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  2. Bülent Arel's (1919 Turkey - 1990 USA) work occupies a special place in the history of electronic music because one thing is certain: Arel's work is still fresh, groundbreaking, and it seems always to look out for the next adventure in sound. Bülent Arel was a Turkish-born American composer of electronic and contemporary classical music. He was also a devoted teacher, a sculptor, and a painter. From 1940 until 1947 Arel studied composition, piano, and 20th century classical music at the Ankara Conservatory. In 1959 Arel came to the U.S. on a grant by the Rockefeller Foundation to work at the Columbia-Princeton Electronic Music Center. By that time the center had just started out under its director Vladimir Ussachevsky. During Arel's work in Princeton he also met Edgard Varèse with whom in 1962 he worked on the electronic sections of Varèse's 'Déserts'. Frank Zappa lists Arel as a key influence. Today's electronic music - may it be by Autechre's 'Confield', Aphex Twin's 'Selected Ambient Works Vol. II', or Squarepusher's 'Do you know Squarepusher' - builds upon a solid foundation which Bülent Arel helped to pave.
  3. Jack Hertz

    Pioneers of Electronic Music

    In 1950, the Columbia University Music Department requisitioned a tape recorder to use in teaching and for recording concerts. In 1951, the first tape recorder arrived, an Ampex 400, and Vladimir Ussachevsky, then a junior faculty member, was assigned a job that no one else wanted: the care of the tape recorder. This job was to have important consequences for Ussachevsky and the medium he developed. Electronic music was born. Over the next ten years, Ussachevsky and his collaborators established the Columbia-Princeton Electronic Music Center, which Ussachevsky directed for twenty years. It was the first large electronic music center in the United States, thanks to the path-breaking support of the Rockefeller Foundation and encouragement from two of the country’s leading universities. The Center became one of the best-known and most prolific sources of electronic music in the world. All of the music on this historic reissue (originally released on CRI CD 611) is the result of the pioneering work of the Center and its composers. The guest composers and Columbia-associated composers who have produced pieces at the Center include Bülent Arel, Luciano Berio, Mario Davidovsky, Jacob Druckman, Arthur Kreiger, Daria Semegen, Pril Smiley, and Edgard Varèse. Ussachevsky’s own students at the Center included Jon Appleton, Wendy Carlos, Charles Dodge, Robert Moog, Alice Shields, Harvey Sollberger, and Charles Wuorinen. Of the seven composers most closely associated with the Center from its early years, six are present on this disc.
  4. Jack Hertz

    Indigo dreams by Steve Shehan

    "Indigo dreams" is an homage to the people that Steve Shehan had encountered in his travels around the world and also to the great authors, painters and sculptors from the past, present and even the possible future. It is a kaleidoscope of dreams and impressions, each related to an experience from his life's journey.
  5. Yesterday
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  7. Jack Hertz

    Mellowsound

    Mellowsound is an emulation of a legendary instrument, a keyboard sampler from the 60s used by many famous artists like the Beatles, David Bowie, Radiohead and many others, this mythic instrument is called The Mellotron. You probably never heard his name but the melodies created with it are mythical. As we have the chance to own a Mellotron M400, we wanted to share with you this unique sound, so we sampled all the notes from our beloved Mellotron, one by one, for all the instruments tapes. With Mellowsound, you will be able to play Mellotron everywhere, with professional audio quality (16bit/44Khz). It’s now like have a vintage orchestra in your pocket! In the same spirit, we designed a smooth and photo-realistic user-interface as an homage to our dear Mellotron. Include in the free version the instruments: Flute, Clarinet and Sax. Get the « Full Version » IAP to get all the 14 instruments, including : Electric guitar, Vibraphone, Sad Strings, Piano, Choirs, and many more. Features: 3 free instruments: Flute, Clarinet, Sax Basic Mellotron settings: Volume, Tone & Pitch Metronome Mixer (instrument & Metronome, Volume & Pan) Midi support (plug your own keyboard) AudioBus & Inter-App Audio support Full Version: 14 instruments FX: Tremolo, Delay & Reverb Live Recording Soon coming: more instruments, more Fx, ADSR envelope control!
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  9. Jack Hertz

    Emagic SoundDiver 3.0

    With SoundDiver, you have chosen one of the most powerful editor/librarian systems available today. SoundDiver makes the daily work of many top producers, musicians and keyboard technicians easier and faster. We are confident that you will appreciate the sheer number of supported devices, the ease of operation, universal libraries and flexible editors that have won SoundDiver acclaim from users around the globe. Version 3.0 introduces a stunning new user interface, simplified operation and the unparalleled flexibility afforded by Control-ler Assignments, which will further accelerate your use of SoundDiver. If you arc new to SoundDiver, you will quickly discover the previously hidden depths of your sound modules. We are confident that once you have spent a little time with SoundDiver, you will never want to go back to the arcane menus and parameters found on the tiny LCD screens of most MIDI devices. SoundDiver would not have been possible without the assis-tance of numerous external developers, adaptation authors and beta testers. In addition, many "regular" SoundDiver users have sent us extensive feedback which motivated us to add new functions and contributed to marnt of the improN ements found in Version 3.0.
  10. Jack Hertz

    Oramics

    Thanks to all those who have supported the Oramics project by purchasing this app. We're really grateful for the fantastic response to our humble tribute to Daphne. To celebrate the October 10th 2011 opening of the Science Museum's 'Oramics to Electronica' exhibition, which features an interactive touchscreen version of this app, we're dropping the price! We understand that 3G users have had problems with a background image not loading correctly - we're looking into fixing this as soon as possible. Oramics is a drawn sound technique developed by Daphne Oram in 1957. Oram's composition machine consisted of a large rectangular metal frame, providing a table-like surface traversed by ten synchronised strips of clear, sprocketed 35mm film. The musician drew shapes on the film to create a mask, which modulated the light received by photocells. Although the output from the machine was monophonic, the sounds could be added to multitrack tapes to provide more texture. The original machine is in storage at the Science Museum in London and is expected to go on display in 2011. This iPhone app tries to bring to life the incredible sound of the Oramics Machine. Users can draw aspects of a sound in a drawn composition on top of film reels, including the envelope, pitch, reverb, vibrato, as well control the shape of the sound by drawing a waveshape on top of a glass plate.
  11. Digital Ear can analyze a live or recorded solo performance (e.g. a singing voice, a saxophone solo, or any other musical instrument) and convert it into a standard MIDI file! This file can be played by any synthesizer with a different voice of your choice, or you can import it into your favorite sequencer or notation software (e.g. Cubase VST, Cakewalk, Sonar, Logicetc.) for mixing with other tracks, automatic transcription, or any further processing. Digital Ear reads all popular audio files (.wav, .mp3, .wma etc.) or accepts live microphone input. Beyond simple «Pitch-to-MIDI» conversion... Customize Digital Ear. Each musical instrument or human voice is unique. Digital Ear is flexible. It is not constrained in a specific musical instrument, or voice! Unlike conventional so-called «Pitch-to-MIDI» converters, Digital Ear will send high-resolution pitch events closely matching those of your original sound. Any vibrato, tremolo, pitch-bend, or portamento effects of your recorded sound will be faithfully converted into MIDI events that can by reproduced into any voice of your synthesizer or sound card.Only Digital Ear can capture the nuance and expressive power of the human music player or vocalist. Now in Real-time ! (A.k.a. : Your own voice as a MIDI controller.) NEW! The Real-time edition of Digital Ear can directly convert audio directly from the microphoneinto MIDI! The possibilities are endless: E.g. let your voice to control a virtual pan flute, or just viewhow good your intonation is using the on-screen pitch display. Correct your voice's pitch errors with the Soft Quantization tool. » Convert to MIDI in Real-time and view your intonation as you sing or play a musical instrument. » The Voice Realism is here… » Digital Ear in action! A unique feature of Digital Ear not found elsewhere, is the capturing of detailed volume envelope and timbre dynamics events. These features can really boost your synthesizer's voice realism and enhance your musical expression. Your MIDI files will never sound the same again. » Digital Ear® version 7 Key Features State-of-the-Art recognition engine. Based on the latest psychoacoustical research on human pitch perception. Captures with incredible accuracy and speed instantaneous pitch, volume, and timbre dynamics, with minimal errors. NEW! Real-time Audio-to-MIDI capability. Full-featured built-in Voice Features Editor. View your voice features as they evolve over time with an advanced graphical representation (virtual keyboard, chart, sliders). Editthe pitch, volume and brightness of the sound at any time-slice with accurate and quickly. Settings Wizard: This is a advanced feature of Digital Ear 7. It allows you to find automatically the optimal settings for a particular audio file for best conversion results without trouble. Completely customizable to match every musical instrument or human voice. Store an unlimited number of user-defined engine settings. Ultra high time resolution (NEW! 5 ms frame size minimum). Two types of MIDI files ensure full compatibility with all known sequencers. Such as Cubase VST, Cakewalk, Sonar, Logic e.tc.) Power Tools: NEW! Modify Pitch and Tempo: Transpose your sequence with 1/100 of a semitone accuracy. Easily speed up or slow down the tempo of your song. Soft Quantization: User selectable natural sounding pitch quantization. NEW! Area correct: This brand-new feature uses a new powerful algorithm for error correction. Just drag the mouse over the area you wish to correct, and all errors will be eliminated! In-Tune Wizard. Will tune for you automatically a de-tuned melody, without altering the performance dynamics. Auto Correct: Will clean up for you most tracking errors automatically. Smart Attack Detector: Accurately recognizes note onsets. This feature is particularly effective for string instruments. On-the-fly real-time sensitivity adjustment. Integrated MIDI and Wave file player. Sends your MIDI file to any user selectable any MIDI device. Preview your wave files without leaving Digital Ear. MIDI controller redirection. Select any MIDI controller to send brightness and volume (expression) events. Unlimited MIDI voice selection. Select any of the 128 GM (General MIDI) voices. Full automated for GM (General MIDI) and Yamaha-XG compatible synthesizers. Also supports MIDI synthesizers that do not conform to these standards.
  12. Music and photography by Thomas Park. The music, recorded live in 2018, is a live looping remix of mystified albums "Numinous Transmissions" (with Daniel Barbiero) and "Scattered Mist". Pictures taken 10/2018. 2018 Self-Released

     

     

  13. Jack Hertz

    Optotronics Oi, Kant!

    Oi, Kant! is a sort of drum machine. Sort of. Drum-ish machine, as I like to call it. And it’s a weird one. It has 3 voices: drum, bass line and cymbal, though they all have their own Kant-related names, as do the rest of parts on this machine. It also has a resonant filter which can effectively be treated as a fourth voice. All of these voices, predominantly based on CMOS semiconductor chips, can be sequenced using one of the built-in sequencers. Yes, sequencerS, plural. Four of them. Why? Well, why not? These sequencers are completely independent but they are synced to a master clock. Oi, Kant! also offers you an external clock input so you can control the sequencers tempo by sending pulses from other hardware. In fact, all of the voices can also be sequenced from external sequencers, if you’d like to do that. Oi, Kant! offers individual outputs for each of its voices. Please note there is no master output, so in order to listen to them all at once you need to use a mixer or audio interface.
  14. Jack Hertz

    Oberheim OB-SX

    The OB-SX was envisioned by designers to be a smaller, lighter, more durable "live performance" version of their (then) flagship OB-X. The OB-SX featured the same VCO/VCF/VCAs of the OB-X and a voice card design similar to the OB-Xa in which polyphony was based on the number of 2-voice PCB cards installed (using CEM/Curtis chips). Sacrifices were made to the OB-X's "knob for each function" programming interface (replaced in the "SX" by a few realtime only filter and envelope controls), the ability to save patches (all sounds were preset in ROM) and the last octave of the keyboard ("chopped" to 48 notes). Despite the sacrifices, the OB-SX faithfully reproduces the character (and at times the "ill temper" of an all analog design) of the OB-X and OB-Xa. The preset sounds are a bit dated (e.g. early funk & late prog rock), but still usable and the realtime controls allow a good amount of "shaping" to be done. It's important to note that like all Oberheim synths, the OB-SX was a continual work in progress and there were many different revisions made to the OB-SX during its life time. Major revisions included: Early units had 24 presets and mid units had 48 presets and late units had 56 presets (later units had a slide switch on the back to change between banks of presets). The color/case design was changed from the (early units) black & gray of the OB-X to the (later units) black & blue pinstripes of the OB-Xa and OB-8.
  15. Books + Music = 😍

     

  16. Jack Hertz

    Jack Hertz - Music For Coastlines

    until
    Jack Hertz brings his sound design to the bookstore Sat at 11AM. Catch the waves. You can help the series by contributing dollars and cents to the tip jar or by purchasing past performances at andrecustodio.bandcamp.com.
  17. DIGITAL D1: HYBRID SYNTH Epic 64-voice Virtual Analog / PCM iPad Synth Beautiful & Lush Digital Synth inspired by the 80s/90s 100% of proceeds from this app go to support the AudioKit open-source project & AudioKit Synth One. Fully loaded w/ 300+ presets by Brice Beasley, Matthew Fecher, Red Sky Lullaby, Jakob Haq, Dean Daughters (Electronisounds), Sound of Izrael, AfroDJMac, and more FEATURES 64-voice Hybrid Digital Poly Synthesis. Full 1 Gigabyte of original samples recorded from analog & fm synths over 30+ years old. Space-saving Compression. The whole app is under 150mb Dual layers per voice. Keyboard splits. Velocity Scaling. Vintage-style Arp/Step Sequencer Dual Independent per-Layer filters 3 LFOs. LFOs can modify other LFOs Per-voice harmonic key tracked Envelope filters Gorgeous 64-voice, Beautiful iPad Synth Each voice is composed of Two layers. Each layer has: + Option of Virtual Analog or PCM Synthesis + Per-voice Harmonic Envelope Filters + Dedicated Sample-set and Note-range + Dedicated ADSR amp envelope + Dedicated Stereo Filter (Low/High/Band-Pass) + Dedicated Level and Pan controls + MIDI velocity scaling controls Three (3) independent LFOs + LFO routings include: Filter cutoff, Resonance, Pan, Layer Mix, Detune, Distortion, Chorus Depth, Flanger Depth, and more + LFO has selectable sine/square/ramp up/ramp down, rate and depth controls + LFOs can modify other LFOs Ableton Link Audiobus 3 & Inter-app Audio (IAA) App uses less than 150mb of disk space! Optionally Tempo-sync’d effect knobs and LFOs Layers are combined with a “layer mix” control (can be linked to mod wheel) Stereo PCM with velocity layers, using near-lossless compression Selectable play modes: polyphonic, mono and mono+legato Adjustable pitch-glide rate for mono+legato FX chain is common to all voices/layers. + AutoPan (Rate & Depth) + Tremolo (Rate & Depth) + Stereo Widen + Lush Reverb w/ Lo-cut + Tape Ping-Pong Delay + Stereo Phaser + Crusher + Amp/Distortion + Chorus + Flanger 300+ Inspiring and Original Presets by Brice Beasley, Red Sky Lullaby, Electronisounds, Jakob Haq, Matthew Fecher, and more! Creative and beautiful live performances. MIDI input for notes, pitch bend, mod wheel, aftertouch MIDI sources: + On-screen”Piano” keyboard that can be customized + USB MIDI controllers + Bluetooth MIDI controllers + Networked MIDI sources + All knobs allow MIDI-learn Mod Wheel can morph between layers. Start with an Electric Piano, and slowly bring in Strings with your MIDI controller. MIDI Learn knobs
  18. Jack Hertz

    Krell Music

    Happy Halloween! Aural Films returns to the Forbidden Planet for our annual Halloween release. We called on sound artists to imagine it was 1956 and record a Krell Music composition to be used at any point in the "Forbidden Planet" film. More than 25 artists from around the world responded with their fantastic creations that you can hear now.
  19. Jack Hertz

    Anaglyph 3D to Your Ears

    Anaglyph is part of an ongoing research effort into the perceptual and technical capabilities of binaural rendering. The latest incarnation, Anaglyph VST, has been designed as an audio plugin to both support ongoing research efforts as well as to make accessible the fruits of this research to audio engineers through traditional existing DAW environments. Amongst its features, Anaglyph includes a personalizable morphological ITD model, near-field ILD corrections and HRTFparallax selection, a Localisation Enhancer, an Externalisation Booster, and SOFA HRIR file support. Features HRIR/HRTF Personalization Customization of binaural rendering parameters for a given listener. Select here the specific HRTF (ears), by choosing an appropriate HRTF/SOFA file. Tailor HEAD SIZE to optimize lateral cues. Near-Field Enhancements Rendering enhancements that improve the sensation of distance for nearby source positions. PARALLAX correction selects HRIR positions based on the actual direction of arrival of the sound object as “seen” by each ear, rather than using the head-centered coordinate system. ILD correction modifies the right/left levels, as a function of frequency, to account for the head shadowing effect of nearby sound objects. This modification is applied predominantly to the opposite side ear, in an effort to maintain sound level of the nearby ear. Externalization Booster When rendering sounds over headphones, a common artifact is that sounds seem to be very near, or even inside, the listeners head. This does not typically occur when listening over monitor speakers in a studio. This module adds the subtle acoustic cues of a reproduction system in an acoustically controlled studio, providing improved externalization. This is not to be confused with a reverberation plug-in. GAIN, EQ, and SPATIAL DETAIL level can be adjusted to optimize the effect for the given soundscape to improve transparency while providing these additional cues. Stabilization Enhancer In the case of non-tracked binaural rendering, static source positions are sometimes difficult to localize correctly, with front/back confusions often occurring for sources in certain regions. To reduce such confusions, and to help stabilize the perceived position of the sound object, the actual rendered position is varied slightly, providing “added redundancy” of localization cues to the brain, reducing localization confusion.
  20. Jack Hertz

    The Complete DX7II

    Everything you need to know about the newest member of the DX family of synthesizers. The comprehensive information presented here is applicable to both the DX7IID and DX7IIFD instruments. The instructional material takes a sample. non-technical approach to this fascinating subject and explains in clear terms the process of digital FM synthesis. With the help of the three sound-sheets inside, you may explore the enormous tonal capabilities available to you with this revolutionary and unique instrument. Included are 90 hands-on exercises: over 500 illustrations. diagrams. and photographs: and 6 comprehensive reference appendixes. Foreword by Dominic Milano. editor of Keyboard.
  21. I am pleased to present this set that I recorded and mixed in the summer of 2018 for the Skazka-5 festival. I tried to combine different sides of EugeneKha's music in this program, that's why there was a place for cosmic atmosphere, ethnic violins and rhythms, groove downtempo, and Berlin School sequences in this album. I tried to combine all this into a harmonious, consistent fairy tale story. I hope I succeeded. I hope this album will allow you to make a magical journey with me.
  22. EugeneKha

    West Remi - The First Day

    New Ambient Album From Ukraine Ambient Artist West Remi (Ivan Nyschun). This Great Space Ambient!
  23. Jack Hertz

    Akoff Music Composer

    Let's assume you have a melody in your head and you want to create a beautiful music arrangement of this melody on your home computer. Professional arranger can complete this task within 2 or 3 hours. In order to be able to make a full song arrangement a musician must have the following musical skills: Knowledge about the theory of harmonization and chord progression. Capable to play MIDI keyboard well. Knowledge about MIDI programming. Familiar with sequencer software such as Cubase, Logic Audio, Pro Tools, Cakewalk Sonar etc. But what to do if you do not have these abilities? Akoff Music Composer is a song making software that assists in music creation. Hum your melody into the microphone and Composer captures the audio, transcribes it into the MIDI sequence, makes chords and arranges the song. Neither a MIDI keyboard nor any musical experience is required to create music. How to make a song in a few minutes. Below shows the step-by-step instructions on how to make a simple melody arrangement: Record. Choose the tempo, turn the metronome on and hum your melody into the microphone. Composer captures the audio and records it into the digital file: melody.wav Transcribe. Composer analyzes the audio signals, recognizes musical notes and creates standard MIDI sequence: melody.mid Find chords. Composer makes the chord progression harmonized with your melody:chords.mid How it works? To create a MIDI sequence for a melody recorded in audio format (WAV, MP3, etc.) a musician must determine pitch, velocity and duration of each note being played and record these parameters into a sequence of MIDI events. A music transcribing software must do the same things. Even for a single instrument composition it is not a simple task, because an audio recording contains sampled waveform signals and doesn't contain any music specific data. Akoff Music Composer normally transcribes polyphonic music with one instrument or voice. This means you won't get the appropriated results if you try to recognize many instruments playing at the same time especially with drums. Composer doesn't automatically recognize tempo and measure positions or bar numbers. You should manually choose the right tempo and bar length in beats before you click Transcribe button. After transcibing Composer analyzes the harmonical structure of the melody line and makes the chord progression. Before clicking Find Chords button you should listen to the MIDI melody and correct the wrong notes. The beginnings of the most notes must be aligned with vertical beat lines as you could see below:
  24. Jack Hertz

    I Dream Of Wires: Hardcore Edition

    I Dream Of Wires: Hardcore Edition is a limited-edition companion to the feature-length documentary, I Dream Of Wires. An alternate/extended cut, I Dream Of Wires: Hardcore Edition is four hours in length, custom made for hardcore modular synthesizer and electronic music fanatics. This special, extended edition includes an exclusive, lengthy historical primer, exploring the early development of modular synthesizers from pioneering companies Moog Music Inc. and Buchla And Associates. The film makers also speak to early adopters of the modular synthesizer, pioneering musicians like Morton Subotnick and Bernie Krause. Legendary and influential electronic musicians and producers like Gary Numan, Chris Carter (Throbbing Gristle), Daniel Miller and Flood offer insight into the modular synthesizer's early heyday, and eventual decline. From there, you find out what's happening now: the phenomenal resurge of the modular synthesizer - exploring the passions, obsessions and dreams of people who have dedicated part of their lives to this esoteric electronic music machine. Inventors, musicians and enthusiasts are interviewed about their relationship with the modular synthesizer - for many, it's an all-consuming passion. Established musicians such as Trent Reznor (Nine Inch Nails), Carl Craig, Cevin Key (Skinny Puppy), John Foxx and Vince Clarke show off their systems and explain why they opt to use this volatile but ultimately rewarding technology. Meanwhile, a new generation of dance and electronica artists including James Holden, Factory Floor, Richard Devine and Clark explain why they've stepped away from laptops to embrace the sound and physicality of modular synthesizers. Innovative companies like Modcan and Doepfer, driven by a desire to revive modular synthesizers, discuss how they planted the seeds that have now grown into a major cottage industry. What started out as a "vinrtage revival scene" in the 90s has grown into an underground phenomena with a growing market of modular obsessives craving ever more wild and innovative sounds and interfaces. Today, the modular synthesizer is no longer an esoteric curiosity or even a mere music instrument - it is an essential tool for radical new sounds and a bona-fide subculture. Film by: Robert Fantinatto and Jason Amm Directed, photographed, edited and written by: Robert Fantinatto Produced and co-written by: Jason Amm Original music by: Solvent (Jason Amm) Design by: Heiki Sillaste Executive producers: Eric Barbour, William Blakeney, Stacy Gaudreau, Luiz C. V. Martins, William Matelski, Harold Screven, Michael Tiemann, Adrian Versteegh, Byron Wong
  25. The new book about modular synths, their makers, and masters. Patching secrets, performance tips, history, modules, and techniques. PATCH & TWEAK provides an opportunity for new and experienced users to become true masters of their modular systems by exploring, explaining, and demystifying a range of topics relevant to anyone interested in modular synths or just synthesis itself. A cornerstone of PATCH & TWEAK is a bouquet of inspirational interviews with significant creators and major artists. Learn about their systems, philosophies, patching secrets, performance tips, and passion for modular synthesis. Besides a comprehensive introduction to synthesis and its history, the book covers systematic sections on concepts, purpose and creative possibilities of specific modules. Enjoy colorful diagrams, presentations of both popular and rare modules, semi-modular and software, as well as techniques for patching and how to get started. PATCH & TWEAK has a foreword by Suzanne Ciani, is written by Kim Bjørn and Chris Meyer, and edited by Paul Nagle. PATCH & TWEAK got rapidly funded in May 2018 by more than 1600 people. Check the Kickstarter page here.
  26. Dave Smith Instruments Sequential Prophet XL is a 76-key version of the acclaimed Prophet X, a potent fusion of samples-plus-synthesis and the most ground-breaking evolution of the Prophet yet. At its heart, it's a bi-timbral, 8-voice stereo, 16-voice mono, 32-voice paraphonic synth with a newly developed sound engine that powers two simultaneous 16-bit, 48kHz sample-based instruments plus two high-resolution digital oscillators, all processed through analog filters. With 150GB of internal samples from acclaimed sound developers 8Dio and all of the powerful synthesis tools you've come to expect from Sequential, Prophet X and Prophet XL have a musical voice uniquely their own. Sample engine On the sample side of things, in 8- and 16-voice modes Prophet XL provides 2 independent stereo digitally sampled instruments per voice (4 in stack or split modes). The 150GB of internal sample content was created by 8Dio, known for pioneering 'deep sampling.' You'll find a diverse collection of acoustic and electronic instruments as well as plenty of edgy ambient and cinematic effects. You can shape the samples through loop manipulation, sample stretching and Prophet XL's sound-sculpting modulation functions. Each sample instrument has its own tone control for high pass or low pass filtering. 50GB of additional internal storage is dedicated to importing external sample libraries. Support for user-created samples is planned for release soon; meanwhile, add-on sample packs are available from 8Dio now. Synth engine On the synth side, Prophet XL gives you the power of a classic Prophet, with two high-resolution digital oscillators that feature both classic waveshapes and a supersaw for more timbral possibilities. Using the SHAPE MOD control, you can manually dial in a desired waveshape width for any of the classic sine, sawtooth or pulse waves, or use an LFO or other mod source for continuously shifting timbre. You can shape the raw sounds with all of the classic synthesis functions you'd expect, including 4 syncable LFOs with slew and phase offset, 4 loopable 5-stage envelope generators and a 16-slot mod matrix with dozens of modulation sources and destinations. Stereo filters for depth and impact At the heart of Prophet XL's powerful sound are its 24dB/octave resonant low pass filters, which are based on a vintage design. In 8-voice mode, there are separate filters in the left and right channels for a true stereo signal path. These add exceptional presence and fullness to both the samples and the oscillators. For additional polyphony, you can switch Prophet XL from 8-voice stereo mode to 16-voice mono mode, which is useful for stacks and splits, or 32-voice paraphonic performance mode when using a single sampled instrument and single oscillator. Polyphonic step sequencing The polyphonic step sequencer provides up to 64 steps with up to 6 notes per step. You can create a different sequence for each layer when working in stacked or split voice mode, making it a powerful tool for composition or performance. Sequences can have ties and rests and can sync to an external MIDI clock. The arpeggiator features note repeats and re-latching and can also be synced to external MIDI clock. Two effects per layer A dual effects engine provides multiple reverbs, 2 delays (standard and BBD), chorus, phase shifter, flanger, vintage rotating speaker, high-pass filter and distortion. In stacked or split voice mode, you can apply two different effects to each layer. Effects parameters can be modulated through the mod matrix. Roadworthy and studio-ready With loads of sonic firepower and personality, a 76-key semi-weighted premium-quality keyboard with velocity and channel aftertouch, an integrated power supply, MIDI-over-USB support and three crisp OLED displays, Prophet XL fits into any music rig or gig, both in the studio and on the road.
  27. Jack Hertz

    Muscarin Semi-Modular Synthesizer

    The Muscarin is an analog music synthesizer with analog and touch controls, that has everything that’s needed for creating music and synthesis of sounds. Designed by kNoB technology, it is based on cross-modulation technology. It is designed as semi-modular and can be used by its own, or as a part of the eurorack system. It is made for generating standard sounds and sound effects, as well as for extremely changing their sound while playing, converting it too complex structured noises. It has full manual hands-on controls (switches and knobs), as well as it can be controlled by CV (control voltage). How does it differ from other synthesizers? Early Muscarin synthesizers were made only for sound experiments and could be classified as noise generators, although it always was a powerful instrument, combining additive, subtractive, FM and Cross-modulation synthesis. Later it was decided to fully reconsider the concept of Muscarin, to widen its range of use, adding new functions, without limiting its noise abilities, and making it more universal and flexible. With this purpose, it was designed as 3u eurorack and has a lot of inputs and outputs. Muscarin is able to generate bass, lead, piano, organ, violin sounds. But it’s major difference is cross-modulation, which helps to create complex, multifactorial noises, and noise effects, as well as lo-fi drum and percussion sounds. Technical specifications: - Muscarin core - 4x VCO based on square wave, cross-modulation control "Bias", control by CV full range linear or 1v \ oct (4-octave range; 32-500 + Hz). - LFO is a low-frequency oscillator, has two waveforms square and triangular. - EG AR envelope generator. Can both receive an external gate signal, synchronize with the LFO, and automatically generate an envelope. - VCF filter \ saturator 12db\oct has two modes of cutting high or low frequencies. - VCA \ Gate-5x, voltage controlled amplifiers. They stand one on each generator before the filter and one on the common output. In their heart are the vactrols. That is very much reflected in the sound. Management of both internal and external sources of CV. Input and output connectors - 16x inputs: 4x VCO frequency CV control 4x VCA\Gate CV control 1x Main VCA\Gate CV control 1x VCF cutoff CV control 1x Bias (cross-modulation) cv control 1x Envelope AR in 1x External signal in Outputs: 1x Main out 1x LFO out 1x Envelope AR out - The front panel is made of plexiglass - You can choose as a desktop version in a wooden case (pine, CNC milling) and as a module for Eurorack without a case.
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