"Every Buchlaphile and especially Easel owners must read this enlightening and exciting chapter by Ted Gordon @ted_gordon on Instagram https://www.routledge.com/Modular-Syn..."
"Modular Synthesis: Patching Machines and People brings together scholars, artists, composers, and musical instrument designers in an exploration of modular synthesis, an unusually multifaceted musical instrument that opens up many avenues for exploration and insight, particularly with respect to technological use, practice, and resistance.
Through historical, technical, social, aesthetic, and other perspectives, this volume offers a collective reflection on the powerful connections between technology, creativity, culture, and personal agency. Ultimately, this collection is about creativity in a technoscientific world and speaks to issues fundamental to our everyday lives and experiences, by providing insights into the complex relationships between content creators, the technologies they use, and the individuals and communities who design and engage with them.
With chapters covering VCV Rack, modular synthesis, instrument design, and the histories of synthesizer technology, as well as interviews with Dave Rossum, Corry Banks, Meng Qi, and Dani Dobkin, among others, Modular Synthesis is recommended reading for advanced undergraduates, researchers, and practitioners of electronic music and music technology.
Chapter 3 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license."
The much anticipated sequel to one of Miles Away's most popular custom synth banks! Vol 2 for Groove Synthesis 3rd Wave provides you 100 more Custom High Quality patches for your synth, from Synthwave, Pop, Film Score, Ambient, EDM, Hip Hop and more. Out now!"
"Hold onto your seats because this Jupiter 8 demonstration, in glorious stereo, will blow you away. Showing off the different abilities that has made it one of the most famous synths ever made! We show off the Noise with Filter, Resonance & Modulation capabilities in great detail, with the left & right sides working independently. The arpeggiator with its versatile patterns, being tweaked on the live panel. A stunning showing of the power of the Jupiter 8 with low aggressive power chords filtered & modulated.
There were only a few synths - back in the 80s that mastered the polyphonic glide - here we hear the versatile polyphonic glide doing what it does best! The 3rd part of this video covers Programming including tuning the oscillators, playing the Jupiter 8 as a lead synth in unison & pretty sounds to add colour to your track. The final part shows you some of my best programmed sounds including brassy sawtooth pads, plucked stabs, flute layering, soft percussive sounds, interesting pads, 80s picking parts resonance pads, lead sounds & sharp attacking aggressive cutting melodic lines. So lets dive in!
The audio is DIRECT, 100% DRY, & IN STEREO - You are hearing the raw audio as it comes directly from the synthesizer. NO post processing (Effects, EQ, or Dynamics) whatsoever.
The original Roland Jupiter 8 from the early 80s - a very rare synth & arguably the most ultimate analog synth ever made!"
Playlist:
Noisy 2 - The next-gen MPE synth
Noisy 2 - Hear It in Action
Noisy 2 - Walkthrough Video
Press release follows:
After the successful launch of Osmose, MPE expert company Expressive E continues to expand its sound ecosystem with Noisy 2. Built for expression, Noisy 2 offers a new MPE mode that goes way beyond regular MPE integration. Its workflow was built for intuitive and expressive sound design, unleashing novel playing possibilities. To match its next-gen MPE abilities, Noisy 2 is powered by an outstanding sound engine based on new acoustic and analog resonators. This synth was made to be expressive with any MPE or classic MIDI controller and brings a brand new expressive experience for sound designers and musicians.
Unlocking new playing gestures for MPE users
At the heart of its MPE mode, Noisy 2’s expression blocks offer new playing possibilities for MPE users with trig modes.
Inspired by its Osmose experience, these Trig modes are a new, powerful, and playful way to trigger envelopes: add sound impulses by accelerating your gesture downwards (push), upwards (lift), or alternating up and down (shake) at any point within the key’s travel.
Listen to the new musical possibilities unlocked by Noisy 2’s MPE mode here.
Easy expressive sound design
Noisy 2 has been built to make the expressive sound design experience fun and intuitive.
Its workflow enables musicians and sound designers to intuitively choose their own way of interacting with the sonic dimensions of any preset. With a few clicks on the expression blocks, users can find the perfect balance between Pressure, Aftertouch, and the envelope generator to refine their personal expressive playing experience.
Producers and musicians can now integrate new motions into their projects by sculpting sounds directly with their hands and fingers.
On top of deep MPE integration, Noisy 2 offers various ways to simply and creatively add motion to sounds. With both classic MIDI and MPE controllers, the Expression Control section can now deeply alter each layer of Noisy 2 and its two FX slots with a simple turn of a knob.
- New: AI powered wavetable/spectrum generator
- New: stereo spread parameter
- New: knobs saved into presets
- And many more cool features that firmware v2.00 brings!
0:00 Intro
1:25 AI wavetable generator
7:22 AI knowledge
10:07 WT export for other synths
11:19 Stereo widening
12:27 Recall pot positions
16:09 Other new features
Press release:
Neuzeit Instruments has released new firmware for its synthesizer “Warp”. Among other things, it contains a wavetable editor that works with artificial intelligence. A neural network generates overtone spectra that are translated into wavetables by Warp. Three parameters are available to the user, with which he can playfully and fluently morph through the creations of the neural network. The generated wavetables can not only be used within Warp, but can also be exported as a wav file for use in other synthesizers.
Warp is a four-voice synthesizer in Eurorack format whose sophisticated engine is a hybrid of additive and wavetable synthesis. The core features:
- Wavetable morphing in two dimensions (XY) - complex spectral filters - Wavetable FX (Fold, Bend, Drive, Redux) - Oscillator FX (AM, FM, PM, Sync, Noise, Detune) - 2 ADSRs, 2 LFOs - Extensive modulation matrix - Classic high and low pass filters per voice - 4 wavetable editors onboard, also supporting import of wavetable files from SD card - 7 potentiometers as expressive hands-on macro controls - Workflow focussed on detailed work in the studio, easy handling on stage
The WarpEx expander adds: - MIDI support and extensive CC control - MIDI MPE - 4-voice polyphony
The new firmware v2.00 is now available to download for free from the manufacturer's website. More information at www.neuzeit-instruments.com/warp
If you want to get an impression of what Warp sounds like, you should watch this video with an hour of pure sound demos:
"I've always enjoyed integrating other gear beyond the realms of the Eurorack case. Synths and FX, guitar into modular, rack gear processing beats ... it's a great thing to explore, to find unique tones and new sounds.
The new Pedal Interface from DPW Design is a 4HP stereo or dual mono pedal/instrument input and output module. While it couldn't be simpler on the interface this was designed to address two issues and to improve working with the varied signals. DPW made sure to properly impedance balance so you're not sucking out the tone and brilliance in the signal and sought to address transient handling and add a tube inspired gain structure above the clean gain structure for adding tube like compression and saturation FX ... something we exploit for great distortion in the video!"
*TIMING INDEX // CHAPTERS*
INTRO 00:00 Hello & previews 00:56 What are we doing here? 01:38 Two improved design features with Dan from DPW
PATCHES 03:54 Simple pedal integration for characterful ambient FX 05:27 Handling transients with character (line level inputs) 06:28 #SockTone guitar & bass direct input 07:50 Patch it wrong for sonic treats! (Eurorack level saturation) 09:26 Integrating rack gear for parallel processing 11:16 Using pedals at the start of the signal chain (oscillator processing
P1, Pedal I/O
The P1 is a dual channel pedal interface. It can be used for pedal or line level in and out or as a guitar or bass input as the pedal in is a high-Z input that will not suck the life out of the tone of your instrument as low impedance inputs can do.
The module is designed to have more than 100kHz bandwidth in both directions to give you a very clean interface with in and out impedance to work well with pedals.
The two halves of the module are independent. You can use it as a dual mono or as a stereo interface.
Eurorack to pedal level is attenuating -18dB and pedal to Eurorack level is amplifying 18dB.
There is soft controlled symmetrical clipping in both directions through the module so if you are driving the inputs hard it will not sound harsh. You can use this as a creative effect.
The unit is AC coupled to be able to isolate your Eurorack from whatever you connect on the pedal side.
Note the above video from EHX is from the 2022 event. Guitars meet synths meet pedals. You might notice Three Wave Music in the video. If you aren't familiar with them, check them out here.
The Brooklyn and London Synth and Pedal Expo's organizers are excited to announce the first edition of the Berlin Stompbox Exhibit, a free, strictly in-the-headphones event scheduled for May 18, 2024 at the central Heynstudios venue.
Musicians are welcome to bring their instruments to try out hundreds of pedals in the headphones. Any instrument with a pickup is welcome!
"Jamstik makes a line of wildly fun guitars—but hey, you might be wondering...why does a synth shop like Perfect Circuit give a heck about a guitar? Well, for one, all instruments are beautiful—and two, Jamstik makes MIDI GUITARS. They function perfectly well as standard electric guitars, but they also use proprietary technology to translate your guitar playing into MIDI data that synthesizers understand.
Not only that, they use a clever mapping of detected audio data in order to generate MPE (MIDI Polyphonic Expression) data...making them a nuanced and quite powerful and expressive means of interfacing with MPE-capable synthesizers.
Jamstik recently came by our Burbank, CA showroom to see what they could do plugging their guitars into our synthesizers. With the expert guidance of our very own Jacob Johnson, they narrowed in on the Groove Synthesis 3rd Wave, Roland Juno X, and, of course, a Eurorack modular system featuring Tiptop Audio's new ART-equipped modules.
"Rock harpist Mikaela Davis and psychedelic disco jammers Circles Around The Sun went on tour together recently, and we had a chance to catch up with them to check out their live rigs. Read more on Reverb"
0:00-6:24 Mikaela (Harp)
6:25-13:55 John (Guitar)
13:56-17:01 Adam (Synths and Keyboards)
17:02-20:02 Mark (Drums)
20:03 Dan (Bass)
Circles Around The Sun and Mikaela Davis - Gloaming Way | Audiotree Live
"Download & stream Circles Around The Sun and Mikaela Davis on Audiotree Live → https://lnk.to/AT-CATS
Out of the sun kissed beaches of Los Angeles, CA, a new collaboration has emerged between disco cosmonauts Circles Around The Sun and acclaimed harpist Mikaela Davis. During their Audiotree Live Session, the crew plays songs off their album 'After Sunrise,' setting off on a psychedelic exploration through effervescent harp accents and groovy basslines. During their interview with Audiotree Host, Psalm One, the band chats about their origin story, their songwriting process, and the creative chemistry that led to their new release. Check out Circles Around The Sun and Mikaela Davis on Audiotree Live!
"This is a sound design tutorial for how to approach a specific sound that was used in the first season of Stranger Things. I was requested to show how I would make the chord sound that happens in the track "Eleven". The sound is a wobbly synth sound, with some wrinkles about modulated the filter.
The Sequential Circuits OB-6 can do a respectable job of coming close to the sound. This track has polyphony, so a multi-oscillator synth with separate envelopes is required.
Analog synthesizers have found a way back into film music, which has led to a lot of rich experimentation of what these instruments are capable of. I think my main takeaway is the heavy use of filter modulation using an LFO assignment. Also, having a really dry sound mixed in with lots of ambience really cuts through in a way that creates a strong effect."
"First video featuring the Vermona DRM-1 8-voice analog drum synth 😊 For a long time I've been stopping myself from getting one as I already have the MAM ADX-1 which is a bit an ancestor of this DRM-1! But the Vermona Perfourmer was feeling a bit lonely 😅
In this video, I decided to use my DAW to sequence both instruments as I wanted to be able to "play" the knobs on the instruments 😉
The track starts with the BASS (Voice 1 of the Perfourmer) and PLUCK (Voice 3 panned left & voice 4 panned right, of the Perfourmer through the H9 reverb). Then comes the KICK (Voice 1 of the DRM1) which is going into the Pill ducking pedal to trigger it. Afterwards arrives the LEAD (Voice 3 of the Perfourmer through the Bigsky reverb + Pill ducking pedal) and the 7 other voices of the DRM1 (wanted initially to use them through the Particle granular delay, but didn't have enough time to blend it in! 😅).
"Hey there, music makers! Today, we're diving into the world of drum sequencing with a powerful tool called the Drum Rack Buddy. Whether you're a beginner looking for quick and basic beats or an experienced producer delving into deeper, more obscure rhythms, this Max For Live MIDI plugin for Ableton Live has got you covered.
So, what exactly is the Drum Rack Buddy? It's a 16-track sequencer designed specifically for drum racks (or any instrument) to help you sequence drums and percussion with ease. Let's take a closer look at its features, starting from left to right.
First up, on the far left, we have the note trigger. Each track corresponds to a specific note, allowing you to trigger sounds in your drum rack. You can customize these notes to your liking. Plus, there's a handy Trig button for previewing sounds and a Mute button for silencing tracks during sequencing.
Next, we have the sequencer itself, which can switch between Steps, Velocity, Chance, or Retrigger modes. This is where you'll craft your beats, adjusting sequences to perfection.
Moving to the far right, we find the Track Controls, offering even more customization options. You can set the direction of the sequencer, edit steps or constraints, randomize sequences, and more. It's a playground for experimentation and creativity.
Don't forget about the Pages tab at the top, allowing you to access different sequencing pages for fine-tuning your beats. And in the top right corner, you'll find the Global Controls for managing all tracks simultaneously, from clearing steps to randomizing patterns.
We've packed a lot into the Drum Rack Buddy, including features like scaling, shifting, and adjusting note lengths, to give you complete control over your rhythms. Plus, the Grid feature provides a visual aid for precise sequencing.
We hope you enjoy using the Drum Rack Buddy in your music production adventures. And if you decide to share your creations on social media, don't forget to tag us @nedrush and @isotonikstudios. We'd love to hear what you come up with! Until next time, happy beat-making!
"Who needs oscillators when you have self-oscillating resonance? Here the Erica Synths Acidbox III with high resonance is fed into a Fairfield Circuitry Roger That, then to a Gamechanger Audio Light reverb pedal and finally to the Erica Synths Zen Delay.
The Acidbox is configured so the right output feeds into the control CV input, but the box itself is getting no external audio, just it's own resonance.
The Roger That pedal provides a little extra texture and noise but is not an essential component. I tried all sorts of different pedals in this position including distortions, drives and bitcrushers but almost all of them had very little effect. I think there simply wasn't enough for those pedals to chew on.
The Light pedal is mainly on the 'harmonic' setting and I sometimes switch it to feedback. The Zen delay is on the tape ping-pong setting. Filter is on highpass in case things get out of hand and the drive knob adds some good grit.
The input gain on the Acidbox and Zen were fundamental to the sound. Both were usually quite low but if you want something with more noise and distortion it's there if you just pump those up.
A few years back I had a Lyra-8 which I always say is a great personal meditation machine. Yet imo it doesn't compare to this setup in terms of flexibility and expression. Here you can go high and delicate or low and cone-shaking, peaceful or disturbed all in a few knob turns. And what big glorious knobs they are.
I do believe this type of playing is personally very therapeutic. If I was an indulged academic I think it'd make an interesting research project to look at the brainwave state of someone engaged in prolonged resonant drone knob twiddlings. Might there be a connection between the played harmonics and brainwave frequencies and that in certain moods you'd gravitate to harmonics of that emotional state? Or would your playing perhaps reduce agitated brain frequencies toward a more dreamlike state? Who knows.
"One thing I love about the Ensoniq EPS and Mirage is how lo-fi they can sound when you sample them at low sample rates (in the case of the Mirage, when you increase the amount of sample time, which I believe lowers the sample rate). It sounds so dirty.
Well - I think the RS7000 can do that too. You can sample it with a sample rate of 5 khz. You also have lo-fi effects (Master FX and regular FX)... and this is what you get (or rather, what I got).
Honestly, I was playing it against the EPS and I enjoyed using the RS more and thought it sounded just as good. What it does lack is synthesized loops and crossfading between two samples... which is a bit of a pity.
Sample came from Sequential Prophet 10
Added Eventide Blackhole VST for reverb"
0:00 Michael Jackson - Thriller Synth Bass
0:34. Yazoo - Don't Go, Synth Brass
0:49. Edgar Winters Group Frankenstein Synth Bass
1:09. Stevie Wonder - Living For The City Synth Lead
1:28. Star Wars R2D2 sound
"The upgraded ACID engine is included in the CORAL 2.0 release, out now!
This is our take on the 303-style synth: a variable-shape virtual analog oscillator that seamlessly morphs from the classic Saw to Square and Pulse waveforms with dynamic PWM capabilities. There is one post-filter distortion and the edgy filter has been finely tuned for a gritty sound.
You can add accents via MIDI or via the AMP CV input. Morph controls the accent amount.
CONTROLS:
harm: controls the overdrive distortion
timbre: defines the oscillator waveform
morph: sets the accent amount
How to get glides?
- Use a pair of V/oct CV and Gate and send glides from your sequencer or change the pitch while gate is active.
- If using MIDI, create a MONO (1-voice) part and send legato notes (almost overlapping notes should also be enough to trigger a glide).
How to get accents?
- You can feed CV modulation to any of these (for example, the Vel or Mod outputs of a sequencer).
With MIDI, you can play with the velocity levels.
This new release adds a delay effect and other improvements 🙌🏻
"It's been a while I wanted to do a proper video on the SSG module. It's one of the most crazy patch programmable monster in the Serge system (with the DUSG) and even tho it's been upgraded as the GTO now, I'm sure many are still going to be interested in a deep dive into this more primitive version of the circuit.
Have fun!"
00:00 Intro
01:04 Module Overview
01:54 VCO, LFO & clock
02:52 Voltage controled glide
03:58 Track & hold
05:32 Sample & hold
08:24 The Coupler
10:31 My "Riojy Ikeda" noise patch
16:35 End talk
"Adam gives us a quick rundown of the three new eurorack modules for direct multi-channel audio. DB25, TRS, and IO provide direct output to the Xcelon mixer and XP3 channel expander, but also pair up together to give any system a multitude of balanced audio outputs."
Update: press release follows:
ASHLAND, VA, USA: interesting I/O and utility device specialist Boredbrain Music is proud to expand its Xcelon true stereo voltage-controlled Eurorack mixer’s creative capabilities by announcing availability of DB25, TRS, and IO — introduced as the latest additions to its Direct Multi-Channel Series of modules that interconnect to provide a multitude of audio outputs for expanding Eurorack systems — as of May 7…
As a 24-channel D-SUB direct output module occupying only 8HP of Eurorack space, DB25 can interface with its new-found IO sibling — to provide 24 balanced audio outputs — and/or the modular mixing powerhouse that is Xcelon — already available as a 48HP-wide, critically acclaimed, all-analogue, six-channel stereo audio mixer module made for Eurorack modular systems, its interface designed for immediate hands-on control and visual feedback while also allowing for extensive CV (Control Voltage) connectivity and expandability, enabling operation as a powerful mixing tool for both performance and production purposes — to provide 12 stereo direct outputs. On the front of DB25 are three 25-pin D-SUB connectors, each output offering eight channels of balanced line-level audio. As such, the — 1-8, 9-16, and 17-24 — channel numbers next to each of those D-SUB connectors correspond to the four — INPUT 1-6, 7-12, 13-18, and 19-24 — ports at the rear, each of which accept signals from compatible Boredbrain Music modules using the supplied 8-pin ribbon cables. Connected to IO, those ports accept groups of six individual input signals. Similarly, when connected to Xcelon or Xcelon XP3 (https://boredbrainmusic.com/product/xcelon-xp3/) — the latter already available as a 22HP-wide, three-channel stereo expander module for its bigger brother — those ports accept three stereo mixer channels for direct output, and can be mixed and matched in any order, while both pre- and post-fader direct outputs for a bank of Xcelon channels can be used simultaneously.
The TRS 12-channel direct output module, meanwhile, can also interface with its new-found IO sibling to provide 12 balanced audio outputs (or up to 24 balanced audio outputs if using two TRS modules). Indeed, its 8HP-wide front panel features 12 TRS jacks, each outputting balanced line-level audio signals, while the — OUT 1 through to OUT 12 — channel numbers above them correspond to those on the two — INPUT 1-6 and 7-12 — ports at the rear, each of which accept signals from compatible Boredbrain Music modules using the supplied 8-pin ribbon cables. Connect TRS to IO and those ports accept groups of six individual input signals. Similarly, connect it to Xcelon or Xcelon XP3 and those ports also accept banks of three stereo mixer channels for direct output. And, again, those ports can be mixed and matched in any order, while both pre- and post-fader direct outputs for a bank of Xcelon channels can be used simultaneously.
As a 30-channel direct input/output module, IO can be used as signal inputs for its new-found DB25 and TRS siblings, or, alternatively, to provide Xcelon with up to 15 stereo direct (Eurorack level) outputs. On the front of this 8HP-wide module are 27 3.5mm jacks — 1 through to 24 being mono, while 25/26, 27/28, and 29/30 are stereo — serving as either inputs or outputs, depending on how the rear ports are connected. Correspondingly, five — IN/OUT 1-6, 7-12, 13-18, 19-24, and 25-30 — connection ports on IO’s rear can each send or receive six signals to or from compatible Boredbrain Music modules using the supplied 8-pin ribbon cables. Connect those ports to DB25 or TRS and IO’s jacks act as signal inputs for those modules; alternatively, connect to Xcelon or Xcelon XP3 — pre- or post-fader, or both — and those jacks act as Eurorack-level direct outputs for the stereo mixer channels. Connections to those ports can be mixed and matched in any order, with compatible modules connecting to any of the ports.
Anyone attending SUPERBOOTH24, May 16-18, FEZ-Berlin, Germany is invited to swing by Booth Z060 where Boredbrain Music will be exhibiting its new DB25, TRS, and IO modules alongside its entire Eurorack range, as well as offering comprehensive Xcelon demos — and a warm welcome, of course, to all.
"This Lab Report explores the original Voltage Research Laboratory along with the upcoming Voltage Lab 2.
The Pittsburgh Modular Voltage Lab 2 is a cutting edge synthesis laboratory that offers a new palette of analog textures and waveforms to sonic researchers. Newly developed wave shaping capabilities paired with powerful synthesis tools, and a deep, performance oriented controller join together to create a complete sound design laboratory. This instrument has a very physical sound. The tones it creates feel natural and alive, with traditional waveforms becoming the seeds of unique new shapes and sounds that shift between analog physical modeling and more unfamiliar, abstract timbres."
