MATRIXSYNTH: Saturday, October 10, 2009

Saturday, October 10, 2009

11hz Robot - they call it peace

11hz Robot - they call it peace from 11hzRobot on Vimeo.

"One synth one take. Saturday morning session." Alesis Micron.

moonmodular M569 [Sequence Mode]

YouTube via moonmodular

Graphic Score Max/MSP/Jitter

YouTube via akihikotube. Anyone recognize the subway map? Tokyo according to the world of next tuesday in the comments.
"Graphic Score Max/MSP/Jitter
http://homepage.mac.com/sin..."

YouTube via daihong68
"Ian Fritz ChaQuo chaos generator triggering and being sampled by a TGTSH sample and hold and controlling an SSM2044 filter as a sine oscillator. The Z output of the Chaquo is used to modulate a Doepfer A-125 halfway through, and the Gate signal from the TGTSH goes to an A-14o ADSR which controls a Buchla 292c gate clone.

Apologies for the video and sound quality!"

Korg M3 MPC Techno Rave Kit

YouTube via KidNepro
"A demo from our M3 Hit Factory sound collection featuring our "MPC Techno Rave" Drum Kit. The new drum kit contains 88 samples from our MPC sample libraries . Beats from the combi titled "MPC Euro Beats". No multi tracking. Everything was played live into my DAW.

Music & Video - Steve Proto
©1984-2009 - Kid Nepro Productions
More info on all our M3 & MPC sounds at: www.kidnepro.com"

Martin Gretschmann on Live and The Notwist

YouTube via AbletonInc. Some synth spotting.
"Martin Gretschmann is a busy man. But somewhere between playing electronics and keyboards with the Notwist, producing his own tracks and DJing as Console or Acid Pauli and composing film soundtracks, he found time to talk to us. We visited him in Weilheim and heard how he uses Ableton Live in the Notwist. We also had a look at his incredible new studio which is absolutely full of beautiful gear: watch the movie."

JoMox T-Resonator Time Woven FilterMatrix

via this Noisebug auction
""T" stands for Time.

The T-Resonator transforms timely events into an analog feedbacked filter network.

What comes out of this you can hear in the audio samples.

The T-Resonator is something like an M-Resonator + Digital Delay. But you can select 8 different delay algorithms, each with different delays and different feedbacks and modulate them even with an LFO.
Delays reach from less than a millisecond to 1 second, range and structure is depending on the algorithm.

The delay feedback comes across the analog filters, of course.

You can create gaining analog echoes, "klingon parties" by extremely feedbacked wave guide algorithm and much more.
By the analog feedback everything sounds organic.
The screaming analog feedbacks can delay themselves and thereby form new sound patterns.

The sine LFO gets retriggered by the audio signal and can be shaped with the audio envelope or just run alone.
In center position the amount is 0, to the left it's envelope-shaped LFO, to the right it's only LFO.
The filters are made from discreet parts and form a 24 dB pole lowpass filter transistor cascade.

They can - in any thinkable way - be self feedbacked and be coupled or feedbacked with each other, so that extreme sounds and chaotic states create - all what you need today for creative analog sound design.

Incredible bass gains or screaming scratch sounds are no problem.
The mix pots are zeroed in center position; any other angle will couple or feedback negatively or positively. FM in both directions is also available.

The input has an adjustable gain and a Hi-Z input to plug in a guitar directly. Any line level signal can be processed, be it either mono or stereo.

Specifications

-Stereo In
-Stereo Out
-Envelope follower with LFO
-2 filters
-2 delay lines /chorus /reverb
-8 Algorithms
-Positive feedback loops
-Cross feedback
-FM feedback
-Power 9V~ AC

AUDIO:
T-Resonator and guitar only 1
T-Resonator and guitar only 2
T-Resonator and guitar only 3
T-Resonator and guitar only 4
T-Resonator and guitar only 5
T-Resonator and guitar only 6
T-Resonator + XBASE 999 1
T-Resonator + XBASE 999 2
T-Resonator + XBASE 999 3
T-Resonator + XBASE 999 4
T-Resonator + XBASE 999 5"

Guyatone GST-C04 Ultrem Optical Tremolo

via this Noisebug auction
"With optical circuitry based on the classic amp tremolo circuits of yesteryear, the Ultrem Optical Tremolo takes the tone of those legendary units and adds a variety of new and useful control features that set it apart from any other stompbox on the market.

With the Ultrem several types of tremolo and volume effects are available including oscillator-controlled Tremolo and manually-controlled Volume. Rate of the Tremolo can be controlled via tap tempo, the unit’s front-mounted Speed control, or an optional expression pedal. Dual outputs allow panning of the Tremolo effect between two amps or for use as an amp selector/blender in manual Volume Mode. Depth and Saturation controls allow for precise control of the degree and tonality of the effect as well as for use as a great-sounding Overdrive unit when the oscillator is disengaged.

At the heart of the Ultrem is Guyatone’s proprietary CPU controller which allows for quick selection of the Ultrem’s primary effect function. Six Effect Modes are easily accessible from the unit’s front panel, and each Effect Mode features a Sub-Mode that can be accessed with a quick press of the Control Footswitch. If that wasn’t enough, the last two Modes also feature Bonus Modes that allow for manual selection of the oscillator Waveform via an external expression pedal.

The Six Effect Modes are as follows:

WAVE TAP –Functions as an oscillator-controlled Tremolo with rate determined by tap tempo function of Control Footswitch.
MOMENTARY WAVE – Functions as an oscillator-controlled Tremolo when Control Switch is depressed and held – releasing switch disengages the effect. Rate is determined by unit’s Speed control.
PEDAL VOLUME/WAVE - Main Mode varies output Volume using the optional Expression pedal or functions as an oscillator-controlled Tremolo in Sub-Mode. If set to Pan On, Ultrem can function as an amp selector/blender in Main Mode.
PEDAL DEPTH & WAVE TAP - Allows user to vary the Depth of the effect by using an optional Expression pedal, and also to adjust speed of Wave Tremolo by tapping tempo, instead of using pre-set controls.
PEDAL SPEED1/TOUCH – Main Mode varies the speed of the Wave Form oscillation with the optional Expression Pedal over a range of 70-1000 mS. In Sub Mode the unit functions as standard Tremolo.
PEDAL SPEED2/TOUCH – Main Mode varies the speed of the Wave Form oscillation with the optional Expression Pedal over a range of 70-4000 mS. In Sub Mode the unit functions as standard Tremolo.

By using these different Effect Modes, the user can achieve a limitless variety of Tremolo and Volume effects that can all be toggled through and tweaked in real time.

The Ultrem’s CPU also offers six selectable waveforms when the unit is used in the oscillator-controlled Effect Modes - a variety of Triangle, Sawtooth, and Square Waves are available for quick selection via the unit’s front panel, allowing the Ultrem to mimic any Tremolo type from the smooth, rolling tone of vintage amps to the tight “helicopter” chop so popular in today’s music. In addition, the oscillator’s rate can be displayed in BPM or Milliseconds allowing for precise syncing to song tempo or external devices.

The Ultrem also features an “auto-start” function that engages the Tremolo effect whenever there is an input signal and disengages when input signal returns to zero. This allows for “quick start” Tremolo that will be perfectly timed with the musical passage. The input sensitivity of this feature can be adjusted via an internal Trim Pot to allow use with a variety of different instruments and input signals.

We could go on and on regarding its features, functions, and sound, but to put it simply the Ultrem is the ultimate Tremolo! Whether you are looking to replace your vintage amps and stompboxes or create an entire new range of effects, the Ultrem is a one-man audio arsenal!

AUDIO SAMPLES"

GenoQs Nemo Midi Sequencer

via this Noisebug auction

"All Genoqs Nemos will ship with the newest OS, V1.60.
[Update via Roderick in the comments "Sorry to nitpick...but the newest OS is v1.62 .... :P"
New OS features include:
*Step Phrases, Phrase editing and Step Phrase Pool
*Explicit Step Polyphony
*Record Re-channeling
*Record Monitoring also in Stop mode
*Individual Page save/restore
*And much more!

Nemo is a high-end MIDI step sequencer, adding portability to the highly acclaimed functionality and user friendliness of Octopus. It is in many ways an Octopus in disguise, and one that feels equally well in a backpack or on your lap!

It features the same sequencing lighthouse features that Octopus users have enjoyed for years, including polyphonic steps, self-modulating and cross-modulating sequences, freely editable musical scales, user editable runtime directions, full-scale MIDI recording, and much more.

Nemo’s tactile and visual feedback, as in Octopus, is a physical experience so typical for traditional musical instruments. You know already that music is about your body as music is being felt, heard and played with Nemo. And the numbers behind it all.. no display? Well, do you really care? Yes, computers love them. We love light, color, and most of all music!

Nemo at a glance
- 90+ Tactile switches and 9 endless encoders for interactive access
- 93 LEDs (tri-color) used to display both numeric and quantitative data
- 64 pages (i.e. “patterns”)
- 4 tracks per page, 16 steps each
- 4 concurrent pages, i.e. 16 concurrent tracks
- Page tracks freely chain-able to structures of up to 64 steps
- Per track velocity, pitch, length and start factors, MIDI channel and CC
- Individual clock multiplier/divisor per track
- Individual and editable runtime directions per track
- Polyphonic steps, of up to 7 notes (chords or multi-trigger)
- Track self modulation, via step events
- Cross modulation of tracks (via the Effector)
- MIDI note and CC recording and playback per track
- 32 MIDI channels via 2 dedicated MIDI ports

The step sequencing overlord
- Internal resolution of 1/192ppq
- Dedicated controls for pitch, velocity, length and start of editable objects
- Free assignable control encoder for direct access to position, direction, groove, amount, MIDI CC and MIDI channel values.
- Select steps, tracks or pages using pressed buttons and edit them in realtime using the encoders
- Record MIDI on the fly and edit the material “natively” via the tactile user interface
- Step mode record and real-time record options
- Use encoders to remote control MIDI devices on the fly via MIDI CC (0-127)
- Sequencer operation modes: Grid, Page, Track, Step, Gridtrack
- Force to scale in preset or freely composable scales (exempt available)
- Steps may be pushed beyond or pulled ahead of the beat (+/- 5/192)
- Maximum structure length of 1024 steps, using 1 of 4 banks of pages
- Track cross modulation using the Effector: use a track to modulate other track(s)’ pitch, velocity, and controller amount
- 5 preset runtime directions, including random and pendulum
- 11 user-editable runtime directions
- Per track clock divisor and multiplier using values of 1, 1.5, 2, 3, 4, 5, 6, 7, 8, 16
- MIDI input may be used to trigger and transpose pages
- Step skip and track chaining easily produces tracks from 1-64 steps in length
- Polyphonic sequences - steps may carry chords of up to 7 notes, chord strum
- MIDI clock master or slave configuration, for full external sync flexibility
- OS upgradeable via MIDI sysex
- Full state save to flash for seamless operation between sessions
- MIDI Sysex data dump capability for external archiving

Connections
- MIDI: 2 in, 2 out
- Power: via supplied power adapter
- Interface: 91 pushbuttons, 9 encoders, 93 tri-colored LEDs
- Dimensions: 500 x 190 (in the middle) x 35 mm, 2 kg
- USB: device connector (computer interface)
- Lamp socket: USB format

Package contents
- Nemo sequencer
- 110/220V switching power adapter including cable for your geography
- Printed manual

Finally, think of Nemo as an Octopus in small: same OS, same technology, and to a very high degree the same features. The main differences are in the track capacity and in the more auditive aspect of operation of Nemo compared to the highly visual Octopus. In brief, the main functional constraints* with respect to Octopus are:

- 16 concurrent MIDI tracks (Octopus 90)
- 4 tracks per page (Octopus 10) or 64 steps, freely chain-able
- Direction editing capabilities constrained (i.e. no multiple location triggers per frame)
- 4 MCC stream resolution levels, with lowest and highest same as Octopus
- CC assignments to the MIX knobs are pre-set (i.e. no CC maps)
- Attribute map shapes are pre-set, access to map values available via step values
- Force to scale global, with page exemption available
- Step strums can be applied only to STA values, but not VEL, PIT, or LEN"

SND FB-14 Extended Range Fixed Filter Bank

via this Noisebug auction
"special audio filterbank with coils and discrete class A circuitry

- classic class-A circuit design using coils, which have to be hand-made and thus are costly, but sound just so much better. Only 4 transistors in signal path, 2 of them being selected germanium types, which behave somewhat similar to vacuum tubes.
- 14 bands with 2-pole-filters. Center frequencies are 35, 65, 105, 160, 240, 360, 540, 800, 1200, 1800, 2700, 4000, 7000 and 12000 Hz.
- The choice of the frequencies in (nearly) fifth intervals avoids a false ´tonality´ (that is an unwanted emphasis or attenuation of the same musical tone in different octaves) that can be found on all octave, semi-octave, and one-third-octave filterbanks.
- The control range per band is +/- 20 dB (!). This corresponds to a ratio of 1/100 compared to 1/16 (+/- 12dB) available on almost all other equalizers and filterbanks. So even drastic sound manipulations are possible that normally require two chained EQ´s. The q-factor of the filters gradually increases from 0.7 at +/-10 dB to 6 at +/- 20 dB.
- The individual filters are not decoupled from each other. Thus all kinds of - wanted - phase changes and cancellations occur. Normally this circuit design has the disadvantage of a very non-linear control curve (all relevant changes happen within a few degrees at either end of the pot´s turn). To compensate this, sealed conductive plastic pots with a special curve are used, custom-made for us by ALPS.
- Input gain and output level controls. Input gain can be set from - 20 to +20dB. Due to its special circuitry, overdriving the unit produces much more interesting results than standard rc-filters using op-amps.
- Frequency range 20-50000Hz +/- 1.5dB, Signal-to-noise ratio 90dB.
- 1/4” jacks for input and output. Internal ground-lift for separating chassis and audio ground. A special summing Y-cable can be ordered for connecting stereo sources.
- Bypass (using a sealed relay) through frontpanel push-button and automatically when power is disconnected ("hard-wire bypass").
- 19”, 1 unit, depth (behind frontpanel): 58mm + plugs, external power supply."

SND SAM-16

via this Noisebug auction
"high-end MIDI / analogue sequencer

- The SAM-16 is a high-end analogue and MIDI-sequencer with special emphasis on tightness and intuitive handling. It has 16 steps, each with the following controls:

* 3-position toggle switch for trigger/mute/reset
* 12-position rotary encoder for semitones/chords
* 3-position toggle switch for transpositions
* control for second parameter (i.e. filter)
* control for third parameter (i.e. volume) or gate/step length
* 3-position toggle switch for audio/CV routing between 2 busses and individual input/ouput jacks

- A fundamental problem of all sequencers using pots and electronic quantisation, is that a control may be (unknowingly) set close to a switching point of the quantizer, such that even a small (and inevitable) drift will cause sudden and unwanted changes in the sequence. The use of rotary encoders for setting the notes eliminates this problem, and - in conjunction with the transpose-switches - it also allows a much more intuitive and predictable control of the sequence.
- The second row of knobs controls MIDI-velocity. In addition to the normal mode there are 6 special modes, in which the SAM-16 simultaniously or alternatingly transmits on 2 MIDI-channels to allow velocity -crossfades and -switching.
- The third row can be used for various functions. It controls either step or gate length, but can also generate another control voltage and/or MIDI-controller (#1-14). In addition it is possible to feed it 1 or 2 audio/CV signals, that appear at the rows output with a different attenuation/mix for each step.
- With the lower row of toggle switches audio and/or CV-signals can be routed from or to 2 busses and 14 individual jacks. This can be used to create ´wave-sequences´ by routing various waveforms of a modular system´s oscillators (or other audio sources) to the filter, or to activate CV-modulations only for certain steps of a sequence. The row can also control the gate length, or generate MIDI-switch-controllers (#64-74).
- All rows have CV-outputs (0-5V, pitch 1V/octave), rows 1 and 2 also have a CV-input that is added to the values produced by the sequencer. These modulations also influence the MIDI-output data. The input attenuator for pitch modulation doubles as a global tranpose control with a 2-octave range.
- The build-in MIDI-interface syncronises the SAM-16 to MIDI-clock or MIDI-notes (!) and translates all settings into MIDI-data. Thus it is possible to control classic analogue equipment as well as modern sound generators. Also sequences and their transformations over time can be recorded into a software sequencer for further editing, storage, and recall. A special feature of the MIDI-section is the possibility to ´re-define´ the 12 positions of the pitch encoders, that is to assign any note or chord (up to 7 notes) to each position. The timing control of the SAM-16 also has some advanced options, such as the possibility to wait untill the end of the current measure at any given step. This allows convenient syncronisation even when changing the sequence length. An ´alternating´-mode allows the sequence to be split into 2 halfes, and to switch between them by hand or automatically after 1 - 15 runs.
- Only high-grade controls and components are used in the SAM-16. The internal MIDI-software has been carefully optimized for speed (latency < 0.1 mS) and reliability.
- All CV-inputs/outpus through 1/4"-jacks on the frontpanel, MIDI-In/Thru/Out on the back
- 19", 5 rack units, depth (behind frontpanel): 105mm + plugs, external power supply"