Short Doepfer A-106-5 Demo by NetPierre
Starts with a sequenced bassline, generated by my Doepfer MAQ16/3 and Doepfer VCO A-110 (saw wave)
Bandpass Mode first, LP/HP later
A-118 Random voltages added to VC2 input somewhere in the middle.
Drums provided by an Elektron Machinedrum
More info on the A-100 and related stuff at http://PatchPierre.blogspot.com
Filter Lancet is processing audio from MIAMI analog drum machine; first with static filtering, then with gate and enf foll extraction from audio
Acidlab Miami Drummachine
16 instruments, all analogue – fat and good, 3 trigger outs, ind. outs, 64 steps per pattern (A/B) max. , chase light principle, 4 fill ins, DIN sync – the 808 can be equipped with midi 2 ways: 1) a DIN sync interface is built in, there are lots of din sync to midi converters (doepfer,kenton..) 2)send it in and let kenton add a nice midi interface! (see the red button the the right side? it’s a midified TR-808 here!) Roland TR-808 and Jupiter 6 / 8 Buttons.. warning!achtung! the 303 buttons needed to be “slightly adjusted”.. most buttons on 808 and Jupiters do not work perfectly these days. here’s a replacement: —> omron B3F-4000 farnell nr.:176434 für 303 ( B3F-4050 ) F.nr.: 176435 and TR808 env/decay times Roland TR808 laufzeiten der hüllkurven – envelope running times: bd (decay =min) 242ms – (max) 1646ms. sd 199ms lconga 341ms mconga 234ms ltom 455ms mtom 309ms rim 15ms clave 41ms maracas 33ms clap 1964ms cow 1157ms cymbal min 276ms to max 3956ms OH min 144ms max 586ms CH 112ms 5 sounds must be switched and can not sound at the same time like d nicht gleichzeitig zu hören: conga or tom (3x). Maracas or claps and rimshot or claves.
built 2009 / 11x polyphonic
+ TR sequencer
this is basically a clone of the Roland TR808 but with MIDI, all analogue but really as simple about controlling the instrument parameters.
A video discussing & demonstrating some design aspects of the Akai AX-60 analog synthesizer, in particular the filter resonance.
The AX-60 has been described as capable of some very ‘industrial’ timbres and one reason for this is the very strong filter resonance of the cem3394 voice chip. The design choice by Akai to use a full 5V CV for the resonance brought this out. Additionally, they used a linear taper slider for resonance, and a linear 5V response to the CV (they could have used a log taper, like I did here, or they could have processed the panel voltage and did a voltage taper conversion in firmware – cheaper! – to limit the resonance CV to the range in the cem3394 data sheet, but they didn’t).
These design choices meant many users probably ended up exploring a more ‘brash’ part of the AX-60′s sound palette than if Akai been more like Sequential Circuits in their limited internal programming of the cem3394.
a threatening pattern from MIAMI drum machine heavily filtered with Vermona Lancert and Bassline straight into the mixer. Some fiddling on front panels and, special guest, Mario Bianco playing his wery own Bassline cutoff and resonance controls…
Here’s a new video focusing on filters appearing on the Russian Polivoks synth:
It’s a strange synth. But what great filter …. can be switched from low pass to bandpass in an instant. It also posesses two envelopes that can be looped over the attack-decay sections.
I understand that Rammstein use this synth as does Franz Ferdinand.
This is the first of two videos comparing an original Polivoks Filter to one of its many clones.
In this demo, its Blue Lantern’s LM4250 VCF.
Im starting with an open filter… Cutoff at max – level 6, resonance at 0.
I’ll update this later with a more detailed explanation of the controls (for those who cant read Russian).
Modulation is via an LFO on the extreme left and an ADSR envelope.
Nice video featuring the first Jupiter synth from Roland.
All sounds from Jupiter 4 are produced by its self oscillating filter with VCO waveforem set to “OFF”. Modulating filter with ENV-1 and LFO and adding a little noise from time to time. Strymon TimeLine is being used in ICE mode with 1.5 octave interval.
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 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.
In this video, we take a closer look at the new filters in OS5 for the Access Virus TI synthesizer
In this tutorial, we take a closer look at the new additional envelopes in OS5 for the Access Virus TI synthesizer
FXpansion Etch Red: an exciting and great-sounding filtering effect based on DCAM circuit-modelled technology and now available as a Reason Rack Extension.
Etch Red features dual filters with 38 available filter responses, realistic audio-rate FM, flexible routing, additional drive & compression stages, and our unique TransMod modulation system with 2 LFOs, envelopes and more.
Availability & Pricing
Etch Red is available as a download-only product from the Propellerhead Online Shop
Pricing is USD $49.00, EUR €39.00 inc VAT where applicable.
Synapse Audio has released three new Rack Extension effects for Propellerhead Reason:
RM-1, above, is a virtual-analog ring modulator with a unique soft-saturation characteristic. Both an internal oscillator as well as mono and stereo side chains are available as a modulation source.
The AF-4 is a virtual-analog lowpass filter module, based on the well-known transistor ladder design. The filter can be driven into a warm, musical saturation, as well as into self-oscillation. Additionally, the resonant tuning is correct across the entire frequency range. The filter can be toggled between a 12dB/oct and 24dB/oct lowpass response, and supports both mono and stereo processing.
Full integration into the Reason enviroment and workflow is provided by the CV Inputs on the backside, allowing to control all front panel parameters.
The Synapse DC-2 dual chorus offers a warm, sweeping stereo chorus effect based on a classic two-stage design with matched delay times. Sound parameters include the delay time, modulation rate, depth and a bipolar feedback control.
The delay time, modulation rate and feedback parameters can be controlled via CV Inputs on the backside.
iZotope, Inc.has released the Ozone Maximizer Rack Extension for Propellerhead’s Reason.
iZotope says that the Ozone Maximizer Rack Extension is an essential mastering tool for adding fullness and polish to music produced in Reason. The original Ozone Maximizer has been used on countless recordings in varied genres like Rock, Hip Hop, Electronic, Classical and more. iZotope has now adapted this acclaimed technology for Reason, extending the Reason Rack with a versatile tool trusted by professional musicians and engineers worldwide.
“Many of us at iZotope have longed for the day that we could use more of our favorite production tools, like Ozone’s Maximizer, right inside of Reason. That day has come! Rack Extensions are a great solution for opening up the Reason rack to more world-class audio effects and instruments, and we are excited to be part of the launch with one of our flagship technologies.”
iZotope tell us that they have redesigned the Ozone Maximizer to perfectly complement the workflow Reason users know and love, making it an ideal addition to Reason’s Master Section. They say that, with iZotope’s exclusive IRC (Intelligent Release Control) technology, the Ozone Maximizer excels at boosting the overall loudness of a mix without causing distortion or pumping. This Rack Extension also includes iZotope’s MBIT+ Dither, letting users preserve the quality of Reason sessions when exporting audio for CD or MP3. iZotope says, with the Ozone Maximizer, users can give their mixes the final polish they deserve, without ever leaving Reason.
Mats Karlöf, Product Manager at Propellerheads, told us, “We are extremely happy to see iZotope, with their sense of quality and usability, inside the Reason rack. iZotope’s flagship technology, the Ozone Maximizer with its dithering function, have made Reason an even more complete end-to-end solution, helping people to put the finishing touches on their projects. I wake up every morning with a smile on my face thanks to the clever people at iZotope.”
- 2 Intelligent Release Control (IRC) limiter modes: IRC I and IRC II
- 2 low-latency limiting modes Hard(Brickwall) and Soft
- High-precision threshold control with integrated gain reduction metering
- Speed knob control for adjusting the character of the IRC Limiter from slow and transparent to fast and aggressive
- Variable Stereo Link control for independent limiting of left and right channels
- Inter-sample Limiting to predict when a digital signal might clip in the analog domain, and to automatically prevent these over’s
- Margin control for precise control of the output level, helping to dial back peak levels for better encoding to formats like MP3
- iZotope MBIT+ Dither for highest quality results when converting 24-bit Reason sessions to audio files with lower bit depths
Pricing and Availability:
iZotope Ozone Maximizer Rack Extension is available now for $79 USD.
FXpansion has announced the release of Etch Red, an exciting and great-sounding filtering effect based on DCAM circuit-modelled technology, and now available as a Reason Rack Extension.
Etch Red’s dual filters feature realistic audio-rate FM, flexible routing and 4 filter models offering a total of 38 filter responses and allowing all manner of fat and warm subtractive tone-shaping. Alongside 3 classic synthesizer filter circuits, Etch Red also includes a stunning comb filter model for creating mind-bending psychedelic effects.
Additional distortion and compressor stages are provided for beefing up signals, and FXpansion’s TransMod modulation system lets you contort Etch Red’s circuits over time. Use inter-modulating LFOs, envelopes and more to drive the filter cutoffs, FM amount, distortion and compression amounts, panning, wet/dry mix and much more.
Etch Red contains a number of CV and audio patch-points for integrating its circuits into your Reason projects: feed in CV from elsewhere to modulate parameters or retrigger the on-board LFOs, envelope or the sample and hold. You can even send in any audio signal as an audio-rate filter FM source. The internal modulation devices are also exposed as outputs, so they can drive other Reason devices’ parameters.
Etch Red can do amazing things to all kinds of audio material and is great for subtle warming, deep tone sculpting, wild sweeps, special effects and experimental sonics.
Etch Red is available as a download-only product from the Propellerhead Online Shop, priced at $49 USD / 39 EUR inc. VAT where applicable.