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.
Icebreaker Audio has announced the release of S.O.O.G. (Sub Octave Oscillator Generator), a free analogue style octaver effect for Native Instruments Reaktor 5.8.
The effect produces a fuzzy version of the input signal, by generating a modulated square wave one octave below the tracked pitch. This fuzzy octave can then be filtered to smooth out the tone, or to create synth style sounds.
The effect works best on monophonic instruments with strong fundamental frequencies like bass guitars or clear vocals.
The ensemble is a free download from Icebreaker Audio.
Youtube alias ‘skrapadelix’ takes us through the softer side of the Make Noise DPO:
I just wanted to share the softer side of the remarkable Make Noise DPO, the most organic and alive oscillator I have in my rack. This simple patch is just the Noisering into the uScale into the DPO in ‘Lock’ mode with a slow envelope softly plucking the Waveshaper ‘s vactrol. The result is a subtle mysterious timbre of understated beauty…
This Reaktor Tutorial serves as an introduction to Reaktor, and covers building a two oscillator synth.
The video starts with an overview of the Reakor manuals, and then looks at building the synth example from the getting started manual.
The example ensemble can be found at flipmu.com/work/software/
Paolo Groppioni plays eight Grp A4 Analog Synthesizers in unison. Twentyfour wild VCOs under the same MIDI master keyboard control.
- Voltage Controlled Oscillator 1, 2, 3
- Wide audio range (64’-2’) w. Tune & Fine; six analog waveforms (sine, triangle, triangle & saw, saw, saw & variable pulse summed, variable pulse); manual pw & pwm (from VCLFO1, EG1, S&H, Aft); FM 1 Amt (lin/exp –from VCLFO1, LFO2, VCO1, 2, 3, Noise, S&H, EG1, EG2, Aft, ModW, KeyVel, EnvFoll) w. phase rev; FM 2 Amt (only exp – from VCLFO1, Env Foll); sub oscillator (on VCO 1, 2) -1/-2 oct; hard sync (VCO 1 master); kybd on/off (w. user’s selectable octave offset from MIDI Interface).
- Ring Modulator
- Ring Mod Sources: VCO 2 & VCO 3/Ext Input (user’s selectable).
- Noise Generator
- White & Pink Noise selectable.
- External Input
- Input gain from line to mic level; freely adjustable Gate Threshold (Gate to EG 1-2); enclosed envelope follower (goes into mod buss).
- Audio Mixer
- Separate level controls for VCO 1, 2, 3, Sub 1, 2, Ext Input, Ring Mod, Noise.
- Filter Section
- Dual analog filter section: 24 db/Oct Low Pass Transistor Ladder Filter w. pole selection & 12 dB/Oct State Variable Low, Band, High, Notch Filter.
- Each filter has a separate Distortion/Level control.
- Filter section can be configured in LP 24 Only, SV 12Only, Serial (LP into SV), Parallel, Direct Out (LP 24 goes on Left Audio Out, SV 12 goes on Right Audio Out).
- Low Pass Filter:
- Slope selection (6, 12, 18, 24 dB); Cutoff Frequency; Resonance; Overload LED; FM1 Amt (from VCLFO1, LFO2, VCO 1, 2, 3 Env Foll, Noise, S&H, EG2, Aft, ModW, KeyVel) w, phase rev.; FM 2 Amt (from VCLFO 1); FM 3 Amt (from Step Sequencer, Kybd Track 0-120%; Key Vel On/Off.
- State Variable Filter:
- Mode (12dB HP, 6 dB BP, 12 dB LP, 6 dB Notch); Cutoff Frequency; Resonance; Overload LED; FM1 Amt (from VCLFO1, LFO2, VCO 1, 2, 3 Env Foll, Noise, S&H, EG2, Aft, ModW, KeyVel) w, phase rev.; FM 2 Amt (from VCLFO 1); FM 3 Amt (from Step Sequencer, Kybd Track 0-120%; Key Vel On/Off.
- Voltage Controlled Amplifier
- Dedicaded Envelope Generator (see below); Control Selection (dedicated EG2, ON-hold, External CV); VCLFO1 Amt.
- AutoPan Off/Internal Clock/VCLFO1; Pan Frequency Control; LED (red = internal clock; blue = VCLFO1).
- Stereo Main
- Master Volume.
- Envelope Generator 1
- Multi Stage Loopable Env (Attack, Hold, Decay, Sustain Lev, Sustain Time-Only in Loop On, Release); Gate Source Selection (Keyboard, S&H, ExtIn/ Step Seq); independent EG Amt for 24 dB LP Filter and 12 dB State Variable Filter, both w. user’s selectable EG polarity.
- EG time goes from 1msec to 60 sec.
- LED: red = EG under Gate sources; blue = EG under Step Sequencer control;
- Loop Envelope: loop from Attack to Release, w. Sustain Time selectable.
- Loop Mode Switch:
- Loop Off: EG as standard AHDSR, no Sustain Time.
- Gate: EG loops from A to S (w. Sustain Time max 60”) as long as Gate is On.
- Auto: EG full loop, from A to R; independent from Gate.
- Envelope Generator 2
- Same as EG 1, without Hold segment.
- Voltage Controlled Low Frequency 1
- Frequency (from very low to 2500 Hz); Waveform (sine, ramp, triangle, saw, square w. variable pulse); FM Amt (exp, w. phase normal/rev); FM Sources (Key, EG1, EG2, LFO2, Seq A, B, A+B, S&H, Aft, ModW, EnvFoll); Sync (Off, Gate, Seq, MIDI – dividing factor selectable from internal MIDI Interface); Shaping LFO out (from: Off, EG1, EG2, Lfo2, SeqA, B, A+B, S&H, Aft, ModW, EnvFoll).
- LFO act as modulation buss for auxiliary sources: EG1, EG2, S&H, Noise, VCO2, EnvFoll. The aux source can be amplitude modulated with the Shaping Select.
- Voltage Controlled Low Frequency 2
- Frequency; Freq Range (Low-Mid-High); Waveform (Triangle, Square); Shaping Select (Off, Aft, ModW).
- Independent Send Modulations for: VCO 1, 2, 3 freq; PWM 1, 2, 3; VCF 24/12 Cutoff; VCA Level.
- Sample & Hold
- Frequency; Frequency Source (Int, VCLFO1); LED (red = Internal, blue = VCLFO1); S&H Source (Pink Noise, White Noise, VCLFO 1, LFO 2, VCO 1, 2, 3); Glide.
- The S&H Clock can be routed to EG firing; there are three options: Off – no routing; Gate – the S&H clock is ANDed with keyb/ext/manual Gate; Auto – EGs always fired from S&H.
- Master Tune; Portamento Time; Bend Amount; VCO 1 Portamento On/Off, VCO 1, Bend On/Off; Hold On/Off; A440 On/Off; Retrig On/Off; Manual Gate.
- MIDI Interface: MIDI Channel Select; Keyboard Off Octave Offset; External CV In Octave Offset; MIDI Clock Divider on LFO Reset.
- A4 receives: MIDI Note On/Off, Bend, Modulation, Aftertouch, Key Velocity, Expression Pedal, Damper.
- Step Sequencer
- User’s configurable Mode Select 8×2 or 16×1.
- Clock Source: Int, VCLFO1, Ext, MIDI.
- Clock Divider on all Clock Sources; dividing factor MIDI: 1/1, ¼, 1/4t, 1/8, 1/8t, 1/16; dividing factor TTL: 1/1, /2, /4, /16, /32.
- Sequencer Mode: FW, BW, FW/BW, PNDL, ALT, RND, TRG.
- CV Seq Clock: A, Off, B on internal Clock.
- VCO Seq Enable: VCO 1, 2, 3, Off/A/B/A+B
- VCF Seq Enable: 24dB Off/A/B/A+B; 12dB Off/A/B/A+B.
- Step Repeat: Off, x2, x3, x4.
- Permutations: n,n+1; n, n+1, n; n, n, n+1, n.
- Loop On/Off.
- Hold On/Off.
- Manual Controls: Reset/Step Advance, Run/Stop, Continue
- Pulse Width (legato/staccato) on Internal & MIDI Clock.
- Row A & B Parameters: Glide Amt; Range (x2, x4, x8); Quantizer On/Off.
- Step Parameters: LED; Step Value; Gate On/Off; Step Mode (End, Skip, Normal).
- Audio: Mono Out; Phones Out; Left/24dB Out; Right/12 dB Out; Audio External In.
- Filter: CV In 24 dB; CV In 12 dB.
- Amplifer: CV In VCA.
- Synth Control: CV In; Gate In.
- External Modulation Buss: Ext 1/AftT; Ext 2/ModW.
- Sequencer Connections: Row A/B/A+B CV Out; Row A/B/A+B Gate Out; Run/Stop In; Continue In; Loop On/Off In; Clock Input; Clock Output; CV In Clock Modulation.v