Sonic State’s Nick Batt had a little one on one time with the new Doepfer Dark Energy Analog Synthesizer, and came away impressed:

I really liked the Dark Energy and was pleasantly surprised by the range of sounds, the VCO waves are decent enough for most things, apart from perhaps true earth shaking bass – I particularly like the Pulse Width Mod and dirty sounds you can make by modulating the VCF with very high frequencies via the patch chords.

See Nick’s full review of the Doepfer Dark Energy at SonicState.com.

This is another cool demo from Gearwire’s Bill Holland, showcasing the Waldorf Blofeld synth with Ableton Live as a synth module.

“Its sleek German design puts all controls in their most logical locations, so you can reserve more brainpower for world domination,” notes Holland.

via gearwire:

This is a demo of the Novation BassStation – a small monophonic analog synthesizer from 1994 that was available in both keyboard and rack-mount versions.

The keyboard version can be battery powered, which turns it into a great portable synth. Both versions are capable of classic analog sounds, especially for churning out synth bass.

If you’ve used the Novation BassStation, leave a comment with your thoughts.

Features:

• Full size, 25 note keyboard. (Keyboard version)
• Pitch bend and Modulation Wheels. (Keyboard version)
• 2 oscillators
• 12/24 dB/oct Low pass filter
• 2 envelopes generators
• Portamento and Auto-glide
• Patch memory

Resources:

• Novation has released a software synth version of the BassStation
• Novation BassStation at Algonet
• Video via supermarketsurvivor
• SOS review of the BassStation

Description:

16 dynamic tracks utilize the Jomox T-resonator. With the ability to bend spacetime itself, the time woven filtermatrix easily generates cerebral feedback solos and dischordant ambient wank.

It may be dischordant ambient wank – but the tracks showcase the wide range of effects possible with the T-Resonator.

Download here.

The T-Resonator is a synth module that transforms timely events into an analog feedbacked filter network. You can select 8 different delay algorithms, each with different delays and different feedbacks and modulate them even with an LFO. Delays reach from less than a millisecond to 1 second, range and structure is depending on the algorithm.

The Waldorf Blofeld is a tiny synth module that delivers the same sounds known to many from the Waldorf Pulse, Q, Q+, Micro Q, Microwave, Microwave II/XT, or Wave.

The Blofeld is based on the PPG Wave synthesizers of the early 80s. When you listen to the Blofeld for the first time, you may recognize those timbres from the PPG era.

Detailed specs below.

If you’ve used the Waldorf Blofeld, leave a comment with your thoughts and ratings.

Highlights:

• 7 endless stainless steel Dials
• Graphic Display 128 x 64 pixels, b/w, white background LED
• more than 1000 Sounds
• 3 Oscillators per voice
• Frequency Modulation between the Oscillators
• All Q Oscillator Models
• All Microwave II/XT/XTk Wavetables
• 2 independent Multi Mode Filters per voice
• Filter FM
• 2 Drive stages per voice with selectable Drive Curves
• 3 fast LFOs per voice
• 4 fast Envelopes per voice
• powerful Arpeggiator
• freely programmable Arpeggiator Pattern with up to 16 Steps per Sound

General Features

• up to 25 Voices
• 16 part multi timbral
• more than 1000 Sounds
• sturdy Metal Enclosure
• 7 endless stainless steel Dials
• 5 Buttons
• Graphic Display 128 x 64 pixels, b/w, white background LED
• MIDI LED
• Volume Control
• Power Switch
• Stereo Output
• Headphone Output
• MIDI In
• USB Connector for MIDI In / Out
  • uses standard USB MIDI Driver provided by host computer OS
  • Windows ME minimum, Windows XP or newer recommended
  • Mac OS X 10.2 minimum, Mac OS X 10.3 or newer recommended
• External Power Supply

Per Voice

• 3 Oscillators
  Virtual Analog Models:
  • Pulse with Pulse Width Modulation and adjustable Brilliance
  • Sawtooth with adjustable Brilliance
  • Triangle
  • Sine
  • Q Alt 1 and Alt 2 Wavetable with adjustable Brilliance
  • All Wavetables from Microwave II/XT/XTk Series with adjustable Brilliance
  • Separate Wavetable selectable for Oscillator 1 and 2
• Wavetables:
• Frequency Modulation between the Oscillators
• Oscillator Synchronization
• Ring Modulator for Osc 1 / 2
• Noise Generator with Noise Colour
• 2 independent Multi Mode Filters
  • Filter FM
  • Resonance up to Self-Oscillation
  • Low Pass 24 dB / 12 dB
  • Band Pass 24 dB / 12 dB
  • High Pass 24 dB / 12 dB
  • Notch 24 dB / 12 dB
  • Comb Filter with positive / negative Feedback
  • PPG Low Pass Filter
• 2 Drive stages per voice with adjustable Drive Gain and selectable Curves
  • Clip
  • Hard
  • Medium
  • Soft
  • Sine Shaper
  • etc.
• Modulation Matrix with 16 Slots, freely programmable
  • Modulation Speed far into Audio Range
  • Modulation Sources include all internal Modulation Sources plus various MIDI messages
  • Modulation Destinations for almost all continuous sound parameters
• various pre-routed Modulation Destinations with selectable Sources
  • Pitch Modulation
  • Oscillator 1 / 2 / 3 Frequency Modulation
  • Oscillator 1 / 2 / 3 Pulse Width Modulation
  • Filter 1 / 2 Cutoff Modulation
  • Filter 1 / 2 Frequency Modulation
  • Pan 1 / 2 Modulation
  • Amp Modulation
• 4 Modifiers for transforming Modulation Sources with various Algorithms
• 3 fast LFOs
  • syncable to MIDI Clock
  • Note Retrigger with adjustable Start Phase
  • monophonic LFO
  • Keytrack
• 4 fast Envelopes with selectable types
  • Single Trigger / Retrigger per Envelope
  • ADSR
  • ADS1DS2R (2 Decay/Sustain stages plus adjustable Attack Level)
  • One Shot
  • Loop S1S2 (Loop between Sustain 1 and 2)
  • Loop All (Loop over all stages)
• Poly, Mono, Dual or Unisono Mode with selectable Voice Count

Per Part

• powerful Arpeggiator
  • Hold and One Shot modes
  • syncable to MIDI Clock
  • Direction Up, Down, Alternate
  • Range up to 10 Octaves
  • various methods to modify Note Sort Order
• freely programmable Arpeggiator Pattern with up to 16 Steps per Sound.
  programmable per Step:
  • Accent
  • Timing
  • Length
  • Glide on/off
  • Pause
  • Chord
  • Previous note
  • Random not from Note List
  • first and/or last note from Note List
• 1 Effect slot per part
• 1 Effect slot globally for all parts
  Effect types:
  • Chorus
  • Flanger
  • Phaser
  • Overdrive
  • Triple FX (S&H, Ring Modulation, Chorus)
  • Delay (only available on global Effect slot)
  • Clocked Delay (only available on global Effect slot)
  • Reverb (only available on global Effect slot)

This demo video showcases the sounds of the Roland JV-880 Multi Timbral Synthesizer Module.

via zibbybone:

Songs 1-1 through 1-5 by Marvin Sanders, Copyright 1992, Marvester Music

Song 2 “Lost Weekend” by Mitsuru Sakaue, Copyright 1992, Roland

Song 3 “The Race” by Chas Smith, Copyright 1992, Roland UK

Composer Profiles: Marvin Sanders – As Keyboard Product manager for Rolannd US, Sanders has performed at clinics all over the world. In between his involvement with their marketing and promotional afforts, he has created sounds for products from the JV-80 to the JD-800, factory patterns for the JW-50 and ROM plays found in the SC-155, U-220 and Model 760. Sanders also maintainers an active freelance career in Los Angeles composing and consulting for a variety of clients from Toyota, Acura, and Alpine to Max Factor and Michael Jackson.

Mitsuru Sakaue began composings and doing arrangemennts for commercials and videos whiel still in school. In particular, his studio work earned for him a solid reputation. Currently (1992), as a chief producer within Idecs, Inc., he produces commercial musics and jingles for FM stations. His range of activity is broad, and includes his work as an instructor and expert on music intruments/computer music for the Roland Learning Center (Japan), as well as for other schools. In addtion, he has had numerous other opprotunities for displaying his talents wll while serving as demonstrator/product specialist for Roland.

Chas Smith – Roland UK’s Senior Product Specialist/Demonstrator joined the company in 1987, after a freelance career playing in rock bands. he is an active composer, principally for the jingle market. His particular interests lin in the use of the latest sampling technology and in programming synthesizers.

This is a Berlin-school style demo of the Quasimidi Polymorph.

This short piece of music was used by Quasimidi to promote their virtual analogue Polymorph synthesizer module.

via Yorkshirelad69:

It seems that Klaus Schulze had quite a say in it’s design and he also programmed many of the presets and sequences that came as standard on the Polymorph. 

Does this sound like Klaus Schulze to you?

This video captures a bit of modular synth bit-crushing, courtesy of the Analogue Systems rs290:

Besides an incredible sounding high-quality stereo digital delay with built LFO and a hard to beat voltage controlled sampler mode, the rs290 can crush your sounds too. This great little trick doesn’t even require the unit to be engaged. Just select sample size, reduce, and abuse. 

Our sound source is the Elektron SFX-60 Mk II MonoMachine.

Getting your bits crunched never sounded so good, did it?

via bigcitymusic

This video provides an overview of the L.L.Electronics Rozzbox.

The RozzBox V2 poly w/ tube filter is a 5-voice polyphonic synthesizer with digital oscillators, digital and analog filters on each voice, and one additional all tube filter.

In addition to the the classic design of a 4-oscillator polysynth with analog filters, the RozzBox features some functions that can’t be found on any other synthesizer, such as the Hacker, the chaotic filtermode, and switchable aliasing of the oscillators.

Features:

• 4 digital ocsillators with standard and 16 additional waveforms – hard-sync possible
• Configurable FM engine with 7 algorithms
• Noise, external audio input, ring modulator
• Includes 3 self-resonant Filter-Types:
  Digital high pass/low pass filter with resonance and 24dB/octave (4 filter poles)
  Analog low pass ladder filter with resonance and 24dB/octave (4 filter poles)
  Completely tube-driven analog low pass filter with resonance and 12B/octave (2 filter poles)
• 2 independent filters per voice
• 2 LFOs with standard waveforms and wave tracking, sync with MIDI
• 2 ADSR Envelopes with switchable lin/exp characteristics and trigger modes
• 4 completely independent sequencer lines per voice, each with its own running mode and sychronization settings
• Envelope follower with separate input
• Complex 4-point modulation matrix with 16 sources and 16 destinations
• Complex trigger matrix with unlimited connection count, for interconnection of LFOs, sequencers, envelope triggers, MIDI clock, …
• The switchable “Hacker” adds artificial analog aliasing (tunable)
• Bitreduction / Sample rate reduction
• ‘Chaos’ mode of the digital filter
• Digital hardclipping
• Extensive multimode (up to 5 “Monophonic” sounds)
• Hands-on interface: 27 knobs, 29 slide switches, Full Graphic LED-display
• Individual out for each voice
• Full MIDI control of every parameter
• Compact size: 10″ wide x 6″ deep x 3 1/2″ high (253×150x90mm)

via Makingsound

The quality of this video is a bit iffy – but it demos an amazing DIY analog modelling synth project. 

Here are the details:

Broadly, the purpose of this project was to create an Analogue modelling musical synthesizer; 
that is, a synthesizer implemented using both analogue and digital components that intends to emulate the sounds of traditional analogue synthesizers, whilst being controllable through modern-day digital protocols such as the Musical Instrument Digital Interface (MIDI). 

The synthesizer platform exists upon its own standalone hardware, and may be controlled 
using a variety of existing MIDI-capable instruments, including keyboards, guitars and drums. 
Additionally, the unit features its own innovative touch-screen interface which intends to provide simple-and-intuitive control of the system, but with an unprecedented ability to customize and control synthesizer parameters and sound generation. 

pecial attention has been placed upon the usability of the synthesizer, particularly within the realms of it being played by musicians in a live environment. 

The units MIDI capabilities also mean that it is easily combined with professional studio equipment and sequencing software such as Cubase VST

Tiptop Audio has introduced the Z3000 Smart VCO, an all-analog, voltage controlled oscillator. It offers four analog waveforms, wide-range tracking, a built-in tuner and some interesting modulation options.

The z3000 retails for $245.

Description:

The z3000 is an all-analog, voltage-controlled oscillator that gives you the ability to implement synthesis techniques in a controlled and planned manner, turning your modular system into an even more powerful musical instrument.

The z3000 is bilingual – equally fluent in the language of sound (frequency) and music (notes and octaves). its intelligence comes from its built-in arithmetic processor, which allows for relevent data to be displayed constantly, taking the guesswork out of tuning your modular.

The z3000’s analog core generates four waveforms with substantial character, giving you the sound signature that can only be created by a true analog vco. the z3000 unique circuitry allows for high levels of synthesis complexity such as frequency modulation, all while maintaining excellent wide-range tracking and without falling into chaos. the z3000 brings a world of new possibilities that will give rise to a whole new sound spectra within your modular synthesizer.

Frequency Mode:

The z3000’s first mode is frequency mode. the oscillator’s frequency is measured and displayed constantly, covering low-frequency ranges to the upper end of the human hearing range. 

Setting up frequency ratios is important to any sound synthesis technique, the z3000 now brings this capblity to your modular synthesizer. you can easily tune and detune vcos, space them apart in equal or unequal intervals as well as tune a bank of vcos in complex patches for the creation of either harmonic or inharmonic relationships.

If you have multiple z3000s, each will indicate its pitch, showing each individual tone in a patch, sound structure or musical passage. it only takes a glance to stay informed.

The z3000 allows for unprecedented control of the most important modules in your synthesizer, your vcos. analog sound design is now more interesting, controlled and calculated then ever before.

music note mode:

the z3000’s musical note mode is a mix of frequency and musical notes. this mode is ideal for musicians and sound designers who want to more easily enjoy the benefits of using analog modular synthesizers.

the capabilities are immense, set up vcos with note intervals for either dissonant or consonant, setting whole notes or semi tones, transposing, tuning to a root, building chords or just spacing octaves apart. use it to implement synthesis techniques based on musical note rather than frequency. the same benefits sound designers have using the z3000’s frequency mode are available to musicians too, allowing them to easily create tonal music. it has never been easier or more clear for musicians to work with analog vcos.

the z3000 does the math for you by converting frequency data to music notes with the click of a button, building a bridge to the world of analog sound design.

octave mode:

Octave mode is a essentially a modern implementation of the mechanical octave switches found on many vcos, freeing the module to sweep full scale using the coarse frequency knob but still allowing for easy octave switching.

knowing the octave range of an instrument and setting a c note is one of the basic needs of any one using a keyboard, sequencer, quantizer or midi to cv interface to play vcos. setting the c note in any of the eight octaves is easy and fast and far more precise than what can be achieved with mechanical switching. just set and play.

the octave mode also serves to compliment the musical note mode when it is necessary to set a c note of a high frequency octave. in this situation the frequency intervals between notes is large and the octave mode offers a range of settings to within +/-50 cents of the c note, making the note easier to dial in at high frequency.

modulation:

frequency modulation (fm) is a widely used synthesis technique for creating harmonically rich sounds. as the core synthesis technique found in variety of digital synthesizers, the z3000 brings true analog fm to your modular synthesizer.

in addition, the z3000 offers a traditional hard sync along with a new approach to synchronization called hard sync modulation (hsm). this feature is a new type of sync circuitry which locks and rectifies modulated vcos, allowing an extended degree of frequency modulation in a harmonically controlled manner. this special feature combined with the ability to precisely set frequency and note ratios makes the z3000 a powerful synthesis tool capable of generating a wide variety of sounds and timbres.

using the hsm you can create a long chain of modulators and carriers to build highly complex, harmonically rich sound structures that will still track to your playing and maintain a sound over a wide frequency range. the z3000 gives you the power to go beyond standard additive synthesis and build your own true analog fm operators.

tuner/frequency counter:

the z3000’s external input allows access to the internal arithmetic processor, turning it into a multi-function chromatic tuner and meter for your regular vcos. because it is integrated into the module, it will save you space in your studio, so forget about long cables and plug adapters running to guitar tuners.

using the z3000 as a tuner is simple, just plug in any other vco (from most manufacturers and formats) and use all three modes, frequency counting, note conversion or octave switching to set up and monitor that vco, all while the z3000 functions normally. this powerful feature allows you to bring more power and control to any vco in your system

Here’s another demo, via Matthew Davidson, of the Z300 in action:

Click here to view the embedded video.

More info at the Tiptop Audio site.

SM Pro Audio has anounced the V-Machine, a compact VST/VSTi hardware playback module that you can load up with VST instrument and effect plug-ins to use without a computer. 

Description:

The V-Machine is a compact VST/VSTi hardware playback module built for performance keyboard players and DJ’s. It is one little beast that can’t be underestimated once loaded up with your favorite VST instrument and effect plug-ins. Take your plug-ins on the road or into the studio and access them live without a computer.

Multiple plug-ins can be pre-loaded into bank/preset memories for immediate access. Combine VST and VSTi plug-ins into chains, splits, and layers to create extremely rich and unique sounds. Full external MIDI controller support allows users access to available loaded plug-in parameter controls such as virtual dials, switches, and faders.

Pricing and availability haven’t been announced yet.

Features: 

• External hardware host for Windows plugins (VST instruments and effects) 
• Banks, presets (incl. chaining, layering, splitting) can be edited with the V-Machine or the host software 
• Create synth layers and chain them with effects 
• Connect nearly every MIDI-Controller to the V-Machine 
• Multiple VSTi’s can be combined 
• MIDI learn functions included 
• All effect and synth chains can be switched latency free 
• USB-Ports for copy protection dongles 
• Use software samplers and stream its content from any USB drive 
• Sensor to adjust the display’s contrast automatically 
• Control configuration software compatible with Windows, Mac OS X and Linux (future support) 

Flight of Harmony is offering a barebones kit for their Plague Bearer synth module, designed to infect, corrupt and pervert a signal beyond recognition. 

Each filter has controls for varying the high and low corner frequencies of the passband, as well as variable gain and an input attenuator. It can be used as a filter, an oscillator, a noise generator, or even as a resonance oscillator.

Depending on the settings, the filter can be a lowpass, highpass, single-bandpass, or multiple-bandpass.

Adjusting the resonance point can cause the filter to self-oscillate in many ways: By adjusting the controls to just below the point of oscillation, and then applying a pulse, square, or other abrupt-edged input signal waveform will “ring” the filter. A simple “click” on the input can give a percussive output sound – from bass drum to bell to a harsh metallic clang; Crank the controls up and this beast will scream like a banshee!

The oscillation can be damped or continuous. Chain a couple in series and get accumulating feedback – the build-up can be slow, fast or instantaneous.

White Noise is easy to do – you don’t even need an input signal! Turn the input all the way down, and then slowly turn the gain up. You can adjust the “color” of the noise with the frequency controls. Daisy-chaining multiple filters can give a “comb” or multi-phase noise. A single filter can give a STRONG chorus effect if so desired, useful as a sub-oscillator or just to “fatten” a sound.

The barebones kit is $35.

The Quantix-8 module is a CV Quantizer / Wavetable Oscillator based on a 4Mbits Static RAM memory and a PIC microcontroler with a full MIDI implementation.

The memory contain 2048 waveforms of 256bytes organized into a matrix of 32 Banks x 64 Waves.

The Quantix-8 is a very polyvalent 7 in 1 module

• CV-Quantizer
• Wavetable Oscillator
• Sample player LoFi 8bits
• CV-Sequencer
• MIDI to CV/GATE interface
• 128 Harmonics Additive Synthesis
• Fast Zero Crossing detector

Other features:

• Memory and parameters are fully editable in ‘real time’ by MIDI system exclusive messages
• Freeware Quantix-8 MIDI editor for PC Windows 98/ME/XP ( and soon for MAC OS …)

The Quantix-8 is controled by any combination of

• CV or analog modulations (lfo, vco, etc …)
• Gates/ pulsed clocks assigned to internal counters with multiples reset systems…
• MIDI messages of all kinds : notes, controlers, midi clock, sysex ..

The Quantix-8 is a DIY synth project made up of a PCB & firmware pic, for 48 euros.

Dave Smith Instruments is now shipping it’s Prophet ‘08 synth module.

Description:

The Prophet ‘08 Synthesizer Module is a tabletop “knobby” module with all of the features and controls of the Prophet ‘08 Keyboard (minus the keyboard, of course) in an even more compact enclosure. With real analog oscillators, Curtis low-pass filters, and analog VCAs, the Prophet ‘08 is capable of reproducing the familiar sounds of its legendary predecessors. But modern features like a greatly expanded modulation matrix and additional modulation sources—like three envelopes and four LFOs per voice—take it way beyond the vintage gear and make this a worthy and unique addition to the Prophet family tree.

Features include a gated 16 x 4 step sequencer, arpeggiator, split or stacked key modes with separate stereo outputs per layer, and rack ears for optional rack-mounting. The Prophet ‘08 module can also be used as an expander to increase the polyphony of another Prophet ‘08—keyboard or module—to 16 voices.

• Full-featured polysynth with a 100% analog signal path.
• Classic, real analog sound—including legendary Curtis analog low-pass filters—married to a modern feature set.
• Small footprint, huge sound.
• Tons of knobs for direct, real-time editing and performance.
• Used as an expander, increases polyphony of another Prophet ‘08 to 16 voices.