Live ambient music performance on Access Virus C (Indigo 2) using rhythmic LFOs, reverb, resonance and envelope filter adjustments.
Excerpt take from a longer session.
Studio Electronics has released these photos of the first production Boomstar synthesizer – a Boomstar 4075. Earlier this year, Studio Electronics announced a new line of four Boomstar synthesizers, each with a different style of filter:
- 4075-classic Arp 2600
- 5089-classic Moog 24db ladder
- SEM-classic Oberheim 12db
- 303-classic Roland TB.
The Boomstar synths are priced at $799.
Back to the raw power and purity of non-programmable* discrete analog––where STUDIO ELECTRONICS started in 1985. The snap and punch of hardware envelopes drive the BOOMSTAR’s brilliant voltage controlled circuits with unparalleled sonic integrity and versatility. BOOMSTAR is the ultimate desktop analog synthesizer for those who remember and desire still, the electronic Analog sound that changed the world and for seekers who have yet to discover that magic and delight… in their time.
This new blazing brainchild of STUDIO ELECTRONICS represents the design collective ethos of circuit and software “Saseong” Tim Caswell, tactile layout and lead feature specialist Greg St. Regis, graphic and sound consultant Marc St. Regis, art design wizard of vector truth, John Greczula, cool-headed concept leader Geoff Farr and our relentless and wise feature and functionality consultant, Drew Neumann.
Four Models/Filter types: 4075-classic Arp 2600, 5089-classic Moog 24db ladder, SEM-classic Oberheim 12db, 303-classic Roland TB.
This All-American-Made music machine’s discrete voltage controlled analogoscillators, hand matched transistors in its filters and amplifiers and STUDIO ELECTRONICS’ typically expressive programming feature realizes its name: Earth Grounding Subs to Deep Field Shimmers… BOOMSTAR!
Studio Electronics Boomstar 4075 – ARP Filter Sneak n’ Peak (Take 2)
Get the .aif.zip here: http://studioelectronics.com/assets/Audio/boomstar/Boomstar-4075-GSR-1.aif.zip (for you listening pleasure only).
Greg St. Regis’ clever twists and turns launched the first 4075 Boomstar past “the surly bonds of earth,” via a cheap audio interface that happened to be around. More Boomstar filter type demos, live footage and markedly superior D/A Converters to follow.
Headphones mandatory. Production units are mere weeks away!
Greg St. Regis comments:
We’ve spent the last month debugging the prototype pcbs and perfecting the analog circuits. At this point, I felt it was good enough to give you all a sneak preview of the sound. It has about 90% of it’s hardware functional. Still to be implemented is the software LFO. This is raw BoomStar recorded though a Focusrite Scarlett interface (nothing special), into Reason with a Macbook Pro. We did this in about 20 minutes, one take. I played a small Akai controller with a built in arpeggiator with my left hand and turned knobs with my right. It’s “kinda cool.
It was originally about 11 minutes long; Marc did a small amount of normalizing and edited it down to 8 minutes 30 some seconds.
Put some decent headphones on and listen to huge low booms end and searingly crisp filter sweeps. I tried to take it though a full compliment of waveforms, xmod, rmod, oscillator sync, feedback looping, resonance squeals and overdrive. There is quite a bit more to come when the LFO gets in on the action.
The chassis are getting screened this week. We’ll post more demos in the days to come with video included. And no, this is not an SE1X or ATCX! They sound quite good, but there is nothing like the clarity and impact of pure discrete analog with hardware envelopes.
p.s. Expect to see these in the shops in about 30 days… we’re in love with this little beast.
Previous MSR comments:
“Four Boomstar hardware circuits: crossmod, ringmod, feedback, AND distortion are at play here at one time or another. The idea was to stretch out… and let things get greasy and messy.”
“The “feedback” feature (a la the Minimoog) is employed throughout this track so that distortion is an effect. If you are attempting to listen to this through your laptop speakers they will be overwhelmed quickly.”
This is the first in a new series of Reaktor Tutorials that will be posted on flipmu.com. This video covers the different ways in which you can modulate a Filter in Reaktor, and discusses the details about why you would choose one input over the other.
The video starts with a brief overview of the test ensemble, and demonstrates the way different controls sound when hooked up to either the PM input or the FM input.
The second half of the video goes into the details of WHY you might want to hook up knobs and LFOs to the Pitch inputs, and hook up ENVs to the Frequency inputs.
The example ensemble can be found at flipmu.com/work/software/
Atomic Shadow has set up a self playing S/H patch on the EMW-200 and ran the result through the STG Sea Devil and Krisp1 ring mod. All of the raw sound is coming from the EMW-200, the Krisp1 mini LFO was controlling the filter. Part of the signal made it through the Strymon El Capistan echo pedal. The improvised drums were then performed live with the patch on the V-Drums. The film was then finished by Micky Dodds who also made the film for February-Moon Of Ice from the Twelve Full Moons album.
Here’s a patch showing the new Analogue Systems rs450 CV Recorder/Sequencer and the Cwejman MMF-2 Stereo Multi-mode Filter module. The Cwejman MMF-2 is filtering a basic saw wave bass from the Cwejman VCO-2RM running into a version of lowpass on the MMF-2. The kick and snare were created using Analogue Systems modules. The sixteenth note percussion is a modulated Cyndustries Zeroscillator through a Cwejman VCA, opened by the Cyndustries Four Transients module.
They’ve pre-recorded a few CV sequences into the incredible new Analogue Systems rs450 CV Recorder/Sequencer. It’s being clocked by an A.S. rs200 sequencer (which is running the whole patch actually). They are switching between four or five preset sequences which in turn is controlling the pitch of a Cwejman RES-4 module.
The rhythms for this patch are derived from the 4ms Shuffling Clock Multiplier and we’re also using a 4ms PEG module as a slow modulation source for the MMF-2. Rad!
Ableton Live sidechaining tutorial part 2: Auto Filter. Ableton’s compressor, gate, and auto filter all have side chaining capabilities. In this second part of a three part series, AfroDJMac will show how the sidechaining function on the Auto Filter works.
Music created with AfroDJMac’s Premium Ableton Live Pack: http://afrodjmac.spinshop.com
New video by ‘gstormelectro’ exploring filters on the Alesis Andromeda, details below:
This continuing tutorial series will focus on editing patches on the Alesis Andromeda. In this video I will examine the FILTERS and POST-FILTER MIX modules in more detail. I will continue topics for Filter FM and Filter Feedback and show how to finalize their configurations. I will introduce the ribbon controller as a mod source, and show how to tweak some more sounds along the way.
0:33 FILTER2 INPUT Configuration
1:30 FILTER2 Self-Oscillation
2:49 FILTER Parameters and FILTERFM
4:20 POST-FILTER MIX module and FILTER FEEDBACK
5:49 RIBBON CONTROLLER
6:26 Patch: Ripper
More details on the Pi Synth:
A short demo showing filter cutoff, resonance and more LFO- and EG-driven Phase Distortion.
Thinking about Bob Moog on the anniversary of the founding of the Bob Moog Foundation, so I cranked up some synths and modulated some filters in his honor. www.moogfoundation.org