Nice ambient piece
Playing atmospheric, ambient space drone music on Access Virus B synthesizer. Featuring reverb, sustain, LFO, filter and resonance adjustments.
Performed live, no external processing. Excerpt from a longer session.
Metasonix R-54 can act as a tube-driven oscillator or bandpass filter with wild resonant behavior; on this lame video, the module is generating frequencies and distortion under direct control of front panel pots.
R 54 uses a triode-pentode in a unique Wien-bridge circuit, to provide clean sine-wave oscillation. Using a Vactrol, the pitch of the R-54 is sweepable from less than 20 Hz to more than 5 kHz, continuously, via front-panel control or a CV input. By adjusting the waveshape/resonance control, the sinewave signal produced by the R-54 can be trimmed to less than 10% THD (depending on operating pitch)—with NONE of the problems inherent in solid-state oscillators and sine waveshapers. Because the Wien bridge contains no piecewise sine shaper or amplitude-control circuit or component. The tube itself performs that job. So the distortion products are entirely low-order, unlike the “sine waves” that solid-state VCOs or samplers produce.
Turn up the overdrive control, and the oscillator output clips the output amplifier pentode tube, for a unique soft-clipped square-wave sound. The simplicity of the R-54 will fool you–its behavior is odd and radical, and it will take you months or years to fully explore all of its quirks.
Now for the special trick. Plug an audio signal into the audio input. Instantly, the R-54 transforms from a VCO into a bandpass resonant voltage-controlled filter, with the same range as in VCO operation — 20 Hz to 5 kHz. Its behavior and sound are unique. Again, you will be kept busy for years exploring all of its strangeness.
And now, it’s got two new tricks. A VCA CV input allows you to control the output level of the R-54 as well as the amount of clipping in the output tube. Plus, a HARSH switch introduces a feedback loop into the CV control. Turn up the output level and the R-54 does very strange things.
CV response: Hz/v. Use a suitable MIDI/CV interface, or use our R-60 interface to obtain perfect equal-tempered tuning every time. Maximum output signal, 12 v p-p. Power requirement: +-12v dc, approx 150 mA. (All specifications are approximate and may vary from sample to sample.) Tubes used: 19KG8, 6AK5.
Dreamy and relaxing instrumental ambient space music performed & improvised live on Access Virus B synthesizer.
Created using 2 oscillators, delay, filter/envelope/LFO adjustments, resonance, and a simple repeating arpeggiator pattern.
All sounds you hear were played live and manipulated in real-time, no external processing. Excerpt taken from a longer session.
Playing a simple music box-like melody on Access Virus C (Indigo 2) synth using 2 sine wave oscillators, minor reverb, resonance/filter adjustments and sustained envelope release. The Indigo 2 packs the same great synth engine found in the Virus C into a ‘Roadster’ style compact keyboard designed after the original Virus Indigo. The new Indigo 2 comes equipped with a new front-panel, a 3-octave keyboard with Aftertouch, aluminum side panels and even more blue LEDs! The Indigo 2 packs power, portability and the legendary Virus sound into an awesome looking synth! It has been used by Richard Barbieri.
Excerpt taken from a longer session.
A dreamy, relaxing space ambient drone electronic music soundscape played live on Novation Supernova 2 keyboard synthesizer. Utilizing comb filter, reverb, delay, resonance, sync skew, filter & envelope adjustments.
Performed live, no external processing. Excerpt from a longer session.
FOR PART 1 CLICK HERE: http://www.youtube.com/watch?v=lhs-LguPTx8
SoundIron has introduced Ambius 2: Systematik – a flexible and adaptive sample based atmospheric synth, details below:
We wanted a broad collection of richly nuanced flavors with the ability to freely layer, blend and reshape a wide mix of percussive, tonal and textural elements into custom multi-layered dynamic and evolving instruments. We wanted a unified and powerful interface to combine detailed performance and tone shaping controls with a wide pallet of experimental and environmental convolution effects. We wanted a built-in tempo-locking step-sequenced filter and LFO engine that could be adapted to just about any other GUI control parameter on the fly without missing a beat. Ambius 2 is all of that and much more.
Here’s a video introduction to Ambius 2:
A detailed walk-through video and tutorial of Soundiron’s new Ambius 2: Systematik library. This cutting-edge hybrid synthetic/organic lead, pad, texture and ambience design library is built on powerful new adaptive groove-building tools and inspiring performance shaping features that you won’t find anywhere else. Create and tweak your own multi-layered instrument concepts with nearly 5GB of freely mixable content and dozens of unique presets, each with nearly limitless creative potential.
Diego Stocco has released another sound design video work, the meditative Transformed Rain.
Here’s what he has to say about it:
Few days ago I was working on a new instrument and needed to pick up some tools from my work table outside. It was a rainy day.
While I was sorting through the tools, I started hearing a faint tonal rhythm that reminded me of ethnic percussions and wondered where it was coming from. It was the rain hitting a metallic trash bin that I had left upside down in front of the working table.
I stopped for a moment and focused my attention on the sound.
Besides the percussive noise of the rain, I started hearing some overtones, so I got inspired to create a piece by expanding the tonal resonances present within that sound. No additional instruments or samples. I hope you’ll enjoy it!
Cwejman MX4S is where all of the panning is coming from for each of the 4 channels. The Harvestman Piston Honda is making the static style noise on Channel 4: WMD Synchrodyne is making the semi step filter sound with help from the Harvestman Double Andore on Channel 3: The other strange drone sound is stacked audio out from the Wogglebug on Channel 2: And the Make Noise Phonogene is on channel 1. On the Phonogene I just hit some random notes with my Teenage Engineering OP-1 and recorded in a random off time loop and threw in some random slices.
An Abstract Electronic solo piece sequenced in 5/4. The Phobos (aka Analogue Solutions) Red Square Semi modular mono synth is choosing most of the tones through it’s Sample and Hold circuit. Rhythmically driven with 10 step sequencer modulating LFO frequency clock speed in steps which is sent to the S&H modulating the the cut off freq and pitch. Note values are all contained or tied within subdivisions of an eigth note (16ths, eighth note triplets, 32nds, eighth note quintuplets, and some faster) in 5/4 time. Notes that hold or sustain always begins on an eigth note value in 5/4 time, whether or not if it’s carried over the barline. The midi clock is never interupted, but counting bars isn’t the intent here, without any intentional bar markers, it opens up the minds perception of the quintuplet family of notes in contrast to space. Rather than having an obvious 5/4 structure, the mind defaults to 4/4 perception, thus making the eigth notes perceived as permutations of eighth note quintuplets, becoming the perceived base note being subdivided.
a 4 step sequencer modulates pulse width at times. playing SD-1 keyboard strictly as a midi controller. No overdubs, one live performance,with some Lexicon MX300 spring reverb added.
Scene: Year 7800, Location: In the sands of Massachusetts, in an area formally known as technology highway. Explorers discover remnents of circuit boards and believe it to be a lost language or art.
Note: Circuit boards shown are not of the Red Square’s internal boards.