The Polymath modular synt has been released

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Analogue Solutions tells us that the Polymath modular synth has been officially released and is available for pre-order.

Features:

• 4 VCOs. Each have Pulse Width, Portamento, Saw wave, Square Wave, CV inputs, CV outputs, Sync. VCO1 has Sub-Osc output too
• Multimode VCF based on (not a clone) the Oberheim SEM (LPF, BPF, HPF, Notch) with multiple CV control
• Audio input, to allow processing of external audio (vocals, for example, from your DAW, etc) through the filter
• 2 LFOs
• 2 ADSR Envelopes
• 8 Step Analogue Sequencer with sliders
• Arpeggiator – with Up, Down, Up/Down modes and Octave range
• Poly Mode (Paraphonic)
• Note Trig/ReTrig
• Unison Mode for mega-fatness
• Ring Modulation
• Sample and Hold
• Noise
• Multiples
• Adaptor
• Spring Reverb – a triple spring Accutronics unit is used.
• MIDI to CV Converter
• Mixer
• Inverter
• Headphone Amp
• VCA
• Real Wood sides made by Lamond Design
• 2 LED Gooseneck Lamps included
• Solid steel and aluminium construction
• Carry handle
• Includes an assortment of patch cables

Pricing and Availability:

Available for pre-order.
Estimated UK retail price: £2899 GBP (exc. VAT and delivery)

Playing the Juno 6 and Moog ClusterFlux

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“Messing about with a Roland Juno 6 and a Moog Clusterflux.
Juno 6 outputs in mono into the MF-Clusterflux – multitracked 4 times.
The Clusterflux lends a nice evolving texture to the Juno 6, but I think I got carried away and overdid it.”

The Cluster Flux is an ultra-powerful and flexible, sound-sculpting tool for use live or in the studio. Expansive functionality combined with warm, analog sound come from the state-of-the-art all-analog audio signal path. Musical, flexible, playable, and durable, the Cluster Flux is capable of providing classic flanging, chorusing, and vibrato effects, but is also capable of a much wider range of modulated delay line effects than traditional stomp boxes in this class due to the wide range of the front panel controls, the multi-waveform LFO, as well as CV and MIDI Control.

The MF-108M Cluster Flux is more powerful than traditional chorus/flange effects offering musicians the  added modulation of multiple LFO waveforms: Sine, Triangle, Square, Saw, Ramp and Random, to create many kinds of new modulated BBD Delay effects. MIDI IN allows control of Delay Time, Range, Feedback, Output Level, LFO Waveform, LFO Rate, LFO Amount and Mix.

Nord Lead 4 Demo

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This is a quick demo with the Nord Lead 4. It consists of some preset browsing and mild tweaking.

Oscillators

• 2 oscillators per voice / 20 voice polyphony
• FM, Hard & Soft Sync

Modulation

• 2 LFO sections plus Modulation Envelope
• Flexible syncing and routing options

Filter

• 12, 24 and 48 dB low-pass filters
• High-pass and Band-pass filters
• Transistor and diode ladder filter simulations
  of Mini and TB-303

Effects

• Crush, Drive, Comb filter,
  Talk, Compressor, Reverb/delay

Performance

• 4-part multi-timbral
• Master Clock Sync of Arpeggiator, LFO and Delay
• Impulse Morph
• Velocity and Mod Wheel Morph
• USB MIDI

Two models

• Nord Lead 4 with 49 synth-keys or Nord Lead 4R Table-top rack mountable version

DX5 playing DM “Should Be Higher” (Live on Letterman cover)

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Should Be Higher (Live on Letterman version)

Gear Used
Upper: Roland JP8000
Mid: Emu Emax w/Oberheim and Kurzweil samples
Lower: Kurzweil PC1x

Composed by David Gahan / Kurt Uenala

Roland JD-800 – the 64 classic factory patches

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The JD-800 is Roland’s answer to half a decade of hard-to-program synthesizers. Covered in sliders that act as dedicated editors just like a classic analog synth, the JD-800 is an extremely programmable and hands-on digital synthesizer. It is also an interesting and great sounding digital synth with incredible flexibility and control. Internal ROM based waveforms are combined to build your sounds. The sounds are based on Roland’s D-50, but updated for the nineties with multimode filters – uncommon but welcome at the time.

The JD-800 came in a tough metal case capped off on the sides with large plastic covers. Programming may be a little too flexible for some users, but once you know what you’re doing with it, almost any sound you can dream up can be dialed in and stored.

Reloop introduces Keyfadr and Keypad optimized DAW controllers for Ableton Live 9

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Reloop will disclose new studio products at the BPM Show. Reloop Keyfadr and Keypad are especially designed and optimized DAW controllers for Ableton Live 9. The Reloop Studio Keyfadr combines some of the most useful control functions for music production into a compact and versatile DAW controller for producers and performers using Ableton.

Aside from its extremely compact dimensions, which make the controller fit comfortably into almost any laptop bag, the Keyfadr offers users a variety of intuitive possibilities; from being a control station for studio projects through to being a creative tool for a live gig.

The Keyfadr is made up of 25 velocity-sensitive keys, 8 faders, 16 rotary knobs and 8 endless encoders with push function, making this USB MIDI controller an indispensable creative tool. A unique highlight of the Keyfadr is its ability to help create complex compositions on the fly. The internal arpeggiator can build vivid sequences with flexible quantization possibilities that give subtle nuance to your sound, whilst the chord mode can punch out different combinations at the strike of a single key. Scale mode helps you hit the right key every time by playing the correct tones matched to the chosen scale.

Ableton Live Lite 9 comes included with Keyfadr, and the controller is ready to plug-and-play once the software is installed; getting you set-up and running in seconds, without having to make your own complicated mappings. Creating a live performance is easy with Keyfadr, as Ableton’s live clip view can be set to control all major clip and navigation commands using only the Keyfadr surface. Pressing ‘shift’ at any time allows you to set up a second scene, making it easy to switch between performance modes.

The Keypad is made up of 25 velocity-sensitive keys, 8 faders, 16 rotary knobs and 8 endless encoders with push function, making this USB MIDI controller an indispensable creative tool.

Features

– Combines the most useful functions for music production into one device
– Keyboard: 25 mini keys with 9 playable octaves
– Control section: 8 Channel faders with endless encoders (pan), including 2 control
– knobs, (send/return) and three backlit function buttons (mute, solo, rec)
– Full integration and easy plug and play for Ableton Live 9
– DAW transport controls (play, stop, rec, scene up/down, play/ stop clips, overdub, set marker, marker left/right, cycle, tap, metronome)
– On board appregiator with multiple modes and internal/external midi clock
– Chord feature: Easily play the most common chords in this versatile mode
– Scale mode: Choose from four different scales and always hit the right key
– Shift button for second layer control and choose between two performance scenes
– Fully USB powered controller requires no external power source
– Other midi mappings available as download
– Ableton Live 9 Lite included (value upgrade opportunity)

KEYPAD additional

– Drum pads: 16 velocity sensitive trigger pads with backlit LEDs

Macbeth Micromac as a Drum machine

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The Micromac-D by Ken MacBeth is a small and powerful, full analog standalone desktop synthesizer such as the eurorack module Micromac-R now including the Kenton MIDI-Interface and some extra features. Unlike his competitors it has three voltage controlled oscillators and a classic Moog lowpass filter, as a tiny desktop synth it could become indeed the bonsai-version of the M5 as the true MacBeth synthesizer!

The desktop version of the Micromac has not just CV and gate inputs to play the synth, but also a MIDI/CV interface from Kenton, who stand for very reliable and stable interfaces… and a few news with the additional LFOs.

3 VCOs: VCO1 and 2 have saw, pulse, triangle and sine waveforms and the pulse width can be voltage controlled by external CVs. A low frequency noise with level control is available as well. VCO 1 can hard sync VCO 2. VCO 3 can be used as a modulation oscillator and can be disconnected from the master CV. Modulation targets are filter cutoff frequency and/or pitch of VCOs 1 and 2. All VCOs have individual outputs, coarse and fine frequency controls, separate CV inputs for controlling frequency and pre-filter level controls.

The filter is a Moog 24dB lowpass filter. It´s input is a mixture of all three VCOs and noise. The cutoff frequency can be controlled by the first envelope generator as well as by an external CV. The filtertracking is switchable between off / half / full.

The envelopes are ADSRs with a switchable release parameter thats time is depending on the decay parameter, just like the Minimoog. The filter envelope can also be used to control VCO2´s pitch what sounds great when VCO2 is synchronised. Furthermore you can invert this envelope´s characteristic. The second envelope modulates the VCA. If an external CV is patched to the VCA the internal modulation is broken up. A momentary button allows manual triggering of the envelopes.

Jomox XBase09 vs Roland TR-909

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A quick ‘side by side’ between a Jomox XBase 09 and Roland TR-909… just because this is the one thing everybody always asks about the XBase 09 – “does it sound like a real 909 ?”

StrobeOdrone

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A patch idea for using the Cat Girl Synth Dual Real Ring Modulator with a Yusynth Voltage Controlled Quadrature LFO to two VCO’s as modulators for the RM’s.

The carrier VCO is pitched by a Q119 sequential controller from synthesizers.com. Other modulations are from an AM radio and cross-vco feedback into each of the modulator VCO’s. These are the initial sounds. The beginning sound is one half of the modulated pair, gated for rhythm and a delay applied.

All other sounds are from the modular synth as well. Recorded in real-time to Cubase. Video processed by Final Cut Pro.

Tutorial: How to use the microGranny

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