"As is known, the two Roland grooveboxes do not officially support MIDI SysEX messages and there is no documentation relating to their implementation which is hidden
In reality, the MC-101/707 are able to receive and send such messages: they respond with a completely wrong addressing, with duplicate and incorrect data which however can be corrected and used by the software.
The editor-librarian, like the analogous versions for Fantom/0, AX-Edge and Jupiter-X/Xm, communicates in real-time and bidirectionally with the groovebox, using MIDI SysEx messages."
MIDI Messenger is free, but they do accept donations. Details follow:
"This plugin came to life as an answer to the lack of utilitarian MIDI processors and DAW functionality on iOS/iPadOS. Not being able to easily send Program Changes (even that!) didn't feel right when I was trying to prepare my new live set with my iPad being the control center of the rig.
It allows creating lists of ‘messages’ that will be sent after being triggered by incoming MIDI messages or system events.
In the newest version we added expression and advanced trigger filtering, so now you can do some really crazy, almost generative stuff."
The playlist above covers the following three versions:
1. MIDI Messenger v1 basics tutorial
"In this tutorial we cover some basic stuff sending Program Changes from MIDI Messenger loaded in AUM to Empress ZOIA and Red Panda Particle via CME WIDI module as an example."
2. MIDI Messenger — v2 overview
Here's new MIDI Messenger v2!
00:00 Intro
00:05 Big thing #1: values from triggers
00:19 Note On/Off example
00:31 CC example
00:47 Big thing #2: exporting/importing presets
01:00 Minor updates
01:04 New trigger: Program Change
01:08 Passthrough for Transport triggers
01:11 Manual 'Send' trigger/button
01:21 New events at the top of the Log
01:23 Log 'Clear' button
01:27 Responsive UI
01:32 Highlighted selection in long menus
01:39 Outro
3. MIDI Messenger — v3 overview
"The main two new features are expressions and multiple messages per single trigger. Generative workflows FTW!
Improved triggers: you can select multiple channels, and values with the support for ranges and single values.
Small neat things: bypassing messages, humanised log with hex/dec modes, and... in-app donations — no need for Patreon account if you want to support us!"
"The Ellitone KeyControl is a MIDI/CV Keyboard Controller featuring 12 velocity-sensitive wooden Touch Bars and a built-in ‘ambient poly sequencer’ mode.
This device comes in two versions, with or without AAA portable battery power. The version without AAA battery power is 25% slimmer and is powered via the USB-C connection.
"The Hexajam is a musical instrument design for maximizing improvisation and collaboration. It is simple, yet endless fun for musicians of all ages and skill levels. Learn more about it at: Hexajam.org"
KEYBOARD, BASS, DRUMS
The Hexajam is perfect for beginners of any age.
Each instrument is intuitive and requires no prior knowledge or technical skill to start making music.
Three instruments in one unit creates an instantly fun and collaborative musical experience.
EXPLORE SCALES AND TONES
Each instrument module has 6 unique tone settings so players can explore and combine different sounds.
There is a universal switch to select a scale such as major, minor, lydian, and blues. Within the selected scale, there are no "wrong notes," and the keyboard and bass are always synced.
INDIVIDUAL HEADPHONES + AUX
Three headphone outputs allow multiple Hexajams to be in the same room.
This feature is ideal for an education environment because it allows different groups of students to simultaneously explore their own musical worlds.
The Hexajam can also be played from an amp or PA system."
"Hi! Here is v.4, I redesigned the enclosure to be more rugged, we have also a battery and speaker. Most of the errors are solved, the UI is quite cluttered yet and I make a lot of missclicks/wrong shortcuts but after some tweaks everything should go fluent.
The idea is to have a pocket version of Ableton workflow, simplified but easy enough to create sketches for further polishing in DAW. I plan to build several units for testers but is still a lot of work to do and I cannot guarantee anything at the moment. I will try to progress as much as possible to finish this in this year."
"I built a Pocket Operator alternative. It can now record and play internal synths. There are 4 engines:
- Bass (Roland TB-303 mod),
- Lead (8bit style),
- Braids (implementation of Mutable Instruments eurorack module),
- Wavetable (several waves mixed by knobs)
I hope the UI is self explanatory, it is focused on simplicity and uses Ableton-like mini session view to launch clips"
The first prototype was shown 3 years ago on reddit.
It looks like a Dirtywave M8 tracker, but is different in both build layout and function. From the creator:
"M8 is a stunnig device for complex projects, I plan to keep my Vekt operator more like pocket op where you can quickly create sketches/ideas and polish them later on DAW. And the main idea for me personally was to quickly create rhythmic sequences which I can use with my visualization app instead making them in DAW, this will speed up the process."
"It's not easy to make a Mojave video after doing one about Arbhar V2. First, let me clearify that Mojave is an effect that needs a source, and Arbhar is more like a granular synth that can run completely by itself. I will clear this up in the forthcoming Grainstation 2 video with a big compare of synths vs effects. I am not sponsored so I can share my personal thoughts on this.
Mojave is great for processing rhythmic atonal sounds like percussion or found sounds. It's not ideal for processing melodic phrases because it's hard to keep in tune. There's no typical harmonic spread but somekind of random sequence generator that follows a scale. So it can suddendly behave like a granular engine with a built in 'Marbles' and you have no control over what's going on except shutting it up. If you're in the wrong scale, it can go major in a minor patch. It's designed for live, but it can easily trash your gig too.
But don't get me wrong, Mojave is definitely a keeper. This video is a journey where I slowly learn to understand and deeply appreciate the module.
If you already own Beads, you may want to skip Mojave because they're roughly on the same functional and sonic level. If you're completely new to granular, you need to figure out if you want an effect or a synth. Mojave has no storage, it doesn't remember anything when the power goes down. And if you're serious about live graining (and sustaining) real acoustic instruments, forget about the built-in mic and get a decent stereo field recorder with audio out. However, since Mojave has no storage, I'd recommend having a sample player nearby and store your field recordings there."
"Artiphone's Orba Synth gadget is more versatile than you might think, but it could be even more so if the accompanying software came with more functions. In this video, I take a short look at Orba's config files, where to find them and how to edit them. WARNING: On the Orba forums, users warned that getting some of the pitch values in the chords template wrong might brick your Orba. I can't confirm this, for me, all that happened was a hard reset. But proceed with caution. Table of contents:
00:00 intro 00:25 hello 00:59 hardware overview 01:17 how to get the synth editor 01:26 editor overview 02:40 file locations, file transfer 03:27 your own chord progressions / keyboard shortcuts 05:36 drum patch setup 06:29 sampled instruments 07:33 conclusion 07:58 important things to consider 08:27 short demo using my own patches 09:30 what's wrong with my orba 2? 10:24 bye-bye
"Why is it another wrong path? Well, I obviously have too much stuff. Every time I think 'I should sell XYZ...' I play it and really enjoy it. I bet I've written this a couple of times elsewhere. I've thought about selling the System 8. It just doesn't feel or look very nice and I have other instruments that do similar sounds better. Then I sit down and just play it and it has its own thing going on. So much that I can't say I'm even bothered by the green lights when I'm playing it. I forget about how ugly it is and just have fun.
So I'm left thinking... I can't sell any of it. If only I had a solution I liked for storing a lot of these synths. I rearranged my whole studio in hopes that I could set things up nicer. That was a failure.
"Appropriately, FM60P is the sixth NYZ release to focus directly on FM synthesis, and the first six-operator variant of the FMX0P releases (which was incidentally also the first conceptual iteration of the sub-series of FM synth works, despite being released this far down the line). Given this provenance, those familiar with FM synthesis might assume Burraston would begin a six-operator exploration with the ubiquitous Yamaha DX7 - perhaps the most iconic FM synthesizer of all time - but instead, he's taken a different tack entirely, and opted to use a modern machine - the Kodamo EssenceFM, a megalith of FM processing power with a mind-numbing 300 operators available within its outwardly unassuming racked interface - albeit acting in an ascetic sense by limiting himself deliberately to only six operators. Longtime Psoma listeners will also note a referential connection with PMFM, a prior release that also utilized the EssenceFM in its construction.
On a technical level, FM60P manifests itself through the arcane pathways of Burraston's cellular automata research, which informs both the sequencing information sent into the synthesizer, and the microtuning of the voices also. Beyond this initial working ethos, the designs and numerical relationships of the operators' ratios have been arranged with the use of three different sets of Fibonacci number sequences, as well as tuning dispositions referencing Alain Daniélou's Harmonic Division of the Octave. Fibonacci freaks will be pleased to know that this arrangement of operators will form intricate setups of Golden Ratio based FM timbres.
For many listening and reading, these points of reference may have no meaning whatsoever, and we here at Psoma would like to offer the consolation that there is no right or wrong way to listen to or interact with any sound matter found in our catalog, or anywhere else for that matter. It could even be said that part of our initiative in publishing works such as these is defined by a desire to simply introduce more challenging and concept-driven music into the world, in order to bring new and stimulating experiences to people who are both familiar and unfamiliar with the deeper details of sound itself.
So what does that leave us with then? The sound of FM60P could be described as a chiming din of glassy tones playing in serpentine unison with sub-bass hum - but this is only a small prologue of two minutes, quickly pulling back the curtain to reveal a massive hour-long drone wall, presented in Burraston's characteristic style of rippling heavily modulated swaths of energy, underpinned by a more midrange foundation of a pulsing alien plinth. Filter sweeps reveal many more dimensions to the layers that are not initially obvious, bringing incessant bass tones and arpeggiator-like sections into focus before the wavering sea reclaims them.
Burraston's music is unlike anything else in the space it is able to inhabit, simultaneously sounding artificial and unnatural to an almost impossible degree, while also functionally conveying itself in elemental and naturalistic ways. Everything is an object, an outline, a weather system or a color, each possessing a specific set of attributes that communicate synaesthetically with the listener, as temperatures and spatial indicators, rather than confining themselves to much more arbitrary traditional sensations.
NOTE: After some confusion from listeners, we'd like to make clear the fact that all NYZ/Noyzelab catalog releases at Psoma are available ONLY as abridged digital versions for name-your-price/free download, and in their full unabridged editions as physical CD-Rs. There is not an unabridged digital version of anything from NYZ at Psoma, and the physical editions do not ship with unabridged digital versions either (that is, if you do not count the digital music present on the compact discs). For listeners only interested in unabridged digital versions, we encourage you to visit noyzelab.bandcamp.com to purchase those directly from NYZ, or even better, subscribe to his Bandcamp output and just get everything."
"Continuing from SEM with his exploration of GForce software instruments, Burraston builds a wall with the Oddity3, an expansive modern iteration of the ARP Odyssey that includes several new additions and functions. ODT3 consists of two such instances of the Oddity3 to accomplish the wide stereo image, both focusing on the 4035 ladder filter from the short-lived Odyssey mark II (only one of three filter types present within the softsynth). Landing somewhere on the map between the Cell Meditations and the subharmonic hums of TESCO SYNFETIX, ODT3 pulses in shallow waves that betray the depth beneath their softened surfaces. Close listening yields wondrous results, especially in headphones, as the swirling mass of the frequency spectrum slowly rises like a shipwreck called back to shore. Almost imperceptibly, the true substance of this piece is revealed in microscopic increments, until it overtakes the senses and surrounds everything, filling the air with vibrating particulate and soporific electricity, glimmering like a portal to an adjacent dimension."
"This is just a simple short piece using the Strega to process Debussy on incoming tape from the Tascam Portastudio 424.
Recorded the Debussy on an old Hammond piano from the mid 1950s that's partially out of tune and has some serious key bed issues (built in lo-fi character I suppose).
When the Strega was first released I was really interested at how it would function as a processor of other instruments. It's surprisingly good at processing a variety of incoming signals. The filter and the delay can add a lot of character, though I wish there was some way to trigger the oscillator.
Honestly, I have mixed feelings on the Strega as a whole. It does some things incredibly well, but lacks a couple of basic features (like Midi) that would really open up the possibilities. Meanwhile, as much as I want to like the touch plates, they feel a bit like gimmicky overkill considering all the patch points (hope I'm wrong about this).
I might do a spoken review if folks are interested. I'm kicking around the idea of making spoken reviews and tutorials a bigger part of this channel, but haven't had as much free time as earlier in the year.
"Was the first released prototype of hardcore techno actually released in 1968 in Finland? In this video we take a look at the history of hardcore techno and speedcore, and a particular 1960's experiment of high tempo rhythmic electronic music and its creator.
EDIT: A little correction: 'We Have Arrived' from the 'Reflections Of 2017' 12" was on white label in 1990, but officially came out in 1991 on Planet Core Productions and Industrial Strength. Thanks to Spastmatiker for pointing it out.
INTRO MUSIC BY:
https://soundcloud.com/dc_fields
MUSIC BY:
Leo Anibald - Ritmicida
Delia Derbyshire - Dance from Noah
Erkki Kurenniemi - Antropoidien tanssi
Erkki Kurenniemi - Sähkösoittimen ääniä #1
Amalgam 5 - Amalgam V
Low Entropy - Futuristic"
Erkki Kurenniemi - Antropoidien tanssi (Love Records, 1968)
"Vinyl rip from: VA - Perspectives '68 - Music In Finland (wrong cover picture in the video)
Love Records (4) – LRLP 4
Country: Finland
Released: November 1968
Discogs info: http://www.discogs.com/Various-Perspe... [cover & record lables below]
All rights belong to the artist.
Erkki Juhani Kurenniemi (10 July 1941, Hämeenlinna, Finland – 1 May 2017, Helsinki) was a Finnish designer, philosopher and artist, best known for his electronic music compositions and the electronic instruments he has designed. He is considered to have been one of the leading early pioneers of electronic music in Finland. Kurenniemi was also a science populariser, a futurologist, a pioneer of media culture, and an experimental film-maker."
"In the past ten years, the notion that there is a coastal divide in synthesis style, usage, and music has become common.
But are the typical supportive assertions accurate?
The Littoral Myth is a series that explores the fallacies that lie at the foundation of the "East Coast" / "West Coast" synthesis paradigm.
The music was composed entirely on Buchla instruments.
This video was funded by the Patreon supporters of Automatic Gainsay. Support the creation of this video and all of the Automatic Gainsay videos that have helped you by becoming an Automatic Gainsay supporter on Patreon!
http://www.patreon.com/automaticgainsay"
Playlist:
01- The Littoral Myth- Part 1: Introduction
02- The Littoral Myth- Why Moog and Buchla did what they did
03- The Littoral Myth- How Moog and Buchla are really alike
04- The Littoral Myth- Explanation of this mad errand
05- The Littoral Myth- Is it wrong to describe Moog synthesizers as "subtractive?"
06- The Littoral Myth- Does Buchla really focus on Additive Synthesis?
07- The Littoral Myth- Buchla is actually quite subtractive!
08- The Littoral Myth- Moogs can only do simple waveforms?
09- The Littoral Myth- The most bafflingly wrong assertion about Buchla instruments
10- The Littoral Myth- Bob Moog did NOT choose the keyboard for traditional music
11- The Littoral Myth- Moogs were not created for traditional music.
12- The Littoral Myth- Buchlas can ONLY be used for non-traditional music?
13- The Littoral Myth- You can't compare 1970s Don to 1960s Bob!
14- The Littoral Myth- The real reason Moog and Buchla are responsible for modern synthesizers
15 The Littoral Myth- Conclusion: Why the Littoral Myth is useful
It looks like the rumors were wrong on this one - no AN-X engine. Instead we get the AWM2 (Advanced Wave Memory 2) sample and synthesis engine, and a pure FM-X (Frequency Modulation) engine.
"Check out the compact, lightweight MODX+ synthesizers, designed to help you take control of your sound and stand out on every stage, studio or stream.
MODX+ is powered by the same innovative technologies found in our flagship MONTAGE synthesizer including the AWM2 (Advanced Wave Memory 2) sample and synthesis engine and a pure FM-X (Frequency Modulation) synth engine for amazing sound playback and complex sound design.
MODX+ Motion Control brings the sophisticated automation of music production to live performances by giving you simultaneous control of up to 128 parameters. So you can shape live sound like a conductor commands an orchestra."
SOUND
The most important element of any instrument is the sound. MODX+ makes all elements of your music sound amazing. MODX+ uses the same technology that powers the flagship MONTAGE: 128 notes of AWM2 (Advanced Wave Memory 2) sample and synthesis polyphony for stunning emulative acoustic instruments, synth sounds and drums. MODX+ also features 128 notes of FM-X (Frequency Modulation) polyphony - a unique, expressive, highly-programmable synthesis technology for dynamic, electro-modern music creation.
The AWM2 engine is exclusive to Yamaha synthesizers and offers much more than just sample playback. Each of the 16 AWM2 Parts feature eight programmable synthesizers with 18 different filter types, amplitude, pitch and filter envelope generators, nine LFOs, 3-band EQ and a dedicated dual insert effect with Virtual Circuitry Modeling.
The FM-X engine: Everything you love about the iconic DX7 meets the latest Yamaha innovations. FM-X produces classic ‘80s or cutting-edge EDM synthesizer sound with incredible dynamic range, power and fidelity. MODX+ goes well beyond the capabilities of the original DX7 with an 8-operator FM architecture, 128-note polyphony, many filter types and more. All with Motion Control for ever-evolving and changing textures to create sounds no one has ever heard before.
256-NOTE TOTAL POLYPHONY
MODX+ features 128-note stereo AWM2 polyphony and 128-notes of FM-X polyphony. Due to the unique architecture of MODX+ and MONTAGE, this polyphony is always available without latency or compromising other features.
Smart Morph enables morphing between FM-X sounds. Its sophisticated A.I. algorithm creates an interactive morphing map from up to eight FM-X sounds. You can “play” this map from the touchscreen or use the Super Knob to move between two points. The result is a staggering number of interesting and interactive new sounds.
Priced at $799. See the dealers on the right for availability.
"We are proud to present to you our new instrument,
Polyend Play - Sample and MIDI-based Groovebox.
Play is incredibly powerful yet easy to learn. It’s designed to let you create and perform music while having fun. It’s a groovebox that comes loaded with sample packs that makes it ready to play right out of the box. The Play offers an inspiring workflow for both seasoned and novice musicians.
It allows music makers to create and interact with musical patterns in a number of exciting and creative ways. Free, regular software updates will make it even better in the future. And if you already have other MIDI devices, Play can become the centerpiece of your setup."
"Polyend Play is possibly the most flexible and inspirational groovebox ever created. Loaded with tons of samples, 8 tracks of audio, and 8 MIDI tracks for sequencing, you can create beats straight out of the box and truly make them your own with a wide variety of playback tools and effects.
The audio was recorded directly from Polyend Play's output without any further processing."
POLYEND PLAY Review // How it raises the groovebox bar // Top pros, cons, 16 factory songs, tutorial
With a workflow that is both inspiring and simple, Polyend Play is far from your average sample-based groovebox. Endless possibilities for your beats are at your fingertips with over 30 sample kits to play with straight out of the box.
Polyend Play takes an open sandbox approach for creating and performing grooves, with the freedom to instantly mix things up with tons of different playback functions.
Flexible sequencing with 8 audio tracks and 8 polyphonic MIDI tracks for controlling your outboard gear – Polyend Play really wants to be at the center of your studio. This is quite possibly the most fun groovebox ever created.
Play
Pick & Place. Find your sound among over 3000 included samples and place it anywhere on the grid to start building your tracks.
Select & Adjust. Easily adjust step parameters independently with familiar sample-based controls at your disposal.
Make each track your own with 35 different play modes, Chance and Action Combo, Randomizer and Step Repeater functions.
Stuck for inspiration? Utilize the Smart Fill option to automatically fill any area you choose with an entire beat, a random placement of steps, or even a Euclidean spread.
Quickly move data around, such as Steps, Tracks, Track Pages, Variations, and Patterns, with simple selection and copy/paste controls.
Keep it musical with scale filtering, allowing only notes within the selected scale to be outputted by the entire sequence.
Perform
Perform mode allows you to make non-destructive changes to your tracks, via performance effects including Tune, Filter, Overdrive, Rearranger, Space and much more.
Live record automation or change individual step values on the fly and even record mono or polyphonic MIDI from an external controller or onboard keyboard.
Customizable pattern chaining allows you to map out entire sequences anywhere on the grid and perform them live.
Reverb, Delay, Sound Enhancer, Limiter, and Saturator master effects are included to spice up your entire mix.
Instantly Save and Recall patterns. Perfect for when things go wrong during a live performance.
Sequence
8 internal audio tracks and 8 individual polyphonic MIDI tracks combine for powerful integration with your existing instruments.
Full MIDI capabilities with flexible MIDI CC mapping per track for the individual rotary knobs and you can connect an external controller for MIDI note input. Plus, you can output chords, arpeggios, program and bank changes, pitch bend, clock and much more.
Over 30,000 track variations are available! That’s 128 Patterns holding 16 tracks, with each individual track holding up to 16 variations.
Control your synths and drum machines on individual tracks with the ability to output a separate set of MIDI values per track.
Each track can benefit from independent lengths (1 to 64 steps), different BPM-related speeds, playback modes and even swing values. Perfect for polymetric and polyrhythmic sequences.
Hardware
Split-screen display with 15 touch-capacitive knobs that can be tapped once to select and preview a parameter or twice to switch between upper and lower screen values.
16×8 step sequencing grid complemented with a 4×8 control grid for Mute, Solo, Variation, Select and Keyboard note input.
MIDI ins and outs via 3.5mm jacks
(MIDI DIN adapter included).
MicroSD card slot (16GB card included)
Runs on 5V/1A via USB-C and can be powered from a power bank for getting out and about.
Free, regular firmware updates.
"High-level take: 1) Sound: System 8 sounds VERY close to the Juno 6. Fairly equivalent, but differences can be heard. 2) Feel: No contest. The Juno 6 has the feel of a luxury synth, the sliders are lovely, the keys are lovely. The System 8 feels like an M-Audio midi controller from the mid 2000's. 3) Look: No contest. The Juno 6 looks incredible. The design is just up there. It is iconic. The System 8? It would not look out of place in a gamer's den with an Alienware computer and Mountain Dew strewn about.
Overall experience: Based on the above, I can't help but just FEEL differently about the two instruments. Roland did an excellent job on the System 8, there's no doubt about it. It sounds very good and does a LOT more than the Juno 6, that is clear. The sound IS there. The problem isn't how it sounds, but how it is experienced.
Sure, I can 'play' a Juno 60, or Juno 106, or JX3P, Jupiter 8, System 8, or any number of other plug-outs. They sound very good (although my experience with the JX3P is that the Plug out is not quite there). I believe the Juno 60 plug out sounds better either because it is newer, or because it is simpler than the JX3P. This makes me suspect the Jupiter 8 plug out might not really get there either (as it is a 2 oscillator synth). There only exists one comparison out there on Reddit, and I don't think the person owned both.
The biggest difference in the sound to me was when I threw the resonance to max and the cutoff to zero with envelope amount and decay and sustain to max. The Juno 6 was much darker (i.e., more closed filter) than the System 8. I would have close down the envelope amount on the System 8 to match. You hear that in the demo. The chorus 1+2 is pretty different too.
Where the sound ends, you are met with a blast of the rest of the experience. The look could not be any further from the Juno 6. We go from classic to garrish. That is a hard pill to swallow. Some seem to like it - and that's great. There's nothing wrong with liking how it looks. I personally do not like how it looks (although if I change the green to mint green on my videos, it does look cooler).
I don't really like the fact that the upper chassis is made up of one plastic mould. I prefer the upper part of the panel to be separated from the mod wheel area. On the System 8, you just see this long panel reaching down from the top to the bottom by the mod wheel and I personally don't like how that looks. It looks cheap.
The FEEL or experience is so largely different. The System 8 just feels cheap to me. The keys don't have a nice feel, sometimes sort of sticking too. I want to open mine up and use white lithium grease on the keys, maybe that would help. The Juno 6 feels like playing a nice instrument. The metal panel, the sliders, the keys - oh the keys feel so nice. Apparently they're the same as the JX3P and D50 based on that "Ultimate Keybed Thread" but I have all three and the Juno 6 feels MUCH nicer.
Conclusion: I know I'm complaining a lot about the System 8. The truth is it does in fact sound very good. When I first got the Juno 6 I said to myself that it was a huge mistake because the System 8 sounds identical. The differences are not big enough for me to prefer the Juno (unlike the JX3P, which DOES sound better than the plug out). The Juno has a much better 'sweet spot' but only because it's range does not go as wide/far as the System 8. Is that a good thing that the Juno 6 has more sweet spots because it limits its ranges more? I don't know.
One intangible thing. I cannot explain this, but when I play a System 8, even if it sounds good, I wonder "Is this really how the real thing sounds/feels?" My brain just doesn't accept the System 8 as the proper surrogate. I think I'd have the same thought regarding the Jupiter X. Or with a VST for something that I care about. It's probably like chasing goblins in my head. There is no answer. If you want a Juno or a Jupiter, you will likely never be satisfied with the System 8 or Jupiter X...
The answer is likely something greater than your desires. It is probably related to mindfulness and acceptance that we can't have everything. I'm still working through these thoughts myself.
Door #6: Lasst uns froh und munter sein (Let us be happy and cheerful) - Synthmas '21
video upload by Synthfluencer
"The gear:
This song is played on the Casio CZ-5000 digital synthesizer. With the CZ series Casio stepped into the professional music market after getting famous with the VL-1, PT-1 and other casual instruments. All CZ synths used a synthesis technology called phase distortion. Some preferred PD before FM synthesis, since it can create bell-like sounds as well as warm analog sounding pads. Even though missing velocity and aftertouch as built in the CZ-1, the CZ-5000 was the second best equipped synth of the family. The two DCOs are capable of playing 8 different wave forms, can be ring modulated and formed by 3 envelopes for each DCO (DCA = VCA, DCW = VCF, DCO = VCO). The envelopes can have up to 8 stages what gives huge possibilities for sound design. Key split, layer sounds, a sequencer - not really easy to operate but unique in the price range at the time - and a really good sounding chorus made the CZ-5000 a dream synth for many electronic music enthusiasts.
Because operating the internal sequencer is a fiddly job I used a Korg-SQD1 for sequencing the song. The simple multi track sequencer was very popular in the 80s Detroit techno scene.
Trailer material: Pexels.com (image @seurafrancis99, video @cottonbro)"
Door #5: Morgen, Kinder, wird’s was geben (Tomorrow, Children, Something Will Be) - Synthmas '21
video upload by Synthfluencer
The song:
Originally named "Die Weihnachtsfreude" (The Joy of Christmas) the song occured first in the 18th century. It describes the childrens thrill of anticipation awaiting Christmas Eve.
The gear:
For this song I used the Yamaha MODX. The modern digital synth is basically using two synthesis engines: AWM2 is a sample based engine while the FM part is an enhanced version of legendary DX-7 engine that shaped 80s pop fundamentally. As the AWM2 synthesis allows an instrumentation in any thinkable fashion, the song's version presented here makes use of original DX-7 factory patches only. That gives the desired retro touch.
FM synthesis was a giant leap in synth architecture. Not only that digital synthesis was available for a broad customer base; the DX-7 put cutting edge expression technologys into play like breath control and MIDI and made upper class features like after touch available for the ordinary synthesist. The (then) unique e-piano patch defined a new standard and became a mandatory element of 80s synth ballads. The possibility of adding a (digital) filter and effects to the FM engine's sounds makes the MODX kind of a 'super DX7'. Hence the name MOreDX?
Trailer material: Pexels.com (image @seurafrancis99, video @cottonbro)"
Door #4: Es ist für uns eine Zeit angekommen (Unto us a time has come) - Synthmas '21
"The song:
The melody came up in the 19th century as a traditional Swiss star boys' singers Christmas carol. From it's origin, the Wiggertal in the Canton of Lucerne it found it's way to Germany. While first sung with the original lyrics, under the reign of the Nazis a secular version was created. Like years later the communist GDR regime, the Nazis tried to remove the christian aspects from Christmas - our celebration of commerce we all love so much today. Nevertheless, this version is the most common used for the song today.
The gear:
The song is played by a Roland JV-1010. Sometimes derided as a "ROMpler", this multi-timbral digital synth is equipped - like it's bigger brother the JV-1080 - with many legendary sounds of Roland's 80s flagship D-series (10/20/50). Like Roland D-synths the JV-1010 creates it's sounds using LA-Synthesis. Therefore calling it "ROMpler" is simply wrong. LA-Synthesis was Roland's bold move to finally break the success of Yamaha's FM-Synthesis intruduced in early 80s with the legendary DX-7. The idea behind LA-Synthesis is that real instrument sounds (back then synths aimed most notably to imitate real instruments) are recognized by the very first parts of a sound. So LA or linear arythmethic synthesis using very short samples at the beginning of a sound continued with subtractive synthesis.
For this song I only used factory presets. I think the JV-1010/1080 has a wonderful warm sound. A Roland D-10 was my very first synth that broke a few years ago and I always thought about replacing it by another one or a D-50. But the JV-1010 turned out to be much more than a makeshift. Love it!
Trailer material: Pexels.com (image @seurafrancis99, video @cottonbro)"
"I love this thing. When I was in my 20s I suppose this was *the* polysynth. Yes, I know there were others, but this was the one I always wanted but I had no chance of being able to afford one. So when Memorymode came out I jumped on it immediately. Is it the same as the original? Not sure, but I think that's the wrong question. And the answer is that Memorymode feels like the original and can make the patches I've always wanted to make. And hey, it costs about $8,000 or $12,000 less than the original to boot, so I'm not complaining at all.
In a way I don't have all that much to say about this synth, other than that it's easy to program and sounds great. Three thick oscillators, nice filter, and some decent modulation capabilities (a little limited, but hey, that's how things were in the '80s). Plus, I can toss it in my backpack, which is something you could never do with the 70 pound original.
"It's a video that I touched for an hour for practice and testing. Since I used KASTLE as the master of rhythm keeping, I had a peculiar synchronization shift in the first half, but what kind of feeling does KASTLE have including that?
Use it for work or workout as simple rhythm music.
I use BASTL INSTRUMENTS KASTLE V1.5 and PO-12. br> Recently, I noticed that KASTLE's LFO RST is not working ... I feel that the PO-12 side is not able to control it ... What's wrong ...
"Last weeks I made some nice music but none of it was good enough to record in my opinion or I could not play it without hitting the wrong keys...
This week I came up with this track. On the Cirklon there are 5 monophonic sequences. The bass is played on the Synthesizers.com Modular. The other voices are played on the Synthesizers.com and Eurorack Modular, the Tom Oberheim SEM and the Korg ARP Odyssey. One polyphonic sequence is played on the Roland JD-800 doing a strings sound. The manual keyboard interaction is done on the Polymoog, which is fed through a Behringer VP1 Phaser, and the Minimoog. In the video I have placed some pictures so you can see which modules and instruments are playing.
The track was recorded live to multi-track on the Behringer X32 Compact and mixed in Studio One afterwards. I hope you will enjoy it.
"Note Mode ensures you can never play a wrong note and, with our Novation Launchpad Pro [MK3], it adapts to whichever track you have selected. Enrique takes you through the feature and shows you how you can use it to expand your creativity.
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