Review Of The Arturia Mini V

September 18, 2012 · Posted in Uncategorized · Comment 

In this Video Neil takes a detailed look at the advanced features of the Arturia Mini V, An expanded software emulation of the classic MiniMoog Vintage Synthesizer.

Serge TKB Controlling Oberheim SEM and Moog Voyager

September 1, 2012 · Posted in Uncategorized · Comment 

Routing separate sequences to separate analog synthesizers in different formats the Serge tkb oversees all control voltage tracking tasks. These sounds were created and tweaked live.

Additional info about the Serge:

A few words about Serge sequencers. Note that Serge/Sound Transform does not make a traditional keyboard like you see on most other synthesizers, such as Moog, Roland, etc. You can get a traditional vintage control voltage keyboard (Roland, Moog, Polyfusion, etc.) and interface it to the Serge, since the Serge adheres to the 1 volt/octave standard. Or you can generate a control voltage from your MIDI keyboard and an interface.

Sound Transform follows the Buchla model of offering a touch sensitive keyboard/sequencer unit, as well as more traditional simple sequencers. Originally, they offered a sequencer whose stage was selected by push buttons. This is what’s called a sequencer-programmer: you could use it in an automatic mode as a traditional sequencer, or use it manually to select/program voltages you set. So you can mimic a traditional keyboard if you want by tuning each stage to various notes. Or discard the traditional keyboard concept and simply use it to fine-tune different parameters in your patch for later recall.

The TKB is the hub of the sequencers – each stage has a corresponding output that goes high when it’s selected. This complements the other sequencers, which have an input that, when high, causes that stage to be selected. So the TKB can be used to control another sequencer, or whole sets of other sequencers, regardless of the number of stages they might have.

Sound Transform offers a set of Serge sequencing programmers, from four to eight stages, plus the Sequencer with eight stages, and the TKB with sixteen stages. Confused? What they call their regular Sequencer is not a sequencing programmer in that each stage is selectable by a button but not by a stage select input. The sequencing programmers have stage select inputs. And the TKB has stage select outputs.

The sequencers are a little ‘bare’ in that none of them have an internal clock. You must use another module as a clock source, and typical sources are the DSG, DTG, and the Smooth section of the SSG, patched to oscillate. But they do have cute features such as step trigger inputs for RESET, UP/DOWN, and HOLD.

Most of the Serge sequencers are optionally available with an internal connection to a quantizer. Why would you want that? The quantizer forces the range of the stage pots into stepwise note intervals. So as you turn the pot, it isn’t a continuous rise or fall, but steps up and down a scale. This makes tuning much easier and more reliable. The variable outputs are still available on quantized sequencers also.

Oberheim Xpander switched on Bach (Xplorer editor)

August 31, 2012 · Posted in Uncategorized · Comment 

Oberheim Xpander playing the Toccata and Fugue in D minor, BWV 565,Johann Sebastian Bach (MIDI sequence).
Starting from the default Oberheim patch, this patch was made with the Xplorer editor, a real time editor for the Oberheim Xpander and Matrix-12.

You can download the sysex of this patch here: http://xplorer.programmer.free.fr/bb/viewtopic.php?id=15

More info about the Xplorer editor: http://xplorer-editor.com

Teaser: First new track from I Satellite in 8 years

August 20, 2012 · Posted in Uncategorized · Comment 

First song by I SATELLITE in over 8 years. This is a cover version of “This Heart’s Not Made of Stone” by Television Personalities. Preliminary demo vocal.

Instruments used: Minimoog (x2), Roland VP-330, Minikorg, Oberheim DX, Roland MC-4b MicroComposer, MPC-3000.

Oberheim OBXa “Poly Evolution”

August 18, 2012 · Posted in Uncategorized · Comment 

The OB-Xa is a massive analog synthesizer with a very familiar and classic Oberheim sound. Its sound, size and power are very similar to the Prophet 5 from Sequential. However this one has up to 8 voices which can be split, layered and stored!

The OB-Xa was available in four, six or eight voice polyphonic models. They all featured patch memories, also in varying degrees. A minimum of 32 patches were available on early models (4 banks of 8). The maximum amount of patch memory storage found on many OB-Xa’s is 120 patch memories. All models of OB-Xa, however, featured the new Curtis chips which offered great stability for an analog synth and they are attributed to its great filters and sounds.

The OB-X was very similar to the OB-Xa except that its voices could not be split or layered and, more significantly, the OB-X had a lowpass-only discrete SEM 12dB/oct state variable filter, which had a great and classic Oberheim sound. The OB-Xa changed that in an attempt to economize manufacturing and increase stability by switching to CEM3320 Curtis chips for its filters. The Xa offered two switchable filter modes: 12 dB/oct (2-pole) or 24 dB/oct (4-pole). This hardware change resulted in a more agressive sound, not quite as creamy as the OBX original, but what still became a “bread and butter” sound of the Oberheim line.

Oberheim OBXa “Space Ocean”

August 16, 2012 · Posted in Uncategorized · Comment 

About the synth: The OB-Xa is a massive analog synthesizer with a very familiar and classic Oberheim sound. Its sound, size and power are very similar to the Prophet 5 from Sequential. However this one has up to 8 voices which can be split, layered and stored! The OB-Xa was available in four, six or eight voice polyphonic models. They all featured patch memories, also in varying degrees. A minimum of 32 patches were available on early models (4 banks of 8). The maximum amount of patch memory storage found on many OB-Xa’s is 120 patch memories. All models of OB-Xa, however, featured the new Curtis chips which offered great stability for an analog synth and they are attributed to its great filters and sounds.

The OB-X was very similar to the OB-Xa except that its voices could not be split or layered and, more significantly, the OB-X had a lowpass-only discrete SEM 12dB/oct state variable filter, which had a great and classic Oberheim sound. The OB-Xa changed that in an attempt to economize manufacturing and increase stability by switching to CEM3320 Curtis chips for its filters. The Xa offered two switchable filter modes: 12 dB/oct (2-pole) or 24 dB/oct (4-pole). This hardware change resulted in a more agressive sound, not quite as creamy as the OBX original, but what still became a “bread and butter” sound of the Oberheim line.

Splitting the keyboard mode separates the OB-Xa into two 4-voice synths with two available patches. The Layer mode plays the two patches simultaneously. There are also some added effect sources, perfect for any analog polysynth, including portamento, unison, sample & hold, chord memory and three LFO’s!

Gear and synth pictures form Vince Clarke’s studio

August 8, 2012 · Posted in Uncategorized · Comment 

The I Dream of Wires crew checkod out Vince Clarke’s new Brooklyn studio in July 2012. Above: Vince Clarke and Jason Amm (Solvent) contemplate The Roland System 700…check out the huge sequencer!

Vintage Emu Modular on the left and ARP 2500 in the background

Oberheim SEM wall, OB-1, Xpander, Sequential Circuits Prophet-5 & more in the background.

Remaining pictures can be found here >>

Jean Michel Jarre – Rendez-Vous IV (performed live by Kebu)

August 3, 2012 · Posted in Uncategorized · Comment 

Kebu on stage performing a classic Jarre song, here’s what he has to say about it:

This tune by Jarre is one of the most joyful tunes in the world and always makes me smile. Therefore, I picked this one as of the very few covers I performed at my mini-tour in May 2012. This video was recorded live at my show in Doo-Bop Club, Vaasa, 12th of May 2012.

The song was performed using only analog synthesizers, either played live or sequenced. The performance was recorded line in to one of the cameras. The ambience in the club was recorded using the built-in microphones on two of the remaining cameras and mixed together with the line signal.

Equipment used in this song: Arp Odyssey Mk II; Korg Polysix, Poly 61, Mono/Poly, Micro-preset M500; Roland TR-808, Juno 60, Alpha Juno 1&2; Moog Source, Touched-by-sound DRM1, Oberheim Matrix 6R, Yamaha RM1x (only for MIDI sequencing), Behringer DDX3216, Lexicon MPX500, as well as a midi patchbay and additional preamps for my mixer. Cameras: Canon HF100 (x2), HF200 and HF406.

Analog – new soundset for the Saurus software synthesizer.

June 22, 2012 · Posted in Uncategorized · Comment 

Tone2 has announced Analog, a new soundset for the Saurus software synthesizer.

Taking you on a journey through an analog world, the Analog soundset digs deeper into Saurus’ offerings with a strong emphasis on authentic vintage sounds.

A collection of 200 classic synth sounds including emulations of the Moog, Oberheim, Jupiter, Arp Solina, Clavinet and many others that suit almost every style of Electronic music. Let Analog take you back to a time when these machines were at the center of every studio and now be the source for your creative productions

Enjoy its warm strings, expressive brass, dirty leads, squelchy basses, screaming synths, vibrant pads and just let it inspire you.

Analog for Saurus is available to purchase for 39 EUR.

More info here >>

Pure Analog with the Oberheim OBXa + Roland SH-101

June 17, 2012 · Posted in Uncategorized · Comment 

Background details:

I made this track in the mid 80′s with the Oberheim OBXa on a 4-track analog tape recorder Tascam 144.
Everything was played by hand, without a sequencer or MIDI.
The remastering is made with SONAR 8.0
This piece was also featured on our national radio called BRT-2 in 1987 in a special program “maneuvers in het donker” for home made electronic synthesizer music

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