Alter Y is the pedal version of Alter 2 eurorack module featuring four 1/4" jacks in addition to 1/8" as well as buffered switching that allows for trails.
Though it functions the same as other pedals, this pedal is a little different. Most pedals are made for guitars and then artists may choose to use them in different ways. We made this pedal to work with either standard ¼” jacks (for both input and output) or 1/8” (3.5mm) jacks for use with anything else. For those who like to use CV (control voltage) for any eurorack format, cv keyboard, or pedals which output cv (eg. expression or sequencing), all four of the main knobs have cv inputs (mix, x, y, filter) so you can control your knobs without touching if the desire strikes you.
These pedals accept guitar, line or eurorack levels.
The enclosure is very thick, gold plated PCB (it’s very, very tough).
Included power is standard for most pedals (2.1mm, -tip)
We wanted a broad array of effects in each X and Y pedal so each is a mashup of effects which we thought complimented one another when used together. Running X into Y or vis versa creates some powerful changes.
I'm back with a follow up Bank for the fantastic Sequential Take 5. Essence Vol 2 contains 128 all new Patches, with emphasis on playable Sounds, not weird Sound FX.
V2 Firmware added some great new features such as OSC 2 to be bypassed from the Filter, Vintage as a destination and many others, which I have fully taken advantage of. Many of the Patches utilise the excellent FM Function for unusual tones.
Here is the final Video demonstrating Patches 97 to 128. The Bank is now available for purchase.
00:00 - 97. To Heart GEO 00:48 - 98. Day & Night GEO 02:18 - 99. FM Glitches GEO 02:44 - 100. Candy Lead GEO 03:15 - 101. Rock Me GEO 04:00 - 102. Phazed Out GEO 04:31 - 103. Dark Ring GEO 05:53 - 104. Plucking Arp GEO 06:45 - 105. Low Tide GEO 07:40 - 106. Reed GEO 08:33 - 107. DX100 Bass GEO 08:53 - 108. Noise Floor GEO 10:35 - 109. PLUX GEO 11:07 - 110 Organ Bass GEO 11:33 - 111. Sad Strings GEO 12:05 - 112. Day Dreams GEO 13:18 - 113. Passed Off GEO 13:58 - 114. Lies Beneath GEO 15:09 - 115. Mod Bass GEO 15:31 - 116. Double Slit GEO 16:11 - 117. Terminal GEO 16:47 - 118. Dune GEO 18:02 - 119. Lake Fear GEO 19:31 - 120. Phazed Clavs GEO 20:02 - 121. Perc Up GEO 20:34 - 122. Da' Blues GEO 20:55 - 123. Old Solina GEO 21:45 - 124. Stepping Stone GEO 22:23 - 125. Evil Intent GEO 22:55 - 126. Poly Synced GEO 23:18 - 127. Brass Line GEO 23:47 - 128. Tables Saw"
"Added a video demonstrating the unit Stranger Things style and drenched it in an absurd amount of reverb like the kids do.
Here is the rare Firstman SQ-01 synthesizer, sequencer, and touch keyboard. You can program different patterns, and then choose between them. The filter can get into some 303-territory. Highly portable, solid and well made. Free shipping in CONUS."
"N.B. It will get loud :-) I'm loving the long envelopes I can get with the Prism Circuit Spore Card for the Buchla Easel. Here I'm sending the envelop to the LPGs, Timbre, Mod Index and Pitch/Frequency.
"In this series Anthony breaks down some of the most icons synthesizer patches that he programmed for Michael Jackson’s Thriller
Anthony's musical touch as both composer and performer is connected with some of the most influential creative minds over the last 40 years. He’s composed and conducted original orchestral scores for over 80 feature films including Young Guns, Internal Affairs, The Man From Elysian Fields, 15 Minutes and Planes, Trains & Automobiles, been commissioned by the Los Angeles Philharmonic for his symphonic work "In the Family Way", written over one thousand TV commercials in a myriad of musical styles, co-founded Levels Audio Post (LA's premiere post production facility) and performed and arranged on big-box-office films and influential hit records such as Michael Jackson's Thriller.
His extensive work as a young arranger, orchestrator and performer for Quincy Jones, Jack Nitzsche, Lamont Dozier, Arthur Rubenstein and Giorgio Moroder was vital in launching his own career. His early years pioneering modular analog synthesizers along with his wide-ranging music scholarship positioned Anthony at the center of the music technology revolution. He attended the University of Southern California School of Music as a piano and composition major."
Playlist at the time of this post:
How I Programmed the Baby Be Mine “warble” Mini Moog Lead on Michael Jackson’s Thriller
How I programmed the Baby Be Mine MiniMoog Bass on Michael Jackson's Thriller
How I Programmed The Bass On Michael Jackson's PYT
How I Programmed the Theremin Sound On Michael Jackson's Thriller
How I Programmed Michael Jackson's "Thriller" Bass on my Tonus ARP 2600
How To Program The Synth Lead From The Weeknd's "Blinding Lights"
How to program the synth bass from Tyler, the Creator's "Igor's Theme"
How I Programmed The Synth Opening On Michael Jackson's Thriller: Prophet 5 Pt.1
How I Programmed The Synth Opening On Michael Jackson's Thriller: Jupiter 8 Pt.2
How To Make The Synth Bass from "Da Funk" by Daft Punk
How To Make Any Imaginable Kick Drum Sound
How I Create Dubstep on Analog Synths (without a computer)
How I Process my TR-808 Drum Machine with OTO EFX Pedals
How To Program The Synth Riff From Prince's 1999
How I Programmed The Synth Opening On Michael Jackson's Thriller: The Synclavier Pt.3
War Games: The Sounds I Made For The Film
"A look at the outrageous and jaw-dropping Colossus from Analogue Solutions.
A "colossus" thank you to Tom at Analogue Solutions for the very generous loan of this remarkable instrument. https://www.colossus-synth.com/colossus
Thank also to Simon and Eli for their help with the video.
For my music, stems of my music, sample packs, Q&As and to help keep this channel going, please consider my Patreon: https://www.patreon.com/AlexBallMusic
0:00 Intro Jam 1:07 Colossus 2:11 Demo 1: Fireflies 3:47 Synthi 100 4:28 Whistle Stop Tour Pt 1 7:34 Demo 2: Heft Side Brain 8:52 Whistle Stop Tour Pt 2 10:07 Demo 3: Peggio 11:31 The Colossus in the room 12:37 Demo 4: Helix"A look at the outrageous and jaw-dropping Colossus from Analogue Solutions.
A "colossus" thank you to Tom at Analogue Solutions for the very generous loan of this remarkable instrument. https://www.colossus-synth.com/colossus
Thank also to Simon and Eli for their help with the video.
For my music, stems of my music, sample packs, Q&As and to help keep this channel going, please consider my Patreon: https://www.patreon.com/AlexBallMusic
0:00 Intro Jam 1:07 Colossus 2:11 Demo 1: Fireflies 3:47 Synthi 100 4:28 Whistle Stop Tour Pt 1 7:34 Demo 2: Heft Side Brain 8:52 Whistle Stop Tour Pt 2 10:07 Demo 3: Peggio 11:31 The Colossus in the room 12:37 Demo 4: Helix
I found the new CF100 filter from Cytomic to be quite unique. It sounds great, and it has a few interesting features like the NPN2 output, which is great for pads and such, and the input\output boost for adding more character to the sound. I explored it and experimented with it, and these are the patches and sounds I wanted to share. There are many great-sounding filters in VCV, and the CF100 is a great addition to the collection. I recorded all of the patches into Reaper and applied some compression and limiting.
For full transparency, I bought this filter with my own money, and this video is not sponsored.
"Patch Notes: I'm going to make a video about the patch soon (trying something new). But here's some quick notes. Babel is the heart of this piece. Everything is going into it and modulating each other. Mixing is just the most basic form of modulation, so think of this as advanced mixing. There's three voices: two Triphase Oscillators and a Harmonic Shift Oscillator. One of the Triphases is droning. The HSO is doing the lower voice and the other Triphase the upper. Inertia is detecting the variation in amplitude and exaggerating it with momentum, then feeding that back to change the timbre of the Triphases as well as the center for Babel's modulation. Now just what all of that means...that'll be the subject of the next video.
Just a note: I get frustrated making Eurorack videos where the music ends up secondary to the content, but you need music to explain the modules. So the solution (hindsight is duh) is to just separate these, and give patches two videos. Or at least, I'm hoping that works out the way I'm imagining.
"Quick extreme external clocking test of the SSL The Matrix module. The M524 quad VC LFO from @moonmodularhq provides The Matrix clock on channel 1 and then the other 3 channels are mixed by a M526 and sent to the channel 1 CV input. Always fun to see The Matrix lights reverse themselves! 😜 If you buy this module abuse it at your own risk! 🥺😅🧐 #modularsynth #electronicmusic #sequencer"
"Chords: Sequential Prophet 2000, Steven PDD-3000, Dynacord DRP-16, Ibanez UE-405 Bass: E-Mu Emax II playing a CS20M+Fairlight III patch Bold Bass: Arp Axxe (mk2 in mk1 body), Ibanez UE-400 Flanged Chords: Akai AX-80, Boss BF-1 Drums: Behringer RD-8, Roland SIP-301, MPC Electronics DSM 1 (not to be confused with M.P.C), Yamaha R-1000, Alesis MidiVerb Bright Pad: Sequential Prophet 600 Emax, AX-80 & RD-8 are live sequenced in Audacity, the Prophet 2000 is audio-looped on the two first cycles"
"A blissful theme by the late Ryuichi Sakamoto.
Covered (in another tonality with shortened parts) on a modified 1982 Sequential Circuits Prophet 600."
"I've been wondering about that one, I thought this would make a P10-esque stack, but happens that not really! The problem I had capturing this video is that P600s are phasing out, non stop. It drifts so much that it is impossible to merge them in a coherent mono signal! (Yo, 24 unstable analog VCOs at the same time??) So it's nice on headphones, sweet on largespeakers, but hell on mono devices. Also having twice the same instrument that has this very strong signature makes it not really simple to stack. It is more meaningful to have 2 different ones, like I did here: [previously posted here]
Anyway, it had to be done, and I'm happy to know I don't need a second Prophet 600 x))
Oh and about the question, 'Do two Prophet 600 sound different?', the answer is a bit yes! To my ears, one was brighter and thinner. The other one's VCOs were harder to tune, and it was darker in the way that it didn't bring as much overdrive as the other P600. The thing is that you can't trim the VCA load, so no way to adjust this. Also I have the voicepanning board installed, that I bypassed for this video (All trims to left side), but it may change the sound. I guess all of this is mostly due to different aging of CEMs? Like my friend's one slept for years, and mine is being daily used and taken on stage idk but I prefer mine x) Funny thing tho, they didn't have the same build quality, pots were feeling a slight bit different, and inside there was differences for capacitors used (none had ever been recapped tho), for connectors and power supply too. Early models look less reliable, late ones are safer.
"Fun fact this unit was the one used by UVI for their soundbank 'uvi synthox' x)
1986 italian FM synthesizer, 4 operators, 8 algorithms, 18 voices, 8-parts multitimbral.
It also has 2 individual mono 3009 BBD lines (wish they had just made one, but stereo)
The EK44 - call it EM44 or ER44 as well - is based on the Yamaha YM2203, which sounds cleaner than classic DX chips... too nice for my taste, I sold it a year ago!
It's more straightforward than most FM synthesizers: sounds are rather thought as stacks of simple patches rather than single complicated evoluting sounds. Also the approach is orthogonal to DX series if I can say! You program a single parameter, for all the operators one by one on the same page. DX would give you multiple parameters for a single operator, and yet you would have to change parameter and operator by a single button. The EK44 show you the 8 (2x4) operators values, at the same time by little graphs on the screen, it's really cool. What's less cool is that they don't display algorithms anywhere. How am I supposed to guess them?? (you might have to look at the german pdf online)
Worth noticing the keyboard feeling is a step ahead from other synthesizers of that era, not as good as the solid straight Kawai K3 or AX80, but really flexible, bouncy, pleasant and kinda unique.
Additional comment: it's defo not a 1500€ synth as you might see on reverb lmao
0:00 FM Realm
0:13 3009 Strings
0:33 Golden Hour
0:49 Zappa's Apostrophe
0:58 Abas 1
1:04 Abas 2
1:08 Stackbas
1:14 Polyphonic Memory
1:34 Musical Greenhouse
1:45 Stratus
1:56 Pasiphaë
2:16 The Contract
2:28 Broken Lullaby
2:40 Simmons' Spring"
"I made one demo here but I could just go on more, it sounds too great! The KIWI, more often branded Opera 6, or DK-600, is a super rare super great italian synth. Sometimes reminds me of the Jupiter 8 and the Oberheim OB-8, if we put appart the abscence of crossmod. The EG are hella tight, the DCOs are damn bright and full, the filter so mellow...... The epitome of the analog polysynth, far away from the cliché of italian synths. Also an expensive instrument in the 80's as it cost 50% more than a Korg Poly 61, a Juno 60, a SX-210 or Yamaha DX9... Nowadays it would be about 4.400€ if we adjust the inflation, so definitely not an amateur synth! It was just about the level of a Prophet 600, which funny thing is that they are absolutely opposite in sound characters (and in components, 100% CEM for P600, 100% SSM for KIWI), but they go so well together! They are probably my 2 fav synths in my room :)
Thinking about installing the voicepanning on this one too tho :D
"Was tryna mod my CS-20M to get the CS-80 VCF configuration... Doesn't work yet, but has some interesting changes! CS filters have a frequency-dependent Q factor, coupled with a fixed LP filter. The CS-20M bridles the cutoff to max 7.5Khz, if you want to push it further you may lose some of the Q effect. Here I lowered the bandpass feedback R/C pair (R from 820K to 100K), this pushed the Fc but damped the resonance. I am not quite sure how to change the max filter cutoff without affecting the feedback damping... Maybe some day I'll figure out x)
Tho I was lucky to record a test with a tempo click, so I could add those percussions afterwards! Apart from that this is 100% the CS-20M with no sync, almost no FX. Just everything at max values.
SSM2044 (Bit One) vs CEM3328 (Bit 99) comparison at 1:51. They sound pretty much the same tbh, minus the resonance drop for Bit One (design flaw of 2044s). But the boards inside do look different, we really can feel how Crumar engineers found about some possible reliability issues. My Bit One [a very early model] looks like a still-on-development instrument, with factory handmade modifications. That's why I tend to say the Bit 99 is safer, like better finished synthesizer. It also has few practical improvements that are useful for live sets, such as volume, noise and detune recall (which is not possible on Bit One), and a better keyboard feeling thanks stronger keysprings. Fun thing though, it's the same keyboard as in the Siel Opera 6 and E-Mu Emax!
So, Bit One or Bit 99? Honestly, whatever the model, you'll get the same thing. Bit99s are maybe a bit better designed, but both share all the same fragile components that usually die with time x)
0:00 - Stack 1 (with use of velocity to LFO speed!) 0:42 - Stack 2 (4 DCOs on different pitchs) 1:00 - Stack 3 (classic poly sound) 1:51 - VCF Tests
Crumar Bit 99 kindly lent by Loic from Les Amants, https://www.instagram.com/lesamantsmusic/"
"That day I forgot my camera stand so my friend Steph had to hold the camera for me x) Just throwing some Oberheim DMX (factory eproms) grooves through a 1979 Roland SIP-301 bass preamp/comp... that has a very crunchy opto comp actually!
"Some very different synth from the usual stuff I play :p This is a 1993 rompler, just like the Korg M1 and all these realism-aiming synths. It's a keyboardless version of the Kawai K11, with 256 waveforms, 32 voices, 32-multitimbral in a desktop 1/2 rack format. Most of the sounds are single-waveform, so you get these typical 90s static pads, which sound very nice with verb. The only downside is that you need to program it thru 4 buttons and a rotative encoder... Very 1990 again x)
0:00 - Blue Sheen 0:29 - Presence 1:15 - Breathy M1 1:35 - Liminal Space 2:04 - Turquoise 2:26 - VHS Strings 2:42 - 1993 2:58 - Bottles Orchestra 3:17 - Additive II 3:43 - Little Bell 4:00 - MIDI Bass 4:10 - Hot Water 4:36 - Hybrid 4:51 - Birds From Eden 5:37 - Scissors Echoes"
Synclavier Church Bell recreated on Yamaha DX7 video upload by Valmont
"Check the Synclavier voices patch from Genesis 'Mama' recreated on DX7 as well here: [below]
The Synclavier being linear FM, one of the only suitable algorithm on a DX is the one with 3 parallel carrier/modulator. So in this patch, we have 3 partials but the original patch had 4. This is no big deal, as we can just detune more the DX operators. However, the Synclavier had a 1st harmonic on carrier 1 at 20% level, which is something we can't achieve on DXs because they aren't additive... Just use some feedback, to be honest it's absolutely unnoticeable ;p
"This one was more simple than the previous Synclavier patch. The subtlety is that the two triple-harmonic operators are doubled by the Synclavier chorus function, and that both use asynchronous LFOs. So you get a 2x6 linear operators sound, with two moving parts in the whole thing. We can't do this in a DX7, however we have the Supermax delay function which allows something in the very same spirit. Not having a Supermax results in a strictly halved-stack, which is noticeable but okay if you add thick chorus behind.
The two Synclavier operators both contain harmonic 1, 2 and 3. They're detuned from each other, so until here the DX7 can follow. Then with the trigger-delayer, we ask the DX to play each note a second time very shortly after, with an augmented pitch. We get twice the sound, twice fatter. But we still only have one LFO for the voices, delayed or not, so the sound is phasing out a bit less. Just add a lil chorus on the output and there it goes. Tho we can remark that the patch used on 'Mama' by Genesis has less LFO modulation, it's smoother. But I wanted to recreate the real Synclavier sound x)
Also note that Depeche Mode used this patch on 'Love in Itself', just like the ChurchBell sound I recreated a month ago. [above]
Synclavier "Voices 1" from Genesis 'Mama' recreated on Yamaha DX7 [Supermax]
video upload by Valmont
"This one was more simple than the previous Synclavier patch. The subtlety is that the two triple-harmonic operators are doubled by the Synclavier chorus function, and that both use asynchronous LFOs. So you get a 2x6 linear operators sound, with two moving parts in the whole thing. We can't do this in a DX7, however we have the Supermax delay function which allows something in the very same spirit. Not having a Supermax results in a strictly halved-stack, which is noticeable but okay if you add thick chorus behind.
The two Synclavier operators both contain harmonic 1, 2 and 3. They're detuned from each other, so until here the DX7 can follow. Then with the trigger-delayer, we ask the DX to play each note a second time very shortly after, with an augmented pitch. We get twice the sound, twice fatter. But we still only have one LFO for the voices, delayed or not, so the sound is phasing out a bit less. Just add a lil chorus on the output and there it goes. Tho we can remark that the patch used on "Mama" by Genesis has less LFO modulation, it's smoother. But I wanted to recreate the real Synclavier sound x)
Also note that Depeche Mode used this patch on 'Love in Itself', just like the ChurchBell sound I recreated a month ago. Check it here if you haven't seen it yet! [above]
"Here I only presented the wet sound of a single BBD line and the mixed effect (still with one line). The complete ensemble consists in 3 lines like that, with phase offset and LFO combinations."
"I played for hours straight so I had to change my camera's battery 4 times and my SD card, then assembling and sorting all the cuts I realized it moved a bit, sorry for that! One of the great thing with the AX80 is the stability: it doesn't move of a single cent, which is fundamentally important for live performances! (Also there are 64 presets it's nice). More than being stable, it's also really in tune thanks DCOs drivers. (too much in tune..?) It's nice to know this synth has a double-mode crossmod section, an ADSR to DCO routing and an additional sub waveform. On 8 voices so it goes big! I especially like the crossmod. It's not as versatile as a Prophet 600, but it does have a sonic difference. The filters are a question of taste, I'm into the 2044 reference and those CEMs don't sound quite the same, they have a more aggressive resonance... They're just different (in a CEM way by definition :p) And well that look, with astonishing neon LEDs behind opaque plexiglass, and this fantastic keyboard feel! Oyy we don't speak enough about it, but it's amazing, it's perfectly balanced and nice to play with.
As usual with mono sources, I preamped the AX-80 thru a Golden Age Premier PREQ-73, and since the Akai output level is super high it easily went on overdrive. The Akai doesn't drive by itself, it's on the contrary really clean!
"- The LEL' UDS is a soviet drum synth, made in the late 80's. It has 2 identical, independant channels that include a tone (triangle) and a noise generator. - The Welson Supermatic S12 is an italian drum machine made in 1971. It provides 12 classic patterns with no available edits, except global volume and tempo. There's still a little knob at the back that acts like a 6dB LP filter ('tone' thing)
So in a few words, two simple instruments that make simple sounds... Chained together! I was digging inside the LEL' (A bit of servicing) but got lazy to close the lid to shoot the video. So there it is, wide opened for your eyes :D I think I'll add a second output for this unit. Just requires to build a second amplifier and split the channels - not thaaat complicated stuff so... why not give a try x)
Patterns: 0:00 - Shake 0:28 - Tango 0:46 - Mambo 1 0:59 - Mambo 2 1:09 - Slow Rock 1:20 - Samba 1 1:32 - Snare Roll 1:43 - Samba 2"
"Long time ago I recorded a video of this Crumar, but the sound was mono with phasing issues, and so didn't give honor to Bit One's sonic character. This time I recorded it with the voicepan x) This unit is a SSM-2044 version, it said less than 300 (or 200?) were made before switching to the less sought-after CEM-3328. With the incredible number of broken Bit Ones you can find online, I don't think there's much SSM versions left :D The Bit is also capable of split/layer/two-unison, I forgot to make some patch for that when recording the video!
"MSX Yamaha CX5M Music Computer SFG-05 FM Sound Synthesizer Unit II Engine WORKS! This unit is in excellent condition, being tested and functional with no major issues. It has all parts and pieces and comes with an SFG-05 FM Sound Synthesizer Unit II Module plugged in the back, wham-o! This unit is clean and has no damage, and has all the original plug covers still in place as well (these are usually lost relatively quickly).
This unit measures in at 16 1/2" wide, 8 1/4" deep, and 2 3/4" tall. It weighs in at 6 pounds, 12.9 ounces total."
"First you think it has 4 basic sounds but it is the 80s so the piano is of course does not sound like a piano at all, and the others also very very diferent what you expect but the result is surprisingly great, you simply do not want to stop playing!
The equalizer is a real plus! It can change the sound of every patches and it is a really hands on modification tool."
"Beautiful vintage ARP Odyssey MK2 (the one with the Moog-style filter). It has CV/Gate and generally works well, though the keybed could use a cleaning as some key contacts are a little off sometimes. Controlling it via CV/Gate works like a dream, though. This era of filter is my favorite sounding vs the 1st and 3rd versions of the Odyssey with a nice balance of the powerful, sharp ARP VCOs and the liquidy Moog-ish filter. The synth has been recapped, all electrolytics and tantalums have been replaced."
"Just a quick demonstration of the Teisco S60p and most of its sounds,
The S60p is a truly great little synth for as simple as it is.
The music is completely made up, no shame for the bad notes lol. Enjoy!"
"Made for the Vintage Synthesizers And Effects Facebook group members album. The idea was to make a song using only one vintage synth and one vintage drum machine, plus any effects were allowed as well as multitrack recording of the song so long as you only use the one vintage synth and drum machine. As the Admin of the group put it, "Back in the days when these synths were new or fairly new people didn't have but usually only one synth and had to push it to its limits to get the most from it" and as such put out the challenge among the group members. I decided to take it two steps further and do the ENTIRE song live without any multi tracking at all! All done in one continuous take including all 3 bad notes, using only a Monosynth and the song even includes a programmed by hand drum solo! No MIDI or controllers were connected, everything is done with only the one synth and drum machine. The Teisco S60P is a Preset only Monosynth with factory ARP aftertouch and has no external control such as MIDI / CV / GATE. The Yamaha RX5 is from 1985 and sounds so great when you put effort into programming it and its sounds. Here is a list of what the gear is setup and doing:
S60P - All melodies, lead lines and solos.
RX5 - All percussion, Bass and Guitar chords. (Factory Yamaha WRC02 Cartridge installed)
EFFECTS: Just a little reverb, nothing else."
"(c)2007-23 by RetroSound supported by UVI: http://bit.ly/retrosound-uvi
❤️ Support #RetroSound channel: https://retrosound.creator-spring.com
The Best of Casio CZ-101 Synthesizer all synthesizer sounds: CASIO CZ-101 (1984) drums: Boss DR-55, Roland TR-707, Roland TR-808 , Linndrum, Simmons SDS-8
Setlist: 0:06 Intro 0:16 Dancing 0:48 80s Music Party 1:03 Strange 1:14 Machine Run 1 1:40 Mobility 1:53 Islands 2:08 Machine Run 2 2:22 Take A Break 2:35 Waverider 2:44 Alert 2:56 Cut Off 3:11 Swimming 3:23 CZ Duett 3:33 Sub Bass 3:48 Oberheimi 4:12 Drama 4:20 DCW Sweep 4:27 Wave Police
The CASIO CZ Synthesizer from the year 1984 is a very interesting synth. Here can you find the full CASIO CZ playlist with single sound demos, sound tutorials and one synth demo tracks. Enjoy. The CASIO CZ playlist:"
"Small live set with new synthesizers PLANETOID and GRANULATOR. I also used a cassette player, radio receiver and PELENGATOR.
GRANALATOR is a digital synthesizer based on Arduino. I ordered the boards for another project, but it turned out to be not promising. As a result, having redone the board a little, it turned out OH!
Very similar to Woodblock, but all parameters can be controlled by CV. This makes him a great match for PLANETOIDy.
I did not plan to make it serially, so far there are 3 free boards for it.
You can buy all of these synths from the SynthCone store on the Boosty website."
"GRANALATOR is a digital synthesizer based on Arduino. I ordered the boards for another project, but it turned out to be not promising. As a result, having redone the board a little, it turned out OH!
Very similar to Woodblock, but all parameters can be controlled by CV. This makes him a great match for PLANETOIDy.
I did not plan to make it serially, so far there are 3 free boards for it."
"In this video I try to show off some exponential and linear fm sounds as well as phase modulation on both GENERATE 3 by Joranalogue Audio Design and THREE BODY by Schlappi Engineering. These versatile oscillator modules are at first glance very different but they both offer a toolset that let's you do more than what you'd expect from a classic vco. The inclusion of phase modulation offers extended timbres (like wavefolding or DX type modulation). They both have their strenghts and weaknesses, but in this video I mainly try to show the similarities."
"A video using the cre8audio West Pest by itself with no external sequencing or modulation. Most of this video is using the Pest in it's unpatched state but I decide to use 1 cable near the end of the video."
Alter Y is the pedal version of Alter 2 eurorack module featuring four 1/4" jacks in addition to 1/8" as well as buffered switching that allows for trails.
