MATRIXSYNTH: Goom


Showing posts with label Goom. Show all posts
Showing posts with label Goom. Show all posts

Tuesday, June 09, 2015

PolyTron (Goom open source+ Monotron)


Published on Jun 8, 2015 tffshtt

"Goom open source synth (quinapalus.com) using the monotron as a filter. I'm mostly playing with the parameters on the monotron. Chorus effect is added toward the end ( 3:40 )...all to the beat of a Yamaha RY10 drum machine."

Monday, June 08, 2015

Meditation on a Repetition 3 (ft Goom open source polysynth)


Published on Jun 8, 2015 tffshtt

"Same setup as previous 2 videos with chorus added toward the end. To the beat of a Yamaha RY10."

Monday, June 01, 2015

Meditation on a Repetition 2 (ft. Goom opensource polysynth)


Published on Jun 1, 2015 tffshtt

"My second jam with the Goom. The genius, ultra low cost, 16 voice polyphonic open source synthesizer, concieved by Mark Owen (quinapalus.com). It was ported to MIOS 32 by Thorsten Klose (midibox.com) so it can be used on an STM32F4 discovery board with so no soldering is necessary."

Friday, May 22, 2015

meditation on a repetition (w/ Goom opensource polysynth)


Published on May 22, 2015 tffshtt

"This is my first jam with Mark Owens' amazing /innovative Goom synthesizer (quinapalus.com) ported by Thorsten Klose (midibox.org) to an stm32f4 discovery board. This thing is super simple, super inspiring and super fun to play. As the ST board has a built in DAC and usb ports there is no soldering required...simply download drivers from ST, install the MIDIbox mios32 bootloader, then upload the project.hex (found in the midibox thread) to the board...done! Use synthy's ctrlr panel (ctrlr.org) to use this synth as a VST or standalone on a PC or mac; the best way to store patches so far. Beats the pants off of any atmega / arduino synth..."

Thursday, November 27, 2014

Meet Goom - New Open Source Desktop Synthesizer

"Goom is a digital music synthesiser based on an ultra-low-cost microcontroller. It broadly emulates the architecture of traditional analogue synthesisers, offers 16-voice polyphony and is fully multitimbral, and is controlled over a MIDI interface. The total cost of the basic components to make a fully-working synthesiser is just a couple of pounds; the (optional) ‘knobs and switches’ analogue front panel interface increases the total component cost by an order of magnitude or so, mostly accounted for by the potentiometers themselves.

Features

Sixteen-voice polyphonic
Fully multitimbral (different patch on each MIDI channel)
Analogue front panel patch set-up for MIDI channel 1
Patch set-up using MIDI control change messages for channels 2 to 16
Two oscillators per voice: sine, sawtooth, square, pulse and intermediate waveforms
Oscillators can be mixed or combined using frequency modulation or frequency modulation plus feedback
Three envelope generators per voice (one ADSR and one AD for amplitude, one ADSR for filter)
Low-pass filter for each voice with resonance control
Velocity scaling on amplitude and filter cutoff
Stereo output with pan and volume control for each patch
24-bit digital-to-analogue converter
Voice architecture

The tone generation structure for each voice is shown in the diagram below. It broadly follows the conventional layout of an analogue synthesiser, but adds frequency modulation modes to increase the range of tone colours available.

One point of interest is that each oscillator waveform is controlled by a pair of continuous parameters rather than, for example, a multi-position switch. The waveform is divided into four parts: a rising slope, a flat period, a falling slope, and a final flat period. Each slope takes the shape of half a cosine wave: the first from cos –π to cos 0 and the second from cos 0 to cos π.

The first control determines the ‘duty cycle’, the ratio between the time taken for the first slope plus the first flat period to that taken for the second slope plus second flat period. The second control determines the proportion of the total cycle occupied by the flat periods.

Together these two controls allow the generation of sine, square and pulse waveforms, and an approximation to a sawtooth waveform. Furthermore, a wide range of intermediate waveforms is also available. Very roughly speaking, the first control determines the presence of even harmonics (varying on a line from string to flute, if you will), while the second control determines the overall harmonic richness.

An upper limit is enforced on the slope of the waveform such that as the frequency increases the waveform approaches a sine wave. Since the waveform and its first derivative are continuous the result is in a worthwhile reduction in aliasing without having to resort to more computationally intensive techniques such as those that involve summing individual band-limited waveform fragments. A particular advantage is that much precomputation can be done at the control update rate to reduce the work that needs to be done at the output sample rate."

Full details at http://www.quinapalus.com/goom.html
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