Soldering Algorhythm

Soldering Algorhythm from Default Mode Network on Vimeo.

Denver Synth Meet This Saturday! - Grayscale, Soundtrack Loops, Synthrotek, Mattson, Circuit Shaman...

Last post for the event!

You'll find full details at http://denversynth.com.

MATRIXSYNTH swag will be there as well!

Fitting a Grayscale panel - with the Echophon

Published on Nov 27, 2014 DivKidMusic

"All in this took about 11 minutes to change the panel, I dropped a nut and had a cut thumb so it took me longer than it should have. Even then a quick process worth doing if you're into changing the look of your modular."

Modular Jam #2 with Analog Four and Maschine - "Creepy Shadow Monsters"

Published on Oct 29, 2014 Matt Keenan

"Free download of the track: http://music.mattkeenan.co.uk/track/c...

Equipment used:

- Elektron Analog Four
- Native Instruments Maschine
- Intellijel Metropolis, Atlantis
- Grayscale Synapse
- 4ms Shuffling Clock Multiplier (and breakouts)
- Synthrotek Sequence 8, Echo
- Make Noise Maths, Pressure Points, MMG
- Music Thing Modular Mikrophonie
- Doepfer A-143-4 Quad VCLFO/LFO

For the bass, clock comes from Analog Four through Synapse and 4ms SCM, to Metropolis. Pitch and gate goes to Atlantis. Pretty basic setting on Atlantis, just a bit of FM on the filter. The output goes to MMG then audio interface.
Metropolis has two auxiliary modulations. One comes from Pressure Points, which changes the octave. The other is from Sequence 8, transposing the notes. Sequence 8 is being triggered by CV trigs on the A4, so I can have a pattern which stays on the root note and doesn't trigger the transpose.

The echoey rattling comes from Mikrophonie, into Echo and out to audio interface. The rate on Echo is modulated by the Doepfer LFO through Maths for attenuation.

The other synth parts are on Analog Four, being muted and unmuted, and modulated by a few performance macros.

Drums on Maschine."

Modular Jam #1 with Elektron Analog Four - "Cognisent Compound"

Published on Aug 25, 2014 Matt Keenan

"This my first completed piece using the my eurorack rig. I've been noodling around with it since I got the first few modules (check my Vine and Instagram profiles), but here's a full jam.

You can download the track here: https://keenan.bandcamp.com/track/cog...

Equipment used:
- Elektron Analog Four
- Intellijel Metropolis, Atlantis
- Grayscale Synapse
- 4ms Rotating Clock Divider, Shuffling Clock Multiplier (and breakouts)
- Synthrotek Sequence 8, Echo
- Make Noise Maths, Pressure Points, MMG
- Doepfer A-143-4 Quad VCLFO/VCO

- Clock comes from the Analog Four into the Grayscale Synapse, to the 4ms RCD and the SCM. A slow clock goes to the Sequence 8, and a fast one goes to the Metropolis.

- For the bass the pitch is coming from the Sequence 8, goes into the common CV input on the Doepfer Quad. A low pitch square goes into the Maths’ channel 1. A gate comes from the RCD which gets inverted on Maths’ channel 2, then it controls the rise and fall of channel 1, creating an off-beat pulse effect. Output from Maths’ channel 1 goes into the MMG to roll of the top end, then out to mixer.

- On the Sequence 8 I use outputs from individual steps into the reset, to control how long the bass seqence is. If you want a two-step sequence, you patch step 3 into reset.

- The melody line is coming from the Metropolis, into the Atlantis. There’s also a triangle wave coming from the Doepfer Quad into the external input on the Atlantis’ mixer, which follows the bassline (but +1 octave) to add an extra voice. There’s a little bit of vibrato on the VCO coming from the internal modulator. And some modulation on the Atlantis’ filter from the other Doepfer Quad channels. A slow triangle LFO is put into the CV input of another LFO, to modulate the LFO rate. This then goes through a Maths channel to attenuate, then into the Atlantis’ VCF modulator. Final output from the Atlantis goes into a Maths channel to bring the volume down, then into the Synthrotek Echo. The Echo’s rate is being controlled by the Pressure Points, where I select one of four previously set rates. Output of echo goes into mixer."

New Grayscale SYNAPSE Eurorack CV Breakout Module for the Elektron Analog Four and Analog Keys

via Grayscale

"Synapse is a CV breakout module for the Elektron Analog Four and Analog Keys. The dual CV outputs of the A4/AK are connected to the 1/4" TRS inputs labeled CV:AB and CV:CD. These two inputs are split into four separate 3.5mm outputs. Each output has its own bicolor LED to indicate the polarity and intensity of outgoing CV signals (green is positive, red is negative).

The fully-analog circuit design ensures that CV signals will pass through unaffected, with no latency or voltage drop, so that the full +/- 10V output range of the Analog Four and Analog Keys can be utilized."


Image below & the following via Grayscale on Facebook:

"Introducing Synapse, a CV breakout module for the Elektron Analog Four and Analog Keys. Synapse simplifies integration of the A4/AK into a Eurorack modular synth context by eliminating the need for insert cables and adapters. Visual feedback is also provided by a dedicated bipolar LED for each output channel. Available now, visit http://grayscale.info/modules/synapse/ for details."

via Wes Milholen on The MATRIXSYNTH Lounge

Grayscale Algorhythm vs Nord Drum 2

Grayscale Algorhythm vs Nord Drum 2 from Grayscale on Vimeo.

"Short clip showing one Algorhythm and two Binary modules sequencing a Nord Drum 2.

Steps 1 and 3 of the Algorhythm are patched out to one Binary (off screen). The combined trigger output is sent to the first input of the ND, triggering the noisy low-frequency sound.

Steps 2, 4, and 6 are patched to another Binary and manipulated further during playback. The output of this Binary is patched to the second input of the ND, triggering a high-frequency FM sound.

Steps 5 and 7 are patched directly to the third and fourth trigger inputs of the ND.

Step 8 is patched through the first channel of the Triatt and then sent to the fifth trigger input of the ND. Using the Triatt provides a way to dampen the intensity of the trigger or mute it completely.

The Pattern output of the Algorhythm is patched through the second channel of the Triatt and then sent to the sixth trigger input of the ND. This triggers a short pitched blip that also chokes the other sounds, giving a choppy vibrato effect as the decay of the other five sounds is cut off abruptly (audible around 1:11).

The pattern switches between random and linear playback after every 16 clock pulses, creating a beat that bounces back and forth between a repetitive segment and a completely random segment. This is done by patching a 1/32 clock divider from the A160 to the Mode CV input of the Algorhythm. Turning steps 1-8 on and off during playback provides additional variation.

Apart from an oscillator to provide a clock source for the Algorhythm, no other modules were used. All sounds are being generated by the Nord Drum 2."

Grayscale Algorhythm and Binary - Random Logic Acid

Grayscale Algorhythm and Binary - Random Logic Acid from Joseph Fraioli on Vimeo.

"A patch built around the new Grayscale Algorhythm and Binary modules.

Main clock source for this patch is the Livewire Chaos Computer. The gate out is feeding the left most Algorhythm module, which is in random mode. The top row of outs is going into the left Binary module in OR mode. The output of the Binary is then triggering the Tip Top BD808 kick drum that is then fed into the Modcan Dual Delay.

The same Chaos Computer clock source is multed to the right Algorhythm with the same process applied to the Binary. The Binary output here is triggering the Mutable Instruments Braids in Meta mode. The output of Braids is multed into a mixer as well as a VCA. By manually triggering the a pressure points pressure output, the signal is sent to the Qu-Bit Electronix RT60 for reverb throws.

The main clock source is then multed into the 4ms shuffling clock multiplier and outputted to the Cylonix Shapeshifter via the x 2 output though a channel of the Make Noise Maths v2. A synced LFO from the Modcan Quad LFO is triggering the cycle input as well as another sine LFO is modulating the fall time.

The center Algorhythm is in seq mode and clocked by a divided by 8 of the original clock source via the 4ms Rotating Clock Divider. The eight outputs are triggering eight tuned vocal samples on the Qu-Bit Electronix Nebulae in one-shot mode. The Nebulae output is then run through the Serge Resonant EQ and the Tiptop Audio Z-DSP with the Halls Of Valhalla reverb card.

The Make Noise Wogglebug, DPO, Maths and MMG provide acidy baseline.

The outputs of the Shapeshifter and DPO are put through the WMD Sequential Switch Matrix to use as a simple mute system for performance.

At around 3:17 I got a call from my cat food delivery guy.

No computers or editing were used in the making of this performance."

Binary Pattern Generator

Published on May 22, 2014 Brendan Byrne·66 videos

Brendan Byrne is the man behind Wiwi Electronics.

Grayscale Algorhythm overview

Grayscale Algorhythm overview from Grayscale on Vimeo.

"Demo video for the Grayscale Algorhythm sequencer module:
http://grayscale.info/modules/algorhythm/

Audio taken from three sources:

Grayscale - Endless Random
http://soundcloud.com/grayscalemodular/endless-random

Grayscale - Algorhythm vs Turing Machine
http://soundcloud.com/grayscalemodular/algorhythm-vs-turing-machine

Richard Devine - Reticulating Rhythms:
http://vimeo.com/94437575"

via Wes Milholen on The MATRIXSYNTH Lounge

Grayscale Algorhythm-Binary-Reticulating Rhythms Patch

Grayscale Algorhythm-Binary-Reticulating Rhythms Patch from Richard Devine on Vimeo.

"This patch was derived from the 'Endless Random patch' from the 'Algorhythm' manual. The main clock source was the Delptronics 'Trigger' man, taking output 1 and sending into the clock input on the first Algorhythm (left side). I then set the mode for each of the 'Algorhythm' modules to 'RAND', patching out from the clock output then into the next Algorhythm's clock input so that all three where synced to the same master clock.

The idea was to take the 8 pulse outputs and send them to other sequencers and dividers/multipliers to create morphing ever changing rhythms. The 'TriggerMan' sequencer has 8 different stored kick drum/gate patterns that would set the pulse times for all three Algorhythm modules. I wanted the clock time to always shift around, so I set one output from the Modcan Quad LFO in random stepped output into the CV control input on Trigger man (LFO 3). The Output 1 from Trigger man was split and sent to the 4ms Quad Clock Distributor input 'CLK IN' set as the master for all 4 other outputs. Second output was sent to the trigger input on Braids running in 'CLKN' mode for the synthetic hi-hats. CV output LFO 4 from the Modcan Quad LFO sent to the Division/Multi CV input on the QCD. The third output from the 4ms QCD was sent to the first LFO gate input and I then set the Quad LFO into 'Phase lock' mode which synchronizes the phase of all 4 LFOs waveforms but allows the frequency to be a division of the master LFO 1. LFO output 1 was sent to the Intellijel Shapeshifter pitch input. Output 2 was sent to the 1/volt input on the Qu-Bit Nebulæ. Output 4 was sent to the MakeNoise ErbVerb Decay control input. Output 3 stackable cable sent to the addac systems 101 .wave play into the CV loop size control input.

Output 1 from the first Algorhythm sent to the clock input on the Macro Machines storage strip, which is changing the preset snapshots of the Mungo d0 dual delay module. The 7th switch output Algorhythm number two (center) is pulsing the trigger input on the Snazzy Effects Ardcore, running custom 'Frac Drums' sketch. Dac output is being processed by the Mungo d0. The 7th switch output from Algorhythm number 1, (left side) clock input into the MakeNoise WoggleBug. Second output was sent to the trigger input on Braids running in 'CLKN' mode for the synthetic hi-hats. Kick drum was triggered by the second output on Trigger man to the Tiptop BD 808. Second switched output from Algorhythm number 2 (middle position), sent to the strike input on the MakeNoise Mysteron, creating the sporadic metallic delay percussion sounds. Output switch 3 from the first Algorhythm sent to the 'Next' sample file on the Qu-Bit Nebulæ. Switching through 8 different sample loops of processed fragments of sounds created in Reaktor. The switch output 2 from the third Algorhythm sent to the strike input on the MakeNoise Optomix, signal fed in from the output of the Shapeshifter then sent to the Audio Damage Freq Shifter, slow slight modulation from one Intellijel Dixie into the Shift input. Then finally sent to input 4 on the Submix7 mixer. Stepped output into right side 'exp' input on the MakeNoise DPO then sent to bottom input on the Optomix from the final output, being striked by the random clock burst out. This output is then being sent through the MakeNoise Phonogene, where the 'Rec' input is being triggered by output 4 from the QCD, and the Gene Size input control modulated by the stepped output from the WoggleBug.

The main sound source for broken drums coming from the addac systems 101.wave player. For this I saved 10 versions of the same loop, and did slightly different processing to each loop. I then went into each loop and inserted silence in different sections to create more broken patterns and playback. Drum loops 3, 6, and 8 had heavy delay feedback processing to breakup the repetitions with bursts of delay feedback effects throughout the rhythmic sequences. The output was split into two sources. One output was sent to a Intellijel HexVCA being erratically controlled by the envelope follower output on the .wav player. The VCA on the ADDAC player was also being controlled by the stepped random out on the Wogglebug. The output was then sent into the Eventide Space reverb pedal for the random throws into reverb. The other output was sent into the second input on the SubMix7 mixer as the clean unprocessed channel. The white noise coming from the SSF Quantum Rainbow running into channel number 2 on the Intellijel HexVCA then being modulated by a intellijel Dixie, ZigZag output, running at slow rates, and then re-synced by the 8th switched output on the Algorhythm. The left side Binary module was clocked by the output one stackable cable from the 4ms QCD. Logic output was then sent to the Chaos input on the Wogglebug interjecting random in time clusters of pulses.

http://grayscale.info/modules/"

via Richard Devine on The MATRIXSYNTH Lounge

grayscale algorhythm module

grayscale algorhythm module from hpsounds on Vimeo.

"This is a demo of the new Grayscale Algorhythm module. It's a 100% modular one take video with a good measure of effects (ValhallaDSP and Eventide Eclipse). Best listen at high volume on a good system or good headphones.

The main voice is 2 detuned Cwejman VCO-6 filtered by a Toppobrillo Multifilter, enveloppes are 2 Malekko/Wiard Envelator.

The big evolving pad is a Mutable Instruments Braids oscillator (WMAP mode, 8bits, 8Khz - that's part of the trick), no filtering but a lot of shimmering effects to get this lush and deep tone (I love it !).

The third element is a long fieldrecording loop of hand manipulated stones from Iceland (they are precisely from Vonaskarð) - triggered in Ableton Live.

The main sequence is driven by 3 different clocks which gives this progressive poly-rhythm feel : one trig each beat (TipTopAudio Z8000), one trig each two beat (left Algorhythm module), one trig each three beat (Algorhythm module). The two Algorhythm modules' PATTERN OUT are mixed together, and trig the envelopes (Malekko Envelator) and the quantizer (TRIG IN of the Quantimator, which samples the CV sequence coming from the Z8000).

BTW, these Algorhythm modules are the first and only one in Iceland ... up to now :-)

ps : sorry for the "hiss" noise all along this video, it's an artefact of how I've recorded the audio with my digital camera."

Grayscale Restocked

via Grayscale on The MATRIXSYNTH Lounge

"Grayscale panels are being restocked."

Grayscale Algorhythm intro

Grayscale Algorhythm intro from Grayscale on Vimeo.

"Intro video for Algorhythm, a new Eurorack synthesizer module from Grayscale. See http://grayscale.info for details."

via Wes Milholen via Grayscale on The MATRIXSYNTH Lounge

Grayscale Eurorack Pattern Sequencer in the Works

via Wes on The MATRIXSYNTH Lounge

"Preview of upcoming Eurorack pattern sequencer module from Grayscale."

Update:


Grayscale sequencer module prototype from Grayscale Modular on Vimeo.

"Quick demo of the upcoming Eurorack sequencer module from Grayscale.
The module is in random mode, being clocked by the Livewire Audio Frequency Generator."

Fonik Sequential Swich

Published on Nov 17, 2013 Brandon Smith·16 videos

"Showing some of the basics of the Fonik Sequential Switch, with Greyscale panel.
Switching cv sources, then audio sources and then shown clocked by an oscillator at audio rates."

New Grayscale Custom Eurorack Modules on Pre-Order

Grayscale.info has a new set of panels up for preorder, ending September 30. This run includes most of the Make Noise lineup, the Further Generator, Mungo g0 and d0, and a few Cwejman modules as well.  Click through above for more details.

Grayscale Panels for Eurorack

http://grayscale.info

"Preorders for these panels will end on May 24. Like the first set, any panel that gets 20 preorders will be made."

CLICK FOR MORE »

Grayscale Limited Edition Alternate Panels for Eurorack

"Grayscale offers limited edition alternate panels for synthesizer modules in the Eurorack format. See here for more info.

All panels are printed on anodized aluminum using the Metalphoto process for industrial-grade durability. This is the same process used by many well-known Eurorack module manufacturers."