Spiral Fold 132 bpm & 150 bpm

Published on Aug 20, 2014

Spiral Fold 150 bpm


4 ms Peg, QCD² / Exp², QPLFO, RCD²,VCA Matrix
Analogue Systems RS 100²,RS110²²,RS 360²,RS 500e²
Arp Odyssey 2821 white noise
Bananalogue Serge VCS
Doepfer A 114²,A118, A134²²,A141, A143-1/2,A148,A149-1
A151²²,A152, A160/161/162, A175²²,A185-2'³, A 138a²²b²²c²²²
Flame Chord Machine²,FX16,Talking Synth Module²
flight of harmony choices
Grendel Formant Filter²
Intellijel designs µ mod
Make Noise Brains,Pressure Points², Maths²,Moddemix²²
Optomix,QMMG,René, Wogglebug²
Malekko Anti ²² ,Uncle³,Jag
Moog Taurus 2,Freqbox ²²,MP201
Oberheim Sem
Roland SVC 350 Vocoder, System 104 Sequencer
SSL Modulation Orgy
Tip Top Audio Z8000 manual voltage source
Toppobrillo,Quantimator², Sportmodulator,TWF²
Logic masterclock to Kenton Pro 2000²
FX :Alesis 3630, Aphex Model 104,Boss VF1,BSS DPR 402,
Lexicon MX 400,Line6 Echopro, MXR Phase 100,TC M3000
mackie the mixer³
morse key :TSM² Vocoder / switch and trigger
vid # 1097

STG Labs - .MIX Eurorack Mixer Module

Published on Aug 20, 2014 sonicstate

"Useful utilitarian module for mixing audio, CV with an inverse control too."

Dirty Modular Walkthrough - Logic Session

Published on Aug 20, 2014 Samplephonics

"Rich from Samplephonics takes us through a killer production session with our Dirty Modular instrument, showcasing the main features and exploring some of the sonic possibilities. Dirty Modular is available now at www.samplephonics.com"

Modular Jam #14 - Tying The System Together

Published on Aug 20, 2014 DivKidMusic

"Here's my latest modular jam, entirely on the modular and with a general feel of trying to create everything on the modular and tie the system together with something that could be a live / jam style piece.

Patch notes below and as always hit subscribe/like and fire away with any questions and/or comments.

PATCH NOTES

Kick - this was the Intellijel Dixie sine wave with one envelope from the Doepfer Quad ADSR going into the exponential on a Dixie Controller so I can adjust the depth of exp-FM and fine tune the depth and envelope shape. The Dixie's sine went into a uVCA II with a second envelope from the Doepfer Quad ADSR controlling the amplitude.

Snare - patch notes are rough on this one, my bad! - uLFO shaped sine wave with an envelope to FM to add a little pitch thump at the start into a Malekko VCA in exponential mode for a little saturation (the Malekko VCA has some nice saturation when up full with exponential mode selected) with tight envelope to create a short thump. This was mixed with some white noise into another VCA and then sent to the Doepfer A-199 spring reverb which is adjusted manually throughout the video.

Riff - Mutable Instruments Braids in sync mode provides the main riff with a sequence from the Make Noise Pressure Points and a Doepfer A-151 Sequential Switch to switch between sequence patterns. This goes into an ADDAC 207 Quantizer and then into a Manhattan Analog CVP for some glide before going to the ALM Beast's Chalkboard for octave control before Braids. Braids has modulation from a Frequency Central System X Sample & Hold provide timbre / colour movement on Braids. Braids goes out into a Malekko Borg 2 filter with the WMD Multi-Mode-Envelope providing modulation to the cut off in low pass gate mode. This part is rough but I think the AFG was mixed in with the Braids sound using the Erica Synths Tube Mixer. The sequence was sent into a Synthrotek EKO unit and then into the Doepfer A-189-1 Bit Modifier for live sample rate reduction."

Depeche Mode - PHOTOGRAPHIC - Re-created w/ Arturia Arp 2600V

Published on Aug 19, 2014 peahix

"For the latest in my series of Speak & Spell era Depeche Mode re-creations, I decided to do 'Photographic' as an excuse to learn a bit about the ARP 2600 via Arturia's software emulation, the 2600V. The original track was done mostly, if not entirely with an ARP 2600, so I wanted to see how close I could get to the original sounds. The answer? Not very. I'm sure much of this is due to my lack of programming skills on the 2600, which I'm just learning. But I also suspect alot of it has to do with the shortcomings of the 2600V. Either that, or Daniel Miller & EC Radcliffe compressed the hell out of those sounds (or something)! The basic issue is that I couldn't get the 2600V's envelopes to sound anywhere near as snappy and punchy as the sounds on the DM track. I could get the patches in the ballpark, but mine all just sounded too mushy and wimpy. The kick drum in particular gave me trouble- I couldn't figure out how to get anywhere near Mr. Miller's famous 2600 kick. If anyone knows how to get it on the 2600V, please enlighten me!

Anyway, the one thing I am really proud of here is my reverse-engineering of the little randomized sequence heard throughout the track. Since the 2600V also has an emulation of the ARP 3601 sequencer (which was used extensively on the original track), I delved into the old user manual for the 3601 and worked out how this sequence was put together. The still image in my "video" shows the patch for this sequence. I was actually going to transcribe the entire part from the original (which would have been twice the job, since there's two passes of this sequence in stereo), but despite being able to hear it clearly much of the time, it was drowned too much in the mix at other times, so I said screw it. I decided instead it was actually more interesting to work out the 3601 sequencer settings for this part, even though inevitably the random notes that my sequence played are different from the original track. The note series is the same, though, which is the same note series as the little riff that plays under "I take pictures," making the random sequence a variation on that sequence. The gate switches are set such that half of them don't re-trigger the envelope, so you get note changes in the decay tails. I transcribed enough of the original part to verify that every other note in the sequence is switched differently. Plus, I got the actual 2600V patch reasonably close for this sound. The squelchy little hi-hat type sound runs on the same sequence just with a different patch.

OK, that's all I feel like typing about this one. Kinda lukewarm on it, given that in theory I should have been able to get alot closer with the 2600 sounds. But oh well. Let me know if you'd like my patches- maybe you can improve upon them!"

More by peahix

Audio Damage Sequencer 1 LFO Test...

Published on Aug 19, 2014 Audio Damage, Inc.

"This is a quick demo of the various features of the three LFOs in Sequencer 1. Note that we are not quite finished coding these, so some minor details may be different in the shipping unit.

Patch:

Sequencer 1 Pitch (1v/Oct) out: PDO 1v/Oct in. PDO to Doepfer VCA to Audio Damage Digifilter.

Sequencer 1 Gate out: WMD Multimode Envelope in. Env out to Doepfer VCA CV in.

Sequencer 1 CV1 out: Audio Damage Digifilter frequency CV in. Digifilter is set to Lowpass mode, mild resonance.

In this manner, Sequencer 1's LFO1 is affecting the frequency of the Digifilter, so that you can plainly hear what is occurring."

Radikal Technologies Accelerator sound demo #4 (random patch generator)

Published on Aug 19, 2014 MIDERA

"Basically, I just used the random patch generator to create patches and played through them. I started with pads, then went to bass, then to leads and arps. On the accelerator, you can selectively choose what TYPE of patch you'd like to create (so if I press 'pad' when the 'random' button is highlighted, I will get a pad sound).

Enjoy, I apologize for some clipping here, the patches sometimes are louder than expected!

Pads: 0:00
Bass: 6:50
Leads: 12:52
My favorite patch: 16:35"

All parts here.

Rare Multivox MX-65 Polyphonic Synthesizer SN 566541

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"Up for auction is a Multivox MX-65 Polyphonic Synthesizer. It is an analog poly keyboard that was made in Japan from 1977 to 1980. Very very rare.

It has six voices. Piano, strings, clavichord, honky-tonk, piano and organ. The voices them selves are just different combinations of the filter and envelope positions that you can switch between. The filter is interfaced with the envelope with 3 modes. A fast attack/fast decay mode, an ‘expand’ mode with resonance emphasis, and a fast attack/slow decay mode.

The MX powers on and off from the volume knob. A red LED indicates its status. It powers up and tunes perfectly from start up. There is a tuning pot on the left hand side to control the master tuning.

The front panel is not deep, but it definitely gives you some control over the MX-65's presets.
There are envelope shape controls, an LFO (delay, depth, speed), and 3 Ensemble/Chorus modes.

On the rear panel there is has Gate Out and VCF control in. The Gate Out has positive and negative polarity outputs. The VCF control in is a control voltage input or pedal control. As a cv input it is 1.3 v/octave. Very unique feature set.

This synth can be very lush, especially with a touch of fx. I have made a quick demo, with some of reverb and delay from Ableton. The string and piano sections are my favorite. [posted here]

Here is another informative demo:"


Mulitvox Mx 65 demo by Luc LucBenOuiLuc Uploaded on Aug 17, 2009
"A demo of the rare and very little knowned MX-65, a synthetizer made by multivox in the hayday of analog synths."

CLICK FOR MORE »

Mutable Instruments Tides Demo (Oscillator Mode)

Published on May 4, 2014 William Johnson

Left channel audio only.

"First I show the full range of the knob when running at audio rate

0:19 Adjusting the 'Smoothness' knob
0:45 Adjusting the 'Slope'
0:53 Adjusting the 'Shape'

etc...

Feel free to ask any questions! I noticed there wasn't many demos of it when I was thinking about buying them and I thought showing the range of waveshapes (and frequency range) that this puts out might be useful."

Embertone's Blakus Cello

Embertone's Blakus Cello - First Video Walkthrough Published on Nov 15, 2013

"Have a look at our 'Blakus Cello', featuring an expanded set of articulations (when compared to Friedlander Violin 1.01), and a huge update to the programming/scripting. We love playing this thing - it's expressive, gritty, malleable, and sooo much fun!

Base articulations:

• Sustain (including bowed/slurred/porta legato)
• Staccato with CC or velocity based length control
• Pizzicato
• Tremolo

Con Sordino and Sul Ponticello (separate or in combination!) playing styles can also be selected for any of these articulations.

Love, Alex and Jon"

And a user video:

First Mess Around with Blakus Cello

Published on Aug 19, 2014 Richard London

"blown away by this thing."