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Jack Hertz

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Everything posted by Jack Hertz

  1. MONOS CV from Hikari Instruments is a standalone instrument based around the dynamic interplay of a pitched noise generator and an oscillating low-pass filter. MONOS CV is an excellent effect processor as well as a source of drones, resonant pings, chaotic sound effects, and more. Internal frequency dividers simultaneously offer six pitch variations of the noise generator’s base frequency, while the filter features two resonant modes: L (long), and S (short). The diverse sonic palette of the instrument can be accessed via intuitively changing positions of the sliders that control the parameters of the synthesizer. The CV version of the instrument features control voltage inputs for noise pitch, filter frequency, as well as dedicated audio input allowing for processing of external sound sources. Under modulation, the instrument outputs a variety of animated sequences, ranging from mildly melodic patterns to outrageously chaotic textures.
  2. "Record sales were poor and it was not unusual for the band to be pelted with rotten fruit and vegetables at gigs."

    https://thevinylfactory.com/features/peter-baumann-tangerine-dream-interview/

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  3. It never gets old...

     

  4. Jack Hertz

    Astronauts 1 by Christian Fiesel

    The exploration of the Universe has been a great inspiration for electronic music artists from the beginning of the Space-Age into the present. Aural Films is commemorating the 50th Anniversary of the Moon landing with a new on-going series featuring collections by Space Music artists from around the world. Volume 1 begins with a fine collection of music from German Electronic Music artist, Christian Fiesel. Read more about what he has to say about Space and Music in the Questions and Answers.
  5. Showdown between two new wild hybrid synths. Who you gonna call?

     

  6. Jack Hertz

    Swinging From Loose Hinges

    Excellent! As always. Mr Lizard 🤴
  7. Previously published tracks are welcome.
  8. Acousmatique Recordings presents the "Pierre Schaeffer Birthday Compilation" project. We are asking artists to share their new or previously composed dedication to the French composer, writer, broadcaster, engineer, musicologist and acoustician. This project is open to all ideas. Interpretations, dedications, inspirations, and whatever you want to do that is some how musique concrète related. Everyone is welcome to participate. The is deadline to submit your track is August 11, 2019. One track per artist please, except for collaborations. The track should be original and cannot contain any Copyrighted material not owned by the artist. All tracks will be published under the artist's own Copyright. Files must be submitted in AIFF, FLACT, or WAV file format not to exceed 300 MB. Please, email your unpublished track along with the artist name, track title, artist site URL, country, and file download URL (no attachments) to s4grecs@gmail.com The "Pierre Schaeffer Birthday Compilation" album will be released on Pierre Schaeffer's birthday Monday August 19, 2019. About Pierre Schaeffer Pierre Henri Marie Schaeffer (August 14, 1910 – August, 19 1995) was a French composer, writer, broadcaster, engineer, musicologist and acoustician. His innovative work in both the sciences—particularly communications and acoustics—and the various arts of music, literature and radio presentation after the end of World War II, as well as his anti-nuclear activism and cultural criticism garnered him widespread recognition in his lifetime. Amongst the vast range of works and projects he undertook, Schaeffer is most widely and currently recognized for his accomplishments in electronic and experimental music, at the core of which stands his role as the chief developer of a unique and early form of avant-garde music known as musique concrète. The genre emerged in Europe from the utilization of new music technology developed in the post-war era, following the advance of electroacoustic and acousmatic music. Read more about Pierre Schaeffer here: https://en.wikipedia.org/wiki/Pierre_Schaeffer
  9. Jack Hertz

    Perpetual Motions by Jack Hertz

    Acousmatique Recordings presents a new collection of generative works by Jack Hertz
  10. 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").
  11. 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.
  12. 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
  13. 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
  14. 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.
  15. 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.
  16. 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.
  17. 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 😥 🙃)

  18. 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.
  19. OMG!!! I cannot wait to get mine. Anyone else into this beast?
  20. 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.
  21. 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.
  22. 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.
  23. 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.
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