How to Use a Subtractive Analog Synthesizer is a short section taken from a commercial video series on the principles of subtractive synthesis.

via metakinetics:

This is a brief sample of an extensive introductory video tutorial on the principles of subtractive synthesis. Knowing these principles is essential to creating the evolving sounds often heard in various forms of electronic music. This video tutorial uses the Logic ES1 and ES2 as example virtual instruments to demonstrate the principles. Topics covered include signal flow, waveforms, filters, envelopes and LFOs.

This is a great video to get you started with one of these instruments: LinPlug Albino, Native Instruments Massive, Native Instruments Pro-53, Propellerhead Reasons Subtractor, Ableton Live Operator, Ableton Live Analog, Moog Voyager, Dave Smith Evolver, Prophet 5, Alesis Andromeda, Access Virus, Nord Lead Waldorf Q, Alesis ION, Alesis MICRON, Logic ES1, Logic ES2.

This collection of videos, via Gearwire’s Bill Holland, takes an in-depth look a the Alesis Andromeda A6 megasynth.

The first video on the Andromeda covers some of the basic controls you’ll find on similar high-end, digitally controlled analog synths.

Click here to view the embedded video.

This video looks at the Alesis Andromeda A6 VCO architecture.

Click here to view the embedded video.

In this video, Holland looks at the Alesis Andromeda A6’s filters.

Click here to view the embedded video.

This video continues Holland’s look at the filter and modulation options on the Andromeda synthesizer.

Click here to view the embedded video.

Next up, the Andromeda’s step sequencer and arpeggiator.

Click here to view the embedded video.

The series wraps up with a look at the Alesis Andromeda A6 ribbon controller.

Episode 3 in the series appears to be missing in action, at this point.

Akai Professional has announced that the Akai Miniak is now available.

The Miniak combines Akai’s control surface with Alesis’ synth engine.

The Miniak lets you create programs with up to eight multi-timbral voices, each with three oscillators. You can create complex sounds using the Miniak’s two multimode filters, three envelope generators, two LFOs, stereo effects and 40-band vocoder with gooseneck microphone. The MINIAK also has a comprehensive sequencer with step and dynamic real time phrase sequencing, a drum machine/rhythm sequencer and an arpeggiator.

The MINIAK is available from musical instrument and professional audio retailers and has a U.S. Retail Price of $699.00 with an estimated street price of $499.00.

Details below.

If you’ve used the Akai Professional Miniak synthesizer, leave a comment with your thoughts.

Specifications:

Akai MINIAK Features

• 37 key synth-action keyboard with velocity sensitivity
• 8 voices, each with 3 oscillators
• Up to 8 multi-timbral parts with stereo effects and 40-band vocoder
• 2 multi-mode filters, 3 envelope generators, 2 LFOs, sample and hold, tracking generator
• Dynamic real-time and step sequencers, arpeggiator, and drum machine/rhythm sequencer
• Stereo bus effects including reverbs and delays
• 24-bit 1/4 inch balanced stereo analog outputs and inputs
• More than 600 preset sounds
• Sound banks: bass, lead, pad, string, brass, keys, comp, drum, SFX

Under the Hood

A Miniak program is a sound built from the Miniak’s internal oscillators, filters, and envelope generators. The Miniak’s more than 600 preset programs span the range of classic analog synthesis sounds. If you’ve heard it before, you will probably find it in the Miniak’s presets. In a synth, oscillators generate raw sound. Their output is fed into the filters, whose output is fed into the amplifiers. As the signal moves along that path, you can manipulate the mix at several points and apply modulations, envelopes, and effects to create a custom palette of sounds.

Sound Generation

The oscillators can produce different waveform types and shapes to create various harmonic structures, which our ears perceive as different timbres. Here are some of the waveforms you can create with the Miniak’s oscillators:

• Sine: Smooth, pure sound
• Triangle: Fuller than a sine wave
• Sawtooth: Harsh sonic character
• Pulse: Harmonically rich, ranging from full-sounding square wave to a sharp impulse wave

The Miniak’s oscillators can produce continuously variable waveforms, so it can can hit any point between these examples.

You can connect external audio sources, other synthesizers, mixers, guitars, and more, using the 1/4 inch inputs. The jacks accept either balanced or unbalanced cables. You can mix in the external audio sources with the Miniak’s oscillators. The resulting combination is then sent through the Miniak’s filters and effects. A special group of programs including vocoder programs exists just for use with the external inputs.

The outputs of the oscillators, the noise generator, the ring modulator, and the external inputs are fed into a virtual mixing board called the pre-filter mix. From here, the signal hits the filters. For each source, you can specify its level and its balance: how much is sent to Filter 1 and how much is sent to Filter 2.

Filtering
The oscillators produce very raw sounds. To shape and fine-tune the sound, filters give you tools for dampening certain harmonics and boosting others. Filters alter the frequency content of the signal and can have a drastic effect on the sound. Each of the Miniak’s voices contains two filters, and each filter can be one of the following different types, each with its own character and sonic flavor.

They are:

• Bypass, Low Pass: ob 2-pole, tb 3-pole, mg 4-pole, rp 4-pole, jp 4-pole, al 8-pole
• Band Pass: ob 2-pole, al 6-pole, octave dual, band limit
• High Pass: ob 2-pole, op 4-pole
• Three Vocal Formants, Four Comb Filters, Phase Warp, Frequency, Resonance, Key Tracking, Envelope Amount, Offset, and Absolute

After filtering, the signal is fed to the post-filter mix. For each filter output, as well as a pre-filter signal of your choice, you can specify a level and a pan.

Output Processing
In the output stage, the Miniak allows you to apply a drive effect and add some compression, distortion, or other amplification effects. The Miniak allows you to set up twelve modulation routes. Each of these is a virtual connection between some physical or internally generated source and some program parameter. Basically, a mod route tells the synth to automatically grab a knob and tweak it while a note is playing. Although there are quite a few sources that you can use for your mods, the most common ones involve the LFOs and the envelopes.

LFOs
LFO stands for low-frequency oscillator. LFOs are not designed to produce sound, but instead to tweak a program parameter according to a looping pattern. For example, if you are looking to add vibrato, you need the pitch to continuously waver up and down. Each of the Miniak’s voices contains two LFOs, each of which offers rate, depth, shape, and tempo sync. The Miniak’s LFO can sync to the internal clock or any external source via MIDI.

Envelopes

If you hit a note on a piano, you hear a burst of sound energy as the hammer strikes the string, followed by lower level of loudness as you hold down the note and let the string ring out, which fades quickly as soon as you release the note and the damper is applied. Synthesizers model this behavior using ADSR Envelopes. ADSR stands for Attack, Decay, Sustain, and Release, and represents the different stages that the sound goes through over the life of the note. The Miniak also has an envelope that is specifically designed for loudness, called the Amp Envelope. Envelopes are useful in all sorts of mod routes, which is why you can hook up any of the Miniak’s envelopes to any modulatable program parameter. Each of the Miniak’s voices contains three envelopes: Amp Envelope, Filter Envelope, and Pitch/Modulation Envelope.

Sequencing

The Miniak has extensive sequencing and arpeggiation performance capabilities. Arpeggios and sequences both respond to a key-press by playing a series of notes over a programmed rhythmic pattern. An arpeggio loops over whatever notes you are holding down on the keyboard. If you hold down a chord, the Miniak will generate a melody by playing each note of your chord individually. A sequence has a melody line built in so you can hold down a single key and the Miniak will play back that melody relative to that key. Pressing another key will transpose the sequence. The Miniak has MPC-style step sequencing and recorder-style dynamic real time phrase sequencing. There’s also a drum machine/rhythm sequencer for the built-in drum sounds.

Effects

The Miniak has a full compliment of stereo effects including Chorus, Feedback, Theta Flanger (Phaser + Flanger), Thru Zero Flanger, Super Phaser, Notch Frequency, String Phaser, 40-Band Vocoder, Analysis Gain, Sibilance Boost, Band Shift, Synthesis Input, Analysis Signal In, Analysis Mix, six types of Delay, and three types of Reverbs.

With the extensive sound generating and manipulating power of the Miniak, the sounds you dream up are as easy to create as twisting a few knobs. And creating complete soundscapes with the sequencer and arpeggiator couldn’t be easier. Create your unique sound with the Akai Miniak.

This is a quick guide to learning the Alesis Micron virtual analog synthesizer.

via Gtechture

This video, via soundonsoundvideo, captures an overview of the Alesis DM10 electronic drum kit from the 2009 Summer NAMM Show.

2009 Summer NAMM Show: Alesis introduced its new flagship drum set, the DM10 Pro Kit.

Based around the completely new DM10 sound module, the DM10 Pro Kit features Alesis’ RealHead drum pads, SURGE Cymbals made of real cymbal alloy and an ErgoRack mounting system.

“The DM10 Pro Kit is a giant leap forward for us,” said Jim Norman, Product Manager, Alesis. “We’ve taken everything we’ve learned about electronic percussion, and built the DM10 Pro Kit from the ground up to deliver an incredible playing experience at a breakthrough price point.”

The DM10 Pro Kit will be available in Q3 2009. Pricing is to be announced.

Description:

The DM10 drum sound module contains true drum, cymbal and percussion sounds built from real samples of classic studio drums and prized cymbals. Drummers will find some of the most in-demand acoustic drum sounds from legendary drum brands, a huge arsenal of top producers’ go-to snare drums, real American, Canadian, Chinese, and Turkish cymbals, and electronic beat-machine sounds that have fueled the biggest hit records.

Each sound is actually a series of different samples: multiple dynamic-level samples and articulations are all built in so as the drummer plays harder and softer, the drum or cymbal changes its timbre, not just its dynamics. This engineered realism is known as Dynamic Articulation, an Alesis exclusive. Drummers can play with or without reverb for different room sounds and enjoy a wide variety of rimshots, rim clicks and different stick-placement sounds on the cymbals. For example, a hi-hat’s sound depends on a number of factors: how open or closed the pedal is, how hard it is struck, and other variables resulting in 40 different sounds – plus foot chick and heel splash.

The DM10 module not only has a collection of sounds on board, it is also the world’s first drum-sound module that enables players to load new sound sets via USB connection to their computer. This means that owners’ sounds will always stay fresh, current and cutting edge. Drummers can also use the DM10 as a trigger-to-MIDI interface for performing and tracking with software drum modules such as BFD, Toontrack and Reason. Drummers can play along with the tracks in the DM10’s internal sequencer, mix in an iPod or other MP3 player and play along.

The DM10 module has 12 TRS inputs, enabling drummers to create custom configurations with up to 24 different pads. Its top-panel mixer gives drummers easy access to creating custom mixes.

The DM10 Pro Kit has acoustic-feeling RealHead pads in eight-inch and 10-inch sizes. The dual-zone pads feature real mylar drumheads and real triple-flanged counterhoops for the feel professional drummers demand. The snare and tom pads are dual zone, enabling players to perform rimshots, rim clicks or assign other sounds such as wind chimes, cymbals, gongs and cowbells on the tom rims.

The DM10 Pro Kit comes with premium SURGE Cymbals, the only serious choice in electronic cymbals. The kit comes with a 12” SURGE Hi-Hat Cymbal, a 13” SURGE Crash Cymbal with choke and a 16” SURGE triple-zone Ride Cymbal with choke. Based around a genuine alloy cymbal and coated with a clear sound-dampening layer, SURGE Cymbals feel like acoustic cymbals because they begin life as just that. The Crash and Ride cymbals feature large choke strips on the undersides for even more attention to accurate cymbal control. The SURGE Ride also features multiple-zone triggering on the bell, face and edge. The SURGE Hi-Hat Cymbal is continuously controllable using the included pedal.

Drummers will appreciate the DM10 Pro Kit’s ergonomically curved, chrome-plated ErgoRack. It is heavy gauge, heavy duty, and supremely adjustable. The ErgoRack is large enough to enable drummers to add on additional drum pads and SURGE Cymbals. They can even mount acoustic drums, cymbals, and percussion instruments on this roadworthy system. It employs standard one and one-half-inch tubing for compatibility with virtually all drum manufacturers’ rack hardware. The rack features quick-release, metal clamps for fast setup and tear down. The Crash and Ride cymbals mount on large, knurled boom cymbal arms that are height adjustable right in the rack down tubes. The DM10 Pro Kit comes with tom mounts that enable freely adjustable mounting. Drummer-friendly wing-screws are present on all important rack clamps and pads for ease of adjustment without reaching for a drum key. The drum pads mount on standard 10.5mm L-rods with low-slip, knurled mounting surfaces.

Sunday Synth Jam: This synth jam, Synth Blues Improv with Alesis Micron, is “is a blues jam obviously inspired by Vangelis Blade Runner, but it isn’t a cover. It is to show the Micron’s amazing capabilities.”

Nice, but watch out for the abrupt ending…..

via hdebbache2000:

The sounds are custom, and I’m especially proud of the brass patch.

In a while I’ll start doing some more rythmic pieces like jarre and such, for now I just wanted to master this synth, so here is a relatively simple improv. Enjoy!

This is a demo video for a circuit bent Alesis Hr-16 drum machine, with custom EPROM

via wotatwaat:

Circuit bent Hr-16 with custom eprom. Cheers to burnkit2600 for info on how to do it!!!

MoonSatellite – Sequenzer I (extrait) is a very nice live Berlin-school style synth jam.

via samurailonewolf:

Pads, Sequences, Voice : Andromeda A6 – FX, Lead, Bass : Minimoog Voyager – Sequence in the middle : Korg R3 – Rythm : Roland MC 808 – Record : Korg D16 – Wind : Minimoog + EH Small Stone. (Sorry for the sound it’s live capture with cam…)

This synthesis tutorial, Alesis Andromeda Atonal Synthesis, is pretty strange, but it’s full of great sounds and interesting information.

via JeffreyPlaide:

This instructional video explores atonal synthesis using the amazing Alesis Andromeda analogue synthesizer.

We can investigate atonal applications for sound synthesis and with some background theory, understand how to create ambient pads and ringing atmospherics and similar sonic combinations. Analogue synthesis can create atonal and ringing timbres that can be played to bring about dissonance and clangourous combinations that can be used to create atonal musical sequences and special effects including background atmospherics and pads.

Musikmesse 2009: soundonsoundvideo gets a demo of the new Alesis Audio Link Series, a set of inexpensive audio interfaces built into cables.

via soundonsoundvideo

This video captures the metamorphosis of an electronic music studio.

via grauoliv:

So, here is the main metamorphosis of my studio, which took place in january 2009. I had to give up the camera position because I got new windows and my tripod was standing right at the window for making the pix. Well, some little adjusting of the studio is still to be done. A studio introduction 2009 will follow soon.

The ambient music was already recorded with the new setup and features the clavia nord modular g2, alesis micron, access virus indigo, moog little phatty and the akai mpc 500. The original track is about 9 minutes.

This is a space music synth jam, Vanderson’s Electronic Impressions, Part 2.

via grooveproject

In this official Alesis video, product specialist Heath Tougas offers an in-depth tour of the Alesis MasterControl.

In case the NAMM Show Mother Load didn’t get you enough gear porn goodness from the 2009 NAMM Show, here’s a nice collection of NAMM photos from Jay Smith of Livid Instruments.

Livid makes a very nice line of VJ/DJ controllers, and it shows in Smith’s extreme gear shots of Akai’s APC40 controller for Live, Akai’s MPK keyboard, the Alesis MasterControl, Arturia’s Factory Experience and other sexy beasts released at the Winter NAMM Show.

via Peter Kirn at CDM

At the 2009 Winter NAMM Show, Alesis announced their USB Recording Kit, an all-in-one computer-recording system.

The USB Recording Kit lets you connect the pair of AM2 condenser microphones to the iO|2 digital-audio interface to record stereo audio, using the included Steinberg Cubase LE 4 digital audio workstation software. You can monitor sessions and playback with the M1Active 320 USB speakers.

No extra sound cards, no special connectors or adapters and no software drivers are needed. All that is needed is a Mac or PC with two available USB ports and a pair of microphone cables.

The USB Recording Kit is available from musical instrument and pro audio retailers at an MSRP of $399.99 and an estimated street price of $299.99. 

Here are the details:

The AM2 stereo microphone set contains a matched-stereo pair of AM2 condenser microphones, an XY-stereo mount, stand clips, windscreens and a carry case. The low profile, miniature cardioid condensers offer a switchable pad and high-pass filter for optimal signal management.

The iO|2 is a flexible digital audio interface with two XLR-1/4-inch combination inputs and 48V phantom power. The inputs enable users to plug in microphones, instruments and line-level inputs for easy recording of guitar, bass, keyboards and more. The iO|2 sends CD-quality 16-bit, 44.1 kHz digital audio to the user’s computer via USB and stereo signal to the user’s headphones.

The M1Active 320 USB studio monitors feature one-inch silk-dome tweeters and three-inch lightweight woofers and both analog and USB inputs for clean, low-distortion signal flow. The speakers have additional inputs, enabling users to employ them as a standalone recording solution when connected via USB. When used within the bundle, the speakers’ inputs add to the input count of the system.

At the 2009 Winter NAMM Show, Alesis introduced the M1Active 520 USB – a set of studio monitors with USB audio connectivity.

M1Active 520 USB is a pair of active, bi-amplified, two-way reference monitors that are designed to reproduce frequencies from 20,000 Hz all the way down to 56 Hz, covering nearly all frequencies audible to human ears. You can send audio directly from your DAW via USB to the speakers, for low noise, low-distortion signal flow.

The M1Active 520 USB monitors are designed around a five-inch polypropylene low-frequency driver and a one-inch silk dome high-frequency driver. The low-resonance bass-reflex cabinet features beveled edges to reduce edge diffraction and a tuned port for bass extension

M1Active 520 USB’s bi-amplified design delivers 50W to the woofer and 25W to the tweeter. The monitors are magnetically shielded so you can place them near computer screens and hard drives without concern.

The M1Active 520 USB’s large, front-panel, bi-color display indicates presence of signal in blue and clipping in red for instant feedback on system status.

In addition to USB playback capability, M1Active 520 USBs boast a pair of TRS-balanced 1/4″ inputs, so they can be used as a high-quality computer audio interface. Users can connect a stereo source or two mono sources including a mixer, keyboard, sampler or tape deck and record directly to their computer through the speakers.

“The new M1Active 520 USB studio monitors make getting low-distortion signal from your DAW to your monitors simple,” said Adam Cohen, Director of Business Development, Alesis.

M1Active 520 USB studio monitors will be available in Q3 2009, at an MSRP of $299.99 and an estimated street price of $199.99.

This is a booth porn video from the 2009 NAMM show, by guys at Alesis.

2009 NAMM Show: Alesis has announced that its iMultiMix 16 USB mixer is now available.

The mixer is a “prosumer” level mixer that offers recording direct to iPod. iMultiMix 16 USB is the second entry in a new class of iPod mixers that started with the iMultiMix 8 USB.

iMultiMix 16 USB features a Universal Dock for iPod that let you record directly to any iPod Classic, 5th generation (video) and 2nd or 3rd generation iPod nano. The mobile recording mixer has iPod transport controls and a control wheel built into the surface for complete control of the iPod while it is docked in the mixer. The USB connection lets you transfer tracks into iTunes upon connection to a computer. Files recorded into the iPod are CD quality, 16-bit, 44.1kHz WAV files.

You can also connect the iMultiMix 16 USB to Mac or PC using USB for direct-to-computer recording. In addition to its computer connectivity, iMultiMix 16 USB offers eight analog inputs, 100 digital, 28-bit effects, phantom power and two switchable mic/line/guitar inputs.

iMultiMix 16 USB has an MSRP of $799.99 and a street price of $599.99.

Overview

In a world filled with “almost-analog” and “sort-of-analog” synthesizers, Andromeda is the real deal: a high-performance instrument fueled by true analog synth technology.

In a single, powerful package you’ll find a huge range of tonal possibilities: searing leads, warm pads, fat bass lines, extreme sound effects and more. With Andromeda you can get all these sounds simultaneously, while enjoying the creative control to reach out, grab knobs and instantly reshape Andromeda’s mind-blowing sonics.

Check out the video above for sonic demos and the specs below for more info!

Features:

• Andromeda’s fully analog signal path is controlled by a high-speed Motorola Coldfire microprocessor, offering 16-voice polyphony with 16-part multitimbral capability. Andromeda features two analog oscillators per voice, with standard waveforms (available simultaneously), suboscillators, hard and soft sync, and more. It provides two analog filters per voice: these 2-pole (multimode) and 4-pole (lowpass) resonating filters are classically-derived designs, and offer you an astounding range of sonic variability.
• Andromeda also provides external audio inputs that allow you to route any signal through its filters. Andromeda has three LFOs, each with six waveforms and many powerful features. It also has three 7-stage, 3-level envelopes capable of functions never before found in any analog synthesizer. An extensive mod matrix offers you an enormous freedom in configuring Andromeda’s sonic firepower, adding to its monstrous capabilities.
• Andromeda’s 61-note synth-weighted keypad features velocity and aftertouch sensitivity, and its ribbon controlled offers multiple, assignable functions. A distinctive, futuristic front panel features 72 knobs and 114 buttons (the majority are single function), optimally arranged for rapid-fire tweaking and in-depth experimentation. Andromeda’s large, backlit LCD display provides real-world values of parameters (time, frequency, BPM, etc.) and high-resolution graphics. No other synth has ever offered such a sophisticated, informative control panel for creating analog pyrotechnics.