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RS Integrator Series / ƒTƒEƒ“ƒhƒTƒ“ƒvƒ‹(mp3)
Example Sounds by Ed DMX of www.dmxkrew.com
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single oscillator through the RS-100 filter with velocity controlling the VCA for a pseudo-echo effect (no outboard delay was used).
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similar to the above patch but with three oscillators in unison.
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a bass sound using oscillator sync.
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a sound using oscillator FM. A single oscillator is used and the modulating wave is generated using an octave divider to avoid the inharmonic effects normally caused by oscillator drift when attempting FM on analogue synths.
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a bass sound using ring modulation played by the analogue sequencer with drums from the K2000 sequencer. One step only in the sequence has fairly extreme filter modulation by an LFO.
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another FM bass sound, this time two oscillators are synced together and the octave divider is used again to avoid tuning inconsistencies. The filter is the RS-110 modulated by sample and hold which is retriggered for each note, and the drums are from the K2000.
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clocking the sequencer from an oscillator at audio frequencies allows some more digital-sounding waveforms to be made. There is some subtle modulation of the wave shape using sample and hold triggered by each key-press.
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two oscillators are both synced to a third which is not present in the audio output. The pitches of the two slave oscillators are both modulated by note velocity but for one of them it is inverted. The oscillators are panned hard left and right and I twiddled the tuning knobs while it was playing.
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there are two sawtooth oscillators tuned a fifth apart and a third oscillator playing a sinewave one octave below (CS60-style). All this goes through the RS-100 filter which is affected by note velocity as well as an envelope with fairly slow attack. Two of the oscillators have some extremely subtle pitch modulation from independent LFOs.
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just two oscillators through the RS-100 filter. One is set to a descending sawtooth wave and the other to an ascending sawtooth. The interference between the two waves makes a nice sound similar to PWM.
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three oscillators tuned to a chord, each set to respond to pitchbend by different amounts (and in one case by a negative amount) so that unusual portamento effects between chords are created.
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a simple two oscillator sound through the comb filter which is modulated by an LFO for some phasing effects.
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using the synth as a drum machine: the kick drum is just a square wave through the RS-100 filter with one envelope controlling the volume and filter cutoff and another modulating the pitch. The weird hihat sound is a second square wave being modulated by a sine wave from the third oscillator, the pitches are controlled by the analogue sequencer. The snare is just white noise through the RS-110 filter and the comb filter which is just used to add distortion and to make echoes.
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two oscillators tuned a fifth apart through the RS-110 filter, the third oscillator has a slow attack and has its pitch modulated by the analogue sequencer. Echo from the Lexinc MPX1.
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two oscillators in unison both modulated by a very fast LFO that dies away extremely quickly, the third oscillator is through a filter which is modulated by a looping envelope.
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one oscillator simply goes through the low pass filter, the other one is modulated by the analogue sequencer, which is triggered each time a key is pressed. The rate of the sequencer clock is subtly modulated by one of the LFOs and the pulse width of oscillator two is modulated by another. Reverb from the MPX1.
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two oscillators tuned two octaves apart go through the RS-110 in high-pass mode, which is modulated by an LFO. Both the square and the sawtooth outputs from oscillator three are tuned an octave below and processed by the RS-100 filter.
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first you hear oscillator two which is outputting a pulse wave synced to oscillator one and having its pitch swept by an LFO. At the same time the pulse width is modulated by the oscillator's own sine output. Next you hear oscillator one which has the square and sawtooth outputs sent to a voltage controlled switch which is switching between the two waveforms at exactly one quarter of the frequency of each note, so you get quite a complex waveform, especially as the pulse width is also being swept by an LFO. Finally you hear both oscillators together.
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my voice going into the ring modulator, and also into the pitch to voltage converter, which is used to control the pitch of the oscillator used as the second input to the ring mod.
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two oscillators both slowly sweeping between sawtooth and triangle waves at different rates, both playing different eight-note sequences from the analogue sequencer, both going into the ring modulator. The output goes into the RS-110 filter in lowpass mode, which is modulated by an envelope triggered on certain steps of the sequence for an "accent" effect. The output from the filter is split into two, one copy going straight to the VCA and the second copy going via the comb filter. During this demo the cutoff frequency of the filter is adjusted and the amount of signal coming from the comb filter is gradually increased.
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A selection of sounds created by Bakis Sirros of Parallel Worlds,to showcase the Analogue Systems samples CD
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Interlude 195 BPM
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RS95 SAW (C1, C2,3,C4)
RS95 SINE (C1, C2,3,C4)
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Approaching giant robot
Stuck in the mud Laser
zap 1 Laser zap 2 Laser
zap 3
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FX1
FX2
Wow & flutter 76 BPM
Robotic arm
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Bass sequence 1 100 BPM (C2, D2#, G2, C3)
Bass sequence 2 100 BPM (C2, D2#, G2, C3)
Dangerous acid 100BPM (C1)
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The dark void 1 (C1+C2, C2+C3)
The dark void 2 (C1+C2, C2+C3)
Shimmering lights (C1+C2, C2+C4,C4+C5)
Glass expo (C1, C2, C3, C4)
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The following six tracks are demo soundscapes to showcase the capabilities of the RS370 polyphonic harmonic generator (All done in realtime with no multitracking)?
These six soundscapes are not for sampling. Copyright c Bakis Sirros - Parallel Worlds 2006
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