Background video description:
We recently restored a Polymoog Synthesizer for a client. He wanted the Vox Humana patch, so we transplanted the Vox Humana filter in to his Polymoog Synth. This is a demo of us playing with the new filter in the Polymoog Synthesizer, If you would like this modification, or would like a Vox Humana filter circuit board, contact us at www.NewEnglandAnalog.com.
The mighty GRP A4 Synthesizer receives audio out from MIAMI Acidlab; signal goes into RingMod (with VCO 2), Env Foll (for VCFs articulation and Gate extraction). A small touch of AutoPan for animation…
MIAMI is an analog drumcomputer based on the circuits of the 808.
Standuino π [pi] – mysterious drone synth (receiving MIDI clock from frauAngelico)
frauAngelico – drum synth with sequencer
microGranny – granular sampler
Here is a demonstration of the sound and functionality of the operators of the Yamaha DX7.
One of the most popular digital synths ever was the DX7 from Yamaha, released in 1983. It featured a whole new type of synthesis called FM (Frequency Modulation). It certainly is not analog and it is difficult to program but can result in some excellent sounds! It is difficult because it is non-analog and thus, a whole new set of parameters are available for tweaking, many of which seemed counter-intuitive and unfamiliar. And programming had to be accomplished via membrane buttons, one data slider and a small LCD screen.
Still the sounds it shipped with and that many users did manage to create were more complex and unique than anything before it. Percussive and metallic but thick as analog at times, the DX7 was known for generating unique sounds still popular to this day. The DX7 was also a truly affordable programmable synth when it was first released. Almost every keyboardist bought one at the time making the DX7 one of the best selling synths of all time! It also came with MIDI which was brand new at the time – Sequential had already released the first MIDI synth, the Prophet 600. Roland had just released the JX-3P with very basic MIDI implementation, and wouldn’t get around to adding full MIDI for another year with the Juno-106, and it would be three years before Roland can counter the popularity of the DX7 with a digital synth of their own, the D-50.
Korg’s first digitally controlled analog synth hybrid; 8 sampled digital waveforms, analog resonant filter with separate VCF and VCA ADBSSR envelopes. Parameters can be altered in real time via a single programmable slider. 6 voice polyphony in two modes, or one monophonic mode with all six voices stacked. 12 digital oscillators (2 per voice) with 8 simple to complex waveforms, 1 de-tunable and with programmable interval. 64 presets that can be reprogrammed by the user.
Awesome fat basses, lovely warm sounding, pulsing strings, and hard, nasal leads. Some wonderful swirling effects can be found. Imagine a Poly 800 with 8 waveforms instead of 2, and you get the picture.
Due to reliance on sampled waveforms, it does not sit well through distortion, and some waveforms do not go well in a mix when used as a pad. Overall, an exceptional and underrated bass and lead machine with some nice pad sounds to boot.
The DW-6000 was quickly surpassed by the DW-8000: it expanded it to 8 notes polyphony, 16 sampled waveforms, a velocity sensitive keyboard with programmable aftertouch, auto-bend, a simple arpeggiator and a digital delay unit.
very underrated synthesizer – the presets are quite 80′s trying to do DX7 of the time —but with the correct programming can sound huge fat and very vintage analogue — I prefer it to the similar Rolands —i.e. juno and jx3p. The resonant VCF filter is awesome and very expressive. No external effects —just the pure sound of the korg—sometimes using the stereo chorous for sting like sounds –I find a mono out with no chorous best for punchy bass like sounds
TA Programming has released a new free subtractive software synthesizer, SubSonic.
- 3 Oscillators (Sine, Sawtooth, Triangle, Square, Noise) with detune
- Graphical ADSR Envelope
- Multiple filter selection: Low Pass, High Pass, Band Pass, Band Reject, and Peaking.
- Fully customisable reverb module
- Delay Module for standard Echo delay effects.
- Stereo Chorus
- The Flanger module is versatile and powerful, combining overall sound of the 3 oscillators and using a sine wave to phase invert the sounds before adding feedback. This can give ‘unearthly sci-fi like textures’.
- The Warper: This module is an envelope modulator. Aviss notes that some ‘wacky timbres can’ be made using this.
Reveal Sound tell us that they are a company founded by musicians and programmers in 2009 for creating first-class audio plug-ins. They say that the purpose of their company is to prove that the sound of soft-synths can be amazing and that they are constantly improving their algorithms to achieve the perfect result.
Their first product is Spire, a software polyphonic synthesizer that they say combines powerful sound engine modulation and flexible architecture with a graphical interface that provides unparalleled usability.
Background video description:
I’ve just added a new instrument to my setup, the mighty OP-1 from Teenage Engineering
This is just my first test/jam from the device manually synced to my MD SPS-1 and Borderlands Granular on my iPad, so don’t expect too much – I haven’t done any vids for a while so I just quickly put this together. Beats from the MD, Synths from the OP-1 and droney glitchyness from Borderlands.
Please also have a look over at idmfnetlabel.bandcamp.com/album/va-sounds-for-skeletons-idmf039 for a free compilation album of electronic goodness, that I’ve managed to worm my way onto somehow. Please have a listen if you enjoy electronic music.
more sounds of mine over at soundcloud.com/punisha
And while we are on the subject:
A video from Jacques Mongrel
First part in series, showing how I start writing a new song on the Teenage Engineering OP-1.
Inspired by the Ondes Martenot, the Artemis is a synthesizer whose pitch is mainly controlled by a ring attached to a loop of string.
It uses breath control for dynamics and combinable trill keys for discrete pitch changes. Using these together allow for some interesting musical approaches.
When I made this instrument, I decided to expose the loop on this instrument as it is interesting to watch as the pitch changes.
The sound and control core engine were made by Nyle Steiner (it is simply one of his early analog E.V.I.s.) The Artemis was completed in April of 2013.
The yellow beast is up for a nice review – check out the teaser video for more details and sounds
Mitchell Sigman gives a quick overview of Studiologic’s new Sledge virtual analog synthesizer. Full review coming soon in Keyboard Magazine!