EITHER-OR Synthrotek Eurorack OR combiner Module Synth DEMO 1

Published on May 23, 2014 synthrotek·130 videos

"The Either-OR is an 8-channel switchable OR Combiner logic module. The Either-OR allows the user to switch between 2 signals per channel, or combine both of the channels for an OR logic output.

There are also 2 jumpers per channel on the back of the module that allows the user to select between a center OR combiner or a center mute function, or 'off.'

The Either-OR allows the user to combine gates, triggers and other logic signals into a single combined OR output.

There are 8 numbered rows that can be daisy-chained in order to input many multiple logic sources, resulting in complex gate or trigger outputs.

This is a passive module and thus does not need a voltage connection or power cable. The passive diodes produce a slight voltage drop between the input and the output of each channel. As a gate combiner it will combine 2 gate inputs to produce an OR function on the output. When combining CVs, the highest positive input will appear at the output with about 0.7 volts of drop.

The Combine-OR is available as a fully assembled module or in kit form. The kit can also be assembled to switch between audio signals with a center mute. To make the center position a 'mute' or 'off,' remove both jumpers from rear header pins (on each channel).

Specs:
- 14HP
- Power Consumption: 0 mA
- Module Depth (from back of front panel): 1 inch"

synthrotek.com

Synthrotek COMBINE-OR Eurorack 8-Channel OR-COMBINER Module Released

via Synthrotek

"Need more OR? The Combine-OR is an 8 channel OR-Combiner with 4 inputs and 1 output per channel.

The Combine-OR allows the user to combine gates, triggers and other logic signals into a single combined OR output.

There are 8 numbered rows that can be daisy-chained in order to input many multiple logic sources, resulting in complex gate or trigger outputs.

This is a passive module and thus does not need a voltage connection or power cable. The passive diodes produce a slight voltage drop between the input and the output of each channel. As a gate combiner it will combine 2 to 4 gate inputs to produce an OR function on the output. When combining CVs the highest positive input will appear at the output with about 0.7 volts of drop.

The Combine-OR is available as a fully assembled module or in kit form. This kit can also be used to make an 8-channel 1-to-4 passive mult."

Marion (Oberheim) MSR-2 Poly Analog Modular Synthesizer

via this auction

"Concernig the O.S. VERSION:
- Following Internet searches, I believe these are the latest OS versions:
MSR (mainframe) Version 1.09 / ASM (synthesizer module) Version 1.13
- As you can see, the mainframe of the actual item has OS 1.09; can´t really tell the ASM version at this point

---------- ----------
Some facts/rumors about the MSR-2:
- It has Audio-In, so you can process external audio signals thru the envelope/filter et al.
- The Marion MSR-2 is known for having the 'Oberheim sound' packaged inside a compact single-space rackmount module with modern digital reliability and MIDI implementation.
- Despite its rather harmless and simple appearance, the MSR-2 allows for some fairly complex but intuitive programming. The filters, envelopes, LFOs and other parameters are very analog-like in their sound and editing methods.
- The module is 16-part multitimbral.

8 voices and HROs (high resolution oscillators) used in here, midi control, the rest is quite like the Matrix 6, this mainframe can hold up to 2 complete ASMs (16 voices) and a main graphic EQ. planned: sample player, wavetable synth, FX, FM?.. - Module never came up.. has triangle to saw morphing.

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Per-step Pitch Intervals with a Sequencer using PRECISION VOLTAGES module for Eurorack

video upload by AJH Synth Official

"Using a step sequencer to change VCO pitch per step: The Precision Voltages is a convenient way to offset VCO frequencies musically, by pitch increments of semitones and octaves, which can be either added to, or subtracted from an incoming CV signal, such as a sequencer or keyboard controller. This can have many uses, not just for melodic control of oscillators, but here is a particularly useful function for pattern-based pitch sequencing.
Modules connected to the outputs of the Precision Voltages will be sent fixed voltages of preset musical intervals, based on the 1V/Oct scale. These voltages, here represented as precise intervals of semitones and octaves, are selected by the two rotary switches. With no external CV signal connected to the inputs, the module will function as a source of preset fixed voltages, with a huge range of +11 volts to -11 volts (10 octaves + 12 semitones). These can be conveniently switched on or off with the A & B switches. When an incoming CV signal is present, this voltage sources is added to, or subtracted from the signal, meaning it can be used to easily shift the pitch, frequency, or CV level of modules it is connected to. This is ideal for shifting the pitch of VCO's to create harmonies or simple chords, or for offsetting CV levels in any application that uses them.
The Gate input of this module affects the value of A only, and will allow it to be turned on with a high gate signal, or off when the gate is low. B will remain unaffected, and will continue to output the pitch/voltage offset selected by the rotary pots and switches. The 'OUT' output will combine both A and B, depending on the switch position next to it. As a result, when A is turned off, either by the switch or a gate signal, then only the value of B will be output here.
Official website page: https://ajhsynth.com/Precision.html

I'm also using the new Chance Delay module on this patch for some generative randomness/probability - it's not necessary, the sequencer can be connected directly to the Precision Voltages Gate input.

SEQUENCER ADVICE: Most sequencers will allow you to change gate length, sometimes referred to as 'duty', as is done in this video, but you'll need to consult your sequencer's documentation if you are not familiar with how to do this. On many it is obvious, but others not so much. Also, some will allow you to change the gate length directly and quite precisely, whilst others will only allow you to change it in fractions or percentages. This may mean that you can't quite get the gate to span the entire step length, meaning that the pitch modification made by the Precision Voltages may be heard ending prematurely. This is the behaviour of the sequencer, not the module. However, there is a way around this...
A gate signal is just a voltage of either zero volts (off/gate is low), or a minimum of +5 volts (on/gate is high). Gates are pulse (square) waves for this reason, as they are simply one of these two states, and so some sequencers will also refer to gate length as 'pulse width'.
However, all the gate input needs is one of these two voltage values to turn it on or off. This means the CV outputs of a sequencer can also be used, so long as your sequencer has a range of at least zero to +5 volts, which they almost certainly will. Therefore if you connect the CV output of the sequencer to the Gate input of the precision voltages, set all of the step pitches (or pots such as on the SQ1 used here) to zero, when you run the sequencer the pitch changes set by the Precision Voltages will not be activated. If you then raise the pitch of a step to maximum, it will activate the pitch change on that step. Problem solved!
This is not as immediate or convenient as being able to switch the changes on or off with buttons, but it works just the same otherwise, and may be helpful if you can't get satisfactory results with your sequencer, or are finding it too difficult to adjust the gate lengths accurately.

The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.

Video by @DreamsOfWires"

The SP1 Eurorack Case – a modular 3D printed Eurorack Case

A 3D printed eurorack cases via Spiller Photo.

Torsten Spiller, the man behind the case will also make the STL files for 3D printers available for those that want to print their own: "A lot of work and effort during the last weeks to get this thing finalised. A fully modular 3D printed Eurorack case. I will also share STL files for 3D printers soon that the modules can be either bought through my online shop or stl files downloaded from my webpage. I will also share STL files for 3D printers soon that the modules can be either bought through my online shop or stl files downloaded from my webpage."


Details via Spiller Photo:

"Why be limited to modules when it comes to a flexible modular system? Why not also to be flexible with the casing? The SP1 growths with your needs. From the small to-go modular drum synthesiser setup up to the fully fledged modular home system…or even combine a stationary system with a mobile system. The SP1 can be extended vertical as well as horizontal.

Features of the SP1 Eurorack Modular Case

Flexible modular case design
3D printed and use of standard Eurorack thread profiles
Horizontal Extendable
Vertical Extendable
Build in cable shaft on the back (shaft is accessible with the modules SP1H10CC or SP1 H10DCC)
Light Weight
Good Cost/Performance Ratio
Horizontal or angled desktop position*
70mm module depth
Current available SP1 Eurorack case modules:

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Roland System 100m

Click here for additional shots pulled via this auction.

via loscha

Details:
"4 x 112 Dual VCO Modules
This module consists of two independent Voltage control Oscillators. A variety of external controls are possible with this unit including, Pulse Width Modulation and strong and weak sync mode for phase locking. Simultaneous Manual Pulse Width Modulation is also possible. Each VCO has five different range settings from 32' to 2' as well as a Tuning control. Three different waveforms are available on each including, Triangle, Sawtooth, and pulse.

3 x 121 Dual VCF Modules
Two independent VCF's are part of this package. Each VCF includes the added feature of a built-in foxed high pass filter with a switch for turning the high pass functio off or selecting one of three cutoff points. Each VCF also includes three audio and three control inputs, and LED's for following signal flow. The green LED's light when a signal appears at the outputs, the red LED's light for overdrive (distort) condition.

4 x 140 Dual Envelope Generators & LFO
The 140-module and the 110 module provide the minimum basic elements necessary to produce a single synthesizer voice. Two voices can be provided with the added use of modules 112,121, and 130. ADSR's can be triggered from the keyboard's gate or gate + trigger, from an external gate, or manually with the front panel pushbutton. Both envelope generators provide inverted and normal outputs. Voltage controlled low frequency oscillator (LFO) has a built-in delay for delayed vibrato effects. KYBD TRIG switch allows phase locking of LFO output to keyboard trigger pulse.

6 x 130 Dual VCA
Two independent Voltage Control Amplifiers are included in this single package. Each VCA provides three audio inputs with continually variable level controls. Three VCA Modulation inputs are also included, each having its own level control. The outputs of each VCA have a low and high output jack with LED's to monitor output levels. An initial gain control that is continuously variable is included on each VCA and the user is allowed to choose between an exponential or linear response.

2 x 150 Ring Mod, Lfo and S&H
The most common function of the ring modulator is to combine two VCO outputs to produce metallic, bell clanging sounds. The Sample and Hold can be used for sampling an input waveform or for producing control voltage patterns based on that waveform. The musical result is patterns of notes such as arpeggios, random notes, etc.

3 x 132 Signal Mixer and Voltage Processors
Each mixer is a four-channel mixer with simultaneous inverted and non-inverted outputs. They can be used for summing control voltages and/or for mixing audio signals. Both include built-in posititve and negative voltage sources. A red LED indicates an overload condition. The module also includes a separate variable negative voltage source.

2 x 131 4 Channel Stereo Output Mixer
This four-channel stereo mixer has panning on each channel. The mixer can be ised in four track recording or to coordinate multiple synthesizer outputs. Also included are a stereo headphone output with separate level control: 220Hz, 440Hz, 880Hz. Mixer program outputs include left and right stereo outputs and separate mono output. Program outputs include both mini-jacks and 1/4" phone jacks for convenient connection to other parts of the synthesizer or to other studio equipment- Each program output also includes a red LED to show overload (distortion) condition.

1 x 165 Dual Portamento
Two independent portamento controllers are included in one module. Because the portamento time can be controlled by an external control voltage, you can be more expressive in the musical melody.

1 x 172 Phase Shifter and Effects Unit
The phase shifter and audio delay can be used for producing spatial effects. Both include convenient effect on/off switches and can be controlled from an external control voltage source so that two units may be used together for stereo effects, or may be used as a part of the sound synthesis process itself. The built-in control LFO has both normal and inverted outputs. The gate delay can be used where desirable to provide a delayed output from a pulse source, or it can be used as a pulse shaper. The gate delay also has a built-in high gain amplifier with a THRESHOLD control so that low level pulses recorded on tape can be amplified and shaped into a form which will trigger synthesizer functions.

1 x 174 Parametric EQ
This module has a four-band parametric equalizer. Each center frequency can be set exactly within the range of 20Hz to 20kHz, using four control knobs with overlapping effective ranges. Each frequency level can be set individually within the range of =,9 to 9. As an equalizer this module can be used to create various tone colours, and as an effector by exaggerating the setting of each parameter.

8 VCO's, 6 VCF's, 8 EG, 7 LFO, 12 VCA,
5 Mixers and the 'rare' modules - dual portamento, effects and parametric
add up to a MONSTER MODULAR"

Vaemi R2R Ladder

video uploads by Vaemi



Playlist: [don't miss the last video for a musical example]

R2R Ladder : Basic Features : Vaemi (Eurorack)

Now we will use the module as 8 in 1 out. Using the output of an oscillator we can hear exactly how the module works. The sound level is getting lower and lower. Now we will use the module as 1 in - 8 out. Again, when we go down from the outputs, we hear the sound lower.In fact, the module is like an attenuator or a mixer.It can also be considered as a passive multiple. Now let's use it like a mixer and summing the outputs of two separate oscillators.

R2R Ladder : CV Modulation with R2R Ladder : Vaemi (Eurorack)

In this video we will use the R2R Ladder module to create a CV modulation. To hear what we're doing, I first connect the 2nd oscillator's Sine wave output to an LPG. We get the sound from LPG. We use the 1st oscillator to make FM. After passing the 1st oscillator through a VCA, we direct it to the FM input of the 2nd oscillator. I make Maths the Master clock and activate the clock divider right next to it. Standard 5V gate signals are output from each output of the clock divider. I am summing these signals with the help of the R2r Ladder module and determining their levels. R2R Ladder is currently used as 8 in - 1 out. The output of R2R controls the VCA we use for FM. Now, we cancel the signal we sent to vca on the R2R ladder and direct this signal to LPG.

R2R Ladder : Waveshaper Patch : Vaemi (Eurorack)

In this video, you can think that we are using the R2R Ladder module like a waveshaper or like a mixer. We connect the 1v/oct output of the sequencer to the first oscillator. We connected it to the Trig input of Maths at the gate outputs of the Sequencer. We will get the Square Wave output of the first oscillator, but we will not listen to it. With this frequency, we will operate the clock divider at a frequency of audio rate and we will begin to hear the dividers of the frequencies of the oscillator, that is, the harmonic degrees. Output number 1 in clock divider is exactly the same as the frequency of the oscillator.Now we can combine different different harmonics with R2R module. In this way, you will get more complex square waveforms.

R2R Ladder : 8 bit Arcade Style Squencer Patch : Vaemi (Eurorack)

In this video, we will make an 8bit arcade style sequencer patch. R2R Ladder is able to do this job without disturbing the tune. While making the patch, be very careful not to disturb the calibration. There are 2 separate sounds in this patch. One of the voices is synthbass and the other is a lead synth. We will do the modulation to the Lead synth. The lead synth with the 2.oscillator is played the 1v/oct input with a sequencer. On the Exponential FM input, we will add a CV modulation consisting of square waves obtained with the help of a clock divider and R2R Ladder. We hear the results together.

"R2R Ladder is a piece of unique ancillary equipment. It is inspired by DAC, and it is one of the most important and essential parts of it. Designed by Vaemi, this R2R Ladder module is an 8-bit converter. Through the inputs and outputs, whether it is audio or cv, you can enter all types of AC and DC signals. You can think of each channel as 1 bit. Each 1-bit data you send to the inputs will increase incrementally. For instance, a square waveform can be regarded as a binary system. Every channel has 2 resistances, series and parallel; and through these, you can establish a resistance ladder circuit. This circuit gives you the opportunity to get 128 parameters in the binary system, from 0 to 127.

You can use the module as 8 in – 1 out or 1 in – 8 out. Therefore, it can be used for a few different tasks. If you enter any signal from the input, from the other 8 output, it will come out as a low signal like an attenuator. The rate of lower signals will change in every input. If you enter 8 inputs, it will serve as a summing mixer. For example, if you combine more than 2 cv signals, you will have a new cv signal. If you enter more than 2 waveforms and use it in an audio rate frequency range, it will act like a waveshaper. The basic principle of a converter is that it works with 1s and 0s. To do this, it uses gate signals. The voltage of the gate signals is stable. When there is no signal, it is 0 volts; and when there is a signal, it is 8 volts. This circuit can split 8 volts into 128 equal pieces. By using the combinations of the inputs, you can reach all of these 128 points. In this way, without even thinking too much, when you combine 3-4 gate signals with this module, it will easily stop on the right notes, which is the right tune, just like in the tampere note system. The reason for this is that the module splits the voltage proportional. These CV signals you have got can be used in various modulations. It can also be used with an attenuator, a mixer and a multiple. The module is passive, and it does not require a power source."

E-Mu Going Eurorack Under Rossum Electro-Music

If you click the image and zoom in, to the left of the Tiptop Z3000 you should see what looks like a eurorack E-MU module. It has the classic E-Mu modular knobs as the original system in the background. The image was shared by Dave Rossum of E-Mu himself. Hopefully we will know more soon.

Update in via Soviet Space Child (Evolution filter module further below):

Update2: pics and details on additional modules added.

"The Evolution of EVOLUTION

The fundamental core of the Rossum Electro-Music EVOLUTION Variable Character Filter is Bob Moog’s famous “ladder” filter, which was described in US Patent 3,475,623. This circuit uses the variation of the Bipolar Junction Transistor’s emitter resistance with current as the voltage variable element in an RC filter. In the Moog implementation, four identical stages each implemented a single real lowpass pole. The Moog 904A module included a “Regeneration” control that created a negative feedback path around the four poles. Since each pole provided 45 degrees of phase shift at its -3dB point, increasing this feedback produced a resonant peak at cutoff. The musical utility of the Moog filter is, of course, famous.

In 1973, E-mu Systems introduced their 1100 submodule, which was the heart of their 2100 lowpass filter module. The 1100 used a Moog ladder as its core element, but I wanted to isolate the innate audio characteristics of the filter ladder from those colorations resulting from the input level-shifters and output amplifier used in the Moog 904A. I also envisioned a DC-coupled design with a cutoff frequency range well beyond 10 octaves, as well as eliminating variations of the height of the resonant peak or oscillation amplitude with frequency control voltage.

I level-shifted the exponential generator to allow the filter signal input to be directly applied to the ladder base. I then designed a completely new output stage for the ladder; this circuit has never (to our knowledge) been used outside my designs. The entire signal path was DC coupled and the resonant feedback path phase compensated. The 1100 was my favorite filter (I liked it more than the SSM2040 I later invented, and kept the 1100 as E-mu’s modular lowpass in preference to a cheaper 2040 design). The operational range of the cutoff frequency was from about 0.1Hz to 25kHz, with stable Q’s throughout.

In launching Rossum Electro-Music, I chose a new implementation of the 1100 filter as the first all-analog module for our Eurorack offering, based on its unique and outstanding audio characteristics. I re-engineered the basic 1100 core using modern available surface-mount components and then added a number of features to the original 1100 design:

Ladder filters self-oscillate, and can be used as VCOs. I was able to design the Rossum Electro EVOLUTION’s frequency control exponential generator to be extremely accurate and temperature stable, rivaling the specifications of the best analog VCOs. I also added a novel temperature compensation circuit for the ladder emitter resistance.

The resonance (“Q”) of the original 1100 was not voltage controlled. I implemented voltage controlled Q using one cell of an SSM2164 VCA (sadly, the original 2164 is no longer produced, so a replica source is needed). Since the SSM2164 is based on my 1979 design of the SSM2010, this is an apt choice. The phase compensation has been maintained, but we added a “Q Compensation” control. The negative feedback resonance path in the 1100, like the Moog 904A, caused the amplitude of signals in the passband to be attenuated as the Q increased, which some users found undesirable. If instead the signal is inserted into the Q VCA, this effect is eliminated. In EVOLUTION, the Q Compensation control allows insertion of the signal with an arbitrary mix into either of these inputs, allowing the ratio of direct to resonant amplitude to be arbitrarily selected.

There is no inherently desirable taper for Q control. In highly resonant, but oscillation-proof filters such as state variable designs, it makes sense to exponentially control Q. But in ladder filters, oscillation is expected, and high Q’s without oscillation are not practically achievable. The Rossum Electro EVOLUTION implements linear control of the Q VCA.

The ladder design, as I implemented it, has no inherent distortion for signals far below the cutoff frequency. The characteristic timbre of the filter comes primarily from distortions of frequencies near and above the cutoff frequency. The degree of distortion depends on the signal amplitude. Consequently, it is sonically interesting to modulate the signal amplitude going into the ladder, and modulate the output signal with the precise inverse gain. This is the function of the Species control. A high voltage into the Species input will cause the filter to distort more audibly.

Because ladder filters produce their resonance by feedback, the relationship of that feedback to the drive VCAs is critical. The Rossum Electro EVOLUTION places the Q feedback within the drive VCAs. This means that the filter’s resonance is unaffected by the Species setting, but that the amplitude of any self-oscillation will be inversely proportional to the Species level. When using the filter as an oscillator, the Species control can be used to amplitude modulate the output. If oscillation is combined with an input signal, the results become even more interesting. Like the Q circuit, SSM 2164 cells are used for the drive VCAs.

With these additions, the preliminary design of EVOLUTION looked pretty complete. Then Marco asked if it would be possible to add voltage controlled slope (those marketing guys are never satisfied). My first take was that this would not be practical, because varying the slope usually involves controlling complex pole pairs, and the ladder comprises only real poles.

Then I realized that I could steer the current around individual ladder stages in an analog manner, controlling the number of poles rather than the slope. A prototype proved this was both practical and audibly pleasing. Since the resonant frequency of a ladder filter is determined by the 180 degree phase shift point, it changes with the number of poles: 60 degrees for three poles, 45 for four, 36 for five, and 30 degrees for six poles. Modulating the number of poles produces a unique 'bubbly' sound.

Two more tweaks were needed to complete the circuit. Because the number of poles not only affects the phase shift for resonance, it also changes the amount of feedback required for oscillation, the pole control circuit needs to control the Q VCA in a manner such that the same Q control voltage produces oscillation for each pole setting. And since it’s useful but difficult to tune the initial pole setting to be in the center of the range (exactly steering the current to the desired ladder poles), I added analog controlled LEDs to indicate the activation of the poles."

The Evolution filter module appears to be the module in the image above.

"EVOLUTION is Dave’s updated take on his classic enhancement of Bob Moog’s iconic ladder filter.

At the core of EVOLUTION is Dave’s unique implementation of the Moog ladder filter from the original E-mu Systems 2100 LPF module (which, incidentally, Dave counts as his favorite of all of the analog filters he designed).

For EVOLUTION, Dave has designed new capabilities that not only allow users to dial in all of the outstanding qualities of the original 2100, but combine to let them create the sonic characteristics of a wide variety of other filter types. They include:

– A Genus control that allows continuous voltage control of the number of filter poles (from 3 to 6 poles), essentially allowing real-time variation of Evolution’s effective cutoff slope from 18dB/oct to 36dB/oct. LEDs give continuous indication of the current slope.

– A Species control that allows voltage control of the signal level into Evolution’s unique distortion circuitry.

– Voltage controlled resonance with a variable Q Level Compensation control that controls of the balance of the resonant signal and the frequencies below the cutoff frequency (which would otherwise be attenuated as the resonance is increased).

– An extremely accurate and temperature-stable frequency control exponential generator, rivaling the specifications of the best analog VCOs.Taken together, EVOLUTION gives everything from the platonic ideal of the classic ladder filter to an almost unlimited variety of alternative filter characteristics."


Details on the Control Forge & Morpheus Z-Plane Filter (from the E-Mu Morpheus rackmount synth):

Control Forge

Programmable Universal CV Generator

CONTROL FORGE is hard to describe briefly, as it’s unlike anything else available in Eurorack (or pretty much anywhere). The core functionality is drawn from the E-mu Morpheus’s insanely powerful (but hard to program on a two-line display) Function Generators. But now expanded into a supremely flexible modulation source encompassing elaborate one-shot contours, evolving cyclical patterns and sequences of arbitrary length and complexity.

– At its most basic, it’s an 8-stage function generator with variable time and target voltage level for each stage.

– Each stage’s level can be defined either absolutely or relative to the ending level of the previous stage and can optionally be quantized to the nearest 1/12 volt.

– Each stage’s level may have a user defined range of randomness of either linear or gaussian distribution.

– The time scale may be modulated under CV control or manually via the encoder during runtime.

– There are 191 different transition shapes between stages (indicated graphically on the display during selection), from linear and exponential shapes to various flavors of random, chaotic, and many more that don’t lend themselves to one-word descriptions, including the ability to pass CVs directly through to the output for individual stages.

– Also included are “DC” shapes that allow the module to be used as a sequencer with all of the module’s available programmability. When combined with the Preset Sequencer described below, sequences can be hundreds of steps long and modified in real time manually or by CVs.

– Each stage may optionally have a conditional jump mode that results in a jump to another selected stage if a particular condition is met. E.g., a CV being above or below the selected conditional value, the presence or lack of a gate or logic high at their respective inputs, rising or falling edges at the inputs, etc. So, in addition to one-shot shapes, extremely elaborate cyclical patterns can be programmed that evolve based on the various conditional inputs.

– Two independent triggers can be programmed to fire in response to a variety of events and can be used to affect either CONTROL FORGE itself or external modules.

– Hundreds of presets can be saved and recalled

– A preset sequencer allows stepping through user defined series of presets under trigger or clock control. This allows contours and sequences of almost unlimited length and complexity.

– All presets and sequences can be transferred to any number of CONTROL FORGE SATELLITES."

Morpheus Stereo Morphing Z-Plane Filter

With our MORPHEUS ​digital filter module, we’re finally able to unleash the full power of the 14-pole Z­-Plane Filters that Dave invented for the E-mu Morpheus synthesizer.

Due to processor limitations back in the day, the original Morpheus was capable of real-time morphing between filter configurations, but interpolation in the frequency and transform dimensions were set at note-on and remained static for the remainder of the note. But even with that limitation, Morpheus offered sonic capabilities that are unmatched to this day.

With our new MORPHEUS filter module, you get simultaneous real-time CV control of all three dimensions, for dynamic timbral effects unlike anything you’ve ever heard before.

MORPHEUS features include:

– Over 190 14-pole filter configurations

– Real-time manual and CV control of Frequency, Morphing and Transformation

– The ability to save hundreds of customized filter configurations

– A sequencer for stepping through filter configurations under trigger or clock control

– A large OLED display for programming and realtime display of morphing

Like all Rossum Electro-Music digital modules, all parameters are available for adjustment with a single button press. No menu diving."

"SATELLITE is a compact 12HP module that can be loaded with all of the presets and preset sequences from a Control Forge and then function as a completely stand-alone CV generator. Once the presets and preset sequences are transferred from the Control Forge (via a patch cord connection), SATELLITE no longer requires any connection to a Control Forge.

With one or more SATELLITES, Control Forge owners can take advantage of all of their presets and sequences in multiple cabinets or even different systems

Multiple SATELLITE can be programmed from the same Control Forge and synced together via their Gate inputs to create complex polyphonic sequences and modulation contours.

SATELLITE will be available this spring from Rossum Electro-Music dealers worldwide."

Ebashi Audio Eurorack Modules Including Dual Aries PMS 338 PP

Ebashi Audio CMOS 7555 CORE VCO /259 Timbre EXP /Triple LFO First touch ( no talking ) video upload by Dziam Bass

Ebashi Audio is a new maker of eurorack modules. You'll find their modules further below, including one based on the vintage Aries PMS-338 VCO. Note Nonlinear Circuits made one as well. The above video features the CMOS 7555 CORE VCO, 259 Timbre EXP, and Triple LFO (pics and descriptions for each further below).

Video description:

"It features Linear AC and Exponential FM inputs with attenuators, one Hard Sync input and a 1V / Octave tacking input, output and offset switch.

Connecting a signal to the EXP FM input will change the pitch of the oscillator.

The H-Sync and FM functions produce a full sound, and it octave tracks very well.

This VCO features four waveforms: Sine, Triangle, Ramp and Pulse wave.

There are trimpots for 1Volt / Octave tuning, High Frequency tracking, and Ramp wave connection. There are two trimpots for the sine wave: one for roundness and one for symmetry. The roundness trimmer also adjusts the amplitude of the sine wave a little.

Parameters are already set. If you would like to adjust these you can do it by ear or using an oscilloscope.

This 7555 VCO also features a 3-way switch providing 3 frequency ranges: MID, VCO and LFO.

The back of the module allows you to ‘pre patch’ various functions.

The Ebashi 259 Timbre module is a dual wavefolder inspired by the famous Timbre section of the Buchla 259 oscillator as implemented in the Easel.

There are four CV inputs, the first and fourth can be controlled with an attenuverter.

Two IN attenuators control the overall wavefold amount of each wavefolder.

Two inputs allow two oscillators to drive the Dual 295 Buchla Timbre simultaneously.

A switch enables the rich timbres of both wavefolders to be shaped in series or parallel.

A triple low frequency oscillator that provides manually variable wave shapes in a wide range of frequencies.

Two waveforms are available: triangle, and square wave.

Rate and Depth of each LFO can be adjusted and an independent 3-way switch provides 3 frequency ranges: MID, VCO or LFO.

The module also offers three outputs (A, B & C) which can be conveniently mixed down and out.

The back of the module allows you to ‘pre patch’ each of the four outputs.
The back of the module allows you to ‘pre patch’ various functions, including CV 1 and 4 as well as both inputs and outputs. There are also two trimpots for gain adjustment."

259 Timbre EXP € 200,00

"The Ebashi 259 Timbre module is a dual wavefolder inspired by the famous Timbre section of the Buchla 259 oscillator as implemented in the Easel.

There are four CV inputs, the first and fourth can be controlled with an attenuverter.

Two IN attenuators control the overall wavefold amount of each wavefolder.

Two inputs allow two oscillators to drive the Dual 295 Buchla Timbre simultaneously.

A switch enables the rich timbres of both wavefolders to be shaped in series or parallel.

The back of the module allows you to ‘pre patch’ various functions, including CV 1 and 4 as well as both inputs and outputs. There are also two trimpots for gain adjustment.

Comes fully calibrated.

Front panel: FR4 matt black, white silk print
Size: 12HP, 3U Eurorack compatible, Skiff and boat friendly.
Hardware: Aluminum Knobs
Delivery: Includes ribbon cable and 3mm rack screws."

CLICK FOR MORE »

Moog Minimoog Voyager White (Performer Edition)

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

"Moog Music presents the award-winning minimoog Voyager Performer Edition, an all analog performance synthesizer incorporating virtually all of the functions of the original minimoog synthesizer, produced from 1971 to 1984, and a number of new features that makes this the minimoog for the 21st Century.

This investment will last you a life-time. The Voyager is paneled in ash with a stunning custom finish. Features include 3 ultra-stable oscillators, dual moog filters, 4-stage analog envelope generators, flexible modulation busses, and much much more...

If you want THE Moog sound, this is it. Period. This has Bob Moog's legendary synthesizer design expertise in its circuits. Say no more. It sounds amazing, looks amazing, and feels amazing. There is no substitute.

The Voyager has been awarded a "Key Buy" award from Keyboard magazine, a "Platinum Award" from Future Music magazine, an "Excellence Award" from Music Tech magazine, a TEC award from Mix magazine, and the "2003 Editor's Choice award" from Electronic musician magazine.

Wait...

CLICK FOR MORE »

Happy New Year From MATRIXSYNTH! - A Look Back at 2014

Happy New Year everyone!

I want to start by thanking everyone that comes to MATRIXSYNTH and helps make it what it is - the readers, the supporters, and of course all the sponsors on the right.

THANK YOU and have a GREAT 2015!!!

This site is a labor of love and a ton of work. This site is ultimately meant to be an testament to everything synth in the making. We have over nine years of daily synth history captured here, 119,983 published posts. I can't wait to see what the future brings us in 2015!

That said, here are a few interesting bits from 2014 in the longest post of the year. ;)

CLICK FOR MORE »

The DROID: The CV module replacing all other CV modules (ADSRs, Turing Machines, Quantizers, LFOs..)

video by Bertolt Meyer

Review of the DROID multipurpose CV processing module for the Eurorack format by Der Mann mit der Maschine, including an explanation of its internal patching language and its concept of "circuits".

Chapters:

00:00​ Intro: One CV module to replace them all
00:53​ DROID Module and P2B8 Expander overview
02:52​ Example 1: 3 Envelopes with one pot-controlled parameter each
05:23​ Example 2: Quantized turing machine
07:39​ Example 3: LFO
08:00​ Changing the DROID's settings
08:53​ Final thoughts, price considerations, and recommendation
09:43​ Acknowledging the manufacturer
10:24​ How to pronounce 'Der Mann mit der Maschine' correctly
10:50​ The gates expander
11:15​ How to write a Patch for the DROID: Coding example

via Der Mann Mit Der Maschine

The DROID is a very flexible generic CV processor for modular synthesizers in the Eurorack (Doepfer) format. It has 8 CV inputs and 8 CV outputs, all ranging from -10V to +10V. The DROID can do almost any CV task you can imagine, such as sequencing, melody generation, slew limiting, quantizing, switching, mixing, working on clocks and triggers, creating envelopes and LFO or other fancy voltages, or any combination of these at the same time. While doing this, is very precise both in voltage and in timing.

You tell your DROID what to do by means of a simple text file called “DROID patch”, while is located on a micro SD card. No special software is required for creating that file. A simple text editor running on Windows, Linux, Mac or any other device is all you need.

Controllers and expanders

By attaching up to 16 P2B8 controllers, each having two potentiometers and 8 push buttons, you can control any parameter you like while playing your music.

The G8 expander gives you 8 more jacks, which can be used for gate or trigger inputs and outputs.

The Circuits

The building blocks of a DROID patch are called circuits. Every type of circuit performs some specific task. A circuit is very much like a Eurorack module itself. Some of these do basic things like slew limiting, sample & hold or switching. Others are much more comlex, such as an advanced trigger sequencer with algorithmic extensions. Just like a Eurorack module, each ciruit has inputs and outputs. You can wire these either directly to one of the 16 jacks, or even connect them internally. Every parameter can be CV controlled.

Here are a few examples of what your DROID can be for you. As long as you do not run out of inputs and outputs you can implement as many of these functions at the same time in one DROID. You also can connect them together internally.

LFO
Envelope generator
Melody and trigger sequencer
Random generator, bernoulli gate
Sample and hold
Precision adder
Slew limiter
Clock tool with divider, multiplier and delay
Logical and mathematical functions
CV looper
Euclidean rhythms generator
Versatile musical quantizer, octave switch
Addressable and clockable CV switch
CV mixing and routing matrix
VCO precision calibrator
... and many many more...
You can use these circuits either directly - just like normal Eurorack modules - or combine them internally in order to implement more complex functions. Then you can assign pots and buttons of your "P2B8"-controllers for switching, tuning and live performing with these. Basically you can transform your Eurorack modular system into your own custom instrument. Or you simply use the DROID as a replacement for several utility modules, because it is very space efficient.

Steady State Fate SSF Propogate Eurorack Module

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

via this auction

"Propagate is a pimped out analog gate/trigger delay with a dual personality. Propagate works as both a traditional gate delay (LO mode) and an audio rate delay (HI mode), permitting Propagate to behave as a quad PWM tone generator. Just drive the input with a VCO or self patch to create wild PWM tones and glitch noise!

Gate, trigger and other fast attack signals are delayed before converting into a smoothly variable pulse width. The delay and gate length (SPACE) are both voltage controllable – greatly enhancing the power and capability of the device through automation.

Propagate consists of four independent delay stages that provide an input, DELAY control w/CV jack, Speed Mode switch, SPACE control w/CV jack and an output with LED indicator. The delays can be used individually or cascaded if a patch cable is not inserted into the input jacks. The output from the previous stage is normaled to the following stage – permitting the signals to propagate through each delay, from top to bottom. This feature allows creation of longer delays, longer gate lengths, timed/multi-tiered events, sequences, trills and in audio mode a slew of quad PWM tones. All individually or collectively voltage controlled.

All VC parameters of the delay stages can be controlled by the relevant MASTER CV simultaneously, eliminating the need for using multiple patch cables. The Master CV sums with the individual CV, therefore all of the individual DELAY and SPACE parameters can be separately voltage controlled at the same time as MASTER CV via the individual CV inputs.

In addition to the individual outputs, Propagate features a novel SUM jack that is used to output the pulse train of delayed signals. Always connected to the delay stages, SUM can be used alone or in conjunction with the individual outputs for a number of functions. These include gating envelopes while controlling other synched events, combining gates for longer pulse durations, sequences and trills, as a quad PWM output and more. A blue LED indicator flashes with every pulse.

The Manual Trigger is hardwired to the #1 delay stage input. The trigger signal is combined with whatever is present at the input with a discrete OR gate. Use the trigger to initiate a sequence or other event like a self patched feedback loop, or as a general purpose trigger for your modular system.

Propagate is enabled ON by default. A gate signal can be used to turn Propagate's delay engines on or off when a gate signal is applied to the Enable jack. A Hi gate is on, low is off. An LED is provided for visual feedback.

Another novel feature, this input is used to pass or combine an external signal like a clock, random gate or other gate related signal with the SUM output. If Propagate is inactive or not producing a signal, SUM will simply pass whatever is going though the MIX IN. Otherwise the MIX IN signal is logically OR'd with Propagate's SUM output. Logical OR simply outputs a gate hi when both or either signals is high and a gate low when both signals are low. An LED is provided for visual feedback of the input signal.

This is a completely new concept that extends the traditional gate delay into the audio range. The output is a series of high speed pulses that can be shifted with the delay controls to affect pitch and PWM tones with the space controls. Each stage can output a single pulse or they can be combined via the SUM output or externally to produce up to to a quad pulsed waveform with independent PWM for each pulse. This allows for a huge variety of glitch and harmonic rich tones and very complex waveforms when the signals are mixed externally with the ability to invert and attenuate some of the outputs. That being said, the SUM output alone is already capable of a rich array of tones. Add voltage control and you're in serious business! The bandwidth of each delay is roughly 10Hz – 5kHz. Higher and lower pitched waveforms are possible when the pulses are combined and manipulated.

Using the included expansion cable, an indefinite number of Propagate modules can be chained together for huge delays, sequences and ridiculously complex pulsed waveform generation. Every subsequent Propagate in the chain connects a normal (that can be broken) to the last delay of the previous module. Expanding also combines the previous SUM pulse train with the following module's SUM output. Huge matrix delays and complex rhythmic events are possible without the restrictions of quantized divisions.

Features

Gate/Trigger Delay
4 Independent Delay Stages
4 Inputs
4 Delay Controls w/ CV
4 Speed Mode Switches
4 Space Controls w/ CV"

Physical Synthesis Cicada Acoustic Vibration Synthesizer & Nymph Eurorack Module Update

video upload by Physical Synthesis



You might remember the Physical Synthesis Cicada - Acoustic Vibration Synthesizer posted back in April of 2021 - you'll find a playlist of demos there. The initial run was sold out. They are now teaming with USA-based distributor Electro Distro on a new run of Cicadas as well as a Nymph eurorack module.

The press release follows:

NEW YORK, NY, USA: having sold out of its initial production run, unique products-producing hardware startup Physical Synthesis is proud to announce that it is working with San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) to bring its game-changing Cicada — an ‘acoustic synthesizer’ that transforms electronic signals into physical vibrations that can be fully manipulated before being reconverted back into a new, never-heard-before electronic sound — to a wider audience in advance of Nymph, its upcoming Eurorack module…

It is fair to say that every once in a while, a moment comes along whereby human interaction with sound changes completely. Cicada is effectively one of those moments — one of those new instruments that moves the needle in music technology. Indeed, it is pioneered by unique products-producing hardware startup Physical Synthesis as an ‘acoustic synthesizer’ that transforms electronic signals into physical vibrations that can be fully manipulated before being reconverted back into a new, never-heard-before electronic sound. Says company founder Spencer Topel: “Cicada was the first step in introducing physical synthesis methods to the synth community; it is an award-winning interface that really lets musicians explore microscopic sounds with precise control.” Clearly, Cicada made musical waves when winning the Judge’s Special Award at the Guthman Musical Instrument Competition 2022, hosted by Georgia Tech School of Music — one of the few schools in North America that offers Music Technology as a major in undergraduate, graduate, and Ph.D levels of study — as an annual event dedicated to identifying the newest and greatest ideas in music.

Musical waves notwithstanding, ‘noise' is a subjective term; while electromechanical devices like speakers or headphones try to minimise the distortion inevitably introduced in physical systems, Cicada is designed to precisely exploit these distortion products as the basis of a new kind of synthesis. Cicada converts voltages to vibrations in a mechanical oscillator to create intermodulation — the addition of frequency content in a nonlinear system — in place of typical analogue or digital oscillators. By bringing the signal chain into a physical space, Cicada allows users to shape such content with natural, tactile gestures that truly transcend twiddling with a knob or pushing a slider. “As a violinist and composer, my experience of creating sound is highly physical,” proclaims Spencer Topel, adding: “With Cicada, I wanted to make an instrument that connects these elements, allowing musicians to produce complex, compelling sounds, but through tactile interaction.”

Insofar as actually doing what it does, Cicada receives two Eurorack-level signals that drive oscillation in a cantilevered Bridge positioned atop a Soundboard at an adjustable height. Digging deeper, distortion caused by the Bridge-Soundboard interaction adds frequency content to the input, determined by the specific qualities of the system. Self-explanatory Polycarbonate Soundboard, Foam Soundboard — made of EVA (Ethylene-Vinyl Acetate) foam, and Wood Soundboard — made of Birdseye maple — options each provide a range of resonating/filtering properties that combine uniquely with the likes of the Coral Wing Bridge — tip made of solid oak (resulting in a bright, clear tone), Coral Dual Tip Wing Bridge — tip made of premium rubber (allowing for a hard, precise attack with a balanced low-end), and Grey Wing Bridge — tip made of soft neoprene foam (resulting in a mellow, balanced acoustic effect); each pairing opens up a portal to a distinct sonic universe.

Users can dynamically change the system (and, therefore, how it is transforming signals) by adjusting the Bridge height, changing the region and degree of contact between Bridge and Soundboard, or applying pressure to either — effecting real-time, tactile timbral control, in other words. With that being said, premium vibration damping materials, such as Delrin, and custom circuitry minimise unwanted noise, allowing the intermodulation products to shine, while the output, captured by a pickup microphone positioned beneath the Soundboard, can be monitored directly, processed modularly, or recorded into a DAW (Digital Audio Workstation).

With behaviours akin to those exhibited by a traditional acoustic instrument, Cicada is highly responsive to differences in the excitation mechanism — the input signal, in other words. As an example, striking a snare drum with a stick or using it with brushes produce vastly different-sounding results; driving Cicada with quiet or loud, spectrally simple or complex, or bass- or treble-heavy signals similarly yield very different timbres.

Though Cicada is designed to work with a Eurorack setup out of the box, one of its strengths lies in its inherent flexibility. Indeed, it can just as easily receive signals from a DAW, boosted to the appropriate 5-10Vpp level via an outboard mixer. Moreover, the choice of input is completely left open to the user: an Ableton Live loop run through Cicada acting as a physical filter to provide timbral variety over time, for example; an LFO (Low Frequency Oscillator) from a Eurorack module, generating rich percussive tones on the maple Soundboard as the foundation of a beat; or a harmonically dense signal — similar to the output of a Max/MSP FM patch (which many would, without doubt, prefer to navigate physically rather than digitally) — made by moving the Bridge around the Soundboard to amplify certain harmonics and suppress others, finding a grittier sound with the Bridge barely touching or coaxing a more ethereal tone with it centred and depressed.

Endless exploration possibilities are a given, guaranteeing that any sonically-ambitious Cicada user is likely to while away the hours playing with input signals, system configurations, gestures, modulation combinations, and more.

It is hardly surprising, then, that Physical Synthesis sold out of its initial Cicada production run, really hitting a home run by counting luminaries like renowned electronic music composer and performer Hainbach — citing Cicada as being “The Tesla of electro-acoustic workstations, miles ahead of standard piezo and solenoid boxes...” — and Ableton CEO Gerhard Behles amongst its fan base, and has now turned to working with US-based distributor Electro Distro’s growing global network of dealers to bring its game-changing ‘acoustic synthesizer’ to a wider audience. “I want to bring acoustic synthesis to a wider range of musicians,” maintains Spencer Topel, before ending on a high note: “We are building some really exciting expansions of Cicada to different formats, including a Eurorack module called Nymph, which is coming soon.”

Physical Synthesis’ ‘acoustic synthesizer’ is now available as Cicada Founders Edition Extended — encompassing two dual AMPs, one PRE, one Actuator, five Bridges, three Soundboards, three Meanwell power supplies, three custom SATA Cables, and one custom Nanuk 935 Flight Case — for $2,700.00 USD or as Cicada Pro Series individual modules — starting at $79.00 USD — via San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) or directly from Physical Synthesis’ online Shop (https://shop.physical-synthesis.com).

For more in-depth information, please visit the dedicated Cicada webpage here: https://www.physical-synthesis.com

Cherry Audio and PSP Audioware Release 12 New Modules for Voltage Modular

Published on Jan 24, 2019 Voltage Modular

Playlist:
1. Cherry Audio Voltage Modular: Sampler I and Sampler II Modules
2. Cherry Audio Voltage Modular: Vintage Oscillator Module
3.Cherry Audio Voltage Modular: Remote Control CV Remote Module

Sampler I
This feature-packed sample playback module can load WAV, AIFF, MP3, and OGG files up to a minute in length. Automatic transient detection combined with a Snap to Transient feature makes it easy to create perfect loops. Sampler I is a blast to play with, whether adding drum and percussion loops to patches or building patches around sampled sounds.

This module is FREE for Voltage Core owners, and will appear in the library.

Sampler II
Sampler II includes all of the features of Sampler I, plus real-time stereo sampling. Sampling can be triggered by input that goes beyond an adjustable threshold, or can be started and stopped with CV via the REC GATE input. Sampler II can even resample itself, by feeding its outputs into its inputs. With Sampler II, it’s possible to build generative patches that sample and loop themselves as part of the patch, which can lead to some mind-blowing possibilities.‎

This module can be purchased in the store for $10.‎

Vintage Oscillator
This module offers all of the features of the standard Oscillator module, plus a 64’ setting and linear frequency modulation. But under the hood, this module recreates the imperfect waveforms created by vintage analog oscillators. Featuring low-aliasing, high-performance oscillator models, plus subtle analog drift and imperfection, the Vintage Oscillator module will add classic tone to your modular patches.

This module is FREE for Voltage Core owners, and will appear in the library.

Remote Control
Yet another revolution in what can be done with Voltage Modular: with the Remote Control module you can control any knob, slider, switch, or button with CV, including the macro knobs in the Perform panel. Mapping a channel to a knob is just a matter of clicking the Learn button and then touching any control in your project. That control will now be fully automatable with CV. See it in action!‎

This module can be purchased in the store for $15.‎

PSP Poly Modular Collection
PSP has just released this new suite of 8 polyphonic modules for Voltage Modular. The wide set of features included in these modules combine flexibility and creativity with simple to use designs. These are great for building increasingly complex polyphonic patches, and they’re FREE for owners of the PSP Ultimate Modular Collection.

PSP is showing off their modules for Voltage Modular at The NAMM Show, going on right now. Please visit PSP at Booth 19203 and say hi!

Eurorack Techniques: Switches and Maths

Patchwerks Seattle

"In this video resident expert Nick Bigelow shares his technique for using CV controllable switches (WMD SL3KT) along with Make Noise Maths to create unique and precise sources of modulation.

From WMD: "SL3KT (pronounced "Select") is a simple three-channel switch module for Eurorack Modular Synthesizers.

Three independent, two-way switches allow for users two select between different sources or destinations of both CV and Audio Signals. Useful for many tasks in a Eurorack system such as sequence selecting, CV selecting, boolean logic operations, group switching, group routing, gating, waveform mixing, and so much more!"

Order WMD SL3KT here: https://bit.ly/wmd_sl3kt

From Make Noise: "The MATHS music synthesizer module is an analog computer designed for musical purposes. Amongst other things, it will allow you to:
-Generate a variety of linear, logarithmic, or exponential triggered or continuous functions
-Integrate an incoming signal
-With no signal applied, generate a variety of linear, logarithmic, or exponential functions
-Add, subtract and OR up to 4 signals
-Generate analog signals from digital information (Gate / Clock)
-Generate digital information (Gate / Clock) from analog signals
-Delay digital (Gate / Clock) information
-If the above list reads like science rather than music, here is the translation:
Voltage Controlled Envelope or LFO as slow as 25 minutes and as fast as 1khz
-Apply Lag, Slew or Portamento to control voltages
-Change the depth of modulation and modulate backwards!
-Combine up to 4 control signals to create more complex modulations
-Musical Events such as Ramping up or Down in Tempo, on command
-Initiating Musical events upon sensing motion in the system
-Musical note division and / or Flam
-Perfect for modulating the DPO and just about anything else

Order a Make Noise Maths here: https://bit.ly/mn_maths

From Mutable Instruments: "Plaits is the spiritual successor of Mutable Instruments’ best-selling voltage-controlled sound source, Braids. Not just a mkII version: its hardware and software have been redesigned from scratch.

Just like its predecessor, it offers direct access to a large palette of easily tweakable raw sonic material, covering the whole gamut of synthesis techniques.

SIMPLICITY FIRST
Gone are the screen, menu system, hidden settings, and the long list of somewhat redundant synthesis models.

Thanks to additional CV inputs, and to the use of three timbre-shaping parameters per model, Plaits is straightforward to use, and much closer to the ideal of one synthesis technique = one model. What were fragmented islands of sound in Braids are now part of a continuum of sounds.

READY FOR PERCUSSION
Patch a trigger generator or sequencer into Plaits’ trigger input and instantly use the module as a percussive source thanks to its built-in virtual low-pass gate (LPG).

An internal D (decay) envelope generator is normalled to all unpatched CV inputs. Just turn the corresponding attenuverter to add pitch, timbre or morphing modulation. And if plucks and snappy hits are not your thing, patch your own envelope or CV source into the LPG CV input."

Order a Mutable Instruments Plaits here: https://bit.ly/mutable_plaits

https://patchwerks.com/
Performance by: Nick Bigelow
Video by: Matthew Piecora (aka EZBOT)
https://www.ezbot.live"

Rob Papen’s Punch-BD

RP Punch-BD Introduction Published on Sep 19, 2014 Rob Papen

"Based around the BD module of the multi award winning Punch virtual drum synth, Rob Papen delivers a creative module to help you to produce the fattest sounding bass drums for your music.

Stacking bass drums is a popular technique used by today's music producers and Punch-BD gives you the ability to stack up to 6 in total. Divide the 6 BD pads over the keyboard or use them 'stacked' in tuned mode to produce creative new BD sounds for all styles of contemporary music.

Punch-BD delivers synthesized drums in the finest audio quality or you can choose to load in your own samples for complete flexibility. Each pad has its own distortion module with several distortion types as well as its own 3 band graphic EQ. What's more, each individual pad also has its own preset section next to the overall 'BD kit'.

Like its big brother, Punch-BD features four FX units each with many 31 types of top quality FX plus further filters, envelopes, modulation routings and more for crafting your own unique sound.

From Electronic Dance and Hip Hop to Soundtrack projects, Punch-BD provides a solid speaker-busting sound for your productions."

Update: and the official press release:

"Get your kicks with Rob Papen’s Punch-BD bangin’ bass drum virtual instrument

ECHT, THE NETHERLANDS: virtual instrument and effects plug-in developer Rob Papen Soundware is proud to announce availability of Punch-BD, a powerful kick-ass bass drum virtual instrument for Mac (OS X 10.6 or higher) and PC (Windows Vista, 7, and 8) — based around the BD module of its award- winning speaker-busting, body-rattling Punch drum synthesis/sampler software instrument — to enable users to comfortably create the biggest-sounding bass drums around, as of September 19...

Stacking bass drums is a popular technique used by today’s power-seeking music producers to give their tracks the kind of kick that will literally move dancefloors — and even mountains... maybe! By introducing Punch-BD, Rob Papen provides its users with an attractive ability to stack up to six bass drums in total to comfortably create cutting-edge bass drums that will clearly cut through any musical mix. Moreover, its six sequentially-numbered BD pads can be divided across an external controller keyboard for performance purposes — in 6 Notes PLAY MODE (with the six ‘notes’ repeated over the whole keyboard range) — or ‘simply’ stacked — in Stack or Tuned Stack PLAY MODE (which follows the pitch of the keyboard) — to creatively construct brand new bad-ass bass drum sounds suited to any style of contemporary music production. When selecting Seq, the fourth PLAY MODE, the bass drums that are active play in sequential order — perfect for more experimental applications, while Tune Seq PLAY MODE is essentially the same as Seq but follows the keyboard pitch. Each BD pad can be played solo or muted and has its own command menu with some speedy Copy and Swap functions for friendlier workflow.

Predictably, perhaps, Punch-BD features the same high-quality algorithms attributed to the ever-popular Punch’s punchy sound. In Drum MODE users can choose from four synthesis Models, together with a familiar-sounding range of Classic electronic bass drum samples, and also, according to Rob Papen himself, “...a nice range of built-in acoustic and fantasy bass drum samples.” Elsewhere, each BD pad includes its own distortion module offering no fewer than 19 distortion types, together with a three-band parametric EQ. Each BD pad also features a preset section next to the overall ‘BD kit’ to speed up bass drum sound selection for contributing to the resultant stacked sound. Sample MODE allows adventurous users to combine two samples per pad in several ways with many samples already installed from Punch to make percussive life easier. Enterprising and adventurous users can even choose to load in their own samples for full flexibility with drag-and-drop support, though those pressed for time will appreciate added quick edit parameters for adjusting the most important parts of any given drum sound.

Like its knockout bigger brother, Punch-BD packs four FX processors with no fewer than 31 high-quality FX types with several routing options into its feature-heavy hit list, lifted higher still with further filters, envelopes, and modulation routings with which to delve deeper via various editing pages — EASY, PADS, MIXER, MOD/FX, and MANAGER — when crafting and storing signature sounds that are alive and kicking while packing a whole lot of low-end punch for not a whole lot of financial outlay.

Of course, Punch-BD provides perfect speaker-busting, body-rattling bass drum sounds to die for, though this is to be expected with Rob Papen at the sound designing helm: “There are plenty of great presets onboard Punch-BD. Enjoy!” We will, indeed, Rob!

From EDM and hip-hop to soundtrack projects, Punch-BD is a production powerhouse par excellence. As a 64- or 32-bit (AAX-, AU-, and VST-compatible) plug-in, add it to your DAW and you, too, could soon be moving musical mountains! Simply stack those bass drums high and give your tracks the driving kick to take them wherever it is that they need to go.

Punch-BD can be purchased as a boxed version from authorised Rob Papen dealers worldwide for €49.00 EUR (including VAT/tax)/$59.00 USD or purchased and downloaded directly from Rob Papen here: http://www.robpapen.com/Punch-bd-buy.html (Note: Punch-BD is available for free to EDM Bundle, eXplorer-III, Punch, and Urban Bundle owners... simply login via the Rob Papen homepage, go to My Products, and download the latest installer and installer guide.)"

New Batch of Synthfest UK 23 Videos

video uploads by sonicstate

Playlist: (you can use the player controls to skip around)

1. Synthfest UK 23: Sequential - Trigon 6 Desktop

At SynthFest UK 2023, we had the opportunity to chat with Chris from Sequential, a part of the Focusrite group. Chris introduced us to the Trigon 6 Desktop, the latest addition to Sequential's synthesizer lineup. This compact desktop version of the Trigon 6 packs a powerful punch, offering three oscillators and a distinctive Dave Smith ladder filter. Designed for those seeking a space-saving solution without compromising on sound quality, the Trigon 6 Desktop retains all the features of its larger sibling, including patch recall, a versatile effects section with various modulation possibilities, and the distinctive feedback control that allows you to sculpt sub-harmonic richness.

Trigon 6 Desktop Price: $2,499

https://www.sequential.com/

2. Synthfest UK 2023: Calc And the Prophet X

At Synthfest UK 2023, we caught up with Calc from Sequential, and he gave us the lowdown on the Prophet X. Now, you might be thinking, Prophet X? Haven't we seen that before? Well, you're right, but this hybrid instrument has been quietly making waves in the music world. It combines digital and analog elements, with digital oscillators and a unique twist in the form of multi-sample-based instruments. Yes, you heard that right, it's not just your run-of-the-mill synth; it's a full-on sampler too, boasting an impressive 50 gigabytes of memory for your custom samples. You can treat it like a rompler, a sample player, or even use those samples as oscillators, creating a whole new realm of sonic possibilities.

Plus, it's packed with stereo goodness, allowing you to explore a wide soundstage with ease. It's not your typical synth, and that's what makes its a favourute of Calc's

Looking for some more info on the Prophet X? Check out Sequential's official page: www.sequential.com/prophet-x/

CLICK FOR MORE »

New Kaona Eurorack Modules Coming to SUPERBOOTH

video upload by Kaona modular music

Handcrafting of Skippy by Kaona


Mumack first test


"First sound of Mumack"

Switchy for Eurorack

video upload by

"Three switches to control the power supply of three Eurorack modules or three flying bus."

Transpos Eurorack

"Transpos is both a transposer and a three channel voltage adder or subtractor for Eurorack modular music"

Skippy is a matrix and non-matrix polyrhythmic sequencer (linear and logarithmic) which offers four completely independent tracks with a very simple interface: one button per track, one function per screen, no sub-menus.

CLICK FOR MORE »

Stroh Modular Signal Block Semi-Modular Synthesizer

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

via MATRIXSYNTH CLASSIFIEDS

"The Stroh Modular Signal Block Synthesizer

This is a panelized semi-modular banana-synth, built with all latest revisions of my PCBs, using high quality components designed with patching flexibility in mind. The entire synth was designed by myself, or using designs adapted with permission from two or three other sources. The panel is 3mm thick anodized aluminum with white in-fill engraving. The case was hand made from alder, and finished with bees-wax. The power supply is internal, and is designed to be quiet, safe, and reliable. Though there are no modules in this synth which require 5V power, it is also supplied on the board in case of future modification or expansion. I very much enjoyed building this synthesizer, and hope that you will enjoy playing it.

Here is a list of modules/functions/and anything else I can think of. Demos to follow below as well.

Two UltraFade VCOs. - These are my latest and favorite VCOs. They are built on a classic triangle core design, provide the usual wave shapes, as well as some extras. There is a logic 0-10V PWM output to trigger other modules, clock and logic inputs, etc. There is also a mixed, and inverted mixed waveform, which is a crossfade between either sine and ramp, or sine and PWM. (selectable via switch) This is similar in function to how a 258 would work, only using an improved circuit. There are Linear FM, Exponential FM, Volt per Octave, PWM, and Wave Shape CV inputs. There are Sine, Ramp, Square, Logic Pulse, PWM, Mixed, and Inverted Mixed outputs. There is a switch for Audio and LFO rates, and one for wave selection for mixing. These VCOs track approximately 8 octaves.

One VCO Control - This section includes an Attack Release envelope, which can also function as a slew if needed, a Divide by N/N.5 clock/frequency divider which can divide odd, even, and half steps, and an XOR Logic circuit. The XOR in addition to the Logic level output, also has a bipolar audio output for use as a Ring Modulator (similar to some ARP synthesizers.) This in conjunction with two VCOs can form a Phase Locked Loop configuration with divisions for chords, octaves, etc. PLLs aren't perfect, but are a lot of fun to play with. Complex rhythms can also be generated using the divide and XOR.

One Sample and Shift - This section is three functions. One White Noise generator, one Sample and Hold, and one Linear Feedback Shift Register. The LFSR can be used to create pseudo-random pulses, complex digital tones that will track with a VCO, or interesting types of digital noise. There are two selector switches that change the routing of the shift-register taps. This creates different pulse trains or tones (depending on how it's clocked) Combined with the XOR, some additional complexity can be added.

One FadeX - This is a voltage controlled Crossfader and Panner. It can also be used as a single linear VCA, or with some creative patching, a Ring Modulator. It also has an extra/auxiliary bipolar indicator LED. Just plug in a signal, and it will fade with rate and phase of the signal. If used in conjunction with an UltraFade VCO, one can crossfade up to three different waveforms for very complex shifting timbres. Low distortion VCAs are used in the FadeX. AC or DC coupled via switch.

One MixAD - This is a Dual, Loopable, Attack Decay Envelope with Variable Analog OR Mixer. Each AD can be set to one shot or cycle via switch. When both envelopes are patched into the OR, complex modulations can be created. The Analog OR can be used with any incoming signal to OR the peaks. Both a normal, and inverted output are available. This can also be used as a simple attenuator as well (though best suited for CVs over audio.)

One MultiMix - This module is two parts. One 4 Channel Precision CV Processor with 5VDC Reference Voltage, and One 4 Channel Audio Mixer. The CV Processor is 4 bipolar "attenuverting" channels to process and combine CVs. The reference voltage can be patched into one of the channels, and used to shift the output signal above or below DC0V. (so level shift from +/-5V to 0 to 10V or 0 to -10V if desired) There are normal and inverted outputs available. The Audio Mixer is a simple AC coupled 4 Channel Audio Mixer with a touch of gain at the inputs available. High quality op amps are used in both mixers.

One Dual LPG - This is two Low Pass Gates in what is typically considered "Both" mode. It does some low pass filtering and VCA function (no resonance). There is a frequency offset knob and a CV attenuation knob for each gate. AC and DC selectable via switch. These also make good slews, and have a nice ring to them at low offset settings.

One Dual VCA - This is a pair of Low Distortion VCAs (Mike Sims design if you're familiar,) with either AC or DC coupling. These are linear response.

One LFO - This is actually a full featured Volt per Octave VCO with High and Low modes, Linear FM, and Sync. It has Triangle, Square, and Unipolar Logic Square outputs. It uses the same core as the UltraFade VCOs, tracks just as well, and sounds quite good as an audio oscillator on top of its LFO labeled duties.

One Output - This is a Two Channel Stereo Output mixer with pan controls, and two AC coupled VCAs. The VCAs are individually patchable and general purpose. They can be used anywhere in the system, but the idea was to allow some voltage control of the output mixer, or use them as AC coupled links for audio signals to go to and from this system. The Output Mixer is also AC coupled, so used as a final stage before a console, audio interface, etc. it will remove DC offsets, etc. Used with the FadeX, signals can be autopanned in the stereo field. The output will happily drive 600 Ohm loads, so headphone will be right at home here.

That's more or less the Signal Block. For those of you who can't get enough VCAs... There are 13 in the Signal Block. (of course only 7 of them are independently available, but...) w00t

The price is $4450.00 shipped."

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