"The MP-1 is the world's first and only portable keyboard with a music printer. It features 44 mid-sized keys, 8 note polyphony, 10 voices with sustain, 10 rhythms with variation, duet function, transposer and chord and melody memory. It sounds exactly the same as the PC-100 and PS-400 and was also released in 1982.
"In this video I demonstrate how you can use ERFURT either standalone or in the context of the Leibniz Binary Subsystem. I talk about the clock, the inputs and outputs and show you how to extract useful signals from the module. ERFURT isn't just an ordinary counter or clock divider: it can drive the wavetables in JENA, produce sequences through DREZNO or lock the Leibniz system to the masterclock of your patch... to name just a few examples.
PS: I mention somewhere that the slowest clock is a 1/46k but it should be 1/64k. It's a simple mispronunciation because of how numbers work in the dutch language (we say the last number first - ridiculous I know).
"Time for a 'not so deep' dive into the LXR, but with really cool results. I've linked a video manual by Synth DIY Guy who went through all settings because I don't have the patience for walkthroughs and demos. But, wow, this drum synth is something else. When I started this video I assumed it was analog but it's certainly digital and it's a masterpiece. The point is, it doesn't sound digital unless you set the bit crusher to work.
The presets are clearly targeted to the loud and gritty genres of electronic music, but in its core, it's a six voice synth that can make amazing sounds for any genre, including ambient. I am not sure if I can post something before Christmas, so I wish you a great holiday season and I'll definitely see you again in 2023."
"Sometimes it happens. When I posted this episode a few days ago, Peter Paper commented that 32 bit recordings don't suffer from clipping, distortion and don't need a limiter. I wish that was true, and it turns out it IS! However, many people are still puzzled by it. It only applies to 32 bit analog to digital converters. If your 24 bit converter or analog source clips, there's nothing you can do about it. But 32 bit converters don't have a 0 dB digital brick wall. They just give you all the headroom you'll ever need, up to a range of 1500 dB (210 dB is the loudest possible sound on Earth and it will destroy a city).
I just can't write things that are not true on my channel while knowing about it. So I had to take the old version down and revisit the subject. 32 bit converters are hard to find, but it turned out my little Korg DSD recorder (from Episode 05) can also record 44.1K/32 bit float. So I could test it, and share it with you! The results are amazing. Indeed, it is true! So DSD is a cool 'nerd' feature, but I'll stick to PCM.
Spoiler:
In the blind A/B compare, A is the original 44.1/16 file, and B is the upscaled 768/24 bit version from the Chord Hugo TT2, analog XLR output and re-recorded with the Neve Master Buss Converter in 96K/24. There is a subtle difference in depth, placement, high-end and timing, but I doubt if you can hear it. The purpose of this set is to prepare a digital file for an analog audio chain, but I was wondering if the AD/DA conversion would already make a difference. Considering the price difference, I'd say no. Save your money for a Shared System - but maybe get that little Korg when you love to play loud.
00:00 Introduction
01:27 Analog overload vs digital clipping
02:48 Ruining a recording
03:28 Rupert Neve Designs Master Buss Converter - the Limiter.
04:32 32 bit analog to digital conversion
05:53 Thoughts about DSD
06:38 44.1K vs 768K re-record, blind A/B compare.
09:15 New studio progress update"
"Today I decided to fix my Korg Radias. The Alpha dial encoder and the cutoff potentiometer had issues that always prevented me from enjoying the Radias. It took about an hour to dismantle and remove the parts. Now they're replaced it works as good as new.
While I find a lot of the sound on the Radias to be... harsh? I also think it has really extreme modulation depth and is really quite fun for sound design.
