Here’s the second in a series of stacked polyphonic synthesizer experiments. Once again I used the Roland D-50 and the Roland MKS-80. The percussive sound that fades in and out was made by by the D-50, and the evolving synth texture came from the Super Jupiter while manipulating parameters with the Bitstream 3X. My goal is to eventually have control over D-50 with the BS3X as well.
Today I updated my studio with the inexpensive yet feature rich MOTU Audio Express interface. I haven’t had time to put it through its paces yet, but I did manage to get it configured in time to use it for the synthesizer sound of the day. Creating this sound would have been more difficult prior to owning this interface because I did not have as many available inputs with my M-Audio Firewire 410. To create this sound I stacked two polysynths – the Roland D-50 and the Roland MKS-80. With the Audio Express I was able to plug in both instruments in stereo and play them simultaneously using the D-50 as the controller, then record them on separate tracks. Here’s the first out of a series of these stacked polysynth experiments.
I built this Ableton resonator study around the same time I posted Synth Bass Through Resonators, but didn’t post it because I’m not satisfied with the drums that I put in as a temporary placeholder. If this gets used l’ll be replacing the drums with something more fitting and less conventional.
I isolated this sound made with the Roland D-50 from a track I’m working on. While sending the D-50 an arpeggio via MIDI I manipulated the filter using the control joystick on the machine in a similar fashion to what I did for Roland D50 Automation.
Here’s a segment from a new track that will be included in my performance at 9:30pm on Monday, April 4, 2011 at the Kitty Cat Klub in Minneapolis. Sputnik Viper with Centrific and newly formed BETAWOLvES are alo on the bill. Aside from the drums the new Ostraka track (working title, Monkey Dog Specimen) is made exclusively of sounds from the Roland D-50 and the Roland MKS-80.