Prism Circuits - Return of the QUASAR SYSTEM

video upload by

"The Return of the QUASAR SYSTEM!

The QUASAR system was inspired by the unpredictable nature of black holes and exploring the thoughts of getting lost in space by immersing yourself into a system that guides you in many unknown directions, forcing one to patch in ways they never thought possible.

With no sequencer in the system, users are forced to think outside the box to create melody and patterns. Having many random voltages within the system allows this instrument to be a force of its own when it comes to generative patching techniques and moving compositions that can morph in the time domain.

qua·sar

/ˈkwāˌzär/
a massive and extremely remote celestial object, emitting exceptionally large amounts of energy, and typically having a starlike image in a telescope. It has been suggested that quasars contain massive black holes and may represent a stage in the evolution of some galaxies.

PATCH NOTES -

I designed this patch to show that tonal sequences can be produced on the QUASAR SYSTEM to create an abstract composition. This piece has a very microtonal feel and is quite interesting when notes begin to relate and spread from each other.

The QUASAR SYSTEM lends itself to a world of generative patching techniques that has made this system a very unique system.

Preorders are now open for the QUASAR SYSTEM and scheduled to be released December 15th! Preorder link below ~

https://prismcircuits.net/products/qu..."

Kling Klong – Preset Walkthrough (Soundset for Hive 2)

video upload by u-he

"Kling Klong for Hive 2 is a collection of 170+ unorthodox synth percussion loops and hits, with countless variants via Hive's XY pads.

Most 'Mono Loops' are arpeggiated sequences, letting you create variations by simply holding down different notes across the keyboard.

The 'Poly Loops' make good use of Hive's polyphonic shape sequencer instead of the arpeggiator/sequencer: By stacking notes the user can turn slow loops into complex rhythms or dramatic repeating 'flams’ – an unusual technique well worth exploring!

Available here: https://u-he.com/products/soundsets/h...

00:00 - Mono Loops
04:49 - Poly Loops
09:57 - Fantasy Hits
14:36 - Reality Hits"

Magerit Eurorack Modules

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

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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...

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Ziqal Dimension wavetable VCO interface overview

video upload by John Schussler

"My Dimension wavetable VCO just arrived today from Ziqal and I'm trying to figure out its interface. (There's no manual yet, they say it's in the works.) It's almost completely intuitive, except for a couple issues, so I don't feel like I'm lost without a manual, which is good.

I'm not spending a bunch of time going through all the wavetables. It has an SD card with lots of tables on it, and there are 6400 you can scan through if you're so inclined.

I'm not inclined right at the moment. Just some samples for now.

Sequencer: Stochastic IG. Envelope: Zadar

00:00 Intro
00:20 Sounds
03:16 SD menu
04:14 Unison menu
05:55 Transform menu
10:56 Voices menu
11:16 Patch menu
15:15 Config menu
15:27 More sounds"

"The Dimension wavetable engine uses 2048 samples * 256 waveforms wavetables to bring high definition tables to your system. Its wavetables reproduction precision will fit any of your audio textures needs.

Dimension is compatible with the Serum wavetables format and feature an intuitive and fast file browser, allowing you to explore thousand of already available wavetables. Just drop your favorites wavetables on its SD card and instantaneously start exploring new sonic territory.

24 voices
Dimension is capable of playing not less than 24 voices simultaneously within 10HP tanks to its embeed modern high end audio processor. Depending on the active patch mode voices can be assigned to chords polyphony or unison engine

Polyphonic stereo, Dimension, Dual or LFO modes
The Classic mode provides 4 oscillator voices panned over stereo outputs. You can control theses voices in CV programing chords or with the internal notes scaler and or feeding midi into the module.


The Dimension mode allows the waveform to be morphed across the entire module memory in an X Y fashion. As the module allows to store internally 25 wavetables of each maximum 256 waveforms. This mode allows wavetable morphing over (25*256) 6400 different waveforms.

Dual / LFO mode

Dual mode output two different wavetables on each output. LFO mode operates as the dual mode, except that the frequency range of output two is set in the subsonic range.


In any mode, voices can also be multiplied 6 times and detuned to play massive 6 voice unison. When using 4 voices it brings not less than a total of 24 voices out of your oscillator."

COLLIDZ° - Generative Sequencing Station and Synth for REAKTOR 6

video upload by BLINKSONIC°

"COLLIDZ° is a generative, autonomous, and multipurpose virtual synthesizer based on 4 synth engines, the whole sequenced by a polyrhythmic program of 12 scaled or microtonal notes.
A new paradigm around harmonic scores creation, melodic sequences Programmation and real-time note interpretation.
Preselect the notes/frequencies you want to play.
Define individual tempo signature and rhythmic rules for each 16 midi tracks of the grid sequencer...

Choose from classical scales and modes or set your custom tunings. COLLIDZ° allows exploring unknown temperament settings and microtonal scales.
3 different tuning modules are proposed :
- FORCE - Scales, modes & chords midi filter.
- CUSTOM - Custom tuning module.
- ANCHOR - Scale calculator.

The instruments feature a treatment flow of 4 effects:
- LARSEN - Resonate/shifter module.
- FROST - Micro Delay/Freeze.
- FEATHER - Digital Reverb.
- JUICE - SSB Radio and Tape Machine emulator.

Revisit classical tone generators with the 4 embed synth engines :
- STROKES - Percussive synth based on FM operators.
- FRICTION - Modal synthesis strings emulator.
- GROUND - Two oscillators based subtractive synth.
- SHOCK - Virtual analog drum and percussion engine.

Full of additional features: Global Midi Transposer, LFOs, custom BPM commands, OTT compressor, random phrase generator, external input and looper, audio to gate converter.
COLLIDZ° also comes with 100 snapshots in order to get your hands on the instruments.


A COMBINATION OF MODERN AND SPICY ELEMENTS TO COVER MANY MUSIC GENDER AND SOUND DESIGN RESEARCH...
FIND NEW INSPIRATIONS OR JUST PRESS PLAY AND LISTEN & MAKE THESE BLOCKS OF SOUNDS COLLIDE WITH EACH OTHER!!


COLLIDZ° has been created with & for NI REAKTOR 6 (full version).

More info on the product page at https://www.blinksonic.com/portfolio/...
Online guide: https://blinksonic.com/COLLIDZ_guide/

RETAIL PRICE: €129
///////////////////////////////////////////////////////////////////////////////////////////////////////////////
Launching price of €99, with the discount code COLLIDZ on check-out. Save €30, until 24th of March 2022."

Infinite Space - Modwave Space Ambient

video upload by Waveformer

"Live improvised Space Ambient on the Korg Modwave synthesizer. One single patch. Moving slowly from oscillator to oscillator, exploring wavetables and wave morphing. There are patch and jam notes as text overlays throughout the video.

My music on Bandcamp: http://waveformer42.bandcamp.com/

The audio is recorded to SD card on a Zoom R-16 mixer/recorder and normalized in Audacity. Video is recorded on a Canon EOS M50 mk2 with the included EF-M 15-45mm lens. Audio and video is synchronized in DaVinci Resolve 17."

Forms

videos upload by Forms

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Patch Notes: Qasim Naqvi

video upload by FACTmagazine

"Pakistani-American musician Qasim Naqvi is perhaps best known as a founder member of acoustic trio Dawn of Midi, in which he has played drums since 2007. Outside of his work in Dawn of Midi, Naqvi is an accomplished solo artist whose compositions have been performed by ensembles including the London Contemporary Orchestra and Chicago Symphony Orchestra, and soundtracked many films and documentaries.

Naqvi’s recent solo releases, such as 2019’s Teenages and 2020’s Beta, have made extensive use of synthesizers and modular systems. In this episode of Patch Notes, we invited Naqvi to perform at Pioneer Works, a non-profit cultural center in Redhook, Brooklyn.

'The building dates back to 1866 and was originally a railroad track factory,' Naqvi says. 'Now it’s a massive performing arts space. With my equipment, I was merging two systems that I’ve been configuring for a couple of years, a Verbos System and a Serge System. I also used a few random modules to connect everything: a Quad VCA from Intellijel and an X-Pan stereo module from Make Noise as the final output.'

'The acoustics are massive at Pioneer Works and we set everything up where the audience usually stands, so I was facing the house system,” he explains. “It was quite powerful to feel the music coming directly at me from this monstrous system. It definitely affected my choices. I wanted to embrace the full dynamic feel of the space, by exploring a range of highly dense sounds to rhythmic ideas, to more sparse and quiet moments. It was also a hellishly hot day and there was no AC in the building. At a certain point it felt like a clay oven.'

The piece Naqvi performs is called ‘Yes Mammal’, and was originally titled ‘Music for Modular Synthesizer, Dim Lamp and One Developing Melody.’ 'I wrote it in June for my first show in New York after a year and a half of not performing,' he explains. 'It’s evolved since then and I wanted to share it with Fact.'

'My background for a long time has been in acoustic music, where I write pieces and then share them with a group or individual to interpret. And from there they’ve made it into something larger. With the modular, I’ve been translating that way of thinking. Lately, I write a piece or a sketch and give it to an entity, in this case the synthesizer, and let it expand the music to more than just notes on the page. This piece is loosely written and I improvise with the material using the infinite possibilities of the modular synthesizer to give it shape in the moment. I like to think of it as live orchestration but with voltage.'

Naqvi has typically used this large-scale modular setup in the past to perform, but more recently he’s been experimenting with slimmed down systems to use in live performance settings. 'I’m making different and smaller hybrid configurations that are more tailor-made to the pieces I’m writing,” he says. “I still use this whole system when needed but it’s been an interesting exercise to slim down from time to time and make more with less.'

Naqvi’s most recent release is an EP titled Chronology, which was released on on Erased Tapes. 'It was made entirely on a very old and broken Minimoog synthesizer. It’s a special album that I made with a great relic.'

Follow Qasim Naqvi on Instagram: https://www.instagram.com/browniebonb...
Qasim Naqvi on Bandcamp: https://qasimnaqvi.bandcamp.com/

Credits:

Filmed and Recorded live at Pioneer Works in Red Hook, Brooklyn, NY
Video by Gabe Rubin, Wolfgang Daniel & Zack Shorrosh
Live Audio & Recording by Riley Stevens
Lighting by Matthew Mann
Production by Justin Frye"

String King: Sequential OB-6, Alesis MIDIVerb II X 2, QuadraVerb, Audiothingies Doctor A, CME XKey

video upload by

"Exploring the softer side of the OB-6, this time with the CME XKey 37 for polyphonic aftertouch. Most of the reverb is coming from the Alesis vintage rack stack: MV II Preset 28 (XLarge Warm 5s), MVII Preset 29 (XLarge Warm 15s), QV Preset 75 (Taj Mahal). The Audiothingies Doctor A adds some modulated delay and a small touch of concert hall reverb. The polyphonic aftertouch on the CME XKey is very difficult to control, and I've got the sensitivity turned all the way down. The cool thing is that any chords played on the XKey will have a natural chorus effect, as it's impossible to play all the notes with the same amount of downward pressure. Flaws (and lack of ability) aside, the results with the XKey can be stunning, so I'm keeping it for now."

Exploring Sample Builder for wavestate 2.0 Update

video upload by Korg

"Sample Builder lets you load up to 4GB of your own samples into the wavestate (4,000 mono samples or 2,000 stereo)! Sample Builder also includes basic tools for editing start points and loops. Arrange the samples across the keyboard to create Multisamples for the wavestate. Group Multisamples into Banks.
Sample Builder is available as a free download for MacOS and Windows here:

https://www.korg.com/us/support/downl...


0:00 Introduction
0:30 Prepare .wav Samples
0:58 Import .wav Samples Into Multisample
1:12 Edit Mutisamples
1:36 One Shot vs. Loop
2:36 Key Zone
3:21 Save Multisample
4:19 Bank
5:12 Save Bank
4:48 Transfer Samples to wavestate (Save Bank first)
5:32 User Samples in wavestate
6:19 User Category Shortcut
6:52 Playing Demo
7:47 Closing"



wavestate 2.0 Updates:

Support for User Samples
Express yourself in your own unique voice. Import up to 4 GB of your own Multi-samples into the wavestate via the new Sample Builder application for Mac and Windows. Use your samples in Wave Sequences or as single Multi-samples, just like the factory Multi-samples.

Editor/Librarian
Get the big picture. The Editor/Librarian acts as a second front panel for the wavestate. Realtime display of modulated parameter values and Wave Sequences gives you instant feedback on your creations. Copy and paste sounds, envelopes, LFOs, filter settings, and more. Dive deep into Effects with access to all internal parameters and create your own Effects Presets.

User-requested improvements
You asked, we listened. The new Performance-level Hold feature (via SHIFT-ARP) keeps notes or chords playing, leaving your hands free for moving knobs or playing other instruments. Fit to Scale lets you constrain the Pitch Lane’s output to a specific scale and key—especially useful when playing polyphonically.

Get to your sounds faster. Select Categories for Performances, Programs, Multi-samples, Wave Sequences, and Lanes directly from buttons 1-16. The new “User” Category lets you mark your own sounds, and dual Categories mean that a sound can be assigned to both “User” and “Strings” (for example).

Explore Vector Synthesis
The new Curve parameter lets you control the way that Vector Volume crossfades between points. For maximum volume, use Loud (the original wavestate behavior); for more gentle crossfades, use Smooth (the original Wavestation behavior).

Even more refinements
New gain-scaling options bring out the tonal range of the MS-20 and Polysix filters, and user interface improvements streamline your sound design.

wavestate software 2.0, the Editor/Librarian, and Sample Builder are available to all current wavestate owners as free downloads from korg.com.

ALLINAIRE - Mandelbrot vs Buchla 259e

video upload by Allinaire

"In this piece the Mandelbrot set ‘plays’ a Buchla 259e and friends (including various Max-for-Live devices). The 259e is my favourite Buchla oscillator as it contains a wealth of tones varying from a simple sine wave to chaotic digital noise - which kind of represents what happens to the points within and around the Mandelbrot set. With a 259e you can make a ton of sounds ranging from pure and harmonic, melodic to percussive, so it is perfect for this experiment.

OK, so this is the first of my explorations into the ‘sound’ of the Mandelbrot set. I’ve been thinking about and working on the idea of ‘sound and fractals’ & order and chaos for some time now. Some of my earlier work is based on these ideas and I intend to release more material exploring the many aspects of these fascinating mathematical constructs and the relationship to sound and rhythm.

This first track and video is relatively simple – I basically look at various points, being real and imaginary numbers, in and around the Mandelbrot set. Depending on where a point starts there is a pattern, or orbit, related to the formula z = z2 + c where ‘c’ is the point of examination. The equation is repeated, and a pattern emerges which you can see by the lines emerging from each point. If the pattern stays within the black area then it is said to be part of the Mandelbrot set and tends to produce a pure or harmonic set of tones. Stable orbiting patterns within the set can also have different periods from 2, 3, 4, 5 and so on, as you can see in the video, these points derive from the ‘bulbs’ off the main set. These periods create the harmonic series tones. Points that are outside of the Mandelbrot set quicky become noisy and chaotic and disappear to infinity.

For this sonic experiment the movement of the original point ‘c’ and the patterns each point creates forms the origin of the notes and gates. The starting point being the fundamental frequency, and the patterns with stable orbits become harmonic ‘chords’. These are converted to midi note data. Changes in the position of the point are registered as a midi note on and off which generates gates and triggers used for the percussive tones. I convert the midi data to cv (control voltages) to drive the Buchla modular synthesiser as well as using the midi within various Max devices. The sounds on the video are derived wholly from the midi / cv data created by the movement of the original point on the Mandelbrot, there is nothing added. The ‘artistic’ aspect of the piece is derived from where I choose to sweep the points and the sounds and percussion allocated to the midi / cv data. I have more in the works exploring Mandelbrot and Fractals! I want to acknowledge that I’m certainly not the first person to do this. There are many many examples to be found on-line and in some instruments. My version is based on this original concept and application code by CodeParade found here:"

Sounds of the Mandelbrot Set

video upload by

"Try it out now! https://codeparade.itch.io/fractal-so... Making music and sound effects directly from common fractals was an idea I though of one night, so I just had to try it out to see what it would be like. The results were really interesting and actually helped me understand even more about fractals and chaos.

Source Code: https://github.com/HackerPoet/Fractal..."

Arturia Polybrute - IT'S FINALLY HERE!! First Few Patches!

video by Lost Clouds

"After a few months of deliberation I decided to pull the trigger on the PolyBrute - here's the first 4 patches I came up within the first hour of working with this thing, it's a dream so far :) Some more general thoughts:

- This thing is HEAVY - 20kg is more than you'd think and I wouldn't dare risk this on the upper tier of my 2-tier stand (rated to 25kg, but no thank you...) or any cheap stands. On the plus side, all that weight comes from incredible build quality - the wood is gorgeous, and the metal is a much nicer look in person. Feels super sturdy!

- Including a paper manual is always a welcome addition, and as far as manuals go this one is fairly nice to look at, there's even colour on the front!!

- As others have noted the keys feel a little spongey - I wasn't too sure about this at first but I'm starting to really like it. It feels nice to play and, imo, makes velocity-sensitive routings a bit easier to work with compared with other, more 'solid' key actions I've dealt with

- The first calibration is slow. I'm hoping this is just a factory-reset sort of calibration and not something I need to do every time I turn the synth on? Haven't turned it off yet since it arrived 4 hours ago...

- The oscillators were initially out of tune and drifted out of tune again after a couple of hours, granted it's been pretty warm in my room today. Had to calibrate the oscillators twice, but thankfully it's a little quicker than the initial calibration. Hoping this is normal and I don't have a buggy unit?

- This thing sounds really, really good - I tried out a few of the presets, and they're fun, but I almost immediately went to making my own because that's where all the fun is! Everything is immediately accessible, the oscillators sound good and quite hefty (see the first part of the video below where the bass notes really cut through and add some weight to the sound). Things are laid out quite differently on Arturia synths compared to others, and this is my first Arturia, so it's taking some getting used to but it's all very intuitive. It's quite a modern sound, I can't get it into vintage, Bladerunner-style territory very easily, but that just means it'll be a nice compliment to the Rev2.

- It is a blast to explore. I've been at it for a few hours and I've barely scratched the surface. Definitely one you can lose yourself in for hours at a time.

- The sequencer is INCREDIBLE - programming and messing around with a polyphonic sequence is easy, and the integration with the mod matrix to show steps, notes and modulations is genius. I'm really not sure there's much more they could do on this to make it better, but time will tell!!

I do have a couple of fairly minor 'issues':

- It would be nice if the screen could display the value a knob/slider is at, like the Rev2 or Peak does, and if there was a "Show" feature like on Sequential synths where you hold "Show", turn a knob and it tells you where it's at

- I'm yet to RTFM but I can't see any way to change the length of a sequence to a number of your choosing (e.g. 5 steps)?

- The output level is a bit lower than other synths I own, which isn't necessarily a problem but I definitely have to use the pre-amps on my Scarlett 18i8 whereas with others (Peak or Sub37 in particular) I can get away with running them into the line inputs. Not a criticism, just an observation.

Overall, very very pleased and excited to keep exploring."

Thin Air - Genki Wave MIDI Ring vs. ROLI Equator2 Synth Performance

Nular Music

"In this video I used the Wave MIDI ring by Genki Instruments to control the parameters of ROLI's Equator2 synth plugin via hand gestures.

I've been fascinated by this form of expression since I first heard about Source Audio's Hot Hand ring and the Mi.Mu Gloves, but I couldn't see how I could integrate it into my workflow until now.

nularseq, the Max for Live sequencer I developed specifically for finger drumming turned out to work very well in this context: it allows me to trigger sequences of MIDI notes via tapping my fingers.

Equator2's deep modulation system allows me to control the sound exactly the way I want to. In this performance I used the pan gesture to blend between two oscillators, the tilt gesture to control filter cutoff and scan through a wavetable and the roll gesture to control delay feedback, unison detune and various other parameters.

It's a pretty amazing experience to be able to trigger notes and control various aspects of the sound completely untethered, and I can see a lot of creative uses of this technology. Don't panic, I don't intend to ditch my Launchpad anytime soon =), but expect more videos exploring this form of expression from me soon."

Korg Introduces the opsix "Altered FM" Synthesizer

Own FM with Korg’s opsix Altered FM Synthesizer

Update: Kraft Musik video added to the playlist below.

The KORG opsix is here. It appears KORG went with the smaller Wavestate-like body. You might remember the full size keyboard teasers from previous posts. That said, details:

"The legendary sound of FM synthesis had graced hundreds of albums, from its introduction in the 80’s to today. Korg’s opsix puts the power of expanded six-operator FM synthesis in your hands, with instant on-panel controls that help you create custom FM sounds with unparalleled ease.

'Altered FM' takes you light years beyond classic FM with 32 voices of polyphony, five modulation types, a user algorithm mode, multiple filter models 1 “logue”-style 16-step note and motion sequencing, effects for days, a 12-point modulation matrix, and much more."

User videos:

Use the player controls at the bottom left of the player once started to skip around. Some are long.
See the dealer links in the playlist below and the banners on the right for availability.

Playlist:
1. KORG opsix Altered FM Synthesizer - First Look! with Tom Butcher of Patchwerks Seattle - video by Matthew Piecora (aka EZBOT)
2. KORG OPSIX - All Playing, No Talking - Kraft Music
3. Korg opsix Sound Demo (no talking) - Bonedo Synthesizers
4. Korg OPSIX Review, tutorial and 10 patch tips // All 250 Presets played - loopop
5. Korg OPsix FM synthesizer // Hands-on Easy to Use FM Synth! - BoBeats
6. Korg Opsix Sound Design - Kinda Tutorial - True Cuckoo

"Rethink everything you know about FM synthesis.

The opsix represents a new and expansive reimagination of classic digital synthesis. Much like Korg did when bringing wave sequencing back in a more powerful, more musical, and more immediately accessible way with wavestate, so was the approach to FM sound generation of the opsix, resulting in another incredibly flexible and unique synth.

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doepfer a-124 vcf5 wasp filter

impurfekt

"please support the channel: https://impurfekt.bandcamp.com

the doepfer a-124 vcf5 is a 12db multimode filter using the filter circuit of the edp wasp; an analog synthesizer with a black and yellow case built in the seventies. this filter abused digital inverters as analog operational amplifiers leading to distortions and other dirty effects that generate a unique character. it's equipped with a band pass output and a combined low/notch/high pass output.

once i had gathered the filters i was familiar with i started exploring other options to expand my palette. after seeing a few demos i was very intrigued by the wasp filter. it reminded me a bit of an ms-20 filter but with its own brand of nasty. in person the wasp did not disappoint.

the layout is nearly identical to a few other doepfer options which made it easy to pick up and play. it has the mid-forward tone you expect from a 12db filter. high resonance is nasty and unpredictable but won't blow your speakers (which is nice).

where this filter really shines is when you overdrive it. it sounds like a different version of itself; nice and smudgy. you can get away with high resonance and still get an even sound level; which means you can use high resonance in a lot more situations. in that way it reminds me of the korg prologue filter (another filter i adore).

i appreciate a filter with a broad range of character and the a-124 definitely has it. i wouldn't say it's as musical as a moog or roland filter, but it has a very usable range of nasty and can make unique sounding bread and butter sounds as well. a great option if you're looking to add something unique to your toolkit.

filter sweeps (low pass) at 0:05
filter sweeps (high pass) at 2:40
filter sweeps (band pass) at 4:14
filter overdrive at 5:53
filter sweeps thru the polymoon at 8:44
saw arp at 11:06
square bass at 16:28
triangle arp at 23:02

patch notes:
malekko manther growl thru doepfer a-124 vcf5 thru meris polymoon, walrus audio fathom x2 and strymon dig

disclaimer: module was purchased out of pocket for music production purposes"

Quick Synth Improv From Scratch - Nord Lead & Zoom 1201

Published on Mar 4, 2020 ChrisLody

"So being the total masochist that I am I've taken on another daily music challenge for March over on Instagram linked to the Electronic Curiosity Collective that come with a set of suggestions you can try for each day. Today's suggestion was to improvise something completely from scratch. So I took it upon myself to create a sound and record something as quickly as possible. I've truncated the sound creation down as much as possible as it get a bit dull, but it took me about 10 minutes to go from a standing start, create a sound whilst coming up with ideas and put this together. Not bad :)

So obviously this is played on the Clavia Nord Lead with the Zoom 1201 providing reverb shown in the frame on a couple of blocks of wood, proper low tech solution. I've been experimenting for a long time trying to move away from playing diatonic notes and chords (notes within a fixed scale) as I increasingly find it boring to listen to and play, so this jam is me exploring just that. Ends up sounding a bit unpredictable this, a kind of untrustworthy vibe maybe."

Exploring the Synthy Side of the Nord Drum 2 - the Scale Preset mode

Published on Feb 28, 2020 NONsynth

"I've got my hands on another Nord Drum 2 and I now want to make a deeper exploration of its synthyness. In this test vid I use the Midibro in dispatcher mode to send single channel midi notes to the multiple channels of the ND2, turning it into a polysynth. I used the Edit Group settings to link all six channels and edit them as one.

What are you seeing in this vid? Well, digging through the manual led me to this (wtf) description of the "Scl Pre" mode:

"Use the Scl Pre feature with an Edit Group
to quickly set up different pitch relationships
between pads.

The pitches will begin at the set pitch on the
lowest numbered channel in the Edit Group
and increase with a factor determined by the
selected scale on the selected channels.

If a Scale has been used to set a pitch
relationship, you can change the pitch of one
channel without breaking the pitch relationship.
This will move all the other pitches until
one of the pitches reaches the maximum, or
minimum pitch (“0” or “127.5”)."

And so begins my experimentation."

#Synthuary2020 / #Jamuary2020 - 12

#jamuary2020 Day 12 - Elektron Digitone, Artuiria Minibrute 2S, Korg Volca Modular

Published on Jan 12, 2020 Oscillator Sink

See the Synthuary label for more. Synthuary because these are the Jamuary synth videos. More below.

"It's been a long old week hasn't it? Well Sunday is Droneday so if you're not keen on notes that last the whole jam, low frequencies and reverb (LOTS OF REVERB) probably step away now. Otherwise lie back turn off the lights and drone on friends."

CLICK FOR MORE »

0-coast ambient: shadows of self

Published on Jan 6, 2020 C Nich0lls

"Synth performance featuring the MakeNoise 0-Coast synthesizer and System Cartesian. The main theme of the track is a single-take and unedited performance on the 0-coast, being sequenced by MakeNoise Rene 2.

the shadows we cast

Patch and Recording Notes

This track revisits some ideas from earlier recordings in regards to how the melodic motif is developed. The Korg SQ-1 sequencer from previous videos is replaced by the MakeNoise Rene 2 sequencer as part of the System Cartesian. The actual sequences of pitches is fixed throughout, however the output of the 0-Coast is ‘double gated’ through the MakeNoise LxD and Moddemix from the System Cartesian. These gates are individually opened by channels 1 and 4 of Maths.

The contour shapes of Maths are continuously altered throughout the performance which ‘window’s the melody in different ways. It is experienced as a set of possible intervallic gestures rather than a single melodic line. Additionally the sequence lengths of the X,Y,Z layers of the Rene 2 are slightly different, which further obscures the underlying consistency of the pitch sequence.

The audio is principally the 0-Coast’s oscillator which is FM’ed by the sine output of the MakeNoise STO (again from the System Cartesian). Both oscillators are tracking the pitch from Rene’s X layer, but there is additional modulation from 0-Coast Contour to create a short ‘burst’ in the attack. This is a fairly basic analogue FM implementation and I plan on exploring this further in future recordings.

There are 3 independent recordings (each recorded in a single take and with no further editing) in the final track. The first is the melodic contour, the second is a noisy tone created by driving the random source on the 0-Coast with the oscillator square wave at audio rate and then FM’ing the main oscillator. This is driven by the exact same sequence as the melodic layer, but performed differently; essentially layering windows upon windows.

The last layer is a ‘kick’ drum built by using a fast decay contour to modulate the 0-Coast oscillator. This layer has the 1V/oct tracking disconnected and is then hand tuned to the other tracks.

All tracks were recorded through a custom Non-Linear reverb patch from the Strymon BigSky, with the first 2 tracks also being recorded through a custom Lo-Fi patch on the Strymon TimeLine.

There is some attention paid to maintaining the rhythmic coherence between the 3 layers, but I don’t lose sleep over it. As usual, this is something to do with observing the relationship between human and machine that is clearly an obsession.

For the original ‘demo’ version that was recorded solely with the System Cartesian, check out my SoundCloud.

https://soundcloud.com/cen-8/5h-4d-0w"