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By Stefan Paraskevas

By Gordon Reid (The Mix Demo)

By Gordon Reid (The Mix Demo)
By Gordon Reid (The Mix Demo)

By David Goodman of Helpful
Music

By Gerald Vance

By David Goodman of Helpful
Music

By Sean Williams of Process

By David Goodman of Helpful
Music

By Bob Williams of Analogue
Systems

By Bob Williams of Analogue
Systems

By Bob Williams of Analogue
Systems

By Bob Williams of Analogue
Systems

By Bob Williams of Analogue
Systems

By Bob Williams of Analogue
Systems

By Bob Williams of Analogue
Systems

By Bob Williams of Analogue
Systems

By Bob Williams of Analogue
Systems

By Bob Williams of Analogue
Systems

By Bob Williams of Analogue
Systems

By Bob Williams of Analogue
Systems

By Bob Williams of Analogue
Systems

By Bob Williams of Analogue
Systems

By Bob Williams of Analogue
Systems

By Paul Nagle Sound On
Sound demo of RS240 frequency shifter
By Paul Nagle Sound On
Sound demo of RS240 frequency shifter

By Paul Nagle Sound On
Sound demo of RS240 frequency shifter

By Paul Nagle Sound On
Sound demo of RS240 frequency shifter

By Paul Nagle Sound On
Sound demo of RS240 frequency shifter

By Paul Nagle Sound On
Sound demo of RS240 frequency shifter

By Paul Nagle Sound On
Sound demo of RS240 frequency shifter

By Paul Nagle Sound On
Sound demo of RS240 frequency shifter

By Paul Nagle Sound On
Sound demo of RS240 frequency shifter

By Paul Nagle Sound On
Sound demo of RS240 frequency shifter

By Paul Nagle Sound On
Sound demo of RS240 frequency shifter

Widor's Toccata
Performed on the Phoenix System
Recorded in one take, no multitracking.
All tracks programmed entirely on RS Integrator modular synthesisers with the exception of the following Analogue Systems
demos which have in addition instruments as stated-
Pomp and Ceremony: Kurzweil 2500xs and Roland JX10(Integrator played the lead and bass sounds)
Fazed by Sound, Emergence and Event Horizon are examples of Roland JX10 being fed through the rs240 frequency shifter.
Through the Veil Part 1 ;Roland JX10 fed through Fb3 filterbank
Happy Daze: Roland JX10 doing Prophet 5 type pad in background
Martian Landscape: Roland JX10 fed through the rs360 vocal/phase filter.
Integration was recorded at Analogue Systems studios on the 8500xs system with Demon keyboard controller.


Using the RS500E and RS510E and other RS modules

Using a subtractive bass patch enhanced by the RS400 phase
shifter. Kurzweil strings in the background.

Same as above.


Two Spawns, one tuned a fifth above the other and
arpeggiated.

Effective use of the RS390

RS400 fast modulation on bass sound, RS390 enhancing the
square wave sound

Extensive use of the RS390

RS240 and RS290 in external feedback mode.

RS240, RS200 and RS130 enhancing a standard subtractive
patch.

RS200 providing triggers to the RS290 which is synchronised
to the sequencer speed

RS200 locked to delay time of RS290

RS390 used on a short slap back echo.

Some use of the RS400

Some use of the RS400

All tracks composed, programmed and played
by Bob Williams. All sounds created on the RS Integrator
with the exception of Kurzweil strings on 'Bass and Strings'
part one and two.
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Example Sounds by Ed
DMX of
www.dmxkrew.com
AS01
- single oscillator through the RS-100 filter with velocity
controlling the VCA for a pseudo-echo effect (no outboard delay was
used).
AS02
- similar to the above patch but with three oscillators in unison.
AS03
- a bass sound using oscillator sync.
AS04
- a sound using oscillator FM. A single oscillator is used and the
modulating wave is generated using an octave divider to avoid the
inharmonic effects normally caused by oscillator drift when
attempting FM on analogue synths.
AS05
- a bass sound using ring modulation played by the analogue sequencer
with drums from the K2000 sequencer. One step only in the sequence
has fairly extreme filter modulation by an LFO.
AS06
- another FM bass sound, this time two oscillators are synced
together and the octave divider is used again to avoid tuning
inconsistencies. The filter is the RS-110 modulated by sample and
hold which is retriggered for each note, and the drums are from the
K2000.
AS07
- clocking the sequencer from an oscillator at audio frequencies
allows some more digital-sounding waveforms to be made. There is
some subtle modulation of the wave shape using sample and hold
triggered by each key-press.
AS08
- two oscillators are both synced to a third which is not present in
the audio output. The pitches of the two slave oscillators are both
modulated by note velocity but for one of them it is inverted. The
oscillators are panned hard left and right and I twiddled the tuning
knobs while it was playing.
AS09
- there are two sawtooth oscillators tuned a fifth apart and a third
oscillator playing a sinewave one octave below (CS60-style). All
this goes through the RS-100 filter which is affected by note
velocity as well as an envelope with fairly slow attack. Two of the
oscillators have some extremely subtle pitch modulation from
independent LFOs.
AS10
- just two oscillators through the RS-100 filter. One is set to a
descending sawtooth wave and the other to an ascending sawtooth. The
interference between the two waves makes a nice sound similar to PWM.
AS11
- three oscillators tuned to a chord, each set to respond to
pitchbend by different amounts (and in one case by a negative
amount) so that unusual portamento effects between chords are
created.
AS12
- a simple two oscillator sound through the comb filter which is
modulated by an LFO for some phasing effects.
AS13
- using the synth as a drum machine: the kick drum is just a square
wave through the RS-100 filter with one envelope controlling the
volume and filter cutoff and another modulating the pitch. The weird
hihat sound is a second square wave being modulated by a sine wave
from the third oscillator, the pitches are controlled by the analogue sequencer.
The snare is just white noise through the RS-110 filter and the comb
filter which is just used to add distortion and to make echoes.
AS14
- two oscillators tuned a fifth apart through the RS-110 filter, the
third oscillator has a slow attack and has its pitch modulated by the analogue sequencer.
Echo from the Lexinc MPX1.
AS15
- two oscillators in unison both modulated by a very fast LFO that
dies away extremely quickly, the third oscillator is through a
filter which is modulated by a looping envelope.
AS16
- one oscillator simply goes through the low pass filter, the other
one is modulated by the analogue sequencer, which is triggered each
time a key is pressed. The rate of the sequencer clock is subtly
modulated by one of the LFOs and the pulse width of oscillator two
is modulated by another. Reverb from the MPX1.
AS17
- two oscillators tuned two octaves apart go through the RS-110 in
high-pass mode, which is modulated by an LFO. Both the square and
the sawtooth outputs from oscillator three are tuned an octave below
and processed by the RS-100 filter.
AS18
- first you hear oscillator two which is outputting a pulse wave
synced to oscillator one and having its pitch swept by an LFO. At
the same time the pulse width is modulated by the oscillator's own
sine output. Next you hear oscillator one which has the square and
sawtooth outputs sent to a voltage controlled switch which is
switching between the two waveforms at exactly one quarter of the
frequency of each note, so you get quite a complex waveform,
especially as the pulse width is also being swept by an LFO. Finally
you hear both oscillators together.
AS19
- my voice going into the ring modulator, and also into the pitch to
voltage converter, which is used to control the pitch of the
oscillator used as the second input to the ring mod.
AS20
- two oscillators both slowly sweeping between sawtooth and triangle
waves at different rates, both playing different eight-note
sequences from the analogue sequencer, both going into the ring
modulator. The output goes into the RS-110 filter in lowpass mode,
which is modulated by an envelope triggered on certain steps of the
sequence for an "accent" effect. The output from the
filter is split into two, one copy going straight to the VCA and the
second copy going via the comb filter. During this demo the cutoff
frequency of the filter is adjusted and the amount of signal coming
from the comb filter is gradually increased.
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A selection of sounds
created by Bakis Sirros of
Parallel Worlds, to showcase the Analogue
Systems samples CD
Track
1.
Interlude 195 BPM
Track 2.
RS95 SAW (C1, C2,3,C4)
RS95 SINE (C1, C2,3,C4)
Track 3.
Approaching giant robot
Stuck in the mud
Laser zap 1
Laser zap 2
Laser zap 3
Track 4.
FX1
FX2
Wow & flutter 76 BPM
Robotic arm
Track 5.
Bass sequence 1 100 BPM (C2, D2#, G2, C3)
Bass sequence 2 100 BPM (C2, D2#, G2, C3)
Dangerous acid 100BPM (C1)
Track 6.
The dark void 1 (C1+C2, C2+C3)
The dark void 2 (C1+C2, C2+C3)
Shimmering lights (C1+C2, C2+C4,C4+C5)
Glass expo (C1, C2, C3, C4)
The following six tracks are demo
soundscapes to showcase the capabilities of the RS370 polyphonic
harmonic generator (All done in realtime with no multitracking)
These six soundscapes are not for sampling. Copyright ©
Bakis Sirros - Parallel Worlds 2006
1. In agony
2. Running out of time
3. Running out of time 2
4. Symphony of metals
5. Dominated
6. Dominated 2
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