"Hi, I have been a buchla fan for a long time, and I have always been curious about buchla 700. I immediately bought the id 700 when it was available, which is really a great app. However, I like hardware instruments with intuitive operation. Thanks to my good friend kweiwen, who wrote the initial code for me, I opened this mysterious instrument. After half a year of learning and development, I finally completed this module. Although there are still some improvements to be made, I am very happy, the sound is really good, I try to make myself comfortable with it, so the design is based on personal habits.
The main program is written in max/msp, using daisyseed to implement gen ~ code burning.
buchla700 is a very complex instrument, although it cannot be perfectly reproduced, I think half of the core content is there."
Playlist:
1. 700VOiCE Buchal format Walk through new Updated version introduction
Previous devlopement:
2. I made an fm module similar to buchla 700
3. Play note#1 new buchla format modular demo
4. 700_FM_Voice_Note4
5. 700voice upgrade test demo 1
6. 700 buchla format modular note#5
"I apologize for the delay; the new images and information are still being prepared. The images feature three modules: on the left, the 3U modules include the 700 expansion and 700 voice, while the 1U module on the right is an effects module that will be introduced separately later. Thank you for your patience!
In the realm of synthesizers, the nearly forgotten classic Buchla 700 is celebrated for its unique sound design. We are thrilled to introduce our tribute module, showcasing a distinctive 700 FM Voice module powered by re-optimized algorithms. With its intuitive interface, you can dive in effortlessly, whether you’re crafting intricate soundscapes or vibrant melodies. This module is designed to inspire creativity and unlock endless possibilities.
This module is a monophonic sound source featuring four variable waveform oscillators and six specialized algorithmic index amplifiers, creating complex modulation patterns with twelve algorithms. Each oscillator and index group can be individually controlled via CV inputs, with dedicated CV attenuation for each. It provides a dual-path mix output for Group A/B, enabling CV morphing, along with a separate output for channel B. Both A and B channels offer independent wave shapes and drift modulation. Each oscillator supports wave morphing between sine, saw, and square waveforms, with the option to expand using an additional 12 control knobs. Two OLED displays showcase configuration algorithm graphics and a dual-channel oscilloscope. The DA output is 48 kHz/24-bit, with finely tuned oscillator algorithms. Outputs are carefully calibrated through analog amplification circuits, fully compatible with Buchla-format CV modulation, and support 1.2 V/oct and MIDI input.
"Dynacord ADD-one + ADD-drive, Dynacord’s dynamic sampling duo! This combo makes for an incredibly powerful hardware synth/sampler with unparalleled capabilities for its time.
NOTE: Other recent listings only include the ADD-one, but if you are reading this you probably know that the increasing hard to find ADD-drive unit is essential if you want to be able to sample your own sounds.
So if you have been looking for a complete ADD-one/ADD-drive don’t sleep on this rare opportunity!
These two specific units were purchased in 2016 from Wavemeister AUT (receipt available on request). Both units are in incredible cosmetic condition for their age and are working as they should. Used in a smoke free, climate controlled studio and never gigged. The build quality on both units is top notch and all knobs and buttons feel great. ADD-one’s display is original, but it is bright and easy to read (see pics), although not from all angles, but this was never the case even when new. Serviced by Audio Rehab, CA (Greg Granieri) in 2019 (receipt available on request). All contacts, pots, jacks and switches were cleaned. And all 23 button contacts have recently been re-cleaned and are working as they should.
There is a very slight whine sound when powered up which can be heard at the outputs. I am no expert, but it’s possible this could be resolved by replacing the capacitors in the power supply. It has never bothered me enough to address so I will let the next owner decide if they feel this is necessary.
The ADD-one is running firmware v2.22 and passes all diagnostic tests and sounds fantastic (see video link below).
There are a few, very minor blemishes and scuffs on both units, with one small dent on the top panel of the ADD-one (see pic), and some erosion on the top edge of the left rack ear of the ADD-drive (see pic). However the front panels are mostly pristine, with only one tiny, tiny mark on the ADD-one visible (see pic), and some wear to “Dynacord” text on ADD-drive (see pic). Very, light rack rash on both units (I hit Reverb’s image limit but additional pics available on request).
"Hold onto your seats because this Jupiter 8 demonstration, in glorious stereo, will blow you away. Showing off the different abilities that has made it one of the most famous synths ever made! We show off the Noise with Filter, Resonance & Modulation capabilities in great detail, with the left & right sides working independently. The arpeggiator with its versatile patterns, being tweaked on the live panel. A stunning showing of the power of the Jupiter 8 with low aggressive power chords filtered & modulated.
There were only a few synths - back in the 80s that mastered the polyphonic glide - here we hear the versatile polyphonic glide doing what it does best! The 3rd part of this video covers Programming including tuning the oscillators, playing the Jupiter 8 as a lead synth in unison & pretty sounds to add colour to your track. The final part shows you some of my best programmed sounds including brassy sawtooth pads, plucked stabs, flute layering, soft percussive sounds, interesting pads, 80s picking parts resonance pads, lead sounds & sharp attacking aggressive cutting melodic lines. So lets dive in!
The audio is DIRECT, 100% DRY, & IN STEREO - You are hearing the raw audio as it comes directly from the synthesizer. NO post processing (Effects, EQ, or Dynamics) whatsoever.
Timings
0:00 - Description 1:12 – Noise plus Modulation 6:24 – Arpeggiator 11:11 – Live Panel Power 13:03 – Polyphonic Glide 14:07 – Tuning the Oscillators & Modulation 14:41 – Lead Unison 15:09 - Best Programmed Sounds inc Tweaking 17:45 – Round up
The original Roland Jupiter 8 from the early 80s - a very rare synth & arguably the most ultimate analog synth ever made!
The famous sound of the Roland Jupiter 8! Keep up with the weekly videos we post on @,andywhitmore, subscribe and share with those who need to see them. Your comments give us the inspiration for new videos & keep us on the right track so please say hi!
Thank you for watching this video. Please keep up with the weekly videos we post on the channel, subscribe, and share with those who like to see them. Your comments are important to us.
New first time we make a controller. Control freak is releasing know.
"Something new for the first time we make a controller.
🙏 Hi there!
I hope you’re doing well. I
wanted to share with you some exciting
news about the Control Freak,
a versatile controller for your eurorack
setup that can also be used as a standalone equipment.
What makes it truly unique is its external box,
which allows you to connect a joystick, a trigger sequencer,
a complex LFO, and an external LPG.
It’s packed with all the essential utilities
commonly used in modular synthesizers,
eliminating the need for additional keys or
accessories. With the Control Freak, you’ll
have everything you need to take your
music production to the next level.
Let me know if you need more information or have any other questions.@www.errorinstruments.com @errorinstruments #errorinstruments #experimentalmusic #noise #controler #eurorack"
Note: Auction links are affiliate links for which the site may be compensated.
video upload by hi there its me
Note this video is from 2019. The listing below is for another. This is the first video of one to be featured on the site. BTW, if you saw this post earlier, that post was lost in an edit. This is a new post. Also see the update in this post for some additional info on the Wersivoice fx cards.
"Vintage drum computer fully programmable
- recorded thru stereo out with preset pan and pad volume
- no effects added
- 8-10bit (?) sound, full pitch with beautiful digital artefacts when playing lower notes
- one analog Sound (Synth Tom)"
"Vintage Chorus/Vibrato from the late 70s
- demonstrated with Ableton's Operator (Sine/Squarewave)
- no effects added
- beautiful to warm up your digital synths
- also works great with guitars, vocals..."
Note the video above is not for the listing below and it actually uses a different card. See the update from Ohm Studio below. There were different versions of the PCBs used by Wersi. Read on for details.
"These WV30 rotor/string cards are used and tested from a Wersi Arcus and are suitable for all CD range organs. Not suitable for any DX range organs."
Update: I asked Ohm Studio if this was the same model card used in his custom design. He replied: "It’s not the same pcb I use or used in the Wersivoice FM76 above (the only standalone manufactured model they made). It’s from a more recent design and uses different bucket brigade devices, Panasonic MN3004 instead of the Philips TDA1022 used in the Wersivoice, Bohm and most of the Italian string synths and organs from the late 70s on (the Farfisa effect I built was also designed around those).
Earlier ensemble fx used TCA350 BBDs like the Eminent Solina, Logan string melody, Crumar Stringman etc.
American and Japanese designs tended to use Panasonic (Roland used the MN300x a lot. Like in Juno choruses too).
I never really notice a real difference in sound between those BBDs IF the circuit is more or less similar and based on the Solinas, ie using 3x BBDs modulated by 2 lfos, one at 6hz and one at 0,6hz.
Roland ensemble fx do sound very different than the rest, but IMO it’s not because of the uses of Panasonic BBDs but because of the circuit design that is not based on the classic eminent design.
I do think however that the Bohm Phasing rotor and the Wersivoice are the lushest you can get (except, most probably for Jurgen Haible Triple Chorus, which unfortunately I never had a chance to hear. From what I've read the Bohm was a huge influence in his design).
So to make a long story short: no it’s not the same but I’m quite sure it would sound nice because it looks like it’s the classic design."
"My opening set for electronic jam band Chachuba at Kenny's Westside Pub in Peoria IL May 5 2023.
Since I was opening for a high energy (not to be confused with Hi-NRG) electronic jam band, I decided to keep my set as low-key as possible. My personal gravity is extremely strong with ambient dub, so I went with that. I would really like to explore this dynamic more in these circles. Hopefully this gig wasn't the end of it.
Something that has bothered me about my live music over the past 15 years or so is that I have wanted an extemporaneous approach, but the tools I chose were more suited to improvisation than composition, because flexibility is more important to me than structure.
What this means is that with very specific exceptions, I've been playing electronic free jazz for 15 years and the stress level hit a point where I just didn't even enjoy playing any more. I would spend my entire gig having a slow-motion panic attack, terrified that what I was doing was boring and made no sense whatsoever.
I started using a tool called The Force by a brand which used to be a division of a legendary Japanese home audio company but is now in the brand basket of an MI corporation that has many faces. I spent years working with it as a sound design tool but never live, and late last year I threw up my hands in frustration with a Very Complicated live rig I spent years building and chucked it all in favour of this thing ... and I can now do TUNES again. This silly looking, horribly typecast box lets me finally interact with an electronic composition in a way that I could do as a bandleading organist with tight relationships with a drummer and a guitarist.
I have some plans to re-incorporate "electronic free jazz" into my sets but I have to build a new (smaller) live rhythm section and it will require that I design and engineer at least three new products.
In the meantime, I'm pretty happy. I had no music-related anxiety about this gig. All of my visible stress was because my Suburban suffered a transmission failure right after leaving my studio, which delayed me 2 hours, but I still started on time. I also had forgotten how to use the Pigtronix Infinity 3 loopers, because their UX sucks, and they should be ashamed of themselves. I'll be designing my own MIDI controller for them soon which will solve some of its problems but those clowns need to get their act together. I think I wasted the first five minutes of my timeslot trying to figure out why they weren't doing what they were supposed to do. (I cut that part out. It was embarassing.)
Like all of my sets, there is an intro, incidents, and interstitials. This is a tracklist:
0:00 - Intro - Suitscape in Abm 4:00 - National Suicide: Military Aid to the Soviet Union (Ebm 70 BPM) 23:00 - Suitscape in Bbm 24:53 - Dub Force Rising (70 BPM Fm) 37:55 - Suitscape in Cm 40:33 - Summertime: Temporary Love (80 BPM Gm) 50:58 - Outro - Suitscape in Dm
I'd like to thank Chachuba for insisting that I open for them, and Kenny's Westside Pub staff for being so hospitable and their owner for being gracious and generous to me. Kenny's also shot and recorded this gig, and livestreamed it. That is so damn cool.
Also, I am contractually obligated to mention periodically, but not constantly, that I am a Hammond USA company artist. They make great stuff like the XK-1c I'm playing at this gig and if you're using anyone else's products for digital Hammond sounds you should probably re-evaluate your choices. I have been playing vintage Hammond consoles since 1998 and ever since I got the XK-1c I haven't felt that hole in my electronic music that existed before, where I had no connection to my roots. I could write paragraphs about this but I need to go to bed.
"In this video I run different patches and sounds through these three mixers by Feedback Modules in an attempt to highlight the sound differences between them.
MIX BX, MIX CR and MIX KM have gain to spare and excel at saturating sounds, but they can do clean sounding mixes as well. The channel strips host an equaliser, a gain knob, two auxiliary mono sends (with stereo returns), a panning knob, clickless mutes and a volume control.
For a detailed overview of the features of the MIX BX (which has the same features as the other two mixers) you can take a look at this extensive playthrough video:"
"In this video I do a complete rundown of all the features this 6 channel eurorack mixer by Feedback Modules (a eurorack maker based in Romania) has to offer.
The MIX BX is perfect for making submixes for your drums or mix (and glue) together synths that benefit from some nice sounding saturation.
I demonstrate how to chain 2 channels to make hardstyle(?) kickdrums and how you can make use of the 2 aux sends to create a bus for parallel saturation.
At the end of the video there's a long 'no talking' segment where I systematically run through different sounds while tweaking the parameters... this might feel like an unnecessary boring part of the video but I really think getting to know what it sounds like is the most important thing... feature-wise the MIX BX is 'what you see is what you get' so there's not a lot of fancy tricks that you can pull of with it, apart from adding tons of character to anything you put through it.
correction: it is capable of amplifying line level signals to modular levels but there's no guarantee that the signal will stay clean
0:00 intro 0:31 hi 2:08 front panel features 12:55 distorted kickdrum trick 18:27 parallel saturation 24:13 no talk runthrough
I was thinking about what to type between 'MIX BX' and 'extensive playthrough' and the things that came to mind were '6 channels of bonkers', 'eurorack 90s grunge mixer', ... but none of that really serves the MIX BX justice. It does all the glue, grit and grime of the Boss BX era range of mixers, but the thing that stood out to me the most, compared to other eurorack mixers I've tried, is the amount of low end on this thing (what I would consider as 'warmth').
You can support my channel at http://ko-fi.com/BRiES - there's some exclusive content and downloads. This includes several patch breakdowns and some designs I made. There's also a seperate shop where I sell virtual instruments (ableton live) and sample packs. If you're interested in getting one on one feedback, guidance, in-depth explanations, etc please contact me at briesmodular at gmail dot com - I just started doing this 1 on 1 thing so it's still very much in its infancy. Send me a message if you're curious!
DISCLAIMER: Andrei from Feedback Modules sent me this mixer because I insisted that he should make some kind of demo to showcase the character (sound) of this mixer, since that's its main feature. I was genuinely interested in the MIX BX and I'm really happy I got the chance to make this video so everyone out there wondering about how it sounds can watch my video and at least get some idea about what it's capable of."
"Note: One can indeed change the scale on LD. Read the informative pinned comment by GerenM dot Net. Thanks for info! 👍
Hi, this is Lemondrop from 1010music, what a revelation. At least that is my opinion, it is so portable it begs to be carried around, be taken with you on your next gig, next tour to the beach, it easily fits in your pocket, it only needs some USB power to turn on, and it invites you to be creative and, not at least, create some music wherever you are.
Lemondrop makes me happy as a creative person, and I'll bet it will make other people happy, too.
This is NOT a paid promotion in any way, it is just me being infatuated. It is a great feeling. Try it!
In this video I demonstrate most of its functions, I use together with Roland U-110, with Korg SQ-1, DigDugDIY Purple Rain, the lowfi sampler and compressor, with PO-14 Sub, and give you and overview of how it is modulated using its special modulation sequencer, that can contain as many as 31 steps and with varied step length. Also, I cover the filter section, there are two, the LFOs, also two, and the FX section, which sports reverb, delay, chorus, flanger, phaser, and a distortion.
I demonstrate its audio input and how it is used together with midi.
Enjoy!
Cheers!"
1988's Roland U-110 Meets Lemondrop in 2022 | Hearing is Believing | Choir of Dover
"Hi, this is a taster for what to come.
More Lemondrop, because it works so well with everything (I guess...).
It has a price tag, but when it makes music creation so fun and efficient and yields such good results, it is a keeper.
"TRINITY is a 3 channel Digital Drum Synth Array packed into a 20hp eurorack synthesizer. Effectively, Trinity performs as 3 powerful drum voices packaged into one beastly drum module with a few tricks up its sleeve.
The name Trinity refers to the 3 drum channels and tips its hat to the core elements of any modern beat driven composition which is typically Kick, Snare and Hat. Trinity takes this simple idea and flips it on its head with 3 channels and an array of drum synth algorithms that use various types of synthesis (Subtractive, Additive, FM & Noise) allowing for a wide array of drum design capability that achieves and reaches far beyond the conventional."
Modbap Trinity Introduction
Press release follows:
Modbap Modular expands Eurorack module lineup with Trinity debuting as a DIGITAL DRUM SYNTH ARRAY at Knobcon Number Ten
LOS ANGELES, CA, USA: black-owned Eurorack modular synthesis and electronic musical instrument manufacturer Modbap Modular is proud to debut Trinity — the fourth entry in its expanding Eurorack product lineup as a three-channel DIGITAL DRUM SYNTH ARRAY, as the appropriate wording on the distinctive-looking, triple-colour-highlighted-branded front panel in reference to effectively performing as three powerful drum voices packed into a 20HP module with a tip of the proverbial (electronic hi-) hat to the typical (kick, snare, and hi-hat) core elements of any modern beat-driven composition subtly suggests, albeit with some neat production tricks thrown into the musical mix — at Knobcon Number Ten, a one-of-a-kind synthesizer convention now in its tenth year, held just outside of Chicago, IL, USA, at the Hyatt Regency Schaumburg, September 9-11…
“Trinity has evolved over time to become what it is today.” Modbap Modular founder/owner/designer Corry Banks is perfectly positioned to introduce Trinity to the musical masses, historically highlighting its interesting journey getting there thusly: “I wanted a drum module that would allow me to have a simple-yet-smacking kick, snare, and hi-hat in one module. I also wanted to play outside of that simplicity with malleable percussion synthesis. Trinity had to have a degree of hands-on control, together with a good deal of CV and/or MIDI control. I get into sound design, too, so Trinity had to serve me well in that area, and it does not disappoint. Trinity is all of that, while finding a way to introduce a few interesting and fun quirks as well.”
With that being said, Trinity takes the simple idea of tipping the proverbial (electronic hi-) hat to the typical (kick, snare, and hi-hat) core elements of any modern beat-driven composition and flipping that on its head by combining its three channels with an array of drum synth algorithms that use various synthesis types — namely, BLOCK (analogue-inspired drum synth building blocks featuring a sine and triangle core; great for traditional electronic drum creation), HEAP (additive drum synth with 12 partials; great for fun, natural sounds and pitched, percussive sounds), NEON (FM drum synth engine; great for high-quality FM drums, clangorous metallic percussion, and more), and ARCADE (quirky noise generator synth, reminiscent of classic Eighties-era arcade games with zaps, crashes, explosions, and more; great for claps, hi-hats, and even some vinyl noise approximations, as well as all sorts of fun percussion and degraded noises) — to allow for a wide variety of drum design capability that achieves and reaches far beyond the conventional. Clearly living up to its front panel-positioned DIGITAL DRUM SYNTH ARRAY wording, which immediately steers its users into a certain way of thinking, Trinity’s array of digital drum synth algorithms are very malleable, thanks to the seven sizeable knobs and four mini-pots positioned in the upper half of that distinctive-looking, triple-colour-highlighted-branded front panel. Put it this way: each control a specific parameter and characteristic — PITCH, SWEEP, TIME, SHAPE, GRIT, DECAY, EQ, CLIPPER, HOLD, VOL (volume), and, of course, CHARACTER — for each drum voice. The three — DRUM CV1, DRUM CV2, and DRUM CV3 — channels each have their own TRIG (trigger) and V/OCT (one-volt-per-octave) inputs in addition to extensive CV input options, all available for front panel-positioned patching purposes.
Trinity takes its capabilities several steps above and beyond anything comparable in the modular Eurorack world with cyclical (C. MODE) options offering round robin and random playback, as well as two STACK modes. Musically, round robin cycles through the drum algorithm types one after another with each trigger, while random randomises the parameters of a channel’s chosen drum algorithm type with each trigger. Those STACK modes are inspired by the characteristics of chopped breaks where drums tend to overlap and fan out, depending on the content of the chopped source material. Trinity’s take on that allows the second and third drum channels to be triggered by the primary channel’s TRIG and V/OCT inputs; in addition, ‘secondary’ STACK SPREAD functionality allows for fanning out the stacked drums to taste.
Trinity’s uniquely performable and switchable OUTPUT matrix allows for the routing of each drum channel’s output to the MIX output, the individual — DRUM1, DRUM2, and DRUM3 — output, or ALL. As such, easy performability, mutability, parallel processing, or side chaining are all perfectly possible.
Thereafter, Trinity’s USB MIDI connection allows for MIDI control over various parameters via one USB cable. Clearly, USB MIDI makes instant integration a cinch by simply connecting one USB cable from Trinity to a groove-box or computer.
All in all, then, Trinity packs a hefty percussive punch, weighing in at a 20HP width with 11 knobs, three drum channels, three trigger buttons, four drum algorithms based on four different synthesis types, 24 CV inputs, three-output switching with three individual outputs, a mix output, and MIDI-over-USB connection belying its 26mm depth. Concludes Corry Banks: “I think we’ve achieved a good deal more than we even initially set out to do with Trinity.” That’s really saying something — all the more so since the truly talented individual concerned holds an Associate’s Degree in Electronics, a Bachelor’s Degree in Technology Management, and a Master’s Degree in Project Management! After all, Trinity truly is a percussive powerhouse of synthesis — so much more than a simple-yet-smacking kick, snare, and hi- hat in one module, but rather a Eurorack module like no other... one which is bolstered by its inclusion of a bunch of really dope-sounding synth algorithms with which it does not disappoint.
Duly making its debut at Knobcon Number Ten, a one-of-a-kind synthesizer convention now in its tenth year, held just outside of Chicago, IL, USA, at the Hyatt Regency Schaumburg, September 9-11, anyone wishing to see (and hear) Trinity in action in advance of shipping should seriously consider checking it out there — assuming, of course, that they are in the general vicinity or prepared to travel at short notice if not already attending.
Expected to ship in mid-October 2022, Trinity is available to preorder at an MSRP (Manufacturer’s Suggested Retail Price) of $549.00 USD via San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) or directly via its dedicated webpage (which includes more in-depth information) here: https://www.modbap.com/products/trinity
"Hello and welcome to this video on Stolperbeats from Making Sound Machines. This is a quick introductory overview to the module, some of the features and me making some beats and having fun with the module.
Stolper is German for ‘stumble’ with Stolperbeats meaning stumbling beats that cover the grooves and musical feels of drunk, wonky, lazy, off kilter hip hop rhythms with humanised timings, flams and custom shuffle and swing settings. With modes for DILLA, SHAKE, PUSH and CLAVE you can dial in the general musical feel and timings you’re going for then alter the amount of shuffle. At its core the module is a drum sequencer, offering both step sequencing and patterns for kick snare, 2 hi hats and 2 percussion lines as well as various sync and clock division outputs. So there’s plenty to go at for modular sequencing (and MIDI if that floats your boat).
A full demo video will come around the launch of the module, so ask questions in the comments and let chat about what you’d like to see from the module in the main demo video.
If you’d like to join my amazing community, gain access to exclusive videos, PDF booklets and more check out my Patreon at https://bit.ly/DK-patreon"
"If you are looking for a tweakable, uncomplicated and great-sounding source of electronic drum sounds, the Syncussion might be worth its weight in gold.
Sparkling analogue drum sounds are what you need to turn your tracks to gold, Germany's Touched By Sound company may have the answer in the form of the DRM1 eight-piece analogue drum module.
Introducing the Roland JUNO-X Synthesizer | Three JUNOs in One (JUNO-60, JUNO-106, and JUNO-X)
video upload by RolandChannel
"Watch David Ahlund introduce the JUNO-X synthesizer’s wide range of sounds and features. This three-in-one synth contains the vintage JUNO-60 and JUNO-106 engines from the legendary JUNO lineup plus the modern JUNO-X sound engine. Combine and layer up to four parts and bring the warm vintage sounds of the ‘80s into the future.
Enhance your performance with three additional Roland classics—XV-5080, RD-Piano, and Vocoder. From the built-in chorus to the forward-thinking I-Arpeggio, JUNO-X combines classic effects with modern musical muscle for an unmatched JUNO experience.
Not only is JUNO-X packed with unrivaled sounds, but it also features a familiar panel with responsive controls and a full-sized keyboard for immersive performance. Plus, you can tweak tones, build scenes, and swap parameters easily using the free JUNO-X Editor for Windows and Mac OS available on Roland Cloud.
0:00 Introduction
1:11 JUNO-X Engine
3:08 JUNO-60 Model
4:14 JUNO-106 Model
5:49 XV-5080 Model
6:21 RD-Piano Model
6:40 ZEN-Core Sounds
7:32 Designing Sounds—Synth Bass
8:39 Designing Sounds—Pad
9:33 Designing Sounds—Organ
10:18 Designing Sounds—Lead
11:14 Vocoder
12:10 Scenes
14:25 I-Arpeggio
15:49 Drum Step Sequencing
17:32 Roland Cloud Connect
18:13 Performance"
Roland Juno-X Programmable Polyphonic Synthesizer - First Look with Scott Berry
"My friends--- I can finally say it: The Juno-X is HERE.
What an honour to be a part of the launch campaign with my friends at Roland. I am a huge advocate for the original Jupiter-X and all of its amazing capabilities, and the new Juno-X does EVERYTHING the Jupiter does in a more accessible and more inexpensive package--- it even has stereo speakers under the hood!
Here is my day 1 review of this awesome synthesizer.
Chapters:
0:00 - The NEW Juno-X
1:17 - Creating sounds from scratch with the Juno-X model
6:26 - Detuning oscillators
7:32 - Juno Chorus I, II, & III
10:29 - Filter modes: Roland, Moog, Sequential
12:12 - Changing parts, adding in part 2: Juno-106 model
16:10 - Stacking sounds
16:53 - Adding in part 3: RD Piano model
17:49 - 3 layer super stack!!!
19:30 - Adding in a rhythm/arpeggio
21:11 - Exploring some scenes
27:07 - Feature rundown
29:09 - Comparison with Jupiter-X
30:26 - Closing Thoughts
Roland JUNO-X - DEMO by gattobus: "Distant Memories"
"Here is the new Roland JUNO-X!!!
Every sound you hear in this video comes from this instrument, no overdubs, everything's been played in real time using the 5 internal parts, iArpeggio and the step sequencer.
Inside of each unit that you will find in the stores, there's also a piece of me as I had the privilege to create a lot of factory tones, scenes and the new iArpeggio 2.0 patterns!
I put a lot of love into it and I'm so happy with the final result. I have never felt so good with a synth since System-8, my first real job for Roland. It's a great honour for me to collaborate with them.
This simple song that I played, is not just a demo, it's a declaration of love towards life, for the fact that it led me to do (at least for me) the most beautiful job in the world.
I would like to thank president Jun-Ichi Miki, Hisakazu Yamasato, Akihiro Nagata, Yoshinori Iwamoto, Gota Miyabashira and all the amazing people in Roland I've been in contact with during the last 5 years. You are like superheroes to me, you're really making my dreams come true.
I hope this is only the beginning.
Happy 50th Anniversary Roland!!! 🧡"
And the press release (click the pics to zoom in):
The Legendary JUNO Experience Reimagined with the Power of Roland’s ZEN-Core Synthesis System
Los Angeles, CA, April 26, 2022 — Roland announces JUNO-X, a new polyphonic synthesizer driven by the next-generation ZEN-Core Synthesis System. JUNO-X brings the best of the past together with Roland’s latest technologies, reimagining the vintage JUNO experience with vastly expanded sound possibilities and free-flowing tools tuned for today’s music. It delivers the full capabilities of the native ZEN-Core engine, along with genuine recreations of the JUNO-60 and JUNO-106 synths plus other legacy Roland instruments.
Standing among the greatest analog synthesizers ever created, Roland’s iconic JUNO lineup has had a massive impact on music for over four decades. The warm, organic sounds of the JUNO-60 and JUNO-106 defined countless ’80s pop hits and played a huge role in the emergence of techno, house, synthwave, and other electronic styles. JUNO-X delivers the vintage JUNO spirit that continues to inspire leading music makers, coupled with the power and versatility needed for modern workflows.
JUNO-X includes JUNO-60 and JUNO-106 Models, plus an all-new JUNO-X engine with a Super Saw waveform, velocity sensitivity, pitch envelope control, and other evolved features. The two beloved chorus modes from the originals are also available, plus a third mode with even more fatness and swirl. Users can combine them to create seven different chorus effects for use with any JUNO-X tone.
JUNO-X features additional Models from the historic Roland canon, including the PCM-based XV-5080, acoustic pianos from the RD series, and an expressive Vocoder. Model Expansions from Roland Cloud are supported as well, giving players the ability to load optional titles such as the JUPITER-8, JD-800, SH-101, Vocal Designer, and others.
Roland Cloud is also home to a growing range of Wave Expansions, Sound Packs, Sample Packs, and other creative tools, and ten free Sound Packs are available with a JUNO-X purchase. Additionally, JUNO-X provides integrated support for Roland Cloud Connect, a powerful option that includes the WC-1 wireless adapter and one year of Roland Cloud Pro membership. This allows users to browse, audition, and load Model Expansion titles and other Pro membership content directly to the keyboard via Wi-Fi.
A key element of the JUNO’s appeal was a straightforward interface that made it easy to craft inspiring sounds and evolving textures in the heat of the moment. With a familiar hands-on panel inspired by the original 1980s synths, JUNO-X invites players to fully immerse in the music and create without limits. Up to four tones can be layered together, and a wide selection of modern effects are available for enhancing sounds. First introduced with JUPITER-X, the powerful I-Arpeggio function offers both traditional arpeggio sounds and organic, inspiring movement driven by intelligent algorithms.
JUNO-X comes equipped with an expressive 61-note keyboard with aftertouch and loads of connectivity for every musical workflow, including balanced and unbalanced audio outputs, a stereo audio input, and MIDI I/O. There’s also a mic input for vocal performing or feeding the onboard Vocoder. USB is available for data backup, audio/MIDI communication with DAWS, and remote editing with the free JUNO-X Editor for macOS and Windows. A high-quality stereo speaker system provides built-in sound monitoring, and Bluetooth® is available for streaming music from a mobile device.
Availability & Pricing
The Roland JUNO-X Programmable Polyphonic Synthesizer will be available in the U.S. in May for $1999.99."
--- Original post prior to the above follows (pics replaced with hi res versions - click them for the full size shots) ---
This is just breaking - no press release or info on Roland's site yet. Until then, some pics and features. As you can see this one is based on the Juno-106 design. The UI is as important as the engine and it looks like Roland may have nailed this one. The one problem with the original Juno-106 are those BA662A voice chips that fail over time. I've had a couple go and they are not simple to replace. You have to unsolder multiple pins on them to remove them.
What's interesting is it appears Roland is releasing classic physical designs with overlapping synth engines. The JUPITER-X has the JUPITER-8, JX-8P, JUNO-106, SH-101, XV-5080, RD, Vocoder, and ZEN-Core engines. The Juno-X has JUNO-106, Juno-60, XV-5080, RD, Vocoder, and ZEN-Core. So the X adds the Juno-60 but is missing the Jupiter-8, JX-8P, and SH-101? The Juno-X adds built-in speakers like the Jupiter-Xm. Interesting they note the speakers were inspired by the Juno-60 below. The Juno-60 did not have built-in speakers. The Juno-106S and SynthPlus 60 did.
Features:
Over 4,000 presets from historic Roland products including the JUNO-106, Juno-60, XV-5080, RD series of pianos, and classic vocoder model
Model Expansions incorporate even more Roland history and sound-design technology to offer nearly endless options for sonic exploration
Newly engineered Super Saw oscillator, Chorus III effect, and more use ZEN-core Synthesis to deliver a worthy holder of the Juno gauntlet
Layer up to 4 different sounds for unparalleled tone design opportunities
Intuitive interface enables straightforward sound design and modification
Ergonomic arrangements encourage breezy workflow, setup recall, and preset management with Scenes (up to 256 global setup presets)
Free Juno-X Editor software is included to give you even deeper access to making your sounds your own
Classic design and robust hardware seamlessly blend satisfying tactility with precision control
Aftertouch and assignable sliders and switches provide great range of expressivity
Retro arpeggiator and I-Arpeggiator can be freely toggled to allow for greater rhythmic flourish USB audio/MIDI interface and USB memory port for data backup, computer connection, and more
Onboard stereo speakers (inspired by the Juno-60) and Bluetooth compatibility make it easy to jam along to any accompanying track
Dedicated microphone input includes its own effects to model inputs and vocoded sounds
Multi-effects suite includes multiple forms of reverb, delay, chorus, EQ, compression, and overdrive
Output jacks for hold and control pedals allow for expansion of expressive control
3.5mm and 1/4-inch headphone outputs, L/Mono and R 1/4-inch main outs, and L/R XLR outs
This one is via an anonymous reader. Full release notes below.
Regarding PPG Waveterm Transitions Reply:
"I always dreamed of PPG Waveterm Transitions replay. So there are they here in
M! Now in classic mode one can use the second oscillator as a PCM oscillator and
play one of the 64 transitions, saved into internal flash. They could be loaded
from the SD Card to the M and used for your patch. So you can make 4 channel
Drum Machine with analog and digital VCF on each channel. Or multisample layered
patch. And the OSC1 stays free to play its own wavetable. So I am very curious,
what you can introduce with this new feature."
"You can load up these old samples and use your M as if you had a PPG Wave +
WaveTerm combo."
New filters: Notch 12dB / Oct, LP 24dB/Oct, BP 24 dB/Oct,HP 24 dB/Oct, Notch 24 dB/Oct, Sin Waveshaper + LP 12 dB/Oct, Dual LP/BP 12 db/Oct, BandStop 12 dB/Oct. Almost all of the MicroWave 2 XT's digital filters are now available on the M.
Note this appears to be the first post to feature the STING Midi Wind Synthesizer.
"Hi, this is Peter Ponzol. Most of you know me as a mouthpiece maker and saxophone designer. I was also a consultant and clinician for Lyricon, the first wind synthesizer. I demonstrated Lyricon at the Frankfurt Music Fair in 1979, 1980 and 1981. In 1985 I was contacted by a Japanese company called Sting. They had made a Lyricon type instrument that was Midi, something Lyricon was not. This allowed you to control any Midi device from the Sting unit. I did some consulting for the company and introduced it at the Frankfurt Music Fair in 1987. The company was small and Sting never became well known. If you know Lyricon, you know Sting. Keys and fingering possibilities are similar. There are some interesting innovations in Sting. For example there is no reed or typical woodwind type of mouthpiece. The mouthpiece is more like that of a recorder and thus much easier for none woodwind players to play. All information is transmitted over Midi except velocity, which is sent analog. I have two control bodies and the so called brain unit, as pictured. I packed these up around 1990 and they have been packed up in storage ever since. I have the original Operation Manual. The electronics brain is 220 volt and will need a voltage converter to 110. I just checked them with a midi unit I have and everything works. The only issue is the RCA jack on one body is loose. I am not an electrician and don't want to try and repair it. I'm sure its a simple thing for someone to fix. The jack works but is loose. These are real collector pieces of equipment. I have never ever seen another one for sale and I'm sure they are really rare. As they are 35 years old the sale will be as is. At the moment everything works as it did when I put them away. Its hard to determine the value as they are so rare. I have seen Lyricons going for $3,000, but I will start the bidding at $995.00. I will only ship to an address in the continental USA. Please do not bid unless you have a US address. I will sell internationally if you have linked your account to Ebay's international shipping service. Please see Ebay for more information. I will list this for one more week. If a buyer is not out there I'll pack it away again for a few years, then it might be worth much more."
"The Motas has a very unique feature in that the first low pass filter can obtain its resonance from the hi-pass filter, You have to play around with the filter routings to get it to ''work'' (obviously you can do what you want) but you can get some insane sounds from this.
In this video, all the sound is just coming from LPF1 and the other two filters are turned right down but they're still having an effect on the resonance character of filter 1 as you can hear.
I also make use of the mode where if you press page lock and value lock, the modulation settings are automatically mapped to the front panel so long as you keep those two locks engaged.. This makes it a breeze to tweak modulations and very fun / easy to find sweet spots with various parameters."
Motas-6 Analogue Synthesizer Wavefold Demo
"I made this video as I mainly just wanted to give an impression of what it might look like programming something on the Motas-6. It's a crazy deep synth but it's actually very easy to program..
Unfortunately this really isn't the best video showing that in that this wavefold-like stuff is a recent discovery for me and I'm still working on finding the sweet spots within it. I tried to just show as quickly as I could a large range of timbres that can be had from this one particular technique but again, there is so much range to this one particular approach that I've only ended up showing a very small selection.
I'm going to be doing quite a lot of videos on this synth, similar to this video, I'll be sure to approach this particular technique in a few different ways (drones next time) I'd been GASing for a wavefold synth in my set up but no more since I found I can get those kinds of sounds and more with the Motas."
"Seeing as the other video on this PM wavefold stuff was so terrible, I made another and am much happier in this one and how it shows off some of the range of sounds you can get out of this.
I'm deliberately limiting myself to using just the output of VCO3 and not using any other features of the synth apart from a bit of filter stuff right at the end to show how nicely this stuff responds to it.
I know I keep referring to this as wavefolding, I'm not sure that it is that as this synth wasn't designed to do it but I was inspired by the use of 0hz operators / carriers on the yamaha fm synths and was pretty surprised at how closely this resembled wavefolding both in sound and in how it appears on an oscilloscope.
For anyone looking at buying this synth, I can't praise it enough! It's honestly my dream instrument and I can't get enough of using it, It truly is like a huge modular system in small format with all the benefits of a digital brain."
Playlist:
7XWAVE Sample Sequencer:Walk-through Part 1
7XWAVE Sample Sequencer:Walk-through Part 2 (Step Edits)
"This is a guide to 7XWAVE Sample Synth & Sequencer app
Explained how to choose tracks to edit sound and quick basic step editing.
Choose/import sounds, filters, trimming modulation and effects."
"7Xwave - a 7 track sample sequencer with synthesiser & animatable modulation features.
So many sound manipulation possibilities can be had with this whether its a funky electro backing track or crazy glitch effects.
Each track adjustable up to 64 steps.
Choose a sample, tweak the sound using envelopes & filters.
Add effects to each sound, pan, level, sample start, length pitch & filter.
Lock track parameter dials to a step or record dial movements in real time.
Export recorded loops or route audio into Audiobus or AUM etc keeping in sync with other apps using MIDI or Ableton Link.
This app was inspired by the Korg Volca & Electribes. I had so much fun with the Volca but it felt limited in memory and steps. It was a very fun sound toy & occasionally a loop maker but I wanted to be able to store more, longer patterns, and have more variation in sequences. Being a massive fan of the Korg Electribes, i looked at the recent Electribe Sampler. It was cool but just didn't seem as fun as the older Electribes plus you couldn't animate the sample start and length which to me was the best part of the Volca. So i decided to see if I can make my own app that does what i wanted. Using the knowledge i gained from 2Xb303 & 6X806 I delved deeper into audio coding. Originally an environment artist, I have had to leant alot as i go, but here after many months during a strange year of set backs, I finally finished it. I know there will be some disappointed its not AUv3 as I havent managed to find a way for that just yet. I have had great fun with this and created some cool loops and tracks myself. I dont need my Volca anymore. I hope you enjoy this too.
Here are some patch notes:
----------------------------------------------
Patch 1:
---------------
- I have a drumbeat in VCV going to Magneto.
- I'm modulating the Speed, the Loop, the Repeats, and the Spring reverb of Magneto with S&H from VCV Rack.
- I also have a sequence in VCV, sequencing the Basimilus, which is then going back into VCV for some delay.
Patch 2:
--------------
- I'm triggering and modulating the Basimilus from VCv Rack, sending it to the Mimeophon.
- From there it's being copied once to the mixer, and once to Magneto.
- I'm modulating the Speed, Spring reverb, Hold, and Revers functions of Magneto with S&H from VCV.
- This is then going through Freak set to wave folder and saturation model for extra grit.
Patch 3:
--------------
- I have the clock outputs of Magneto triggering the Basimilus and a couple of hats in VCV Rack so by changing the speed, the rate in which they're being triggered also changes.
- This is going into Magneto and I'm modulating the Hold, Revers, and Spring reverb with S&H.
- I also have the send and return of Magneto going to a bandpass filter on Freak, and I'm modulating the cutoff point.
- In VCv Rack, I have a drumbeat to accompany the chaos.
Patch 4:
--------------
- I have a sequence in VCV Rack sequencing the Basimilus.
- Magneto is set to Loop mode and I recorded a few seconds of this sequence onto it.
- I'm also sending Magneto through Freak in low pass mode, and the Mimeophon for some delay and reverb.
- In VCV I have S&H modulating the Revers function of Magneto, the Shift, and also the cutoff point of Freak.
- I also have a Hi-Hat sequence running in VCV Rack.
Patch 5:
---------------
- I have Magneto self-oscillating with the repeats all the way up.
- The CLK 1 output of Magneto is triggering the Play function, and I have also a clock from VCV Rack, clocking Magneto.
- I have an AD envelope in VCV controlling the Wet so it's like controlling a VCA, and I have multiple S&H signals coming from VCV modulating the Shift function, the Speed (so the pitch), and the amount of Spring reverb.
- I'm sending Magneto into Microcell with the Mix all the way down so I'm just using its reverb, but I'm modulating its amount from VCv Rack.
- I have also a copy of the left channel of Magneto going into the 2HP Freez for some extra glitch.
- In VCv Rack I have some drums playing, and I'm sending the Snare drum to a short modulated delay."
PRODUCT DESCRIPTION: This listing is for a One-of-a-Kind custom built bass synthesizer system built by Wayne Lentis of 360 Systems for Leland Sklar which he used while touring with artist Billy Thorpe supporting his hit song "Children of the Sun" in 1979!
We recently removed this system from Lee's gear locker here in Los Angeles where it has been in storage for 40 years!
What we have here is the Synthesizer section of a very special bass rig that was built for Leland to power his massive 3-Way Klipsch System touring rig. See above for the only known photograph of Lee with it and nearly knocked "unconscious" from its mind blowing power!
As Leland tells it:
"Billy Thorpe was a huge child star in Australia. We did this album and it was a conceptual album that he came up with. Spencer Proffer produced it in his studio in Hollywood called Pasha. We cut it as a trio: it was me and Billy and Alvin Taylor on drums. Billy was great. He was so strong and powerful and into it. He had such a commanding presence.
