Just the OP-1 for drums & Samplr for drones and bass thru the cool AUFX:Space effect via Audiobus.
Bit rough and ready as usual
More sounds at soundcloud.com/punisha
The extremely popular OP-1 gets a well deserved OS update, details below:
(Introductory NOTE: This is a longer original introduction to the new OS that I put together. It has outdated graphics that have since been polished. This is one example of what takes place during beta testing. All sound features are unchanged. There is a much more in depth level of explanation of operation of the new OS here and it would be a shame to have this sit on a shelf… so here you go.)
This video is an introduction and demo of the May 2013 OS update to the amazing Teenage Engineering OP-1 synthesizer music machine. In this update two astounding new features are added in the form of the “DNA” synthesizer engine and the “CWO” Frequency Shifting Delay. The DNA engine is a noise engine capable of complete aggression and fax machine battle while at the same time possessing the ability for harmonic tonal leads and chords. The CWO FX is a Frequency Shifter with a wide range that make it possible to do phasing, flanging, chorus, tremelo, ring mod and comb filter types of sounds. You have to hear it to believe it. CWO also represents the first partnership by Teenage Engineering with an outside developer to co-op code to add to the OP-1’s already heavy arsenal of sound capability. This developer is the one and only sonic master mind Magnus Lidström of Sonic Charge. I hope you enjoy the video and the demo. Most of your questions will be answered in the video and I try to do my best balancing act between info and sound. Soon you will be able to upload this OS yourself and I look forward to hearing (and seeing) what you can create with this as well as part of the OP community.
Note: This is a pre-release build and final features may vary slightly from those shown in these clips. All music is original and no creative rights have been infringed upon in the making of this video
confusion / OP-1 by D.PEIN
In this video, the intro bars are crafted. At the end, the design advantages are also awkwardly presented.
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.
Fan of Teenage Engineering’s OP1 – then check this one out from AfroDJMac
Free Ableton Pack Download @ http://bit.ly/freesynth77
Tutorial on how to create drum fills and variations, plus two free Ableton Live Racks. The OP-1 Drum Rack was made with the synthesizer engines on Teenage Engineering’s OP-1, and the effect rack is designed for easy drum fills and changes.
Introducing Granulator 2000 for OP1
OP-1 – Bärbar syntheziser (Bärbar = Portable) – Interesting video showing how the OP-1 evolved.
There is lots of nice gear for all of us electro fans in this in-studio performance of Broken by Depeche Mode.
Check out the Teenage Engineering OP-1, Roland Jupiter 8 synthesizer, Oberheim OB8, Korg MS20 and Korg MonoPoly synthesizers. Not to mention, the tasty Eurorack modules that have been seen in pictures of the Delta Machine studio sessions.
Ilona and Tobias checking out the new secret OP-1 OS coming soon. Here’s a sonic sneak peak of what’s cooking…
More sounds here: https://soundcloud.com/one/op-1-os-te…
OP-1 promo is inspired by this great video:
Teenage Engineering: How did you get involved in the album process?
Christoffer Berg: I got involved at the end of January 2012. I was asked if I would be interested. In February I went to London to meet Ben Hillier and Daniel Miller to listen to some demos and just meet them. In March I went to the first recording session in Santa Barbara.
TE: How come they first approached you?
CB: I think the way it happened was that Ferg Peterkin, who was the engineer on the record, was in the studio where I have a production room, Svenska Grammofon Studion in Gothenburg. He was recording an album with a band called Foals, and him and Luke Smith, who was the programmer on the previous record, had brought their modulars along.
I asked if I could have a go at the equipment and do some experiments with it. They invited me to come in whenever I wanted to, so I recorded some stuff on a mobile setup that I brought to their room. After this I was kind of invited to send a resume and submit some demos.
There was quite a substantial list of experience required to even submit a demo. You had to have expertise in several modern day sequencers and also be able to synchronize these with old analog stuff. But at the time when I started making electronic music music, I had to use sync boxes and a four track portastudio. So when I looked through the list I thought to my self “I can do this”, and “if I get this job I’m gonna kill it”.
TE: What was the actual position offered?
CB: It was as the programmer. My technical responsibility would be to keep different systems synchronized, and also to program beats, make sounds, basslines or whatever.
TE: So, during a days work, what equipment would you use?
CB: Oh, my god… Wow, we had a huge Eurorack modular with somewhere around 700 – 800 modules. During the recording process Martin (Gore) also got a dotcom modular, which I really fell in love with. We had ARP 2600’s. Martin has a rack which has three 2600’s in one rack, with custom MIDI interface for them. That was insane! One favorite of mine came to be the ‘Gleeman Pentaphonic’, a kind of rare early digital analog hybrid synth, which looks really cool and has a very special sound. It’s almost impossible to list every thing and almost easier to list the stuff we didn’t have.
Read the whole interview here