The following is a press releas from the organizers of SUPERBOOTH. You can find all SUPERBOOTH21 posts here (currently 167 including this one).
Berlin, October 2021 This was SUPERBOOTH21
We all had to wait a long time for SUPERBOOTH21, now the event is over and it was a complete success. The circumstances that forced the organizers to completely rethink have made this year‘s SUPERBOOTH21 better. The exhibitors have used the last months to develop many exciting novelties. The spacious area, the airier rooms and the resulting much more relaxed atmosphere, gave the exhibitors and visitors more opportunity to engage in conversation and to test and experience the exhibited instruments in a meaningful way.
Many participants reported that the quality of the discussions among each other was once again better than in previous years. This was made possible by the 126 exhibitors present this year, whom the organizers would like to thank once again. Another important element in this year‘s concept was the coopera- tion with the Miller-Zillmer Foundation, to whom the organizers would also like to express their sincere thanks. The Miller-Zillmer Foundation made it possible to bring the wonderful artists Yann Tiersen, hackedepicciotto, JakoJako, Pole and the Modular Synthesizer Ensemble to the stage.
Andre Kaufmann: „Our little adventure trip is over for this year - 4 days with quite a few moments of joy, passion and excitement. We hope everyone had a great time meeting colleagues, friends and making many new contacts. It was a very memorable event, maybe the special circumstances made us even more connected.“
TRADE FAIRS FOR MUSICAL INSTRUMSENTS & MUSIC 12.—14. MAY 2022
TRADE FAIRS FOR MUSICAL INSTRUMSENTS & MUSIC The start was perhaps a bit bumpy, with decent rain from Wednesday afternoon, but this was compensated for in the following days by the mild late summer with some sunshine hours and pleasant temperatures. The bungalow village had a wonderful homely atmosphere, in the evenings the Tresorbühne spread festival and club feeling and the famous Japanese pancakes and vegan gyros were again the right basis for long days and short nights.
The success of the newly designed event prompted Andreas Schneider to announce in his closing words after the last concert on the seaside stage on Saturday evening that he intends to keep this concept for SUPERBOOTH22. So you can look forward to another Superbooth that manages to be exciting and relaxed at the same time. One of the best news remains with regards to the first September edition of Superbooth that SUPERBOOTH22 is only 8 months away!
The preparations for SUPERBOOTH22 are already about to begin. The next edition of Superbooth will then take place at FEZ-Berlin from May 12-14, 2022, this time in conjunction with sooperGRAIL, which is dedicated to the art of guitar building.
For the perfect review of concerts and interviews with guests like Jean-Michel Jarre and T.Raumschmiere, talk concerts with Metasonix, Modor, UDO Audio, Joranalogue, Erica Synths, Meng-Qi and many more, there are plenty of videos on the official Superbooth Vimeo and YouTube accounts, as well as on the Superbooth homepage.
Hydrasynth Explorer Introduction
Hydrasynth Explorer Introduction video upload by ASM Ashun Sound Machines
"Ashun Sound Machines (ASM) announces Hydrasynth Deluxe and Hydrasynth Explorer keyboard synth sensations
LOS ANGELES, CA, USA/HONG KONG, CHINA: creativity-sparking sensational products provider Ashun Sound Machines (ASM) is proud to announce upcoming availability of Hydrasynth Deluxe and Hydrasynth Explorer as two new additions to its Hydrasynth keyboard and desktop Polyphonic Wave Morphing Synthesizer siblings successfully launched to widespread critical acclaim in 2019 — the new-found former as a 73-note, 16-voice version of the Hydrasynth keyboard, while the latter features a 37-note mid-sized key-bed — as of September 9…
As a 73-note, 16-voice version of the Hydrasynth keyboard complete with proprietary ASM Polytouch® technology to provide responsive velocity and expressive polyphonic aftertouch over each note, Hydrasynth Deluxe additionally features dual stereo — MAIN/UPPER (L/MONO and R) and LOWER (L and R) — outputs. On top of that, there are also split and layering functions for its 16 voices powered by two separate Hydrasynth — analog modeling (OSC 1-3) and WaveScan synthesis (OSC 1+2) — voice engines, allowing for full bi-timbral control. An accessory shelf that mounts on the back of the right side of Hydrasynth Deluxe extends the top panel-available area so diverse devices such as sound modules, mixers, laptops, and drum machines can comfortably be accommodated atop. A user-assignable four-octave ribbon controller and ergonomically-designed pitch and modulation wheels — all familiar from the Hydrasynth keyboard — all add to its illustrious performance capabilities, complimented by an also-now-familiar connection compliment of SUSTAIN and EXPRESSION PEDAL inputs, MIDI (IN, OUT, and THRU on five-pin DIN, as well as class-compliant USB B), and a comprehensive CV / GATE section (for playing nicely with the ever- widening Eurorack modular world, vintage synthesizers, and more).
Moving on to the other end of the synth scale, Hydrasynth Explorer is a compact-sized Hydrasynth featuring a 37-note mid-sized key-bed with proprietary ASM Polytouch® technology to provide responsive velocity and expressive polyphonic aftertouch features that are not found in other smaller-sized keyboards. However, Hydrasynth Explorer still has the full eight-voice Hydrasynth engine and, despite diminutive — 21.81”/ 55.4cm (W) x 9.72”/24.7cm (D) x 2.28”/5.8cm (H) — dimensions in comparison to its bigger brother, also features CV / GATE OUTPUTS, a SUSTAIN PEDAL input, and standard-sized MIDI IN and OUT connectors (complimented by class-compliant USB B connectivity), as well as a stereo — L/ MONO and R — OUTPUT and another output for (head)PHONES. Perfectly portable, Hydrasynth Explorer can also be powered by 8x AA batteries — not included.
Indeed, Hydrasynth Deluxe and Hydrasynth Explorer both bring back polyphonic aftertouch — one of the most requested features in synthesizers and controllers — with their respective semi-weighted-keys-providing Polytouch® keyboards beautifully breathing life into otherwise static sounds by affording an ability to create expressive passages, unlike common channel aftertouch-enabled keyboards. It is not necessary, therefore, to learn a new keyboard technique to be able to play and perform with an ASM Polytouch® keyboard. Thanks to the two new additions to ASM’s Hydrasynth keyboard range, deciding which one best suits is now a threefold creative choice... and a clearly-defined one at that!
The bigger picture is immediately clearer as ASM CEO Glen Darcey ends on an equally high note: “Our goal at ASM is to create premium- quality, fantastic-sounding, extremely-playable instruments providing musicians with the affordable tools they need to express themselves musically. Our team has many years of experience with electronic music products, both on a personal and professional level — from playing them to designing them. Our unique partnership with Medeli allows us to realize this goal.”
Hydrasynth Deluxe and Hydrasynth Explorer are expected to ship in November 2021, available to purchase via ASM’s growing global network of authorized dealers (http://www.ashunsoundmachines.com/dealers) at an MSRP of $1,999.00 USD ($1,799.00 USD MAP)/€1,749.00 EUR/£1,699.00 GBP/¥224,900 JPY for Hydrasynth Deluxe and an MSRP of $799.00 USD ($599.00 USD MAP)/€599.00 EUR/£549.00 GBP/¥79,900 JPY for Hydrasynth Explorer."
Featured above are some sound demos from an interview with the Analog Mafia on the RC-808 in Dommune Setouchi 2019. You can find the full hour and 45 minute interview below. The Analog Mafia are the creators of the original Roland x0x series. RC-808 is a newer project which just got an update you can find at https://rc-808.com/download. You can find additional posts featuring the RC-808 here. The first post with some history is here. They are also a supporting member of the site.
Description for the video above:
"Tadao Kikumoto, together with DJ Hisashi Saito, and galcid Lena, demonstrates how the RC-808 Re-Create the 808 software Drum Synthesizer sounds like.
Tadao is the leader of Analog Mafia who are the original R&D team who developed the MId-O Series like TR-808, TR-909, TR-606, and TB-303. The RC-808 was developed to express full respect and gratitude to all the fans of the Mid-O Series, and also to show how actually the Analog Mafia wanted the 808 to be.
Find out more details such as development episodes, secrets behind the Mid-O Series, and download the RC-808 on Re-Create the 808 website, the only resource from the true originators themselves!! https://vector808.jimdofree.com"
And the full interview:
RC-808 in Dommune Setouchi 2019
video upload by vector criterion
"Tadao Kikumoto gets interviewed from DJ Hisashi Saito, and galcid Lena, about how he and his R&D team tried to develop the legendary TR-808.
Then they delve deep into the RC-808 Re-Create the 808 drum synthesizer to actually see, hear, and experience the real original intention behind developing the TR-808.
This was originally live streamed as a part of Dommune Synthesizer Academy Part 5 on Aug 22, 2019 from below channel.
Big thanks to Naohiro Ukawa from Dommune for providing us the video, together with DJ Hisashi Saito and glacid Lena for the awesome interview, to let our memeh spread through the wold wide web.
Find out more details such as development episodes, secrets behind the Mid-O Series, and download the RC-808 on Re-Create the 808 website, the only resource from the true originators themselves!! https://vector808.jimdofree.com"
via SOUNDMIT where you'll find full details on this year's event.
"With an eye on the evolution of the pandemic situation, we begin to see the light at the end of the tunnel, slowly the events begin to be published, the festival billboards appear, the music returns with its concerts and we are ready to restart with our fair.
We know that it has been a very complex and difficult time for everyone and therefore we want our event to be, first of all, a nice party where you can meet friends and synthesizer enthusiasts again.
We are in constant contact with our government and with the institutional partners who will support us again this year to have a Soundmit in complete safety, full of contents and new instruments to see and try.
WHAT TO EXPECT FROM SOUNDMIT 2021
With the experience we have gained in over 10 years of activity and especially with the 2020 edition that has upset the way of doing events, we are working parallel to a double event.
The physical event, the traditional one, with the fair, exhibitors, workshops and showcases.
The virtual event, full of contents, virtual booths and international guests.
Why do we work on 2 events? We work on 2 events to be ready for any eventuality, even if we hope to see you all again here in Turin in November.
However, we think that it is now essential to have always a virtual part (before, during or after the physical event) to reach as much public as possible and thus facilitate companies in our sector.
In this way, the exhibiting companies will be reachable at the same time by the public present at the event and also by the virtual one spread all over the world (2020 data speak of over 13,000 visits to virtual booths in 2 days)
WHAT THE COMPANIES WHO WANT TO PARTICIPATE SHOULD DO
At this stage it is very important for us to know which companies intend to participate. COVID-19 will certainly bring restrictions and we need to know soon how many companies want to be at our show.
We have a location twice the size to meet any health requirements (distancing, precautions etc ..) and also to accommodate more exhibitors and more public but the space is limited so, at a certain point, we will have to say ‘NO’ to someone.
This is why it is important to immediately express the will to participate. Obviously there is no constraint, at this moment we need only to quantify the number of possible exhibitors.
Companies wishing to participate in Soundmit 2021 can contact the organizers at helpdesk@soundmit.com"
"On this small demo I did an Ambient Drone with the Elmyra from Neutral Labs, the Elmyra is a quite noisy but fun and cheap Diy digital/analog hybrid drone synthesizer with a digital delay.
Elmyra is based on the Adafruit ItsyBitsy M0 Express microcontroller. Its 10-bit audio resolution already gives it a wonderfully gritty sound, and this circuit adds some nasty analog distortion to it.
For the video in addition to the delay included in the Synth, I also added a bit of reverb with the Zoia From Empress Effects , the patch I used is the "1978 plate A" from Christopher H. M. Jacques which you can download for free here if you have the Zoia : https://patchstorage.com/1978-plate-a...
The YC61 (additional posts) was introduced back in NAMM 2020. The YC73, YC88, and OS v1.1 are new. Details follow.
"YC stage keyboards feature great sound, expressive touch and modern design. YC is powered by our proprietary Virtual Circuitry Modeling (VCM) organ engine which recreates individual component behavior to reproduce classic organ character and most important - sound. It all comes with acoustic/electric pianos, and iconic FM synth sounds that Yamaha made famous.
Three keyboard actions are available for different players: YC61 features 61 semi-weighted 'waterfall' keys for organ-focused players, YC73 has 73-key weighted and balanced keys for keyboardists, and YC88 uses an 88-key weighted triple-sensor action with synthetic ebony and ivory keytops for pianists."
Some key features include: - Exclusive Yamaha Virtual Circuit Modeling (VCM) to capture not only the sound of classic “drawbar” organs, but also their behavior down to the component level - A distinctive rotary speaker effect - Nine drawbars that shape the sound by controlling individual footages and essentials like percussion and vibrato/chorus enhance the tone - The organ section also features FM synthesis, the now-famous synthesis method pioneered by Yamaha
In addition to the new YC73 and YC88, Yamaha has also introduced YC OS v1.1, the first OS update for its popular YC Series Stage Keyboards.
And the press release:
Yamaha YC73 and YC88 Stage Keyboards Put Classic Drawbar Organs and Vintage Keys in Packages for All Musicians
BUENA PARK, Calif. (January 14, 2021) — Yamaha will be showcasing the YC73 and YC88 Stage Keyboards during NAMM’s virtual Believe in Music week starting January 21, 2021. The YC73 and YC88 combine great-feeling new keyboard actions with the soulful sounds, drawbar control, and gig-ready ease of use of the YC61 (introduced in January 2020). The YC73 features 73 weighted, balanced keys and is ideal for keyboardists who divide their playing between organ, piano, electric piano, clavi, synth, and other staple keyboard sounds. The YC88 is meant for musicians who prioritize the touch and response of an acoustic piano, offering 88 weighted Natural Wood keys with triple-sensor action, synthetic ebony and ivory key tops. Both add options alongside the semi-weighted “waterfall” action of the YC61 — the key shape preferred by organ players.
The YC73 and YC88 employ exclusive Yamaha Virtual Circuit Modeling (VCM) to capture not only the sound of classic “drawbar” organs, but their behavior down to the component level. VCM also reproduces the distinctive rotary speaker effect, which most keyboardists consider inseparable from the organ itself. In other words, the YC series does not merely take a digital snapshot of the world’s most imitated organ sound — it builds that sound from the ground up. This results in unprecedented authenticity.
In true vintage fashion, nine drawbars shape the sound by controlling individual footages, and essentials like percussion and vibrato/chorus enhance the tone. The player can also customize key click, “leakage,” rotary speaker speed changes, and more. The keyboard may be split between upper and lower organ registrations. In addition to VCM modeling organ, the organ section also features FM synthesis, the now-famous synthesis method pioneered by Yamaha.
Complementing the organ, two “Keys” sections utilize proprietary Yamaha “Advanced Wave Memory” which provides authentic acoustic and electric pianos, strings and brass, analog-style synth sounds, and much more. The Keys section features two dedicated effects processors along with configurable envelope and filter controls for real time manipulation and interaction. Like the Organ section, the Keys section also features FM synthesis for many classic sounds like DX7 electric pianos, leads, basses and more. The Keys section may also be split with the organ section across the keyboard or played from an external MIDI controller keyboard to either the Organ or Keys section.
“A staple of keyboard playing is access to classic keyboard sounds,” says Nate Tschetter, manager, Synthesizer Marketing, Yamaha Corporation of America. “Now more than ever, players want more control of those sounds to express themselves. The YC series gives them that control to easily make adjustments on the fly. And now with the introduction of YC73 and YC88, there are options to suit every player in every situation from the perfect ‘top keyboard’ in YC61 to the great ‘all around’ YC73 and finally our best stage piano action in YC88.”
Pricing and Availability
The Yamaha YC73 and YC88 Stage Keyboards will ship to retailers beginning January 21, 2021, at manufacturer’s suggested retail prices (MSRP) of $2,999 and $3,499, respectively.
To see the Yamaha YC73 and YC88 Stage Keyboards on display during Believe in Music week, January 21-24, 2021, please register online at https://attend.believeinmusic.tv
"FOR USE WITH Roland SC-88 PRO, SC-88, SC-55 MKII, SC-55, SC-8850*, CM-64, etc. (*partial support only)
*Dust off and unleash the programming power of your venerable Roland SOUND CANVAS *Press into service those fat and juicy Roland resonant filters *Tweak all those pesky hidden effects parameters *Easily dial in all those eminently routable continuous controllers for maximum expression and creativity *Program unique sounds starting with the basic building blocks of the well-honed Roland GM sound sets *Play all those old SMF files with a unique twist to your sounds, programmed by you *These are just some of the things you can do with this new comprehensive Roland SOUND CANVAS programmer for Apple’s LOGIC DAW
This software is a virtual Roland Sound Canvas programmer for use with various Roland Sound Canvas synthesizers. It simulates a hardware programmer in a software environment within the APPLE LOGIC audio / sequencer program (formerly Emagic LOGIC). To use this software you MUST have a valid copy of LOGIC on your computer (see below) as well as a MIDI interface which connects your computer via MIDI cable to your hardware synthesizer (or you can use the built-in serial interface on some of these units). This software CANNOT be used as a stand alone application under any circumstances. It will not run in Reason, Ableton, AU, VST or any other plug-in format. It is created and presented through use of the LOGIC “environment” architecture.
This programmer is compatible with many different Roland SOUND CANVAS models to varying degrees. Completely optimized for Roland SC-88 PRO, it handles all possible editing duties in that unit with the single exception of micro-tuning, and the same for the SC-88. It will also support the earlier SOUND CANVAS models such as the SC-55 Mk II, SC-55, and a host of others using the GM standard and extras to the degree supported by your particular model’s architecture. This includes Roland’s PC computer products, Virtual Sound Canvas and many others - about 40 different units in all. Check this WIKI page if you want too see if your unit may be supported: https://en.wikipedia.org/wiki/Roland_Sound_Canvas
"A few years ago I decide to take my 1974ish PAiA synthesizer and rebuild it. I researched components by consulting with Scott Lee of PAiA. I designed custom panels through Front Panel Express. To keep the engraving costs down I went with a minimalistic look that was reminiscent of PAiA yet totally original with a vintage vibe, especially the knobs.
I had Steve Wood, a former PAiA Tech from back in the day, do all the module refurbishing. Most of the major components on the boards were replaced & all ICs socketed. The audio path has upgraded caps and Burr-Brown op-amps. All front panel parts and hardware are new. Taking Marvin Jones’ advice, I replaced all the control voltage “pin jacks” with 3.5mm audio jacks. These are grounded so I could interface the PAiA with my other modular gear.
Multi-turn pots are used for VCO frequency tuning (they look like the pots on the old “Putney” synth!). The “bouncy” push button switches are replaced by momentary toggle switches and all of the switches are now toggle switches with vintage looking paddles.
"32-Key USB MIDI Controller Keyboard with 64 Step Polyphonic Sequencing, Chord and Arpeggiator Modes
The Behringer SWING gives you full control over any synthesizer or virtual instrument in your DAW via USB or MIDI. Featuring a 64-step sequencer with an 8-note polyphonic sequence combined with 32 compact-sized keys and pitch and modulation touch-strips provide unlimited ways to express yourself in a compact and portable package.
The SWING’s 32-compact-sized keys create a perfect balance between size and playability. The keys give you the ability to create more nuanced and colorful passages with velocity and after-touch functionality. Use the Pitch and Modulation touch-strips to add even more character to your music. Chord Play Mode allows you to play a chord with up to 16 notes with one single key for some really enchanting Trance music. The SWING also features a 64-step polyphonic sequencer so you can create any progression imaginable and even play over it. Switch to Arpeggiator mode and create an amazing string of notes that can sync to the clock of any device the SWING is connected to.
The Mode knob on the SWING can select up to 8 saved programs in Sequencer mode, while in Arpeggiator mode, you can select different playing orders such as up, down, inclusive, exclusive, random, note order, double up and double down modes. Select from 8 different time signatures with the Scale knob and adjust the tempo with the Tempo knob or the Tap button. Press the Record button to start recording a sequence. This also doubles as an Append button when holding down Shift. Use this along with the Stop/Clear Last button and you can edit your sequences and arpeggios on the fly.
Update: And a response from Arturia followed by Axel Hartman who designed the physical look of the Keystep:
Arturia:
"Hello everyone,
We have been informed on Sunday November the 22nd of the upcoming release of a new product called Swing, by Behringer.
This product is in no way the result of a partnership between Arturia and Behringer.
We have worked hard to create the _Step range. We have invested time and money to imagine, specify, develop, test and market the KeyStep. Along our distributors we have been evangelizing this product, placing it in stores, explaining it, servicing it.
Of course we accept competition, and would absolutely understand that Berhinger give their own interpretation of a small and smart controller that would also be a sequencer. Others do, we have no problem with that and see good for the customer, as well as for the industry, in fair competition.
But this is not fair competition here.
Coco Chanel once said: “If you want to be original, be ready to be copied”. So we could in a way consider the Swing as a compliment.
We could.
In any case, thank you, everyone who came out and supported us these past 36 hours! It's been very helpful, very much appreciated.
"I do feel the need to comment on the many postings I can find here @ Facebook in several places regarding my thoughts, feelings, but also the truth about the blunt Behringer copy of the Arturia key step.
Arturia and myself, aka my company design box are designing instruments, synthesizers, controllers, interfaces since many years. As industrial designer, I contribute mostly my services on the asthetical side of a product. This is true for almost all hardware products that you know from Arturia. In all cases, Arturia is buying my services - I never licensed any of the designs. Arturia always pays, and naturally owns the output of my work, that - by the way - is alway the result of an in-depth cooperation with their internal team of specialists.
Arturia and myself are working together since many years, and we share the deep desire of designing innovative products. I could never share any of the designs, that came out of that cooperation with any body else, legally not, and not from my personal high attitude in that regards. So anything, pointing in that direction is simply fake information. Neither the company Behringer, nor Uli himself have ever approached me with a request like that. And I would also never ever do something like that - I can not license anything that is not in my possession.
Personally, I feel sad, and am also upset about that sheer copy of a design, that I once created for, and together with Arturia, the team around Frederic Brun. These people have spent lots of efforts and great energy in building a brand and all that belongs to a brands assets. It is simply not right, somebody else is taking advantage of that hard work (which is not only true for Arturia, but for all great brands, that must see their most successful products being copied)
I do not understand (Uli) Behringer - with his huge company and the power of many great R&D teams - some of the best and most respected and innovative companies we know in our business, that Uli was able to simply buy in the past with his money. A product like that copy simply can not represent the core values of the people, he could convince to be part of his company. It is simply sad, and I can not understand that move (like many, it seems)."
And then there's the following mock-up from Atomic Shadow that pretty much sums it up:
Update via Wikipedia: "Music Tribe, formerly Music Group, is a holding company based in the City of Makati, Metro Manila, Philippines.[2] It is chaired by Uli Behringer, founder of Behringer. Music Group rebranded to Music Tribe in December 2017.[3]...
In 2015, Music Group's portfolio included Midas, Klark Teknik, Behringer, Bugera, Eurocom, Turbosound, TC Electronic, TC-Helicon, Lake, Lab.gruppen, Tannoy, TC Applied Technologies and CoolAudio[6]"
"Since various magazines and Arturia have publicly called us out over the launch of our Swing MIDI Controller, we would like to respond and share some facts around the principles of competition and clear up some misconceptions.
Competition is a highly effective tool to drive innovation by empowering Customers to make their best choices and force manufacturers to constantly reinvent themselves. Innovation means progress and this happens on many levels, whether it relates to customer experience, functionality or cost efficiencies etc. There are 4 established marketing strategies: market leader, market challenger, market follower and market nichers. Here is a great article: https://aytm.com/blog/brand-positioning-for-a-competitive-edge-part-3/
The competition law was designed to avoid companies creating a market monopoly and stifle innovation, which would be detrimental to the rights of the Customers to expect better offerings. The law was specifically designed to encourage everyone to fiercely compete, even when it means over the same functionality and design, provided intellectual property such as utility (functional) and design patents as well as trademarks etc. are respected.
How many Fender Stratocaster or Gibson Les Paul clones are out there in the guitar world and how many SM58 clones are available? How many cars or mobile phones look alike? It is not surprising that Gibson recently lost a substantial legal case trying to prevent others from making V-shape guitars or Fender, who lost all trademark cases related to their Stratocaster design. The reason is simple: the law encourages competition and provides maximum freedom for companies to engage head-on, all for the benefit of the Customer.
We are spending large amounts of resources on innovation, which is reflected in products such as X32, XR18, Flow, DDM4000, etc. This made us the global market leader for analog and digital mixers and over the years we have built an extensive patent portfolio: https://community.musictribe.com/pages/intellectual-property However, we also clearly choose to follow successful brands and products, while adding more features and/or competing on price. Much of our innovation is invisible to the Customer as it relates to our highly advanced and automated design and manufacturing processes and for that we are spending hundreds of millions of US$. For this reason, we have become strategic partners with Microsoft, Siemens, Adobe and many other Tier 1 companies as we are pushing for extreme digitization and automation.
The follower marketing strategy is a very common business model in any industry, which is enabled by law to encourage competition. With our new Swing MIDI Controller, we followed an established concept, but of course wrote our own firmware with added functionality. However, these unique features will only come to life when we launch our free DAW.
The free Music Tribe DAW will form the heart of an incredible eco-system, where all our controllers, synthesizers and drum machines etc. will integrate seamlessly, thus dramatically improve connectivity and workflow. This will make it incredibly easy for our Customers to create, edit and share their music. Only our upcoming controllers will feature total integration with our synthesizers, drum machines, digital mixers and other Music Tribe equipment, while also offering standard functionality with all 3rd party products.
For anyone familiar with the industry landscape, Arturia has been cloned for years (Worlde MiniMidi, etc.), while the company has also been “borrowing” from others with their VST replicas of legendary hardware synths, open-source code from Mutable Instruments, the “Expressive Touche” controller or the registration of known “DX7” and “Synthi” marks. Equally, our own analog Xenyx mixers and many other products have been widely cloned. ¬We will absolutely continue to deliver innovative products but also follow our competitors as we expect our products to be cloned - fair play.
We are very cautious when it comes to our follower approach and employ expert intellectual property firms to ensure our products stay within the boundaries of the law; we are committed to never intentionally infringe on other companies’ intellectual property.
Many years ago, we were entangled in bitter lawsuits with Mackie and Pioneer, which we all won. But we also recently lost a case against Yamaha in China related to a simple fader knob design that involved a design patent we were unfortunately not aware of. We changed the design, we will pay the fees and move on. Notably, Yamaha themselves were sued by Dr. Dre over their headphone designs (https://www.cnet.com/news/dr-dre-sues-yamaha-over-headphones/) or entangled in other legal matters (https://www.gov.uk/government/news/musical-instrument-firms-to-pay-millions-after-breaking-competition-law), which clearly shows how competitive business is. The heated Apple versus Samsung disputes are a prime example.
It is our Purpose and Mission to empower Customers who don’t have deep pockets and provide them with the best possible equipment at fair prices. We do understand that we are a fierce competitor and at times controversial as we’re relentlessly push the envelope.
We would like to thank all our Customers who have supported us over the past 30 years. We are absolutely committed to continue to deliver the best possible products at the lowest possible cost."
"In this video resident expert Jesse Humes of Patchwerks performs with his decked out 7U Make Noise case. Jesse has a non-stop hunger for modular synthesis, he is always searching for creative ways to express himself through well thought out patches. If this video inspires you feel free to reach out to us at Patchwerks, we love to talk about synthesizers! Have a question about a module you see in this video? Email us at info(@)patchwerks.com
And the
blue synth
is revealed. Meet Model Electronics new Cobalt 8. Priced at $749.99 USD, £579.99 GBP, and €649.99 Euro. See the dealers on the right for availibility.
Playlist:
1. Modal Cobalt 8 Sound Demo (no talking) - Limbic Bits
2. Modal Electronics Cobalt 8 Sound Demo (no talking) - Bonedo Synthesizers
3. COBALT8 review & comparison with Argon8 // Which synthesizer is right for you?!
- BoBeats
4. Cobalt8 Modal Electronics - 1st Look - sonicstate
And the press release (hi-res pics below):
"Modal Electronics creatively kickstarts new synthesiser series with COBALT8
–
8-Voice Extended Virtual-Analogue Synthesiser –
Bristol, UK: leading
British synthesiser manufacturer Modal Electronics is proud to announce
availability of COBALT8 — an immensely powerful, eight-voice extended VA
(Virtual-Analogue) synthesiser that brings traditional and entirely new
analogue-style sound textures to modern music creation and production as an
innovative, sophisticated synthesis concept comprising two oscillator groups
with selectable algorithms in self-contained elements enabling multiple
oscillator modulations, an all-new 4-pole morphable ladder filter with
switchable configurations, an unparalleled modulation engine, and much more
besides, extending far beyond the limits of its analogue forefathers — as of
October 29…
Creatively kickstarting a new synthesiser series by
building on the tradition of warm and punchy analogue-style synth sounds seeded
by bygone legendary synthesisers, COBALT8 creatively unlocks the full potential
of analogue waveforms with up to 64 high-resolution VA oscillators with extended
drift — up to eight for each of its eight true polyphonic voices. The two
independent and self-contained Osc (oscillator) groups include sine, pulse,
triangle, and sawtooth waveforms alongside 34 unique algorithms allowing for
complex analogue synthesis techniques, built-in cross-modulation (sync, ring
modulation, and more), PWM (Pulse Width Modulation), smooth morphing between VA
waves, bit crushing, and filtered noise — unlike any other VA synthesiser before
it, increasing creative options for new-generation synth sounds. Speaking of
which, Algorithm1 and Algorithm2 each have an associated simple-to- use pair of
controls — A1 and B1, A2 and B2 — chosen to suit the particular algorithm or
character, providing musicians with the power of traditionally complex
oscillator modulations or processes spontaneously.
"#PolyBrute is more than a #synthesizer - it's a 6-voice analog powerhouse, with unprecedented expressivity and sound #morphing capabilities, built to let you perform fearlessly, compose with fluidity, and explore sound in perpetual motion."
ARTURIA POLYBRUTE — the BEST Arturia synthesizer yet!
BoBeats
"Arturia Polybrute is finally here! I have spent about a week with it and here are my first first impressions & walkthrough of what this synth offers. I'm making videos & music full time now and you can support here: http://www.patreon.com/bobeats and you can get the shirt I wear at http://merch.bobeats.tv
Contents
00:00 Introduction
03:50 Overview of the Polybrute & Sound Demos
14:12 Patch from scratch
26:36 Making a beat with MASCHINE+ and Polybrute"
Arturia PolyBrute - First Look Preview
sonicstate
"We have the PolyBrute in for review, but we couldnt quite get the full review finished in time for the release deadline, so here's a quick look to keep you going until we're done."
POLYBRUTE Review // +70 Presets // Full morph tutorial for Arturia's flagship synth
Update: and the mini press release (new SynthFest France video below as well):
"Arturia unveils their expansive new flagship synthesizer, PolyBrute
Fusing the raw power of Brute oscillators with digital Matrix precision, the innovative three-dimensional Morphée performance touchpad, and pristine stereo effects, PolyBrute represents a new era of polyphony. Available November 2020.
_Analog morphing polysynth
Polyphonic power fused with unrivalled modulation capabilities. Infinite positions on an elusive spectrum of sound, instantly accessible. An instrument that responds to your every command for ultimate performance control. This is PolyBrute.
The Brute factor
6 pure analog voices driven by 2 Brute oscillators, complete with distortion, wavefolding, and FM control, shaped by dual enhanced filters for massive timbral variety.
Morphing
Seamless three-dimensional morphing between two completely different states within a single patch. An infinite continuum of sound, immediately accessible expression.
Express yourself
A new dimension of performance control, with a dynamic ribbon strip, an assignable mod wheel, and finally, the innovative Morphée 3-axis performance touchpad.
Modulation
No more static patches. 3 envelope generators, 3 LFOs, and modulation flexibility normally reserved for modular systems - with the immediacy and precision of digital control.
The Matrix
The digital brain to PolyBrute’s analog heart - control presets, the sequencer, morph state editing, and of course, PolyBrute’s expansive modulation routing.
Studio-grade effects
Pristine stereo digital effects incorporated into every patch, with parameters that can be modulated to no end - including algorithms from our acclaimed FX Collection.
_The full lowdown
The new Brute flagship has landed. Raw, powerful, organic - the Brute range is all about the tactile immediacy of analog synthesis. Explore it for yourself…
_Wooden legs
PolyBrute is designed to be fully compatible with our Wooden Legs companion. The Wooden legs offer a professional ergonomic solution, with a timeless beechwood construction, built for studio and stage that’s as reliable as it is stylish - enjoy an unhindered performing experience with class."
"Korg minilogue xd patches and tunes - multitrack demo
The drum track is VSTi but all other sounds and effects are from the minilogue xd. There is no external processing, no eq, only the level/pan settings were applied so what you hear is the raw sound of the synthesizer.
If you interested, here you can purchase my sound pack which contains 190+ new sounds in various genre for the minilogue xd: https://payhip.com/b/wHJC
(Every patch you hear in this video are included in the package.)
This video contains covers of short section of the following songs:
The Model by Kraftwerk
Fifth Rendez-Vous by Jean-Michel Jarre
You'll be mine by Sandra and Michael Cretu
In addition, two parts were inspired by the following productions:
Project-X main theme by Allister Brimble
S-Express by Jeroen Tel Synthcomp
Thank you for watching :-)"
New custom patches for the Korg minilogue xd
Published on Feb 6, 2020
"Don't expect extraordinary entertainment, I just wanted to run through several patches from the sound pack.
In this part: basses, traditional sounds such as flute, piano, guitar, organ, bell sounds, etc.
This sound pack is for sale: https://payhip.com/b/wHJC
(The pack contains 190+ patches.)
Thanks for watching. :-)"
"In OVox, we bring you a next-generation vocal FX synthesizer to transform your vocal productions. Create a limitless palette of rich pitch/tune, harmonizer, vocoder, talkbox, vocal arpeggiation effects and beyond.
Music produced, composed and performed by Egozi"
Playlist:
Introducing Waves OVox: The Next-Generation Voice-Controlled Synth
How do YOU sound with Waves OVox?
How to Produce Unique Vocal Effects: Getting Started with OVox
Details:
Transform your vocal productions with the next-generation voice-controlled synth and vocal effects processor. Create a limitless palette of vocal morphing, tuning, harmonizing, vocoder & talkbox effects and beyond, with depth, clarity, and intuitive control. Available as a plugin or standalone app.
Limitless Vocal Palette
Producers, mixers, songwriters: Say goodbye to boring vocals. OVox gives you an unprecedented menu of vocal synthesis and reshaping options, from the Daft Punk-style vocoder sounds you know and love, to inventive vocal effects as endless as your creativity.
The Magic Under the Hood: Organic ReSynthesis®
OVox is powered by Waves Organic ReSynthesis® (ORS) technology to deliver its unmatched vocal synthesis sound quality.
ORS takes the original vocal signal and breaks it down to its core ‘DNA’ elements—amplitude, pitch, and formant. It then re-synthesizes these elements to create the new vocal sound, which is free of unwanted artifacts and preserves the expressiveness of the original vocal.
Intuitive Control
OVox is instant: no routing required. Simply insert it as a plugin or fire it up as a standalone app – sing, hum, speak or beatbox into it, and hear the magic happen.
MIDI control is optional. You can use OVox with a keyboard or MIDI controller, or with any instrument (for example a guitar) as the ‘carrier.’ Or you can simply use your voice (or a recorded vocal track) to trigger automatic chords, harmonies or scales, using OVox’s automatic Note Mapper.
Pick from Hundreds of Presets – or Dive Deep
Start with hundreds of satisfying presets, then tweak them using the most crucial controls displayed in OVox’s Main View.
Want to dive deeper? Open up OVox’s Expanded View, which unlocks a world of vocal morphing possibilities, including detailed Formant Filter control; nine LFO, ADSR and ORS modulators that can modulate any other control in the plugin; on-board FX; and much more.
The Ultimate Instrument Is You
The human voice is the original instrument—the richest in expression and the fullest in color. OVox turns your vocal—any vocal—into an even more limitless musical playground for you to express your creativity."
"LOS ANGELES, CA, USA/HONG KONG, CHINA: musician-empowering musical instruments creator Ashun Sound Machines (ASM) is proud to advance its innovative Hydrasynth digital wave morphing synthesizer — launched late last year to widespread critical acclaim as its inaugural hardware product, produced as a keyboard variant (featuring a proprietary PolytouchTM 49-note polyphonic aftertouch keybed and a user-assignable ribbon controller) and desktop variant (with 24 velocity- and polyphonic aftertouch- sensitive pads, plus an included 19-inch rack-mount kit) — with welcomed new features, thanks to a major firmware update, ultimately coinciding with the first day of The 2020 NAMM Show, January 16-19, Anaheim, CA, USA, where both variants of Hydrasynth will wow visitors for the first time for sure…
First we have a new software model of the TR-808 from the original developers of the 808:
"The RC-808 'Re-Create the 808' emulates the original TR-808 sound with analog manner synthesis. As the name implies, it is with respect to the original 808 sounds which is a criterion for sound synthesis as a vintage. Starting from this criterion, explore the multiverse of sounds, stretch out your vectors, to find out new criterion of your own. Yes, it can take you to the new sonic worlds that are completely different and yet so close and familiar to you.
Hence it is not a drum machine but is a drum synthesizer. No samples nor effects processing are being used, just genuine synthesis only, all in analog manner.
The sound source employs DCO which is in this case Down Chirp Oscillator, combined with a noise source that outputs various kinds of noises including metallic noises. There is also a infinite point wave shaper, a variable filter bank, infinite point envelope generators etc. With maximum 8 partials per voice, it allows sound designing in subtractive synthesis manner which is familiar to all and yet still with vast space beckoning to be discovered.
Thanks to this flexible architecture, all instruments can have Open and Close variations just like Hi-Hats or cymbal choke performance. Coupled with piano-roll sequencer utility this brings new expressions with gate time programming, that you don’t see on a drum sequencer..."
Second, the following is some info on the people behind the RC-808 (pictured above) via Vector808:
"We the Analog Mafia, lead by Tadao Kikumoto, is the original R&D staffs who developed the Mid-O Series from Roland Corporation. We would like to express full gratitude and respect to all the people who were in Roland, and supported us at that time.
In above photo, from left to right, we the Analog Mafia are:
Jun-ichi Kadoya: Roland 1977 - 1983, Mid-O Series software / hardware engineer, still is a programmer
Hisanori Matsuoka: Roland 1979 - 1995, Mid-O Series software / hardware engineer, still is an engineer
Kyokazu Fujiwara: Roland 1978 - 1981, Mid-O Series sound source, now a general manager of a software maker
Tadao Kikumoto: Roland 1977 - 2009, Mid-O and V-Series R&D, now Silent Street Music concept maker and promotion
Yoshiro O-e: Roland 1978 - 1988, System-700 and Mid-O Series R&D, now operating a chemical company
Also are:
Hiro Nakamura: Roland 1975 - 2000, CR-68, CR-78, TR-808 sound sources, engineer
Atsushi Hoshiai: Roland 1982 - present, sampling for TR-909, engineer
We all are still analog manias ;)
Because we are independent from Roland Corporation, they nor we can not answer to any kind of inquiries about us and our deliverables including this website. Thank you so much for your understanding and cooperation for everything.
Tadao Kikumoto is currently also working busy on another equally innovative project, called SSM - Silent Street Music. It is multi-channel concurrent streaming and listening technology that allows zapping through multiple music or lecture sources instantly. Join us on its exclusive introduction website (at the moment the website is only in Japanese language)"
Third, vector808 has a fascinating historical account covering the development of the Roland TR-808 starting with the x0x series, or as the original Roland developers referred to them, "The Mid-O" series. The following are three excerpts followed by a link to the full article. Note how they perceived the TR-808 was a failure compared to the LinnDrum in the second excerpt.
One:
"The Beginning
In 1983, a number of instruments were released with MIDI, the standard that I was involved in. After the tough times with all the difficulties of development, Roland launched the TR-909 the successor model of TR-808. Yamaha made debut of the ground breaking DX7, a serious digital synthesizer and again with MIDI. It was the opening of the new chapter in the electronic musical instruments, the dawn of full digital synthesis.
Roland then was still a new emerging enterprise, and did not have enough resources to pursue digital technology. To combat the situation, the Fundamental Research and Development Department was established."
Two:
"To meet the low target price, I employed oscillation technique of pulse wave modulating the simple T-network bandpass filter. By short circuiting the resistors in the T-type network for the certain initial duration with transistors, it was possible to raise the frequency. This allowed us to enforce the attack sound compared with conventional rhythm boxes.
But the initial reputation of the 808 was nothing but crippled as it was compared with the Linn products. Furthermore, the sound had insufficient impact or punch at the beginning, which resulted to have pronounced fundamental frequency 60 Hz. But then again, it was this prominent fundamental which attracted the attention of later time hip-hop and EDM artists, and they gave a name to it as “Deep Decay”. This led to the rediscovery of Mid-O Series. The long decay sound was made possible by decay parameter that I added to show at least as a sign or as an evidence of the 808 being a synthesizer. Even inside the company this was regarded as going too far, but later it became one of vital identities of the 808.“
Three:
"If you liken it in the picture art world, the TR-808 sounds are simple line drawings and illustrations so to speak. It puts more weight on showing essence simply rather than realistic photography. The traditional painting of Japan known as Ukiyo-e is a pictorial method and manner that is primarily made of outlines derived from specification of printing and paints. This manner has its own limits, and hence is a vector of criterion. Katsushika-Hokusai, famous for his Mr Fuji pictures, created The Great Wave off Kanagawa（神奈川南沖浪浦 Kanagawa Minami Oki Nami Ura）. In that piece of work, he threw off the photographic details into abstraction that boldly enhanced the great waves by outlines, and made contrast with a pointed Mt Fuji. This manner derived from its own limits is something impossible with realistic paintings that put priorities on details.
The inventor of the bass drum must have done trial and errors like enlarging the diameter or making the membrane thicker to produce fat low sound. Large portion of the beater strike energy to the skin however must have been consumed by uneven fractional vibration or parasite vibrations, resulting unwanted muddy sound. Also, the drummer spends a long time doing a lot of work on damping with blankets and else in order to suppress the unnecessary resonance with the body or with other drums. But once adequately used, this dirt will become important part of the sound, its identity, reality, and criterion.
The TR-808 bass drum was without the reality of the drums but was like an enhanced great wave depicted in the Hokusai’s picture. It is with abstraction of the details, but then again, also with dynamic and ideal low sound. It lacks with the attack impact and the release decay of sampling drum reality, but the artists chose its ideality."
"Matriarch: Place / Time / Memory illuminates the interconnectedness between one’s sense of place, our perceptions of sound organized in time, and the impressions they leave behind.
Exploring the Moog Matriarch synthesizer from their personal home studios, multi-instrumentalist Lisa Bella Donna, Ghostly Intl. electronic producer Max Ravitz (Patricia), Anthem / Call of Duty / Assassins Creed composer Sarah Schachner and Paris Strother of Grammy-nominated R&B duo We Are KING, express 4 unique sonic perspectives on the new instrument within the context of their own creative environments."
Update:I'm not seeing the White Noise Generator, Spring Reverb, or Linear FM that are featured on the Grandmother. Interesting if this is indeed the case, and good news for those that invested in a Grandmother. Some quick diffs compared to the Grandmother:
49 velocity sensitive keys with aftertouch vs 32 velocity minus aftertouch
4 oscillators vs 2
2 filters vs 1
Dual VCA
Second simple LFO
Analog Delay
3 bipolar attenuators with ring mod vs 1
2x4 mults vs. 1x4
Mono, duo, & 4 note paraphonic vs Mono
256 step sequencer adds 4 note per step & 12 stored patterns vs 3
90 patch points (for the added modules) vs 41
And again, the Matriarch appears to be missing the White Noise Generator, Spring Reverb, and Linear FM on the Grandmother.
Update2: new hi-res image. It looks like Noise and Linear FM are there. So we have the Stereo Delay in place of Spring Reverb.
"The Pinnacle of Moog's Semi-Modular Family of Analog Synthesizers.
Moog Matriarch is a patchable 4-note paraphonic analog synthesizer with a built-in Sequencer, Arpeggiator, stereo Ladder Filters, and stereo Analog Delay. Create rich evolving chord patterns immediately with 'no patching required', then tap into an abundance of inspiring textures, new sounds, and an endless supply of happy accidents through Matriarch’s 90 modular patch points. Based on the vintage circuitry of classic Moog synthesizer modules, Matriarch is a catalyst for creative ideas and a medium for multidimensional expression.
Sequence and perform in mono, duo, and 4-note paraphonic modes.
Classic and ping-pong style repeats with lush infinite delay trails.
Create, mangle and explore the endless expanse of sound with 90 modular patch points.
Matriarch is an analog synthesizer with an emphasis on imagination. The pinnacle of Moog’s semi-modular family of synthesizers, Matriarch’s patchable architecture and vintage Moog circuits reward open exploration with endless sonic possibilities and unparalleled analog sound.
Easily create rich harmonic shapes with up to 4 notes of paraphony that can be sequenced, saved, and shifted with Matriarch’s intuitive 256 step sequencer, or stack the analog VCOs to play on a massive 4 oscillator mono synth.
With a deep assortment of synthesis modules based on Bob Moog’s original circuit designs, Matriarch’s 100% analog signal path spans a dynamic sonic vocabulary – from overdriven monophonic bass to gently evolving paraphonic plucks that cycle through waveshapes into a wash of infinite delay trails. Coupling the power of vintage stereo ladder filters, dual Envelope Generators, stereo Analog Delays, and stereo VCAs, Matriarch delivers a multidimensional sound that empowers the sonic exploration of space and time.
Though Matriarch’s semi-modular design requires absolutely no patching, 90 modular patch points are easily accessible throughout the panel via the included 3.5mm patch cables. This powerful electronic instrument is a highly-versatile addition to any stage or studio that can effortlessly transform from a performance keyboard to a fully modular analog synthesizer at a moment’s notice.
In addition to its standalone function, Matriarch is also an ideal processor of external sound sources and a powerful keyboard front-end for expanding a DFAM, Mother-32, Grandmother, or Eurorack modular system.
**Matriarch Semi-Modular Analog Synthesizer begins shipping in Summer of 2019."
Modular synthesizer fair, workshops and performances with the best manufacturers and artists in the industry.
The press release:
March 2019, Italy - Tiptop Audio, the Californian modular synthesizer brand, in partnership with Lattexplus leading event organisation in Florence since 2010 and Synth Café the Italian synth web community are proud to announce the third edition of MEFF at the Impact Hub Florence and BUH! Circolo culturale urbano on the 6th and 7th of April 2019. The fair will involve more than 30 International synthesizer brands and distributors with workshops and performances in an event free to the public.
MEFF returns to Impact Hub coworking in Florence and BUH! Circolo culturale urbano to set up its event, which will include an Exhibitor area where attendees can explore, learn, interact, demo and purchase instruments. The Performance area, called the Auditorium, part of BUH! Circolo culturale urbano is a room acoustically designed by the sound designer and engineer Donato Masci. In the evenings, the location will host workshop and performances including a soldering workshop by Brno brand BASTL Instruments.
