This one in via brian comnes, who happens to be the RSVP contact for the event. Reach out to him at bcomnes@yahoo.com if you plan to attend.
Details follow:
WHERE: Elvis' Rhythm and Brews, 78 Main Street in center of historic Sutter Creek
Come to the first ever Mother Lode Synth Meetup. We have a great venue at Elvis' Rhythm and Brews club/bar.. Yes because Rhythm and Brews is a bar there will be a good selection beer available for purchase.
Bring some gear to to share/discuss/show off or just come for the fun of meeting other synth/electronica enthusiasts.
Rhythm and Brews is a great venue, plenty of tables and enough plugs to hook up. It has a first class PA for solo demos if that is what you want to do. Parking is a bit tight on Saturdays. Get there a bit early
We're asking a suggested donation of $5-10 per person. All proceeds go to the venue.
Please RSVP to bcomnes@yahoo.com so we can plan the room better.
"This video was the result of a comment by @lextron-audio noting that there was no clear comparison of Tape vs BBD mode for the Echolocator. Yes, fair enough I thought, I can fix that. I imagined a snappy three minute video switching between modes as a dry technical comparison. Not exciting, but useful in a nuanced nerdy sort of way, and that's how things started. Yet here we are, 20 minutes of twiddlings co-starring the LXR-02, DB-01 and Acidbox III that gets weirder as it goes along. And everything is unsynced. I wouldn't call it music, I just enjoy the textures and frequencies. That's what comes of spending too many hours playing with shortwave noise as a kid.
'Dirty On' is BBD mode; and 'Dirty Off' is the default Tape mode. I randomly flip between them trying to show the differences in various situations. Sometimes there's not much between them, othertimes especially with pitch shifting on, the differences are huge. In the end though the result is more an experiment in real-time Echolocator playing than a straight mode comparison. Even so I never touched the compressor setting which was at a constant 50. That variable also make a big difference so that's for another day.
Come for the technical comparison stay for the industrio-ambient grit :D
"The video begins with the creation of an ARP 2600 bass patch. I start by taking a sine wave and routing it through the preamp, amplified by a factor of 100, which gives it a distortion character I really like. I then add a pulse wave from the same VCO, along with a saw wave from VCO 1. In the second part of the video, I demonstrate how this patch is used in a mix... with The Universe as a background.
"Second Demo Track of a Leploop Arpoloop. It’s a kind of „strange analog groovebox“.
I'm slowly starting to understand the synth now and it's becoming more and more fun.
Also this time no use of external effects. I will do that later.
Direct recording with soft mastering.
"A short live jam with the PPG 1002 analog synthesizer, sonically enhanced with the effects of the Strymon Big Sky and the Zen Delay. Have a listen to the sounds created with this combination! 🎶"
"Turbocharger is a 6hp high speed switch between two signals. By default one signal is 5v and the other is 0v. There is an internal oscillator to act as the switching clock. The oscillator also has PWM control. CV control over all parameters. And the 'Do Not Touch' knob... well you'll just have to watch to see it's glitchy goodness.
Jump to any section of the video:
00:00 - Opening
00:25 - Intro
00:57 - Full Walkthrough and Demo
14:12 - Make it Louder
15:01 - Wavechopping
17:26 - Momentary Switch
18:28 - Pulserizer with Drums
24:03 - Some Music
Special thanks to Hakai Labs for providing the module for this video."
"Turbocharger is finally here!
Turbocharger at its core, is just a simple super high-speed switch (not a VCA) between 2 inputs. This sounds boring, but the switch is run by a CMOS switch IC capable of switching at extremely high speeds. This, paired with its internal oscillator, with PWM controls, makes for some fun experimentation. The best part is you don’t even have to use the internal oscillator. There is an external clock input that you can patch in your own pulse wave to control the switch.
Turbocharger is an idea that I (Scott Danesi) have had for some time now. After watching a presentation by Jon Sonnenberg (artoftravelogue.blogspot.com) back in the day at one of the early Knobcon conventions in Chicago on Wave Replacement Synthesis, I thought, I could do that in one module but make it crazier. So, what started out as a simple “Turbo” gate for the NT Controller module, now turned into this monstrosity.
The front panel art was created by the talented Aurich Lawson.
Check out the user manual below for more detailed information!
"What do rising sea-levels sound like? How might we listen to the temperature of the oceans? What rhythms can we hear in the increased frequency of intense hurricanes/cylones? Can we imagine mounting CO2 emissions as a crescendo of dissonance?
This piece uses a data sonification module (Loud Numbers) to translate spreadsheets of climate-change data into MIDI cc values. An interface (CV.OCD) then converts the MIDI to voltages to control my modular system. ADDAC’s Swell Physics’ CV inputs for swell size, agitation, offset, etc. are ideal for modelling the complex, unpredictable effect of rising sea levels, sea temperatures, and storm intensity, on ocean waves. Meanwhile, Disting EX’s 'spectral freeze' algorithm is processing ocean-related songs.
Despite the fixed data on the spreadsheets, this patch generates different sonic results each time it is played – thanks to the chaotic behavior of Swell Physics. I am planning a longer, ~30 minutes version for a public performance, with video visualization/projection of the data.
Category 3+ storms: Tropical Meteorology Project, Department of Atmospheric Science, Colorado State University (calculated from National Hurricane Center, the Central Pacific Hurricane Center and the Joint Typhoon Warning Center), https://tropical.atmos.colostate.edu/...
Global Average Absolute Sea Level Change, 1880-2023: United States Environmental Protection Agency (data soures: CSIRO, NOAA), https://www.epa.gov/climate-indicator...
New sound pack for Wavestate: 40 performances, 43 programs, 42 multisamples
The collection of performances and programs contains a set of both analog and digital synth waves that will complement your library, oscillators will find wide application and will not take up much space in the memory of your synthesizer.
Contents: 40 Performances, 43 Programs, 42 Multisamples (22.5 MB)
The pack offers a diverse selection of inspiring sounds:
Expressive synth tones, perfect for melodies, pad, leads or deep textures
Synth punchy basses to drive your grooves
Dynamic arpeggios to add rhythm and movement to your tracks
Analog and digital synth waves
Whether you create electronic, techno, pop or cinematic music,
'Classic Synth Waves' provides the perfect palette to expand your creative possibilities."
"Stock, Aitken and Waterman used a lot of DX7 basses in their hits. In interviews in the 80s they would occasionally talk about their cartridge with DX7 bass patches and how no one would get access to it.
Many decades later and the patches can now be found online. Just to make sure I asked Phil Harding if he was able to verify that these are indeed the real mythical patches and he, in turn, asked Ian Curnow. Ian Curnow is of course the guy that actually did the programming of most of it. He also made the Fairlight patches/sounds for 'Never Gonna Give You Up' which uses one of these bass patches. Ian Curnow did confirm this is it."
"Modal Electronics 002 12 voice synth/ keyboard. Original owner. Metal chasis, leather sides, metal knobs, truly a custom synth (why it was so expensive). Very unique sounding. The mix of digital oscillators and analog filtering etc... is one of a kind. Best Wavetables I have heard in any synth. Volume pot is a little scratchy but works perfectly fine. Includes original box. Great synth for a great price !"
"Only 222 of these beauties were ever made. This is #138/222. A hidden gem monster bass and lead boutique synthesizer. A true work of art and visual masterpiece. Now is possibly your last chance ever to own this rare blue beetle in such pristine condition with all of its original packaging. It includes the original box, manual, certificate of authenticity, matching sustain pedal, power supply, and a few other accessories in the box. It will be packaged very securely for shipment around the world."
"Unique, hard-to-find and collectible. Original full color Yamaha FB-01 Tone Generator FM Syntheziser 6 page promotional brochure. Stunning triple gatefold layout and full detail description and specifications of this mighty little synth from 1986.This ultra-rare and significant brochure was published to introduce Yamaha's first truly affordable desktop synth module, and help launch the home studio revolution.
8 1/2" x 11". In excellent near mint condition.
Check my other listings. I'm selling a large collection of original vintage brochures, price lists and newsletters featuring synthesizers, guitars, effects boxes, samplers and signal processor from the Dawn of MIDI, early to mid 80's, including Fender, Oberheim, Sequential Circuits, E-Mu, Moog, and much more! Also, coming soon, synth magazines from the same era..."
"A Human League Favourite - You probably never realised you've heard it, but its a super flexible things. The Yamaha CS-15 from 1979 has got 2 state variable VCFs, 2 VCAs, 2 VCOs, 2 ADSR envelopes, 2 Pitch envelopes... and 2 independent routings - you get the gist. The Yamaha CS series isn't as well known as Moogs, Arps and Oberheims, but they can pack quite a punch.
A 12dB filter may have been its future downfall, but its more like a mini modular (like the Kawai 100F I demo'd here ) [posted here]
There's essentially a single 2 VCO monosynth, plus an additional path with noise and one of the VCOs. The additional patch (the upper section) has its own filter, VCA etc. The only real downside is a single LFO for all modulation. The CS30 takes things further but this is a more compact and cheaper unit."
"Korg Phase8 es un dispositivo musical peculiar y asequible, con un precio por debajo de 100 €, que estará disponible a finales de año. Utiliza barras de metal accionadas por un electroimán, permitiendo generar sonidos únicos mediante la manipulación de pocos parámetros: nivel/velocidad (que puede llegar a saturar y romper el sonido) y envolvente, que controla la duración y el ataque del sonido, desde percusivo y corto hasta más suave y prolongado.
Destaca por su construcción robusta y metálica, lo que resulta sorprendente para su bajo costo. Ofrece opciones creativas como la posibilidad de añadir apagadores, golpear las barras manualmente para producir sonidos o usar la acción electrónica. Incluye un modo de grabación por pasos (step mode) que permite registrar pequeñas secuencias de hasta 8 pasos, aunque también es posible grabar a tiempo real. Cuenta con un efecto con tres variantes, incluyendo delay (desde breve tipo slap o más extenso y con feedbacknpara crear eco) o modulación, capaz de trémolo y variaciones de tono, que se pueden ajustar para añadir animación o prolongar la duración del sonido.
En cuanto a conectividad, dispone de puertos USB, MIDI, sincronismo y una entrada de voltaje que controla alguno de los parámetros comunes. Es un dispositivo rudimentario pero curioso, que da forma a un instrumento simple y económico. Aunque no se espera un rendimiento complejo, su diseño metálico y la posibilidad de experimentar con sonidos lo convierten en una propuesta muy singular, desarrollada en la sede de Korg en Berlín."
Googlish:
"The Korg Phase8 is a unique and affordable musical device, priced under €100, and available later this year. It uses metal bars driven by an electromagnet, allowing unique sounds to be generated by manipulating a few parameters: level/speed (which can saturate and break the sound) and envelope, which controls the duration and attack of the sound, from percussive and short to softer and longer.
It stands out for its robust, metal construction, which is surprising given its low cost. It offers creative options such as adding dampers, manually striking the bars to produce sounds, or using electronic action. It includes a step recording mode that allows you to record small sequences of up to 8 steps, although it is also possible to record in real time. It has an effect with three variations, including delay (from a short slap-like delay to a longer one with feedback to create echo) or modulation, capable of tremolo and pitch variations, which can be adjusted to add animation or extend the duration of the delay. sound.
In terms of connectivity, it has USB, MIDI, sync, and a voltage input that controls some common parameters. It's a rudimentary but interesting device that creates a simple and inexpensive instrument. While complex performance isn't expected, its metallic design and the ability to experiment with sounds make it a very unique offering, developed at Korg's headquarters in Berlin.
"Arcaico Murena is a feature-rich analog module designed to deliver a distinctive, unpredictable, and versatile sound. With a width of 26 HP and a depth of 38 mm, the Murena is a concentration of functionality in a compact space.
A 6-channel mixer, each equipped with a distortion VCA, attenuverter and switches to select the internal routing destination. The channels are divided into two groups of 3, allowing flexible stereo management. Each VCA can be controlled either manually via the panel or via bipolarized CVs, offering extensive modulation possibilities.
Each group of 3 channels terminates in a multi-mode filter , capable of generating extremely aggressive sounds. After the filter, the signal can be routed to a distortion or directly to the mix. This configuration allows the two groups to be treated as a stereo pair or to use A-B crossfade modulation for dynamic transitions.
Every parameter of the Murena is manageable either from the panel or via CV, offering complete and creative control. The ability to patch the module to itself allows endless sonic combinations to be explored, making each use unique and unpredictable.
6-channel MIXER/VCA with CV attenuverter, cv and switch for routing (3-channel stereo mixer or 6-channel mono mixer or a combination of both)
Independent mono output of all 6 channels (clean)
2 multi-mode VCFs (LP/BP/HP) at 12db/oct with CV attenuverter, independent clean outputs, indepentent distorted outputs, fade output and 1V/Oct control (tuned up to 5 octaves)
OVEDRIVE with cv control on each filter
Stereo/mono/dual mono output and mono A+B output controllable via cv
"Explore ambient background music, relaxing piano sounds, cinematic soundscapes, and experimental live performances — all created with real instruments and a passion for sound."
