Yamaha DX7 – the 32 classic factory patches
The 32 classic factory patches of the Yamaha DX7.
One of the most popular digital synths ever was the DX7 from Yamaha, released in 1983. It featured a whole new type of synthesis called FM (Frequency Modulation). It certainly is not analog and it is difficult to program but can result in some excellent sounds! It is difficult because it is non-analog and thus, a whole new set of parameters are available for tweaking, many of which seemed counter-intuitive and unfamiliar. And programming had to be accomplished via membrane buttons, one data slider and a small LCD screen.
Still the sounds it shipped with and that many users did manage to create were more complex and unique than anything before it. Percussive and metallic but thick as analog at times, the DX-7 was known for generating unique sounds still popular to this day. The DX-7 was also a truly affordable programmable synth when it was first released. Almost every keyboardist bought one at the time making the DX-7 one of the best selling synths of all time! It also came with MIDI which was brand new at the time – Sequential had already released the first MIDI synth, the Prophet 600. Roland had just released the JX-3P with very basic MIDI implementation, and wouldn’t get around to adding full MIDI for another year with the Juno-106, and it would be three years before Roland can counter the popularity of the DX7 with a digital synth of their own, the D-50.
Tips and Tricks with RX 2 – Editing Dialog, Reducing Mouth Noises
In this video, learn how to use RX 2 for removing and reducing unwanted mouth noises, plosives and other artifacts common in dialog recording. In this example, we reduce the sound of some wet clicking and several plosives.
Download the free RX 2 trial here: http://www.izotope.com/products/audio/rx/download.asp
n this video, learn how to use RX 2 to restore recordings transferred from old records by reducing clicking, crackling and noise. In this example, we reduce the clicks, pops, time-variable wear variations and general noise without harming the character of the music, which was originally from a 78rpm shellac record.
Diskonnekted – Neverland – official video
Buy album: http://www.alfa-matrix.com/shop_comments.php?id=2155_0_8_0_C
Buy ltd 2cd box: http://www.alfa-matrix.com/shop_comments.php?id=2156_0_8_0_C
FREE DOWNLOAD: http://soundcloud.com/diskonnekted/neverland
Official video by Romuald ‘Ishoothorizon’ Swieconek
4 years! Some 48 months… It’s the time it took for Belgian artist Jan Dewulf to redefine the DISKONNEKTED concept and return with an all new philosophy, new sound, new image…
Strong and combative, DISKONNEKTED proudly presents on his 4th studio album “Hotel Existence” a new formula that brings the band through raving breaks, deep and stuttering bass, catchy poignant vocals and electronic soundscapes. Inspired by a Paul Auster novel, the new songs reflect the general idea of the inner fantasy that promises you a better world, but becomes a cancer of unfulfilled expectations.
Apart from being an explosive intermix of styles that’s never been heard before in the contemporary industrial/electro scene, ‘Hotel Existence’ is also an emotional quest that will shake your inner world.
You can’t place DISKONNEKTED’s music in one specific genre, since every challenging genre is reflected in this album: from drum ‘n bass and dubstep, to floating electronics and solid EBM. A true clash of styles exploring different electronic genres and offering what might be the freshest album of the year! Fans of PENDULUM’s raving breaks or the uncompromising cross-over of CELLDWELLER will be delighted to see those elements being also introduced in a modern electronic hybrid style.
The album is also released as a double-CD limited carton box edition including remixes by LIQUID DIVINE, PAUL UDAROV, ESSENCE OF MIND, PSY’AVIAH, SLEEPLESS, etc.
Korg MS20 – Creating a basic snare drum sound
“A basic snare sound made using the Korg MS-20. The trick is to use the high pass filter to add the punch/snap to the drum sound. Drum sounds are very easy to create on a MS20.
The MS20 can also create pretty decent hand clap sounds using the high pass filter, S&H and some other stuff. I will post a video later.”
Dubstep Synths Vol.2 – Massive Presets
Loopmasters has released presents Dubstep Synths Vol.2 – Massive Presets by Re-Zone, a new title in the Patchworx series of soundsets.
Re-Zone tracks have been released on Toolroom Records, Black Hole Recordings, 1605, Baroque, Be Yourself Music, BugEyed, Unreleased Digital, Perfecto, Stereo Productions, Whoop, Kinky Vinyl and more.Re-Zone is continually supported by: Pete Tong, Carl Cox, Mark Knight, Roger Sanchez, Axwell, Tiesto, Sasha, Laurent Garnier, and Nick Warren.
The 64 Massive Dubstep Patches included in this pack are comprised of 28 Basses, 4 SFX, 21 Leads and 11 Pads. Included are Vocalised Leads, Hypnotic FX, Epic Pads, Evil Growls, and Sequenced Dubstep Basses.
The soundset is available to purchase for £14.95 GBP.
It’s chiptime again: Mail Order Monsters – Fairlight
“Mail Order Monsters performing the song Fairlight, live in studio at WKTV. We play exclusively through the ‘SID’ chip, taken directly from Commodore 64 computers and placed in a new hand built circuitry that allows greater flexibility, and compatibility with modern MIDI equipment. We utilize over 20 chips in our performances.”
http://www.mailordermonsters64.com
MINITAUR + ABLETON LIVE PART 1: The Basics
Moog continues to feed us with nice tutorials, here’s a new one featuring the Minitaur:
In part one of this three part series, Moog Product Development Specialist, Amos Gaynes shows you how to integrate the Minitaur Analog Bass Synthesizer into Ableton Live. Learn how to connect your Minitaur using a multi-channel audio interface, setup your session, and produce a simple track. Part one covers MIDI sequencing, filter automation, using the Minitaur as an external instrument, using the Minitaur Editor to load presets, and how to manually dial in basic sounds.
Learn more about the Minitaur at:
www.moogmusic.com/products/taurus/minitaur
Register your Minitaur at:
www.moogmusic.com/register
Do we really like copycats like these?
LOL 😀
Advertising the JLS 4th Dimension tour, which sees the boys “fahren fahren fahren auf der M1” to the Manchester MEN Arena, the Birmingham LG and London O2, bears a remarkable similarity the the artwork for Kraftwerk’s classic 1978 album, The Man Machine.
And they are not the first
And here’s the original of course:
Buchla 223e programming demo
Exploring programming different touchplates to different envelops in the 281e. Sound sources: Verbos 258v, 262v and Buchla 272e. Better audio at: soundcloud.com/user7621213/buchla-223e-touchplate
The 223e substitutes an innovative arpeggiator for the rings of the 222e
This three panel unit tactile sensor responds to a feather-weight touch, or to several pounds of pressure. An additional (1 panel unit) module houses the outputs, the arpeggiator controls, and the edit facility.
The tactile surface is normally mounted in the first row of a 201e-12 or 201e-18 cabinet: alternatively, it may be mounted in the recently announced 201e-3u frame, relieving spatial binds in crowded systems.
An ergonomic array of 27 keys sense pressure and velocity; fourteen respond to location in one or two dimensions. Arrayed into multiple user-defined groups ranging in size from 1 to 25 keys, they produce a variety of user-programmed control voltages.
Location, pressure, impact and tuned voltages, as well as pulses, are presented at a total of 30 outputs. The LCD based user interface is remarkably simple and flexible. The arpeggiator features multiple patterns, internal and external clocks, and many other sundry features.
All settings, including key programming, can be memorized and recalled by the 225e or 206e preset manager
Extended Review of Universal Audio 1176 Classic Limiter Plug-In Collection
Russ gets his hands on the new 1176 Classic Limiter Plug-In Collection from UA and puts it through an extensive test on several types of material.
Evolved from the popular Universal Audio 175 and 176 tube limiters, the 1176 retained proven qualities of these industry leaders, and set the standard for all limiters to follow. Entries found in Putnam’s design notebook point to his extensive experimentation with the newly developed FET (Field Effect Transistor) in various configurations. Eventually, he found a way of using the FET as the gain-controlling element of a compressor/limiter. While the 1176 has seen a huge number of revisions in its history, the most significant revision was by UREI engineer, Brad Plunkett, in an effort to reduce noise — hence the birth of the 1176LN at Rev C. Numerous design changes have followed since, resulting in at least 13 revisions and variations of the 1176.
Universal Audio released its first 1176 plug-in emulation in 2001. This plug-in single-handedly launched the UAD platform, and inspired a decade of analog emulation software. Today, we’ve circled back to the 1176, and modeled its entire electronic path from stem to stern — including its transformers, FET and bipolar transistor amplifiers, for colorful input/output distortion. The resulting 1176 Classic Limiter Plug-In Collection provides unrivaled emulations of three distinct 1176 units, and is indispensable for any serious engineer or producer.
The 1176 Limiter Plug-Ins Collection provides three distinct 1176 revisions, representing over 40 years of design iterations to the original 1176 — the world’s most recognized compressor. The Rev A “Bluestripe” represents the original Putnam FET limiter design, complete with its higher distortion and unique FET gain amplifier characteristics. The Rev E “Blackface” covers the early 70’s / Brad Plunkett “LN” (Low Noise) era of the 1176 circuit lineage, with variations including a more linear compression response, transistor gain amplification, and a change to the program dependence. The 1176AE provides UA’s rare 1176 40th Anniversary Edition, complete with exclusive “hot-rod” mods — including its lower 2:1 compression ratio, a fixed “super slow” 10ms attack mode, and the program dependence of Rev A.
DATAMASKIN
