Hollenangel - Yamaha CS80 showcase

I posted on Stephen Parsick's Hollenangel back on Oct 5 as an excellent showcase of the Yamaha CS80. He just posted a review and another sample on the Yamaha CS80 group. Below are links to the sample in different bandwidths. If you want to hear some Yamaha CS80 magic, check it out. Enjoy. Title link takes you to Parsicks.com.



http://www.neuharmony.com/56k/hoell.m3u
http://www.neuharmony.com/mp3/hoell.m3u
http://www.neuharmony.com/56k/hoell.mp3
http://www.neuharmony.com/mp3/hoell.mp3

Arp Odyssey and Moog Polymoog track

Update: Martin ('Liquidscreamer') did the track.

Very cool Odyssey and Polymoog track. Man I miss that sound. If Billy Currie of Ultravox and Gary Numan where morphed together, this is what it would sound like. Via Jordan Gibson on AH (track is by Jordan's mate). Enjoy.

Nord Modular Comparison Chart

A $300 Nord Modular recently came up for sale. I always wanted one but I put it on hold as I figured I'd get the G2 instead. But at $300 I decided maybe I should go for it. I checked out the Clavia site and couldn't find a comparison chart. I wanted to know if the Nord Modular and G2 were totally different in sound character or if the G2 was built off of the first generation modular. Like the Nord Lead 2 is built off of the original Nord Lead, but the Nord Lead 3 was redesigned from the gound up - totally new software. Well, I haven't found the definitive answer yet, but I have found some interesting bits.

1. Title link takes you to a comparison chart (thanks Wout!)


2. You can't upload Nord Modular 1 patches into the G2


3. The Nord Modular classic has a Filter Bank and Spectrum OSC that the G2 does not have (thanks to Vincent and fizmo)


4. Vincent who has both hasn't had a chance to fully compare them, but he said they do sound different


5. The G2 can send it's sequencer data via MIDI so you can build sequencers to control external gear. The original can't

This above is just a short list. Check out the title link for a more comprehensive list. Regarding the $300 Nord Modular I found. Looks like four others beat me to it. Oh well, another day...

Metasonix S1000 "Wretch Machine"

Metasonix S1000 "Wretch Machine" prototype. Damn, that is one sexy looking behemoth of a synth (never thought I'd ever say that). Look at that thing! It's got tubes poppin out of it. Be careful... Title link takes you to a bigger shot and a PDF with details (I copied and pasted the details below in case you don't have a reader). Via Michael Weeks of www.endmusik.com, via the floor of the VTV expo. Thanks Michael!



Specs via the PDF in case you don't have a reader:
"The Ultimate Tube Synthesizer.
Pitch sources: two independent VCOs.
Made entirely of vacuum and gas-filled tubes.
Range >2 octaves using CV, octave switching allows range from
33 Hz (low C) to more than 2 kHz.
Three waveforms: thyratron sawtooth, square, and square with
suboctave.
VCO 2 may free-run or be soft-synced to VCO 1.
Numerous patch points allow enormous flexibility.
Waveshaper: unique circuit, with soft clipper and pulse adder
(shapes waveforms from VCOs by adding small pulses to top of
waveform at discontinuity).
Made entirely of vacuum tubes.
Settings: disable, soft-clip only, and soft-clip with pulses added to
signal. Latter circuit allows simulation of noise source.
Filter: unique multimode circuit, allows its use as a lowpass,
treble/midrange bandpass or bass bandpass filter.
Continuously variable control allows mixing of filter forms in any
proportion.
Made entirely of vacuum tubes.
Range of treble resonance switchable, 400-1700 Hz.
Bass resonance tunes from ~100-350 Hz.
Filter sweep is performed with photoresistor element.
VCA: unique circuit using a pentode tube.
Made entirely of a vacuum tube.
May be modulated with the AR generator only, or with the control
voltage generated on modulation bus 2.
Modulation: two envelope generators, A(S)R and AD.
Both triggered with input gate signal. Both may be combined on
either modulation bus to create ADSR.
Two independent LFOs, triangle waveform, range <0.3 Hz to more
than 5 Hz.
Two modulation buses allow combining the A(S)R, AD, and two
LFOs as needed to effect any CV input in the audio circuit (VCO
pitch, VCO squarer waveshape, waveshaper pulser, filter tuning).
Main CV input controls pitch of both VCOs (Hz/V response).
Gate input triggers envelope generators, accepts 0-5v or 0-10v
gate voltage.
6AL7 "eye" tube displays status of LFOs and A(S)R control voltages
on three separate glowing green bar graphs.
Miniature joystick performs multiple jobs: vertical motion affects
pitch of both VCOs, horizontal motion affects tuning of filter.
Press joystick in to trigger envelopes.
Size: 6U high standard EIA rack mount, 3" depth below rack panel.
11 vacuum/gas tubes. Weight about 20 pounds with AC adapter.
Draws 12 volts AC ONLY at 3 amps.
Expected availability mid-2006, expected retail price $2500.
Optional internal MIDI-CV interface, add $300."

Moog Rogue Shots

Title link takes you to some nice shots of the Moog Rogue saved for posterity, via this auction.

Audio Realism ABL Pro

Via Wiglaf on this VSE post. Title link takes you to the Audio Realism ABL Pro page with more details and screen shots.



"The Pro version is intended to take what ABL is good at and extend on that to reach new sonic possibilities but with the same feeling. Extended range on oscillators and filters (which now goes up to self oscillation). Audio rate modulation is possible on the excellent filter and oscillators which can be swept from bass up to treble ceiling while retaining low aliasing and without any other digital artifacts. The slave (audio) oscillators can be tuned +/- 48 semitones with 1 cents accuracy from master oscillator. This range aids in making sweeps that feel unconfined and lets your music breath. The modulation generator can be used as a third oscillator while routed to multiple destinations. A stereo delay unit with modulatable delay times will aid you in making interesting and atmospheric sounds."

Scott Stites "Buchla 200e" Demo

In via John P of m/n/m/l, via AH. Title link takes you there (look for Scott Stites). BTW, John "thinks" this is the 200e. It sounds like it based on other samples I've heard. I'll update the post if I hear anything back on AH.

Update: Via AH. It's not a 200e. : )

"Scott Stites speaks:
"For samples, the thread pointed here:

http://www.mnmlnoise.com/misc_samples.html

I found that there was a sample of mine linked there, one I'd
discussed with you a while back. I'm absolutely thrilled to you would
put it on M/N/M/L (a heck of an honor!). The only problem is that
it's labeled as a 200e sample, and I think all these guys are thinking
that it is a 200e (actually I did it with some Buchla stuff I'd
cloned)."

Buchla Breaking the Mold

One of the achilles heels of digital virtual analog synthesis has always been aliasing. Another has been the precision of digital oscillators and of course stepping. Buchla has always sat on the pinacle of analog modular synthesis. Buchla is considered to be the holy grail along with only handful of others. Buchlas have always been considered to break the mold when it comes to synthesis and design. What I find fascinating and am coming to realize is that the new Buchla 200e just might be breaking another mold. The mold of aliasing and digital oscillators and their negative perception. I posted earlier on Buchla's digital oscillators. I was just reading the Keyboard Magazine Review on the Buchla 200e (title link), and I just read the following:

"Did he say “digital?” Yes, the 259e is a digital oscillator. Analog purists may not be pleased about this. I’m happy to have lots of waveforms at my fingertips, but I found that many of the wavetable combinations produced aliasing. Pure sine waves, which don’t alias, are available among the waveforms, and it was possible to coax some sweet tones out of the 259e, especially at low warp settings and at lower pitches. However, the higher-pitched tones of most of the waveforms alias spectacularly, making them ideal for edgy, glitchy mixes but not desirable for traditional definitions of “beautiful.” According to Buchla, this design was intentional."

So, if the Buchla does it...

Buzzclick Music

Title link takes you to Peter Grenader's website, Buzzclick-Music. If you've been following my posts, you might notice that the last two had Peter Grenader's name on them. Now you know how I end up on a role, one thing really just leads to another. I started with a simple link to a Buchla review with samples on Keyboard Magazine, that Peter sent to AH, I dropped by Sonic State for the NAMM demo of the 200e he did, and I ended up on his site, Buzzclick Music, dropping by the EAR and Big City Music sites on the way.

So, Buzzclick Music...



There is just too much content on Buzzclick-Music to do it justice in a single post. Just go check it out if you haven't been there before. There are music samples, pictures, a bio and a few slices of synth history including Buchla, Serge, Morton Subotnick, John Cage, and much, much more. Peter Grenader is also involved with EAR which I've posted on a few times. He designs the Plan B line of modulars. You can hear it on Secret Life on the Music Samples link of his site. Really amazing stuff.

Also make sure to check out the Son of Frankenstein when you are there. : )

Buchla 200e Video on Sonic State

I thought I put this up already, but apparently not. Title link takes you to a video demonstration of the Buchla 200e given by Peter Grenader for Big City Music during Winter NAMM 2005.