Synthesizers

Big City Music at NAMM

One of the perennial destinations at NAMM is the both of Big City Music. They have quite a collection of both vintage electronic musical instruments and contemporary analog electronics.

The highlight this year was a live performance with a Dewanatron by Leon Dewan:

It was hard to hear it well in the hall environment, unfortunately.

I also was looking closely at some of the analog modular offerings:

Above as a system primarily with Kilpatrick Audio modules for both sound and control. Below is a case full of Metasonix modules, distinctive with their protruding vacuum tubs and yellow color.

Big City announced a new metasonix module, the Thyratron VCO. I was able to listen to it and other modules (VCF, Waveshaper, etc.). Metasonix modules look a bit intense (and their description text can be a bit menacing), but the modules themselves had an unexpectedly subtle sound. That is, until you pick just the right modulation, then it gets more interesting. The wave shaper remains my favorite of theirs.

Arturia MiniBrute

One of the surprises at NAMM was the Arturia MiniBrute:

The MiniBrute features a pure analog signal path (a first for Arturia). It has an oscillator bank with the usual complement of waveforms (sawtooth, square, PWM) as well as a sub-octave oscillator. As such, it reminded me a lot of the Octave Kitten, and I was able to get some similar sounds out of it when I set the cutoff on the filter low (and the resonance high). I thing it would sound great with a proper amp with bass response. It didn’t have a chance to put it through the modulation paces to see of the LFO was also similar to the Octave synths.

Others had their own comparisons. The Roland SH-101 seems to be a common comparison in terms of the sound. I think many of us who were surprised to see this instrument and happy with its USD $549 starting price all wanted to project our own analog favorites onto it.

Dave Smith Instruments Tempest and Mopho at NAMM

Another perennial stop at NAMM is the ever-growing booth of Dave Smith Instruments. I had a chance to talk with one of the senior representatives on my regular use of the DSI Evolver in my live shows and my fondness for the instrument (despite the tendency of the knobs to fall off). I of course also had to play the Mopho because it was there:

But the real star of the booth this year was the Dave Smith Instruments Tempest, a collaboration of Dave Smith and Roger Linn.

I started with an existing pattern in the sequencer and immediately used the drum pads to subvert the pattern while attempting to remain in the tempo and meter. The pads are very comfortable and playable, and I found it quite intuitive to get different effects of each even without knowing in advance that they would do that.

This would be a great instrument to have in a live performance (and for recording as well), but probably something to ponder for a later time given its retail price of USD $1999.

Moog Minitaur

Yesterday I visited the Moog Music both and in additional to expressing to them my fondness for their iPad apps (in particular, the Animoog), I had a chance to try out the new Moog Minitaur.

The Minitaur is, as the name would suggest, a miniature Taurus. It has the Taurus VCO (with that nasty sawtooth sound one would expect) and Moog Ladder filters. It connects via USB/MIDI for control and has audio input. But perhaps the feature that had many of us most interested was the MSRP of USD $599. Moog instruments are usually on the expensive side, this one is more in the range of the Moogerfooger pedals and seemingly quite affordable.

It was of course quite easy and addictive to play.

Korg’s Little Instruments at NAMM

As big established companies go, Korg is one of those that consistently has offerings that seem less generically commercial and appeal to those of us who like quirky instruments. The Monotron was a great example, as was the iMS-20 iPad app, both of which I regularly use in my own music. So amongst their more standard keyboard and guitar-support offerings, they had a new line of their little instruments.

The original Monotron is now joined by a few new variations, including this one that adds an analog-delay effect. They advertise it as a “Space Delay” and the case sorts of a retro-space like theme.

Playing it is as simple and compelling as the original. If the price-point is ultimately as reasonable, it might be fun to try chaining the different versions together sometime.

Korg also has new versions of the Mini Kaoss pads out, including a new Mini Kaossilator.

More than any of the new sounds, I noticed the new industrial design, which is more rounded and quite a bit more ergonomic. I’m not sure if I like it was much as the little boxy versions from a visual perspective, but it’s probably easier to handle.

I wasn’t able to try out these metallic Monotribes because they were inside a case.

NAMM: Waldorf Zarenbourg and Blofeld

I have to admit I was a bit dejected at first when I started my systematic wandering of NAMM Hall A. A lot of solid recording and computer gear, but one can only feign so much interest in one soft synth and digital mixer or latest incarnation of a popular digital workstation. My mood lightened when I came to the Waldorf Zarnenbourg.

Yes, it is just another digital modeling synth, albeit in a pretty package reminiscent of a Rhodes suitcase piano. But it was very playable, and immediately left behind the initial overstimulation and monotony by firing up the Wurlitzer electric-piano model and playing jazz/blues/funk riffs for a few minutes. In some ways it was even more convincing than my workhorse Nord Stage (although that remains an excellent electric-piano model, too). The electric-pianos were physical modeling synths, while the acoustic piano was sample-based. The effect sections are also more versatile, in particular the auto-wah. The Blofeld was connected to the Zarenbourg’s audio input so the instruments were mixed together in the piano’s built-in speakers for a fun combination of classic 70s riffing and esoteric electronic sounds. The Blofeld can get a bit intense at times, and it seems like one of the booth agents was having a little fun with the next unsuspecting soul who tried turning it on.

CatSynth video: XoXboX plus KOMA AnAlOg gate / delay pedal.

From Janoise on YouTube.

Demo.
The Koma pedal has a gate and a very short delay.
At the end of the delay range the Koma gets in a kind of a bit-crusher sounding effect.
This is not often found at a analog pedal.
This is because Koma has modded the chip!

Also on matrixsynth, where you can see more videos and find out about the KOMA Elektronik “YouTube yourself!” Competition. They are going to be at NAMM next week.

via KOMA: “By the way, we love cats in videos! ;-)”

CatSynth pic: Appliancide (mostly) DIY modular

From Appliancide, where you can read more about the project.

I ordered some knobs and switch covers for the Doepfer modules, so they will blend in with my DIY stuff better. I am working on a second case and the modules to fill it. I will try to do a start-to-finish pictorial on one the modules this coming year. We’ll see. I like to build slow and rock out to music. Taking pictures cramps my style.

Also on matrixsynth:

“Clockwise starting from the upper left:

Doepfer a-111 VCO, Dual CGS/Serge DUSG, Doepfer a-188-1 256 stage BBD, Doepfer a-188-1 4096 stage BBD, DIY manual gate/lag generator, Doepfer a-135 mixer, Doepfer a-101-2 LPG, DIY version of Fonitronik Attenuverting Mixer and Buchla 292C LPG clone using boards from Thomas White.”