- Comprehensive, all-in one solution far intricate rhythms Echo space and width
- Direct and immediate access to all parameters with dedicated knobs
- True-stereo indipendent delay allowing you to create complex rhythmic patterns
- Reverbs with Size and Resonance HiPass filter - knobs
- Double Pulse Delay
- Double Resonant filter that can be morphed from low pass to high pass
- 4 Waveform Sync-able LFO
- A full, four-channel (quadraphonic) system reproducing the Left Front, Left Back, Right Front, and Right Back audio signals in each of four separate speaker
Antonio Blanca, creator of the Reaktor instruments NOD-E and DRON-E, is excited to present his new work, MONTAG-E, for NI Reaktor 6.5. This granular sampler is designed for those interested in microsound exploration and creating complex, unique sonic textures. With its particular approach, MONTAG-E offers a wide range of sonic possibilities for sound designers, experimental musicians, film composers and sound artists.
What is MONTAG-E?
MONTAG-E is a granular sampling tool that allows for detailed manipulation of audio, ideal for creating sounds ranging from microsounds to abstract soundscapes, sound effects, ambiences, glitch, noisy textures and more. With four simultaneous granular playheads, the instrument allows for deep exploration of samples, creating anything from minimalistic to complex grain clouds. Additionally, its individual audio outputs are designed to create quadraphonic material, providing flexibility for multi-channel sound creation.
MONTAG-E is also designed to be fully MIDI-controllable, allowing for real-time interaction. Whether you’re performing live or experimenting in the studio, you can easily control parameters on the fly, enhancing your creative process.
New England Synth Fest
on Saturday, May 3 at Northeastern University
in Ryder Hall
(11 Leon St, Boston, MA 02115).
Right next to the Ruggles T Station.
DIY workshop starts at 11am. Performances, lectures, exhibits, and petting zoo are happening 12pm to 6pm.
Up for sale is a rare and stunning Heathkit AD-1013 quadraphonic oscilloscope from the 1970s. This piece is fully functional and in remarkably clean condition, especially considering it’s over 50 years old.
The AD-1013 is a unique vintage unit designed for visualizing sound in both stereo and 4-channel quadraphonic modes—perfect for adding immersive, retro visuals to your synth setup, studio, or hi-fi system. It also features a built-in sine wave oscillator (20Hz to 20kHz), making it useful for testing or generating signals right out of the box.
Functionally:
• All features tested and working flawlessly
• Bright, sharp CRT trace
• Stereo + quadraphonic display modes
• Built-in sine wave generator (20Hz–20kHz)
Cosmetically:
• Front panel is clean and vibrant with no major wear
• Chrome accents are shiny with only minimal spotting
• Original knobs are in fantastic condition
• Wood cover has a few light marks but is smooth and attractive
• Reticule and brand sticker are bright and intact
• Black side panels complete the sleek vintage look
This is an incredible and rare unit that delivers both function and serious retro vibe. Whether you’re after vintage test gear, synth visuals, or a killer display piece for your studio, the AD-1013 is the real deal."
"The Synamodec Saga is essentially a supergroup of Synamodec’s signature noise and destruction synths. Featuring an array of their greatest hits, the Saga includes Astrogorus, Synadrone, Dementor and Levitate. There are internal routing options, or patch each panel to their own channel for quadraphonic chaos. SAGA is a very rare beast. There are only two available at this time, and both can be purchased from Nosiebug."
"~Braided signal combiner illuminated in two planes~
Sounds and shapes outlined in SILHOUETTE. Animated foregrounds of analogue delay, set among a backdrop in texturized stereo. At once mixer, scanner, bus compression and reverb.
The new Mannequins module from Whimsical Raps. December 2024"
SILHOUETTE
BRAIDED SIGNAL COMBINER ILLUMINATED IN TWO PLANES
Sounds and shapes outlined in SILHOUETTE. Animated foregrounds of analogue delay, set among a backdrop in texturized stereo. At once mixer, scanner, bus compression and reverb.
Built around a focal system defined by SPOT, lighting signals from a ring of 6 inputs. Here we find LIGHT and SHADOW, the latter pushed out in time through a dynamically filtered BBD delay. Together defining a foreground; a point of interest; focused; sharp.
The remaining assortment collected; a background; context and shape. A second stereo pair, LEFT and RIGHT, dynamically peering through a LENS. Control dynamics in simple VCA style, side-chained to the SPOTlit signal, or expanded to shorten transients and make space. Fill in the gaps with BLUR, smearing the background in time for rich ambient trails leaning into lush sweeping strings.
At its heart patch-programmable -- internally for dramatic feedback & oscillations -- cross-patched for extra drama. Very capable in a large system to fold complexity, but shining in tiny cases with feedback. A joyful micro-modular with Just Friends and crow, shaping sounds, or sounding shapes.
Beyond mere combination, SILHOUETTE pulls signals into relationship. Whether in full quadraphonic space, cohesive stereo sets, or dynamic & nimble singularities. See your sounds; hear great sights.
Jolin announces availability of ROSA, realised as a multi-mode crossfader, scanner, and switcher module for Eurorack
MILAN, ITALY: modular synthesizers- and sound sculptures-specialising music technology brand Jolin is proud to announce availability of ROSA — realised as a multi-mode crossfader, scanner, and switcher module for Eurorack designed to morph between up to four inputs and outputs, offering seamless signal routing with endless creative potential — as of December 20…
ROSA represents the ultimate tool for sound designers and performers seeking fluid transitions and dynamic control. Creatively, it can be used to morph smoothly between multiple inputs, route a single input across multiple outputs, modulate signals dynamically with flexible scanning and control, and switch between signals or outputs for performance variations.
Indeed, it can be used with LFOs (Low Frequency Oscillators) and envelopes — to morph modulation sources across various destinations; audio sources — to transition between different oscillators, filters, or effects; quadraphonic systems — to distribute signals across multiple speakers for immersive sound; and rhythmic triggers — to switch between trigger patterns or effects to create evolving sequences.
So how, exactly, does ROSA do what it does? It includes three distinct modes that allow users to shape and route signals in various ways. When working in Scan Mode, users can seamlessly morph between up to four inputs — the scanning circuit moves progressively from I1 (input one) to I4 (input four), with the option to loop back to I1 for continuous transitions; by adjusting the KNEE control, users can choose whether the transitions are smooth and gradual or sharp and instantaneous, making it perfect for creating evolving textures or switching between sounds on the fly. When working in Wave Mode, the four VCAs (Voltage-Controlled Amplifiers) operate independently — although each still follows the same control from the scanning circuit, they are kept separate, so users can independently modulate four different channels, creating complex dynamic changes in a patch. When working in Pass Mode, a single input is distributed across up to four outputs — if more than one input is plugged, they will all be mixed together, which is ideal for sending the same signal to multiple destinations, like quadraphonic speaker setups or different effects chains; the transition between outputs can be smooth or sharp, providing users with full control over how the signal moves between outputs.
Digging deeper still, the KNEE control shapes how the transitions behave in all modes, letting users switch from soft fades to abrupt jumps, while the SHUT input mutes all the VCAs simultaneously, so is ideal for performance control or rhythmic muting; since the VCAs are linear, amplitude control can be gradual or instantaneous, depending on the nature of the CV (Control Voltage) input. It is worth noting that the CV input is scanned with an attenuvertor — an attenuator that can also invert the signal — and a mechanical toggle switch (set to POT) permits users to select the Infinite Analogue Potentiometer — itself featuring an LED (Light Emitting Diode) ring to indicate which quadrant users are interacting with — that enables seamless circular and continuous morphing between inputs, or CV modulation (when set to CV).
It is fair to say, then, that whether users are creating evolving textures, routing a single input to multiple outputs, or exploring rhythmic variations, ROSA readily adapts to their needs. Needless to say, the fact that it transforms sounds in real time — thanks to those three powerful modes — makes it a must-have module for anyone looking to push the boundaries of modular synthesis.
The first batch of ROSA modules are limited in number — after all, Jolin’s products are all individually hand-built and tested carefully, but additional units will be being built in the coming weeks, all available directly from the modular synthesizers- and sound sculptures-specialising music technology brand’s online Shop (https://jolin.tech/shop/p/rosa), priced at €269.00 EUR.
Check with dealers on the right for availability.
Jolin lab + Vesia ROSA / 4 ins 4 outs & the endless rotary fun in between / extensive playthrough
video upload by BRiES
"ROSA by Jolin Lab + Vesa is hard to describe in just a few words, yet it's operation is very much straightforward. There's 4 inputs and 4 outputs and depending on the mode you have it it, you can send one of the inputs to all 4 outputs, all of the inputs to one output, or just the inputs to the outputs. To control all of it there's this wonderful endless rotary potentiometer (and a CV input with attenuverter). With this alone the module let's you scan, descan, crossfade, mix, pan, quadraphonic-pan, etc. There's a CV input for the hardness of the crossfade curve and an additional VCA that goed 'on top' of everything else. Very clever, very useful, very inspiring."
"Back at Superbooth I was pleasantly surprised to see a quadrophonic dub delay called Dubby, learning that it could work in quad, dual stereo, 4x mono or a whole range of flexible FX routings sounded great. Fast forward to Machina Bristronica for the DivKid Discussion (on the DivKid stage!) I had the pleasure of sitting down for a conversation and demo of Dubby with Rasmus from Componental. Here's that discussion.
Dubby is currently live on Kickstarter at the time of publishing with around a week to go. If you'd like to support it (it's well over funding, so it's happening already) here it is // https://www.kickstarter.com/projects/..."
"Dubby is a powerful, standalone device designed to simplify the creative process and put you in full control of your sound - whether you're just starting out or you're an experienced musician. With no computer needed, just plug-and-play.
Perfect for singers, producers, instrumentalists, and modular synth enthusiasts alike, Dubby fits seamlessly into your workflow. Its intuitive, hands-on controls make it fun to explore new sounds, from quadraphonic effects to custom synths. Whether you're jamming at home, recording in the studio, or performing live, Dubby gives you the freedom to personalise your music-making experience, allowing you to map and control every parameter your way.
And with Dubby’s open platform, you can even customise both the hardware and software, unlocking endless possibilities for creativity and exploration.
Immediate Immersion and Flow: Dubby works out of the box and is set up to be a fun and engaging music device, either as an audio effect, synthesizer, or music tool.
Endless Possibilities: Upload new audio effects and synthesisers directly from the Dubby App Store, accessible through a web browser, making Dubby a versatile addition to any setup.
Tactile Interface: Designed with musicians in mind, Dubby features an intuitive hardware interface with select controls for seamless interaction during live performances or studio sessions.
Fully Stand-Alone Functionality: Dubby can run advanced real-time audio algorithms, freeing you from the computer. Take your favourite effects, synths, and tools out of the box!
Quadrophonic Sound: Experience immersive, high-fidelity audio with Dubby's quadrophonic capabilities.
Customisable and Programmable: Tailor Dubby to your specific needs by swapping side panels to your liking. Choose between faders, buttons, and expression / footswitch jacks. With programming in popular languages like Max/MSP Gen~, Pure Data (coming), and C++, you can modify existing algorithms or create entirely new ones."
he calls it: delayf**ker - Power Glitch - Sonic State Demo at Machina Bristonica
"The delayf**ker is a performance effect that pushes digital echo to its limits, with real-time manipulations getting ‘stuck’ in the feedback loop for dynamic sound-on-sound edits. It delivers rich, glitchy audio textures, ranging from Karplus-Strong and micro-looping to traditional echo and chorus. With control over delay time, feedback, and buffer freezing, you can experiment on the edge of stability for unique sonic outputs. Despite its experimental nature, it's highly versatile, offering sounds from subtle to chaotic, for live or studio use."
"Put on your 3D glasses and get ready to go on a journey 👁️ Thank you to Eli for showing us 3DVCA, a Quad monophonic crossfader, Dual stereo crossfader, Stereo balancer, Stereo VCA, Mono to stereo panner, Unity mixer with up to eight inputs, Quadraphonic panner and so much more!"
"Entanglement space is a quad 32bit operation DSP effects processor featuring 64 algorithms focused on highly experimental topologies.
for a full array of algorithms, their brief descriptions and cv/pot parameters www.destiny-plus.com"
Entanglement space is a quad 32bit operation DSP effects processor featuring 64 algorithms focused on highly experimental topologies.
Each processor core stores 16 algorithms that can be entangled with other core programs to create your own complex algorithms / spectral palettes for the stereo field or quadraphonic space.
Accompanying the 64 algorithms are 12 modulators with time complicating attenuation for use of control voltage over 6 differential parameters of each of the 64 algorithms, 4 voltage controlled gates and a 4 input - pan directional mixer with stereo out.
Each processor core has individual in and out via banana and quarter inch formats, allowing complex routing for introducing feedback and multi instruments to be routed through entanglement.
Entanglement space algorithms interpolate between pitch shifting and warping, amplitude modulating, spectral reverbs, ring mod delays, feedback delay network phasers and through zero reverb flanging time based effects.
Recently, I've been lucky to perform live sets in Quadraphonic audio. I developed some tools in Bitwig Studio to create animated soundscapes for four speakers. Using modulators and the FX Grid, I can create a huge variety of spatial audio patterns. However, Bitwig isn't really designed for this, so there's a few things you need to do to work around its stereo "bias." Despite the few hacks, it works really well, and sounds amazing. This video gives an overview of how to make everything work."
You might remember the announcment for Lost Analog by Barry Schrader posted back in September. Not mentioned was some of the unique history and significance of this particular release featuring the Buchla 200 in the liner notes, including possibly the first quadraphonic electronic music score for a commercial film.
The liner notes for the release follow:
I’ve chosen to call this album Lost Analog not only with reference to my previous release, Lost Atlantis, but also because all of the works are analog electronic music, and parts of them are, indeed, lost. All of this music was created from 1972 through 1983, using the Buchla 200 analog modular synthesizer, also known as “The Electronic Music Box.” The music contained in this Lost Analog album was originally created in 4 channels, sometimes referred to as quadraphonic sound. In mixing and remastering these pieces as stereo files, some of the original aural intent has unavoidably been lost, another reason for calling this release Lost Analog. As I write this, realizing that some of this music hasn’t been heard in public for almost fifty years, I’m taken back to much earlier days in my life and career, which, although remembered, are also lost, as are all of our pasts.
Death of the Red Planet Suite” (1973) is made from parts of a score for the film “Death of the Red Planet." The 20-minute film was the first to be created from images made with lasers, and it toured theatres along with “Yessongs,” a concert film of the band Yes. It is, I think, the first quadraphonic electronic music score for a commercial film. This suite of the music from the score is all that I have of the original soundtrack. Whether or not the film still exists in its original theatrical format, I have no idea. More information on this film may be found here.
“Bestiary" (1972-74) is a five-movement work drawing on mythological creatures from medieval bestiaries, treatises about real and fictitious animals. Originally, I had planned seven movements, but ended up composing only five. The first and last movements are imaginings of mythological beasts convening and dispersing (the latter in an increasingly disorderly way), while the interior three sections focus, respectively, on sea serpents, a unicorn, and basilisks, the latter being venomous winged reptiles that supposedly lived in caves or deep wells. “Bestiary” is the first work of mine to fully incorporate what has become one of my main compositional concerns: the creation of new and transformational timbres.
After composing “Lost Atlantis”, I wanted to do something very different, and so I wrote "Classical Studies" (1977). These three short pieces use abstractions of old musical forms: canon, chorale, and perpetuum mobile. The timbres are almost always changing with each successive event in these works, very quickly so in “Perpetuum Mobile."
The”Moon-Whales Suite” presents three sections of a larger work, “Moon-Whales and Other Moon Songs" (1982-83). This is a seven-movement work for soprano and electronics. The even-numbered movements are for soprano accompanied by electronics, and the odd-numbered movements are for soprano solo followed by an electronic music section without voice. The three movements presented here, are the 2nd, 4th, and 6th sections of the work, without the soprano introductions. The work is based on poems by Ted Hughes, the British Poet Laureate from 1984 to 1998, taken from his collection “Moon-Whales and Other Moon Poems." The three poems referenced are also the titles of the pieces in this suite: “The Moon-Oak,” “The Moon-Bull,” and "Moon-Wings". Reading the poems will help to uncover the inspirations and ideas behind these works, but I think they also stand on their own as musical compositions. While the master tapes for the electronics of these pieces still exist, they are unplayable due to tape deterioration, yet another reason for this album to be called “Lost Analog."
This one is in via Stefan who had the following to say about it:
"Yesterday evening 19th october, i was lucky enough to see and hear Suzanne Ciani performing live with her Buchla system in quadraphonic, together with an orchestra.
It was an amazing concert. On the site of Metropole Orkest there is more in depth info and interviews with Suzanne Ciani and Simon Dobson and the arrangers. Someone uploaded a short video [above].
Afterwards there was a standing ovation :"
Suzanne Ciani + Metropole Orkest standing ovation. ADE 2022
video upload by osixoone sevenone
"This was one of my favorite performances from Knobcon X this past weekend. Resonant Space performed as part of the Afternoon Abstract on Saturday September 10. This entire show was composed and performed with quadraphonic sound. Unfortunately, the camera cannot capture it in the same way it sounded live."
"The Sextuple Quadraphonic Spatial Director or SQSD is a six-channel quadraphonic mixer and joystick controller designed for the Buchla format with full analog design and flexible CV control."
"The SQSD combines six joysticks capable of generating control voltage with a six-input equal-power panning mixer, allowing for intuitive and fun direction of spatial sound in both stereo and quadraphonic speaker configurations. It's the ultimate next-level mixer for electronic musicians looking to take their performances to the next level.
The SQSD is made possible with a collaboration between Kilpatrick Audio and A Yellow Sine.
The team consists of:
Patrick McMaster - Composer, performer and electronic music wizard of A Yellow Sine
Andrew Kilpatrick - Conductor of Electricity and founder of Kilpatrick Audio
Joystick Controller
Each of the six joysticks generate two control voltage signals: one for each axis of motion. These CV outputs can modulate parameters on compatible voltage-controlled electronic music equipment. Using the joysticks to control the location of a sound source is intuitive and fun, and the SQSD makes this easy by incorporating six channels of quadraphonic panning.
Quadraphonic Panning
Quadraphonic sound involves the use of four speakers to create an immersive listening experience in which sounds can move around the listener. It’s the most accessible form of what’s called spatial or surround sound since it only requires four speakers.
Two dedicated location control inputs are available for each of the six channels. You can connect control voltage signals from a sequencer, envelope or LFO to these inputs, but the joysticks make quad panning quick and easy. The twelve joystick CV outputs and location control inputs are grouped together, and can be easily patched with shorting bars. Convenient DIP switches on the back of the unit normalize these connections without the need for any patching.
Mixer
Up to six channels of sound can become part of the quadraphonic or stereo spatial direction, with each channel having its own dedicated level control and LED indicator light. There’s a main mix output control as well with LEDs for each of the four outputs."
"Monome Norns / Fates controlled by ARC and Faderbank. Live performance at 'New Atlantis, Artists Edition' at the Io Myer Theatre at the University of New South Wales in Sydney. Recorded 6th March 2021. Testing the Quadraphonic sound stage at the theatre, this event featured several NSW modular and sound artists. Huge thanks to Adam Hulbert of UNSW and New Sound Waves for organising and facilitating the event. Video Synthesis and projection mapping onto the 4 screen panels by Adam Hulbert and Simon Trevaks (with Luke S Dearnley operating Vidiot during my set). Quadraphonc sound in the Theatre but only stereo on this video - still some good sound panning and movement best heard on quality headphones or speakers. Norns / Fates features several reels of material including field recordings of underwater audio from the Great Barrier reef off Carins QLD, percussion extracts from my Asalt studio piece & various Norns apps pieces and percussion. Using Norns App ASH/ ANGL the ARC controls the pitch and speed in a high precision granular manner and Faderbank adjusts various other parameters. 4 Granular 'tape heads' are available concurrently and I swap out 'sound reels' during the performance. The performance is basically made 'on the fly', by ear, by granularising the sounds into tiny pieces and adjusting parametaers to mix, smear, pan and resize & overlap grains. Picked up some radio interference towards the end as well! Thanks for watching."
"Aeolus Seeds manipulate the dynamics of a fully analog signal path through four VCAs driven by a handy multi channel modulation source.
As well as an obvious tool for quadraphonic spatialisation, Aeolus Seeds is also a useful device for vector synthesis, thanks to its Sum output.
The CV output also pushes the exploration further by providing signals to other modules, enabling you to breathe more life into the sound spatialisation of a quad environment."
Shakmat Aeolus Mixer — Demo
"Aeolus Mixer is a 6HP quadraphonic unity mixer. Three quadraphonic inputs and two stereo outputs are mixed to provide a quadraphonic output with 5.1 compatibility."
"one of the highlights of the system is the fact that each single module -
even the recordable (!) joysticks - can be used as soundgenerator.
so the possibilities are endless."
Erica Synths in cooperation with the Liquid Sky artist collective presents the new Dada Noise System II - a modular synth-lab which is dedicated to create all kind of abstract organic analog noise / ambient soundscapes / industrial noise / bad ass bass / spheric atmospheres / experimental unheard drones / sonic glitches and of course all kind of thrilling horror- and scifi-sounds for the professionals. Every single module of the system is already a sound source of its own, therefore the possibilities for sound-, noise- and atmo-experiments are endless. Features Fusion VCO2 Fusion VCF3 Fusion Modulator Black Stereo Delay Black Joystick2 - one of the main elements of the Dada Noise System II which allow automations in sound and effects, positioning in the quadraphonic room, or can function as experimental sequencer and sound source. Black VC Clock Black Modulator Black Dual VCF Black Quad VCA Black Spring Reverb Black Output 25 patch cables Comes with vertical side panels and an external PSU
RRP: 3320 (VAT excl.)
The Quadraphonic Surround Panner is expander row of modules for the Dada Noise System II.
Features 2 x Black Joystick2 2 x Black Mixer/Splitter 2 x Black VCA2 2 x Black Stereo Delay Comes with side panels and an external PSU Quadraphonic Surround Panner integrated with Dada Noise System II makes it the perfect tool for film postproduction, installation works, game-sound design or quadraphonic performances.
To integrate both systems in one, please, order angled side panels that host both Dada Noise System II and Quadraphonic Surround Panner.
"Enjoy Electronics - Reminder Power Delay
