Boomstar MK2

Boomstar MK2

Polyphony –
1 Voice
Multitimbral –
1 Part
Oscillators –
2 VCOs
Waveforms –
Pulse Variable, Saw Down, Sine, Square, Sub Oscillator, Triangle,
Filter Slopes –
12dB Slope (2-pole), High Pass, Low Pass, Resonance
Control –

Naomi Bolton
Wed, 07/07/2021 – 09:57

Studio Electronics are no strangers to analog synths, as this is where the company got started back in the mid-eighties. The Boomstar MK2 range is their return to the analog synths of that era and comes in five different flavors. Each one of them is a single-voice, monophonic desktop synthesizer that is identical in every way apart from the filters. The models on offer are the 4072, SE80, 8106, 5089, as well as SEM. These correspond to the Arp 2600, Roland, Yamaha, Moog, and Oberheim sounds produced by these filters. The Boomstar range is pretty stylish, and features are pretty weighty for their relatively compact size. The dimensions of these desktop synth modules are 206x180mm, including the beautiful wooden bookends. Studio Electronics has gone the extra mile by drilling these from the inside, so you won’t see any screw holes marring the retro look. The lumber and microlumber sides are hand-picked and handcrafted featuring Bocote, Marblewood, and Pau Ferro. These sides look beautiful with the sturdy steel chassis of the synths. The Boomstar MK2 features two VCOs, and the output from the oscillators is routed to a small mixer featuring white noise and a ring mod too. It also has two full ADSR envelope generators, with the first hardwired to the filter while the second handles the amplitude. In addition, it has one voltage-controlled amplifier and a single low-frequency oscillator. For the MKII version of the Boomstar series Studio Electronics has addressed some of the issues that users had with the first version. The synths have been refaced for clarity of function and now feature better signal flow along with an overall visual/tactile assist overhaul. This basically means that the different areas on the synths are now separated with printed lines and clear legends to make it easier to operate. The synths have also been revoiced for purity of tone and feature a diode-based feedback circuit for greater dynamic range and harmonic distortion content. The synths now also have lined, fluted knobs and lined quick-turn pot shafts top to bottom to make it easier for more precise programming and patch recall. Metal-shafted pots are also installed throughout, except for the envelopes, which feature custom taper plastic-shafted pots strengthened with an added bushing. The front panel jacks include a CV in, Gate in, Filter frequency modulation in, Amplifier modulation, in Oscillator out, and External signal in. The rear panel jacks consist of MIDI in, MIDI out, ¼’ Audio out, and a DC power input. The SE80 model also has a Traveller input. The Boomstar MKII series is not cheap, and there are much more affordable software versions of the classic synths available, but in terms of hardware, these are hard to beat. Not only are they fantastic to operate, but they will set you back a lot less than the original vintage hardware with the same type of filters.


Musical genre

Synth type

Interface features

Sound types

Price range

Studio Electronics Boomstar MK2


Boomstar Operation Manual

Studio Electronics Boomstar User Manual


Studio Electronics Boomstar SE80 mk2 jam


Charles Whiley

Roman Bayou’s Cinq: SE80 Beats ‘n Band in a Boomstar Box, in 5 (or so) Movements



User Rating
Monophonic instruments

Disqus comment

Label Profile – Pick The Lock

While Brighton based artist Nick The Lot and his label Pick The Lock are outwardly associated with an immediate and very British comedic overtone, when you delve a little deeper into their back catalogue it becomes instantly recognisable that the music coming out of this stable is deadly serious.

With a steadily growing global roster, the label is picking up a dedicated fanbase that relies on the quality of the music coming through. With a brand new six-track EP ‘Back Of A Lorry Volume 1’ out now, we touched down with Nick to talk a bit more about the label.

So, firstly tell us a bit about how you got into D&B…

I’ve been listening to D&B since I was back in school, which then led to going to raves. Then I got myself a pair of decks and started buying vinyl, which I became addicted to! I used to go by the name of DJ Lockdown back then, which sounds ironic now!

Are you primarily a DJ, producer or artist (or all three)?

Initially, it all started off on the decks as a DJ, and then I was given a CD of Cubase not long after, which led to a new addiction to making tunes, so I’d class myself as a DJ/producer.

Your first two label releases were free downloads. What was the idea behind that?

The final touches were still being made to setting up the label, so I thought it would be a good idea to get it moving on Soundcloud with some free tunes. We will always be giving out a lot of free music along the way, as it is part of the Pick The Lock brand.

You use the label as a platform for your own music, but also for other new artists breaking through, from the South American producers Yatuza and Dunk to Germany’s Cramz, to homegrown talent like Brighton’s StillZ and other UK producers. How do you link up with these artists in the first place? Is it a case of keeping one eye on the inbox? 

Well, I had already been chatting to a few of the artists like Yatuza and Dunk, and a lot of the other lads got in touch, sent over folders of tunes and we’ve gone from there really. This has happened a few times now with some wicked tunes coming in thankfully. I already knew StillZ from living in Brighton, but I also hunt through Soundcloud, finding some great producers that are or will be released on the label in the near future.

From the outside looking in, I’d say you were making a conscious decision to champion up and coming talent?

Absolutely. I’m all about that. I’ve been releasing tunes for nearly three years myself now, so I know how frustrating it can be to get people to even listen to a demo, let alone get it out there. I also like to keep it all sounding fresh and new artists are essential to that.

I love the DIY feel to the label artwork. Was that a purposeful touch to the label branding?

Well,  I had ideas for the artwork but nothing I was paying for at the time was coming back right, so I decided to have a crack at Photoshop myself, hence the DIY feel. I feel that it really works and each release/producer gets their own theme. I also really enjoy doing that side of it now.

Tell us a bit about the concept behind the ‘Back Of A Lorry’ series and if you can, a bit about the artists themselves. 

I needed another tongue in cheek name to fit with the brand and Back Of A Lorry fits nicely I think. All the lads smashed their tunes on this EP, starting with Nury aka Amplify,  a 23-year-old producer from Newton Abbot who has released on many labels including Ram and Subway sounds.


Joe aka Stillz, is 20 and from Brighton and has been a regular on the label with his sound since we started. He is currently working on his next EP.


Next is Metal Work, a 29-year-old producer from the Lake District. He’s been making tunes for nine years and has been previously known as Envenom. He and Nury also are the label managers of Gradient Records.

Metal Work
Metal Work

DisKrete is an up and coming producer from Cardiff and has had a few releases with the label so far.


Cramz, is a 21 year old coming from Leipzeg, Germany. He had his debut EP on Pick The Lock and has been on many Various Artists compilations, including Born On Road.


Lastly Reece, aka Kormz is 22 and a recent addition to the label. He’s been producing for about four years and is already crafting his own quite unique jump-up sound.


What other plans do you have for the label then, and is this series set to continue?

There are loads of plans coming up for the label and plenty of projects are being worked on right now by various producers, including myself. We will also be returning with Back Of A Lorry Vol 2, which is almost complete. After this crazy time, we’re all going through is over, I will be putting on some big Pick The Lock Nights too.

Finally, then, Pick the Lock is a label to keep a close eye on?

Yeah! The first Pick the Lock Remix EP is coming next. Most of the producers signed up so far will also be returning with new projects. I’ve also signed some new artists who are already well known in the scene who will be bringing their own sound to the label, and there will also be a 6 track ep in the next few months from myself.

There’s plenty going on so watch the label and keep an eye on the free downloads that will be popping up on Soundcloud! Back of a Lorry is out now on Pick The Lock.

The post Label Profile – Pick The Lock appeared first on Kmag.

Synthesizer Pioneer Peter Zinovieff Passes Away At Age 88

Synthesizer Pioneer Peter Zinovieff Passes Away At Age 88
Naomi Bolton
Fri, 07/02/2021 – 09:56


We caught up with S.P.Y about everything to do with his newly-launched label – DARKMTTR. The long-awaited debut EP for the label releases at midnight, 2nd July 2021.


KMAG: When did you initially think about starting a label?

S.P.Y: 2016 was when I seriously began thinking about starting my own label. It had always been something I’d wanted to do, but at the time I felt that I didn’t have enough knowledge or experience to confidently make the leap. Back then I had already decided on the name DARKMTTR because I have a love of science fiction and anything to do with space and I knew I wanted my label to tie into that. It’s been a long time coming but I’m really looking forward to seeing how the label grows and develops.


KMAG: 100%.  So do you think your work with Hospital has influenced the way that you’ve done the label?

S.P.Y: For sure, I’ve learnt a lot working with Hospital. I got to see just how much is involved in running a label and the amount of work that goes into each release. There is so much that happens behind the scenes! I wanted to make sure that when I was setting up DARKMTTR that I laid a really solid foundation for the business so that I’d have something strong to build from. I wanted to make sure the back-end of the label was as professional as the visual aspect.


KMAG: Setting up a label is a process, one I’m sure was aided by the free time during the country’s various lockdowns?

S.P.Y:  It has taken me some time to set up the label, mostly because I’ve just been so busy! Being at home because of the lockdowns meant that I finally had the time to really get stuck into setting up the label. There’s a lot involved and you’re right, it is a process, I honestly don’t know how I would have been able to do it if I was still touring.


KMAG: Absolutely. I mean, your label should be an embodiment of yourself as an artist really.

S.P.Y: Exactly. I’ve been trying to do as much of the initial branding and artwork development as I can too, I’ve got a really clear idea of how I want everything to look so I’ve been busy creating graphics as well as getting the first releases ready.


KMAG: Of course, you’ve got a graphic design background! 

S.P.Y: I do! I love graphic design and I’m starting to learn how to do 3D animation, but as gigs and touring starts coming back I’m not sure how much time I will have to spend on it.


KMAG: Yeah, I know exactly what you mean. When you have a concept for a label or a brand or anything, it’s just quite hard to let go and outsource.

S.P.Y: Well it’s your baby isn’t it, it’s an idea that you’ve grown and developed right from the beginning. You work so hard on it that it can be difficult to relinquish some of that control and have confidence that what you do outsource will be done to a good standard. I think it’s also important to acknowledge where your strengths and weaknesses lie too, it can actually be beneficial in many ways to outsource some parts of the business instead of trying to do everything yourself. I’ve been quite conscious of building a really solid team around me that I trust and that I know their work. Hopefully, it’s going to build a strong foundation for the label.


KMAG: If you look at the artists and DJs now that like are the forefront of their label, they are a representation of that label. Promoters know that their label’s sound will get carried on to their sets and so on. So right now you have now this incredible task of being able to create whatever sound you want to be a representation of DARKMTTR.

S.P.Y: I’m excited to see what’s going to happen next, I just want to release music that I love and hopefully people will like it. I really don’t want to rush or force the growth of the label, I want it to be as natural and organic as possible. I want DARKMTTR to reflect me as an artist and my vision musically and creatively. Releasing other producer’s music and curating which artists and tracks to sign to the label is such a big responsibility and one that I’m not taking lightly!


KMAG: Yeah absolutely. I can imagine you want to leave some mystery with the label as it’s early days. Do you see yourself doing events and everything? Or is it just digital and physical releases?

S.P.Y: If everything goes to plan it would be nice to run DARKMTTR events. I think that’s a key part of the natural growth of a record label in drum and bass.


KMAG: That would be amazing, I’ll look out for that!

S.P.Y:  Let’s see what happens, hopefully as the label grows and things with the pandemic get a bit more back to normal we can start running some label nights.


KMAG: Are you looking to put any Brazilian talent on the label?

S.P.Y:  Yeah, I’ve been talking with a few Brazilian producers. The first few releases on DARKMTTR will be mainly my own tracks though, as I have quite a big backlog of music I want to get out there into the world, but as the label grows I’d love to release some music from Brazilian artists.


KMAG: You haven’t released any solo project for two years right?

S.P.Y: That’s right, my last album release was Dubplate Style in 2019. I can’t believe it’s already been two years! Lately, I’ve been doing remixes and tracks for compilations but have been saving my new solo projects to release them on DARKMTTR.


KMAG: I listened to Bad Monday, that was really good. I remember Randall playing it at the DNB Arena BBQ in 2017!

S.P.Y: Yeah, I did that track quite some time ago. The version that has been released is a much more up to date version though, that I feel kind of feeds on what’s happening right now in drum and bass.


KMAG: Picking up on the trying to do something different, it does feel like right now that it’s quite a saturated market in drum and bass?

S.P.Y: There’s definitely a lot going on in the scene at the moment, but I don’t feel like that’s necessarily a bad thing. It’s great to see drum and bass thriving as a genre, with so much new music around. It does reinforce the need for everyone to carve out their own space though.


KMAG: Yeah, absolutely. The platform is so accessible now based on what used to be back in the day.  I mean, if I can work out how to do it, I’m sure everyone else can!

S.P.Y: So much has changed in the music industry in terms of how music is listened to, how artists are promoted and where the money is made. The influence of digital downloads, streaming and social media have completely altered the ‘traditional’ set up and it’s given artists much more control, not only of their own music and how it’s released but also control over their own brand. I won’t say it’s easy to start your own independent label or to release your own music, but there are many more different options available to artists now than the traditional pathway of trying to get signed to an existing label.


KMAG: I think we’ve got a good understanding of the basis of your label now, thanks for that! Before this what was your career highlight?  Obviously, the founding of a label is a massive part of an artist’s career, but what do you think the step was before this that was the milestone?

S.P.Y: I think just becoming part of the drum and bass scene. To move here from Brazil without even speaking the language and not knowing much about music production. I knew how to DJ, but I had no idea how to produce a track. It was such a great feeling to be welcomed to the scene and for people to appreciate what I do. That, to me, was always the biggest milestone, being part of the whole scene collectively. Not just to know my heroes, but get to be known by them. For your heroes to come to talk to you and make you feel welcome and support your music – I think that was my biggest milestone. I used to just read about these guys in Knowledge Magazine!


KMAG: Absolutely, It’s been a staple. What was your first memory of seeing Knowledge in the scene?

S.P.Y: I think it was back in Brazil actually. There was this record shop that sold some of the magazines, of course costing a fortune, it was the equivalent of about £50 for one magazine. It was so expensive back then to afford to buy a magazine like that, sometimes you had to get all your friends to chip in and then share it. I remember when I moved to the UK and I went to a newsagent somewhere on Oxford Street, they had all the magazines there and they were only a few pounds or something. I could actually go and just buy a magazine and read it on the bus – I still love to.


KMAG: Yeah definitely. What has lockdown taught you?

S.P.Y: I feel like lockdown has taught me a bunch of things actually, the main thing was probably that I need to make time for new projects. During lockdown, I started a bunch of new projects, including starting the DARKMTTR label and my SPY Beats sample packs, and they’re all things I’ve been wanting to do for a really long time. But when you get busy with album deadlines, touring, studio commitments etc. everything else gets pushed to the side. Moving forward as we come out of lockdown and back to a more normal life, I’m going to make sure that I make time for these other creative outlets. I don’t want to wake up years down the line and regret not taking the time to try something new! I think lockdown has also taught me just how fragile our world is and how much we need to take care of it and each other. When something like this pandemic happens it really brings you down to earth and makes you realise what’s truly important. Hopefully, we can all come out of this stronger and more resilient.


Connect with DARKMTTR:

The post S.P.Y RELEASES ‘DARKMTTR – EP’ appeared first on Kmag.

Brian Eno Sharing Decades Of Unreleased Tracks On Sonos Radio HD

Brian Eno Sharing Decades Of Unreleased Tracks On Sonos Radio HD
Naomi Bolton
Tue, 06/29/2021 – 08:41

Modal Releases COBALT8 Firmware Update V1.1 And MODALapp v2.7

Modal Releases COBALT8 Firmware Update V1.1 And MODALapp v2.7
Naomi Bolton
Mon, 06/28/2021 – 08:43

Shadre & Salvage release EP on Shadow Demon Records

The north has had a foothold in the rave game since the very earliest days, with the infamous Blackburn raves in ‘89, 808 State, A Guy Called Gerald, K-Klass and WARP records, all whom played an essential part in the growth of the UK rave scene that spawned what know and love today the world over.

Shadre & Salvage are continuing to add that Northern spirit to the scene, with releases on labels as numerous as Grid, Zombie, In The Lab and their own imprint, Short Circuit Records. Their music is as inspiring as it is diverse and ranges from full on foghorns to off the chart riff laden dancefloor bangers. Making music as a duo since 2016, they have forged a solid reputation for making high quality music across the majority of D&B genres and are showing no signs of letting up any time soon.

With the release of their latest Creative Minds EP out now on Shadow Demon Records, we caught up with them to talk about their output so far and to get the low down on their latest release.

So Ben, starting with you initially, you own and manage Short Circuit Records and have done since 2013. How’s that been for you? What’s your music policy?

Yes, the label has been a massive learning curve over the years. Initially, when setting it all up I already had a good foot in the door with other producers and label owners from around the North West, so gaining help, support and advice was easily accessible. Understanding the workings behind the label has had its challenges over the years, but I wouldn’t change any of it. As for our music policy, we’ve always been very open to different styles of Drum & Bass. If it’s catchy and we love it then we can fully push it and support it.

You’re a drummer and cite Rock/Heavy Metal as one of your first influences. Tell us how playing live music has influenced your electronic music-making.

When growing up my chosen instrument was the drums. Not many people will know this, but I was in several Rock and Heavy Metal bands. The pace and energy of the music are really what drew me towards it. Performing in bands, understanding mic setups and mixdown techniques has helped us massively in terms of driving for a more natural sound, which can be rather difficult to achieve in the electronic music industry.

The Neuro/Thrash crossover is particularly fascinating and so full of energy. What’s your take on it?

To be honest, we love it all. There are a lot of sub-genres and artists who over the years have particularly embedded themselves as leaders in these sub-genres, but to us, it’s all Drum & Bass. From the early Jungle rhythms to the 2000’s Jump Up & Tech Step era and onwards into the more commercial aspects of the scene. We too as artists have to be incredibly open-minded. We love the heavy distorted sounds that come from Neuro and of course that can be heard in our own productions, as we like to take influences from all aspects of the scene.

Unlike many producers out there (who are often self-taught) you are trained in music technology. Has that helped you on your journey? Is it something you’d recommend to others?

Yes massively. We have both attended Higher Education and it has helped us understand the processes undertaken when making music. Of course, there is absolutely nothing wrong with being self-taught. There are so many reliable sources these days at our fingertips that learning never stops. I feel University gave us a deeper understanding of all aspects of the music industry, from production, theory, marketing and much more. It has helped us grow over the years for sure.

More importantly, how was your music received during your studies? Did you find your teachers sympathetic to the sounds of D&B?

During university, the tutors were incredibly supportive of the music we produced, taking a deep interest in the methods we used in order to create the music. From sound design to compositional and rhythmic aspects, it was well respected due to the intricate processes involved and we could convey that through written critical analysis.

And onto Shadre. Tell us a bit about your journey into D&B.

When growing up I was exposed to the early electronic music that was being pushed through at the time from artists such as Mr Oizo, Aphex Twin, Oxide & Neutrino, Mr Scruff and many more. This was further fuelled with video games such as Wipeout, Grand Theft Auto III and Midnight Club which we’re big at the time, as they all featured heavily electronic soundtracks. This aided my discovery of notable record labels such as Moving Shadow. From there I went down the D&B rabbit hole!

What’s the usual protocol when collaborating?

It’s a religious thing. Generally every Thursday we dedicate the day to meeting up and entering our creative thought bubble and that’s where the magic happens!

What did your journey into Drum & Bass look like?

I started making various genres of music when I was younger, starting with dubstep and moving onto various styles such as electro house and venturing into trap, but I realised that Drum and Bass appealed to me the most and I sort of went on from there. Firstly releasing on Short Circuit Records with the ‘Bounce With the Riddim EP,’ and from then on our partnership blossomed as artists.

You’ve both had a good selection of releases now as a duo. You must have reached a steady way of working now. Do you tend to have specific roles?

The creative elements are all done in house as a pair, however, Shadre’s strongest abilities lie deeply within Sound Design and Synthesis,
whereas Salvage has more of an understanding with mixing down and mastering. This makes for an incredibly quick & creative turnover.

So you’re both representing The North. Is there a close core of artists and producers in that part of the UK that you associate with, or is that not really a thing?

The North has seen many talented producers over the years, people such as the late Marcus Intalex, Chimpo, Rowney & Propz, Trigga, North Base and non-D&B acts such as The Mouse Outfit. We as Northerners are incredibly polite and we don’t feel as if there are barriers in place when we have reached out to our peers for support and guidance over the years. I wouldn’t say we are associated with anyone in particular because we strive for our own sound.

You work with Manchester-based Diligent Fingers a lot, and he features on the latest EP. How did that collaboration first come about?

Diligent Fingers is a brilliant musician and vocalist, his talent is incredible. From producing hip-hop to DJ’ing to MC’ing and of course poetry. Working with him over the years has just been a natural process, we buzz off his talent and he respects our craft as much as we his. When he hears a tune and he catches a vibe it writes itself. We both respect each other’s passion for the music and that really shows within our collaborations.

I have always loved their sound and their passion for what they create, regardless of us being friends for a long time. That’s what’s important for me when approaching collaborations. Their sound design and grooves have always caught a vibe with me which makes it effortless when writing lyrics for their music.

“Dem call me di assassinator, devastator, place all your bets, I’ll be the safer wager.“

Diligent Fingers

Charla Green also features on the EP. Her output ranges from D&B, Dubstep and UKG. She’s one to watch?

Charla Green’s definitely on the radar for big things in the future, no doubt about that. Another versatile vocalist and producer whose style has grown leaps and bounds.

Growing up I was influenced by artists like massive attack, Morcheeba, Burial and also a lot of Dub.  I linked with Shadre & Salvage through a friend who knew they were looking for some vocals and put them in touch with me. They seemed like good heads and I vibed off the tune when they sent it, so I wrote some lyrics for them.   – Charla Green

Tell us a bit more about this six-track EP you’ve just released and your association with Shadow Demon Records.

When writing the music we wanted to make sure that the tracks were popping in the raves prior to the pandemic. This was a long process, but once we were all happy with the music we sent it over to Trigga & Rowney for consideration and were really excited that they loved the project enough to release it.

What are your plans post-pandemic then? You must be looking forward to getting back out with a crowd?

Once the restrictions are lifted we are looking forward to just getting back onto the circuit and playing our gigs just like old times. Everybody has been missing getting onto the dancefloors and seeing the ravers get hyped, especially with the bag of new tricks we’ve got ready to play with!

Diligent Fingers will be looking forward to showcasing his Brazilian Jiu-Jitsu skills because he is here to protect the women because ‘they just wanna dance.’ Hold tight Inja. 😂

Finally, when listening to your back catalogue, your music is pretty diverse. Away from the studio, what styles do you both like currently?

In terms of non-Drum and Bass, we’re heavily into Rock music, House & Garage, Breaks, Grime, Jazz & Classical, as we can formulate a lot of ideas from different styles of music and incorporate them into our chosen field of Drum and Bass. We feel this is advantageous as the versatility of the genre allows for many different styles to influence our creativity when producing.

From within the Drum and Bass community artists such as Bassbrothers, Noisia, Jaydan, Hazard, Emperor, Annix, Dom & Roland, Zinc, Hype and Break have been massive influences over the years as well.

As for the rest of 2021 what else can we expect in terms of releases from you guys?

Well at the moment we are putting together the final touches to a Remix EP for Grid Recordings. Respect to Jaydan, BassBrothers, Dunk, Coda & Sano. They have each delivered amazing work. Super excited to get them rolling out.

We also have a four-track EP scheduled to drop on Heist & Benny Colabs label ‘Calypso Muzak’ and are currently working on a Liquid EP project for them featuring Sahala & Diligent Fingers.

Amongst a few singles, we may just drop another EP on Grid Recordings before the year is up too.

The post Shadre & Salvage release EP on Shadow Demon Records appeared first on Kmag.

Dom Whiting to make bike streaming debut in Manchester

This Sunday (27th June) Dom Whiting, aka the bike streamer you’ve seen across social media, will be making his maiden voyage around Manchester. He’ll be joining Beavertown Brewery’s “Ride and Rave” travelling festival, bringing his geared up selection to the Northern home of drum and bass.

As part of its series of upcoming summer activities, Beavertown is promising to bring summer rhythms to city streets, making up for a year without festivals, live music and parties and encouraging us all to let loose together in the sunshine.

The two-wheeled DJ will be starting his journey at 2PM from Media City Dock10 and taking the following route:

  • Media City Dock10
  • Northern Quarter
  • Piccadilly Gardens
  • St Peters Square
  • Oxford Road
  • Platt Fields Park

Expect an afternoon of electric atmosphere as the festival makes its way around the city and Dom handpicks the wickedest selection of drum and bass and jungle to a peddling crowd of cyclists.

Want to find out more about Dom Whiting? Check out our interview with him.

See Beavertown’s other upcoming events here.

Can’t make it tomorrow? Head to Dom’s Youtube channel to see all his streams.

The post Dom Whiting to make bike streaming debut in Manchester appeared first on Kmag.



Polyphony –
1 Voice
Multitimbral –
1 Part
Oscillators –
Waveforms –
Pulse Variable, Wave Table
2 LFO with 16 waveforms
VCA/Envelopes –
2 VCA with ADSR
Controls –
Arpeg/Seq –
15 Sequences
Effects –
Wave Crusher, Phaser, Distortion
Memory –
16 Patches RAM

Naomi Bolton
Sun, 06/20/2021 – 08:54

The Atmegatron is an 8-bit monosynth that was released by Soulsby in 2014. It was their first product and definitely dared to do things a little differently. The Atmegatron excelled at delivering classic 80s Chiptune sounds, but Soulsby added some powerful new features for the time as well.

This 8-bit monophonic MIDI synthesizer features a unique Wavetable PWM Synthesis engine where many of the features are controllable by MIDI. Soulsby has also kept the controls very quick and intuitive, so you won’t find any complex menu systems with this synth. It comes with 16 preset sounds, but even these can be overwritten with your own patches if you want.

The Atmegatron features a very stylish and unique look with two opaque dials dominating the front panel. These two knobs can switch in color between green and red, which further adds to the psychedelic look of the synth. To the right of these two knobs, there are “Volume” and “Bass Boost” knobs while the top of the panel features six more knobs and a color-changing button. It might not sound like a lot, but pushing the button can switch four of the knobs to their alternate modes. Parameters are selected with the left-hand dial while the right-hand one is used for changing the values. Everything is straightforward enough that you won’t even miss the inclusion of an LCD.

Adding to the allure of the Atmeratron is the stylish white aluminum case with walnut side panels. The back panel holds the five-pin MIDI in and MIDI out ports along with the mini-jack headphone output, Audio Out, and the 12V DC connector. There’s also a programmer header slot that can be used to connect the Atmegatron to a computer.

The Atmegatron makes use of the Atmel 328P processor, which is common for many Arduino development boards. Although small this synth is not lacking in features. It has 32 factory waveforms along with six user waves. Users can also choose between 15 digital filters as well as an LFO and an arpeggiator. Of course, all of these are 8-bit, which means it’s possible to coax some lovely Chiptune sounds out of the Atmegatron.

By its design, the Atmegatron features harsh, brittle tones, so if you are not into 8-bit sounds and Chiptune music this is probably not the synth for you. It would definitely be foolish to expect the Atmegatron to sound like a typical monosynth too. What is great about the Atmegatron is how easy it is to hack with the open-source code, free Arduino development environment, and tutorials to help programmers all available from the official website.



Musical genre

Synth type

Interface features

Sound types

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Soulsby Atmegatron

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Soulsby Synthesizers Atmegatron in 90 seconds


Soulsby Synthesizers

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Best FX Pedals To Use With Your Synthesizers

Best FX Pedals To Use With Your Synthesizers
Naomi Bolton
Fri, 06/25/2021 – 09:12

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