Music video improvisation on a Yamaha SY85 with Korg Kaoss Pad (mini-KP) effects. Using the HOLD button on the Koass this is another way of connecting music gear together rather simply. If there is interest I might show how to connect the devices together and recording the audio. In this case I record to a Zoom H2n.
Live improv over a new Reverb And The Verse song.
This is meant as a demo video for “tap write mode” on the Autobot, which I can see using on lots of future tracks. This thing has totally changed my feeling towards my euro-rack, in that its now really inspirational tonally. Before, it was mostly an afterthought.
The Acidlab Autobot is a 303 sequencer for eurorack; it has no sound of its own. It is driving a Cwejman VM-1 on really basic settings using a lowpass and a Sawtooth wave. The cv/gate are driving the Cwejman, while the Accent out is sent to filter frequency.
I have intentionally turned down the song to showcase the Autobot better.
Signal path: eurorack to Speck Xtramix to RME Fireface 800.
An improvisation featuring the EMW-200 from Electronic Music Works. No external effects or processing was used. The main patch contains three sub-patches. The first is the S/H module controlling VCO2 and then fed to the delay module. The second has the triangle wave on the master oscillator and VCO 1 ring modulating in the wave shaper section. And finally the noise output is being low pass filtered and then being ring modulated by the dedicated LFO (which is also modulating the pitch of VCO 1). Each sub-patch is routed to the left and right channels of the six channel mixer.
“I am struck by the warm and organic tones that can be generated by this instrument, as well as the sometimes unexpected sounds that can result from very small changes in the controls. In an upcoming video I will be pairing the EMW-200 with some external effects.”
The EML-200 was designed primarily for electronic music courses at Universities. It had no keyboard and leaned in a more abstract direction from the start. The EMW-200 also has no keyboard and will not do 1 volt per octave. The only controls are knobs and one button that can trigger a simple envelope. Where the new version differs from the original is in size. The original was quite large, close to the size of an Arp 2600. The EMW-200 is 16 inches wide, a little over 8 inches tall and 6 inches deep. Nice and compact. The other two places where it differs is a delay unit where the original had a spring reverb, and an a dedicated LFO where once there was a microphone amp. It uses 3.5mm patch cables so if you own Euro Rack gear this will assimilate easily. With the right adaptors it was more than happy to take some modulation from various DotCom modules. This is an analog synth. It is sturdy, steel cased and the knobs do not wobble at all. Nice.
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.
New video featuring the still quite hard to get Arturia MiniBrute, here’s what the author has to say about it:
“Attack of “DJ FINGERS” ! WOOoooOO *laughs* OK… If you can’t watch this with a sense of humor then just stop the video now. This is a work of fiction, it never happened in real life so no hating on how bad it is. Just messing around within the first 30minutes of me opening up the new Arturia Minibrute. Gotta say it’s lots of fun. Looking forward to exploring it a LOT more. Expect some better videos soon. There are some fun parts though in here. Youtube tells me there’s sync issues, sorry for that. Not going to fix, just going to upload more videos. This is also my first jam with the fat controller. Still learning it’s ins and outs.
I’ll tell you that off the bat it has arpeggiator issues. Be warned.”
Follow it here:
Rheyne in a nice session featuring lots of nice controllers, synths and pads, enjoy
Live looping improv jam using analog keyboards, USB controllers, and iOS devices. iPads are running Animoog, Lemur, and SoundPrism Pro. SP Pro is triggering NI’s Massive through an iConnectMIDI. A DJ TechTools MIDI Fighter 3D is controlling loopers, drums, and a monophonic synth. Its rotation is mapped to filters and vibrato. Normally my drums are played on an Akai MPD26, but wanted to get used to the MF3D for a portable live rig. An Akai APC20 and Novation Launchpad are controlling the recording and playback of loops in Ableton Live. The DSI MoPho, Fender Rhodes, and Moog Prodigy are all running through a PreSonus 1818VSL connected to a Macbook Pro. All loops are recorded live.
Download or stream the audio at SoundCloud: http://snd.sc/LP21G9
A little improve with two vintage synths. The MS-20 is also run through an mf-104z and mf-103 moogerfoogers.
ARP Odyssey MK 2
Moogerfooger MF-104z Analog Delay
Moogerfooger MF-103 Phaser
Valhalla DSP Room
PSP Vintage Warmer 2
Using Percussa’s AudioCubes & Improvisor to Create Glitch Effects
My Colorado based electronic music friend Mark Mosher, sent me this nice improvisation that he has made on the Tone2 Saurus synth:
“It’s gorgeous. Checkout this improv vid I made with Saurus. http://www.youtube.com/watch?v=-scMPERoIlQ”
About the video:
This is single patch improvisation recorded in one pass with no edits using Tone2′s virtual Synthesizer Saurus. A single instance of Saurus is used with no other effects or editing other than what is built-into the synth. I’m starting with a factory patch in the “Lead” bank called “1970s Soloist H”. I only touch the computer once during the performance in the middle to turn up the gain in the mod matrix so that LFO modulates pitch.
Prior to recording I mapped all sorts of parameters to my Novation Remote SL MK II Keyboard.
- XY map to Filter and Rez
- Bank 1 of the top 8 knobs are mapped to filter parameters and OSC Balance
- Bank 2 of top 8 knobs are mapped to effects parameters
- Bottom row 8 knobs are MIDI mapped to Oscillator noise type AM/FM, LFO Speed, Glide rate
- The first 4 sliders map to the volume ADSR
- The next 4 sliders map to filter ADSR
I used my projector to paint my wall with Saurus to the knob movement you see on the wall is in real-time and corresponds to my controller movement.
Electronic Music Artist, Boulder CO
Synthesist, Composer, Performer
From our original post on the Saurus:
Tone2 has released a new software synthesizer for Mac & Windows, Saurus.
According to Tone2, Saurus is ‘not just another synthesizer with character, but one that truly represents the analog sound.’
Here’s what they have to say about it:
We carefully measured and modeled the circuits of many classic performance synthesizers, including even single capacitors and resistors to provide an extremely accurate analog model, faithfully capturing the spirit and character of these old machines. All without placing heavy demands on your CPU or budget.
- True Analog Modelling Technology
- High-end sound quality
- Low CPU and high reliability
- Easy-to-use interface
- ‘Unique sounds which no other synthesizer can create’
- Huge sonic range
- Flexibility, expandability
- Ships with 563 presets from 21 sound designers
- Covers all important aspects of traditional analog synths
- Mono, Legato & Polyphonic modes employing analog voice management
- Two Syncable Oscillators and two Sub Oscillators
- Not just standard waveforms but also a large number of exotic ones
- Pulse Width Modulation and Oscillator Sync applicable to every waveform
- Oscillator Drift, Phase and Noise Modulation controls
- Noise FM, AM and Ring Modulation for Oscillators
- Analog filter with self-oscillation, nonlinearity, 6 filter types, FM and feedback
- LFOs and modulation capable of running at audio-rate
- Arpeggiator with extensive configuration possibilities
- Flexible Modulation Matrix with new features, including a filter
- Programmable gate
- 4x Stereo Unison modes with spread and panning control
- Analog modeled Distortion and Tube amp
- Optional Psycho-Acoustic processing
- High-end quality Effects
Tone2 Saurus is available now for US $119. See the Tone2 site for details, audio samples and a demo version.