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Jack Hertz

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About Jack Hertz

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    Bay Area, CA
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    Sound Design, FM Synthesis, Publishing, Improvised music, Music Concrete, Digital Synthesis, Visual Design, Video Production, Software Development, Unix, Outdoors, Spirituality, Reading, Publishing

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  1. Jack Hertz

    Painting The Sea by Jack Hertz

    West Coast dweller, Jack Hertz, presents a new suite of sonic paintings inspired by the plethora of varied colors, textures and atmospheres created by the sea. Listen to 10 tracks ranging from high on Moon to the deepest murky depths.
  2. Jack Hertz

    KQ MiniSynth

    KQ MiniSynth is a powerful polyphonic modular synthesizer. This app lets you create tones with module patching. You can add/remove up to 100 modules freely as you want. (Oscillators, Envelope Generators, Filters, and so on) Of course it depends on your device's ability. Modular system is also good for education use. You can learn the role of various modules while patching those. The Patch-Editing view supports zooming. You can connect modules with taps easily. 70 Presets are included. External and Virtual MIDI is Supported. MIDI over Bluetooth LE is Supported (Act as a Central device). Inter-App Audio is Supported. Audiobus is Supported. Ableton Link integration. Includes an Audio Unit Extension (AUv3 Instrument). This app implements the follow modules. Oscillator - Oscillator Type A (Frequency Modulation) - Oscillator Type B (Pulse Width Modulation) - Super Saw Oscillator - Low Frequency Oscillator - LFO Type B (Tempo Synchronization) - White Noise Generator Mixer/Amplifier - 4 Channel Mixer - CV Mixer - Crossfader - Voltage-Controlled Amplifier - Sample-and-Hold Amplifier - Booster Envelope/Logic - Envelope Generator Type A - Envelope Generator Type B - Toggle - Inverting Circuit - Logical And (Series Switch) - Logical Or (Parallel Switch) - Polyphonic Or Gate - Maximum/Minimum Selector Modulator - V/Oct Vibrator - Keyboard Level Scaling - Ring Modulator Filter/Effector - Voltage-Controlled Filter (LPF/HPF/BPF/BEF) - Delay Effector - Modulated Delay - Reverb Filter (KQ) - Reverb Filter (FreeVerb) - Compressor - Chorus Effector - Flanger Clock - Loop Gate (Tempo Synchronization) - 8 Step CV Sequencer - 8 Step Gate Sequencer Stereo/Mono Converter - Mono To Dualmono - Stereo To Mono - Panner Miscellaneous - Custom Controller - Const Value If you feel it sounds noisy, slow or stuttering, try to decrease polyphony, increase buffer size and reduce connected modules.
  3. Jack Hertz

    TF7 Synth

    Made for Touch TF7 is a polyphonic frequency modulation synthesiser that is made for touch. Beneath it’s user-friendly pad interface lies a sophisticated synth engine that is based on the algorithms from famous FM synthesisers. From sweet syrupy trebles to grungy bass, TF7 has it covered. It’s FM Synthesis made easy. A powerful yet user-friendly FM synthesizer! - Play music by playing shapes across the pad interface! - No need for music theory - try it and you will see why! - Comes with 20 high-quality free sounds! - Morph pad allows you to morph your sounds while playing! For the pros who want flexibility : - 32-bit algorithms and dsp routines - Inter-app Audio : use TF7 in DAW apps like Garageband, Cubasis and Beatmaker 2! - 7 high quality FM algorithms to tinker with - Access to every component in the algorithms - 10 pristine effects consisting of Stereo Reverb, Delays, Pitch-shift Delays and more - Supports Core-midi compatible keyboards like the Korg Nanokeys 2 - Works with Audiobus out of the box - NEW! In-app purchase Expanded Algorithms bumps up the number of operators from 4 to 6, and the number of algos from 7 to 39, with 3 new added effects. Made for Inspiration Create wonderful music by playing simple shapes using the touch interface and playing these same shapes across the pad. Embellish the shapes to play advanced compositions. Switch to chromatic mode to get the notes that you need. Break out of your compositional rut by playing visually! Try it! Made for Control Choose from 7 different algorithms and 10 different effects to sculpt your sound. Effects include : Delay Flanger Filter Sweep EQ Rotary Compression Chorus Stereo Reverb Pitch-shift Delay Auto-whamy Works with your midi keyboard as well via the Camera Connection Kit.
  4. Jack Hertz

    G2500 Virtual Analog

    G2500 is the virtual version of the classic ARP 2500 first created and released in 1970 by Alan R. Pearlman. The G2500 is made from in-house developed proprietary and optimized virtual analog modules, to reproduce the unique and fat analog sound of the original, bringing it to your desktop. All the original control features from the ARP 2500 are there, and because you can save your carefully programmed patches, the G2500 is even better than the real thing! Ten different virtual modules also found in the original: 1002 Power Control 1004-T Oscillator 1005 Modulator Amplifier 1006 Filter Amplifier 1016 Dual Noise / Random 1027 Ten-Position Sequencer 1033 Dual Envelope Generator 1036 Sample & Hold / Random Voltage 1047 Multimode Filter / Resonator 1050 Sequential Mixer Other Features: A new 1102 I/O Control virtual module not found in the original A virtual version of the 3001 Keyboard also found in the original Play notes using 16 keys on the computer keyboard and selecting octave with two additional keys Audio input from any system sound input device selected in the Preferences Audio output to any system sound output device selected in the Preferences MIDI input from any MIDI input device connected to the computer and selected in the Preferences Recognizes MIDI All Notes Off, Note Off, Note On, and Control Changes Save pieces of audio directly to disk in WAV format by the push of a button Setup is fully user configurable, in order to choose which and how many of each module to use Choose between two skins, Vintage and Black Option to display tooltips for many controls Use patch cables for even more connections than possible using the upper and lower matrix Load requester to load new patches from disk Save requester to save your own patches Patches are stored as text-files in directories on disk, to be easily manageable with operating system tools Zoomable user interface to easily go between a full overview and a detailed view of modules and controls Choose between windowed or fullscreen mode Studio quality 24bit/96kHz audio in and out (*) Audio is easily sent to e.g. a software DAW (Digital Audio Workstation) using software such as "Soundflower for Mac" The G2500 is easily controlled from e.g. a software DAW using the IAC Driver found in the MacOS "Audio MIDI Setup" Five banks to store patches in memory, which is a benefit when creating new patches Choose between Even Temperament and Bach-Lehman Temperament Toggle bandlimiting on and off to stay below the Nyquist frequency (half the sample rate of 96kHz) An optional post-filter for more smooth acoustic transients (*) Audio is actually 32-bit floating point, and as values goes from -1.0 to +1.0, it is comparable to 24bit audio and is easily converted to 24bit by the operating system, if that is needed in the further signal chain.
  5. "Plantasia" is a super rare and criminally neglected masterpiece of modern music that was made for plants. Literally. It's electronic music for plants to grow to. It was written by genius composer/arranger/instrumentalist/moog-master Mort Garson in the mid-70s under the moniker "Mother Earth". Most of Garson's releases during this period are difficult to get your hands on. Given Mort Garson's use of weird pseudonyms, strange subject matter, and the utilization of smaller, independent pressing plants, many of his original records cost a pretty penny. But "Plantasia" is different. Due to a bizarre (and possibly very dumb?) promotion which paired the record as a giveaway if you bought a Simmons mattress in 1976, authentic copies often remain hidden away on thrift store racks, garage sale driveways, or dusty attics. Because of how difficult it is to find this record, the resale market on mint condition copies is astoundingly high. Buying a clean copy of "Plantasia" at a record store could easily cost upwards of $300 USD. In Finding Plantasia, Tim and Morgan hit the road to search for this forgotten musical treasure in its natural habitat. In this documentary film, Tim and Morgan will be speaking to fans of this record and digging through the stuff society has discarded in search of a true gem. The road trip story provides a great framework to get into the nitty-gritty history of "Plantasia" and the niche culture that has sprung up around it. But, much like tiny baby seeds need water, Tim and Morgan need your help! About Tim and Morgan Tim Mahoney and Morgan Evans are real-life best friends and writer/producer/director/comedy people. Between the two of them, they've worked for companies like MTV, Netflix, The Onion, Nickelodeon, YouTube Premium, Comedy Central, VH1, Discovery Channel, and many more. They're also deep music nerds. Before they started working in entertainment, Tim & Morgan were big into the local Phoenix, Arizona music scenes, performing in experimental performance art projects and punk bands as early as 15 years-old. That was around when they both became obsessed with "Plantasia." More About Mort Garson Starting off as songwriter/arranger, Garson worked with artists like Bobby Darin, Santo and Johnny, Dorris Day, Cher, Paul Revere and the Raiders, Bobby Vee, Ruby and the Romantics, Jimmie Rodgers, Carol Burnett, Joanie Summers, the list goes on and on, crossing genres left and right. Near the end of the 60's, Garson was one of the first composers to begin working with the new Big Moog synthesizer. And the rest is history. As early as 1968, Mort started to release interesting and strange electronic music under pseudonyms. 1968: "Wozard of Iz," a bizarre electronic re-telling of the Wizard of Oz released under The Electronic Odyssey. 1969: he released Electronic Hair Pieces, an electronic version of the hit musical HAIR. 1971: under the name Lucifer, Garson released an experimental electronic record called "Black Mass." 1971, under the name Z, "Music For Sensuous Lovers." 1975, under the name Ataraxia, "The Unexplained (Electronic Musical Impressions Of The Occult)." 1976 he released "Plantasia" under the name Mother Earth. 1978, under the name Captain D.J., he released a a spacey funk record called "Disco UFO"
  6. Jack Hertz

    Behringer Crave

    The Behringer Crave is a radically new synth combines the best of some of the most famous historical synths of all time - including the celebrated oscillator of the Sequential Prophet 5, the famous Ladder Filter from Moog and the modularity from 1970 modular synths, together with a modern sequencer and arpeggiator. Crave is sure to be a superb addition to any synth enthusiast's setup. Legendary synthesizer design. Classic analogue sound. The Behringer Crave Synthesizer is an excellent introduction to semi-modular and analogue synthesizers. And an even better addition to your set up if you're a synth veteran. Emulating a legendary and celebrated oscillator from the heyday of analogue synthesizers - the Behringer Crave is a sonic marvel. As well as its powerful oscillator, the Crave also features an incredible ladder filter based on a vintage design. This helps to round off your sound design process with a beautiful finishing touch. The Behringer Crave features an extensive patchbay that will offer incredible depth during the sound crafting process. The modular patchbay provides huge scope to the already rich sound creation process capable from the Crave's excellent oscillator and filter. Taking notes from the legends of synthesizer design, the Crave's attractive price point makes it an essential asset to your synth set up - beginner or otherwise.
  7. Jack Hertz

    Nonlinear Labs C15

    The C15 is a keyboard instrument made for performing musicians. Its character stems from a puristic digital engine which produces a unique palette of sounds seamlessly spanning from organic and acoustic to experimental and electronic. With its top-quality keybed, dual full-length ribbons, special pitch bender, and four pedal connections the C15 is designed for real-time performance, making it more like a traditional musical instrument than a typical synthesizer. It is resolutely an instrument to be played by musicians, not machines. Therefore it has no MIDI and does not contain LFOs or internal sequencers. Like many classical instrument builders, we have chosen wood for most of the housing. The rest is made of steel or aluminium. The concept features a two-part design. The compact base unit is for playing and includes all performance elements as well as the sound engine and audio components. It can be easily detached from the panel unit and played autonomously. The panel unit is for detailed parameter control and sound design. Its haptic layout is based on the principle of muscle memory. In addition, a graphical user interface can be displayed and edited on any device that has a browser and Wi-Fi. This interface is optimized for touch screens and can be intuitively zoomed and panned with common gestures. Two-Part Construction The housing of the C15 synthesizer consists of two detachable parts: the base unit and the panel unit. The compact base unit contains all of the instrument's processor and audio components; it can be used without the panel unit in "play only" situations. The panel unit is an haptic user interface, mainly for sound design, but it can also be useful to control a more complex performance. Play Interface For the 61-note keyboard we have chosen the best semi-weighted model from the quality manufacturer Fatar. Experienced musicians will appreciate the long key arms for their improved play feeling. Unlike with MIDI, the velocities of the keys and the values of the other physical control elements are precisely resolved into thousands of steps, and there is no loss of precision on the way to the sound engine. The musician can make use of up to 8 physical controls: aftertouch, a pitchbend lever, two ribbons and up to four pedals. A coefficient matrix gives full flexibility for their mapping to the Macro Controls. The pitchbend lever is a special design using magnetic forces for fast and natural horizontal movements from a center position. The most prominent control elements of the C15 are the two long ribbons. Each of them includes an indicator bar of 33 LEDs showing the control position. The ribbons can be used for performance as well as for parameter editing. You can choose if they work in relative or absolute mode, with an optional return-to-center behavior. A small control panel with an OLED display (128 x 32 dots) provides control over the ribbon functions and is also used for note and octave shift. If the panel unit is not mounted, this panel together with the ribbons will give access to preset selection and morphing, parameter editing and global settings like tune or velocity curves. Pedals are the best way to control sound parameters while playing with both hands. Therefore the C15 allows up to 4 pedals to be connected. Footswitches are also supported, but for expressive playing we recommend continous damper/sustain pedals instead of switches - for this purpose we are also developing special pedal units. Sound Editing Panels The idea behind the panel unit is to provide a large area with many haptical controls, so that the functionality can be learned by the motoric memory, like the playing of a keyboard. Panel Interface Four of the five panels are equipped with 24 high-quality buttons and corresponding state-indicating LEDs. Their main purpose is the selection of parameters. The labeling and grouping of the buttons is realized by exchangable magnetic overlays. This makes the user interface flexible. When fast switching between sounds becomes crucial the selection panels can be re-defined as direct access to presets. Future development will also bring new synth engines to which the user interface can be adapted. The central panel - with a crisp OLED display (256 x 64 dots), an incremental encoder, and 18 buttons with dedicated functions - is the place where parameter values are displayed and edited, preset banks can be browsed and new presets can be stored. Many other functions are accessible here. The Graphical User Interface In addition to its hardware user interface, the C15 provides a visual access to its parameters and presets on computer screens and mobile devices. This unique approach is described here. The Synthesis Engine The C15 is a polyphonic instrument based on digital sound synthesis. The purpose of the audio engine is not to model analog machines of the past or to play back samples or complex waveforms. Instead, we have chosen a puristic approach. Based on elementary mathematic algorithms, the signals are generated, modulated, shaped, and filtered in realtime. Therefore the sound can be dramatically influenced by the dynamic playing of a musician. The signal processing structure is the result of years of evolution and has been condensed down to an essential, yet powerful arrangement of carefully chosen components. The only signal sources are two sine wave oscillators. They are connected to each other and to a feedback bus for phase modulation and their signals are processed by two wave-shapers, a comb filter, a multi-mode filter, and a chain of five stereo effects. Diagram Block diagram of the synthesis engine. Click to enlarge and to see use cases. Two mixers combine the signals from different points in the structure and forward their sum to the effects section and to the feedback bus. The sonic results of the feedback can become very complex and organic. With the Comb Filter running as a tuned resonator, the sound approaches that of acoustic instruments. Our goal was not to create a universal sound engine or the most realistic imitation of existing instruments. Instead, we set out to create a sound source with a unique character, which at the same time offers endless variation and produces surprising results even after long periods of intensive exploration. All possible sounds are reached without switching between different waveforms, filter types, effects, or signal path configurations. Everything can be continuously modulated, crossfaded, or morphed. Read more about the engine on the Synth Engine page. Open for New Sound Engines The C15's sound engine is based on software running on an embedded computer. This means that the C15 can evolve without falling into obsolescence. Improved and new sound engines will be available in future. This also explains why we have chosen a generic parameter selection interface that can be re-defined by magnetic overlays. Control As a pure player instrument, the C15 is built for human control. You will not find modulation sources that create rhythmic patterns. We leave this to the musician. Instead, the C15 offers a large range of sensitivity thanks to the dynamics of the keys and extensive mapping possibilities for the signals coming from the two ribbons, the bender, the aftertouch and the up to four pedals. LFO-type of control signals can be easily produced by the specially designed lever of the bender. The physical controls are routed to the Macro Controls, which are the main elements for influencing the sound of a preset. Each of them is freely assignable to up to 86 target parameters. The Macro Controls are the sources for an intuitive modulation system, where the effect of a modulation is directly shown as a movement of the target parameter. After assigning a Macro Control and adjusting its effect the sound designer also can give it a label that helps to understand its function. The Preset System Besides performance, the second important interaction with the C15 is sound design. The creations are stored by an advanced preset system which makes it easy to find and compare presets, to modify them, and to store new versions. They can be organized in a set of user-defined banks by intuitive copy, move and sort functions. The number of banks and presets per bank is not limited. To help the user to find the right sounds, the preset system supports tagging and additional information that can be used for searching. In a future update the C15 will also offer voice splitting and layering for two presets, and morphing as a powerful method to vary the sound in a transition between two presets. Undo The C15 provides virtually unlimited tree-based undo/redo functionality for all user interactions including parameter editing. This means you can always return to a sound that you had created some minutes ago. You can also jump between different branches of the undo tree which are automatically created when you undo and edit again.
  8. Jack Hertz

    Behringer MS-101-RD

    The MS-101-RD Analog Synthesizer with 32 Full-Size Keys, 3340 VCO with 4 Simultaneous Waveforms, VCF, ADSR, 32-Step Sequencer, Arpeggiator and Live Performance Kit + Amazing monophonic synthesizer with authentic 3340 analog oscillator for insanely fat music creation + 32 semi-weighted full-size keys for great playability + Pure analog signal path based on legendary VCO, VCF and VCA designs to recreate the classic sound performance + Oscillator with 4 simultaneously-mixable waveforms: saw, triangle, square/pwm and octave-divided square sub-oscillator + Resonant VCF can be modulated with ADSR, LFO, keyboard tracking and bender controller + 6 FM sources allow for creative VCF modulation and unheard of filter effects + ADSR envelope generator for incredible wave shaping + Easy-to-use 32-step sequencer with 64 sequence locations + Arpeggiator with wide patterns for great sound effects + Attachable handgrip included with pitch bend wheel and pitch modulation trigger + Guitar strap included for live jamming on stage + Bender assignable to VCO, VCF and pitch mod wheel on attachable handgrip + Noise generator can be used as modulation source for distortion-like effects + Incredible portamento function for fantastic sound effects + Pulse wave can be modulated by LFO, envelope and manually + 57 sliders and switches to give you direct and real-time access to all important parameters + External audio input for processing external sound sources + Comprehensive USB/MIDI implementation for connection to keyboard/sequencer + 3-Year Warranty Program* + Designed and engineered in the U.K. MS-101-RD The 1980s and ’90s spawned a new “wave” of synth performers including Devo, The Chemical Brothers, The Prodigy, The Crystal Method and a host of others, all empowered by the sound of a simple strap-on instrument that let keyboardists steal the... more > True to the Original Great care has been taken in engineering the MS-101-RD, including the true to the original analog circuitry, legendary VCO, VCF and VCA designs, all of which combine to make it easy to recreate the classic sound performance. This highly-focused... more > Big, Fat Tones The inspired synthesizer tracks laid down in the 1980s and ’90s are etched in the annals of progressive rock, wave, EDM and synth-pop music forever, making them truly classic in every sense of the word. The MS-101-RD lets you recreate all of that... more > Versatile Oscillator MS-101-RD’s authentic 3340 Voltage Controlled Oscillator (VCO) provides an incredible range of 4 simultaneously-mixable waveforms for sculpting the perfect sound. Options include: saw, triangle, square/pwm and octave-divided square sub-oscillator.... more > Versatile VCF The very heart of MS-101-RD’s sound is its highly-flexible Voltage Control Filter (VCF), which includes faders for: cutoff Frequency (10 Hz to 20 kHz); Resonance (0 to self-oscillation); Envelope and Modulation depth, and Keyboard follow (0 to 100%).
  9. 4-voice synthesizer with dynamic controllable analog 12 channel filter bank including live sequencer with 12 filter channel tracks and polyphonic note track wavetable sound synthesis, compatible with 4VOX wavetables individual filter/amp envelopes, morphing filter types full midi-usb functions... and more metal case 300x195x60mm release date: may 2019
  10. Jack Hertz

    Moog Sirin Analog Messenger Of Joy

    Sirin Analog Messenger Of Joy is a limited-production analog synthesizer module based on the legendary Moog Taurus Bass sound engine, and created in celebration of the 2019 Moog House of Electronicus experience in Los Angeles, California. Secured in a brushed stainless steel enclosure with a retro-inspired color palette, Sirin foretells of future joys and transports interdimensional energy with ease. An intoxicating conjuror of both quintessential lead and menacing Moog bass, Sirin’s fully-recallable analog sound engine originates with two analog Taurus Bass oscillators modified to soar octaves above the boundaries of its mythical ancestors. Sirin is the first instrument in Moog’s Taurus family of bass synthesizers designed to generate pitches far above middle C, inviting searing, soft, and even clangorous lead sounds with ease. Sirin’s harmonic transmissions are dynamically shaped and sculpted by a classic 4-pole Moog Ladder filter, which operates in consummate harmony with two lightning-fast ADSR envelopes and a multi-wave LFO, offering a wide spectrum of expressive timbral variety and versatility. Complemented with a classic knob-per-function interface and free Editor / Librarian software, Sirin is an easy-to-use analog instrument designed to effortlessly integrate with any DAW or MIDI controller to unlock a portable world of powerful analog sound anywhere you go. Save up to 128 presets in hardware, automate parameters, unlock hidden features, and explore the vast magical realms of analog synthesis. A limited production run of 2500 Sirin are being produced by the employee-owners at the Moog Factory in Asheville, NC--after which no more will be available.
  11. Jack Hertz

    Arturia MicroFreak Digital Hardware Synth

    Grenoble-based music technology pioneers Arturia are breaking the mold yet again with the release of their first ever digital hardware synthesizer. New for NAMM 2019, MicroFreak is a bold, adventurous instrument that will both inspire newcomers with its ease of use and great sound, and also excite experienced players with its unusual, quirky features. Combining the best of both worlds, MicroFreak includes a multi-mode digital oscillator with an Oberheim SEM-inspired analog filter. 7 of the oscillator modes are the result of a collaboration between Arturia and Eurorack legends Mutable Instruments, and let users control the sound of the iconic Plaits module in the comfort of an all-in-one hardware synth. The modes include Superwave, Harmonic Oscillator, Karplus-Strong, Wavetable, Virtual Analog, Waveshaper, FM, Grain, Chords, Speech, and Modal. One of the most striking features of MicroFreak is its innovative PCB keyboard. Despite having no moving parts, it’s pressure sensitive and lightning-fast, and also offers poly-aftertouch. This unique functionality will also let you experiment with polyphonic express-enabled software instruments when MicroFreak is used as a USB-MIDI controller. On top of its exceptional oscillators, filter, and interface, MicroFreak offers some seriously advanced features that other low-cost instruments can only dream of. A multi-point modulation matrix; an unique sequencer-arpeggiator with controlled randomness “Spice” and “Dice” parameters; a cycling envelope; 128 factory presets, and space for 64 user sounds; and a crystal-clear OLED screen MicroFreak will contain 11 oscillator types at launch, but Arturia have made the unit capable of using new oscillators through official firmware updates in the future. At $349 / 299€, MicroFreak is both a superb contender for “my first synth”, as well as an intriguing 2nd, 3rd, or 15th synth for the collector or experimental sound designer. MicroFreak is currently in production, and is expected to arrive at retailers worldwide from April 1st, 2019. Arturia promise MicroFreak isn’t an April Fool’s joke. Official Product Information An affordable digital hardware synth with unusual oscillator modes, an analog filter, “Spice and Dice” sequencer, and a unique PCB keyboard. Featuring an exciting collaboration with Eurorack legends Mutable Instruments, MicroFreak offers many of the Plaits oscillators with added paraphony, and lets users explore and save presets, and experiment with a modulation matrix. This is a budget synth like no other. Whether you’re looking for your first, affordable hardware synth or are collector looking for original sounds and unique interface, MicroFreak is the synth you need. This out-there little music machine features a versatile digital oscillator so you can create rare and interesting sounds with ease. Modes like Texturer, KarplusStrong, Harmonic OSC, and Superwave give adventurous musicians the chance to explore totally new, unheard possibilities. Like having dozens of synths in just one instrument, both wild-eyed newcomers and seasoned professionals will fall in love with MicroFreak’s flexible, powerful synth engine. MicroFreak packs so much in to such a compact instrument, you'll wonder how we did it. We'd love to say it was magic, but it was pure skill and passion. Physical modelling, wavetable synthesis, virtual analog, there is nothing as complete and exciting as the MicroFreak oscillator on the market. It's hard to believe from such a small synth, but here it is, ready for you to explore. Excite your creativity and reward your curiosity with a large, diverse sound palette. MicroFreak features 13 awesome oscillators, 5 bespoke Arturia engines, and 8 modes from our partners at Mutable Instruments. Even though MicroFreak has a digital oscillator at its heart, “opposites attract” as the saying goes. That’s why we’ve included a lush-sounding analog filter. Inspired by the trailblazing 12-dB Oberheim SEM filter, you can make MicroFreak’s filter scream or whisper to taste. The filter is state-variable, and can even auto-oscillate! You can use this is any way you like, from taking the edge of the razor-sharp wavetable sounds, or automating the cutoff by modulating it with keyboard pressure or the in-built sequencer. Wait. Did we mention that MicroFreak has a sequencer? And a mod matrix? Things are about to get seriously interesting... MicroFreak is packed with unique, exciting features that let you create music with a fresh perspective. Record up to four automations, edit notes per step or use the innovative Spice and Dice sequencer functions to find happy accidents. Add randomization to create evolving, original patterns, and virtually rewire and reconfigure its signal chain and controls with the 5x7 modulation matrix. That’s right, it is. It isn’t really even a keyboard. It’s a PCB. Super-flat, with no moving parts. Will it track lightning-fast synth solos? You bet. Better than a traditional keyboard, actually. Will it let you be expressive? Of course, it’s not only pressure sensitive, but also offers poly-aftertouch. This means each key can control parameters in a different way depending on how much you touch. You can also use its USB, MIDI, and CV outputs to control instruments in your DAW and modular synths. This also means that you can also use MicroFreak as a controller to experience polyphonic aftertouch with cutting edge software instruments.
  12. Rhythm is a Breeze Swedish musical instrument company Elektron today announced Model:Samples, a six track sample based groovebox packing Elektron superpowers into a sleek, lightweight, and accessible package. Compact in size, massive in sound. This easy-to-grasp six track sample based groovebox is perfect for entering the world of music making. The sound engine uses high-quality digital samples and the device comes with 300 hand selected sounds from Splice's renowned content library. The samples range from familiar kicks, snares, and hi-hats to exotic, never-before-heard alternatives. Of course there is plenty of space for your own sounds too. And thanks to the creative possibilities of the sound engine, you can easily personalize any sample until it sounds just the way you want it. An Elektron first, this machine offers a complete set of tactile controls, with one function per knob. To shape your sound; just grab and twist. Then unleash your music spontaneously using the six tough, velocity sensitive pads. Record your every move live, or punch in your creation one step at a time using the superb Elektron sequencer. All this in a class compliant plug-and-play machine weighing in at under one kilogram, but packing the snarling sonic power you’ve come to expect from the ragged Swedish shoreline. Model:Samples key features: + Control All lets you twist your sounds to oblivion. Then use Reload to take you back to where you started + Use Parameter Locks to automate parameters. Each step can have a totally different sound + Load six samples at once - just like a kit. Great when you have made a Pattern with Parameter Locks, LFOs etc... Load six new samples to instantly experiment and come up with unique and unexpected results + Write basslines and melodies using Chromatic Mode + New Chance parameter. Chance determines the possibility whether the sequencer steps on a track are triggered or not. + Combining Chance with the Control All functionality can lead to many interesting results and happy accidents + Record sequences with or without quantization. Steps can be micro-timed with individual Swing control per track + Individual Step Length per track + Individual Tempo Multiplier per track + Class compliant USB audio 2.0 Model:Samples specifications - 6 Audio tracks (all of which may be used as MIDI tracks as well) - 6 × Velocity sensitive pads - 96 Projects - 96 Patterns per Project - 1 × Sample playback engine per track - 1 × Resonant multimode filter per track - 1 × Assignable LFO per track - Delay and reverb send FX - Elektron sequencer up to 64 steps with unique length and scale settings per track - Real-time or grid recording of notes and parameters - 64 MB sample memory - 1 GB storage - Class compliant USB audio 2.0 - 1 × 1/4" Headphones output - 2 × 1/4" Balanced main outputs - 1 × Hi-speed (micro) USB 2.0 port - 1 × 3.5 mm standard audio minijack (TRS) for MIDI In - 1 × 3.5 mm standard audio minijack (TRS) for MIDI Out/Thru - 2 × slots for attaching Powerhandle BP-1 (battery pack to be released at a later date) Dimensions W270 × D180 × H40 mm (10.63 × 7.09 × 1.58") (including knobs and rubber feet) Weight: approximately 0.814 kg Pricing & availability For pricing contact your local retailer. Model:Samples will be available in February.
  13. Welcome to the Encyclotronic NAMM LIST. An on-going digest of the latest electronic music news and events at the NAMM 2019 Convention in Anaheim, California January 24th to the 27th, and beyond. View full article
  14. Jack Hertz

    2019 NAMM Show Synthesizers News

    2019 NAMM Show Synthesizers News
  15. pocket operator goes modular! the pocket operator™ family is breaking new frontiers – our small, battery operated and affordable synthesizer today expands into the modular analog universe. with the introduction of three pre-configured chassis and 15 sound modules, there's finally a way for youto explore the pure fun of modular synthesis in a hassle free way. we have created three kits that include everything you need to get started. just bend, assemble and patch! it's never been easier to get started with modular music making. THE 16 IS A STAND-ALONE KEYBOARD WITH INDIVIDUAL TUNEABLE KEYS AND A PROGRAMMABLE STEP SEQUENCER. NOTE: THE UNIT IS DESIGNED TO CONTROL THE 400 OR OTHER MODULAR SYNTHESIZERS. IT MAKES NO SOUND BY ITSELF, BUT SENDS CV, PITCH AND TRIG.
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