Background video description:
Some leftover footage from a recent video project. Sounded too good not to use for something. Learn more at www.experimentalsynth.com
To give you a flavour of the 5 Oscillator/ 2 filter sound- MacBeth set up this on the M5X prototype. It’s pretty massive with hints of spring line reverb and cross modulation from one of the VC Modulators modulating as well as being audio! It’s a booming, massive sound!
In this video, Rich Formidoni takes you through the various types of oscillators that are the basic foundation of KingKORG’s sound.
For more information, please visit korg.com/kingkorg.
This first A4 tutorial focuses on the Oscillator pages, and how to apply dynamic changes to a static sequence by modulating parameters with the velocity.
Here is part two of a demonstration of the sound and functionality of the oscillators of the Korg MS-20 Mini.
First part in a new series of explorations of the Moog Sub Phatty, details below:
Here is a demonstration of the sound and functionality of the Moog Sub Phatty.
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The Moog Sub Phatty theme is comprised of Sub Phatty sounds, with the exception of the drums, which were programmed using an Ensoniq ASR-10. There are no effects used of any kind.
See if you can spot the two glaring quality control failures which evince my commitment to getting videos out quickly to all of you.
The Moog Foundation has really been busy over night – uploading some 20+ videos, below you will find a snapshot on what you can explore on their Youtube channel
This is the introductory video for the Bob Moog Foundation/macProVideo series “The Foundation of Synthesis.” In it, Marc Doty sets the stage for the intent of these videos, which is an integrative instruction which not only describes synthesizer function and operation, but also gives a historical foundation for the functionalities and their implementation.
Pulse Width Modulation is a pleasing aural effect generated by the voltage-controlled adjustment of the width of a square wave. In this Foundation of Synthesis video, Marc demonstrates this function on several classic synthesizers. The video includes an oscilloscope, which shows you exactly what is happening when the width of the square wave output of the oscillator is changed!
In this part of the 3rd Tutorial of the Foundation of Synthesis, Marc outlines the history of the filter from its origin in the telephone to its application in electronic devices in order to give a firm understanding of how the filter came to be an important part of modern synthesizers. The filter is a function which removes harmonics from a sound. Since harmonics define the timbre of the sound, this is a fast and easy way to create new timbres.
Control voltage is the concept synthesis had waited for for 60 years. This technology united the synthesizer into a single device as well as allowed that device to become fully controllable and automated. Control voltage was a revolution in synthesis. In this video, Marc gives a short history to this amazing development.
Xen-Arts has released XenFont – a two oscillator, hybrid SF2 SoundFont & Subtractive Synthesis VST for Windows.
It features full-controller MIDI Pitch Microtuning, using the MTS (MIDI Tuning Standard) format, where any MIDI Note Number can be freely microtuned to any desired pitch across the MIDI range, enabling computer musicians and composers to explore the expressive possibilities of composing music with alternative intonation systems.
XenFont is ‘a microtonal sound-designer’s SF2 sample-based synthesizer’, with a carefully designed workflow for quickly creating powerful sounding and musical useful timbres. The instrument lets you load your own SF2 SoundFont files. Routing the SF2 SoundFont Oscillators through the internal synthesis functions of the VSTi, provides a way to radically transform the original sounds and create new synthesized timbres.
XenFont is also an educational tool for learning about computer music sound-design, sampling and subtractive sound synthesis, as well as musical instrument intonation (aka microtuning and xenharmonics).
- Load your own SF2 SoundFonts into a fully microtonal, hybrid sampling & subtractive synthesis based VSTi.
- A ‘knob-less’ design featuring slider controls only, which enables intuitive direct control with a computer mouse.
- A dedicated control signal system mapped to the most important synthesis functions.
- Settings are made by typing values into fields, dropdown lists, left-and-right arrows, switches and sliders.
- Specify precise microtonal pitch-bend settings.
- Features arbitrary microtonal oscillator transposition settings.
- Velocity modulation of harmonics enables dynamically playing harmonics of the fundamental pitch.
- Envelope generators with per-stage ADSR keyboard tracking.
Background video description:
I just bought a MiniBrute. Being the synth geek that I am, I had to see the waveforms! I plugged in my new synth and began testing starting from the sub oscillator. This is a video of each oscillator being tested one by one.
The large draw for the MiniBrute lies within the fantastic oscillators. Each one offers an extra timber control to sculpt a unique sound with out even adding any more effects. This is what the waveforms look like with a clean signal.
Here is part 1 of a series of demonstrative videos regarding the Yamhaha CS-50. This is a demonstration of the oscillator section of the Yamaha CS-50.
The CS-50 was released just one year before its famous big brothers, the CS-60 and CS-80. The CS-50 looks like a scaled-down version of the monstrous CS-80, and it is! This will benefit those who crave the famous classic Yamaha synth sound without the struggle of lugging around the 215 pound CS-80! The CS-50 weighs in at about 100 pounds. The CS-50 is also just 4-voice polyphonic, and lacks the quality weighted 61-note keyboard of the CS-80. The CS-50 has just a 49-note standard keyboard. It does feature pressure (aftertouch) sensitivity route-able to several destinations, however.
The CS-50’s sound is unmistakably related to other classic CS-series synthesizers. At just four voices with one osc. per voice and lacking warm filters (at just 12dB/oct) the CS-50’s sound can be thin. There are 13 preset sounds of various instruments and synth sounds but, unfortunately, no on-board memory storage for your edited presets. At its low street price, the CS-50 makes a great way to get your hands on these classic sounds without going broke! It’s too bad their tuning is just as unstable as the other CS-series synths. It’s housed in a built-in travel-case like the other (big) CS-synths.