In this Korg Multi/Poly tutorial I recreate a John Carpenter and Alan Howarth-style synth sound inspired by the Halloween III opening.

I start from an initial performance and build the patch from scratch, using Prophet-5-style filter and amp models, detuned sawtooth oscillators, slow filter envelopes, release time, tape echo and reverb to get that dark sweeping soundtrack character. I also build the higher scan-line style layer and show how to split the keyboard so the two parts sit together musically.

Chapters:
00:00 Halloween III-style sound demo
00:18 What the tutorial covers
01:08 Starting from an initial performance
01:58 Prophet-5 filter and amp models
02:00 Building the detuned sawtooth sweep
02:32 Filter cutoff, envelope intensity and release
03:39 Adding VCA release for overlapping notes
04:28 Dialling in the Carpenter-style sweep
04:37 Compression, tape echo and reverb
05:42 Building the second scan-line layer
06:30 Prophet-style setup for layer B
06:56 Filter envelope for the percussive layer
07:26 Pulse width oscillator shape
08:12 Layering the two sounds
08:47 Keyboard zones and split setup
09:19 Adding reverb to layer B
09:51 More John Carpenter sound tutorials

If you enjoy Korg Multi/Poly sound design, John Carpenter-style synth soundtracks and hands-on patch building, please like the video, subscribe to the channel, and let me know in the comments which Carpenter sound I should recreate next.

Watch more synth sound design videos on the channel: https://www.youtube.com/@IanDixonTDL

#Korg #MultiPoly #JohnCarpenter #HalloweenIII #Synthesizer #SoundDesign

At Synthfest UK, the team behind Sonarch demonstrates a text-to-sound patch generator for synthesizers. Describe the sound you want in natural language and Sonarch builds the synthesizer signal flow locally using rule-based sound generation.

The demonstration covers virtual analogue basses, Jupiter-style models, FM, wavetables, sampling, the Blocks workflow, musical prompts such as risers, and hardware integration. Sonarch can also read hardware SysEx, map the patch to its own parameters, let you edit it, and send it back out.

Chapters:
00:00 What is Sonarch Sounds?
00:33 Creating a bass patch from text
01:45 Warm bass and Jupiter models
03:16 Genre prompts and risers
04:21 Building sounds with Blocks
05:24 Hardware integration and SysEx
06:09 Availability and launch plans

Recorded at Synthfest UK.

Would you use natural-language prompts to create synthesizer patches? Let me know in the comments.

Subscribe to The Digital Lifestyle for more synthesizers, sound design, music technology and interviews.

#SonicSounds #SynthfestUK #Synthesizer #SoundDesign #MusicTechnology

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Robert Schindler—known as Robeone—joins me to talk about a life in keyboards, progressive rock, studio work and live performance. From discovering the piano and progressive music in New York to playing a Yamaha CS-80, managing Electric Lady Studios and opening for Hall & Oates, Robert’s story connects vintage synthesizers with decades of music-making.

We also discuss his work with the Bob Moog Foundation, performing at Progstock and ROSfest, touring with Lifesigns, building a large hands-on keyboard rig, recording without a computer, and his current projects with Red32, Platypus Planet and musicians around the world.

Robert explains why the CS-80 remains his favourite synthesizer, how he approaches live performance with multiple keyboards, and what aspiring musicians need to understand about connections, publishing, music attorneys and the modern music industry.

Listen Now:
Listen Here (download mp3)

Chapters:
00:00 Introducing Robert Schindler / Robeone
02:00 Piano, family and early musical influences
04:00 Progressive rock, Genesis, Yes and Brian Auger
08:00 The ARP Odyssey and first synthesizers
10:00 Original bands and the first record deal
12:00 Electric Lady Studios and early studio work
14:00 Vintage keyboard rigs and touring
16:00 Opening for Hall & Oates
18:00 The Yamaha CS-80
20:00 Managing Electric Lady Studios
24:00 Returning to music and discovering Progstock
26:00 The Bob Moog Foundation connection
30:00 Touring keyboards and live performance
34:00 Robert’s studio keyboard collection
36:00 Recording without a computer
38:00 Red32, Platypus Planet and current projects
40:00 Live performance, visas and keeping music alive
42:00 Advice for musicians starting today
46:00 Favourite keyboards and the Yamaha CS-80
48:00 Music, links and supporting the Bob Moog Foundation
50:00 Closing thoughts

Featured Topics:
• Yamaha CS-80 and ARP Odyssey
• Electric Lady Studios
• Hall & Oates touring
• Progstock and ROSfest
• The Bob Moog Foundation
• Hands-on hardware recording
• Progressive rock and keyboard performance
• Red32 and Platypus Planet

Find Robert’s music and projects at https://robeone.com/.

Which keyboard would you save if you could keep only one? Let us know in the comments.

Like the episode, subscribe to The Digital Lifestyle, and share it with anyone interested in synthesizers, progressive rock and electronic music.

#RobertSchindler #Robeone #YamahaCS80 #ARPOdyssey #ProgressiveRock #Synthesizer #BobMoogFoundation

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In this Korg modwave sound design tutorial, I recreate the classic Roland D-50 Fantasia patch using the modwave’s own synthesis engine and built-in samples.

The D-50 Fantasia sound is one of the most recognisable digital synth patches of the late 1980s, combining warm pad layers, bright bell-like digital attacks, chorus, reverb and evolving movement. In this video I break the sound down into its D-50-style partials, then rebuild the character on the Korg modwave from an initialised program.

This is not a sample import or a 100% clone of the original D-50 patch. Instead, it shows how to use the modwave’s layers, oscillators, samples, envelopes, filters, modulation and effects to create a Fantasia-inspired patch that captures the feel of the original while still becoming its own usable sound.

Chapters:
00:00 Intro and Fantasia-style demo
00:14 Why the modwave works for D-50-style sounds
01:30 Breaking down the D-50 upper and lower structure
02:00 The warm pad layer behind Fantasia
03:00 Starting from an initialised modwave program
04:30 Shaping the pad, filter, chorus and reverb
06:00 Recreating lower-key movement with modulation
07:30 Adding key tracking and moving to the digital layer
09:00 Building the short bell attack
10:30 Choosing samples and adding effects
11:20 The distinctive Fantasia-style partial
12:00 Finding a spectrum-like sample on the modwave
13:30 Tuning and shaping the bell layer
15:00 Balancing the final patch
16:30 Final thoughts and next D-50 sound ideas

If you enjoy Korg modwave tutorials, Roland D-50 sounds, classic 80s digital synth textures and hands-on sound design, please like the video, subscribe to the channel, and leave a comment with the next D-50 patch you’d like me to recreate on the modwave.

Which sample choice do you think works best for the Fantasia-style layer?

#KorgModwave #RolandD50 #Fantasia #SoundDesign #Synthesizer #SynthTutorial #DigitalSynth #80sSynth #Korg #TheDigitalLifestyle

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At Synthfest UK in Sheffield, Bob Coover, co-founder of Groove Synthesis, demonstrates the 24-voice 3rd Wave synthesizer and explains why it is much more than a conventional wavetable instrument.

A note about the audio: SynthFest is a busy and noisy environment, and I wasn’t able to capture a direct audio feed from the synthesizer. The recording therefore includes some background noise, and I’ve done my best to balance and clean up the audio while preserving the sound of the demonstration. Thanks for understanding!

The 3rd Wave combines five synthesis approaches: a PPG-style wavetable processing chain, modern wavetable creation, analogue synthesis, FM and sampling. Bob also demonstrates its analogue SSI 2140 filters, stereo wavetable movement, the free 3rd Wave Terminal editor, FM sounds, Fairlight-inspired sampling and Fender Rhodes samples.

Chapters:
00:00 What is the 3rd Wave?
00:18 PPG wave processing and imaging
03:28 Wavetable effects and stereo movement
04:31 Modern wavetables and Fairlight sampling
06:17 3rd Wave Terminal editor
07:22 Analogue oscillators and SSI 2140 filters
08:27 FM synthesis
10:01 Sampling and Fender Rhodes
11:41 Models and pricing

Recorded at the Groove Synthesis area at Synthfest UK in Sheffield.

Which part of the 3rd Wave interests you most: PPG-style wavetables, analogue filters, FM or sampling? Let me know in the comments.

Subscribe to The Digital Lifestyle for more synthesizers, sound design, music technology and interviews.

#GrooveSynthesis #ThirdWave #SynthfestUK #WavetableSynth #FMSynthesis #SoundDesign

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At the Pro Synth Network booth at Synthfest UK in Sheffield, Peter gives us a tour of a selection of vintage Yamaha synthesizers and keyboards.

The collection includes the Yamaha SK30, CS-5, CS-15, CS-15D and CS-20M. Peter explains the instruments’ character, preset and memory features, gigging potential and their place in Yamaha’s late-1970s synth history. The video also includes a short opportunity to hear the instruments being played.

Recorded at Synthfest UK in Sheffield on Saturday.

Chapters:
00:00 Pro Synth Network booth tour
00:28 Yamaha SK30
01:14 Yamaha CS-5 and CS-15
01:25 Yamaha CS-15D
01:42 Yamaha CS-20M
02:18 Vintage Yamaha design and presets
02:30 Playing the instruments

Which vintage Yamaha would you most like to try? Let me know in the comments.

Subscribe to The Digital Lifestyle for more synthesizers, sound design, music technology and interviews.

#SynthfestUK #YamahaSynthesizer #VintageSynthesizers #ProSynthNetwork #Synthesizer

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In this video I build a complete track using the Yamaha DX100 as the main synth, turning its classic 4-operator FM sounds into piano, bass, pad, brass, drone, lead, bell and flute-style parts.

The DX100 is more limited than a DX7, but that is what makes the challenge interesting. I use my DX100 editor to tweak velocity response, record each part as audio because the synth is not multitimbral, then shape the track with chorus, delay, reverb, ensemble, compression and amp-style processing. The drum loops come from the Uno Drum, with the DX100 handling the synth parts.

Chapters:
00:00 Complete song challenge with the Yamaha DX100
01:19 Piano part and DX100 editor
02:32 Recording the first audio part
03:20 Solid Bass sequence
04:17 Processing the bass with ensemble and delay
05:04 Finding a DX100 pad/string sound
06:19 Adding FM brass in the middle section
07:22 Drone/pedal note sound
09:01 Choosing the first lead sound
10:21 Adding release and harmonic variation
11:25 Heavier lead sound
12:20 Amp-style processing and doubled lead
13:25 Building extra arpeggio parts
15:08 DX-style bell arpeggio
16:24 Simmons-style drum fill
17:14 Flute lead for the middle section
18:19 Final thoughts on the DX100 track
19:18 Full track playback

Let me know in the comments which synth I should use for the next complete-track challenge.

If you enjoy classic synths, FM sound design and 80s-inspired music production, please like the video, subscribe to the channel and check out more synth videos on The Digital Lifestyle.

Watch more synth sound design videos:
https://www.youtube.com/@IanDixonTDL

#YamahaDX100 #DX100 #FMSynthesis #80sSynth #Synthesizer #SoundDesign #YamahaFM #SynthMusic #MusicProduction

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Ken Evans joins me from Australia to talk about recreating classic synthesizer parts for artists including Peter Hook and the Light, and about the sounds and instruments behind New Order’s music.

We discuss how Ken first got into electronic music through Blue Monday and The Human League, his early experiences with instruments including the Roland Jupiter-4, Korg MS-20 and Juno-106, and how his work developed into sound design and programming for other artists.

Ken explains how he approaches rebuilding classic synth parts by ear, including Bizarre Love Triangle, the practical differences between hardware and software, live touring setups, vintage drum machines and the challenges of maintaining older instruments. He also talks about the synths he would save first.

Listen Now:
Listen Here (download mp3)

Chapters:
00:00 Introduction
01:00 Ken Evans and the New Order connection
05:15 Early synth influences: Blue Monday and the Jupiter-4
09:36 From Tycho Brahe to Tycho Sound Design
12:46 Recreating Bizarre Love Triangle
16:08 Working with Peter Hook and the Light
21:39 Recreating New Order’s synth parts
26:49 Juno-106s and live hardware
32:15 Drum machines, samplers and touring rigs
39:26 The synths Ken would save first
43:32 Why the Jupiter-4 is so distinctive
45:16 Hardware versus software
47:55 Tycho Sound Design and where to find Ken

Find out more about Ken’s music and sound-design work through Tycho Brahe website and social channels.
https://tycho.com.au/

Subscribe to The Digital Lifestyle for synth tutorials, sound design, vintage gear and electronic-music interviews.

#Synthesizers #NewOrder #PeterHook

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Can the Korg Opsix recreate the classic Roland D-50 Staccato Heaven sound?

In this sound design tutorial, I build a D-50 inspired Staccato Heaven style patch on the Korg Opsix, using FM, effects and layered movement to get close to that instantly recognisable late-80s digital texture.

The Roland D-50 helped define a huge part of the 80s synth sound, but the Opsix has plenty of power for bright attacks, airy layers and evolving digital tones. In the video I walk through the sound design choices, how the patch is built, and where the Opsix gets close to the original character.

Timestamps:
00:00 Intro and target sound
00:45 Building the Opsix patch
02:30 Shaping the attack
04:40 Adding digital movement
07:15 Effects and widening
10:10 Playing the Staccato Heaven style sound
13:20 Final tweaks
15:05 Final demo and next sound request

Let me know in the comments which D-50 sound you would like me to recreate next.

If you enjoy synth sound design, please like the video, subscribe to the channel and check out more 80s synth tutorials on The Digital Lifestyle.

#KorgOpsix #RolandD50 #StaccatoHeaven #SoundDesign #Synthesizer #80sSynth #FMSynthesis

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Beat Gems is a beautifully illustrated history of electronic drum machines and the music and culture they helped create.

In this review I look through the book by Ollie Freak, from early electromechanical rhythm machines and rare Vox instruments through the CR-78, TR-808, LinnDrum, Simmons, Korg machines and modern instruments including the TR-1000 and Tempest.

What makes Beat Gems especially interesting is that it goes beyond specifications. Each machine is placed in its historical and musical context, including how it was developed, how it sounded, who used it and the records and styles it influenced. The book is a 336-page hardback with detailed photography and stories about the changing role of drum machines.

Chapters:
00:00 Introducing Beat Gems
00:25 What the book covers
00:46 Early electromechanical drum machines
00:56 Robin Gibb, Saved by the Bell and the Rhythm Ace
01:30 Classic, obscure and budget drum machines
02:35 The cultural impact of Korg and other machines
03:20 RX-5, TR-1000 and Tempest
03:35 Final thoughts and recommendation

Beat Gems is available from: https://bjooks.com/collections/our-books/products/beat-gems

What is your favourite vintage drum machine? Let me know in the comments.

Subscribe to The Digital Lifestyle for more vintage technology, synthesizer and electronic music content.

#BeatGems #DrumMachines #ElectronicMusic #Synthesizer #VintageTechnology #SoundDesign

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In this video I demonstrate my DW-8000 Collection for the Korg Wavestate, Wavestate Native and Wavestate Module: a new sound pack inspired by the classic Korg DW-8000 hybrid synth.

The pack includes two versions. One uses the Wavestate’s built-in waves and samples, so you can load the performances without importing extra samples. The second version uses newly sampled DW-8000 wavetables for a more authentic version of the same hybrid digital/analog character.

Across the demo I play through 102 performances, including 12-string, digital EPs, hybrid bells, brass, pads, strings, wave-table sweeps, ratcheting sequences, vector-style layers and classic 80s digital textures.

Download my sound packs: https://shopify.thedigitallifestyle.com/products/korg-dw-8000-collection-for-the-wavestate-102-performances

Subscribe for more synth sound design, patch demos and 80s-inspired synth content.

Timestamps
00:00 Introduction and overview
01:00 Two versions: sample-free and sampled DW-8000 wavetables
02:15 Sample-free Wavestate performance demos
05:00 Bells, brass and hybrid 80s tones
07:00 Electric pianos, organ and delay brass
10:00 Digital EPs, ghost pads and warm hybrid pads
13:00 Key table switching and wavetable movement
15:00 LFO pads, mod wheel control and evolving layers
18:00 Ratcheting sequence and resonant synth sounds
21:00 D-50-style textures, strings and synth piano
24:00 Vector-style layers, violin and unison sounds
27:20 Sample-free pack summary
27:45 Sample-based DW-8000 wavetable version
30:00 Sampled bells, brass and dual-layer sounds
33:00 Hybrid EPs, key table switching and LFO bass
36:00 Prologue, ratcheting and resonant brass
39:00 Strings, table sweeps and template sounds
42:00 What is included and how to load the samples
44:50 Final thoughts and next sound pack ideas

#KorgWavestate #DW8000 #KorgDW8000 #Synthesizer #SoundDesign #Wavestate #80sSynth #SynthPatches

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The Korg KARMA normally works as a sample-based workstation, but with the EXB-MOSS expansion board installed it gains a completely separate physical modelling synth engine. In this video I explain what the MOSS board is, where the technology came from, and why it matters for Korg Prophecy, Z1, Trinity, Triton and KARMA users.

MOSS gives the KARMA its own Bank F with 128 programs, six extra voices of polyphony and a set of oscillator models that go far beyond PCM samples. I walk through the MOSS history, show how the different models work, and demonstrate electric piano, VPM/FM-style tones, reed, brass, plucked string, sync, analog-style, organ and performance-controlled sounds using the KARMA and my editor.

Timestamps:
00:00 Intro and MOSS demo music
00:20 What the EXB-MOSS board adds to the Korg KARMA
00:33 MOSS history: Prophecy, Z1, Trinity, Triton and KARMA
01:29 Bank F, 128 programs and extra six-note polyphony
02:17 Opening MOSS programs and using the KARMA editor
03:07 The 13 MOSS oscillator models
03:55 Electric piano and VPM/FM-style hybrid sounds
05:19 Real-time control, reed models and expressive parameters
06:19 Sync modulation and VPM controls
07:23 Brass modelling and muted trumpet-style tones
07:52 Analog-style oscillators, wave shaping and filters
08:41 Organ drawbar modelling
08:58 Plucked string and guitar physical modelling
10:42 Effects and performance controls
11:43 Switches, joystick and real-time modulation examples
12:35 Vocal, bell and other MOSS sounds
13:01 Combining MOSS parts in Combi mode
13:52 Why Korg should bring MOSS back
14:06 Wrap-up and viewer questions

If you use a Korg KARMA, Triton, Trinity, Z1 or Prophecy, let me know what MOSS sounds or patches you want me to explore next. Please like the video, subscribe to the channel and leave a comment with your favourite Korg physical modelling sound.

#Korg #KorgKARMA #EXBMOSS #KorgMOSS #KorgZ1 #KorgProphecy #KorgTriton #KorgTrinity #PhysicalModelling #Synthesizer #SoundDesign

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Ian Dixon and Garry Whittaker return for a TDL Show catch-up covering rescued smart displays, Home Assistant dashboards, local voice control, the E-mu Emax II sampler, Korg Radias videos, synth editors, studio tools and recent music projects. Garry shows how low-cost display hardware and old Meta Portal devices can be repurposed for Home Assistant, while Ian talks about the Emax II, GoTek floppy emulation, new Web MIDI editors and writing tracks around specific synths.

Listen Now:
Listen Here (download mp3)

Chapters:
00:00 Coming up: Emax II, Radias and Home Assistant displays
01:00 Garry returns for a catch-up show
02:00 Cheap ESP display as a bedside Home Assistant clock
04:00 Reusing old hardware for Home Assistant dashboards
06:00 NSPanel Pro, kiosk mode and garage controls
08:00 Meta Portal as a repurposed smart display
10:00 Local voice control, Home Assistant voices and wake words
12:00 Intercom and voice call experiments
14:00 OpenPortal, APK installs and kiosk satellite
16:00 Fleet management, DNLA and Music Assistant
18:00 Mounting, USB access and hardware limitations
20:00 Cheap Meta Portal devices and useful display ideas
22:00 App stores, browsers and unlocking extra features
24:00 Music Assistant, Sonos-style control and gestures
26:00 Ian’s E-mu Emax II rack sampler
28:00 GoTek floppy emulation and USB libraries
30:00 Classic Emax sounds, sampling and memory limits
32:00 Emax repairs and Korg NX5R editor
34:00 Browser-based synth editors and studio search ideas
36:00 Writing tracks around specific synths
38:00 Sampling workflows and creative constraints
40:00 SCSI, Raspberry Pi emulation and old sampler storage
42:00 Keeping vintage technology alive
44:00 Music playback, Spotify and canvas artwork
46:00 Garry’s socials and Home Assistant video plans
48:00 Wrap-up and next catch-up

Featured Topics:
Home Assistant dashboards and wall displays
Meta Portal repurposing with OpenPortal
Local voice control and wake words
Music Assistant and smart home audio
E-mu Emax II rack sampler
GoTek floppy drive emulation
Korg Radias videos and sound design
Web MIDI synth editors and studio search tools
DX100, DX7 and synth-specific track writing
Vintage sampler storage and SCSI emulation

If you enjoy smart home projects, retro tech, music technology and synth chat, please like the video, subscribe to the channel and tell us in the comments which old device you would repurpose for Home Assistant or studio use.

Watch more videos on the channel:
https://www.youtube.com/@IanDixonTDL

#HomeAssistant #SmartHome #MetaPortal #EmuEmaxII #KorgRadias #Synthesizer #Podcast #TheDigitalLifestyle

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In this Korg Wavestate sound design tutorial I recreate Soundtrack, one of the classic Roland D-50 presets and a brilliant example of layered LA synthesis-style programming.

I start by deconstructing the original D-50 patch, isolating the lower and upper partials, listening to the pitch envelopes, pulse-width character, velocity response, chorus, reverb and tuning intervals that make the sound work. Then I rebuild the idea on the Korg Wavestate using multi-layer programming, wave sequencing, velocity-switched waves, envelopes, filters, chorus, compression, reverb and delayed LFO pitch movement to capture the feel of the original Soundtrack patch.

Chapters:
00:00 Roland D-50 Soundtrack demo and goal
00:54 D-50 architecture and Wavestate comparison
01:07 Isolating the four D-50 partials
02:08 Velocity, pulse width and wave selection
03:10 Upper/lower layers and tuning interval
04:11 Editor view and lower section focus
05:15 Lower part one envelope and filter
06:23 Recreating velocity-switched waves on Wavestate
07:24 Wave sequencing for pulse-width changes
08:26 Shaping the amp envelope and tone
10:54 Reverb, compression, chorus and pitch envelope
11:55 Building lower part two
12:59 Longer envelopes and LFO movement
14:03 Delayed pitch LFO and chorus movement
15:04 Balancing the lower layers
16:05 Building the upper layers
17:08 Mellowing the upper layer
18:09 Upper two sustain and filter settings
19:13 Simplifying the velocity layers
20:14 Final balancing and recreation
21:16 Comment with the next D-50 recreation

If you enjoy Roland D-50 sound design, Korg Wavestate programming and classic 80s synth patch recreations, please like the video, subscribe to the channel, and let me know in the comments which D-50 patch or synth I should tackle next.

Watch more synth sound design videos on the channel: https://www.youtube.com/@IanDixonTDL

#Korg #Wavestate #RolandD50 #Soundtrack #Synthesizer #SoundDesign #SynthTutorial #ClassicSynths #80sSynth

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I review the OneOdio Fusion A70 Gen 2 headphones, testing them as affordable wired and Bluetooth headphones for synths, music listening and everyday use.

OneOdio sent me the Fusion A70 Gen 2 headphones to review, so I put them through a simple real-world test: what comes in the box, how the cable options work, how they feel compared with heavier studio headphones, how they sound with a Korg multi/poly bass patch, and how useful the Bluetooth mode is when paired with a laptop or phone.

They are lightweight, fold into the included carry bag, support wired use with the included jack cable, and OneOdio quote up to 72 hours battery life. They are not a replacement for expensive studio headphones, but for the price they are a useful option for casual listening, synth practice and portable monitoring.

Timestamps
00:00 Intro and review setup
00:16 What comes in the box
00:21 Lightweight design and red finish
00:36 Cable options and jack connections
01:03 Bluetooth and charging
01:24 Wired synth test with Korg multi/poly
01:34 Bass response and comfort
01:50 Single-ear/DJ-style monitoring
02:16 Bluetooth pairing test
02:27 Bluetooth controls and battery life
02:47 Using Bluetooth and wired synth audio together
03:05 OneOdio app and EQ
03:13 Folding into the carry bag
03:25 Value verdict
03:46 Other OneOdio headphone videos and discount code

If you want more practical studio and music tech reviews, please like the video, subscribe to the channel, and leave a comment with the headphones or monitoring setup you use for synths and sound design.

#OneOdio #FusionA70 #Headphones #BluetoothHeadphones #StudioHeadphones #MusicProduction #Synthesizer #KorgMultiPoly #SoundDesign #MusicTech

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In this Korg multi/poly tutorial I show how to build a Tangerine Dream-style PPG lead sound from an initial program, using the built-in digital wave tables rather than imported PPG waves.

The patch starts with a choir-like digital wave, then uses a second detuned oscillator, effects, wavetable position and morph settings to get that wider, vocal, classic electronic lead character.

Chapters:
00:00 Tangerine Dream PPG lead demo
00:57 Choosing built-in PPG-style waves
01:45 Shaping the choir-like wave
02:30 Detuning two oscillators
03:16 Chorus, compressor and tape delay
04:02 Wave morph settings
04:51 Combining the oscillators
05:37 Reverb, detune controls and sound pack info
06:23 CTA and requests

If you enjoy Korg multi/poly sound design, Tangerine Dream-style synth sounds and hands-on patch building, please like the video, subscribe to the channel, and let me know in the comments which Tangerine Dream sound you would like me to deep-dive next.

Watch more synth sound design videos on the channel: https://www.youtube.com/@IanDixonTDL

#Korg #MultiPoly #TangerineDream #Synthesizer #SoundDesign

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The Roland D-50 is famous for its instantly recognisable factory presets, and one of my favourites is Soundtrack, created by legendary sound designer Eric Persing. It’s a wonderful example of how the D-50’s LA synthesis engine can combine relatively simple elements to create something much bigger, richer and more expressive.

In my latest video, I’m taking Soundtrack apart to find out exactly how it works. Rather than simply playing the preset, I explore the individual tones and partials, examine the envelopes and modulation, and demonstrate how the various elements work together to produce that distinctive atmospheric sound.

What makes Soundtrack particularly interesting is that it’s not just a collection of layered oscillators. It’s the interaction between the pitch envelopes, pulse width modulation, velocity sensitivity and effects that gives the patch its character.

Understanding the Roland D-50’s LA Synthesis

The D-50 was released in 1987 and introduced Roland’s Linear Arithmetic (LA) synthesis, an approach that combined digital PCM samples with synthesised waveforms.

A D-50 patch can contain two tones, known as Upper and Lower, and each tone can contain two partials. This gives us four individual sound-generating elements to work with.

Each partial has its own pitch and amplitude envelopes, while synthesised partials also offer a digital filter and pulse width controls. The D-50’s structures determine how these partials interact, including whether ring modulation is used.

The real magic comes from how these elements are combined.

Soundtrack is a perfect example of this approach, with different partials contributing their own movement, harmonic content and dynamics.

Breaking Down the Soundtrack Preset

In the video, I start by separating the Upper and Lower tones so we can hear what each contributes to the finished sound.

Listening to the individual partials is particularly revealing. Some of the elements sound quite simple in isolation, but when they are brought together, the result is much more complex.

I look at the pitch envelopes, which introduce subtle movement as notes develop, and the TVA and TVF envelopes, which control how the volume and tonal character evolve.

One of the most interesting aspects is the velocity-controlled pulse width modulation.

Rather than simply making the sound louder when you play harder, velocity changes the harmonic character of the synthesised waveform. This helps make Soundtrack an expressive patch rather than just a static atmospheric pad.

It’s a useful reminder that velocity doesn’t have to control only volume. It can be used to change the actual timbre of a sound.

The Importance of Chorus and Reverb

The D-50’s built-in effects are another important part of the Soundtrack preset.

During the breakdown, I remove and adjust the chorus and reverb to demonstrate just how much they contribute to the finished sound.

The chorus adds width and movement, while the reverb creates the sense of space that helps turn the individual partials into one atmospheric sound.

It’s easy to overlook how significant the effects are when recreating classic D-50 patches on other instruments.

Getting the oscillator settings right is only part of the process. The envelopes, modulation and effects are just as important.

Watch the Roland D-50 Soundtrack Breakdown

In the video, I work through the Soundtrack preset step by step, examining the individual partial settings and showing how the different components fit together.

Watch the Roland D-50 Soundtrack preset breakdown on YouTube

Video Chapters

• 00:00 – Introduction to Soundtrack
• 01:35 – Upper and Lower tones
• 02:52 – D-50 structures and pitch envelopes
• 04:08 – TVF and TVA envelopes
• 05:24 – Chorus and movement
• 06:40 – Reverb and patch-level effects
• 07:57 – Upper partial 1 settings
• 09:13 – Upper partial 2 settings
• 11:46 – Lower tone and pulse width
  

  

Peter James Stevens from the ProSynth Network joins me for a vintage Yamaha synth chat, focusing on the Yamaha CS and SK analogue instrument range. We talk about the famous CS-80 and the wider CS family that often gets overlooked: CS-5, CS-10, CS-15, CS-30, CS-15D, CS-20M, CS-40M, CS-50, CS-60, CS-70M and the SK string/synth/organ instruments.

Listen Now:
Listen Here (download mp3)

Peter has a collection of Yamaha analogue synths and brings real hands-on context to the discussion: how the smaller mono synths compare with the big polyphonic machines, how the SK range links back to Yamaha organ technology, why the CS instruments have such a distinctive build and sound, what they are like to service, and why these instruments still matter for players and collectors.

We also talk about Synthfest, the ProSynth Network, restoring and maintaining vintage Yamaha gear, the move from CS analogue synths into DX digital FM instruments, and what makes these old Yamaha instruments worth hearing and playing in person.

Chapters:
00:00 Intro and Yamaha CS/SK teaser
00:46 Peter James Stevens joins the show
01:08 From emulators to vintage Yamaha
01:40 Why the smaller CS synths get overlooked
02:16 CS-5, CS-10, CS-15, CS-30 and CS-30L
02:59 CS-15D, CS-20M, CS-40M and memories
03:37 CS-80, CS-40M and CS-70M context
04:36 Yamaha SK range and organ/synth crossover
05:23 Professional stage instruments and Yamaha design
06:03 CS-15, Human League and classic synth references
07:27 Yamaha gear in music college memories
12:15 Servicing, restoration and repairability
12:44 Exploring the mono synths
18:04 Synthfest and playing the instruments in person
20:57 Peter’s Yamaha collecting story
21:07 CS-50, CS-30 and favourite instruments
25:10 The shift from CS analogue to DX digital
25:37 DX1, DX7 and Yamaha’s next era
30:10 Playing vintage Yamaha synths today
31:56 ProSynth Network and where to find Peter

Featured Topics:
Yamaha CS-80 and the flagship CS poly synths
Yamaha CS-5, CS-10, CS-15 and CS-30 mono synths
CS-15D, CS-20M, CS-40M and CS-70M
Yamaha SK string, organ and synth instruments
Vintage Yamaha servicing and restoration
Synthfest and hands-on synth events
The move from analogue CS synths to DX FM synthesis

If you enjoy vintage synth history and hands-on synth chat, please like the video, subscribe to the channel, and leave a comment with the Yamaha CS or SK instrument you would most like to try.

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Also available on streaming services:

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#YamahaCS80 #YamahaCS #VintageSynth #AnalogSynth #SynthChat #ProSynthNetwork #Synthesizer

In this Korg opsix tutorial I explain how feedback works in FM synthesis and why the opsix gives you far more control than traditional DX-style feedback.

Starting from an init patch, I use the analyzer to show what feedback does to a sine wave, then build practical examples including brighter bass attacks, bell-like tones, dirty harmonic textures and string-style patches. We also look at using envelopes, filter mode and V.Patch modulation to make feedback more musical, before finishing the patch with chorus, delay and shimmer reverb.

If you use the Korg opsix, leave a comment with your favourite way to use feedback. Subscribe for more Korg opsix, FM synthesis and sound design tutorials.

Chapters:
00:00 Intro and final sound preview
00:31 Starting from an init program
00:50 DX-style feedback vs opsix feedback
01:30 Using the analyzer to see feedback
02:18 What feedback does in FM
03:00 Feedback vs sawtooth waveforms
03:45 Adding harmonic overtones and dirt
04:30 Feedback on a modulator
05:20 Snappy bass-style envelopes
06:00 Building bell-like tones
07:30 Dirty harmonic feedback tones
08:30 Single-pair string sounds
09:30 Using filter mode for strings
10:45 Modulating feedback with V.Patch and LFO
12:00 Combining bass, bell and string layers
12:28 Chorus, delay and shimmer reverb
13:30 Summary and tutorial ideas CTA

Watch the video on YouTube.

The Korg NX5R is a very 90s multitimbral sound module, and in this video I demonstrate my free browser-based editor and librarian for it.

The editor runs locally in the browser using Web MIDI, so there is no cloud upload or server-side processing. You can connect to the NX5R, read the user bank, browse factory and user sounds, manage multitimbral parts, edit program parameters, work with filters, envelopes, LFOs, effects sends and oscillators, then save libraries or export SysEx for later.

It is still a beta tool, but it already makes the NX5R much easier to use for sound browsing, patch editing and library management.

Timestamps
00:00 NX5R demo track and intro
00:15 Browser-based Korg NX5R editor overview
01:29 Connecting Web MIDI and reading the bank
02:18 Multitimbral mixer and MIDI parts
03:28 Browsing and playing programs
03:46 Editing sounds from the browser
04:14 Program settings, effects and samples
04:55 Filters, envelopes, LFOs and amp controls
05:53 Oscillator 2 and edit buffers
06:23 Exporting SysEx from edited sounds
06:47 Searching factory sounds and loading patches
07:25 Saving and opening local libraries
07:43 Importing SysEx and workflow wrap-up
08:00 Free local browser editor CTA

If you have a Korg NX5R or one of the related NX modules, please try the editor and let me know how you get on with it. Leave a comment with any issues, feature requests or NX5R sounds you think I should try next, and please like and subscribe for more synth editor and vintage digital synth videos.

#KorgNX5R #Korg #WebMIDI #SysEx #SynthEditor #VintageSynth #SoundDesign

Watch the video on YouTube.