This three oscillator analog with 8 voice paraphonic operation, has slipped under the radar a little with some of the other big monosynth releases this year. I think it deserves a closer inspection.
It’s a Bigger Badder Mopho!
Mopho SE is the newest addition to DSI’s revered line of analog subtractive synthesizers. Building upon the same award winning voice architecture of the Mopho and Mopho Keyboard, the Mopho SE boasts huge sound in an ideally sized, portable, and elegantly designed package. Use it to create huge basses, creamy leads, and maniacal sequences.
The Mopho Sings!
The Mopho SE voice is composed of two analog oscillators, two sub octave generators, selectable 2- or 4-pole famed Curtis low-pass filter, three 5-stage envelope generators, four LFOs, a re-latchable arpeggiator, and a 16 x 4 step sequencer. Its voice also comes packed with 20 modulation sources and almost 50 destinations!
FM the filter to create metallic bell-like sounds and use the feedback path to add subtle or destructive harmonic content to your sound. Process external audio through the Mopho’s voice and add some analog warmth to any source. Mopho SE’s 100% analog signal path is powerful, monstrous, and sonically dynamic!
Here one uses CV to link the Arturia MiniBrute and Microbrute analog mono synths together and show you some of the great features of combining these two great synths.
The Analog Keys is a four voice flagship analog synthesizer, conceived with the modern artist in mind. Fully analog signal path, digital controls, and unprecedented playability make it an instrument for the expressive musician.
Premium analog synthesizer
The Analog Keys is a four voice polyphonic analog synthesizer, capable of generating the finest basslines, chords, leads, and sounds imaginable. The warm and deep tone represents the pinnacle of analog synthesis and the acclaimed Elektron sequencer stands ready to arrange and warp the analog sounds in real-time. Complete the experience by treating the four voices with incredibly well-crafted master effects. A new world of sounds awaits.
The Analog Keys is tailor-made for the stage. The 37 semi-weighted keys of the keyboard give instant fingertip control of the analog tones. The special performance mode offers direct access to user-defined parameters, and the joystick, capable of controlling up to fifteen parameters, allows for extreme morphing of sounds. Improvising when playing live has never been this easy.
Heart of the rig
Compatibility with other instruments is well catered for. Simply press a button to transform the Analog Keys into a MIDI keyboard, ready to control external MIDI gear. Thanks to the dedicated CV sequencer and the CV/Gate and DIN sync outputs, analog instruments of both today and yesteryear can be played, sequenced, and controlled with precision. Use the multitude of control options to breathe new life in vintage and modern rigs alike.
*100% analog signal path
*Four voices, each with 2 analog oscillators, 2 sub-oscillators, dual analog filters, analog overdrive per voice
*37 key semi-weighted keyboard with aftertouch
*+Drive storage hosting up to 4096 Sounds (+Drive Sound Library)
*Elektron sequencer with CV/Gate sequencing
*Parameter assignable joystick
*Extensive modulation possibilities
*Supervoid Reverb, Saturator Delay, Wideshift Chorus send FX
*Polyphonic, multitimbral, unison modes
*Dedicated MIDI controller mode
*1x headphones output, 2X main outputs, 4x stereo separate track outputs
*2x audio inputs
*MIDI IN/OUT/THRU with Din sync out
*2x dual CV/Gate outputs
*USB 2.0 port
The Analog Keys goes on sale December 5. Shipping starts Dec 9. List price: 1849$/1749?/1449£
This is a free Ableton Live Pack consisting of 2 instrument racks created from samples of the Casio CT-101 vintage synthesizer.
Download Link: http://bit.ly/freesynth96
The CasioTone 101 (CT-101) is a VERY basic analog synth from Casio circa 1981. The keyboard has 49 full-size keys and is finished in satin black painted metal, has wooden end-cheeks and a wood grain finish underneath the front of the keys. It gives your studio a good analog/vintage feel. Most sounds are very basic and fairly unusable. However, its organ tones are pretty good as well as its ‘Cosmic Tone’ patch, which uses two oscillators tuned an octave apart, and as the keys are held down, the sound drops an octave as oscillator 1 fades up, and oscillator 2 fades down.
Background video description:
Cubasis Updated with Inter App Audio, and they have given us a brand new Mono Analogue VST Style stand alone Synth called Nanologue that also works with IAA.
Nanologue boasts a wide scope of inspiring sounds and professional sound effects, sporting a straightforward multi-touch interface and a great-sounding monophonic synthesizer. Used stand-alone and in connection with your iOS host application via Inter-App Audio, Nanologue brings the power of VST 3 technology to the iOS platform.
Tap into the power of 3 analog super-synths—the JX-10, MKS-70 and JX-8P. UVX-10P recalls the last true analog synthesizers from the famed masterminds behind the Juno and Jupiter series, delivering a lush and extravagant analog sound. A fully-programmable interface lets you dive in and craft your own patches—utilize our high-quality amp and multimode filter designs, multiple effects, LFO, step modulator and much more.
In 1985 the world was introduced to the JX-10, a 12-voice, 24-oscillator analog synthesizer par excellence and the last true analog synth of its lineage. Following in the footsteps of the JX-8P and JX-3P, the Super JX was fashioned with a sparse aesthetic. A lack of knobs made the system a bit of a chore to program but an external controller (the PG800) could be attached, cheerfully reuniting synthesists with the immediacy and rapid programming speed of the ever-popular Jupiter and Juno lines. The JX-10 is known for an immense and capable analog sound, even some digital textures; it’s simply a magnificent synth. Programming capabilities were equally rich with independent control of 2 DCOs per voice, 2 EGs, 2 VCFs, onboard chorus and even a sequencer (albeit a limited one).
UVX-10P was designed to deliver on all of the strengths of the JX series with none of the weaknesses. We started with a pristine JX-10, MKS-70, and JX-8P and set off, tirelessly programming and sampling these beauties in high-resolution through a world-class signal chain. As with the UVX-3P we made every sample twice, with and without the built-in chorus, providing an authentic and versatile foundation. This sonic backbone paired with the UVI Engine results in a lush and extravagant analog sound; faithful to the hardware with a modern studio bite. UVX-10P delivers a fully-featured and fully-programmable interface sporting ADSR control of our high-quality amp and multimode filter designs, multiple effects, LFO and step modulator, a tediously crafted library of 150+ patches and even original wave samples for you to create your own programs with.
A perfect complement to UVX-3P, UVX-10P delivers a tremendous analog sound at an outstanding price. Add a piece of vintage synth history to your collection today!
The second video in series demoing the Alesis Andromeda A6 analog synth.
— Fx’s Used —
DAW Fx: Synapse Audio Diffuse Delay
A6 Fx: Reverb, Analog Distortion
AnalogAudio1 plays the Roland SH-2000 with reverb effects from a Lexicon MPX-500 and delay effects from a Roland DEP-5.
The Roland SH-2000 is a preset monophonic analog synth with aftertouch. You can tweak the presets a bit with LFO and filter controls.
The SH-2000, introduced in 1973, is Roland’s second synthesizer and is essentially a limited version of the SH-1000. Like the 1000, it is a single-oscillator monophonic analog Preset synthesizer designed to sit atop a home organ. It’s got a great old analog sound but its lack of edit-ability and connectivity compared to the SH-1000 is what ultimately holds it back from being really great.
Its 37-note keyboard are several colorful tab switches which are used to select any one of its 30 Preset sounds. They range from the usual to the unusual: Tuba, Trombone, French Horn, Trumpet, Saxophone, Bassoon, Oboe, Flute, Clarinet, Cello, Violin, Bass Guitar, Hawaiian Guitar, Banjo, Fuzz Guitar I, Fuzz Guitar II; Piano, Harpsichord, Accordion, Vibraphone, Xylophone; Singing Voice, Song Whistle, Popcorn, Space Reed, Planet, Frog Man, Funny Cat, Growl Wow and Wind.
Left of the keyboard are the only editable controllers available on the SH-2000. They include the filter’s cutoff, resonance and modulation sliders, LFO modulation rate, portamento, vibrato, pitch bend, volume and master tuning. The filter and LFO are severely limited and there are no ADSR envelope controls. However, the cool ‘Growl’ and ‘Wow’ effects and the Random Note Generator from the SH-1000 are here, which is nice. Amazingly, this 1973 synth has aftertouch, called the ‘Touch Effect’ which can be assigned to modulate the volume, Vibrato, pitch, ‘Wow’ and ‘Growl’ effects. A few other drawbacks to the SH-2000 is the total lack of CV/Gate for external communication and no user memory.
The SH-2000 is great for squeaky effects and growling bass notes. However the SH-1000 offers much more flexibility and a better sounding filter.
Alex from Sonic Sense Pro Audio demonstrates the new Arturia MicroBrute analog synthesizer.
MicroBrute is pure analog sonic powerhouse of a synth. Small in size but loaded with features, it follows in the footsteps laid by its big brother the MiniBrute.
Packed with mixable waveforms, a new sub oscillator design, the famous Steiner-Parker multimode filter, super fast envelope, syncable LFO and the new step sequencer, not to mention the patchable mod matrix the MicroBrute is a landmark new synth at an incredible price.