EMS SYNTHI A Sound Packs by ModeAudio

Analogue Experiments [Pack Demo] According to ModeAudio this is all Synthi A with aside from drums.

"Our lab coats are dirtied, the work surfaces are covered in debris but out of the destruction has come Analogue Experiments: modeaudio.com/product/analogue-experiments! All of the artefacts which give the classic Synthi A analogue synth it's character - crackle, detuning oscillators and drifting LFOs - have been included in these loops, offering you all of the crazed vitality of the original synth."


Analog Snap [Pack Demo] - According to ModeAudio this is 100% Synthi A.

"We’ve been back in our vintage analog synth lab, experimenting with the crazed, temperamental circuitry of the EMS Synthi A to bring you this set of 251 insanely characterful, monumental percussion sounds.

Check it out here: modeaudio.com/product/analog-snap"

sputter - All Yamaha FSR1 Track by a bunch of freqs

ARP Odyssey MKII model 2813 SN 1399

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via this auction

"Up for sale is a (1) vintage ARP Odyssey MKII synthesizer, model 2813. It's in good working condition, sounds awesome! In May 2015 it's been serviced for 690 Euro (invoice of the service included in the sale). By now there are two faders who are slightly crackling when you move them. Optical it's in used condition with a few scratches on it, the light of the power switch is not brighting when the synthesizer is powered on and there's some wear and tear on the synth (see photo's). It's a 220V version with European plug installed and the serial number is: 1399."

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KORG Mono/Poly SN 378601 with Polyphonic MIDI Converter & Arp Clock Sync

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via this auction

"MIDI installed (polyphonic midi converter with cutoff control by modwheel and arp clock sync to midi clock)"

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Vintage Paia 2720 Analog Synthesizer Keyboard w/ 4740 ADSR

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Akai Timbre Wolf Analog Drum Kick

Published on Oct 21, 2015 darksideothetune

Update:

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Doepfer A-124 VCF5 Wasp Filter with Wasp

Cool pic via @analoguezone

http://analoguezone.com

Soundplane + Aalto

Soundplane + Aalto from zach goheen on Vimeo.

"This is a simple patch I made in Aalto controlled by the Soundplane - both by Madrona Labs. Filter and feedback controlled with touch pressure. Inspired by Alessandro Cortini's excellent Forse LP."

via Synth Anatomy

Kyma 7: LinnStrument & MPE Support

Kyma 7: LinnStrument & MPE Support from Symbolic Sound on Vimeo.

"Champaign, Illinois — October 21, 2015 — Kyma 7 now offers plug-and-play support for Roger Linn Design’s LinnStrument and other MPE-enabled MIDI instruments.

Kyma automatically puts the LinnStrument into MPE mode when you connect it via USB-MIDI or MIDI 5-pin DIN (or via your computer, using Delora Software’s Kyma Connect). Once connected, any keyboard-controlled Sound in Kyma automatically sets the polyphony and responds to the LinnStrument — no extra controllers are needed, and you don’t have to select a special mode on the LinnStrument — it’s literally, plug it in and play.

What is MPE?

Traditional MIDI note events have two dimensions — pitch and velocity — neither of which can be altered directly with the fingers once the key has gone down. But musicians performing with live electronics are driving the demand for new electronic instruments — instruments whose touch, reliability, sensitivity, and responsiveness can begin to approach those of traditional acoustic instruments.

Over the last 10-15 years, more and more instrument makers have sought to incorporate continuous control over pitch and velocity and to add a third dimension of continuous control: timbre. One of the earliest entries in this new category was the Continuum fingerboard from Haken Audio (which has had plug-and-play support in Kyma since 2001). More recently, Madrona Labs (Soundplane), Eigenlabs (Eigenharp), ROLI (Seaboard), and Roger Linn Design (LinnStrument) have been offering “keyboard-like” instruments that provide three dimensions of expressive, continuous control per finger.

But how is it possible to send these three-dimensional continuous polyphonic MIDI notes to a sound engine? Haken Audio first used a FireWire protocol before switching over to a proprietary, optimized MIDI protocol. Symbolic Sound and Madrona Labs used Open Sound Control (OSC) for Kyma Control and Soundplane, respectively. But the growing proliferation of new instruments and proprietary protocols was threatening to become a nightmare for soft-and-hardware synthesizer makers to support.

Enter software developer Geert Bevin who, in January of this year, started working with key industry professionals on a new, more expressive MIDI specification called MPE: Multidimensional Polyphonic Expression. The new MPE standard has already been implemented on Roger Linn Design’s LinnStrument, the Madrona Labs Soundplane, the ROLI Rise Seaboard, and several other instrument makers are currently in the process of adding an MPE-mode to their instruments.

With MPE, the music industry now has a standard protocol for communicating between expressive controllers and the sound hardware and software capable of sonically expressing the subtlety, responsiveness, and live interaction offered by these controllers.

Kyma — Interactive, responsive, and live

Kyma, with its legendary audio quality, vast synthesis codebase and deep access to detailed parameter control, is the ideal sound engine to pair with these new, more responsive controller interfaces for live expressive performance, and Symbolic Sound has a long history of working with instrument makers to provide tight, seamless integration and bi-directional communication between these new instruments and Kyma.

In addition to its graphical signal flow editor, file editors, and Sound Library, Kyma 7 also provides several environments in which you can create an instrument where the synthesis, processing, parameter-mapping, and even the mode of interaction can evolve over time during a performance:

In the Multigrid (displayed on the iPad during the video), you can switch instantly between sources, effects, and combinations of the two with no interruption in the audio signal. Perform live, inspired in the moment, with infinite combinatorial possibilities.
In the Kyma 7 Timeline you can slow down or stop the progression of time to synchronize your performance with other performers, with key events, or with features extracted from an audio signal during your performance.
Using the Tool you can create a state machine where input conditions trigger the evaluation of blocks of code (for example, the game-of-life displayed on the LinnStrument during the closing credits of the video is being controlled by a Tool).
Kyma also provides a realtime parameter language called Capytalk where you can make parameters depend on one another or control subsets of parameters algorithmically.
It’s easy to add a new parameter control, simply type in the desired controller name preceded by an exclamation point — a control is automatically created for you, and it even generates its own widget in a Virtual Control Surface which can be remapped to external controllers (through MIDI, 14-bit MIDI, or OSC). This makes it easy to augment your live MPE controllers with other MIDI and OSC controllers or with tablet controller apps.
System Requirements

Kyma 7.04
Symbolic Sound Paca or Pacarana
Computer requirements
Operating Systems:
Mac OS 10.6 or newer or
Windows 10, 8.1, 8, 7 (SP1), Vista (SP2), XP (SP3)
Storage: ~1.7 GB
Memory: 1 GB or larger is recommended
Internet access is required
Availability

Kyma 7.04 is available today as a free update for Symbolic Sound customers who have a registered copy of Kyma 7.

More information

Multidimensional Polyphonic Expression (MPE)
expressiveness.org

LinnStrument
rogerlinndesign.com

Kyma 7
symbolicsound.com"

Audulus to Bring Familiar Rack-Mount Design in Upcoming Release

To the left is the current Audulus interface. According to the Audulus forums those that prefer a more traditional interface for modules have something to look forward to:

"I am building a library of basic synth modules that will bring a more familiar rack-mount modular look to Audulus for those who may be at first a little overwhelmed by building patches from nodes alone.

Some of these are just a node + a standardized package (like the keyboard module). The ones that have my name on them go beyond the simple function of the node itself, like the Bimini Road Dual Dark Delay which has LPF on each delay line, stereo mix outs, and separate outs for delays only to process them independently of the original signal. There are also some others, like the Rotating Clock Divider, that are clones or workalikes of existing analog modules (in this case, the 4MS RCD).

The nodes are small and the UI for each panel is condensed to allow more modules to fit in a single window view while still being easily controllable.

Over time, I will add more and more modules to this collection. If you have a module that you would like have included in this collection (after 3.0 is officially released), try to get it close to the standard "look" of these modules and send it my way via comment below, PM, or biminiroadelectronics@gmail.com. I will tweak the look and layout if I think it needs it, but the functionality will remain unchanged, and you will of course retain credit (i.e. JDRaoul - Amazing Creation Module).

If you have any suggestions for modules, please leave them in a comment below.

All future updates of this library will be indicated in this thread in this top post - if the library is updated, I will leave a comment to push it up in the forum, change the version number in the title, and the newest version will always be available in this top post.

My custom modules will always come with commentary that illuminate my thought process for and execution of each patch. If you'd like your module to be considered for this collection, I'd encourage you to do the same, but I won't make it a requirement.

This isn't *the* standard, it is merely *a* standard. These patches will all be very neatly laid out on the inside so the signal flow is easy to study.

Attached is a screen shot of the growing list of modules. Check back often for more updates.


List of Patch Standards & Practices for inclusion in the Library:

So that all these patches "play nicely" with one another, they need to be standardized. Here is an ongoing list of standards I'm using.

UI Standards:
- All modules must be the same height, unless the functionality of the module requires it to be larger.
- The inputs and outputs define the width of the module (i.e., they are the furthest elements to the left and right).
- If it's a small module, the label goes in the center. For larger ones, the label goes in the far left corner).
- Custom patches are labelled as "[Creator] :: [Patch Name]" The patch name should include its function.
- Inputs and outputs are labeled "In" and "Out" unless they need to be something else for clarity.
- Inputs and outputs that require or produce a polyphonic signal should be labelled "In/P" and "Out/P"

Signal Standards:
- LFOs should output between 0 and 1 (DC). Making an AC signal is easy: just subtract .5. LFO inputs should also be between 0 and 1 (if you need AC signal input for your design [as you'd need for a vibrato], do this on the inside of the patch).
- Modules should adhere to the 1/oct standard. 0 = reference note (440hz, for example). -1 is one octave below 440, 1 is one octave above."