Background video description:
Truly an amazing demo!
Info below from a German magazine:
Vermona ’14 – an unconventional name. Just before the Vermona team departed for NAMM, offered, quasi in passing, the opportunity to take a quick look at the new synthesizer. Here are the first impressions.
The analog synthesizer is a full-blown version of the Lancet module. The 3½-octave keyboard (44 keys) has a pleasant synth-action keyboard and the housing and the controls make a solid, reliable impression. The large panel promises a safe handling on stage.
Vermona ’14 is monophonic, a duophoner mode as it is presently just hip is not provided. The sound production have two identical VCOs with sine, sawtooth and square (PWM) and two sub oscillators, with a sinus, with a rectangle that can be mixed to the mixer. In the mixer, signals can override what appears roughly three LEDs. The VCO can be synchronized and also provide, if necessary on a fixed pitch. Noise and External In enhance the sound sources.
The filter is not a multi-mode, but only a low-pass, but corresponds to the most common applications.
The slope can be switched between 12, 18 and 24 dB. Also filter FM is possible. Two fast ADSR envelopes and LFO accept the modulation
Acoustic guitar looped and heavily effected with delay and spring reverb. Synthesizer sequence is a Vermona Perfourmer. Recorded live, line-level recording.
1976 made in GDR
Playing all the presets in a moderate tempo dry without FX.
The noisy beginning and end are due to the stormy wheather the noise does not come from the machine!
The ER-9 was built by Vermona from East(!)-Germany aka DDR in the early 1980ies (or even late 1970ies?). It has 16 Rhythms which can be mixed by pressing multiple Switches and 9 Instruments: Bassdrum, Tom, Bongo, Claves, Cowbell, Snare, Cymbal, Highhat and Maracas. The first 6 Instruments are built with a double-T-Matrix, mostly around just ONE transistor. All voices are mixed into a 2-transistor-mixer. Extremely clean, simple and efficient.
Inside there are multiple cards which are stuck into simple sockets. Most cards are housing 2 or 3 voices. On top of the cards are trimpots for calibration. On most cards one is for calibrating the damping of the doubleT-Network-oscillation or simply spoken: decay for BD, Tom, Bongo, Clave or Cowbell, which has 3 Oscillators, most analog drumcomputers including 808 just have 2 for the cowbell. If you stumble upon a ER-9 and the owner sais “it just makes a constant tone when i plug it on” i guess it is just a decalibrated pot letting one voice selfoscillate.
The Vermona ER-9 is a rare East German rhythm box. The manufacturer is VEB (Volkseigener Betrieb) Klingenthaler Harmonikawerke.
It’s not programmable, but the presets are free combinable. Every drum sound has its own volume knob, that makes it flexible. Check out that GDR sound
The DRM1 MKIII is an analogue drum synthesizer.
It offers eight instruments, each with seven knobs for forming the sound plus a panorama- and a volume-controller. The user interface is absolutely clear and intutitve – one knob, one function.
The instruments on the DRM1 MKII are as following:
Mainly but not only for making big and fat kick drums.
- DRUM1 and DRUM2
Very flexible instruments that can generate kick- and tom sounds a s well as bongos. Anything from zapp to bling and fantastic PIUU…
Three oscillators can be detuned and gives you nice cowbell-like sounds. If you like submarines you can create a nice sonar ping.
What can we say about that? Well, you get what you expect.
- Hi Hat1 and Hi Hat2
That’s analogue (heavy- or soft-) metal.
Classic analogue hand claps.
The instruments of the DRM1 MKIII can be triggered by MIDI (of course velocity-sensitive). There is also an optional trigger option avilable that connects the drum machine to your analogue step sequencer or whatever gives out gate voltage or switch trigger. Beside the main outputs each channel is equipped with an individual output that also can be used as an channel insert.
Background video description:
One of the best versatile analog drum expanders currently made. Awsome KICKS, jazzy SNARES, weird dubby FX, the beast electronic CLPAS I ever has and the right mixture of CAMBALS
Background video info below:
I got a brand new Rocket today, so… here goes!
Bass: Waldorf Rocket
Drums: Vermona DRM1, Acidlab Miami, MPC
Strings: Korg Wavestation SR
Pluck: Casio CZ3000
FX: Roland Alpha Juno 2
Vocoder: MAM VF-11
Vocoder Synth: DSI Tetra
I’m switching the Rocket between chord and mono modes over MIDI. To play chords, set the oscillator wave to sawtooth (CC #31 = 0), and the osc tune&shape knobs to max (CC #70 & #79 = 127). I’m also setting the mod wheel for some chord vibrato.
This was a set of recordings done entirely on the Vermona Mono Lancet analog mono synthesizer. All the sounds you hear were generated on the Mono Lancet save for the 707 kick and snare on the very first clip. This was recorded as part of a review for DV 24/7 Magazine in London, England in 2011. I used a Fireface 400 firewire interface and Logic Audio for this recording.
The reasoning for using multitracking and effects processing was to show real-world applications of an analog monophonic synthesizer. The Vermona Mono Lancet, due to its discrete design, provided a rich sound palette that could easily be tamed with minor compression and equalization.
For more info about this:
qMI is a quad MIDI-to-CV converter-module suitable for modular synthesizer systems in eurorack format. qMI is based upon the voice allocating unit of VERMONA’s PERfourMER MKII and supports monophonic as well as polyphonic playing.
Each of unit’s four output channels offers output for Key-CV (1v/oct.), gate as well as two additional CV-outputs to redirect MIDI-controllers like modulation wheel or pitch bend. The output channels can be freely combined or used independently with individual MIDI-channels. Combined output channels can be played in unison, monophonically with rotating voice allocation or polyphonically.
qMI offers four clock-divider-outputs, which convert incoming MIDI-clock to analogue gate-voltages. A reset-output allows MIDI-start/stop-commands to be converted to control components of your modular synthesizer system, e.g. a step-sequencer and keep it synchronized this way.
Simple handling and immediate access to all parameters is an important part of qMI’s concept. Therefore, qMI allows a straightforward combination of your modular synthesizer and MIDI-system.
Live session of “Rundfunk” with Elektron Octatrack + Analog Four and Vermona DRM1 MKIII. Original track: https://soundcloud.com/ohrwert/ohrwer…