This is bass — so headphones required!
Here’s a little bass jam put together with 2 Studio Electronics ObieRacks, an Analogue Solutions Oberkorn analogue sequencer, and a Telemark V2 semi-modular synth. A five voice!
The Telemark (under the ObieRacks) is providing the backing pitchy, swooshy f/x, and you’ll see the binary inputs of the Oberkorn being patched — which creates new patterns on the TM in binary fashion.
The ObieRack has a master filter cutoff (for both SEMs) that is adjusted during the video. Additionally, the SEMs are switched to bandpass mode for some variety in the sequence.
No overdubs, no FX, no frills — just a quick recording of the dry/raw juicy analogue sounds.
just for fun!
Ade Fenton (Gary Numan producer) loves the Analogue Solutions Vostok synthesiser.
Loves the true analogue sound.
This demo features a variety of sound types and sequences (traditional and non-traditional) demonstrating the Vostok’s sound palette and variety of timbres. All sounds, with exception of the obvious acoustic drums (used for context), are created on the Vostok using either traditional patching or the pin matrix — or a combination of both.
Sounds are being driven by either the on-board sequencer, MIDI sync (via GATE to CLOCK), or direct MIDI connection to a controller keyboard.
Emphasis for this video was more traditional synth sounds (basses, leads, sequences) as there are plenty of non-traditional (fx, ambient, noise) sound demonstrations on YouTube. The filter section at the heart of the Vostok was also a focal point of this video and is tweaked extensively for the various sound types.
Also, see the Telemetry (mini Vostok) in action at the following link:
KEY FEATURES OF VOSTOK Pure analogue voice circuitry. Suitcase style design. 22×22 matrix pin panel. Rugged Steel construction. Quality chrome catches and cool steel spring handle. Stuffed full of electronics. No front panel space is wasted. Joystick, retro-VU meter, MIDI, jack socket patch points, more, more, more!
SUB frequencies = headphones required…
Here’s a first look at the Analogue Solutions Telemark V2.0 synthesizer. The new release features the addition of a SUB OSC / DIVIDER as well as a RING MOD. The inclusion of these two sound sculpting elements have a vast and powerful effect on the overall sound of the TM.
As usual, the Telemark is being sequenced via the Oberkorn MK3 analogue sequencer (black face). The AS CVQ02 Quantiser was also used between the Oberkorn and the Telemark for some of the more melodic sequences heard. Transposition was done via MIDI.
The AS Spring Reverb module also makes an appearance serving processing needs for the TM.
At video end, a live melody is played atop a sequenced (Oberkorn) TM synth line.
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.
BRUNO ENDER LEE – “Return to the Pleiades” – performed live, October 14. 2012
MacBeth M5N & Doepfer MAQ-sequencer, Synthesizers.com Studio-88, ARP Odyssey, MiniMoog Voyager OS, Moog Little Phatty, Analogue Solutions Vostok, Korg Polysix, Korg DS-8, Korg MS2000, Roland Juno-60
2012 Velvet Voyage Productions, all rights reserved
Four Analog Promenades
Korg MS-20 + Analogue Solutions Telemark + Plogue Bidule + Audacity
1 and 4 are played by hands, 2 and 3 are played by the machines.
Every videos have been made on the august 25th 2012 in Nantes, France.
3-Dredging the time
4-Driven by the sun
“Hello ! My name is Frederic Gerchambeau. I have made this movie and this music. The music has been made in one take using a Korg MS-20, an AS Telemark, Plogue Bidule and Audacity. Enjoy !
I am a (proud !) member of the french association PWM (Patch Work Music) :
Here’s a quick video demonstrating an 8-step sequence using the Analogue Solutions Oberkorn analogue sequencer. Sequence reset is triggered via Gate X out.
Bass provided by the new Telemark-K keyboard while the filter is opened and closed by Oberkorn. Transposition is done via the TM-K (keys).
AS Quantiser also featured between the Oberkorn and TM-K.
Allen Weldon takes us through the Leipzig-S analog synth:
This is the Analogue Solutions Leipzig-S Analogue Synthesizer and intergraded analogue sequencer. This is a synthesizer with pure voice and modulation circuitry featuring two voltage controlled oscillators w/4 types of selectable sync plus glide and PWM, a sub oscillator, 4 VCA Options EG 1&2,Gate and Thru, a noise source/ext in, LFO, a self resonating 24db voltage controlled low pass filter w/tracking, several cross modulation options for VCO 1 & 2 and Filter, 2 snappy ADSR’s w/selectable MIDI Trig Switches (very good for percussion) The intergraded 8 step analogue sequencer is what puts it into a league of its own. There are 8 clocking options including LFO, VCO2, MIDI Key, Accent, Ext 1, MIDI CV-2, MIDI Sync,-. There are also destination knobs on the sequencer for VCO1 VCO2 and Filter that provide voltage controlled modulation according to the destination source and amount from the modulation section. This is a badass synthesizer that is in a category of its own.
In this patch I’m using the intergraded sequencer clocked by VCO2. The sequencer is being triggered by EG 1+2 (I’m also using the MIDI Trigger switches from Envelope 1 & 2) VCO2 is synced to VCO1. The VCA mode is set to Thru. Towards the end I started clocking the sequencer using the switch provided in the mixer section. It clocks the sequencer at audio frequencies, then the sequencer becomes an audio freqeuncy.
Listening test for Leipzig-S; audio rate sequencing, waveform, lowpass filter, suboscillator, etc…
KEY FEATURES OF LEIPZIG-S
- Pure analogue voice and modulation circuitry.
- Fat Moog style filter.
- 2 VCOs with Glide and Sub-VCOs.
- Osc Sync & Cross-Mod
- Plenty of modulation routing possibilities.
- We are a big fan of electronic percussion here, so Leipzig-S modulation choices provide for good drum possibilities
- Analogue step sequencer – with plenty of clocking options.
- Audio input so can be used as a sound processor.
- Rugged steel/aluminium construction.
- MIDI In for software sequencer control.
Evolving from its namesake Leipzig (rack-mounting) and Leipzig-k (keyboard-endowed) analogue monosynth predecessors, the rack-mountable/tabletop Leipzig-S literally goes several steps further by incorporating an in-built eight-step analogue sequencer that can be used to produce simple melodic lines as well as acting as a modulation source to affect the filter cutoff (or to create additional effects, depending on other control settings). VCO1, VCO2, and the VCF are all available as sequencer destinations; seemingly simple, yet favourably flexible, the step sequencer can be creatively controlled (clocked) by multiple sources — at audio frequencies (using VCO2 as a clock source), or using the output of the sequencer itself as an audio source to be ‘played’ via MIDI while the eight step controls then alter the ‘waveform’/tonal content, for example, such are the adventurous advantages of packaging an analogue step sequencer with a true analogue monosynth!
The entire design is traditional early-Eighties analogue (voice and modulation) circuitry, comprised entirely of discrete components and op-amps (bar, of course, the digital sequencer controller and MIDI-CV interfacing); since the Leipzig-S is a strictly no-memory affair, all controls are not quantised, resulting in an authentically vintage sound, replete with musically desirable quirks and subtle artefacts (much in the same way that, say, a valve amp or vinyl record adds sonic character) — unlike some other modern ‘analogue’ synths that arguably sound almost as perfect as DSP analogue modelling.
With electronic percussion having influenced the choice of routings, the Leipzig-S boasts a huge range of modulation possibilities to facilitate creating the widest possible range of sounds, including deep basses, sound effects, analogue loops, and (obviously) electronic drum sounds.
BRUNO ENDER LEE – “Spaceship” – performed live, March 3. 2012
MacBeth M5N, Doepfer MAQ-sequencer, ARP Odyssey, Synthesizers.com Studio-88, MiniMoog Voyager OS, Moog Little Phatty, Analogue Solutions Vostok, Roland Juno-60, Korg Delta, Korg Polysix, Korg MS 2000
(through 5 different stereo-panning-delays, 4 Behringer DD600 & 1 Boss ME-50)
composed, arranged & produced by Bruno Ender Lee; 2012 Velvet Voyage Productions