Synthesizers.com had a 4th of July sale, right after we moved our ElectroComp EML 400 above the 401, so we got two Box11 cases to house 5U modules to aid the EML system. I covered the ugly Box11 logos with electrical tape, connected the two cases with a metal brace, then attached a Box4 case to the right side, which perfectly fills the whole gap between racks on either side of the EML system. Anyways, this was the first test. The EML 200 master square wave is controlling the tempo, and I switch the range at 0:22. The EML Sampler is sampling noise, and the Sampler out is multiplied on the Box11, modulating both EML VCOs, which run to the Synthetic Sound Labs 1520 Segwencer IV, modulated by the Sampler output. VCO 1 also runs to the EML VCA, modulated by the master sine wave, and that goes straight to the Mackie Onyx 1640 mixer, panned left. The 1520 audio out goes through the STG soundlabs Sea Devils Filter, modulated by the Free State FX Dual Trigger Processor in LFO mode, and the Sea Devils Filter is FM’d by the EML 200 VCO2. A copy of VCO2 is processed by the Corsynth C103 Frequency Divider / Multiplier, which drops the pitch an octave lower, and that detuned version runs through Free State FX Lowpass Gate, modulated by the EML 200 master square wave through the Trouby Modular Trigger Decay. Both the Sea Devils Filter output and the FSFX Lopass Gate output are mixed in the muSonics Vanilla Filter, modulated by the other LFO output on the FSFX Dual Trigger Processor (Modulation in) and the EML Sampler output (v/o in). At the end I pull the cable from the sampler. Reverb was blended on the CXM 1978."
"Programming and performance by Justin Goers (https://www.instagram.com/atx_cat_king/)
This Moog Modular is in our burn-in, the part of the shop where we turn on and test repaired synthesizers for five days before we return them to our clients. Justin gives it a full sonic run down and explores a range of sounds and timbres."
"The Sparkling riser is a brand new kind of audio FX
This effect is achieved by stacking 12 lines of 'micro-delays' lasting a few milliseconds (6 lines per audio channel) The delayed sound is mixed back into the original sound, creating a comb filter.
Each delay line has a feedback loop, and the delay time is modulated by several LFOs. In addition to the LFOs, we have 12 VCAs (1 per delay line) whose levels are synchronized to the phases of each LFO.
But when the effect is on the "infinite rise" mode, as soon as we apply randomization to the LFO phases, something very strange happens:
'phantom notes' appear. We could compare this effect to concentric waves colliding to create a splash—a “spark” that, in our example, generates notes based on the frequencies and harmonic content of the sound. This 'spark' gives the effect its name: 'Sparkling Riser.'
This effect is directly inspired by a project we're working on with electronics genius Yves Usson."
"I purchased this module because I wanted the metallic noise that works well as a cymbal. It also has white and pink noise, though the pink noise is very different than what I'm used to. That's a good thing, having another version. The chaos sound is very interesting and adjustable. The Grainy section can alter the chaos sound wildly but also accepts external sounds. My only wish here is they did not include any CV control over that section. There is a random gate feature I will look into in another video.
Overall I like the module as it has a number of sounds I don't currently have which should be inspiring.
On the random gate subject, have a look at this video where I created random gates using noise, the sample and hold, and the Q156 comparator."
"After the last video I got deeper into the Random Gates portion of the Q210. I found I could tame it using a second "gate" like the Q128 Switcher or any VCA. Running the Random Gate from the Q210 into one of these external gates and clocking it with the sequencer I can get random gates that hit right on the beat."
"👉The Q210 Complex Noise is noisemaker's playground. Though capable of standard white noise fare, the Q210 can help provide you with decidedly boundary pushing timbres, not usually found in your typical 5U module.
Beyond noise, the Q210 is also comfortable generating random gates, which when routed to VCAS or drum sounds, can help launch your next ambient composition into science fiction territory.
Depending on how you approach the module, the Q210 can be a tame texture ready to mix in with a completed track. However if you push it, the Q210 can become the basis of an entire soundscape, especially when paired with filters, VCAS, and envelopes. Sounds both dramatic and explosive are quite easy to conjure."
"A quick patch and noodle on my main system for fun and stress relief! 😊
Synth modules from the following companies used:
Synthesis Technology (VCOs)
Moon Modular (VCFs, sequencer, switching, MIDI to CV)
Oakley Sound/Krisp1 (VCAs)
Club Of The Knobs (poly EG, master clock)
Other gear used:
Mellotron M4000D Rack
Yamaha FS1R
Samson S-Patch Plus patchbays
Mark Of The Unicorn Midi Timepiece AV
Allen & Heath MixWizard 3 20S
Roland RSP-550 effects and A-88 keyboard
Strymon BigSky and timeline pedals
Tascam SD-20M flash recorder
Canon C100 MKII camera and CN-E 20mm lens
ATOMOS Ninja Flame video recorder
Blackmagic Design DaVinci Resolve editing software
Originally produced between 1971 & 1973, the Moog Model 10 is regarded by most to be the finest portable modular system Dr Bob. ever producedThe individual modules that make up each new Model 10 are engineered and manufactured just as they were over 50 years ago, using traditional wiring methods. Each module is then tested, finished with an aluminum panel, and placed into a custom cabinet before the instrument leaves for its new home
Comes with original box and inserts
In excellent unmarked condition
Very little use
Bought for a band project but they've changed direction and gone more guitar orientated"
"Large Format modular synth live studio song.
The new module is a Maneco Labs Sequencer 16 trigger step sequencer. I used it as the main clock source for the rest of the system.
I started with the Maneco Labs Grone dark drone machine module for the opening intro.
The bass line was introduced next using triggers from channel six of the Sequencer 16, with the Corsynth pair of VCO's into the Grove Audio G294A LPF and the Synthetic Sound Labs Tube VCA/Timbral Gate and then on to the STG Soundlabs mixer.
The percussive parts came next. First was a pair of Q206's in Sync mode through a Moon Modular 517S high pass filter. Pitch voltage was from the lower Q960 step sequencer. The pattern pulses were from a pair of Mega Ohm Audio LFO2 modules run through a triple switch module from Lower West Side Studios.
Second part was a single STG Soundlabs Oscillator in drone to the SSL Tube VCA, pulsed by the STG Envelope modified with an LOF to the decay input. Then on through a Behringer Digital Delay. The pattern triggers were from the SSL Geo-Gruvn Euclidean Sequencer.
I used channel 3 from the Seq16 to pulse the SSL VC ADSR with the SSL Woven Spirits module. The SSL Quad LFO was used to fade in and out the pulsing part. The pitch sweeping is done by an LFO to the Harmonic input of the Woven Spirits.
The pizzicato string part came next. It was actually the first part I created. The use of channels 1 & 2 from the Seq16 were sent through the SSL Octal Linear VCA with the AD/AR Expander module as envelopes. The sound was from the pair of SSL TZ-VCO's which are pitch controlled by a pair of The Matrix Algorithmic Composer modules. They are sent to a Modcan Dual Delay 73B and on to a Dove Audio D502 Multimode Filter with Hi Pass to Low Pass in 2-pole mode. The reverb is from an UA Golden Reverb in Hall 2 mode.
The final part is the upper Q960 step sequencer with all three rows sending pitch voltages to three oscillators. First row was to the Dove WTF. Second row was to the Mos Lab Moog 901 and 904 array. The third vco is a synthesizers.com Q106. They are mixed and sent to the EHX Grand Canyon in Mod Delay mode. Gate timings from the Moon 563 Trigger Sequencer.
I closed out with the Grone module."
Update: videos just released and added above. Note the playlist is in the order released by Synthesizers.com.
Playlist:
1. Meet the Q210 Complex Noise | Synthesizers.com Newest Module
2. A Quick Overview of the Q210 Complex Noise
3. Using Q210 Complex Noise To Clock Q173 Gate Math
4. Q210 Complex Noise Random Gate Discussion
5. A quick Q210 Complex Noise Patch
6. Another Q210 Complex Noise Patch
7. Changing speed of Random Gates on Q210 Complex Noise
8. CHAOS OUTPUT on the Q210 COMPLEX NOISE
via Synthesizers.com
"This is Synthesizers.com's first new module in two years, and we're excited to share it with you: the Q210 Complex Noise.
The Q210 Complex Noise is noisemaker's playground. Though capable of standard white noise fare, the Q210 can help provide you with decidedly boundary pushing timbres, not usually found in your typical 5U module.
Beyond noise, the Q210 is also comfortable generating random gates, which when routed to VCAS or drum sounds, can help launch your next ambient composition into science fiction territory.
Depending on how you approach the module, the Q210 can be a tame texture ready to mix in with a completed track. However if you push it, the Q210 can become the basis of an entire soundscape, especially when paired with filters, VCAS, and envelopes. Sounds both dramatic and explosive are quite easy to conjure."
"Today we are going to check out a System 16 from Mos-Lab, a very faithfull recreation of old Moog Modular's systems.
It's GIANT both in actual size and sound and I'll show you a few things about it.
Have fun!!!"
00:00 Intro
01:23 Patching a Minimoog
02:12 The oscillators
04:56 The mixer
06:38 THE filter
08:11 Envelopes and VCAs
12:35 Mixer feedback
14:57 Filters & Noise module
16:05 VC LFO
18:58 The Sample & Hold
23:19 Self playing patch
26:58 System 16 Junglism w/ Polyend Tracker
28:41 A few more things you should know!
26:17 System 16 vs Torso T-1
"Sound test of the “cloud” reverb currently under development at SynTesla. The module will initially be available in a 5U format. A 3U version will be released later if our customers show interest."
"Perhaps the most iconic modular synthesizer on Earth.
A completely original Moog Modular IIIC, with every component fully authentic, in spectacular cosmetic condition and perfectly functional in every part.
This Moog Modular previously belonged to maestro Ennio Morricone.
The instrument can be tested at our lab/studio. We have many additional photos and any further information you may need."
SNs (Note the BOOG on the Sequencer):
Model 950 Keyboard SN 1244
IIIc Lower Cabinet SN 3008-173-0695
IIIC UPPER Cabinet SN 3008-173-0695
COMP. "B" SEQUENCER SN BOOG-173-0695
