I just put this together to prove that you could put a synth through a Crybaby since someone was having problems with theirs. GRP A4 with no effects. Wah pedal on the right channel.

GRP A4 through a Dunlop Crybaby Pedal

I had just gotten a Mackie CR-1604 mixer, Strymon Big Sky effects pedal, and a Roland V-Synth GT so I figured it would be fun to do a track with all of them. Drums are with a modified TR-606. Lead on an Andromeda A6 with the Big Sky Spring reverb. Backing pads are done with Nexus 2.
Glitchy background sounds are with the V-Synth.

Cracked And Scrambled

This is a recording I did of of my newly acquired 8 voice Schmidt polyphonic synth. Each voice was recorded to a separate track from the individual outs to an Alesis AI3 with Black Lion Audio premium mods and then over ADAT at 48 Khz to my RME Fireface UFX.  No effects, EQ, or compression of any kind was used. This is straight out of the synth without processing.

Schmidt 8 voice polyphonic synthesizer demo 1

I created a track with a backing drum beat and a multi that I created on the Schmidt 8 voice poly. This is recorded live with no overdubs. The multi allocates 2 voices to the lead patch and 6 voices to the pad. The pad uses dual LFO's clocked to midi but using different midi dividers to modulate the filter cutoff of VCF1 and VCF2. The LFO type is clocked using a triangle waveform. A nice feature of the Schmidt for sure.

Multi Lead And Clocked LFO Pad

In this demo I use nothing but oscillator 4 through VCF1 set to low pass. This is a unison mode patch with 10 cents detuning between voices. There is nothing going on with the filters at all. This is just to show how different oscillator 4 alone with different settings of the wave train preset A/B can sound.

First sound is A/B wave preset 0 with A->B->A pan enabled
Second sound is A/B wave preset 10 with A->B->A pan enabled
Third sound is A/B wave preset 22 with A->B->A pan enabled
Fourth sound is A/B wave preset 26 with A->B->A pan enabled
Last sound is A/B wave preset 26 with no panning and A/B mix set to -40

No effects at all on this track. Just oscillator 4.

Unison Oscillator 4 Only With VCF1

This is a demo track recorded dry using dual filter 1 in bp mode with space modulated by VCF1's clocked LFO filter. This has a pronounced formant effect. X/Y controllers mapped to DF1 and VCF1 cutoff respectively. Only group 1 used and only oscillators 1 and 2. Oscillator 1 is a multi pwm with sawtooth in mode 3. Oscillator 2 is a pwm square/saw combo wave. VCF1 is in mostly LP mode and DF1 feeds into VCF1 as well is into the group mixer. Complicated huh ;-)

This patch is a poly patch so there is no unison mode stuff going on. Oscillator 2 detuned +83 cents to oscillator 1. VCF1 takes both the VCF1 and VDF2 LFO's clocked off a triangle wave at different rates. This modulated cutoff as does envelope.

Chewy Dual BP Filter To VCF1 With  Clocked LFO

This was just a single oscillator 1 with multi pwm going through VCF1 with my cirklon sequencer bopping some basic patterns in the background. I just played with filter envelope depth, cutoff, resonance,  VCF1 filter type, key tracking, and velocity tracking. Just waltzing all over the parameters. Gives it a nice chewy feel to it. Just group 1 enabled. As simple as you can get.

Acid Droppy Single Oscillator Single VCF

This brief demo is bank 1 patch 20 from the factory patches. It is Vintage Choir TW. There is some Strymon Big Sky reverb on it in spring reverb mode. The patch is velocity sensitive and I purposely hit some notes hard to open the filter pretty wide so it gets some very buzzy high end at times. I did this demo because someone posted on a forum and claimed they were doing a demo of this patch and it sounded absolutely nothing like this.

Bank 1 Patch 20 Vintage Choir TW

This is a choir like patch on the Schmidt I made. This is an example where I need multiple mappings per controller because ideally I could control several parameters at once from the joystick. It sounds more convincing in the high registers for now. 

Choir Preset Demo

This is an example of a pad I created for my Waldorf Microwave 1 rev A. I call this pad "KPS Fish Syrup." This pad was made with MonstrumWave editor and I created a custom user defined wavetable for this. Because the wavetable was created from samples of my Devilfish 303 I called it the name it is. 

Basically, this type of patch is damn near impossible to create without this editor. I highly recommend it!

KPS Fish Syrup - A Waldorf Microwave 1 rev A example pad

It was snowing outside and rather than get bummed out I fired up the Schmidt 8 voice poly, the Cirklon, my burnkit2600 modded TR-606, and the H3000 D/SE and Ekdahl Moisterizer for effects and just jammed out. No post processing at all. What you hear is what came right out of the Mackie CR1604 mains. There is also an HD video on YouTube where this track is used as the soundtrack and it was me doing this live.

Schmidt On Acid

This is a demo of my new Oberheim Two Voice Pro. I decided to patch together oscillators from SEM B to FM modulate VCO 1 on SEM A. I also use the sequencer on SEM B to modulate the frequency of the oscillators which then bleeds into the FM. The output of SEM B is off so you only hear audio from SEM A. It starts with an unmodulated sawtooth until about 25 seconds when I start cranking up the frequency modulation. This is patched as EXT in on the SEM Pro patch point. The mod wheel is patched to filter cutoff on both SEMs.

Oberheim Two Voice Pro FM modulation of SEM A

This track is NOT a musical composition. It is the first demo in the wild of a Parva synthesizer. The first patch is a basic bass patch and I am fiddling with cutoff, resonance, and envelope amount. The second patch is a similar type of patch but a square wave LFO is modulating Oscillator 1 at audio rate. Drastic sound variations occur as the filter envelope amount is changed as well as the cutoff and resonance. The last patch is a basic pad patch. Along the way the cutoff and resonance are changed.

There is a Strymon El Capistan that I enable and disable on several of the segments just to give a wet/dry flavor for the synth with and without effects.

Parva Demo

This is a brief demo of 4 patches on the Futuresonus Parva. The first is a three oscillator classic sawtooth patch using detuned oscillators and the LP4 filter. Filter frequency is swept by an LFO and that rate is in turn modified slightly by LFO3.

Patch 2 is a unison lead patch derived from the first patch with legato and glide on the oscillators with detune set to 11 and spread to about 27.

Patch 3 is a swept BP2 filter patch since someone asked me to do a "thin" patch to see what that sounded like.

Patch 4 is a classic PWM square pluck bass type of patch.

Futuresonus Parva demo 2

This is a demo of the Parva with significantly upgraded voice card software. There isn't the buzzing that was apparent in other demos. I tried to demonstrate a variety of patches. This entire track was recorded in one take with some minor editing done to remove silent portions. There is TSAR-1 reverb used and in some patches there is Fabfilter Timeless 2 used to emulate a tape echo effect.

Parva demo 3

This is a quick patch I did with the VCA panning modulated by a square wave. LP2 was used. 

Parva Demo 4

This is a simple demo track that compares the Crowminius Minimoog Model D clone to a Moog Minimoog Model D reissue.

The Mini goes first in both examples.

Crowminius vs Model D reissue bassline examples

I took a simple Nexus 2 saw bass line and got rid of all of Nexus' effects. I then added a Softube TSAR-1 reverb and on one track I had FabFilter Saturn running with two bands. The lower band was set at 424 Hz with gentle saturation while the upper band was set to lead amp. I modulated the bandpass split with an XLFO set for 1 measure cycle. Also modulated feedback frequency and drive amount as well as mid-side pan. I had both sides in mid-side mode.

First day playing with this :-)

Saw bass with reverb and Saturn

Saw bass with reverb

I took a simple Juno 106 bass line and processed it through an Overstayer Instrument Driver with various settings to show how it affects the sound.
Edit: I added a Jupiter 8 lead through an Eventide Space and Modfactor raw and with Maximum saturation using the Instrument Driver. These are now the first two tracks.

Raw track is unprocessed
Tracks labeled with just saturation have only the saturation enabled
Tracks labeled with Preboost and Saturation have preboost enabled with saturation
Tracks labeled with Preboost and Oversaturation have preboost and oversaturation

The number at the end refers to the Saturation dial setting when the track was recorded. Lower is less saturation

Jupiter 8 lead raw

This track uses a pad with 24 dB LP analog filters for filter 1 and filter 2 of the Q+

Analog filters dance pad

This bass track uses an analog 24 dB LP filter for filter 1 and an analog 12 dB LP filter for filter 2 of the Q+

Analog LP filters Bass

This track uses 24 dB digital LP filters for both filters 1 and 2 of the Q+

Digital filters dance pad

This track uses a 24 dB LP digital filter for filter 1 and a 12 dB digital filter for filter 2 of the Q+

Digital LP filters Bass

I took my 74 Rhodes Mark 1 and mic'ed it up with a couple of SM-57's with my Roland Jazz Chorus 120 amp and recorded some stuff just off the top of my head. I used the JC-120 effects in this track. No distortion but had reverb up to 6 and chorus up to 6.


Jazz minor blues with JC-120 effects

I took my 74 Rhodes Mark 1 and mic'ed it up with a couple of SM-57's on my Roland Jazz Chorus 120 amp. I turned all the amp effects off and put an Eventide ModFactor with a pan tremolo effect, an Eventide TimeFactor with a midi clocked vintage delay, and then an Eventide Space running the Black Hole preset modified slightly and at about 40% mix.


Rhodes and Eventides

My 74 Rhodes Mark 1 hooked up to a Roland Jazz Chorus amp and recorded with 2 Shure SM-57's through Grace One pre-amps. No effects used on the amp or in the DAW. No EQ and all amp EQ settings were set to neutral. No effects on the amp and bass boost on the Rhodes was set to 5. Just want to show the Rhodes in its pretty pure form.

Just a jazz minor blues riff.

Rhodes recorded with no effects

A6 CS-80 patch dry

Just dropped some drum loops down, one measure count in then jam on my GRP A4. Both filters used in parallel with the 24 dB low pass set as a 12 dB and the multimode filter as a high pass. Filter frequency mod is using mod wheel.Three oscillators set to square wave in sync mode with  PWM done with LFO 2. LFO 2 shaping select mod is with mod wheel but defaults to triangle wave.

No sequencing done at all. This was one take with no edits at all. A4 was played with a Timeline set up for a vintage delay clocked to midi and 25% wet. No EQ or other effects. Master bus used Ozone for final output and dither.

GRP A4 lead demo

Set up the sequencer to sync to midi and then pressed record in the DAW and recorded right in. No effects used at all. Just different sequencer modes being manipulated as well as gate lengths and different filter frequencies controlled by the mod wheel. 

GRP A4 Sequencer demo

This track was recorded with my Rhodes through an Eventide Space and Timefactor to give the background chord base. The "ocean" sound is really a recording of a bucket full of crabs that I then added effects to. The pad sound was done with my Andromeda A6 and the drifting higher leads were done in one shot with my Jupiter 8. No midi editing. Just hit record and played.

I had this same track mixed with drums but I absolutely hated the way they sounded and could not get the mix to feel right.. I muted out all the drums tracks and instantly felt a lot better about how it all sounded. At some point I may mix back in some percussion.

inaheartbeat

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