Sunday Synth Jam: This is a modular synth “space acid jam”, featuring the Future Retro XS analog synthesizer.

Patch details below.

via darenager:

Testing out the XS with the modular.

The Blacet Binary Zone is patched into the XS CV input, the clock output from the BZ is firing the Blacet EG which in turn is going to the gate input on the XS.

The XS is running through the Bel BD80 delay.

Great fun!

Sunday Synth Jam: elektrofusl tweaking the Sherman Filterbank 2.

Also playing:1st HH, BD and SD = TR 606 clocked by Shift-Sync Mark II, Synth = Futurertro XS sequenced by MFB Step64, 2ndHH = XBase09 sequenced by Flame Echometer.

Image: anstalt

Saturday Synth Porn: This is a great shot of the epic analog bassline synthesizer, the Future Retro Revolution.

via the Synthtopia Flickr Group

In this video modularsquare explores the Future Retro XS, a semi-modular analog synthesizer. 

Future Retro has introduced a sextacular new MIDI/analog sequencer, the Future Retro Orb Sequencer.

It’s an evolution of the Roland TB-303 inspired sequencer that’s the heart of the company’s Mobius Sequencer, Future Retro 777 bassline synth and Revolution synth, but redesigned as part of FR’s XS analog synth line.

While the Orb offers a fraction of the connectivity options of Future Retro’s earlier Mobius sequencer, it has a much more elegant design and some unique sequencing options.

The Future Retro Orb Sequencer retails for $550.

Details below.

If you’ve used the Orb, leave a comment with your thoughts!

Description:

The Orb is a single track, step-based digital sequencer, designed to be ideal for controlling Future Retro’s XS semi-modular synthesizer, as well as other analog CV/Gate or MIDI synthesizers. The Orb is also a perfect solution for controlling 303 clones which often lack the essential sequencer.

According to Future Retro’s Jared Flickinger:

The Orb provides an intuitive interface that we feel most accurately represents the principles of time and music. From ancient sundials to modern day analog clocks, time has been represented as the circle, a cycle which never ends. For time itself is nothing more than our perception of the revolution of planets as they journey through their celestial orbit. It is this motion that we call time that can be measured, divided, and arranged to provide the foundation of music. This circular cyclic theme can furthermore be found throughout music in everything from song structure and repeating rhythms to the fundamentals of sound itself, being the sine wave. With this understanding we must conclude that music is cyclic and should so be represented in its natural form.

The Orb sequencer is housed in a rugged aluminum chassis with a high contrast white on gun metal grey finish for easy viewing of controls in dark environments, and bright blue LEDs all around. New spherical switches allow quick selection of multiple steps by sweeping through the surface of step keys.

The Sequencer

The sequencer’s interface is circular, which provides several benefits over the traditional linear-style step sequencers. Visually, it is easier to divide a measure of music into equal parts. The circular interface also provides a more intuitive way of displaying patterns playing as cyclic loops, either forwards or reverse, and will help you better understand the underlying geometric symmetries used throughout the remixing process. This design also allows the user to carry out all sequencing functions with a single hand.

There are 256 recordable patterns available, each recording note duration, pitch, accent , glide, loop point, time signature, and swing amount. Pattern editing features include copy/paste, pattern shifting, pattern transposing, multiple pattern cueing for chaining patterns together live, and LED chase. In addition, all pattern editing and recording can be done while the sequencer is running, and it will automatically save all your edits so you don’t have to stop creating.

The Orb also provides the ability to play patterns forwards or backwards, as well as remotely select patterns to play using MIDI program change messages.

There are 16 songs to arrange the patterns in, each recording its tempo, the bank/pattern for each step, the transposition of each step, and the song’s loop point. Each of the 16 songs can contain up to 3,580 measures, and multiple songs may be chained together so they play sequentially.

In addition, the Orb provides a Remix feature, which gives 256 variations for every pattern and song, for more than 65,000 possible patterns right out of the box.

Patterns and songs can be backed up via SysEx dumps to other Orb units, Revolution units, or your computer. In addition, all patterns and songs created in the Orb can be played in the Revolution units, just as all Revolution patterns and songs can be played in the Orb.

Interfacing

The Orb provides separate 1/4″ jacks for the CV out (1V/oct standard) with adjustable Glide Time control, Gate out (positive polarity type, 0 to +12V), and Accent out (positive polarity type gate, 0 to +10v) for playing most analog synthesizers. Or if you prefer, the Orb can act as a MIDI to CV converter allowing any MIDI keyboard/controller, or sequencer to contol an analog synthesizer. It’s also possible to sync most pre-MIDI analog sequencers and arpeggiators to MIDI clock by using the Gate out signal as a programmable clock source.

MIDI In/Thru/Out are all provided for syncing playback with external sequencers, playing MIDI sound modules, or using the Orb as a MIDI to CV converter.

Specifications:

• Number of Patterns: 256 patterns (16 banks x 16 patterns each)
• Recorded Pattern Content: note duration, pitch, accent, glide, loop point, time signature, swing amount
• Number of Steps Per Pattern: 3/4 time = 12 steps, 4/4 time = 16 steps max
• Note Pitch Range: C1 – D#6 (internal), C2 – D#7 (MIDI)
• Loop Point: 1 to 16 notes per pattern to loop
• Pattern Transpose: from -36 to +36 semitones
• Other Pattern Features: pattern remixing, play patterns forwards or backwards, copy and paste patterns, pattern shifting, permanent pattern transposing, multiple pattern cueing (for chaining patterns together live), LED chase, real-time editing of pattern information while the sequencer is playing or stopped, sequencer automatically saves all editing
• Remix: 256 instant variations for playing each pattern and song
• Number of Songs: 16
• Number of Steps Per Song: up to 3,580 measures each
• Recorded Song Content: tempo, bank/pattern for each step, transpose value for each step, song loop point
• Song Pattern Transpose: from -36 to +36 semitones for each song step
• Tempo Range: from 20 to 250 beats per minute
• MIDI Functions: on/off, channel selectable from 1-16, Program Change messages for selecting patterns remotely
• MIDI Sync: internal or external
• MIDI Sysex: for backing up patterns and songs (sysex dumps compatible with the Revolution synthesizer)
• MIDI Data: note on/off, pitch, velocity (transmitted and received)
• MIDI to CV Converter: Converts internal patterns or external MIDI note data into control voltage, gate, and accent signals for controlling other analog synthesizers
• MIDI: in, thru, out
• 1/4″ Jacks: v/oct CV out, +12v gate out (positive polarity), +10v accent out (positive polarity)12 volt AC input, current rating of 1 amp or 1,000 mA7″ length, 6″ width, 2.75″ height
• 1.75 lbs.

Warranty

• The Orb comes with a 1 year limited warranty covering any failure of components being electric or mechanical.
• For your warranty to be effective, you must register your unit within 30 days of purchase.
• Any modifications done to the Orb automatically void the warranty!

This video shows you how to change the battery on a Future Retro Revolution Analog Synth, with a lot of extreme gear porn along the way.

If you’d rather see the Future Retro Revolution in some analog bassline synth action, check out the video below.

Click here to view the embedded video.

videos via pepemogt

This video demos using the Future Retro Revolution as an audio processor:

With an analog resonant filter, envelope, overdrive, and DSP effects, the Revolution makes a powerful effects processor. The Elektron is slaved to the Revolution’s MIDI.

via BigCityMusic

Sammy Taters wants to do the seemingly impossible – trade up from a Yamaha DX200 to a Devil Fish Modded TB-303 in less than a year:

Have you ever wondered if it was possible to trade up to another piece of gear literally? For Example: To go from a Yamaha DX200 to a Devil Fish Modded TB-303 in less than a year? Is it even possible?

I have a Yamaha DX200 and am offering it for trade. If you’d like to have this and have something of value to offer, send an e-mail to supercool [at] chartermi [dot] net

I will document the process on this website to see if it is possible. If you have any stories, send them in. Thanks!

Do you think he can do it? And should he really be aiming for a Future Retro 777?

This is sure to be controversial, but I can’t argue with their thoroughness. 

Acid Voice has compared a collection of the top clones of the Roland TB-303 and ranked them, based on how well they clone the sound of the original acid synth. 

They’ve got audio demos and in depth comparisons of the various bassline synths, including the x0xb0x, the Future Retro Revolution, the TeeBee and the FR 777. 

Here’s how they stack up, in Acid Voice’s opinion:

1. Adafruit x0xb0x
2. Future Retro Revolution
3. Syntecno TeeBee MKIII
4. Oakley TM3030
5. Analogue Solutions TB-X
6. Acidcode ML303
7. Acidlab Bassline 
8. MAM MB33 MKII
9. Future Retro 777

I would rank the 777 much higher. The Future Retro 777 will do just about everything you’d want to do with a TB303, plus it’s a fairly full-featured analog synthesizer, too.

The bottom line, though, is that there’s never been a better time for people interested in great-sounding acid bassline synths. 

Let me know what you think of the results!

This demo, via Future Retro Synths, showcases the new XS Synthesizer, a semi-modular analog synth, being controlled by the FR Revolution.

Nice demo of using the Future Retro Revolution as an audio processor.

With an analog resonant filter, envelope, overdrive, and DSP effects, the Revolution makes a powerful effects processor. The Elektron is slaved to the Revolution’s MIDI.

via BigCityMusic

Atomic is a 16 step sequencer composing tool with a built in synth that also has the ability to control other softsynths or even hardware via its MIDI out function.

The design is circular, inspired by step sequencers such as the Buchla Arbitrary Function Generator and Future Retro Revolution.

You can preview Atomic below:

Sequencer:

• 16 step sequencer in a circular design with 3 rows: seminotes, velocity
• and gate.
• BPM Rate with 5 modes including random.
• Separate rhythm grid.
• Advanced arpeggiator with separate rate, 5 modes with gate and octave controls.
• Latch mode for continuous play.
• MIDI Out for use in modular hosts which also includes LFO’s and
• step modulators to control external vst’s or hardware.

Synth:

• 2 Oscillators with 14 waveforms including additive partials.
• Separate phase controls, detune and octave as well as harmonic tuning mode.
• VCF with 4 filter types with velocity control.
• 2 dedicated envelope generators, one for amp and one for filter.
• 2 LFOs, Sub Oscillator, Step Modulator, Random Generator and Keyboard control
• with zone and mod wheel assign which includes sequencer controls for step and
• rate.
• Comprehensive mod matrix.

Effects

• X-Y delay with separate multimode filters which can be modulated via mod matrix.
• Spacial stereo reverb
• Phaser with wide sweeping range.
• Master section with volume, pan and tuning
• CC map for hardware MIDI knob controllers.

Future Retro’s Jered Flickinger has quietly updated his Revolution analog synth, giving it a cool new look, longer battery life and a new OS:

The new R2 unit, designated by the gun metal grey chassis, has an updated PC board design using a new RAM chip which extends the internal back up battery life from approximately 1.5 years on previous white faced units to now more than 10 years life span. In addition the R2 units include OS version 2.0 making it more compatible for use with our XS semi-modular synthesizer.

It’s $750. Flickinger plans to have an OS update available for original Revolution synthesizers owners.

Description:
A true analog monophonic synthesizer with an easy to use step-based digital sequencer, analog and DSP effects processing, and various interfacing for controlling MIDI, CV/Gate, and Din Sync devices.

Continuing in our tradition of building quality products, this unit is housed in a rugged aluminum chassis, with aluminum side panels, high contrast white on gun metal grey finish for superior viewing of controls in dark environments, and topped off with bright blue LEDs all around.

Let’s start with the sequencer…

As you can see, the sequencers interface is now circular which has several benefits over the traditional linear style step sequencers. Visually it is easier to divide a measure of music into equal parts. It also provides a more intuitive way of displaying patterns playing as cyclic loops, either forwards or reverse, and will help you better understand the underlying geometric symmetries used throughout our Remixing process. This design also allows the user to carry out all sequencing functions with a single hand.

There are 256 recordable patterns available. Each recording note duration, pitch, accent , glide, loop point, time signature, and swing amount. Pattern editing features include copy/paste, pattern shifting, pattern transposing, multiple pattern cueing for chaining patterns together live, and LED chase. In addition, all pattern editing and recording can be done while the sequencer is running, and it will automatically save all your edits so you don’t have to stop creating!

The Revolution also provides the ability to play patterns forwards or backwards, and remotely select patterns to play using MIDI program change messages.

There are 16 songs to arrange the patterns in, each recording its tempo, the bank/pattern for each step, the transposition of each step, and the song’s loop point. Each of the 16 songs contains up to 3580 measures, and multiple songs may be chained together so they play sequentially.

In addition, the Revolution provides our unique Remix feature which provides 256 variations for every pattern and song, for more than 65,000 possible patterns right out of the box. Whether your improvising during a live set, creating variations for other parts of a song, or simply have a case of writers block, our Remix feature is sure to inspire you and speed up your creative process.

The analog section…

The Revolution uses true analog synthesis throughout its entire sound engine. Only the DSP effects are digital, and if these are bypassed the signal remains true analog through every stage right to the output. We’ve gone to great lengths to ensure that the Revolution is fully capable of the most accurate replication of the original TB303’s sound, and in many ways surpasses its signature liquid tones and capabilities.

The Revolution has a new oscillator design which provides superior note tracking and temperature stability, as well as providing the exact same waveforms found in the original TB303. The revolution also provides the correct 3 pole filter design, gated amplifer, accent and glide circuits which are all crucial to the TB303’s sound. In addition to the original controls of the TB303, the Revolution also has a CV Modulation amount control which allows the filter’s cutoff frequency to track either the internal control voltages generated by the Revolution’s sequencer, or external control voltages may also be applied to modulate the filter. You may also notice that there is now an Accent Decay time control for varying the duration of filter and amplifier modulations by the accent circuit. This control provides everything from tight zap-like accents to much longer sweeps of the filter resulting in a very funky sound. All in all it’s one tricked out acid machine for creating everything from warm deep basses, silky smooth liquid chirps and bleeps, to the more aggressive ripping overdriven lead sounds.

The effects…

The Revolution uses both analog and digital effects to process its sound. The overdrive stage is true analog and can be activated by a switch on the rear panel. The overdrive stage is a dynamic process related directly to the filter’s resonance amount, so that as the resonance is increased, so is the overall gain of the overdrive section. This preserves the shape of the oscillator’s waveform at lower resonance levels instead of just clipping them into a square waveform as a typical distortion stage would. This also provides a much smoother transition from the original bubbly liquid sound, into those ripping lead sounds more common in todays electronic music.

The DSP section provides true 24 bit stereo effects processing, arranged as 16 preset effect which include: chorus/room1 and 2, delay 1 and 2, chorus, flange, plates 1, 2 and 3, rooms 1, 2, and 3, halls 1 and 2, rotary speaker, and a low pass muffler. In addition, wet/dry controls are provided for both left and right output channels. These controls can be used to help place the sound within the stereo field, or create two different mixes of wet/dry amount.

Interfacing…

Although the Revolution’s analog signal is mono, the DSP effects do provide movement through the stereo sound field, and appropriately we have provided a stereo master output, as well as a stereo headphone output using standard 1/4″ jacks.

Also provided are separate 1/4″ jacks for both CV out (1v/oct standard), and Gate out (positive type, 0 to +12v) for playing other analog equipment using the Revolution’s sequencer. Or if you prefer, the Revolution can act as a MIDI to CV converter when it is not playing its internal patterns.

1/4″ jacks are also provided for CV in to modulate the filter’s cutoff frequency with external control voltages, and Audio in for processing external sounds through the Revolutions filter, amplifier, overdrive and DSP effects sections. The Audio in jack can sum the external signal with the internal oscillators, or completely override the oscillator signal so that just the external sound is processed.

Here’s where things get even more interesting… by connecting these outputs and inputs in various ways other sounds are possible without any additional equipment. For instance you can route the signal from the headphone output back to modulate the filter’s cutoff for some unusual self modulation effects. Or route the output back into the Audio input, which can produce everything from self resonant sounds, to bizarre feedback loops, and remember the effects section are included in this processing chain.

MIDI In/Thru/Out are all provided for syncing playback with external sequencers, playing MIDI sound modules, or having external sequencers or MIDI keyboard controllers play the Revolution’s analog section.

Din Sync out is included for syncing up the playback of the early Roland TR and TB type devices to todays MIDI sequencers.

Update: Interesting – the R2 news has been picked up by Engadget, Born Rich, Gizmodo. Probably the R2 name?

We’ve already mentioned tons of great new gear that we saw at NAMM in the last couple of weeks, but, following in the footsteps of last year’s modular analog synthgasm, here are our picks for 2008’s most synthgasmic gear:

Future Retro XS Semi-modular Analog Synthesizer

We saw the XS in a sort of beta state last year, but this year the Future Retro XS is ready to play.

The XS is a semi-modular synth, with internally normalized routing. Plug it into a MIDI controller and it’s ready to play. Put in a patch cord, though, and you can do some mad science.

Designer Jered Flickinger (interview link) says the XS is designed to be used as either a rackmount or desktop instrument, and its compact size makes it an ideal modular synth for musicians on the go.

Arturia Analog Factory Experience Hybrid Synthesizer

Based on Analog Factory 2.0, a software instrument offering 3500 classic synthesizer sounds, Arturia’s Analog Factory Experience includes a 32-key MIDI keyboard that’s designed to make virtual analog synth-tweaking a no-brainer.

Spectrasonics Omnisphere Virtual Instrument

Spectrasonics previewed their new flagship virtual instrument Omnisphere, and kicked off what looks like it will be a massive hype campaign for a synth that’s not due until September.

While it is the most vaporous of the synths that made the list, it looks like it will definitely be synthgasmic.

Omnisphere combines a wide variety of hybrid realtime synthesis techniques, an epic library of ‘Psychoacoustic’ sounds, and some innovative features. The new instrument is the first to be based on Spectrasonics’ STEAM Engine, the company’s newly developed core technology.

And it sounds pretty wicked.

Roger Linn & Dave Smith’s LinnDrum II

Speaking of vaporous, Dave Smith was showing the LinnDrum II.

Last year, he was showing the Boomchik, a new drum machine that we called NAMM’s sexiest vaporware.

Well, the new drum machine is still a bit vaporous, the Boomchik is now the LinnDrum II, and Smith had a full scale model of it on hand.

And while it may be vaporware now, Smith has delivered some of the most exciting analog synths ever designed over the last few years, and we’ve got no doubt that when he and Roger Linn are done with it, the LinnDrum will be one of the coolest drum machines ever created.

Two models are planned: the all-digital LinnDrum II and the LinnDrum II Analog, which adds a 4-voice analog synth and 27 dual-function voicing knobs.

Prophet 8 Monster Synth

The most drool-worthy new synth at the show was probably Dave Smith’s Prophet ‘08 – an eight-voice synthesizer with a 100% analog signal path.

While the Prophet ’08’s overall sonic character will be familiar to anyone who knows Dave’s work from the ’70s and ’80s, its got massively improved modulation possibilities, starting with 4 LFO’s per voice.

MicroKorg Bizarro Edition

Nothing too innovative here, but the reversed-color keyboard is a funky throwback to old synths.

The Limited Edition microKORG is a portable synthesizer offering modeling synthesis, vocoding, real-time control, onboard effects and external audio processing.

Quantum Leap Forbidden Planet

EASTWEST previewed Quantum Leap Forbidden Planet, a virtual sample-based synth collection focusing on edgy sound design and controls that let you easily combine, morph, process and modulate the sounds.

Yeah – it’s another big sound library – but it’s got over 1000 presets and offers parallel programs using the unprocessed analog waves and all of the digital filters, modulators and FX.

If you like abstronica – this could be up your alley.

Livewire Modular Synthesizer

Nothing can beat a large format modular synth, but they were hard to find at this year’s NAMM show. In fact, most of the modular synth action seems to be happening in the smaller formats.

One of the most interesting new modular synths is Mike Brown’s Livewire line of Eurorack synth modules. I had a chance to talk with Mike in depth about his modules, and he’s doing some really interesting things.

He’s got some great new modules in the works, including an amazingly non-boring VCO. You can’t build a complete Livewire synth at this point – Mike is more interested in creating new modules designs that no one has ever though of before than in making a Livewire envelope generator.

Roland FR-2 Series V-Accordions

Finally – something out of left field.

While the most interesting gear seemed to come out of smaller manufacturers, Roland introduced the slightly out there FR-2 series V-Accordion.

The virtual accordion offers physical behavior modeling technology, providing the tone and characteristics of the world’s best accordions, plus MIDI so you can lay on so funky-ass bass while you play Lady of Spain.

The long-awaited Future Retro XS semi-modular analog synthesizer is now available.

According to designer Jered Flickinger (interview link), the Future Retro XS is intended to be used as either a rackmount or desktop instrument, and its compact size makes it ideal for musicians on the go.

Flickinger’s work is always interesting. I’ve got a FR 777 and a Mobius Sequencer, and each offer rock-solid construction and extreme flexibility.

The Future Retro XS Analog Synthesizer

The XS is an extremely powerful monophonic synthesizer, offering 46 controls with internal signal routings pre-wired. The unit also provides 7 inputs and 11 outputs which can be connected in various ways to override the pre-wired signal routings, and to interface the unit with other instruments in a modular fashion, and even process external audio.

The XS can be controlled by both MIDI and CV/Gate control signals simultaneously in a variety of ways. And can also act as a MIDI to CV/Gate converter with outputs including CV/Gate/Mod Wheel/Velocity signals for controlling other analog instruments.

The Future Retro XS Synth retails for $1,299.

Here are the details:

Oscillators

The XS provides 2 ultra-stable wide range voltage-controlled oscillators, each capable of covering a range of 0.5 Hz to 100 kHz.

Oscillator A generates saw tooth, and square waveforms. Oscillator B generates sine, triangle, saw tooth, pulse width/square waveforms, and its own sub oscillator waveform which can be 1/2, 1/4, 1/8, the frequency of the main waveform. The pulse width shape of oscillator B can be set manually or modulated with an internal or external control voltage, and oscillator B can also sync its frequency to oscillator A. Each oscillator can be frequency modulated independently by both internal and external signals to create more complex waveforms.

The XS also provides a white noise source, and ring modulator which can be used on the internal oscillators or an external source. Dedicated outputs are provided for the waveform select controls A, B, and C.

A dedicated LFO generates triangle, saw tooth, square, and random waveforms, to modulate internal parameters, or external circuits as well with its dedicated output. The LFO can act in a free-running mode, or sync its rate to divisions of an external MIDI clock. When synced to an external MIDI clock, the LFO can be used to generate analog clock signals at various synced rates for stepping analog sequencers or arpeggiators in time with modern sequencers.

The mixer section sets the levels of the oscillator waveforms, sub oscillator waveforms, white noise source, ring modulator, or any external audio signal to be sent to the input of the filter.

The Filter

The 2-pole multimode filter provides 4 filter types including low pass, band pass, high pass, and notch settings, each capable of covering a range from 5 Hz to 18 kHz. With high resonance settings the filter will self oscillate allowing it to act as an additional audio source. The cutoff frequency can be modulated by both internal and external signals. And the filter’s input and output can be overdriven independently giving it unique tone characteristics. A dedicated output for the filter is also provided.

Envelopes

The XS includes our unique velocity sensitive ADSR type envelope with additional attack and decay time settings for accented envelopes. It’s like having two envelopes in one, and capable of some truly funky sounds. This is the main modulation envelope internally routed to the modify the oscillators and filter. The envelope can be triggered by internal or external logic signals. Both normal and inverted polarity envelopes are available at the output.

Amplifier

And finally a voltage controlled amplifier is provided to process the amplitude of signals. The amplifier normally affects the filter’s output but can also be used to process external audio signals. The amplifier has it’s own dedicated envelope with 4 selectable shapes, velocity sensitive amplitude, and independent accent times. The amplifier also has a volume control for attenuating signals sent to the main output.

A universal power supply is also included, which allows the unit to be used in all countries.

The Future Retro XS is available through Big City Music, which has provided a video intro of Flickinger introducing the XS:

Click here to view the embedded video.

Click here to view the embedded video.

Future Retro’s Jered Flickinger is celebrating 10 successful years in business with a gear porn retrospective of rare FR prototypes.

Here’s an image of the Abstrak sequencer, a prototype of a new type of analog sequencer built using discrete logic components. The rhythm switches could define if notes were off, on, or sustained, while the knobs set the pitch for each step. This model also had a true analog swing function.

Flickinger also offers a bit of biographical background on himself and how he turned Salina, Kansas into a hub of hardcore acid-style synth action….

As a child I grew up playing with the tools and machinery on the assembly line of my fathers company, which designed and manufactured musical tuners, guitar and bass amplifiers, PA systems, and more during the 70’s and 80’s. It was like a jungle gym of technology, innovation and craftsmanship. At the age of 7 I would attend my first NAMM show, as my father’s company displayed their products to the music industry. Interesting however is that looking through their old photos of that show, I find pictures of the TB-303 and TR-606 on display for the first time. Why they even took those pictures I don’t know, they weren’t into synthesizers at all. And me… I wanted to play the drums. Who knew that 15 years later I would end up making instruments similar to those.

At 14 I began DJing and playing electronic musical instruments. I remember my first instruments were an Ensoniq SQ-80 synth, Kawai R-50e drum machine, and a Boss SE-50 processor. It wasn’t much, but having less kept me creative and I learned them inside and out, as I made my attempt at creating “industrial” type music. In highschool I was in a cover band for a short while where we played songs by, NIN, Ministry, Janes Addiction, The Cure, New Order, The Shamen and more. It was a lot of fun, but lets face it, getting all the members together to practice rarely happened. So I focused more on the electronic side of music, producing dance music as my DJ instincts took over, doing music for a few local hip-hop acts, mixing dance music for choreographers, doing live mixes on the radio and creating radio commercials, promoting and DJing raves, opening a dance club for teens, and finally landing several full time residencies as a DJ in the club scene all by the age of 19. While working in the clubs I would also work in record stores, and music instrument shops, where I started doing repairs for others and modifications to my own synthesizers. As I learned them inside and out, I thought, I can do this… I want to make my own synthesizer and I want it to have this feature and that, and be able to sound like all my favorite groups.

And so I spent just over a year creating the circuits which would later be known as the 777 synthesizer. Although not without a few setbacks. I remember having the first prototype laid out all over my desk, bread boarded up with wires going everywhere, and everything was working as I make a few last tweaks here and there to the circuits… until one day I got caught up in those wires as I walked away from my desk bringing the whole thing crashing down on the floor. It took weeks to bring it back to life. Once I had it working again the next step was to make the first physical prototype. So I molded my own chassis out of fiberglass, hand made all its stickers and legends, fabricated some wood ends, and hand wired all the circuits onto perf-boards which I could mount inside the unit. The result was a lot of work, although I remember thinking… hmm… I could make a couple of these a year. So I took that prototype around to local concerts with me, trying to get musicians opinions of what I had created. It was then that I met up with Dennis of Skylab2000, and he played the prototype and gave me his feedback… I like this, why did you do that, can you do this instead? So I took it back to the drawing board, convinced my father to write the code for our sequencer, as we spent the next year implementing some of his ideas and our own, and also thinking how can I make more than just a couple of these a year?

At 14 I began DJing and playing electronic musical instruments. I remember my first instruments were an Ensoniq SQ-80 synth, Kawai R-50e drum machine, and a Boss SE-50 processor. It wasn’t much, but having less kept me creative and I learned them inside and out, as I made my attempt at creating “industrial” type music. In highschool I was in a cover band for a short while where we played songs by, NIN, Ministry, Janes Addiction, The Cure, New Order, The Shamen and more. It was a lot of fun, but lets face it, getting all the members together to practice rarely happened. So I focused more on the electronic side of music, producing dance music as my DJ instincts took over, doing music for a few local hip-hop acts, mixing dance music for choreographers, doing live mixes on the radio and creating radio commercials, promoting and DJing raves, opening a dance club for teens, and finally landing several full time residencies as a DJ in the club scene all by the age of 19. While working in the clubs I would also work in record stores, and music instrument shops, where I started doing repairs for others and modifications to my own synthesizers. As I learned them inside and out, I thought, I can do this… I want to make my own synthesizer and I want it to have this feature and that, and be able to sound like all my favorite groups.

And so I spent just over a year creating the circuits which would later be known as the 777 synthesizer. Although not without a few setbacks. I remember having the first prototype laid out all over my desk, bread boarded up with wires going everywhere, and everything was working as I make a few last tweaks here and there to the circuits… until one day I got caught up in those wires as I walked away from my desk bringing the whole thing crashing down on the floor. It took weeks to bring it back to life. Once I had it working again the next step was to make the first physical prototype. So I molded my own chassis out of fiberglass, hand made all its stickers and legends, fabricated some wood ends, and hand wired all the circuits onto perf-boards which I could mount inside the unit. The result was a lot of work, although I remember thinking… hmm… I could make a couple of these a year. So I took that prototype around to local concerts with me, trying to get musicians opinions of what I had created. It was then that I met up with Dennis of Skylab2000, and he played the prototype and gave me his feedback… I like this, why did you do that, can you do this instead? So I took it back to the drawing board, convinced my father to write the code for our sequencer, as we spent the next year implementing some of his ideas and our own, and also thinking how can I make more than just a couple of these a year?

Get the full story at the Future Retro site. You can also find out more about Flickinger and Future Retro in Synthtopia’s Jered Flickinger interview.

Here’s a few more images – check them all out at FR:

A rare custom 777 with a brushed silver face.

The UV orange SE Revolution units shown above were sold exclusively through Analogue Addiction in the UK.

I’ve got a Future Retro Mobius and a FR 777, and it’s obvious from these that one of secrets to Future Retro’s success is making unique kick-ass gear. Congrats to Jered on 10 years of business!

The Revolution is our latest concept synthesizer providing an intuitive interface which we feel most accurately represents the principles of time and music. From ancient sundials to modern day analog clocks, time has been represented as the circle, a cycle which never ends. For time itself is nothing more than our perception of the revolution of planets as they journey through their celestial orbit. It is this motion we call time which can be measured, divided, and arranged to provide the foundation of music. This circular cyclic theme can furthermore be found throughout music in everything from song structure, and repeating rhythms, to the fundamentals of sound itself, being the sin wave. With this understanding we must conclude that music is cyclic, and should so be represented in its natural form.

Flickinger was excited about his latest design, the XS analog modular synthesizer. It’s a modular synth designed to expand the sound capabilities of their existing products and other modular synthesizer systems.

006 NAMM Show Update: Jered Flickinger from Future Retro introduced their new XS analog modular synthesizer, designed to expand the sound capabilities of their existing products and other modular synthesizer systems.

Housed in a aluminum chassis, the unit can be rack mounted taking up 3U spaces, or used with additional desktop end pieces for tabletop use. The inputs and outputs of the XS are pre-wired in a way which allow it to act as a monophonic synthesizer without the need for patch cables. Add patch cables and you can connect each section’s inputs and outputs in any way desired. With a single unit you can easily create basslines, leads, drones, percussion, and sound effects. Connect multiple units together to form larger systems and the possibilities are endless.

The XS responds to the standard 1V/Oct control voltages and positive gates so it can be interfaced with most analog sequencers or MIDI to CV converters.

The XS provides a wide range VCO or voltage controlled oscillator, capable of covering the entire audio range or acting as an LFO for sub audio oscillation. This VCO can sync it’s waveform to oscillators and gate signals, or act as a free running oscillator. The VCO generates sine, triangle, sawtooth, and pulse width/square waveforms. The pulse width shape can be set manually or modulated with an internal or external signal. The VCO can be frequency modulated by both internal and external signals to create more complex waveforms. The VCO also generates a sub oscillator waveform which can be 1/2, 1/4, 1/8, or 1/16th the frequency of the main waveform. An output is provided for both main and sub oscillator waveforms.

The mix section sets the levels of the oscillator and sub oscillator waveforms or any external audio signal to be sent to the input of the filter. The multimode filter provides 2 pole high-pass and low-pass frequency roll off with dedicated controls for the cutoff frequency and resonance settings. With high resonance settings the filter will self oscillate. The cutoff frequency can further be modulated by both internal and external signals. A dedicated output for the filter is also provided.

The XS includes a unique ADSR type envelope with additional attack and decay time settings for accented envelopes. It’s like having two envelopes in one. The envelope can be triggered with a single gate for traditional ADSR type envelopes, or insert another gate signal into the accent input to select the accent time settings. Both positive and negative polarity envelopes are available at the output.

Finally, a VCA or voltage controlled amplifier is provided to process the amplitude of signals. The VCA normally affects the filter’s output but can also be used to process external audio signals. The VCA can be controlled by an external gate or the internal envelope. In addition, a manual control is provided to control the VCA when no gate or envelope signal is present. The VCA has a level control for attenuating signals sent to its output.

More information is available at the Future Retro site.

The Revolution is Future-Retro’s latest “concept synthesizer”. Future-Retro is best known for its killer 777 synthesizer.

According to FR’s Jered Flickinger, The Revolution provides “an intuitive interface which we feel most accurately represents the principles of time and music. From ancient sundials to modern day analog clocks, time has been represented as the circle, a cycle which never ends. For time itself is nothing more than our perception of the revolution of planets as they journey through their celestial orbit. It is this motion we call time which can be measured, divided, and arranged to provide the foundation of music. This circular cyclic theme can furthermore be found throughout music in everything from song structure, and repeating rhythms, to the fundamentals of sound itself, being the sin wave. With this understanding we must conclude that music is cyclic, and should so be represented in its natural form.”

Flickinger had more to say about the new synth in his recent interview with Synthtopia.

“I had been studying the natural patterns which occur in numbers, and the ways in which patterns can affect patterns to generate more patterns. I adapted this process to create the Remix feature found in the Revolution which will provide 256 variations for each pattern a user creates. Interestingly enough, the selection of steps generated by each remix creates symmetrical geometric patterns when the circular layout is used.”

The Revolution

A true analog monophonic synthesizer with an easy to use step-based digital sequencer, analog and DSP effects processing, and various interfacing for controlling MIDI, CV/Gate, and Din Sync devices.

The unit is housed in a rugged aluminum chassis, with aircraft grade aluminum side panels, white UV finish for superior viewing of controls in black-light environments, and bright blue LEDs all around.

The Sequencer

The sequencers interface is circular, which has several benefits over the traditional linear style step sequencers. Visually it is easier to divide a measure of music into equal parts. It also provides a more intuitive way of displaying patterns playing as cyclic loops, either forwards or reverse, and will help you better understand the underlying geometric symmetries used throughout the Revolution’s Remixing process. This design also allows the user to carry out all sequencing functions with a single hand.

There are 256 recordable patterns available. Each recording note duration, pitch, accent , glide, loop point, time signature, and swing amount. Pattern editing features include copy/paste, pattern shifting, pattern transposing, multiple pattern cueing for chaining patterns together live, and LED chase. In addition, all pattern editing and recording can be done while the sequencer is running, and it will automatically save all your edits so you don’t have to stop creating.

The Revolution also provides the ability to play patterns forwards or backwards, and remotely select patterns to play using MIDI program change messages.

There are 16 songs to arrange the patterns in, each recording its tempo, the bank/pattern for each step, the transposition of each step, and the song’s loop point. Each of the 16 songs contains up to 3580 measures, and multiple songs may be chained together so they play sequentially.

In addition, the Revolution provides a unique Remix feature which provides 256 variations for every pattern and song, for more than 65,000 possible patterns right out of the box.

The analog section…

The Revolution uses true analog synthesis throughout its entire sound engine. Only the DSP effects are digital, and if these are bypassed the signal remains true analog through every stage right to the output. According to Future-Retro, the Revolution is fully capable of the most accurate replication of the original TB303’s sound, and in many ways surpasses its signature liquid tones and capabilities.

The Revolution has a new oscillator design which provides superior note tracking and temperature stability, as well as providing the exact same waveforms found in the original TB303. The revolution also provides the correct 3 pole filter design, gated amplifer, accent and glide circuits which are all crucial to the TB303’s sound. In addition to the original controls of the TB303, the Revolution also has a CV Modulation amount control which allows the filter’s cutoff frequency to track either the internal control voltages generated by the Revolution’s sequencer, or external control voltages may also be applied to modulate the filter.

There is an Accent Decay time control for varying the duration of filter and amplifier modulations by the accent circuit. This control provides everything from tight zap-like accents to much longer sweeps of the filter resulting in a very funky sound. All in all it’s one tricked out acid machine for creating everything from warm deep basses, silky smooth liquid chirps and bleeps, to the more aggressive ripping overdriven lead sounds.

The effects…

The Revolution uses both analog and digital effects to process its sound. The overdrive stage is true analog and can be activated by a switch on the rear panel. The overdrive stage is a dynamic process related directly to the filter’s resonance amount, so that as the resonance is increased, so is the overall gain of the overdrive section. This preserves the shape of the oscillator’s waveform at lower resonance levels instead of just clipping them into a square waveform as a typical distortion stage would. This also provides a much smoother transition from the original bubbly liquid sound, into those ripping lead sounds more common in todays electronic music.

The DSP section provides true 24 bit stereo effects processing, arranged as 16 preset effect which include: chorus/room1 and 2, delay 1 and 2, chorus, flange, plates 1, 2 and 3, rooms 1, 2, and 3, halls 1 and 2, rotary speaker, and a low pass muffler. In addition, wet/dry controls are provided for both left and right output channels. These controls can be used to help place the sound within the stereo field, or create two different mixes of wet/dry amount.

Interfacing…

Though the Revolution’s analog signal is mono, the DSP effects provide movement through the stereo sound field, and there is a stereo master output, as well as a stereo headphone output using standard 1/4″ jacks.

Also provided are separate 1/4″ jacks for both CV out (1v/oct standard), and Gate out (positive type, 0 to +12v) for playing other analog equipment using the Revolution’s sequencer. Or if you prefer, the Revolution can act as a MIDI to CV converter when it is not playing its internal patterns.

1/4″ jacks are also provided for CV in to modulate the filter’s cutoff frequency with external control voltages, and Audio in for processing external sounds through the Revolutions filter, amplifier, overdrive and DSP effects sections. The Audio in jack can sum the external signal with the internal oscillators, or completely override the oscillator signal so that just the external sound is processed.

Here’s where things get even more interesting… by connecting these outputs and inputs in various ways other sounds are possible without any additional equipment. For instance you can route the signal from the headphone output back to modulate the filter’s cutoff for some unusual self modulation effects. Or route the output back into the Audio input, which can produce everything from self resonant sounds, to bizarre feedback loops, and remember the effects section are included in this processing chain.

MIDI In/Thru/Out are all provided for syncing playback with external sequencers, playing MIDI sound modules, or having external sequencers or MIDI keyboard controllers play the Revolution’s analog section.

Din Sync out is included for syncing up the playback of the early Roland TR and TB type devices to todays MIDI sequencers.

The Revolution has a list price of $650, and is available through the Future-Retro site.

The 777 seems innocent enough, until you find yourself wide awake at three in the morning, tweaking the perfect bassline in a cold sweat! The 777 is a bad mutha of a monophonic bassline synth. Pride, greed, envy, anger, lust, gluttony, sloth – it’s all of these things wrapped into one.

The Future Retro 777 is best known as an alternative to the Roland TB303. In fact, the 777 can reproduce all the squeaks and blurps that a 303 can generate without any trouble.

It’s got fantastic analog sound, and the 3-pole filter nails the 303 sound. The 16-step sequence may seem limiting on first glance, but its flexible control over accents and slides let you create sequences that are impossible on most synths.

Thinking of the 777 as just a replacement for a 303, though, is limiting. In fact, the 777 blows away the TB303 in every way, except for possibly mystique. The 303 has six knobs for tweaking – Tuning, Cut-off Frequency, Resonance, Env Mod, Decay, and Accent. The 777 has more knobs than that in one row!

Future Retro took the best parts of the 303, the portable size, the unique filter, and the freaky sequencer, and has expanded its capabilities to create a full-featured monosynth. The great thing about this is that it lets you do 303-style basslines, but with a much wider variety of sounds.

For starters, the 777 includes a much wider variety of sound sources. There are two full-featured analog oscillators, which have continuously variable wave shapes. Each oscillator has a sub oscillator circuit with a dedicated controller. There’s even white noise and a jack for external audio sources. The 777 also has an extensive modulation matrix that lets you do things like cross-modulate the oscillators. These options give you the ability to go way beyond basslines. The sound-generating options are closer to something like a Sequential Circuits Pro One than a Roland TB-303.

The 777 also includes some interesting additions that let you create greater variety in your sounds, without needing additional external devices. One example is the overdrive circuit, which lets you add distortion effects that would otherwise require an effect pedal. Another cool feature is the filter toggle that lets you switch from the 303-style 3-pole filter to an unusual 7-pole filter. The 7-pole setting cuts off frequencies more dramatically than the 3-pole filter, doubling the range of filtered sounds that you can create. There’s a high-pass filter which follows the standard signal path, letting you apply the filter as an effect to a sequence, rather than an integral part of the notes. There’s even a bass boost switch, in case your monitors have survived the analog oscillators, resonating filters, and throbbing sub oscillators.

Details

It’s clear that Future Retro sweated the details when they designed the 777. The synthesizer has a solid retro feel, with the wood end-cheeks reminiscent of many classic analog synths. The case is made of tough metal without being overly heavy. The knobs are densely packed, but are big enough and spaced far enough apart to not feel cramped. The faceplate is broken up with informative graphics that make it easy to find the knob you are looking for.

Almost all of the controls have one function, meaning that you’ve got a dedicated knob for anything that you might want to tweak. This makes the 777 a great synth for live electronica artists.

The sequencer is easy to use, and can be tweaked as it runs. To program a sequence, you can just start the sequence, and start tweaking it. Each step in a sequence has a button that lights up. To edit that step, you just press the button and use the up and down buttons to adjust the settings. You can also turn on slides and accents for each step.

Each sequence, or pattern, is up to 16 steps long. A cool feature of the 777 is that you can set the loop point anywhere you like. This lets you create sequences that loop after 7 steps, 15 steps, or whatever funky number you like. The sequencer saves while you tweak patterns. This is a great feature, as long as you’re aware of it! You never have to save.You can also link patterns into larger patterns, so you can have 32 or 64 step sequences with TB303-style accent and glide!

You can combine patterns into songs. There are 16 song locations, and each can combine up to 3580 measures of patterns. Patterns can be transposed in any measure, allowing a lot of flexibility. Unfortunately, while the sequencer is powerful, specifiying all the measures in a song can be slow.

Around the Back

Future Retro went all-out when it designed the 777, and the backside is no exception. There’s MIDI IN/OUT, but not through. This lets you play the 777 from any standard keyboard, and also use the 777’s sequencer to control any MIDI-compatible keyboard or module. While this is very cool, it doesn’t transmit your knob tweaks, which would have put things over the top.

Analog fans can jack into the 777 with it’s wide array of 1/4″ sockets. There are jacks for voltage in/out, gate in/out, accent in/out, filter in, and audio out 1/4″ jacks on the back panel. This lets you use the 777 to control other analog equipment, or use analog other analog equipment modularly with the 777. Finally, you can use the 777 as a MIDI-CV converter, letting you control CV, Gate and Accent through MIDI.

With TB303’s going for hundreds of dollars more than a 777, there’s really no contest. The Future Retro 777 is the ultimate bass line synthesizer.