Matrix-12 (Xpander) Tutorial 1: Intro, Programmer, Primary Pages

June 10, 2012 · Posted in Uncategorized · Comment

This is the first tutorial in a series dedicated to editing sounds on the Oberheim Matrix-12 and Xpander synthesizers. In this video I will cover the basics of creating and saving a SINGLE-mode patch. If you already know how to get around in the programming interface you might want to skip this video. Having a basic knowledge of editing synthesizers, oscillators, filters, LFOs, and envelopes will help get the most out of programing this beast.

0:12 Introduction
0:58 The Programmer
1:47 Primary Pages
1:55 VCO1 Page
2:47 VCO2 Page
3:17 FM/LAG Page – LAG
4:06 FM/Lag Page – FM
5:30 Tracking Generator
6:27 VCF/VCA Page – Filter
7:44 VCF/VCA Page – The Amplifiers
8:21 Envelopes Page
8:39 LFO Page
8:58 RAMP Page
9:48 Name Page

Project: INIT – #01 Vocal Formant Lead with Tone 2 Electrax

April 26, 2012 · Posted in Uncategorized · Comment

This video shows how to program a lead patch with vocal formant characteristics with lots of movement.

Here’s what Mark has to say about it:

Project: INIT is a new video series I’m kicking off today. In the videos I will offer real-time behind-the-patch footage taking you on sound design missions from INIT using a variety of sonic weapons. By simply coming along for the ride you’ll learn more about synthesis and how to make unique sounds for your productions.

Exploration and Discovery

A variety of synthesizers will be used focusing mainly on synths that offer interactive visual feedback making it easier for you to connect with the concepts. Don’t worry if you don’t own the exact synth – watch anyway – as concepts & techniques are most likely transferable to most synths and if nothing else I hope to spark some ideas for you.

So, for up-and-coming synthesists and producers the videos will help you grok the world of synthesis in less time. For seasoned synthesists and producers these videos will serve as inspiration for new ideas and help you learn your way around the featured synths more quickly.


I’ve been programming synths for over 20 years (did I just say that out loud?). I’ve been dabbling with behind-the-scenes videos to share my knowledge for quite a while but have always wanted to do a bigger series like this. Inspired by my good friend AfroDJMac  (who I collaborated with on Live Packs  #38 and #40 ) I’m going to attempt a video per week – zoiks! I’ll be publishing the videos to this playlist on YouTube.


While the videos are free, donations are most welcome and will encourage me to push on. You should know that early studies indicate that people who find these videos helpful  and want more do donate to the cause to encourage work. Also, my wife would appreciate the boost to offset my synth addiction budget :^). I do like books and music so if you want to donate by giving me a copy of your art, contact me – although I do like money – quite a bit really. Did I mention my synth budget? You can also buy my albums.

Tips and Tricks with RX 2 – Editing Dialog, Reducing Mouth Noises

April 7, 2012 · Posted in Uncategorized · Comment 

In this video, learn how to use RX 2 for removing and reducing unwanted mouth noises, plosives and other artifacts common in dialog recording. In this example, we reduce the sound of some wet clicking and several plosives.

Download the free RX 2 trial here:

n this video, learn how to use RX 2 to restore recordings transferred from old records by reducing clicking, crackling and noise. In this example, we reduce the clicks, pops, time-variable wear variations and general noise without harming the character of the music, which was originally from a 78rpm shellac record.

How to create the 1980s synth arpeggio and the classic ”Acid Rave” 303 sound

January 9, 2012 · Posted in Uncategorized · Comment 

“I’m starting a new series of “Quick Tips” videos – short tutorials in which I’ll describe several techniques (new and old) used in the synthesizer world. This is the first video, the “1980s Limahl-style” synth arpeggio.”

How to obtain the classic “aggressive” 303 acid rave popular in the early 1990s.
Instruments used:
Roland TB-303 bassline
BYOC E.S.V. fuzz (germanium version)
Boss DD-3 digital delay
Roland TR-909 drum machine

Ableton Live Sidechain Compression and Sidechain Autofilter

December 22, 2011 · Posted in Uncategorized · Comment 

In this series, facilitator Loudon Stearns covers five ways tracks can interact with audio effects using Ableton Live. The first installment, Sidechain Compression, shows how a compressor can be used to create an interaction between a synth and an acoustic bass part. The Post FX and Post mixer routing points are examined as well as compressor specifics.

The Second installment, Sidechain Autofilter, shows how Autofilter can be used to give an automatic interaction between two tracks.

More info here:…

How to Make a Noise: Analog, Frequency Modulation, and Sample-Based Synthesis

October 31, 2011 · Posted in Uncategorized · Comment 

Three new books in the How to Make a Noise series have just been published. Each book focuses on different approaches to synthesizer sound creation so the musician can choose the right tool for the job.

How to Make a Noise: Analog Synthesis starts from the basic principle of taking a sound source and shaping it with a filter. This simple but powerful technique can be applied to any hardware or software synthesizer to create the warm, rich, energetic, and commanding sounds that are often associated with classic hardware synthesizers.

How to Make a Noise: Frequency Modulation Synthesis looks at frequency modulation (or FM) synthesis which works through a continuous and controllable interaction of two or more waves to give a broad spectrum of detailed, highly nuanced, bright, rich, shimmering, clean, metallic, and solid tones that can be used to create many musical (and non-musical) sounds.

How to Make a Noise: Sample-Based Synthesis looks at how to sample, create, and control sounds—from high fidelity realistic recreations of real instrument in their original environment, through creative warped tones, to drums and loops—and the tools and techniques that are available to help.

Reason Wizardry Demo Video

October 28, 2011 · Posted in Uncategorized · Comment 

Reason Wizardry is a series of advanced video tutorials for Propellerhead Reason 4/5/6, produced fresh and delivered electronically each month.


Reason 6 Tutorial : The Alligator 2 Patterns, LFOs & Envelopes

October 14, 2011 · Posted in Uncategorized · Comment

Reason 6 Tutorial : The Alligator 2 Patterns, LFOs & Envelopes
Reason 6 Tutorial : The Alligator 3. Pattern Section
Reason 6 Tutorial : The Alligator 4. Amp Envelope
Reason 6 Tutorial : The Alligator 5. LFO
Reason 6 Tutorial : The Alligator 6. Filter Envelope
Reason 6 Tutorial : The Alligator 7. Delay
Reason 6 Tutorial : The Alligator 8. Phaser
Reason 6 Tutorial : The Alligator 9. Drive, Pan & Master Volume
Reason 6 Tutorial : The Alligator 12. Bass Processing
Reason 6 Tutorial : The alligator 13 Alligator as MIDI Instr
Reason 6 Tutorial : The Alligator 14. External Sequencer
Reason 6 Tutorial : The Alligator 15. Alligator Multi Out
Reason 6 Tutorial : The Alligator 16. Alligator CV Outs
Reason 6 Tutorial : The Alligator 17. Vocal Processing
Reason 6 Tutorial : The Alligator 18. Vocal Combinator
Reason 6 Tutorial : The Alligator 19. Vocal Combinator with Effects
Reason 6 Tutorial : The Alligator 20. Conclusion

Two nice iMaschine videos from the realms of Native Instruments

October 7, 2011 · Posted in Uncategorized · Comment 

This tutorial explains how to record short one-shot samples to the pads,
and how to record a longer vocal loop using the built-in audio recorder

This tutorial explains the basics of working with iMaschine, including
navigation within the app, loading sounds, adjusting the tempo, and
programming a simple beat.

More info about iMaschine:

Melodyne Tutorial: Making beats with One Shot Samples

October 7, 2011 · Posted in Uncategorized · Comment 

Learn how to craft grooves, rhythms and sound variations from single one-shot drum samples with Melodyne.

Human hearing is particularly sensitive when it comes to vocal tracks, which is why producers all over the world are grateful that intonation and timing corrections with Melodyne studio are practically inaudible. Correct the notes quickly and easily with the help of a macro or drag them with the mouse to the correct pitch or position in time. Fine-tune their length, their volume or the intensity of their vibrato. They’ll sound as if they had always been that way. With Melodyne studio, you can see and edit not just one but as many tracks as you like. So you can create with extraordinary ease multi-voice arrangements from a source track with only one voice, taking advantage even of the possibility of outputting each individual voice via a separate channel in the mixer. You can quantize tracks using other tracks for reference and even copy pitches from one audio track to another. Melodyne studio offers the greatest possible degree of flexibility and creative freedom for your arrangements. Multi-tracking adds up to a lot more here than the sum of multiple tracks.

Tutorial videos:

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