This is a patch made on the Magellan synthesizer for iPad.
Download the patch here: https://docs.google.com/open?id=0B7bHi7ZXec4GM1JEVDUwZXF2c0k
“No external effects were used – it was a single patch recorded inside Magellan and then just exported from iTunes. So far I’m really impressed with what this synth is capable of!!
Producer Francis Preve has put together a new free library of synth patches for Ableton Live, featuring the sound of the Roland SH-101 synthesizer.
Here’s what Preve has to say about these Simpler instruments:
- SH101 Saw – Basic single oscillator SH-101 sawtooth.
- SH101 Square – Basic single oscillator SH-101 square wave.
- SH101 PWM – One of the truly classic SH-101 sounds lies in the character of its pulse width modulation.
- SH101 Saw+Sub – Another signature sound from the 101 comes from its sub-oscillator. Here, I blended it with a sawtooth waveform.
- SH101 ResSweep – The SH-101 shipped around the same time as the legendary TB-303 – and many producers have used the 101 in similar ways. The resonance on this synth is exceptional, so here’s a taste.
- SH101 Resonant – This is another example of the SH-101′s resonance, generating a whistling tone over a square/pulse wave.
- SH101 Noise – Lots of 80s tracks used the SH101′s midrange-heavy noise generator for synth drums, so I included a sample of it here.
- SH101 Bass – Gotta have some bass too, right?
Download the free Roland SH-101 instruments at Preve’s site.
A research piece from STEIM exploring analog synths:
Here’s the first video of the research I’m doing at STEIM in Amsterdam. this is a simple analog synthesizer which can be patched and modified using a breadboard interface. The visuals are made by setting my oscilloscope to XY plot mode. The X axis is a triangle wave. The Y axis is a ring modulated signal between the same triangle wave and another triangle wave. There are 5 oscillators total which are all inter-modulated. There’s also a sample&hold in the mix which gives the visuals a stepped appearance which you can see once in a while.
“Music Korg M1 “Universe”. My favourite patch from this amazing synthesizer.”
The M1 was and still is a popular and widely used digital synthesizer and music workstation. The M1 features built-in AI Synthesis for full digital generation and processing using 4MB of PCM sampled and synthesized waveforms which can be shaped using analog-style editing. The M1 is capable of creating acoustic instruments with clarity, nice digital sounds and good buzzy techno sounds. The M1 is sort of like a workstation-version of the Roland D-50.
In addition to its acclaimed sound, it has a somewhat sophisticated 8-track sequencer. It holds 10 songs and 100 patterns and up to 7,700 notes, and offers full quantizing and editing. Full MIDI implementation suites the M1 ideally for studio production and MIDI system use. Up to 8 parts of multitimbrality with the 8 track sequencer makes for a powerful machine. Add to that a host of digital multi-effects and you’ve got one of the most widely and professionally used Korg synthesizers around.
Here’s a patch showing the new Analogue Systems rs450 CV Recorder/Sequencer and the Cwejman MMF-2 Stereo Multi-mode Filter module. The Cwejman MMF-2 is filtering a basic saw wave bass from the Cwejman VCO-2RM running into a version of lowpass on the MMF-2. The kick and snare were created using Analogue Systems modules. The sixteenth note percussion is a modulated Cyndustries Zeroscillator through a Cwejman VCA, opened by the Cyndustries Four Transients module.
They’ve pre-recorded a few CV sequences into the incredible new Analogue Systems rs450 CV Recorder/Sequencer. It’s being clocked by an A.S. rs200 sequencer (which is running the whole patch actually). They are switching between four or five preset sequences which in turn is controlling the pitch of a Cwejman RES-4 module.
The rhythms for this patch are derived from the 4ms Shuffling Clock Multiplier and we’re also using a 4ms PEG module as a slow modulation source for the MMF-2. Rad!
“Boost 309 v4″ is based on the complete sample set of the vintage, lo-fi but charmingly sounding machine Rave-o-lution 309 by a company named Quasimidi. Soundcells has created 100 brand new combinator drum machines for you with these samples.
It all ranges from the old original 309 thing to amazing and unique patches that could have never been created within the 309 itself. Besides cool beats and complex, crazy rhythms Boost 309 will offer the user even more! Version 4 is an awesome update which adds 20 combinator patches: 5 combinator drum machines (plus their 5 shuffled counterparts) & 10 great playable combinator synth patches. Not to forget about the new Kong & ReDrum kits..
Boost 309 version 4 Contents:
• 230 combinator patches in 4 folders: Bass, Leads, Pads, Polyphone Synths.
• 100+ NNXT patches, 20 Kong kits, 26 ReDrum kits and over 300 samples from the original 309.
• 60+ rex loops making use of the “Boost 309″ drum machines as also the original machine.
• 5 tracks in RNS format – inspiring with highly ‘tutorialesque’ value.
Offering price per Unit is 19.90 ,- EUR (normally 29,90 ,- EUR)
Created using a custom-made patch on Bit Shape’s TC-11 multi-touch synth for the iPad. A teardown/rebuild of the original patch “Bundled Birch.”
More info here: http://www.bitshapesoftware.com/instruments/tc-11/
And here: http://www.jeffmcleod.net
Creation Time Since Previous Touch: Multi Oscillator Level & AHDSR-0 Scale
Touch Y Position: Panning
Distance To Center: SEQ-0 Add
Creation Time Since Previous Group: Mix LPF Frequency Cutoff
Group Count: LPF Frequency Cutoff
Touch Began: AHDSR-1 Start & SEQ-0 Step
Touch Ended: AHDSR-0 End & AHDSR-1 End
AHDSR-1: Waveshaper Mix
SEQ-0: Multi Oscillator Frequency & Mlit Oscillator Transpose
SEQ-0 Trigger: AHDSR-0 Start
Three takes of (basically) the same patch, played back simultaneously.
Make Noise DPO (VCO-A Lin FM of VCO-B, fixed index), controlled by Noisering outputs 1 and 2 (via Doepfer A-156 Dual Quantizer). Scaled versions of these voltages are also controlling the Rise, Fall and “Both” (timebase) values of three envelopes on two Maths modules, which are opening two LPG channels and two VCA channels on the QMMG (2x LPG –> VCA stereo arrangement), and are triggered by the Trig Outs of the A-156. Both LPGs are fed by the sine out of DPO VCO-B.
The Wogglebug’s clock out is patched to the External Control input on the Noisering, and its Stepped output (through an attenuator) is controlling the A-156′s Transpose amount.
The three takes were recorded and mixed together between 6 and 7am– lighting courtesy of the rising Chicago sun.
(Number in the top-right indicates which take is on screen.)
300 random, 8-value presets, divided across three, 100-preset groups.
Same patch as the previous video (“DPO + iPad”), only the DPO is routed here through an Echophon for a very slight chorus delay.
Using an iPad, Touch OSC and Max/MSP to control a Make Noise DPO.
Signal path is DPO Final out –> A-132-3.
The “Fold” portion of the DPO’s timbre section is acting as a VCA for the module. The A-132-3 is acting as a panner, using two inverted outputs from the Dr. Octature to open its VCAs in a mirrored pattern.
This is a stereo patch– headphones are recommended.
Many advanced synths in Reason have a Mod Matrix – an essential component in creating great patches. This week we’ll become familiar with the way the Mod Matrix works, and in Part 2 we’ll cover some more advanced topics.