MATRIXSYNTH: Search results for Waves of Inspiration


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Showing posts sorted by relevance for query Waves of Inspiration. Sort by date Show all posts

Friday, July 15, 2022

New Module From Make Noise Event at Perfect Circuit Tonight at 7 PM


video upload by Perfect Circuit

Update: module details and pic added further below.

"On Friday July 15th at 7pm PST, Make Noise founder Tony Rolando will show off his newest Eurorack module design, alongside long-time modular artist Rodent.

Make Noise has a long history of shaking up the modular synth world with fresh, forward-thinking, and downright fun new modules and standalone instruments.

This marks Make Noise's first new release since 2021's Strega, and their first new Eurorack module since 2019's Mimeophon.

The stream will feature a module overview, Q+A, and live examples of the new design."



Initial post/details:

Make Noise will be presenting a new module at Perfect Circuit tonight at 7 PM. It's my understanding tickets for the event are full, however Perfect Circuit will be live streaming the event. I will be sharing the stream on top of the site at 7PM sharp so tune back in for the event.

Details follow:

Live Event: Make Noise First Look to New Eurorack Module
Where: Perfect Circuit Showroom 2405 Empire Ave Burbank, CA 91504
Event date: July 15th, 2022, 7 PM

About the Friday Make Noise Event
Make Noise is heading to Perfect Circuit for an exclusive first look at their latest creation. On Perfect Circuit's YouTube channel at 7 PM PST this Friday, July 15th, Make Noise founder Tony Rolando is showing off their newest Eurorack module design. Long-time modular artist Rodent will join Tony in the announcement. Tune in live for the first look at what Make Noise has cookin'. The stream will feature a module overview, Q+A, and live examples of the new design.

What Will They Reveal?
Make Noise has a long history of shaking up the modular synth world with fresh, forward-thinking, and downright fun new modules and standalone instruments. Be sure to tune in for Make Noise's first release since 2021's Strega and their first new Eurorack module since 2019's Mimeophon. This new module is top secret, so we can't share any details except we know you will love it.

Module details added further below.



Additional details via Make Noise:

"Make Noise is proud to announce our newest module, the XPO!

The XPO, or Stereo Prismatic Oscillator, is a Voltage Controlled Analog Oscillator designed for generating Sine waves, Triangle waves, Sawtooth and Spike waves, Sub-Octaves, Stereo Timbre Modulations (including Pulse Width Modulation and Wavefolding), Oscillator SYNC, Linear FM and more in the analog domain.

The XPO is designed to be the Stereo VCO complement to our Stereo Filter, the QPAS. The two modules share the core idea of complex circuits being controlled in multiple dimensions in the stereo field by a few powerful parameters. The Stereo Prismatic Oscillator also makes a particularly useful patch buddy for the STO, Mimeophon, and X-PAN.

The XPO was announced on Friday, July 15th by Make Noise founder Tony Rolando and our Sales Specialist Eric "Rodent" Cheslak at an event at Perfect Circuit." The XPO or Stereo Prismatic Oscillator is a Voltage Controlled Analog Oscillator designed for generating Sine waves, Triangle waves, Sawtooth and Spike waves, Sub- Octaves, Stereo Timbre Modulations (including Pulse Width Modulation and Wavefolding), Oscillator SYNC, Linear FM and more in the analog domain.

The XPO is designed to be the Stereo VCO complement to our Stereo Filter, the QPAS. The two modules share the core idea of complex circuits being controlled in multiple dimensions in the stereo field by a few powerful parameters. The Stereo Prismatic Oscillator also makes a particularly useful patch buddy for the STO, Mimeophon, and X- PAN.

The Story of the XPO by Tony Rolando

I was lying awake in bed at 3 am thinking about music and synthesizers, on this early morning specifically, the voice panning of the OB8. So simple, so effective. A bank of 8 analog pan-pots is tucked into the side of the instrument to let the musician choose the exact placement of each voice in the stereo field. As you play the instrument, notes may dance around your head. This led me to think about how Oberheim and most other synthesizer designers through the 70s and early 80s primarily used Pulse Width Modulation for waveform animation. Don Buchla's wavefolding techniques had not caught on. PWM has been more or less the same for decades and there is not a whole lot of difference between PWM in one instrument to another. Some allow you to modulate further than others. A few even allow you to go all the way to 0% or 100% Width. PWM was usually generated from a Saw or Triangle core, and while I tend to prefer PWM generated from a Tri-Core, the difference is subtle. The bigger difference is the filter that follows. PWM has a way of tickling the resonance of a filter that can really make the sound come alive.

This led me to think about Stereo filtering. How could a synth sound more stereo? At Make Noise we have voice panning with the XPAN, stereo filtering with the QPAS, and stereo echo verb with the Mimeophon. Surely, this was enough stereo modulation.

Then it occurred to me, why couldn't PWM be stereo? It would be very effective at creating a stereo image since the amplitude of both Left and Right would be almost identical, while still offering dramatic stereo timbral shifts. I thought to myself, surely somebody has done Stereo PWM already. I needed to research this idea. So I wrote about it in the notepad I keep on the nightstand and I eventually fell back asleep.

I woke up the next day and I immediately saw the note, I tried to read it...

Wednesday, October 28, 2020

Rob Papen Introduces Blade 2


Rob Papen



And the press release:

Rob Papen sharpens soft synth breakthrough by bringing boosted BLADE-2 to existing bundle owners and wider world beyond


ECHT, THE NETHERLANDS: virtual synthesizer, instrument, and effect plug-in developer Rob Papen Inspiration Soundware is proud to announce availability of BLADE-2 — boosting its original BLADE soft synth with fantastic features making it a dream synth for synth lovers who like to think out of the box while working in the box, and available at no extra cost to existing owners of the company’s expansive eXplorer-6 and sure-fire SoundDesign-X bundles — as of October 28…

When the original BLADE was released back in 2012, it had a unique concept — controlling the waveform harmonics (HARMOLATOR) using its recordable XY PAD, which was a very different approach to additive synthesis, and remains so to this day. Indeed, it was the first Rob Papen soft synth to include this feature, facilitating flexible sound editing, recording, and tempo-based playback. Put it this way: when putting this extraordinary combination into action, BLADE users can creatively generate very different tones — far from the sound of the subtractive synthesis crowd, and even those of other additive synthesizers.

Wednesday, January 12, 2011

KORG KRONOS Details

via Hispasonic, translated to Googlish from Spanish:

"We have the first data and images of Kronos, the new Korg workstation. The Japanese brand has pulled the house out the window, bringing to market a synth with more than 12 GB SSD hard disk samples, 9 synthesis engines together, 16 units of effects and KARMA technology.

Features in detail

There are 9 synthesis engines on a single workstation, available in 61, 76 and 88 keys. The engines are:

* SGX-1 Premium Piano: German piano with more than 4 GB in samples. 8 layers and the choice of opening angle of the tail of the piano.
* EP-1 MDS Electric Piano, electric pianos (with sound "signature" by George Duke, Herbie Hancock Rodan Rudess or others)
* CX-3 Organ Tonewheel: integrating technology famed CX-3 in the Kronos. Drawbars controllable from its faders. Leslie Posilibidad to adjust the joystick, from speed to the position you just rotate.
* MS20-EX Legacy Analog Collection: emulation of vintage Korg MS20 synth.
-EX * Polysix Legacy Analog Collection: Polysix emulation.
* AL-1 Analog Synthesizer
* NOD-7 Waveshaping VPM Synthesizer
* STR-1 Plucked String Synthesizer: a new generation of modeling. You can choose from the material of the rope, until the tension, the execution (if pick, rub with your finger ...)
* HD-1 High Definition Synthesizer: A portion of all types of samples.

Account with a set of 16 "sets" may be, from Programs, to vans, to sequences. What makes the live performance much easier and full of possibilities. One of the most exciting new features is that you can move from one set to another without interruption of sound (so if you keep notes of the previous set, still playing).

It eliminates the concept appears rompler and integration / provision of more than 12 GB of content hosted on a hard disk SSD.

Has integrated USB connection to your computer, not just save / edit, but also as a USB interface with 2 inputs and 2 outputs.

Section 16 effects available. 9-band equalizer general. Flexible Routing. Mastering tools. 16-track sequencer."



Update:

Korg KRONOS Music Workstation- Official Product Introduction video added below.

Wednesday, September 14, 2011

Billy Cardine: Looking Forward, Looking Back & The Moog Lap Steel



Playlist:
Billy Cardine: Looking Forward, Looking Back
Improvisation for Moog Lap Steel, Synthesizers & Effects
Billy Cardine on the Moog Lap Steel & the MakeNoise René (previously posted)
The Moog Lap Steel (previously posted)
The Moog Lap Steel [2nd vid]

"Moog Lap Steel powers groundbreaking EP exploring uncharted expanses of Ameritronica

ASHEVILLE, N.C. (September, 2011) Mix cutting-edge electronic vibration control technology with an instrument born on a train track, put it in the hands of musical omnivore Billy Cardine and the result is music with one foot in the past, one foot in the future and both ears wide open. Refining a lifetime of musical influences and liberating them with a combination of string and studio wizardry, his new EP Looking Forward, Looking Back shines a light on a musical future true to its roots yet constantly growing and evolving.

To know where you’re going though, you have to know where you’ve been…

The story goes that the lap steel guitar was invented in the 1880s by seven-year-old Joseph Kekuku as he walked along a Hawaiian railroad and experimented with playing his guitar using a metal bolt he found. By the 1930s, Hawaiian music had become one of the first waves of American interest in exotic “world music” and the lap steel became the first stringed instrument to be electrified, predating Les Paul’s first electric guitar. Also in the ‘30s, the Sacred Steel tradition was born in African-American House of God churches, fueled by the low cost and highly expressive nature of this new instrument. From there it spread to many far-flung homes, including Indian classical music and American country and bluegrass, the genres in which it and its musical progeny, the dobro and pedal steel guitar are most closely associated.

Fast-forward to the present… While a spin across the radio dial today results in very little country music featuring the lap steel, the instrument has been embraced by a number of innovative players pushing musical boundaries, including U2 producer Daniel Lanois and Wilco guitarist Nels Cline.

The lap steel guitar itself is now even more suited to “boundary pushing” with the introduction of The Moog Lap Steel, an instrument that brings state-of-the-art control technology to the instrument born on a 19th century Hawaiian train track. It incorporates the same electronics that earned The Moog Guitar numerous industry accolades including Guitar Player Magazine's Reader's Choice Award, Electronic Musician Magazine's Editor's Choice Award, NAMM "Best In Show" honors, a “Best of What’s New Award” from Popular Science magazine and a Mix Foundation TEC Award.

Billy Cardine is an Americana/Bluegrass phenomenon who has performed everywhere from Carnegie Hall and the Kennedy Center to the Ryman Auditorium and Bonnaroo. He is a member of the renowned Americana band Acoustic Syndicate and leader of the new music ensemble The Billy Sea. He also studied in India and will perform at the 2011 Bangaluru International Arts Festival with chitravina master Ravikiran. Billy was instrumental in the development of the Moog Lap Steel and played an early prototype for its debut at Moogfest 2010.

“In one of those moments of wonderful synchronicity, I met Billy about the same time I finished the first Moog lap steel prototype which I had dubbed “The Monster” said Moog Music’s Chief Engineer, Cyril Lance. “Billy and I got together and the first music he made on this crude instrument was stunning. It was immediately clear that not only was Billy perfect for this instrument, but the instrument was perfect for Billy. This began an extremely rewarding collaboration that resulted in the current Moog Lap Steel.”

Combining the unique expressive qualities of the lap steel with the innovations of the Moog Guitar results in an instrument with unlimited sonic potential. Like the Moog Guitar, it is in not a guitar synthesizer, but features an onboard Moog filter (with control voltage input) that places it firmly in the Moog family tree and allows for some amazing creative connectivity with devices ranging from theremins to massive modular synthesizers.

"For me the Moog Lap Steel represents the invention I've worked on for so many years finally taking flight on its own.” said Moog Guitar inventor Paul Vo. “Cyril Lance had the inspiration that really drove this project home. He expertly placed the same vibration control technology that I developed for the Moog Guitar into this beautifully crafted instrument, co-designed by luthier Wes Lambe. I mostly just watched. Now Billy Cardine, virtuoso of the lap steel and dobro, brings it all together and takes it to heights of musical expression that completely amaze me. I am a very grateful spectator!"

“Looking Forward, Looking Back”, the historic first EP of music for the Moog Lap Steel, is the creation of a composer and player at the height of his powers in control of an instrument that extends those powers like no other innovation since it was first electrified.

The EP kicks off with the opening track “Moolodious” whose soaring melodies and pulsating beats sweep the listener along so thoroughly that it is easy to miss the technology behind the magic. While the Moog Lap Steel plays long anthemic notes that seem to defy the laws of physics, its big brother The Moog Guitar cranks out rhythms that, although created using advanced modular synthesis techniques (routing beat-synced control voltage signals from ProTools to The Moog Guitar’s onboard analog filter), are still very much the product of strings, a pick and a guitarist’s callused fingertips… in this case, the fingertips of Moog’s Cyril Lance.

“Jet Li”, the second track moves from Americana to Asiana. Inspired by the fluid movements of martial artist Jet Li, it starts with the low rumble of Moog Taurus Bass Pedals and a unique melody created with a two-handed phrasing technique impossible on an instrument without the precise sustaining abilities of The Moog Lap Steel. This may be the first recording in history in which a lap steel gets mistaken for an erhu.

The title track “Looking Forward, Looking Back” takes the Moog Lap Steel and Moog Guitar in a new direction. As it unfolds, the Lap Steel’s timbre is more reminiscent of a dobro while the Moog Guitar takes on a surreal, funky banjo-like role. When the long, sustained-note melody comes in, being played on the same instrument with the same strings creates a pleasing timbral cohesiveness.

“Stacks”, the most electronic of the tracks, showcases the instrument at play with its other Moog siblings. Built on an analog filtered drum beat, the Moog Lap Steel intertwines with the sounds of the Moog Guitar and Slim Phatty synthesizer while a Little Phatty synth generates a beat-synced control voltage making the Lap Steel’s filter dance in time with the rhythm. Meanwhile other keyboards and vocal processors fill out a soundscape proving that analog and digital can get along quite nicely.

The closing track, “The Curious Boo” was written on the original Moog prototype and combines sacred steel feel with an Indian approach to slide guitar phrasing. A Moog MF-102 ring modulator adds a unique metallic edge to these fluid lines.

The Roman god Janus, for whom the month January was named, is depicted as having two heads, one looking into the past and the other into the future, making him the archetype of beginnings, transitions and gateways (and New Year’s parties). When listening to “Looking Forward, Looking Back”, it’s hard not to hear the music in a similar light… as a harbinger of new beginnings, transitions and gateways… as a new voice… as “Ameritronica”. It’s also hard not to hear it as just damn good music.

Looking Forward, Looking Back is available from Indidog Records through bandcamp at:

http://billycardine.bandcamp.com/album/looking-forward-looking-back



Visit billycardine.com for more information."

Via Chris Stack of experimentalsynth.com

Friday, March 11, 2016

NYZ DRN4 DECLASSIFIED

Exclusive mix on SoundCloud:


And a track from the release on Bandcamp:


Tracklist:

1. NYZ_FMMGKSQ_43t
2. ISR_16x16_WCM
3. CSN [excerpt 2 mono]
4. SWI_r170_16x32x32_B
5. SWI_FM1#16
6. NYZ-1_1#08_A [finite downsized]
7.CSN1 [excerpt 1 mono]

Be sure to see the MATRIXSYNTH exclusive further below!

FM EXPLORATIONS AND MICROTONAL DRONES FROM NYZ (AKA DAVE NOYZE, DAVID BURRASTON, NOYZELAB, BRYEN TELKO)

This is the first release by NYZ and is a superb musical collection of research areas classified to internal Noyzelab operations. Not even .MEDS label were informed of the secret processes underlying its creation, excepting that we know it involved Frequency Modulation (FM) synthesis! We have not been given any information regarding when this work was recorded, but we suspect the material spans at least a decade of David's FM algorithm research on numerous synthesizers, as well his own custom built ear deceiving gear...

According to one reviewer of David's previous musical output he "gleefully disrupts just about every standard convention of musical form you could think of, including those of so-called experimental musics."

Other reviewers have written that :
"His music is a bizarre, yet compelling journey investigating the outer realms of music generated on ancient & contemporary machines." "It's strikingly original audio that doesn't really sound like anything else I can think of." "Utterly sublime. So there you go, a life-affirming slab of mind-altering sound to reawaken you to the terrifying possibilities of creation."

"absolutely wreaks havoc" wrote Keith Fullerton Whitman on reviewing David's last release T. H. Cycle cassette on Important Records/Cassauna .

Cassette releases April 1, 2016

All Audio by David Burraston
Design Tom Knapp

----

MATRIXSYNTH recently asked NYZ why he put together this new album of FM synthesis based explorations, and whether he would discuss some of the process behind it. The declassified information below has been put together by NYZ especially for a MATRIXSYNTH exclusive.


***BEGIN NYZ DRN4 DECLASSIFICATION REPORT***

DC REPORT STATUS: PARTIAL DECLASSIFICATION ONLY
PARTIAL DC STATUS: INCOMPLETE CELLULAR BINARY SPACETIME
PARTIAL DC LEVEL: SEMI-PICTORIAL_TEXTUAL_HIGHLIGHTS
FUTURE DC STATUS: _PENDING

The main reasons for making this album were an interest in FM synthesis in both analogue modular and MIDI/digital mediums. I had worked with digital FM synthesis since getting a Yamaha TX81Z when they came out back in 1987 (which I still have, along with another backup machine with a very hummy mains transformer which bleeds onto the outs). How me and another synth friend used to cry with drunken laughter at preset D11 Hole in 1... :) But after initially wondering whether I had just wasted about 350 UK pounds on an utter piece of shit... I quickly warmed to its better presets, and its very different approach to synthesis yielded enough interesting results early on for it not to get outed.

Tuesday, December 05, 2017

Arturia Introduces Virtual Polyphonic Buchla Music Easel, Fairlight CMI, DX7, Clavinet in V Collection 6


Published on Dec 5, 2017 Arturia

Playlist:

Arturia announces V Collection 6
Arturia announces CMI V
Arturia announces DX7 V
Arturia announces Buchla Easel V
Arturia announces Clavinet V

Update: tutorial videos:






And a couple of user videos followed by some details on each:

Arturia Buchla Easel V Dual S&H Sequence Sound Design

Published on Dec 5, 2017 Rishabh Rajan

"A tutorial on creating a unique Sample & Hold type melodic pattern using the Complex Oscillator and the Modulation Oscillator in the Buchla Easel V from Arturia. The Buchla Easel V is included in the V Collection software suite."

Arturia V Collection 6 vs Analog Lab 3: Review, what's new and the best way to get it

Published on Dec 5, 2017 loopop

"For over 15 years now Arturia has been recreating and then breathing new life into legendary vintage synthesizers. Both V Collection 6 and Analog Lab 3 contain a massive library of 21 instruments and over 6,000 presets. The depth they go in and care they put into these recreations is astounding. And once they've completed recreating an instrument, they take it much further adding substantially more functionality, typically including more modulations, sequencing, effects and polyphony. Since there are quite a few buying options that let you get your hands on these - in this video I'll talk about what the different software packages give you and what's the cheapest way you can get started."


"In 1980, the Fairlight CMI turned heads with the introduction of digital sampling. Now our software homage lets you turn some heads yourself.
With exotic new sound of digital samples, the promise of an all-in-one digital workstation, and a physical design right out of a sci-fi movie, the Fairlight CMI was an object of desire for most self-respecting ‘80s keyboardists. Countless musicians and producers weighed the risks of bank robbery in order to afford one. No need today. Our faithful recreation gives you the same tools that many MTV stars used to make a cannonball splash into the pool. We’ve even made lots of improvements and additions that bring added power to this keyboard legend, including an alternate additive synthesis engine and tons of new modulation options. No vintage keyboard collection is complete without the CMI V.

Now it’s your turn to experience the sound and power of the digital workstation that started it all.

The unique musical architecture of the CMI

The CMI V isn’t just a digital instrument. It’s a complete digital workstation.
Our enhanced reproduction of this keyboard superhero lets you work with 10 digital instruments of your choice at once—mixing, layering, splitting and sequencing them as you please. Each instrument can draw from three different means of sound generation. The most obvious is the sampling engine that literally first defined the term in the industry. You can also shape sounds with the original additive synthesis engine where you control each of the component harmonics over time. We’ve even spun up the propellers and introduced a newer, simpler means of exploring additive synthesis like you’ve never heard it before named Spectral Synth. You also get around 300 expertly designed presets to get you going—including the original library of sounds you’ll recognize from countless hit recordings.

The CMI V has everything you need to explore the intersection of sampling and digital synthesis."


"In 1983, the DX7 changed the world of music. Today, the DX7 V gives you the power to change it again.
Nothing says ‘80s like the sound of the DX7. Our authentic recreation gives you all the same FM digital technology and sounds that earned the instrument a revered place in the history of both keyboards and contemporary music. We didn’t stop at just replicating it, though —we re-imagined it. New operator waves, extensive modulation additions, arpeggiator and onboard FX chains enhance your sonic possibilities exponentially. For bonus points, an intuitive graphic interface makes what was once a daunting programming task a creative joy today.

We put booster rockets on the instrument that created innumerable ‘80s hits. Now you can create the definitive sounds of today and tomorrow.

Unleash your inner sound designer with expanded features

The DX7 V gives you a unique tool for customizing and creating new musical instruments and sound effects.
With its radical departure from analog designs, FM synthesis helps you chart new sonic spaces. The DX7 V is capable of producing an incredible spectrum of sounds ranging from natural-sounding instruments to unique synths to alien worlds—complete with all the crystal clarity and punchy transients uniquely associated with FM. Since having an instrument with such extreme depth and potential is the dream of every sonic explorer, we challenged ourselves to go even further. We added a host of new features including multiple waveforms, a filter and feedback loop on each operator, new modulation sources, a monster unison mode, and more.

The DX7 V is the perfect design tool for designing unique new instruments and ear candy that help you make your own distinct musical statement.

Design elegance meets sound design power

The DX7 V sports a stunning interface allowing intuitive control over all of the instrument’s dramatically expanded features
While retaining the feel of the original design, we’ve streamlined the main interface of the DX7 V to make it much simpler to use and understand. Here you’ll find an uncluttered presentation of only your everyday performance controls, as well as the fundamentals to start visualizing and exploring new sonic structures. When you’re ready to dig deeper and flesh out the detailed character and animation of your sounds, one click presents a programmer’s paradise of incisive controls and displays light years beyond the tedious original hardware interface. Balancing usability and all the added power in the DX7 V, tabbed windows easily put your fingers on logically grouped functions spanning enhanced operators, additional envelopes, matrix modulation, step sequencer, FX architecture, and more.

Whether you just want to play the extensive library sounds or program your own, the DX7 V is a dream to use."


"Buchla Easel V
WEST COAST SOUND DESIGN PLAYGROUND

The Buchla Easel V is the first recreation of Don Buchla’s iconic instrument that helped define experimental West Coast modular synthesis in the early ‘70s. Our enhancements translate to vastly expanded possibilities for sound design and avant-garde music.

You’ve always wanted to paint with sound. Now you can with the Buchla Easel V.
One look at the Buchla Easel V and you know this is a different beast. In fact, it makes you think differently about sound right from the start—and the soundscapes you can design with it are as unique as the front panel array. To put that experience at your fingertips, we meticulously recreated the rare 1973 Buchla Music Easel right down to the component level. As you’ve come to expect from our other V-series instruments, we’ve gone the extra mile by designing in an enhanced feature set including polyphony, innovative new modulation/control sources, step sequencer, effects, and more.

If you like to paint outside the lines, Buchla Easel V is the perfect artistic tool for you.

Welcome to West Coast school of synthesis

Your music breaks from the pack. So does the Buchla Easel V.
The Buchla Easel V faithfully reproduces Buchla’s Music Easel that helped define West Coast synthesis’ focus on experimentation and breaking musical norms. We’ve applied our award-winning TAE™ modeling technology from the front panel to the resistors to capture it all with incredible realism.

Complex oscillator design, AM and FM synthesis, uniquely percussive gate/filter combos, and numerous ways to modulate and clock just about every parameter, all drop you right in the middle of a sonic sandbox. Design and perform soundscapes that burble, shimmer, pulse and evolve without ever touching a keyboard or pad—unless you want to add even more control. Nearly 300 presets by expert sound designers get you started with timbres ranging from hauntingly beautiful sonorities to clangorous pokes in the ear.

Whether you’re looking to experiment with simple sounds or build complex evolving passages, the Buchla Easel V is a constant source of inspiration for sonic adventurers.

Create sounds no one has ever heard before

In addition to faithfully reproducing a classic, we’ve infused the Buchla Easel V with even more of that vintage goodness to love.

We’ve made patching even more fun and foolproof. When you drag a color-coded patchcord between patch points, only valid targets light up, saving you the frustration of making invalid connections that do nothing. The original Music Easel lacked a noise source, so we’ve added one to the preamp—handy for introducing rhythmic elements. We’ve also designed a feedback loop into the preamp, so you can really get things howling. Up to four-voice polyphony greatly enhances your performance capabilities, too.*

With our extensions to Buchla’s original design, you now have an even more intuitive programming experience paired with additional sonic options."


"May the funk be with you

Whether you love playing oldies or pioneering new musical territory, there’s nothing like the distinctive sound of the Clavinet’s hammered strings.
The unmistakable bright, punchy sound of this vintage keyboard occupies a unique sonic space somewhere between harpsichord, hammered electric guitar and slapped bass. Top keyboardists of the ‘70s used its signature bark and bite to cut through the mix while delivering some of the most authoritative percussive keyboard lines ever played. Thanks to the ultra-realistic Clavinet V, you can now command the same crisp sound that helped define funk and formed the bedrock of many pop and R&B hits back in the day. If you’re looking to add natural energy and vintage cred to your sound, the Clavinet V is just the ticket.

The Clavinet V inspires with both the sound and feel of the funkiest electric keyboard ever made. Your fingers have never danced like this before.

Ain’t nothing like the real thing, baby

Only modeling technology gives you this faithful reproduction of a vintage Clavinet.
Since the Clavinet is an electro-acoustic instrument, complete with multiple settings and a dynamic action, there are countless subtle variations during performance. By comparison, “Clav” synth patches and samples seem one-dimensional. That’s why we’ve applied our award-winning physical modeling and algorithmic emulation to give you a sound and playing experience indistinguishable from the real thing.

The Clavinet V brings all the inspiring nuances and natural goodness of the original instrument to your keyboard collection.

More than a Clavinet

Clavinet V delivers all the original features, plus new additions designed to keep your creative juices flowing.
The original Clavinet controls were simple to use, and we’ve kept them authentic. If you want to go deeper, just click the lid open and you can easily tweak exactly how your instrument sounds and behaves. The built-in collection of effects pedals—chorus, flanger, wah and more—let you easily get the rich signature sounds of the keyboardists who popularized the instrument. You’ll also find an integral vintage guitar amp, so you never have to look elsewhere to get just the sound you’re looking for. Of course, everything can be preset for instant recall.

The Clavinet V isn’t just a Clavinet. It’s a complete rig at your fingertips."

Thursday, April 11, 2013

UVI© Digital Synsations - Yamaha SY77, Korg M1, Roland D50 & Ensoniq VFX

Digital Synsations | Official Trailer UVI©

Published on Apr 11, 2013

❐ Buy Digital Synsations : http://bit.ly/digital-synsations
❐ UVI Official Website : http://www.uvi.net
❐ UVI Official Blog : http://blog.uvi.net

"A brand-new massive library inspired by four 90s classic keyboards -- the Yamaha SY77, the Korg M1, the Roland D50 and the Ensoniq VFX : UVI Digital Synsations

Digital Synsations includes over 500 patches expertly programmed on a fully restored Yamaha SY77, Korg M1, Roland D50 and Ensoniq VFX‚ used by many of the greats including Depeche Mode, The Cure, Pet Shop Boys, Vangelis, Brian Eno, Toto, 808 State, Jean Michael Jarre and more.

We deeply multi-sampled these custom patches using top-shelf equipment and edited them to perfection before sending them off for professional mastering. These sonics became the foundation for our new hybrid instrument and combined with the UVI Engine give you the true character of these classic synths with all of the peculiarities and programming by products intact. Not only that but you get them in an extremely easy to use and fast to edit environment complete with all the features you expect from a modern virtual instrument.

If you're looking for a new take on the 90's sound, or just some new classic synth inspiration then look no further.

———————————————————————————

* UVI is not affiliated, endorsed or sponsored by the Yamaha Corporation, the Korg Corporation, the Roland Corporation or the Ensoniq Corp. All trademarks are held by their respective owners.

** iLok required"



"UVI introduces a massive library inspired by four 90s classic keyboards – the Yamaha SY77, the Korg M1, the Roland D50 and the Ensoniq VFX : UVI Digital Synsations

A NEW BREED

In the late 80's and early 90's the synthesizer landscape began to change. A new breed of keyboards began appearing in shops, records and on stage; matte black behemoths eschewing the familiar knob arrays for uniform clusters of discrete buttons and glowing green LCD screens. They signaled more than a shift in interaction with our musical counterparts‚ they ushered in the era of the digital synth.

To those willing to forgo the immediacy and ease-of-editing of the analog synth world these keyboards offered amazing features for the time; massive polyphony, extensive on-board sequencers and pattern memory, removable storage and digital effects. In addition to the immediate benefits of digital processing some of these keyboards also dawned innovative hybrid synthesis techniques, combining sample playback with classic methods allowing synthesists and musicians the opportunity to explore new sonic territory.

4 CLASSICS, MASSIVE PATCH LIBRARY

The possibilities with a few of these classics was more than we could bear and became the inspiration for our new project, Digital Synsations. We took 4 classic keyboards from the era and set our sound designers loose, tasking them to return with boundary-pushing sounds‚and they did. Digital Synsations includes over 500 patches expertly programmed on a fully restored Yamaha SY77, Korg M1, Roland D50 and Ensoniq VFX‚ used by many of the greats including Depeche Mode, The Cure, Pet Shop Boys, Vangelis, Brian Eno, Toto, 808 State, Jean Michael Jarre and more.

PRISTINE SOUND, DEEPLY EDITABLE

We deeply multi-sampled these custom patches using top-shelf equipment and edited them to perfection before sending them off for professional mastering. These sonics became the foundation for our new hybrid instrument and combined with the UVI Engine give you the true character of these classic synths with all of the peculiarities and programming by products intact. Not only that but you get them in an extremely easy to use and fast to edit environment complete with all the features you expect from a modern virtual instrument.

If you're looking for a new take on the 90's sound or just some new classic synth inspiration then look no further.

SYNSATIONAL INSPIRATIONS


The SY77 combines next generation FM synthesis with 16-bit sampled sounds from internal memory or stored on removable ROM cards. The AFM engine on these synths allows you to freely apply filters and envelopes to any of the sampled sounds and then roll the resulting waveforms back into the FM algorithm prior to further filtering. This novel approach, dubbed RCM hybrid synthesis, can be used to yield extremely versatile sonic results.


The M1 employs AI (Advanced Integrated) synthesis, a hybrid synthesis engine that allows the creation of sounds made up of 16-bit multisamples or harmonic tables generated from by digital analysis from sample data similar to additive synthesis. These methods can be employed in parallel for even greater sonic diversity.

The VFX used a wavetable like synthesis method similar to that of the PPG Wave. Up to 6 waves can combined and layered into a single patch which feeds an impressive array of dual multi-mode filters, three 11-stage envelopes, an LFO and a 24-bit effects processor. Advanced parameter mapping allows up to 15 sources to be used for extremely complex modulations and sound shaping.


The D50 provided a purely digital signal path allowing the combination of 8-bit PCM samples with linear arithmetic synthesis to produce single hybrid sounds or complex cross modulations between the two. Furthermore you could layer two of these sounds together into a patch for a total of 4 digital OSCs. Each OSC could be independently programmed resulting in a remarkable variety of tonal possibilities.

* UVI is not affiliated, endorsed or sponsored by the Yamaha Corporation, the Korg Corporation, the Roland Corporation or the Ensoniq Corp. All trademarks are held by their respective owners."

Tuesday, March 11, 2014

Phasic Cycloid Shimmer Voices


Published on Mar 11, 2014 JeffreyPlaide·100 videos

"Phasic-Cycloid Shimmer Voices is a highly unusual original experimental electronic music composition utilizing "shimmer chords" and swarming combinations of waveforms creating surreal modulating choruses of glass-like shimmers and piercing sonic effects. The inspiration behind this work came from the un-tapped potential of cross-coupled chaotic oscillators and the beauty of swarming 8-oscillator chord combinations. The SynFactory 1.15 software modular synthesizer provided the prime waveforms and sonic effects for the work. SynFactory is so versatile, modules can be configured to perfectly replicate the cross-coupled chaotic sounds of twin oscillators modulating one another. Several tracks utilized the SynFactory 8-oscillator configuration fed into an 8-channel mixer module, then slightly filtered and processed by a triplet of delays. One 8-oscillator patch used square and triangle waves to sound like the interior of the Miniscope from a Doctor Who story. Another patch used all triangle waves for a refined shimmer. Another patch used all square waves. Variations on the 8-oscillator approach included first and second through a ring modulator, the third and fourth likewise, the fifth and sixth, etc. using four ring modulators feeding into a second-order ring modulator then filtered, mixed and delay applied. The chaotic cross-coupled patch just consisted of two oscillators and two delay units to produce the chaos. Variations on this theme included introducing ring modulators into the configuration and additional oscillators to control the FM. Signal generation tones also provided additional effects, especially when modulated and slowed down to create eerie "wobbulator-like" motions. The final mix seems to shimmer and resonate with metallic overtones as each of the SynFactory 8-oscillator swarmings come in and out of prominance. The visuals are the result of pure video synthesis techniques. The backgrounds were a direct inspiration from the fabulous EMS Spectron video synthesizer. Multiple exposure NAM modulations were superimposed upon colourised, solarised and XOR (exclusive OR) created backgrounds. Many different effect layering and processing techniques were used, some directly emulating the functionality of the EMS Spectron. Interestingly, many of the foreground motifs used 8 multiple exposures to compose the complex pictures. Some of the patterns resemble early computer graphics or experimental film animation with multiple exposures. The images vibrate in synchronisation with the music. Pulsations move with the resonating 8-oscillator chords. Light patterns fall in and out of existence. Scintilating vibrating motions capture the essence of the motor-like metallic resonances. Alien or extraterrestrial inspirations cannot be ruled out in the making of this work. The entire piece is extraterrestrially-orientated to a large degree."

Thursday, January 14, 2016

Pittsburg Modular Officially Introduces Lifeforms Eurorack Systems





"Introducing Lifeforms Eurorack Systems
Our best sounding synthesizer yet, Lifeforms systems are available in three configurations. System 101, System 201, and System 301 are the perfect gateway to the eurorack modular synthesizer world.

Interactive inspiration machines. The next generation of our System line of eurorack synthesizers harnesses the power of the new Lifeforms modules and Structure enclosures. Designed around the Lifeforms SV-1 modular analog synthesizer voice and anchored by the classic Pittsburgh Modular filter and two full range analog oscillators packed with harmonically rich waveforms, the Lifeforms Systems offer a rich sound palette with the flexibility of an open, fully patchable analog voice architecture.

The System 201 and System 301 also include the Lifeforms KB-1 pressure sensitive keyboard controller. The pressure sensitive keyboard maximizes the creative process with arpeggios, sequences, triggers, voltage memory, and more. More information on the entire Lifeforms line is available at lifeformsmodular.com.

Evolution of the Synthesizer Voice
The Lifeforms SV-1 is a fully patchable synthesizer module, destined to be the heart and soul of any eurorack modular system. It features two independent, full-range analog oscillators, and the unmistakeable sound of the Pittsburgh Modular filter paired with a highly curated set of modular tools designed to fuel the creative fire. More information on the Lifeforms SV-1 is available at lifeformsmodular.com/sv-1.

Control At Your Fingertips
Shape music like never before with the Pittsburgh Modular Lifeforms KB-1 pressure sensitive controller. The Lifeforms KB-1 eurorack module provides a multi-function, expressive, capacitive touch keyboard designed for performance. It contains a powerful one octave pressure sensitive keyboard complete with arpeggiator, step sequencer, preset voltage memory array, and a pair of multi-mode trigger pads. Eleven patchable outputs and a deep feature set enable an unprecedented level of control over any eurorack system. More information on the Lifeforms KB-1 is available a lifeformsmodular.com/kb-1."

Lifeforms SV-1
Analog Modular Synthesizer
Suggested Retail Price $699

"The Heart and Soul of Modular Synthesis
The Pittsburgh Modular Synthesizers Lifeforms SV-1 is a complete dual oscillator synthesizer, designed to be the core of your eurorack modular system. Building on the sound and legacy of our celebrated Waveforms oscillator, the SV-1 module features two full-range independent analog oscillators; sound sources that are perfect for dynamic and inspired performances. In addition to these two high-performance oscillators, we stuffed the SV-1 with a perfectly curated set of modular synthesis tools including dual, chained mixers, a plucky, four stage envelope generator, and of course, our legendary analog state-variable filter.

The Lifeforms SV-1 is a synthesizer powerhouse, providing absolutely everything you need to create gigantic and iconic synth sounds: roaring bass, shimmering leads, lush pads and warm drones are only a few knob turns away. Instantly, out of the box, a rich feature set with a fluid, easy to understand interface empowers you to create vibrant, thick tones. Modulation and Tools sections fill out the analog SV-1 modulation capabilities with a triangle and square LFO, two sub-octave oscillators chained to the main oscillator, and noise with sample & hold.

Your Sound, Your Way
Pre-patched under the hood, patch cables are not necessary to get started. But as soon as you begin patching, you will feel the power provided by the 53 patch points and 21 knobs. By breaking each feature of the synthesizer out with patch cables, a tremendous amount of flexibility and control emerges to patch up any sound your imagination can dream up. All the tried and true analog classics are there at your disposal: sine, sawtooth, triangle and square. In addition, our exclusive and powerful blade wave on Oscillator 1 adds a unique weapon to your sonic arsenal. Deep modulation options award you complex control of nearly every function of the SV-1.

A Team Player
We’ve designed the Lifeforms SV-1 to be the perfect centerpiece of any eurorack synthesizer regardless of size. In a smaller system, the SV-1 provides a wide variety of synthesis options through a hefty set of synthesis tools. Combined with a larger collection of modules, you can unlock never-before-heard expressiveness and unparalleled control over the rich feature set of the SV-1. The ability to patch and integrate the SV-1 with other existing eurorack compatible gear gives you truly infinite modulation and expansion options.

Integrated Synthesizer Components

MIDI
We started with the core of our rock solid MIDI 3 module then modified the source code to create a feature set specifically designed for the SV-1. This MIDI to CV converter enables you to connect all your MIDI-compatible gear and convert it to control voltage right inside the SV-1. Volt per octave and gate outputs allow you to connect to your MIDI keyboard or DAW and take control of the SV-1 your way.

Extensive patch options give you access to glide, CC, and velocity. A digital clock-syncable LFO with triangle and quantized random voltage waveforms provides even more modulation options. A clock input allows you to override the internal or MIDI clock and sync to external CV and gate clock signals. A built-in arpeggiator provides all of the deep arpeggio responses from the MIDI 3, including as played, double triggered, random, and random with random gate. This unlocks another level of playability and the capacity to create complex and fresh musical patterns out of just a few notes.

Oscillator 1 and Oscillator 2
Our next-generation dual analog oscillator provides the sonic framework for massive synth sounds or deep exploration of west coast style frequency modulation. Sine, triangle, saw, and square waves are at your control, all available to modulate via FM and hard sync. As a bonus, Oscillator 1 also contains our unique blade wave. The shape of the blade wave can be controlled using the width CV input, creating a sweeping or chorusing effect. Oscillator 2 is normalled to the FM of Oscillator 1, providing jaw-dropping analog FM bass, deep percussive hits, searing leads, and thick, warm analog pads which all come to life from these two modern, organic sounding oscillators. Both analog oscillators dip well below audio rate, allowing them to function as voltage controllable LFOs.

Modulation and Tools
A wide-range utility LFO with triangle and square wave outputs is ideal for VCA or Filter frequency sweeps. Or, turn it up and release the dynamic FM capabilities of either oscillator. A Tools section provides access to two sub-octave oscillators, derived from Oscillator 1’s core frequency. Analog noise and sample & hold finish out the Tools section — the hold function is initially pre-wired to MIDI clock, and equips you to create perfectly timed, random voltage steps.

Mixer
This versatile four channel mixer comes pre-wired for fast access to Oscillator 1’s sine, saw, pulse and sub. However, you are just a patch cable away from instantly making your own unique blend of waveforms from the SV-1. The mixer can be split into two independent two channel mixers simply by patching into the top output.

State Variable Filter
Rich and thick, the sound of the revered Pittsburgh Modular Filter is unmistakable. Absolutely stunning harmonic character with voltage control over the entire frequency range. A provided attenuverter lets you dial in exactly how much CV to feed the frequency input, even inverting the input for dramatic changes in modulation. Separate highpass, lowpass, and bandpass outputs are provided as breakout options, each with their own powerful sonic timbres. Turn up the resonance for an added growl, giving your tones an aggressive edge that no softsynth can match.

Four Stage Envelope Generator
Designed specifically for the Lifeforms SV-1 with a plucky, organic feel, our four-stage analog ADSR allows you to generate envelopes with remarkable, precise control over each stage. Pre-patched to receive gate signals directly from MIDI, the gate input may be overridden by any available clock, trigger, or square wave source.

Voltage Controlled Amplifier
The amplifier section not only controls the overall level of the output, but is voltage controllable. A clean, responsive VCA, capable of everything from transparent control to mild overdrive contours audio or CV signals. The ADSR is pre-patched to the level CV providing shape to the synthesizer audio.

Splitters
Two unbuffered audio or CV splitter sections allow you duplicate your signal in creative ways, routing a single audio or CV source to multiple destinations.

Line Level and Headphone Outputs
High quality stereo headphone amplifier and monophonic line level outputs controlled by a master volume knob.

User Manual
Coming soon...

Module Specifications
Panel size 48hp | Depth 35mm | Power consumption 230mA with reversed power polarity protection"

Lifeforms KB-1
Pressure Sensitive Keyboard Controller
Suggested Retail Price $499

"Take Control
Shape your music like never before with the new Lifeforms KB-1; a unique and intuitive set of tools designed for controlling your eurorack modular system. The Lifeforms KB-1 provides a multi-function, expressive, capacitive touch keyboard designed for performance. The KB-1 contains a powerful one octave adjustable, pressure sensitive keyboard complete with arpeggiator, step sequencer, four voltage memory pads and two trigger pads. Eleven outputs and a deep feature set enable you to explore new sonic territory with an unprecedented level of control.

Monophonic and Duophonic response modes with user-selectable note priority and retrigger options let you customize the KB-1 specifically to your needs. Octave buttons provide quick selection of one of seven available octaves for a wide sonic range. Monophonic mode allows you to perform soaring leads, buttery basslines with legato, or classic arpeggios. Or, take control of two separate oscillators in Duophonic mode to create rich soundscapes, complex drones and arps, lush pads, and thundering bass.

Easily program melodic sequences with maximum flexibility. Along with immersive keyboard features, there is also a powerful ten note arpeggiator and sixty-four note sequencer, each focused around playability, empowering you to craft inspiring melodies, or utilize the stepped voltage as control for other parameters, such as filter frequency or VCA control.

The Next Step
The Lifeforms KB-1 features a playable, ten note arpeggiator. This robust arpeggiator can cycle through one to three octaves. The arpeggiator in the Lifeforms KB-1 contains three different arpeggiator modes, including single or double note trigger, and random monophonic or duophonic note cycling with random gates . Probability gate burst mode can trigger additional random gates to add complexity to arpeggios. This feature, unique to the Lifeforms KB-1, enables you to have rolling pulses divided by the clock source, allowing for dramatic rhythmic variations of your sequence.

A feature-packed sixty-four step sequencer with multiple play modes gives you precise control over the cycling of your sequence. Sequences can be played forward, reverse, or random. Sequences are quickly created by step programming and each step can have one of six step modifiers: pitch bend, tie, single trigger, double trigger, quad trigger, and whole note. Once the sequence is complete, the first note of a sequence can be shifted back or forward, resulting in generating new sequences out of your initial performance. Probability gate burst mode is also available to sequences adding realtime complexity to a performance.

Express Yourself
The two assignable trigger buttons enable you to unleash your creative potential in new ways. Trigger 1 and trigger 2 can be independently assigned to one of six different trigger button modes including pressure sensitive pitch bend, gate, latch enable/disable, trigger, pressure sensitive trigger burst generator, and a pressure sensitive clock divider.

Preset Voltage Memories
The programmable voltage memory section can function as a four channel sequencer, cycling forward, reverse, or randomly; or the active channel can be selected manually allowing the section to function as a 4 channel voltage memory. Voltages are unquantized analog voltages between 0 and 5 volts. Multiple clocking options are available to drive the preset voltage memory sequencer.

On the Beat
The Lifeforms KB-1 can be clocked internally via tap tempo or from an external clock source such as a sequencer, square wave, trigger, or clock divider. This allows you to either play on your own, or perform locked in time with external devices.

User Manual
Coming soon...

Module Specifications
Panel size 42hp | Depth 38mm | Power consumption 160mA with reversed power polarity protection"

Thursday, April 25, 2019

Arturia Announces V Collection 7 w/ EMS SYNTHI & Casio CZ-101 Based Synth Engines


Published on Apr 25, 2019 Arturia

Update: mini press release added below.
Update2: User videos added below.

"24 timeless instruments lovingly recreated in #software, and modernized with contemporary features. This is the most comprehensive anthology of classic #synth and #keyboards ever made. This is decades of passionate research, modelling, and development. This is your chance to take your place in music history."

Playlist:
Arturia announces | V Collection 7
Arturia announces | Synthi V
Arturia announces | CZ V
Arturia announces | Mellotron V
Arturia announces | B3 V 2
Tutorials | Synthi V - Episode 1: Overview
Tutorials | CZ V - Episode 1 : Overview
Tutorials | Mellotron V - Episode 1: Overview


New Synths in V Collection 7

Synthi V
BRITISH SILVER MACHINE

Synthi V completely captures the spirit of the unique analog synth that burst out of ‘70s London to inspire the entire emerging electronic music world—and it has new superpowers to inspire your world today.

Synthi V brings you all the experimental excitement of EMS’ legendary 3-oscillator analog synths—now infused with thoroughly modern enhancements. Venture beyond unusual lead and bass sounds to create soundscapes and sci-fi effects ranging from beautiful to bizarre and everything in between.

The British-born EMS family of synths—featuring the sonically identical Synthi AKS and VCS3—were among the first to distill modular synthesizer functionality into a more portable form. Where most competitive designs like the Minimoog sacrificed flexibility to size and simplicity, EMS retained a modular heart through the genius of one of the first matrix patchbays to grace a synth. That additional versatility led to more experimentation outside of melodic norms and into the more electronic realms of psychedelia and sci-fi effects. Cue Pink Floyd’s “On the Run” from “The Dark Side of the Moon” LP.

Synthi V is the perfect evolution of the synth that turned a lot of heads. Now you can use it to turn some heads of your own.

Main Features
A component-level model of the EMS Synthi AKS
3 oscillators with waveform mix, noise generator, 18 dB/oct resonant filter, output section with spring reverb modelling
Modular architecture, allowing to route signals in unexpected ways
Ring Modulator, loopable Envelope Shaper, 2 axis Joystick and Sample and Hold modules for advanced modulations
Original keyboard sequencer module with sync to DAW tempo
2 matrix behavior modes: modern and vintage for cross-talk simulation
5 assignable voltage functions to create multi-point envelopes and LFOs synced to DAW tempo
Advanced joystick automation module for modulating parameters in a 2D space
Matrix pin amounts modulations possibilities (with 4 independent groups)
10 effects, Reverb Phaser, Flanger, Chorus, Overdrive, Delay, ...
Up to 4 voices of polyphony
Over 250 factory presets


CZ V
PHASE DISTORTION CULT CLASSIC
The budget synth that became a legend in its own right. The instrument that brought the digital synth revolution to the masses is now at your command.

A simpler kind of powerful digital synthesis

Released in 1984, the CZ-101 was Casio’s answer to the wildly popular Yamaha DX7. It was significantly less expensive and infinitely easier to program than its rival. Instead of frequency modulation, Casio’s phase distortion (PD) used various user-selected waveforms to modulate the timing of simple carrier waves at the cycle level in order to create more complex wave shapes. This simplified form of digital synthesis made it comparatively easy to perfect a wide variety of timbres spanning warm pads, natural percussion, buzzy digitalia, sci-fi effects and even analog synths. While PD could sound similar to FM, it also had a unique sonic signature all its own.

The CZ sound helped propel artists like Salt-N-Pepa, Was (Not Was), and Vince Clarke into the spotlight. Let’s add your name to the list.

Classic Casio Phase Distorsion
+ cutting-edge Arturia modeling
= infinite sonic possibilities for you

Imagine a virtual instrument that realistically models every nuance of the CZ-101—and with four times the polyphony and zillions more presets. What if it gave you an intuitive graphic interface that unlocked of all the hidden jewels in this unique digital synth? And what if it now had additional envelopes, filters, LFOs, effects, and extensive beat-sync-to-host parameters? Oh, and what if you could interconnect all that via a new super-flexible modulation matrix? We’ve faithfully reproduced the instrument that brought ‘80s pop to new heights.

Yeah... we did that!

Main Features
Two synthesis lines and independent noise source
All CZ-101/CZ-1000 original parameters
8 original waveform and custom waveform editor
Original CZ SysEx import
CZ, DADSR and Multi-Segments envelopes (syncable and loopable) to control pitch, DCW and amplitude
2 Modulation envelopes
4 assignable macros
Advanced modulation matrix
A Sample and Hold module, 2 LFOs with 6 waveforms, 3 sources combinators and an Arpeggiator
4 FXs slots that can be routed in serie or per synthesis line
A synthesis line state viewer for real-time feedback
Emulation of the original CZ DAC
32 voices of polyphony
Up to 8 voices of unison with unison detune
Over 400 factory presets

Update: and the mini press release:

"Arturia have announced the arrival of the latest edition of V Collection : their flagship anthology of reimagined historic synths and keyboards.

Containing 24 premier software instruments and thousands of preset sounds, V Collection 7 is the must-have reference for musicians, producers, sound designers, and keyboard fans.

Legendary keyboards reinvented
In V Collection 7, Arturia have used cutting-edge modelling techniques to create the most accurate software versions of dozens of time-honored instruments. Their exclusive True Analog Emulation® (TAE) and advanced physical modelling put these legendary instruments at your fingertips as software. Over 100 years of music history are now yours to explore, and use to shape the sound of the future.

Launch offer
To celebrate its release, and only for a limited time, V Collection will be available for an incredible price. Whether you are new to Arturia products, want to upgrade from a previous version of V Collection , or own any other Arturia products, you will have access to an exclusive deal that will put the very best synth and keyboard recreations ever made at your fingertips.

Intro offer from $399/399€, ends June 10th.
Street price $499/499€

NEW INSTRUMENTS

MELLOTRON V
LEGENDARY TAPE KEYBOARD
The original instrument redefined what keyboard players could do, unlocking the doors to orchestral and choral sounds at the touch of a key. Arturia’s reinvented versions not only features all original Mellotron tapes, but also lets you import and play your own samples with authentic tape emulation.

SYNTHI V
BRITISH SILVER MACHINE
The quirky British “silver machine” that put a new spin on modular synthesis, reborn in software with exciting new tricks up its sleeve. Advanced component modelling let Arturia model even its wild, unpredictable nature, with advanced modulation and powerful effects added to the mix.

CZ V
PHASE DISTORTION CULT CLASSIC
The budget synth that became a legend in its own right. The instrument that brought the digital synth revolution to the masses is now at your command. Easy to program phase distortion synthesis with custom editor, huge modulation potential and awesome effects.

EXCITING UPDATES
ANALOG LAB 4
INSPIRE, CREATE, COMBINE, AND PERFORM
A treasure trove of amazing synth and keyboard sounds with effects, easy to browse, fun to control, with a new built-in live mode. Your go-to choice for inspiration and performances.

B-3 V 2
THE MOST POPULAR ORGAN REBORN
Our recreation of Hammond’s legendary organ has received a total sound engine overhaul, making it the most authentic, vibrant electric organ virtual instrument ever.

SYNTHOPEDIA
CUTTING EDGE PRESETS
Over 800 brand new, modern sounds created for legacy V Collection instruments. The hottest synths and chart-topping keys are yours to explore.

Arturia have created a series of promotional videos and tutorials to whet your appetite, and get you familiar with the exciting new instruments. Each software instrument also features an in-app tutorial mode, too! Just another one of the fantastic new features in V Collection 7.

To discover more about Arturia V Collection 7 , the stories behind the vintage instrument recreations, and to start your free trial, visit the Arturia website."

Update2: First user videos:



Arturia V Collection 7 - Played by a LEGO Robot - Carl-Mikael's Cabinet of Curiosities
Arturia SYNTHI V Synthesizer (EMS Synthi AKS Emulation) First Look & Sound Demo - SYNTH ANATOMY
Arturia MELLOTRON V First Look & Sound Demo - SYNTH ANATOMY

Monday, August 31, 2009

Waves of Inspiration. The Legacy of Moog - Pics by Brian Kehew

Some shots of the event via Brian Kehew

"Keith Emerson's big Moog was installed and a few late-coming visitors to the museum got to see it go in up close. Emerson was there too and made sure everything went well, then checked out the exhibit and museum."

Remember, a search on Waves of Inspiration will bring up all posts.



Tuesday, March 17, 2020

Introducing Polyend Tracker


Published on Mar 17, 2020 Polyend

"Introducing Polyend Tracker - Standalone Audio Workstation.

Sample, sequence, arrange, perform, create!"

Playlist:

Introducing Polyend Tracker
Performing with Polyend Tracker - Performance mode and MIDI sequencing fun by SLG (Łukasz Seliga).
Polyend Tracker Demo One
Polyend Tracker Demo Two



"A retro form factor updated with forward looking functionality and designed as an easy to use compact standalone workstation. Made for the creatives who break patterns on a daily basis. Designed to help artists forge unique avenues of sonic construction. Introducing the first hardware tracker in the music world.

The Polyend Tracker incorporates the quintessential characteristics of a classic tracker. The vertical timeline, the powerful sequencer and the mechanical keyboard combined with a newly designed input interface enables you to make and perform your music in a new and intuitive way. After a quick glance and a few minutes with the Polyend Tracker interface, you’ll soon realize the array of tools that are at your fingertips.

Polyend Tracker is slick, light and portable. It's also easy on the energy consumption so you can use it with any USB power source. Its sturdy and compact form factor makes it a great companion for music creation wherever and whenever you feel like it. No matter if you’re in your studio, on the run, or at the gig.

Polyend Tracker is equipped with a variety of powerful sound design tools. Use your existing sample library, record new ones with line or mic inputs, or use the built-in FM radio. Record samples, play them, slice them, mash them, or even make a synth out of them using Wavetable and Granular synthesis with its all necessary parts (filters, ADSRs, etc.)

Polyend Tracker works great with other instruments too. Thanks to the bilateral MIDI implementation, you can use it to sequence and control external gear or it can be used as a sound module controlled by any external MIDI software or hardware devices.

Don't be fooled by the classic tracker look. While maintaining the original quick and straightforward workflow, the Polyend Tracker is armed with an updated arsenal of sonic weapons. Automatic filling, randomizer, probability, selection rendering, effects per step, live recording, batch parameters editing, micro-tuning, micro-timing, rolls and many more give you the tools to be endlessly creative. Compatibility with MOD files allows you to import and finish tracks from back in the days or export and finalize them in the modern software trackers."


via Polyend - 499 GPB which comes out to roughly 600 USD, and 550 Euro. Update: Official price is €499 EUR/$599 USD

Update: and the official press release with a new pic:


"Polyend Tracker reboots retro form factor of software past with forward-looking functionality as world’s first hardware tracker

OLSZTYN, POLAND: famed for bringing new technologies to creative musicians by building innovative and unique musical instruments, Polyend is proud to announce availability of Tracker — effectively extracting the best bits of yesteryear’s tricky tracker software classics and rebooting them with forward-looking functionality as the world’s first hardware tracker, deftly designed as an easy-to-use compact standalone workstation with immediacy and simplicity at its creative core, and aiding artists with forging unique avenues of sonic construction to boot — as of March 18…

For the benefit of the uninitiated, a music tracker — tracker, for short — is a type of sequencing software. Speaking historically, the tracker term itself is derived from the first tracker software, Ultimate Soundtracker, starting life as a game sound development tool released for the Commodore Amiga personal computer back in 1987. The first trackers supported four pitch and volume modulated channels of 8-bit PCM (Pulse Code Modulation) samples, a limitation imposed by the Amiga’s audio chipset. Classic trackers represented music as discrete notes positioned in individual channels at discrete positions on a vertical timeline with a number-based user interface. Indeed, notes, parameter changes, effects, and other commands were entered via computer keyboard into a grid of fixed time slots as codes comprising letters, numbers, and hexadecimal digits — the latter being a positional system representing numbers using 16 distinct symbols. Saying that, those in the know appreciated the immediacy and simplicity of classic tracker software, if not necessarily those hexadecimal digits! One thing’s for sure, though: tracker software has exerted its influence on modern electronic music with influential IDM (Intelligent Dance Music) artists like (Aphex Twin alias) AFX, (Polish-American) Bogdan Raczyński, Brothomstates (a.k.a. Lassi Nikk, Finnish composer), Machinedrum (a.k.a. Travis Stewart, American electronic music producer), and Venetian Snares (a.k.a. Aaron Funk, Canadian electronic musician), to namecheck but several so-called ‘demo scene’ movers and shakers skilfully orbiting around those tricky trackers. That said, some might say that trackers need not be so tricky in this day and age. And it is this thinking that led to Polyend’s trailblazing Tracker.

The timely arrival of the aptly-named Tracker puts Polyend in pole position for blazing a new trail, tooled to take the tracker concept to a new level of innovative, inspirational, and immediate music-making by effectively extracting the best bits of yesteryear’s tricky tracker software classics and rebooting them with forward-looking functionality as the world’s first hardware tracker. Thankfully, Tracker waves goodbye to hexadecimal hysterics — not only did those entering the brave new world of classic trackers not necessarily know what those values actually represented, they could not see what was affected by them. Thinking inside its beautifully-engineered box, Tracker instead implements a simplified system of readable decimals that also shows the effects parameters when those decimals are entered in a frenzied fast track to creativity.

Tracker takes the quintessential characteristics of a classic tracker — the vertical timeline, powerful sequencer, and mechanical keyboard — and cleverly combines them with a newly-designed input interface, divided into several sections: a (high resolution, crisp, and bright) big screen and associated screen keys — mechanical controls that always correspond to what is displayed on the screen directly above them; the grid — featuring 48 backlit multifunctional silicon pads for quick note and pattern value entry and visual feedback (while also acting as a highly-customisable keyboard controller with editable scales); function keys — for fast and responsive control over all functions and options; plus navigation keys and associated (metal-manufactured) jog-wheel (with haptic feedback for fast scrolling or precise adjustments) — for facilitating transport control alongside arrow keys for navigation control, as well as dedicated Insert, Copy/Paste, Delete/Backspace, and Shift keys. All are at hand, helping to streamline making and performing music in a new and innovative way — without having to leave the world’s first hardware tracker, deftly designed as an easy-to-use compact standalone workstation with immediacy and simplicity at its creative core, and aiding artists with forging unique avenues of sonic construction to boot.

Better still, the classic tracker look of that dominating (default) screen — showing (up to) 48 instruments and 256 patterns with a maximum of 128 steps per pattern per project — belies an infinite source of inspiration. Indeed, Tracker comes complete with a wide variety of onboard sound design tools to enhance creativity still further for those wishing to take it to the limit. Let loose with Instrument — a chain of tools (Volume, Tuning, Panning, Filters, Reverb Send, and ADSRs) to make an instrument from any sample; Sampler — choose from different (1-shot, Forward, Backward, and Ping-Pong) play modes; Slicer — slice samples manually, or let Tracker take care of it ‘automagically’ at any time; Wavetable — full-blown wavetable synthesis with variable table length to make it compatible with the most popular (Ableton Wave and Serum) standards; Granular — single grain yet very powerful granular synthesis to create crazy and futuristic sounds from old and boring samples; Sample Editor — built-in precise offline rendering sample editor with multiple effects; and Sample Recorder — records up to two minutes of 16-bit/44.1kHz samples using built-in Radio, Pattern selection, Mic or Line In inputs, all of which can be saved to the included (16GB) MicroSD card for later use or loaded directly into a project. Put it this way: with Tracker, users can quickly and easily use existing sample libraries, record new ones, or use the built-in FM (Frequency Modulation) radio. Record samples, play them, slice them, mash them, or even make a synth out of them!

Tracker also plays nicely with other instruments. Thanks to its bidirectional MIDI (Musical Instrument Digital Interface) implementation, it can be used to sequence and control external gear or be controlled as a sound module by any external MIDI software or hardware devices. Whatever way anyone chooses to use it, armed as it is with an impressive arsenal of sonic weaponry — including automatic filling, randomiser, probability, selection rendering, effects per step, live recording, batch parameter editing, micro-tuning, micro-timing, rolls, and much more besides — it has what it takes to be a surefire hit, harbouring endless creativity. Compatibility with MOD files — a computer file format primarily used to represent music, made up of a set of instruments (in the form of samples), a number of patterns (indicating how and when the samples are to be played), and a list of what patterns to play in what order — allows users to import and finish tracks from way back when or export and finish their Tracker creations in modern-day software trackers.

The world’s first hardware tracker is slick, light, and portable. It is also energy efficient, so will work with any USB (Universal Serial Bus) power source. Sturdy and compact, the retro form factor of software past with forward-looking functionality makes for a great music creation companion — in the studio, on the run, or on stage. Simply put, Polyend’s Tracker puts everything right on track as a ‘back to the roots’ experience like no other!

Tracker comes complete with a USB-A power adapter, 2m USB-C cable, 3.5mm to 2x 6.3mm adapter, Minijack to MIDI DIN adapter, 16GB MicroSD card, and MicroSD to USB-A adapter, and is available to purchase through Polyend’s growing global network of authorised dealers at an MSRP of €499 EUR/$599 USD. Or order online directly from Polyend itself via the dedicated Tracker webpage, which also includes more in-depth information."

Thursday, December 10, 2015

UVI Announces Cameo - Casio CZ Inspired Synthesis Suite

UVI Cameo | Trailer

Published on Dec 10, 2015 UVI

"UVI Cameo
Phase Distortion Suite
http://www.uvi.net/cameo.html

The sound made famous by the classic CZ-series keyboards is back in this new 3-instrument suite! Explore a huge library of authentic hardware sounds, craft your own patches from scratch with raw waveforms or explore new sounds of PD synthesis with the wavetable oscillator and DSP shaping tools from Falcon.

Whether you’re a fan of classic ‘80s synths or just looking to expand your sonic arsenal, Cameo delivers an awesome range of inspiring and high-quality sounds with the unmistakable character of some of our favorite synths.

Music credits: Louis Couka"

"Phase Distortion Suite

For us at UVI the CZ series from Casio is a longstanding favorite. When we approached the Cameo project we wanted to do something special that not only highlights the amazing sounds of these classic synths but that offers something new to our fellow CZ aficionados.

We began with a number of fully-serviced classics, including the Casio CZ1, CZ101, CZ1000, CZ2300S, CZ3000 and CZ5000, and ended up with 3 instruments—each with a different approach, unique sonic character and inspiration."

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