — filtering and distortion take hold here — while factoring the position of the expression pedal. This not only acts as a volume control but also affects the frequency response of the preamp which is connected to a speaker.
Speaking of which, B-3 V faithfully simulates the favoured Leslie tone cabinet, containing a power amplifier that drives a rotating horn and a stationary woofer firing into a rotating drum reflector. Spellbinding spatial and frequency-shifting effects above and beyond the sound-shaping effects of commonplace loudspeakers are all perfectly possible!
B-3 V brings this classic combo — complete with the inherent imperfections that made that tonewheel technology sound so unique — to the present-day desktop as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Visually, things couldn’t get clearer, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.
Under the hood, things couldn’t be better with MIDI control of many parameters and insert slots for ANLALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASE effects, as well as ADVANCED SETTINGS for upper and lower manuals and rotary speaker behaviour. B-3 V boasts a built-in step sequencer, allowing anyone to easily set an amount of modulation for each step of the sequence! Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) allows advanced integration with B-3 V.
All of the benefits of the original iconic instrument are available to modern music-makers with B-3V, but without the heavyweight hassles. Where anyone chooses to take it musically is anyone’s guess, but bet your bottom dollar that special sound will be being heard for many more years to come... courtesy of B-3 V!"
Arturia Stage-73 V Tutorial
Published on May 19, 2016
"The Stage-73 gives you actual authentic modeling of both Stage and Suitcase versions of the most popular electric piano on the planet —completed with unparalleled control of virtual mechanics, a complement of effects pedals, and built-in classic amps."
Update: And the official press release for the new Farfisa-V:
"Arturia augments Analog Classics collection with faithful Farfisa Compact series software simulation
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Farfisa V — faithfully modelling the famous Farfisa Compact Deluxe electronic organ with additional features from its Duo Compact series sibling — as of May 19...
Arturia’s award-winning Analog Classics family of virtual instruments recreate hard-to-source synthesizers and classic keyboards. As a worthy addition, Farfisa V virtually puts players of today in the musical driving seat with a still-sought-after sound that drove the hits of several decades: Farfisa’s famous Compact Deluxe electronic organ, one of a series of iconic instruments manufactured in Italy between 1964-1968. A staple of Sixties-produced popular music, they made their musical mark with a wider-ranging sound than that of their main VOX Continental competitor. With more bass waveforms and an expanded percussion and vibrato section sales soared.
Speaking sonically, Farfisa Compacts are almost more top octave synth-like than organ-like, thanks to a rudimentary envelope that allows for attack and decay control that went way beyond the typical organ sound of its day. Little wonder, then, that they proved popular with musicians throughout the Sixties (‘Sam The Sham’ and The Pharaohs, Percy Sledge), Seventies (Jean-Michel Jarre, Kraftwerk), Eighties (B-52s, Blondie), and beyond. But unlike heavyweight Hammond tonewheel organs, transportation to performances was trouble-free. For the fortuitous Farfisa form factor included integrated legs that could be folded up and stored within the body of the instrument itself, surely sealing many purchasing deals!
Today, though, finding and maintaining an original Farfisa has become both difficult and costly. Farfisa V solves such problems by bringing all the benefits without any of the hassles to the present-day desktop! Developed using an original hardware organ for reference, it meticulously models the original circuits and sounds of the famous Farfisa Compact Deluxe. Features from its Duo Compact series sibling are also included alongside an authentic combo amp simulation. Standalone instrument operation on Mac OS X and Windows is a given for performance purposes. Plug-in support for all major formats inside any DAW (Digital Audio Workstation) with easy MIDI-learn functionality provides hands-on control of many of its parameters and automation support for considerable creative control. Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — is there for the taking.
As always, recreating an instrument in software provided an opportunity to add a number of more advanced features fit for the 21st Century. Cue the special USER WAVE position, allowing anyone to create an additive waveform. Why not use the ToneDraw feature to create a new waveshape based on the graphical look of the sliders? Having modelled the original built-in spring reverb, Arturia added other reverb IRs (Impulse Responses). Reorder the additional ANALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASER effects. Easily-accessible individual voice tuning, PARA (paraphonic) and POLY (polyphonic) modes, ATTACK and RELEASE envelopes for upper and lower keyboards, BASS WAVE (waveform selector), TONE control for bass section, TREMOLO SYNC, and REPEAT SYNC round out this all-new Analog Classic. Hearing is believing. So is seeing, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.
Ultimately, then, whether you’re set on recreating a distinctive and powerful organ sound of the past or forging ahead with a new organ sound of the future, Farfisa V does it all. But best of all... legs no longer play a part in sealing this must-have musical deal!
"Motus allows users to literally play music in the air. No keys, buttons or knobs. While holding Motus in hand, you can play the note and at the same time change its timbre by using different motion gestures."
See https://motusmotus.com for additional details including their crowdfunding campaign for the Motus.
The following is pulled from their press release where you'll find additional pics:
"Bow without strings, play synths without pressing the keys. An exciting and simple, yet intelligent wireless musical instrument converts motion gestures to sounds
TZM Creative Lab introduces their first product, Motus – Creative Motion Enhancer. A wireless device converting motion to sound, a creative tool for professional musicians, dancers and artists, an intelligent toy for kids and grown-ups. Available on crowdfunding campaign now, for less than $100.
Motus is a mobile wireless device that turns motion to sound. In human’s language, it allows users to literally play music in the air. No keys, buttons or knobs. While holding Motus in hand, user can play the note and at the same time change it’s timbre by using different motion gestures. Instead of defining single way to play Motus, we simply offer different interaction rules. While loading a different Motus instrument, you’re redefining what it will be – shaker, air drums, violin or something else. Use each instrument just as you would in reality. Motus technology tracks user’s free movements, extracts the most important motion features (e.g. velocity, dynamics, displacement) and maps them to different sounds. It can be a real-time generated sounds, prerecorded material or even sound and light effects. The size of Motus is optimal for easy handling and excellent control.
Motus technology tracks user’s free movements, extracts the most important motion features and maps them to different sounds.
New possibilities in music
Music
“By developing Motus we are keen to engage more people to explore new possibilities of being creative. It started as a tool that expands musical performance, however later we saw it has very broad use cases, e.g. dance, performing arts, or just having fun for people that have no connection with music at all. Anyone who is willing to experiment with digital sound is hindered by the process. Therefore, we did reverse the whole thing and made it approachable in a simple and exciting way, by using motion as a natural input into digital sound synthesis. The space around you becomes a touchless surface, a canvas you can interact with and explore. Motion with Motus turns the air into a keyboard, fret board, djembe skin, drum pads, violin bow, etc. The movement is a key to play and experiment with sound in real-time whether during casual time outdoors or on stage.” – said Mindaugas Badokas founder of TZM Creative Lab. “Motus is also, in part, about community. We seek to empower motion to open up more possibilities of creativity in sound exploration and gather the whole community which keeps that alive. Where anyone can take part from professional musicians to dancers, from grown-ups to kids (even 30 years-old kids).”
Motion with Motus turns the air into a keyboard, fret board, djembe skin, drum pads, violin bow, etc. The movement is a key to play and experiment with sound in real-time.
Three different Motus versions
Motus Classic is out-of-the-box device and can be explored instantly by anyone. It provides full Motus experience, however it should not be used for professional applications.
Motus Pro is made for professional performers, it comes with an external Bridg receiver and precision sensors, its connectivity rage is up to 30 meters and possibility to connect up to 12 devices simultaneously. It is a perfect fit for using on stage and demanding tasks of any performance.
Motus Hacker is offered for the adventurous DIY enthusiasts seeking to make their own customized device, it comes without usual body and each part has to be soldered together by the user. Depending on added elements it may be used on stage, however this is highly variable, therefore it is not recommended for professional application but more for the experimentalists.
Connectivity
Motus comes together with its software, where users are able to select Motus instruments and play them instantly. It as well can be used as a controller with any DAW of choice—it is compatible with MIDI, OSC and ReWire. Ableton Live users will be provided with M4L device to make the set-up easier. Max users will be offered a pack of externals and abstractions.
In contemporary dance scene for 2 years
Usually dancer follows the music and technicians follows the dancer to implement the image and audible atmosphere of the show. Motus enables dancers to directly control and improvise with sound, live visuals or lighting. Dance troupe Aura has been using Motus prototype for the past three seasons in the play “Make a Switch from me”, which was premiered in Italy, Lithuania and Poland. Composer found Motus being a versatile tool. “Motus helps to communicate message faster and gives an opportunity to expand your fantasy but still keep the audience in it.”, explained Antanas Jasenka, Composer.
Motus not only provided an immersive experience for the audience but as well for the dancers. Francesco Dalmasso, dancer at Aura Dance Theatre said “You have really close connection that you’re actually creating the choreography yourself and at the same time creating the music, sounds, so you’re both – choreographer and composer and a dancer. It’s very rich.”
Dance troupe Aura has been using Motus prototype for the past three seasons in the play “Make a Switch from me”
Coolgarden – the app store for Motus
TZM Creative Lab will be opening a standardized platform, Coolgarden – app store for Motus. Coolgarden is a place where Motus users will be able to find all Motus instruments and creative applications. Therefore, developers are invited to develop Motus instruments and offer them for Motus users through Coolgarden. Developers can offer everything from synths, audio effects, visual generators or interactive games which can be monetized or free for users.
Embedding latest technologies
In the last years scientific approaches to human-computer interfaces and interactions for musical performance gained increasing attention from scholars. Some of the reasons for this are computational speed progress and microcontrollers price drop, which have opened new possibilities in the realm of real-time musical interactions. Motus is an outcome of many experiments and scientific endeavors. We’re bringing cutting edge technologies straight to the user. By doing this we can exit alpha stage faster and implement exciting features found only in scientific papers and research facilities.
Available on crowdfunding
Motus was launched on a self-starter crowdfunding campaign on 21th of October. The company seeks to reach its crowdfunding goal of $28,000 in 30-day period until the 20th of November. During a campaign Motus devices are offered for an introductory price starting from $80. First supporters will be able to purchase a limited number of devices for even more discounted price. The collected funds will be used for securing first batch of production: finalizing the product, setting up manufacturing and future development."
Spotted #5 on discchord. Decided to make a playlist with the 6 to date. There's some SH-01a in here as well. If you are seeing this post off the homepage you might want to expand the post (click the "Click More" more link below) for the descriptions and patch notes before starting the player.
I came up with this nice patch while jamming with my 0-Coast and decided to record a little sequence with it. I'm feeding midi data from Fugue Machine and Rozeta Arpeggio on my iPad, and recording the audio from the 0-Coast, through the Specular Tempus, directly in AUM. There is an additional delay send effect on the track.
"PolyRhythms Two groups of buttons control a set of fast and slow rhythms. Fast rhythms are on the left side and slow rhythms are on the right side. Each row of buttons represents an independent loop, and each individual button is a beat. Beats can be touched in real time to turn them on and off.
* APP FEATURES: Designed and Built for the iPad. * High quality drum samples create a rich audio experience. * Audio controls include Play/Pause, Restart, and Tempo. * Sessions can be saved or reloaded in real time during playback. * Tempo can also be varied smoothly in real time. * Progress indicator lets you know where you are in the master loop."
It's currently available on iTunes for free. Anyone know how to grab the link in iTunes? My normal source does not link to iPad apps yet.
"IMPORTANT UPDATE: If you are running PolyRhythms version 1.0, please download the 1.0.1 update for improved performance and better documentation.
USING POLYRHYTHMS: The two groups of buttons control the fast and slow rhythms. Fast rhythms are on the left side and slow rhythms are on the right side.
THE MASTER LOOP: The leftmost beat in every row all play simultaneously at the beginning of the master loop, and will never all coincide again until the next beginning of the 840-beat pattern! Each time around around takes between 2-6 minutes depending on the tempo. The progress indicator (bottom) lets you know where you are in the master loop.
LEFT (FAST) SIDE: The top left button plays every single beat. Each successive row of buttons on the left represents a looping rhythm of a different length, and each button represents a beat in that loop. Beats can be touched on and off during playback to adjust the pattern as it cycles against other rhythms.
RIGHT (SLOW) SIDE: Each row of buttons on the right represents a different equal subdivision of the master loop, and each individual button is a unique location in the loop. These beats play only one time per cycle of the master loop - they mark your place in the cycle.
FEATURES: - High quality drum samples create a rich audio experience. - Audio controls (top right) include Play/Pause, Restart, and Tempo. - Tempo can also be varied smoothly in real time. - Progress indicator (bottom) lets you know where you are in the master loop. - Sessions (top left) can be saved and loaded back in during playback.
COMING SOON: - Flexible mapping of sounds. - New sounds will be available through in-app purchase. - Share sessions between devices."
images via this auction "The Roland RS202 string synth was the successor to the largely unsuccessful RS101.
It used the standard method for creating lush, swirling string sounds of the time - take a simple organ 'divide down' sawtooth oscillator as the basic sound source for unrestricted polyphony and throw the whole thing through a chorus unit. Add simple vibrato, a choice of registers and and a simple attack/release envelope shaper and you have the perfect recipe for rich strings.
That the Roland RS202 could deliver silky string sounds is undisputed - it sounded gorgeous and I remember being full of envy when a friend of mine bought one and let me play it (and I borrowed it whenever I could!). It was simple to operate, a joy to use and as soon as you played it, a unique sound just dribbled out through those rear panel jacks! The RS202 wan't quite as 'mushy' as other, competing string synths of the time and it had its own sonic identity.
The RS202 came in its own flight case (the principle reason for my friend buying it... he was gigging and touring extensively at the time) and it had a simple front panel. It had controls for tuning and master volume and various large rocker switches that allowed you to select different string sounds: Strings I and Strings II (an octave up from Strings I). Like other string synths of the era, there was also a brass sound that could be selected and, like other string synths of the era, it was next to useless! No.... it was the string sound(s) that defined the RS202.
At the heart of the RS202's string sound was Roland's 'ensemble' or chorus effect. For whatever reason, Roland got this just right not only on the RS202 but also in the chorus effects pedals that they (and their subsequent subsidiary company, Boss) were to release. This rich ensemble effect was enough to guarantee the RS202's success.
However, unlike the competition of the time, each key also had its own envelope shaper so that each note articulated properly. This was a huge improvement on other such string synths at the time and made the RS202 far more playable and expressive - it's just a shame that the sound's attack was limited to just two preset values determined by the setting of a single grey rocker switch labelled 'SOFT ATTACK'. By way of compensation, there was at least a totally variable 'SUSTAIN' (i.e. release) control so all was not lost. The other grey 'TONE' rocker switch allowed you to select two different timbres for the string or brass sound.
The RS202 was also 'bi-timbral' with different sounds for the bottom two and top three octaves respectively and flexibility was enhanced by the fact that the lower and upper sections were (almost) completely independent of each other thus you could have solo 'cello in the bottom half of the keyboard and a lush string ensemble in the upper half of the keyboard. Or you could have combinations of lower and upper brass and strings and so on according to the settings of the five identical rocker switches for each lower / upper section. Two sliders allowed you to balance the two sections. However, whilst being flexible for the 'power player', for someone who just wanted a uniform sound across the RS202's 5-octave keyboard range meant setting the separate lower and upper sections identically which was potentially a problem for live use. That said, the layout of the controls was such that this was not difficult to achieve.
On the surface, then, the Roland RS202 was unique in the market at the time and potentially looked unstoppable.
Except that the Roland RS202 did have some serious competition in the unlikely form of the MX202 from American manufacturer, Multivox. However....
Not only did the RS202 and MX202 share almost indentical numeric product names, it would appear that the resemblance didn't end there. Apart from a few minor differences, the front panel layout was almost identical in every respect and was only differentiated with the use of slightly different switches and control caps. Furthermore, the underlying circuitry in the MX202 was also almost identical to the Roland RS202's. In short, the Multivox MX202 was pretty much a carbon copy clone of the RS202 and Multivox had ripped off the design almost component-for-component! However, somehow the two managed to have a different sound.
Roland, of course, won out in the end and are still here to tell the tale. But Multivox... who?
What's on offer here is the genuine article. Hollow Sun contributor, Paul Marshall has (once again!) gone to extreme lengths to provide detailed multi-samples of this Roland classic. With long, luxurious samples taken every major third across the original's F-F 5-octave range, what we have here is a truly authentic representation of what is arguably Roland's finest string synth. There are two sounds - straight 8' Strings 1 and the two registers Strings 1+2 (16' and 8') layered in octaves."
"In this video I play original sounds created for the Prophet 5/10 rev 4 synthesizer. I demo patches 1 - 20 from the Synth Universe Prophet 5/10 rev 4 Sound bank: a bank of 80 patches containing a wide range of pads, strings, brass, poly synths, keys, bass, leads, tuned percussion and sines.
Each patch is demonstrated first raw in mono, as output straight from the synth. For the majority of the patches I then repeat the demo but with stereo and reverb or delay applied, so you can hear the sounds more like they would be in a musical context. Please refer to the other three videos for demos of sounds 21 - 80. The time stamps below mean you can easily access specific sounds in this video and compare MONO with STEREO.
In the making of this video no chorus, modulation or thickening effects were used (software or hardware). The only effects used were reverb (mainly the Valhalla Vintage Verb plugin) or delay (Logic native delay plugin). No EQ was used to enhance either the low end or the high end.
The Prophet 5/10 has a single mono audio output, so to create a stereo image I used old-school layering in my DAW. When I recorded each audio take, I also captured MIDI data and used this to record new tracks of the original take. Using the Vintage knob on the Prophet set at 3 means that each MIDI take has subtle differences in pitch, envelopes and filter. Panning and slight detuning of the tracks creates, to my ears, a nice rich stereo image and retains the core sound.
"After first presenting it to visitors of the Dutch Modular Fest and Machina Bristronica, the time has finally come to officially announce Contour 1 to the wider world.
For decades, the voltage controlled slew limiter has been a staple of modular synthesisers. With its extreme versatility, it can be used to slew control voltages (CVs), create envelopes, as a low-frequency or audio oscillator and much more.
Today, Contour 1 brings a fresh approach to this classic circuit. It delivers much improved performance and control by incorporating modern design techniques.
Explore anything from shape-shifting envelopes to rich VCO timbres: Contour 1 will make you re-think what a slew limiter can do.
At its most basic, a slew limiter slows down the rate of voltage change in a signal. On Contour 1, the rising and falling rates can be individually set using sliders and CV modulation.
The gate and trigger inputs allow the module to be used as a function generator: create snappy attack-release (AR) and attack-decay (AD) envelopes, with slope times ranging from 500 µs to 30 seconds. The dedicated gate input makes it easy to generate +10 V envelopes from any signal source. Using the large tactile push button, AD envelopes can be manually triggered. A trigger will also reset the output voltage.
When set to loop mode, Contour 1 will continually re-trigger itself. In this mode, it fulfils the role of a variable-shape low-frequency oscillator (LFO) or temperature-stable voltage controlled oscillator (VCO) in the audio range.
Both the rising and falling slopes can be individually bent, from concave through linear to convex. While doing so, the deviation in slope time, and thus oscillation frequency, is kept to a minimum. Since the bend parameters are separately voltage controllable, boundless modulation possibilities present themselves.
Explore anything from shape-shifting envelopes to rich VCO timbres: Contour 1 will make you re-think what a slew limiter can do.
This is an emulator of the muSonic 5, a synthesizer originally designed by one of the Moog engineers Gene Zumchek (possibly the real father of modern synths), he proposed then eventually designed and built the prototype Mini Moog, the first fixed configuration portable monophonic. After leaving Moog he created the muSonic who themselves eventually bought the bankrupt remains of Moog and released this synth with a few changes as the Moog Sonic-6. The dual LFO configuration is very rich and there are lots of modulation possibilities as well as direct mix and in this emulator some mild stereo reverb.
Interface zooming can be done either with the trackball (Nexus/HTC have them) or enable multitouch via the menu then tap the screen with two fingers at the same time - this will zoom the interface in/out. If you tap with two fingers but keep them held you can move the screen around. This kind of helps out with the dense graphics.
Patches are saved on the SD card along with factory sounds, there is an export and import option to exchange patches.
The emulator will, per default, attempt to run with a set of options that will give reasonable quality and the lowest possible latency/lag. The quality of the audio can be tuned with the menu options however the lowest possible latency for pretty much all Android devices is currently 42ms, on my HTC Desire it is 70ms. If you understand what this means then the value might seem quite high but the app is still a lot of fun.
Twitter @bristolaudio"
"Classic ARP Axxe Synthesizer Emulator
The is an emulation of the ARP Axxe synthesiser, single oscillator, noise, mixer, filter and envelope generator fully emulated in software with modulation. The app supports pressure sensitive touch screens, X/Y accelerometer for pitch and mod wheel, multitouch and zooming interface facilities. The original was a monophonic instrument however the emulator can operate as a polyphonic (duophonic) synth via multitouch when it is enabled. The interface has options for fat-finger, analogue filters and rich oscillators however these will consume extra CPU cycles. The interface also has a full piano keyboard setting.
Interface zooming can be done either with the trackball (Nexus/HTC have them) or enable multitouch via the menu then tap the screen with two fingers at the same time - this will zoom the interface in/out. If you tap with two fingers but keep them held you can move the screen around. This kind of helps out with the dense graphics.
Patches are saved on the SD card along with factory sounds, there is an export and import option to exchange patches.
The emulator will, per default, attempt to run with a set of options that will give reasonable quality and the lowest possible latency/lag. The quality of the audio can be tuned with the menu options however the lowest possible latency for pretty much all Android devices is currently 42ms, on my HTC Desire it is 70ms. If you understand what this means then the value might seem quite high but the app is still a lot of fun.
Tested on HTC Desire/2.2, Emulator hires and lowres. The Axxe is one of a family of emulators."
"Augur-52 Synth
This version of the bristol augur synthesizer is in stereo with a flanger effect to widen out the sound,
This is an emulator of a 80s classic analogue poly synth, the emulator is just dual voice for multitouch. It has dual oscillator, noise, lfo, mixer, filter and a pair of envelope generators. The app supports pressure sensitive touch screens, X/Y accelerometer for pitch and mod wheel, multitouch and zooming interface facilities. The interface has options for fat-finger, analogue filters and rich oscillators however these will consume extra CPU cycles. The interface also has a full piano keyboard setting. There is an emulator 'Unison' switch which will play both voices on a single note to pad out the sound.
Interface zooming can be done either with the trackball (Nexus/HTC have them) or enable multitouch via the menu then tap the screen with two fingers at the same time - this will zoom the interface in/out. If you tap with two fingers but keep them held you can move the screen around. This kind of helps out with the dense graphics.
Patches are saved on the SD card along with factory sounds, there is an export and import option to exchange patches.
The emulator will, per default, attempt to run with a set of options that will give reasonable quality and the lowest possible latency/lag. The quality of the audio can be tuned with the menu options however the lowest possible latency for pretty much all Android devices is currently 42ms, on my HTC Desire it is 70ms. If you understand what this means then the value might seem quite high but the app is still a lot of fun."
"BME-700 Synthesizer
The is an emulation of an esoteric German synth known as the BME 700, very few in existence and using a unique dual filter design, one tracking the envelope and one resonating at a fixed frequency. The envelopes are also interesting, there are two A/R or A/S/R that can be mixed to create ADSR and other ingenious combinations.
The app supports pressure sensitive touch screens, X/Y accelerometer for pitch and mod wheel, multitouch and zooming interface facilities. The original was a monophonic instrument however the emulator can operate as a polyphonic (duophonic) synth via multitouch when it is enabled. The interface has options for fat-finger, analogue filters and rich oscillators however these will consume extra CPU cycles. The interface also has a full piano keyboard setting.
Interface zooming can be done either with the trackball (Nexus/HTC have them) or enable multitouch via the menu then tap the screen with two fingers at the same time - this will zoom the interface in/out. If you tap with two fingers but keep them held you can move the screen around. This kind of helps out with the dense graphics.
Patches are saved on the SD card along with factory sounds, there is an export and import option to exchange patches.
The emulator will, per default, attempt to run with a set of options that will give reasonable quality and the lowest possible latency/lag. The quality of the audio can be tuned with the menu options however the lowest possible latency for pretty much all Android devices is currently 42ms, on my HTC Desire it is 70ms. If you understand what this means then the value might seem quite high but the app is still a lot of fun.
Tested on HTC Desire/2.2, Emulator hires and lowres. The BME700 is one of a family of emulators.
"Exhibition features Keith Emerson's Legendary “Monster Moog” Modular Synthesizer through October 18th, 2009
CARSLBAD, CA/ASHEVILLE, NC – The Museum of Making Music (Carlsbad, CA), in partnership with the Bob Moog Foundation, has opened Waves of Inspiration: The Legacy of Moog exhibition, to run through April 30, 2010. The exhibit is the first of its kind, marking the first public display of the artifacts from Bob Moog’s archives and an examination of the impact of his work on the world of music.
MONSTER MOOG INSTALLATION
On August 30th, Keith Emerson's (Emerson, Lake and Palmer, The Nice) mammoth “Monster Moog” modular synthesizer was added to the exhibit after it was featured the previous evening in a musical celebration of the exhibit opening by Emerson and Erik Norlander. Emerson used this remarkable instrument on numerous recordings over the past 40 years, including his solo in “Lucky Man” (1969), possibly the most popular synth solo in history. He also used the synthesizer on countless world tours and is generally credited with pioneering the use of the Moog modular as a touring musician.
The “Monster Moog” began as a modest system, but grew over time as Emerson
requested that Moog create custom additions for his touring instrument, including extra modules, custom sample-and-hold, and several pre-sets, an innovative addition for that time. The synthesizer grew into a massive cabinet of five sections and over 75 modules. It stands more than four feet above its special base – almost 8 feet high. Its sound is noticeably clearer and stronger than any other keyboard Emerson plays – it is an instrument of significance and legend, and arguably the most famous synthesizer of all time.
Bob Moog and Keith Emerson enjoyed a special relationship of toolmaker and musician that grew in to a lifelong friendship. Moog is noted for listening to musician's needs and technical specifications which he then used to improve his instruments: This dynamic is explored throughout the Waves exhibit.
United Plugins puts past into present with JMG Sound Retronaut, realised as LoFi Nostalgia Machine multi-effect plug-in
“I hate to overuse superlatives, but, it has to be said, within a minute of trying out the amazing features of the Retronaut plug-in, I was astounded. Its versatility will work across all manner of instruments, from guitars to drums; I even tried some of the effects on a piano piece, and the results were extraordinary. This is going to be a great asset for film and media compositions, as well as my commercial recordings.”
- Chris Payne, orchestral composer for film and television/synthpop pioneer (co-writer of Visage's 1981 hit single ‘Fade to Grey’/former Gary Numan backing band member), 2023
PRAGUE, CZECH REPUBLIC: independent development teams federation United Plugins is proud to announce availability of Retronaut from founding partner JMG Sound — swinging back into action and putting the (analogue) past into the (DAW-driven) present as a so-called LoFi Nostalgia Machine multi-effect plug-in, perfectly capturing the vibe of old analogue gear by mixing bucket brigade chips, cassette tapes, VCFs (Voltage-Controlled Filters), vintage choruses, vinyl records, and more to transport its users back in time to explore their magical (musical) memories — as of February 15...
Explore the past History has it that mankind has not only travelled the world and the ‘Seven Seas’ but beyond that to take one giant leap to touch down on the Moon, meaning the sky is not the limit. Steps still need to be taken to literally leave future footprints further away from the natural satellite of Earth, yet reality reasons that humanity cannot physically step back in time to explore the past in person, however, rather relying on history to tell its story. Saying that, Retronaut, JMG Sound’s so-called LoFi Nostalgia Machine, musically transports those interested in exploring their magical (musical) memories from where they originated; after all, music has a miraculous ability to transport anyone back in time. Therefore, seatbelts should be securely fastened in readiness for an ‘analogue’ expedition through history!
LoFi Nostalgia Machine Make sure, then, that those seatbelts are securely fastened, for an ‘analogue’ expedition through history awaits as Retronaut is assuredly announced as a multi-voice vibrato and chorus plug-in, pulsating with lo-fi effects. Indeed, it is inspired by old analogue gear with which wisened ears welcoming warmth will already be familiar — think bucket brigade chips, cassette tapes, VCFs, vintage choruses, and vinyl records... Retronaut revisits that nostalgic musical magic of the past, putting it into the (DAW-driven) present with multiple ways to age and DEGRADE the signal being processed, thanks to controls for FLUTTER (adds random fluctuations to the modulation shape, simulating tape flutter); DUST (adds noise to the modulation shape); FAIL (adds random glitches of pitch and level drops to simulate old failing gear); WARP (adds pitch drift and a little tremolo at half-rate to all the VOICES globally); DIRT (controls the amount of tape-style saturation); FEED (controls the amount of cross-feedback by taking the outputs of the VOICES and feeding them into each other); and MONO (switches the signal to mono, simulating old gear with only one speaker, such as radios).
DIVERGE, MOD, MIX, and more Meanwhile, it is possible to offset the multi-voice engine — enabling users to MIX from a single vibrato voice up to 4 VOICES, resulting in a rich chorus — in various ways to create organic and evolving movements via the DIVERGE section: SPREAD (offsets the LFO phase in the left and right channels); LAG (introduces a time delay for each voice); PHASE (offsets the LFO phase for each voice); V2 SCALE (offsets the voice 2 modulation rate from the main modulation rate); V3 SCALE (offsets the voice 3 modulation rate from the main modulation rate); V4 SCALE (offsets the voice 4 modulation rate from the main modulation rate); and RESYNC (resets the LFO phases). But beating at the musical heart of Retronaut is its MOD (modulation) section with HP MOD (controls the modulation depth of the virtual analogue high-pass filter in both positive and negative polarity) and LP MOD (controls the modulation depth of the virtual analogue low-pass filter in both positive and negative polarity); dialling down the modulation depth for the vibrato effect with the associated VIBE control and then using other effects encourages that warm, woolly, and compressed tape sound. Shape the tone with the VCF section — anchored around those virtual analogue high-pass and low-pass filters, switchable between 2 (12dB per octave) and 4 (24dB per octave) POLE slopes, with RESO (resonance) control — and MIX to perfection. Possibilities are endless, almost: add lo-fi to drums, rich chorus to synths, and lush reverb to anything... ask orchestral composer for film and television/synthpop pioneer Chris Payne (Visage, Gary Numan), who was well versed in working with original analogue gear — of the kind that inspired Retronaut — on a number of historic hit records. “I particularly love the DEGRADE section, which can add a huge amount of expression to any sound you use,” he enthuses, ending on an equally high note: “I’ll certainly be building up a huge library of sounds using Retronaut over the coming months, and cannot wait to get started with it on my forthcoming projects.”
Key features: Captures the vibe of old analogue gear, mixing bucket brigade chips, cassette tapes, vintage choruses, and more in one powerful multi- effect plug-in Smoothly mix from a single vibrato voice up to four, resulting in a rich chorus Add that nostalgic lo-fi (musical) magic with the DEGRADE section — age sound from gentle dust and warmth to old, broken gear Control each voice independently with the DIVERGE section — offset them in various ways to create organic and evolving movements
JMG Sound’s Retronaut is available to purchase for a time-limited introductory promo price of only €24.00 EUR until March 19, 2023 — rising thereafter to its regular price of €89.00 EUR — as an AAX-, AU-, VST-, and VST3-compatible plug-in (using internal 64-bit audio processing capable of handling any sample rate) directly from its dedicated webpage (https://unitedplugins.com/Retronaut/), where a 15-day, fully-functional trial version for macOS 10.10 and newer and Windows 8/10/11 can also be downloaded for free.
Note that no iLok, dongle, or internet access is required for Retronaut activation. (All United Plugins software uses license files for activation and owners can freely use purchased software — with free-for-life updates — on all their computers, as long as they are the user.)
"Time Oddity Chorus (TOC) delivers intricate modulation, stereo expansion and rich textural layering.
