Arturia announces KEYSTEP PRO for namm 2020

Arturia reveal KeyStep Pro at NAMM 2020
The newest, and most hotly anticipated member of the Arturia Step family is to be revealed at NAMM 2020 in Anaheim, California. 

The sequencer the world has been waiting for. KeyStep Pro gives keyboard players incredible sequencing and performance power in a compact, versatile controller. 

KeyStep Pro is a 37-key MIDI controller and multi-channel polyphonic sequencer all in one. It will allow musicians to take full control of their modular rigs, outboard synths, and software studio all at the same time. The 4 independent polyphonic sequencer tracks give you full control over your instruments, and Track 1 can also function as a 16-part integrated drum sequencer. It’s incredibly intuitive, has unparalleled connectivity, and promises to make even complex performances a breeze. 

If you prefer keys to pads, you’ll love KeyStep Pro. It sports a great-feeling 3 octave keyboard with velocity sensitivity and aftertouch. Letting you fully articulate your musical ideas, this expressive little sequencer truly puts your whole music-making ecosystem at your fingertips. Arturia’s designers studied the way musicians actually used their Step controllers, and created KeyStep Pro to remove the barriers between you and the music you want to create.
4 independent polyphonic sequencer lanes
TRACKS4 independent sequencers, controlling whatever synth, module, or drum machine you want.PATTERNS16 patterns per track. Each sequencer pattern can be up to 64 steps long, and contain 16 notes per step.CHAINSLink up to 16 patterns together to create whole songs or sections of your set.SCENESSnapshots of all the sequences within a pattern, letting you instantly switch between sets of sequences.PROJECTSEverything in one place. Load, duplicate, tweak, edit, and save for later in its onboard memory.
LEARN MORE
16 part drum sequencer
To get hands on with KeyStep Pro, look out for Arturia at NAMM 2020. 

Meet the Arturia team in Hall A, booth 11910. This new member of the Step family will begin shipping worldwide in Spring 2020.

ADDAC 4 quadrant mixer announced

ADDAC System 805 Eurorack Module Offers Four-Quadrant Mixing

ADDAC System 805 Eurorack Module Offers Four-Quadrant Mixing

Inspired by its renowned 701 VCO waveform mixing section, the 805 VC Signal Router employs three X-faders for advanced morphing and sweeping of signals

Lisbon, Portugal, December 20, 2019 — ADDAC System has announced availability of its new 805 VC Signal Router. While taking up just 8hp of space and priced at €160, the VC Signal Router is an economical way to add significant dimension and new signal flow options to just about any modular set up.  

Inspired by ADDAC System’s 701 VCO waveform mixing section, the new VC Signal Router also updates the company’s legacy X-Fade/Panner to a stereo configuration that also allows four quadrant mixing. This feature is achieved by using the stereo Master knob as an X-fader between the left and right channels. By plugging in the four audio sources and sweep/crossfade between any of them using the three combined X-faders, users can plug any four sources (for instance, four waveforms of a VCO, four LFOs, four envelopes) —  then sweep, morph or mix them to their heart’s content. 

Story image

“Our VC Signal Router builds on some basic mixing principles derived from our 701 VCO waveform mixing section, while bringing in a new dimension of sound placement possibilities,” said André Gonçalves, founder of ADDAC System. “Even though the 805 requires a relatively small investment. four quadrant mixing can add a glacial effect to just about any soundscape.”

A peculiar signal flow meant to inspire
The VC Signal Router features two dedicated X-faders and a stereo VCA that can also be used as a third X-Fader. All controls have their own CV inputs and dedicated Attenuverters for precision control. Left and Right X-fader channels can also be routed through the Master stereo VCA or sent directly to the outputs. Further, a stereo Direct input can also be routed through the Master VCA or sent straight to the outputs. 

The Mono Sum output always mixes Left and Right outputs together, allowing users with the possibility of using the module as a peculiar six channel mono mixer. It can be used for both Audio or CV Signals. 

Story image


Features:

  • 6 mono inputs

  • 2 dedicated X-faders with Control knob + CV Input and Attenuverter Each X-fader can be routed through the Master mix or straight into the outputs.

  • Master channel can be used as a stereo VCA or an X-fader
Stereo direct inputs can be routed through the Master mix or straight into the outputs.

  • Fully analog audio path with high quality/low noise VCAs. 

To learn more about the ADDAC System 805 Eurorack module, please visit the ADDAC System website


About ADDAC System
ADDAC System develops advanced instruments for sonic expression. The company began in 2009 with an ambition to explore the potential crossover between analog synthesizers and computers. Today, ADDAC System’s product line is focused on a new breed of hybrid synths that utilize the best of both the digital and analog worlds. We’ve grown to be able to reach thousands of enthusiastic clients, friends and collaborators. ADDAC System’s solutions — which are used in many musical genres — can be found in many personal studio throughout the world and routinely used by musicians in several planes of stardom.

TA Programming new Studio MIDI And CV Interface full synthesizer control system



TA Programming announces availability of Studio MIDI And CV Interface full synthesizer control system debut


LONDON, UK: following a successful showcase in October at Sheffield’s Synthfest UK 2019, billed as being the UK’s biggest synthesizer event, advanced creative technology designer TA Programming is proud to announce availability of its inaugural Studio MIDI And CV Interface full synthesizer control system — capable of controlling multiple synthesizers simultaneously via voltage control outputs and MIDI/USB with extra-low latency while keeping analogue instruments, vintage or otherwise, perfectly in tune with each other — as of December 20…
According to TA Programming CEO/CTO Tim Aviss“We designed this interface to be not just a solution to problems that we’d encountered when controlling synthesizers in the past, but to unlock a whole new world of creativity with synthesizers from one interface.”
Indeed, TA Programming’s debut design does just that, thanks to its innovative implementation of complimentary connections, comprising MIDI In and MIDI Out alongside USB I/O for MIDI and serial bus connectivity, together with four universal CV CONTROL outputs. On the face of it, then, the Studio MIDI And CV Interface full synthesizer control system is creatively kitted out to target the hotly-contested competition out there already. After all, those four universal CV CONTROL outputs can perform any function regardless of whether it is for producing Pitch, Gate, or Aux signals. Saying that, an unlimited number of universal CV CONTROL outputs can quickly be created by daisy-chaining multiple interfaces via the MIDI ports. Also, any source — such as Pitch, Note On/Off, Velocity, Aftertouch, any MIDI CC number, signals from a DAW, and more besides — can be selected via USB or MIDI.
Fortunately for anyone putting the Studio MIDI And CV Interface to the test, the voltage of the configured output is completely user definable between -9V and +10V, providing plenty of range to satisfy the requirements of almost all synthesizers, past and present. Put it this way: with this level of versatility, the Studio MIDI And CV Interface provides its users with complete control over note range scale — from microtonality all the way through to the limits of the connected synthesizer. Thankfully, TA Programming’s proprietary tuning technology is capable of handling even the most stubborn scaling issues, effectively eliminating scaling and tuning issues on any analogue synthesizer, including non-linearities. This technology is built upon a six-point multi-mapping system that uses advanced interpolation and modelling algorithms all within a floating-point mathematical model before conversion to control voltages are applied in real time. In other words, once a tuning profile has been configured for the synthesizer concerned, TA Programming’s proprietary tuning technology works out the control voltages said synthesizer needs, regardless of tempco (temperature compensating) resistor variation, in order to produce pitch-perfect notes in real time — a must-have for owners of vintage or more modern analogue synthesizers alike!
Additionally, the Studio MIDI And CV Interface is MPE (MIDI Polyphonic Expression) compatible, capable of sending out full MPE via MIDI DIN or mapping single channel/polyphonic MPE out of the universal CV CONTROL outputs. As all five control dimensions are natively supported, users can be sure that their synthesizers will be as musically expressive as allowed by the MPE method.
Meanwhile, the interface itself has internal circuitry powered by USB. Ultimately, however, TA Programming pushed itself hard to ensure that the power supply can tolerate variances in input voltage so that the resulting supply is always as clean as possible, providing the highest control voltage accuracy, as well as preserving tuning and configuration regardless of the USB host.
Having said all that, TA Programming’s powerful control software allows anyone to completely configure their Studio MIDI And CV Interface. In addition to this, they can host USB MIDI controllers in the software itself, thereby bypassing their DAW, if desired. Said software also provides plentiful MIDI processing features — from LFOs to BPM-locked arpeggiators, keyboard splitting over MIDI, and much more. TA Programming plans to regularly update the interface’s firmware and control software so that its users can always access the latest features following their initial purchase.
Last, but by no means least, the Studio MIDI And CV Interface always automatically stores its user’s current configuration with no need to click save. So feel free to travel between recording studio and performance venue safe in the knowledge that their current configuration will automatically load when the interface is powered back up. Upon connection to their computer, the control software will automatically pull the current configuration from the interface itself to allow for easy editing. And as if this was not exciting enough, an unlimited number of presets and profiles for all the synthesizers in anyone’s setup can be saved to the computer and reloaded into the interface at any time.
TA Programming looks all set to play to win with its inaugural Studio MIDI And CV Interface. Owners of vintage and more modern synthesizers simply owe it to themselves and their treasured instruments to test TA Programming’s debut design. It is no ordinary MIDI-to-CV convertor, clearly!

The Studio MIDI And CV Interface is initially available for purchase — priced at £249.00 GBP — directly through TA Programming here:https://taprogramming.com/product/midi-cv-interface/
For more in-depth information, please visit the dedicated Studio MIDI And CV Interface webpage here:https://taprogramming.com/product/midi-cv-interface/
Watch TA Programming’s Studio MIDI And CV Interface introductory video here: https://youtu.be/X0Vrqw3NESE
Watch musician and producer Lawrence Hart putting the Studio MIDI And CV Interface through its MPE-compatible musical paces here:https://youtu.be/fYqsuc-2iS0 

 

Strymon Magneto delay Thoughts and impressions

I have had the Strymon Magneto for some time now and I decided to shoot a short video discussing some of my thoughts.

spoiler it is a very musical module. I really enjoy the hands on control. While admittedly I was concerned about the price point. Considering I recently had purchases a Rainmaker delay module which did not last in my rack.  The Magneto was met with a bit of caution. I must say however I am left quite impressed. it is deceptively deep and quite controlled and full of “sweet spots”. The ability to reverse delays and freeze moments in time is great. Check out the video and let me know what you think.

for more info check out https://www.strymon.net/products/magneto/

Dark Energy III from Doepfer announced

Doepfer harnesses dark energy for third time with effectively enhanced monophonic analogue standalone synth namesake
GRAEFELFING, GERMANY: having wowed North American audiences with a preproduction prototype at The 2018 NAMM Show in Anaheim, CA, then turned heads and opened European ears with a must-see showstopper closer to home at SUPERBOOTH18 in Berlin, Germany, esteemed electronic musical device designers Doepfer Musikelektronik is proud to announce availability of the Dark Energy III Analog Synthesizer — a worthy successor to its critically-acclaimed desktop Dark Energy II monophonic analogue standalone synthesizer with wide- reaching CV (Control Voltage)/Gate, MIDI (Musical Instrument Digital Interface), and USB (Universal Serial Bus) connectivity that it effectively enhances — as of July 4…
Like its Dark Energy II predecessor, released to widespread critical acclaim back in 2012, Dark Energy III is a desktop monophonic analogue standalone synthesizer with wide-reaching CV/Gate, MIDI, and USB connectivity. Continuing that intriguingly-named lineage, likewise, Dark Energy III’s sound generation and all modulation sources are 100% analogue, with only its inbuilt MIDI/USB components entering the digital arena (as is obviously necessary, naturally). Needless to say, everything is built into a rugged black metal case with wooden side plates, while high-quality potentiometers with metal shafts are used; ultimately, each potentiometer is mounted firmly to the chassis, so no wobbly shafts and knobs — unlike some cheaply-constructed competing (non-Doepfer) designs. Dark Energy III is, indeed, essentially an enhanced version of Doepfer’s desktop standalone synthesizer so central to the company’s product line for so long, but boasts several notable differences.
Notably — not least audibly, although also apparent from the front panel’s waveform Shape switch labelling, a triangle Shape waveform is now central to the VCO (Voltage-Controlled Oscillator) core, which now no longer requires a warmup period for optimal operation over a 10-octave frequency range (with 1V/Oct tracking over at least eight octaves).
On top of that, there are now separate Reset LFO1 and Reset LFO 2 Inputs for the two resettable LFOs (Low Frequency Oscillators). These sockets synchronise both LFOs to external gate signals, so when a gate signal of +5V (or higher) is applied at a socket then its positive ramp sets the corresponding LFO wave shape to zero and the LFO restarts with a rising ramp.
All analogue synthesizers use a VCA (Voltage-Controlled Amplifier) to dynamically control loudness (or volume); Doepfer’s Dark Energy III design differs from its predecessor — and also many other analogue synthesizers — by virtue of its VCA having a linear control scale, so lends itself to scaling control voltages.
Several signal routings and functions are additionally available to any adventurous ‘Doepfer DIY’er’ willing and able to modify Dark Energy III’s front panel sockets by removing jumpers and rewiring the pin-headers for the VCO PW, Reset LFO1, Reset LFO2, and VCA Inputs. For example, the VCO PW input can be converted into a linear FM input, or LFO/ADSR signals can be used as outputs instead of one of the resettable LFO inputs. Indeed, (almost) anything is possible, including various VCO outputs (triangle, sawtooth, rectangle); VCO hard sync input; VCO soft sync input; various VCF outputs (lowpass, highpass, bandpass); various LFO outputs (triangle, rectangle); ADSR output; and two inverters with input/output (to invert any signal, such as ADSR or LFO).
Effective enhancements notwithstanding, the favoured filter found in Dark Energy II remains unchanged in Dark Energy III. Indeed, its sound- defining VCF (Voltage-Controlled Filter) is centred around a 12dB multimode filter with lowpass, notch, highpass, and bandpass settings, together with a filter Mode control for continuous transition from lowpass via notch and highpass around to bandpass; its XFM (Exponential Frequency Modulation) control also has a polarization function, whereby the modulation source (LFO2 or ADSR) selected by the Source switch can affect the filter frequency with a positive or negative behaviour (by rotating rightwards or leftwards, respectively).
Meanwhile, mounting of two or more Dark Energy — original, II, and III — units is possible, with or without wooden side plates between them. Though there is still not sufficient space to accommodate a dedicated MIDI output socket on the Dark Energy III rear panel, it is still possible for those adventurous ‘Doepfer DIY’ers’ to link two or more Dark Energy — original, II, and III — units via MIDI out/MIDI in using the two pin-headers available at the supply/interface board mounted at the rear panel. (Fortunately for them, Doepfer has helpfully posted a downloadable document with additional technical information here: http://www.doepfer.de/pdf/Dark_Energy_III_technical_information.pdf.)
Put it this way: with Dark Energy III, Doepfer delivers another effective enhancement of a highly-capable monophonic analogue standalone synthesizer, continuing to make its musical mark with a compact desktop design dating back to 2010 (when wowing audiences around the world with its original Dark Energy entry).
Ending on a high note, who better to tender tasty food for thought, then, than Doepfer Musikelektronik CEO Dieter Doepfer, the esteemed electronic musical devices designer who lends his notable name to the renowned company and has been known to look beyond our world for inspiration: “Dark Energy III is not a tool for space research, neither is it suitable for studies in astrophysics. Yet, we find these topics as fascinating as music technology — reason enough to celebrate ‘Hubble & Co.’s amazing discoveries a bit and call our brand-new synthesizer Dark Energy III.”
In Germany, Dark Energy III can be ordered online from Doepfer Musikelektronic GmbH (http://www.doepfer.de/form_e.htm) or via one of its German dealers (https://docs.doepfer.eu/en/dealer-germany/) for €479.00 EUR. (An optional user-installable Glide control kit — containing a prewired potentiometer with two nuts and a Dark Energy-style rotary knob — is available for €10.00 EUR.)
Outside Germany, Dark Energy III can only be ordered from Doepfer dealers in territories listed here: https://docs.doepfer.eu/en/ (That said, residents in countries without representation can order directly from Doepfer Musikelektronic GmbH.)
For more in-depth info, please visit the dedicated Dark Energy III webpage here: http://www.doepfer.de/Dark_Energy_III_e.htm

Barton Writeable quantizer is a unique way to patch melody

Barton Musical Circuits

Writeable QuantizerbartonUwq03-800x800

The writeable Quantizer(WQ) is an interesting module in that while it can function like a traditional sequencer, it is anything but traditional. What sets the WQ apart is that this quantizer doesn’t come with preset 1/12v divided scales like most quantizers do. Instead the WQ allows users to store voltages into a user defined “scale” and then quantize incoming voltages to those stored voltages. You can use traditional scale values and write those voltages to a traditional scale but what is the fun in that? Continue reading

MST MIDI to CV converter eurorack module

MSTmidi2

MST MIDI to CV Converter

The MST MIDI to CV Converter is a translator between digital devices and analog synths, allowing you to connect your modular system to a keyboard, computer, phone or tablet. Continue reading