HSS3i at Bleep Labs
The Hard Soft Synth 3i is an indescribable audio / video generator by noisemaker extraordinaire, Gieskes. Now available at bleeplabs.co. The HSS3i is outputting a VGA signal to the converter box. This signal coming straight from the HSS3i might not work with all devices that take VGA. The converter allows any device that takes s-video, or RCA to properly display the visual glitchatude and also give us something to bend!
– 16 Audio & video modes + 8 video only modes.
– RCA, S-video, and VGA video out.
– Audio, IR, and CV trigger input as well as CV out. IR with Handmade Music Austin or Gieskes devices,
hook it up to a modular via CV or use the audio input to control the sounds and video of the HSS3i.
– Analog low-pass filter controlled via photocell.
– MIDI input controls device perameters.
– Optional circuit bent video device for even more visual insanity.
More info including different code versions and PCB layouts on Gieskes’ HSS page.
Enjoy the sound of the Deep Bass Nine TB303 clone
Just an example of the sound of the Deep Bass Nine TB303 clone which didn’t really make it as a 303 clone but did make it as an excelent bass synth, it hasn’t got much in the way of sound sculpting possibilities but just has a great sound and presence in the mix.
Background info:
“So does it sound like a TB303? The short answer is yes. The longer answer is yes, yes, yes! I tried to emulate some DB9 patches on a few of my old analogue synths. The closest I could get was with my Minimoog, which gives you some idea of how gutsy the DB9 is! If you love the sound of the old silver-clad Bassline, then you’re sure to find the DB9 right up your street and sitting on your Mum’s doorstep. It bleeps, farts and squelches in a most appealing manner (er, if you know what I mean). And it certainly behaves like a 303 too, especially when accents and glides are brought into the proceedings. By setting a foot pedal to control the glide function and moving a modulation wheel back and forth to modulate the filter cut-off, I found myself in full control of the DB9 in a way that I could only have dreamed of when trying to program my Bassline through its inscrutable silver buttons. Here’s progress at its best! Feeding my trusty K1R through the DB9’s filter, I really began to covet this little machine. Though my desire to re-live the days of the TB303 is perhaps not as keen as some people’s, my love of a good old analogue filter is second to none. If I owned a DB9, it would probably live with a K1R permanently plumbed into its audio input
The DB9 is very firmly aimed at producing good analogue bass sounds and does the job with vigour. The preset amplitude envelope and the lack of modulation options mean that lead sounds and elaborate sound effects are really out of the question, although the synth was quite happy to respond over a generous 8-octave range, making high ‘blippy’ sequenced parts possible.
The DB9’s MIDI/CV function worked with a minimum of fuss and happily drove both my Sequential Pro One and Roland SH09 (although no S-Trig option is available for old Moog equipment and the old Hz/Volt system, as used by the likes of Korg and Yamaha, is not supported). Similarly, I had no trouble running the DB9 via its gate and CV inputs from my Pro One’s sequencer or a Roland MPU101 MIDI/CV converter.
In a way, it’s the DB9’s solid stand on TB303 authenticity that defines both its strengths and its weaknesses. It’s all too tempting to carp and pick at it for not having a brace of oscillators, or for lacking velocity sensitivity, pitch bend or patch memories. But that is really to miss the point of what this unassuming black box is all about. As a dedicated TB303 soundalike bass synth, the DB9 is a triumph. If you are looking for a Minimoog in a 1U rack, then you are likely to be disappointed. This is not to say that the DB9 isn’t capable of thundering basslines and chunky sequences, and that, after all, is what the market currently wants. But if you’re looking for a lead synth or a spacey sound effects generator, you’d best look elsewhere.
Control Synthesis have, indeed, brought us a TB303 for the ’90s. But there are a few imprtant details in which the DB9 is markedly different from its older cousin — it’s controllable, rackable, available and affordable. If you’re ever in the market for a TB303 then the best thing you can do is let everyone else keep fighting over those little silver boxes and have a listen to this black one. Then start practising your smug expression — in the very near future I think you’re going to have need of it…”
Sternrekorder – Sugarshaker
Here’s a nice new synthish video from Sternrekorder:
Official music video of Sternrekorder: “SUGARSHAKER”
released on the Vinyl LP “WEISSENSEE”
www.astro-chicken.com Sept. 1st, 2011
OUT NOW!!!
Video made by M. Pieske / M. Home…© 2011
The new Dreamboat dual Chaotic Oscillator from Snazzy FX
DREAMBOAT DEMO #1–CV/SCALE controls…GATE/Thrshld
Dan from Snazzy FX gave us a look at the Dual Chaotic Oscillator, which is a complex modulation module in Eurorck format.
Tech Blips for Native’s Massive
Quick overview of the Synth Pack Massive Tech Blips.
Meyer Musicmedia has released a new Synth Pack for Native Instruments MASSIVE Synthesizer.
A Meyer Musicmedia spokesman told us, “This time it’s a creative Tech Blip macro preset collection of 32 presets. It’s designed to produce this modern driving Tech House and Minimal blip loops.”
- 32 Tech Blip Presets for Tech House and Minimal.
- Requires: Version 1.2.1 of the NI MASSIVE Synthesizer.
- Macro Control optimized
Pricing and Availability:
$9.50
More information:
Future Sound Systems Decade Counter DC1 Demo
This is a demo of the Future Sound Systems Decade Counter DC1 eurorack synthesizer module. Guest appearances by:
-Livewire AFG
-Doepfer A-145 LFO
-Doepfer A-140 ADSR envelope generator
-Doepfer A-121 VCF
-Doepfer A-138b mixer
-FSS Parallel Strip
A Decade Counter takes a clock signal (usually from a square-wave LFO) and shares the clock to 10 outputs, sequentially counting through them. There are reset and disable inputs to allow interesting sequences with more LFOs or other gate/trigger/clock sources, and a /10 output to give a gate output when a step-cycle begins. The maximum step number is 10 but this can then be limited by patching a step output back into the reset input. The DC1 outputs a standard gate signal of +5V.
There are many uses for this module. As well as a 10 step gate sequencer driven by an LFO, a gate signal could be set to drive the module and trigger up to 10 different sounds. With only 2 steps used, the performer can alternate between two different voices per note, which can be useful for creating a bowing effect. The DC1 can also be clocked to frequencies well within the audible range, so the module can act as a sub-oscillator or general audio mangler. If two square-wave oscillators are used with one patched into the clock input and the other patched into the reset input, interesting sync effects can be achieved by changing the pitch of the reset oscillator.
Ableton: Nicolas Jaar – My Instrument
To bring his solo productions to the stage, Nicolas Jaar expanded his sound to include a live band. Playing Ableton Live with his band, Nicolas leads a set full of improvisation and creative transitions. “We caught up with Nicolas and his band at Sonar 2011 for an incredible performance.”
Reason Micro Tutorial: Alligator Triple Filter Gate
Reason 6 introduces three new creative effect devices: Pulveriser, Alligator, and The Echo. In this micro tutorial we’ll take a look at the Alligator Triple Filtered Gate. Gates are commonly found in electronic dance music and are widely loved by producers and audiences, alike. They add rhythm and texture to otherwise flat sounds like pads and sustained chords. A well-crafted gate pattern can make up the hook for a catchy track. In this tutorial, we’ll introduce you to gate effects done “Alligator style” and show you a few ways to use them in your own music, regardless of what genre you make.
* featuring rapping by Random (aka Mega Ran)
http://www.megaran.com/
Virtual Synth Rendez-Vous
Starting the weekend with a nice synth jam:
www.virtual-rendez-vous.fr
www.nicolaskern.fr / www.dark-shrimp.com
© 2011 – Nicolas Kern & Dark Shrimp
Track 1 of 10 – composed by Nicolas Kern – Introduction
Nicolas Kern & Dark Shrimp present
Virtual Rendez-Vous: SkySounds
recorded in Paris and Marseille in deffered live
from august, 6th to august, 21st
by 4 cameras of which 2 full HD and one HDSLR
Slide control fluidSynth out in october on Appstore
Slide control fluidsynth is a new application base on slide control and add a fantastic synth (fluid synth).
Fluidsynth is a sound font player, you can add any sound you want.
You can load 30 MB on iPad 1 and 230 MB on iPad 2!!
DATAMASKIN
