Inside Synthesis - EP 4 - FM Synthesis Part 1 (2007)

Inside Synthesis - FM Synthesis, Part 1 YouTube Published on Apr 14, 2012 by insidesynthesis
Update: re-published & re-named 12/30/2019

"This is the original first installment of FM Synthesis. It presents a method of understanding FM for those who know subtractive synthesis."

Also see:
Intro to FM Synthesis
FM Synthesis Made Easy
New York School of Synthesis - Intro to Synthesis

And see the Synth Tutorials label at the bottom of this post for more.

Inside Synthesis EP3: Introduction to Modular Synthesizers (2007)

Inside Synthesis - Introduction to Modular Synthesizers

YouTube Published on Apr 29, 2012 by insidesynthesis
Update: re-named 12/30/2018. Was Inside Synthesis - Intro to Modular Synthesizers w/ the Mattson Mini Modular.

A blast from the past. You might recognize the system used in this video as the Mattson Mini Modular prototype. Be sure to see my notes after the video description directly below in quotes for some interesting history.

"Episode 3 from the original series - a very basic introduction to modular synthesizers.

Correction #1 - I refer to modulating the amplitude of an audio signal with another audio rate signal as Ring Modulation (RM). I should have said Amplitude Modulation (AM).

RM is certainly related to AM, but there's a distinct difference. RM is implemented in such a way that the carrier and modulator's frequencies are eliminated from the signal. You only hear the sums and difference frequencies of the carrier and modulator, but not the original carrier and modulator frequencies.

Interestingly enough, the AC-coupled circuitry that does RM is ring shaped.

Correction #2 - Neither RM nor AM add harmonic frequencies. They add sidebands of inharmonic frequencies - hence the metallic and dissonant sound."

Some interesting history on the MMM used in this video:
Yes it was originally going to be cream colored, as introduced in this post. It turned out the printing on the more durable adhesive could not get the color right and rather than settle, George Mattson came out with the updated black color scheme. I actually had the option to go with the original color scheme or the more durable updated black with my Production Prototype #1. As you can see I went with the black. The first MMM post on MATRIXSYNTH? Here you go: Mmm.... People got pretty worked up with this one and the posts that followed (note these are in reverse order so scroll down to the bottom).

Also worth checking out:
Mattson Mini Modular MMM Debut @ PNW Synth DIY 2007
FIRST PRODUCTION MATTSON MINI MODULAR SYNTH DEMO MINUET IN A MINOR

korg prophecy virtual analog synthesizer

Published on Feb 7, 2015 bulishearth

KORG Prophecy's on eBay

The video description comes from Sound on Sound

"It's not a new synth -- it's seven! Korg's amazing new Prophecy offers analogue and FM synthesis, and physical modelling, and still costs under £1000. Unsurprisingly, SOS staff have been dying to review one ever since it was unveiled at this year's Frankfurt Musik Messe. Lucky man GORDON REID won the toss...

This is the story as it was told to me... In 1987, the former Sequential Circuits design team (responsible for classics such as the Prophet 5 and Prophet VS) began working for Korg. The company immediately bundled them out of sight, locked them in a room full of computers and said "design something for us". Locks were locked, bolts were bolted, and most people forgot that they had ever existed.

Years passed. Every day somebody from Korg would shove some food and water through a hole in the door. Then, one day, there was a timorous knock from inside. Locks were unlocked and bolts were drawn. When the door was opened, a pasty-faced individual peeked out, blinked in the light, and said, "We've designed something. It's called a Wavestation". "What does it do?" asked the guys from Korg. "Well, it's sort of a wavetable synthesizer, with vector synthesis, and wave sequencing". "Not bad" said the guys from Korg. "Now get back inside and design something else".

Years passed. Every day somebody from Korg would shove some food and water through a hole in the door. Then, one day, there was another timorous knock from inside. The door was opened, and an even pastier-faced individual peeked out, blinked in the light, and said "We've designed something else". "What does it do this time?" asked the guys from Korg. "Well, it does analogue synthesis" said the pasty-faced one. "And FM. Oh yes... and physical modelling of plucked strings. And brass. And reeds. And it can be programmed to handle any new synthesis techniques that may come along in the future... and it does them all simultaneously. We've called it the Open Architecture Synthesis System, or OASYS for short."

The executives at Korg were delighted, and instead of shoving the team back into their room, bought them dinner at an expensive Japanese restaurant. But there was a problem. At £10,000, the OASYS was expensive. Very expensive. So Korg turned to the developers and said, "Sorry guys, we've got to put you back in your room. We need something cheaper, something that will appeal to the average musician. Something, to be blunt, that we can sell in the mass markets."

Months passed. Every day somebody from Korg would shove some food and water through the hole in the door. Then, quite recently, there was a knock from inside. An extremely pasty-faced individual peeked out and said, "We've done what you asked". "What does it do?" asked the guys from Korg. "Well, it does analogue synthesis" said the pasty-faced one. "And FM. Oh yes... and physical modelling of plucked strings. And brass. And reeds. And, before you shove us back in the room... it does all that for less than £1,000." Thus did the Prophecy, as they say, come to pass.

OUTSIDE AND IN

Externally, the Korg Prophecy is a light but robust 37-note monosynth with a velocity- and aftertouch-sensitive keyboard. The styling is, to my eyes, new and refreshing, although a few people have commented on its similarities to the Yamaha VL1... A 2 x 40-character backlit LCD dominates the control panel, and is surrounded by buttons to the left and right, and knobs underneath. Conventional modulation and pitch-bend wheels, plus the 'log' (a combined mod-wheel and pressure-sensitive ribbon controller), round off the package. Most people will either love it or hate it. I love it...

Round the back, you'll find the inevitable MIDI In, Out and Thru, alongside inputs for an expression pedal, an on/off (sustain) foot-switch, and a socket for an EC5 MIDI controller. This can be used for patch selection when your hands are otherwise occupied. There's also a socket for a RAM card that will store arpeggiator patterns as well as patches. And, finally, there are the stereo audio outputs.

Internally, the Prophecy is just a computer, although it boasts no fewer than five processors. Three of these are the Texas Instruments TMS57002 DSPs used in the Korg G-series effects. The other two are for housekeeping: an NEC V55 looks after the user interface, key-scanning, and display, and a Toshiba H8 (which I've never heard of) looks after the three DSPs."

The Blue Marble Synthesizer Project Plans to Put a Music Synthesizer Controller in Space

video upload by Physical Synthesis

Blue Marble Synthesizer Project: Andrew Huang


Physical Synthesis, the makers of Cicada, wrote in to let us know of a new project soon to be seeking funding on Kickstarter.

I asked them what the platform would be based on. They replied:

"The web-based interface will be an adapted version of Patatap to which we’ll add a video feed and other interactions that will be possible to trigger inside the space capsule (i,e agitate the marble by turning on a fan, LED array, microphone, speaker, etc).

The space capsule has a set of different elements that allows to change the position of the physical marble floating inside the zero-gravity chamber (a set of sensors that calculates the position, a fan that agitates the position of the marble, a microphone that records those interactions, etc). All that data is then being sent back to us on earth (or in reverse sent to the capsule from earth using the Live mode). In other words, the web-interface receives data/interactions from the capsule and the Live mode allows to send data/interactions directly to the capsule. Lastly we’re building a VST plug-in allowing to receive MIDI and hook up data directly into your DAW or other synth."

In short the interactive hardware controller w/ microphone to capture audio is in space, while the synth engine and processing is done on earth.

Addtional details from the Kickstarter/Press Release follows.



The Blue Marble Synthesizer is the first-ever music synthesizer that can only work in space and that is playable from here on earth. It’s a synthesizer for making music and experimenting with sound. The system consists of a pressurized capsule in a low earth orbit satellite, a network of sensors, and a web-based interface for people to play with here on earth.

1. The Blue Marble Synthesizer Capsule consists of a pressurized CubeSat module configured with a control computer, camera, sensor array, fan, LED array, a microphone, and a speaker. It measures the behavior of a marble floating in a zero gravity synth capsule and sends sensor data, audio feed, and video feed back to us on earth.

2. The Web-Based Interface is an interactive and self-contained web audio synthesizer designed for everyone. Through a collaboration with the creator of Patatap, this application blends interactions from the Blue marble Synthesizer Capsule data with a traditional interactive music synthesizer. This web-based interface is a way to explore the interactions between the Blue Marble Synthesizer Capsule and people’s own musical creativity.

● When does the space mission start?
The Kickstarter campaign is set to start on Wednesday, October 4 for 30 days until the rocket launch which is set for Wednesday November 1 aboard the SpaceX Falcon 9 Rocket. Once in orbit, the Blue Marble Synthesizer Space Capsule will be rotating around earth every 90 minutes.

● Why does this project matter?
The Blue Marble Synth Project is intended for all those who share a passion for space, music, and the intersection of science and art. Music has always been a universal language that transcends cultural barriers, connecting people on a deeply emotional level. By introducing a music synthesizer to space, we expand the horizons of artistic expression and create a new dimension for human creative endeavors off-planet.

● What is the experience like for supporters?

1. Two primary ways: people will have the chance to make music with the audio and the data captured by the Blue Marble Synthesizer in two primary ways: through an interactive web-interface or via a VST-plug-in. Some supporters may also have the chance to play and interact with the system directly in space.

2. The Blue Marble Web-Interface: is a self-contained web based application that works from here on Earth. Inspired by Patatap, this application blends interactions from the Blue Marble Synth Capsule Data with a traditional interactive music synthesizer.

3. The Blue Marble VST Plug in: this feature allows to receive MIDI and control data from the Blue Marble Synth Capsule to use with other digital synthesizers and digital audio workstations such as Ableton LIVE, FL Studio, Presonus Studio 1, etc.

● Who are the artists involved?
Andrew Huang, Benn Jordan, Trovarsi, and MAYSUN, are invited artists who will compose original music with the Blue Marble Synthesizer during this orbital mission. They each possess the adventurer's spirit that we believe is at the heart of this project.

Andrew Huang
We are thrilled to have Andrew Huang, the YouTube phenom and Toronto-based artist join the Blue Marble Synth Project. As a highly acclaimed music and video producer, Andrew's unique ability to seamlessly blend diverse musical styles with captivating visuals aligns perfectly with the innovative vision we seek to bring to life. His creativity, coupled with his commitment to pushing artistic boundaries, makes him an invaluable addition to this project

These 4 artists will compose original music using the Blue Marble Synthesizer and the resulting tracks will be released for project supporters on an exclusive LP post-mission.

● What else can supporters get by supporting?
Beyond accessing the Web-Based interface and Artist Album, supporters also get access to a range of branded Blue Marble Synthesizer merchandise designed by Physical Synthesis. The collection features a sticker and mission patch, hoodie, t-shirt, cap, tote bag, and more.

● What goes inside the Blue Marble Synthesizer? Technical Breakdown
The Blue Marble Synthesizer Capsule consists of a pressurized CubeSat module configured with a control computer, camera, sensor array, fan, LED array, a microphone, and a speaker. The module allows supporters to receive data so they can control other synths and interfaces as well as initiate actions that affect what happens inside the capsule

1. Zero Gravity Dynamics: to make the Blue Marble Synthesizer an instrument that can truly work in space, it requires harnessing the power of zero-gravity. To do this, the synthesizer relies on interactions between a spherical piece of glass – the blue marble – and an array of accurate laser sensors that measure the distance and location of the marble as it floats around a small pressurized chamber.

CLICK FOR MORE »

Sonic State: Inside Synthesis 003 - Modular Basics

Inside Synthesis 003 - Modular Basics
Introduction to Modular Synthesis
via Sonic State where you can find more info on this video.
This video features the prototype Mattson Mini Modular.

The Foundation Of Synthesis 106: Designing Timbres

Note the following are only three teaser videos from the full series.
You'll find the description and links to the rest further below.

The Foundation Of Synthesis 106: Designing Timbres - 1. Introduction

Published on Oct 3, 2012 by macProVideoDotCom

The Foundation Of Synthesis 106: Designing Timbres - 4. Synth Bass and Metal

Published on Oct 3, 2012 by macProVideoDotCom

The Foundation Of Synthesis 106: Designing Timbres - 9. Minimoog: Fat

Published on Oct 3, 2012 by macProVideoDotCom

"Additional videos for this title: http://j.mp/SZWST5
The Foundation Of Synthesis 106: Designing Timbres by The Bob Moog Foundation

Synthesis on hardware synths is a real adventure. Every synth designer has their own interpretation on how things look, feel, sound and get patched together! In this sixth course in our Foundations Of Synthesis series, Marc Doty assembles a selection of synths from his personal collection and demonstrates how he creates his sounds.

All of the synthesis and control processes that Marc brought to the table in the previous five courses blend together as he builds (and patches) lead, bass, and FX. This course is a unique opportunity to get inside a master synthesist's head to see how he manipulates and realizes the sonic dreams that reside in his aural imagination!

Bob Moog was an early pioneer and inventor of voltage controlled analog synthesizers. He revolutionized the music industry and his ideas, inventions and musical instruments have dominated the sound of music for more than 30 years. Aside from being an innovator, Dr. Bob was an outspoken advocate of education. The Bob Moog Foundation, created by his daughter, Michelle Moog-Kousa, continues his legacy with Dr. Bob's SoundSchool, the preservation of his inventions and the development of the Moogseum the only museum of its kind dedicated to the advancement of sonic education. We hope you will help support the BMF's efforts by watching these courses with the knowledge that a large portion of the proceeds go to support their awesome efforts!

So sit back, hit the play button, and get into sound design in this Foundation of Synthesis course with Marc Doty, and the Bob Moog Foundation.

Be sure to watch all 6 of the BMF's courses on filters, modulation, oscillators, sound design and more!
More info on this title: http://j.mp/SZWST5"

Computer Music Journals + Electronic & Computer Music

via this auction
"Computer Music Journal. Starting with Volume II, Number 2 (1978) and ending with Volume 8, Number 2 (1984). Also in the lot is a copy of Peter Manning's Electronic & Computer Music, 2nd Edition (1993). (There is No Reserve for this auction)

Here is what is included:

1. Electronic & Computer Music 2nd Edition, Peter Manning. The first edition was published in 1985 and was written as a history of electronic music. It is still a good read for anyone interested in where this music came from. The condition of the book is good. The front cover is slightly bent up on one corner and my sister (original owner) wrote her name on the inside cover... Other than that it is perfectly fine and readable and the picture inserts are all in great condition. It is a paperback and the chapter titles are:

* The Background to 1945
* Developments from 1945 to 1960
* Paris and Musique Concrèt
* Cologne and Elektronische Musik
* Milan and Elsewhere in Europe
* America
* New Horizons in Electronic Design
* The Voltage-Controlled Synthesizer
* The Electronic Repertory from 1960
* Works for Tape
* Live Electronic Music
* Rock and Pop Electronic Music
* The Digital Revolution
* The Birth of Computer Music
* New Horizons in Digital Technology
* The MIDI Synthesizer
* From Microcomputer to Music Supercomputer
* Conclusion


2. Early issues of the magazine Computer Music Journal. I bought these a few years back. For the most part they are very technically based and may be a hard read for some, although each issue does include record reviews and product reviews of hardware and software which are fun to read now. Besides some bumped corners and some wear marks all of the magazines are in good condition, with one exception, the cover of Volume 8, Number 1 is a little torn at the top and the corner is folded back, but everything on the inside is perfect! The issues included are:

Volume II, Number 2 Summer 1978:
Abbott: Machine Tongues 2Moorer,
Grey: Lexicon of Analyzed Tones 3
Moore: Mathematics of DSP 2
Roads: Automated Granular Synthesis

Volume II, Number 3 Fall 1978:
Abbott: Machine Tongues 3
Roads: Interview with Gottfried Michael Koeni Fedorkow, Buxton,
K.C.Smith: Computer-Controlled Sound Distribution System for Performance

Volume II, Number 4 Winter 1978:
Buxton et al.: Use of Hierarchy and Instance in Computer Music Data Structure
Buxton et al.:Introduction to the SSSP Synthesizer
Laske: Consider Human Memory in Designing User Interfaces for Computer Music

Volume III, Number 1 Spring 1979:
Roads: Machine Tongues 4
Allouis: Use of High-Speed Microprocessors for Digital Synthesis
Berg: PILE-A Language for Sound Synthesis
Rozenberg: Sound Processing Using Walsh Functions
Roads: Grammars are Representations for Music

Volume 3, Number 3 Fall 1979:
Cann: Analysis/Synthesis Tutorial 1
Myhill: Controlled Indeterminancy
Piszczalski: Spectral Surfaces from Performed Music

Volume 4, Number 1 Spring 1980:
Buxton et al.: Microprocessor-based Conducting System
Sasaki, Smith: Data Reduction for Additive Synthesis
Cann: Analysis/Synthesis Tutorial 3

Volume 4, Number 2 Summer 1980:
Kornfeld: Machine Tongues 7 (LISP)
Roads: AI and Music
Alphonce: Music Analysis by Computer
Smoliar: Computer Aid for Schenkerian Analysis
Laske: Explicit Cognitive Theory of Musical Listening

Volume 4, Number 3 Fall 1980:
Roads: Interview with Marvin Minsky
Gruessay: Music Software Description and Abstractions
Fry: Computer Improvisation

Volume 5, Number 1 Spring 1981:
Moorer: Synthesizers I Have Known and Loved
Abbott: 4CED Program
Holtzmann: Generative Grammers for Music Composition

Volume 5, Number 3 Fall 1981:
Minsky: Music, Mind, and Meaning
Lansky, Steiglitz: Synthesis of Timbral Families by Warped Linear Prediction
Buxton et al.: Scope in Interactive Score Editors

Volume 7, Number 2 Summer 1983:
Roads: Musical Grammars and Computer Analysis
Karplus, Strong: Plucked-String and Drum Timbres
Jaffe, Smith: Extensions of Karplus-Strong Algorithm

Volume 8, Number 1 Spring 1984:
Levitt: Machine Tongues 10
Chadabe: Interactive Composing
Schindler: Dynamic Timbre Control for Real-Time Digital Synthesis

Volume 8, Number 2 Summer 1984:
Barbeau, Corinthios: High-Quality Audio Conversion System Tutorial
Vaggione: The Making of Octuor

For a full description of each issue go to http://204.151.38.11/cmj/ and click on "Index of Old Issues". There you can find each one and view the contents."

iK3m v1.2 Wired and Wireless CoreMIDI iPad Editor Now Available

YouTube Uploaded by iControlMIDI on Jan 13, 2012

"Apple has released iK3m v1.2 our Wired and Wireless CoreMIDI iPad Editor for Kawai K3 / K3m.

iControlMIDI for the K3 / K3m offers a very intuitive workflow that will help “open-up” the synth:
• Substrative Synthesis: as usual iControlMIDI will display the parameter name ex: DCO Wave and the parameter value ex: Saw and the parameters are sonically logically organized: DCO Page with DCO modulations, VCF Page with VCF modulations and VCA Page with VCA modulations.
• Additive Synthesis: you can do it in 3 simple steps!
Step 1: You have a visual representation of the 128 harmonics and you can adjust the harmonic level for each of them - but this will not send any MIDI message at this step in order to not overload the K3 / K3m;
Step 2: Then, with one button (ADD “Send!”) you can send your additive synthesis wave (first 32 non zero-level harmonics only) to the K3 / K3m Internal Additive Wave;
Step 3: Then, to offer pseudo-real-time workflow you can press the TONE 1 “Send!” button which will send all the Substrative Synthesis parameters to Internal TONE 1 and send a MIDI Program Change for TONE 1 which will let you hear your Additive Wave inside the TONE 1 if you have selected DCO Wave 32 (Additive) for DCO1 or DCO2. Sweet! Of course you should back-up your TONE 1 and / or Internal Additive Wave to the cartridge or your computer before.

The K3 and K3m can be edited using the following Pages:
• Page 1: DCO, DCO Modulations, Additive “Send!” button and TONE 1 “Send!” button
• Page 2: VCF, VCF Envelop, VCF Modulations and LFO
• Page 3: VCA, VCA Envelop and VCA Modulations
• Page 4: Additive Synthesis Harmonic 1 to 32 levels
• Page 5: Additive Synthesis Harmonic 33 to 64 levels
• Page 6: Additive Synthesis Harmonic 65 to 96 levels
• Page 7: Additive Synthesis Harmonic 97 to 128 levels"

Roland Introduces ZENOLOGY & Roland Cloud Virtual Instrument Collection

Published on May 11, 2020 RolandChannel

Playlist above:

1. Roland ZENOLOGY Software Synthesizer: the ZEN-Core Synthesis System Virtual Instrument
2. Roland ZENOLOGY Software Synthesizer Overview
3. Introducing Roland Cloud: Roland's Virtual Instrument Collection
4. Roland Zenology Plugin Synthesizer Demo & Fun w. Doctor Mix

"Synthesizers are in just about every style of modern music, so you need something versatile, authentic, and forward-thinking. ZENOLOGY embodies nearly 50 years of synthesizer research and development. Its roots go back to the dawn of synthesis. Its future is what you make it. 

For decades, Roland sounds have had a massive influence on music. A string of legendary instruments defined genres like techno, house, rap, trap, and hip hop, and deeply influenced pop, rock, and film music. This experience has culminated in the ZEN-Core Synthesis System. It's the most advanced sound engine we’ve ever made, powering our professional synthesizers like JUPITER-X and FANTOM, used on stages and in studios around the world. 

ZENOLOGY is an expandable plug-in version of the ZEN-Core Synthesis System. ZEN-Core is based on discrete synth voices—each containing a flexible oscillator, filter, amplifier, dual step-LFOs, and lush effects. It mixes multiple synthesis types, combining vintage Roland oscillators and filters with PCM waves capable of PCM-SYNC and cross-modulation. Layer up to four voices in a single tone for rich, complex sounds, both classic and modern. 

With ZENOLOGY you have access to an ever-expanding, always-evolving universe of sound. Driven by the powerful ZEN-Core Synthesis System, a steady stream of new sounds and expansions focus on specific genres and instrument types, or feature sounds from leading artists. 

ZENOLOGY puts the ZEN-Core Synthesis System in your DAW and provides access to a universe of amazing sounds—but this is only the beginning. In the coming months, ZENOLOGY will get new synth engine expansions and grow into a sound designer's dream with deep editing capabilities.  The ZENOLOGY plug-in works in AU, AAX, and VST formats and is ready for use on your tracks.

ZENOLOGY will soon support Model Expansions for perfect recreations of classic Roland synthesizers like the JUPITER-8, JUNO-106, SH-101, JX-8P, and more. They use Analog Behavior Modeling to capture the essence of these legendary instruments and are optimized for high polyphony with an interface inspired by the original—but reimagined for use in your DAW. "

"Roland Cloud is a growing collection of virtual instruments, creative applications, and sound expansions for use in modern workflows. Producer, beatmaker, gigging musician, or just getting started — you'll find something to inspire you. From techno, acid house, and ambient to trap, rock, and hip hop, Roland Cloud has instruments and tools that will elevate your tracks.

Use over 50 Roland virtual instruments. Embrace the future with the ZENOLOGY Software Synthesizer that lets you share your sounds across software and hardware with ZEN-Core. And keep your music fresh with genre and instrument-specific patches, patterns, and sound packs for both Roland software and hardware instruments. 

The original TR-808, classic JUNO-106, powerhouse JUPITER-8, and genre-defining TB-303 are all part of the 50+ instrument collection. In addition, from Roland's legacy of innovation comes the new ZENOLOGY ZEN-Core-compatible synthesizer. Plus, enjoy a library of sound expansions for both software and hardware with the convenience of cloud-based mobility.

Download the app, create a Roland Account, and shape your musical experience starting with our free ZENOLOGY Lite Software Synthesizer. Once inside, you can explore membership options as well as purchase Instrument Keys, patch collections, ZEN-Core Sound Packs, and Wave and Model Expansions. 

Roland Cloud offers three paid membership levels: Core, Pro, and Ultimate. Pick a plan and supercharge your sound. All Roland Cloud access begins with a Roland Account. Sign up for free inside Roland Cloud Manager. No credit card required. 

With Roland Account as your passport, you’ll have access to redeem Lifetime Keys, applications, and sound expansions. Roland Cloud plug-ins work in AU, AAX, and VST formats and are ready for use in your DAW.

Roland Cloud works with a variety of compatible Roland hardware. Host plugins in the SYSTEM-8 synth for computer-free performance. Share sounds with ZEN-Core compatible gear including FANTOM and Jupiter-X. Or use your TR-08 or Roland Boutiques to control their software equivalents, with all controls mapping automatically. 

From there, expand your music with sound collections. From Synthwave vibes and Legendary instrument collections to ZEN-Core Sound Packs (SDZ), Wave Expansions (EXZ), and model expansions, these genre-specific sets will provide an extra shot of creative inspiration.

You can even get 24/7 access to individual instruments with Lifetime Keys Purchase a Lifetime Key and use your chosen instrument for as long as your Roland Account is active–even if you’re not a paying member. "

MMM Video by inside synthesis

Remember the MMM Video posted earlier?

via William of inside synthesis in the comments of that post:
"I posted a much high quality version at insidesynthesis.com, since the YouTube compression hardly does it justice.

Only delay on the lead bits, and a highpass on the hihat were used. No chorusing, phasing, reverb, or compression/EQ, so it's overall a pretty raw sound.

I double-tracked the lead and bass parts for stereo width.

I'll make a more modern, less 80's song later. Assuming I have time - I'm only borrowing the prototype for a few days."

There is also a great shot of George and William in the post. Be sure to check it out.

Turn an analog modelling synth into a drum machine - MS2000

YouTube via williamenroh.
Update: renamed: Episode 1:Turn an analog modelling synth into a drum machine

"This is the first episode of Inside Synthesis. It's a tutorial on how use a Korg MS2000 as a drum machine, but you'll still be able to play bass and lead lines over it."
Be sure to check out inside synthesis

Review: Behringer Neutron Semi-Modular Analog Synthesizer

Published on Dec 20, 2018 inside synthesis

"The Inside Synthesis Behringer Neutron review."

Sonic LAB: Prophet '08 Review Pt2

See the write-up on Sonic State. Note, Part 1 is now on YouTube, posted below.
Also see the source, Inside Synthesis for some interesting notes on what makes a good review.

Prophet '08 Review by Inside Synthesis - Part 1

YouTube via insidesynthesis
"This is part 1 of a 2 part series reviewing the Prophet 8 Analog Synthesizer created by Dave Smith Instruments."

inside synthesis Review: Arturia MatrixBRUTE

Published on May 1, 2017 inside synthesis

"Music-heavy review, but I don't get too much into the specs (check their site if you want the granular details). One thing I forgot to mention is the 16x16 modulation matrix sounds like unlimited potential, but you only get 4 user routings (which I usually used up). I wish it were 8 user and 8 hardwired routings. But you get individual outputs for each control source, which makes it fantastic for controlling other synthesizers."

Fragment Synthesizer - Various sounds additive / granular

Published on Nov 4, 2017 Fragment Synthesizer

"Fragment is a collaborative additive / spectral / granular live-coding web. platform, the spectrum is created by a live GPU script, the generated visual is then converted to audio by an additive or granular process.

Fragment is able to produce high-quality fast additive and granular synthesis simultaneously with re-synthesis support, it has many features making it a bliss to produce any kind of sounds or visuals.

This is a demonstration video of a multitude of sounds created within Fragment, mostly additive synthesis (90% of them) but some parts are granular, this also demonstrate granular re-synthesis @6:54 with more than 400 layered grains and vocoder effects @3:11, some parts (the beginning) use distributed synthesis mode and are able to play more than 1200 simultaneous partials on a i7 CPU with 4 synthesis server.

Small amount of reverb/delay effect added inside Renoise DAW, low-pass filters are used on granular sounds because Fragment play the grains sample as-is, MIDI sequences are coming from Renoise.

You can try the Fragment synthesizer now at : https://www.fsynth.com

Documentation: https://www.fsynth.com/documentation

Forum : https://quiet.fsynth.com

Renoise : https://www.renoise.com/"

ENSONIQ EPS 16 Plus Creating Evolving Soundscapes & More

Published on Feb 2, 2019 Robin Bausewein

Playlist:

ENSONIQ EPS 16 Plus Creating Evolving Soundscapes
ENSONIQ EPS-16 PLUS - Soundscapes Method 2
Ensoniq EPS-16 Plus Minimode
Ensoniq EPS-16 Plus - Entry Level Transwave Synthesis
Ensoniq EPS-16 Plus Synthesis - Intermediate Level Transwave
Ensoniq EPS-16 Plus Advanced Synthesis - Creating a smooth Transwave inside the box.
Ensoniq EPS-16 Plus Synthesis - PWM Pulse Width Modulation
Ensoniq EPS-16 Plus Synthesis - Filter and Envelope
Ensoniq EPS-16 Plus: Advanced Synthesis -The Result

Sharing Sounds With Omnisphere 2 - Spectrasonics Releases Omnisphere v2.1 Update

Published on Aug 4, 2015 SpectrasonicsVIDEO

"Learn how to import user audio and share your own patches using the new sharing capabilities of Omnisphere 2.

Click on this link to download the files for this video.

http://bit.ly/1hhYy9c"

Update: And the press release for the v2.1 update:

"Spectrasonics Releases Omnisphere v2.1 Update
Power Synth adds simplified user sound sharing and Library Publishing for third-party development

Burbank, CA - August 4, 2015 - Spectrasonics has released Omnisphere 2.1 with a streamlined 'Sharing' feature for sharing user sounds and a new Library Publishing capability. Version 2.1 is an update to the company's recent v2 upgrade of its flagship software synth. In May, Omnisphere Version 2.0 was released with vastly expanded new synthesis and creative capabilities for sound design, along with significant user interface innovations, and thousands of new sounds. The new v2.1 update, a free download to Omnisphere version 2 users, includes refined patch and project sharing features for easily exchanging custom sounds between end-users directly or over social media, a Library Publishing feature allowing third-party sound developers to create easily installable sound sets for Omnisphere 2 users, as well as a much improved boot time for the plugin itself. Both the Sound Sharing and Publishing features can contain 'User Audio,' offering new horizons in patch creation and simplified collaboration.

"It's exciting to see the Omnisphere universe expanding with so much great sound development work in so many areas, from EDM to rock, and film and TV scores to games," says Spectrasonics' Founder and Creative Director, Eric Persing. "And now third- party developers of patch sets for Omnisphere 2 have a simple way to create and offer custom libraries that can include their own soundsources, and are easy to install for customers. There's no need for installers or complicated instructions for moving files around directories deep in the system folders. And because it's so easy to share sounds and ideas now, we feel this will be a huge boon for social media user groups discussing tips and patch creation. This is a big opportunity for our users everywhere. We look forward to seeing and hearing what develops!"

Sharing sounds is simplified in Omnisphere 2.1, the end-user can simply shift-click on a few Patches or a few Multi-patches and then save them to be transferred to a friend or musical collaborator who also has Omnisphere 2. Sharing patches automatically includes any user audio, which is especially convenient with custom patches. Sharing multiple types of Patches, Multis and user audio all at once is easier too, with Project sharing; the end-user can just collect a set of sounds in a project, and then share the project.

The new "Publish Library" feature in v2.1 was created for third-party developers of Omnisphere libraries. It allows developers to easily export, or "publish" a library of Multis and Patches, along with any associated user-created Soundsources, as well as graphic images for the custom library in a single .omnisphere file format. End-users can then easily install this package into their systems with a single step.

Beyond the new sharing features in v2.1, the Version 2 upgrade released in May, includes a host of new capabilities including the most requested Omnisphere feature: Audio import for user-created soundsources-along with major new oscillator features including over 400 new DSP Oscillator waveforms, morphing Wavetables, new granular synthesis options, over 4500 unique new sounds created by Spectrasonics' acclaimed sound design team-bringing the total to over 12,000 total sounds and patches, 25 new FX units, an enhanced User Interface, and innovative production/browsing features such as Sound Match(tm) to instantly locate any related sounds in the library, and Sound Lock(tm) to create endless useful patch variations by locking sound aspects while browsing other patches-among many other innovative features.

Omnisphere 2.1 Feature Overview

New Sound Sharing and Publishing capabilities in v2.1:
• Easily share patches and projects between users, which can include User Audio
• Publish a library of patches and Multis including User Audio, graphics and more
• Share Sounds over social media

Faster Boot Time for Omnisphere 2.1:
• Opening the plugin inside any DAW on Macintosh or Windows is much speedier

Vast New Synthesis Possibilities in Omnisphere 2:
• Audio Import - Users can import their own audio file as a soundsource in Omnisphere
• Over 400 New DSP Waveforms for the Synth Oscillator - an increase of 100X
• Wavetable Synthesis - Each Waveform is now a Morphing Wavetable
• Powerful New Granular Synthesis algorithm
• Deeper FM/Ring Mod capabilities for aggressive timbres
• 8 New Filter Types - New Power Filters, Vowel, Resonators
• New Unison Drift models Analog Polysynth behavior
• Expanded Modulation with new sources and many more targets
• Polyphonic LFO and Modulation Envelope options
• Soundsource Reversing

Now includes over 12,000 sounds:

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Fragment - Granular/Additive soundscapes & pixels-based delay

Published on Dec 10, 2017 Fragment Synthesizer

"Fragment is an online collaborative additive / spectral / granular live-coding web. platform, the spectrum is created by a live GPU script, the generated visual is then converted to audio by an additive/granular/spectral process.

Fragment is a programmable noise-of-all-kinds software and excel at sound design by combining two of the most powerful synthesis process with a live coding aspect, Fragment also excel at visuals.

This is a video of a live additive + granular ambient soundscapes session which demonstrate pixels-based delay and the soon to be released update of the improved granular synthesis/sound engine.

The video also demonstrate some kind of "vector based synthesis" by using a XY widget in Open Stage Control (through OSC) with the 4 channels volume mapped onto the widget axis resulting in cross-fading of the 4 channels.

The sound in this video is produced by 4 audio server instances (distributed synthesis) on a single i7 6700 machine, the overall CPU load can be seen on the top left corner along with number of partials for each channels, the load generally sit around 5% with peak at ~30% @28:00.

Most of the sounds heard in this video has a delay applied with a simple pixels-based delay (4 lines) which mean that the delay come from Fragment, not from the DAW, this delay can be heard on several sections and can be differentiated by its parameters being tweaked, notably around @22:00.

The granular synthesis engine was battle-tested and improved, many bugs were fixed resulting in big improvement on the sound quality, moreover pitch shifting is now implemented with linear resampling.

The audio server was also improved and is now able to drop frames meaning that if the client is too late sending its pixels frames, the audio server compensate by retaining its last state, this improve the audio quality greatly when few frames are dropped, which is to be expected with browser reflow or high load, frames drop can be heard extensively in videos previously released, there is now near zero audio issues due to frames drop.

The update should be released this month.

9 samples are loaded and used in this video, all of them are single sounds of real or virtual instruments.

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Xhun Audio LittleOne - review and demo

Published on Feb 21, 2019 SynthMania

"Review and demo of the LittleOne synthesizer software. You can get this plugin here: https://www.xhun-audio.com"

"LittleOne is a faithful software emulation of one of the most legendary and appreciated hardware analog synthesizers, compact in design but also extremely powerful and expressive.

In addition to an accurate re-creation of the original signal path, every single component inside LittleOne (oscillators, filter, envelopes, etc.) prove the same original architecture, frequency response and operative range of its analogue hardware counterpart, producing a deep, rich and warm sound.

Add to the equation a full rack with a 16-step analogue sequencer, a 16-step trancegate effect, two insert/master effects slots and the result is a complete, true-analogue-sounding setup within the comfort of a modern digital studio.

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Tera Pro - Modular analog/digital Polysynth

video upload by virsyn

"Tera Pro brings together all major sound synthesis methods on one table. No matter if you want to recreate sounds from analogue legends or explore modern digital sounds with FM, Waveshaping or Wavetable synthesis. Add some flavour of physical modelling and modules for additive synthesis. Combine them altogether for new sound experiences far beyond your wildest dreams.

Tame this overwhelming amount of possibilities with Tera Pro's intelligent user interface showing you only exactly what you need, paired with realtime oscilloscopes and level indicators helping you seeing what’s going on. Connect the modules using a flexible routing method without the visual cluttering of real wire cables needed in conventional modular synthesisers.

MODULAR ANALOG/DIGITAL POLYSYNTH FOR IPAD

128 VOICE MODULAR

Imaging having a modular rack with sound modules covering nearly all sound synthesis methods invented by mankind and connect them in any order you like while performing them with up to 128 voices. POLYSYNTH
Inspired by classic vintage Polsynths Tera Pro uses a Layer architecture enabling you to use two Layers in stacked or split mode for total flexibility in live performances. Change presets seamlessly without any cut-off in sound, envelope or effects.

ORGANIC
The warm and organic sound of vintage poly synths comes from slight variations in oscillator pitch, envelope times and filter cutoff. The vintage knob in Tera Pro brings this back to modern synthesis.

MIDI POLYPHONIC EXPRESSION
Tera Pro is compatible to the MPE standard allowing you to program sounds that behave more like acoustic instruments in terms of spontaneous, polyphonic sound control using appropriate MPE controllers.

SOUND LIBRARY
The included sound library covers with it's more than 1800 presets a vast range of styles and covers a big part of the history of electronic music. Add your own sound creations structured by your demand.

SYSTEM
Runs on iPad with iOS 12 or newer as standalone App and inside hosts using AUv3 or IAA. Attach any MIDI Controller via adapter or Bluetooth. Sync with other Apps or hardware with Ableton Link."