-Voltage Controlled Oscillator based on AS3340 with sawtooth, triangle and pulse waveforms -Voltage Controlled Filter with lowpass and highpass options, Drive control, Sweep control which attenuates amount of Release CV -Release generator with CV input for voltage control of release time. Option for sustain via jumper on rear panel. -Voltage Controlled Amplifier
Together they form a pre-patched super versatile analogue synthesiser voice.
Additionally, each section is fully modular in it’s own right, so there are patch points for:
-1V/oct CV input -PWM CV input – attenuator doubles as manual pulse width when no external signal is present -Gate input for Release or Sustain/Release -Release CV input for voltage control of Release time -VCF audio input with attenuator, for introducing external audio -VCF CV input with attenuator (1V/oct CV is normalised to this input) -VCA audio input (VCF is normalised to this input) -VCA CV input (Release CV is normalised to this input) -Release CV output -VCO audio output -VCF audio output -VCA audio output"
"Here’s a quick demo showcasing a few uses for Asteroids.
The Asteroids on the left is allowing audio from Radio Music to pass when button #1 is pressed. Button #2 changes the station of Radio music when pressed.
The Asteroids on the right button #1 is being used to trigger Cosmic Background which is producing electronic percussion sounds. Button #2 is being used to extend Cosmic Background’s release time by applying 5V to it’s release CV input.
The audio in Radio Music is actually snippets from previously uploaded Frequency Central YouTube videos – can you spot which ones? State 700 is just being used as a mixer.
The Gnatophilidae Oxfordii is just there to intrigue. If you’ve read this far please comment 'When will that whacky Gnat module be available please please please?'"
"American Format (5U) modular synthesizer performance in real time to a stereo track in Cubase. For an atonal wash I used the Dove Audio Waveplane and WTF vco's through an Oakley Sound Systems Ring Modulator. I then sent it through A dotcom Q150 transistor ladder filter and a Lower West Side Studio Multimode Filter/Resonator and on to a fixed filter bank and a Frequency Central Stasis Leak digital delay. This drone wash comes in at the final section and ending. The opening reed sound and accompanying organ sounds were derived from the Synthetic Sound Labs/Mutable Instruments (Braids) Woven Spirits module. The initial reed sound is from the AUX output of the Woven Spirits through an SSL/Ian Fritz 5 Pulser and Oakley Sound Systems State Variable Filter. The filter is stepped with a random S&H from JNP Electronics. The secondary organ chord sound is the Main direct output of the Woven Spirits in Chord mode. The combination of both elements are sent to an Electro-Harmonix Grand Canyon in DMM mode. Feedback is applied as needed for the drone sustain throughout the piece. The bass line comes in next with a pair of STG Soundlabs Oscillators through a Dove Audio D502 Multimode filter in -24dB LP mode. The pitch voltage is from the upper Q960 step sequencer. It's timing is from a Catgirl Synth Master Divider, clocked from a custom Dual LFO/Analog Shift Register of Ken Stone (Catgirl Synth) design. An additional tap from the STG oscillator through a Corsynth C103 Frequency Divider/Multiplier module for a sub-octave feed. The melodic line blended into the latter section is from a pair of Q106 dotcom vco's which are pitch controlled by the lower Q960 sequencer. Each vco pitch is from a separate row of the Q960. The Q960's shift timing is from the CGS Master Divider module. The output is routed through an Empress Reverb pedal in Blue Ghost mode. Panning is from the LWSS/Yusynth Panning Mixer. All pitch quantitization is through a Moon Modular 565 series setup. Additional voltage modulation to the Woven Spirits module are from the STG Soundlabs voltage mini stores, and vaious LFO's etc. Timing for the additional sequencers is also managed by the Moster Divider."
"Akropoli is an extension and enhancement of our successful Little Melody and High Towers modules, offering the features of both of these modules as well as some of it’s own unique features such as mute buttons per channel, manual transpose knob and 1V/oct transpose CV input. Akropoli operates using our proprietary TOOL V2 code, and can count in integers as well as multiples for even more subtle and evolving variations.
Akropoli is a generative sequencer based around clock divisions and a chromatic quantiser, used to create in-the-moment licks and riffs. It is more that the sum of it’s parts.
Akropoli’s internal operations can be considered as 4 clock dividers patched into a CV mixer via attenuators. The attenuators select notes over a 5 octave range, the clock dividers determine how often those notes are added to the mix. The final output of Akropoli is quantized chromatically for fast set up and continuously pleasing results. Akropoli has an onboard transposition knob, as well as a 1V/oct transposition CV input.
The 4 clock dividers are labelled A, B, C, and D. They all receive clocks from the same source, the divisions may be selected using the presets and the individual division selectors. The clock dividers can be set to count up, down, or to one of a variety of modes that move between counting up and down. For further information about Presets and Modes see the Little Melody User Guide.
"Please support my work on Patreon: https://www.patreon.com/jayhosking A live, semi-improvised synthesizer jam performed entirely on hardware.
I went to the store to try out the Sequential Prophet Rev2 for fun, but they didn't have it set up on the floor.
"You should just take it home," the rep said. "Bring it back within 30 days if you don't want it."
So here we are, with the Prophet Rev2 at home. I love having so many voices that so easily can be panned into a binaural sound. The keybed and layout are fantastic and I just like playing it. The sound is great except when it isn't; something about the full-open filter or resonance is displeasing in a mix, though I often don't mind it on its own. Here, I made a binaural patch, with the same synth sound hard panned to left and right sides, but slight variation in the DCOs and "slop" (terrible word) leading to a very rich stereo feeling. One of those rare beautiful things you can do with only some polysynths (and software, of course).
In short, the Prophet Rev2 is a wonderful synth to explore with something of a frumpy sound, for better and for worse.
I was noodling on some chords and wanted accompaniment, so I started with the Cosmos (for some asymmetrical looping), and then took out my melodic eurorack skiff. It's been a while since I had it on the table, so it was nice just to hear these sounds again. Eurorack just leads me to places and sounds I might not otherwise find.
Ultimately, this jam came together in a day, and I'm always a little worried about those ones, because you might not like them as much the next day. So far, though, I'm pretty happy with it.
Thanks for listening.
Sequential Prophet Rev2 - pads Walrus Sloër - reverb for Rev2 Soma Cosmos - looping for Rev2 Eurorack: Qu-Bit Chord V2 through Endorphines Squawk Dirty to Me - organ sort of sound Frequency Central Product - droning analog voice 4ms Ensemble Oscillator through Make Noise QPAS - hyperspace organ Effects are described in the video, and include Happy Nerding FX Aid XL, Noise Engineering Melotus Versio and Desmodus Versio, Intellijel Multi-FX 1U ALM Busy Circuits Pamela's New Workout - modulation for all the voices
Performed and recorded live, with EQ, compression, and limiting on the master.
"The #frequencycentral #systemX is a complete and portable 5U analog #modularsynth - and it sounds amazing! With a midi controller or sequencer, System X
Is capable of a vast array of sound design techniques; from deep bass lines, duophonic harmonies and dreamy detuned pads.
The system includes five great modules:
2 full range VCOs, (each with dedicated LFOs for seamless frequency modulation and pulse width modulation.)
"I have a few generative sequencers I've not had time to play with, and figured
I'd compare how they...play. Three are generative in one form or another, and one, the Berlin School, is not. I leave you to suffer with that incongruity in silence.
This is my first exploration with each of them, so I'm just getting a feel for how they work. You're along for the ride, but don't expect too much.
VCO is Acid Rain Chainsaw. LPG is Rabid Elephant Natural Gate. No envelope. Delay here and there is Make Noise Mimeophon. Quantizer is 2hp Tune.
"I recorded this jam recently & decided to release it for my birthday :)
Gear: Mutable Instruments Plaits, G-Storm Electro Tonus VCF, Frequency Central System X Envelope, Happy Nerding FX AID, Moog Grandmother & ADDAC200PI Pedal Integrator.
I created a sequence on the GM, just playing around from there"
"Madisynths is a Reverb store and has a couple of new Frequency Central Modules:
Acropoli Sequencer with clock division used in a performative way, changing division on the fly, dropping in CV melody tracks.
Gate mode, scale mode are both CV controllable too, leading to a lot of creative options.
There's only a couple in stock for now, but in the next 4-6weeks they will be coming in in larger numbers priced at $299.
"Demonstrating the new Frequency Central Berlin School sequencer and the new White Face Arp filter. These two modules are running through bot Moon delays, the 530 Digital Delay & the new 531 BBD Delay.
All drums are coming from our Analog Drum System created by Noisebug."
"This demo shows how to use the step inputs and outputs to control which steps in the sequence are played. This is a classic Tangerine Dream technique to break the monotony of playing the same 8 steps repeatedly. I'm using the Swiss Daisy DSP as a virtual analog voice with delay. The controls I'm adjusting are the wet/dry mix, the envelop to VCF amount and the VCF cutooff frequency. The simplest example of using the step in/out would be to take the step out from step 5 and connect it to the step in on step 1. This would result in the first four steps being played. (i.e. a reset to change the sequence length from 8 to 4 steps). In order to quickly repatch to select the step out and step in, I have used a dual 4:1 selector switch, the Frequency Central 'Where" module: https://synthcube.com/cart/frequencyc... (no, I'm not paid for this link). The top switch selects the beginning step; the bottom the ending step. If the ending step number is BEFORE the beginning step number, the sequence skips the "ending" note and jumps (forward) to the "beginning" note. One other wrinkle, the "step out" stays high for the entire step duration. I have turned this 100% "gate" into a trigger by running it through an A/D envelope. One other note, I'm using row three to adjust volumes at each step."
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videos uploaded by Frequency Central
Playlist:
Frequency Central feat. forthcoming MU modules CEMosc, Whiteface, Arley Dynamics - Part One
Frequency Central in 'MU-looping' feat. our forthcoming MU format VCO, VCF, VCA and ADSR modules
Frequency Central: atmospheric droning soundscape of doom feat. MU format modules
"A live, semi-improvised modular performance performed entirely on hardware, with one guitar overdub.
This jam started with a simple exploration of the Intellijel Metropolix, a neat sequencer that helps you stumble into inspiration, along with two voices (the Noise Engineering Manis Iteritas and the Acid Rain Chainsaw). My ambitions were no more than "play guitar with eurorack". But as the song found itself, and more and more was added to the table, it became clear I'd have to add guitar after the the fact.
A big highlight here is the Prok Drum modules being sequenced by the Mutable Instruments Grids. Not only is Grids fast and inspiring, but its modulation allows you to add performability (like the snare rolls I add via a touch pad here) and variety (through its chaos and frequency controls). Special thanks to Michael, a good human and also a member of my Patreon community, for allowing me to commission him to build the Prok modules! You're the best, Michael.
And of course, the Erica Synths Zen Delay works its magic again. Here, it runs everywhere from flanger to filter to gonzo delay, and I just love what it adds to a jam.
The patches would take a very long time to explain, but here are the modules:
"We've been working hard here at FC to bring you some brand new MU format versions of our popular CEMosc, Whiteface and Arley Dynamics modules. Together, they create a super compact synth voice and the perfect intro to MU for new users.
These modules are not on our website quite yet, as we are now awaiting the final PCBs and panels. Have a listen.....how do they sound to you? They will all be released within the next month or two. And remember.....we love you."
The ECG is a diode ladder filter and uses 6 x red LEDs for the diodes. Diode ladder filters have a different sound to transistor ladder filters, and if you’re gonna use diodes, why not use LEDs and get a free light show too – the LEDs will brighten as you turn up the cutoff of the filter, or when a CV is applied. For maximum visual effect ECG is mounted on a translucsuent red acrylic panel. ECG is based on my Vogue VCF/VCA. The inspiration for the changes to the diode ladder is the Roland TB-303 filter."
"ARP 2600 provides the lead. Z506 Swiss Daisy DSP provides the 'pluck'. Intellijel Metropolis sequencer drives the Swiss Daisy DSP. Frequency Central MethAmp provides overdrive as well as a voltage controlled tone with "regen"eration (resonance/Q). ES FV-1 modules provide digital delay and reverb. This module is based on the Electro-Smith.com FV-1 submodule. RecklessExperimentationAudio.com provided the prototype PCBs and panels. Thanks Mikhail!
