Tuesday, October 18, 2011
ALESIS Fusion : Lights in the Dark
YouTube Uploaded by interlogic on Oct 18, 2011
"ALESIS Fusion : Lights in the Dark"
OS 4.5.3 for the entire Virus TI series of synthesizers has been released
"2011-10-18, Recklinghausen, Germany
After a series of public beta versions, Access Music released a final build of OS 4.5 which can be downloaded free of charge from the Access Music website. OS4.5 focuses on additional vintage effect emulations and additions to the modulation matrix.
The "Vintage Chorus" was modeled after one of the nicest and most famous choruses build in the late 70s. The flexible subset of parameters allows seamless "morphing" from one emulation to another without having to change the algorithm and therefore stop the sound. It's a great addition to the TI's sound engine making it really easy to emulate the famous chorus ensemble sound found in many productions back from 70s and 80s.
The "Air Chorus" is based on creating the Chorus effect in the air, right in between the speakers. In difference to many other chorus effects, it works more subtile and opens the stereo panorama up in an more natural and less intrusive way.
OS4.5 also features a rotary speaker emulation which offers the usual controls such as a fast/slow setting in combination with creative controls such as microphone distance as well as a crossover setting which allows you to limit the effect to a certain frequency range.
And there are now modulation matrix sources which allow Virus TI users to add further "analog" feeling to pretty much any parameter available within the over 100 modulation destinations. Access claims, it adds "unsteadiness" and enables covers a wide range of those beloved analog side effects known from slightly damaged or simply poorly engineered vintage synths.
The update can be downloaded free of charge from the Access Music website: http://www.virus.info"
After a series of public beta versions, Access Music released a final build of OS 4.5 which can be downloaded free of charge from the Access Music website. OS4.5 focuses on additional vintage effect emulations and additions to the modulation matrix.
The "Vintage Chorus" was modeled after one of the nicest and most famous choruses build in the late 70s. The flexible subset of parameters allows seamless "morphing" from one emulation to another without having to change the algorithm and therefore stop the sound. It's a great addition to the TI's sound engine making it really easy to emulate the famous chorus ensemble sound found in many productions back from 70s and 80s.
The "Air Chorus" is based on creating the Chorus effect in the air, right in between the speakers. In difference to many other chorus effects, it works more subtile and opens the stereo panorama up in an more natural and less intrusive way.
OS4.5 also features a rotary speaker emulation which offers the usual controls such as a fast/slow setting in combination with creative controls such as microphone distance as well as a crossover setting which allows you to limit the effect to a certain frequency range.
And there are now modulation matrix sources which allow Virus TI users to add further "analog" feeling to pretty much any parameter available within the over 100 modulation destinations. Access claims, it adds "unsteadiness" and enables covers a wide range of those beloved analog side effects known from slightly damaged or simply poorly engineered vintage synths.
The update can be downloaded free of charge from the Access Music website: http://www.virus.info"
Oberheim DMX Classic 80's Tracks part 3 - Harlem Nights Music
YouTube Uploaded by harlemnightsmusic on Oct 18, 2011
"Alisha, Madonna, Colonel Abrams, Steve Allen.. Tribute and exercise in that mid 80's disco sound, based on the Oberheim DMX drummachine.
As always, selected and recreated by ear only. None of the original tracks were sampled. See electrongate for DMX samples. Contains original video footage, please contact in case of questions.
Tracklist:
Art of Noise - Beat Box
Madonna - Holiday
Madonna - Get into the Groove
Alisha - Baby Talk
Colonel Abrams - Trapped
Steve Allen - Letter from my Heart
Dazz Band - Let it all Blow
Rockers Revenge - Walkin' on Sunshine
Ray Parker Jr - Ghostbusters
See part 1 for faster Disco, part 2 for Oldschool Hip Hop. Part 4 coming soon.
Gear used:
Korg Electribe SX (Oberheim DMX sounds, bass sequencing, staccato fx)
Moog MG1, Roland Juno 106 (basses, stabs)
Roland Juno 60, Korg Polysix, Sequential Prophet VS, Crumar Performer
Enjoy
HN"
Monday, October 17, 2011
SEM Pro + MF-108M Cluster Flux + Space = Semflux
YouTube Uploaded by n3bsvid on Oct 17, 2011
"Oberheim SEM Pro running through the MF-108M cluster flux moogerfooger and eventide space.
Hardware:
Tom Oberheim SEM Pro
Moog MF-108 M Cluster Flux moogerfooger
Eventide Space"
Blue Eyes and a Bob
YouTube Uploaded by davidryle on Oct 17, 2011
"A first rough draft of an idea using a newly bought Moon Modular 563 Trigger Sequencer and the 554 Octal Divider. I used the 553 Midi to Clock module to handle reset/start/stop functions on the 563 and 554. The main clock timing was from Cubase with midi.
The entire piece was a live take with the modular except for the melodic line which was a midi track from a session the night before. It was a megatron patch from MTron played by Cubase midi at the time of the live recording.
The 554 was sending shift gates to the Q960, Q119 and STG sequencers as well as the 563 and some switches for selecting double beats for the bassline. Row switching of the sequencers was handled by a Random Gates (Yusynth) module and various switches. Two suboscillators (CGS01) were used for bass crunch and portions of the percussion sounds.
The bass line voice was fun. It was 2 Q106's with a triangle wave to an Ian Fritz 5 Pulser as well as various waveforms routed through an Oakley SVF. The SVF was frequency swept by an LFO and it's LP output was sent through a CGS01 along with a sine from another Q106 to pick up a few sub-octaves with the Ring Modulation feature and summed with the notch output from the SVF before blended with the 5 Pulser signal. Lots of slowly changing timbres."
Thoughts on the iPad as a Synth and Controller
Every now and then I hear about people knocking the iPad in the synth world. Usually the criticism seems to be a reaction to the hype or the inevitable "it can't do this or that" sort of argument. Don't let the hype (negative or positive) influence you. Just see it for what it is - a piece of hardware with processing power, memory, and a multi-touch interface that can be used to turn it into a synth, audio processing device, controller or whatever else might come out for it. I thought I'd share my thoughts on why I'm particularly fond of it and why you see so many posts here. In short, I like synthesizers, and the iPad is as much a synthesizer as any of my other synths. I didn't get an iPad to replace my synths or controllers, I got one to compliment them, which BTW, is the exact reason I buy any piece of gear.
In regards to synthesis, unless a synth is analog it's digital, and digital is software running on hardware. Whether that's a PC, a dedicated hardware synth or the iPad, it's still software running on hardware, and hardware comes in all shapes and sizes. Like any other synth, the iPad has its advantages and disadvantages.
As for the interface, all hardware varies from being completely menu driven to one knob per parameter. I do have to say Moog's Animoog X/Y pad and PATH module trumps my Prophet VS for drawing vector type paths for manipulating sound in time. The visual feedback is useful rather than gimmicky and the customizable virtual touch plate is extremely expressive and responsive. As for complimenting and extending the interface of my current hardware, my FS1R was practically non editable until I made this TouchOSC template for it. I'm also less worried about the Prophet VS joystick going out now that I have my Prophet VS TouchOSC editor. I prefer the editor to the Prophet VS interface.
As for the iPad not being open, it's definitely more open than most other hardware synths when you think about it. Roland VariOS anyone? Not only was it Roland only, it faded long before new models came out for it. The Creamware Noah allowed you to install VSTs but is now gone as well. The beauty of the iPad platform is the support it receives outside of the synth community which means it's not going anywhere. Worth noting is the interface of the VariOS and Noah were also much more rigid than the iPad. Physical knobs? Sit the iPad on a synth or MIDI controller with knobs and have them compliment each other.
Simply put, the iPad is a chunk of hardware with processing power and memory just like any other hardware synth. It's interface is a multi-touch screen and it can be hooked up to any external MIDI controller. It can be used as a synth, a controller, or whatever else you want it to be. Some say the processing power isn't there yet. True for some applications, and the same can be said for other hardware synths. All of this seems so obvious that I almost did not put this post up, but I keep seeing and hearing things... Let's just say I put the two posts above when this went up because I'm more interested in them. As the saying goes, "nothing to see here, please move on."
Think of the iPad as a rack mount synth that can morph into anything with an added multi-touch screen just for the heck of it, and you'll be just fine. The apps will define it for you though. If you don't see what you like, move on. The same goes for all other hardware synths. And no, it never will replace everything, it will just compliment it.
You can find my initial excitement on the iPad and all tablets for that matter here:
A New World in Synthesis.
In regards to synthesis, unless a synth is analog it's digital, and digital is software running on hardware. Whether that's a PC, a dedicated hardware synth or the iPad, it's still software running on hardware, and hardware comes in all shapes and sizes. Like any other synth, the iPad has its advantages and disadvantages.
As for the interface, all hardware varies from being completely menu driven to one knob per parameter. I do have to say Moog's Animoog X/Y pad and PATH module trumps my Prophet VS for drawing vector type paths for manipulating sound in time. The visual feedback is useful rather than gimmicky and the customizable virtual touch plate is extremely expressive and responsive. As for complimenting and extending the interface of my current hardware, my FS1R was practically non editable until I made this TouchOSC template for it. I'm also less worried about the Prophet VS joystick going out now that I have my Prophet VS TouchOSC editor. I prefer the editor to the Prophet VS interface.
As for the iPad not being open, it's definitely more open than most other hardware synths when you think about it. Roland VariOS anyone? Not only was it Roland only, it faded long before new models came out for it. The Creamware Noah allowed you to install VSTs but is now gone as well. The beauty of the iPad platform is the support it receives outside of the synth community which means it's not going anywhere. Worth noting is the interface of the VariOS and Noah were also much more rigid than the iPad. Physical knobs? Sit the iPad on a synth or MIDI controller with knobs and have them compliment each other.
Simply put, the iPad is a chunk of hardware with processing power and memory just like any other hardware synth. It's interface is a multi-touch screen and it can be hooked up to any external MIDI controller. It can be used as a synth, a controller, or whatever else you want it to be. Some say the processing power isn't there yet. True for some applications, and the same can be said for other hardware synths. All of this seems so obvious that I almost did not put this post up, but I keep seeing and hearing things... Let's just say I put the two posts above when this went up because I'm more interested in them. As the saying goes, "nothing to see here, please move on."
Think of the iPad as a rack mount synth that can morph into anything with an added multi-touch screen just for the heck of it, and you'll be just fine. The apps will define it for you though. If you don't see what you like, move on. The same goes for all other hardware synths. And no, it never will replace everything, it will just compliment it.
You can find my initial excitement on the iPad and all tablets for that matter here:
A New World in Synthesis.
VINTAGE ARP SOLOIST SYNTHESIZER 33 1/3 RPM DEMO VINYL RECORD
via this auction"ARP Soloist Synthesizer hard vinyl 33 1/3 RPM demo record is in mint condition. Never played or handled. It shows to have 5 selections, 3 on one side, 2 on the other, all performed by Dave Fredericks. Comes in its original sleeve."
See the seller's other items for more.
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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
