Cat with an attitude to match the collection of synthesizer modules and electronics behind him. From Martin Eriksson via Facebook.
My cat enjoys Rings from mutable instruments
We are fond of that one, too.
We continue to work our way slowly through the embarrassment of riches from NAMM 2018 with a look at new modules from Erica Synths.
The biggest of the new modules, both physically and in terms of garnered attention, was the Drum Sequencer module. It has an attractive retro look and feel with a raised keypad and red LED display, reminiscent of instruments and studio gear from the 1980s. It also features 12 independent trigger outputs and 12 separate accent outputs – of course in the context of a modular synth one need not use the accent outputs for “accents”.
The sequencer itself is full-featured with separate meter and length per track as well as independent shuffle and probability per step. The probabilistic step function is intriguing, and one I did not have a proper opportunity to explore at NAMM, so hopefully I will get a chance to do so in the not too distant future.
The Graphic VCO returns to a more contemporary design found in many digital Eurorack modules.
This module allows the user to draw his or her own waveforms Etch-a-sketch style to use in two simultaneous wavetable oscillators. In addition to mixing, they can be arranged in different topologies for FM, ring modulation, waveshaping and more. The waveform selections and configurations can be sequenced for continuously morphing sounds. It would be interesting to use with the Drum Sequencer.
The final module we looked at was the Resonant Equalizer. It is basically a 12-band bandpass filter with each band independently controllable via CV. One can also control all the bands with a single CV input for sequencer-based changes. Again, this feels like a module that would work well in tandem with the Drum Sequencer. It also has an attractive visual look for live performance use.
You can see all these modules in action in our recent video, which also features a “virtual appearance” by Tuna, the official Erica Synths cat 😺
We congratulate Tuna and rest of the team from Erica Synths on their offerings for this year’s show, and hope to someday visit them in Latvia.
For more information, please visit http://www.ericasynths.lv/
Cat peeking out from a Roland MC-909 sampling groove box, or at least the shell of one. It appears to have been stripped of its display and surface controls – and probably the internal electronics as well – making it great for sits!
From Bart Van Loon via Facebook.
Walking underneath the I-280 elevated structures in Mission Bay, San Francisco.
After a long hiatus, we have a new cartoon from J.B. (aka Jason Berry) today. This one features the story of Herbie Hancock’s transition to his funk band Headhunters, as related in his memoir Possibilities (by Herbie Hancock with Lisa Dickey).
We resume of coverage of the 2018 NAMM Show after a few days break – and a nasty bout of “NAMMthrax” – with the latest spin on an old favorite: the Nord Electro 6.
Longtime readers know that I have been a user of Nord keyboards since I got my trusty Nord Stage EX back in 2010. It has served me well, but have sometimes been envious of the features in subsequent generations, notably the expandable Piano Library and Sample Library (the original Stage does not support the sample library at all). With the Electro 6, the separation from the Stage line is much more blurred, and it calls into question the need for a Stage at all for those of us who fell in love with Nord keyboards for their electric pianos. The Electro 6 supports up to 3 layers and splits (something previously limited to the Stage). The electric piano (and acoustic piano) section is enhanced with new layering features and its own filter section that allows one to dial in different tones within a particular model. And the piano library is expandable with 1GB of memory. The organ section uses the C2D engine, and a rock organ is quite handy in a variety of situations. The sample library allows for classic Mellotron sounds as well as a variety of others. The one section from the Stage that is missing is the independent A1 synth (similar to the Lead). Personally, it is the section I use the least, so I wouldn’t miss it if I moved over to the Electro. Plus, this model would be a little bit easier to schlep back and forth to gigs.
The Electro 6 comes in three models: 61-key and 73-key semi-weighted with mechanical organ drawbars; and the “HP” version with 73 fully weighted keys and LED drawbars. As a pianist, the latter would be my preference.
If you are already fortunate enough to have an Electro 4 or 5, the 6 probably won’t be a big enough change to warrant an upgrade, especially at the high prices these instruments command. But if one has been waiting eight years, it might be the time…
We always love seeing black cats, especially color-coordinated with their musical instruments. Here we see a beautiful black cat posing with a Novation Peak synthesizer.
By Enzo Di Michele from a thread in the Facebook group Synthesizer Freaks. Yes, the same thread that featured yesterday’s picture 😺
We visited our friends at Rossum Electro-Music at NAMM and were treated to an in-depth demonstration of their Assimil8or module by Marco Alpert.
We are grateful to Marco for his demonstration, not just because it made our video awesome, but because it helped better understand what is a complex module. The Assimil8or is a sample engine with many of the features one found in classic E-MU samplers, and more (Dave Rossum being the mastermind behind E-MU’s popular instruments). One particularly intriguing advance was the timed switching among samples, which allows one to move between different tracks seamlessly while remaining in time (the Cars example in the video demonstrates this quite well). There is also “virtual tape-scrubbing” of audio. Of course, everything is CV controllable.
Combining the Assimil8or with the Morpheus module (which we at CatSynth own and enjoy) and the Control Forge, one can assemble something akin to an E-MU sampler on steroids, with vastly more complex and rich control options, including at audio rate! Even the Morpheus on its own is rather overwhelming, but having seen the modules in action by the folks who made gives us ideas on how to use it better. We look forward to more experiments with these modules from Rossum Electro-Music!
More info can be found at http://www.rossum-electro.com.
(Disclosure: Amanda Chaudhary of CatSynth used to work for E-MU Systems, several of whose principals are now at Rossum Electro-Music.)
Today marks one year since Trump took office and one year of resistance to current regime (which seems like a more appropriate word than “administration” under the circumstances). To mark the occasion and kick off another year of resistance and civic/political engagement, we at CatSynth took part in the Women’s March.
Thousands gathered on a chilly but clear day in San Francisco’s Civic Center for a YUGE rally, before marching up Market Street towards The Embarcadero. Here are a few scenes, including a few of the many colorful signs.
And here is our video documenting some moments from the event.
Marches like this of course just an initial step. The most important steps will be continued political engagement, especially but not limited to voting in a better set of leaders in 2018. We will see how things unfold.