Paul McGowan of PS Audio Explains the Moog Synthesizer

video upload by Paul McGowan, PS Audio

"The classic Moog changed the world. Paul helps us understand what all the wires and modules actually do."

https://www.psaudio.com

Fascinating bit at 1:50. Paul McGowan actually created his own synthesizer, The Infinitizer. Curious if there are any images of it out there. He almost sold one to Wendy Carlos. It gets a mention in his book 99% True: Almost a National Bestseller which you can find on Amazon here (note this is an affiliate link - see the site's privacy policy for more info).

Update: I asked Paul if he had any pics of The Infinitizer. Unfortantely he didn't, and he no longer has any of the parts, but he did send over the following additional info:

"I don’t have any photos of the Infinitizer, unfortunately. I remember a very sad day back in 1995 or so when I was cleaning out my lab and had to own up to hauling it off to the dump (it was a mere skeleton of PCBs, a keyboard, and lots of wires and didn’t work)."

"The idea was to make 10 synthesizers into one unit that was easy to use. This meant it would be the world’s first polyphonic synth, since musicians only have 10 fingers.

I designed a complete analog chain of 10 modules (the usual: VC filters, oscillators, envelope generators, amplifiers, etc.). Then, I hired an engineer out of Vandenburg Air Force Base who was a whiz at this new thing called “digital”. He designed for me a multiplexed keyboard that constantly scanned all the keys looking for ones that were pressed. The keys were all internally numbered and when pressed, the multiplexer would find an available VC oscillator and assign that number to the oscillator. Because we know the number of the key, the appropriate voltage was sent to that oscillator and it produced the appropriate frequency for that key. In order to have the entire keyboard voltage move up and down (like if you wanted to bend the notes or modulate the frequency with a LF oscillator) the master voltage (that got divided by the individual keys assigned to it) could be accessed as one might normally do through the patch bay.

I also wanted to have the keys pressure sensitive so for that, I invented the use of conductive foam under each key (and that too could manipulate the master voltage to the oscillator banks) and could be assigned to modulate any of the other modifiers too. My patch bay was a switch matrix and pots kind of like ARP used to do.

It was a very cool device which I wrote about extensively in my memoirs, 99% True."

-------

As for the first non organ based poly synth, currently that honor likely goes to one of the following depending how you define it:

1975 - Buchla 502 - six voice polyphonic with minicomputer and ability to save patches to tape drive. Development on the 500 series began in 1969.

1975 - Oberheim FVS - four voice polyphonic with Polyphonic Synthesizer Programmer. Not sure if the 502 or FVS was released first.

1977 - Yamaha - CS50/CS60/CS80 - first single enclosure polyphonic keyboard synthesizers, with the CS80 to be the first synth with poly aftertouch

1978 - Sequential Circuits - microprocessor control the SCI prophet 10 (briefly) and the P-5 --- again based on existing E-mu tech stuff

via The First Synth to...

Patch Notes #33 - For Mojo

Published on May 23, 2017 Voltage Control Lab

"Yesterday, I had to make the difficult decision to put my sweet kitty of 18 1/2 years to sleep. This is dedicated to Mojo, the best friend and synth cat I could have wished for.

Make Noise Pressure Points is controlling the chord quality on the Music Thing Chord Organ, which is routed through one channel of Mutable Instruments Clouds and out to the mixer.

Make Noise Rene is controlling the pitch on Mutable Instruments Braids, which is routed through Ripples and on to the other channel on Clouds. Make Noise Tempi is clocking the Moffenzeef Deviant which is lightly randomizing the color control in Braids.

https://www.voltagecontrollab.com/"

So sad. Condolences to Voltage Control Lab. This is a beautiful tribute. It goes unsaid how much pets mean to us, and how much they become part of us. When we lose them, we lose part of ourselves. The best ones always have your back. I wish we could all be more like our pets.

Patch Notes #32 - Chord Organ w/ Varigate 8 & Voltage Block

Published on Mar 10, 2017 Voltage Control Lab

"Trying out the new Eurorack Music Thing Chord Organ with some chord sets by James Bernard and the Malekko Varigate 8+ and Voltage Block to modulate and sequence a whole ton of other things.

The Music Thing Chord Organ is loaded with one of the chord sets created by James Bernard and set to square waves, routed to the Make Noise MMG and on to Mutable Instruments Clouds. A channel on Make Noise Tempi is routed to Rene, the CV out from which is modulating chord shape on the Chord Organ. Tempi is also clocking Pressure Points which is modulating the root note on Chord Organ. The trigger out from Chord Organ is routed to Make Noise Maths channel 1, the unity output sent to the MMG frequency cutoff to shape the chords as they are generated.

Another out on Tempi is routed to the Malekko Varigate 8 which has the end of sequence gate out routed back into the random gate input to randomize the pattern (or drum map) every bar. Gate channel 1 (the kick channel in the drum maps) is routed to a mult, then to Make Noise Maths channel 4 trigger in and trigger in on Noise Engineering Basimilus Iteritas, with Maths variable channel 4 output routed back to Basimilus pitch input. One channel on the Malekko Voltage Block is modulating the fold input on the Basimilus. The clock out from Varigate 8 is routed to the Voltage Block in external clock mode, so it doesn’t randomize with the Varigate.

Gate channel 2 (the snare channel) on the Varigate 8 is also routed through a mult, then to the Malekko AD/LFO, and the Bang input on the Moffenzeef Modular GMO running the Ring Mod alt firmware. The GMO is routed out through the Make Noise Optomix, which is opened by the ADLFO channel to volume shape it into a more snare-like sound. The output from the Optomix is routed out through the Mutable Instruments Warps running the Parasites alt firmware in delay mode, then on to the Mix4. Two channels on the Voltage Block are modulating the specimen and speed controls on the GMO to get some motion from the snare sound.

Gate channel 5 on the Varigate 8 is routed to the trigger input on Mutable Instruments Braids which is set to cymbal mode. Using settings in the Bees in the Trees alt firmware, the internal envelope length is modulated via the FM input. A channel on the Voltage Block performs the modulation, getting the effect of opening hihats. Braids is routed out to the remaining channel on the Optomix for volume control.

The Roland System 1m is generating the bass part sequenced by the Pressure Points and Tempi, routed out to the Mix4.

https://www.voltagecontrollab.com/"

Patch Notes #31 - Varigate 8+, Voltage Block & Chord Organ

Published on Mar 3, 2017 Voltage Control Lab

"I was setting up a generative patch using the Malekko Varigate 8+ and Voltage Block, and discovered that Music Thing had released a new module/Radio Music firmware, the Chord Organ, so I had to use it.

Varigate 8+ outputs 5 through 8 are randomized using Random Gate mode, with the END gate out routed back into the RND input, generating slightly (or not so slightly) randomized rhythms from those outs, as well as the Voltage Block when in slave mode. The V8 clock out is routed to the VB clock in, so the clock/slave modes can be toggled, randomizing the VB sequences in slave mode but not in clock mode.

V8 channel 5 is routed out to Make Noise Maths channel 1 trigger input, then from the unity output to trigger the Noise Engineering Basimilus Iteritas, and from the channel 1 out to the pitch input on the BI to give a little punchier of a kick. The output is routed to the Malekko Mix4.

Channel 6 on the V8 is routed to the trigger input on the Mutable Instruments Braids, which is in snare mode, then out to the Mix4. One channel on the Voltage Block is routed to the FM input, which is set to modulate the volume level of the internal VCA, giving the snare some more feel (hopefully).

Channel 7 is routed out to trigger channel 4 on Maths, the unity output from which is opening the Optomix channel for the Chord Organ. The root note and chord quality on the Chord Organ are controlled by two separate channels on the Voltage Block, then routed through the Make Noise MMG filter, into the Optomix and on to Mutable Instruments Clouds for some reverb and granularizing. Then, out to the Mix4.

Channel 8 is routed to the Malekko AD/LFO, which is opening the 2nd channel on the Optomix. This channel is creating the crunchy high frequency percussion from the Malekko Anti-Oscillator, frequency modulated by the the Sputnik Oscillator, both “sequenced” by two random voltage sources from the Sputnik West Coast Random Source. The Anti-Osc is routed to the Optomix and then on to the Mix4.

https://www.voltagecontrollab.com/"

Patch Notes #30 - Varigate 8+ & Voltage Block

Published on Feb 24, 2017 Voltage Control Lab

"Channels 5, 6, 7 and 8 from the Malekko Varigate 8 are routed to an envelope on the AD/LFO, channel 4 on the Make Noise Maths, Mutable Instruments Braids in snare mode and the Noise Engineering Basimilus Iteritas (this gate is multed to channel 1 Maths to get pitch envelope modulation) to generate complex, randomized rhythm combinations. Random gate mode is enabled with the Varigate 8+ end gate output is routed back into random gate input, retriggering a randomized sequence at the beginning of every bar. The clock output on the Varigate is routed to the clock input on the Voltage Block, to avoid the randomization of the VB sequences when the Varigate 8+ is gating itself (one of the gate bus connections between these two modules).

Two sequences from the Voltage Block are routed to control the fold CV input on the Basilmilus as well as the pitch which is routed through Maths channel 3 and summed from Maths Sum out with the channel 1 envelope for more kick drum-like sounds. Another is routed to control the color input on Braids (which is in snare mode), while two more are routed to the Make Noise DPO mod bus index & fm index. Two additional sequences modulate the Malekko Anti-Oscillator pitch and wave shape, with the final sequence controlling the the low pass cutoff on the Vintage Synth Lab VCF-74.

The DPO is routed out through the Make Noise MMG Filter, and then on to the Optomix modulated by channel 4 on Maths. The signal is then routed through Mutable Instruments Clouds for some reverb and granular manipulation, and then out to the Mix4.

The Anti-Oscillator is passed into the VCF-74 and on to the Malekko Borg in VCA mode, modulated by the AD/LFO. On from the Borg to the Mix4.

Braids is in snare mode routed to the Mix4, pretty simple.

Basimilus Iteritas is going direct to the Mix4 as well.

https://www.voltagecontrollab.com/"

Patch Notes #27 - Eurorack Modular w/ Leap Motion

Published on Dec 2, 2016 Voltage Control Lab

"A fairly simple patch tied back to an Ableton Live set with 6 mono channels of DC offsets in a custom Max4live device routed to the first 6 outs on the ES-8, and a seventh channel doing randomization.

The 6 offsets (more details on the custom device later) are mapped to the middle finger on each hand and their locations in the X, Y and Z axes above the Leap Motion controller using the LeapModulation M4L device.

I’ve set up a pretty simple one voice patch to play, Make Noise DPO Final output to the MMG to the Optomix, and on to Mutable Instruments Clouds in Granular mode. Clouds is routed back into the Expert Sleepers ES-8 inputs for recording.

The left hand middle finger up and down motion (the Y axis) is mapped to control the Optomix level, while the right hand Y axis control is mapped through the Ornament & Crime Quantermain mode for pitch quantization, and then into the exponential FM input on the DPO. The O&C is clocked via Tempi.

The left hand X and Z axes are mapped to control the mod bus index and the angle amount on the Final output. The right hand X and Z axes are mapped to the Clouds position and density CV inputs. The random output from the ES-8 is mapped to the FM bus index on the DPO.

Very simple patch, but pretty dramatic results.

https://www.voltagecontrollab.com/"

Patch Notes #26 - Generative Eurorack Jam

Published on Nov 25, 2016 Voltage Control Lab

"Exploring a generative patch using the Ornament & Crime Turing Machine mode along with some slightly randomized drums from the Varigate and some smooth tones from the DPO and Clouds.

The Ornament & Crime is in Quantermain mode, generating a single Turing Machine on channel D, clocked by the Make Noise Tempi and Turing probability modulated by a channel on Analog Memory. Tempi is also clocking Brains and Pressure Points, one channel of the connect Analog Memory module is routed through channel 3 on Maths, and then into the Ornament & Crime CV4 input.


This is the crux of the generative voice. The slowly stepping Analog Memory switches the O&C 100% chance of a randomized value on one step, then around 5% chance on the next step, and 0% chance on the last two steps. This means every 4 bars or so, the phrase is randomized to a degree.

The generative sequence is routed to the Make Noise DPO, onto the MMG filter via the Final output and then to the Optomix. The signal is then passed through Mutable Instruments Clouds running the Parasites firmware in Oliverb mode (updated this easily via the SpektroAudio ALTRNT website), and on to the Malekko Mix4 and out. The Malekko Varigate 4 is triggering an envelope on the AD/LFO, which is opening the Optomix.


Clouds is being heavily modulated. A sine wave LFO from the TipTop Audio Z3000 is modulating the decay time control, while the triangle wave is modulating the pre-delay. The right output from Clouds is fed back into the Z3000 waveshaper input and the sine wave out from the DPO modulation oscillator is routed to the FM input as well, further complicating sine and triangle waves. The stepped and smooth random outputs from the Make Noise Wogglebug are also modulating Clouds reverb size and damping filter respectively.


Tempi is clocking and resetting the Varigate which is already triggering the generative voice. In addition, one channel is triggering the Noise Engineering Basimilus Iteritas which is acting as the snare. The BI is then passed through Mutable Instruments Warps in Parasites firmware delay mode, and out to the Mix4.


The kick and hihat are both sequenced on the Varigate as well, triggering the Roland Scooper via a few envelopes on the ADLFO.


The bass is sequenced via the DU-SEQ (clocked by Tempi), which is playing Mutable Instruments Braids. A looping envelope on the Intellijel Dual ADSR is modulating the Braids color input, giving some motion to the bass tone.


https://www.voltagecontrollab.com/"

tangible waves AE modular - a modular synthesizer for everyone

Full details via the Kickstarter campaign:

"A true analog modular synthesizer - small in size, small in price, big in sound

For sure, you want to know first "how does this thing sound?", so here are some Demo-Videos that give you a first impression (the first one together with a Groovebox):

AE modular Demo MIDI Sync with Novation CIRCUIT

Published on Nov 9, 2016 tangible waves



How did it all started?

It started with the idea to build a Lunetta style synth (a synth based on digital logic chips (mis)using them for creating sound, a creation of Stanley Lunetta, therefore the name). For me it is also appealing to have the devices very compact (the KORG Volca series gave me lots of inspiration here), so I defined a small module format (about 10 x 2.5 cm). I liked the concept of abusing electronic parts, which gave the project it's name (AE: abused electronics).

Over the time I felt the wish to add this or that 'conventional' module, like Filter, Envelope, VCA, and one by one I ended up building a "standard" modular synthesizer!

What's special?

Compared to the usual Eurorack Modular Synths, we have some differences here, mainly to get a small form factor and cutting the price:

Modules are not Eurorack compatible

The Oscillators module is not working in 1V/octave standard (due to the roots in the Lunetta approach); but a 1V/octave VCO will be added soon to the modules palette

Patching is done via simple patch-wires and small pin-sockets (not minijack-cables as in the eurorack-world); this cuts the cost drastically and also saves a lot of space on the module. Another advantage: Module outputs are mostly dual or triple, which makes "Multiples" modules obsolete

Generally, AE modular follows the "not-so-perfect" approach; circuits are sometimes simplified and show their own character in some points - it's intentionally a contrast to the high-polished stuff we get from digital synths / DAWs / plugins. But always the usage as an artistic tool is considered!

The design style is also a little special: The frontpanels are not (expensively) printed, but rubber-stamped; I like this somehow "unperfect" look - I hope you too! (Don't worry: a special, durable color is used.)

What's not different is, that you get a real modular synthesizer: The selection and arrangement of the modules is absolutely free! You can add new modules later (simply remove 2 screws, plug in the module, fix the screws again) or rearrange them according to your needs.

What do you get?

In this Kickstarter project, two different preinstalled module racks are offered:

with one row of modules
double size with two rows and some more modules (for contained modules see the pledge description)

In the package is also

A power supply
please note which kind of plug you need (EU, UK, US)
A bunch of patch wires
MIDI breakout cable
A user guide / short introduction
The modules in detail:

MASTER, I/O: The master module with power supply, Input/output jacks (1/8" mono minijack) for audio and control voltages and MIDI-Input (via a breakout cable). MIDI works either omni or on channel 1. MIDI Clock/Start/Stop are provided via the bus to the modules; same with CV/Gate for Notes and one Controller.

2OSC: 2 Oscillators with Squarewave, Triangle and Sync outputs, Sync and CV input

NOISE: A noise generator (white noise, digitally based with variable frequency)

FILTER: A filter with lowpass/bandpass/highpass output, adjustable frequency and resonance (Wasp type)

ENV: An AD type envelope (Attack/Decay) with switchable Sustain and two time ranges

2VCA: A dual voltage-controlled amplifier for controlling signal levels or modulating control voltages

LFO: modulation oscillator with squarewave (adjustable pulsewidth), triangle or falling sawtooth output, two time ranges

2S&H: A dual Sample&Hold module, for creating random or stepped control voltages

2ATT/CV: For attenuating control voltages or as voltage source

MIXER4-4: A mixer for signals or control voltages with four adjustable inputs and additional four "full-level" inputs.

DELAY: A delay with a lo-fi, analog character

LOGIC: Combines two inputs by different logic rules (AND, NAND, XOR); for rhythmic patterns and also interesting for audio signals (gives ringmodulator-like sounds)

STEP10: A trigger sequencer with up to 10 steps, for creating gate patterns

The future of AE modular:

If you know a little bit about modular synthesizers, you will see that we have the basic modules in the box; but the fun get's much bigger with additional other modules. If this project succeeds, there will be a lot of other modules available that are planned or already under development like:

VCO with 1V/octave characteristic

Oscillator banks (for sound clusters, drones...)

Sampler (play samples from a microSD-card, eventually with granulation)

Algorithmic Drone soundsource

16-Step Note Sequencer

Beat Divider (for processing MIDI Clock into usable trigger clocks (1/4, 1/8, 1/16... dotted, triplet...)

other filter types

Phaser

Waveshaper

more complex modulation sources

Credits

Thanks a lot to:

MakerLab Murnau / J.-U. Bittlinger (the availabilty of the Lab pushed the development a lot!)

Luna Sonnemann for the wonderful photos

Roman Feldmeier and Marco Asam for their support in the video session and giving me ideas.

Furthermore thanks to Marco for getting the word out and helping me to find distribution, as well giving me the ability to present an Alpha version at the Bavaria Ableton Usergroup. The Feedback helped and gave me a lot of motivation.

my wife Sabine for her strong support of my ideas

...and finally YOU for your interest and (hopefully) your support!"

Patch Notes #25 - The #3ModuleChallenge

Published on Oct 28, 2016 Voltage Control Lab

"Getting in on the Modular Podcast #3modulechallenge with this Patch Notes. Using 3 of my favorite Eurorack modules, Make Noise DPO, Mutable Instruments Clouds and Ornament & Crime.

Stick with me here, this one is complicated.

The modulation oscillator on the DPO is in LFO mode. The Saw out is routed to clock the TR1 input on Ornament & Crime, which is in Copier Maschine mode. Clouds right audio output is routed to the CV1 input on O&C, as the cv source for the analog shift register.

Channel A on O&C is routed to the DPO 1v/oct input on the main oscillator, and stackable'd to the Clouds position CV input as well. Channel B is routed to the fold section CV in. Channel C is routed to Clouds density CV in. Channel D into the Clouds 1v/oct input.

DPO modulation oscillator triangle wave output is routed to the Clouds right channel input. The sine wave out is patched to the angle section CV in. The expo FM input is set to 3 o'clock, linear FM to noon. The FM bus is set to 1:30.

The main oscillator sine out is stackable'd out to the shape section CV input, and fed back into the main oscillator expo FM input. The square wave output is patched to the Clouds texture CV input, and the Final output is patched the Clouds left input channel.

Clouds is in granular processing mode, and is routed out through the Malekko Mix4 for volume control and recorded clean into the Native Instruments Audio 10.

https://www.voltagecontrollab.com/"

Patch Notes #24 - Radio Music Eurorack Drum Machine

Published on Oct 20, 2016 Voltage Control Lab

"Patch Notes #24 explores the Music Thing Radio Music Eurorack sample player module with looping disabled in the settings (as seen in our recent tutorial) rendering it a one-shot sampler.

The main clock is coming from the Malekko Varigate 4. Channel 1 is triggering the custom kick drum samples loaded into the Music Thing Radio Music, with looping disabled in the Radio Music settings.txt file.

Channel 2 is clocking the Ornament & Crime, which is generating 3 channels of Turing Machine semi-randomized sequences. One sequence is shifting the station on the Radio Music, switching samples. Another Turing sequence is routed to the Noise Engineering Basimilus Iteritas pitch, while a third sequence is modulating the envelope decay on the metallic tones being created.

Channel 3 on the Varigate 4 is routed into the clock input on the DU-SEQ, which is running a 5 step pattern, controlling the gate and pitch on the Make Noise 0-Coast. The pitch signal is routed through Maths channel 2 first, then out from the Sum output to the 0-Coast pitch CV input. One channel from the Pressure Points is also routed into channel 3 on Maths, adding the CV to the pitch input at channel 2, allowing for the transposed sequence. The 0-Coast is routed out through the Vintage Synth Labs VCF-74, and on to the Mutable Instruments Warps running the Parasites firmware for some delay (I like this routing a lot).

The clock output from the DU-SEQ is routed to the 4MS Rotating Clock Divider, which is sending a pulse for every 4 input clock triggers to the clock sync input on the Korg SQ-1. The CV A output is routed to the pitch input on the Mutable Instruments Braids. The stepped random and woggle outputs from the Make Noise Wogglebug are routed to the Braids Timbre CV input and the BI Harm input.

Channel 4 on the Varigate is routed to the Basimilus trigger input. Everything is routed through the Malekko Mix 4 and then out to the audio interface.

https://www.voltagecontrollab.com/"

Patch Notes #23 - Quad Turing Machine Mode in Ornament & Crime

Published on Oct 14, 2016 Voltage Control Lab

"Testing the deeper functions in Quantermain mode in Ornament & Crime, the quad turing machine mode to be precise! This is an extremely useful and exciting module.

A clock coming from Make Noise Tempi, which is sequencing the 0-Coast. The 0-Coast is routed to the Mutable Instruments Warps for some delay through the Parasites alt firmware, and on to the Malekko Mix4.

Tempi is also clocking the Malekko Varigate 4. One channel is triggering the Slope section in the 0-Coast, which is not modulating the 0-Coast, but rather shaping the kick drum routing inside the Roland Scooper which is also routed on to the Mix4.

Another channel on the Varigate is routed to trigger the Noise Engineering Basimilus Iteritas. All 4 channels on the Ornament & Crime are modulating functions on the BI: pitch, decay, morph and fold. All 4 channels are triggered by Tempi at the TR1 input.

Make Noise René is also receiving clock from Tempi, sending it's QCV out to the DPO, and Xgate out to the Malekko ADLFO. The DPO final out is sent to the Optomix, and then out from the mix output to the Mix4. One channel on the ADLFO is routed to the Optomix channel to open LPG, another is controlling FM depth between the oscillators on the DPO.

The Roland System 1m is played live via the Qunexus keyboard, routed out through the Aux input on the Optomix.

https://www.voltagecontrollab.com/"

Patch Notes #22 - Eurorack Sequencer in Ornament & Crime

Published on Oct 5, 2016 Voltage Control Lab

"Patch Notes #22 explores the Quantermain mode in the polymorphic Ornament & Crime module, a 4 channel Eurorack pitch quantizer with 48 different scales and some amazing hidden features.

Ornament & Crime is in Quantermain mode, of course. Trigger3 and CV3 are receiving cv and clock out from the DU-SEQ, fitting the sequence into an Ionian scale and then out from channel C to the pitch input on the Noise Engineering Basimilus Iteritas. The clock for the sequencer as well as the pattern sequence for the BI are being controlled via Reaktor Blocks and the F1 controller seen in the distance.

The gate out on the DU-SEQ is routed to Mutable Instruments Braids trigger input. Channel D on the O&C is set to Turing Machine mode, instead of receiving pitch cv from another source. This mode randomizes a stepped series of cv voltages, and can freeze a certain number of steps and loop them. This mode is routed out from channel D to Braids. To enable some control over the randomization and looping, I routed a row on Make Noise Pressure Points to CV1 on the O&C and selected CV1 as the voltage source for the channel D Turing probability. A specific step on the PP is selected, so that corresponding knob can be used as a voltage offset, locking the random Turing sequence into a loop.

Braids is then routed out to the Vintage Synth Lab VCF-74, and on to the Mutable Instruments Warps running the Parasites alt firmware in delay mode. So beefy.

Another trigger sequence from Blocks is routed out of the Audio 10 DJ (NOT a DC coupled interface) to the Malekko ADLFO, which is controlling the noise hihat in the Roland Scooper. Yet another sequence is routed to the second channel on the ADLFO, with one envelope routed to the Scooper kick drum (see our Roland Aira Drum Machine tutorials) and a second envelope routed to the FM input on the Tiptop Audio Z-3000. The square wave out is routed to the Make Noise Optomix, which is also being modulated by an envelope on the ADLFO, and then down to the Malekko Mix 4 with the rest.

https://www.voltagecontrollab.com/"

Patch Notes #21 - Sequencing w/ DU-SEQ, 0-Coast and more

Published on Oct 1, 2016 Voltage Control Lab

"This episode is exploring both our latest rubber band control on the Vintage Synth Labs VCF-74 Pulse Tips and the direction & address functionality of the DU-SEQ Eurorack sequencer.

Four voices here, clocked from the Make Noise Tempi including the DU MDLR DU-SEQ, which is sending pitch and gate to the Make Noise 0-Coast. The 0-Coast stepped random out is routed to the overtone section, while the cycling slope section is routed into the FM input. The 0-Coast is then routed out to the Vintage Synth Labs VCF-74, which has it's cutoff knobs rubber banded together, and through the Mutable Instruments Warps Parasite alt firmware ping pong delay. The DU-SEQ address is being modulated by a cycling channel 1 on Maths, from the variable output. The clock output is routed to the Malekko Varigate 4, which is sending one randomized gate pattern to the External Gate input 1 on the DU-SEQ.

The Varigate is also sending a randomized pattern to Mutable Instruments Braids, triggering the internal envelope in the Bees in the Trees alt firmware. As well, Braids is in Meta mode, modulated by the smooth random output on the Make Noise Wogglebug. The cycling channel 4 on Maths is modulating the timbre control, with a looping channel on the Intellijel Dual ADSR modulating the color control.

The pitch is modulated via the S&H circuit on the Sputnik Modular West Coast Random Source. The white noise source is routed to the S&H input, which is being triggered by a 4x clock from the Synthetic Sound Labs Modulation Orgy (which is being clocked by Tempi).

One of the fluctuating random outputs from the West Coast Random Source is routed to the attack input on the Noise Engineering Basimilus Iteritas. The stepped random function from the Modulation Orgy is routed to the pitch. The 4 channels of LFOs on the Ornament & Crime are routed to the decay, fold, harm and spread inputs. The Wogglebug bouncing output is routed to the morph control. The BI is clocked by two source joined through the Doepfer A-151-2 Sequential Switch. One signal from the Tempi, another from the stepped random output on the Wogglebug. One channel on the Make Noise Pressure Points is toggling between the sequences every 4 steps, while another is resetting the switch on the following step.

The bass is coming from the Tiptop Audio Z-3000, with the sawtooth wave routed out through the Make Noise Optomix. A sine wave from the Make Noise DPO is routed to the other channel on the Optomix, and then out to the Z-3000 FM input. Both channels on the Optomix are being opened by the Malekko ADLFO, which is triggered via the Make Noise René (also routed from the QCV to the 1v/oct input on the Z-3000).

Everything through the Malekko Mix 4 and out, with a slight bit of dynamics processing to even out the peaks in the recording.

https://www.voltagecontrollab.com/"

Patch Notes #20 - Electronic Drum Pads w/ 0-Coast & DU-SEQ

Published on Sep 22, 2016 Voltage Control Lab

"Putting this 16 year old homemade electronic drum pad to work with the DU-SEQ, the Make Noise 0-Coast and the rest of the eurorack system to generate some weird stuff for Patch Notes #20.

The DIY electronic drum pad is patched via RCA to 1/8" cable to the tempo in on the 0-Coast. The clock out is patched to the clock in on the DU-SEQ, which has it's pitch and gate patched back to the 0-Coast. In this configuration, the drum pad is clocking the 0-Coast and the DU-SEQ. The stepped random out on the 0-Coast is multed to the overtone CV input and the slope section time control. The multiply section is modulated by channel 2 on the Ornament & Crime in quadraturia mode. The slope output is routed back the FM input on the oscillator.

The 0-Coast is routed out through the Vintage Synth Lab VCF-74 with boost enabled for some warmth, then on the the Mutable Instruments Warps ping pong delay in the Parasites firmware, which is modulating the delay time with the internal LFO, and then out to the Malekko Mix 4.

The DU-SEQ is in CV address mode which acts like a sample & hold circuit, more on this in a coming video. The stage address is being modulated by a cycling channel on Maths. Maths' both input is in turn being modulated by one of the fluctuating random voltage outputs on the Sputnik Modular West Coast Random Source. One channel on the Malekko Varigate 4 is randomly gating the Ext gate input 1 on the DU-SEQ as well, which is assigned to one of the 8 steps in the sequence. Any time the step is played, the random gate sequence coming from the Varigate is heard until the sequence steps to another note.

The Korg SQ-1 is playing back the bass part on the Noise Engineering Basimilus Iteritas, with the morph control modulated by another channel on the Ornament & Crime. The output is routed to the Mix 4.

Braids is droning around, with the pitch modulated by the Make Noise Wogglebug, and the timbre and color modulated by the leftover 2 LFOs on the Ornament & Crime. The output is multed through a buffered mult, and then routed to an input on the Sputnik Modular 4tap Delay as well as one of the crossfader inputs on the 4tap (so we can mix the clean and delayed signals). One of the 1/3 outputs on the delay is routed to the other input on the crossfader, with the second output sent to the Malekko Dual Borg filter in high pass mode, then back to another input on the delay creating a filtered feedback loop. The filter cutoff is being modulated by the cycling Malekko Envelator, while the West Coast Random Source fluctuating random voltage is modulating the delay time. Out from the delay to the Mix 4 with the rest and out.

Warning: Tweaking your modular should be done without drumsticks in hand.

https://www.voltagecontrollab.com/"

Patch Notes #19 - DU SEQ w/ 0-Coast & Blocks

Published on Sep 17, 2016 Voltage Control Lab

"Sick for a week, finally back to making sound... Here's Patch Notes #19 exploring the complex gate and note sequencing with the DU SEQ Eurorack sequencer as well as the 0-Coast and Blocks.

Reaktor Blocks is clocking everything. I'm using the Maschine Sequencer Block mapped to the Traktor F1 controller, with the first 4 channels routed to outputs on the Traktor Audio 10 audio interface. This way, I can sequence gate patterns on the fly, mute and solo sequences, generate Euclidean Rhythms and more. The Turing Machine Block seen on screen is not in use in this particular recording.

Channel 1 on the Blocks sequencer is routed the first section of the Malekko ADLFO, with the Sum output routed to the Roland Scooper, triggering the Kick in a complex version of our Roland Aira Modular Drum Machine patch. Using the Sum output, I can craft more nuanced decay/release stages.

Channel 3 on the Blocks sequencer is routed the second section on the ADLFO, which is also routed via the Sum output to the Scooper, triggering the hihat. Channel 4 is routed to the Noise Engineering Basimilus Iteritas, which is creating more percussive, metallic textures.

Channel 2 is clocking the DU SEQ. The pitch and gate outputs are routed to the Make Noise 0-Coast, which is then routed through the Vintage Synth Lab VCF-74. The filter has boost enabled, adding some warmth to the 0-Coast output (more on this filter to come). The filter is routed out into Mutable Instruments Warps running the Parasites firmware for some delay effect.

Braids is generating a self-modulated chord in WTx4 mode, with an internal LFO pushing the timbre control around. The output is routed to the input on the Scooper, through a sidechain compressor setup with the kick drum envelope ducking the levels of the synth.

https://www.voltagecontrollab.com/"

Patch Notes #18 - Reaktor Blocks w/ DU-SEQ & Make Noise 0-Coast

Published on Sep 4, 2016 Voltage Control Lab

"Patch Notes #18 goes Techno, using user created modules in Reaktor Blocks to sequence and randomize drum triggers and notes through the Traktor Audio 10 to a Eurorack system.

Reaktor is running a couple of downloaded modules from the Reaktor User Library, including the Maschine Sequencer Block (an altered version of it, built to operate with the Traktor F1 controller) and the Turing Machine 1.0. These are both clocked by an internal clock module. The first 4 channels on the Maschine Sequencer are routed to a Gates & Trigs module, where the gates are converted to triggers, and then out to physical outputs 3-6 on the Audio 10.

The F1 acts as an 8 channel 16 step sequencer (only using 4 channels) with Euclidean Rhythm generating functions assigned to 3 of the knobs on one control page. The 4th knob is assigned to control the swing amount of the clock module. On the second page, the knobs are assigned to control the Turing Machine functions, so randomized sequences can be looped and lengthened.

The first channel is routed to the Scooper kick drum, the 4th to the Scooper hihat (as seen in our Roland Aira Modular Drum Machine video). The 3rd channel is routed to the Noise Engineering Basimilus Iteritas for snare-ish business, and the 4th is clock the DU-SEQ sequencer, which is sending CV and Gate to the Make Noise 0-Coast.

The Turing Machine in Blocks is routed directly out into the pitch input of the MIDI Out module. The randomized sequence is converted to MIDI notes, and sent through Mutable Instruments Yarns and then out via CV and Gate to the Make Noise DPO, and the Intellijel Dual ADSR. The DPO Final output is routed to the Optomix, which is being opened and closed by the Dual ADSR.

The Ornament & Crime is in Quadraturia mode, generating 3 LFOs. Two of these are routed to the morph and fold functions on the BI, another routed to the Shape function on the DPO. The Korg SQ-1 is in random mode, altering the hihat decay length.

The DU-SEQ is playing a complex pattern with 2 steps assigned to external gate 1, rather than the clocked signal from Blocks. The clock out is routed to the Malekko Varigate 4. Channel 1 on the Varigate is routed to the external gate 1 on the DU-SEQ, with an 8 step sequence (acting like a clock) and randomized repeats for interesting gating on that channel. Another channel is clocking the 0-Coast tempo in, with a third Varigate channel triggering the slope section (which is modulating the multiply amount). The stepped random section is routed to the voltage math section, then split and on to contour decay and overtone amount.

https://www.voltagecontrollab.com/"

Patch Notes #17 - Reaktor Blocks As Eurorack Sequencer

Published on Sep 1, 2016 Voltage Control Lab

"Patch Notes #17 explores the Reaktor Blocks patch that we created in our previous tutorial, sending sequences via MIDI to the Make Noise 0-Coast, and triggers to 3 different Eurorack Drums.

Our Reaktor Blocks patch is running an 6 step sequence in pendulum mode out via MIDI to Mutable Instruments Yarns. Yarns channel 1 CV and gate outputs are routed to the the Make Noise 0-Coast pitch and gate inputs. The Korg SQ-1 is in random mode with a 2 volt range, sending one CV channel out to the voltage math section on the 0-Coast. One mult out from the voltage math section to the FM input on the oscillator, and one to the overtone section. A clock from the Make Noise Tempi is routed to the tempo input, and the stepped random out is routed to the decay length of the contour section. Out to the Malekko Mix4.

Roland System 1m is playing the pads/bass. A channel on Tempi sent into a mult, then on to clock Brains and Pressure Points, one channel of which is routed to the System-1m. The multed clock is also routed to the gate input on the System-1m. Internal LFO on the 1m is modulating the pulse width on the two slightly detuned square waves, long envelopes on the low pass filter and amp, and drenched in reverb and delay.

Reaktor Blocks is also generating 6 clock divisions from an internal clock divider, which is routed to the Gates & Trigs module. This device converts the gates from the clock divider to triggers, which are then individually routed out to 3 drum modules and Tempi. One rhythm is routed to the Noise Engineering Basimilus Iteritas, which is creating the glitchy, metallic snares. The BI clock source is multed to Make Noise Maths as well, channel 1 of which is routed out from both the unity and variable outputs to the morph and fold functions on the BI. Another Tempi channel is routed to the Make Noise Wogglebug as well, which is randomizing the BI pitch.

The kick and hihat are coming from the Scooper, in the Aira modular drum machine configuration we've covered about a year ago. The hihat length is randomized by the SQ-1 channel B. All modules are routed back through the Mix4, and on to the ping pong delay in Mutable Instruments Warps in Parasite mode.

https://www.voltagecontrollab.com/"

Patch Notes #16 - Arpeggios with Make Noise René

Published on Aug 28, 2016 Voltage Control Lab

"Patch Notes #16 explores our latest tutorial, using René as an arpeggio sequencer to create complex chord progressions and musically interesting improvisations on them.

Make Noise Tempi is mult-ed out to the René X-clock input (stepping through the chord root notes), and another output at 4 times the clock rate is routed to the cycling channel 4 on Maths, then out to the Y-clock input on René (stepping up the “arpeggiated” chord tones). The QCV output is routed to the pitch input and the Y-gate output is routed to the gate input on the 0-Coast, which is routed out the Malekko Mix4.

The mult-ed clock sent to René is also sent to Brains/Pressure Points, one channel of which is routed to the 1v/Oct input on the main oscillator of the DPO. The final output is routed to the MMG in low pass mode, then to an open channel on the Optomix (which isn’t really doing anything to the signal, actually). The modulation oscillator is in Sync mode, the main osc expo FM attenuator is at noon, as is the FM bus knob. A looped channel from the ADLFO is routed to the Fold section input. Optomix out to the Mix4.

Another channel on Tempi is routed to clock the Ornament & Crime in Piqued mode, generating a Euclidean rhythm with fluctuating fill amounts modulated by another looping channel on the ADLFO. The O&C rhythm is routed to channel 1 on Maths, which is then controlling the second channel on the Optomix. The Both input is being modulated by yet another looping ADLFO channel. Braids is routed through Ripples LP2 mode (FM modulated by another ADLFO channel), and into the Optomix channel. Braids is in Meta mode, the FM input modulated by the stepped random output from the Wogglebug (also clocked via Tempi), the pitch modulated by the smooth random output. The Timbre and Color are modulated by the Malekko Anti-Oscillator in LFO mode, the triangle output to Color, Mayhem to Timbre. This is producing the glitchy percussive rhythms.

Two channels from Tempi are routed to clock and reset the Malekko Varigate. One channel on the Varigate is sent to the Envelator, which is modulating the Dual Borg kick drum we’ve explored before. A second channel is triggering the snare from the Noise Engineering Basimilus Iteritas.

Everything is routed through the Mix4 and then through the Mutable Instruments Warps delay in the Parasite alt firmware.

https://www.voltagecontrollab.com/"

Patch Notes #15 - 0-Coast Noise Explorations

Published on Aug 21, 2016 Voltage Control Lab

"Patch Notes #15 examines using the stepped random voltage source on the Make Noise 0-Coast as a noise generator, along with other Eurorack based accompaniment.

The Korg SQ1 sync output is routed to the Tempi input to clock everything else. The channel A CV and Gate are routed to the 0-Coast pitch and gate inputs, channel b CV is routed to control the decay input on the Contour section.

The cycling Slope section output is routed to the Tempo input, and the stepped random output is routed to the Voltage Math section input. The Contour output is routed to the Voltage Math input 2, attached to the attenuverter. One of the VM outputs is routed to the Balance section audio input, the other is routed to the Multiply CV input. Channel A from the Ornament & Crime in Quadraturia mode is routed into the Overtone input. The output is from the 0-Coast is routed to the Malekko Mix4, then on to the Mutable Warps (running Parasite firmware in pingpong delay mode).

Tempi is clocking and resetting the Malekko Varigate 4, which has an 8 step, heavily randomized pattern triggering the Noise Engineering Basilimus Iteritas. Tempi is also clocking the Make Noise Brains with Pressure Points (one channel of which is modulating the pitch on the BI) and the Wogglebug (the stepped, smooth and bouncing outputs are routed to the decay time, morph and fold functions on the BI). The Malekko Anti-Oscillator is in LFO mode, routing the mayhem output to the harm input on the BI, while the cycling Malekko Envelator is modulating the spread. The BI is then routed out to the Mix4.

Finally, Tempi is also clocking René, which is playing a slow 3 step pattern on the DPO. The Final output is routed to the MMG, then the Optomix and back to the Mix4. René X-Gate output is routed to the Intellijel Dual ADSR, one channel opening the Optomix, the other modulating the MMG filter cutoff.

https://www.voltagecontrollab.com/"

Patch Notes #14 - Make Noise 0-Coast Dubstep Wobble Bass

Published on Aug 19, 2016 Voltage Control Lab

"Patch Notes 14 explores the patching demonstrated in our recent Dubstep Wobble Bass tutorial with the Make Noise 0-Coast with the Korg SQ1.

The 0-Coast and SQ1 are patched exactly like the previous tutorial, with the SQ1 clocked by the Make Noise Tempi, and the 0-Coast routed out to the Malekko Mix4.

The lead sequence is being played by the Make Noise René, also clocked by Tempi, routed out the DPO. The DPO Final output is routed to the MMG, then to the Optomix and out through Mutable Instruments Warps running Parasite firmware in pingpong delay mode. Then the signal is patched to the Mix4.

The René X-gate output is routed to the Malekko ADLFO, triggering two envelopes routed to the MMG filter frequency cutoff and the Optomix control input. The left over group of 3 ADLFO functions are in Loop x10 mode to generate longer LFOs. One is routed to the FM Bus on the DPO, the sum output is routed to the Mod Bus index. One channel on the Ornament & Crime (in Quadraturia mode) is also routed to the Mod Bus external source input.

Another one of the O&C outputs is routed to modulate the Timbre control on Mutable Instruments Braids in WTx4 mode, playing back the chords. The pitch is modulated by a channel on Make Noise Pressure Points (clocked through Brains by Tempi), while the note triggers are coming from a channel on the Malekko Varigate 4 (also clocked and reset by Tempi).

Another channel on the Varigate 4 is routed to a mult, then to the Roland Scooper to trigger a hihat, as well as to the Doepfer A-151-2 Sequential Switch. The signal is then toggled via 2 channels of Pressure Points summed through Maths, between 2 destinations, the Kick (from the Dual Borg/Envelator combo we’ve explored before) and the Snare (from the Noise Engineering Basimilus Iteritas). The drums are routed through the Scooper, and then to the Mix4 (which is the final output).

https://www.voltagecontrollab.com/"