KORG Introduces New Volca Nubass Vacuum Tube Synthesizer

Published on May 8, 2019 Korg

Priced at $199.99

"The KORG volca nubass is a groundbreaking bass synth implemented with KORG’s new-generation vacuum tube: NuTube. This modernized technology is implemented into the oscillator, sub oscillator and drive circuits; creating incredibly warm tones and rich distortions that only a tube can provide. This unique form of sound generation, along with nubass’ low-pass ladder filter, delivers countless timbral possibilities.

Compact, battery powered with built-in speakers included, the new volca nubass has everything the modern musician needs to take their music to the next level."

Playlist:
KORG’s volca nubass delivers huge bass via a real vacuum tube
Korg Volca Nubass - Overview with Nick Kwas | Kraft Music
Korg Volca NuBass | Reverb




"A powerful bass synth with a sound source based around a vacuum tube oscillator.

The acid bass machine with the pinnacle of modulation and distortion.

Even today, when digital technology allows electronic musical instruments to simulate any sound imaginable, people seek the warm harmonics and distortion produced by analog vacuum tubes. This distinctive sound has a quality beyond words that sets it apart, and cannot be captured by a response curve; it's the unmistakable sound of tubes.

The volca nubass is the first analog synth to be equipped with a Nutube new-generation vacuum tube in its oscillator. Vacuum tube plus analog means that the sound is warm, thick, and rich. The familiar transistor ladder filter gives it the character of a classic bass machine, along with overdrive, and huge-sounding distortion.

An acid bass machine for a new generation combines classic sound with the power of modern synthesizer design. It's the volca nubass.

The fusion of a newly developed vacuum tube oscillator with a classic ladder filter

A vacuum tube oscillator circuit forms the heart of volca nubass, utilizing groundbreaking Nutube technology

The Nutube is equipped with two vacuum tubes; one is used in the oscillator to generate a sawtooth wave or square wave. The other vacuum tube is used in the drive circuit of the sub oscillator, adding depth and warmth one octave below the oscillator. This oscillator and sub oscillator provide a circuit structure that brings out the harmonic character that only a real vacuum tube could provide.

A transistor ladder low-pass filter that produces a distinctive sound

The low-pass filter defines the sound of this bass machine; it uses a transistor ladder design found on classic analog bass synths. This filter is uniquely dynamic in the way it affects a sound more than just ranging from bright-to-dark. Its wide range of timbral possibilities makes it ideal for a broad variety of dance music; you can use it to create the distinctive modulation that can be heard in acid house, or increase the resonance to bring out a sharp character that's appropriate for techno.
Analog driver circuit

nubass is equipped with overdrive that uses an analog circuit reminiscent of a classic stompbox. Turning the knob toward the right compresses the volume while causing mild distortion, adding thickness to your bass sounds. The tone knob also lets you adjust the crispness of the high-frequency range.

volca sequencer makes performing and composing simple and intuitive

A 16-step sequencer that lets you automate parameters

CLICK FOR MORE »

Copper Traces Seek 64 Step Sequencer Demo

Published on Mar 14, 2017 Perfect Circuit Audio

"Using the Copper Traces Seek to sequence a synth sound that is a combination of the Make Noise Mysteron and an Erica Synths Black Wavetable VCO run through a MMG. The accent out of the Seek is used to sequence a drum sound on the SSF Entity. Some of the random functions on the Seek are used to change up the pattern while it is running.

Seek, from Copper Traces, is a complex yet compact 64-sequencer for Eurorack synthesizers. It contains all the classic features one would expect from a fully functional sequencer, including legato and accents, but also includes a ton of other features useful for pattern generation. Random sequences can be generated using complex algorithms, as well as randomly programmed sequences to remove tedious note input. One can internally quantize the sequence to any notes by selecting them with the mini keyboard. Complex gate length and shuffle patterns can still function with an external clock, and with 12 save slots, one can recall all these complex programs with just a few button presses. Seek is only 12HP, something rare for Eurorack synthesizers, and will leave plenty of space for sound sources and modulation.

Available here: https://www.perfectcircuitaudio.com/c..."

Introducing TZM Creative Lab's Motus – Creative Motion Enhancer

Motus – Creative Motion Enhancer from TZM Creative Lab on Vimeo.

"Motus allows users to literally play music in the air. No keys, buttons or knobs. While holding Motus in hand, you can play the note and at the same time change its timbre by using different motion gestures."

See https://motusmotus.com for additional details including their crowdfunding campaign for the Motus.

The following is pulled from their press release where you'll find additional pics:

"Bow without strings, play synths without pressing the keys. An exciting and simple, yet intelligent wireless musical instrument converts motion gestures to sounds

TZM Creative Lab introduces their first product, Motus – Creative Motion Enhancer. A wireless device converting motion to sound, a creative tool for professional musicians, dancers and artists, an intelligent toy for kids and grown-ups. Available on crowdfunding campaign now, for less than $100.

Motus is a mobile wireless device that turns motion to sound. In human’s language, it allows users to literally play music in the air. No keys, buttons or knobs. While holding Motus in hand, user can play the note and at the same time change it’s timbre by using different motion gestures. Instead of defining single way to play Motus, we simply offer different interaction rules. While loading a different Motus instrument, you’re redefining what it will be – shaker, air drums, violin or something else. Use each instrument just as you would in reality. Motus technology tracks user’s free movements, extracts the most important motion features (e.g. velocity, dynamics, displacement) and maps them to different sounds. It can be a real-time generated sounds, prerecorded material or even sound and light effects. The size of Motus is optimal for easy handling and excellent control.

Motus technology tracks user’s free movements, extracts the most important motion features and maps them to different sounds.

New possibilities in music
Music

“By developing Motus we are keen to engage more people to explore new possibilities of being creative. It started as a tool that expands musical performance, however later we saw it has very broad use cases, e.g. dance, performing arts, or just having fun for people that have no connection with music at all. Anyone who is willing to experiment with digital sound is hindered by the process. Therefore, we did reverse the whole thing and made it approachable in a simple and exciting way, by using motion as a natural input into digital sound synthesis. The space around you becomes a touchless surface, a canvas you can interact with and explore. Motion with Motus turns the air into a keyboard, fret board, djembe skin, drum pads, violin bow, etc. The movement is a key to play and experiment with sound in real-time whether during casual time outdoors or on stage.” – said Mindaugas Badokas founder of TZM Creative Lab. “Motus is also, in part, about community. We seek to empower motion to open up more possibilities of creativity in sound exploration and gather the whole community which keeps that alive. Where anyone can take part from professional musicians to dancers, from grown-ups to kids (even 30 years-old kids).”

Motion with Motus turns the air into a keyboard, fret board, djembe skin, drum pads, violin bow, etc. The movement is a key to play and experiment with sound in real-time.

Three different Motus versions

Motus Classic is out-of-the-box device and can be explored instantly by anyone. It provides full Motus experience, however it should not be used for professional applications.

Motus Pro is made for professional performers, it comes with an external Bridg receiver and precision sensors, its connectivity rage is up to 30 meters and possibility to connect up to 12 devices simultaneously. It is a perfect fit for using on stage and demanding tasks of any performance.

Motus Hacker is offered for the adventurous DIY enthusiasts seeking to make their own customized device, it comes without usual body and each part has to be soldered together by the user. Depending on added elements it may be used on stage, however this is highly variable, therefore it is not recommended for professional application but more for the experimentalists.

Connectivity
Motus comes together with its software, where users are able to select Motus instruments and play them instantly. It as well can be used as a controller with any DAW of choice—it is compatible with MIDI, OSC and ReWire. Ableton Live users will be provided with M4L device to make the set-up easier. Max users will be offered a pack of externals and abstractions.

In contemporary dance scene for 2 years
Usually dancer follows the music and technicians follows the dancer to implement the image and audible atmosphere of the show. Motus enables dancers to directly control and improvise with sound, live visuals or lighting. Dance troupe Aura has been using Motus prototype for the past three seasons in the play “Make a Switch from me”, which was premiered in Italy, Lithuania and Poland. Composer found Motus being a versatile tool. “Motus helps to communicate message faster and gives an opportunity to expand your fantasy but still keep the audience in it.”, explained Antanas Jasenka, Composer.

Motus not only provided an immersive experience for the audience but as well for the dancers. Francesco Dalmasso, dancer at Aura Dance Theatre said “You have really close connection that you’re actually creating the choreography yourself and at the same time creating the music, sounds, so you’re both – choreographer and composer and a dancer. It’s very rich.”

Dance troupe Aura has been using Motus prototype for the past three seasons in the play “Make a Switch from me”

Coolgarden – the app store for Motus
TZM Creative Lab will be opening a standardized platform, Coolgarden – app store for Motus. Coolgarden is a place where Motus users will be able to find all Motus instruments and creative applications. Therefore, developers are invited to develop Motus instruments and offer them for Motus users through Coolgarden. Developers can offer everything from synths, audio effects, visual generators or interactive games which can be monetized or free for users.

Embedding latest technologies
In the last years scientific approaches to human-computer interfaces and interactions for musical performance gained increasing attention from scholars. Some of the reasons for this are computational speed progress and microcontrollers price drop, which have opened new possibilities in the realm of real-time musical interactions. Motus is an outcome of many experiments and scientific endeavors. We’re bringing cutting edge technologies straight to the user. By doing this we can exit alpha stage faster and implement exciting features found only in scientific papers and research facilities.

Available on crowdfunding
Motus was launched on a self-starter crowdfunding campaign on 21th of October. The company seeks to reach its crowdfunding goal of $28,000 in 30-day period until the 20th of November. During a campaign Motus devices are offered for an introductory price starting from $80. First supporters will be able to purchase a limited number of devices for even more discounted price. The collected funds will be used for securing first batch of production: finalizing the product, setting up manufacturing and future development."

The Crow Hill Company Announces Availability of SMALL STRING GESTURES

The best string sound I have ever heard!! video upload by The Crow Hill Company

Press release follows:

TCHC announces availability of SMALL STRING GESTURES as toolkit to dial up musical personality with intimate interpretative band behind each key

EDINBURGH, UK: having ‘softly’ set out its software stall late last year with a low-key launch of STRING MURMURATIONS that saw decades of award-winning experience in the music tech sector and at the composing coalface distilled into an easy- to-use, intuitive, and comprehensive sample-based virtual instrument plug-in and GUI (Graphical User Interface) introducing the cutting-edge concept of Gestures (whereby an orchestra interpreting its user’s composition and making it into music and art lies behind every key played), music-making community tools-maker The Crow Hill Company is proud to announce availability of SMALL STRING GESTURES as the latest incarnation of that concept — creating a set of tools where individual instruments and the playing style, strengths, and frailties of the intimate interpretative (3, 3, 3, 3) band behind each key are available for the user to dial up the personality of their composition, created from a collection of master recordings that have been mixed and edited into a sample-based virtual instrument plug-in with a GUI and preset browser that are as easy on the eye as they are in use — as of January 26…

An armada of strings can create awe — an epic tidal wave of human emotion, of scale, of wonder. While STRING MURMURATIONS makes it easy and intuitive to make music that sounds human thanks to three distinct palettes of expressions, each designed to feel like the user is collaborating with an orchestra of real musicians, creating endless harmonic possibilities that inspire from the moment a key is touched, sometimes music-makers need it to be intimate, truthful, personal, human — hence The Crow Hill Company creating SMALL STRING GESTURES as a set of tools where individual instruments and the playing style, strengths, and frailties of the instrumentalists involved are available for the user to dial up the personality of their composition. Cue humanity, in other words.

With this in mind, The Crow Hill Company specifically selected a 3, 3, 3, 3 — three Violin 1, three Violin 2, three Violas, and three Cellos — band size that ensured its sampling style brought every individual within that ensemble into beautifully detailed and intimate focus for SMALL STRING GESTURES. This toolset is provided with a different lens and aperture to play through.

The Crow Hill Company collectively likes to keep things moving, so while this latest incarnation of its Gestures concept is very much related to one of those distinct palettes of expression available in STRING MURMURATIONS, it is worth highlighting hysteresis — dictionary-defined as the phenomenon in which the value of a physical property lags behind changes in the effect causing it, such as when magnetic induction lags behind the magnetising force, for instance — in relation to SMALL STRING GESTURES. Getting in on the act of creating sample libraries involves always asking the instrumentalists involved to perform musical material that is incredibly easy to play in order for the end result to always be ‘together’. That is fine for programming or composing simple stuff since that would sound true to real life, but it becomes harder, however, for players to remain totally locked to each other’s tuning or timekeeping when playing more difficult passages. Pure sound becomes more problematic as a result — reduced fundamental meaning more character, which is why a lot of sample-based music used in films, games, and TV sounds ‘characterless’. Clearly the samples involved therein lack hysteresis as they were easy to play, yet playing something difficult with them does not sound natural, real, or human. Indeed, it is fair to say that what makes musicians ‘hysterical’ is speed — faster playing means looser playing that is less in time and also less in tune; reach — the wider the gap between the notes, the further they have to reach, resulting in less perfectly in tune playing; and pitch — the higher a player plays, the harder it becomes as it involves more intense accuracy from string players performing on fretless instruments.

It is for this reason that The Crow Hill Company decided to get its players to perform the hard stuff — not compositions, but mere fragments, which is why anyone working with SMALL STRING GESTURES will not feel like they are playing phrases; instead it is rather like having a string band under their fingertips. For Gestures are the very real sound of reach and performance. But by not giving the musicians behind SMALL STRING GESTURES simple stuff to play prevented them from getting bored. Better still, SMALL STRING GESTURES users are accessing the sound that musicians make when they are smiling... hysterically!

It is also fair to say, therefore, that the effect of hysteresis on a large string section — including that which was involved in the creation of STRING MURMURATIONS, for instance — is a silky, blurry sound. An audible example of this might be the fast string runs in John Williams’ ‘Hedwig’s Theme’ from Harry Potter and the Philosopher’s Stone — ditto the closing bars of ‘Mars, the Bringer of War’ from Holst’s The Planets suite. Saying that, though, there are times when music-makers do not need awe, epic, and huge scale in pursuit of their compositional craft, but instead seek something more intimate, more personal, more human. The theory that led to SMALL STRING GESTURES revolved around if The Crow Hill Company could get a string band small enough then the impact of hysteresis would not be a musical blurring, but rather an exposure of each player involved in its creation — their own style of bowing and vibrato, their own fragilities to help the user’s audience connect more with the human nature of their music.

Making that happen meant designing SMALL STRING GESTURES to make its users approach composing and making music from a totally new angle, one where it feels like there are musicians at their fingertips — not samples. SMALL STRING GESTURES is a collection of master recordings — made by world-class producers and engineers at Glasgow’s Clockwork Studios, a new custom-designed scoring stage for the UK comprising of a large hall for full orchestra (up to 80 players) with a balanced and focused sound ideal for modern orchestral recording, as well as a smaller dry space in Studio B (up to 15 players), with the world-class Scottish Session Orchestra playing some of the finest instruments through the finest microphones and mic pre-amps — that have been mixed and edited into a sample-based virtual instrument plug-in with a GUI and a preset browser that are as easy on the eye as they are in use. Ultimately, it works within anyone’s favourite DAW (Digital Audio Workstation) with 25 presets — presented as six Gestures, four Longs, 10 Presets, and five Bonus — and additional hand-crafted Selects designed by The Crow Hill Company team. There are three mix-ready stereo signals — namely, CLOSE, WIDE, and AMBIENT, as well as unique REVERB controls and a granular effects processor.

Duly designed by professional composers with the sonic connoisseur in mind, The Crow Hill Company’s collective conclusion certainly rings true, stating, “We’re a small team and have worked hard to make everything as intuitive as possible.” Put it this way: with SMALL STRING GESTURES it is perfectly possible to make music that sounds intimate, truthful, personal, human! Hysteresis, of course, comes into play here, albeit with the desired effect — exposure of each player involved in its creation.

Clearly, then, big messages come in small packages when it comes to working with the diminutive-sized SMALL STRING GESTURES as another easy-to-use and intuitive virtual instrument plug-in from The Crow Hill Company, one which is also easy on the wallet for those wishing to step into this new world of gesture-based sampling.


SMALL STRING GESTURES is available to purchase — as an AAX-, AU-, VST-, and VST3-format-compatible sample-based virtual instrument plug-in comprising 8 GB of uncompressed material (compressed losslessly to 4.4 GB) that loads directly into a DAW — for £49.00 GBP (including VAT) directly from The Crow Hill Company here: https://thecrowhillcompany.com/small-string-gestures

SMALL STRING GESTURES is available for free until February 29, 2024 when purchasing STRING MURMURATIONS for £199.00 GBP (including VAT) directly from The Crow Hill Company here: https://thecrowhillcompany.com/string-murmurations/ (Note that SMALL STRING GESTURES is also available for free to existing owners of STRING MURMURATIONS until February 29, 2024.)

Watch The Crow Hill Company founder and composer Christian Henson’s must-see SMALL STRING GESTURES walkthrough video here: [video up top]

Free sounds for all are available by simply signing up to become a Crow Hill member here: https://thecrowhillcompany.com/join-crow-hill/

---
Video side note: Analogue Solutions Colossus in the background.

TIPTOP AUDIO RECORDS VARIOUS ARTISTS 0002 Double Vinyl and Digital Issue

Tiptop Audio Records - Various Artists 002 - Official Teaser from Tiptop Film on Vimeo.

ANGLE VS. JOAO CESER - Axolotl (Soundtrack free download)
soundcloud.com/tiptop-audio-records/angle-vs-joao-ceser-axolotl
tiptoprec.com
tiptopaudio.com

"Tiptop Audio was founded in 2009 when Gur Milstein started building his first electronic musical instruments in his laboratory in Hollywood, California.

His creations became popular immediately and the demand for the modular synthesizers produced by Tiptop Audio grew rapidly.

Today, in just over six years, many members of the international community of composers and electronic musicians create their own sounds and shape their own work by using Tiptop Audio’s equipment. In 2015, Tiptop Audio took a further step in its influential presence with the birth of Tiptop Audio Records. The label produces analog music manufactured from modular synthesizers with a dance-oriented vocation.

Tiptop Audio Records
The creation of the label consolidates a path that connects its instruments with the best electronic music composers of the moment. All projects that fit within the label are the result of direct experimentation of modules. The connection between the components creates sounds that are unique and unrepeatable.

'The modular synthesizer represents the possibility to build your own sound from a basic wave, up to the most complex chain of elements. The sound is alive. The sequence of loops are never identical as the approach to the machine is physical. Connections are visible and not obscured by a display. The user is preset free and is able to construct an original patch everytime.' Piero Fragola A&R Tiptop Audio Records

TTAR V.A. 002 (2016)
With: Matt Lange, Angle, Joao Ceser, Markus Fix, Black Shape, Drumcell & Luis Flores, Hubot, Florian Meindl, John Tejada, Scanner, M.O.T., Riemann.

The second issue of Tiptop Audio Records attests to the label’s attitude towards developing a nuanced sound set to become a standard for production. The line-up for Tiptop Records includes big names of a scene now described as ‘Modular Techno’, which consists of a fast growing group of artists interested in expanding their compositional techniques through modular synthesizer systems.

The vinyl format is a testimony to the label’s dedication to produce music in a physical form. The result is a four side, double LP packaged in original artwork (including a special poster) by Italian artist Matteo Giampaglia, with handmade lettering by Caterina Scardillo. It is an invitation to a territory of oscillations, and a trip of 10 (+ 2 extra digital) tracks that reconsiders the concept of sound design applied to electronic club music.

The teaser video samples the vibes of the new issue's inherent contagion. Videos for the individual tracks are set to follow by a fresh roster of new talent.

TIPTOP AUDIO RECORDS V.A. 2016

A side: Matt Lange - Qvcamx/ Angle - Time portraits
The first groove introduces Matt Lange’s track, an American producer who has joined up with DeadMau5 on Mau5trap. This intense 8 minute track is sustained by an immersion of rhythm full of atmosphere.
The Angle project is known for the development of audio-video combinations in their performance. They produced a club track rich in melodic sequences, perfectly balanced in a nonlinear fashion.

B side: Joao Ceser - System Failure/ Markus Fix - Texter
Joao Ceser is presently one of the leading figures in Italy of modular techno. His track, System Failure, builds an inevitable dance floor trap from which you can not escape.
The following track is Texter by Markus Fix of Sven Vath’s Cocoon. It takes us into a nocturnal atmosphere, reminiscent of ‘Blade Runner’.

C side: Black Shape - Doom Room/ Drumcell & Luis Flores - Submission of Thought/ Hubot - Riz 7
Black Shape makes its debut on Tiptop Audio Records with a track with an acid bass line featuring the dobro guitar played by Fabrizio Canale and vocals by Piero Fragola. The track exemplifies the theme and intentions of this project.

Drumcell (of Chris Liebing’s CLR) and Luis Flores pump out a distorted sound with an industrial flavour that drastically changes the atmosphere to a state of ecstatic proportions. Hubot takes us back to a club vibe with a groovy yet dark sound driven by a relentless sequence of beats.

D side: Florian Meindl - Operating Temperature/ John Tejada - Fourier Tranform/ Scanner - Valbor
Florian Meindl opens the last side of the release with a fast-paced rhythm and a syncopated sound texture defined by harmonic sequences.

John Tejada (artist of Germany’s Kompakt Records) turns the table with a melodic mind trip, keeping in focus the weaving of sounds and the bass line.
Lastly, Scanner closes the compilation with an avant-garde orchestration, endorsing the ambition of the label to seek new sonic territory.

The issue also includes 2 extra digital tracks:
M.O.T - Look inside/ Riemann - Riemann LIVE -1"

"Forgotten Dreams" performed on Electronica EM-25 [Soviet wave episodes - #2]

Published on May 30, 2020 techno comrade / seek sound

techno comrade / seek sound episodes

What can Alice-1387 synth? - (ep3) Metal and Acid

Published on Sep 1, 2018 seek sound

seek sound

Bob Moog Foundation Announces Pilot Program of Dr. Bob’s SoundSchool Curriculum

Pictured: "BMF volunteer Dave Hamilton shows waveforms to students"

"Bob Moog Foundation Announces Pilot Program of Dr. Bob’s SoundSchool Curriculum in Asheville City Schools

January 30, 1012 – Asheville, NC The Bob Moog Foundation (BMF) proudly announces the launch of a pilot program of its hallmark educational project, Dr. Bob’s SoundSchool, at Asheville City Schools’ (ACS) 2nd grade classrooms.

Dr. Bob’s SoundSchool (formerly known as MoogLab) ignites the creative and innovative spirit by teaching children the science of sound through the magic of music. The experiential curriculum, which meets state and national standards, integrates intuitive, engaging electronic musical instruments to teach the physics of sound to young students. For the pilot phase of the program, the 2nd graders are using theremins, which were donated to the BMF by Moog Music, Inc. In addition to an introduction to the physics of sound, students are taught about scientific method using examples from Bob Moog’s science notebooks, as well as examples from other seminal inventors.

The SoundSchool curriculum was developed over the summer of 2011 by a team of music and science educators along with music technologists. Jonna Kwiatkowski, PhD, Assistant Professor at Mars Hill College, an experimental psychologist specializing in creativity, coordinated the curriculum team.

Following the development of the curriculum, the BMF collaborated with eight participating 2nd grade teachers from ACS, teaching them the necessary background knowledge regarding the concepts of sound in preparation for successful teaching of the SoundSchool curriculum. This professional development was conducted in the Fall of 2011.

The pilot program will run for 10 weeks during the winter and early spring of 2012, after which an assessment measuring science proficiency and creativity will be issued to participating students as well as to a control group who will use a state provided kit-based curriculum.

The curriculum development and teacher training have been guided by Donalyn Small, Instructional Coach for Science at ACS. “This unique opportunity has been an honor for our district. It gives our students a chance to learn the concepts of sound using lessons that have been designed using a constructivist approach. They are innovative, authentic and promote creativity as well as 21st century learning skills. This partnership was timely as the state has recently adopted New Essential Standards for Science. The SoundSchool curriculum reflects these new standards,” Small explains.

Following the assessment of Dr. Bob’s SoundSchool, the BMF plans to seek grant funding to grow the program nationwide. Currently, the Foundation is conducting a fundraising campaign on IndieGoGo.com in an effort to raise $50,000 for the program.

The last in a series of kickoff events will take place on Tuesday, January 31 at Vance Elementary School. BMF volunteers August Worley and Ben Hovey will explore ideas, invention, sound, and music with 2nd grade students as an introduction to the course work that will ensue over the next 10 weeks."

Additional pics here

Associated Links:
www.moogfoundation.org
www.indiegogo.com/Bob-Moog-Foundation-Dr-Bobs-SoundSchool
http://www.ashevillecityschools.net"

phonogene

YouTube Uploaded by DrOctave1 on May 17, 2011
Audibly NSFW.
"scarface in the phonogene and some 4/4 just checking it out and playing around"

via Make Noise
"The Phonogene is a digital re-visioning and elaboration of the tape recorder as musical instrument (Firmware Engineered by Flemming Christensen, Gotharman). It takes it’s name from a little known, one of a kind instrument used by composer Pierre Schaeffer. While it is not an emulation, it does share the primitive, tactile nature of it’s namesake, and expands upon the original concepts. It is informed by the worlds of Musique Concrète (where speed and direction variation were combined with creative tape splicing to pioneer new sounds) and Microsound (where computers allow for sound to be divided into pieces smaller then 1/10 of a second, and manipulated like sub-atomic particles). Having voltage control over every parameter, it is most successful as a digital audio buffer for the modular synthesist.

The Phonogene is comprised of a pair of tool-sets which work well together. Tape Music Tools allow for sounds to be recorded on the fly, layered using the internal Sound On Sound function, manually cut into pieces using the SPLICE function, and re-organized with the ORGANIZE control. Once it is Spliced up, it is possible to create nearly infinite variations of the original loop by modulating the ORGANIZE parameter, and VARI-SPEED allows for the speed and direction of playback to be controlled continuously with one control signal. GENE-SIZE, GENE-SHIFT and SLIDE make up the Microsound Tools. GENE-SIZE divides the audio buffer into progressively smaller pieces called Genes (aka particles, grains, granules). A clock signal applied to GENE-SHIFT will step through those pieces in chronological order, while a control signal (such as the Wogglebug Smooth CV) applied to SLIDE, moves through those pieces in a nonlinear fashion. Using SLIDE, random access of the audio buffer is possible. Obviously, functions such as VARI-SPEED and ORGANIZE are useful for Microsound as well, which is why these functions were grouped into one module. The end result is a sampler/ looper/ audio buffer that is able to exist within a modular synthesizer system, and offer a vast amount of real-time sound manipulation in a fast and tactile way.

There is often the expectation that “bad sounds” such as clicks, pops, distortions, wrong notes, phase in-accuracies and otherwise, should be impossible with modern musical instruments. Many designers are making instruments which are fool-proof, and which guarantee some specific musical result, thus making it easy to create the same music, over and over again. The Phonogene does NOT use this approach. In fact, we have made it very possible to make the “bad sounds” and “mistakes” that have led to some of the greatest moments in musical history (and of course, some of the worst!). With the Phonogene, it is possible to Splice sounds in such a way that you will hear sharp contrasts, clicks and pops. This is the physics of sound! It is possible to slow down a recording to point of complete decimation, so that all that remains is trail of digital artifacts. Such are the limitations of digital sound (at the moment). It is possible to render the source material completely unintelligible, to cut busted loops, to distort digitally, to obscure, to regenerate to the point of almost no signal integrity. This is the nature of the Phonogene. If you seek the perfect looping tool, in the most contemporary sense of the word, then please look elsewhere. If you desire to explore the realm of modular, digital sample manipulation and microsound, welcome!

This module is 20HP and consumes 70mA worth of current."

The Ondomo by Asaden - Ondes Martenot Redux

Uploaded on Jul 28, 2016 Adrien Duchemole

The above is a demonstration by Adrien Duchemole who is lucky enough to own one of the first Ondomos.

[Update: I found a few additional demos of the Ondomo on YouTube. Three, including the initial unveiling of the first version in 2014,  have been added to the bottom of this post.]

In October of 2012, a post here on MATRIXSYNTH featured the Asaden Eleki-Ribbon. It appears that project was just the start of something pretty magnificent. Asaden has painstakingly recreated his version of the Ondes Martenot. Details follow.



Pictured here is an image of two new Ondomos and an original Ondes Martenot (center) via Adrien. Note the wood on them is much darker than the one pictured below from the Asaden website. According to Adrien, Asaden did an initial run of 100 Ondomos.

The following are some details, Google translated from Japanese, via Asaden (forgive the translation):

"Ondomo - Legacy Of Love

More than 15 years, continues to study the Ondes Martenot, it can be more easily available, it is even more portable also easy, anywhere play as, from Japan made from the feeling that new Ondes Martenot.

Once the Ondes Martenot easy Mochiaruke ... Ondomo that has been produced in such a thought (Ondomo) has packed the hopes and dreams in only 64 cm of width.

If even plug it into an electrical outlet, because it is equipped with a built-in speaker, you can play anywhere at any time.

Instrument called Ondes Martenot, and Ondes Martenot unique sound is hoping the producer that the more spread in the world."

"1928, is an electronic musical instrument was born in France. Announcement initially referred to as the (meaning of the Buddha 'musical waves of Martenot') 'Ondes Martenot musical-Ondes Musicales Martenot', it will be later referred to as the 'Ondes Martenot' or simply 'Temperature ondes'."

"Morris Martenot (Maurice Martenot, 1898.10.14 - 1980.10.08) represents a musical talent from early childhood, early on cello, piano, musician learned the basics of music, also deeply involved with music education and thought, in his later years Mesodo of relaxation is also established. On the other hand, there is a deep knowledge in electronic and mechanical engineering, in the First World War in prison as a communication soldier. Ondes Martenot The impetus of production is, where you start from the sound clear the triode vacuum tube was in the ear. Repeat the research and trial along with the end of the war, Paris in 1928, it announced the musical instrument in the Opera, and caused a sensation. Then, playing to countries with Ginette Ginette of the Ondes Martenot player sister trip, in 1931 we came to Japan in Japan. Ondes Martenot for the Morris, and the desire of as a musician to continue to seek a sound of its own, desire as a thinker to practice the human way and way of life are fused, will he had a life's work would live ish myself. 1980, continue to seek the sound of his own until his death in an accident, improvement until the end instrument was overlaid."

"And a body part to play, set in a variety of speakers (Buddha di Few Suhl Diffuseur). Its kind, there is a regular speaker and similar principal principal, resonance resonnances to create a reverberation by spring, a built-in gong characteristic resonance of metallic metallique, Palm palme to leave a sound strings stretched wooden body. Ondes Martenot, the electricity, but it is often placed in the category of an electronic musical instrument for a musical instrument to be used, pitch, expression, the tone, in the player's hand, an instrument that can be intuitive to play with the feelings of the place some reason, there is a feature close to the acoustic instrument."

specifications

  4 octave
  W 64 x H 15 x D 17 (cm) ※ H (if fitted with a leg) state closed the lid: 77cm
If you made a music stand: 104cm
  Weight: approx 6kg
  Outputs: Speaker out / D-sub
DC 15V
  Accessories: Legs / D-sub cable / power adapter

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Introducing Moog Sirin | Analog Messenger of Joy

Published on Jan 24, 2019 Moog Music Inc

"Seclude yourself and let the music sweep you away. Seek to become newly aware of yourself, the world of nature around you, the people near you. And If you feel it, express yourself.

Introducing Sirin: Analog Messenger of Joy, a new instrument for creative expression that oscillates in the higher octaves of experience.

Sirin is a limited-edition synthesizer module created in celebration of the Moog House of Electronicus and based on the legendary Moog Taurus sound engine. Presented in the familiar compact form of the Moog Minitaur, Sirin is the first instrument in Moog’s Taurus family of bass synthesizers designed to generate pitches far above middle C, with an extended frequency range that reaches notes up to D8.

In this video, Nick Sanborn (Sylvan Esso, Made Of Oak) explores the power of sound using Sirin and DFAM analog synthesizers. Sanborn weaves multiplexed patterns of sound waves--translating the thoughts and feelings of the collective individual into a shared musical experience.

With the exception of the DFAM’s percussive analog backbeat, all sounds in this video came from Sirin. Nick Sanborn uses the free downloadable Sirin Editor Librarian software to automate and recall parameter settings as he layers multiple monophonic tracks from Sirin.

A limited production run of 2500 Sirin will be produced by the employee-owners at the Moog Factory in Asheville, NC--after which no more will be available. Sirin is available for order right now at www.mooghouseofelectronicus.com (US Only--For international orders, please reach out to the Authorized Moog Distributor in your region)."

Features
• Brushed stainless steel chassis
• Two modified Moog Taurus analog oscillators with Hard Sync
• Moog Taurus Ladder Filter (20Hz - 20kHz)
• Two lightning-fast ADSR envelopes
• Multi-wave LFO w/ MIDI sync
• Glide with selectable type
• Up to 128 onboard presets
• Extensive hidden functionality accessible via front panel and MIDI
• Free Editor / Librarian standalone and plugin software
• Handcrafted by Moog’s Employee-owners in Asheville, NC

Specs
SOUND ENGINE: Analog
PRESETS: 128
POLYPHONY: Monophonic (Can be poly-chained)
NOTE RANGE: E0 - D8
SOUND SOURCES: 2 Oscillators with Saw and Square waveforms
VCO 2 FREQ: +/- 12 Semitones
HARD SYNC: On / Off
GLIDE: Selectable LCR, LCT, EXP - Legato On / Off
FILTER: 20Hz - 20KHz Ladder Filter
MODULATION SOURCES: Triangle, Square, Saw, Ramp, Sample & Hold, and Filter EG
MODULATION DESTINATIONS: Oscillator Pitch, Oscillator 2 Pitch only, and Filter Cutoff
LFO PANEL FEATURES: Rate, VCO LFO Amount, and VCF LFO Amount
ENVELOPES: 2x ADSR Envelopes w/ Legato On, Legato Off, and EG Reset
EXTERNAL AUDIO INPUT: ¼” TS
AUDIO OUTPUT: ¼” TS
HEADPHONE OUTPUT: ⅛” TRS
MIDI I/O: DIN In, and MIDI I/O over USB
ASSIGNABLE CV / GATE INPUTS: Filter CV (Fixed Dest.), Pitch CV (Default), Volume CV (Default), Gate (Default)
CV TO MIDI CONVERSION: Yes
WEIGHT: 2.8lbs
DIMS: 3.1”H x 8.6”W x 5.2”D
INCLUDED POWER SUPPLY: 100-250VAC, 50-60Hz, +12VDC"

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Rhodes Chroma Polaris

Note: Auction links are affiliate links for which the site may be compensated.

Super nice pics via this auction

"If you are looking at this, wise viewer, you already know what awaits; one of the most incredible polyphonic analog synthesizers ever created since the dawn of man and music. It would, in fact, not be too bold to state that this Rhodes Chroma Polaris completely embodies the timeless, incredibly sought-after sound of the 80s and beyond. From lush pads to stabbing leads, ringing pulse-modulated keys and shimmering textures, the Chroma Polaris was the absolute cutting edge of analog synthesizer technology at the time of its release in 1984. Any musician, with the means at their disposal, would be considered naught but addlebrained fools, to neglect bringing every resource to bear in acquiring this incredible machine with all due haste.

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Real hardware 'polyvox' vs software 'polyvoks'. Let's try to compare sounds

techno comrade / seek sound

"Попытка сравнить звучание настоящего поливокса со звучанием одноимённого VST плагина"

"An attempt to compare the sound of a real polivox with the sound of the VST plug-in of the same name"

Chunky knobs.

Zvex Super Seek Wah

Published on Mar 4, 2014 bigcitymusic·306 videos

"Zvex pedals are typically used by guitarists, but we decided to see what the Super Seek Wah would sound like with a synthesizer instead.

The Zvex Super Seek Wah pedal has MIDI In (and MIDI Thru) which bypasses the internal Tap Tempo and allows for tempo synchronization to an external MIDI Clock!

A Cwejman D-LFO sawtooth wave has been routed through the Super Seek Wah whose sequencer is clocked via MIDI from a computer. The Cwejman D-LFO module's pitch is tracked via MIDI to CV from a Vermona qMi.

A Mellotron M4000D can be heard in the background.
http://bigcitymusic.com"

IK Multimedia Uno Synth Pro X Unboxing + Demo | No Talking |

video upload by DKS SYNTH LAB

"From Classic to Brand-new Sounds
Inside UNO Synth PRO X, users will discover a unique analog sound engine that they can sculpt to be anything they desire. With a fresh layout, the new UNO Synth PRO X gives players immediate control over its dual-filter, 3-oscillator paraphonic design, 256 presets, 64-step sequencer and much more.

To add more color to the sound, there’s a warm and organic true-analog overdrive, plus 10 studio-quality effects (including a new shimmer reverb and uni-vibe-like modulations) in three simultaneous slots: modulation, delay and reverb.
External signals can be routed through the filters and the effects in addition to UNO’s original thru-put for daisy-chaining multiple units together without using a mixer.

More Ways to Play and Perform
UNO Synth PRO X offers a 64-step paraphonic sequencer with parameter automation including CV and Gate. It has step and real-time recording with a sequence randomizer (following the scale selected) to create intricate and evolving soundscapes. UNO Synth PRO X also features a 10- mode arpeggiator with pattern designer.

In addition to legato, mono and paraphonic modes, users will find a new Bassline mode which modifies the behavior and interaction between core parts of the synth like the filter and envelopes in exciting and inspiring ways.

Comprehensive, Easy-to-use Controls
UNO Synth PRO X offers the simplicity and familiarity of classic synths with added modern control elements. It provides over 30 hands-on controls plus a 16-slot modulation matrix. Users can easily design the most sophisticated modulation scheme with both internal and external sources including MIDI controllers.

UNO Synth PRO X stores 256 user-editable presets, each capturing the full state of the sound en- gine from oscillators to effects. Presets can be further managed with the included Editor/Librarian. The Editor works as both a standalone application and as a plug-in inside a DAW allowing users to program and play the UNO Synth PRO X just like a virtual instrument.

Connectivity includes USB-C and 5-pin DIN MIDI In and Out making it easy to integrate with other synths and Mac/PC, while assignable CV/Gate connections let UNO Synth PRO X interact effortlessly with Eurorack or other modular systems.

The Sonic Sidekick
Compact and weighing less than a kilo, UNO Synth PRO X is the ideal traveling companion. It can be powered via USB-C and includes a standard power supply unit with barrel for the power-in jack. It has a dedicated 1/8′′ stereo headphone out as well as balanced stereo outputs for superior audio quality in any situation, whether on a plane or on stage.

No other synth in such a portable format places this amount of sound design tools at one’s fingertips. UNO Synth PRO X truly frees users to create the sounds they seek, whether emulating classic analog synths or shaping new unique sounds all their own."

Click here for additional posts on the UNO Synth Pro X.

VST seek: "Synthetic". ExpSess#01 - trisine&supersaw bass

Published on Aug 31, 2018 seek sound

Madrona Labs Introduces Virta Sound Controlled Synthesis and Effects

We have a new synth app from Madrona Labs, the maker of the Buchla inspired Aalto. This one uses audio to synthesize new sounds. The synthesis and effect can be subtle or extreme as you can hear in the demos above.

Via the Madrona Labs website:

"Virta is a patchable toolbox for turning your voice or other instrument into wild new synth sounds."

And from the manual:

"Synthesizers and effects. In this crazy mixed-up world, what could be better? On and on, we tweak and twist, searching for something. Smiles creeping across our faces all the while. The roiling sea of knobs and buttons and lights are magnetic. We seek, pure of heart, to merge with the world of sound.

Alas, we sometimes find ourselves stopped short.

It can be a tall order to get the level of expression and immediacy that you crave with traditional synthesizers and processors. is goes double if you’ve got to work quickly, but want to maintain a satisfying amount of complexity and variance in your sound. Perhaps, in the heat of a creative moment, you have wished to simply dive into a synth or effect and command it by thought. There is no shame in that.

This, to a large degree, is why we’ve created Virta - a modular synthesizer and effects processor that responds directly to you.

When you route your voice (or any kind of audio) into Virta, the sound analysis engine precisely extracts information about its pitch, timbre, and dynamics over time. These new signals can control nearly any parameter in Virta, just the same as you can with MIDI or OSC.

Tis makes for an instrument that can easily follow your every twist and turn. Living the dream, really. Then again, Virta is modular, so audio-controlled synthesis is just one road you can travel. You can also make stuff like:

• Expressive vocal processing chains
• 4-voice MIDI-controlled pitch shi ers
• MIDI/OSC-controlled synths (with or without audio control)
• Drones for days
• First-ever faithful emulation of the mating call of the Space Pony

A Quick Overview
Virta’s interface has four main sections, from top to bottom:
• The header section, where you’ll nd the patch menu, along with the version and registration status of your copy of Virta.
• The signals and shapes section, where AUDIO and MIDI/OSC (KEY) signals ow into Virta, and where the oscillators (OSC1 and OSC2) and modulators (LFO, and ENVELOPE) reside.
• The patcher section, where connections between modules are made and unmade.
• The processing and output section, where the sounds you make are massaged and processed to perfection by the FORMANT, GATE, DE- LAY, and OUTPUT modules"

VELOCITY SYNTH MEET Coming to Seattle October 5th

Details here: https://www.velocityseattle.com

Exhibitors

4ms 4mscompany.com

4ms Company offers alternatives to traditional instruments with our poly-rhythmic clock modules that create evolving complex mathematical beat patterns, a resonator that can cast pop music into micro-tonal keys, a multi-channel wavetable oscillator, a routing matrix that's played like an instrument, and many more innovative devices. Rather than replicate concepts from the past, we strive to turn unique ideas into playable musical tools that expand the possibilities of music. We also offer Do-It-Yourself kits, and many of our designs are open-source.

Acid Rain Technology acidraintechnology.com

Acid Rain Technology is a manufacturer of music hardware out of Seattle, WA. We believe hardware instruments enable a unique connection between human and machine, and seek to improve this interaction through interface design for maximum playability.

After Later Audio afterlateraudio.com

After Later Audio is a boutique audio company located in Seattle, Washington. We make high quality Eurorack modules at accessible prices and we pride ourselves on responsive customer service. You can find our products for sale on our website, at various synth shops (Patchwerks, London Modular, Chuck Levin’s, and Modular 8), and on all of the major ecommerce sites.

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Roland Interview with the Developers of the Boutique Line of Synthesizers

The interview is currently on Roland's site here. The text is captured below for the archives.

"WHAT WAS THE STARTING POINT IN THE DEVELOPMENT OF THE ROLAND BOUTIQUE SERIES?

Tojo:Our starting point was that we wanted to create a full-fledged synth in a compact form factor; something that might look like a gadget at first glance, but was capable of producing amazing sounds. We wanted to create a synth that people could casually enjoy, came with a built-in speaker, and could also run on batteries. Since we had the ACB (Analog Circuit Behavior) modeling technology that was developed for AIRA and a mini keyboard that was first incorporated in the JD-Xi, we thought that we could make something interesting by combining these two. That was around the end of last year, and actual development began in around January this year.

WERE YOU PLAYING WITH THE IDEA OF BASING THIS SERIES ON SYNTH CLASSICS RIGHT FROM THE OUTSET?

Tojo:Yes, we were. We wanted to combine ACB and the mini keyboard to reproduce classics that everyone was familiar with. The JUPITER-8 and JUNO-106 were candidates right from the start, since these synths are still very popular today. We wanted to add another synth to the lineup, so we decided to go with the JX-3P, which produces different types of sounds from either the JUPITER or JUNO. We reached the decision to go with these three synths rather quickly, without much debate.

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Getting strange sounds using 'К176ЛА7' IC and some hand magic

Published on May 31, 2018 seek sound

"The original sound was recorded in wav and then processed with dynamically changed software effects"