Friday, June 12, 2009
Jupiter 8V Demo
YouTube via slices09
"Performed by http://flickr.com/photos/is...
Drum loops from Loopmasters, arrangement with Ableton Live"
Jupiter 8V Features
"Performed by http://flickr.com/photos/is..."
Yamaha CS 15d
YouTube via abertronic. Dual channel Synth. via these auctions (be sure to see the link for more)
I also have a permanent Abertronic on Ebay link to the right under the MORE STUFF section.
神奈川県子ども会DS-10キャラバン リハーサル おもちゃのチャチャチャ
YouTube via aqi. Starts to get going around 1:40 and takes off at 2:05.
More vids of the event here.
Also be sure to see these previous vids by aqi (scroll when you get there). It's cool seeing this live.
Be sure to see the video description here for links. [Googlish here]
OSC 1 geht nicht richtig?
YouTube via elektrofusl
"Was zum Geier moduliert den Osc 1, dass er so klingt. Ich komm nicht dahinter?"
Googlish: "What the hell modulates the Osc 1, so that it sounds. I do not come to it?"
Yamaha Sy22 Vector Synth (Wavestation Korg - D50 Roland) demostration by S4K
YouTube via Space4Keys. Note the Yamaha TG33 is the rack version of the SY22.
"Demostration
Keyboard: Yamaha Sy22
Performed by S4K
www.space4keys.com www.keyboardsolo.com"
TIM 1037 - Alan Parker - Without Shadows A
YouTube via Sketchboxx
"must be that old oberheim drum machine on that early 80s library. enjoy"
It does sound like the Oberheim DX. Anyone confirm? Curious what the synths might be as well.
Wolfram Franke Interview on Sonik Matter
Note this is an old interview from 2001. I just never posted it before. Thanks goes to Mark Pulver for sending this over to the Waldorf mailing list. Wolfram Franke is the product specialist and a coder for Waldorf, the old Waldorf and new. He is one of the core influentials at Waldorf.
According to the interview, the first synthesizer he programmed on was the Wersi MK1 in 1986: "Wersi and it is called MK1 (Series III). It was a 20 voice, 8 part multitimbral additive synth with up to 32 harmonics, an integrated chorus/ensemble effect and only one VCF, but that one was a copy of the Moog 24dB VCF plus a good-sounding overdrive."
Some interesting snips on his time with Waldorf:
"The Pulse was the first synthesizer where I helped working on the basic concept, i.e. sound parameters, UI layout and overall sound character.
The concept of the Microwave II was done almost completely by me and half a year later, I started to write down the controls I would like to see on an extended version of the Microwave II. You know the result, it became the Microwave XT!"
Regarding the Q being modeled after the Pulse:
"Oscillators - those are real models of analog oscillators, resulting in a very fat bass sound even when you listen to them without filters or effects. They behave exactly like their analog counterparts and they were modelled after the analog oscillators of our Waldorf Pulse synthesizer.
Filters - those are also real models, not only algorithms as found in almost all other VAs. This means that they can self-oscillate and allow FM. They are modelled after something in-between the Curtis filters from the Microwave 1 and our discretely built Waldorf Pulse four-pole filter."
Note the above is just a small fraction of what you will find the full interview. Do check it out. It is fascinating and it is one of the rare interviews that primarily focuses on synthesis.
Note you can find all interviews featuring Wolfram Franke here.
According to the interview, the first synthesizer he programmed on was the Wersi MK1 in 1986: "Wersi and it is called MK1 (Series III). It was a 20 voice, 8 part multitimbral additive synth with up to 32 harmonics, an integrated chorus/ensemble effect and only one VCF, but that one was a copy of the Moog 24dB VCF plus a good-sounding overdrive."
Some interesting snips on his time with Waldorf:
"The Pulse was the first synthesizer where I helped working on the basic concept, i.e. sound parameters, UI layout and overall sound character.
The concept of the Microwave II was done almost completely by me and half a year later, I started to write down the controls I would like to see on an extended version of the Microwave II. You know the result, it became the Microwave XT!"
Regarding the Q being modeled after the Pulse:
"Oscillators - those are real models of analog oscillators, resulting in a very fat bass sound even when you listen to them without filters or effects. They behave exactly like their analog counterparts and they were modelled after the analog oscillators of our Waldorf Pulse synthesizer.
Filters - those are also real models, not only algorithms as found in almost all other VAs. This means that they can self-oscillate and allow FM. They are modelled after something in-between the Curtis filters from the Microwave 1 and our discretely built Waldorf Pulse four-pole filter."
Note the above is just a small fraction of what you will find the full interview. Do check it out. It is fascinating and it is one of the rare interviews that primarily focuses on synthesis.
Note you can find all interviews featuring Wolfram Franke here.
RMI Harmonic Synthesizer vs. RMI Keyboard Computer
via Wavecomputer360 on the AH list:
"both machines are totally different beasts, and even the two different versions of the KCs differ considerably from each other. I can only speak for the KC-2 (which I hated to see go a couple of years ago but then again, it was worth a couple of months´ rent for my flat...). The KC-1 is a totally different cup of tea. I have never used, let alone owned one (I think I had one out of nine KC-2s ever sold to owners in Germany).
A common trait of both instruments -- the Harmonic as well as the KC -- is that they both tend to sound a little static and not really rich and animated, very digital. Their digital nature (oops, there´s that word again) keeps them a bit too much in tune so you´d need some external effects to make it sound a bit more animated. It´s great as a source of samplefodder and really unusual overtone spectrums. The Harmonic of course allows you to change overtones while playing it which is something you can´t perform on a KC (a trick commonly used by many Harmonic Synthesizer players... insert the wooden wedges into the keyboard in order to keep a set of keys pressed, let the arpeggiator noodle on and on, and change overtones as it goes). Also, the Harmonic has a built-in analogue VCF (here´s that word which makes the whole affair come back on topic again...) plus the arpeggiator which allows for rudimentary realtime sequencing. You can´t do that on a KC.
What the KC can do, though, is to sound a bit like a proto-PPG of sorts -- although a lot more polite and well-behaved than a PPG 360 --, or a Prophet VS, for that matter. Its "Bells" preset was absolutely striking (no pun intended), and so was the "Pipe Organ". It has a very interesting raw sound which is ideal for further processing. One feature of the KC I was particularly fond was holding down a chord while inserting punchcards and hear the sound transform from one into another. That was definitely proto-PPGish. You could also do that when setting up two completely different sounds in each channel and use the pedals to let them fade into each other seamlessly.
Being a bit blatant, I´d recommend listening to the ['ramp] album "ceasing to exist" which was recorded in collaboration with touch guitar player Markus Reuter. I used mainly the RMI KC-2 Keyboard Computer for the electronic sounds and drones, plus a couple of loop devices. You can find the album as legal download on www.musiczeit.com (check for the label "Extended Moment"), there should be some audio to try out. There´s also a download-only album out called "drones and shimmers" by the humble writer of these lines (click here). I used the KC, plus a Jamman, for the tracks "working the soil" and "cultivating the sky". On a different note, I used the Harmonic and its built-in arpeggiator a lot on a track called "Cosmic Caravan" off a limited-edition CDR album called "blasters of the universe". You might be able to find a copy somewhere...
Hope that helps,
Stephen."
"both machines are totally different beasts, and even the two different versions of the KCs differ considerably from each other. I can only speak for the KC-2 (which I hated to see go a couple of years ago but then again, it was worth a couple of months´ rent for my flat...). The KC-1 is a totally different cup of tea. I have never used, let alone owned one (I think I had one out of nine KC-2s ever sold to owners in Germany).
A common trait of both instruments -- the Harmonic as well as the KC -- is that they both tend to sound a little static and not really rich and animated, very digital. Their digital nature (oops, there´s that word again) keeps them a bit too much in tune so you´d need some external effects to make it sound a bit more animated. It´s great as a source of samplefodder and really unusual overtone spectrums. The Harmonic of course allows you to change overtones while playing it which is something you can´t perform on a KC (a trick commonly used by many Harmonic Synthesizer players... insert the wooden wedges into the keyboard in order to keep a set of keys pressed, let the arpeggiator noodle on and on, and change overtones as it goes). Also, the Harmonic has a built-in analogue VCF (here´s that word which makes the whole affair come back on topic again...) plus the arpeggiator which allows for rudimentary realtime sequencing. You can´t do that on a KC.
What the KC can do, though, is to sound a bit like a proto-PPG of sorts -- although a lot more polite and well-behaved than a PPG 360 --, or a Prophet VS, for that matter. Its "Bells" preset was absolutely striking (no pun intended), and so was the "Pipe Organ". It has a very interesting raw sound which is ideal for further processing. One feature of the KC I was particularly fond was holding down a chord while inserting punchcards and hear the sound transform from one into another. That was definitely proto-PPGish. You could also do that when setting up two completely different sounds in each channel and use the pedals to let them fade into each other seamlessly.
Being a bit blatant, I´d recommend listening to the ['ramp] album "ceasing to exist" which was recorded in collaboration with touch guitar player Markus Reuter. I used mainly the RMI KC-2 Keyboard Computer for the electronic sounds and drones, plus a couple of loop devices. You can find the album as legal download on www.musiczeit.com (check for the label "Extended Moment"), there should be some audio to try out. There´s also a download-only album out called "drones and shimmers" by the humble writer of these lines (click here). I used the KC, plus a Jamman, for the tracks "working the soil" and "cultivating the sky". On a different note, I used the Harmonic and its built-in arpeggiator a lot on a track called "Cosmic Caravan" off a limited-edition CDR album called "blasters of the universe". You might be able to find a copy somewhere...
Hope that helps,
Stephen."
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© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
