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Jack Hertz

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  1. Jack Hertz

    Artiphon Orba

    Orba - A musical instrument designed for your hands. A portable synth, looper, and MIDI controller that lets you create songs in seconds. Hold out your hands and meet Orba, a new kind of musical instrument. It’s a synth, looper, and MIDI controller that lets anyone make music immediately. Orba’s minimalist design resembles a cross between a gaming controller and a half a grapefruit, and its feather-touch sensitivity translates gestures from your fingers and hands directly into sound. Orba introduces a new and fun way to make music anywhere, even if you’ve never played an instrument before. Orba lets you play every part of the song on a single instrument. Switch easily between Drum, Bass, Chord, and Lead parts, then layer them to create a song with the built-in looper. It takes just a few seconds to loop a beat, and then you can play along for hours. Orba adapts to the way you want to play, and there’s no right or wrong way! Orba’s touch and motion sensors combine to capture even your most subtle gestures. Pick it up and hold it, or just reach over and play a few notes while it’s sitting on your desk. Play it with one hand or both, with your fingertips or thumbs, or shake and wave it through the air. You can slide around each pad, or go crazy with some vibrato. Circle your fingers over the top like a singing bowl, or strum an invisible guitar. It’s all you! Orba builds on Artiphon’s design theory of the multi-instrument: a single instrument that you can play as many. Where the INSTRUMENT 1 reflects traditional instruments like guitars, violins, and keyboards, Orba lets you play with simple gestures we use every day on smartphones, trackpads, and game controllers. We started by looking for a shape that would suit all hand sizes, was just asking to be picked up, and could break the mold of conventional keyboards and grid controllers. In designing Orba, we were inspired by musical objects like shakers, rattles, kalimbas, hand drums, and bells. We also found ourselves obsessed with circular objects in the kitchen: grapefruits, cupcakes, teacups, beets, and bowls of miso soup. We baked a lot of fancy tech into such a little package. Orba’s playing surface uses capacitive-sensing technology, like your phone screen or computer trackpad. We made it velocity-sensitive and wonderfully responsive to even the lightest micro-gestures. The onboard accelerometer and gyroscope allow for a range of natural movements like shaking, tilting, and waving. LEDs respond to your notes, and the haptic engine offers vibrating feedback as you play. Features + Eight capacitive-sensing pads for feather-touch control + Accelerometer and gyroscope capture a range of gestures + Center menu button accesses four presets, the looper, and other functions + Onboard synthesizer and built-in speaker offer an immediate playing experience + Connect to the cross-platform Orba app for more sounds, songs, and settings + Use MIDI over Bluetooth or USB to plug into any of your favorite music apps + Use the ⅛” (3.5mm) output to listen on headphones, speakers, and amps + Multicolor LEDs respond to the way you play + Embedded haptics offer vibration feedback + USB Rechargeable battery
  2. Welcome to the Encyclotronic NAMM LIST. An on-going digest of the latest electronic music news and events at the NAMM 2020 Convention in Anaheim, California January 16th to the 19th, and beyond. View full article
  3. 2020 NAMM Show Synthesizers News
  4. Legendary synthesis, radically re-imagined. Organic, inspirational, and mind-blowingly powerful. KORG’s legendary Wavestation introduced the world to Wave Sequencing, transforming raw samples into sounds that no-one had ever heard before. The flagship OASYS and KRONOS keyboards developed Wave Sequencing even further, expanding on its unique palette of lush, evolving pads and driving rhythms. Now, KORG is proud to announce the next step in digital synthesis: the wavestate. Featuring the radically re-imagined Wave Sequencing 2.0, the wavestate delivers astonishing, ever-changing sounds with extensive hands-on control. Far from a nostalgic reissue, the wavestate is designed from the ground up for a new generation of musicians, producers, and composers, taking cues from sources as diverse as modular synths, groove boxes, and algorithmic composition. The compact form-factor, with 37 full-size keys, transports easily and fits neatly into any stage, studio, or desktop setup. Wave Sequencing 2.0 With the Wavestation, each step of a Wave Sequence had a duration, a sample, and a pitch. This created ear-catching patterns–but the patterns repeated the same way, over and over. What if they could evolve in organic, unexpected ways, instead of just repeating? Wave Sequencing 2.0 splits apart the timing, the sequence of samples, and the melody, so that each can be manipulated independently. Also added are new characteristics including shapes, gate times, and step sequencer values. Each of these is a “Lane,” and each Lane can have a different number of steps and its own start, end, and loop points. Every time the sequence moves forward, the individual Lanes are combined to create the output. For instance, a sample may be matched with a different duration, pitch, shape, gate length, and step sequence value every time that it plays. You can modulate each Lane’s start, end, and loop points separately for every note, using velocity, LFOs, envelopes, Mod Knobs, or other controllers. Each note in a chord can be playing something different! Lanes can also randomize the step order every time they play, with realtime control over the range of included steps. Finally, individual steps can be randomly skipped, with a modulatable probability from 0 to 100%. The result is organic, ever-changing sounds that respond to your control. The four onboard arpeggiators can interact with Wave Sequences for even more possibilities. Easily expressive. Exceptionally deep. Bursting with knobs and controllers, the wavestate invites you to explore. All of the basics–filter, envelopes, LFOs, effects–are at your fingertips with dedicated front-panel controls. Eight programmable Mod Knobs are customized to bring out the most in every sound, often taking them in entirely new directions. Use the knobs in realtime performance, and also save the results as new sounds. Add in the Pitch Bend and Modulation Wheels and the unique Vector Joystick, and you’ll always have multiple dimensions of realtime expression. Want to dig deeper? Almost all front-panel knobs, and most on-screen parameters, can be modulated. You can even modulate settings for individual Wave Sequence Steps! Mod Processors let you transform modulation signals using quantization, smoothing, curvature, and more. Randomization that inspires. Looking for even more inspiration? A dedicated front-panel button, marked by a “dice” icon, generates new sounds via intelligent randomization. Randomize the entire sound or just a part of it, such as the filter, the Sample Lane, or the effects. Use the results directly, or as a jumping-off point for your own creations. An arsenal of effects. The wavestate’s superb effects deliver production-ready sounds. Each Layer has three dedicated effects; additionally, the Performance has a master reverb and parametric EQ. Along with standards such as compressors, EQs, choruses, flangers, phasers, and stereo delays, you’ll find distinctive processors such as the Wave Shaper, Talking Modulator, Reverse Delay, Multiband Mod Delay, and Overb (from the OASYS), plus modeled effects including VOX guitar amps, VOX wah, multi-head tape echo, and a collection of classic guitar pedals. Choose your filter. Add vintage character to your sounds with the aggressive MS-20 Lowpass or Highpass filters, or the strong, sweet Polysix Lowpass. Shape and refine with a full collection of resonant 2-pole and 4-pole Lowpass, Highpass, Bandpass, and Band Reject filters. Or, step outside the box with KORG’s unique Multi Filter, which creates modulatable blends of multiple modes simultaneously. Ample samples. 64 stereo voices. Totaling in the gigabytes, the wavestate’s sample library is more than a thousand times larger than that of the original Wavestation. That’s a lot of great-sounding raw material for Wave Sequences. There’s a bank of samples from Plugin Guru, brand-new samples from KORG, and a selection from the Kronos and Krome libraries. Of course, KORG also provides all of the Wavestation’s samples (including all options), plus a huge library of Wavestation Wave Sequences. Play up to 64 stereo voices with pristine clarity, using KORG’s proprietary anti-aliasing sample playback technology. Multiply by four. With all of that synthesis power, you might think the wavestate would play only one sound at a time. Not a chance. For even more rich and complex results, layer up to four Programs together in a Performance–each with their own effects and arpeggiator. The Vector Envelope and Joystick mix the individual voices of the four Layers, and can also modulate any other parameters. Set Lists and Smooth Sound Transitions. Set Lists offer effortless organization of your wavestate Performances, and deliver instant access at the gig or in rehearsal. Smooth Sound Transitions allow previously-played voices and effects to continue to ring out naturally, even once a new sound has been selected. Plays well with others. Balanced stereo outputs connect to any recording or monitoring system, and a stereo headphone output is provided for private playing or onstage cueing. Din-style MIDI jacks ensure connection to other MIDI-equipped instruments and audio gear. The wavestate supports class-compliant USB MIDI connections to Windows and Mac computers, and the wavestate librarian program is available as free download from KORG. Structure Designed by KORG R&D in California. KORG R&D created the original Wavestation, co-created the OASYS and Kronos, and has developed fundamental technologies behind many other KORG instruments. The wavestate reflects their unique aesthetic, delivering stunning sound and deep flexibility via cutting-edge technologies. Three of the key sound designers from the original Wavestation, John Bowen, John “Skippy” Lehmkuhl (Plugin Guru), and Peter “Ski” Schwartz, joined Belgian artist Airwave and the renowned KORG voicing team to create the incredible wavestate sound library. Free bundle of music software The wavestate comes with a diverse variety of music software from Izotope including “Ozone Elements” which lets you not only create songs but also master them using AI, “Skoove” which will help you improve your keyboard playing skills, “Reason Lite” DAW software, as well as software synths from KORG and other brands. In other words, the moment you get your hands on this synthesizer you'll have a variety of tools to help you take your music to the next level.
  5. Introducing the Navigator, a polyphonic analog synthesizer an affordable analog synthesizer with tons of modulation capabilities, unique sounds, sequencer, chord memory, automation, automatic sequence generator, and more. Navigator is polyphonic analog synth with a great sound and tons of modulation capabilities. Each voice has: 2 Oscillators + Sub Oscillator + Ring Modulator 3 LFOs 2 ADSR envelops 2 pole fully resonant low pass filter saw, pulse, and ring modulator wave shapes 64 step sequencer chord memory mode artificially intelligent sequence generator oscillator shape control for double saw tooth, pulse wave, and ring modulation unique ring modulator timbre control Polyphonic, Duophonic, Unison, and Mono modes 150 patch storage locations 10 sequencer / chord memory storage locations 10 different sequence generator algorithms sequencer automation control for all main menu functions dozens of modulation destinations millions of possible sounds capable of loading different sounds for each of the four voices full of cross modulation capabilities square, triangle, saw, ramp, sample + hold, unique quad sine LFO shapes unique architechure With all other DCO synthesizers, each voice is locked to the same master frequency. In the Navigator, each voice has an independent frequency. This allows for stability while also creating a natural analog sound and phasing between oscillators. velocity control of the filter envelope, the attack, and glide for greater performance control LFO one can be synced between all voices or free running as well as synced via MIDI Sequencer MIDI sync MIDI control over all parameters
  6. Legendary Duophonic Analog Synthesizer with Dual VCOs, 4 Mixable Waveforms, External Signal Processor, 16-Voice Poly Chain, and Eurorack Format. CAT The 1970s spawned the first truly portable analog synthesizer, and while it was quickly adopted by lots of renowned musical artists including Jan Hammer, Chick Corea, Rick Wakeman, Jean-Michel Jarre, Isao Tomita and Keith Emerson to name a few, it was somewhat temperamental and very expensive. ...More True to the Original Great care has been taken in engineering the CAT, including the true to the original analog circuitry, legendary VCO, VCF and VCA designs that come together to recreate classic tones that are evocative of classic electronic music. This highly-focused attention to detail is what gives the CAT its ultra-flexible sound shaping capability. It gives you the ability to cover a lot of amazing tones from super-fat bass, tasty leads – and all the way to full on dreamy ambience from the far reaches of your imagination. Big, Fat Tones The synthesizer tracks laid down in the 1970s and 80s in progressive rock, wave and synth-pop have become classics and have inspired many other artists. The CAT lets you recreate all that magic – or design some incredible and original sounds that will make you a legend in your own right! Keyboard Control The CAT has the ability to accept any keyboard controller via MIDI. The signals generated can be tweaked via the Pitch Bend slider which can bend a note up or down one octave. Bump this up to two octaves by flipping the Octave Shift switch up or down. Use the Glide slider to change how fast a note transitions to another; up is faster, down is slower. Combine that with the LFO Freq slider to control the LFO and ADSR repeat tempo and you can create some amazing pulsating portamentos. Two VCOs are Better The very heart of the CAT’s sound is its two VCOs. The Duophonic/Paraphonic nature of the CAT allows both oscillators to be controlled independently. Use the Fine and Coarse Frequency controls to tune VCO1 to VCO2. Keyboard control on the CAT can be set to either Mono or Poly. Poly mode lets VCO1 generate the highest note played on the keyboard while VCO2 handles the lowest allowing two notes to be played simultaneously. Setting the switch to Mono mode makes VCO1 generate the lowest note depressed on the keyboard. Make Waves Waveform switches on both VCOs allow different waveforms to be patched in from the LFO. Choose between Sine, Square, Sample and Hold and even pitch modulation through each VCO. Turning the Modulation Depth knobs in either direction controls the intensity of the effect. VCO2 also comes with a Sync switch that locks VCO1 with it and has them act as one huge oscillator to produce more complex waveforms and dramatic results. Mix VCO1 into VCO2 or vice versa and the CAT can produce some really tasty tones that make themselves at home in your next synth jam. Slide In Each VCO on the CAT comes equipped with their own waveform sliders where you can adjust the volume of each type of VCO wave form. Pump up the Sub Octave, Sawtooth, Square, Triangle or Pulse waves or mix them all together and create some truly unique tones. VCF As if combining two VCOs wasn’t amazing enough, the CAT comes with another set of claws in the form of a VCF filter section. Here you can get more complex and robust tones by incorporating VCO1 into the mix. Introduce more waveforms and manipulate the Q slider to emphasize harmonics and Filter Cutoff slider which acts as a low-pass filter. Turn the CAT into a really funky bass machine or an out-of-this-world synth that creates some searing lead tones. You can even create some amazing drum sounds by manipulating the VCOs, VCF and ADSR. The Envelope, Please… To give the signal even more character, you can use the CAT’s Transient Generator to create a detailed voltage transient every time a key is depressed. Adjust the Attack, Decay, Sustain and Release via the matching sliders and to shape your signal. The AR transient generator works similarly to the ADSR but with less detailed control over the envelope. You can also set the ADSR to automatically repeat or only when a key is held down. The Sample and Hold switch can be set so the VCO1 setting is sampled or, when set to Noise mode, produce a random output pattern. Slide the LFO Delay control up or down to determine when the LFO will reach its maximum output after a key is depressed. The Ins and Outs The CAT features a whole slew of Inputs and Outputs that expand its capabilities beyond what you can see out of the box. You can route external control voltages to VCO1 or 2, the VCF and even pump in some external line-level audio into the CAT. You can even connect the CAT to other external synthesizers through the Gate, ADSR, AR or Keyboard Outputs. The CAT’s 16-note Poly Chain function lets you combine multiple synthesizers for up to 16-voice polyphony – and it provides vastly improved reliability and stability over its 1970s and '80s predecessors. Controls & Connectivity We just can’t help ourselves – like you, we're gear-heads, too. For those who want the numbers, the CAT has 47 controls, all laid out in a highly-intuitive format that puts the joy back into your music creation. Unleash Your Imagination When it comes to not just pushing envelopes but creating them, the CAT gives your imagination its voice – and it’s so very affordable. When modern performance calls for classic analog sound – it calls for the Behringer CAT! Visit your dealer to experience the stunning CAT or get yours online today. Music never felt this good!
  7. With no mention of the musicians' identity, Elektriktus was a mysterious name that only appeared with an LP on the PDU label in 1976. Under the name Elektriktus hid Andrea Centazzo, musician and composer from Udine, who also released dozens of LP's mostly in the free jazz and avantgarde fields. After playing as drummer with jazz player Giorgio Gaslini, Centazzo had built his own home studio, where he recorded some tapes on a 4-track Teac with minimal equipment. The album, called Electronic mind waves, includes eight synthesizer-led compositions that show a great influence from the German cosmic music; in fact this is one of the most krautrock-inspired albums from Italy, and not unlike some of the early works by Roberto Cacciapaglia. For this reason it's not a surprise that it appeared on PDU, as this record company distributed in Italy most of the production of the German Kosmische Kuriere and Ohr labels. Musically speaking the album will appeal to the keyboards fans, though some interesting variations can be heard in some tracks, as an upright bass part in First wave. Centazzo followed his musical career, which lasts today, moving to the USA.
  8. The Harrison Instruments Model 204 Theremin is a complete tabletop pitch instrument with a built-in loudspeaker. It is powered by an internal 9-volt battery, and has an output jack for connection to an external amplifier or effects processor. When used as a stand-alone theremin, the 204 provides a fixed volume suitable for small-group demonstrations, and serves equally well in business and retail venues. The 204's highly stable, low-noise output is well-suited for practice, performance and recording. Features: + High-fidelity, pleasing output tone with exceptionally low noise, wide pitch range, and good linearity + Output Jack for connection to external amplifier or effects processor + Loudspeaker disconnects when cord is inserted + Precision, ten-turn Zero Control for easy sensing adjustment + Sufficient sensing range to operate without a ground connection; increased sensing range with ground + Attractive clear-anodized brushed aluminum and 9-ply wood cabinet for tabletop use + Rubber feet prevents marring delicate surfaces + Detachable, plug-in plate antenna + Internal 9V battery provides hours of play time + Rear battery access through screw-on panel Since 2000, Harrison Instruments has designed quality theremins using a variety of technologies, and has fabricated prototypes for both consumer-direct and OEM (Original Equipment Manufacturer) requirements. We utilize the best materials and craftsmanship for reliable and playable instruments that are acclaimed for their tonal quality and precision, world-over.
  9. The inner-workings of an E-Madman! 

    Klaus Schulze on Composing - http://www.muzines.co.uk/articles/klaus-schulze-on-composing/5918



  10. The 1970s were to be a magical time when a string of groundbreaking technology was conceived and developed at Bell Labs (BTL), Murray Hill, New Jersey. Many of the developments at Bell Labs have been pivotal and have subsequently played an extremely important part in shaping modern life. This includes the famous UNIX operating system (the grandfather of Linux and all its derivatives), the C Programming Language, fundamental parts of the technology that form the internet, digital telephony, satellite communications and audio/video compression techniques to name but a few. During this time a very talented research scientist called Hal Alles was working on means to implement echo-cancellation in digital telephone systems. This led to the development of an advanced high speed digital oscillator system. On experimenting with the concept it became apparent that it might have some merit as the basis of an advanced music synthesizer using real time digital control techniques. Incredibly, Hal was permitted to setup a side project with funding to explore this notion and after very much toil and expense the Bell Labs Synthesizer or Alles Machine was born. This 300lb behemoth was nicknamed The Blue Monster or Alice for short. SOME HISTORY At the heart of the Alles Machine was Hal’s high speed digital oscillator technology implementing 64 digital oscillators. The instrument was hosted by a DEC PDP-11 minicomputer (the same range of computers UNIX was developed on at Bell) and literally programmed in C to perform whatever task the operator wished to undertake. Needless to say without any form of dedicated controls, synth engine or patch programming interface very few musicians indeed were able to realise the true potential of Alles Machine! Two musicians that were gifted with the necessary combination of skills to handle The Blue Monster were Laurie Spiegel and Roger Powell. Very sadly almost no recorded material has survived but the few recordings that have reveal a machine capable of generating huge evolving digital soundscapes – this is particularly apparent in Laurie’s Improvisation on a Concerto Generator from 1977. Towards the late 1970s a number of synthesizer manufacturers became aware of the instrument including the MTI division of Crumar who saw the new technology as a means to leap ahead of the pack. A talented development team was assembled and it was agreed that Bell’s Hal Alles and Max Mathews were to offer technical advice on the best means of essentially commercialising the Alles Machine whilst making it much more accessible to every day musicians. The first instrument to be developed was the GDS (General Development System). Although the instrument was hardly inexpensive (it cost around $30,000 in 1979) an ambitious cost down exercise was undertaken to reduce the 1400 or so integrated circuits to only a few hundred. Amazingly, the design team was able to meet the stringent material cost target and the GDS was born. Only 10 or so GDS systems were ever built but it became the sound development tool for its derivatives, the Synergy, Synergy II+ and Mulogix Slave 32. The GDS had a small number of influential owners who were able to work wonders with the new technology. This included Wendy Carlos and Klaus Schulze who released a number of albums and film scores in the very early 1980s heavily drawing on the GDS as a source of digital textures, pseudo realistic timbres and percussion. ENTER THE DK SYNERGY Following the GDS was the Synergy (DK-1) which relied on the identical 32 high speed oscillator subsystem but coupled to a dedicated Z80 controller thus enabling the instrument to operate stand alone relying on voice cards plugged into the front panel to permit the user to select between or layer up to 4 combinations of 32 patches. A few years later a clever upgrade was offered to basically return the programming ability of the GDS to the Synergy through the use of an external host computer manipulating a special memory area known as VRAM. This variant was known as the Synergy II+ but was not sold in great numbers thanks in part to the release of the considerably more affordable DX7. MORE THAN ADDITIVE… All variants were more than simply large banks of digital sine wave generators as found in more traditional additive synthesizers. They were unusual in that the oscillators could produce both sine and distorted triangular waveforms which could be combined in a very flexible manner ranging from straight additive synthesis, phase modulation or combinations of both. This meant that far more harmonically complex sounds could be generated without having to resort to a massive array of sine oscillators. Not only was the oscillator topology complex but the modulation abilities were truly groundbreaking. Each oscillator had its own envelope and a whole raft of real time modulation could be applied to each control parameter including the notion of switching between low and high velocity parameter sets. RISEN FROM NEAR OBSCURITY – REVIVING SYNERGY #01205 Time has not been kind to the Synergy with many examples having perished years ago. Needless to say that very few have experienced a working Synergy let alone a full II+ system first hand in recent times. Quite by chance earlier in the year I stumbled across a now very rare 1983 Synergy II+ in a rather burnt out state with a very interesting past. After a few days of intense research I was able return this poor beast to working order and I set about the soon to be arduous task of finding a suitable Kaypro II computer to be coupled to it to run the infamous synHCS host control application. The task of tracking down a working Kaypro was tricky enough in the UK but the task of running an OS, finding working application software, making a suitable serial cable to connect the two machines, configuring the link and locating the factory patches in the correct format proved to be a major headache. INTO THE 21ST CENTURY… As has been such an effective retrofit on other vintage instruments such as the Emulator II, with the invaluable help of its inventor, Jean-François DEL NERO, I successfully managed to install a superb HxC floppy disk emulation system in place of one of the 5.25” disk drives and embarked on the ludicrously tedious task of manually converting the disk images of the entire GDS/Synergy Factory Sound Library to virtual disks. This permitted me to audition several hundred patches in awe of this groundbreaking digital wonder… SAMPLING THE BEAST I decided to capture a broad selection some of the more impressive sounds. This turned out to be a bigger task that I had envisaged and after many tens of hours of run time the beast died in front of my eyes and after several hours of mild panic I determined that the very elderly and rather grizzly switch mode power supply had failed. To my great relief the beast was returned to operation the following day having retrofitted a modern high efficiency equivalent in its place (which was half the size of the original!). During my time sampling the Synergy a curious feeling crept over me that I have very rarely experienced whilst sat in front of a vintage instrument – that of sheer wonder that a team of engineers had the vision and bravery to develop an instrument so very ahead of its time and so different from those of the day. In fact, despite the number of wonderful vintage synths I get work on these days, the last time I felt this way was when I was returning the infamous 1938 Novachord #346 to life. In short, I hope you enjoy playing the sampled instruments as much as I’ve enjoyed making this library… DETAILS Synergy Percussion The GDS/Synergy II+ is surprisingly capable of synthesizing all manner of percussive sounds including many of a similar but not identical nature to their analog counterparts from drum machines of yesteryear. As well as the main body of instruments Synergenesis features over 220 percussive samples capturing a significant proportion of the drum patches featured in the original factory instrument library which dates back to the early 1980s. They have been presented as two main drum kits and as a series of sets primarily intended to permit the user to preview them and experiment with filtering and dynamics on select sounds. Multiple instruments can then be used in this manner over a number of midi channels if required. More technically minded users can remap the drum sets as they wish in Kontakt. WAV Samples The drum sounds in this library are also presented in .wav format. As well as the original 24-bit samples the percussion is also presented in 16 and 8-bit formats (all at 44.1KHz sample rate) in their respective folders for use on a wide range of software based sample players and applications as well as a number of hardware samplers such as the MPC series.
  11. Argon8 joins the growing Modal Electronics family of SKULPTsynthesiser, CRAFTsynth 2.0, Modal 002 Hybrid and Modal 008 Analogue Polyphonic synthesisers. Based around its revolutionary new wavetable synthesiser engine, Argon8 derives much of its heritage and DNA from the highly acclaimed Modal 002. Five years on from Modal 002’s introduction, Modal Electronics has created a completely new synthesiser that takes much of the sound design capability and functionality of the Modal 002 and places it in an incredibly compact and price conscious package – the Modal Argon8. Polyphony True 8 voice polyphonic Mono-timbral Oscillators 120 carefully crafted wavetables split into 24 banks of 5 morphable waveform sets, covering virtual analogue classics through to cutting edge EDM and many from the original Modal 002 as well as a whole range of mathematically generated tables. Additional PWM bank and 4 noise/modulation banks accessible on Oscillator 2, 28 static wavetable processors including de-rez, wave folders, wave shapers, phase shapers and rectify that can be applied to the 120 wavetables to give a mind boggling array of permutations and new waveshapes 32 high resolution wavetable oscillators, 4 per voice, with 8 types of oscillator modifier including: Phase Mod (FM), Ring Mod, Amp Mod, Hard Sync and Windowed Sync Keyboard FATAR TP9/S Full size 37 key keybed with both velocity and aftertouch. 1.54 inch large OLED display – that provides instant visual feedback to the user at all times of playing/editing. Multiple keyboard modes, Mono, Poly, Unison 2, unison 4, unison 8, Stack 2 and Stack 4. Inbuilt sophisticated programmable arpeggiator of 32 steps with rest capability with up to 2048 steps before repeating. Glide/Portamento with both legato and staccato modes. Filter Two pole morphing resonant filter. Filter can be morphed from low pass, through band pass, to high pass. Modulation Hugely powerful “Mod Matrix” with eight assignable slots with four additional fixed routes, 11 mod sources and 52 destinations. A 4-axis joystick that can be assigned to a huge range of modulation destinations and virtually ‘locked’ when desired. Three dedicated envelope generators for AMP, MOD and FILTER that can be accessed independently or all three simultaneously including negative (reverse) versions. Two Audio rate LFO’s with tempo sync (one poly, one global). Polyphonic LFO can sync to frequency divisions FX Waveshaping distortion. Three incredibly powerful independent and user configurable stereo FX engines that can create sophisticated Delays, lush Reverbs, Flanging, Phasing, and Rich Choruses Sequencer Real time sequencer with 512 steps with input quantise and four recordable / editable parameter animations All time-based FX, LFO’s and sequencer arpeggio can be either clocked internally or externally Storage 500 patch memories, all fully editable and ships with 300 factory programs and 200 user patch spaces. Patch upload and download through the free MODALapp 100 sequencer presets and 100 FX presets Connectivity Analogue clock sync in and out (configured to the KORG / Teenage Engineering specification) MIDI DIN in and out Full size quarter inch jacks for stereo audio outs, headphones and external control such as sustain and expression 3.5 mm stereo input with ability to route incoming audio through the FX Class compliant MIDI provided over USB connection to host computer or tablet Optional software editor available for macOS, Windows, iOS, Android with VST3 and AU compatibility – MODALapp can be run within your Digital Audio Workstation (DAW).
  12. Organelle is Brand New Again! Announcing four new features for the Organelle! ‍ • Built-in Speaker • Built-in Microphone • Battery Power • MIDI Jacks We’re also happy to announce it has been upgraded with a faster processor, twice as much RAM, and an improved web interface for patch management and Link sessions. To differentiate from the older model, we have added an M to the name. For normal everyday reference, 'Organelle' is fine! ‍ Making music with the Organelle is now more direct and adaptable to situation/musician (less gear needed)! The Organelle is portable and autonomous! The Organelle is a more powerful instrument that keeps up with your spontaneity or intention! Overview The Organelle® makes it easy to explore new sounds and experiment with new ways of making music. It combines playful and intuitive controls with a powerful and flexible sound engine. The result is an instrument that is limitless in musical possibility and a joy to play. At the heart of the Organelle's sound engine is a robust computer that runs patches. A patch allows the instrument to take on different forms. Onboard hardware for sound input and output and mappable knobs, keys and buttons enable patches to synthesize, sample, effect, and anything in between! The Organelle ships with a set of common default patches, and new patches may be loaded from a USB drive. Simply select patches from a continually-growing list, transfer them to a USB drive, reinsert it in the Organelle, and play! Don't see the exact patch you need? You can create it yourself! Patches may be created and/or edited directly on the device. Plug in a keyboard, mouse and monitor and begin customizing. The Organelle runs patches created in the powerful computer music programming environment Pure Data. As you create patches or tweak existing ones you can share them with others! The Organelle is built with community interaction in mind. The entire system runs open source software and may be customized at every level. Synths Endless sounds at your finger tips. The dream behind the Organelle was to have a small and easy-to-use instrument that could perform any kind of sound synthesis imaginable. The Organelle excels at synthesizing sound. Between the synth patches that ship with the Organelle and the growing list of user-contributed patches there’s a bit of everything to play with: additive and subtractive synthesis, classic wave table sounds, granular, physical modeling, ADSR envelope style, frequency modulation, and more. The best part is that there’s always the option of creating your own synth in Pure Data too! Processing Sound Sound transforming toolbox. The Organelle has a natural ability for sound processing and sampling. Many patches have been developed to take advantage of the Organelle’s stereo sound input. These include guitar pedal style effects and fancier granular and spectral processing patches. You’ll be surprised how different your sound will sound! Recording samples and manipulating them in various ways is also a popular theme in the land of Organelle. Some patches resample to build up new sounds from older ones. Others rearrange or arpeggiate samples as you play. Making Beats Create rhythms in new and unique ways. Play rhythms on the keyboard and/or let a patch generate beats. The Organelle is great for playing samples in time. Sometimes you want to be specific about a rhythm: play this sample now, that sample later. Other times it's great to set up a general sound palette and let a patch keep the beat for you. Either way, there are plenty of patches to match your tempo. If you're into polyrhythms, beat-juggling, generative rhythms, recording and manipulating samples into rhythms, or just making quirky little sequences, the Organelle doesn't miss a beat!
  13. Largely regarded as one of the techno music's most innovative DJ/producer in the world, Jeff Mills has partnered with the French filmmaker Jacqueline Caux to create a portrait film of him and his immense perception on the future. With his spectacular poetic sound and Caux's invasive cinematic imagery, this film is really the first of it's kind. Since it's debut at the auditorium of Le Louvre in February 2014, the film has been shown at major cities such as London, Berlin, Tokyo and Milan and enjoyed extremely positive feedback from media and audience. "Understanding what Man from Tomorrow could possibly mean and say to others, we greatly discussed the ways of how we could go about materializing this in a manner that detaches the subject away from normality. We wanted to show what deep thoughts, dream escapes and unconventional expressions of our future could look, sound and feel like through ever-expanding and dimensional lens of techno". - Jeff Mills Some time ago, Jeff Mills asked me to make a film with him. Before anything else, and even though I knew his music for two decades, it was first necessary to have a series of conversations with him in order to better identify the subjects that inspired and motivated him the most, as well as his questions and preoccupations. These conversations were even more important because, from the very beginning, we wanted to make a film that would have a certain aesthetic quality, something more than just a portrait in the strictest sense. Consequently, I wanted to be able to imagine images that would be inspired as much by his words as his music. We also agreed to only use images that wouldn't identify the actual locations - place and time - in which we were in. This film is a playful and visual journey intended to lead US through the music of Jeff Mills in a different way. The first part of the film is entirely without words; through a combination of music and images, it is left up to viewer's imagination and personal projections to create meaning. It was my desire that music would replace words, in this part of the film, so that the viewer could concentrate.
  14. The 1970s spawned the first truly portable analog synthesizer, and while it was quickly adopted by lots of renowned musical artists including Jan Hammer, Chick Corea, Rick Wakeman, Jean-Michel Jarre, Isao Tomita and Keith Emerson to name a few, it was somewhat temperamental and very expensive. An ultra-affordable homage to that iconic synthesizer, with all the features of the original and then some, the Behringer POLY D lets you conjure up virtually any monophonic or polyphonic sound imaginable with incredible finesse and ease. The pure analog signal path is based on authentic VCO, VCF, VCA and ladder filter designs in conjunction with a dedicated and fully analog triangle/square wave LFO. Owning a POLY D is like having your own personal time machine, enabling you to freely embrace the past – or shape the future! True to the Original Great care has been taken in designing the POLY D including the true to the original “D Type” circuitry with its matched transistors and JFETs, ultra-high precision 0.1% thin film resistors and polyphenylene sulphide capacitors. This highly-focused attention to detail is what gives the POLY D its ultra-flexible sound shaping capability, which covers everything from super-fat bass and lead tones, stunning effects, progressive organ sounds – and all the way out to the otherworldly sounds of your imagination. Big, Fat Tones The inspired synthesizer tracks laid down in the 1970s and '80s are etched in the annals of progressive rock, wave and synth-pop music forever, making them truly classic in every sense of the word. POLY D’s pure analog signal path with legendary VCO, VCF and VCA circuits, lets you recreate all of that magic – or design incredibly fat and original sounds that will make you a legend in your own right! Three Modes to Choose From With the POLY D, you can get the best of three worlds by switching between monophonic, polyphonic or unison modes. With the POLY D set to Mono, you can have the characteristics of a classic monophonic synth with fuller, more expressive solos, bass lines and portamentos. Flipping the switch to Poly allows you to play more than one note at the same time to produce stunning chord harmonies and luscious pads that add soul and depth to your music. Unison Mode thickens up your sound by layering all of the POLY D’s voices on top of each other, adding more harmonic content and creating a richer sound. Four VCOs The POLY D has four highly-flexible Voltage Controlled Oscillators (VCOs) that provide an incredible range of 5 waveforms for sculpting the perfect sound. Oscillators 1, 2 and 3 options include: triangular; triangular/saw; saw; square; wide pulse; and narrow pulse, while OSC 4 features: triangular; reverse saw; saw; square; wide pulse; and narrow pulse. Additionally, all 4 VCOs can be adjusted across an extremely-wide, 6-octave range (LO, 32’, 16’, 8’, 4’ and 2’). This amazing flexibility gives you all the tools you need to be your creative best. 24 dB Ladder Filter and VCA The very heart of the POLY D’s sound is its highly flexible 24 dB Ladder Filter, which lets you freely experiment with the Cutoff Frequency, Emphasis and Contour to dial in the perfect sound. POLY D’s Filter Mode switch can be set to either Lo- or Hi-pass for selecting the range of your choice. You can also adjust the Attack, Decay and Sustain controls to affect the cutoff frequency with time. Controls & Connectivity We just can’t help ourselves – like you, we're gear-heads, too. For those who want the numbers, POLY D has 84 controls, all laid out in a highly-intuitive format that puts the joy back into your music creation. Input and output connections include: MIDI I/O and Thru over USB/MIDI DIN; After Pressure and Velocity outputs with their own dedicated volume controls; internal and external V-Trig I/O; external Loudness, Filter, OSC, and modulation source outputs. Unleash Your Imagination When it comes to not just pushing envelopes but creating them, POLY D gives your imagination its voice – and it’s so very affordable. When modern performance calls for classic analog sound – it calls for the Behringer POLY D! Visit your dealer to experience the stunning POLY D or get yours online today. Music never felt this good!
  15. The Behringer TD-3-SR is an Analog Bass Line Synthesizer with VCO, VCF, 16-Step Sequencer, Distortion Effects and 16-Voice Poly Chain. FEATURES Amazing Bass Line synthesizer with true analog circuitry for bass and groove sounds Authentic reproduction of original circuitry with matched transistors Pure analog signal path based on legendary VCO, VCF and VCA designs Sawtooth and square waveform VCO with transistor wave-shaping circuitry Amazing 4-pole low-pass resonant filter with cut-off, resonance, envelope, decay and accent controls Easy-to-use 16-step sequencer with 7 tracks, each with 250 user patterns Arpeggiator with wide patterns for great sound effects Distortion circuitry modeled after the DS-1* adds insane spice and edge to your sounds 16-voice Poly Chain allows combining multiple synthesizers for up to 16 voice polyphony 11 controls and 28 switches to give you direct and real-time access to all important parameters MIDI and USB implementation with MIDI channel and Voice Priority selection Designed and engineered in Italy
  16. Since the release of the JUPITER-4 in 1978, the name JUPITER has marked the pinnacle of Roland sound and playability. Roland synthesizers with the JUPITER name carry our most advanced sound technologies, are supremely playable, and are built from premium materials. JUPITER-Xm combines classic Roland design and premium build quality with a powerful new synth engine. It faithfully recreates sought-after instruments from our long history of genre-defining sounds. And with multiple layers, loads of polyphony, and deep hands-on control, you can craft huge, spacious sounds that have as much sparkle as they have warmth and punch. JUPITER-Xm may redefine what you think a synthesizer can be. It has a universe of sounds, expanding all the time. It can jam with you, inspire you, and capture your ideas. It can go just about anywhere, and it doesn’t need any cables or wires to function—not even for power. The JUPITER-Xm is an entire electronic production and performance environment that you can put under one arm. Where you take it, is up to you. Classic analog to vintage digital. And beyond. JUPITER-Xm is equipped with our latest sound engine, capable of morphing into legendary synths from our long history of genre-defining sounds. It’s so flexible that it can reproduce our highly sought-after analog classics like the JUPITER-8, JUNO-106 and SH-101, but also vintage digital machines like the XV-5080 and modern RD pianos. You also get the many Roland drum machines that are the foundation of electronic and dance music like the TR-808, 909, 707, 727, 606, CR-78 and more. It’s like a studio full of vintage gear, with modern capabilities and a deep synth engine so you can explore unmapped sonic territory. Intelligent. Inspiring. Need something wonderful, fast? The JUPITER-Xm’s I-Arpeggio is a next generation arpeggiator that uses artificial intelligence to not just accompany you, but to inspire you. I-Arpeggio takes your input—notes, rhythms, phrases—and creates complementary drum parts, basslines, chords, and arpeggiated lines. It works on each of JUPITER-Xm’s five parts simultaneously, and generated patterns can be customized and even exported to your DAW. These aren’t preset backing tracks, but intelligently generated beats and phrases that fill out your live performance and pulverize writer’s block. Find the sweet spots In addition to its informative display, JUPITER-Xm has an array of large, comfortable knobs, sliders, and buttons. They feel sturdy and precise for incredibly smooth sweeps and subtle changes. There’s a dedicated effects section and switching between synth layers is quick, so you can immediately take control of any aspect of the sound. This kind of natural, hands-on control gives you the feeling of reaching in and touching the sound, shaping it to find just the right settings for the moment. The power of polyphony JUPITER-Xm can layer up to five parts, four for synths and one for drums. To power all of this, you have up to 256 notes of polyphony available overall, with up to 32 notes available for authentic models of Roland classics like the JX-8P or JUPITER-8. With so much polyphony available, you can create layers of sounds and backing parts without limiting complex chords or sacrificing your creative vision. Create the perfect bass and lead split with an SH-101 and JUNO-106, layer a rich RD piano with lush JX-8P strings, or make a monster stack of JUPITER-8s. Built to last. Made to play. Whether it’s a personal studio, professional studio, or part of a touring rig, JUPITER-Xm is right at home. Tough metal and premium components mean it stands up to the rigors of live performance and always feels solid and precise. The high-quality, balanced connections, full-sized MIDI jacks, and multiple pedal inputs mean JUPITER-Xm is ready for any kind of situation. So portable. So playable. Too often you must sacrifice playability and expression for something easily portable. JUPITER-Xm strikes a perfect balance with an all-new 37-key slim keyboard that redefines what a compact keyboard can be. Small doesn’t have to mean cheap, and in the case of the JUPITER-Xm, you get solid, responsive keys and three full octaves in a space generally reserved for a lot less. Ever-expanding JUPITER-Xm is part of an expandable platform so it can be updated with fresh new content as it becomes available.
  17. While playing with the re-issued Curtis chips we hit upon such an audio-aesthetically pleasing prototype that we could not resist manufacturing a limited run of 20 fully analog synthesizers. This Is Not Rocket Science RectangularThing is a classic synthesizer with two oscillators, two envelopes, two VCAs, a mixer, a highpass and a lowpass filter and allows you to adjust the hardware on the back to do your own Thing. Our RectangularThing has a unique way of making rich analog waveforms based on sub-oscillation with our Rambler. Rambler is a combination between two oscillators – it uses a sub-oscillator to switch very quickly between oscillator 1 and oscillator 2 on every sub-oscillator transition. We have also created a ‘sawpulse’ which is an oscillator that alternates between saw and pulse cycles creating a new waveform. !?!?! knobs on RectangularThing are there for you to decide. These knobs control the output of the sub-oscillators and you can change that Thing. By rearranging the jumpers on the back you can select if the top oscillator has either a sub-oscillator or a Rambler oscillator (jumper at SubOsc 1) and for the bottom oscillator you can decide on having a Rambler, sub-oscillator or a sawpulse (jumper at SubOsc 2). You can also select the order of highpass and lowpass filtering by adjusting the Filters jumper. The SYNC switch toggles between soft / off / hard synchronisation of both oscillators in your RectangularThing. The top oscillator is the basis for the bottom oscillator to sync to. When the switch is in the hard sync position, the starting point of a new cycle of the top oscillator forces the bottom oscillator to also start a new cycle. When the switch is in the soft sync position, the starting points of a new cycle are gradually aligned and when the switch is in the off sync position, your oscillators are ignoring each other.
  18. H-Pi Instruments has teamed up with mitxela (the genius behind the world's smallest MIDI synthesizer) to bring you FLASH, the world's first and only very-tiny MIDI-powered polyphonic microtonal FM synthesizer. Two years in development, this little 16-voice wonder fits in your pocket and doesn't require a power supply. Just plug it into a standard MIDI OUT port*, plug in your headphones, and away you go! FLASH features unlimited dynamic General MIDI microtuning for ease-of-use with 16-channel polyphonic tuned output from TBX2, TBX1, and Tonal Plexus TPX keyboards, and also features a mini UART-programmer which allows you to assign unique microtonal tuning tables to each of 16 MIDI input channels for full microtonal output compatibility with literally thousands of standard MIDI controllers as well as multichannel controllers like MIDI guitars and MIDI organs without a tuning device, not to mention advanced 2048 unique-pitch-output for the Tonal Plexus and other microtonal controllers like the Microzone, Axis 64, and Terpstra keyboards. Of course you can also use it as a normal synth with normal tuning ... if you're into that sort of thing. The FLASH UART-programmer interfaces via USB with Universal Tuning Editor (UTE) cross-platform software (free license included), so you can edit tunings and upload them to the synth. Firmware is also user-upgradable via the programmer, so features can be improved or added at any time. NOTE: FLASH draws its power straight from the MIDI socket! All MIDI OUT ports which are made to the specification of the MIDI Manufacturer's Association (MMA) will work. MIDI OUT ports not made to the MMA spec will not work! Be sure you understand this before you buy. We will try to compile a list of MIDI devices which have non-compliant out ports (under construction). FEATURES Tuning + Unlimited pitch General MIDI microtuning up to 16 voices polyphony + NOTE: The MIDI Manufacturer's Association has now officially recognized this method of microtuning, calling it MPE. + 16 full range programmable tunings of 128 notes each = 2048 programmable fixed pitches + Voluntary pitch bending from retuned fixed-pitch centres + Largest tuning error ~ 0.006 cents Synthesis + FM synthesis engine designed by mitxela + Controllable via MIDI CCs Voice Modes + POLY: 16 voices, one oscillator per voice, mono LR audio output + POLY-STEREO: 8 voices, one oscillator per voice, stereo audio output + MONO: 1 voice, 16 oscillators layered, mono LR audio output Inputs and Outputs + MIDI DIN input (for MIDI and power) + 3,5 mm stereo headphones audio output Electronics + Designed in the UK by mitxela + Assembled in Bulgaria Enclosures + Synth main housing made in Germany by Lumberg GmbH, Nickel-plated Zinc Alloy 50 x 14 x 14 mm + UART-programmer housing - Aluminium (2mm thick) 50 x 25 x 25 mm, hand made in Germany
  19. Fractal Bits is a drum synth with over four billion unique sounds created by fractal algorithms. Each set of 12 drums corresponds to a code of 8 characters (you can save/copy/paste it as plain text). Features: search for new sounds with three buttons: next random set (>>>), edit code, previous set (<<<); three types of keyboards for live drumming: on-screen buttons, PC keyboard, MIDI input; six additional processing parameters + control of all parameters via MIDI; real-time audio recording to WAV (32-bit); export to: WAV (one file or a set), SunVox (samples + effects in one file), text clipboard; the LCK button freezes individual drums - they will not change during the search for new sets; iOS: Audio Unit Extension (AUv3), Audiobus, Wi-Fi export/import.
  20. Eight Voice Digital Drum Computer & Sampler Alive and kicking Digitakt is a new compact sampling drum machine from Elektron. It contains all the necessary tools to make people move to the beat. A digital and highly flexible sound engine, sampling capability, a live-friendly sequencer, dedicated tracks for controlling external MIDI gear, and Overbridge support. Drum machines are something of an Elektron speciality. With the Digitakt we show why. Super quality Digitakt is made for heavy use. It features all new hi res encoders and extremely durable back-lit buttons (rated for 50 million presses). The ultra crisp OLED screen perfectly renders the clear and streamlined user interface. Beat making powerhouse Compact, rugged and to the point. Digitakt is a formidable drum machine and sampler. With an astounding feature set and an exquisite digital sound engine, the stage is set for a striking encounter. Elektron Digitakt 8-voice Drum Machine, Sampler and Groove Sequencer, with 8 Audio Tracks, 8 MIDI Tracks, 64MB Sample Memory, and 1GB+ Onboard Storage. Digitakt provides a compact drum machine solution for a computer based rig. It makes beat making a tactile and rewarding experience. It can also double as a sound card, making it perfect for the nimble studio. Elektron Transfer makes it easy to move samples from your computer to your Digitakt , and vice versa. Factory content Digitakt comes pre-loaded with heaps of great electronic and acoustic sounds. Drums, percussion, synths, and FX are all part of the sound palette. The sample collection allows you to start creating, experimenting and producing right away. Also included is an assortment of absolutely stellar acoustic drum kit samples, meticulously sampled by the renowned drum sample company That Sound. 400+ Factory Samples including: + 5 acoustic drum kits - 4 of which by That Sound + 23 electronic drum kits + 42 synth one shots + 44 synth stabs and pads + 83 single cycle oscillators and noise loops Overbridge for Digitakt Fully integrate Digitakt with DAW environments Control Digitakt with a dedicated VST/AU plugin interface Use Digitakt as a 2 in/2 out sound card (CoreAudio/ASIO/WDM) Stream the eight internal tracks, external inputs, and main bus to separate DAW tracks (24 bit/48 kHz) Recall all Digitakt settings when loading a DAW project Sample management functionality Digitakt specifications: + 8 internal audio tracks & 8 dedicated MIDI tracks + 1 × Multi-mode filter, Overdrive effect, and Assignable LFO per audio track + Delay and Reverb send FX + Sampling capability with 64 MB sample memory & 1 GB +Drive storage + 1 × Headphones output + 2 × ¼” balanced main output / 2 × ¼” input + 1 × High Speed USB 2.0 port + MIDI In/Out/Thru with DIN sync out
  21. The Woods is a single from the upcoming album Ruins by Alex Haas. Alex Haas (born 1963, NYC, USA,) label owner of Sonicontinuum, has been working with many renowned artists including U2, Brian Eno, Eric Clapton, Kronos Quartet, Pat Metheny and Bill Laswell. His first collaboration with Dutch composer Michel Banabila started in April on Collector, a track from Banabila's album Uprooted (Tapu Records / 2019). They then decided to renew their collaboration on The Woods, and Alex invited his long time collaborator, Bill Laswell to join this recording. The Woods became an atmospheric organic blend of experimental ambient, 4th world exotica and lush electronics. Synths and treated guitars by Alex Haas are mixed with Banabila's electronically processed voices, keys and field recordings, together with deep bass sounds by Laswell. Mixed and produced by Alex Haas. mastered by Marlon Wolterink.
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