Posts tagged ‘video’

helmikuu 6, 2018

Yamaha Reface DX – Rockway-testi tulossa!

Rockway-testi ilmestyy elokuussa 2018.

Yamaha Reface DX

Ultrakompakti FM-syntikka

• 37 laadukasta minikosketinta

• 8-ääninen polyfonia (toimii myös monofonisesti)

• neljän operaattorin FM-synteesi feedbäckillä

• 12 algoritmia

• 32 ohjelmapaikkaa

• 7 efektiä (kaksi samanaikaisesti)

• sisäinen loopperi

• MIDI In/Out & USB

• linjalähtö (stereo), aux-tulo, kuulokelähtö

• kaksi sisäistä kaiutinta

• toimii verkkovirralla tai kuudella AA-paristoilla

Maahantuoja: F-Musiikki

Mainokset
helmikuu 5, 2018

Roland JD-Xi – Rockway-testi tulossa!

Rockway-testi ilmestyy maaliskuussa 2018.

Roland JD-Xi

Hybridisyna/-työasema

• 37 laadukasta minikosketinta

• 129 äänen polyfonia

• patcheissa neljä soundia (part) – 2 x digitaalinen (Roland Super Natural), 1 x analogisyna, 1 x PCM rumpusetti

• neljä samanaikaista efektiä per patch – särö/kompura, modulaatio, delay ja kaiku

• patcheissa neliraitainen sekvensseri

• vocoder-toiminta – vocoder, auto pitch, auto note

• arpeggiaattori

• sisältää myös patcheja kitaralle (!)

• kaksi linjalähtöä, kitara-/linjatulo (mono), kuulokelähtö, MIDI In/Out, USB (MIDI & audio), tulo joutsenkaulamikrofonille

• toimii verkkovirralla

• topattu pussi saatavilla lisävarusteena

Maahantuoja: Roland Scandinavia

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REMIX THIS TRACK

Download the stems HERE.

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TEE OMA MIKSAUS

Lataa biisin äänitiedostot TÄÄLTÄ.

tammikuu 30, 2018

Yamaha Reface CS – Rockway-testi tulossa!

Rockway-testi ilmestyy maaliskuussa 2018.

Yamaha Reface CS

Ultrakompakti syntikka analogimallinnuksella (Yamaha AN)

• 37 laadukasta minikosketinta

• toimii sekä poly- että monofoonisena

• kuusi oskillaattori-moodia: multisaha, kanttiaalto/pulssi, oscillator sync, kehämodulaattori, FM-synteesi

• neljä efektiä: särö, chorus/flanger, phaser, delay

• sisäinen loopperi

• MIDI In/Out & USB • linjalähtö (stereo), aux-tulo, kuulokelähtö

• kaksi sisäistä kaiutinta

• toimii verkkovirralla tai kuudella AA-paristoilla

Maahantuoja: F-Musiikki

tammikuu 29, 2018

Näin analogisyna toimii – Osa 2 – VCA:n verhokäyrä

tammikuu 26, 2018

Analogue Synths – Part 2 : The VCA Envelope

tammikuu 18, 2018

Synablogi’s new video series: Analogue Synths

tammikuu 16, 2018

Synablogin uusi videosarja: Näin analogisyna toimii…

huhtikuu 24, 2013

Musikmesse 2013 – Novation Bass Station II

Bass-Station-II-Top

Uusi Novation Bass Station II on täysin uudistettu versio firman legendaarisesta Bass Stationista.

Bass Station II on ohjelmoitava monofoninen analogisyna kahden oktaavin koskettimistolla. Synalla on kolme oskilaattoria (valittavilla aaltomuodoilla), sekä kohinageneraattori. Soundien muokkausta varten on tarjolla kaksi LFO:ta, kaksi filtteriä (Classic ja uusi Acid), kehämodulaattori, sekä sisäänrakennettu särö.

Bass Station II:een on tallennettuna 64 tehdaspatcheja, ja se tarjoaa saman verran tilaa omille luomuksille.

Takapaneelista löytyy mm. MIDI-liittimet, sekä USB-portti.

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Lisätiedot: Soundtools

Novation Bass Station II

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huhtikuu 23, 2013

Review: Arturia MiniBrute

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These days many keyboarders carry their whole set-up around with them in their laptops or iPads, which has led to – possibly premature – rumours of the hardware synth’s impending demise.

Against this backdrop Arturia’s recent moves make for a refreshing (and brave) change – the French company decided to develop an affordable, lightweight and completely analogue monophonic synth. Its name is: Arturia MiniBrute.

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The Arturia MiniBrute constitutes a conscious attempt to get back to the very beginnings of the synthesizer, when the new instrument’s raison d’être lay in experimentation and the exploration of new sounds.

In more recent years some of the focus has (regrettably) shifted towards the use of factory presets, as well as the imitation/recreation of the sounds of traditional musical instruments.

The MiniBrute brings us back to Square One, in a way, and forces us to remember the basics of analogue subtractive synthesis, bringing back a ”real” synth’s real-time control and interactivity.

The Arturia comes across as reasonably sturdy: The synth’s main body is made from folded aluminium, with fat rubber-like sides cushioning the occasional knock or two.

The MiniBrute comes with a full-size two-octave keyboard, with a very traditional non-weighted touch. One modern touch is the Arturia’s ability to sense aftertouch, which can be used in this synth to control a note’s vibrato or filter cutoff.

Even though the MiniBrute itself doesn’t respond to velocity changes, its keyboard itself is velocity-sensitive, and transmits velocity data via USB and MIDI.

Arturia have clearly invested in the quality of the MiniBrute’s knobs, sliders and switches. Everything feels very positive to the touch with just the right amount of resistance, with only our test sample’s loose feeling Envelope Amount knob marring the classy overall picture a tad.

I feel it’s quite easy to get your head around this little guy’s workings: The synth’s sound is generated by three main oscillators – saw, triangle and square – with a sub-oscillator (square or sine) and a noise generator spicing things up, when needed. Additionally you can also feed sound from an external sound source through the Arturia’s electronics.

Each oscillator has its own level slider in the oscillator mixer.

The sound generated by the main oscillators can be modified to create some not-so-old-school tones: The square wave can be pulse-width modulated for phasing-type textures, while Arturia’s own Ultrasaw- and Metalizer-modulations break up the smooth saw and triangle waves to come up with ultra-fat saw sounds and metallic triangle wave timbres, which were hard to achieve using vintage analogue synths.

But the oscillators are only where the fun begins – an analogue synth sound also needs envelopes, filters and LFOs to bring it to life.

The Arturia MiniBrute offers you two ADSR-envelopes – one for the signal amplification and one for the filter. The filter is a very tasty Steiner-Parker-design, offering you four filter types to chose from (low-pass, high-pass, band-pass and notch).

The instrument comes equipped with two LFOs: LFO1 offers six wave types, which can be used to modulate the depth of pulse modulation, the Metalizer-function, oscillator pitch, signal amplification and the filter. LFO1 can be synched to the MiniBrute’s arpeggiator, as well as run manually with the Rate knob. LFO2 is reserved solely for vibrato control, and it comes with three different wave forms.

If your sound still needs a kick up the butt, then I’d suggest using the Brute Factor -control, which is what has given this little gem of a synth its catchy name. The Brute Factor is hard to describe in words, but it seems to be some sort of feedback and distortion chain, which turns even the cutest of timbres into something mean and menacing.

The Arturia also sends your octave selections, as well as the pitch wheel and modulation wheel changes onward via USB and MIDI.

On the MiniBrute’s back panel vintage and modern live in peaceful co-existence.

The CV Gate Ins and Outs are handy for connecting pre-MIDI gear to the MiniBrute, as well as for using an external audio signal to trigger the synth.

There are separate outputs (and controls) for the Master Output and the headphones. The Audio Input is also a full-size phone jack!

Thanks to MIDI and USB the MiniBrute can easily be integrated into a up-to-date synth rig.

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I have to admit that I am quite enamoured with this little synthesizer. Using the Arturia MiniBrute is so refreshingly organic and ”real”. You are fully in charge of your sound. No presets, no user memory – your sound is here and now!

The playing feel of this little Arturia is unabashedly vintage and loose – some (I, for one) feel that this adds to the vintage-like charm of this instrument, others will want something a bit firmer under their fingers. And while I’m at it: Why does most equipment these days have to be designed around external power supplies? Arturia’s PSU isn’t particularly bad, but still, it doesn’t strike me as being overly rugged or gig-worthy. I’ll wager it’s all down to cost-cutting…

The MiniBrute’s arpeggiator is surprisingly versatile, for such a small synth. Its range is up to four octaves, and it offers four different modes (Up, Down, Up-Down and Random), six different step settings, as well as the same number of swing variations.

As already mentioned before, the Arturia sends data for velocity, octave selection, modulation and pitch bend via MIDI and USB. The MiniBrute worked smoothly when connected to my Apple iMac, and without the need for a dedicated driver. If you download Arturia’s free MinBrute Connection editor you will also be able to access all of the synth’s internal parameters, like velocity curves for MIDI-/USB-use.

Even if this is your first step into the world of analogue synthesis, you won’t need to be afraid of the MiniBrute. Arturia’s owner’s manual is one of the best I have ever read, and it takes the uninitiated through all the basics of synthesis, as well as all the necessary steps for creating your own synth sounds. There are even a handful of preset overlays included with the Arturia to help you get started.

Still, in my opinion, the best thing about the Arturia MiniBrute is its juicy, muscular and organically personal sound. This little synth will give you all the vintage tones you need, coupled with some nice modern touches. Fat or thin, slicing or resonating, atonal or flutey, warm or cold, clean or distorted, soft or merciless – you alone decide! Classy timbres abound – go to it!

In my opinion the Arturia MiniBrute has what it takes to become a real classic. I can only recommend a test drive!

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The soundbites have been recorded straight off the MiniBrute. Reverb and/or delay has been added during mixing. No further effects were used:

Broken Bass

Feel the Sun

Pulsating

Blue Planet

Regurgitating

Squaky Lead

Brutal Bass

Arturia MiniBrute – Brute Sounds – full version

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Arturia MiniBrute

Current street price in Finland approx. 520 €

Finnish Distributor: EM Nordic

A big thank you to DLX Music Helsinki for the loan of the test sample!

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Pros:

+ genuine analogue synth

+ price

+ build quality

+ sound

+ easy to use

+ vintage-type synth keyboard

+ aftertouch

Cons:

– external PSU

– vintage-type synth keyboard

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joulukuu 10, 2012

Review: Yamaha P-105

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The brand-new Yamaha P-105 is an affordable, lightweight digital piano, ideal for home use and stress-free gigging.

Yamaha’s P-105 (current street price in Finland around 660 €) is offered in black (P-105B), as well as in a pearl white finish (P-105WH).

The P-105 is equipped with a Yamaha Graded Hammer keyboard, which offers a feel similar to an acoustic piano: The bass keys put up slightly more resistance than the treble keys.

Thanks to its plastic chassis the Yamaha weighs in at a mere 12 kilos, and it fits easily on your standard X-type keyboard stand. For home use you can also purchase the wooden LH85-stand and the three-pedal LP5A -pedal unit.

In addition to its quality keyboard the Yamaha P-105 also trumps with a full-bodied two-way speaker system offering 14 Watts of power (2 x 7 W).

The Yamaha P-105 is feature-packed, yet easy to use.

Next to the Volume-fader you’ll find the buttons for the built-in metronome, as well as Yamaha’s Pianist-function and the keyboard split.

In addition to a traditional metronome click, the P-105 also offers ten different drum patterns from Beat to Samba and Waltz.

The Pianist-function is a practicing tool – akin to a cross between an arpeggiator and auto-accompaniment – which changes held left-hand chords into different accompaniment styles. This allows you to focus your practicing first on the right hand only, while simply holding down the correct chords with your left hand. The Pianist-function offers ten different accompaniment styles from classical to Pop and Latin.

The Tempo-buttons on the P-105 also function as keyboard split selectors for assigning different sounds to the left and right half of the keyboard, respectively.

Layering two sounds is also extremely easy on the Yamaha: You select the first sound just as you would when switching to a different sound. Then, while holding down the first sound’s selection button, you choose the second sound you want to layer on top of the first one.

The Yamaha P-105 is also equipped with a very basic recording and playback section.

The sounds available from the Yamaha P-105 cover all the usual bases. There are 14 tones on offer, starting with acoustic and electric pianos, and ending with strings and bass-sounds.

Apart from the two headphone outputs on the front panel, all of the connectors can be found on the P-105’s recessed back panel.

In addition to a simple sustain pedal jack there’s also the special connector for Yamaha’s three-pedal LP5A-unit. This digital piano also offers a line level stereo output, as well as a USB-port for use as a master keyboard in conjunction with your sequencer software.

The P-105’s PSU (and especially its thin lead) isn’t the most gig-worthy I’ve ever seen. The included sustain pedal is a very nice touch, mind.

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In my opinion two points are essential, when it comes to the quality of a digital piano – you look for an authentic piano touch, as well as quality sounds (especially with regard to the grand piano tones). All other features are like the icing on a cake – nice to have, but they won’t make or break the instrument.

When it comes to its keyboard Yamaha’s P-105 is a sure-fire winner: Yes, it is true, the feel and touch of its keyboard (naturally) isn’t on a par with Yamaha’s most expensive digital pianos, but I feel that the P-105’s touch and response is one of the best (if not the best) in its price range. The keys feel and respond quite naturally, and the mechanical noise the keyboard makes in use is refreshingly quiet and unobtrusive.

The most exciting news, though, are the P-105’s superb grand piano sounds, which put this affordable digital piano in a class of its own. Grand Piano 1 offers the tone of a very well recorded Yamaha CFIIIS -grand. The natural nuances and the wide dynamic range on offer are a testament to Yamaha’s expertise in this field.

Grand Piano 2 is a slightly more aggressive and brighter affair, made to cut through Pop and Rock arrangements.

I had the feeling that I could make out a very slight fluctuation in pitch during the attack phase, when hitting the ”g” and ”a” below the ”middle C” very hard. But it also may have been some strange sort of psycho-acoustic gremlin in my head.

Grand Piano 1

Grand Piano 2

There’s still more quality on offer in the Yamaha P-105’s electric piano section, which offers four different tones from vintage all the way to DX7-type sounds.

E. Piano 1

E. Piano 2

E. Piano 3

E. Piano 4

The Yamaha’s other sounds are also in great form. I especially liked the pipe organ, the harpsichord and the strings.

Jazz Organ

Pipe Organ

Rock Organ

Vibraphone

Strings

Harpsichord

Wood Bass

E. Bass

Here are two examples of the Pianist-function and the drum patterns on offers. As with all the other soundbites, these too have been recorded straight from the line output to my sequencer with all the EQ and reverb coming solely from the P-105.

Pianist-patterns

Rhythm-patterns

In my opinion, the Yamaha P-105 is a fantastic choice if you’re shopping for a lightweight and affordable digital piano, as it offers both a natural-feeling keyboard and quality tones. This digital piano is ideal for the hobby pianist, as well as for the gigging keyboarder, who has to transport his (or her) own equipment.

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Yamaha P-105WH

Current price in Finland approximately 660 €

Finnish distributor: F-Musiikki

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Pros:

+ Graded Hammer -keyboard

+ grand piano sounds

+ variety of sounds

+ good speaker system

+ lightweight

+ value-for-money

Cons:

– PSU probably not gig-worthy

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