50+ V-synth 2.0 Patches for $25, paypal & credit cards.
Designed over a period of months, it features:
A better TB-303 recreation w/909 thats fully controllable, and arpeggiated.
2 Sampled Statocaster Guitars on multiple patches (one with real distortion, 80s style)
Pads, Eery Combinations
FX & Drums
Link to V-synth Patches in our store.
With Styleflip.com’s flash editor I was able to make a star wars themed vinyl for an Electribe. The tool is pretty advanced, and you can order your creation. A wide selection of boxes are supported, like akai, and other DJ gear. I hope they make some more keyboard templates, beyond their midi controllers sometime!
Ever had trouble timing drums on a keyboard? Use this tip to consolidate your drums onto one key to reduce errors.
How it works: Accents trigger fast snare and bass drum (high velocity), and normal strikes (low to high velocity) just play bass drum and optionally a soft/quiet/blended snare. This allows you to naturally play rock rhythms on the same key and frees up other fingers.
For this to work you’ll need a sampler that supports custom velocity sensitivity and at least two samples per key. I used the V-Synth. I’m sure this will work in Reason or anything remotely modern.
1. Find your drum samples. Bass, Snare etc. Setup zones or make keymappings for drums.
2. Place a Bass Kick – 0-127 Linear Velocity (straight upward graph) on Middle C. This is OSC1 on the V-synth
3. Place a Fast Snare – 100-127 High Velocity (highly peaked graph) also on Middle C. This is OSC2 on the V-synth
Thats it. Now its slightly easier to play rhymthms on a keyboard using a single key.
BONUS TIP: Make a bass drum sound slightly more real! Using a variation of above you can blend a bass drum sample and a soft snare. Why would you want to do this? In real life when you press the bass pedal your resonating the surrounding drums (the snare’s springs). In studios where samples are recorded their goal is to isolate sounds and make sure this doesn’t happen. If your using samples from entirely different kits or electronic drums this method will blend them. If we add a soft snare sample to our kick drum at much lower volume you can blend them like its coming from one drumset. Make sure you use appropriate velocities for this. You don’t want the snare to actually sound like an accent or compete with the real snare.
I hope this helps people make more natural sounding drum rhythyms or inspires someone to do something new with sample layers.
Here I use samples and a really customized performance patch to emulate the TB-303 & TR-909 on the V-synth. This is an awesome Rebirth style setup that can be re-used.
The midi control knobs control more than one function. C1 opens the cosm filter and adds more reverb effect send. C2 Controls the levels on OSC1 (Where drum samples are loaded) and also closes the resonance on OSC2. I could have used the D-Beam and also tested resonance to the extremes, but maybe next time.
The Arpeggiator turned on and set to 16steps lets us create & loop our patterns. The drum samples all have their own zone. No loops are being used.
Next time I’ll show you how I create the Arpeggiation/step pattern in the V-synth…
Ever needed to DIN Sync old gear to Reason? Check out this video where Peff does it with a TR-808.
Send DC pulses from the MOTU interface to Roland 303, 606, 808, 909 etc.
Check out his facebook page for more info & Videos.
Did some more work on my track that I started: “Ship Voyage”
Added vox, drums, more synth and corrected the mix a bit.
Have a listen.
This will probably be the final mix, unless I decide to remix it up, but I’m pretty happy with it.
I am mid-way through a techno mix so far called “Ship Voyage.” I thought I’d share it with you guys. It still needs some work, and maybe some quantising.
More drums will be added, the mix will be tightened up, and I’ll repost it. Finished version coming soon.
Daw Controller, Audio Interface, Digital FX Mixer, and Room Control unit w/ internal mic.
The Edirol M-16dx is a 16ch digital mixer from Roland’s lesser known brand. It is packed full of features only seen on products $800 and up, when it only retails for $250 new (if your looking in the right place). Initially I purchased this mixer to fill the need for DAW control & audio interface. The fact that it was a standalone mixer just sweetened the deal. The feature set, including automatic Room Control, was too much to pass up. Lets see how it stacks up.
Audio Quality: 8 I was impressed with its preamps under phantom power. There was alot of gain and only a little bit of noise, most which was coming from the mic. It is perfectly acceptable for the price point. This mixer has 22+ decibels of headroom, so you can get a very high dynamic range, beyond line level, into your computer (although line-level instruments need to be boosted to match). The full 22+ decibels are sent to the computer. Thats a little weird but understandable.
The 22+dbl gain could really come in handy if your using it live somewhere and don’t have enough gain at least. It also virtually elimates clipping and need for a limiter.
Drivers: 5 I tested this one under Windows & Mac OS X. It faired better in Mac OS X. Under windows, there is no outgoing volume control, making it easy to damage your monitors speakers if you don’t have the return bus fader all the way down. In Mac OS X you can set it to line levels at least. I found this control really weird and annoying. i wouldn’t recommend this as an audio interface for windows, especially for casual use. Your audio will just clip internally, because it uses the 22+dbl gain for no reason I could find. Under mac os X it did seem to drop out and freeze the computer, but its probably just my iMac’s first gen USB bus. I found it to be useable to some degree, but not entirely stable. This one seems to have the same drivers or chip as the blue Edirol 10/10 USB interface, which also had drop out problems on extended use.
Another issue is that when you connect something onto the digital bus, and your using USB audio, the bus is disrupted and the audio goes all crackly. This also happened when I went into scene mode.
This thing is a little buggy, but useable. Its fine in live mode and not being used with your computer.
My thoughts are mixed on it.
DAW Control worked OK in Logic Audio
Features: 8 It has literally all of them. Room correction works amazingly. You could buy it just for that. I know some people are against eq, but this thing will EQ each speaker individually, and in under a minute you have a flat response. You can also connect an external measurement mic if you own one. The FX routing on it is amazing, including its internal reverbs. The DX Bus is really awesome which lets you seperate the mixer from the audio box. This feature was seen in 1999 on Roland’s expensive digital mixers with R-Bus technology, which would let you stream 96 channels of audio. Now you have a mini version with this unit!
Build Quality: 6 I found the build to be fine, even though its plastic. I had an issue with this unit where it was disconnecting USB and going crackly every time I touched it. Finding this static issue was annoying, since it doesn’t happen with my other gear. Since I bought it used I took it apart, and put it back together. I don’t believe I moved anything differently, but now I don’t have the problem!!! HUH!? Yes, I think this unit is put together crappily. But if you have a good one, you should be somewhat happy with it. Mine was built by a chinese child right before lunchtime when they were starting to get tired.
The Edirol M-16DX is really interesting. Its buggy. It sort of worked, but hard to recommend to everyone. I recommend it as a standalone mixer. If you are connecting alot of stuff digitally or using windows, there are probably better alternatives that you’ll want to pay more for. Ideally I would use this standalone or as a front end for a better interface, or just to have around. Its working for me right now, but I will never buy Edirol again after having two seperate USB interfaces have the same short term instability with Mac OS X, and seeing how they programmed no software control program for it with windows. Its no wonder you can get this one for half price. The M-16DX is really cool, has all the features you could ever want, some which don’t work very well, and has a neat design. But it seems Edirol/Roland has totally abandoned this unit.
Its fun, its cheap, and a good replacement for an analog mixer at this price.
Total Score: 7/10
UPDATED: I have now sold the JX-8p and re-aquired the V-synth. For purposes of production, and synthesis it is a better keyboard. Playing it is fun too. I miss being able to play the JX-8p, and its sound only a bit, but not its synthesis capabilities compared to V-synth for producing the type of music I am into nowadays.
Who will reign supreme for the title of “Super Synth”
You might be wondering what these two have in common. They use completely different technologies, different design, and came out decades away from eachother. One would think these Roland boards would sound completely different. Theres the thing you can’t forget: they are designed to do the same thing: Synthesis. But which is better?
Today we’ll be testing both the V-synth and the JX-8p in a feature shootout. Instead of focusing on what makes them different, we’ll be focusing on its similiar features, the OSCs & filter sections. Yes, the V-synth is a sampler, with many more features and effects, but they still decided to call it the V-Synth. In these tests we’ll be having each instrument do the exact same thing, recreating the same patch. Since the JX-8p is limited in options we do have to make the V-synth work to try and sound the same. This might be futile, and completely narrowminded but lets find out which won!
The OSC Setup:
The initial OSC test was difficult to set up. I started each synthesizer on a virtually blank patch and introduced the saw waves. This was fairly easy to do with the V-Synth and JX-8p. However, to make the V-synth sound like the JX-8p we set both its virtual OSCs to +1 randomize pitch, and used the LA-SAW type. Randomize pitch was the best way to simulate the analog-ness, as detuning a virtual oscillator does not equate to “analog” as you may think. It just makes it go out of sync. Even the JX-8p is close to dead perfect in tuning. Adjusting the the relative volume of each OSC to match the other instrument’s was a harder process. Set up this particular way, I tested the notes both high and low, and used chords.
In the end I couldn’t tell the difference between the JX-8p and V-synth with my eyes closed! Both instrument’s dry OSCs are excellent, with maybe a negligible difference in the convertors.
This was a bit more difficult. You do have to make the V-synth work a bit to get a good chorus. These are the settings I used: Chorus Effect 2, with the rate set to .40 , and full depth you get a similiar sound. It wasn’t enough however. There is a huge volume boost in the JX8p and what feels like a sub OSC when the chorus is engaged. I failed to get the V-synth to get that quality, even after trying bass EQ. It comes extremely close in tone, but that extra “awwwrrorr” sound isn’t there, and neither is the exciting “shine.”
Don’t let this persuade you from getting the V-synth. It’s chorus sounds very roland-ey and I was impressed.
Chorus: JX-8p wins
The JX-8P has a smoother resonance filter that can’t be beat. The V-synth actually resonates alot harder with all its digital information. The cutoffs seemed similiar, but V-synth digital filters work almost too well by design. They should try to program flaws into it or EQ changes to give it more character or refined smoothness. I know its possible, and you can definitely try more controls in the V-synth, but in the end the basic filter was the fastest. The V-synth’s TB-303 filter is also good, but doesn’t compare to the JX-8p for this test. Real world filters are just too smooth!
If you like hard resonance filters, the V-synth can be your board. This might be the only category in which I am willing to be biased though. I like a smoother quality.
Filter: JX-8p wins.
Okay the V-synth won this, and I’m not going to bother to explain why. The nice thing is that you can delete the factory presets.
Memory: V-synth Wins
With the PG-800, the JX-8p had a clear advantage. Its just simply faster. The V-synth has onboard OSC & envelope controls, which are highly appreciated, but to get the depth that the JX has, you must go through some menus. It would actually be interesting if they made a hardware programmer for the V-synth 3. That would be the most kickass thing ever. Roland should go back to making full hardware control on their synths. Yes the knobs could break down over time, but you could just buy another programmer if one knob went bad. The modular setup of seperate controller & keyboard is genius and Roland would be best to go back to it.
They are both fun to program and I didn’t feel like the V-synth wasted my time, but if you just need to grab a particular sound without thinking, the 20+ year old synth won.
Speed: JX-8p wins
The JX-8p has a smoother aftertouch thats easily enabled with an on/off switch on top. It seems like its on slightly even when your not pressing it, and while I’m not sure thats normal, I find it cool and useful. The V-synth also has aftertouch, but they designed literally as an AFTER-touch. You have to press down in to the point of your fingers going concave.
The JX-8p has a nicer sheen when you enable its mods & waveform sync. It has a better sounding ring modulator. The V-synth sounds perfectly fine & digital, which isn’t really a downside, but the JX-8p has an extra edge. At this point I was still creating the same patches and comparing them side by side. You can hear the electrons “light up” almost when your using real components to mix the waveforms. I do believe its possible for roland to program mods and syncs that do a little something extra, but they haven’t yet.
Mods: Jx-8p wins
Pitch Bender: V-synth
The pitch bender on the JX-8p felt old and plastic, like it was breakable. The V-synth was stronger in regards to its action and plastic feel. Both worked fine. Another comparison I find is Korg’s pitchbender design, which feels a little sloppy and hard to control. Keyboard manufacturers go cheap on the pitchbenders I guess, but the V-synth’s is clearly better in every way.
Pitch Bender: V-synth
The V-synth has everything you want in a synth action keyboard. Its fast and feels amazing. The JX-8p isn’t bad and I know some people might like its spring feeling but its going to be a little worn after 20 years realistically. When you press the keys the V-synth and JX-8p they both make a THUD sound at similiar volumes. However there is some difference in this thud sound from the keys. The V-synth’s is more bassy and feels like its vibrating the entire case and the inside electronics. Thats a little cheap. The JX-8p’s is more like a higher pitch KA-CHUNK. I’m not sure which is better…maybe the JX-8p has higher quality keybed, but the thunk might interfere with hearing the high frequencies of your music. I prefer the V-synth’s direct feel, but the JX-8p’s worn out spring bed doesn’t feel cheaply attached to the rest of the board.
Key Action: Tied
I was told that the V-synth would a replace the JX-8p, a 20 year old keyboard. I think this is not entirely correct. If you test it blind, its really damn close, with a special “shine” on the JX. The JX-8p won the tests by a nudge.
In conclusion, it is possible to program similiar patches and at times I couldn’t tell the difference. Going with the JX-8p your trading away extra OSCs and better memory to gain a slightly more special sound and better programming speed. If you want a straight out synth the JX-8p is still a killer and does its job a little better. The V-synth also sounds very Rolandey, and you must keep in mind that without hearing both side by side, I might not care at all!!
They both are winners. The JX-8p would keep the “super synth” title by a nudge. If you like variety and want harder filters get the V-synth. I’m keeping V-synth because I love its sampler.
Could it be true? A Yamaha DX-2000 FM synthesizer that was never put into production available on Craigslist? Careful searching of the internet shows that no such “DX-2000″ model has ever existed. However a Yamaha DX-200 does exist. Could the poster have been confused? I say no! The description is too subtly detailed. This machine either exists or is a total joke. Evidence of this, the USB port, which the DX-200 does not have, the 200 note polyphony, and wav playback. The description actually resembles a roland D-50 on steroids. More than a groovebox, this prototype is unreleased competition to the Roland V-synth. Requests for pictures were not yet returned.
Hi, this is a prototype synth (DX-2000) from Yamaha I bought off of some one who worked there. It was a concept that was never actualized. The synth works identically to the FM8 software and has several effects and operators can call up pre recorded wav sounds which can be loaded in via USB. It features a sequencer and 200 notes polyphony. I have two and am selling one. The unit is one of a kind, you will not find this any where else. I will consider any trades or offers.
If you know anything about a Yamaha DX-2000 or have pictures of this synthesizer please let us know!!! It sounds like an amazing product, one which I want to own and test out. -Sammy
Check out this auction of a Roland Juno G……module.
Welcome to the chop shop!!
Thats right kids, a fully functional, 100% operational, Roland Juno G synthesizer
in a “one of a kind” tabletop module.
Let’s visit some OLD digital synths!
microKORG influencing the drum sounds on a Roland Handsonic 10. Sounds like a ring modulation. Pretty cool sounds!
Korg DS-10 soft synthesizer running on Nintendo DS. Actually, two synthesizers in one.
Release date, July 24, 2008, and only at Amazon Japan
Damn, only in japan? WHY!! When will we see a Wii version?
Link to CNET Article for the Korg on Nintendo DS
Roland Prizes In Remix Contest
Remix De/Vision’s Life is Suffering courtesy of digitalmusician.net and Roland
****Roland SH-102 Synthesizer home as Grand Prize***
Audio Tool is an emulation of two Roland TB-303s, a TR-909, and a bunch of the roland/boss stomp boxes. It is very reminiscent of the classic program Propellerhead Rebirth, but without the TR-808 and better graphics.
Audio tool is simple to use and includes rewiring/audio routing on the same screen that you make your music on, which makes more sense than Propellerhead Reason’s double screened rack system.
I believe they are using java/flash to run the program in the browser, but it is as easy to use as any flash app. They did an excellent job making it, even if it has been done before. Missing is a way to save your songs but you can’t complain because its better than Rebirth in alot of ways.
Go start making some electronic music NOW!
Link: Hobnox Audiotool
Sound quality is excellent.
Needs a save feature, even if it is a demo.
The Chip Collection didn’t make it out to NAMM 07, but thats not going to stop us from making a giant NAMM compilation post!!! This post will be updated on January 18th the following days as stuff comes in.
UPDATE: Moog Little Phatty Stage Edition and Customizable Voyager
UPDATE: Open Labs upgrades MIKO SE and MIKO LE: Link
Mackie anounces Tracktion 3!!!! (I love Tracktion’s ease of use and its better mastering plugins)
A Stupid Mixer, MINI Kaoss Pad (***AWESOME***), M3 Synth, and R3 (new Darth Vader edition microkorg).
Check back for status and pictures / adds.
If you know anything, please comment!
Most Anticipated / Rumored:
Apple Logic version 8 or 7.5: Unconfirmed
Alesis Master Control Firewire Audio Interface: Confirmed
Alesis Master Control
Nice!! Check out the specs on this audio interface. Its everything you’ve ever dreamed of….6 discrete outs, 5.1 surround. 8 Channels of 44.1-192khz audio in. Motorized Faders, MIDI, 2 Preamps, SPDIF, LCD, Jog wheel, fully editable presets.
New Korg Microkorg called the R3: Leaked Images / Confirmed From Gear Junkies
New Korg Mini Chaos Pad: Leaked Images / Confirmed From Gear Junkies
Roland MV-8800 Sampler Workstation: Confirmed
(Coming in March)
Arturia Origin: Origin is the first Arturia Hardware synthesizer. It is a modular system of a new generation opening innovative avenues in sound design.
Loaded with modules extracted from the best synthesizers of all time (Moog Modular, ARP 2600, CS-80, minimoog and Prophet VS). Details Link
(Arturia Origin sounds like it could be really expensive…)
No word yet on Steve Urkel Edition Moog.
Click here to watch the video streamed!
You can visit Nate’s site here.
A Blurb on Nate:
Nate Harrison is an artist and writer working at the intersection of intellectual property, cultural production and the formation of creative processes in electronic media. He has produced projects and exhibited for The American Museum of Natural History, The Whitney Museum of American Art, The Los Angeles County Museum of Art…
Seems like a really cool guy! I was very happy to see that he had made other documentaries.
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