Vintage synthesizer track featuring the classic Oberheim OB-X
all synthesizer sounds: Oberheim OB-X Analog Synthesizer (1979)
recording: multi-tracking without midi
fx: reverb and delay
A few Kawai K5000S pads from the ASL4 library
About the synth:
The K5000 was Kawai’s top of the line music workstation digital synthesizer when it was released back in 1996. It’s a bold and elegantly designed synth with a large LCD display, realtime controls and incredible sounds! The look and functionality is rivals the competition from the time…the Korg Trinity and Kurzweil K2500
Programming sounds with the K5000 can be a breeze (once you learn how) although it has over 1,000 parameters per patch! That’s plenty to play with. It combines additive synthesis and PCM sampled waveforms for you to layer and combine to design a whole range of sounds. Plenty of LFO modulation, filters and envelope controls allow you to shape and morph your sounds further. On-board multi-effects add the final touch of life to your sounds.
Once you’ve created some sounds, there’s the on-board sequencer (K5000W only) for creating songs or loading Standard Midi File sequences (via disk-drive). It has a 40,000 note capacity and 40 tracks. Real-time record and step-edit modes are available and the sequencer is pretty straight forward.
The K5000S (pictured above) adds 12 dedicated knobs for hands-on control of filter, LFO and envelope parameters. There are 4 user-definable knobs and 2 assignable switches. The K5000S also has a 40-pattern arpeggiator on-board with 8 user-definable patterns too! K5000′s have been used by Kraftwerk.
This a test to show the functionality of the Octave-Plateau VPK-5 Keyboard and the Voyetra 8 Synthesizer Module working.
We used a XLR cable as needed for the keyboard controller input. For audio output we used a dual mono TS to single TRS cable going through a mixer and amplifier. And also used the mono output through a powered monitor.
Nicky Romero introduces KICK Synth which has been developed together with Sonic Academy. KICK is a Kick drum synthesiser allowing you to quickly and precisely create kick drums and tune them to your tracks. It combines a synthesised sub oscillator and sampled clicks to create a wide variety of kick drums, percussive and even bass sounds. With Pitch, Amp and Click envelope editors, drive, pitch control and the Nicky Romero designed distortion section
With 175 factory presets and 40 exclusive Nicky Romero presets you can access that special Protocol sound right out of the box. In addition kick comes bundled with 32 Nicky Romero clicks lifted straight from his productions. The user can also load their favourite clicks, kicks, and even fx to create truly unique personal sounding kicks.
Learning more about the philosophie around Origin, their own description below:
Origin is the most powerful synthesizer on the market.
As a matter of fact, it goes beyond the traditional definition of synthesizers. It is a hardware DSP system that houses several synthesizers in one machine. Some of these synths come from the past, such as the Minimoog, some are totally new and innovative.
Loaded with modules extracted from the best synthesizers of all time, Origin lets you combine these modules and take advantage of the additional possibilities put onboard. The result: a new type of sound accessible through an extremely intuitive interface.
Arturia has also uploaded a whole range of video tutorials on the Origin, go here check them out >>
This one example
LinPlug has announced the release of Spectral, a new synthesizer instrument plugin for Windows and Mac.
If you are familiar with subtractive synthesis, you will feel right at home with the Spectral, because you can choose an oscillator waveform, choose a filter shape and go on from there.
But Spectral delivers far more options than you would expect from the well sorted user interface. Both Oscillator Waveform and Filter Shape can be edited in depth. The unique audio engine is capable of delivering many sounds never heard before.
- Four Oscillator and Filter modules with powerful yet detailed harmonics and filter band editing and modification functions.
- Extensive Oscillator and Filter audio rate cross-modulations..
- Versatile Arpeggiator with in depth editing of every step, including length, transpose, voice number and Glide.
- Each Oscillator and Filter with own dedicated envelope to control its volume or frequency respectively.
- Additional 3 freely assignable Modulation Envelopes..
- Five LFOs with various waveforms, up to 320 Hz, tempo-sync, poly-, mono- and one-shot-mode, unipolar and bipolar options, integrated delay-attack-envelope, phase, symmetry and smoothing adjustable.
- 15 slot Modulation Matrix with 35 sources and more than 100 destinations including all important parameters.
- Fully recognizes Velocity, Aftertouch, Pitch Bend , Modulation-Wheel and various other MIDI controllers.
- A sophisticated effects section containing 15 Effects including various Delays, Chorus, Phaser, Filter, Reverb, Flanger, Gator, Stereo Enhancer, Parametric EQ and Crusher.
- Glide / Portamento featuring mono/polyphonic operation, constant Time / Rate operation, Auto-Bend Modes and detailed options on where Glide takes place.
- 32-voice polyphony (CPU and sound program dependent) and adjustable voice limit.
- Supports AU and VST hosts on Mac OS X and Windows PC.
- Scaleable user interface on PC.
- Comes with 850 presets to get you started.
Spectral is available to purchase for the introductory price of $99 USD until December 31st, 2013 (regular $149 USD).
All synthesizer sounds: Oberheim OB-Xa Analog Synthesizer (1981)
drums: Roland TR-808
fx: reverb and delay
The Oberheim OB-Xa was Oberheim’s overhaul of their first compact synthesizer, the OB-X. The OB-Xa was released in December 1980, a year after the OB-X was released. Instead of discrete circuits for oscillators and filters, the OB-Xa (and the Oberheim synths to follow) switched to Curtis integrated circuits. This made the inside of the synth less cluttered, reducing the labor required to replace bad parts, and reducing the cost of manufacture. However, today it’s much easier to fix an OB-X than an OB-Xa, as Curtis parts are getting scarcer, whereas discrete parts used in the OB-X are almost always readily available.
Aside from hardware changes, the OB-Xa had better interface features than the OB-X. These included being able to split the keyboard into two halves with different voices and the ability to layer voices to create thicker sound (essentially making two notes sound for every key pressed). Polyphony stayed the same – again 4,6 and 8-voice models were offered.
One function that did disappear from the OB-X voice architecture was cross modulation, or frequency modulation of the first VCO with the second VCO. When done with analogue circuits, it’s a unique sound made famous by the Sequential Circuits Prophet 5 and its poly-mod section. The lack of this feature somewhat reduced the range of sounds possible on the OB-Xa.
The Youtube alias ‘The Tuesday Night Machines’ wanted us here at SBC to share his video and the opportunity to win a White Noise Synth, details below:
WIN one rare Standuino 2pi White Noise Synthesizer! Just subscribe to my channel and post a comment underneath this video, briefly telling me which of my other videos you like (or dislike) and why.
At the end of November 2013 I will choose one random comment and send its user a private message, to hash out all the shipping details. MAKE SURE YOU GET YOUTUBE MESSAGE NOTIFICATIONS!
Watch a demo video for the 2pi White Noise here:
For more information on the Standuino 2pi, check out their website:
The Parsec Spectral Synthesizer is a sound designers dream. With two independent sound engines, up to 1024 oscillators per voice, a wide range of sound sculpting tools, built-in effects and free modulation routing, Parsec is capable of an incredibly wide range of sounds.
In this tutorial, product specialist Mattias shows you how to create a beautiful bell sound from scratch. If you want to go deeper with Parsec, this video is for you.
A new project, AUUG Motion Synth, explores the possibilities the iPhone and iPod touch, converting the devices into wearable motion-controlled instruments. Using it, you can control iOS synths, desktop music apps and even hardware.
The platform is made up of three components:
The AUUG grip positions the screen of an iPhone or iPod touch to be played by the fingers and secures the device to the user’s hand during motion: The AUUG app converts your iOS device’s motion sensor data into signals for shaping sound, and transfers these signals to other iOS sound apps or external devices. The AUUG app does not produce its own sounds, but instead acts to control other iOS audio apps running on the same device (as well as external devices). The AUUG app can be installed on iPhones (4S and up) and iPod touch devices (5th generation and up). The AUUG cloud is online service at that allows AUUG app presets to be shared with other users, via your iPhone or iPod touch (no laptop or desktop needed).
Background video information:
VISIT OUR KICKSTARTER CAMPAIGN: kck.st/1efP3Rf (ending Dec 19, 2013)
VIDEO MUSICIANS AND CONTENT:
Introduction soundtrack: The second half of the video (2.12 to 4.17 mins) includes looped sections of ‘Silver Wheel’ (from the ‘Solar Driftwood’ album) by Australian band Cracked Actor crackedactor.com.au.
Samuel David Graeme [holyeucharistline.com]: (0.16 to 0.21 mins) ‘Animoog’ synth app running on same device.
Sonia Vaikyl: (0.22 to 0.33 mins) ‘Magellan Jnr’ synth app running on same device.
Video sample: The ‘video scrub’ demonstration (0.34 to 1.01 mins) by Joshua Young uses a 2 second clip of Evalena Marie [evalenamarie.com] from the independent feature film ‘Visionary’ [facebook.com/visionarymovie] directed by Ben Proulx.
Eesha Hunjon [youtube.com/channel/UCzatgvFHc7_coVeH2Tq1Klw]: (1.02 to 1.15 mins) ‘Audiobus’ app (hosting Harmony Voice and Garageband apps) running on same device, with mic input via iRig Pre.
Becki Whitton [facebook.com/aphirism]: (1.16 to 1.31 mins) ‘Audiobus’ app (hosting Magellan Jnr app) running on same device, with mic input via iRig Pre.
Adam Cook [adamjamescook.com]: (1.46 to 2.03 mins) Nord Stage 2 keyboard, with MIDI input via iRig MIDI.
Joshua Young [auug.com]: (0.00 to 0.15 mins) ‘Animoog’ synth app running on same device; (0.34 to 1.01 mins) AUUG ‘video scrub’ software running on laptop; (1.32 to 1.45 mins) Voice Live Touch 2, with MIDI input via iRig MIDI. The backing track (0.00 to 2.03 mins) each musician composed and performed their parts to and the motion-reactive visuals were also created by Joshua Young.
Process: The video musicians used the backing track as a basis to compose their own parts and performed them live during filming, while simultaneously controlling the motion-reactive visuals behind them (via Wi-Fi MIDI messages sent from the AUUG Motion Synth to laptop software and back-projected onto the screen behind them). Their estimated practice times can be found at auug.com/musician-composition-and-practice-time.