Alex Ball
Making a Mellotron Library in 2021
updated
0:00 Intro
0:49 Wendy Carlos
2:04 Tron - The Instruments
4:44 The Recording Rig
6:39 Cue Breakdown - Tron Theme
9:10 Cue Breakdown - Tron Scherzo
10:22 Cue Breakdown - We've Got Company
11:40 Use of Choir
12:49 Other Music
13:46 Summary & Thanks
Wendy Carlos official page: wendycarlos.com/+tron.html
D.A Wilson: hideawaystudio.net
Synergenesis: hideawaystudio.net/2014/09/26/hideaway-studio-proudly-presents-synergenesis
Benge / Memetune:
youtube.com/@memetunestudio
In this video, we have a listen to the tour patches stored on the instrument and get a little glimpse into how Genesis did things in front of stadiums full of adoring fans.
Huge thank you to Andrew Ward for the loan of this historic instrument.
Andrew Ward: instagram.com/arpquadra
For music from my videos, stems, sample packs and Q&As, please consider my Patreon: patreon.com/AlexBallMusic
0:00 Intro
0:27 Patch 1: Invisible Touch
2:51 Patch 2: Home by the sea Pt 1
4:11 Patch 3: Home by the sea Pt 2
5:33 Patch 4: Domino
6:48 Patch 5: In the cage Pt 1
7:42 Patch 6: In the cage Pt 2
8:24 Patch 7: Mama
9:46 Patch 8: Follow you, follow me
10:31 Patch 9: Watcher of the skies
11:37 Quick Fire: Carpet Crawlers, Abacab, MB
13:04 Outro
In a nutshell, I got hold of an E-mu SP-12 from the 80s and then discovered that a friend, Andrew Ward, has some of Phil Collins and Mike Rutherford's original floppy discs for it that are part of his Genesis equipment collection.
Chris Poacher leant us a floppy drive and I fired up the discs, possibly for the first time in over 30 years. In this video, we find out what I discovered!
0:00 Intro
1:01 Extracting the sounds
1:46 Phil Collins custom samples
3:40 Phil Collins song data
4:14 It's alive!
6:24 Mike + The Mechanics custom samples
7:55 Bonus Sounds
8:28 Summary
9:20 Fake Genesis Jam
Andrew Ward: instagram.com/arpquadra
Chris Poacher: instagram.com/cpmagneticmedia
Patreon: patreon.com/AlexBallMusic
0:00 Intro
0:28 The Wah-Wah Pedal
1:21 Basic Wah
2:49 Double Wah
4:47 Fuzz Wah
5:40 Summary
6:18 The Track
Even though Alex Ball is a totally different guy to Geert, you may consider supporting him on Patreon where you can get music from the videos, stems of the music from the videos, sample packs and take part in monthly Q&As.
patreon.com/AlexBallMusic
1) What's the difference between the Juno-X and Jupiter-X?
2) Can they make their own sounds that aren't recreations of old sounds?
In this video I answer those questions in a practical way.
0:00 Since 1973 Song
0:35 What is this video about?
1:39 Jupiter-X Example 1
4:55 Juno-X Example 1
6:23 Jupiter-X Example 2
8:24 Juno-X Example 2
11:00 Jupiter-X Example 3
12:41 Summary
13:20 Feature Track: Let It Happen
This video was sponsored by Roland.
Huge thanks to Harry Axten for the loan.
hkadesign.org.uk
0:00 Intro Jam
1:05 The MXR Drum Computer
1:37 Face Review
2:08 What is it +Harry Axten Midi
3:47 Demo 1: Know what I mean 'arry?
4:46 The tuning problem
6:04 Demo 2: Drum Computer
7:00 A later success
7:47 Sample Pack
8:27 Outro Jam
Patreon: patreon.com/AlexBallMusic
I've played most of them and one always stood out as my favourite having borrowed one some years ago. Unfortunately they're very rare and hard to find, but after a lucky encounter I managed to finally get one.
0:00 Intro Jam
1:29 The Roland SH-7
2:06 Demo 1: Bit Coin
3:21 Oscillators, Ring Mod & Mixer
6:23 Demo 2: Remix Machine
7:52 Filter, Mod, Envelopes
10:39 Demo 3: Stop Continue
11:48 Why is it rare?
13:03 Who used it?
13:40 Outro Jam
Get the music, stems of the music, sample packs and take part in monthly Q&As here: patreon.com/AlexBallMusic
Huge thank you to everyone who helped make this video possible, especially my Patrons.
0:00 Intro
1:33 Tutorial 1a: “Poison” Riff Sound
8:03 Tutorial 1b: “Poison” Lead Sound
12:10 Tutorial 2: “Smack my bitch up” Riff Sound
18:27 Tutorial 3: “Claustrophobic Sting” 303 Riff
21:39 Tutorial 4: “Voodoo People” Riff Sound
26:25 Tutorial 5: “Firestarter” Breakdown FX Sound
33:40 Tutorial 6: “Out of Space” String Sound
36:33 Summary
A "colossus" thank you to Tom at Analogue Solutions for the very generous loan of this remarkable instrument.
colossus-synth.com/colossus
Thank also to Simon and Eli for their help with the video.
For my music, stems of my music, sample packs, Q&As and to help keep this channel going, please consider my Patreon:
patreon.com/AlexBallMusic
0:00 Intro Jam
1:07 Colossus
2:11 Demo 1: Fireflies
3:47 Synthi 100
4:28 Whistle Stop Tour Pt 1
7:34 Demo 2: Heft Side Brain
8:52 Whistle Stop Tour Pt 2
10:07 Demo 3: Peggio
11:31 The Colossus in the room
12:37 Demo 4: Helix
Huge thank you to those who helped solve the riddle!
Analogue Solutions for the loan of their MS-20:
analoguesolutions.com
Don Muro for the photos and information:
youtube.com/@jdwallpub
flannelgraphrecords.bandcamp.com/album/anthology
Hideki Ishikawa at the Nakatsugawa Korg Museum and Fumio Mieda:
instagram.com/korg_museum
Elliot Perry: instagram.com/fellinthetrap
0:00 Intro Jam
0:53 The Story Goes
2:25 Something like this
3:16 Things get interesting...
6:25 Outro Jam
Thanks to Tom for the loan!
Patreon for the music from my videos, the stems of the music from my videos, sample packs and monthly Q&As: patreon.com/AlexBallMusic
One thing I neglected to mention was the MXR brand was later aquired by Jim Dunlop who have kept it going since the late 80s.
jimdunlop.com/products/electronics/mxr
Tony Gambacurta's perspective on inventing the M-129 Pitch Transposer: http://digitonylab.com/Documents/The-MXR-model-129-131.pdf
Big Country discuss their use of it: http://www.muzines.co.uk/articles/country-life/8600
0:00 Intro Jam
0:48 Quick History
2:22 Demo 1: Foxxy Music
3:17 What is the MXR M-129?
6:11 Demo 2: Large Nation
7:16 What else?
7:55 Demo 3: Syn-Pitch
8:46 Famous Users
10:19 Possessor of a friendless ticker
11:07 What became of MXR?
12:25 Outro
The DVP was originally designed to give programmable voice effects at an affordable price, but you can run any audio signal you like through it. There's four main engines or "modes":
Vocoder (as the name suggests, a digital vocoder)
Harmonize (add five intervals to an audio signal, also has chord memory)
Int Wave (internal digital waves that can be played via midi)
Pitch Shift (digital pitch shifting)
There's a built-in chorus effect, unison and poly modes and patch memory.
Editing is tedious, but easy; select the parameter button and use the legend on the top of the unit to find the number of the required parameter, then use the value editor to change it. There's various settings for the different modes including formant shift, waveforms, pitch envelope, modulation generator (LFO), harmonizer intervals, chorus speed, intensity, type, MIDI etc etc
0:00 Intro
0:59 The Modes
2:53 Summary & Sexy Boy
Huge thanks to my Patrons who help keep this channel going:
Alex Tucker
Sean Igo
James Huth
Nulani t'Acraya
Kael Driscoll
Nera
Erich Beckmann
i.4m rt47
Tony Shannon
db_shazam B
David Albone
Svlad Cjelli
Paul Smith
Alexander Shvartskopf
Marcel du Bois
Taleau
Benjamin Müller
Matt THOMPSON
Matthew MacDonald
Henning Harperath
Joerg Mueller-Kindt
Alyxx the Rat
solina
Polykit
Stuart
Andrew Fiorella
Graeme Bentley
VimWolf
Paraworld Blue
Petter Nordström
Richard Marshall
josh ludlow
Ian Pritchard
James Cockroft
jer
Colin Allkins
Paul Sheridan
Eric H Klaver
Andreas Horst
john chamberlain
Wrought
Erik Ribeiro
Daniel Pirone
Evan Harmon
Make Something
David Aubespin
Tim Hazeldine
Ashlyn
Stephen Brothers-McGrew
PrepGwarlek36
Chris Wiley
Nathan Hand
Rolf the Whatever
Mark Rowe
Chris Jeter
John Hamberger jn.
Florian Wittwer
Nicolas Ocampo
Viiri
Blonks
Darrin Tidsey
Jrod Ohio
Jon Malinowski
Dominik Merscheid
a TV that looks like an apple
Russ Smith
Jason Kostempski
Andrew Pam
Entomopathogenic
Evan Ferguson
Mercz
Robert Fisher
Serge Pontejos
Umberto Lenzi
Despite Moog being the most famous synth brand ever, it's historically been difficult for me to get hold of Moogs for numerous reasons, so when I found out that there was a Model 10 reissue lurking in the UK, I begged GAK Music Emporium to let me borrow it.
If you're interested in buying this instrument, the link is here: gak.co.uk/en/moog-model-10-synthesizer/930235
Thank you also to Michelle Moog-Koussa at the Bob Moog Foundation, Moog Music, Marc Doty and Vincent Michaels for their help with photos, brochures and information.
If you want the music from the video, stems of the music from this video, exclusive sample packs and to be involved in Q+As then check out my Patreon: patreon.com/AlexBallMusic
Huge thanks to my Patrons to date:
Nera
Erich Beckmann
i.4m rt47
Tony Shannon
db_shazam B
David Albone
Svlad Cjelli
Paul Smith
Alexander Shvartskopf
Marcel du Bois
Taleau
Benjamin Müller
Matt THOMPSON
Matthew MacDonald
Henning Harperath
Joerg Mueller-Kindt
Alyxx the Rat
solina
Polykit
Stuart
Andrew Fiorella
Graeme Bentley
VImWolf
Paraworld Blue
Petter Nordström
Richard Marshall
josh ludlow
Ian Pritchard
James Cockroft
jer
Colin Allkins
Paul Sheridan
Eric H Klaver
Andreas Horst
john chamberlain
Wrought
Erik Ribeiro
Daniel Pirone
Evan Harmon
Make Something
David Aubespin
Tim Hazeldine
Ashlyn
Stephen Brothers-McGrew
PrepGwarlek36
Chris Wiley
Nathan Hand
Rolf the Whatever
Mark Rowe
Chris Jeter
John Hamberger jn.
Florian Wittwer
Nicolas Ocampo
Viiri
Blonks
Darrin Tidsey
Jrod Ohio
Jon Malinowski
Dominik Merscheid
a TV that looks like an apple
Russ Smith
Jason Kostempski
Andrew Pam
Entomopathogenic
Evan Ferguson
Mercz
Robert Fisher
Serge Pontejos
Umberto Lenzi
0:00 Intro Jam
1:14 The Model 10
1:38 The History of Moog Modular Synths
3:59 Demo 1: Bananas
4:58 The Reissues
5:48 Demo 2: Pulses
7:03 What's on a Moog Model 10?
10:23 Demo 3: Space Disco
11:35 Summary & Thoughts
12:40 Outro Jam
0:00 Intro
1:13 Demo: Disco Macabre
2:36 Talk: Breakdown
7:40 Talk: Remixing Setup
9:49 Demo: Disco Macabre Remix
11:30 Demo: 60s Orchestral Ballad
12:00 Talk: Breakdown
15:47 Talk: Remixing Setup
17:22 Demo: 60s Orchestral Ballad Remix
18:49 Demo: Godzilla
19:15 Talk: Breakdown
21:38 Talk: Remixing Setup
23:06 Demo: Gozilla Remix
24:54: Outro
This video was a collaboration with Spitfire Audio whose libraries I've used for over a decade in my professional work.
Spitfire Audio:
bit.ly/3HXAiIs
The music for this video is available here: dropbox.com/scl/fo/shpt88n6m0qesr9w5b4db/h?dl=0&rlkey=9dobdc6p4woh2kv1a2p4m5dfw
The full stems from this video (and all videos going forward) are available to Patrons: patreon.com/AlexBallMusic
Get the sample pack, music and stems from this video and help me make more stuff like this via my new Patreon:
patreon.com/AlexBallMusic
Thank you for the support!
0:00 Intro Jam
0:53 The Pearl Syncussion
1:26 Demo 1: Pearl Jam
2:21 Talk: How Does It Work?
4:50 Talk: Who Used It?
5:07 Demo 2: Is This Dub?
6:15 Talk: A Second Life
6:57 Demo 3: Is This Techno?
8:00 Talk: Legacy
8:47 Sample Pack
9:42 Outro Jam
black-corporation.com/product/ise-nin
0:00 Intro Jam
1:07 Ise-Nin
1:41 Demo 1: Synth & Drums
2:26 What's Old?
3:44 Demo 2: Whimsy
4:52 What's New? Pt 1
5:42 Demo 3: Touche
6:11 What's New? Pt 2
7:08 Demo 4: Two's Company
8:04 Comparisons with a Jupiter-8
10:12 Comparison to a Super Jupiter
11:10 My Opinions
12:52 Outro Jam
Breakdown:
I was very fortunate to receive a copy of the original beat patch from Martyn Ware via Robbie Puricelli. Martyn had passed on that it might need to tweaking and experimentation, which wasn't surprising given the nature of analogue gear.
The patch sheet gave me the pitched noise part and the snare and I found I needed to add a bit of EQ from my mixer to dial those in too. I also had had to adjust the settings in tiny increments for quite a while until it sounded very close. Strangely, I had to use the white noise on my 100 to get it to sound like the original recording as the pink noise that they actually used sounded too dull on mine. Maybe it's the age of the unit now!
Interestingly, they used a technique explained in the 104 sequencer manual where a CV from one of the channels can be used to alter the clock speed. If this is dialled in correctly then the note value can be set for each step of the sequence. This is how they got a 4/4 pattern within 11 steps, instead of 16. As I wanted an exact tempo, I cheated and used an external clock pulse via midi.
A puzzle: After the initial beat, another drum sound joins in. It's a sort of bass drum, but it doubles the snare, rather than providing a typical bass drum pattern. This could have been a manual overdub, but it could have also been done with the other two drum parts because I've seen at least one photo of the Human League with two 102 expanders at this time. Either way, it isn't part of the patch on the original patch sheet.
Next, there's the narrow pulse wave rhythm that appears throughout the song, again, it's not part of the original patch, so it was presumably an overdub. Did they put down a clock pulse at the outset and then use it for synch of a 2nd pass? That's my suspicion.
Finally, if you listen you can hear a track of synth FX running continuously through through song. Often it's ring modulator atmospheres, but there's some definite filter resonance and filter LFO mod tweaking in places. My belief was that someone just sat there and tweaked for the entire song on an available track and they blended it in as a texture and I subsequently found an extended interview with Martyn Ware on the Bonedo website where he indeed confirms that they did exactly that. The thinking was to make it sound more cinematic.
Bass line:
Dead easy - two sawtooth waves on the miniKORG 700S with a little detune, no attack and max sustain ("singing") with no release ("sustain"). The "sustain long" setting is used.
Roll the highpass filter up a bit and the lowpass slightly higher until it sounds right and make sure expand and bright are engaged for filter mod. That's basically it.
Vocals - double tracked, but I also used a 1979 Boss DM-2 on the send of my mixer for some vintage doubling. I don't know exactly what they did on the original, but it's definitely double tracked at the very least.
0:00 Intro Jam
0:57 The System 100
1:59 Demo 1: Falcon
3:02 Talk: The Basic Unit et al
4:28 Demo 2: Proto Acid
5:33 Talk: 101 & 102
7:57 Demo 3: Ring in Spring
9:04 Talk: 103
10:55 Demo 4: Bucket and Fade
12:00 Talk 104
13:53 Vangelis Spiral
14:48 Clock Mod Tricks
15:49 Demo 5: Tumble & Fall
17:03 Talk 109
18:28 The Human League
20:30 Outro Jam
Links:
System 100 playlist: youtube.com/playlist?list=PLS-pN_Fz3OFdWMtqryTdCYVRXKeNNnYWo
Nemo Studios: nemostudios.co.uk
Martyn Ware System 100: https://www.bonedo.de/artikel/human-league-being-boiled-und-das-roland-system-100/
Florian Anwander resources:
https://www.florian-anwander.de/roland_system100/
groovesynthesis.com
0:00 Intro Jam
1:20 The 3rd Wave
1:47 Demo 1: Flight Risk
2:51 Wavetable Principle
4:17 Demo 2: Atlas
5:20 Oscillators
6:15 Demo 3: Horizon
7:23 The Rest of the Synth
8:41 Demo 4: Funk Sandwich
9:27 Multi-Part
10:12 Demo: Multi-Part
11:15 Make your own Wavetable
13:23 Summary
14:45 Outro Jam
0:00 Intro
1:07 Future Ninjas
1:38 Creating the Sound FX
4:45 Creating the Theme Tune
7:12 The End Result
9:35 Summary
11:13 Outro Jam
My thoughts:
The following assumes you’ve seen my video and comments on the original Syntrx and will discuss where things have gone with Syntrx II.
Practical Updates:
On the practical improvement side, an onboard sequencer with modulation lanes is very welcome as it means you can just get going on the unit itself.
The oscillator tuning and octave selection is now more precise and easier to manage and whilst I did love those retro oscillator dials on the original, sometimes you just want to get something dialled in quickly.
The dual digital FX allow for more control and more options and whilst I did love the spring reverb, it could be quite wild and noisy and not suitable for everything.
There are some practical menu options that can now be handled on the matrix, which is easier too.
Necessary Updates:
Adding waveshape modulation as well as manual waveshape adjustment was definitely a desirable update and I’m glad it’s included.
Likewise, adding external clocking to the sample and hold as well as it being able to run freely was a must.
New:
Dual filters – fantastic, very welcome.
Envelope follower – brilliant and very useful
Inverter – very handy
Recording of joystick and effects movements – great idea, very useful
Additional scope out that can handle audio / CV – very useful
Gone:
Already mentioned, but the spring reverb.
The speakers are gone too, which worked well with the spring reverb as you could cause the unit to vibrate.
AD/ASR switch for the trapezoid. If I’ve one criticism, I’d have preferred it if this was included on Syntrx II.
Overall the Syntrx synths are a great thing to have available in a world where EMS Synthis are unobtainium and it’s great that Erica Synths have developed the concept further now.
This synth is all about the paradigm for me and you go to it for experimentation and surprising results. Maybe not the synth you turn on for an everyday sound, but certainly one that offers things others don’t.
Huge thank you to Andrew "The Quadra" Ward for the loan!
instagram.com/arpquadra
Download the song (all proceeds to the Alan R Pearlman Foundation):
alexball.bandcamp.com/track/arp-quadra-make-it-happen
alanrpearlmanfoundation.org
ARP Quadra Playlist:
youtube.com/playlist?list=PLS-pN_Fz3OFcqlzSmZKp-0xgF7bF29EhY
0:00 Intro Jam
1:17 Talk: The Quadra
1:37 Demo 1: Skeleton Dance
2:47 The Four Sections
4:40 Talk: It's Very Simple
5:49 Demo 2: Legit Carpentry
6:51 Talk: Memory?
8:08 Demo 3: Band Member
9:05 Talk: That Keyboard
10:51 Demo 4: Fresh Lineup
12:05 Summary
14:06 Feature Track: Make It Happen
VERY NERDY DETAILS FOR THOSE WHO CARE:
BASS:
Name: ELEC BASS
Note Count: Monophonic / Lowest C to the B 23-semitones above / low note priority
Settings: 16' and 8', fine tuning and octave select
Contouring: Resonance and Decay
Name: STRINGS BASS
Note Count: Monophonic / Lowest C to the B 23-semitones above / low note priority
Settings: 16' and 8', volume slider
Contouring: Affected by the attack and release controls in the adjacent Strings section
Name: STRINGS
Note Count: Polyphonic and paraphonic / Second C to the highest C / all notes can sound
Settings: 8' and 4', hollow waveform (switches to pulse from sawtooth)
Contouring: Attack and Release
FX: Chorus Circuit
Name: POLY SYNTHESIZER
Note Count: Polyphonic and paraphonic / Second C to the highest C / all notes can sound
Settings: 8' and 4', hollow waveform affects it too
Contouring: Cutoff and Resonance, VCF control from ADSR envelope or LFO (found higher up), VCA affected by ADSR also
Name: LEAD SYNTHESIZER:
Note Count: Monophonic or duophonic (and paraphonic) with "Two Voice On" engaged / Third C to highest C or full keyboard if bass disengaged (also can extend the range greatly by using the "Interval Write" function)
Features: x2 VCOs with independent tuning (about 1.5 semitones in either direction) and VCO 2 can be disengaged. The available waveforms are sawtooth, 10% pulse wave or 50% pulse wave and there is also a pulse width modulation switch, which is controlled by the Lead Synthesizer envelope generator.
The LFO can be applied to the oscillator pitch for vibrato and there is a trill function (with speed control), the interval of which can be changed using the "Interval Write" function. There is a footswitch flat or hold switch which relates to the pedal section below.
The lowpass filter has cutoff and resonance controls and it can be contoured by the Lead Synthesizer ADSR envelope, the controls of which are to the right. The sustain level does not have a slider, instead, it has a switch to toggle "Sustain Low".
The two notes have independent portamento controls in the bottom left and the master trigger mode can be set here too.
In the top right are the aftertouch settings (volume/brilliance or pitch bend) as well as a "sequencer" which is an arpeggiator for the Lead Synthesizer. It can run up or up/down and frustratingly, it has no hold function. Its tempo is dictated by the trill speed.
PHASE SHIFTER/OUTPUT MIXER:
Each section has its own volume slider and there is also a master volume slider. By default, the Bass and Lead come out of both the left and right channels and the Poly and Strings come out of the left and right channels respectively. There is then a 12-stage stereo phase shifter that can be engaged for any or all of the sections at once. The phase shifter has a resonance control and its frequency can be a dedicated LFO which has a "Sweep Speed" control, a pedal (more on that below), a sample and hold circuit that derives voltages from VCO 2 in the Lead Synthesizer section, or the Lead Synthesizer envelope generator. The latter controls can be simultaneously in use, by the "Sweep" can only be used on its own.
Finally there is an external audio input, but frustratingly, this doesn't run through the phase shifter!
OTHER:
REAR CONTROLS:
Stereo Out (Left and Right Mono)
Mono Out with High/Low switch (1/4" Mono or XLR)
Quad Out (Four Mono Section Outs)
Mixer In (Mono External Audio In)
Lead Synth VCF Pedal In (Can be hacked for other CV inputs)
Poly Phaser Pedal In (Can be hacked for other CV inputs as I did in the intro piece)
Volume Pedal In (Can be hacked for other CVs to modulate master amplitude)
Poly Sustain Footswitch In
Pitch Hold Flat Footswitch In
Portamento On/Off
Bass CV/Gate In/Out
Lead CV/Gate/Trig In/Out with x2 CV outs
The SH-4d is a multi-timbral synthesizer with four parts, plus drums.
At the time of uploading, there are 11 different synthesis engines onboard, as well as a multi-track sequencer, arpeggiator, MIDI and USB audio.
The unit also includes lots of FX, a deep mod matrix and "D-Motion" which allows configurable modulation that is controlled by physically tilting the unit in different directions.
For full spec visit roland.com
0:00 Intro
0:49 SH-4d
1:21 SH-3d
2:11 Sync
3:07 SH-101 & Juno-106
4:12 XFM
5:18 Ring Mod
6:30 Wavetable
7:45 Chord
8:36 Drawing
9:40 PCM
10:45 Summary
Thank you to Roland, who sponsored this video.
As discussed in the video, this unit was used by many famous artists, producers and engineers in the late 90s and early 00s across a broad range of styles.
The Mutator is a stereo pair of analogue, resonant low pass filters (SSM 2045s) and voltage controlled amplifiers that are contoured by envelope followers and/or LFOs. In a nutshell, that allows for all sorts of stereo filtering, sweeping and tremolo FX on an open-ended number of audio sources. There is further functionality such as additional attack and release times, external inputs for creating alternate envelopes, external CV ins, LFO linking/inverting, MIDI control and MIDI LFO reset etc. Most (but not all) of this was used at some point in the video.
0:00 Intro Jam
0:59 The Mutronics Mutator
2:04 Demo 1: Borrowed Filters
2:46 Radiohead and More
4:01 Demo 2: Crutator
5:06 Envelope Followers
6:03 Demo 3: Beat Guitar
6:45 Across a mix
7:01 Demo 4: Daft Filtering
8:14 What happened to the Mutator?
9:04 Demo 5: Does It Funk Though?
9:55 How do we get the sound now?
11:10 Summary
0:00 Day Off
0:40 The Emulator
1:30 Interlude 1: Some Sounds
1:59 The Emulator II
2:27 Interlude 2: 80s TV Score
3:03 Sampling Explanation
4:34 Sampling Demonstration
7:48 Multi-track Sequencing
9:34 What could you use it for now?
11:45 Computer Interface & Famous Users
13:53 Feature Track (mixed by Jakob at Sonic Peak)
Tonelab as mentioned:
youtube.com/@tonelab
0:00 Intro Jam
1:00 The Synthesizer Expander Module
2:04 Demo 1: State Sync
2:49 E-mu Systems
3:32 Demo 2: Two Voice
4:38 Dennis P Colin
5:49 Demo 3: Pull Seq Wonk
6:56 Jim Cooper
7:46 Demo 4: Transistor Bass Workout
9:04 Tom Oberheim
10:09 Demo 5: August Nineteen Seventy-Five
11:16 The Life Aquatic, Stranger Things and Drokk
13:50 Outro Jam
Two Voice Listening:
Life Aquatic - Mark Mothersbaugh:
youtu.be/XTyZD0XFixs
youtu.be/B1cZR7ezLiE
youtu.be/qUBCmDgORYU
Stranger Things Theme:
youtu.be/pCfpTK0IB-w
Drokk - Music Inspired by Mega City One:
youtube.com/playlist?list=OLAK5uy_l-1p5dlmWorREOYL_1L4mdBwGX1PCLzoA
Nerdy Details:
Mini-Sequencer
x2 two parallel sequences of 1-8 steps with CV set via the dual-concentric knobs.
Independent assignment of sequence 1 to SEM 1 and sequence 2 to SEM 2 as well as sample and hold or keyboard control for either.
Optional sequence transposition via keyboard.
Sample and hold range and lag.
Internal clock frequency, run and step control, plus clock frequency modulation from sequence 2 CV.
Each SEM:
VCOs: x2
Waves: Sawtooth or Pulse
Tuning: Fine/Course
Other: Phase sync
Modulation: Frequency, Pulse Width, PWM
Modulation Sources: Envelopes, LFO, Sample & Hold (EXT)
Mixer:
VCO waves
EXT #1 Rear connection, although SEM 2 is normalled to SEM if nothing is connected, allowing for use of the SEMs in series
EXT #2 White Noise from S&H circuit
Filter: 2-pole multimode. Continuously variable low pass, notch, high pass, plus switched band pass.
Control: Cutoff, Resonance, Mode
Modulation: Bipolar cutoff modulation from envelope 2, S&H (EXT), LFO
VCA: Controlled from Envelope 1 or drone (ON/EXT)
Envelopes: x2 ADSD
LFO: Triangle with frequency control
Performance:
Voice assignment - duophonic with left/right voice priority as well as unison.
Per-voice portamento
Master tuning and octave select.
Output mixer: SEM 1 and 2 and master level. Signal overdrives beyond about 60%.
Rear connections: These seem to vary from unit to unit and are usually modded. Furthermore, the original manual doesn't describe them, so I'm not actually sure what the "stock" rear connections are.
On my unit I have CV/gate for each SEM, external signal in, external sequencer clock in and line out (mono).
I'd love to hear your stories in the comments section.
roland.com/uk/roland-50th-anniversary
bjooks.com
0:00 Intro Jam
1:00 Roland Turn 50
1:56 Interlude Juno-6
2:36 Story 1: The Kitchen Synth
4:38 Interlude System 100m 1
5:48 Story 2: Window Shopping
7:48 Interlude System 100m 2
8:49 Story 3: Lost Prototype
12:10 Interlude TB-303
13:05 Story 4: Cereal box of 303
15:09 Outro Jam
Here's the nerdy page mentioned in the video with all the dirty details: alexballmusic.com/korg-ms-series
Also make sure to follow the Nakatsugawa Korg Museum, it's rather wonderful.
instagram.com/korg_museum/?hl=en
0:00 Intro Jam
1:00 Talk: The MS-50
1:30 Demo 1: Oh My Mod!
2:30 Talk: Was ist der MS-50?
3:17 Demo 2: Movie Tension
4:05 Talk: Expander Module
4:27 Demo 3: Expander
5:04 Talk: External Signal Processing
5:38 Demo 4: Stereo Follower
6:09 Talk: Esoteric Stuff
6:29 Demo 5: Wass Dis Do?
7:41 Talk: Filtering
8:43 Demo: Type35 vs Diode Ring
9:10 Talk: MS-01, FK-3, FK-5
10:01 Demo 6: Footsie Fun, Jah!
11:50 Summing Up
Thanks to Brad and thanks for watching!
In this video we take a quick look at what it does and what it sounds like.
Huge thanks and congratulations to Oberheim and Sequential.
oberheim.com
sequential.com
0:00 INTRO JAM
0:58 THE OB-X8
1:15 DEMO 1
2:13 THE HEADLINES
2:38 DEMO 2
3:35 SPLITS AND DOUBLES
3:51 DEMO 3
4:42 DEMO 4
5:13 PAGE 2
7:03 DEMO 5
8:22 SUMMARY
9:09 OUTRO JAM
0:00 Intro
0:23 Demo 1: Space Repeats
1:16 Talk 1: Who were Ursa Major?
1:54 Demo 2: Delay Clusters
2:34 Talk 2: What is the Space Station?
3:29 Demo 3: Combs
4:24: Talk 3: The Trick
5:02 Demo 4: Reverb
6:01 Talk 4: Stargate 323/626
6:59 Demo 5: 323
7:35 Demo 6: Stargate
8:07 Demo 7: Spaces
9:11 Talk 5: Summary
9:53 Talk 6: What became of Ursa Major?
11:30 Contextual Demo: Found in the Sound
The Space Station and Stargate were used on almost every part on the final song, hopefully demonstrating how they work in a fuller musical context.
Thank you to the owners of these two wonderful units, you know who you are!
This analogue synthesizer employs what was then cutting edge, digital control allowing for advanced patch creation. It was designed by Marcus Ryle and Michel Doidic with input from Doug Curtis and it boasts some surprising features for the time. In this video we take a closer look.
The information for this video was garnered from the following interviews:
GForce Bright Sparks:
youtu.be/mAdapwLeXgs
Ken Flux Pierce Interview:
youtu.be/WDjKSBA_btA
GEOSynths Interview:
youtu.be/x4pOcU2HJAM
0:00 Intro Jam
0:58 Talk 1
1:31 Demo 1: Beach Comb
2:16 Talk 2
3:09 Demo 2: Faux Seq
3:52 Talk 3
4:30 Demo 3: Eff Em
5:04 Talk 4
5:59 Demo 4: Wobble 5
6:23 Talk 5
6:51 Demo 5: Judder
7:16 Talk 6
8:34 Demo 6: ALX
9:09 Talk 7
10:34 Multi Demo 1: Zone Call
11:55 Multi Demo 2 : Fond
13:54 Talk 8
15:56 Outro Jam
A huge thank you to all at Korg and to all the people who gave up their time and expertise to make this film film happen. A full list of credits is at the end of the film.
0:00 INTRO
1:34 FORMATION
6:19 SEVENTIES
19:34 EIGHTIES
32:38 NINETIES
40:21 NOUGHTIES
47:12 TENS
51:09 SO TO NOW
52:25 OUTRO / CREDITS
0:00 Intro
1:43 Basic Vocoding
3:51 Shenanigans 1: Vocello
5:07 Shenanigans 2: Drum Chord
6:56 Shenanigans 3: Ext Pitch
8:04 Shenanigans 4: MS-01 Footsie
8:52 Outro
Nerdy details as promised:
The VC-10 is a 20 band vocoder with an onboard microphone (modulator) and internal tone generators (carriers)
Controls:
Pitch wheel, tuning and an octave switch
Keyboard to noise balance
External signal (carrier) in with level
Internal and external Mic level (modulator)
Balance of vocoder signal and audio through
External pitch control of the internal tone generators
An LFO (vibrato) with speed and depth
Accent bend (a kind of envelope mod on attack to emulate the human voice changing pitch)
Ensemble Effect (same as the PS-3100)
I also used the MS-01 foot pedal and MS-02 interface from the same range as well as the Roland System 100m and Boss RPS-10 and CE-300 FX.
Enormous thanks to everyone at the museum, particularly Riccardo and Paolo.
museodelsynth.org
instagram.com/museodelsynthmarchigiano
0:00 Intro
1:19 Synket
4:40 EKO Computerhythm
8:01 Chilton Talentmaker
12:07 Crumar Compac Synth
13:41 Crumar DP-50
15:07 Elkatwin 61
16:29 Elka Synthex
19:38 CRB Oberon
21:29 CRB Voco Strings
22:53 CRB Uranus 2.0
24:34 Farfisa Polychrome
25:24 Logan Piano Strings Synthesizer
27:10 Welson Syntex
28:28 Keytek CTS-2000
29:47 Baleani Solista
I thought it would be fun to take seven famous songs that used the original hardware and recreate the sounds using the equivalent software and explain how they were made.
roland.com/uk/products/rc_analog_polysynth_collection
0:00 Intro
1:36 The Human League - Dreams of Leaving
3:04 Depeche Mode - Tora Tora
4:34 Gary Numan - I Dream of Wires
7:03 Michael Jackson - Thriller
8:29 Mr Fingers - Can You Feel It
9:15 Harold Faltermeyer - Axel F
10:04 Tame Impala - Eventually
In this video we explore why that happened and look at the modern successor, the Juno-X.
Thank you to Roland for sponsoring this video.
roland.com/uk/products/juno-x
0:00 Intro
1:10 Juno-6/60
5:23 Juno-106
8:48 Juno-X
11:47 Outro Performance: Draw A Line
My fellow Brits doing this challenge:
youtube.com/c/DavidBennettPiano
youtube.com/c/RachelKCollierRKC
youtube.com/c/CSGuitars
Vote for me and enter the sweepstake to win the gear:
reverb.com/voteBall
0:00 Intro
1:23 Demo1 - Ring Me
2:10 Demo 2 - Tweedle Dee
3:05 Demo 3 - Sister Transistor
4:04 Why it sounds the way it does
5:36 Demo 4 - Distant Traveler
6:34 Summary
A note: I said in the video that this synth was the last of the first generation of Korg monosynths (miniKORG 700/700S, maxiKORG 800DV, SB100, 900PS) but have since realised that the M500 came out in 1977 that does still use the "traveler". However, that is a very limited preset synth and I'm sure you can see what I mean by the lineage from miniKORG to the MS range.
Thank you to the owner of various instruments used.
In this video we explore five things you can do with Model 82 (chim-chim-cheroo). It's surprising what's possible with just one oscillator, filter, amp, envelope and LFO.
softube.com
0:00 Intro
1:05 Play it live
2:33 Use it as a drum machine
4:11 Get Dirty
5:16 Sequences & Arpeggios
6:33 Go Modular
0:00 Intro
1:48 The Guitar Setup
2:28 Hex Preamp, Hex Fuzz, Special Effect
5:15 Pitch to CV
5:53 Here's the problem
7:10 Workarounds
9:22 Use as just a synth
10:26 Summary
11:41 Feature Song "Right Back Round"
Further reading and watching:
My Avatar pages
alexballmusic.com/arp-avatar
facebook.com/ARPAvatar
Alan R Pearlman Foundation:
alanrpearlmanfoundation.org
Thanks: Dina Pearlman, Dave Friend, Bill Singer, Rick Parent, Mary Lock, Paul DeRocco, Bob Hoffman, James Martin, Nathan @ Synthchaser, TC and Phil M.
Music that used the Avatar:
Drew Schlesinger and David Torn - Summer of 78
drewschlesinger-davidtorn.bandcamp.com/album/summer-synthesis-1978
Baird Hersey - Have you heard (1978)
youtu.be/e1fScAnh8mQ
Psychedelic Furs - Fall (1980)
Guitar solo
youtu.be/dRAoOG0P7rs
Paddy Kingsley - Radiophonic Workshop
From 4:17
youtu.be/919RleFXcNM
Rough Boys - Pete Townshend
youtu.be/Mjh5_C1GWic
Ace Frehley - Ace Frehley 1978
youtu.be/SIRMLBn8SpE
Genesis - Man of our times
Genesis - Cul de sac
Genesis - Duke's travels / Duke's End
youtu.be/9sV7NpH-4aE
Escape from New York - Howarth / Carpenter
youtube.com/playlist?list=PLqnnuEVGcRQx7qqIPbrHMkeqZZLet5dSZ
Avatar Specs:
Guitar Interface:
Guitar Hex Preamp (stereo / mono)
Guitar Hex Fuzz (stereo / mono)
String Selection
Trigger Sensitivity
Portamento
Envelope follower normal or inverted or pedal
VCO 1:
Waves: Pulse / Saw
Mod: PW / PWM / LFO Sine / LFO Square / S&H / Envelope
Special: LFO Mode
VCO 2:
Waves: Pulse / Saw
Mod: PW/ PWM / LFO Sine / Envelope Follower or Pedal / S&H / Envelope
Special: Sync
LFO:
Square / Sine with frequency
Sample & Hold:
Mixer:
VCO 1 Saw or Pulse
Noise or VCO 2 Pulse
Clock: String trig or LFO
Other: Output lag
Audio Mixer:
Special Effect (pink noise or guitar)
Ring Mod
VCO 1 Saw or Pulse
VCO 2 Saw or Pulse
Filters:
Lowpass: 24db with resonance
Control:
String CV or Envelope Follower or Pedal
S&H or LFO Sine
ADSR or AR Envelope
Highpass: Manual w/o resonance
VCA with gain / ADSR or AR control
Envelopes: ADSR and AR
Triggers / Gate: String or LFO / String Repeat or Auto Repeat
Outputs:
Mix high / low jack and XLR
Studio guitar stereo (EAD + GBE)
Mono guitar jack
Mono synth jack
External Audio In jack
Control:
CV, Gate and Trig in and out
Footswitch Jacks:
System On/Off
Portamento On/Off
Sustain Latch
Pedal In
I write the bones of a song and then create the arrangement with Tron sounds.
If you want the background of how these sounds were Tronned, then check out my original video: youtu.be/A9FminPhwD4
0:00 Intro
0:54 Working on Verse 1
2:34 Working on Chorus 1
4:39 Working on Verse 2
5:20 Working on Chorus 2
6:19 Final Result
9:30 Summary of Points
Hainbach pack:
gforcesoftware.com/products/hainbach-artist-pack
My pack:
gforcesoftware.com/products/alex-ball-artist-expansion
It looks and feels like a toy, but looks can be deceiving...
We had less than 24 hours, so I challenged him to 10 minutes on the Roland System 100m having never used it before. Of course, he delivered and taught me lessons as he went.
He then returned the challenge and...well, check out the result: youtu.be/psvqI53TKs0
0:00 Intro
0:30 The 10 minute challenge (slightly abridged)
8:26 Turning it into a track
10:01 Outro
Huge thanks to Hainbach for dropping by.
Matriarch
DFAM
Mother-32
Subharmonicon
0:00 It's a jolly good day for a Mooging!
0:32 Intro
1:25 Matriarch out of the box
2:34 A deeper look
6:12 Performance
8:05 Summary
9:28 Sound Studio out of the box
11:03 Demo - Jambalaya
11:58 Demo - SP-Moog-Hundred
12:43 Demo - Moog 78
13:29 Demo - Mother 303
14:22 Demo - Moog-ro Composer
15:13 Demo - No idea mate
15:51 Summary
17:11 Credits
Many thanks to Source Distribution for sponsoring this video and many thanks to Moog Music.
moogmusic.com
This synth has a reputation for having a "cold" sound and it's always been the more dystopian Jupiter in my mind. I wanted to explore whether there are any reasons for that and whether they're legitimate, imagined or a bit of both.
0:00 Intro Jam
0:57 The Jupiter-6
1:27 Demo 1: Two-By-Four
2:02 VCO & Filter Chips
3:00 Demo 2: Pole-Dark
3:34 Modulation
4:39 Demo 3: LV-426
5:13 Demo 4: Gamaclang
5:28 Cost Cutting
6:34 Demo 5: Thumper
6:52 Demo 6: Cassette Memory
7:10 Presupposition?
7:34 Summary
9:12 Outro Jam
The Alpha Juno-2 from 1985 was one of a pair of instruments that marked the second wave of the Juno series following the classic Juno-6/60 and 106.
For a long time they were inexpensive and not particularly sought after, for reasons that we discuss, but they were always great sounding synths with way more flex than their earlier, much-praised siblings.
If there's one claim to fame that the Alpha can boast, it's THAT hoover sound (aka "What the?") that has become a standard part of the synthesizer patch repertoire.
One thing I didn't cover was aftertouch and Alpha Juno owners will know why. ;)
0:00 Intro Jam
0:33 The Alpha Juno Series
1:28 Interlude
2:02 Why it's less sought after
3:16 Interlude
3:28 DCOs
4:58 Alpha Drummer
5:40 Filters
6:22 Envelopes
7:18 Chorus
7:44 Chord Memory & Hoover
8:56 Summary
9:45 Outro Jam
In 1977 Roland introduced the first ever microprocessor controlled digital sequencer, which was the MC-8 designed by Ralph Dyck. The MC-4 was the successor and was one of Roland's few CV/Gate digital sequencers before they moved over to MIDI shortly after.
Both when it was new and many years after it was seemingly obsolete, numerous artists swore by it and they're now sought after. In the video we explore why.
With thanks to Pea Hicks for the MC-8 footage and images.
0:00 Intro Jam
0:41 Origin of the MC series
2:54 Interlude
3:31 Demonstration of how it works
10:20 The end result
10:47 Summary of the experience
12:09 Others ways to program
13:16 Experiments & explorations
19:03 MC-4b etc
19:39 Who used it, when and why?
Links:
MC-8 History: rolandmc8.wordpress.com
Vince Clarke MC-4: http://www.muzines.co.uk/articles/vince-clarke/7547
YMO MC-4: youtu.be/wgkj7-VCmEw
Chris Carter: soundonsound.com/reviews/roland-mc8
Landscape MC-4: http://www.muzines.co.uk/articles/burgeoning-burgess/3439
Thomas Dolby MC-4: https://fb.watch/beBq4hp7W5/
Hard Corps MC-4: youtu.be/swKs2TsuIw0
Toto MC-4: musicradar.com/news/toto-rosanna-synth-solo
AFX (Richard D James) MC-4: youtu.be/t3Qx4Yg96Ao
Roland's latest MC units:
roland.com/uk/products/mc-707
roland.com/uk/products/mc-101
0:00 Intro
0:53 Everything In Its Right Place Demo
1:21 Everything In Its Right Place Breakdown
3:21 Rhubarb Demo
3:53 Rhubarb Breakdown
6:39 Ghosts Demo
7:13 Ghosts Breakdown
9:15 Summary
10:05 Outro Jam
Note: Admittedly I'm busking the parts a bit as the video was more about the sounds, so excuse any not-quite-right chords etc.
The principals showns in the video will all work with a Prophet~5/10 rev4 reissue or a plug-in such as Repro-5 or the Arturia Prophet~V. They are also applicable to other synths that can replicate the architecture of a Prophet~5 (many synths can).
I've been on the lookout for suitable contenders and I snagged a Korg SuperDrums (DDM-110) a while back and a Korg DW-6000 recently.
I set the max budget for this to £200 and these pair cost a total of £190, so I thought that matched the criteria in a world where vintage synths can cost thousands or tens of thousands!
0:00 Intro Jam & Setup
1:22 Processing the Super Drums
5:07 Working with the DW-6000
8:31 End result / Mini Song
9:56 Summary of thoughts
More details for the nerds:
The Super Drums were designed to be as affordable as possible at a time when programmable, digital drum machines were still very expensive. In 1983 the LinnDrum was listed as £2,650 here: http://www.muzines.co.uk/articles/linndrum/5884
That's £9,500 in today's money, and so the £229 (£780 today) DDM-110 was obviously going to have to be heavily compromised.
With 9 uneditable samples (8 bit / 15.625kHz*) and with only din sync and no mixer or individual outs, this unit is a challenge to say the least.
*The specs are taken from Paul Bundock's "Bit-depth and Sample Rate 1984-style" assessment of the schematics from this 2001 article: soundonsound.com/reviews/korg-ddm110
The Korg DW-6000 is a hybrid, six-voice polysynth from 1985. The oscillators are digital samples of additive waves that emulated the spectra of various acoustic instruments. With two oscillators and 8 waves there are 44 unique combinations (if my maths is correct) and so that's surprisingly flexible. There's also a noise generator to boot.
Each voice then runs through an analogue voltage controlled low-pass resonant filter and an analogue voltage controlled amplifier. The VCF and VCA are a combined proprietary chip Korg made called the NJM2069.
There are two ADBSSR envelopes, (VCF / VCA), which are like an ADSR with an additional level and decay in the middle (break point / slope). The filter EG polarity can also be reversed.
There's a basic LFO ("modulation generator") with delay that can modulate the oscillators and filters, but that only has one fixed waveform (presumably sine or triangle).
There's a stereo chorus at the end of the chain to widen the sound considerably.
There's also portamento, a performance joystick and poly 1, poly 2 and unison modes, 64 memory slots, midi and some footswitch inputs.
The DW-6000 was £1,099 in 1985, about £3,500 now, so it was relatively affordable for the time, but not a toy.
0:00 Intro
1:27 Pad Sounds
3:20 Was ist der Polybrute?
3:47 Not Pad Sounds
5:19 Fragile Morph Sounds
7:16 Deeper Morph Sounds
8:56 Arpeggiator, Sequencer, Matrix Sequencer
11:45 Summary of thoughts
14:05 Contextual Track - Hold On
If you enjoyed the end track it's available here:
alexball.bandcamp.com/track/hold-on-polybrute
With thanks to Arturia and Source Distrubution
arturia.com/products/hardware-synths/polybrute/overview
All sounds are presented "raw" meaning that only FX from the synths themselves were used (if they have them) and that there was no processing of the audio afterwards. What you hear is what the synths sound like.
Notes:
1) Cheers to Markus for the Hydrasynth loan.
2) Cheers to CALC for sorting the Summit.
3) Cheers to UDO for sorting Super 6.
4) Cheers to Roland for sorting the Jupiter-X.
5) Cheers to Sequential for bringing back the OG Prophet.
6) First person to say "i cAn'T bELiEvE yOu fOrGoT tHe pOlyBrUtE" or something similar has to do 50 press ups and 10 Hail Marys.
0:00 Intro
0:40 Super 6 Raw Sounds
3:10 Super 6 Thoughts
5:45 Prophet~10 Raw Sounds
6:52 Here's the thing
7:36 Ah there it is
10:27 Summit Raw Sounds
12:55 Summit Thoughts
16:10 Jupiter-X Raw Sounds
18:22 Jupiter-X Thoughts
21:21 Hydrasynth Raw Sounds
23:17 Hydrasynth Thoughts
26:17 Outro
Social and my music:
Facebook.com/AlexBallMusic
Instagram.com/alexballmusic
alexball.bandcamp.com