One track per synth – Akademic’s new album on Bandcamp

August 25, 2015 · Posted in Uncategorized · Comment 

Each track contains only the cited sound source with occasional added studio effects primarily from Universal Audio, Soundtoys, Valhalla DSP, and a TC Electronics Alter Ego delay pedal.

Mixed through a Great River EQ-2NV equalizer and an API 2500 bus compressor.

credits

released 24 August 2015

Sean Drinkwater, Noah Drake, Grant Putnam

New video on the LinnStrument – Introduction

August 24, 2015 · Posted in Uncategorized · Comment 

A brief introduction to LinnStrument, including a variety of sounds and features

Limited edition – Mute Synth II Orange

August 24, 2015 · Posted in Uncategorized · Comment 

mute-synth-2

Mute has announced the Mute Synth II Orange – a limited edition of its hand-held synth and sequencer.

Both the previously announced black and white Mute Synth II’s have sold out.

Features:

  • Designer circuit board
  • Noise generator
  • Feedback
  • Oscillator
  • Wave-shaping
  • Buffered output
  • Sequencer
  • Touch and pot control
  • Mini patchbay
  • Headphone/line output
  • Battery powered (9v battery not included)

The Mute Synth II comes boxed with an album of works using the synth, by artists associated with Dirty Electronics and Mute. The CD features Chris Carter (Throbbing Gristle / Carter Tutti Void), Simon Fisher Turner, Dominic Butler (Bronze Teeth / Factory Floor), Kidanevil, Dirty Electronics and others.

MSII is designed in collaboration with the designer and writer, Adrian Shaughnessy.

Mute Synth II is born out of Dirty Electronics’ ongoing commitment to DIY approaches and noise aesthetics, and is designed to serve as a catalyst for experimenting with electronic sound.

The Mute Synth II is available for preorder for £89.99, with an expected release date of September 7, 2015.

Pat Metheny – The Synclavier 1986

August 24, 2015 · Posted in Uncategorized · Comment 

Pat Metheny, in 1986, explaining the Synclavier digital synthesizer. 

Along the way, Metheny demonstrates how he uses the Synclavier, composing with it and his thoughts on using a computer for music.

The Synclavier System was an early digital synthesizer, polyphonic digital sampling system, and music workstation manufactured by New England Digital Corporation of Norwich, Vermont, USA.

The original design and development of the Synclavier prototype occurred at Dartmouth College with the collaboration of Professor Jon Appleton, Professor of Digital Electronics, Sydney A. Alonso, and Cameron Jones, a software programmer and student at Dartmouth’s Thayer School of Engineering.

The first version appeared in 1977/78 but was soon replaced by the Synclavier II in 1980 with a new “partial timbre” sound editing feature (it tweaks the harmonics), built-in FM and additive synthesis, sampling, 64 voice polyphony, 32MB of waveform RAM (expandable to 768), 32 outputs, music-notation printing, multitrack sequencing, and digital hard-disk recording. In 1984 a third model was introduced and became the most infamous version of the line-up. The new features included a full sized and weighted keyboard with velocity and aftertouch which replaced the previous model’s plastic keyboard, and 128 voices polyphony. An optional DSP effects package including time compression/expansion was available for the Synclav as well. There was also a standard onboard arpeggiator and a robust sequencer with up to 200 tracks and its sampler had the ability to record and output at up to 100 khz!

The typical Synclavier system consists of a durable 76-note keyboard peppered with 132 illuminated buttons and a single control knob, connected to a rack-mounted CPU running NED’s own 16-bit ABLE operating system plus the nostalgic mid-eighties looking mono-chromatic computer monitor/keyboard. Patches, sound files, sequences and samples are stored to 5.25″ diskette, hard disk or in some models, magneto-optical drives.

CASIO VZ-1 iPD Synthesizer demo – “VeeZeeOne”

August 23, 2015 · Posted in Uncategorized · Comment 

Vintage synthesizer demo track featuring the Casio VZ-1
supported by UVI: http://bit.ly/retrosound-uvi

all synthesizer sounds: CASIO VZ-1 iPD (interactive phase distortion) Synthesizer from the year 1987
recording: multi-tracking
fx: reverb and delay

How to get FM Synthesis tones from a minimoog model D

August 23, 2015 · Posted in Uncategorized · Comment 

Just wanted to make a quick little video on how to get some FM synthesis from a minimoog model D, this will also work on the Voyager as well but the knob layout is a bit different.

New video from DIE KRUPPS – Battle Extreme

August 23, 2015 · Posted in Uncategorized · Comment 

“Battle Extreme” is the newest Die Krupps video which has now available online. The track is taken from the album “V – Metal Machine Music”.

“V – Metal Machine Music” will be out by mid-September, but available right now in pre-order as a limited 2CD set. The 13-track album comes accompanied by a bonus disc featuring demos and reworks.

 

“Battle Extreme” taken from the album “V – Metal Machine Music”.

Picture credits: Franz Schepers / Eric Debris / Frank Buttenbender
Artwork: Sascha Osterland
Video created by Kyrill Kulakowski

http://www.facebook.com/diekruppsoffi…
http://www.twitter.com/diekruppsband
http://www.diekrupps.de

Caustic – One minute track in one hour

August 23, 2015 · Posted in Uncategorized · Comment 

Video description:

Set myself a small challenge to see what I could create in Caustic in one hour – this is it. Shows the potential of Caustic.

Crudlabs Crudman – Walkman based synth

August 22, 2015 · Posted in Uncategorized · Comment 

The Crudman, above, is based around a Walkman which has been elaborately hacked so that a tape of a looped or droning sound (or any other sound) can be precisely sped up or slowed down, via MIDI or 1v/octave CV, to accurately hit notes over a range of 3 octaves.

The Crudman can be used monophonically, or multiple Crudmans can be used polyphonically.

The Crudman can be played just like a synthesizer with MIDI or CV in. Standard synthesizer parameters – ADSR, pitch bend, portamento, can also be set using MIDI Control Change messages.

To use, put in a tape tuned to C, and you can play all the way from C two octaves down, to C one octave up – 3 whole octaves.

While the concept is simple, the developer says that a great deal of research and experimentation has gone into building the most powerful cassette Walkman instrument possible.

More info on their site.

All about the new RED70 Electromusical Synthesizer for Reason

August 22, 2015 · Posted in Uncategorized · Comment 

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Red Rock Sound has released their new RED70 Electromusical Synthesizer for Reason. They say that it is not an attempt to recreate any specific model of analog synth but based on several classic synths.

Red 70 is available now in the Propellerhead Shop for US $49. Details below. 

SYNTH SECTIONS:

OSC1

1. OCTAVE determines the pitch base. (two octave down and two octaves up from the main).

2. BAND Frequency band regulator.

3. XMOD Cross-modulation of the Frequencys of 2 Oscillators.

4. WAVEFORMS Four waveforms (sine, triangle, saw, pulse) with the ability to activate all of the waveforms simultaneously.

5. PULSE WIDTH controls the pulse width. (Pulse waves only)

6. SYNC synchronizes the triggering the OSC 2 waveform by the rate of OSC 1. When activated, OSC 2 BANDS controls affect only OSC 2 timbre, not its pitch.

OSC2

7. OCTAVE determines the pitch base. (two octave down and two octaves up from the main)

8. BAND Frequency band regulator for each waveform separately.

9. DETUNE detuning of oscillator 2 relative to the oscillator 1.

10. WAVEFORMS Four waveforms (sine, triangle, saw, pulse) with the ability to activate all of the waveforms simultaneously.

11. PULSE WIDTH controls the pulse width. (Pulse waves only)

ADDITIONAL OSCILLATORS & MIX SECTION

12. OSC1 LVL level control for the OSC1.

13. OSC2 LVL level control for the OSC2.

14. NOISE LVL level control for the noise generator.

15. LEGATO/RETRIG:

RETRIG controls envelope re-triggering. When activated, every note restarts the envelopes. (mode is clearly audible with 1-2 voices) In contrast to the RETRIG mode where every new note rearticulates the sound by restarting the envelope generators, in LEGATO mode the envelopes are not re-triggered if the new note is played “legato” (with the previous note still depressed). This causes the initial transient from the attack and decay phases to sound only once for an entire legato sequence of notes. Envelopes reaching the sustain stage remain there until the final note is released.

16. GLIDE determines the pitch sliding from one note to another.

FILTER X (Pre-filter, located ahead of the main filter.)

17. This switch selects a sound source to be processed by the filter: – OSC1 – OSC2 – NOISE – OSC1 + NOISE – OSC2 + NOISE – OSC1 + OSC2 – OSC1 + OSC2 + NOISE

18. MODE determines the filter type: – High Pass – Band Pass – Low Pass

19. CUTOFF controls the FILTER X cutoff frequency.

20. RES controls the amount of filter resonance.

MAIN FILTER

21. MODE determines the filter type: – High Pass – Band Pass – Low Pass 1 – Low Pass 2

22. CUTOFF controls the VCF cutoff frequency.

23. RES controls the amount of filter resonance.

24. ENV determines the envelope’s cutoff modulation depth. (You can set positive or negative values)

25. ADSR determines the filter’s envelope cutoff behavior after a note is triggered. – A (Attack) – D (Decay) – S (Sustain) – R (Release)

26. AD MODE The ADSR envelope switches to repeating Attack-Decay envelope.

27. VEL sets the envelope depth in relation to the Note On velocity.

AMPLIFIER

28. ADSR The VCA envelope controls the note level from trigger to release. – A (Attack) – D (Decay) – S (Sustain) – R (Release)

29. AD MODE The ADSR envelope switches to repeating Attack-Decay envelope.

30. VEL sets the envelope depth in relation to the Note On velocity.

MODULATION SECTIONS:

MOD ENVELOPE

31. ADSR The ADSR envelope generator that can be freely assigned to selectable destinations via the modulation matrix. – A (Attack) – D (Decay) – S (Sustain) – R (Release)

32. AD MODE The ADSR envelope switches to repeating Attack-Decay envelope.

33. VEL sets the envelope depth in relation to the Note On velocity.

LFO 1 (Tempo Synced)

34. SPEED controls the rate of the synced LFO, linked to the project BPM.

35. MODE offers four waveforms: – Triangle – Pulse – Noise – Sample & Hold

LFO 2 (Free)

36. SPEED controls the frequency of the free LFO.

37. MODE offers four waveforms: – Triangle – Pulse – Noise – Sample & Hold

MOD CV 1

38. This DISPLAY shows a graph CV signal coming through the input connector MOD CV1 on the back panel.

39. TIME SCALE controls speed of displaying information on the display (it does not affect the rate of modulation).

MOD CV 2

40. This DISPLAY shows a graph CV signal coming through the input connector MOD CV1 on the back panel.

41. TIME SCALE controls speed of displaying information on the display (it does not affect the rate of modulation).

MODULATION MATRIX

42. SOURCE determines the modulation source.

43. AMT sets the amount by which the modulation source affects the destination. Both positive and negative Amount values can be set (+/- 100%).

44. DESTINATION determines the destination for the modulation source.

The PITCH BEND and MODULATION WHEELS

45. PITCH RANGE sets the range of the Pitch Bend action.

46. PITCH WHEEL is a control on a synthesizer to pitch bend (portamento) — to vary the pitch in a continuously variable manner.

47. MOD WHEEL is a modulation wheel assigned as a source in the modulation matrix. (The Modulation wheel can be set to simultaneously control a number of parameters.)

GLOBAL and OUT SECTIONS:

48. VOICES determines the number of voices you can play simultaneously. The maximum number of voices is 8.

49. PAN SPREAD controls pan spread for the voices (not oscillators), when set to 0% all voices are centered. When you increase the Pan Spread the voices will begin to pan more and more to L/R in an alternative manner (i.e. If Voice 1 is towards the LEFT, then Voice 2 will go towards the right, etc). At 100% the voices will be panned hard L or R in this manner.

50. VOICE DETUNE determines the detuning of the voices in correspondence to each other.

51. UNISON is a mode in which several voices in the synth are assigned to play a single note.

52. TUNE controls global tune.

53. LED indicator for left & right outputs.

54. VOLUME is the main volume control for left & right outputs.

55. Patch browse.

56. Standard Note On indicator.

BACK PANEL:

AUDIO OUTPUT

RED70 has 2 outputs: LEFT and RIGHT stereo outputs.

SEQUENCER CONTROL INPUTS

The Sequencer Control CV and Gate inputs allow you to play RED 70 from another CV/Gate device (e.g. a Matrix or the RPG-8). The signal for the CV input controls the note pitch, while the signal for the Gate input delivers note on/off along with velocity.

CV MODULATION INPUTS

Two CV Inputs (MOD CV1 and MOD CV 2) can receive CV from external sources that will be available as Sources in the Modulation matrix. You can monitor the form of the incoming signal on the displays (38, 40) on the front panel.

CV INPUTS

  • The LFO Speed allows CV to control the speed fo LFO1 and LFO2.
  • The Main Filter allowsCV to control the CUTOFF, RES and ENV.
  • The Filter X allows CV to control the CUTOFF and RES.

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