"I've only been using the Z-DSP for a few hours, and have been concentrating on the "Dragonfly Delay". I am already amazed at some of the sounds and complex drones I've been able to get out of it with the CV control of feedback and DSP assigned controls."
"Simple patch illustrating one use of the 4ms Rotating Clock Divider. Four outs from the RCD are sent to one Maths, which is mainly used as a mixer for the four incoming sources. SUM out opens the Borg filter, which is in a feedback loop with the Plague Bearer to give the sound more flavor. The second Borg is in the chain to roll the nasty highs off, and is perked up with the OR out from Maths.
uLFO is clocking the RCD from pulse output, and also providing the rotation via the shaped sine output. Changing the shape of the sine and attenuating it gives pretty good control over the rotation, while mixing it up enough to be interesting.
The second Maths is slowly modulating the gain input on the Plague Bearer, and providing an occasional reset for the RCD."
YouTube via squidfanny. via this auction "One of my favourite circuit Bent synthesizers, the very rare AMSTRAD CKX100 chaos Glitch Synth....
Fist part of the vid focusing on drums and GLITCH / CHAOS.
Second part is Punk LFO, Pitch modulation and photo-clit / optical theramin.
Final part shows the excellent new CHORD and INSTRUMENT sounds.
Built in the late 80's, AMSTRAD were famous for crap hi-fis and even crapper computers. This machine however is a real gem..... Lush chord + warm, sweet pleasing tones.
It's a digital 'wavetable' synth with grainy (but nice) lo-fi drums and some cool features such as midi out, play and record sequencer, Auto Harmony and 'playright' function which re-arranges the keyboard scale according to which chord is being played (just like an Omnichord).
Loads of chaotic glitching, an instant soft reset button, sweet and stable glitches to alter the tone and shape of the instrument and chord, Glitch arpeggiator, LFO with 4 possible destinations and loads of pitch modulation thanks to precision oscillator (from GETLOFI).
Damn, I love this machine.............:-)) "
Glitch Chaos from a circuit bent AMSTRAD CKX100
"A chaotic bit of dirty glitch madness from one of my favorite circuit bent synthesizers..... AMSTRAD CKX100"
"One VCO (fat saw), one Noise source (fat), one ADSR assign to VCF and VCA with amount for both, VCO tune (from very low to very high), A440 tone for tuning and fine tuning pot, LFO assignable to VCF, VCO and VCA. LFO speed, Envelope bypass with oscillator volume to create sound effect. Cuttof and resonance sliders."
previously posted back in 2006. Note this is not the actual unit up for auction.
YouTube via flitemedia "Analogue synthesis shown using a Roland Jupiter 6 through an analog oscilloscope to show the waveforms and modulation capablities. A visual tutorial on analog synth style sound creation, also showing off the awesome power of one of the greatest polysynths ever made. Thnx for watching - www.flitemedia.com"
YouTube via bigcitymusic "The Bleep Labs Thingamagoop 2 has arrived and it's super-fun! The goop 2 has all the features of the original plus more. It has digital and analog oscillators, an LFO to modulate pulse width with square and triangle waveshapes, the ledacle with photo-sensing nose. It also has a dc power inlet, 1/4" audio out, a cut switch, program in. Wait! It also has CV in and out so you can control it with an external sequencer or have the Thingamagoop control your analog synths! Whut? Yes. Available now."
Mobile sampler interface In your pocket, ideally suited for live or for fast, intuitive composition, the 16 multi-touch pads enable you to load, slice, tune, and trigger sounds from an extensive sample library. Live pattern recording and sound control with the simplicity of a finger movement
Lay down your ideas. All your ideas Experience BeatMaker step sequencer for creating your grooves. The tactile editor makes music composing really quick and easy while keeping a precise synchronization. Limitless patterns, endless possibilities, delivered on tune and on time.
Create your song while performing live Arrange your song snippets to your liking, loop and improvise in real time all the building blocks of your tune into something meaningful.
Enhance, alter, add new perspectives Give a new impulse to your sound material using audio effects. BeatMaker provides two independent effect channels including synchronized delay, 3-band EQ, and the famous "Bit-Crusher". You can apply new rhythmic pattern to your drum loops, change textures and frequencies and recreate the lovely vintage sound.
Record your own sounds Record new sounds wherever you are, and use them instantly in your compositions ! (Only on iPhone and iPod Touch 2nd Gen models)
Packing things up for another ride
Time to pack your bag and move on? Want to use that drum kit in another song? BeatMaker lets you load and save your sound kits and projects at anytime.
Synchronize and update your personal library Thanks to BeatPack, the free BeatMaker synchronization companion, you can easily expand your audio library. Share your personal audio samples from your computer directly into BeatMaker. Bringing your sound material everywhere has never been so easy !
Great tune ? Pass it on Export your piece to one audio file, share it, or just re-use it as another sound base for further compositions. BeatMaker also allows you to export your songs to MIDI files, that you can later import into your favourite desktop sequencer.
YouTube via peahix "Ralph Dyck in the studio with the Roland MC-4 sequencer and Jupiter-8 synthesizer, working on his composition "Transitions" for Paul Horn. More info about Ralph Dyck can be found at http://www.rolandmc8.wordpress.com"
Wednesday, February 17, 2010 - 7:30PM Microsoft Studios 4420 148th Ave NE, Redmond WA 98052, Building 127
Our February meeting features some of the rising stars of the new wave of Modular Synthesis giving demonstrations of some innovative new products as well as showing off some of the more tried and trusted, but never completely predictable, modular delights. This will be a great opportunity to play catch-up for those of you who may be new to the world of modular synthesizers - a world of infinitely variable possibilities that started in the early 70s when modular synthesis was pretty much the only way to go. If you're old enough, think back to the Buchla, Moog 900-series, and the ARP 2600 synthesizers. If not...
In the beginning, there were several separate modules, each responsible for a specific aspect of sound creation: Voltage Controlled Oscillators (VCOs), Voltage Controlled Filters (VCFs) and Voltage Controlled Amplifiers (VCAs). It wasn't too long afterwards that Low Frequency Oscillators (LFOs), Sequencers/Arpeggiators, and Envelope Generators joined the party, creating a broad range of wonderful synthesized sounds. The flexibility of such a system was tremendous - primarily because the modules were connected together by patch cords, encouraging sound exploration and design. That flexibility came at a cost - complexity and price. The modular synths of the day were well out of range of all but the most serious musicians and academia. In addition, the different manufacturers had proprietary sizes and interfaces for their equipment.
This complexity led to an integration of functionality - the standard modules and patches that create sounds were put together and pre-patched, with control mainly of the parameters of the components, but not their order/configuration... These units incrementally came down in price until the pendulum swung furthest in the mid to late 80s. Here we had synthesizers whose human interface consisted of a couple of 7 segment LEDs and a data slider. The majority of the "patches" (named for the earlier use of patch cables to build a sound) were pre-set and canned. Much of the joy the synthesist derived from creating and manipulating their own sounds in real time evaporated. On the other hand, for live performance, a synthesizer with presets was really the only practical solution, because there was no way for a modular synthesizer to change patches quickly during performance.
Fortunately, with lead of several visionaries in the field, modular synthesis has been revived and the costs have dropped enough to become accessible to the general audience. There are new modular standards that provide opportunities for many manufacturers to make modules that interoperate seamlessly and inexpensively. On February 17th, we'll meet several of those manufacturers. Come and learn the history, state of the art, and future trends in modular synthesis.
YouTube via Beatprisoner "New live recording from my KFEE - Klanglabor für experimentelle Elektronik." "Tags: Musik Modular synthesizer Klanglabor für experimentelle Elektronik Cwejman BLD MX-4S TipTop Audio Z3000 FM sound beat bratz doepfer cwejman modular S&H Döpfer Patch"
BLeeDing shalm
"This patch-video might remind you at the "PLL Arabesque" video from boobtube356. And yes, indeed there is a PLL involved in this patch as well, but it's not the PLL forming the main character of this patch. You can see and hear that the PLL output initially comes in at about 1:00. What you hear before is just the output from the Cwejman BLD, nothing else (beside some reverb of course). The BLD is being controlled by an A-155 sequencer. As the BLD has inputs for both Attack rates as well as for both of the Relase rates, these are being driven by a Doepfer A-143-1 Complex envelope generator running in AD-mode. The mixed output of this module also defines the first note of the A-155 sequencer.
The "arabesque" character of this patch mainly comes from a high glide setting of the A-155 sequencers Post-output. The shalm like sound is caused by proper setting of the BLD.
The intermittent "screaming distortion-like" effect is achieved by triggering the sequencer with a clock in audio range (the square output from the PLL) from time to time (switching between PLL-LFO and the A-154 internal clock using a A-150 VCS)."
Blubber Paule
"News from my KFEE (Klanglabor für experimentelle Elektronik).
This session has been performed and recorded without any Computer or MIDI-devices. Only some outboard equipment has been used on the final signal (compression and reverb).
Unfortunatly the cam's mic does not have a very good frequency range so the bassdrum has not been recorded very well.
The starting sound comes from a sequenced A-112 Wavetable Oscillator which will be faded out when the main sequence comes in. The main part of this patch is the combination of an A-155/A-154 Sequencer and Controller, a quantizer and a SQ8 Sequencer which is transposing the sequence by using the A-156' transpose input). The A-154 mode will be switched between forward and pendulum by a LFO. On top of this there is a Heisenberg generator which is responsible for changing the number of steps between 1 and 8 by random (very slowly of course).
If you are wondering whats in the lower left corner of the rack (which you can't see in the video): nothing more than a A-164-1 Manual Gate which is being used to reset the sequence manually (and to start/stop the sequencer itself).
The VCOs being used are two TipTop Audio Z3000. The first one is generating three different waveforms which are being mixed together. The second one is acting as a suboscillator. "
YouTube via Beatprisoner "A short improvisation with my new Cwejman BLD-6 Bass-Lead & Drum generator. The BLD is being sync'd by a Z-3000. The CV's and clocks are being provided by the Flame clockwork module. Beside the Cwejman MX-4S, a LFO and some delay no more modules are involved here. So the sound you hear is just from the BLD-6."
Clockwork Blue
"This video is a demonstration of the Flame Clockwork module. The only parameters which are being changed during the session on the clockwork are the quantizations of the three channels. The module is triggering a Cwejman VM-1 and a Doepfer A-112 Sampler via CV/Gate as well a a Rob Papen Blue synthesizer and an Waldorf Attack Drumsynth via Midi."
During the video I turn the Macro-Function several times on & off... just to see how it looks like. Unfortunately i hadn't much time today so i didn't realize that it is sometimes really blurry... but nevertheless it's a good track! :D ...and it was only made in 1 hour ;)
YouTube via OfficialRendezvous "This clip was taken during the recording sessions of Blues In Space. Hagai is playing the Korg ms-10 (a vintage analogue synthesizer released on 1978!) and it was taken right before recording the final take of this part for the album. Check out our channel for more uncut clips from the recordings of Blues In Space. http://www.rendezvousmusic.co.uk"
YouTube via AmidioInc "Early alpha preview of our new app iHolophone - revolutionary performance music instrument for iPhone, iPod Touch & iPad. More info will follow soon!"
"apparently in the early days of digital synths a unknown organ company developed the technology that is now in the seiko ds-250. in the early 80's the original designer asked for a price too insane for the market to handle and it failed miserably, that's when seiko licensed the technology and synthesis methods and failed with it's production of this keyboard. it reminds me of old organs i've used like the conn electric band sans spring reverb or the moog organ sans filter except the seiko is bi-timbral. it has some basic preset sounds selectable for each timbre which define timbre and attack while there are simple controls on each voice for volume, decay, modulation slider with a on/off switch for a delay into the lfo cycle. you can detune the voices up to 14 percent and you can assign each note of polyphony a few selectable intervals. a chorus reminescent of the old junos. single voice mode, bitimbral mode or split point voices. key transposable, volume controls, pitch wheel, on/off buttons and a nice layout with simple but nice led displays.
no memory but it's simple to setup. midi in/out./thru. midi seems primitive as i could really only get note on/off to respond although there is a way to recieve each voice over midi by a 16 way rotary switch by each voice. supposedly you can control detune via midi CC although this is from word of mouth. 1 voice per 2 output on 1/4" also on the side panel is alternate summed mono output, headphone jack, pitch fine tune, stereo rca outputs. input to footswitch sustain (works as sustain on/off rather than hold) input for trs expresion pedal for volume.
the video below is a short demonstration of the actual unit.. you will find a few other very rare mp3's online as well but i am not going to seek permision to repost here.. just do a search."
YouTube via skintune "2nd trial with new Kodak zx1-HD 30fps stock mono mic-sucks -cool toy for $100- but would've paid another 50 for a mic input!!! Use good speakers or phones. hook wound up being in 15/8 as i was early on the punch out- but it was meant to be in 4 for simple demo purpose"
HPD-15 looping audio in Realtime with Ableton
"early experiment with live looping, solo improv composition"
YouTube via musicman2047 "Quick overview of the Oberheim OB12 synthesizer, purchased it recently and getting into the programming side of it, nice pad making beast!"
"This is just an experiment and an improvisation over the notes of the NIN song "9 Ghosts I"
In this video the Monomachine sound is processed by the Sherman Filterbank 2. I am triggering the filter envelope and the amplitude of the Sherman via midi using Novation Launchpad running Monome application boiingg.
The Doepfer R2M ribbon controller is connected via CV to the Moog Little Phatty."
"This is a short film shot in Costa Rica by artist, videographer, and SNAZZY FX co-conspirator Charles Lindsay. The soundtrack is a combination of field recordings, and cello fed through the Snazzy FX TRACER CITY
To see more of Charles Lindsay's work go to http://charliesexperiment.com . For more information about SNAZZY FX products - go to http://snazzyfx.com."
YouTube via snazelle "Another demo of the Wow and Flutter by Dan Snazelle of SNAZZY FX. This video shows what the Wow and Flutter can do to audio samples, loops, synths, etc. For more information go to http://snazzyfx.com."
"Only piano cover, not fully arranged as original.
Played on an Emu Emax with the original Emu piano disk. I play two different piano sounds (a doubled octave one with the right hand). *Not perfectly played, some mistakes can be heard.
via this auction "This synthesizer sounds phenomenal. I have a Juno 106 and Juno 60 and I think the Matrix 6 sounds (different yet) way more expansive and "high-end" than either. Also capable of a much broader timbral spectrum due to the extensive modulation routing capabilities. It just sounds so good! It's the best of that classic 80's DCO analog sound. Clean yet warm and luxurious... Also for those of you who are MIDI savvy there are easily accessible MIDI editors you can use to do all the patch editing from the computer interface...
The quibbles: Membrane button #7 doesn't work and the "NO/OFF double arrow" button doesn't work. There are workarounds for both of these buttons (For example go patch 69 and arrow up through the 70's patches) and the previous owner said he was always able to workaround the NO/OFF button with the arrow cursors and cycling yes to "NO" that way, then initializing."