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Thursday, October 23, 2014

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


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

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

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

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

Modular Jam #17 - Beats & Pieces


Published on Oct 23, 2014 DivKidMusic

"So here's my latest patch that I've been jamming with and trying things out. As always fire away with any questions in the comments and hit subscribe for more videos every week! Full patch notes below.

Part 1
An intellijel Dixie triangle wave is sent to the AniModule V9a and scaled with the on board offset and attenuator to create some pendulum style sequencing with the VC input for the V9a (as opposed to clock input). The CV output from the 9 steps are sent to an RYO AmpMix for simple attenuation and then scaled back before going to an ADDAC 207 Quantizer. The quantizer output goes into a Mutable Instruments Braids 1v/octave input with automatic triggering for the DRUM mode. The quantizer's trigger output go into a Mutable Instruments Branches to inject some random movement not always passing the triggers through the same output and output A goes into a Mutable Instruments Peaks is envelope mode sends an ADSR to Braids colour modulation input. Braids Timbre is modulated by a Frequency Central System X Sample & Hold which is clocked from an AniModule TikTok receiving it's clock from the VC sequence generated on the V9a. Braids output goes into a Mutable Instruments Ripples filter with cut off modulation from the System X Sample & Hold and the second channel of Peaks in TapLFO mode. The TapLFO function receives it's clocked from the TikTok module. The Ripples 2 pole low pass output goes into a Make Noise Echophon with the mix amount modulated by a Bubblesound uLFO's shaped sine output. The Echophon's pitch depth is modulated from a second quantizer channel playing the same sequence as the original pitch sequence going to Braids. The Echophon's echo time is modulated from the System X Sample & Hold as well. The main clock for the Echophon is the AniModule TikTok. The Echophon's freeze function is from the uLFOs pulse output. Finally the Echophon's output goes into an Erica Synths Polivoks mixer module.

Part 2
A second Intellijel Dixie's sine output goes into a Bubblesound VCA4p with FM modulation on the Dixie from a Doepfer Quad ADSR with the same envelope modulating the amplitude on the VCA4p. The VCA4p output goes into a Doepfer A-199 spring reverb with the output going into a Synthrotek EKO module which has echo time modulation from the uLFOs shaped sine output (also modulating the Echophon for Part 1). The EKO output then goes into the Polivoks mixer.

Part 3
The AniModule TikTok sends a clock into the 4ms RCD and SCM and 4 outputs are mixed in a Doepfer A-151 sequential switch with a slower clock division triggering the switching. This pattern is sent to a the second channel on Branches which is randomly "coin tossing" the outputs so every trigger doesn't pass and that output goes to a WMD multi mode envelope which is modulating an Erica Synths Polivoks filter with the Polivoks modulator's noise output at the input. This then goes into the third channel on the Polivoks mixer.

The Polivoks mixer is a sub mix that is added to with the output going through a Livewire Frequensteiner filter with modulation in HP mode from the System X Sample & Hold. The Frequensteiner output then goes to an RYO Vertmix (for further mixing). The Vertmix also has a second channel which is Neutron Sound Orgone Accumulator set to a noisy wave going into the AniModule SOB with steady 16th note trigger (the slight variation in the V9as output due to the original triangle wave at the VC input is most apparent here) to the CV inputs. The Vertmix finally outputs to a second A-199 spring reverb before going to my soundcard.

Manually wiggling was of the SOB filter cut off and CV modulation depth for the noise. The Braids tuning for Part 1 DRUM mode, the Polivoks mixer levels and the FX mix amounts.

I also used the AniModule LogicOgic for AND, FlipFlop and OR functions to mix and combine triggers from the 3 parts and TikTok clock divider/multiplier before hitting Branches."

New Analogue Solutions Telemark Filter Eurorack Module

Analogue Solutions TMF - Telemark Multimode Filter eurorack module video overview

Published on Oct 23, 2014 Analogue Solutions


"Eurorack module based on the Telemark multimode filter

KEY FEATURES OF TMF

Pure analogue circuitry.
Telemark filter
4 filter types
- Low, High, Band, Notch
Resonance (Q) boost feature
Slim design
Spun metal knob caps
The Telemark multimode filter module is based on the filter of the legendary Telemark semi-modular synthesizer.
It's routes lie in the original 1970s Oberheim SEM, though it has developed a character of its own.
The filter is a 12db/Octave multimode type. Multimode means there are more than one type of filter output.
There are in fact four: low pass, band pass, high pass and notch filter.
Additionally, notch filter can be varied for an even wider range of sounds.
Use of Gain and Q allow for even wider possibilities.
No special knowledge is required to use this filter. Just plug your audio in the left, and your audio out on the right.
Optionally (and recommended!) patch a control voltage in to give the sound movement."

via Analogue Solutions

GUITAR PEDAL SPOTLIGHT : CLUSTER FLUX, FLANGER HOAX, 8 STEP PROGRAM


Published on Oct 23, 2014 EXPLORING AUDIO

Some synthy bits in these.

"'Guitar Pedal Spotlight' will be a video series focusing on showing off lesser known pedals ( or well known pedals with lesser known capabilities ). In this video I discuss the Moogerfooger Cluster Flux, the Electro Harmonix Flanger Hoax, and the Electro Harmonix 8 Step Program."

SSSR Labs VC Divider - Triggering hi-hats


Published on Oct 23, 2014 rpocc

"This is the first demo of SSSR Labs VC Divider showing Divider clocked by LFO at 1/24ppqn rate, and controlled by a 16-step sequencer, which defines output rate for clocks that are gating a hi-hat patch. Other instruments are controlled by gate outputs of the Orbitals, by individual outputs of the A-160/161 and by the Turing Machine.
For more information about this new module, please visit http://www.modularsynth.ru/en/sssrlab...
My camera has 15fps frame rate, so I still can't show crispy LEDs of the VC Divider module."

Her Sacred Fire


Published on Oct 22, 2014 VoltageCtrlRtv

"Her Sacred Fire glimmers a beautiful hue of blue that dances to the rhythm of our hearts.
She can only be experienced with an open heart that vibrates unconditional love.
Her movements are swift and unpredictable one second...
graceful and mesmerizing the next.
If you are graced by her presence, know that you are in for a deep journey into the inner verse to absorb esoteric knolwledge only taught within the emerald spiritual heart temple.

Live analog modular synth, arturia microbrute and elektron machine drum recorded live in one take."

Geektronica #5: Halloween Theme (Halloween [1978])


Published on Oct 22, 2014 MotiveMakesaMan Music

"Here is my first spooky halloween video, and what better song that the title theme from the classic horror film, Halloween! Fun fact: This song is in 5/4. As a matter of fact, a lot of horror songs are in asymmetrical time signatures. Puts people on edge I suppose."

MORE MUSIC: http://motivemakesaman.com
FACEBOOK: http://www.facebook.com/motivemakesaman
TWITTER: http://twitter.com/motivemakesaman

Korg MS-20 mini, Roland TB-3, XR-20/Groovesizer MB (The Writhing Void)


Published on Oct 22, 2014 Metatron's Cube

"Playing with a MS-20 mini, which is always fun. Such a wonderful filter. A TB-3 and XR-20 tagging along for the ride. Thanks for watching/listening!

download@ https://soundcloud.com/miles-baskett/..."

Wednesday, October 22, 2014

A Comparison of ARP Filter Modules via The Analog Lab


via The Analog Lab

"It’s interesting to see the progression of ARP’s filter design when these are lined up next to each other. Being an early model, 4012 is mainly discrete transistor pairs. The 4023 is a 12db/octave filter based around 2 CA3080s and was used in the earliest ARP Odysseys. The 4034, used in the Pro Soloist, is a transistor ladder filter using CA3086s. For the sake of comparison, we included an ARP 4075 in the pic. It’s one of the later and most widely used of the ARP filters (used in Odysseys, Omnis, etc). This is based on a LM3900 quad Norton amplifier (this is a specialized op amp) with discrete matched transistor pairs."

Vermona VSR3 vintage spring reverb test


Published on Oct 22, 2014 alternatingbitmusic

"A mini demo of how adding a spring reverb to any sound/sequence no matter how simple or complex can create a great sound environment. Though mono, the spring reverb uses actual metal springs to create an organic, almost unpredictable feel. Happy to add this unit to my portable modular box."

Vermona VSR3s on eBay
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