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Dave Smith OB-6 Announced!

Dave-Smith-OB-6-Announced!

Dave Smith OB-6 Announced!

Dave Smith Instruments is excited to announce the OB-6, a new 6-voice synthesizer with an all-analog signal path and discrete VCOs and filters developed in collaboration with Tom Oberheim. Boasting a sound engine inspired by Oberheim’s original SEM (the core of his acclaimed 4-voice and 8-voice synthesizers), the new instrument is designed to provide true, vintage SEM tone with the stability and flexibility of modern technology.

Said Dave Smith: “Tom and I have been friends and friendly competitors since the late 1970’s. Back in the day, people were typically in either the Prophet or the Oberheim camp. Now, with the Prophet-6 out and doing so well, we thought it would be fun to combine our strengths and bring back Tom’s classic polyphonic sound, too — in a modern format.” Added Tom Oberheim: “A lot of people, myself included, have always felt that the SEMs had a certain uniquely big, organic sound unlike anything else. Working with Dave to make that sound widely available again with some modern touches and full programmability has been real a pleasure.”

The OB-6 features two discrete voltage-controlled oscillators (plus sub-oscillator) per voice, with continuously variable waveshapes (sawtooth and variable-width pulse, with triangle on oscillator 2). There is a classic SEM-inspired state-variable filter (low-pass, high-pass, band-pass, and notch) per voice. Voltage-controlled amplifiers complete the all-analog signal path. “The classic, bold SEM sound is all there,” said Oberheim.

Present also is X-Mod, with filter envelope and oscillator 2 as modulation sources (with bi-polar control). Destinations include oscillator 1 frequency, oscillator 1 shape, oscillator 1 pulse width, filter cutoff, and filter mode. The knob-per-function front panel puts virtually all parameters at a user’s fingertips. Toggling on the Manual switch enables live panel mode, in which the OB-6 switches to the current settings of its knobs and switches.

A dual effects section provides studio-quality reverbs, delays (including standard and BBD), chorus, and faithful recreations of Tom Oberheim’s acclaimed phase shifter and ring modulator. The effects are digital, with 24-bit, 48 kHz resolution, but a true bypass maintains a full analog signal path. Additionally, the OB-6 features a multimode arpeggiator and a polyphonic step sequencer with up to 64 steps (and up to 6 notes per step) plus rests. It allows polyphonic keyboard input and can sync to external MIDI clock.

The full-size, four-octave, semi-weighted keyboard is velocity and aftertouch sensitive. Said Dave Smith, “As with the Prophet-6, we made size a primary concern on the OB-6. It’s the right mix of power and portability and it fits right in on-stage or in the studio.” Added Oberheim,  “And of course, it’s got that unmistakable SEM sound that’s going to turn a lot of heads. ”

We are taking pre-orders now!

[button link=”http://awave.com.au/shop/keyboards-synthesizers/dave-smith-ob-6-analogue-synthesiser/” type=”big” color=”green”] Buy it here![/button]

 

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Moog Sub 37 Winner of Music Tech Gear of the Year 2015

Moog-Sub-37-Winner-of-Music-Tech-Gear-of-the-Year-2015

Moog Sub 37 Winner of Music Tech Gear of the Year 2015

It’s the big one, final award –  standout piece of music technology this year, the best hardware instrument, is the Moog Sub 37, here’s why…

The Moog Sub 37 was the surprise announcement of last year’s NAMM show and as we gear up for this year’s show, such was the stir created back then we’ve only just managed to get our hands on one.

I recall the unbridled enthusiasm of Moog’s Amos Gaynes – and bow down to that man’s synth knowledge – as he talked me through the features of a synth that had literally been thrown together for the show. But even then – and with just a couple of presets – it sounded incredible. So nearly a year on I finally have one…

Sub, Sub and More
You can’t help but compare and contrast with the Sub Phatty as they are both based on the same Moog sound engine. The Phatty was a synth which I had the pleasure of reviewing for MusicTech over 18 months ago. It had an amazing sound but the odd critic of it (narrow-minded ones, in my book) took it to task for its lack of screen and the fact it only had 25 keys and 16 presets, all of which have been remedied with the 37.

So we have a small LCD screen, a 37-note velocity sensitive keyboard with aftertouch, and a whopping 256 presets (176 filled, the rest empty for your efforts), so Moog has certainly been busy since that NAMM encounter.

You can step through these presets and banks either by using a simple cursor system on the screen (one button to select, two buttons to go up and down) or, more simply, press the Preset and Bank buttons at the bottom of the front panel and then select one of 16 using the 16 buttons. You can’t just step through banks as you have to select a preset after in order to make the bank change, but either method is easy and it’s nice to have the choice.

Architecture
Layout-wise, you’ll recognise the analogue signal path… up to a point. The 37 sticks very much to the ‘standard’ analogue synth layout but, as we’ll find, many of the sections seem to go that bit deeper – and in some cases a lot deeper.

There are two main oscillators, both with variable waveshapes; a sub oscillator (fixed with a square waveform); a noise generator; plus you can also take external signals in. That’s your sources taken care of, but like I said, the 37 takes what could be a standard set-up and gives it a twist.

In the case of the oscillators, you can operate the synth in Monophonic mode or Duo-Paraphonic mode.

Now you could simply summise from this that the 37 is like a duophonic synth, so you can play two notes at once, but it’s a little more involved than that. What it really means is that you can effectively play two different notes at once, both sharing the same filter and VCA. The different notes are represented by the oscillators but in true duophonic (polyphonic) synths each voice gets their own dedicated filter and VCA.

Basically, the bottom line is that Duo Mode is a great way to squeeze more out of less. You end up with some incredibly rich ‘polyphonic like’ sounds. And combined with the arpeggiator and sequencer (see the box over the page for more on those), these incredible sounds have some incredible movement, as we’ll see later…

More, More, More…
So we already have a twist on the normal, but there’s more. First, though, there’s a fairly standard Mixer and Filter section, although the latter does boast that Multidrive circuit (also on the Sub Phatty) that is placed between filter and amp for more dirt.

The envelopes (amp and filter) provide lots of note character and filter editing – how each operate over time, basically. A couple of little twists here include extended functions such as Delay and Loop switches (the latter of which effectively turns it into an LFO), all part of close to a dozen buttons split between each of the envelopes.

Modulation Madness
But it’s the double modulation section where we find even more drama, and possibly the Sub 37’s greatest sonic weapons. Modulation sources and rates are present and correct – use one of the five waveforms or filter envelope of each Mod – and the destinations include some of the more common ones you’ll find (Osc 1 Pitch, Osc 2 Wave, Filter, VCA Level, and more). All of these are easily switchable with six buttons for each destination.

The real beauty, however, is that you can program more sources (Amp Env, Constant ON, Sine LFO, Noise LFO, Osc 1 Pitch, Osc 2 Pitch, Seq Note, Seq Vel, and Seq Mod) and a lot more destinations – too many to list here but think ‘every function on the synth’ and you won’t be too far off. Want to have an LFO modulate the arpeggio rate for wonky results? No problem. You can pretty much modulate what you want, taking this synth way beyond the norm.

Best of all, the process is easy – just hit the Controllers button which opens up a (small) menu of sources and destinations on screen and then scroll through the options in alphabetical order. OK, a bigger screen would have been great here but there’s often a couple of ways of doing things. We’ve mentioned the two preset management methods, and here you also get a fine-tune dial to more easily navigate through modulation parameters.

And to have this modulation flexibility in your sonic cannon is amazing and possibly a little overwhelming for some. My advice is to just play: modulate the obvious first and then lift the lid on the options and explore the potential at your own pace.

These added extras – in each section of the synth – obviously give the 37 a great deal of sonic flexibility, and while some of these functions were available on the Sub Phatty they were effectively hidden a layer down, so to have them in front of you like this is a blessing. So what does this all mean sonically. Time to find out…

Tone on the Range
The first thing that is very evident when you step through the sounds is how well the programmers have utilised Duo-Paraphonic mode. Often, playing one single note gives massive results – like a polyphonic chord on many other synths – and when using the arp, one part of the note suddenly veers off and leaves the other one behind.

Fans of Moog’s more standard sounds won’t be disappointed here: I’d say there’s a fairly even split between lovely classics, including lots of throbbing basses and Kraftwerk-ian wonder, and modern or off-the-wall stuff that utilises the Duo mode very well. As always with synths and presets, my method of rating them is simple: do they inspire you to go off and make music? The answer here is nearly one out of every two did just that, which is about as good as it gets.

Some of the other highlights include bass sounds with a load of sweeping movement, and other bass sounds with melody provided by the sequencer where you think ‘just add some beats and you’re there’ – especially in the case of the Just Add Kick Drums preset!

Indeed, my only problem was trying to tear myself away from inspirational note sequences I was playing and could quite easily have turned into full tunes were it not for the fact that I had to write this wretched review!

Genres that Sub 37 is aimed at? Well there’s a fair amount of aggression as you might expect, so darker forms of techno, deeper forms of house and dubstep; big bass for drum ’n’ bass.

I dare say the same people who moaned about the lack of screen on the Sub Phatty will moan about the size of screen on the 37. Personally I think producers spend too much time looking at all sorts of screens these days rather than actually listening to what they are creating and how their interaction with an instrument affects the results.

With a machine like the 37 you interact to your heart’s content, screen or not, just dialling, connecting unusual sources and destinations and, more importantly than anything, learning. OK, the sound is more important but luckily this beast oozes quality at every turn, following solid analogue formulae at one instance and then bizarre twisting snake sonics the next.

Click Here for the complete visual overview of the Moog Sub 37

Beware, you will lose a day or two of your life just playing. And make sure you record everything as you will come up with wonderful music.

There’s only one slight problem. It’s called the ‘Tribute Edition’ as it’s a tribute to Moog Music’s founder, Dr. Bob Moog. It is also a limited edition. Now, Moog would be foolish not to keep offering some version of the 37 in the future, but stocks are dry for a couple of months and this could mean you will have trouble buying one.

If you manage, however, you will be the proud owner of one of the best synths in Moog’s prestigious history. It’s one that takes the best bits of the Phatty range and the Sub Phatty itself, irons out any issues and also treads an individual path with far more options.

And that last conclusion, which as I write (just) in the 50th anniversary year of the founding of the company, has to be the best tribute to the forefather of synthesizers.

And I almost forgot: not important to some, but it looks stunning too.

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iConnect AUDIO4+ Get Connected

iConnect AUDIO4+ Get Connected

Nominated for Namm TEC 2016

Designed to be the hub of your modern recording rig, the iConnectivity iConnectAUDIO4+ USB audio interface allows you to seamlessly integrate your computer and iOS device, high-resolution audio, MIDI, USB, mics, instruments, speakers, and headphones. You can even connect two iOS/PC/Mac computers to the iConnectAUDIO4+ simultaneously! You can also use this innovative audio interface to transform your iPad into a touch-controlled plug-in in your DAW or to send MIDI and digital audio channels back and forth between two computers. Thanks to the iConnectAUDIO4+, all of your gear becomes one unified, streamlined music machine! At Awave, we think this is one slick unit. Grab yourself an iConnectivity iConnectAUDIO4+ USB audio interface!

Get More Info Here

iConnectivity iConnectAUDIO4+ USB 2.0 Audio Interface Features at a Glance:

  • Multi-host device ports let you use 2 computer devices (Mac/PC/iOS) at the same time
  • Audio passThru routes audio digitally between computer devices
  • Host port for connecting up to 8 MIDI peripherals (with class-compliant devices connected to a powered hub)
  • 4 XLR-1/4″ TRS combo analog inputs, each with individual 48-volt phantom power
  • 4 x 1/4″ TRS balanced analog outputs for connecting monitors and outboard gear
  • 1 x 1/4″ headphone output with independent mix
  • 29 routable MIDI ports: Mac, PC, iOS, 5-pin MIDI DIN, and class-compliant USB MIDI devices
  • High-resolution audio delivers up to 24-bit/96kHz AD/DA conversion
  • USB audio and MIDI class-compliant – eliminates need for drivers
  • iConfig software (Mac, Windows, iOS) makes it simple to set up filtering/routing/merging
  • Charges an iOS device
  • Includes Lightning-to-iConnectivity USB-B in-line cable and USB-A to USB-B cable
  • Power supply included

Put the iConnectivity iConnectAUDIO4+ USB audio interface at the center of your recording rig!

Tech Specs

Computer Connectivity USB
Form Factor Desktop
Simultaneous I/O 4 x 6
A/D Resolution 24-bit/96kHz
Analog Inputs 4 x XLR/TRS Combo
Analog Outputs 4 x 1/4″ (Outputs), 1 x 1/4″ (Headphones)
Number of Preamps 4
Phantom Power Yes
MIDI I/O In/Out/USB
Depth 5.51″
Width 8.43″
Height 1.46″
Weight 2.13 lbs.
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Szikla Prodigal Dual Channel Strip and Monitor Station

Szikla-Prodigal-Dual-Channel-Strip-and-Monitor-Station

Szikla Prodigal Dual Channel Strip and Monitor Station

The Prodigal Dual Channel Strip is a high-end professional solid state analog audio input chain. It can be used in stereo, or dual mono, with both channels configured independently. Each channel consists of a bandwidth adjustable discrete transistor preamplifier, equalization, FET de-esser and FET compressor/limiter, with simultaneous peak and VU metering of input and output, as well as selectable gain reduction metering for the de-esser or compressor. The unit also features a fully independent monitor station and powerful headphone amplifier.

Developed in collaboration with Australian multi-award winning Producer/Engineer David Nicholas (US & UK #1s with INXS, Elton John, Bryan Adams, Pulp), the Prodigal Dual Channel Strip & Monitor Station is designed to make your work sound world class, whether in a pro studio, on location, or in a home recording environment.
The Prodigal Dual Channel Strip puts all the best input chain equipment in one box, in stereo, to produce recordings of the finest quality in an artist’s living room, or an engineer’s home studio. The design goal was: it should sound like angels beating you in the head with fluffy pillows. Three original prototypes were built, developed and improved over several years, while being trialled at the highest professional level. Prodigal tracks began appearing on many albums, including some top 20s and an Australian #1, all before a single production unit had been produced.

The Prodigal is comprised of 2,200 component parts, 10 circuit boards, 3 power transformers, and truly amazing sound. With dual channel processing and a built-in monitoring system, the Prodigal is versatile and portable, needing only the addition of a laptop computer, ADC, and some powered speakers to function as the hub of a compact, premium quality, professional recording setup.

The preamplifier is a silky smooth, low current, low noise discrete transistor design, using hand-matched components. It accepts mic and line signals via the main rear XLR inputs, or high impedance instruments and additional line level devices via the front panel TRS jack inputs. Phase reversal and a 20dB pad is available for all inputs, as well as P48 for microphones. The 20Hz to 20kHz bandwidth is sweepable to 200Hz at the low end, and 2kHz at the high end, to help eliminate any undesired outband audio prior to EQ and dynamics processing.

The equalization section provides a tight and responsive single band of sweepable cut or boost, a de-mud filter to attenuate anything muddy and un-musical at 300Hz, and an air filter to accentuate edges and add spaciousness by boosting above 10kHz. The slope of the air filter has been specially controlled to avoid any dip below the transition frequency, and any phase-shift above.

The de-esser reduces sibilance in vocals, and high frequency transients such as pick noise on guitars. It applies natural sounding FET limiting to all frequencies above a sweepable crossover point. The Hz control sets that point, and the ess control sets the amplitude threshold above which limiting occurs. This threshold level is continuously and automatically varied up or down in response to a fast-averaged sample of the full-bandwidth signal. This helps keep the amount of de-essing consistent regardless of program volume or dynamics. When de-essing occurs, the limit LED glows with varying and proportional intensity. When more monitoring is desired, the output meter can be switched to display de-esser gain reduction. Left and right channel FETs have been hand-matched to preserve stereo imaging.

The compressor/limiter transparently reduces dynamic peaks in program material. It applies ultra fast FET soft-knee limiting with faithful harmonics and sparkling linear phase. The compress control varies compression ratio and threshold together so that more input results in more compression, with peaks maintained at around -12dBFS. Great for airy vocals, or tight, level bass tracks, the Prodigal compressor loves to be driven super hard. When limiting occurs, the limit LED glows with varying and proportional intensity. When more monitoring is desired, the output meter can be switched to display compressor gain reduction. Left and right channel units may be linked, and FETs have been hand-matched to preserve stereo imaging.

The LED level meters display input and output levels in –dB Full Scale. Both meters simultaneously display VU as a solid bar, with an instantaneous peak level dot riding above. Peak hold is 3 seconds with a slow decay.

The output meter can be switched to display gain reduction levels for either the de-essers or the compressors. Gain reduction is displayed directly as a solid bar and no additional ballistics have been applied.

The monitor station provides central control of the listening environment. One of its inputs is fed directly from the Prodigal Channel Strip mix bus, but apart from that it may be thought of as an entirely separate device. Its principal function is to mix local audio at zero latency with playback from your DAW or other recording device. The resulting mix is then sent to the headphone output on the front panel, and/or via the studio master fader to a studio monitor output on the rear panel. The second studio monitor output might be connected to a sub-woofer or other speakers, an additional headphone amplifier, or used to send a sub-mix to another recorder. A second playback input has been provided for other audio sources, such as a CD player or tape machine. A third input has been provided on the front panel, specifically for playback from a phone or personal music player headphone outlet.

Features

  • solid state analog recording chain
  • stereo/mono switchable
  • zero latency monitoring
  • studio, location or home use
  • tracking, mixing or mastering applications
  • mic, line and instrument inputs
  • hand-matched transistors
  • EQ and bandwidth adjustment
  • EQ “mud” and “air” filters
  • FET de-esser
  • FET compressor/limiter
  • peak dot and VU bar metering
  • gain-reduction metering
  • powerful headphone amplifier
  • 2 x studio monitor outputs
  • 2 x playback inputs for DAW, tape, CD, etc
  • playback input for smart-phone
  • 3 rack unit enclosure
  • international power supply

Go to Szikla website

Products In brand

 

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Slate Digital VMS Virtual Microphone System Like Owning a Complete Mic Locker

Slate Digital VMS Virtual Microphone System Like Owning a Complete Mic Locker

Mic Modeling Hardware/Software Hybrid System with Large-diaphragm Mic, Transparent Preamp, and Plug-in – Mac/PC AAX, AU, RTAS, VST

Very few recording engineers ever get to own all of the microphones or preamps they’d like to have, but with the Slate Digital VMS Virtual Microphone System, getting your hands on the sounds you want has never been as easy or as affordable. The system includes an extremely transparent microphone and a sonically neutral preamp. Coupled with Slate’s amazing new VMS microphone/preamp modeling software, this gear puts a world-class mic locker in your recording rig. Suffice it to say, everyone here at Sweetwater is absolutely excited about this incredible new technology.

Breakthrough hybrid modeling puts a world of mics and preamps in your studio!Setting up for a vocal overdub session? How would you like access to a coveted German large-diaphragm condenser mic from the early 1960s? No problem. Why not pair that with the channel strip from a classic ’70s British console? Done. Using advanced physical modeling and state-of-the-art digital signal processing techniques, this hybrid microphone and preamp modeling system gives you access to virtually any signal path tone you can imagine.

The system includes an extremely transparent and totally flat ML-1 large-diaphragm condenser microphone. The sonically neutral VMS ONE Linear Preamp ensures minimal coloration, giving you a clean slate for preamp modeling. The VMS plug-in software lets you completely change the tonal characteristics of your recording, even after the fact. Choose from a massive collection of classic vintage mic and preamp models, as well as unique models for advanced recording techniques. You can re-create countless iconic recording chains most engineers can only dream of getting their hands on!

Slate Digital VMS Virtual Microphone System Features:

  • A hybrid microphone and preamp modeling system that gives you access to virtually any signal path tone you can imagine
  • System includes an extremely transparent and totally flat ML-1 cardioid condenser microphone
  • Totally neutral VMS Dual Preamp Converter ensures minimal coloration, giving you a clean slate for preamp modeling
  • VMS plug-in software lets you completely change the tonal characteristics of your recording, even after the fact
  • Choose from a collection of classic vintage mic and preamp models as well as unique models for advanced recording techniques
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MOOG END OF A VOYAGE FINAL PRODUCTION OF ICONIC SYNTHESIZER

Moog-Voyager

MOOG END OF A VOYAGE FINAL PRODUCTION OF ICONIC SYNTHESIZER

After 13 years & 14,000 instruments, production of the Minimoog Voyager is coming to an end. Moog will lovingly handcraft 600 final units of the Minimoog Voyager at their factory in downtown Asheville, NC before saying goodbye.

The Minimoog Voyager is the foundation of the modern Moog synthesizer. When it went into production in 2002, it signaled the rebirth of Moog Music, and the re-emergence of the analog synthesizer as a viable creative tool in our increasingly digital world. The design philosophy behind the Minimoog Voyager set the pattern for all of Moog’s subsequent work: where beauty, high mechanical quality, and sonic excellence are equally paramount in the service of musical ideas. The Minimoog Voyager is an embodiment of this ideology, and a wellspring of inspiration for Moog’s instrument design now and into the future.

Most importantly, the Minimoog Voyager is the last synthesizer that Bob Moog designed from start to finish. His DNA is in the circuits of this machine, and it is the culmination of Dr. Moog’s life’s work, which was dedicated to electronic musical instrument design. 


Trent Reznor in his studio 2015.

Recently, Moog had the honor of sitting down with Nine Inch Nails’  Trent Reznor, the genre-defining music innovator, master synthesist and Academy Award winning composer. In the interview, Reznor recounts his intimate relationship with the Minimoog Voyager, which he feels “is the archetype of what a synthesizer is and should be.” Through personal stories, Reznor reveals his decades long history with the instrument and how it has shaped the way he views and creates music. The video is set to an original score by British electronic music producer, The Haxan Cloak, co-producer of Bjork’sVulnicura. Befitting the occasion, the artist used a Minimoog Voyager and a prototype Mother-32, Moog’s newest synthesizer, to create the score.

Over the course of its 13-year production run, the Minimoog Voyager has become one of the most iconic analog synthesizers in history. Its impact on modern music can be heard on countless records and seen on stages around the world with artists such as Stevie Wonder, Dr. Dre, Radiohead, Herbie Hancock, Alicia Keys, Kanye West, Daft Punk, Bjork and many more.

As a thank you to existing Minimoog Voyager owners, Moog is offering 20% off on allMinimoog Voyager upgrades, modifications and calibrations to domestic customers until the end of the year. Contact techsupport@moogmusic.com for more information.

The Minimoog Voyager is still available in limited quantities at stocking dealers in Performer and Electric Blue versions while supplies last. For pricing and availability, please visit www.moogmusic.com/dealers.

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AJH Synth MiniMod System Unrivalled Vintage Analogue

AJH-Synth-MiniMod-System-Unrivalled-Vintage-Analogue

AJH Synth MiniMod System Unrivalled Vintage Analogue

We have recreated what is probably the most epic and fattest sounding portable monophonic synthesiser of all time and adapted it to the Doepfer Eurorack modular synthesiser format. First and foremost the MiniMOD had to replicate the sound of the vintage Model D as closely as possible, so we have used exactly the same internal circuitry and every module runs at the same internal signal and control voltage levels as the original.

The MiniMod is based on the circuitry of most desirable Model D of all, the very early R A Moog Mk1 model with its unique and sweet sounding VCO design, the core of which uses discrete transistors only, with no integrated circuits. We have also based the transistor ladder VCF on the early design, which uses fully matched transistors throughout. Less than 300 Mk1 Model D’s were built with this very early VCO design out of a total of around 17,000 which were produced between 1970 and 1981.

The Minimod has been more than 18 months in development, thousands of hours have been spent analysing the original Model D using both real world measurement and computer based Spice circuit simulation programs, we have carefully selected components and built many prototypes before we were happy that we had done justice to the original sound and circuit behaviour.

MiniMod Eurorack modules comprise separate VCO, VCF, VCA, Dual Contour and Glide/Noise for maximum flexibility so that they can be easily integrated into a larger Eurorack format Modular synthesiser to tap into the endless control and expansion possibilities – we have removed all of the control limitations of the “closed system” of the original Model D synthesiser so that the sounds that you can now create are limited only by your imagination and the other modules that you add to your system. All of the modules can be used independently in your existing Eurorack system – want to just try a VCF or VCA with your own modules? No problem, all of the modules are compatible with the most common Eurorack audio and control voltage standards and should integrate seamlessly into your system.

MiniMod modules are available in two styles, Vintage Black or Classic Silver. They are electrically identical, only the cosmetics are different.

 

 

 

We have added lots of extra features, if it was possible to add extra versatility without compromising the sound and functionality then we have done so.
Here are just some of the extra features that we have included:

VCO: – added External Sync (2 Types), Linear and Exponential Modulation, fully adjustable PWM instead of fixed  pulse widths and voltage controlled PWM.

VCF: – added Voltage Controlled Emphasis using a vactrol and have added an extra overdrive capability, switchable using an internal jumper.

VCA: – added voltage control for each individual VCA (yes, the original design had two VCA’s in series!), along with an overdrive capability, switchable using an internal jumper.

Dual Contour: –  added individual  manual trigger buttons for both envelopes and envelope status LED’s

Glide + Noise: – added glide up only and glide down only modes in addition to the standard glide mode. We have also increased the range of the glide from the original 44 notes to 5 octaves.

A full MiniMod system would comprise 3 x VCO, 1 x VCF, 1x VCA, 1 x Dual Contour, 1 x Glide-Noise and this will take up 84hp of Eurorack space, so that it will fit into 3U of rack space with a suitable Eurorack frame and power supply (not supplied) Just add a Midi/CV converter and keyboard for a fully functional BIG and FAT monophonic synthesiser. Below is an example of how to patch a 3 VCO sawtooth sound with glide enabled on all VCO’s.

 

Ever wondered how obese the Model D would have sounded with five VCO’s instead of three? – Easy, add two more VCO’s and a mixer and you can patch it up. Do you want to have a triangle wave  LFO modulating  VCO 2  for vibrato while at the same time have a different frequency triangle wave modulating the PWM width on VCO 1? Easy, just add two Eurorack compatible triangle wave LFO’s and you’ve got it. How about cross modulating VCO2 with VCO3 and feeding back some of the output back through the filter to overdrive it? Or, how about mixing the sharktooth and PWM waveforms together from a single oscillator?– easy, just patch both VCO outputs into a mixer and patch the output of the mixer to the VCF. If you want to go further and crossfade between the two waveforms then use a Voltage controlled panner module and a triangle LFO or other modulation source instead.

This is but the tip of the iceberg, the sonic possibilities are almost limitless in the Eurorack modular world!

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SPL CREON High Performance USB Audio-Interface & Monitor Controller

SPL-CREON-black-and-white-version-view

SPL CREON High Performance USB Audio-Interface & Monitor Controller

With or without DAW

Creon is designed to operate with your Digital Audio Workstation. But you can also do a lot with it as a stand-alone device: plug in an instrument and play. Connect a microphone and sing along.

Mix your own monitor signal with playback or guide tracks from any source. What you are playing is not bad? Turn on the DAW and record it.

Recording and DAW return channels, Inputs and Outputs

  • 2 microphone inputs (XLR)
  • 1 instrument input (TS)
  • 2 balanced line inputs (TRS)

Two channels can be recorded simultaneously

Playback Channels

  • 2 Channels via USB (DAW 1-2)

Analog Inputs (Sources)

  • 2 TRS line input channels (balanced)
  • 2 RCA line input channels (unbalanced)

Digital Input

  • 1 USB

Analog Output

  • Speaker | Main Out : 2 XLR sockets (L/R, balanced)
  • 1 headphone socket (TRS)

Digital Output

  • 1 USB

Hardware

  • USB2 audio system
  • High-performance, 32 bit microcontroller
  • 24 bit audio processing
  • 2 input and 2 output channels, up to 192 kHz
  • Sample rates: 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz or 192kHz
  • Fixed master clock for lowest jitter
  • True 1:1 audio, no sample rate conversion or clock recovery

Software

  • Windows XP/7/8/10, Mac OS X 10.6 or higher, iOS 6 and higher
  • Multi-application mode, simultaneous ASIO and/or WDM playback
  • Low-latency Mac OS X (ASIO-like) HAL plug-in driver
  • Low-latency Windows ASIO and WDM driver
  • Driver feedback synchronization to hardware clock
  • ASIO control panel for Windows and Mac
  • USB Audio Class 2.0 compliance (asynchronous mode)

FAQ

Do I need to install software to operate Creon?

No. All controls and functions you need to have at hand are available as hardware controls and switches.

Do I need to have the DAW connected to work with Creon?

No. All analog functions such as mic and instrument preamps, line inputs, monitoring, sources listening, headphones and speakers are fully operational without a DAW connected. If you want to record you need to connect the DAW.

Which operating systems is Creon compatible with?

Windows XP/7/8/10, Mac OS X 10.6 or higher, iOS 6 and higher

Which DAW host programs has Creon already been tested with?

  • Logic 9
  • Logic X
  • Pro Tools 10, 11
  • Samplitude Pro X
  • Reaper 64
  • Cubase 5, 6, 7
  • Nuendo 6
  • WaveLab 7, 8

Can Creon be powered through the USB bus?

Nein. No, Creon requires its own power supply at all times.

Which AD/DA converters are used in Creon?

High-quality, professional-grade analogue to digital and digital to analogue converters are

used which provide a signal to noise ratio of 115dB.

What sample rates does Creon support?

44.1, 48, 88.2, 96, 176,4, 192 kHz.

What bit depth are the Creon AD/DA converters?

The AD/DA converters are 24bit.

How do I select inputs?

Line 1 has preference over Mic 1,

Line 2 has preference over Mic 2.

Instrument has preference over Mic 2 and Line 2.

Where is the mono switch?

The Creon does not have a mono switch for the speaker outputs, because mono summing can easily be achieved within the DAW by inserting the free bx_solo plug-in into the master output buss. Plugin Alliance offers a bundle of four free plug-ins, which includes bx_solo, here

What level does the Dim button attenuate by?

When the DIM button is depressed, the analog outputs are attenuated by 20dB.

Do I need an app to run the Crimson on an iPad?

No. Creon is a hot-plugging Class 2 device and does not need a special driver or app to operate. An original Apple camera adapter is required for connection.

Specifications

Input Sockets

  • Mic Inputs 1 -2: XLR
  • Line Inputs 1–4: 6,3mm TRS
  • Instrument Inputs 3–4: 6,3mm TRS
  • Source 1 Input: 6,3mm TRS
  • Source 2 Input: RCA

Output Sockets

  • Speaker Out | Main Out: XLR
  • Headphone Outputs: 6,3mm TRS

Input Impedances

  • Microphone Input: 10 kOhm
  • Line Inputs: 10kOhm unbalanced, 20kOhm balanced
  • Instrument Inputs: 1,1 MOhm
  • Source 1 Input: 10kOhm unbalanced, 20kOhm balanced
  • Source 2 Input: 10kOhm

Output Impedances

  • Speaker Out | Main Out: 75 Ohm unbalanced, 150 Ohm balanced
  • Headphone Outputs: 33 Ohm

Maximum Input Levels

  • Mic Inputs: +14,5 dBu (Gain fully left)
  • Line Inputs: +22,5 dBu
  • Instrument Inputs: +24,0 dBu (Gain fully left)
  • Source 1 Input: +22,5 dBu
  • Source 2 Input: +22,5 dBu

Maximum Output Levels

  • Speaker Out | Main Out: +22,5 dBu

Microphone Preamplifiers (balanced, XLR)

  • Gain Control: +7dB – +60dB
  • Frequency Response: 10Hz – >200kHz
  • Noise (unweighted, 30dB gain, input termination 150 Ohm): -90 dBu
  • Equivalent Input Noise: -128 dBu
  • Common Mode Rejection Ratio: < -70 dBu
  • THD+N Ratio@1kHz (30dB gain, input termination 150 Ohm): 0,003 %
  • High Pass Filter: fg = 80Hz, 6dB/Oct.
  • Phantom Power: 48Volt

Instrument Input (Unbalanced, 6,3mm TS)

  • Gain Control: -6dB – +31dB
  • Frequency Response: 10Hz – >200kHz
  • Noise (unweighted, unity gain, input termination 100 kOhm): -85 dBu
  • THD+N Ratio@1kHz (unity gain, input termination 100 kOhm): 0,005 %

Line Input (balanced, 6,3mm TRS)

  • Frequency Response: 10Hz – >200kHz
  • Noise (unweighted, unity gain, input termination 600 Ohm): -95 dBu
  • Common Mode Rejection ratio: < -60 dBu
  • THD+N Ratio@1kHz (unity gain, input termination 600 Ohm): 0,002 %

Source 1 Input (balanced, 6,3mm TRS)

  • Frequency Response: 10Hz – >200kHz
  • Noise (unweighted, unity gain, input termination 600 Ohm): -95 dBu
  • Common Mode Rejection ratio: < -60 dBu
  • THD+N Ratio@1kHz (unity gain, input termination 600 Ohm): 0,002%

Source 2 Input (unbalanced, RCA)

  • Frequency Response: 10Hz – >200kHz
  • Noise (unweighted, unity gain, input termination 600 Ohm): -90 dBu
  • Noise (unweighted, -10dBV, input termination 600 Ohm): -85 dBu
  • THD+N Ratio@1kHz (unity gain, input termination 600 Ohm): 0,003 %
  • THD+N Ratio@1kHz (-10dBV, input termination 600 Ohm): 0,003 %

Headphone Outputs (stereo, 6,3mm TRS)

  • Frequency Response: 10Hz – >200kHz
  • Power@0dBu: 47 Ohm load: 13 mW/300 Ohm load: 1,7 mW/600 Ohm load: 1,0 mW
  • Power max: 47 Ohm load: 670 mW/300 Ohm load: 265 mW/600 Ohm load: 150 mW
  • THD+N Ratio@1kHz (Power@0dBu): 47 Ohm: 0,0026 %/300 Ohm: 0,002 %/600 Ohm: 0,002 %

AD Conversion

Dynamic range:

  • 44.1/48kHz: 128dB
  • 88.2/96kHz: 123dB

THD+N ratio @ 1kHz (-1dBFS):

  • 44.1/48kHz: 0,002%
  • 88.2/96kHz: 0,00

0dBFS = +15 dBu

DA Conversion

Dynamic range:

  • 44.1/48kHz: 124dB
  • 88.2/96kHz: 122dB

THD+N ratio @ 1kHz (-1dBFS):

  • 44.1/48kHz: 0,003%
  • 88.2/96kHz: 0,004%

Power Supply

  • External Power Supply, Input 100–240V AC/50–60 Hz; Output 12V DC/1,5A
  • Internal Power Supplies: Audio: +/-17V, Digital: +5V and +3,3V
  • Power Consumption: 16,8 Watt

Dimensions and Weight

  • H x W x D in mm: 67x330x212
  • Weight: 2,7 kg
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ELEKTRON Introduces OVERHUB

ELEKTRON-Introduces-OVERHUB

ELEKTRON Introduces OVERHUB

Introducing Overhub

A new Elektron product is being released today! Overhub is the perfect USB hub solution for the modern music studio. Seven USB ports and USB 3.0 technology ensure both great connectivity and support for fast data transfers. Overhub allows simultaneous operation of up to 7 Overbridge devices, it is fully compatible with all types of USB peripherals and it works right out of the box without having to install any drivers. For ultimate USB data transfer performance Overhub features Multi TT technology, warranting highly reliable and efficient merging of multiple USB data streams.

Bags of Fun

The ECC-2 bags are now back in stock! With the sleek new logo printed right where it is supposed to be: In plain view for every envious eye that sees you pass by, making it clear to all that you are safely packing the most  awesome musical gear ever devised. These convenient carry bags fit one tabletop instrument and come bundled with one Protective Lid PL-2 each.

The EGB-1 is available as well. This robust and spacious, yet lightweight gig bag will, likewise, be a source of some serious envy. If you see somebody with this snazzy thing over their shoulder, it means they are packing either an Analog Keys, or up to three tabletop instruments, strapped secure and gently cushioned inside. Lids sold separately.

 

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MOOG MUSIC Living with the Moog Sound Lab

MOOG-MUSIC-Living-with-the-Moog-Sound-Lab

MOOG MUSIC Living with the Moog Sound Lab

Dummy Mag’s latest series documents six artists who will be cohabiting with an abundance of Moog analog equipment in a special bedroom at the Ace Hotel London. Over 4 days and nights, the artists will live amongst the Moog Sound Lab UK, culminating their experience with a public performance in the Ace’s basement venue, The Miranda.

Andy Blake, David Colohan, Iain Forsyth & Jane Pollard share their once-in-a-lifetime experiences below.

 

Andy Blake went into the Moog Sound Lab UK and literally ate, slept, dreamt Moog for four days in an Ace Hotel suite. Sleeping in the same room as the set-up, Andy gained unbarred access to the kit, enabling him create with a limitless palette of sounds whenever he pleased.Best known for his Cave Painting releases and the showers of hedonistic indulgence at the covert World Unknown parties he runs, Andy didn’t disappoint. Sat on a piece of carpet in Ace’s basement space Miranda, he operated the Moog stacks with precision, tapping in to the analog spirit of the instruments and becoming one with their electronic soul. As Andy says, “nothing is happening, but everything is happening”.

 

 

 

United Bible Studies founder David Colohan was the second artist to spend four days in the Ace Hotel x Moog Sound Lab and, he quickly set to work.A stark contrast to the placid countryside he is used to in his native Ireland, being placed in a hotel room in the middle of busy Shoreditch High Street didn’t phase David. It was the “perfect living arrangement” for his task which allowed him unbridled night-and-day access to the powerful Moog set-up. “The kind of machines you dream about playing” David states before progressing into his moving performance which featured the haunting yet reassuring drone of the Theremin.

 

 

With very little experience as music makers, visual artists Iain Forsyth and Jane Pollard were an eagerly anticipated addition to the Moog Sound Lab.Pulling off the unexpected is where Ian and Jane shine the brightest. Their performance bring s to life a dream tale of the perfect night’s sleep, weaving a dream-within-a-dream narrative over and under the haunting rumbles and clashing crescendoes resonating from the intricate Moog set up. Drawing on their background in filmmaking, the duo crafted a lushly cinematic experience.