3ee Sound Design has announced the release of Aesthetics, a soundset for the Diva virtual analog synthesizer by u-he.
Aesthetics is a collection of 64 instruments for the great u-he Diva synthesizer. The basic idea of creating diverse, solid and playable, sweet-spot instruments that were tweaked to perfection with no particular genre or style in mind was very effective.
All instruments within this collection were created by 3ee and were optimized with modulation wheel and pressure controls. (exception, no control assignments for the Poly_String Chest2 patch)
The Aesthetics soundset is available to purchase at the price you want to pay ($7 USD mimimum). A free demo pack is available to download from the product page.
In this video Moog demonstrates the power and versatility of one knob per function synthesis. Watch and listen as the track evolves and changes in response to every touch.
The Sub Phatty is the first analog synth to feature Moog’s transformative new Multidrive section; at low settings Multidrive adds warmth and girth, but when pushed, it delivers a screaming snarl that is highly reactive to resonance, waveshape, and oscillator level. Experiment with this new circuit and unlock an undiscovered world of vivid analog tonalities.
Learn more about the Sub Phatty at:
Background video description:
MS 20: Korg bringt den 70er Jahre Klassiker jetzt “geschrumpft” auf den Markt. Wieviel MS 20 steckt wirklich in der Mini-Version?
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.
Synthesizer demo of the analog synthesizer Roland Juno-106 from 1984.
The Juno-106 is a very common and widely used analog polysynth. It continues to be one of the most popular analog synths due to its great sound and easy programmability. It was the next major incarnation of the Juno-series, following the Juno-60. While it has virtually the same synth engine as the Juno-60, the 106 added extensive MIDI control making it one of Roland’s first MIDI-equipped synthesizers. There was also increased patch memory storage, up to 128 patches instead of the 56 patches available in the Juno-60. However, the Juno-60 is often said to have a slight sonic edge over the more advanced 106. The 60 had the ability to modulate oscillator pulse from its envelope and has a “punchier” sound quality.
The Juno-106 is a six-voice polyphonic and programable analog synth with one digitally controlled oscillator (DCO) per voice. While classic monophonic synths used two or three oscillators to create a fatter sound, the Juno-106 uses built-in Chorus to fatten up its sound to dramatic effect. The nature of its DCO meant it was stable and always in perfect tune but still warm and analog. There is an excellent 24dB/oct analog lowpass filter with plenty of resonance and self-oscillating possibilities and a non-resonant highpass filter. The programable pitch/mod bender can be assigned to control the DCO pitch, VCF cutoff, and LFO amount all at once or individually.
The Juno-106 was the first MIDI equipped Juno and its implementation is quite good. There are 16 MIDI channels available and MIDI SysEx data can be transmitted/received from all the sliders and buttons for total remote control and sequencing capability. A switch on the back of the keyboard, next to the MIDI ports allows the user to switch between three types of MIDI modes: Keyboard and Hold data only; Keyboard, Hold, Bender, Patch selection data; or All data (including SysEx). Most users simply set it to MIDI Function mode 3 and forget it.
This synth is incredibly straightforward and very powerful. It’s SH-series derived panel layout is easy to understand and very hands-on. Use it to generate lush pads, filter sweeps, and funky bass lines and leads. The Juno-106 is an awesome learning tool for anyone new to analog synthesis, as well as an electronic musician’s dream for its warm analog sounds coupled with modern features like MIDI and memory – all at a very reasonable price. And still the Juno-106 has an even cheaper alter-ego in the form of the HS-60 – a hobbyist version with built-in speakers.
Background video description:
In this movie I play some of my own sounds – on some sounds I used a small amount of digital delay from a Roland DEP-5 (my favourite unit for delays).
The Juno-106 is one of the most loved and used synthesizers by professionals and hobbyists alike! William Ørbit, Überzone, Norman Cook (Fatboy Slim), Autechre, BT, Vince Clarke, Moby, 808 State, Underworld, Leftfield, Fluke, Josh Wink, Todd Terry, Depeche Mode, Eat Static, Biosphere, The Prodigy, The Shamen, Bushflange, Cirrus, Astral Projection, Apollo 440, Faithless, Union Jack, Computer Controlled, Pet Shop Boys, Sneaker Pimps, Erasure, Freddy Fresh, Rabbit in the Moon, Kevin Saunderson, Jimmy Edgar, Laurent Garnier, Vangelis, Sigur Ros, and the Chemical Brothers have used this synth.
THE SOUND PROGRAMS IN THIS MOVIE:
Do you own a Roland Juno-106 and want to get those fantastic sounds for your synth?
The “ANALOGAUDIO1 JUNO-106 PATCH BANK” costs 12,99 Euros and includes 64 great patches – lush analog pads, great retro sounds, fat basses, sequencer sounds and funky leads (in one word: all you hear in the video and some more).
As an experienced synth player, programmer and composer I programmed these patches at a professional level for studio use. This patchbank gets the most out of your Roland Juno-106. Also included is a patch list (PDF), to find the right sounds quickly. The sounds are not available anywhere else.
The patchbank will only work with a Juno-106, but NOT with the Juno-60 or other synths.
After payment through PayPal you will get a sound file (wav) for the tape interface of your Juno-106 and a patchlist via email.
If you want to buy the “ANALOGAUDIO1 Juno-106 PATCHBANK”, send me a message through YouTube (and check your spam folder, I answer quickly).
We have seen quite a few demos of the MS20 mini now, but of course we all want more
Here is a demo of the brandnew KORG MS-20 MINI monophonic analog synthesizer. It is a reissue of the classic MS-20 synth from 1978. The sound of the Mini is damn close!
On some sounds I used a Lexicon MPX-500 for reverbs and a Roland DEP-5 for delay effects. In the intro I used the Doepfer Dark Time sequencer to control the MS-20 mini via MIDI.
A very fat synth !! the 3 rd oscillator really opens up some extra sound possibilities
This is the very source of cheap Moog bass! It is a lot like the strap-on Moog Liberation in its design and architecture and also looks and sounds very much like the Moog Rogue. The MG-1 was built by Moog for Realistic (Radio Shack), and was designed specifically for the home market. Very basic and easy to use, this is a nice cheap way to get your hands on Moog sounds!
The MG-1 is a 2-VCO monophonic/polyphonic analog synth with a genuine 24dB/oct Moog filter, however the overall sound is thin. On the MG-1, the VCOs are referred to as ‘Tone Generators’. It can produce sawtooth, square and pulse waveforms, and the oscillators are detunable and syncable. A simple ASR (attack, sustain, release) envelope called ‘Contour’ can be applied to both the amp and the filter. The LFO section provides triangle or square wave patterns as well as Sample-and-Hold. Additionally there is a simple Ring-Mod effect called ‘Bell’.
Unique to the MG-1 is a slider on the far right side of the keyboard which controls the volume of a simple divide-down polyphonic organ sound. This feature makes it at least a little more versatile than the Rogue. There are RCA inputs and outputs (the input is routed straight to the output for playing along with music from your stereo system) but no external speakers as in most other home marketed synthesizers. There is also no sign of Midi or patch memory on the MG-1.
For this song, Arturia Minibrute was CV sequenced by Elektron Analog Four.
Output of the minibrute was feed back into Analog Four to use FX track.
Rich Formidoni from Korg demonstrates the MS-20 mini at Kraft Music.
Sonic’s full review is here http://www.youtube.com/watch?v=QQ_Q1Q…
but Sonic has also invited live viewers to join them and the MS20 Mini synthesizer from Korg and ask any additional questions that weren’t answered in the full review.
KORG’s background info on the machine:
An analog synthesizer featuring the original circuitry from 1978
Korg’s MS-20 monophonic synthesizer, first introduced in 1978, is still a coveted instrument to this day, thanks to its thick, robust sound, its powerful, iconic analog filter, and its versatile patching options. Over 300,000 people have enjoyed the distinct MS-20 sounds from the original, from Korg’s MS-20 plug-in synth, or the iMS-20 iPad app.
Today, the sounds of the MS-20 have been reborn in hardware, as the MS-20 Mini. The same engineers who developed the original MS-20 have perfectly reproduced its circuitry and fit into a body that’s been shrunk to 86% of the original size, yet retains the distinctive look of the original.
The MS-20 mini will amaze you with its absolutely authentic analog synth sound.
Comments from the developers
Fifty years have passed since Korg was founded, and we have once again put our hand to an analog synthesizer. We took particular care to deliver smooth parameter adjustments, which are a distinctive feature of analog synthesizers. We also took special care to completely reproduce the original specifications of the MS-20. The analog circuits we designed 35 years ago still deliver the same unbeatable, powerful sound, from the ultra-low to the ultra-high range.