DSI Evolver Banks

 There are not many complete banks posted for the Evolver on the internets, but if I find more I plan on posting them here for my own convience.

Back in January 2008, Rozznet created a Bank of 128 patches for the DSI Evolver.



The following was recently uploaded by Anu Kirk, a bank of 50 patches. You must be a member of the group to access the files section. There are a few more individual patches available there as well, most in sysex format. The ELS format requires SoundTower’s Evolver Editor (the “offical” editor). The demo version will work for sending patches to your Evolver.

http://launch.groups.yahoo.com/group/DSI_Evolver/files/Patches/ – Jinsai Bank 1.els



Tenori-on / Monome clone for DS update : CellsDS

So awhile ago I joked about the possibility of a Tenori-on version coming out from Nintendo. Looks like homebrew won again. Bret from GlitchDS.com has released CellsDS which is actually more of a Monome clone where you can write your own engines and control surfaces (MIDI is still in the works).

Out of the box (aka zip) it comes with several Engines already so those of you that don’t want to write your own sequencers don’t have to. It includes a basic step sequencer, “Block” mixer, Tenori-on style Bounce sequencer, and a few more. Very cool.

The LUA scripting is very very easy to get a grasp of even if you are only slightly familiar with scripting (php experience and the like will benefit you) and the documentation + examples are well done and easy to follow, and surprisingly flexible (including sending custom variables from one engine to the other).

It comes with a large library of default sounds, so for the even lazier, you don’t have to create your own. Head over to http://www.glitchds.com/cellsds/ for more information.

I should probably mention that previously, there was Monomeds but it was largely an unfinished project and open source. I’m not sure if CellsDS is branched off of that code or not, but users that were looking forward to a finished Monomeds app for the DS should be aware of this program, esp. now since the midi implementation is set to take place soon.

Yes, midi note out and clock sync are planned. I’ve been debating how to do the midi note out. I’m torn. Here are my options:

1) Make it easy on the Lua programmer by making play_note(note_number) automatically output a midi note where the midi note is based on the note_number and the channel is based on the engine number.


2) Add a new function called something like send_midi(param1, param2, param3, param4). This is more flexible but makes more work for the Lua programmer.

Anyways, CellsDS is a subtle yet killer application b/c of its flexibility. So if that sort of flexibility and the ease of LUA scripting appeals to you, or even if you just want another fun sequencer for the DS and don’t want to muck about with coding… check it out.


Tenori-DS? Electroplankton 2.0?


Now that the Korg DS-10 is a certified best seller – 3 weeks running @ #1 or #2 since its release, despite being sold in Japan strictly through Amazon.jp! Will we see future “serious” music applications for the Nintendo DS? What about a Tenori-DS? A portable version of the Tenori-On? Will Toshio Iwai return to Nintendo for an updated version of his beloved Electroplankton, giving us such a product? Not even a rumor at this point, but definitely something that could have some legs if either camp were to mention even a wiff of a possibility.  A homebrew release of a Monome-style midi controller is already out there on the interwebs so its already a desired concept. Not to mention theres just a logical and technological reasoning behind such a natural pairing. So where could Toshio Iwai turn his sights next? Hopefully, this is it.


Jeskola Buzz 1.2x — 2008 updates

Oskari Tammelin aka Jeskola has jumped into the Buzz 1.2b (Oct 2000) replacement madness that’s been going on the past several years by returning to Buzz, rebuilding the lost 1.2b code, and giving it a much needed update and bringing it up to date while at the same time adding new features, replacing old hacks developers have used in the past by giving them native interfaces, and much more.  Serious progress has also been made — and in part made Oskari’s job of returning to Buzz much easier — by the open sourced and very impressive programs Buze and Aldrin (linux) with more progress to come, but more on that some other time. Below are a few images of the current Buzz beta and some links to the latest beta and change log:




Korg DS-10 DNB

Made a video of myself running through some DnB patterns I whipped up. Enjoy!


DS-10 Update, a few more details.

Update 8/1, demo video:

My DS-10 Has Arrived. Not going to bother describing the feature set entirely, as I’m busy using the DS-10 right now and theres tons of information and videos already out there, but I thought I’d drop a few tidbits of info that I found pleasing:

The pattern management and solo/mute features are very similar to the way Electribes work. You can ‘Lock’ the selection of a new pattern to wait for the first pattern to finish playing. This makes coming out of mutes and solo performances easier to come out of because it frees up your hands.

Each stored session is a collection of a project’s patterns (PTN) and all the current settings of the 2 synthesizers, 4 drum parts, patching. etc. The FX are also similar to the Electribes.. each of the 4 drum parts can all have individual effects [chorus, delay or flanger] and then there’s a global fx chain that can be mixed in various ways [syn1, syn2, syn1+syn2, all (including drums), off]. All of the FX can be sync’d to the BPM or runfreely. All basic synth parameters, vol/pan, cutoff/resonance, note/gate can be recorded in realtime. Further modulation, to a decent degree as on the MS-10 is available on the patchbay page.

There’s also a Song mode where you can string a ton of patterns together. You have several save slots, but not only can u save a project but you can also store presets for all the drum parts and synth parts seperately to be used in any project.

The Drum parts are actually all full blown synth parts, with the lack of a release on the envelope and the ability to tweak the parameters in realtime (though their patch bays are also there like syn1/2 so you can automate w/ lfos still). All the patching options are also still there. The sequencer for the drum parts by default is the matrix sequencer like you see in all the pictures and videos, but you can alternately use a piano roll sequencer. This really opens things up as you could imagine.


AKG K-701 Headphones

Finally got a hold of a new pair of AKG K-701’s.  My old Sennheiser HD570’s (discontinued little brother to the HD650’s) had finally deteriorated to the point that I had to replace them (and my HD600s were broken). I mix on monitors as well, but my apartment setting(s) have pretty much relegated all my late night sessions to headphones, so I need the best I can afford. Google them if you don’t know about them but want to know more, there are enough sites that already cover their specs and quality.

Apparently, these things have a break in period of about 200 hours.. but right out of the box they are easily the best can’s I’ve ever stuffed my head into. The Sennheisers’ I’ve owned over the years hid a lot more from me than I previously thought, they were a bit too sweet in the mid-ranges and not honestly clear enough in the highs. I cannot speak for the HD650’s though.. I’m sure those are some amazing reference/production headphones as well.

I can’t explain how clear the high’s sound on these headphones.. I can hear a clarity now that I’ve never heard before outside of expensive monitors. I’m not suggesting headphones are replacements for monitors.. but I would definitely say that a quality set of headphones like these, or the HD600/HD650’s, or Grados’ headsets, would blow away a budget or low priced set of monitors.

The obvious side effects of sticking to just headphones though: speaker bass response, because of the cones, especially in consumer products, will always be better. That’s not saying the bass or details of the audio will be better or worse, but the actual RESPONSE will show up on monitors/speakers in a way that’ll reveal them in the mix according to how most people will hear your music. For example, I’ve got a track I was working on late at night that sounded great on my headphones, but the next day when i checked out the mix on my monitors it was disturbing to find out that a mid bass tone repeated throughout most of the song was dominating and killing the song (badly). Another obvious side effect would be natural panning. Panning instruments hard left/right on headphones can sound and feel unnatural when your are producing which could lead you away from respectably mixing your stereo-field and levels.

Open-air headphones are much better in dealing with the panning issue than closed headphones, because you get some natural sound bleeding out from the headphones around you,  you can work at training your ears to adapt to this sort of thing so your mix is solid, but that takes years of experience and besides.. they’re still no 100% substitute for monitors. AKG made a wild (and expensive) set of headphones a few years ago to address that issue.. if you can honestly call them “headphones”.  The speakers are supported in the open and positioned away from the ears, while aiming towards them. Take a look:

By the way.. the K-701’s packaging is really nicely done and is fun to open. ^_^

July 2018
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