Martian Arts

Bare in mind that this module attempts to do in hardware what is easily done with software. Ableton has granular processing and is not limited to small buffers available in expensive hardware eurorack modules. Then there is a plethora of plug ins that do exactly that, from the free Live Cut to dBlueGlitch...etc. I just have a fetish of programming all this stuff on my own using patch cables...and pay silly money to do this outside of the computer cause I don't like using computers to generate sound.

If you don't want to spend a lot of money on a big system, there is the Roland Scooper which does not need a case with a 12V buss and you can do a lot by manual tweaking.

Hello guys, I used Mutable Instruments Clouds. Its a granular/texture synthesizer module. Its digital of course and accepts CV (control voltage) and gate triggers to generate grains. More info on the module in this youtube clip There are more modules with which this effect can be achieved...Mungo g0, Phonogene, Morphagene, 4ms DLD...just down to what you want to achieve, but with the exception of Clouds which uses the Xenakis concept of granular synthesis, the others use the Curtis microsound techniqu where audio is chooped up into very small segments and a tape playhead reads through them in a glitchy manner.

Here's some exponetial FM patch I made, very easy to tune without syncing as the oscs are very stable without any "drift" programmed into them and FM index is via digital control and is extremely precise. Sorry I posted this on facebook only. https://www.facebook.com/100009455712042/videos/vb.100009455712042/1781840908807749/?type=3&theater The A4 is a modern analog synth, meaning it does not sound like a Moog, OB-XA, Jupiter 8...etc...etc. So I think people saying it sounds cold and bland is because it sounds quite "neutreal". The Rytm sounds much bigger and phatter but having said that, there is nothing I know of in that price range and in a such compact box that has 4 sequencers and features like the ones found in the A4. Two CV/Gate outs are a great feature for modular users as well. Its the perfect live box, imo, as you build your patch and sequence in the studio and take it with you on stage. Its also a fantastic improvisational box, you can make great stuff in minutes. You also have a second filter to high pass any bass that clutters the bottom end, you have very nice effects, you just plug this in and let it rip. The new OS adds some nice modulation features https://www.facebook.com/100009455712042/videos/vb.100009455712042/1678025319189309/?type=3&theater

Make sure you read the Elektron manuals. Elektron boxes have a "philosophy" and you either adapt to it, or get frustrated and hate their boxes, which somestimes lead to poeple selling them for very cheap... I can't comment on demoing sounds, but voice allocation can be done in the "kit". Other than that, the A4 is great for leads and weird synced effect type sounds as the LFO section is one of the best. And the new OS (well its almost a year old now I think) added some nice features which I thought where standard in the older OS, but yeah, it will do very nice FM as well. (https://www.facebook.com/100009455712042/videos/vb.100009455712042/1678025319189309/?type=2&theater) Personally I find the A4 kinda *needs* to go through the Elektron Heat, to give it some extra character. But that sequencer and size, make the A4 *the* perfect live synth, imo anyway.

The irony is that apparently the A6 was the project that brought Alesis to its knees and Numark bought them off.

Yup, all 16 voices loud and in tune *knock on wood*. I actually traded my DIY 5U for the A6, so I paid a fraction of the insane 2nd hand prices. There needs to be some research before buying an A6 and some basic but very important testing. This is one synth that you do not buy, without testing. Mine's a 2007-2008 from the serial number. The newer the better with these ones and having checked there was a problematic batch with the serial numbers frequenting from 2003 to 2005. There are some sweet spots where it sounds very close to an OB-XA and then using the bottom filter sometimes it sounds like a Memorymoog. For me this is *the* best analog polysynth ever made. Vintage purists will say otherwise and that is fair enough, especially if you open the A6 filter all the way and those "modern" high frequencies, start showing its real identity. But the programability of the A6 far surpasses anything else. Huge + is that it does linear and exponential FM, ring mod in there, cross mod, killer 3 track sequencer, brilliant arpeggiator, looping dual attack/release envelopes, excellent LFO section, very usable analog distortion, the digital FX are not great, but not bad either. Adding a sine wave out from the oscillators, post filter mix also makes this *the* phatest sounding synth, including my modulars. 16 voices, 2 VCOs per voice...32 VCOs. When you tap the unison button, the neighbours will come asking what's the new thing you got Love it.

Yup these are tattoos. I forgot the noise waveform on my thumb...but I guess when I am old and wrinckly they'll all be noise Virus is a classic synth. Zebra can get in the same ballpark but I have used Zebra and I have had 3 Virus synths (B rack, Polar TI, C) before I ended up with the Indigo 1 which I am going to keep. I always end up doing different things with the Virus which goes back to what I said, when I don't use a computer I end up programming things differently. For example, I much prefered the sounds I made on the Virus C than I evern did on the Polar TI...cause I was using the Virus control plug in...even though the Polar TI does a lot more than the C. Of course this is just me feeling more inspired when programming a physical synth with a certain tactile insteraface and has nothing to do with the any of the afformentioned being the "better" synth.

Never used them so I can't comment.

Exactly, especially for the low end, good studio headphones work wonders, cause what you hear is what you get, whereas in a room there are two major parameters that cost an awful lot of money to eliminate, room modes and monitor low end response.

Fair enough, I think Zebra sounds absolutely great for bold digital sounds, but tastes and all that jazz. With regards to programability, you can do insane evovling sequences on it, as portrayed by Hans Zimmer is the Dark Night. Never tried Hive. One thing to consider, is putting a soft synth through a nice pre amp with an analog filter before the output. Yes you are paying money that can buy you a very nice hardware synth for say an Elektron Heat, but it makes a night/day difference to the sound. Even overdriving slightly the pre amps of the channels a soft synth is going through, on a Mackie 1604, makes a world of a difference to the sound. If hardware is not an option, get Soundtoyz Decapitator and put every soft synth, through that. Different modes fit different sounds, better, so there is a bit of trial and error, but such is the nature of engineering.

Hardware, not because it is "better" but because I don't like to look at a computer screen when I make music. There's brilliant software around nowdays. U-He synths are the bomb and cover everything from old analog Roland synths, to complex digital modular soundscapes that make it to Hollywood blockbusters.

Headphones have come a long way. I have a treated studio, use two pairs of reference monitors (Alesis mk2 actives for the "hi-fi" reference and Mackie HR824s mk1 are my main monitors). The absolute final mix I check on Focal Spirit Pros. They are actually fantastic as they are *extremely* detailed across the whole spectrum. I don't enjoy writting music on them, so I use the monitors but it was never easier to mix a track + you don't need expensive monitors and acoustics with a good pair of studio headphones, so I recommend them to people that are on a budget, but want to nail every mix.

Opaaaaaa Mozzaaaa! The Serbian brothers throw the best parties I'll *never* remember! I am surprised they let me in the plane after the gig