"Stochastic Sequencer with probabilistic and direct access notes and control over:
legato scale root note transpose loop in and out portamento dynamic envelope shape variation 2 cv ins routable to 8 parameters note size accents center octave same note / different note 4 other algorithms mode (stochastic bubbles, GOL, Markov) MIDI out.
"The DB-01 doesn't have tracking by default, but it's easy to activate by CV. There's some other internal CV patching that can give interesting results as well!
0:00 Setting up filter tracking
0:45 Tracking with noise
1:14 LFO in noise mode
1:40 Useful resonance
2:36 Clock to Gate In
3:12 Clock to CV In
3:55 Odd 'delay' effect
4:30 Adding white noise"
"Like the title says, the music is obviously from the movie Blade Runner, the legendary soundtrack by the mighty Vangelis. This isn't really intended to be a cover per se, but more of a Blade Runner Theme inspired jam to check out some new gear that I acquired over the weekend. I don't even know if I'm playing the right notes or if I'm in the right key, so please don't be offended if I have butchered some things. In fact, I may have borrowed from the Blade Runner 2049 soundtrack without realizing it, since I watched that movie recently. So I'd better give props to all the greats: Vangelis, Hans Zimmer, and Benjamin Wallfisch.
Background: Fresh in over the weekend is the Alesis MIDIVerb II rack unit and CME XKey 37 (with poly aftertouch). Tonight I turned on the MIDIVerb II for the first time and quickly found preset 29, "XLarge Warm 15 seconds". It seems to work very well with the Sequential OB-6 on the GeoSynths 016 preset. Is the MIDIVerb II a poor man's Lexicon 224? Probably not, but I think it still sounds very nice and has that thing called "character". It's definitely very digital and very 80's. The CME XKey 37 is plugged straight into the MIDI In port of the OB-6. This is my first time ever trying to play anything with polyphonic aftertouch. For those who are not aware, the keyboard of the OB-6 does not transmit polyphonic aftertouch, but the synth responds to it over MIDI. I set the sensitivity on the XKey as low as possible (I think), but as you can see (and hear), I still struggled a lot to control it, and that's with hardly any aftertouch depth dialed in on the synth, like 2 semitones of pitch bend at maximum pressure. The effects on the synth are turned off and there are no other effects besides the MIDIVerb II. The mix on the MIDIVerb II is approximately 45% dry and 55% wet. There is no additional processing. The sound you're hearing is straight out of the MIDIVerb II's outputs directly into a Focusrite audio interface, recorded to a single stereo track.
I think it sounds pretty good. Imagine what it would sound like played by someone who can actually play.
"I needed to upgrade a power supply for my large format modular synth so I thought I'd document most of the process I typically go through.
Index: 0:00 Introduction 1:28 Safety Warning 1:56 Parts Description 3:50 Power Inlet Install 5:23 Main Unit Install 7:13 Banana Jack Install 8:23 Distribution Board Build 11:58 Distribution Board Install 13:03 AC Wiring 17:13 DC Wiring 19:56 Done, Comparison, and Thanks Richard Brewster 20:49 Image Of PSU Installed (improvised music starts) 21:09 Bonus Section - Building Cables (no talking) 22:50 (music continues with random video clips) 25:28 End
The main parts I used: JLR UPP custom rack panel from https://www.frontpanelexpress.com Qualtek 864-03/001 AC inlet, filter, fuse, switch Bel Power HAA-0.8-AG linear power supply MOTM-900 power distribution board from https://synthcube.com
Video gear: Canon C100 MkII camera and Canon EFS 10-18mm lens Voiceover gear: Neumann TLM-193 mic and John Hardy M-1 preamp Music gear: Modular synthesizer, Mellotron M4000D, Yamaha FS1R, Strymon pedals
As always, thank you for watching, rating, following, and commenting! 🥳 Please consider "buying me a coffee" if you found this content helpful or entertaining: https://www.buymeacoffee.com/JohnLRice"
"Playing the Waldorf Streichfett String Synthesizer.
Streichfett combines the best of the previously extinct species of String Synthesizers of the 70s and early 80s. Its dual sound engine features a fully polyphonic strings section and an eight voice solo section, which is essential for recreating classic movie sounds from the 70s and 80s."
That’s right, you can finally get your very own DOOM knob on a Eurorack module! Trust us, it lives up to its name. It’s kind of like a demented overdrive, drunken suboctave generator, and overtone creator all in one knob. This is one that’s definitely better heard than talked about…
2. Blog: Ruina Versio Blend parameter
Blend is the dry/wet control for Ruina (and most of the other Versio firmwares), changing the balance between the original, unprocessed signal (dry) and the distorted signal (wet). On any effect the dry/wet balance is important, but on Ruina it’s a key feature: Ruina can distort things a LOT, so having some dry signal is really important to keep things sounding how you want. Or, just crank it all the way up and let things really drive!
Of course, it can also be CV’d. Take a listen to this clip, where we’re slowly modulating the dry/wet mix to create tension in a patch.
3. Blog: Ruina Versio UND/X/OVR and OFF/ON/TRK
The switches on RV control the internal signal routing, and the notch filter respectively. Let’s start at the top: UND/X/OVR changes the routing of the input signal through the different distortion units on RV. UND is probably the mildest, and OVR is the most extreme, with X somewhere in the middle. OVR mode actually has two separate points where signals are wavefolded.
OFF/ON/TRK gives you a notch filter: in OFF mode, it’s, um, off. Give yourself a point if you guessed that! ON mode turns it… on. More specifically, it’s a fixed-frequency notch set to 1kHz. I always ask for cuts at 1kHz because that’s a “traditional” sound design technique when making reeses and that sort of sound.
TRK mode makes the notch variable, with its frequency controlled by Center.
4. Blog: Ruina Versio 8vize parameter
This is another one that takes inspiration from the Distortion of the Month series: it’s a similar effect to the Pura Ruina, being a multistage full-wave rectifier. These sorts of distortions can create effects that sort of sound like they’re pitched up an octave, hence the name.
5. Blog: Ruina Versio Smoosh button
Smoosh. Press for INSTANT GAIN: 128dB of it, to be precise. The great thing is it can be externally triggered, too, so you can sequence your Smoosh-ing! Smoosh? Smoosh.
6. Blog: Ruina Versio Fold parameter
Finally, the famed NE Infinifold (is it really famed? We like to tell ourselves it is, at least. If you’ve ever wanted to use the fold on the BIA or other NE oscillators to process anything in your rack, BEHOLD.) breaks free! This thing can get REALLY gnarly: it’s got a lot more distortion power than a traditional wavefolder. And in a certain routing mode (yes, you can reroute the whole module’s signal path just by flipping a switch) it appears in the signal chain twice, just in case one round of folding wasn’t enough.
Let’s give this Fold thing a listen.
7. Blog: Ruina Versio Phase parameter
Phase shifts the phase of the input signal around to give you some artificial stereo effects, even if your input signal is mono. It also can sound like a phaser with the right settings and modulation, and it can even add some pitch warble and distortion in its own right if you move it fast enough. While it may seem like a simple parameter, there’s a lot to be done with it…
8. Blog: Ruina Versio Center and Drive parameters
These two sort of work together: Drive is a multiband drive algorithm, inspired by our Seca Ruina module, but with 4 bands instead of 3. The Drive knob morphs between which band is emphasized (lowest loudest to the left, highest loudest to the right) and Center changes the width and frequency of the center band. Modulating Center can give some pretty drastic changes, almost acting like a filter on its own.
"The expected second A Force Truly Evil Circuit Tracks Sound Pack fully compatible. Includes full tracking of the new labeled macros on Circuit Tracks and 24 sessions.
A Force Truly Evil presents : “A Force Truly Evil – Bass Pressure”
Right off the back of his incredible previous release, “A Force Truly Evil Vol.1" is delighted to unleash upon the world the latest pack titled “Bass Pressure” with clear a purpose: Becoming the new must have soundbank for any producer looking to achieve a pro level in Bass Music genres.
We’ve packed in only the best sounds around featuring huge modulated woobles, reeses, 808 subs, heavy deep and dark basses, hoovers, hyper saws, sharp and distorted leads plus wavetable modulation sounds from the latest hardness synth methods.
Pack contents :
64 Stunning patches that follow the assignments printed parameters on the Circuit Tracks macros.
24 Massive high quality demo Sessions including automated macro movements and modern production techniques, covering Dubstep, Grime, Drum & Bass, Techstep, Neurofunk, Jungle.
Patches are even greater for the harder side of Bass House, Future bass, Electro House and EDM. – 64 blasting drum sounds with heavy weight kicks and snares for ensuring maximum impact on your tracks.
New amen break kit for iconic Drum & Bass/Jungle sound.
