The Idea is simple… create a small bedroom set up to be able to create music, work on sample pack layouts, and have FUN with synths and samples WITHOUT my computer. I think with this set up I am off to a great start.
Everything sits atop the Zaor Studio Furniture Miza Jr desk. this helps keep the cables out of sight and the look matches the original 1960’s wall print in our bedroom. the Miza features a nice pull out tray designed for 61 key controllers and slim synths. here I have the jdxa on it which is admittedly a bit deep but, hey I just got it and wanted to feel it out. I will likely swap the Jdxa for the Deepmind 12 in the coming weeks. https://zaorstudiofurniture.com/index.php?page=miza
for monitoring I am using the Ik Multimedia iLoud micro monitors… whats great about these is that not only are they a sleek white that goes great with the wall, but they sound quite nice without being bulky or overbearing in the room. For added convenience they have bluetooth and the bluetooth MIXES with the incoming audio. so if you pair your phone to them you can still use them as monitors and a playback device. really nice!
The Arturia Minibrute 2s plus Rackbrute combo is allowing me to have a mini version of my larger modular rig for sample fodder. currently I am using the ReBach Catch vco-AB and VCF-AB along with the D-Env and TraniModule for the bulk of sound creation to add depth to the minibrute 2s sound engine. the onboard sequencer of the 2s is really quite powerful and allows me to get 3 melodic lanes of sequencing at once.
The main sequencer and overall scratch pad is the MPC live. This is a nice compact way to sample in my synth sources without having to rely on a laptop computer. Built in features like through put monitoring allow me to run all my gear through the mpc and jam in realtime. I then use the looper function to catch my sources in real time. often I like to work without midi to keep a loose human feel on the productions.
In the coming weeks I expect this set up to evolve with gear coming in and out of this set up but the goal will be for it to remain small and clean. pretty far opposite of my main studio set up.
Pittsburgh Modular Synthesizers showcase completely different, organic analog synthesizer at SUPERBOOTH19 PITTSBURGH, PA, USA: musician- and sonic architect-attentive electronic instruments-maker Pittsburgh Modular Synthesizers is proud to debut Voltage Research Laboratory — a completely different, organic analog synthesizer, functionally influenced by the behaviours and systems of the natural world, with which adventurous users can explore the natural systems and lesser-known fringes of analog synthesis as a wildly experimental and extremely deep sonic playground — at SUPERBOOTH19 in Berlin, May 9-11… As Pittsburgh Modular Synthesizers’ most ambitious and experimental synthesizer offering to date, Voltage Research Laboratory comprises three separate modules that are 100% compatible with the ever-popular Eurorack small-format modular system, housed together in a purpose-built, handmade Eurorack case. Collectively they are so much more than an assemblage of tools and functions, rather representing a unique modular synthesizer seriously designed to reward deep experimentation, encouraging the creation of unique sonic systems. Central to Voltage Research Laboratory’s unique sound palette is its lifeforms voltage lab module. Musically or otherwise, it originates with a complex oscillator pair — primary oscillator and secondary oscillator — that utilise a wide range of shaping and manipulation options to move away from basic geometric shapes to more harmonically rich tones. There is also a custom wave folder with enhanced waveform warping, linear FM, amplitude modulation, ring modulation, waveform cycling, hard sync, and more besides — all available for serious sonic research. More manipulation comes courtesy of a set of multi-function generators — function generator a and function generator b, which work as interactive voltage processing systems to create and modify complex control voltages. Acting as voltage-controllable envelopes, LFOs, slew generators, and more, these function generators give life to evolving control signals. Thereafter, twin dynamics controllers — dynamics controller a and dynamics controller b — bring everything together. After all, as a unique circuit expanding on the classic low pass gate, the dynamics controller with variable response adds an organic depth to the lifeforms voltage lab module by simulating the natural behaviour of sound. Saying that, the multi-mode signal processor features a 12dB resonant filter, VCA, and percussive low pass gate modes. Meanwhile, back in the natural world, sound interacts with its surroundings, so the lifeforms voltage lab module makes use of an analog delay to simulate this interaction and create an artificial sense of time and space. Sonic manipulation of delay time and feedback add depth and warmth through chorus-, Doppler-, echo-, flanger-, reverb-, and slapback-type effects. Chaos can be found everywhere. Electronically, random gates and control voltages spark uncontrolled reactions, disrupt systems, and generate ideas. It is for that very reason that the lifeforms voltage lab module includes 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. Pittsburgh Modular Synthesizers’ Voltage Research Laboratory itself includes the lifeforms touch controller module. Intuitive and inspiring, it effectively overcomes the creative restrictions of a traditional chromatic keyboard with a set of fully-configurable, multi-dimensional touch pads as a duophonic touch controller. By bringing into play two sets of five touch pads, it offers a flexible and interactive performance surface, so performances can be interpreted with a unique combination of monophonic and duophonic responses. The lifeforms touch controller module’s channel animator also allows speedy generation of complex sequences or glitchy chaos — all in all, then, the perfect launchpad for any experimental journey, be it musical or otherwise. As a Voltage Research Laboratory exclusive, the lifeforms utility module features a unity gain signal mixer/splitter along with stereo headphone and line outputs, rounding out the functionality of this completely different, organic analog synthesizer. The three Voltage Research Laboratory modules are housed in a beautiful 96hp Eurorack enclosure, shaped with the warmth of walnut and the strength of steel. Suitably named, the Lifeforms Research Console case perfectly pairs classic desktop synthesizer ergonomics with a modern Eurorack form factor and a clean, reliable power supply. Showcasing Voltage Research Laboratory for all to see and hear for the time first time on booth (O226) at SUPERBOOTH19 — Europe’s first and largest trade fair for electronic musical instruments — in Berlin, May 9-11, Pittsburgh Modular Synthesizers has launched its funding campaign on Kickstarter.
Note that Pittsburgh Modular Synthesizers will also be selling the lifeforms voltage lab and lifeforms touch controller Eurorack modules and Lifeforms Research Console case separately with SRPs of $899.00 USD, $399.00 USD, and $349.00 USD, respectively — discounts available to Kickstarter supporters, while the lifeforms voltage lab module will also be available as the Voltage Lab Blackbox standalone synthesizer with an SRP of $999.00 USD — discount available to Kickstarter supporters. Watch Pittsburgh Modular Synthesizers’ intriguing introductory video for Voltage Research Laboratory here:https://youtu.be/fk2D0SAVtYU
Top sound designers have added their flavour, creating all the classic presets you’ll need from a synthesizer, with the addition of the unusual and crazy.
It’s time to pass the MicroFreak from our hands to yours – switch it on and see why it lives up to its name.
What is MicroFreak?
A 4-part paraphonic synthesizer with a twist, mixing wavetable and digital oscillators with a characteristic analog filter. There’s the unique poly-aftertouch flat keyboard, sequencers and arpeggiator, the matrix, and a host of connectivity options.
It’s been designed to be fun, naughty, easy-to-use, and a blank canvas for the sound designers. MicroFreak is here to break all the rules. It’s fun, inspirational, different, yet affordable enough to find a home in any studio.
It’s been designed to be fun, naughty, easy-to-use, and a blank canvas for the sound designers. MicroFreak is here to break all the rules. It’s fun, inspirational, different, yet affordable enough to find a home in any studio.
Musicians can receive this stand-alone instrument from IK’s popular Syntronik series via newsletter sign-up
May 14, 2019 – From now through May 23, 2019, anyone who subscribes to the IK Multimedia newsletter mailing list can receive the Syntronik Bully bass synth virtual instrument for free, with no purchase necessary.
A $/€49.99 value, the Bully is part of IK Multimedia’s Syntronik and Syntronik Deluxe versions for Mac/PC. To receive Syntronik Bully at no charge, new users can simply download and install Syntronik Free, which is a free plug-in from the IK Multimedia site. A pop-up will prompt users to sign up for the mailing list to register and unlock Bully. Existing customers can simply access their IK Multimedia account and follow the same steps.
Gamechanger | Audio unveils revolutionary electro-mechanical Motor Synth at SUPERBOOTH19 RIGA, LATVIA: having presented an initial proof-of-concept prototype product at The 2019 NAMM Show in Southern California, January 24-27, uncharted music electronics territories explorer Gamechanger | Audio is proud to unveil the revolutionary Motor Synth — a digitally-controlled analogue electro-mechanical synthesizer that uses a system of electromotors (to convert electrical energy into mechanical energy) as its main sound source — in its finished desktop design at SUPERBOOTH19 in Berlin, May 9-11… Motor Synth really represents a new method of analogue audio signal synthesis since digitally-controlled electromotors have never been used as the principal sound source for a commercial musical instrument — indeed, nothing like it has ever been built before! But actions always speak louder than words. So how, exactly, does the revolutionary Motor Synth work? Well, simply speaking, Motor Synth produces sounds by accelerating and decelerating eight electromotors to precise rpm (revolutions per minute) that correspond with specific musical notes. Needless to say, the instrument in question’s eight-electromotor configuration means that it is a four- note true polyphonic synth with two voices per key played. Digging deeper, Motor Synth takes a two-pronged approach to producing its core sound, starting with magnetic pickups placed on each of its eight electromotors; those electromotors’ spinning coils result in a very industrial-sounding, ridiculously over-the-top analogue tone — think eight harmonious revving engines pumping out an intimidating noise! Next, specially-designed reflective optical disks have been attached to the shafts of each electromotor. Each disk contains a graphical representation of some standard audio wave-shapes. As the electromotors spin, the disks are set into circular motion, and each wave-shape is read by a dedicated set of UV (ultraviolet) sensors, then converted into an audio signal. So the wave-shapes on the reflective optical disks become precise musical notes, corresponding to the speed of the electromotors. Elsewhere, Motor Synth still features familiar analogue audio processing circuits — filters, envelopes, et al — alongside arpeggiation, cross- modulation sequencing, and multiple polyphonic mode facilities, as well as an innovative looping system that allows adventurous users to layer rhythm and melodies, just like when using a loop station. Manifestly, Motor Synth is a desktop design — unlike its initial proof-of-concept prototype predecessor, but it can still be played out of the box via eight built-in control keys and four floating tuning pots. Performers and composers can, of course, connect any standard MIDI (Musical Instrument Digital Interface) controller, like a keyboard or DAW (Digital Audio Workstation), while Motor Synth is also capable of tracking a monophonic audio signal, such as guitar or bass, via its 1/4-inch mono input. Interestingly, Motor Synth can be configured to act as a harmonizer for electric guitars or other melodic instruments, recognising the pitch of a musical tone and instantly generating a complimentary tone by operating an electromotor at a matching frequency. Furthermore, users can create intervals and chords based on the frequency of the incoming signal with no need (necessarily) for a MIDI controller or inputting preprogrammed musical information. Whatever way anyone chooses to play Motor Synth, a stunning visual experience is guaranteed. Get this: Motor Synth’s see-through protective glass cover above its core sound system of eight electromotors enables users to receive visual feedback from the instrument itself by being able to see those spinning electromotors in action. But better still, the visual experience is enhanced still further by the also-visible set of reflective optical disks attached to the electromotors’ shafts being coupled to a set of eight mini strobe lights, so those spinning disks themselves turn into a hypnotic light show, courtesy of the strobe effect! As an instrument that uses electromotors as its main sound source, Motor Synth inherently possesses many unique sound traits that will surely appeal to many musicians that favour analogue electronic instruments and synthesizers in particular. Put it this way: with its unusual tonal and timbral qualities, unlimited microtonal pitch adjustment and modulation abilities, and note attack and decay properties influenced by the acceleration and deceleration curves of electromotors, Motor Synth works well across a wide range of musical styles. Showcasing its third revolutionary product, Gamechanger | Audio will be proudly unveiling Motor Synth on booth (H320) at SUPERBOOTH19 — Europe’s first and largest trade fair for electronic musical instruments — in Berlin, May 9-11. Thereafter, it will be following in the super-successful crowdfunding footsteps of Gamechanger | Audio’s PLASMA Pedal, perfectly realising a revolutionary approach within the realm of overdrive and distortion by transforming the connected instrument’s live signal into a series of continuous high-voltage discharges within a xenon-filled tube, thanks to achieving 921% funding on Indiegogo in April 2018 (https://www.indiegogo.com/projects/plasma-pedal-high-voltage-distortion-unit–3#/). No doubt the equally- revolutionary electro-mechanical Motor Synth will follow suit, successfully realising a new method of analogue audio signal synthesis.
Rossum Electro-Music Announces Linnaeus Thru-Zero State-Variable Filter (Scotts Valley, CA, May 8, 2019) — Rossum Electro-Music has announced that they will be previewing their new Linnaeus Thru-Zero State-Variable Filter Eurorack module at Superbooth in Berlin, Germany from May 9th through the 11th.
Following in the tradition of Evolution and Morpheus, Linnaeus represents yet another Dave Rossum innovation in filter technology.
Linnaeus is a stereo state-variable filter that provides the unique ability to linearly modulate its resonant frequency through zero into negative frequency, while maintaining stability. With extensive voltage control of nearly every parameter, Linnaeus lets users manipulate the filter’s natural response curve in new ways, to create both subtle and dramatic timbral effects. And with a “one-knob-per-parameter” interface, LINNAEUS inspires sonic creativity that invites (and rewards) real-time interaction.
Linnaeus’s cutoff/resonant frequency is exponentially voltage controllable from sub-audio to ultrasonic frequencies, while its resonant gain (Q) is exponentially voltage controllable from 0dB to greater than 60dB.
Linnaeus’s channel output response characteristics are independently and continuously variable from Lowpass, through Bandpass, Highpass and Notch, to Low and High Shelving characteristics. Voltage control of the response characteristics are independently selectable for each of the two channels.
The linear thru-zero modulation is provided by an integrated modulation oscillator and/or an External Linear FM modulation input.
The voltage-controllable modulation oscillator can track the filter’s exponential frequency or operate independently. The modulation oscillator’s output waveform is continuously variable from Off through Sine, Triangle, and Sawtooth, to Square. The modulation oscillator output is summed with the external linear FM input and applied to the modulation index VCA, which controls the linear thru-zero modulation index from zero to 8X. The modulation index is, of course, also voltage controllable.
Linnaeus features include:
– Ultra-wide frequency range, exponentially voltage-controllable from sub-audio to ultrasonic via precise 1V/OCT and attenuverted CV inputs.
– Thru-zero linear frequency modulation via an internal modulation oscillator and/or an external linear FM input.
– Variable linear modulation index, voltage-controllable via an attenuverted CV input.
– Resonance (Q) exponentially voltage-controllable from 0dB to greater than 60dB via 6dB/V and attenuverted CV inputs.
– Continuously variable response characteristics independently selectable for each of the two channels via individual Enable controls. Characteristics include Lowpass (12db/oct and 6db/oct), Bandpass, Highpass (12db/oct and 6db/oct), Notch, and Low and High Shelving.
– Voltage control of response characteristics via an attenuverted CV input. Individual Enable controls let you independently enable or disable CV control of response for each channel.
– An integrated modulation oscillator with continuously variable waveform from Off through Sine, Triangle, Sawtooth and Square. Its frequency can be exponentially voltage controlled via an attenuverted CV input.
– A Track control that lets the modulation oscillator precisely track the filter’s exponential frequency.
– Stereo inputs and outputs. Linnaeus can process a stereo signal or two independent mono signals. While the two channels share the filter’s cutoff/resonant frequency, the filter response characteristics can be independently controlled for each channel.
– The solid, high-quality construction expected from Rossum Electro-Music.
Linnaeus is 16HP wide and 25mm deep.
Power requirements (max): 140mA +12V, 25mA -12V. Reverse polarity protected.
Linnaeus will be available in this summer from Rossum Electro-Music dealers worldwide at a suggested retail price in the US of $399.00.
MIND Music Labs showcases seminal ELK MusicOS at SUPERBOOTH19 with prototype products and announcements STOCKHOLM, SWEDEN: Swedish startup MIND Music Labs lets loose by showcasing several super-cool applications of its award- winning ELK MusicOS — the world’s first ultra-low-latency music operating system developed specifically for audio applications, ushering in a new era where the power, flexibility, and selection of audio and music software can be run in real time on embedded hardware with full MIDI (Musical Instrument Digital Interface) support — at SUPERBOOTH19 in Berlin, May 9-11… Further fulfilling its ambition of creating new ways to bridge the gap between musicians and technology, changing how to learn, create, record, and share music, MIND Music Labs will be demonstrating the potential and flexibility of its seminal ELK MusicOS by showcasing a number of hardware product prototypes based on existing VST (Virtual Instrument Technology) and RE (Rack Extension) releases from world-class developers at SUPERBOOTH19, Europe’s first and largest trade fair for electronic musical instruments. First stop: media production products provider Steinberg’s stand on owner Yamaha’s booth (H310). Here the German giant continues its partnership with MIND Music Labs in making VST a standard for hardware by showcasing the co-developed ‘Powered by ELK’ Retrologue 2, a proof-of-concept prototype desktop synth running Retrologue 2, Steinberg’s VST Virtual Analog Synthesizer — successfully emulating the warmth and fatness of classic analog synthesizers — on hardware. However, ELK MusicOS is not only VST compatible but also runs RE plug-ins from fellow Swedish company Propellerhead, creators of innovative and affordable music software. Supporting the Propellerhead partnership, MIND Music Labs will be showcasing a Eurorack format synth module running the RE-compatible Polysix for Reason — utilising Korg’s proprietary CMT (Component Modeling Technology) to precisely model the circuitry of an analog polysynth classic from 1982 — on booth (O504). Other must-see SUPERBOOTH19 showcases scheduled to take place at MIND Music Labs’ location there include several contrasting conceptual collaborative projects with the likes of plug-in developer Stefano D’Angelo, former DSP engineer at Arturia; Italian music and audio software company Audio Modeling, creators of the SWAM (Synchronous Waves Acoustic Modeling) engine; HISE, an open source framework for sample-based instruments; and Igor Nembrini of Nembrini Audio, creator of some of the most revered guitar amp plug-ins under the Brainworx brand for Universal Audio’s UAD (Universal Audio Digital) platform. Concludes MIND Music Labs CEO Michele Benincaso: “The different hardware prototypes we will be showcasing at SUPERBOOTH19 are all great examples of what ELK MusicOS is capable of. With ELK MusicOS you add the feel of playing an actual physical instrument — without losing the benefits and qualities of desktop plug-ins. I am very excited to show everyone at SUPERBOOTH19 what we have been working on.”
IK Multimedia unveils UNO Drum analog/PCM drum machine
Ultra-portable, easily programmable drum machine expands the UNO line
May 8, 2019 – IK Multimedia unveils UNO® Drum, the newest member of its UNO series. Designed in collaboration with Italian analog specialist Soundmachines – the same team behind IK’s acclaimed UNO® Synth – UNO Drum offers a wide sonic palette combining fat, punchy analog sounds with digital flexibility and convenience. A robust selection of programming and live performance features and controls makes it easy for musicians, producers and DJs to add massive drum grooves to their music. UNO Drum’s compact form, battery power and affordable price make it ideal for on-the-go music creation and performance.
True analog tone and PCM flexibility Six warm, rich, true analog drum sounds – two different kick drums plus snares, claps, and hi-hats – form the essential core kit for creating fat analog beats. Additional PCM elements (with 54 samples to choose from) provide deeper sonic flavors. They include toms, rims, cowbells, rides and crash cymbals for creating complex, unique and full rhythm tracks. Up to 12 elements can be used in total between analog and digital sounds, with 11-voice polyphony available. The analog and digital elements can be freely swapped, for sonic possibilities that go beyond the pre-set combinations. Together, these analog and PCM sounds suit the widest genres of music and musicians, and a variety of live scenarios.
A wide range of drum elements is organized in UNO Drum’s 100 pre-programmed and fully editable drum kit presets, a first in its class. This makes it easier and faster for users to find an inspiring kit they can experiment with or tweak to create the perfect groove. All sounds can be stored and recalled on the fly.
Top panel editing controls allow for adjustment of key parameters of each sound element. Users can tweak the Tuning of their kicks for sub-shaking hip-hop, adjust the Snap for punchy EDM drums, push the Decay for thundering industrial sounds, and much more. UNO Drum’s in-depth controls encourage experimentation to take drum tracks far beyond the norm.
Analog audio effects with character For added punch and sound character that stands out in a mix, UNO Drum also offers two analog master audio effects: Drive and Compressor. Increasing the drive will make grooves hit harder, with an aggressive edge. Adding compression will result in tracks that are tighter, fatter, and more powerful. User settings can be saved along with drum kits for instant recall.
Easy to play and program UNO Drum offers 12 touch-sensitive pads with two velocity zones, for more expressive live playing and easier programming. They can be used to play entire beats live with a pad-style feel, or to easily add live flare on top of pre-programmed rhythms.
These pads are also used to select individual drum pattern elements. Each element’s pad can be used to edit parameters for that specific drum sound, in real-time, as patterns play. This enables users to evolve tracks, build tension towards a drop, go lo-fi for a break, and more. For added performance convenience, a dedicated Tap Tempo pad is also included.
Flexible programming options UNO Drum offers easy programming options to suit any style. The 64-step sequencer allows users to program in patterns one step at a time, using the 16 buttons across the bottom of the panel, or record a pattern in real-time. Up to eight parameters can be automated per step, to add even more variation and feel to their grooves. The Song mode lets users chain up to 64 patterns together to create extended grooves. Any of the stored sequences can be triggered live on the fly, in any order desired.
Additionally, for quick inspiration out of the box, UNO Drum also comes pre-loaded with 100 drum patterns (in addition to the 100 drum kits). Users can quickly scroll through choices and find a pattern that adds the perfect flavor to their genre, or experiment with new styles. Sounds can be swapped out or adjusted, and patterns can be instantly saved and revisited at a later time.
Head-turning performance effects For even more performance impact, UNO Drum offers a generous set of five performance effects on the programmed patterns: Stutter (from subtle repetitions to DJ style loops), Roll, Humanize (slight randomization of velocity, timing and volume to emulate a live drummer), Swing (timing and accent adjustments) and Random (brand new pattern creations).
Integrate into any live, studio, or mobile set-up For use at home, in the studio, in a DJ booth, and beyond, UNO Drum can perfectly integrate into regular live set-ups, computer DAW-based studios, or mobile rigs centered around an iOS device. It offers USB and traditional MIDI via 2.5mm jacks (cables included) for use with Mac/PC, iOS devices or traditional outboard MIDI gear, for a perfect pairing in any rig. UNO Drum also offers an audio input to daisy chain directly with IK’s UNO Synth or any other gear, routed through its internal compressor, with no need for an additional mixer.
On-the-go music made easy Weighing only 400g, UNO Drum is super lightweight and small enough to fit in a backpack, yet sturdy enough to hit the road for gigging. It can also be used as a portable sketchpad to create grooves and songs that can be saved and recalled whenever and wherever they’re needed. UNO Drum can be powered by 4 AA batteries or via the USB port, either from a computer or a battery pack.
UNO Drum is proudly made in IK’s own Italian manufacturing facility using a combination of state-of-the-art, automated mounting machines and test systems, and fine, renowned Italian craftsmanship. Shipping is scheduled for June 2019.
* Free shipping valid for pre-orders from the IK Multimedia online store only ** All prices excluding taxes