MFB TANZBAR 2 WITH VERMONA RETROVERB AND LEPLOOP LIVE JAM

video upload by Why Drums

"Almost all of this is from the Tanzbar 2. The Vermona does not actually create as much of the drive/distortion as you might think, as the Tanzbar 2 has a secret weapon in the onboard (but almost hidden) bit crusher, plus the very dirty filters that very quickly sound crunchy when you trigger what should be melodic samples through them. The LEPLOOP just adds a small amount of synth stuff at the end. I enjoyed this one a lot hence all the camera nonsense."

MFB TANZBAR 2 JAM WITH THE LEPLOOP

video upload by Why Drums

"The LEPLOOP does the kick and white noise snare, and a tiny bit of synth. The MFB Tanzbar 2 does everything else. The Tanzbar 2 is a bit of pain in the arse to use but it sounds great- it's fun to try and make it do what you want.

The filters on it are really rough, which works great on clap and perc sounds. The bass synth is out of tune, and the bass sequencer is a nightmare, but then of course you get some unexpected results.

I love the LEPLOOP kick, it works so well as a foundation. Very fun to try and make these two idiosyncratic machines work together is a rubbery way."

LEPLOOP DRUM MACHINE IMPROV IN A HOTEL IN MUNICH

video upload by Why Drums

"A free improvisation with the LEPLOOP, recording through the OP-Z into a laptop, and using a little bit of reverb from the OP-Z. What a brilliant instrument."

https://www.leploop.org/

Update:

LEPLOOP LIVE WITH T REX REPLICATOR TAPE DELAY

video upload by

"A live jam with the LEPLOOP and a great tape delay pedal- The T-Rex Replicator. I love the weird harmony the LEPLOOP is doing, which of course I will never be able to create ever again. OH WELL! Fun, anyway."

Gone | MIDERA - Downtempo IDM

video upload by MIDERA

"I have been debating selling my Roland JX-3P (well, trading it for my old Virus kB, because I just love that keybed, even though I've got the TI). So of course I brought my JX-3P out and tested it out. Then I tested it against my System 8. Doing that made me just appreciate the JX more. Sigh. I don’t know why it is so difficult to part with this stuff. But when I played this sound (that you hear at the beginning), it just sang to me. I loved the noise that seems to become additive with more notes. It somehow helps create the tone I’m going for, especially when sent through the Strymon Volante pedal. It’s not that the System 8 doesn’t sound similar (in fact, I think I created this sound on the S8 first and then ported it over to the JX), it does, but it doesn’t impart any noise, or what I would call “character”. It just sounds lifeless in comparison. And so I’m left with what I’m always left with. More gear, because I find all my stuff useful and fun.

Well, I’m sure I could just do the trade. I bet any number of synths I have could make this sound. It didn’t even use ‘that famous Roland Chorus’. I probably spend more time trying to tell myself I can sell my gear, and then don’t, than I do playing the gear for music.

But I guess this time I used it to my advantage. I made a song of it.

Gear:
Radikal Technologies Spectralis II (Drums, sequencing)
Virus TI (Pad parts and keys)
Roland JX-3P (intro part and similar sounds throughout)
Sequential Prophet 10 (synth part)
Strymon Volante (delay for JX-3P)
Eventide Blackhole VST (reverb)"

Dave Smith Mopho x4 ► Sound Demo [1 HOUR]

video upload by Mr. Card

You can use the player controls to skip around.

"Check out my free Dave Smith Mopho x4 sample pack: https://bit.ly/mophox4samples

Contents:
00:00 Prophet 5 sounds
05:08 Ambient arp
10:19 Strings sound
13:44 Prophet 5 sounds + FX
20:16 Ambient jam
25:22 Soft lead
28:30 Organ sound
31:16 Ambient jam
39:31 Why I love Mopho x4?
44:15 Mopho x4 + Techno drums
47:12 Prophet 08 sounds
52:31 Mopho x4 in 10 minutes
01:02:46 R.I.P. Dave Smith | Mopho x4"

Liven MEGA SYNTHESIS - Tutorial Part 1 - Pattern Editing Deep Dive

video upload by ChrisLody

"Full Disclosure: I occasionally take on freelance work at Sonicware on an hourly rate producing synth & sample sound design, beta testing, checking English text and videos like this. Any other shorter videos on my channel containing Sonicware products are not paid content.

More about the Sonicware Liven MEGA Synthesis:
Sonicware's Website: https://sonicware.jp/pages/liven-mega...
Trailer & Yuzo Koshiro's Patterns: [posted here]
My quick overview video: [2nd video here]

So as promised here is my Sonicware Liven MEGA Synthesis deep dive video. This video will look at pattern editing including everything that's available to make your own music. The next video will focus on the FM sound editing overlay so will cover how to make your own sounds

Sonicware and I have both noted how many customers have bought the Liven MEGA Synthesis who have never bought an instrument before, so I've done my best to make this video as beginner friendly as possible which is why this video is quite long. If you're more experienced please use the chapter markers so skip through to relevant sections.

CLICK FOR MORE »

Texture Lab in the Effects Processor Mode with an Electric Guitar

video upload by SONICWARE

"Daniel Rose demonstrates an electric guitar connected to LIVEN Texture Lab.
The Texture Lab is a Granular synthesizer and effector with a majestic Shimmer Reverb. https://sonicware.jp/pages/liven-text...

Check out his instruction video:"

How to Use the Sonicware Texture Lab as a Live Granular Effects Processor

video upload by SONICWARE

"Timestamps / Table of Contents:

Section 1: basic principles

Part 1: the non-granular side of the blend
1:35 - intro
1:57 - first synth sound and default effects mode sound
2:32 - notes on blend, reverb, and filter
5:56 - tip #1

Part 2: the granular side of the blend
6:44 - intro
7:51 - notes on playback direction (❗important❗)

CLICK FOR MORE »

What is filter pinging (and filter ringing)? A demo with BRENSO and CUNSA

video upload by Frap Tools

"Today we'll see what's filter pinging, how to ping a filter, and why it can mean more things."

00:00 Introduction
00:13 Chris Meyer's definition of "pingable"
02:08 Pinging BRENSO and CUNSA
06:20 CUNSA's Combo Mode
08:06 Pinging a resonant filter: analog drums
09:26 Allen Strange's definition of "Ringing"
10:32 Ringing CUNSA
12:25 Adding V/oct and ringing more filters at once
14:19 Closing remark: filter pinging and filter ringing

Behringer UB-Xa - - Milestone - - by "The Synth King"

video upload by The Synth King

"This video showcases a complete song I´ve composed and produced with sounds exclusively from the Behringer UB-Xa (except drums). The opening bass line was made with the built in step sequencer running in sync to the DAW. I've used a single reverb and two delay plugins for this track. There is no EQing or dynamic processing involved. All sounds were recorded directly into the audiointerface."

Update via Behringer:

"As we’re getting ready for the production of the long awaited UB-Xa, we’d like to share a beautifully crafted video of the Synth King.

It demonstrates that this amazing synth is not only capable of capturing the legacy sounds of the ‘80s but also deliver modern sounds and timbres.

The UB-Xa is one of our most complex products we have ever designed in our 35 years of history. 15 engineers worked over 4 years, delivering 8 hardware revisions and countless firmware upgrades, while co-innovating with 20 beta testers who all own the original OB-Xa synth. Our objective was to spend as much time and resources it takes and only release it when it is perfect. The UB-Xa is now completed and we’re ramping up for production. As Uli stated from the beginning, this synth was never meant as a commercially driven product, but rather a labor of love. In fact, it might never make us any money and that’s OK. For that reason, we plan to offer if at the lowest possible price and at a fraction of competitive products.

We’re sorry this has taken so long but we now have a synth jewel we’re very proud of and a fantastic platform that will allow us to deliver new poly synths at a much shorter time. We’d like to thank all the beta testers who spent years and countless hours to help us bring the UB-Xa to life.

And finally, we’d like to thank all of you for your support and patience. You’re the reason why we love what we do."

Drums? Bass? Why not Both?

video upload by MAKEN0ISE

"In which we patch some drums, and maybe some bass.

http://www.makenoisemusic.com"

Synth jam with Arturia MiniFreak, Dreadbox Erebus, eurorack drums, and Reason 12 synths

video upload by Jay Hosking

"An impromptu song that started on hardware synths and eurorack, and was finished by adding some extra sounds in the box.

This is a great example of why I love both hardware (it's inspiring!) and software (it has incredible power and can get the job finished!). Here, I was just trying out a new eurorack drum sequencer, decided to send the kick trig to the Erebus, and then began noodling on top with the MiniFreak. I wrote the song before I even knew I was writing a song. And while it was super inspiring, I could tell that I'd need a bunch more instruments to make the song feel finished. Rather than expanding the table and slowing down the creative process, I captured the inspiration already there and finished off the job in Reason afterward. It was definitely the right approach.

Dreadbox Erebus through Source Audio Ventris - bass synth locked to kick
Arturia MiniFreak - melody and pads
Eurorack drums:
- Intellijel Steppy - sequencer
- Mystic Circuits IDUM - extra glitch sequencing
- ALM Busy Circuits Pamela's New Workout - clock and LFOs
- Prok drums - kick, snare, hats
- WMD Fracture - glass-breaking claps
- Intellijel Mixup - mixing
- Noise Engineering Desmodus Versio - ducked reverb
- Intellijel FSR 1U - performance of glass breaking and reverb room size
- Endorphin.es Golden Master 1U - multi-band compression and EQ
- Intellijel Mixer 1U - output mixer
Reason 12 instruments:
- Monotone - extra bass stabs in bridges and choruses 2 and 3
- Complex-1 - arp thing, and drone/brass/pad thing
- Audio editing/pitch adjustment of the Erebus notes in the chorus (didn't have enough hands during the jam)

Hardware synths recorded together live, with a few extra tracks in the box afterward. EQ'd, compressed, limited, etc. during the final mix/master.

Thanks for listening.

https://jayhosking.bandcamp.com"

RS054 Evolution Synthesis EVS-1: Algorithmical

video upload by rejected synths

"Being ahead of your time has been a topic discussed on this channel more than once, as there are quite a few synths that ended up on rejected synths because they were too far ahead of their time in one way or another. So it’s no surprise that today’s synth, which managed to be ahead of it’s time in more than just one sense, ended up on this channel.

The Evolution Synthesis EVS-1 is a digital rack synth that brought (multi) algorhythmic digital synthesis and computer editing of patches to the table...eh, I mean rack as early as 1990. It may look like a very humble 1HE Rack unit with a tiny display and only very few connectors, but it actually is quite capable as it is eight part multitimbral (at 16 voices), has a full onboard PCM drum kit and a whole array (28) of more or less exotic algorhythms.

Sure, without the late 80s home computer at hand originally required to edit the 20 available user memory slots, many considered it to be yet another boring fm expander, and FM certainly is what most presets sound like. But dive deeper and you’d soon realize that this thing can output some very interesting, wavetably, otherworldly sounds.

Playlist:

0:00 Intro
0:20 Introduction
1:46 Standout features
3:48 Why did it fail?
4:41 PCM Drums Demo
5:13 Controls and Connectors
6:31 Preset Demos: 02 Warm Strings
7:00 Preset Demos: 07 Ethereal
7:21 Preset Demos: 09 SynthBrass1
7:39 Preset Demos: 10 X7Bass
8:09 Preset Demos: 12 DeepString
8:42 Preset Demos: 23 BloozyBox
8:56 Preset Demos: 30 MetalBrass
9:13 Preset Demos: 38 SweepSynth
9:35 Preset Demos: 47 SynthModWh
10:02 Preset Demos: 54 Hefern
10:30 Preset Demos: 58 VocalStrng
11:00 Preset Demos: 60 Chattring
11:23 Preset Demos: 69 WarmStrng3
11:33 Preset Demos: 75 Swamp
12:06 Preset Demos: 77 Pretty
12:20 Preset Demos: 80 Plinkety
12:41 Preset Demos: 81 EinStein
13:24 Preset Demos: 83 Dissonant
13:43 Available Editors
15:11 Custom Patch Demos: deep_dream
15:44 Custom Patch Demos: deep_reso2
16:11 Custom Patch Demos: deep_revrb
16:44 Custom Patch Demos: deep_waver
17:24 Multitimbral Demo Song: Daftness
19:27 Conclusion
19:56 Outro"

Modbap Introduces HUE "AUDIO COLOR PROCESSOR" Eurorack Module

video upload by Modbap Modular

Modbap Modular makes colorful Eurorack entrance at Brooklyn SYNTH+PEDAL EXPO with HUE debuting as AUDIO COLOR PROCESSOR


LOS ANGELES, CA, USA: following hot in the footsteps of Trinity, the fourth entry in its expanding Eurorack product lineup as a three-channel DIGITAL DRUM SYNTH ARRAY (as introduced at Knobcon Number Ten, a one-of-a-kind synthesizer convention held just outside of Chicago, IL, USA at the Hyatt Regency Schaumburg, September 9-11), black-owned Eurorack modular synthesis and electronic musical instrument manufacturer Modbap Modular is proud to debut HUE as its latest Eurorack entry — this time being billed as an AUDIO COLOR PROCESSOR, packing a chain of five effects (each imparting a particular coloration, tone, distortion, and/or texture to the source audio) into a 6HP- width module, making drums bang with more magnitude and melodies morph into lush lo-fi tones — at Brooklyn SYNTH+PEDAL EXPO, a free-to-the-public pop-up event of synths and guitar effect pedals, at 718 Studios, Brooklyn, NYC, USA, October 8-9…

“HUE was originally designed as the effects section for Trinity; the thought was to create an effects section that would simulate the classic, lush boom- bap and lo-fi vibes that we’ve come to love.” So says Modbap Modular founder/owner/designer Corry Banks, before continuing: “I want to bring those nostalgic textures that make things bang a bit harder and feel a bit grittier and more soulful into a single Eurorack module. HUE pairs very well with drum sources, such as Trinity, or melodic sources, such as Osiris, to further cultivate ‘that sound’. Saying that, HUE, in moderation, makes things sound more beautiful, but it can become brolic when pushed to its limits.”

Maximum (musical) muscle notwithstanding, HUE’s goal is to simply color its user’s sound — hence highlighting that the aim of its name is true, thanks to the COLOR PROCESSOR wording written across the top of its slimline front panel. Its initial concept was born out of a debate about the techniques and processes used to make drum machines sound so big, bold, and delicious. It is worth bearing in mind here, then, that the sounds that tug at the heartstrings of boom-bap, lo-fi, and, subsequently, Modbap — meaning the fusion of modular synthesis and boom-bap (or, indeed, any form of hip-hop) — are those demonstrating great texture, lush degradation, soft distortion, and big bold strokes of color.

Classic beloved drum machines were often processed with outboard gear; recorded to tape; pressed to vinyl; played over big, booming sound systems; sampled; resampled, and so on. It is no surprise, therefore, that those are the sounds that become nostalgic and reminiscent of all that the black-owned Eurorack modular synthesis and electronic musical instrument manufacturer adores about classic lo-fi boom-bap production, with HUE representing its attempt at bringing that vibe into Eurorack as a 6HP-width module.

Acting as a COLOR PROCESSOR, HUE’s effects chain signal path is as follows: DRIVE, FILTER, TAPE (saturation), LO-FI, and COMP (compressor), with the panel layout allowing for the DJ-style FILTER knob to sit in first position for ease of tweaking — LP (low-pass) when turned to the left through to HP (high- pass) when turned to the right. Digging deeper, DRIVE boosts and lightly distorts the signal, while SHIFT+DRIVE adjusts the DRIVE tone; the TAPE effect is intended to impart cassette tape saturation, while SHIFT+TAPE adjusts the intensity; LO-FI adjusts bit depth, while SHIFT+LO-FI adjusts sample rate; and, lastly, the one-knob COMP mini-pot serves as the final glue in the signal path that brings everything together. There are also DRIVE CV, FILTER CV, TAPE CV, and LO-FI CV inputs, as well as mono INPUT and OUT connections, collectively opening up a wealth of creative possibilities. Put it this way: when throwing creative modulation at it, HUE is truly a textural beast.

But best of all, HUE puts the power to shape and transform its user’s sound at their fingertips — perfect for beefing up drums while equally as magical when working on melodic content, which is exactly why it pairs so well with Trinity (https://www.modbap.com/products/trinity), the fourth entry in Modbap Modular’s expanding Eurorack product lineup as a three-channel DIGITAL DRUM SYNTH ARRAY, and Osiris (https://www.modbap.com/products/osiris), a sensational-sounding BI-FIDELITYTM WAVETABLE OSC (oscillator) module for Eurorack (introduced to widespread critical acclaim at last year’s Knobcon Number Nine). Needless to say, HUE — like its Eurorack siblings — exemplifies Modbap Modular’s musical mantra: Made for Eurorack, dope enough for boom-bap!


Expected to ship in late-October 2022, HUE is available to preorder at an MSRP (Manufacturer’s Suggested Retail Price) of $299.00 USD via San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) — including Sweetwater (https://www.sweetwater.com), the USA’s number one eCommerce provider of music instruments and pro audio gear — or directly via its dedicated webpage (which includes more in-depth information) here: https://www.modbap.com/products/hue

CLICK FOR MORE »

Magerit Eurorack Modules

Magerit LANIAKEA - A "cosmic" oscillator - New Release video upload by Magerit

CLICK FOR MORE »

Patch of The Week: Analogue Kick Drums in Eurorack with the AJH Synth MiniMod Modular Synth System

video upload by AJH Synth Official

"A simple analogue kick drum patch easily recreated in Eurorack, or even some self-contained synths. This isn't modelled on a particular classic or vintage kick sound, but uses a common process for creating such a sound that is easily tweakable to suit your own ears. Check out our past 'Patch of The Week' videos for other percussion sounds, including analog claps, and using a self-oscillating filter to create various claves, rim shots, cowbell, even a rudimentary kick.

Video by DreamsOfWires

PATCH NOTES:
------------------------
Download PDF with diagram - https://kvisit.com/8AE/qvwG
Green dots show approximate pot and switch positions, and where there are 2 dots on the same pot, this indicates the range I adjust them during the video. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions.
GLIDE + NOISE: I used the white noise in this patch - not all vintage kick drum sounds used a noise source, but it is optional based on personal taste. I find it gives the sound a more similar character to a real kick drum, whereas without it the sound is more distinctly electronic.
VCO: A good kick sound can be generated using just the filter in self-oscillation, but using a dedicated VCO provides greater flexibility, especially when combining with other audio sources, such as white noise. Base pitch and level of Exp CV from the envelope should be experimented with.
VCF: Envelope control of filter frequency will not make much difference to the sound without the white noise, as then you would only be filtering a triangle wave. This is why I've simply copied the envelope that's also opening the VCA.
ENVELOPE: Ideally there needs to be separate envelopes for the VCO and the VCA/VCF, as one is controlling pitch, and the other volume (& tone), which both have a very different impact on the sound. A pair of DH-ADSR's would offer greater dynamic control, as mentioned in the video, but the CONTOUR GENERATORS is fine too.
VCA: The DISCRETE CASCADED VCA allows a little bit of overdrive when input levels are pushed. Even more so when used with the GAIN SWITCH (See our other videos), but also the MUTING MIXER can be used, as it's built around the same VCA circuit and has a built-in overdrive function."

Aha - Take On Me | Why are these drums so recognizable? | Tutorial w/ the Isla Instruments S2400

video upload by Espen Kraft

"In a recent gig I had to recreate the openings of more than 40 80s chart hits. One song was 'Take on me' by A-ha. The song starts with the only drums and it has a very recognizable drum part. As I studied the drum pattern I realized there was some genius programming at work here.

Support this channel on Patreon:
https://www.patreon.com/espenkraft

The drums used in this video are my own custom drums, not taken from the recordings. The sounds of my remake (synth sounds used) are not meant to be carbon copies of the original either, that was never the intent nor was it required by the client."

Korg opsix demo

video upload by MIDERA

"Yes, I got the opsix on a massive sale just like pretty much everyone else. So here are my thoughts from day 1. It's surprisingly more complicated than I would have imagined, and I don't mean the FM portion of it. That part is fine, I 'get' FM, but it's just a really deep machine, far deeper than you'd expect for FM. I don't understand most of it yet, so that will take time (if I want to even devote any time to it). The FX are very good, which I think people have already described.

It sounds... well, I think it sounds good, but it's hard to shake a 'lack of character' or feeling of 'vst-ness' about it. I'm not sure what that is. But it just lacks anything that makes it stand out as interesting to me. The filters sound ok, but nothing terribly special. The Polysix filter just sounds like a 24db filter. I had a Polysix (and yes, it is gone now), but that filter doesn't really resemble it.

Compared to the SY77... I think the focus of the FM portion on the SY makes it actually a little more enjoyable to edit, even sans sliders/knobs. Mostly, the sound is that much better too. There's some weight to the sound that I don't hear on the opsix - although given I've only used it one night, that doesn't mean a whole lot. But I definitely prefer machines that provide you with focus, rather than a lot of distracting features, personally.

The keybed is better than I thought it would be. The OLED screen is very nice and I do like the controls. Undoubtedly, the synth may grow on me, but since I'm trying to downsize this may be just a synth I play with in passing and then sell to someone else. Oh, the 16 step sequencer is ok, but I think they could have easily gone to 64 steps. Not sure why only 16 steps.

Anyway, I guess I'd rate the opsix above the Reface DX (which is built better, but I absolutely hated the UI), but below the SY77 (and DX7, although I've used them less). For $330, it was a worthwhile purchase.

Drums were added to the track just because it seemed like the right thing to do. I would have done electronic drums but I didn't want to hook up the opsix to my sequencers quite yet."

Why you hate modular synthesizers

video uploads by Why You Hate Modular Synths

Playlist:
Why you hate modular synthesizers - hi-hats
Why you hate modular synthesizers - cat hair
Why you hate modular synthesizers - Kick Drums
Why You Hate Modular Synthesizers - Synthesizers
Why You Hate Modular Synthesizers - Cables
Why you hate modular synthesizers - in the... on the... at the...

Generative Ambient music in Ableton Live (free project file) | generative music for studying

video upload by CNTR RNDM

"Stumbled on this amazing @ANDREW HUANG modular twinkle jam (link below) the other day and it inspired me to try and achieve something similar in Ableton Live. Ableton is really great when it comes to generating and manipulating midi notes. It provides you with all these tools that let you manipulate midi events in so many ways. In fact, you could say that Ableton, at least kind of, is a / is like a modular synthesizer. @Seed to Stage has a really great tutorial on this topic (link below).
So, for this jam, I basically just used three instances of Wavetable (one for the lower notes, one for the mid notes, and one for the higher notes) and a TON of Ableton's midi fx to create and edit midi events, like, randomly. I also used @Ned Rush s probability tool (link below) to modulate note probability over time, you know, just to create some movement. And to top it off, I used the amazing Microtuner to create kind of a microtonal-I'm-a-bit-tipsy kind of vibe.
And the cool thing is, you can download the stock plugin version of the project file for free…have fun with it! Here's the link:
https://cntrlldrndmnss.gumroad.com/l/...

(little sidenote: this generative patch is BY NO MEANS perfect...I should have limited the range of the high notes here and there for example...so please tweak it, improve it, do whatever you like and make it your own!!!)

While we're at it, why don’t you grab my free drums sample pack as well:
https://cntrlldrndmnss.gumroad.com/l/...

Feel free to check my other packs on gumroad as well:
https://cntrlldrndmnss.gumroad.com

All my samples and kits are copyright free - you can use them in your own productions, videos, whatever. If you make a cool track with one of my kits or sample packs, let me know!"

Blue Dawn 🧿 2 hours of modular synth for sleep/relaxation
video upload by SUTURE SOUND

Pico modules Erica Synths in action

video upload by Dziam Bass

"That's why I still like Pico modules from Erica Synths .
I have drums and a nice synth sound with VCO2 and I added Pico Voice- wavetable module.
I connected waves from VCO and Voice to Pico A Logic - these are different sums of SUM / DIFF / MAX and MIN and gives different exponential
Playing with VCF 3 and adding Voice wavetable on different prests produces different effects .for me very cool 😉
I have given all to Fusion mixer for adding Tube sounds.
That sounds good to me and of course fun ...!!!
Drums from Pico Drums are also a kick in the ass.
Thanks for watching and have a nice day.
Cheers"