Audio-Term Now Supports Wavetable Export to PPG Wavegenerator

via Piet Wagner on The MATRIXSYNTH Lounge via KVR:

"Version 2.00 is available:

- added KTERM wavetable export to PPG WaveGenerator *.WTS file format

- added scaling function for altering/adapting the KTERM wavetable energy profile

- intelligent backup function in KTERM detects data changes and increments the number of backups only if required

- LEFT/RIGHT cursor keys now can also switch browser pages

- minor GUI changes

- code improvements and bug fixes

http://dl.dropbox.com/s/1y0d88ts8zy1um7/Audio-Term.zip"

Audio-Term also supports the Waldorf Blofeld. A search on Audio-Term on the top left will bring up some video posts and more details.

New Version of AUDIO-Term Supports Creation of Blofeld Wavetables

via blacktomcat666 on KVR

"Version 1.21: Audio-Term.zip


Added a new file type in KTERM called 'BWC'.

BWC files can be loaded into the "Blofeld Wavetable Creator". They consist of a 32bit signed pcm wavetable file with a footer added, including data wich are required to reload these files (without losing information) into KTERM.

You can write 3 types of BWCs:

Slice 1-33 filled, 34 - 64 empty (33_RAW)
Slice 1-33 filled, 34-64 filled with the content of 33 (33_SUS)
Slice 1-64 filled with an interpolation of the 33 KTERM source entries (64_IPOL)

These files can be opened with "Blofeld Wavetable Creator" using the "Import Wave" button (set view to "all files"). There are also some prebuild BWCs in the zip file: some sweeps and some vocal stuff ("yeah","K-TERM")...

I do not own a blofeld, so it would be nice if someone could try this. Hope, it works... ."

via Piet Wagner on The MATRIXSYNTH Lounge

For more info on Audio Term, see this post with videos.
For more info on the Blofeld Wavetable Creator see this post.

Audio Term Wavetable Editor Adds Support for Synapse Audio Dune 2

via Piet Wagner on The MATRIXSYNTH Lounge

"Audio Term has been updated to 2.16. It supports wavetable for dune2." [posted here]

Previous posts on Audio Term.

Plugin Alliance Announces Enhanced Emulation of Knifonium Tube-driven Synth

Knif Audio Knifonium - Playthrough


Knif Audio Knifonium - Overview with Matthew Wang

Plugin Alliance


"SANTA CRUZ, CA, USA: Plugin Alliance, supporting all major plugin formats and uniting some of the best-known international audio companies under one virtual roof, is proud to announce availability of Knif Audio Knifonium — solidifying sister company Brainworx Audio’s new plugin partnership with Finnish pro audio equipment extraordinaire Knif Audio as an enhanced emulation of the extraordinary Knifonium, an exceptionally beautiful-sounding monophonic synthesizer that is driven by a whopping 26 vacuum tubes — as of July 7…

As an upscale synth sensation, the Knifonium features two tube-driven oscillators, a 4th order ladder filter, a ring modulator, and a gorgeous ‘steampunk’ aesthetic (worthy of American science fiction author K. W. Jeter — originator of the term — himself). Handcrafted in small batches by high-end audio device designer Jonte Knif, the original hardware unit really reflects his incomparable attention to detail. But beautiful as it is, the Knifonium is not just expensive eye-candy capable of making ‘weird noises’ but rather an exceptionally musical and inspiring instrument that offers countless possibilities for shaping and modulating sounds.

Although a new addition to the Plugin Alliance family, the notable Knif Audio name is revered by hardcore synth freaks and audiophile engineers alike. And although lead designer Jonte Knif has been making vacuum tube-based hardware for mixing, mastering, and sound design for years, his Knifonium synth sensation is carefully crafted to be second to none. No one sums it up better than Jonte himself, however, who simply says: “It sounds like nothing else.”

Engineers at Brainworx Audio have taken a great thing and made it even better. Because not only is the plugin version of the Knifonium even more accessible and easier to use than the original, it also adds features that just aren’t possible in the analog world.

With eight independent voices added to the synthesizer, Knif Audio Knifonium opens up an entirely new universe of possibilities as an enhanced emulation — for instance, imagine an atmospheric-sounding pad produced by a total of 208 vacuum tubes!

The software version also adds M/S (mid-side) and stereo Spread capabilities, a powerful Unison mode, as well as the carefully-curated FX section, including a well-known vintage-style Phaser, plugin partner brand SPL’s EQ Ranger, Wavefolder, and more as a wide range of effects that Knif Audio Knifonium users will actually want to use.

Ultimately, Knif Audio Knifonium sounds uniquely rich and captivating — even at its most basic. But best of all, Jonte Knif confirms that it sounds and behaves just like the real thing. This should come as little surprise since Brainworx Audio meticulously modeled the complete circuits of the original hardware — including all 26 tubes, and applied its patented TMT (Tolerance Modeling Technology) to recreate the natural variations in Envelope parameters, Pitch, LFO (Low Frequency Oscillator) speed, and so many more characteristics to make this digital recreation sound as realistically analog and natural as possible.

Knif Audio Knifonium is available for purchase (as an AAX AudioSuite-, AAX Native-, AU-, VST2-, and VST3-supporting, fully NKS — Native Kontrol Standard — compatible virtual instrument plugin for macOS 10.9 through 10.15 and Windows 7 through 10)
at an attractive introductory price of $199.99 USD until August 10, 2020 — rising thereafter to an MSRP (Manufacturer’s Suggested Retail Price) of $299.00 USD — from here: https://www.plugin-alliance.com/en/products/knif_audio_knifonium.html"

Doepfer Modular A-106-1 Xtreme Korg MS-20 Filter

via this auction

"below is the manufacturers info:
[possibly the longest ever]

Module A-106-1 has it's origin in our experiments to built a MS20 filter clone. The famous original MS20 included two filters: a 12 dB lowpass and a 6dB high pass filter connected in series both with a very special design (the MS20 highpass if very often described as 12dB high pass, but this is not true). During our researches we found a way to use the same circuit simultaneously as lowpass and highpass for 2 different audio signals (a bit similar to the A-101-1 Steiner Vactrol filter that has even different audio inputs available, but with the special MS20 circuit). For this two separate audio inputs for lowpass (LP) and highpass (HP) with separate level controls are available. The sockets are normalled, i.e. the signal applied to the LP input is available for the HP input too provided that no plug is inserted into the HP input socket. The level control of the HP input is realized as a polarized input. This means that the signal can be added with the same polarity (+ range) or opposite polarity (- range) compared to the LP input. This feature enables notch (+) and bandpass (-) filter functions too. From our point of view this is the most flexible solution that enables e.g. these functions: Lowpass: the audio signal is fed to the LP input, HP level control is set to zero, LP level control is set to the desired levelHighpass: the audio signal is fed to the LP or HP input, LP level control is set to zero, HP level control is set to the desired level (in this special case it does not matter if positive or negative amplification is chosen with the polarizer control)Lowpass/highpass mix with one audio signal: the audio signal is fed to the LP input, LP and HP level controls are set to the desired levels. special setting 1: if the level controls for LP and HP are set in a way that both levels are identical with the same polarity (i.e. + range of the HP level control) and no or little distortion only one obtains ~ a notch filter (the "~" indicates that the notch is far from beeing perfect, the attenuation in the passband is not as good as for other filters of the A-100 system, look at the frequency response curves at the bottom of this decoment for details)special setting 2: if the level controls for LP and HP are set in a way that both levels are identical with the opposite polarity (i.e. - range of the HP level control) and no or little distortion only one obtains ~ a bandpass filter (the "~"

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Transwave - Term (now Audio Term): New functions

YouTube Published on Apr 3, 2012 by blacktomcat666

"A short demonstration of the 'synthesize loop' and convolution module. Sorry for the low visual quality, this video is for sound demonstration puposes only. The speed of the resynthesis is very slow, because it's an old Athlon 1800 and the video capturing software uses up to 80% of the ressources."

via Piet Wagner on The MATRIXSYNTH Lounge
"Here's a small demonstration video of some new features, which will be available the next weeks: First a sample is looped and 'stereofied' and then multiplicated with a drum loop. Computing the sounds is very slow because of the ressource consumption of the video capturing software."

Previous videos:

Transwave - Term controlled by light pen

Uploaded by blacktomcat666 on Feb 1, 2011

"A short demonstration of controlling Transwave - Term with the light pen. The video was recorded in an early stage of development, resynthesis quality and light pen handling have improved by now. See also this video:"

TRANSWAVE - TERM small demo track

Uploaded by blacktomcat666 on Feb 15, 2010

"Additive wavetable generator for samplers with loop position modulation.

Bass: Access Virus B
Drums: Technics WSA1
Transwaves: Wusikstation VSTi"

Update some screenshots and details via blacktomcat666 on KVR

"I programmed a small windows based tool called "Komplex - Term" which can read and write WT files for the Terratec Komplexer. Further you can render it's wavetables to wave format, so you can use it in your Wusikstation, VAZ Modular, Reaktor... . It also offers wave file resynthesis and some editing functions like reordering slices, drawing spectra, a free formant filter (similar to the kawai k5000)and so on. I wrote a short manual, but please excuse my poor english. Very Happy

Download: Komplex-Ter m.zip"

SYNTHETIC SOUND LABS SEGWENCER 2520 MODULAR EURORACK SYNTHESIZER MODULE

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"The SSL 2520 Segwencer™ Euro module is indeed in a class of its own. The name derives from the audio term “segue” (fading from one sound to another), and the synth term “sequence” (moving from one point / sound to another), and once combined, there is a synergy that blasts these concepts into a totally new way of morphing sounds, textures and even control voltages.

Before we go any further, a bit of explanation is probably in order. If you know a bit about pipe organ history, you know that a "crescendo" pedal is not a simple volume control. Pipe organs can control volume by opening and closing louvers in front of the pipes (called “swell”), but can’t really control brightness / timbre. A crescendo can add the perception of brightness and impact by adding more “ranks”. This is typically done with a separate pedal that the artist moves forward to bring in brighter and louder sounds. On a pipe organ, the mechanics of this are fairly straight-forward but technically complex. As the artist goes from soft to loud with the crescendo pedal, several “switches” are sequentially engaged. Each successive switch causes a new pipe rank to sound, therefore it becomes increasingly fuller with each stage of the crescendo pedal.

So, what is the SSL Segwencer? In a typical Voltage Controlled studio environment, a control voltage is fed to the “Depth” input which (through an on-board attenuator) controls which of the four Segwencer channels is active based on the input voltage. Each channel of the Segwencer has a separate built in VCA (DC coupled!) input and output, as well as a comvenient Mix output that can frequently save a mixer.

By this description, you might think that the Segwencer harshly “switches” from channel to channel – which is not in itself a bad thing. Here is where the Segwencer really shines.

The Segwencer has a “Width” panel control that literally softens the progressive transitions between the channels. So YOU have complete control over the transition of the “switch” point between the channels, and the “softness” of how that channel switches. Really cool!

Obviously, using a voltage pedal could emulate the actions of a crescendo pedal, but how about feeding the Depth input with an envelope generator? What about an LFO, or even keyboard velocity voltages. And since the VCAs are DC coupled, imagine possibilities of Segwencing control voltages, or even CVs AND audio in the same segwence? The combinations are staggering.

Imagine taking each basic waveform from a VCO into each input of the Segwencer and having the Segwencer smoothly blend the waves? Or how about a sine wave into channel “A” out to a audio mixer, an LFO into channel “B” out to the VCOs CV input, and a wavefolded sine into channel “C” out to the audio mixer? Result: Sine, to FM modulated sine, to distorted sine.

The VCA inputs are conveniently normallized, so - How about a voltage controlled quad panner with each output going to a separate speaker? Or maybe three or four VCOs in a musical chord (or dischord if that floats your boat), each into a separate Segwencer input, with the Segwencer “Mix” output as audio? Result: Think about it.

You'll probably find youself using at least one Segwencer for just about every patch!

Controls
- Width
- Depth CV Amount
- Peaks / Slope selection switch

Inputs
- 4 DC Coupled Linear VCAs
- Depth CV

Outputs
- 4 DC Coupled Linear VCAs
- 1 DC Coupled Mix output

Indicators
- 4 Channel Activity LEDs (Blue)

Power
+15V at..ma, -15V at..ma, 16pin Eurorack header.

Size
Width - 10HP
Depth - 45mm (1.75") behind panel"

Audio Term II (some first sound examples)

Published on Mar 31, 2015 blacktomcat666

"Some first examples of the Audio-Term II VSTi (still under development)."

New MOOG SUB 37 Paraphonic Polyphonic Synth Coming to NAMM?

Click the pic for the full size shot.

Some discussion on The MATRIXSYNTH Lounge and MATRIXSYNTH Facebook.

Update: [see Update4 below] for those not familiar with Paraphonic synths, a definition via wikipedia followed by a couple of notes:

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Roland TR-808 Inducted Into NAMM TECnology Hall of Fame

The press release:

Legendary Drum Machine Recognized for Audio Technology Contributions

Los Angeles, CA, January 30, 2020 — Roland, a leading manufacturer of electronic musical instruments and professional video products, proudly announces that its legendary TR-808 Rhythm Composer drum machine has been inducted into the prestigious NAMM TECnology Hall of Fame, Class of 2020.

The TECnology Hall of Fame, presented by the NAMM Museum of Making Music, honors audio products and innovations that have made a significant contribution to the advancement of audio technology and production. Hosted by audio historian George Petersen, the TECnology Hall of Fame Celebration was held during The NAMM Show on Saturday, January 18, 2020.

Each year, a panel of audio experts, including authors, educators, engineers and other professionals select the inductees. This year’s panel commented, “Roland’s TR-808 programmable drum machine became part of the foundation of music movements in hip-hop, rap and electronica. And although made in 1980 — almost 40 years ago — the once $1,200 TR-808 remains a highly-prized studio tool today, with working units valued in the $4,000 range.”

Widely considered one of the most popular drum machines of all time, the Roland TR-808 has contributed to the sounds of Marvin Gaye, Phil Collins, RUN DMC, Beastie Boys, LL Cool J, and Public Enemy. Routinely celebrated by lovers of culture, music and design, the term “808” has even started appearing in song lyrics and still gets name-checked to this day, as tracks (Timbaland’s 808), albums (Kanye’s 808s & Heartbreak) and even band names (808 State) were all coined under its influence.

TR-808 enthusiasts all over the world can also experience the modern versions of this revered classic—the TR-08 Rhythm Composer and the TR-808 Software Rhythm Composer which is available as a part of Roland Cloud. Born of the most famous and influential drum machine ever made, the both the physical TR-08 hardware and the Roland Cloud software version of the TR-808 provide the most faithful reproductions of the original combined with today’s modern production techniques and professional sound design.

W I N D C H I M E S ELECTRONICS

"W I N D C H I M E S ELECTRONICS is Amanda Eicher and Yasi Perera making things that seem to depend on mass means, with the help of many collaborators, among them Thomas Buckler (web and graphics), Chris Cohen (accounting), Randall Fontes (state) and Walter Funk (waveforms)."

Yasi worked with Don Buchla & Associates.  W I N D C H I M E S current project is what they call "a light harmonizing time house".  The following is captured for the archives here.  Click through above for the animated gif and of course the rest of the site.

"It generates a single signal, suitable for both lighting and audio, in resolution of detected/imagined stimuli taken in by its touch and light sensors. It attempts to follow the circadian light-time around it and contribute to the harmony of its local time.

The visualization at left shows the kitten-sized cast-plastic structure, built to hold shoji paper screens. The patterned windows diffuse light from a complex of LEDs and electronic filters designed to behave like moving post-'black body' flame.

The pattern of illumination is, filtered differently, available at an 1/4" audio output, ready to drive an instrument amplifier. The audio is optionally emitted combined with sub-audio control signals, which can be demodulated to use later in the signal path by future modulation-aware signal processors packaged in 'stompbox' format.

The top, snooze bar, is a silver zigzag - capacitive touch sensor and CdS light sensor synthesizing touch and light information into a microprocessor-mediated response.

The Light Harmonizer is sensitive to touch-kinds: lightness of touch, timing of approach, and motions across and around. Unfinal attempts at categorical perception. First touches dim the light briefly, then it comes back in viscosity. Regular patterns of touches, it tries to predict and continue. ALSO 'day' to 'day': say, touches you give at lunch - every lunch - even if not regular per our usual clocks, are taken, speculatively, as regularities. Deviations from your regular lunchtimes, shown back in flushes, noticing what is astral weeks, what is dim weeks, when is the decade of french revolutionary 10 day weeks. In searching, we keep the memory sparse; without many bits, we find salience in action.

Its illumination varies also at frequencies we may hear, so at the audio output, fingers thump: bass drums, chimes, 100 metronomes' granular synthesis: embers, wind-through-trees, -through-chimes. We establish a circular heieracrchy of sound types: percussion, arrayed algorithmically, then stochastically, until, being noise, they form the elements of other drum sound syntheses. This carries on early work in computer music by Paul Berg, Herbert Brün, Arun Chandra, Rich Gold, S. R. Holtzman, G. M. Koenig, and Iannis Xenakis, among others, exploring sound manipulation at the machine instruction level as compositional. A physical platform for the exploration of seminumerical algorithms (Knuth's term) in relation to experience- both the experiences of music, and lived time. We take 'seminumerical' to pertain to aspects of postulation beyond Knuth's computer-scientific notion of 'hardware', into pertinence of form. Peter Naur displays this connection in examining problems, tools, and people as mutually constitutive.

We hope to take time as a place to display and collect user interface, generating informational 'persistence' in time itelf as a basis upon which to 'communicate'. 'Persistence in time' implies an expanded notion of rhythm, as qualia, consistent with classical concepts."

Yamaha Officially Introduces the New Montage Synthesizer

MONTAGE Development Story

Published on Jan 21, 2016 yamahacorporation

Update: Two new videos from Kraft Music added under the press release below.

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Synclavier Digital's Regen Gets Wider Release

video upload by Synclavier Digital

Regen Tutorials


Regen Quickies


You can find additional posts featuring demos of the Regen here.

Press Release follows:

"Synclavier Digital releases regenerated Synclavier® II trailblazer as timeless Regen desktop synthesizer bolstered by present-day DSP developments

NOVA SCOTIA, CANADA: soft-launched late last year to widespread critical acclaim at the Synthplex® synthesizer expo and electronic music festival hosted at the Marriott Convention Center in Burbank, CA, USA with pre-orders opening for fulfilment in 2023, timeless synthesis product manufacturer Synclavier Digital is proud to announce wider availability of Regen — released as a desktop synthesizer that is, in short, a real regeneration of New England Digital’s seminal Synclavier® II digital synthesizer that took the pro audio industry by storm when introduced in its initial incarnation in 1980 (evolving beyond that to blaze more technological trails with polyphonic sampling and, ultimately, DAW — Digital Audio Workstation — capabilities well before that term was invented, even), extended and enhanced to take advantage of the increased computing power available today to make it as compelling in a modern setting as the prohibitively pricey original did during its time (finding favour with top-tier film composers, record producers, and recording artists), while the considerable cost and size reductions associated with Regen’s present-day design criteria conversely position it well within reach of (almost) anyone — as of June 29…

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Introducing Traktor DJ for iPhone

Published on May 2, 2013 NativeInstruments·301 videos

"TRAKTOR DJ, the pro DJ app for iOS, is now available for iPhone and iPod Touch. More info and videos: http://www.native-instruments.com/en/products/traktor/dj-software/traktor-dj/

Deliver devastating DJ sets using familiar iPhone gestures, with beautiful waveforms at your fingertips. Set up beat grids, cue points and BPM tags on your iPhone to sync with your TRAKTOR PRO setup. Perfectly adapted to the iPhone's compact screen estate, TRAKTOR DJ for iPhone puts professional DJing in the palm of your hand.

TRAKTOR DJ for iPhone is available now at the iTunes App Store for only $4.99 / 4.49 €.
Traktor DJ for iPhone - NATIVE INSTRUMENTS GmbH

The iPad version is available for only $19.99 / 17.99 €.
Traktor DJ - NATIVE INSTRUMENTS GmbH

Tracks by Modeselektor - Pretentious Friends (Instrumental version), Berlin (Instrumental version)"

iOS Devices on eBay - Daily Tech Deals

"Native Instruments Releases TRAKTOR DJ App Exclusively for iPhone & iPod touch

Berlin, May 2, 2013 – Native Instruments today released the TRAKTOR DJ for iPhone App, available now on the App Store for iPhone and iPod touch. Following the release of the unique, hands-on DJ app for iPad, TRAKTOR DJ for iPhone delivers the same intuitive workflow and advanced feature set as the iPad version, with an optimized interface to fit the screen real estate of iPhone and iPod touch. The TRAKTOR DJ for iPhone App is aimed at DJs of all levels from novices to touring professionals. Users of TRAKTOR PRO, Native Instruments' flagship DJ software for Mac and PC, can also complement their setups with bidirectional content synchronization with TRAKTOR DJ for iPhone.

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Ieaskul F. Mobenthey Eurorack Modules From Ciat-Lonbarde's Peter Blasser

via Control

"Peter Blasser's - Ieaskul F. Mobenthey modules are now In-Stock. Couldn't be happier to have Peter's stuff in-stock, he's been pushing the limits of instrument design and the philosophy behind it for years with Ciat-Lonbarde and very much encompasses the ideals of what we find inspiring about synthesis, electronics and the makers who make them. Limited Qty available."

Details on each, captured for the MATRIXSYNTH archives, follow. You'll find a video of them previously posted here.

"Ieaskul F. Mobenthey - Denum

The Denum module is essentially a bounds/bounce oscillator. It has the “triangle core” circuitry used in many
oscillators, but it adds a correlated bounds modulation, according to the concept (see below). Here, bounds and
bounce are each given equal treatment, with separate linear and exponential controls and inputs. In addition,
this module has a fully featured bi-polar VCA with complimentary inputs, to get you quickly going sending
“bb-objets” out the left and right channels.

Denum is an 8HP Eurorack module that runs on +12 and -12 volts. Attach power connector positive to “+” and
negative to “-”. Failure to follow proper power polarity will result in instant destruction of unit.

Looking at the front panel of Denum, note that inputs are marked by copper fill. There are three main sections:
bounce, bounds, and the VCA. Bounce is above bounds to emphasize the numerator/denominator relationship
of the two. Each of the two has exactly the same inputs and knobs. The “basis” knob sets the base rate or
position for bounds. There is a linear control input, marked by a a caret. Linear modulation is an alternative
input for pre-enveloped audio, since it has no attenuverter. However, the exponential control input is tied to an
attenuverter, marked by a characteristic bow-tie. An attenuverter works like this: at noon the modulations are
nulled out, they have no effect; clockwise from there they increase in intensity, with positive input meaning
“more”; to the counter-clockwise direction, modulations increase as well, but with negative input meaning
“more”. This knob is essential to controlling how much, and in which direction, your modulations apply.
Between the bounds and bounce areas, there is a range switch. When in middle position, Denum runs at a
standard audio rate. Pointing downward is a low audio rate, and pointing upwards is a definite CV, lowest rate.

The triangle output speaks the position of the waveform in voltage, and square expresses the frequency in terms of
negative and positive 10 volts. The triangle output is bussed into the left and right audio inputs of the VCA,
at bottom. Either can be swapped out for external audio energies, via the “left, right signal inserts”. The “left,
right VCA inputs” are for controlling the amplitude of the signals, with either a linear or exponential mapping. If the
left input is greater than right, sound goes out the “left out”. If right is greater than left, sound goes out the
“right out”. The voltage amount of difference maps to loudness in these channels. The “linear, expo switch”
chooses linear when cocked up, as marked by a caret, and exponential when cocked down, as marked by a
rounded form. There is an optional mute when the switch is in the middle.

About Bounds/Bounce

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ReSynthesizer (Autonomous Synthesizer Installation at MIT's PSFC, Spring/Summer 2018)

video upload by ParadisoModular

"In December of 2017, as part of the 50’th anniversary celebration for MIT’s CAVS (Center for Advanced Visual Studies), I was invited to install my large, custom built-and-designed modular synthesizer system into the experimental hall where Alcator C-Mod was residing, MIT’s most recent tokamak reactor used in plasma fusion research. Known as being a pioneering melting pot for art and technology during the 60s, 70s and 80s, the CAVS was a place where scientific fields like physics would commune with performance and music. Modular synthesizers, as used there by early adopters like Paul Earls, were part of the Center’s original vernacular, and after many decades they are being enthusiastically re-discovered, re-embraced, and in many way re-invented by the current young generation of electronic musicians. Such reflected synergy into the present led to my invitation (as well as this installation’s name), as did the match between the aesthetic and technical grandeur of a large heavily-patched modular synthesizer and the huge mélange of custom, elegantly-kludged electro-mechanical systems that surrounded the tokamak. Similarly, the researchers’ quest to manage the chaotic nature of an energetic plasma (as expressed inside the tokamak’s torus during the peak of plasma confinement) resonated with my efforts to ‘sculpt’ my autonomous and likewise chaotic huge synthesizer patch into a definable aesthetic.

As I have my PhD in high-energy physics (having worked at CERN at various times between the late 70s and early 90s) in addition to having designed, built, and used electronic music systems of various sorts over the last 45 years, I was anticipating having access to actual Alcator data and using it in the patch that I would compose when the installation would go live in late March of 2018. My plasma physics colleagues resonated with this idea, and I was provided with several waveforms coming from various sensors on the tokamak acquired during its record-breaking run from a few years ago, when Alcator C-Mod had attained the largest recorded plasma pressure. Listening to this data as audio, I was immediately transfixed. This didn’t sound like bland digital noise, but instead felt alive – some strange kind of muted rattlesnake here, burbling life forms on a weird water planet there, perhaps other samples evoked the barely scrutable control room of an alien spaceship. These sounds, played at various rates and filtered into audible bands, were strongly otherworldly. This dictated the flavor that I’d strive for in my patched composition. Accordingly, I loaded banks of Alcator’s waveforms into an array of Eurorack samplers that I could control from processes running in my synthesizer. While most of these signals were used as direct audio, some were adopted for modulation envelopes and slow control – the tokamak cycle exhibited a variably noisy build-and-release structure as the magnetic fields were ramped up to concentrate the plasma before it went terminally unstable, which worked well here.

My patch evolved considerably during the installation, which ran from late April through late August of 2018. I worked on it weekly, and it achieved its ultimate balance between form and complexity by the beginning of July. At the end, I used every patch cord that I owned (on the order of 700) and nearly all modules in the synth, in addition to an assortment of outboard effects and commercial Eurorack modules that I coaxed to work with my system. Towards the end, when I was starting to run out of cords and hardware capacity, I resorted to kludging in simple wires and electrical components hanging in the air between modules to attain effects and sounds that I still wanted but didn’t have the modules available to make. This was the most extensive and ambitious synthesizer patch that I’ve yet composed – it pushed me to extremes of being simultaneously a composer, synthesizer musician, engineer, and scientist. Having designed, built or custom-modified nearly everything in my setup creates a special rapport for me that goes deeper than interaction with commercial synthesizer equipment – my system has its own unique capabilities and quirks that reflect my personal audio nuances and what I want to achieve with them.

At various stages during the 4-month run of this installation, I digitally recorded the patch’s stereo mix – in all, I have archived probably on the order of 60 hours of audio. The excerpts provided in this video all came from different sections of this long set of recordings. Aside from cross-fading between different excerpts, there was no manual intervention or overdubbing in these clips – the sound was made entirely from the patch running on its own after I set it on its way, with updates and augmentations I made every week or two based on ideas I got while listening to it stream online. The video also features a brief example of some of the raw plasma data sounds that I used."

And in the studio:

Synth Patch For Chaos Unit, Sitar Pedal, and NightSky'ed Keyboard (August 2021)

video upload by ParadisoModular

"In the summer of 2021, I put in a synth patch to test out my newly-arrived Sitar Pedal as well commemorate the tweaking/repair of my voltage-controlled chaos module. This was a very simple patch compared to my usual - nothing too deep or thought out, and the master sequence is a bit shallow - but it has its vibe. Plus, at 2:30 in, I added a keyboard line over what the patch was doing. This was all live - the synth patch ran autonomously and I just recorded as I played - no preparation, overdubbing, or refinement here - hence it's raw and not even close to what I'd term finished or a 'demo' - but I kinda like its intrinsic 'hopeful' feel.

The basic sequence is running through the sitar pedal, which locks on fine (it can separate the drone sounds and re-synthesized lead into separate channels). I'm running a fixed tone also through my chaos generator, which I move in a complex way into and out of stability - it locks onto subharmonics or devolves totally/partially into noise as it sweeps. This sound goes through several signal processing paths that periodically fade in, involving filters, unstable phase-locked loops, and a Boss guitar synthesizer pedal (which does wonderfully noisy gyrations as it tries to lock onto the chaos signal between stable moments).

At that time, as opposed to collecting Eurorack modules, I was slowly accumulating and modifying pedals - pedals are all about modifying an input sound in interesting ways, and which generally appeals to me (I hack them, of course, to accept voltage control in different ways).

The only keyboard sound here (aside from one chord and arpeggio at the end) is from the little cheezebox Casio 'toy' that the Minskys gave me at a Media Lab event some years ago - I abandoned my more sophisticated synths for this one in this piece, as it fits easily on your lap (that's how I played it in the excerpt here) and it sounds amazing if you feed it through one of the new complex reverb/echo/delay pedals like the NightSky or Micropitch (those pedals can put any sound into an evocative space).

The video is indeed of this patch and me playing atop it (shot while I was holding the phone in my other hand), but it's not the live segment that you hear in the piece, so pardon if things don't line up entirely, but you get the vibe.

OK - I figured I'd let this one get a bit of air in case it hits some resonance... It radiates a bit of melancholic positivity, which is something we all relate to these days."

New Synthetic Sound Labs SEGWENCER 2.0 – MODEL 2521 & V-GATES 2.0 – MODEL 2611

via @noisebug

https://www.noisebug.net

The SSL 2521 Segwencer™ 2.0 Euro module is an updated version of our popular 2520 with improved circuitry, simple panel graphics and only 8 HP width – and is indeed in a class of its own. The name derives from the audio term “segue” (fading from one sound to another), and the synth term “sequence” (moving from one point / sound to another), and once combined, there is a synergy that blasts these concepts into a totally new way of morphing sounds, textures and even control voltages.

V-GATES 2.0 – MODEL 2611 -

The SSL 2611 V-Gates 2.0 is an updated version of our popular 2610 with improved circuitry, simple panel graphics and only 8 HP width. It sports a powerful combination of features for your clocking and gating pleasure. In fact, there are well over 300 variations of gates, functions and modes. And many of these functions can be voltage controlled!

ANALOG KNOBS ON A DIGITAL GATE?
Absolutely! You bet! Although knobs might seem to make more sense for analog, with digital functions the knobs actually allow very versatile selections of what we call “Sub-Functions”. These sub-functions allow you to adjust how the gate outputs react with the input clock, among other things.

Synthetic Sound Labs Segwencer IV Model1520

Note: Auction links are affiliate links for which the site may be compensated.
via this auction

Full description here: http://steamsynth.com/m_SegwencerIV.aspx"

"The SSL Segwencer IV™ module is indeed in a class of its own. The name derives from the audio term “segue” (fading from one sound to another), and the synth term “sequence” (moving from one point / sound to another), and once combined, there is a synergy that blasts these concepts into a totally new way of morphing sounds, textures and even control voltages.

Before we go any further, a bit of explanation is probably in order. If you know a bit about pipe organ history, you know that a "crescendo" pedal is not a simple volume control. Pipe organs can control volume by opening and closing louvers in front of the pipes (called “swell”), but can’t really control brightness / timbre. A crescendo can add the perception of brightness and impact by adding more “ranks”. This is typically done with a separate pedal that the artist moves forward to bring in brighter and louder sounds. On a pipe organ, the mechanics of this are fairly straight-forward but technically complex. As the artist goes from soft to loud with the crescendo pedal, several “switches” are sequentially engaged. Each successive switch causes a new pipe rank to sound, therefore it becomes increasingly fuller with each stage of the crescendo pedal.

So, what is the SSL Segwencer? In a typical Voltage Controlled studio environment, a control voltage is fed to the “Depth” input which (through an on-board attenuator) controls which of the four Segwencer channels is active based on the input voltage. Each channel of the Segwencer has a separate built in VCA (DC coupled!) input and output, as well as a comvenient Mix output that can frequently save a mixer..."

AEMIT Presents Innovative Eurorack Modules for the Discerning Synthesist

AEMIT ~ Some Sound Snippets from Aemit modular on Vimeo.
AEMIT - Formant tests with System 7.5

CLICK FOR MORE »

New Doepfer A-110-4 Thru Zero Quadrature VCO Eurorack Module

"A-110-4 is a so-called Thru Zero Quadrature VCO. The term "quadrature" means in this connection that the oscillator outputs sine and cosine waveforms simultaneously. The term "Thru-Zero" means that even "negative" frequencies are generated. But this a bit a misleading term as negative frequencies do not really exist. "Negative" means in this connection simply that the sine/cosine waves will stop when the linear control voltage reaches 0V and continue with the opposite direction as the linear control voltage becomes negative and vice versa.

The module has two control sections: linear and a exponential. The exponential section consists of the XTune control, the 1V/Oct input and the XFM input with the corresponding attenuator XFM. The exponential control voltage is the sum of these three voltages. The linear section consists of the LTune control and the LFM input with the corresponding attenuator LFM. The linear control voltage is the sum of these two voltages. A dual color LED is used to display the polarity of the linear control voltage (green = positive, red = negative). The resultion pitch of the sine/cosine outputs is determined by the resulting control voltages of both sections. The linear section is used to control the pitch in a linear manner. When the LTune control (LTune means Linear Tune) is fully CW the module works like a normal Quadrature VCO (e.g. like the A-143-9) and the LED lights green. The pitch is then controlled by the exponential section with the manual Tune control and the exponential frequency control inputs 1V/Oct and XFM. 1V/Oct is used to control the pitch by a 1V/Oct CV source (e.g. sequencer or Midi/USB-to-CV interface). XFM is used to apply an exponential frequency modulation with adjustable depth (e.g. from an LFO or another VCO). As the LTune control is turned counterclockwise starting from the fully CW position the frequency is lowered in a linear manner until the sine/cosine waves stop near the center position of LTune (provided that no LFM signal is present). As the LTune control is moved from the center towards the CCW position the waves start again but into reverse direction and the LED turns red. When the fully CCW position of LTune is reached the module works again like a normal Quadrature VCO. But much more exciting is the usage of the LFM input to modify the linear control voltage by an external control voltage (typically another VCO). Linear modulation by another oscillator using the thru zero feature generates audio spectra than cannot be obtained from an oscillator without the thru zero function. The reason is that a "normal" VCO will simply stop as the linear control voltage becomes zero or negative. But a thru zero VCO will start again with "negative" frequencies as the the linear control voltage becomes negative.

The main advantage of the A-110-4 compared to other Thru Zero VCOs is that the design used a sine/cosine core. The sine/cosine waves are not derived from other waveforms (e.g. sawtooth or triangle) by means of waveshaping. Rather the sine and cosine waves are the core of the VCO which results in very pure waves with a minimum of distortion and overtones."

http://www.doepfer.de/A1104.htm via PatchPierre.Net