Background video description:
My patches. Some are tweaked factory and some are tweaked downloads. No external effects are used. A demo of the instrument, not a recital. No sir.
Jamming with the Roland MSQ-700, a simple but effective hardware sequencer from 1984. A (Crumar) Bit 99 offers the synth sounds, and a Roland TR-505 provides the beat.
In the days before DAWs, hardware sequencers were often used to build the structure of synth-based songs of the ’80s.
Novation KS4/KS5 synth demo — playing ambient, dreamy and relaxing drone meditation / chillout mood music.
Utilizing 3 oscillators, reverb, delay, chorus, filter/envelope adjustments, distortion and minor LFO changes.
Performed live, no external processing. Excerpt from a longer session.
Vintage synthesizer demo track by RetroSound
all synthesizer sounds self programmed: Roland Jupiter-4 Analog Synthesizer from the year 1978
drums: Roland TR-808
recording: multi-tracking without midi, the TR-808 is triggered the JP-4 arpeggiator in random mode
fx: a bit reverb and delay
For me has the Jupiter-4 the best sound from the Jupiter family. Very raw and powerfull.
more info: http://www.retrosound.de
The first Jupiter synth. It was among one of the first poly synthesizers (4 individual voices which could be synced together for one fat monophonic lead), it had a pitch wheel that could be assigned to the VCA, VCF, VCO or all together, there are 8 memory locations and a cool arpeggiator – the arpeggiator can be heard in the Duran Duran classic, “Rio”. It also has a very slow LFO for those ever-so-long filter sweeps. Pretty good for 1978!
Not so cool however, are the 10 preset sounds which sound nothing like the piano, brass or strings they claim to be. The placement of all the preset buttons below the keyboard can be inconvenient, especially while playing it. And as with most old analog synths, the Jupiter-4′s tuning can go out often. Still it is a nice analog synth for creating weird trippy analog sounds.
Historical interviews with the most famous electro musicians in the world have appeared in a new eBook.
The Electro Legend Interviews features interviews conducted over the past 20 years and taken from the archives of Computer Music and Future Music magazine.
Revealing their music-making techniques and inspirations are: Aphex Twin, Gary Numan, The Prodigy’s Liam Howlett, Vince Clarke, Kraftwerk’s Wolfgang Flür, Moby, Hot Chip, Alec Empire and Ultravox’s Midge Ure.
Available for just £2.99, the book sheds light on The Prodigy’s place in the early rave scene, with Liam Howlett explaining in a 1993 interview that”When rave dies there are always going to be people who will still want to dance, so as long as we keep coming out with original songs we’ll still be around…”
Meanwhile, Gary Numan discusses his classic Replicas album. Addressing the cover art, he says: “The character on the cover is called a Machman – he’s looking out on the world, looking out at the park. Outside of the park, there’s a man in a grey coat and a grey hat, which was a ghost I saw when I was much younger…”
Elsewhere reclusive genius Aphex Twin gives one of his only ever interviews. “If you plan to be good at anything, it has to happen using your own ideas. It’s inevitable. It’s exactly like natural selection,” he muses.
Speaking exclusively about the early days of Kraftwerk, WolfgangFlür comments: “We were young, shy and childish! We loved to construct things and we never thought we would get famous from that.”
The book also features Vince Clarke revealing his computer music-making secrets. “Once you’ve got the hang of the computer and the software,” he says, “then you’ve still got to write the songs…”
And discussing the history of Ultravox, Midge Ure reveals that: “In those early days, a lot of musicians saw synths as electronic guitars. We just started going bang-bang-bang. Suddenly, you got this blast of unearthly noise and it changed the musical landscape.”
Patch details below:
snazzy fx ardcore running dual lfo sketch
triggers the two MFB seq 02 sequencers
both are running in AB mode 32 steps each
MFB OSC-02 Triple VCO is sequenced and modulated by
MFB seq 02 and Maths
MFB OSC-02 Triple VCO ing mod out is sent to the filter of monotron e
with black front panel white knobs
is patched into function
with black front panel and monotribe knobs
function is being fed by the monotron e LFO
EOC is sent to the filter cv of monotron-e
all audio outputs are mixed with MFB drum 99 mixer
this is sent to the alesis io dock input
a little KORG iELECTRIBE is added
this is all on channel 1
Ableton live 8 win7 64bit with hp Compaq L2105tm touchscreen
midi input from korg ms20 legacy and DOEPFER A192 CVM 16
Max for Live
sonic charge microtonic
audio damage big sequence
In this tutorial Ryan Hemeon shows how to hook up an external midi controller and send the midi to two separate apps using MidiBridge. H uses Audiobus to keep the apps running in the background, iGrand and Magellan.
Mike Martin from Casio demonstrates the Privia Pro PX-5S stage piano at Kraft Music.
|Keyboard||88-key, Tri-sensor Scaled Hammer Action II|
|Maximum Polyphony||256 Notes|
|Number of Tones||370 Preset / 350 User
Keyboard Instrument (including Electric Piano) – 60 Preset, 50 User
Hex Layer – 50 Preset, 150 User
|Stage Settings||100 User Stage Settings / 4 zone configurations|
|Controllers||4 knobs, 6 sliders, Pitch & Modwheel, 2 Pedal Inputs|
|Arpeggiator||4 simultaneous programmable 16 step Arpeggiators|
|Phrase Sequencer||8 Tracks, up to 1,000 phrases|
|Storage||USB / File & Audio Recording|
|System Effects||Reverb, Chorus, Delay, String & Damper Resonance|
|Insert Effects||4 simultaneous / Equalizer, Compressor, Limiter, Enhancer, Early Reflection, Phaser, Chorus, Flanger, Tremolo, Auto Pan, Rotary, Drive Rotary, LFO Wah, Auto Wah, Distortion (w/ Amp Simulator), Pitch Shifter, Multi Chorus, Ring Mod, Delay, Piano effect|
|Master Effects||4 Band EQ & Compressor|
|MIDI||Independent USB & MIDI I/O|
|Audio Terminals||1/4″ L&R Input & Output, 1/8″ Audio Input|
|Dimension||52.05 x 11.26 x 5.31 (inch)|
|Weight||24.47 lbs (W/O Battery)|
Dubstep Maker is an iPad app for making dubstep music. It features 38 assignable PADS,
a 8 note keyboard and a synth wobble modulator. There are over 100 drum loops, synth loops, vocal samples and fx sounds.
Dubstep Maker is an iPad app for creating dubstep music. It features 38 assignable PADS, a 8 note keyboard and a synth wobble modulator. The wobble modulator is placed where you would normally find a mod or pitch wheel. Next to that you have a selection of 6 synth sounds to modulate and create wobble sounds.
There are over 100 drum loops, synth loops, vocal samples and fx sounds. From a design point of view it’s is simply laid out. Buttons are as big as a finger tip and spread out nicely.
The edit screens are where you assign different sounds to different pads.This is simply done by selecting a button to edit and pick your sound by touching the + button.
The only other functions available to change is the master volume, the tempo and the rate of the synth wobble using the sliders.
While there are lots of dubstep apps available none of them really stand out. WHOMP is perhaps the best and oldest of them but still not a stand out app one might expect. Dubstep Maker is an intriging app that it is well laid out (perhaps too simply? I’m not sure.) Its sounds are your standard dubstep sounds that doesn’t set itself too far apart from the rest although there is a lot of variation.
The synth wobble section is probably where it will find its fans. Fair enough playing a wobble sample but to actually adjust
the wobble to suit is great. Maybe more sounds to play around with would not go amiss, or a dedicated page just to create wobbles would be nice.
DJ/Producer Funkagenda explains how to create from scratch that classic Dubstep bass sound using NI Massive synth.