Synthblitz Audio has released VA RAXS, a vintage-looking rack, designed for mastering and remastering of sound materials.
The virtual rack consists of 4 effects and the sounds pass through them in the following order:
- A preamplifier with gain control, enhanced features for sub and high, combined with a mid-side processor that can divide the incoming signal.
- A crossover module 6dB / Octave, with a ‘transient perfect’ filter that passes both amplitude and phase unchanged across the range of interest. It has separate tone controls -/+12dB, and other features like two types of noise reduction, de-esser, dc bias, and more.
- A compressor to handle small compression ratios, useful for mastering, but also able to work with large compression ratios. The compressor has “knee” control, “Make-Up” gain and a high precision vu-meter to reading the dB reduction.
- A limiter designed to get a good sound quality, and fast enough to allow a good RMS output.
When set correctly, VA RAXS is designed to provide high quality sound at low cost. It can also be used for remastering old recordings of audio cassettes and other sound material. It also includes a 23-page manual.
Price: € 39.
Loopmasters has launched Synth Explorer – Jupiter-6, the first title in a new series of royalty free loops and one shot samples that pay tribute to legendary synthesizers and drum machines.
First up for the Synth Explorer collection is the classic Roland Jupiter 6. First introduced to the world in 1983 the Jupiter 6 was one of the first analogue synthesisers to adopt MIDI and is considered to be a solid 12 oscillator analogue workhorse with a distinctive but fully capable palette of sounds ranging from Ambient Drones, Smooth Pads, Analog Leads to Techy Blips and Noises.
Synth Explorer – Jupiter 6 has been produced using a mint condition Roland Jupiter 6 owned by one careful, well known producer, recorded live through a TL Audio C-1 dual valve compressor and a Neve 8801 channel strip to capture the pure sonic delight of this vintage synth beauty.
This edition of Vintage Explorer sees a wealth of Loop and one shot samples aimed towards the soulful spectrums of electronic music production with a slight angle towards Italo Disco, Funk, Nu Disco and Deep House as well as more experimental down tempo genres.
Synth Explorer Jupiter-6 features
- 356 MB content, 24-bit quality.
- Includes 41 arp loops, 24 music loops, 25 bass loops, 16 bass multi samples, 37 sfx hits, 41 chord hits, 34 synth stabs.
- 90 REX2 files.
- 114 soft sampler patches for Kontakt, HALion, EXS24, NN-XT and sfz formats.
The sample pack is available for purchase for £14.95 GBP.
This is a demonstration of the Oberheim Two Voice vintage analog synthesizer!
Oberheim’s first synthesizer was a single-voice mini-module called a SEM (Synthesizer Expander Module). However, in 1975, Oberheim created their first compact, programmable and polyphonic synthesizer by coupling two SEM modules to a 37-note keyboard and a simple analog sequencer. This was what became the Two Voice. Oberheim achieved a polyphonic sound not yet seen in ARP and Moog gear at the time by hard-wiring the two monophonic SEMs into the compact keyboard design.
In 1976 Oberheim came out with another module, the Polyphonic Synthesizer Programmer. This could memorize the control voltages of many parameters for up to eight SEM modules. When these were added to the Two Voice, Oberheim finally had one of the earliest programmable and polyphonic instruments! Released alongside the Two Voice also came the Four Voice which had four SEMs installed, and a larger 49-note keyboard. And later, in 1977, a second tier was added above the four SEMs on the Four Voice to add yet another four SEMS, making the Eight Voice.
Two voices was great in 1975, and eight voices was pretty monstrous in the later seventies. But, a major drawback to these first Oberheim synths was that polyphony was achieved by having multiple modules. This meant that each voice had to be independently programmed. This also means that each voice has its own filter, making real-time filter sweeps of all your voices more than a handful! Fortunately the sequencer comes in handy for controlling each voice/module independently.
Despite its innovative features, the Two Voice was soon blown out of the water by the popular monophonic and truly polyphonic synths like the OSCar, ARP Odyssey and SH-101.
all sounds: ARP QUADRA Analog Synthesizer (1979)
first demo of all four synth sections (Strings and Phase Shifter, Poly-Synth, Bass-Synth, Lead-Synth)
no multitracking, no midi
The Quadra is pretty much a hybrid version of ARP’s Omni II and Solus synths. It’s a four-section synthesizer consisting of a Bass synth, Poly synth, Lead synth, and String synth. It is quite good at emulating each of these sounds and can function in any of its four modes at a time with the ability of layering the different sections! Sounds you create in any of the four sections are instantly recalled from memory by the push of a button! There are 16 program patches for storing your sounds. Other major features are the incredible phase shifter, tons of balanced audio outputs for each section, dual portamento controls and a superior arpeggiator…that’s pretty good for 1978! On the downside, it has a fragile mylar front panel, very limited programability and a weird feature that autotunes the keys to play weird intervals.
The Bass synth section is monophonic and can be programmed to occupy the lower two octaves of the Quadra’s 5-octave 61-note keyboard. The bass sounds pretty good and has 16′ and 8′ presets each for Electric and String Bass sections.
The string section is based on the Omni II String synth. It sounds excellent and implements a phase-shift effect that is sort-of like a chorusing effect that thickens its already great string sound. In Polyphonic synth mode there are more effects available such as sample-n-hold and the phase-shifter. String and Poly Synth sections have 8′ and 4′ Polyphonic Waveform Generators each along with a preset called Hollow Waveform.
In Lead synth mode the Quadra becomes a two voice screamer with aftertouch sensitivity in the upper octaves of the keyboard! It’s duophonic (like the Odyssey). Get a bass sequence going, switch over to another section and play along!
Testing OCTO.PULSE DIY ANALOG SYNTH
– 2 VCO ( 4 wave type )
– 1 LFO ( 4 wave type, high and ultra low rate )
– 1 VCF ( 3 filter type )
– 1 SAMPLE & HOLD module
– White noise generator
– PWM control and Skew mod
– Full interaction between every module
– Full analogue concept and vintage cabinet
– 220 volt cable ( no power supply )
INFO : firstname.lastname@example.org http://www.exagonal-rooms.com
Vintage synthesizer demo track by RetroSound
used vintage stringmachines:
Logan String Melody II (1979)
Crumar Performer (1979)
Roland VP-330 (1979)
s/h bass: Oberheim OB-Xa (1981)
drums: Roland TR-808
recording: multi-tracking layered without midi
fx: reverb and delay
I used the special functions (human voices, brass filter, lfo, tone colour, chorus…) and you can hear the different sound-character of the stringmachines.
CL-Projects releases OSA (Old School Arps) for Kontakt 5.1 and higher.
Here’s what they say: “Imagine yourself in a cellar, filled with vintage synthesizers and analog sequencers, flashing lights, knobs and faders everywhere, playing Berlin School electronic music. If you don’t have any of that equipment to your disposal, this library is the next best thing. It tries to bring some of that sound and feeling to your home and studio by supplying vintage arpeggio patches.”
The Berlin School electronic genre of music was first made in Berlin in the 1970s, hence the name, by electronic music artists like Tangerine Dream, Klaus Schulze and Ashra. Typical for this type of music are the evolving, atmospheric and hypnotic layered sequencer textures. The sound consists basically of ambient elements combined with short, repeating sequenced runs of notes, which gives the music a rhythmic element.
OSA is a Kontakt 5 library aimed at this genre of electronic music from the 1970s and 1980s and consists of vintage arpeggios, and a few modern ones too. Inspired by musicians like Jean Michel Jarre, Tangerine Dream, Klaus Schulze, Michael Hoenig and countless others.
- For Kontakt 5.1 and higher (Full version).
- 24-bit 44.100 kHz ncw samples.
- 50 different waveforms per oscillator.
- 24 samples per patch, 12 per oscillator (76 notes).
- Velocity and Aftertouch responsive.
- 6 folders containing a total of 151 patches.
- Patches divided into Straight, Triplets and One Shot (separate folders).
- 4 Effects: Reverb, Delay, Chorus & Phaser.
- Time and Speed parameters sync to Host tempo (Delay, Chorus and Phaser).
- All parameters on 1 page.
More info on the OSA product page: www.cl-projects-sound-design.com/osa
WOK has released VVOC-1, a new free synth plug-in that generates vocal sounds with a vintage electronic touch, from single formants to synthetic choir sounds.
The integrated triple-chorus and the X/Y pad for adjusting the formants, a pitch glide function and a hidden secret unveil more power than the easy GUI might imply.
Price: Free. As with all of WOK’s plugins there is no adware or spyware included.
Arturia has announced the release of VOX Continental V, a vintage keyboard recreation, bringing back the classic sound of the famous VOX Continental 300.
As a high-end software recreation of the Sixties-vintage VOX Continental 300 transistor-based combo organ, VOX Continental-V is the latest addition to Arturia’s acclaimed Analog Classics lineup where it sits alongside an authentic recreation of another archetypal Sixties staple, Wurlitzer-V (based on the classic ‘Wurly’ electric piano). Introduced in 1962, the VOX Continental — or ‘Connie’ as affectionately it became known — was originally designed to address the needs of touring musicians, but became musically much-loved in its own right. As such, it prominently featured on many hit records of the time, including The Animals’ classic ‘House Of The Rising Sun’ in 1964 and, a little later, ‘Light My Fire’ by The Doors. Onstage, The Beatles performed a memorably frenzied version of ‘Help!’ B-side ‘I’m Down’ during their August 1965 performance at New York’s Shea Stadium with John Lennon playing a VOX Continental using his elbows at times!
Despite being phased out of production in the early-Seventies, the VOX Continental has stood the test of time, too, playing a pivotal part in generating many of the distinctive keyboard sounds supporting later musical genres, including almost everything ever recorded by British Ska revivalists Madness, as well as New Wavers like Elvis Costello and The Attractions and American counterparts Tom Petty and The Heartbreakers. However, VOX organs have become increasingly difficult to acquire due to the high prices that they can command, compounded by the limited supply of working units. Today, VOX Continental-V gives contemporary, computer-based musicians instant access to those same hit-making sounds of yesteryear, and much more besides — and all without breaking the bank!
VOX Continental V features
- Physical Modeling of the VOX Continental 300.
- Added models of the ultra rare Jennings J70.
- Extended mode allows for more controls and more sound possibilities.
- Includes classic stompbox-type modeled effects.
- Modeled Guitar Tube Amp and Rotary Speaker outputs for vintage live sound.
- Extensive MIDI mapping of pedals, effects and sound engine parameters.
- Modeled amplifiers: Fender Deluxe Reverb Blackface, Fender Twin Reverb Blackface, Fender Bassman, Marshall Plexi, Leslie Speaker.
- Modeled microphones: Shure SM57, Sennheiser MD 421, Neumann U 87.
- Convolution reverb with custom classic spring reverbs.
The Vox Continental V is available for Windows and Mac (VST/AU/AAX/Standalone) for $99 USD/99 EUR (download) / $129 USD/119 EUR (boxed).
Maybe the first MFB drum Machine, with some mods added like drum triggers