MERRY CHRISTMAS 2019 sci prophet vs from synths colors

Published on Dec 25, 2019 synths colors

synths colors brings us the short sample videos you've seen here on MATRIXSYNTH. This one is much in the same vein. :)

Merry Christmas !
¡ Feliz Navidad !
Buon Natale !
Весела Коледа !
Glædelig jul !
Καλά Χριστούγεννα !
Boldog Karácsonyt !
Nollaig Shona !
Selamat Natal !
Gleðileg jól !
Selamat Hari Natal !
Il-Milied it-tajjeb !
Vrolijk kerstfeest !
God jul !
Wesołych Świąt !
Feliz Natal !
Veselé Vianoce !
God Jul !
Veselé Vánoce !
Giáng sinh vui vẻ !

Erica Synths SUPERBOOTH19 Announcements

"Erica Synths have prepared a lot of new products to present at this years Superbooth in Berlin. 13 new modules and... a new system! You read it right.

And this isn't even all that we have planned to release in the rest of 2019

Reminding that you can find us at the first floor lobby, booth E245.
Just look for all black everything!

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YAMAHA DX7 & DX7II DEEP ROUND KEYS

video by synths colors

"YAMAHA DX7 & DX7II CUSTOM SOUND"

It's been a while since we've seen a synths colors video. Stay tuned to the end for sample notes.

ELKA EK 22 DEEP ROUND SAW PAD

Published on May 18, 2017 synths colors

synths colors ELKA

synths colors HAPPY NEW YEAR 2020

Published on Dec 31, 2019

synths colors

KORG WAVESTATION 50 PERSONAL SOUNDS by synths colors

Published on Feb 10, 2018 synths colors

New Lap Synths

I posted the following on Twitter and thought I'd capture them here as well.

"Huge thx to @Perfect_Circuit for scoring me a brand new @accessmusic Virus TI2! Fired it up for the first time last night. Blown away. Incredibly diverse. That's it on my lap with an @ArturiaOfficial KeyStep. :) Also with my new @dsiSequential OB-6! Two amazing synths!"

They both are truly amazing.  The OB-6 replaces my OB-Xa and in my opinion, it is just as warm and full sounding, more-so actually.  It's easy to get engulfed in the raw sound of it, and it can actually take a little work, or rather will power, to mellow it out like the OB-Xa.  The OB-Xa, an amazing synth in its own right, of course, is actually a very simple synth in architecture.  The OB-6 appears just as simple on the surface, but I'm finding it capable of so much more.  That said, it does lack the silkier 4-pole filter of the OB-Xa.  The 2-pole SEM based filter sizzles, but it can be tamed.

The Virus TI2, on the digital side of things, is an absolutely astounding sounding synth.  I was expecting it to have that typical sheen that colors many other VAs, but it doesn't - it sounds incredibly  direct and present. It has that certain clarity you typically only find in higher end synths.  I've always wanted one new but I kept holding out for the latest model. They are getting harder to find, so I figured it was now or never. I checked the shop sites on the right, here on MATRIXSYNTH, and saw that Perfect Circuit Audio was the only ones that had them listed as available for order. I reached out to them and they ordered one directly from Access for me. It took a couple of months as they are on back order, but mine finally arrived! P.S. Huge thanks to Meryam and Brad at Perfect Circuit - they were great to deal with!

As you can see below, I also picked up a few other lap synths as well.  Why lap synths?  I've been finding I'm having less and less time to make it into the studio, so I'm spending more time with smaller synths on my lap.  :)

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More Info on The Many Colors of the Synton Syrinx

If you recall from this post, only a handful of Syrinx's are titanium purple. Peter Kersten wrote in with some info on the different colors of the Syrinx on the AH list. Posted here with permission: "The official info I got from Marc Paping (one of the guys behind Synton) was that they made the frontpanel in batches of 4. According to him there are only 4 or 8 Titanium versions. He was the one mentioned that titanium could possibly be a flaw and was not intended.

Back in the 90's I was very active with vintage gear and bought alot of Syrinxes (I was a shopowner, specialized in vintage gear). Most of them were black. The first one I ever saw was pink! So I know for sure at least one is pink. There are red, white and blue ones. Also orange and someone said there was a green one. Also some alu versions (clear paint) are mentioned. The coloured versions were batches of 20 I was told.

I kept a blue and a titanium one in my collection. Here are pics of them
Don't take the site too serious ;-)

As for the titanversion for sale at Vemia: I know that the guy is trying to sell for a long time now. First seen on a Dutch auctionsite. Price asked 6500 Euro. It appeared on Ebay several times too. This is the same person all the time. The highest price I saw, was for a blue one sold at 4500 Euro on ebay a few years ago.

By the way: Happy 2010 everyone :-)"

Be sure to see Peter's website for more including other synths.

Click here for all posts featuring the Syrinx. You will find videos and images including more colors.
From this previous post on the colors:
"The reason for the colours was that we did an introduction at a fair in Holland (Firato) and that's why we made a red, white and blue and orange version (the dutch colours). From the orange and the white version are made (what i remember) only few. The white version is like the doepfer frontpanel (not real white).

What i remember there are no purple, yellow or other colours of the syrinx produced by Synton.

The story 'The Syrinx was produced in many colors on demand for various folks" is not correct. We did this because we like to do this and we also got a good response at the fair in Holland and Frankfurt.'"

Native Instruments releases KOMPLETE 14, KONTAKT 7, and CHOIR: OMNIA

video upload by Native Instruments

"The wait is nearly over. KOMPLETE 14 drops September 27th and it’s packed with more tools than ever, including over 145 instruments and effects, over 100 Expansions, and over 135,000 sounds.

Discover KOMPLETE 14: https://www.native-instruments.com/sp...

Introducing brand-new releases like KONTAKT 7, CHOIR: OMNIA, and iZotope’s Ozone 10 Standard, as well as NI favorites like PLAYBOX, LORES, and 40’S DRUMS AND KEYS, it’s got all you need to spark new ideas, keep you in your creative flow, and take your tracks to the finish line.

There’s even new additions from Soundwide partners Plugin Alliance and Brainworx, with vocal tuning from bx_crispytuner, powerful analog synths like Knif Audio's Knifonium, and legendary console emulations that help give your sounds that studio shine."

KOMPLETE 14 In Action | Native Instruments
video upload by Native Instruments

00:00 - KOMPLETE 14 SELECT
00:33 - KOMPLETE 14 STANDARD
01:09 - KOMPLETE 14 ULTIMATE
01:40 - KOMPLETE 14 COLLECTOR'S EDITION

Red Means Recording explores KOMPLETE 14 | Native Instruments

video upload by Native Instruments

3 Tracks with Komplete 14

video upload by Red Means Recording

And the press release:

KOMPLETE's biggest update yet features 60 newly included instruments, effects, and Expansions, plus iZotope's mastering tool Ozone 10 Standard and additions from Plugin Alliance and Brainworx

Berlin, September 27th, 2022 – Native Instruments today released a massive update to its flagship production suite, KOMPLETE 14. Now available in NI's online shop, it features KOMPLETE's most extensive range of sounds so far and seamless tools for putting the ideas they inspire into motion, creating an all-in-one package for creativity. KOMPLETE 14's expansive libraries help find, design, and transform instruments in previously unimagined ways, with premium search tools to focus on sounds fast. KOMPLETE 14 is available in four different sizes – SELECT, STANDARD, ULTIMATE, and COLLECTOR'S EDITION, the last being a comprehensive offering of 145+ instruments, 100+ Expansions, and over 135,000 sounds. With synths, sampled instruments, percussion tools, immersive effects, and more across the stylistic spectrum, KOMPLETE 14 remains the go-to choice for music-makers of all types to find their ideal creative flow.

Included in KOMPLETE 14 STANDARD and above, KONTAKT 7 offers a huge library of sounds, alongside iZotope's all-new mastering tool, Ozone 10 Standard, which assists in putting the finishing touches on any production. More new additions come via an array of synths and effects from Plugin Alliance and Brainworx, as well as the CHOIR: OMNIA sample library, included in the KOMPLETE 14 COLLECTOR'S EDITION.

KONTAKT 7 is the next evolution of the world’s favorite sampler. Included with KOMPLETE 14 STANDARD and above, KONTAKT 7 features a refreshed HiDPI Factory library, with new instruments ranging from an orchestral section from Orchestral Tools to rare analog synths and everything in-between. An enhanced HiDPI browser offers lightning-fast access to filter and preview the largest selection of sampled instruments around, including global text search and editable filters for searching sounds. KONTAKT 7 also includes under-the-hood audio improvements and the new effects Psyche Delay and Ring Modulator from GUITAR RIG 6 PRO.

Soundwide (the group consisting of Native Instruments, iZotope, Plugin Alliance, and Brainworx) and its comprehensive ecosystem of audio creation products is on display throughout the leading production-suite that is KOMPLETE 14. Powered by machine learning, the Ozone 10 Standard tools from iZotope make mastering easy, with assistive technology driving balance in this latest version of the industry’s most comprehensive pro mastering software. New tools from Plugin Alliance and Brainworx help further develop and drive creativity, with synths and effects, including bx_Oberhausen, Knifonium, LO-FI-AF, Focusrite SC, and more.

CHOIR: OMNIA captures a 40-person vocal ensemble at their passionate peak. Created in collaboration with Strezov Sampling, the production process used a world-class signal chain to record the choir over six weeks of live performances. The library creates a contemporary symphonic experience for dynamic scoring across soprano, tenor, alto, and bass sections. Two browsers and intuitive controls allow for easier use of the expressive, deeply customisable instrument, and the SYLLABUILDER enables the construction of individual syllables and intricate phrases to create entirely unique vocalizations.

Soundwide’s mission is to make music and audio creation a more joyful and inspiring experience for creators everywhere by helping them to find, and stay in, their creative flow. KOMPLETE 14 is just the latest development in NI's commitment to providing best-in-class tools for bedroom producers and seasoned pros alike. The four tiers of KOMPLETE 14 likewise include a range of advanced instruments, effects, and Expansions, such as SOUL SESSIONS and NEO BOOGIE in the SELECT package, PLAYBOX in STANDARD, PIANO COLORS and ASHLIGHT in ULTIMATE, and LORES in COLLECTOR'S EDITION.

Arturia Minifreak 64 Presets: Keys, Synths, Brasses, Plucks

video upload by Anton Anru

"'Polymers' is a collection of 64 polyphonic presets for Arturia Minifreak. It includes: 8 Brasses, 21 Keys, 10 Plucks, 25 Synths.
The bank covers a wide range of timbres:
- various keys with acoustic, FM, wavetable, digital or analog flavor...
- vintage/retro synths recreations...
- lo-fi, tape-like, noisy, detuned, flutter/wow colors...
- presets with complex modulations and movement...
- sweet and dreamy plucks and bells...
- warm, soft, gentle or cold, distant, distorted tones...

💎 Get the soundset: https://antonanru.sellfy.store/arturia/

The soundset is suitable for many genres: ambient, electronica, IDM, trip-hop, lounge, downtempo, chill out, new age, cinematic, trance, deep, progressive, techno, industrial, breakbeat, breaks, jungle, drum and bass, dub and many others.

Highlights:
- Wide range of polyphonic sounds
- Thoroughly set parameters
- ModWheel and Aftertouch add expression
- Velocity-sensitive
- Macros 1 and 2 change the timbre or add movement
- Volumes are equalized for a comfortable browsing

The presets inside the bank are subdivided into 4 categories, presets titles include the category for better sorting: BR (Brasses), KS (Keys), PL (Plucks), SY (Synths).

The presets are compatible with both versions of Minifreak: hardware and VST/AU/Standalone.
Use the official software (Minifreak V) to send the presets to the device.
Use the latest firmware and software versions.

Performed by Dmitry Chemyrev.

CLICK FOR MORE »

Yamaha Introduces New Montage M - Next Gen Flagship Synthesizer - Overview & Sound Demos

video upload by Yamaha Synths Official

Curious if Yamaha will ever re-introduce their Formant & fseqs synth engine found on the FS1R. The FS1R was crippled by the UI.

Yamaha | Montage M Sound Demo
video upload by Yamaha Synths Official

"Enjoy this sound demo video showcasing sounds available in the new Yamaha MONTAGE M Series Synthesizers.

0:00 - 0:36 : AN-X Syn Orch Pat - AN-X Poly Synth with Polyphonic Aftertouch
0:37 - 1:00 : Hamburg Grand - AWM 2 Concert Grand Piano
1:01 - 1:19 : Sweet Synths - AN-X Poly Synth
1:20 - 1:48 : RD 67 Smooth - AWM2 1967 Tines E. Piano
1:49 - 2:10 : Classic Mini Sawlead - AN-X Mono Lead
2:11 - 2:35 C7 + Analog String Ensemb - AWM2 Yamaha C7 Grand Piano + AN-X String Ensemble
2:36 - 2:55 : Poly Dreams - AN-X Poly Synth
2:56 - 3:10 : SFZ Tremolo BPM Sync - AWM2 Tremolo Strings
3:11 - 3:49 : Distant Memories - AN-X Poly Synth
3:50 - 4:11 : Drawbar Organ - AWM2 Organ with YC Series VCM Rotary Speaker effect
4:12 - 4:29 : FM Piano + Soft Pad - FM-X E.Piano + Soft Pad
4:30 - 4:45 : Synthpop Forever - AN-X Poly Synth
4:46 - 5:05 : U1 Upright - AWM2 Yamaha U1 Upright Piano
5:06 - 5:31 : Dum Drum Bass - FM-X + AWM2 Poly Synth

Yamaha presents our next-generation flagship Synthesizer: MONTAGE M. Featuring three engines that create a variety of sounds – ultra-realistic instruments, vintage analog synths, and cutting-edge FM synths. For keyboardists, synthesists, and pianists, MONTAGE M seamlessly bridges stage and studio, unlocking new possibilities for sound, control and workflow."

NEW AN-X ENGINE

A revolution in authentic analog sound, control and behavior, the AN-X engine recreates the warm, classic sound of an analog synthesizer with a host of sophisticated modulation options.

･Three Oscillators with 5 waveforms (Saw 1, Saw2, Triangle, Square and Sine) and Noise Generator

･Two filters with 10 filter types

･Pulse width modulation

･Oscillator Self Sync

･Ring modulation, FM, and wave shaper

･Amp EG with drive

･LFO for both amplitude and filter,

･Voltage drift and aging settings to simulate vintage synth behavior

Integrated into the Motion Control system, the AN-X Engine allows you to create expressive, unique analog sounds to your heart’s content.

Improved AWM2
Experience realism and detail with MONTAGE M’s improved AWM2. Offering an incredible 128 Elements per part, AWM2 allows for smoother transitions, giving you an expansive canvas for ultra-high-definition sound creation, especially for “nameable” sounds such as piano and strings.

400 NOTE TOTAL POLYPHONY
A significant upgrade from the original MONTAGE’s 256 notes, MONTAGE M offers up to 400 notes of polyphony across its three engines:

･128 notes for AWM2 Preset Waveform Parts

･128 notes for AWM2 User Waveform Parts

･128 notes for FM-X Parts

･16 notes for AN-X Parts

And more about sound
AND MORE
[PRESET WAVE AND FLASH MEMORY UPGRADE] MONTAGE M offers twice the memory over its predecessor with an increase from 5.67GB to 9.97GB of Preset Wave memory, and an increase from 1.75 to 3.8GB of User flash memory. Plus, you’ll find a host of new sounds and instruments, including pianos, orchestral instruments, drums, and more!

[FM-X] MONTAGE M rekindles the Yamaha legacy of expressive and dynamic FM Synthesis with its 8-operator FM-X engine, offering a wide variety of diverse tones: from crisp and bell-like, to edgy and aggressive, to mellow and evolving. This is an excellent complement to the AWM2 and AN-X engines.

[VCM ROTARY AND DRAWBAR BEHAVIOR] Using sophisticated modeling technology, the VCM Rotary Speaker effect simulates the rich and enveloping motion of a classic rotary speaker cabinet. Plus, the new organ drawbar fader setting simulates the vintage “pull out” drawbar organ behavior.

[16 LIBRARY LOCATIONS] With 16 Library slots at your disposal, you can house up to 10,240 additional Performances (that’s in addition to the over 2,700 performances in the presets), facilitating quick searches by Category, Name and Attributes.

[PURE ANALOG CIRCUIT 2] The upgraded Pure Analog Circuit included in MONTAGE M reduces noise and improves the dynamic range, crosstalk, low-frequency phase, and distortion rate, resulting in clearer sound at all volumes. You’ll also find the sound has more detailed low-mids and presence.

GEX ACTION WITH POLYPHONIC AFTERTOUCH (MONTAGE M8x ONLY)
Available exclusively on MONTAGE M8x, GEX Action elevates your performance and sound creation with Polyphonic Aftertouch – a revered synth control found in the legendary CS-80 and DX1. Polyphonic Aftertouch allows you to individual modulate held notes with pressure. GEX also provides key repetition behavior typically found in grand pianos.

NEW PERFORMANCE CONTROLS
MONTAGE M introduces new performance controls: a 5-segment ribbon controller with dedicated HOLD button, a new KEYBOARD HOLD button for sustaining chords while using knobs to edit, and a Portamento on/off button and dedicated Portamento time knob.

DEDICATED KEYBOARD, PART AND SCENE CONTROL
You’ll find dedicated Keyboard, Part and Scene Control buttons to control 16 Parts per Performance. This intuitive control, particularly beneficial for live performances, improves overall usability and adds dimension to each Performance.

AND MORE
[HIGH-RESOLUTION CONTROL] All the Performance Controls – from the Keyboard and Faders to the Super Knob and Sustain, as well as the Sound Engine, are now in High Resolution. Because of the fine resolution, you’ll find the MONTAGE M behaves in a smoother and more “analog” way.

[MOTION CONTROL SYNTHESIS ENGINE]This groundbreaking engine allows you to interact with sounds in a variety of ways, including Motion Sequences, which dynamically automate synth and effect parameters, and can even be synchronized to tempo; the Super Knob, which controls dozens of modulations in a single gesture; the Envelope Follower, which modulates sound from the A/D input or another Part; and many, many more ways!

[NEW AND IMPROVED LED LIGHTS AND COLORS] Enhanced LED lights and colors on MONTAGE M faders, Performance, Live Set and Category Search offer visible, instant feedback, vastly improving the user interface.

WORKFLOW
Expanded Creativity

EXPANDED SOFTSYNTH PLUGIN (E.S.P.) (COMING EARLY 2024)
A game-changer for musicians, the Expanded Softsynth Plugin (E.S.P.) replicates the MONTAGE M in your favorite Digital Workstation (DAW). Free for all registered MONTAGE M owners, E.S.P. allows you to create, edit and mix MONTAGE M Performances anywhere you happen to be – without the hardware – offering an unprecedented level of stage and studio integration. We are planning on releasing E.S.P. in Early 2024. The first version will have all the MONTAGE M sound while being limited to basic editing. The full version will be available in Summer 2024.

FASTER, MORE INTUITIVE NAVIGATION
Upgraded navigation enables quick, intuitive sound editing and operation. You’ll find features like a new 512 x 64 LCD screen, 6 touchscreen display knobs, and a PAGE JUMP button that moves what’s in the LCD screen over to the larger 7” TFT Color touchscreen for deeper editing. And the dedicated Navigation button shows an overview of a Performance. Just touch a graphical object in the screen to jump to that parameter for deeper editing. The dedicated Navigation button allows you go directly from the “surface” of a sound to the deepest part.

USB MIDI AND MULTICHANNEL AUDIO INTERFACE
Simplifying your studio setup, MONTAGE M offers a USB MIDI and multichannel 32 output/6 input audio interface. Streamline MIDI recording, virtual instrument monitoring, and multi-track audio recording through a single USB cable, so you can spend more time being creative.

AND MORE
[FASTER UI] MONTAGE M’s UI is significantly speedier than the previous generation. Plus, the overall look is cleaner and easier to see.

[CATEGORY SEARCH] Search for Performances by Category (Piano, Keyboard, etc.), Sub Category (Acoustic, Vintage, etc.),Name, and Attributes (AWM2, FM-X, AN-X, etc.).

[TWO USB-TO-DEVICE PORTS] Allows simultaneous connection of a flash drive (or drives!) and USB MIDI controllers.

[DEDICATED DAW REMOTE BUTTON] Use your MONTAGE M as a hardware controller for DAWs such as Cubase, Logic, ProTools and Live. Control the mixer, transport, softsynth plugins and more.

[NEW SHIFT BUTTONS] Two new Shift buttons make it effortless to access secondary functions, increasing overall functionality.

[COLOR-CODED BUTTONS and SLIDER LAMPS] Backlit LIVE SET and CATEGORY buttons are colored differently and clearly show mode function. New slider lamps show red LED value increments, while active Parts are illuminated in blue.

Click the pics to zoom in.

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Moog Sound Studio: DFAM + Mother-32. 50 Combo Patches. Demo

video upload by Anton Anru

"Welcome to the soundset for a semi-modular system Moog Sound Studio: DFAM + Mother-32. It is a collection of 50 patches that include basses, drums/percussion, leads, plucks, textures, FXs.
There is a wide range of sound colors inside the pack: massive and gentle, aggressive and soft, bright and dull, melodic and inharmonic tones, straight and polymetric patterns.
🔮 Get the soundset: https://bit.ly/3x756yg

Highlights:

✅ high level of interconnection of the synths
✅ thoroughly set parameters
✅ detailed notes for patches full of tips and tricks
✅ audio examples in 3 versions: DFAM only, M-32 only, both together
✅ to recreate these patches you need up to 12 patch cords
✅ one of my hardest work ever, I spent up to 2 hours for each patch
✅ FREE BONUS: 150 samples with Scale and BPM (70-128 BPM), Wav 24/44100

The main point of the soundset is the high level of interconnection, not just syncing the two synths with independent timbres (individual presets for DFAM and Mother-32 are also available on my website). In this patchbook the timbres of the synths are soldered and can’t exist separately:
🔸 they modulate each other with LFO and Envelopes
🔸 a sequence from one synth change parameters on the other one
gates and triggers interaction breaks predictable patterns
🔸 audio signals from VCOs may be used as modulation sources to create harmonies/intervals or crazy experimental inharmonic tones
🔸 or they may be used just as audio sources that go to the other synth to be processed with its (different) filter and envelope and get the «second life».

At the same time, they play different and clear roles, it’s not a sound mess, but two synths working in close cooperation.

CLICK FOR MORE »

Behringer Edge & Crave Combo Patches + Samples. No Talk Demo

video upload by Anton Anru

"Welcome to the soundset for the semi-modular synthesizers Behringer EDGE + CRAVE. It is a collection of 50 presets (+50 CRAVE patterns) that include basses, drums/percussion, leads, plucks, textures, FXs.
There is a wide range of sound colors inside the pack: massive and gentle, aggressive and soft, bright and dull, melodic and inharmonic tones, straight and polymetric patterns.

📚 Get the soundset: https://antonanru.sellfy.store/p/behr...

The main point of the soundset is the high level of interconnection, not just syncing the two synths with independent timbres (individual patches for EDGE and CRAVE are also available on my website).
In this patchbook, the timbres of the synths are soldered and can’t exist separately:
🔸 they modulate each other with LFO and Envelopes
🔸 a sequence from one synth change parameters on the other one
🔸 gates and triggers interaction breaks predictable patterns
🔸 audio signals from OSCs may be used as modulation sources to create harmonies/intervals or crazy experimental inharmonic tones
🔸 or they may be used just as audio sources that go to the other synth to be processed with its (different) filter and envelope and get the «second life».

At the same time, they play different and distinct roles; it’s not a sonic mess, but two synths working in close cooperation.

📝 Each page contains notes explaining how the patch works, which parameters are worth tweaking during playback, and how to develop the timbre during a performance. By making these settings consciously and trying the things mentioned in the notes, you will learn a lot about the synths and discover their true depth.

To recreate these patches, you will need up to 12 patch cords.
There are audio examples of all patches inside the folder with the soundset.

💽 Each patch has audio examples presented in three variants: EDGE only, CRAVE only, and both together.
💽 Additionally, there's a separate folder containing WAV samples with the same timbres, along with Scale and BPM information. These samples can be used inside a sampler or DAW to achieve the exact sound heard in the examples. Feel free to slice them for one-shots or loops; they serve as excellent material for further editing and processing.

I added delays/reverbs and pads to create a musical context.
They are not included in the soundset."

CLICK FOR MORE »

Moog Sound Studio: 50 Patches for DFAM, Mother-32, Subharmonicon. + Samples. Presets Demo. No talk

video upload by Anton Anru

"Welcome to the soundset for a semi-modular system Moog Sound Studio: DFAM + Mother-32 + Subharmonicon. It is a collection of 50 patches that include basses, drums/percussion, leads, plucks, textures, FXs. There is a wide range of sound colors inside the pack: massive and gentle, aggressive and soft, bright and dull, melodic and inharmonic tones, straight and polymetric patterns.

🔮 Get the soundset: https://antonanru.sellfy.store/moog/

Highlights:
✅ high level of interconnection of the synths
✅ thoroughly set parameters
✅ detailed notes for patches full of tips and tricks
✅ audio examples in 4 versions: DFAM only, M-32 only, Subharmonicon only, all together
✅ to recreate these patches, you need up to 17 patch cables + splitter/multiplier («star») or a stackable cable.
✅ one of my hardest work ever, I spent up to 2,5 hours for each patch
✅ FREE BONUS: 200 samples with Scale and BPM (95-128 BPM), Wav 24/44100

The main point of the soundset is the high level of interconnection, not just syncing the synths with independent timbres (individual patches for DFAM, Mother-32, and Subharmonicon are also available on my website). In this patchbook, the timbres of the synths are soldered and can’t exist separately:
🔸 they modulate each other with LFO and Envelopes
🔸 a sequence from one synth may change parameters on others
🔸 triggers interaction, clock/rhythm, run/stop modulations break predictable patterns
🔸 audio signals from VCOs may be used as modulation sources to create harmonies/intervals or crazy experimental inharmonic tones
🔸 or they may be used just as audio sources that go to another synth to be processed with its (different) filter and envelope and get the «second life».
DFAM, M32, and SUBH play different and clear roles, it’s not a sound mess, but the synths working in close cooperation.

CLICK FOR MORE »

Moog Sound Studio: DFAM + Subharmonicon. 50 Combo Patches. + Samples. Demo

video upload by Anton Anru

"Welcome to the soundset for a semi-modular system, Moog Sound Studio: DFAM + Subharmonicon.
It is a collection of 50 patches that include basses, drums/percussion, leads, plucks, stabs/chords, generative-style patterns. There is a wide range of sound colors inside the pack: massive and gentle, aggressive and soft, bright and dull, harmonic and dissonant tones, straight and polymetric rhythms.

🔮 Get the soundset: https://bit.ly/3x756yg

Highlights:
✅ high level of interconnection of the synths
✅ thoroughly set parameters
✅ detailed notes for patches full of tips and tricks
✅ audio examples in 3 versions: DFAM only, Subharmonicon only, both together
✅ to recreate these patches you need up to 12 patch cords
✅ one of my hardest work ever, I spent up to 2 hours for each patch
✅ FREE BONUS: 150 samples with Scale and BPM (75-126 BPM), Wav 24/44100

The main point of the soundset is the high level of interconnection, not just syncing the two synths with independent timbres (individual patches for DFAM and Subharmonicon are also available on my website). In this patchbook the timbres of the synths are soldered and can’t exist separately:
🔸 they modulate each other with Envelopes
🔸 a sequence from one synth may change parameters on the other one
🔸 triggers interaction, clock/rhythm, run/stop modulations break predictable patterns
🔸 audio signals from VCOs may be used as modulation sources to create harmonies/intervals or 🔸 crazy experimental inharmonic tones

At the same time, they play different and clear roles, it’s not a sound mess, but two synths working in close cooperation.

💽 Also, there’s a separate folder with WAV samples with the same timbres, with Scale and BPM information. You may use them inside a sampler or DAW if you want 100% same sound as in the examples. Slice them for one-shots or loops, this is a great material for further editing and processing.

The soundset is presented in the form of PDF-Document. Each page contains notes that explain how the patch works, what parameters worth tweaking during the playback, how to develop the timbre during a performance. If you make all the settings consciously and try the things mentioned in the notes, you will learn lots of things about the synth and discover its true depth.

Each patch has audio examples, they help to understand how a patch is supposed to sound. Audio examples for a patch are presented in three variants: DFAM only, Subharmonicon only, and both together.

CLICK FOR MORE »

Novation Peak & Summit: 64 Keys/Synth Presets. Sound Demo, No Talking

video upload by Anton Anru

"'Poly Station' is a collection of 64 Keys and Synths presets for Novation Peak/Summit. It includes: 31 Synths, 25 Keys, 5 Rhythmical, 3 Bells.
💾 Get the soundset: https://antonanru.sellfy.store/novation/

The bank covers a wide range of timbres:
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Updates on the New OB-X Synths

As you know Oberheim recently posted a new teaser for their upcoming synth. It's obviously a new OB-X. The big question is will it be different from the original?

Swissdoc created an image featuring the highlights from the video. Here's what he had to say about it:

"I created a focus stack from the movie to get the full picture.

Compared to pictures of the OB-X I noticed these differences:
Knobs for Menu at the bottom left of the Programmer buttons 1-8
In the Portamento/Detune section there are three buttons instead of one

The upper row seems to be identical, I see/guess the same number of knobs
Colors and knobs i.e. the industrial design is taken over 1:1"

He also reminded me of Abstract Instruments rackmount OB-X, the VS-1.

The following is an update on the project from their Kistarter campaign posted just a few days ago on April 25.

"We're back up to full speed making very good progress. We've decided to prepare the DIY kits for shipping with the option to ship the mainboard in a second shipment. There is a lot of building to complete for the kits and this will allow everyone to get started while software development is completed. As mentioned in a few prior updates.. parts for full parts kits are packaged per PCB assembly. Each PCB has the relevant parts separated, even if the same part number is used in more than one PCB assembly. This makes it easier for assembly and partial shipments. For the mainboard we're 'still' testing a few aspects including the new interface option for the OLED and vetting a new ROM IC. We still don't want to make this assembly until 100% sure it's perfect. We're not sure when the DIY kits will start shipping but I will update soon with a delivery estimate once we have a reasonable estimate. The full retail versions are built in groups of (10) units. We've had the first few groups staged for along time already and will start to ship once the software is ready.

I received many messages last Friday and over the weekend regarding the Behringer UB-X. Some colleagues and customer friends were snickering at the notion I might be working for Behringer. I will confirm the answer is no. The design of the OB-X is very particular. On one hand it's a textbook implementation of a polyphonic analog synthesizer. If you were designing a polyphonic analog in 1978 the OB-X is basically what you would find in publications of the time. Discrete oscillator, 12dB OTA-based filter, OTA-based VCA's and the new CEM ADSR IC's. On the other hand there are many minor quirks that you do not want to overlook. That said I know the in-house engineers at Behringer are excellent engineers. At the end of the day these synths aren't rocket science and these guys know what they are doing. The fact that they contracted someone to help is interesting. I do not have any insight as to who or why they have contracted someone. In any case it's safe to say I would not agree w/ all of the design trade-offs that will end up in the Behringer model. The VS-1 is second to none in this regards. Since we are a boutique company we can focus intensely one one or two designs and don't need to make any design trade-offs.

On a personal note I had mentioned that the office was closed at the beginning of the year for family reasons. I wanted to let everyone know at the time that there was a reason for the inactivity, but didn't believe it was necessary to go into details. However I received many personal messages and would like to confirm that there is no concern at home or with the VS-1. My wife and I had premature babies...twins. They came dangerously early and it was full time care for a good while. Babies are at home and healthy.

Regards,

Brian Castro | Abstrakt Instruments"

And finally we have Behringer's UB-X update from the 22nd.

Three OB-X synths are in the works. One with the orginal build from the original maker, one rackmount, and one compact. It's worth noting Sequential typically follows up with a desktop version of their flagship keyboard synths a few months later as well, and if its not obvious, Oberheim is backed by the Sequential team.

The Synths Used in Hologram's Skyrunner

Follow-up to this post where you'll find the track. Via Hologram:

"The overall inspiration for the 'Skyrunner' single and the upcoming LP were to bring back a sense of melody and the human element that I feel has been lost in a lot of modern electronic music today. A lot of it has become so focused on the technical prowess of the technology itself that the human elements of writing and composing music have become somewhat lost in the fray. It wasn't just about the sound and technical abilities of a certain instrument, it was also about how they were played, and the context in which they were used in an arrangement. I felt that it was a combination of both the sonic quality of those vintage instruments and the human compositional elements that truly allowed the instruments of those days to shine as they did on many of the old recordings of yesterday. This combination is what I set out to portray in the new Hologram material. While there was certainly lots of time put into sound-design and the engineering behind the single and the LP, the primary focus was on writing music and creating a "journey" through the melodies and composition first, with the technology being used as a "tool" to materialize that vision, not the other way around."

Most of 2011 was spent selectively collecting certain analogue and digital synthesizers for the studio that represented the sound and characteristics that have become well known throughout the history of electronic music. Starting with the Roland Jupiter-6, it formed the basis of many of the original ideas that formed into the tracks on this release and the upcoming LP. The leads and various arpeggio sounds were created on the Jupiter-6. The Jupiter-6 while not as quite as coveted as it's larger brother the Jupiter-8, has a rich sonic character of it's own and has a wider palette of colors with it's multi-mode filter section. The Moog Voyager RME, while being a modern-day analogue synth and not an original Minimoog D, I felt captured the sonic quality of the "Moog" sound, but with it's own unique character as well, with the multi-mode filters and pole selection, which can make it sound very "Arp" or even "Oberheim" like when using 1 or 2 pole modes. It's fantastic and has a richness all it's own. It's ability to also wire up feedback through the external input to give it more bite and grit make it another favorite of mine in the studio. It was used for the synth bass lines, as well as layered arpeggios and seq attack type sounds in both tracks on the single and was the main arpeggio line in "Prometheus Rising".

The Ensoniq ESQ also played a major role in "Prometheus Rising" being used for the "wooshing" noise modulated sound and the resonant synth drops towards the end. The ESQ has a wonderful filter that is a favorite of mine based on the CEM3379 4-pole analog resonant filter that is very musical and has lots of character. Even though that filter was used in several other synths during the 80's, the way it was implemented in the ESQ along with slight bit of overdrive in the VCA is what gives that instrument it's unique character. Heavily processed with an Eventide H949 reverse delays and manual feedback, it created a wonderful space and movement to the track and we'll be heard much more throughout the LP.

The Roland System-100m is....a beast and a piece of history in itself. While it was a later addition to the studio after the two initial tracks were for the most part completed, it was used for layered white noise effects on both tracks, and was used to create the "shimmering synth" effect sound in the breakdown in "Skyrunner". This was created using one of the LFO's fed into a Doepfer A-156 Dual quantizer module, which was then routed to modulate the pitch of both VCO's on the System-100m, while staying in key with the bassline. It was then processed heavily through the FOH Sounds of Shadow delay module for the feedback wash. The SY77 and Oberheim Xpander were used for choir and pads on "Prometheus Rising". The Xpander was a recent addition to the studio and expect to hear it much more throughout the LP as it is truly one of the great classics and has a sound that I have always coveted.

The Korg Univox 700s and the Waldorf Microwave XT were not used on this project, but expect to definitely hear the 700s throughout the LP as this is another classic piece I have always admired it's sound used throughout many of the mid-to-late 70's British synth records. It's such a simple instrument, but such a rich sound to it that it's just phenomenal. It's a quirky little synth too, with it's limited front-panel controls and absolutely no MIDI or even CV/Gate! So it's literally a "play live and track it" type instrument, but that's what I love about it most. No over-thinking, no over-producing, just feel it, play it, and move on.

As for software synthesizers, a few were used on this release, as I've always been a fan of software synthesis as well. The current material obviously has a focus towards the old analogue instruments, primarily because of the real-time nature and interaction that they create during the writing process, but software plays a major role in the studio as well, with a few virtual synths being used as well as the entire single and LP being mixed entirely "in the box" making heavy use of UAD analog EQ's, compressors, and tape emulations. A couple of notable virtual synths that were used are the GForce VSM and the OPX-Pro, with the OPX-Pro forming several parts in "Skyrunner" and the GForce VSM used to create the strings at the intro of "Prometheus Rising" processed heavily through the UAD Roland RE-201 Space Echo plugin.

The LP is still in the works and is slated to be completed later this year. Keep an eye out for updates on the official website.

http://holografique.tumblr.com and http://schematic.net"

ELKA EK 22 KOTO & KEYTEK CTS 2000 ANABASS

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Published on Aug 10, 2017

YAMAHA SY99 DEEP EMOTIONAL FM KEYS

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外部効果はいつものように添加していません...
No External Effect Added, As Usual...
Nessun Effetto Esterno Aggiunto, Come Al Solito...
Ningún Efecto Externo Añadió, Como De Costumbre...
Keine Externe Effekt Hinzugefügt, Wie Üblich...
Nenhum Efeito Externo Adicional, Como De Costume...
Geen extern effect toegevoegd zoals gewoonlijk ...
brak efektu zewnętrznego dodał jak zwykle ...
καμία εξωτερική επίδραση προστίθεται ως συνήθως ...
нет внешний эффект не добавлено, как обычно ...
Ingen extern effekt tillagt, som vanligt ...
Ei ulkoisia tehosteita, kuten tavallisia ...
Aucun Effet Externe Ajouté, Comme D'habitude...