video upload by CatSynth TV
"Andrew from 20CC takes us on a tour of the TXX-1 Spectron, a dual-voice module based on samples from classic recording-based instruments like the Mellotron and Optigan.
To find out more, please visit https://www.20cc.cool/
'The 20CC TXX-1 Spectron is a Eurorack format dual oscillator inspired by vintage analog multisampling instruments such as the Mellotron, Chamberlin, and Optigan. Spectron uses a unique combination of synthesis and sampling techniques to bring the rich, warbly sounds of these classic instruments into Eurorack for the first time, while also offering new possibilities to manipulate, warp, and mangle them.'" Patreon: / catsynth | https://shop.catsynth.com | https://ko-fi.com/catsynth
0:00 Introduction
0:15 Spectron
1:49 Availability
2:08 How sounds are added to Spectron
"The 20CC TXX-1 Spectron is a Eurorack format dual oscillator inspired by vintage analog multisampling instruments such as the Mellotron, Chamberlin, and Optigan. Spectron uses a unique combination of synthesis and sampling techniques to bring the rich, warbly sounds of these classic instruments into Eurorack for the first time, while also offering new possibilities to manipulate, warp, and mangle them.
Analog multisampled instruments had their hey-day in the 1950's through the 1970's. They used analog recording technology - tape recording in the case of the Mellotron and Chamberlin, and optical sound printing on analog photographic film in the case of the Optigan. Each key corresponded to a recording of a note played on another instrument, often orchestral sounds like strings, woodwinds or choirs, which would play back when the key was pressed. All of Spectron’s sounds are based around full, per-key recordings of vintage multisampled instruments.
Rather than simply triggering discrete samples, Spectron organizes many samples to create the illusion of a continuous voltage-controlled oscillator. As pitch changes, playback seamlessly transitions between recordings, preserving the character of each original tape while allowing smooth, continuous frequency control.
There are two assignable timbre shaping sections not normally found on sample-based instruments: FM and Sync. These are tuned to range from subtle modulations that recontextualize familiar sounds, through radical transformations that are barely recognizable, and all the way to harsh and clangorous, with continuous CV control of all points between."
