“Another piece of sonic adventure from Alna and his helper. Polyend Seq & Poly couple ruling the Eurorack modular and DSI Prophet. Enjoy!”
Here is another video of the Polyend sequencer, sans cat
“Equipped with a wide array of Ins and Outs, allowing you to communicate freely with other devices of every era and genre. You can also feed tracks with MIDI notes using your favorite MIDI controller. Every track can be recorded step by step or in real time and then quantized independently”
It’s been a little while since we last attended Church of Thee Super Sergeat Robotspeak in San Francisco, but we made a point of going this past weekend. For those who have not been there or read our past reviews, it’s an almost-ever-month show on a Saturday afternoon with live hardware-synthesizer performances. As the name suggests, some acts do include Serge synthesizers, but it is not required, and a wide variety of instruments are used. All three sets are featured in our most recent CatSynth TV episode.
The first set featured Lx Rudis performing on an Oberheim Xpander, a somewhat underappreciated instrument from the 1980s.
At its heart, the Xpander is a 6 voice analog synthesizer, but with a complex array of digital controls that can be programmed and applied independently to each voice. Lx Rudis took full advantage of these, especially the LFOs and lag generators, to create subtle and minimal metric patterns. He constantly moved voices in and out, configuring them on the fly, in a way that was very expressive and musical. I particularly liked the sections which had staccato rhythmic textures against slowly moving timbres deliberately out of sync with one another.
Next up was Franck Martin, who performed a solo set on a modular synthesizer with several standalone instruments.
Martin’s setup included a Moog Subharmonicon, which he built while attending Moogfest this year (we at CatSynth are a bit envious), as well as a DFAM (Drummer From Another Mother). There were also additional voices provided by Braids and Plaits modules from Mutable Instruments that he could bring in and out using a touch-plate interface. The result was a slowly changing beat pattern with an eerie inharmonic voicing and gentle undulation.
The final set featured our friends Gino Robair and Tom Djll teaming up as the brilliantly named Unpopular Electronics.
They had a wide variety of gear, including Serge panels in addition to Eurorack modules and standalone instruments from Bugbrand and others. In addition, Gino had an interesting small case that included touchpads.
The music was frenetic and intense, an avalanche of pops and hits and loud cloudlike tone clusters. And there were trumpet sounds entering into the mix at various points. But there was an exquisite detail to the madness with changes among the different instruments and sounds, and musical pauses and rests before the pair dived back into the frenzy. There were also many moments of humor and not just Djll’s book about why there aren’t any Zeppelin-style airships in the United States.
In between sets, it’s fun to browse around Robotspeak and see what’s for sale, or on display in the big glass case.
It’s also quite dangerous, as I am often tempted to leave with another module or instrument. On this occasion, I exercised restraint, but probably not next time…
At NAMM, one tries out a lot of instruments and walks away wanting to have a good number of them. The novelty fades quickly, but some you find that you continue to really want. The Magneto module from Strymon is in the latter category.
The Magneto is a four-head tape delay simulator. Its controls are very intuitive and playable, with enough flexibility to be used to generate spring-reverb-like sounds as well as function as a looping device via a mode switch. You can see our first attempts with the Magneto in this video.
Strymon put a lot of attention to detail both in terms of sound design and usability into this device. And as one would expect from a Eurorack module, just about every function can receive external CV input, making it more of a musical instrument in its own right than it would be in a studio rack or even a guitar pedalboard. We were able to observe the delay and looping functions in great detail, but it was more challenging to discern the tape-effect functions, such as “wow-flutter” and “crinkle”. Part of that is just the chaotic environment of NAMM (even in the more calm depth of Hall E). Hopefully, we will get a chance to try those out in more detail in the near future.
We continue to work our way through our experiences from NAMM 2018 with the Arturia MiniBrute 2.
The original MiniBrute made quite a splash a few years ago with its all-analog signal path, usability, and low price. It also had a sound that was distinct from other low-cost analog synths, in part because of the “Brute Factor” knob. That knob is back in the MiniBrute 2 along with a Steiner-Parker filter that together with the Brute oscillator gives the instrument its sound. But there is now a second oscillator, and, perhaps more significantly, a modulation matrix and patch bay.
The built-in synthesizer topology includes a lot more modulation than the original, and the patch bay allows for reconfiguration and expansion with the RackBrute Eurorack cases that integrate 3U or 6U or modules with the MiniBrute in a single case. This does seem to be a trend we are seeing with built-in patch bays to full analog mono synths (the Moog Mother-32 being the prime example). One can also interpret the MiniBrute 2 as incorporating ideas from the flagship MatrixBrute writ small. The ecosystem also includes an alternate form-factor, the 2S, which has drum pads reminiscent of the BeatStep Pro instead of the keyboard.
We were only able to scratch the surface at NAMM, and also had a bit of difficulty with our video. So we are hoping to provide a more in-depth look at this instrument both here and on CatSynth TV in the not too distant future.
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.)