Garden Of Eden_Chunky Trance_DJs Blake & Jondent

YouTube Uploaded by DJjondent on Mar 4, 2012

"Bart Simpson would have been proud.
(we hope)

Synths Used:

Roland MKS 80 (Super Jupiter)
Novation Super Bass Station
Oberheim Xpander
[Vermona DRM mkii]

Thanks to Mini of Tonetweakers for the Xpander.
www.tonetweakers.com/"

Hey man, your toe is on fire

YouTube Uploaded by davidryle on Mar 4, 2012

Update: video re-uploaded & new description:

"A new module - the Synthetic Sound Labs 1130 Double Decker VCO by Ian Fritz. I've used the DDVCO in a larger patch with other sounds.
The DDVCO is the "clicky sounds" in Linear FM AC mode and the multi-octave string sounding scream in Linear FM DC mode. Bank B is looped back into the RM input.
The drone is Pink noise through an STG Sea Devils filter to a Q107 and a delay. Bank A out of the DDVCO is FM to the Q107 which is in clipping mode. A 6 on 7 step pattern between the Q960 and the Moon M563 is the in and out sequenced patterned sound.
The bell sound is a tap off the Cat Girl Synth 01 Sub Oscillator/Harmonic Sequencer module.
This module is using two sync'd Q106's in LFO mode into it's inputs, ring modulated and output to banks of signal processors and quantizers before going to the DDVCO and other voices.
The two outputs from the CGS01 is driving both banks of the DDVCO. One bank (B) acts like a sequencer while in Linear FM AC mode and looped back into the ring modulation input.
No midi or outside modulation is used. Five channels into a Mackie mixer from the modular are managed along with mixer channels in the modular. Additional FX include a TC Electronics D-Two delay, Lexicon MX200, Strymon Blue Sky and El Capistan and two Behringer DD400's.
Recorded audio capture in Cubase 6.5 and video editing in Final Cut Pro X.
This video was uploaded three times prior to this one. I'm trying to learn Final Cut Pro X and it is hard to get all the audio and video with titles working just right. My apologies to the people that posted comments and likes to the first two. I'd rather get it right with no views than to have it wrong and lots of views. Purist junk, ya' know. I had to save it to a Quicktime file so I could inspect it. I hope it saves on YouTube okay. When uploading direct from Final Cut Pro you cannot see what it will do until it is viewable on YouTube. Rats!"

M569, Control Yourself! Part3

YouTube Uploaded by JohnLRice on Mar 3, 2012

"This wasn't originally intended to be part of the same series but, it ties in with the discussion here: http://www.muffwiggler.com/forum/viewtopic.php?t=53628

We were discussing the differences between the modern Moon Modular 569 step sequencer and the traditional and classic Moog 960 step sequencer (clones are currently available from Synthesizers.com and Club Of The Knobs)

The 960 has a switch per column that allows for the selection of one of several behaviors: skip (jumps to the next step), normal (sends CV and Gate signals for that step), stop (stops the sequencer from running when the step is reached) and reset (jumps to the first step). The 569 on the other hand has a switch for every step of every row that selects one of two 'normal' modes or Function, and then there is a Function switch per row that selects skip, reset or stop.

It's a common assumption that both skips and resets can't be used on the same row but, it CAN be done if you just assign skips on rows 1 - 3 and then use the selectable gate outs of row 4 to reset all rows.

Thanks for watching!"

My first date with the Double Deka

YouTube Uploaded by cwinkels on Mar 3, 2012

"Here's a quick video made of SSL's interpretation of the Ian Fritz Double-Deka VCO. My usual caveats about lousy focus apply here too, sorry.

This is my first exposure to it in the flesh; it's literally been switched on for 10 minutes before the camera started recording! It looks much, MUCH better in person. The illuminated LEDs are a joy to behold.

What's going on: Bank A and Bank B of the DDVCO are set to 50:50 mix, but the mix is modulated at audio rate by a Dotcom Q106 VCO's sine wave output. That generates a useful FM-style buzz. This is routed through an STG Soundlabs Post-Lawsuit Lowpass filter. Initially the filter has a very low cutoff and about 50% resonance, but I dial back the resonance as I play with raising the filter cutoff level. Then it's into the VCA and out to a delay to add some echo.

There's not much else going on in this patch; about half the cables you see are from a previous setup I neglected to tear down. They don't influence the sound or provide any other control sources."

PW at work

via Bakis Sirros on
The MATRIXSYNTH Lounge

"While preparing the new collab Parallel Worlds cd album with David Bessell (of NODE)
various patched modular machines photos, while preparing various things...."

more pics here

Ionic Synthesizer and modulator SN 147

Note: Auction links are affiliate links for which the site may be compensated.
via this auction

"Performer Synthesizer and Modulator. Made by Ionic Industries, Morristown, New Jersey. Built in 1973. Modified for better performance & flexibility. Original price, $900.

In need of restoration, it powers up but no sound comes out. Not sure how to run it so I can't say too much about it. Serial number 147. This is very rare and hard to find. USA only."

See the Ionic label below for more info on this synth. Ionic where the US distributors for EMS. The Ionic synthesizer was a close of the SYNTHI and VC3S synth engine.

CLICK FOR MORE »

Roland TB-303 Bassline Synthesizer

via this auction

CLICK FOR MORE »

Slew Harmonic Modulated Lush

YouTube Uploaded by kuxaansum on Mar 3, 2012

"Testing Eventide Pitchfactor.
TB-303 goes directly into Pitchfactor which feeds a Pocket Pod for monitoring and recording via headphones output. Pocket Pod signal is dry with no drive attenuation.

Effect used: HarModulator & Diatonic"

David Bowie for Stylophone

flickr By Harald Haefker
(click for more)

"promo photo 1969"

The Synths Used in Hologram's Skyrunner

Follow-up to this post where you'll find the track. Via Hologram:

"The overall inspiration for the 'Skyrunner' single and the upcoming LP were to bring back a sense of melody and the human element that I feel has been lost in a lot of modern electronic music today. A lot of it has become so focused on the technical prowess of the technology itself that the human elements of writing and composing music have become somewhat lost in the fray. It wasn't just about the sound and technical abilities of a certain instrument, it was also about how they were played, and the context in which they were used in an arrangement. I felt that it was a combination of both the sonic quality of those vintage instruments and the human compositional elements that truly allowed the instruments of those days to shine as they did on many of the old recordings of yesterday. This combination is what I set out to portray in the new Hologram material. While there was certainly lots of time put into sound-design and the engineering behind the single and the LP, the primary focus was on writing music and creating a "journey" through the melodies and composition first, with the technology being used as a "tool" to materialize that vision, not the other way around."

Most of 2011 was spent selectively collecting certain analogue and digital synthesizers for the studio that represented the sound and characteristics that have become well known throughout the history of electronic music. Starting with the Roland Jupiter-6, it formed the basis of many of the original ideas that formed into the tracks on this release and the upcoming LP. The leads and various arpeggio sounds were created on the Jupiter-6. The Jupiter-6 while not as quite as coveted as it's larger brother the Jupiter-8, has a rich sonic character of it's own and has a wider palette of colors with it's multi-mode filter section. The Moog Voyager RME, while being a modern-day analogue synth and not an original Minimoog D, I felt captured the sonic quality of the "Moog" sound, but with it's own unique character as well, with the multi-mode filters and pole selection, which can make it sound very "Arp" or even "Oberheim" like when using 1 or 2 pole modes. It's fantastic and has a richness all it's own. It's ability to also wire up feedback through the external input to give it more bite and grit make it another favorite of mine in the studio. It was used for the synth bass lines, as well as layered arpeggios and seq attack type sounds in both tracks on the single and was the main arpeggio line in "Prometheus Rising".

The Ensoniq ESQ also played a major role in "Prometheus Rising" being used for the "wooshing" noise modulated sound and the resonant synth drops towards the end. The ESQ has a wonderful filter that is a favorite of mine based on the CEM3379 4-pole analog resonant filter that is very musical and has lots of character. Even though that filter was used in several other synths during the 80's, the way it was implemented in the ESQ along with slight bit of overdrive in the VCA is what gives that instrument it's unique character. Heavily processed with an Eventide H949 reverse delays and manual feedback, it created a wonderful space and movement to the track and we'll be heard much more throughout the LP.

The Roland System-100m is....a beast and a piece of history in itself. While it was a later addition to the studio after the two initial tracks were for the most part completed, it was used for layered white noise effects on both tracks, and was used to create the "shimmering synth" effect sound in the breakdown in "Skyrunner". This was created using one of the LFO's fed into a Doepfer A-156 Dual quantizer module, which was then routed to modulate the pitch of both VCO's on the System-100m, while staying in key with the bassline. It was then processed heavily through the FOH Sounds of Shadow delay module for the feedback wash. The SY77 and Oberheim Xpander were used for choir and pads on "Prometheus Rising". The Xpander was a recent addition to the studio and expect to hear it much more throughout the LP as it is truly one of the great classics and has a sound that I have always coveted.

The Korg Univox 700s and the Waldorf Microwave XT were not used on this project, but expect to definitely hear the 700s throughout the LP as this is another classic piece I have always admired it's sound used throughout many of the mid-to-late 70's British synth records. It's such a simple instrument, but such a rich sound to it that it's just phenomenal. It's a quirky little synth too, with it's limited front-panel controls and absolutely no MIDI or even CV/Gate! So it's literally a "play live and track it" type instrument, but that's what I love about it most. No over-thinking, no over-producing, just feel it, play it, and move on.

As for software synthesizers, a few were used on this release, as I've always been a fan of software synthesis as well. The current material obviously has a focus towards the old analogue instruments, primarily because of the real-time nature and interaction that they create during the writing process, but software plays a major role in the studio as well, with a few virtual synths being used as well as the entire single and LP being mixed entirely "in the box" making heavy use of UAD analog EQ's, compressors, and tape emulations. A couple of notable virtual synths that were used are the GForce VSM and the OPX-Pro, with the OPX-Pro forming several parts in "Skyrunner" and the GForce VSM used to create the strings at the intro of "Prometheus Rising" processed heavily through the UAD Roland RE-201 Space Echo plugin.

The LP is still in the works and is slated to be completed later this year. Keep an eye out for updates on the official website.

http://holografique.tumblr.com and http://schematic.net"