Tubbutec erweitert Korg Polysix, Mono/Poly & Poly 61-Usern mit ModyPoly – Portamento, Auflösung und mehr

Tubbutec ModyPolyTubbutec ModyPoly

Modypoly ist eine Erweiterung in Form eines Chips, den man intern aufsetzen kann und einem Poti, was Portamento ermöglicht.

Neben einem anbaubaren Knopf mit Beschriftung für die dann neue Portamento-Funktion kann der Korg Polysix, der Poly-61 und der Mono/Poly mit höherer Auflösung für das Pitch-Bending dienen. Außerdem gibt es eine Voice-Spread Funktion für den Unisono-Modus, den man per MIDI auch umstellen kann.

Als weiteres Merkmal ist dazu jetzt auch Microtuning möglich, was allerdings wohl nicht für den Poly 61 gilt. Damit lassen sich dann eigene Skalen und Tonleitern definieren. Die dazu nötige Technik stammt offenbar von dem Microtuning Modul „µTune“ für das Eurorack-Format, welches eine Umsetzung von und zu MIDI ist und alles fließend in CV umwandeln kann und dabei sehr umfangreiche Möglichkeiten bietet.

Tubbutec ist bekannt für die Midifizierung, Umrüstung, Aufwertung und Verbesserung von bekannten Synthesizern und baut diese auch ein, wenn man das wünscht. Der Einbau ist nicht all zu schwer selbst zu löten, jedoch sollte man wissen, wie es geht und sich das zutrauen, denn man muss zumindest zwei Kabel anlöten und den kleinen Prozessor zumindest teilweise auch mit Lötpunkten versehen, um ihn benutzen zu können. Wer das lieber einen Profi machen lassen will, schickt sein Gerät nach Berlin und bekommt es funktionierend und erweitert zurück ür ein wenig mehr als den reinen Einkaufspreis. Preise und mehr findet man auf der Website von Tubbutec:

Weitere Information

Die Tubbutec Products Website erklärt nicht nur das µTune Modul, welches ich oben erwähnte sondern auch alles über ModyPoly und der älteren Modifikation Polysex, welches MIDI und Controller-Funktionen und einiges mehr hinzufügt.

Video

How to recreate vintage polyphonic character, using Softube Modular

It’s not about which gear you own any more – it’s about understanding techniques. That’s especially true when a complete modular rig in software runs you roughly the cost of a single hardware module. All that remains is learning – so let’s get going, with Softube Modular as an example.

David Abravanel joins us to walk us through technique here using Softube’s Modular platform, all with built-in modules. If you missed the last sale, by the way, Modular is on sale now for US$65, as are a number of the add-on modules that might draw you into their platform in the first place. But if you have other hardware or software, of course, this same approach applies. -Ed.

Classic Style Polyphony with Softube Modular

If you’ve ever played an original Korg Mono/Poly synthesizer, then you know why it’s so prized for its polyphonic character. Compared to fully polyphonic offerings (such as Korg’s own Polysix synthesizer), the Mono/Poly features four analog oscillators which can either be played stacked (monophonic), or triggered in order for “polyphony” (though still with just the one filter).

The original KORG classic Mono/Poly synth, introduced in 1981.

The resulting sound is richly imperfect – each time a chord is played, the minute difference in timing between individual fingers affect a difference in sound.

The cool thing is – we can easily re-create this in the Softube Modular environment, using the unique “Quad MIDI to CV” interface module. Follow along:

Our chord progression.

To start with, I need a reason for having four voices. In this case, it’s the simple chord sequence above. In order to play those notes simultaneously using Modular, I’ll need a dedicated oscillator for each. Each virtual voice will consist of one oscillator, ADSR envelope, and VCA amplifier. Here’s the basic setup – the VCO / ADSR / VCA modules will be repeated three more times to give us four voices:

Wiring up the first oscillator.

For the first oscillator, I’ve selected a pulse wave – go with whichever sounds you’d like to hear (things sound especially nice with multiple waveforms stacked on top of one another). With all four voices, the patch should look like this:

Note that each voice has its own dedicated note and gate channels from the Quad MIDI to CV. Now, we need to combine the voices – for this, we’ll use the Audio Mix module. I’m also adding a VCF filter, with its own ADSR. Because the filter needs to be triggered every time any note is input, I’m going to add a single MIDI to CV module to gate the filter envelope. It all looks like this:

Now, let’s hear what we’ve got:

That’s not bad, but we can spice it up a little bit. I went with two pulse waves, a saw wave, and a tri wave for my four oscillators – I’ll add a couple LFOs to modulate the pulsewidths of the two pulse waves and add some thickness. For extra dubby space, I’m also adding the Doepfer BBD module, a recent addition to Softube Modular which includes a toggle option for the clock noise bleed-through of the analog original. I’m also adding one more LFO, for a bit of modulation on the filter.

Adding in some additional modules for flavor. The Doepfer BBD (an add-on for the Softube Modular) adds unique retro delays and other effects, including bitcrushing, distortion, and lots of other chorusing, flanging, ambience, and general swirly crunchy stuff.

Honestly, the characterful BBD module deserves its own article – and may get one! Stay tuned.

Here’s our progression, really moving and spacey now:

And there we have it! A polyphonic patch with serious analog character. You can also try playing monophonic melodies through it – in Quad MIDI to CV’s “rotate” mode, each incoming note will go to a different oscillator.

Want to try this out for yourself? Download the preset and run it in Modular (requires Modular and the BBD add-on, both of which you can demo from Softube).

DHLA poly + BBD.softubepreset

We’re just scratching the surface with Modular here – there’s an enormous well of potential, and they’ve really nailed the sound of many of these modules. Modular is a CPU-hungry beast – don’t try to run more than one or two instances of a rich patch like this one without freezing some tracks – but sound-wise it’s really proved its worth.

Stay tuned for future features, as we dive into some of Modulars other possibilities, including the vast potential found in the first ever model of Buchla’s legendary Twisted Waveform oscillator!

Softube Modular

The post How to recreate vintage polyphonic character, using Softube Modular appeared first on CDM Create Digital Music.

Korg’s Monopoly board game crossover isn’t even an April Fools’ joke

Happy 1st of April! Mono/Poly synth, Monopoly board game – get it? Oh, wait. Actually, they’re serious. KORG are doing a complete reskin of their Mono/Poly synth for iOS to look like the classic board game.

Here’s the intro video, featuring the tycoon mascot of the classic board game:

The 1935 board game Monopoly has certainly seen all kinds of branding, transforming it into the most-played modern tabletop game. But this has to be a first. Most of us pronounce the name of Korg’s Mono/Poly synthesizer as “Mono, Poly,” not one word “monopoly,” because of the slash in the title and the fact that the name refers to monophonic and polyphonic operation. But the connection was always clear.

Now, what that synth app on iOS has to do with the board game – not a whole lot. But what you do get is some very cute and clever UI imagery, including the signature pieces from the board game repurposed as knobs, the layout of the board (including on KAOSS Pad-style X/Y controllers), and references to the GO space (here signifying signal and sync). It looks adorable – they’ve even reproduced the crease in the board itself, which should take people back.

I suspect a lot of musicians these days feel like they’re losing the game of real-world global market capitalism, but… well, this is a free app update.

And whether you think this is ridiculous or not, it shows us KORG as always ready to partner and collaborate, building on past experiments with modular hardware learning platform littleBits, Nintendo game consoles, artists like OK Go, and more. However silly this venture is, that seems to keep an image of KORG that’s playful and open to new ideas.

Most importantly: you can randomize the settings with a roll of the “dice.” Now that’s a good feature to borrow from games of chance.

Tragically, the Monopoly edition Mono/Poly is no good for jam sessions. The sessions take forever, one person dominates right from the start, and pretty much everyone else has to try to devise some way to cheat just to get back in the game. (Sorry, I had to go there.)

More:

The popular board game Monopoly as a synthesizer!? The updated KORG iMono/Poly brings you the collaboration you weren’t expecting. [KORG News]

The post Korg’s Monopoly board game crossover isn’t even an April Fools’ joke appeared first on CDM Create Digital Music.

King Britt, in the Studio: Fhloston Paradigm and Making Music Like It’s 1983 [Video]

We’ve heard the new Fhloston Paradigm; here’s an up-close look at the studio setup on which it was made.

Making music can be about collecting the best, not just the newest, finding what’s inspiring to build your own tradition. Perhaps that’s why so many artists increasingly turn to vintage analog gear not just because they idolize the sound, but because it opens up working techniques that move their music forward. After all, digital emulations get better by the day at copying sounds, but it may be less a matter of old and new and more unlocking some personal creativity. In hybrid setups, each different, everything from a flea market find to a custom software patch can take on new meaning.

Two weeks ago, we heard veteran sound designer/producer/journalist Francis Prève talk about how he integrates analog gear with Ableton Live. Now, here’s King Britt showing us the rig he used to produce the sounds for his Fhloston Paradigm EP, released yesterday on Hyperdub to great acclaim.

The gear, in case you aren’t quick enough in the video, includes some very-classic vintage equipment:

(Roland) BOSS “Doctor Rhythm” DR-110 (1983)
Korg MS-20 (1978)
Korg Mono/Poly (1981)
Roland JX-3P (with Roland PG-200 programmer, 1983)

I don’t want to drive up their eBay value any higher, but it is worth noting that even these legendary synths are available for less than a modern digital flagship; some of their lesser-known counterparts are far more affordable. And they sound utterly terrific. There’s also some new equipment – one digital box from Pioneer, the rest analog from Moog Music:

Pioneer EFX-1000
Moog Music Moogerfooger MF-101 Lowpass Filter
Moog Music Moogerfooger MF-105M MIDI MuRF
Moog Music Moogerfooger MF-102 Ring Modulator

It’s a great compliment to the Moogerfooger that you’d feed even the superb sound of an MS-20 into it and be that much happier. (Side note: it’s my admiration for the EFX-1000, the one digital effect in this signal chain, that makes me enthusiastic about the new RMX-1000 from Pioneer. Non-DJ producers may not give Pioneer any love, but the company really does effects nicely.)

All of this gets piped into Ableton Live. In this video, it’s just acting as a multitrack recorder, but I know King works extensively with Live in editing, alongside effects like the Universal Audio line.

There’s something inspiring about the personality of this setup that goes well beyond just analog or digital, old or new, especially when in the hands of someone with the musical instincts King has. I should know – I spent some quality time fiddling with the rig as I waited out a hurricane/tropical storm warning in King’s Philadelphia studio in the fall. If you don’t have this particular gear, you can achieve some of the same effects, just by multitracking in audio, connecting sequencers, and avoiding too much synchronization and control, letting your instincts drive some of your music making. Heck, you can even do it in software by assigning extra external control and turning off some of the sync on effects and the like. (Let go … use the force and all that.)

And here’s what it all sounds like:

Listen to more from King and read our review of his latest:
Analog Frontiers: Listen to King Britt’s New Fhloston Paradigm EP [CDM Track Stream, FACT Mix]

And keep on creating … music.

kingbritt.com
Hyperdub release page

Analog Frontiers: Listen to King Britt’s New Fhloston Paradigm EP [CDM Track Stream, FACT Mix]

Finding new sounds in our pulsing electronics means refining our working techniques isn’t just a technical matter. It’s a musical one.

King Britt, who has been granted many successful musical incarnations over the years, set off on just such a quest under his new identity Fhloston Paradigm. In a much-watched debut EP for brilliant UK imprint Hyperdub, the Philadelphia artist produces an out-of-this-world, cinematic sonic journey. King is perhaps best known as a name in house music; here, the style is experimental, but the groove rolls behind each track, sequencers softly shuffling along in a way that makes them seem caught in a slow, trance-like dance. Carefully-curated classic synthesizers gather into shared patterns of sound; King worked loosely with rhythm by letting these instruments play freely together, not slaved by MIDI, then crafted and polished the track in the more pristine digital world of the computer.

The “analog” business of these tracks is something of a hook for people describing the album, but that is of course a means to an end. Chaining together instruments lets polyrhythms emerge almost organically like blossoms, as King push their various timbres into undiscovered voices, whether a whisper or a growl. (We’ll have a separate video showing his equipment chain, which I think illustrates this more clearly, but here, let’s just listen.)

I’ve chosen the evocative “Liloos Seduction,” which Hyperdub is generously letting CDM stream. A lazy, drifting journey into exotic synthesized lands, it shows off the fuzzy edges of that gear’s timbres. But I’ll shut up and let you listen.

The EP is three tracks – two long, one short – but covers enough ground that it feels like a meal more than a morsel.

Official release page (and purchase in GBP): King Britt: Presents Fhloston Paradigm (HDB060) [Hyperdub]

Check it out on King’s site:King Britt x Hyperdub x Fhloston Paradigm [kingbritt.com]

Also on Bleep, where you can grab lossless versions for download: King Britt Presents Fhloston Paradigm EP Hyperdub [Bleep.com]

Hyperdub sent over this PR description, and it’s so nicely put-together that I think it also deserves a place. (I love when labels promotional materials are musically insightful and not just a jargon-laden sales pitch.)

HDB060 King Britt presents Fhloston Paradigm March 26th

Hyperdub start the year of single releases off with a brilliant, and subtle curveball courtesy of Philly’s finest; King Britt in his new guise as Fhloston Paradigm.

Built from drum machines, analog keyboards and 303’s, and edited in the computer, these 3 lean and mean tracks, have an unadorned feeling that build on Hyperdub’s love for old John Carpenter style electronics, combined with Dr Patrick Gleason’s ear for the abstract, and bouncy drum machine syncopation that sounds like they’re aiming for an alternative present where analogue synths are still king.

Chasing Rainbows, is first off, with a dark tone that reminds of the opening theme to the film ‘Escape from New York, a wavering 303 bassline and tough kicks and snares giving away to heavy, moody chords.

The Chase works rough rolling drum machine beats that stutter and build into strange fills that threaten to stop the track dead if it wasn’t for the strange stumbling bassline and gently building acid line that resolve into a super funky melodic duel with some stuttering synth strings.

Liloos Seduction is intense, quiet and abstract; a flickering 303 bass line is joined by barely there drums and reflective keys, everything shimmering in a dramatic fashion with gentle echoes giving the track a deep, watery sense of perspective as each part gently and gracefully builds and twists into a tender and effecting melody.

And the Mix

King put together a mix for FACT magazine I think many readers will adore, sprinkled with science fiction references, and veering from dark, film-like dystopias to shadowy club music to symmetrical electronic arpeggios, as if you’ve ducked out of the streets of Blade Runner and into a future cantina before a spin around the arcade.

Track listing:
1. Dialog from 1984
2. Lowleaf – Tala At Twilight
3. Fhloston Paradigm – Live Interlude #1
4. Chemical Brothers – Escape Wavefold (from Hanna soundtrack)
5. Boom Boom Satellites – Dub Me Crazy
6. Tenko – Slope – Gradual Disappearance
7. Eurhythmics – Take Me To Your Heart
8. Blade Runner dialog (rain scene)
9. Sleepy Tea – Specta Cierra
10. Alva Noto & Ryuichi Sakamoto – Microon III
11. Fhloston Paradigm – Live Interlude #3
12. Fhloston Paradigm – The Chase
13. JJ Doom – Banished
14. Power Douglas – Little Gong
15. Jerry Goldsmith – Intensive Care (From Logan’s Run soundtrack)
16. Raymond Scott – Portofino
17. Paul McCartney – Blue Sway (Demo)
18. Fhloston Paradigm – Song For Charlie
19. Synergy – The Mystery of Peri Reis
20. Galaxy 2 Galaxy – Frag 2
21. David Sylvian – Answered Prayers / Carla Bley (dialog)
22. King Britt presents Scuba – Bare Naked feat. Imani Uzuri
23. Fhloston Paradigm – Live Interlude #3

FACT mix 322: King Britt presents Fhloston Paradigm [factmag.com]

Don’t miss the FACT coverage leading up to this release, either, which includes some great interview on King’s process and love of science fiction (and how he got the name Fhloston Paradigm – thanks, Rucyl!)

King Britt on Fhloston Paradigm, pulp sci-fi movies and recording for Hyperdub [factmag.com]

To paraphrase the Justin Bieber fans, this mix is PERFECT. I’m going to leave it on repeat all day.