Jump to content

Jack Hertz

Members
  • Content Count

    3,214
  • Joined

  • Last visited

Everything posted by Jack Hertz

  1. Jack Hertz

    Galaxie Cygnus-A by Robert Schröder

    On the occasion of the world known ARS-Electronica (Linz / Austria) the LP GALAXY CYGNUS A was produced and published in 1982. GALAXY CYGNUS A was also the title of a multi-media show, an optical-acoustic event with look into the space, which Robert Schroeder had performed for the first time together with a German SF-author in 1982 on the ARS-Electronica in Linz (with TV shows in Austria and the FRG). GALAXY CYGNUS A is an interpretation and composition to the "noises" of the radiogalaxy of the same name in the sign of the zodiac swan. The white noises of these 1.05 milliard light years distant radio-galaxy was received with the worldwide biggest movable radio telescope (Effelsberg / Eifel /FRG) and was taped. For Schroeder this was the first project abroad. With the biggest movable radio telescope in mountain Effelsberg/ Eifel/ FRG space sounds of the 1.05 milliard light years of distant radio-galaxies from the sign of the zodiac swan were received. They served as a base and inspiration for Schroeder galactical work … traditional electronic music of the finest kind. The LP Galaxy Cygnus A became in 26.Sept.1982 on the occasion of the ARSElectronica in Linz Austria performed for the first time (with TV transference in Austria and the FRG and a special broadcasting of the TV broadcasting "aspecte").
  2. Three Willow Park: Electronic Music from Inner Space, 1961–1971, now available from Basta, represents the second anthology of pioneering electronica by Raymond Scott. The album contains 61 previously unissued gems, many featuring hypnotic rhythm tracks played by Scott’s Electronium — an invention which composed and performed using programmed intelligence. Three Willow Park reveals that Scott was producing beat-oriented proto-techno before the 1970s explosion of electronic music and rhythms on the pop charts, a significant achievement that should not be overlooked. In 2000, Basta issued Manhattan Research Inc., a 2-cd set of 69 tracks recorded 1953–69, spotlighting Scott’s groundbreaking electronica — a gallery of strange sounds seemingly beamed down from UFOs. MRI also presented some of the earliest TV & radio commercials to feature electronic music, as well as early film soundtrack collaborations with Jim Henson. Three Willow Park presents the next stage in assuring Scott’s place in electronic music history. Willow Park Center was an industrial rental complex of offices and warehouses in a Long Island suburb. Following his 1965 marital breakup, Scott set up shop at WPC. He operated a musical lab — researching, experimenting, testing, and measuring. He twirled knobs, flipped switches, and took notes. He installed equipment and machines, and used them to build new equipment and machines. This makeshift compound remained Scott’s workspace and bedroom until 1971, when he decamped for L.A. to work for Berry Gordy at Motown. Scott was a highly qualified engineer who also happened to be a conservatory-trained (Juilliard) musician. He could compose, arrange, perform, improvise and edit, but given a shelf of hardware and a soldering iron, he could also rig an appliance to further his musical aims. Like many visionaries, Scott foreshadowed the future. He developed technological processes which were pivotal in the evolution of the fax machine. He composed a “silent” piece years before John Cage‘s 4′ 33″. He predicted (in 1944) that composers would someday reach audiences via thought transference. He applied for and was awarded numerous patents. Foremost, he developed electronic and automated sound-generating technology to craft the elements of pop music at a time when circuit-made sound was largely a novelty, used in “serious” works, or cranked-up for special effects in science fiction films. In 1946, while still leading jazz bands, Scott established Manhattan Research, Inc., billed as “Designers and Manufacturers of Electronic Music and Musique Concrète Devices and Systems.” By the 1950s, he was using his inventions to produce commercials with electronic soundtracks, as well as developing automated sequencer technology. His friend and colleague Bob Moog said, “Scott was definitely in the forefront of developing electronic music technology and using it commercially as a musician.” Besides the Electronium, sounds heard on Three Willow Park were generated by the Circle Machine; Clavivox; Bass-Line Generator; Bandito the Bongo Artist (a drum machine); tone, melody, rhythm and sound effects generators (some controlled, others random); oscillators, sequencers, and modulators; tape montages; and acoustic instruments and voices. These recordings, like those on MRI, define and establish Scott’s legacy in electronic music history.
  3. Jack Hertz

    Dubreq Stylophone S-1 Pocket Synthesizer

    What is a Stylophone?” you ask. The original Stylophone pocket synthesizer was invented in 1967 by Brian Jarvis and manufactured by Dubreq from 1968 to 1975 as Stylophone, the original pocket electronic organ. Over three million original Stylophone synthesizers were produced and sold before the company ceased production. Today’s Stylophone reissue was introduced by the inventor’s son, Ben Jarvis and is manufactured by Dubreq, Ltd. The reissue retains all of the original features but with up-to-date technology. The current Stylophone retro pocket synth is a modern, portable synthesizer with a hit-filled past and present. The Stylophone’s unique sound has featured on numerous hit records. How many single instruments, manufactured by one company, can claim a list of artists who have played it that includes David Bowie, Queen, Rick Wakeman, Vangelis, Kraftwerk, Orbital, Marilyn Manson, Gotye, The Beatles, The White Stripes, Vince Clarke, and hundreds more? Check out this StylophoneYouTube gallery showcasing Stylophone music by a number of famous artists. A piece of history in the palm of your hand. Dubreq’s Stylophone is an iconic and extremely popular keyboard instrument that was a lot of musicians first foray into simple synthesis. The classic look of the retro design and chromed speaker grille returns with this true to form reissue of the original. When the nickel-plated keyboard and the stylus connect it completes the circuit and make the distinct ‘buzz’ sound which made the stylophone famous. The S1 features a vibrato function and three truly retro voices: Bass, Classic, and Treble. All providing their own feel and sound. There are line outs and line ins so there are plenty of connectivity options. With new technology bringing it up to date - the Stylophone is as fun as it was in 1967. Features + Classic retro design with chromed grille + Nickel-plated keyboard played with brass-tipped stylus + Vibrato function + Line-in and headphone sockets (3.5mm jack) + 3 voices, bass, classic and treble + Built-in stylus + Built-in Speaker + Vibrato Switch + Volume Control + Tone Switch + Tuning Control + MP3 Input (3.5mm) + Line Out (3.5mm) + 3.5mm Cable Inc
  4. DUBREQ launch the Stylophone Gen R-8, a brand NEW Touch Analog Synthesizer, designed and manufactured in Britain. Packed with features of much larger and more expensive instruments. + Full analog signal path + Steel enclosure + Dual VCOs with Saw, Square and PWM (oscillator 1) + Sub oscillators and Subsub oscillators for room shaking bass + Unique British design 12dB VCF with Low pass, High pass, Band pass and wide Notch + Fast and punchy envelope + Supersensitive 3-octave TOUCH keyboard + Glide and Modulation keys for expressive performance control + 8 waveform LFO with S&H and One-shot feature + 19 CV/Gate patch points for advanced modular patching + Grungy analog style Delay with modulation CV + Drive knob for extra boost and fatness + 16-step sequencer with 8 banks and on-the-fly switching + MIDI in/out
  5. Jack Hertz

    Discovering Electronic Music

    We live in an age of technology in which machines touch every part of our lives. It is not surprising that music has also been influenced by technology. This 1983 documentary film by director and writer Bernard Wilets examines the basics of analog synthesis, digital sampling and sequencing. Note this this the revised edition of the 1970 film that has been updated with an introduction to digital election music.
  6. All compositions by Hugh Le Caine processed in The Canadian Electronic Ensemble's studio. Published in co-operation with the Hugh Le Caine Project. Contains tracks demonstrating the Electronic Sackbut, the first voltage-controlled synthesizer.
  7. Theory of Obscurity​: a film about The Residents ​tells the story of the renegade sound and video collective known as The Residents. A story that spans 40 years and is clouded in mystery. Many details surrounding the group are secret, including the identities of its members. They always perform wearing masks and costumes, which is part of their magic. Fortunately for us, The Residents have a management company, The Cryptic Corporation, that will help us tell the story by allowing our crew unprecedented access to the groups vast archives and 40th anniversary tour. Through fly on the wall observations and candid interviews, this film tells the story of a group that has always played by its own set of rules. We traveled with The Residents around the US and Europe during their 40th anniversary tour as they staged their elaborate productions, shooting more than 20 performances and also capturing rare behind the scenes moments that show what it truly takes to put a dynamic show together on your own, and on a tight budget. We also interviewed musicians they inspired from well-known bands like Devo, Primus, Ween, Talking Heads, and Pinback along with fans who adore them, music critics who are confounded by them, and music industry insiders who have helped them explore new technology like CD-Roms, laserdiscs and digital downloads. Our goal is to tell a well-rounded tale that is satisfying for audiences who already know part of The Residents story and people who are new to their world. At its heart, this story is about perseverance and chasing your dream. The Residents never caved to convention. They never compromised. Their art is their own and we want to shine a light on what they’ve done, and what they’re continuing to do on their current albums and tours, while also showing the difficulties they’ve faced along the way. We want audiences to experience what it’s like to be part of the unpredictable world of The Residents while also respecting the mysteries that have defined the group throughout its life. It will be a fun ride full of humor and irony, but also heart and inspiration…rough around the edges at times and full of creativity​. ​The Residents are truly original…there’s nothing like them anywhere in the world. In our culture today everything is a download, a ringtone, or a reality show singing contest. It’s all very easy and very forgettable. The Residents have never made music for the masses; in fact many of their most recognizable compositions are satires of popular culture. They’ve followed their muse for decades and thousands of fans have hung on for the ride. Along the way they’ve also inspired many people to be weird, take chances and find their own voice. Hopefully our film will do the same by introducing The Residents to a whole new generation.
  8. There is a MIDI add-on kit for the Korg Volka Modular synth. 

     

    1. Ian Craig

      Ian Craig

      Nice video. 

      (my keystep is only boring white 😥 🙃)

  9. Those who live in the company of trees will tell you they talk with the wind. This Music Plants Trees! Proceeds from this album will be donated to Plant a Billion Trees Project. Please help support our great green friends with the power of sound.
  10. OMG!!! I cannot wait to get mine. Anyone else into this beast?
  11. Voltage Research Laboratory Organic Modular Synthesizer Explore the Natural Systems and Lesser Known Fringes of Analog Synthesis An Organic Synthesizer by Pittsburgh Modular The Voltage Research Laboratory is a completely different analog synthesizer where every function of the instrument has been influenced by the behaviors and systems of the natural world. Wildly experimental and extremely deep, the Voltage Research Laboratory is a sonic playground created to explore the natural systems and lesser known fringes of analog synthesis. The Voltage Research Laboratory is 100% eurorack modular format compatible and is comprised of 3 separate eurorack modules housed together in a purpose-built, handmade eurorack enclosure. More than a collection of tools and functions, it is a unique modular synthesizer designed to reward deep experimentation and encourage the creation of unique sonic systems. Voltage Lab Synthesizer Voice Module The unique sound palette of the Lifeforms Voltage Lab originates with a complex oscillator pair that utilizes a wide range of shaping and manipulation options to move away from basic geometric shapes to more harmonically rich tones. A custom wave folder with enhanced waveform warping, linear FM, amplitude modulation, ring modulation, waveform cycling, hard sync, and more are available for extreme sonic research. Manipulation A set of multi-function generators work as interactive voltage processing systems to create and modify complex control voltages. The function generators act as voltage controllable envelopes, LFOs, slew generators, and more to produce evolving control signals. Voltage controllable parameters and multiple unison modes create complex and intertwined modulation systems through time. Interaction Twin dynamics controllers pull everything together. A unique circuit expanding on the classic low pass gate, the dynamics controller with variable response adds an organic depth to the sound of the Lifeforms Voltage Lab by simulating the natural behavior of sound. The multi-mode signal processor features a 12db resonant filter, VCA, and percussive low pass gate modes. Dimensional Sound interacts with the world around it. The Voltage Lab uses analog delay to simulate this interaction and create an artificial sense of time and space. Manipulation of delay time and feedback add depth and warmth through reverb, chorus, flanging, Doppler, slap back, and echo type effects. Unstable Systems Chaos is everywhere. Random gates and control voltages spark uncontrolled reactions, disrupt systems, and generate ideas. The Voltage Lab utilizes noise, stepped random CV, a pseudo-random sequence generator, pitched random CV, pitched random sequences, and random gates to add multiple levels of unpredictability to any patch. Interactive Touch Controller Module Intuitive and inspiring, the Lifeforms Touch Controller replaces the creative restrictions of a traditional chromatic keyboard with a set of fully configurable multi-dimensional touch pads. A duophonic touch controller that utilizes two sets of five touch pads to offer a flexible and interactive performance surface. Performances can be interpreted with a unique combination of monophonic and duophonic responses. The channel animator is available to quickly generate complex sequences or glitchy chaos. Intuitive and inspiring, the Lifeforms Touch Controller is the perfect launchpad for an experimental journey. Output Utility Module A Voltage Research Laboratory exclusive, the Utility module adds a few welcome features to round out the functionality of the instrument. A unity gain signal mixer / splitter along with stereo headphone and line outputs. Research Console Eurorack Case A beautiful 96hp eurorack enclosure designed with the warmth of walnut and the strength of steel. The Research Console eurorack format modular case pairs classic desktop synthesizer ergonomics with a modern eurorack form factor and clean, reliable power supply.
  12. A Solution for a modular MIDI world The recent surge in AU plugin availability (for audio and MIDI) on iOS opens up new modular ways of stringing musical tools and instruments together. This modularity comes with a million new needs for creative MIDI routing: the plumbing between plugins and controllers. Suddenly there is a lot of demand for MIDI handling and manipulation plugins. Most of which is very specific to one particular workflow or even one single project. While it’s fun to make such MIDI plugins, it’s not realistic to expect developers to address every esoteric use case with a dedicated MIDI plugin. There simply aren’t enough of us to create and maintain products for every specific need :) Introducing Mozaic I’m creating a new product, codenamed Mozaic, to make it as easy as possible to roll your own AU MIDI plugins, ranging in complexity from simple/basic filters to moderately sophisticated apps and generative plugins. Mozaic will be able to cover a lot of plumbing ground. If Super Mario has taught us anything about plumbing, it is this: It can be a lot of fun There’s always a learning curve, but a well-designed learning curve is gentle and contributes to the fun challenge These two insights have been guiding principles for my design of Mozaic as a tool that seeks to balance power, accessibility and depth. So what’s Mozaic? Mozaic consists of two main ingredients: (A) a very readable and flexible scripting language and (B) a programmable AU MIDI plugin container Very unfinished work in progress The MIDI plugin part is like a MIDI controller with lots of features (such as ready-to-use LFOs, AU Parameters, host communication, tempo syncing, timer events, scales, programmable metronome, etc.) which you can tap into using the scripting language. This means all the heavy lifting is done for you by the plugin. As with all AUv3, each plugin instance can run a different script. The scripts are powerful and designed for MIDI and music applications; you can set up an LFO using a single line of script and get usable MIDI values from the LFO with just one additional line. Writing a funky MIDI filter (e.g. round-robin distribution of incoming notes over several MIDI output channels) would just take a handful of lines of script. About the scripting language I’ve put a lot of effort into designing a language that’s powerful for MIDI applications and at the same very readable for humans. This means that you can look at the preset scripts — or someone else’s code — and get a good idea of what’s going on. And make it easy to quickly modify a script for a project you’re working on. The scripting language is pretty powerful, because I designed it specifically around MIDI plugin use cases. It’s fully event-based (e.g. you can make things happen when MIDI comes in, when the host starts playing, when the user tweaks a knob, and two dozen other useful events) It’s easy to respond to MIDI, or to generate MIDI of your own (e.g. for generative apps, CC generators, or oddball sequencing concepts) You get easy access to AUv3 functionality, such as the AU host’s status and transport information, AU Parameters, host synchronization, etc. You can freely use (and dynamically label) all knobs and buttons on the provided plugin GUI to let your users interact with your plugin as if it were a MIDI controller device built-in LFO support, pedal support, musical scales support, etc. makes it easy to do interesting stuff with just a few lines of code No need to know anything about the dreadfully undocumented internals of Apple’s AU standard or how to write realtime-safe code I’m also writing a programming guide, which should be easy enough for anyone to dive into and get started quickly. It will teach you the syntax of Mozaic Script, but also explain how to effectively use conditionals, nested loops, variable arrays, and lots of other useful programming basics. In summary, Mozaic will not be for everyone and does not offer the instant-gratification factor of the next synth plugin. But I’m putting a lot of depth and value in it, just under the surface, waiting to be unlocked by the creative community.
  13. Unlock your sweet dreams This eight voice polyphonic synthesizer keyboard is a performance machine that can usher in soundscapes of distant dreams and worlds previously out of reach. The 37-key velocity and pressure sensitive keyboard with aftertouch gives you a whole new level of expression and control of the Digitone’s intuitive sound engine. Imagine the sound of whispering dunes, rolling thunder, or the twinkle of distant stars. These are the things that dreams are made of. 8 voice polyphonic digital synthesizer Restrictions are for the dreamless With this ready-to-go performance machine, curiosity is all you need. Wield the Digitone’s powerful sound engine with even more control with intuitive sound crafting, 37 keys, 8 voice polyphony, mod and pitch wheels, dedicated outputs per track, and brand new customizable controls. Multimap lets you configure and assign individual sounds per region, triggering sounds or patterns with the tap of a key, while the ability to use portamento and arpeggio flourishes with the freedom of three octaves. Twist through the looking glass and back with the flick of a wrist. Sculpt your sound With the Digitone’s powerful and easy to use FM engine you have Digitone dynamism in keyboard form. A variety of dedicated features put the power at your fingertips. Get maximum control out of the machine with eight new assignable knobs. Choose the function you want for each knob to tailor your Digitone Keys, and then let loose. The freedom to switch between tempestuous and serene soundscapes in an instant is laid out in front of you. In an Elektron first, the Digitone Keys helps you liberate your live show with a flexible mod and pitch wheel setup, allowing you to warp your sound to another world with multiple modulations. Get connected With separate outputs for each track, connecting to external effects mixers and pedals, audio interfaces, and modulation sources is easier than ever before. Pinpoint single Digitone Keys tracks to process independently from the rest of your sound.
  14. Jack Hertz

    Korg minilogue xd module

    The long-awaited desktop module of KORG’s next-generation analog synthesizer minilogue xd module is the new desktop module version of minilogue xd, the four-voice polyphonic analog synthesizer with a customizable digital multi-engine and built-in stereo digital effects. The desktop module is equipped with the same controllers as the keyboard version, making it a great choice not only as an additional sound module for your keyboard or DAW but also providing excellent performability, giving you an easy way to include an analog polyphonic synth in your setup. It's also equipped with a poly-chain function that lets you connect it with another minilogue xd or minilogue xd module so that the two units can operate as a polysynth with a total of up to eight voices in your studio or on stage. Equipped with an analog synthesizer circuit and a digital multi-engine Voice structure of minilogue xd is 2VCO + MULTI ENGINE, 1VCF, 2EG, 1VCA, and 1LFO. In addition to the distinctive circuits found in the series, such as wave shaping to shape the overtones of the oscillator and a sync/ring switch, there's also cross modulation, a two-pole filter that can be both sharp and fat, and a drive switch that adds thickness and drives signal into minilogue xd’s filter. Every parameter has been tuned in detail based on what musicians want out of their synth. The sounds range from the warm pads typical of analog to fat basses and crisp lead sounds, covering every situation. The additional sound design possibilities of digital sound are delivered by the multi-engine: the third oscillator in addition to the two analog VCOs. This engine, which is equipped with three different types of sound generator (noise, VPM, and open-source user oscillators) lets you take advantage of a sonic character that's different than analog, and use it at the same time as the analog engine, infinitely expanding xd module’s potential through hybrid sound design. High-quality digital effects minilogue xd’s high-quality digital effects use 32-bit floating point DSP processing, adding a finishing touch to its deep sound design platform. The three types (modulation effects, reverb, and delay) can be used simultaneously, letting you choose from a wide range of variations including chorus, ensemble, warm tape delay, and a diverse variety of reverb. The user effect slots allow you to load your own effect programs that you've created. User customization brings out infinite potential The minilogue xd features a customizable open-source environment. The unit comes with 16 user oscillator slots and 16 user effect slots that you can customize. Oscillators and user programs that you’ve created with the SDK (Software Development Kit) can be loaded into the minilogue xd via the dedicated librarian software, as well as oscillators other users share online. What sounds can you create using the fusion of expanded digital oscillators with analog synthesis? Create original programs, share code, and participate in the user community. KORG even provides sample code to get you started. Polyphonic Step Sequencer One of the major features of the minilogue xd series is its 16-step step sequencer. Each of the factory-preset programs has an embedded sequence pattern created with performance in mind. The step sequencer provides 16 steps, and supports both realtime recording and step recording. You can use the 16 step buttons to select a step directly, allowing quick editing to replace the pitch of a step or to mute it, or even improvisatory performances. Motion sequence lets you record the movements of up to four knobs, adding time-varying change to the sound, and you can record not only smooth changes in value but also values that change precisely at each step. You can use this to have different parameter values at each step; for example, you might create a drum pattern or sound effect from just a single program. This allows countless ideas to be unleashed. When you turn Keyboard mode on, these 16 buttons operate as a keyboard of more than an octave, providing a convenient way to check the sound. Poly chain support The minilogue xd module can be used in conjunction with another unit (*2) in the minilogue xd series (*1) for poly assignment settings. Specify one unit as the master and the other as the slave, and they will play as an eight-voice polyphonic synthesizer (*3). This supports a variety of uses, such as a voice-expansion module for the minilogue xd or as a sound module for a DAW-based production system. *1: For keyboard-equipped models, supported in system ver. 1.10 or later. *2: Any combination of the xd and xd module can be used. *3: The two xd units can each play four voices, for a maximum total of eight voices. The master unit takes priority for producing notes, and the fifth and subsequent voices are assigned to the slave unit.
  15. Jack Hertz

    Korg Volca Nubass Vacuum Tube Synthesizer

    A powerful bass synth with a sound source based around a vacuum tube oscillator. The acid bass machine with the pinnacle of modulation and distortion. Even today, when digital technology allows electronic musical instruments to simulate any sound imaginable, people seek the warm harmonics and distortion produced by analog vacuum tubes. This distinctive sound has a quality beyond words that sets it apart, and cannot be captured by a response curve; it's the unmistakable sound of tubes. The volca nubass is the first analog synth to be equipped with a Nutube new-generation vacuum tube in its oscillator. Vacuum tube plus analog means that the sound is warm, thick, and rich. The familiar transistor ladder filter gives it the character of a classic bass machine, along with overdrive, and huge-sounding distortion. An acid bass machine for a new generation combines classic sound with the power of modern synthesizer design. It's the volca nubass. The fusion of a newly developed vacuum tube oscillator with a classic ladder filter A vacuum tube oscillator circuit forms the heart of volca nubass, utilizing groundbreaking Nutube technology The Nutube is equipped with two vacuum tubes; one is used in the oscillator to generate a sawtooth wave or square wave. The other vacuum tube is used in the drive circuit of the sub oscillator, adding depth and warmth one octave below the oscillator. This oscillator and sub oscillator provide a circuit structure that brings out the harmonic character that only a real vacuum tube could provide. A transistor ladder low-pass filter that produces a distinctive sound The low-pass filter defines the sound of this bass machine; it uses a transistor ladder design found on classic analog bass synths. This filter is uniquely dynamic in the way it affects a sound more than just ranging from bright-to-dark. Its wide range of timbral possibilities makes it ideal for a broad variety of dance music; you can use it to create the distinctive modulation that can be heard in acid house, or increase the resonance to bring out a sharp character that's appropriate for techno. Analog driver circuit nubass is equipped with overdrive that uses an analog circuit reminiscent of a classic stompbox. Turning the knob toward the right compresses the volume while causing mild distortion, adding thickness to your bass sounds. The tone knob also lets you adjust the crispness of the high-frequency range. A 16-step sequencer that lets you automate parameters The volca nubass is equipped with a full-fledged 16-step sequencer with a variety of functionality; by using it in conjunction with a rhythm machine, you can construct rhythm tracks or loop music. You can use the 16 buttons for step input just like the rest of the volca series, or play the buttons as a keyboard for realtime recording. The chain function lets you play back multiple sequence patterns in succession, allowing you to loop up to 16 sequences. The motion sequence function can record knob movements, applying parameter changes over time to the sound. This can be used when creating loops, or for live performances that are dynamic and original. Up to 16 sequence patterns together with motion sequences can be saved in internal memory. There's also an active step function that lets you skip steps that you specify during playback; sequence patterns become more dynamic and exciting when they can be edited in real time during performances. Three functions to create grooves on volca nubass The sequencer of the volca nubass provides three functions that add the slap and slide performance techniques that are distinctive of acid bass: these transpose, accent, and slide functions are accessible and controllable through the step sequencer. Transpose is a function that plays a note one or two octaves higher; it adds movement to the bass line while staying within the original scale. Accent emphasizes a note, creating dynamics that make the rhythm expressive. And the slide function that's indispensable to acid sound creates a smooth transition to the next note. Use these functions to add a sense of groove, and volca nubass will come alive in your performances and compositions. Randomize settings can be applied to each of these three functions. In addition to generating unpredictable patterns, you can update the randomize settings to keep varying the patterns, bringing out more unexpected and exciting ideas from the sequencer. Excellent playability Connectors that allow synchronized performance and external control Since this unit provides a sync jack for easy connection to Korg groove machines, you can connect it to another volca series unit or to equipment such as an electribe or the SQ-1, and enjoy synchronized playback with the sequencer. There's also a standard MIDI IN connector, so you can use the volca drum as a sound module for your DAW.
  16. Jack Hertz

    Rob Hordijk Blippoo Box

    By using a nonlinear feedback system, patterns are created that exhibit chaotic properties like attractors, bifurcations, etc. Second, the filter also uses a nonlinear feedback system that can go into ranges where bifurcations occur, which results in the creation of ‘undertones’, where the period doublings create harmonic partials that are lower in frequency as the signal fed into the filter. The chaotic behavior of the Blippoo Box reveals itself through the repetitive nature of the sound patterns it produces when in a stable state. When a control know is changed to a new position, the box will soon go into an apparent random state and then will find a new balance in a new stable state where it repeats another sound pattern. Tiny changes in a knob setting can sometimes produce dramatic differences in pitches and durations for new patterns. By careful tuning and changing the amount of modulation by the resonator, many timbral structures can be given to a pattern. Still, the particular design of the resonator and how it reacts when excited by the chaotic core of the Blippoo Box will impose a certain sonic character on the final sound, giving the instrument its own personality.
  17. Jack Hertz

    Enso Looper Real-time Audio Looper

    An architecturally unique and sonically characterful looping toolkit for producers and live performers, inspired by both modern looper pedals and vintage tape-based setups, Enso combines elegant and intuitive UI design with a deep but accessible feature set and stellar sound quality. Enso’s operation will be immediately familiar to users of hardware looper pedals or plugins such as Ableton Live’s bundled Looper. Start playback of the host DAW, hit Enso’s record button and capture your instrumental performance into a loop of whatever length you like, up to ten minutes (five minutes on iOS). Then, without stopping playback, overdub further passes to create layered grooves, complex harmonic textures, or dense, evolving soundscapes. Beyond those basics, though, Enso takes software looping into new territory. Two Overdub modes configure the plugin for conventional looper pedal behaviour or Frippertronics-style ‘dual tape deck’ manoeuvres, affecting the handling of the Feedback parameter for an endless range of layering possibilities; and up to four Sectors can be effortlessly defined, each with its own start and end points, for on-the-fly rearrangement of the loop. With Enso, time and motion become truly fluid, as speed and direction are handled completely independently for playback and recording, the ‘through-zero’ bipolar Speed controls smoothly transitioning from forwards to backwards, and vice versa, in real time. Want to record forwards at half speed, while simultaneously playing the buffered loop in reverse at 1.25x? Of course you do… Onboard tape-style saturation, filtering and chorus effects bring dirt, frequency-shaping and stereo thickening to the party; and a comprehensive MIDI assignment system makes it a snap to set your MIDI pedal or button controller up for operation of all Enso’s buttons and switches. With its animated play and record heads, meanwhile, the looping waveform display provides a clean, clear visual representation of the potentially mind-bending temporal acrobatics taking place, letting you get a handle on exactly what’s happening at a glance. Giving you everything you need for limitlessly creative looping, on stage and in the studio, Enso is one of Audio Damage’s most beautifully realized plugins yet, and an empowering addition to any musician’s arsenal of effects
  18. Pick from 180 built-in patches — or design your own. Start with additive synthesis, wavetables, or a sophisticated mix. Add rich modulation, effects and filters, controlled by powerful LFOs and beyond. Make vibrant leads, vast soundscapes, compelling basses, warm bath or deep sea pads, and so much more. The sound is complex, but the controls are not. Synth engine and UI both offer clarity and power — you’re holding in your hands a miracle of touch-screen technology, why limit it to the switches and dials of decades-old hardware? Mitosynth takes a simple approach: With a tap, almost any dial can be switched out for a graph with automation controls, including LFOs, 5-stage DADSR envelopes, ingenious noise generator, step sequencer, BPM sync — and MIDI, of course. Plus XY pads for the hands-on approach. And you can combine them. Use one automation to control which (or how much) of two others affect a setting. Many of the automation controls are themselves automatable. You can repeat this, going to deeper levels. LFOception! The flexible FX chain means no messing with complicated routing tables, or stringing cables around until your screen looks like a plate of pasta: Slot the distortion, filter, delay and other effects you want, in the order you want. Simple! Powerful like a modular synth. Clean and straightforward like a modern iOS app. Quick List of Things You Might Want To Know Mitosynth Supports: • Core MIDI • Virtual MIDI • Background Audio • Audiobus • Inter-App Audio • AudioCopy/Paste • AudioShare • Performance Recording • Universal App • Drag and Drop (iPad) • Enhanced for iPhone X Super Retina screens Also features: • Filters, crushers, distortion, warm fuzz, flanger, phaser, echo, tube resonance and chorus. Install up to four in any order — plus a high-quality reverb • AM, PWM, Phase Mangulation, Supercharger unison mode • Mono and Polyphonic glide, and Regular, Toggle and Latch sustain, customisable keyboard • Slick patch and audio management with search and tagging • Easily share patches with friends, including any additional audio they require • Complete manual built-in, and available for download too ...and far more features than can be listed here. Check out the website for the full details!
  19. Poseidon Synth - The Ocean of Sound For all creatures in the ocean of sound - Sonic textures from other worlds, Analog signature sounds, Cut-through-the-mix leads and silkily smooth pads: Poseidon sets a new standard for sound design and ease of use. All of this was made possible through a combination of the familiar, conceptual simplicity of the analog synthesis and our frequency domain based Spectral modelling synthesis technology. Spectral model oscillator Select a basic sound model from over hundred delivered with Poseidon. The basic sound model determines the sound characteristic you want to start: taking a artificial model like “Sawtooth” gives you analog style sounds. Use complex models from analyzed samples for earth shaking ambients and evolving pads. Model parameters High level controls allow for changing the spectral shape, the harmonicity and balances the level of residual noise and spectral amount of the oscillator model. F-Domain Filter The newly developed F-Domain filter allow for drastic changes in the resulting sound spectrum. Five filter types including lowpass/highpass characteristic can be used to shape the sound. They have the usual controls like cutoff but also very unusual ones like a variable slope ranging from 0 dB to 72 dB / Octave and independent controls for resonance and bandwidth! This kind of controls are only possible in the context of our F-Domain synthesis technology. This results in an extremely clear filter sound with breathtaking fast modulation possibilities.

The filter type “Inverse” interprets the sound model as a "Source" and a resonant body "Filter". The cutoff parameter shifts the filterbase - this is the equivalent to making the instrument body smaller or bigger. Spatializer This simple control gives your sound a distinctive moving distribution in the stereo panorama. Every atomic sound particle has it´s own path through the space ! Sound browser The sound browser in Poseidon gives you a fast selection of sounds based on category and timbre. Spectral modelling synthesis • Harmonic/Inharmonic/Noise sound models • 512 oscillators per voice • 300 Sound models / 600 factory presets Unique sound control • Pitch modulation / Harmonicity control • Time machine • Timbre control • Frequency Domain Filter • Spatializer Arpeggiator • Uses programmable sequences with up to 32 steps. • Can trigger single notes and chords. • Unique randomiser generates Arpeggios with 100% usability. • 32 Arpeggios included, unlimited user arpeggios possible. • For each step you can program tie, accent, transposition and note order Effects • Chorus • Phaser • Flanger • Distortion (aliasing free!) • Equalizer • Echo/Delay • Reverb Global • Audiobus 3 compatible (Input slot) • Inter-app audio compatible (Instrument/Generator) • CoreMIDI / Virtual MIDI / Tempo Sync / MIDI Learn • Audio recorder with Metronome. • Audio pasteboard / File sharing. • Ableton Link support • Bluetooth audio A2DP
  20. Explore new sound spaces with Tera Synth that go beyond the emulation of synthesizer legends. Use the power of analog and digital synthesis combined with new modules for physical modelling. Wireless patching of modules combined with an intelligible modulation routing simplifies the development of new synthesizer designs from scratch. Distortion effect, Delay/Chorus/Phaser and Reverb effects give your sounds the final polishing. Tera Synth gives your music an individual character with its unique fat sound. The well-designed algorithms and the economical modular structure provides you with a comparatively high voice yield. Precise timing with the unique built-in Arpeggiator let you feel the rhythm. Tera Synth supports Audiobus and Inter-App-Audio for integration with other Music Apps. Modular Analog Synthesis • Modular synthesizer with free connections between modules. • 25 Sound Modules • 4 Low frequency oscillators • 4 Standard ADSR Envelope generators. • 4 Multi Segment Envelopes with tempo sync. • 64 time/level segments per envelope • Monophonic or polyphonic with up to 32 voices. • More than 920 factory presets, unlimited user presets can be shared. FX • Chorus with four delay lines. • 8 pole Analog Phaser. • Distortion effect with Tube/Tape emulation • Stereo Echo/Delay effect. • Hi end reverberation unit. Live • Play melodies live with the onscreen keyboard. Drag fingers for slides and vibrato. • Optionally use CoreMIDI* compatible hardware keyboard. • Dozens of scales selectable • Variable Keyboard layout for scale optimized playing Full featured programmable Arpeggiator • Uses programmable sequences with up to 32 steps. • Can trigger single notes and chords. • Unique randomizer generates Arpeggios with 100% usability. • 32 Arpeggios included, unlimited useer arpeggios possible. • For each step you can program tie, accent, transposition and note order Global • Audiobus 3 compatible (Input slot) with Preset saving. • Inter App Audio • AudioUnit AUv3 with parameter automation • Ableton Link compatible • Audio pasteboard. Copy audio recordings to Clipboard for use with other Apps • Exchange user presets with File Sharing in iTunes. • Support for MIDI input/output connections. • MIDI learn functionality.
  21. Zeeon is a virtual analog synthesizer, powered by an advanced analog circuit modelling engine. We spent a lot of time analysing iconic analog synths, both vintage and modern, to find out which parts of the circuit contribute most to their specific character. We used this knowledge to create a unique synth, with focus on what’s most important - the pure, organic and detailed sound. Many analog synth emulations sound dull. Not Zeeon. We take care of the entire spectrum range from deep lows to sweet highs. All audio and modulation signals are processed at 176 KHz (4x oversampling). Full manual and audio demos available at the BeepStreet website. Features • Audio Unit v3 and standalone application with a simple polyphonic step sequencer • 2 oscillators with continuously variable waveforms, hard-sync and sub-oscillator. Carefully simulated analog drift and PSU influence. • Filter: 3 models available: Transistor ladder low pass, OTA cascade low pass and State Variable Filter with continuously variable LP-HP + BP mode. • 2 low frequency oscillators and envelope generators per voice. • Overdrive: diode clipper, transistor saturation, wave folder, pre and post filter. • Up to 2 layers per voice. Layers can modulate each other. • Powerful modulation matrix offering self-modulation and cross-layer modulation, 8 modulation slots, 17 signal sources and 41 targets available, both from modulation modules and audio signal path. This takes Zeeon into semi-modular territory. Imagine oscillator waveform, panning, filter cutoff, resonance or LP-HP mode modulated by oscillators or another layer! • Effects unit: Circuit modelled BBD chorus, bass booster, zero-delay Phaser, Stereo delay and Reverb. • 144 presets and Tutorials bank. More presets and exciting features in upcoming updates.
  22. Moog Matriarch is a patchable 4-note paraphonic analog synthesizer with a built-in Sequencer, Arpeggiator, stereo Ladder Filters, and stereo Analog Delay. Create rich evolving chord patterns immediately with “no patching required”, then tap into an abundance of inspiring textures, new sounds, and an endless supply of happy accidents through Matriarch’s 90 modular patch points. Based on the vintage circuitry of classic Moog synthesizer modules, Matriarch is a catalyst for creative ideas and a medium for multidimensional expression. Matriarch is an analog synthesizer with an emphasis on imagination. The pinnacle of Moog’s semi-modular family of synthesizers, Matriarch’s patchable architecture and vintage Moog circuits reward open exploration with endless sonic possibilities and unparalleled analog sound. Easily create rich harmonic shapes with up to 4 notes of paraphony that can be sequenced, saved, and shifted with Matriarch’s intuitive 256 step sequencer, or stack the analog VCOs to play on a massive 4 oscillator mono synth. With a deep assortment of synthesis modules based on Bob Moog’s original circuit designs, Matriarch’s 100% analog signal path spans a dynamic sonic vocabulary – from overdriven monophonic bass to gently evolving paraphonic plucks that cycle through waveshapes into a wash of infinite delay trails. Coupling the power of vintage stereo ladder filters, dual Envelope Generators, stereo Analog Delays, and stereo VCAs, Matriarch delivers a multidimensional sound that empowers the sonic exploration of space and time. Though Matriarch’s semi-modular design requires absolutely no patching, 90 modular patch points are easily accessible throughout the panel via the included 3.5mm patch cables. This powerful electronic instrument is a highly-versatile addition to any stage or studio that can effortlessly transform from a performance keyboard to a fully modular analog synthesizer at a moment’s notice. In addition to its standalone function, Matriarch is also an ideal processor of external sound sources and a powerful keyboard front-end for expanding a DFAM, Mother-32, Grandmother, or Eurorack modular system. **Matriarch Semi-Modular Analog Synthesizer begins shipping in Summer of 2019.
  23. Jack Hertz

    Analogue Solutions Impulse Command

    True stereo analogue synth / sonic realiser. Perfect for melodic and percussion loops. Very easy (and fun!) to create modular style analogue loops. It’s a complete sound track all by itself! It’s wrong to call it a synthesizer (in fact a new word needs to be invented) because then you get preconceived ideas about what it does. It’s a whole lot more than a synth. It’s also part drum synth, part pattern generator, part modular loop producer. All its unique features plus the 2 independent LPFs give this machine the ability produce stereo loops that sound like multiple synths playing at once. Special features: + Analogue synth: analogue audio and modulation circuits + Stereo / dual filters + This synth can sound like multiple synths all at once + Stereo digital effects (reverb and delay) + 16 step analogue sequencer + 16 step MIDI Note sequencer + Dynamic internal patch system + ReOrder! feature to create new melodies from the sequencer + Dynamic VCO mix levels + Semi-modular + High quality build Impulse Command is a compact true analogue synth in a neat, smart, package. When we say ‘real analogue’ we mean that the entire audio path (aside from the post effects of course!) and all modulation are entirely analogue, using circuits based on awesome sounding vintage 1970s designs. Their circuits are not locked down by CPUs. Controls are not quantised and read by CPUs. With the exception of the essential digital elements (that is MIDI conversion, sequencer control and digital delay/reverb), Impulse Command really is analogue and the sound benefit is immediately apparent! We get many good comments about how good Analogue Solutions products sound. How wonderful, warm and full of character they are. The synth has been designed by Tom Carpenter, a musician and a big fan of electronic music. He knows how to program a synth and what should be expected. It was not designed by an engineer or steered by committee or men in suits. Design wasn’t constrained in order to bring maximum profit to share holders! So, the modulation choices and range of sounds they produced have all been carefully thought out and quickly give you those sounds you want: huge bass, synth leads, percussion, effects, modular style sounds. Circuits: + 2 Analogue VCOs + 2 24db analogue LPFs + 2 Analogue LFOs + 2 Analogue ADSR envelopes + 16 Step analogue CV sequencer + 16 Step MIDI note sequencer + Stereo output / dual filter+VCA + Sequencer ReOrder feature + Dynamic VCO levels + Special internal dynamic patch system + Analogue noise + Sub Osc + Stereo effects + 4 VCAs + Modular jack sockets + MIDI In
×