Tuesday, April 15, 2014
Modular jam: René & BeatStep & SNAZZY FX:Ardcore [HD Quality]
Published on Apr 15, 2014 inbetweenmovements·68 videos
"Rat(s)h(*)t sketch programmed by Thomas Whiston (starts to trigger brass-like sound at 01:56). The trigger generator is based very loosely on some of the ideas in the Buchla/Eardrill Pendulum Ratchet module, designed to replicate some outputs from the a and b output sections, so clock is divided as well as being tested against some number tables.
https://bitbucket.org/twhiston"
Mutable Instruments - The Tides come in (initial test)
Published on Apr 15, 2014 bigcitymusic·324 videos
00:00 - Mutable Instruments Tides in PLL mode, "BI" out of Tides amplitude modulating a Braids 4ms VCA Matrix channel at audio-rate.
00:31 - Mutable Tides in PLL mode, "UNI" out of Tides amplitude modulating a Braids 4ms VCA Matrix channel at audio-rate.
01:15 - Mutable Tides looping , "UNI" out to 4ms VCA Matrix modulating Braids amplitude.
01:54 - Tides looping audio-rate, "BI" out to 4ms VCA Matrix modulating Braids amplitude.
02:17 - Tides "UNI" out to 4ms VCA Matrix.."swinging" envelope shapes.
Gieskes No-Drums Version.3 2014
via Control on Facebook
"'Module that tries to sound like drum sounds but mostly fails at it.'
From one of our favorite designers, the new 2014 No-Drums by Gieskes is now available. No photo can accurately capture the BLING of this front panel. Some new improvements: CV Osc A & B, Trig Out Osc A, Low Freq Switch Osc A, plus more!"
You can find a video of the Geiskys No Drum from 2012 here.
buchlakai...it's a moment to silence
Published on Apr 15, 2014 Ebotronix·1,000 videos
Akai MPC 2500, MFC 42 Analog Filter Module
Buchla System #1
Flame Talking Synth Module drum & voice
Korg micro X mayhem voice
Lexicon PCM 90
Logic master
yamaha / mackie mixer
full moon
DACS Freque II Ring Modulator Demo
Published on Apr 15, 2014 perfectcircuitaudio·58 videos
"This is a demo of the DACS Freque II processing a TR-909, Nord Wave, Pro-One, and TR-606. Enjoy!"
"Produce pumping tracks that stand out from the crowd with the FwS FREQue II (pronounced "freak"), a genuinely new and inspirational analogue effects processor.
The Effects
With low frequency modulation inputs: Simple to complex autopan effects, gating, amplitude modulation, flanging, spatialising
With mid frequency modulation inputs: Vocoding type effects, adding tunable harmonics, both lower down to subsonic, and up to supersonic, second harmonic distortion (like valves/tubes), harmonising, retuning percussion, gating, general rich distortion, Sci-Fi voices (eg a Dalek)
With high frequency modulation inputs: Transposition with distortion, adding glitter, air, sparkle etc when mixed back into original
With music or sounds into both inputs: Vocoding effects, gating effects, fattening/thickening effects, spatial effects, weird transformations
Internal FM: Frequency Modulation of modulation oscillator at all frequencies, giving effects ranging from slow pulsation to the classic FM generation of complex waveforms
External voltage control of oscillators: Envelope follower effects, FM effects as above, randomised autopanning
Frequency shift: Up and down shift of frequency with change in harmonic structure, with FM for sliding effects, using feedback loop to create filter type sweeps
Application Ideas
This section is not intended to be a comprehensive list of all that can be done with the FREQue II. Rather it is a list of starting points for you to begin experiments from. Using the FREQue II, producers and engineers can almost infinitely extend the voices of their existing battery of synthesisers and sound generators and create vast ranges of completely new sounds, add depth and warmth to early digital synthesisers, give drums new power, radically transform voices...
Some treatments will require mixing with the original signal and some will need to be kept separate. For example adding distortion to a continuous sound will need mixing while gating effects will not.
Tone and Music:
Set Up: Feed a stable tone, or a slightly varying one, into the MOD input and the music or tune into the MUSIC input. The MOD input could be from the internal oscillator. If the MOD input is harmonically related to the key of the music the OUTPUT will tend to be harmonic e.g. the MOD input is a D and the music is in the key of D, then the output will tend to be harmonically rich. If the MOD input is not related, then the output will be rough, bell like and/or noisy depending on the frequency of the input.
Try this: Use held chords that have a certain amount of vibrato - as the pitch of the chords varies so the harmonic content of the sound will vary. Vary the MOD frequency to generate sliding upper and lower harmonics, Use randomly generated frequencies from synthesisers on MOD input, Try varying the edge controls contrariwise i.e. turn one up as you turn the other down, to produce stereo effects, Have a go at the 1st oscillator range to produce gating effects, the 2nd range to produce tremolo effects, the 3rd range to produce heavy modulation effects while the 4th range will produce higher and higher harmonic effects
Drums:
Set Up: Feed percussive sounds into the MUSIC input and tones or other sounds into the MOD input. The MUSIC input will then act as a trigger and give a gating effect, only producing OUTPUT when the MUSIC input signal is present.
Try this: Vary the MOD input frequency to produce output harmonically related to the music, Feed the melody into the MOD input and the percussion will 'play the tune', or at least tend to go up and down with it, Feed any old music to the MOD to produce an effect similar to scratching, Feed the MOD input with carefully selected samples synchronised with the percussive sounds, Using the FREQue II's oscillator set on the 2nd or 3rd range generate deep deep bass sub harmonics on bass drums, Using the oscillator set on the 4th range generate grain, grit and glitter on snares, hi hats, cymbals, maracas
Vocal Inputs:
Set Up: Feed your voice into the MUSIC input and feed a variety of signals into the MOD input - music, tone, noise...
Try this: Use the voice to gate the MOD inputs, Use the voice as a percussion imitator to produce hot rhythm sections from modulated MOD inputs, Try the 1st range to produce gating and heavy breathing effects, the 2nd range to produce tremolo and panting effects, the 3rd range to produce heavy modulation effects (Dalek/sci-fi voices among others) while the 4th range will produce higher and higher harmonic effects
Same signal or L & R of stereo into both inputs:
Set Up: Feed the same signal or the left and right of a stereo signal into the MUSIC and MOD inputs.
Try this: Mix the output into the original signal to harmonically enhance the signal, Left and right inputs into MOD and MUSIC inputs respectively on both modules can produce phasing and other spectral phenomena, particularly if the spectral controls are varied, Try varying the edge and/or weight controls contrariwise i.e. turn one up as you turn the other down, to produce stereo effects
Delay/feedback:
Set Up: Use a delay line to process signals going in to or out from the units
Try this: Feed audio out back to MUSIC input via delay at tempo or multiple of tempo, Do the above with long decays on the end of sounds, Split the signal to both inputs and use delay line on one input to produce weird flanging effects on output, pan both outputs centrally or left and right
Multiple Modulation:
Set Up: Feed music into the MUSIC input of one modulator and use the internal oscillator to modulate it. Take this OUT to the MUSIC input of the second modulator and modulate it with the same internal oscillator. The result is that the original signal is reconstituted and additional higher partials are also added."
Fairlight Sample Set Coming to Clavia / Nord Keyboards
"Not many instruments has made as big an impact on shaping sound of an era as much as the Fairlight™ digital sampler. The first "Fairlight CMI Series I" was introduced in 1979 and was one of the first commercially available products to allow polyphonic playback of samples.
The Fairlight™ CMI was designed by Peter Vogel and Kim Ryrie in Sydney, Australia. A complete Fairlight™ system constisted of a rack processing unit, a musical keyboard, a computer keyboard and a unique monochrome computer screen. The Fairlight™ had a menu driven graphical interface that could be controlled with a special light sensitive pen.
With a retail price of around 25 000$, buying a Fairlight™ system was out of reach for most mortals but among the first buyers were established artists and producers like Peter Gabriel, Thomas Dolby, Kate Bush, and Richard James Burgess.
The original Fairlight™ could sample in 8-bit, 16 kHz, 8 voice polyphony and had a basic sequencer functionality. Later versions added increased the sample quality, polyphony, added support for MIDI (once it had been invented) and featured a more advanced sequencer known as "Page R".
The last generation of the Fairlight™ CMI, "Series III" was produced in 1985. If you have an iPad, check out Peter Vogel's "Fairlight Pro App" - a total recreation of a Fairlight™ system with support for the original CMI data files. The app let's you try the graphical interface that once revolutionized the music of the 80's.
The samples in our Fairlight™ collection were sampled from an overhauled System IIx (introduced in 1983) and the mapping is very detailed to capture the original sound character. A Fairlight™ instrument consisted of a single 16kb 8 bit sample that was mapped over the entire keyboard, but the voice cards performed some magic that pitched samples up and down in a much more pleasant way than if you were to do this with any generic hardware or software sampler, a very part of the Fairlight sound."
From the Future Live Remixes by Beats From The Future
Published on Apr 15, 2014 Beats From The Future·13 videos
via Liam Danger Park on The MATRIXSYNTH LOUNGE
Remixed live with :
Microkorg
Korg Volca Beats
Roland rc 505
Roland sp 404SX
Natasha Kmeto - Idiot Proof (From the Future live remix) BASSCOAST/KORG REMIX CONTEST [volca]
Natasha Kmeto - Prideless (From the Future live remix) BASSCOAST/KORG REMIX CONTEST [volca]
"live remixes I recorded for the Basscoast + KORG 2014 remix competition.
From the Future
https://www.facebook.com/beatsfromthefuture
https://soundcloud.com/beatsfromthefuture/
Natasha Kmeto
https://www.facebook.com/natashakmeto
https://soundcloud.com/natashakmeto
BASSCOAST
http://www.basscoast.ca
https://www.facebook.com/BassCoastProj
Created live with samples from Natasha Kmeto's track Prideless
http://www.beatport.com/track/prideless-original-mix/4534747"
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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
