A short demonstration of the new accessories released for the Teenage Engineering OP-1 Portable Sampling Synthesizer.
Mind you, you still pay for the style – though these are just plastic, that design and packaging will cost you anything between €9 (crank or brickshaft) and €79 for the Soft Case.
I frequently receive questions about my music setup and how I connect and record the various instruments, when filming my “Synth Jams”. This video gives you an overview of my workflow, and hopefully inspires you to design your own live performance setup. If you have further questions, post them underneath the video, or write me a message. Of course I’m also interested in how you make music, so go ahead and tell me about your setup or link me to your own audio/video on the internet.
Bleep Labs has introduced the new Hard Soft Synth 3jb, a audio + video synthesizer. The HSS3jb features 15 modes of audio/video excellence, each with 4-5 variables of control. There are also 8 video only modes designed for use with the trigger and audio inputs. An adjustable analog filter keeps everything smooth.
- 15 Audio+Video modes and 8 video only modes.
- RCA, S-video, and VGA video out.
- Audio, IR, and trigger input as well as trigger out. IR with Handmade Music Austin or Gieskes devices,
- Hook it up to a modular via trigger or use the audio input to control the sounds and video of the HSS3i.
- Analog low-pass filter controlled via photocell.
- MIDI input controls device parameters.
- Circuit bending, color switching, fade, and individual color controls for video.
- New enclosure and more compact design (5.5? x 3.5? x 2.5?).
The Hard Soft Synth 3jb is available now for US $285.
The new Hard Soft Synth is here. See all the new features at http://bleeplabs.com/hss3j/
Fresh from Summer NAMM, here’s a closer look at a new controller, the Samson Carbon 61
New from the floor of summer NAMM 2012 Samson introduced the new 61-key version of their popular Carbon MIDI controller series.
The new “Carbon 61″ even has an iPad dock! This is expected to be released in the next few months!
“Live-Mode” is the latest manifestation of experimental hardware only performances from Henry Homesweet.
Another vidéo from musikgear.com
Trying out this beast with a stereo delay.
Soon we’ll make a complete Ableton Pack out of it. Meanwhile, you can try this one : http://designthemedia.com/files/file/24-blue-box-synth-live-pack/
Death from above with a high voltage shriek: TR-Valkyrie marks, destroys, and parties upon arrival in the great beyond mountain lodge of Valhalla; Odin forbid you should drop her on your foot. Weighing in at a scale tipping mass that is now stereotypical of Brünhilde’s soprano role, the chassis was originally factory built by the of the first production Wein-bridge oscillator. Her heaven sent insides wrought of 4 pentode tubes rewired completely to suit the alchemy of a Trogotronic Custom. TR-Valkyrie performs demi-deity grade feats of analog audio generation or treatment to whatever you choose to run through this metal mother of all flying ladies adorned in helmets horned. When these original units were state of the art test equipment no expense was spared in their construction; these were the very best that money could buy and could not be had for less than a goodly Nordic treasure.
Here are five videos featuring the new AVR Synth, below are some background info. The AVR SYNTH is a monophonic “virtual analog” synth based designed by Jarek Ziembicki. The synthesis architecture is simple:- two DCO’s, a DCF, and a DCA. There is also an LFO and an AR/ASR envelope generator.
just tweaking this new synth
…the AVRSYN from Elby designs…. trying to find its sweet spots.
“The AVRSYN is a monophonic “virtual analog” synth based
on the Atmel AT90S8535 microcontroller. It was originally designed by Jarek Ziembicki.
His aim was to check to see if a simple micro-processing chip could be used for sound synthesis.
Paul Maddox later adapted this design design using a
ATMEGA16 instead as the AT90S8535 is no longer in production.
I think they succeeded.
The AVR consists of
two DCO’s, a DCF, and a DCA. There is also an LFO and an AR/ASR envelope generator.
All sounds are from the AVR.
Thanks to Blake C for the tweaking.
Thanks to Matt from RhythmActive for the AVRSYNTH
The Vestax V-MIDI is a compact CoreMIDI interface that enables connections between USB MIDI hardware and apps for iPad, iPhone and iPod touch. V-MIDI powers your iPad, iPhone or iPod touch and will also power a range of USB MIDI devices which require external power. V-MIDI also amplifies the audio from your iOS device and provides a knob for volume control.
- Core MIDI in/out interface
- Connects to any USB MIDI device to control more than 100 CoreMIDI compatible apps available from the App store
- The only CoreMIDI interface compatible with iPhone®, iPad® and iPod touch®
- Charges iOS devices and USB MIDI devices at the same time
- USB host IC connector for MIDI USB devices
- Stereo headphone output
- Headphone amplification & volume control
- MIDI send (iOS / Hardware) LED indicators
- Mini DIN(6pin) to USB convert cable included
Here are a couple of user scenarios for the Vestax V-MIDI:
A very nice test of the real thing verus the digital version, and below you can read all about it:
A dry 1:1 comparison of the SonicProjects OP-X PRO-II virtual Oberheim VSTi software synth to an Oberheim OB-X Rev.2.
The lower manual in the video is an USB midi master keyboard (an Emu Xboard 61) which drives OP-X PRO-II hosted in Steinberg Cubase 5. No effects or any other treatments were involved, both OB-X and OP-X PRO-II were recorded directly to disk, OB-X over the line inputs of an RME HDSP 9632 which has very neutral sounding converters.
The exact detunings (deviating filter settings, warm up pitch drift, etc.) and the individual pan settings of the voices of OB-X have been copied in every detail before with the voice based tuning features of OP-X PRO-II for a perfect match to the real synth.
To copy the bright sound OP-X PRO-II uses the BRL (brilliant) filter setting (DMP button, second button above voice mutes) which is dedicated to copy the sound character of the early OB-X and allows the filter to open into the ultra sound area and adds some extra shine in the heights.
The used patches can be downloaded here:
The patches as used in the video:
00:02 Preset 04 B3 – Slow Upsweep
02:05 Preset 03 D8 – Resonance Pad
08:01 Preset 05 D2 – Sync Unison
08:26 Preset 01 D4 – Soft Brass
09:53 Preset 06 D6 – Soft Strings
10:44 Preset 02 C7 – Fullanalog Strings
The letter number combinations are the physical memory locations of the patches in the used original synth which were copied with OP-X PRO-II for the comparison.
Since all the original’s exact voice detunings have been copied in every detail too the patches sound almost 100% identical to the ones in the used device, which gives you the opportunity to have its unique characteristic sound at home too!
Some words about the OB-X:
The Oberheim OB-X was Oberheim’s first fully programmable polyphonic synth and is the direct follower to the SEM based 4/6/8-Voice models. Other than the later OB series models (OB-Xa, OB-8) the OB-X still uses the discrete wirings of the SEM for the oscillators and filters and only uses curtis chips for the envelopes.
This gives the synth a very bright and open sound, quite different from its followers OB-Xa and OB-8 which are fully curtis chip based and sound a bit darker and more behaved. The OB-X is the “enfant terrible” of the OB series.
Here’s some very useful info:
The featured OB-X is a six voice model (maximum was 8) and it has a lot of detunings going on because of all the wirings and dicreete voltage controlled components which gives the synth a very lively and organic sound.
The voices could be calibrated for a more “perfect” and even sound, but they were left as they are since it simply sounds more exciting like that, featuring some of the magic of the old SEM based 4/6/8-Voice where the never exactly even sounding voices (since they had to be programmed one by one manually) were part of the whole experience, and were the main inspirator for the Separate Voice Design (SVD) engine in OP-X PRO-II which allows to calibrate the voices for an individual sound too.
MFB has updated their site with details on the Dominion-X synthesizer.
The MFB Dominion-X combines analogue synthesis, programmability and modular patching.
- Programmable Analogue Synthesizer
- 3 VCOs with wave shaping and ring modulationDual-Sync and Dual-FM features
- 6-fold multimode-filter including 3 low pass configurations with 12/18/24 dB
- patch-section for external CV/Gate-control
- Velocity routing matrix with 11 destinations
- 3 LFOs with 2 LFOS offering one-shot-modes and reset
The MFB Dominion-X is priced at 780, Euro.
Audio demos and details below.
The MFB Dominion X offers three oscillators for maximum flexibility. Each waveform can be varied in symmetry. Besides altering the pulse width of a rectangle, you may also continuously turn a saw tooth into a triangle and a triangle into a sine.
All oscillators also offer ring modulation. In addition, VCO 2 and VCO 3 can be synced to VCO1.
Finally, VCO3 can modulate the frequency of VCO 1 and VCO 2. The analogue oscillator circuit is processor-controlled for stable tuning.
To complete the available sound sources, noise or an external audio input can be added to the VCOs in DOMINION X’s mixer section.
The filter offers six operation modes. Available are three low pass variations with 12, 18 and 24 dB/oct. slopes. Also available are high pass-, band pass and a notch filter with slopes of 12 dB/oct. respectively 6 dB/oct. Variable filter modulations are possible via an invertible envelope, keyboard tracking, LFO, VCO, different MIDI controllers as well as by the use o the CV-input.
The two ADSR-type envelops are internally routed to the VCF- and VCA-sections. In addition, envelope 1 can also modulate the VCO section. LFOs 1 and 2 offer six waveform shapes including sample & hold. They may be switched to one-shot-modes to emulation simple envelopes. A third sine-LFO works in combination with a keyboard’s modulation wheel and can dynamically address the VCO, VCF and VCA sections.
Modulations are assigned by the use of selector switches, located at the destinations. This allows easily setting and re-routing internal modulation paths – ideally for your live-performance.
To integrate external modulators, control- and audio sources, DOMINION X offers nine inputs. Therefore, oscillators, filter, VCA, CV/Gate and mixer can be easily combined with other analogue synthesizers such as MFB’s MEGAZWERG, analogue sequencers such as MFB’s URZWERG PRO or modular synthesizer systems.
An additional selector switch allows assignment of velocity for up to eleven modulation destinations.
The MFB Dominion X offers 128 programmable patches. To support sound programming without an attached keyboard, different demo sequences are available. To use The MFB Dominion X as a filter box for external audio sources, the VCA can be opened permanently. Finally, there is an insert available to integrate an effect or distortion unit into the signal path.
The MFB Dominion X has the following dimensions: 330 x 170 x 60 mm. An external power supply is included.