Here is a very serious review and sound demo of the Dirty Electronics Mute Synth I, a handheld noise synth with a twist … or tilt. More info below. Subscribe: http://www.youtube.com/subscription_c…
The Mute Synth is controlled by bridging connections with your fingers. It’s a weirdly fun noise maker and I’m looking forward to the Mute Synth II, which is just around the corner. What do you think?
The Dirty Electronics Mute Synth II (MSII), is a hand-held synth and sequencer designed in collaboration with the designer and writer, Adrian Shaughnessy. The MSII follows the first Dirty Electronics Mute Synth (MSI), originally created for the legendary Short Circuit presents Mute event at the Roundhouse in 2011.
MSII’s elegant design and focus on usability pushes through a pick-up-and-play approach, with switches and knobs, in conjunction with the touch controls inherent in the MSI, to enable complex and infinite rhythms and sounds to be created simply.
Mute Synth II comes with a selection of works created using the synth by artists associated with Dirty Electronics and Mute.
Mute Synth II is available to pre-order now from: http://www.mutebank.co.uk/mutebank/3J…
- Designer circuit board
- Noise generator
- Buffered output
- Touch and pot control
- Mini patchbay
- Headphone/line output
Mute Synth II comes with a selection of works using the synth, by artists associated with Dirty Electronics and Mute. The CD features Chris Carter (Throbbing Gristle / Carter Tutti Void), Simon Fisher Turner, Dominic Butler (Bronze Teeth / Factory Floor), Kidanevil, Dirty Electronics and more.
Daniel Miller showing Minimoog, Pro One, TR 808 / 909 and even the Anyware Tinysizer – shown on the last modular synth meeting – as well as polivoks, System 100m and SE1X along with Microwave and Matrix 1000 by Oberheim and Arp Sequencer.
Introducing our newest Tabletop ready phase distortion synthesizer, currently codenamed “Digits.” Louis, from the Adventures in Funk, is back to demo the prototype. Stay tuned to see Digits in development!
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The Build is a semi-regular series of videos showcasing what’s in development! Take a peek behind the scenes at our new tech and latest progress in Audio and Music creation.
Vintage synthesizer demo track
all sounds: YAMAHA DX7 II FM Synthesizer (1987)
drums: LinnDrum (1982)
recording: multi-track without Midi
fx: reverb and delay
Vintage Synths at Arturia HQ in France – 15th anniv.
Tom demonstrating his new (old) Moog Sonic 6
The Sonic Six is an interesting, although obscure synthesizer from the Moog history books. Its predecessor, the Sonic V, was designed by an ex-Moog employee for the muSonics brand. When muSonics eventually bought out R.A. Moog, forming Moog muSonics, the Sonic V’s basic design was moved into a portable brief-case style synthesizer, and with only a few tweaks, the Sonic Six was born.
The fact that the Sonic Six originated from another company’s design not only accounts for why the Sonic Six looks different than any other Moog, but also for some pretty unique differences under the hood as well. To start, it is duo-phonic, utilizing two analog oscillators with three basic waveforms each plus tuning, modulation and scaling controls. There are two independent LFO generators with advanced control options not seen on other Moog synths (for instance, an X/Y knob is used to mix and balance the LFO outputs). Also on-board is a Ring Modulator (that can modulate either Osc. B or external audio) and pink/white noise generators.
Moog synthesizers are known for their filters, and the Sonic Six strays from the usual Moog in this area as well. While it is known that ARP stole a filter design from Moog for use in some of their 2600 and Odyssey models, leading to lawsuits between Moog and ARP, according to Mark Vail in “Vintage Synthesizers,” the Sonic Six actually used some circuitry in its filters which were stolen from an ARP design, although ARP never sued Moog over it. However, later models of the Sonic Six were eventually fitted with a more traditional Moog designed filter. In either case, the filter is a low-pass 24dB/oct which offers the usual controls and is capable of self-oscillation. The VCA, however, has a rather limited set of controls – attack and decay plus a sustain on/off switch.
Not commonly seen, they are actually rather durable devices and used ones generally (if proper care was taken of them) are found in good working order. It was originally designed for educational and home use so it is light and portable and even has a built-in amplifier and speaker. It’s a genuine Moog synth that is equally as obscure as useful these days. And its rather simple looking front-panel layout hides the uniquely flexible, powerful and great sounding little beast it truly is!
A “bargain” – if we may say so 😀
But it sure is a beauty !!
When Hermann von Helmholtz designed what was essentially the world’s first electric keyboard, he didn’t do out of a need to lay down crunchy riffs on the shores of the Rhine. What he needed was a way to generate tones and mix timbres in a bid to better understand the musicality and substance of vowel sounds. He ultimately came up with a series of electrically activated tuning forks hooked up to brass resonators, and now you can try to own one of your every own… assuming you’ve got between at least $20,000 burning a hole in your pocket. This particular unit — hewn of wood and keys whittled from African ivory — wasn’t made by Helmholtz himself, but it is one of the few remaining examples of such 19th century tech still in existence. To hear auction brokerBonhams tell the tale, there’s just one other floating around the United States (another seems to be in safe hands at the University of Toronto). Intrigued? The Helmholtz synthesizer will go up for auction in New York come late October along with a slew of other scientific curios from back in the day.
Twisted Electrons has released their newest synthesizer, the TherapSid.
Based on the SID (Sound Interface Design) chip and named for the fearsome long-toothed Therapsid dinosaur, the TherapSid is an “aggressive” synth intended “to create roaring noises that will cut through your mix like razor-sharp claws through a mammoth steak.”
- Compatible with all SIDS
- 3 Oscillators, 4 waveforms per oscillator
- Multimode Filter
- 35 Knobs, 31 Buttons
- SID pcb isolated from main pcb (less noise)
- Switched audio input for running signals through the filter
- 100 Presets
- 3 LFOs: 4 waveforms, 12 target knobs
- 16 Step Modulator: sequence up to 20 knob positions, per step in a snap! Also modulate Ring Mod, Sync and Waveform for all voices.
- Pedal Glide: enable/disable glide with the sustain pedal
- Compatible with free iPad app (pending app store approval)
- Fully MIDI automated (see midi spec. chart in manual)
- Future proof: Firmware updates via sysex
Overview: presets – lfo – step mod – ipad app
Rob Papen has introduced Punch-DB, a bass drum synthesizer and sample player plug-in based around the BD module of the multi award winning Punch virtual drum synthesizer.
Stacking bass drums is a popular technique used by today’s music producers and Punch-BD gives you the ability to stack up to 6 in total. Divide the 6 BD pads over the keyboard or use them ‘stacked’ in tuned mode to produce creative new BD sounds for all styles of contemporary music.
Punch-BD delivers synthesized drums in the finest audio quality or you can choose to load in your own samples for complete flexibility. Each pad has its own distortion module with several distortion types as well as its own 3 band graphic EQ. What’s more, each individual pad also has its own preset section next to the overall ‘BD kit’.
Like its big brother, Punch-BD features four FX units each with many 31 types of top quality FX plus further filters, envelopes, modulation routings and more for crafting your own unique sound.
From Electronic Dance and Hip Hop to Soundtrack projects, Punch-BD provides a solid speaker-busting sound for your productions.
Punch-DB will be available soon for Windows and Mac (VST/AU/AAX), priced at 49 EUR / $59 USD.