Update: module details and pic added further below.
"On Friday July 15th at 7pm PST, Make Noise founder Tony Rolando will show off his newest Eurorack module design, alongside long-time modular artist Rodent.
Make Noise has a long history of shaking up the modular synth world with fresh, forward-thinking, and downright fun new modules and standalone instruments.
This marks Make Noise's first new release since 2021's Strega, and their first new Eurorack module since 2019's Mimeophon.
The stream will feature a module overview, Q+A, and live examples of the new design."
Initial post/details:
Make Noise will be presenting a new module at Perfect Circuit tonight at 7 PM. It's my understanding tickets for the event are full, however Perfect Circuit will be live streaming the event. I will be sharing the stream on top of the site at 7PM sharp so tune back in for the event.
Details follow:
Live Event: Make Noise First Look to New Eurorack Module
Where: Perfect Circuit Showroom 2405 Empire Ave Burbank, CA 91504
Event date: July 15th, 2022, 7 PM
About the Friday Make Noise Event
Make Noise is heading to Perfect Circuit for an exclusive first look at their latest creation. On Perfect Circuit's YouTube channel at 7 PM PST this Friday, July 15th, Make Noise founder Tony Rolando is showing off their newest Eurorack module design. Long-time modular artist Rodent will join Tony in the announcement. Tune in live for the first look at what Make Noise has cookin'. The stream will feature a module overview, Q+A, and live examples of the new design.
What Will They Reveal?
Make Noise has a long history of shaking up the modular synth world with fresh, forward-thinking, and downright fun new modules and standalone instruments. Be sure to tune in for Make Noise's first release since 2021's Strega and their first new Eurorack module since 2019's Mimeophon. This new module is top secret, so we can't share any details except we know you will love it.
"Make Noise is proud to announce our newest module, the XPO!
The XPO, or Stereo Prismatic Oscillator, is a Voltage Controlled Analog Oscillator designed for generating Sine waves, Triangle waves, Sawtooth and Spike waves, Sub-Octaves, Stereo Timbre Modulations (including Pulse Width Modulation and Wavefolding), Oscillator SYNC, Linear FM and more in the analog domain.
The XPO is designed to be the Stereo VCO complement to our Stereo Filter, the QPAS. The two modules share the core idea of complex circuits being controlled in multiple dimensions in the stereo field by a few powerful parameters. The Stereo Prismatic Oscillator also makes a particularly useful patch buddy for the STO, Mimeophon, and X-PAN.
The XPO was announced on Friday, July 15th by Make Noise founder Tony Rolando and our Sales Specialist Eric "Rodent" Cheslak at an event at Perfect Circuit."
The XPO or Stereo Prismatic Oscillator is a Voltage Controlled Analog Oscillator designed for generating Sine waves, Triangle waves, Sawtooth and Spike waves, Sub- Octaves, Stereo Timbre Modulations (including Pulse Width Modulation and Wavefolding), Oscillator SYNC, Linear FM and more in the analog domain.
The XPO is designed to be the Stereo VCO complement to our Stereo Filter, the QPAS. The two modules share the core idea of complex circuits being controlled in multiple dimensions in the stereo field by a few powerful parameters. The Stereo Prismatic Oscillator also makes a particularly useful patch buddy for the STO, Mimeophon, and X- PAN.
The Story of the XPO by Tony Rolando
I was lying awake in bed at 3 am thinking about music and synthesizers, on this early morning specifically, the voice panning of the OB8. So simple, so effective. A bank of 8 analog pan-pots is tucked into the side of the instrument to let the musician choose the exact placement of each voice in the stereo field. As you play the instrument, notes may dance around your head. This led me to think about how Oberheim and most other synthesizer designers through the 70s and early 80s primarily used Pulse Width Modulation for waveform animation. Don Buchla's wavefolding techniques had not caught on. PWM has been more or less the same for decades and there is not a whole lot of difference between PWM in one instrument to another. Some allow you to modulate further than others. A few even allow you to go all the way to 0% or 100% Width. PWM was usually generated from a Saw or Triangle core, and while I tend to prefer PWM generated from a Tri-Core, the difference is subtle. The bigger difference is the filter that follows. PWM has a way of tickling the resonance of a filter that can really make the sound come alive.
This led me to think about Stereo filtering. How could a synth sound more stereo? At Make Noise we have voice panning with the XPAN, stereo filtering with the QPAS, and stereo echo verb with the Mimeophon. Surely, this was enough stereo modulation.
Then it occurred to me, why couldn't PWM be stereo? It would be very effective at creating a stereo image since the amplitude of both Left and Right would be almost identical, while still offering dramatic stereo timbral shifts. I thought to myself, surely somebody has done Stereo PWM already. I needed to research this idea. So I wrote about it in the notepad I keep on the nightstand and I eventually fell back asleep.
I woke up the next day and I immediately saw the note, I tried to read it...
via this auction "Here's a rundown of the various functions/knobs...
AUTOSPEED: This controls the speed of the internal sequencer or "AUTO" mode and was one of the repaired controls. The pot is original but the wiring to the board was replaced. Works as it should.
AUDIO SENSITIVITY: This is the sensitivity for the external trigger input. You adjust the knob according to the type of signal. I.E. a trigger from a drum pad would require higher sensitivity than line level audio like, say, a sound from a drum machine. Works as it should but as you can see the knob itself is not original.
PITCH (CLAP): This controls the pitch of the clap sample. This is one of the pots that was completely replaced. Works as it should.
DECAY (CLAP): This sounds pretty self explanatory but if you've ever played with one of these things you know it's not quite a true "decay" in the traditional sense. Yes, when at it's lowest setting you get a very tight short sample and the sound will increase with length as you turn it up BUT as get to around the 3 o'clock position the it actually starts to loop a part of the sample in a very strange way. You can hear it in the video link below. It's pretty wild sounding and works as it should.
PITCH (NOISE): Another weird one as this knob isn't so much a pitch control for the noise but a filter for the noise. You can here it in the video. This pot is other that was totally replaced and as you can see the knob is not original but it works exactly as it should.
DECAY (NOISE): This controls the decay for the noise. At it's lowest setting you get very tight percussive white noise attacks and at it's highest you get nice long noise crashes. Works as it should.
BALANCE: This is basically a crossfader for the clap sample and the noise. When at 0 all you will hear is the clap and at 10 all you will hear is the white noise. It's worth mentioning that the noise a bit louder than the clap which is to say that with the knob centered, the noise will be louder than the clap. Not sure if this is normal or not and, of course, you can still get a good even balance by turing the knob slightly more towards the clap but, again, thought it was worth mentioning.
LEVEL: This the volume knob and power switch. Pretty self explanatory. Works as it should.
AUTO BUTTON: This engages the internal non programmable sequencer.
HUMANIZER: This is very cool function that when engaged slightly randomizes the clap sample's pitch resulting in a slightly more realistic - or "human" - feel. Sometime it takes the button a few tries to engage as you can see in the video it does work most of the time.
TRIGGER: This is the manual trigger which you can use to play the clap trap by hand without an external trigger/pad."
The following is a fascinating look at the man behind ERRORINSTRUMENTS, Paul Tas. Note the questions are not mine, but were sent in with the full interview by inmar lsbtv grtz sleep good.
So how did all start? What was your life before "error instruments"?
- my life before error instruments can be described as a life of an artist in making sculptures and paintings. I was making sculptures from robots, called "the beeb" collection. It is a wooden robot with the concept that in the 50's, we have thought that robots will replace our jobs. However, with the influence of the media, and the medicines we take against emotions, figuratively we can say that we are the robot, and we get programmed by commercials and news. This robot has been a big succes due to the fact that it has been bought by numerous art collectors from different countries such as Japan and the United States. Furthermore, the collections had been sold also at auctions houses Christie's. Later on, I have started to work more in fashion and art and making moveable sculptures with electronics, I made also a traditional Dutch blue sculptures, big horse heads with the intention of giving a controversial thoughts and ideas. Moreover, sculptures about religion, which was a mix between Jesus and the corporate companies in the world with the meaning behind it, that they use the same propaganda to control people's mindset. I was also threatened by religious groups from Germany and Belgium during the time of exposition, not only me, but also the other people in the gallery. This situation has got to a point where i had to go to the court, but in the end I was free to go. Later i have done a project for Damian Hurst and made some installations together with BitMove for the "Love of God" exposition in the "RijksMuseum Amsterdam". As a result, more and more technical and electrical equipments got involved.
When did you have the idea for error instruments and what did the first steps look like?
- First of all, it is important that you know that as a child, i was not able to read, thus it was difficult to go to a normal school, and i have attended a special school, which allowed me to use my creativity, furthermore my writing was always full of mistakes and because in the 80's we used "Commodore 64", and every time i was writing something, a text appeared " Syntax ERROR". Therefore, the kids at my school, gave a nickname to me , called "Error". As a result, i got a fascination about the things that go wrong with machines, such as glitches or accidentally algoritmes and of course the sound of noises. By exploring the art of circuit bending and hardware hacking, i have found out that many people miss this, because the commercial products were created as a mainstream products, with a result for mainstream music. Thus, with the money that i have earned from art, I have started the shop, "ERROR INSTRUMENTS".
Do you have artistic projects beside error instruments?
- Yes, I perform under the name "ERROR EMPIRE", on several festivals. I have also some conceptional sound projects, called "Pink data". The idea of "Pink Data" is that is not controlled by humans, thus all the music is created by accidental algoritmes. I also make sculptures, with acoustic and electronic purposes. Furthermore, I am busy working on the modelar synthesizer and exploring control voltage. design eurorack modules for and special audience
"An electronic rock track using a custom built electric cigar box bass guitar, a Sequential Circuits Pro 1, Roland TR-606, Korg MS-20, a custom eurorack modular synth & intersound spring reverb. Vocals were recorded using a 1995 groove tubes MD1 tube mic, into a focusrite ISA one preamp with digital out. Recorded into ableton live 8, mixed on a Tascam DM4800 with yamaha HS80 monitors.
The track started out as a quick jam to a 77 bpm beat using the box bass & the song developed from there.
The box bass has an oak neck and poplar box. It’s nailed together so it resonates, the string is a spare low string from L&M. The pickups are a pair of dimarzio Twang kings. Their are placed to the side of the string, facing each other and offset. The top pickup is on a hinge.
The bass was plugged into the Focusrite ISA one with the gain all the way up. The ISA can take a lot of drive and sounds great squared off.
Ryan Dahle played the bass string with power, forcing it to hit the non moving coil at times, to great effect. While playing he would also vary the distance of the second coil. During the breakdown he rubs and strikes the moving coil against the string and jumps back into the guitar riff by plucking normally and moving the coil back again.
At mix down the guitar is run through a tube screamer plugin and an ssl vst channel pulling back 350 and pushing 5k up. It is panned hard right and left dry. An effect send from the guitar channel feeds an intersound spring reverb with 1k pulled back about 6db. The dry guitar signal and reverb return are matched back to stereo in a late 60s fashion.
The mechanical noises in the background of the track were created as a modular sequence that had to be restarted until it started on a part of the pattern that sounded right.
For this sequence, The TR 606, MS 20 module, and Modular are all wired together as one system. The 606 receives dinsync from the DAW via a roland SBX10 sync box. From the 606 the high tom output triggers the clock input of the MFB trigger sequencer in the modular which is making a 32 step pattern triggering a clock divider that controls the envelopes used in the system. One of the clock divider trigger outs controls the a105 filter which filters the output of an A117 noise source. The resonance of the A105 is wide open and modulate by the animated pulse out of the Livewire AFG (VCO). The frequency of the AFG is itself modulated by one of the LFOs on the A143-3 (quad lfo).
This is what creates the low volume noise in the track treated to sound like sample distortion artifacts.
Another of the the clock divider outputs feeds the MS 20 trigger input. The pink noise generator on the MS 20 is patched back into it's own external input. This noise runs through the ms 20 filter sections under control by envelope generator 2, and the on board LFO.
This is what creates the tom like sounds and the helicopter warble synth noises when the song picks up at the end.
Yet another output of the clock divider feeds an A140 envelope generator which is triggering the spare VCA on the ms20. The white noise of ms 20 goes into the audio input of this VCA and into the analog input mod of the TR 606. Inside the 606, this rhythmic noise pattern is cross modulated by the high hat pattern and you can hear the result in the track. The swung out effect of the high hats is a direct result of this, as the 606 has no swing function.
The drums are distorted 909 samples, run as a stereo drum mix into a Duende SSL bus compressor. The background vocals are a 5 part harmony, sung in 6 duplicates each mixed down to mono comps, then spread out into a 70s rock opera stereo field. There is a 375ms ping pong delay on the two high vocals and a long reverb on the two low ones. The middle ones are dry. The chorus lead is sung twice and double tracked, shifted by hand in various parts of the song to pull the effect forward and backwards. The front verse and the chorus share the same tempo delay. The delay is slightly bit crushed.
In order to give the idea of the background vocals slowly destroyed under the pressure of the drums, they shift to vocoded versions of themselves losing a bit of pitch tracking in the process and get bit crushed into nothing by the time the last chorus ends. This is done with 5 individual vocoder plugins and 5 bit crushers and automated ramps.
The desperation vocal in the break down and rebuild is mostly dry albeit for a small amount of TC reverb that sits behind the whole mix. The vocal has one effect on it, a boss ds1 plugin with mild gain. An SSL channel is used to shelf the bottom out completely and bring the top end up a bit, giving the vocal a “small” feel.
The pro 1 brings a bit of bass to complement the guitar, but it’s mixed pretty low in the mix, leaving the kick drums to do more work and get to a hard-techno / hard-style sound. The sample at the end is from a loop of the second chorus that just sounded so cool I decided to tag it at the end of the track, taking yet into one more direction before an old school FM radio fade ending.
The track was mixed down on a Tascam DM4800, using the onboard TC reverb and and external intersound reverb unit. Enjoy"
Asteroid Mini Synthesizer
------------------------------
Format: Euro Doepfer compatible, 3U height (5.05")
Power Current Consumption: +108mA, -83mA
Depth: less then 45mm
Circuits involved: VCO, VCA, Envelope Generator, Sub Harmonic Generator, Noise Generator, and trigger striking circuit.
VCO
-------------------------------------------------------------
-VCO type: Triangle core, transistor discrete design.
-VCO waves: Triangle, Sine, Square, Sub Harmonic pulse.
-Noise Generator flavors: White and High Pass White Noise.
-VCO modulation sources: (2) Direct input CV's labeled 'PCV',
(1) Hi spectrum Linear FM input, (1) Variable sync input, (1)
Attenuated CV labeled 'Mod CV'.
-Internal hard wired modulation: Bi-polar Decay source, and 'Pop CV' trigger spike. The Pop gives a small punch to the sound.
Envelope Generator
--------------------
Timings: 1uf Capacitor charge, 9.7uf cap, or middle position is 0.47uf cap timing. These effect the snappy feel of the decay. Middle position of the switch is best for drum and short percussive sounds.
-Trigger Striking System: The internal trigger conditioning circuit allows from 2.5v to 10v input for successful triggering of the envelope generator. The internal trigger voltage is about 12v. This allows for big drum sounds, and strike effect. There is a 'Thru' jack to pass the input signal to another Asteroid Synth for daisy chaining.
Mixer
--------------------
There is a summing mixer with direct output (pre vca and pre booster), this makes the module act like a normal vco for you to patch to a filter, etc. You also have a mixer input jack so that you can mix another vco or two Asteroid Mini Synths together.
VCA and Analog Delay
-----------------------
The vca can be patched directly into, bypassing the internal summing mixer. This is great for send and return. You would patch from the Asteroid Mini synth's 'Sum' to a filter for example, then patch back into 'Ext VCA' to return the processed sound. The booster knob will boost signals also
patched into the Ext VCA jack.
-The Delay has modulation for: Repeat, Time, and level.
-The VCA is a high quatity cool audio v2164 based vca with its own attenuated 'MODV' cv input.
Final Output
-------------------------
You get a Dry post vca synth level output, and a 'PERC'
output. The difference is the 'Perc' output can have the
delay fx mixed in.
There is a line Level 1/4" output jack.
All outputs can be used simultaneous.
***Some odd ball notes about the module
----------------------------------------
In order to use the Square wave as a sound source you have to patch from the jack above the toggle switch and select the Sqaure wave, and patch that into the Mixer input 'Mix'. One interesting patch is to patch the square wave into a CV input to create a Saw wave. I did this because I wanted to give you the option. If you wanted only the square wave sound source after you did the mix in patch, you can turn off the triangle or sine wave as that has no level knob. You can also use this method to make noise bursts with no vco waves mixed in. The noise generator does not have to be patched like the square wave, it is internally routed to the mixer. Just use the Noise Level knob to adjust the noise level. On the Direct Noise ouput, the level knob does not change anything, it is a direct out."
The beta is over! Noise Engineering moves to full release of three free powerful plugins
Los Angeles, CA — Noise Engineering is happy to announce the end of the public beta and move to full release of three free plugins: synths Sinc Vereor and Virt Vereor and distortion Ruina.
Asked why the move from Eurorack to software, the Noise Engineering team said that it was inspired by several things: first, they’d been bombarded with requests for plugins from modular synth users who love the sound but needed portability or repeatability. They were also extremely aware of the barrier to entry to a modular system and really wanted to make their products more widely accessible (which is partly why this release is free, and will remain free). Finally, they have no plans to stop making modules, but a core value for this small team of six self-described nerds is to keep challenging themselves to learn new things, and making plugins fit the bill. They anticipate further plugin releases based on Eurorack favorites (including a VST3/AU release of their currently AAX-only bundle) coming soon.
Sinc Vereor is an intuitive and powerful synthesizer loosely based on Noise Engineering’s beloved Eurorack module Sinc Iter. Sinc Vereor’s wavemorphing/wavefolding Tone control makes sound design a breeze. Blend between familiar waveforms like saw, triangle, and square. Super mode adds 6 phase-offset oscillators. Use Noise mode to generate self-similar noise for percussion, effects, and more.
Virt Vereor is a powerful synthesizer based on a unique set of synthesis algorithms. Bass is a quadrature algorithm described in Bernie Hutchins’ seminal series Electronotes. Sawx is a supersaw-inspired beast. Harm is an additive algorithm with spectral control and distortion of partials. Virt Vereor makes a tremendous amount of unique sounds with an immediate and usable interface.
Some readers will recognize the names of these algorithms, and indeed they come from Noise Engineering’s contribution to Arturia’s Microfreak V3 firmware and the upcoming Virt Iter module.
Both the Sinc and Virt oscillators are paired with Vereor, Noise Engineering’s easily manipulated dynamics section using an ADSR envelope controlling a variable slope and analog-inspired multimode gate/filter. Add to that a vintage-inspired chorus and a over 1000 presets each, and these synths have something for everyone: bridge the gap between traditional subtractive sounds and modern synthesis techniques, or design innovative basses, leads, or whatever your project calls for.
Ruina is a creative stereo distortion plugin built on digital distortion algorithms: no emulations here. Intuitive and fully automatable controls make it easy to get a gentle, nuanced color, to obliviate a signal, or to dial in anything in between. Don’t feel like tweaking the parameters? Ruina comes with over 500 presets to fit any need, a Random button to generate new sounds, and a Nudge option to just give the parameters the tiniest bump. Ruina has a wavefolder, a multiband saturator, a chaotic suboctave generator, octavizer, and phase shifter. It also features a notch or bandpass filter with adjustable tracking, and a control to set the order of the distortions in the signal flow to further customize your sound. Last but not least, Overdrive adds up to 128x gain for maximal destruction.
Run any sound through Ruina for warm, lush distortion, or crank the sliders to unleash complete ruin. With seven distortion types, it’s easy to turn your sounds into something singular with Ruina.
All three plugins are free to download: just make an account at the Noise Engineering Customer Portal (https://portal.noiseengineering.us/) and download the installer from the Plugins tab. And while they will remain free, the NE team has big plans to keep developing these. They have a substantial roadmap for future features, some of which were suggestions from the beta users, including introducing extensive internal modulation, more advanced randomization, MIDI learn, MPE support, and more.
Notable features: • AAX, AU, VST3 • 64-bit Intel + M1 • Mac and Windows • Intuitive interfaces to easily and quickly manipulate sound • Use the Random button to generate new patches in one click • Easy to automate, user-friendly controls. No prior synthesis experience needed, but synth enthusiasts will also be inspired by the simple-yet-powerful interface • Fully MIDI-mappable • Tons of presets included • Three unique synthesis algorithms inspired by little-known synthesis techniques (quadrature, supersaw beast, and additive) • Huge number of distortion possibilities with wavefolding, octavizing, multiband saturation, suboctave generation, phase shifting, and overdrive
"How to guide with Patch Sheets: An interpretation of the classic lead sound from the intro to Pink Floyd's 'Shine On You Crazy Diamond Part 1', which is believed to have been recorded using the Minimoog synthesizer. The AJH Synth Mini Mod system is a Eurorack modular recreation of this classic analogue synth, and in this video just the modules from the standard Mini Mod system are used to create the lead sound. An additional, simple background drone is created using another system, comprising 3 VCOs, Wave Swarm, Ring SM and Sonic XV Diode Ladder Wave filter.
Check out the AJH Synth playlists for more 'Patch of The Week' videos, which will be either performances or 'how to' guides detailing a range of sounds, some familiar, some less so, and each containing a patch sheet at the end to show you how to construct it for yourself.
Index: 00:00 Intro 00:32 Shine On... Part 1 Intro 02:43 Patch sheet - Lead 02:54 Patch Sheet - Drone
PATCH NOTES: (Download - https://kvisit.com/8AE/z_oG) ------------------------ LEAD SOUND Green dots show approximate pot and switch positions. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions. This patch uses only the modules contained within a standard MiniMod voice, which is the equivalent of a Minimoog, simply for a little more authenticity, as this is the synth that was believed to be used on the original Pink Floyd recording. The version here is our interpretation of it, and not intended to be an exact match, so opinions will differ as to the setting used, but we feel it's pretty close. For example, it's possible the Minimoog's MOD MIX control was used on the original to mix VCO 3 and Noise modulation to affect the pitch and filter, but here it would require an additional module to mix both signals, and simply adding Noise as audio sounds very similar, whilst allowing greater control of both.
"In the mid-1980s, Roland released the now-famous TR-707 and TR-727 Rhythm Composers. Loved deeply by groove-minded musicians the world over, these machines have been the beating heart of a wide range of styles including synth pop, acid house, techno, industrial, electro and experimental. Now the sound of these classic rhythm machines, with every nuance accounted for, can be injected into your TR-8, taking the whole experience to an entirely new level. Every sound of the TR-707 and TR-727 Rhythm Composers, faithfully reproduced using the original PCM wave data and detailed models of the original circuitry. Analog Circuit Behavior captures the unmistakable sound of the original units – a result of lo-fi sampling and the behavior of the analog envelope and VCA circuitry design. Newly modified TR-909 kick and snare sounds with enhanced attack characteristics. Five new TR-808 sounds including Noise Toms, Noise Clap and Finger Snaps. Unique flam and accent behaviors of the TR-909 and TR-707, with adjustable flam intensity and two levels of accent. Upgrades the TR-8 to have all the sounds and articulations of four iconic TR drum machines, plus all new sounds, in one performance-ready instrument.
Adding the 7X7 Drum Machine Expansion takes the experience of playing a TR-8 to a whole new level. All 30 original TR-707 and TR-727 sounds – each with Tune and Decay controls – open up a whole world of sonic possibilities. Aside from the original TR-707 and TR-727 sounds, the 7X7 expansion includes new, never-before-heard sounds inspired by the original TR engineers. New TR-808 “noise” sounds and finger snaps bring ever more tonal variety and newly modified TR-909 kick and snare sounds take the classic combo into new territory with enhanced attack characteristics.
Once expanded with the 7X7, your TR-8 can have all the sounds of a TR-707, 727, 808, 909 and more – newly color-coded by kit for easy selection. And the eight stage flam of the TR-909 and versatile accent behavior of the TR-707 dramatically enhance how you can manipulate the feel of a groove. Any step can have a weak or strong hit, a weak or strong accent, an adjustable flam, step based effects and side chain. All the sounds and behaviors of four iconic TR drum machines, plus the TR-8’s own dynamic swing, rolls, playable faders, and across-the-board tune and decay controls make the TR-8 the most advanced Roland drum machine we’ve ever built.
The TR-707’s predecessor, the TR-909, was developed as an analog-digital hybrid rather than a fully digital device. As memory chips and digital-to-analog converters were very expensive at the time, there was concern that an all-digital design would make the product unaffordable for too many musicians. Also, while PCM sound generation could produce more realistic drum sounds, it offered little in the way of tone editing.
After the TR-909’s release however, digital PCM became the trend for synthesizers and drum machines. We embraced this trend with the TR-707 and TR-727, but expensive memory and lack of high-precision D/A converters resulted in a 25kHz, 8-bit (or 6-bit for some tones) sample playback engine that was primitive by today’s standards. Though the TR-707 and TR-727 were developed primarily for rhythm programming and did not give users the ability to edit their sounds, they were ultimately appreciated for their characteristic lo-fi punch and continue to be sought after to this day.
CAPTURING THE ORIGINALS
Even though the TR-707 and TR-727 were primarily digital devices, it would not have been possible to perfectly replicate their sound using samples. Due to the low bit-rates of the original units, quantization noise became a problem, particularly during the sound’s decay. To reduce quantization noise, a clever design was employed where PCM sound was produced using non-decaying waveforms and decay was then introduced in the analog circuitry after being converted. Also, at the time these units were developed, deviations in the clock that triggered the PCM caused differences in pitch, and deviations in the analog circuitry downstream of the D/A converter caused variances in decay characteristics.
To replicate these sounds for the TR-8, we started with the original PCM wave data found on the classic machines. We then used our ACB process to completely model the PCM output stage, carefully including all of its quirks and instabilities. Modeling the analog envelope and amplifier stages that came after the D/A converter allowed us to implement the “Tune” and “Decay” parameters that are available on the TR-8, but not present on the original units.
A SEVEN IN YOUR EIGHT…AND THEN SOME
Adding the 7X7 Drum Machine Expansion takes the experience of playing a TR-8 to a whole new level. All 30 original TR-707 and TR-727 sounds—each with Tune and Decay controls—open up a whole world of sonic possibilities. Aside from the original TR-707 and TR-727 sounds, the 7X7 expansion includes four new, never-before-heard sounds inspired by the original TR engineers. New TR-808 “noise” sounds and finger snaps bring ever more tonal variety and newly modified TR-909 kick and snare sounds take the classic combo into new territory with enhanced attack characteristics.
Once expanded with the 7X7, your TR-8 can have all the sounds of a TR-707, 727, 808, 909 and more—newly color-coded by kit for easy selection. And the eight stage flam of the TR-909 and versatile accent behavior of the TR-707 dramatically enhance how you can manipulate the feel of a groove. Any step can have a weak or strong hit, a weak or strong accent, an adjustable flam, step based effects and side chain. All the sounds and behaviors of four iconic TR drum machines, plus the TR-8’s own dynamic swing, rolls, playable faders, and across-the-board tune and decay controls make the TR-8 the most advanced Roland drum machine we’ve ever built."
via this auction "What is it?? This is a voltage-controlled BBD analog delay module, typically found inside a larger modular synthesizer setup. However the unit can also be used on it's own - but in either case it requires a +/-15v power supply, which is not included in this auction. The module is designed for to handle 10v AC audio signals, and to use up to 10 volts of DC for CV (control voltage) control of it's various parameters.
At its heart, this module is built around a 4096-stage, 1980's analog BBD (bucket-brigade delay) chip. This means analog delay. This means dirty, evolving echos, and haunting flanges & choruses. The famous modulated delays found in dub music are child's play for this module. With analog delay units, the pitch of the repeats changes when the delay time changes, which gives them a very different sound and feel from their digital counterparts, and is the main reason why they remain so popular in the modern, digital age.
Oh, if you are wondering, YES it can easily do the 'infinite wall of feedback building and building into pure insanity' thing, just crank up the 'Regen' knob and cover your ears.
OK then, but what makes it so special?
The Blacet Time Machine is considered one of the most powerful and desirable analog delay units of all time. There were between 200-250 made, and they were discontinued in the fall of 2005. Blacet has stated that they will never return to production. The issue is in the availability of the rare analog BBD chip inside the unit - they have not been manufactured since the 1980's, and the supply has simply become too limited to make building more units feasable. It is truly the end of an era. Time Machines always sell very quickly when they show up on the used market, and the price seems to climb a little bit every few months.
What makes this unit special compared to most analog delay units is the provision of CV (control voltage) inputs for EVERY PARAMETER. This creates a monster which can be fully controlled by other modules and voltage sources (including audio!) within your setup. On top of this, the unit includes a built in modulation LFO (with rate and depth controls - and of course the option to override it - or mix it - with an external modulation signal) and - now this is the special part - Blacet's peerless compander system.
What's a compander system? Well, the main problem with analog delays is NOISE. A bit of noise and grit is desirable in these units, and adds to their character. But extraneous levels of noise - and in particular clock noise, are not desirable effects at all. It is the 'bleeding' of clock noise (the clock is required to manage the timing of the BBD device, which thus controls the delay time) into the output signal that can be heard to some extent in just about every other analog delay unit out there. Clock Noise is the one big downfall to analog delay designs. Blacet has solved this with their wonderful compander system. In a nutshell, the input signal is compressed, sent through the BBD circuitry, and then expanded again, while being gently filtered to remove whatever clock noise still creeps in after the compander system. This also works to solve the other problem with analog delays, which is interfacing the limited signal range of the BBD device with the (typically much larger) signal ranges that are being used in your studio.
As a final, super cool extra bonus (in case there weren't enough features already jammed into this little monster!), both the modulation setting and the delay output have 'cancel' (and 'reset') inputs, which are often overlooked by many Time Machine owners, but are in my opinion a wonderful feature allowing the creation of gated and 'sequenced style' delay patterns in your music.
So what?
The result of all this is a dead quiet, ultra-powerful analog delay unit that makes no compromise in terms of onboard features, manual control or voltage control and automation. It's no wonder they are so famous and desirable.
And it's no wonder why it is breaking my heart to sell it. Believe me, these are truly excellent units, there's nothing out there like them at all. Feature lists can be read and compared all day long, ultimately it is all about the sound - and this is one area where the Time Machine blows away all expectations. No searching for the 'right setting' - no! Within about 5 seconds of plugging something into this module - YOU'LL KNOW. You really will. You'll just know, m'kay?
Details -
This started its life as one of the original units, a Revision 'A', and has subsequently been upgraded to Rev. B by John Blacet himself (see below). The unit was not originally factory built, but was built from kit by a good friend of mine who is a professional electrician, and a radio and amp geek. He is always soldering something, and his work is absolutely top-notch, as good as the Blacet factory. The unit is in EXCELLENT condition, has been kept lovingly under dustcovers in a smoke-free, cat-free, clean studio. The unit is FULLY FUNCTIONAL in every respect, and all pots are smooth and silent.
In the summer of 2007, the module was sent to John Blacet (my electrician friend has sadly moved away, and I have no soldering skills myself) to be upgraded to a Revision 'B' spec. John went over the entire module while it was in his hands, and made sure everything was solid - he commented to me that the quality of work was excellent, and that there was nothing at all to be concerned with. When the module was returned to me it had been upgraded to Rev. B and the one issue with the original design (raretimes crashing of the internal clock) has been successfully resolved.
This is a top-notch unit, and will bring many years of joy to its new owner."
A quick note: This review is long. You can jump to sections that interest you vs. reading it straight through if you prefer. This review focuses primarily on the synth engine for one single patch on the Venom. The Venom supports Multi mode with up to four multitimbral parts. Not only can you layer sound programs but you can set global parameters for the set. Be sure to see the Multi mode section of "Tips and Tricks via Taiho Yamada" at the end of this post. Taiho is the Lead Project Manager of the Venom and served as my contact during the review. I want to thank Taiho for his help and enthusiastic generosity. He is a true synthesist and the Venom is his baby.
Synth connections: Taiho previously worked at Alesis on the Andromeda A6. The DSP developer of the Venom worked on Radikal Technologies' Spectralis and the Accelerator. People that contributed to the presets via sound design include Richard Devine, Francis Preve, Mark Ovenden (Avid's AIR Instruments, ProTools VIs), Joerg Huettner (Waldorf, Access, Alesis), and of course Taiho Yamada.
*Don't miss the "Q&A with Taiho" section towards the end of the review. Also keep an eye out for "Taiho's Tips and Tricks" throughout the review in grey. You can find the consolidated list below the Q&A section.
"Introducing the next lineup of module to get the Pro Panel treatment. It is the tried and true Analog Noise Generator, but the design was so slick I was able to fit a Lock Hart Wave Folder & Gate to Trigger converter. The entire back PCB area is less then 2" (1.5") in depth. It is made with SMT parts.
This is for Euro Format Modular Synth Cases. The user is to install this module themselves using a IDC cable which is included.
THE UNIT COMES WITH A 10 PIN TO 16 PIN IDC CABLE. POWER SPECS: PLEASE READ THIS AND YOU SHALL NOT BE SORRY! THE MODULE CONFORMS TO THE NEWER DOEPFER POWER LAYOUT SCHEME. ON MY MODULES RED LINE IS (-12V) AND STARTS AT THE TOP. THE SEQUENCE IS -12V/GND/GND/GND/+12V. SO +12V IS AT THE BOTTOM ON MY MODULES. ALL I DID WAS ROTATE THE DOEPFER STANDARD. THE MODULES COME SHIPPED WITH THE CABLE CONNECTED CORRECTLY. ALL YOU HAVE TO DO IS CONNECT THE RED STRIP TO YOUR -12V END ON YOUR CASE WHICH IF IT FOLLOWS MOST WILL BE AT THE BOTTOM. THERE IS A SILKSCREEN ON THE MODULE TO SEE THE LAYOUT ON THE HEADER ALSO.
THERE ARE SAFETY PTC RESETTABLE FUSES INSTALL ON THE MODULE THAT WILL OPEN THE CIRCUIT IF CONNECTED WRONG. BUT IT IS GOOD PRACTICE TO JUST READ DIRECTIONS. FEEL FREE TO EMAIL ME IF YOU JUST ARE NOT SURE HOW TO CONNECT THE MODULE TO THE EURO CASE FORMAT POWER STRIP.
MODULE SPECS: Width--4HP Circuit 1: NOISE GENERATOR: White Noise, High Pass White Noise, Low Pass White Noise, Red Noise. There is a Trimmer on the PCB that will adjust the Loudness of the core Noise generator. 100% Analog. ALL OUTPUTS. Circuit 2: Lock Hart Wave Folder: There is (1) Input, (1) Double Pulse Output, (1) Folded Output. In order to control the actual folding, an Attenuator is needed right before the Input Chain in your Patching. Sine or Triangle Waves work best here, but you are free to Experiment. Circuit 3: Gate to Trigger Converter. This will make a Gate into a short Pulse. Useful for triggering Drum Synths. Again you can also experiment with feeding in slow LFO wave forms and hearing the Audio Result.
"If you are looking for a tweakable, uncomplicated and great-sounding source of electronic drum sounds, the Syncussion might be worth its weight in gold.
Sparkling analogue drum sounds are what you need to turn your tracks to gold, Germany's Touched By Sound company may have the answer in the form of the DRM1 eight-piece analogue drum module.
Use the player controls on bottom to skip around. You can find descriptions for each video below. You can find additional Synthesizers.com contest posts here.
Playlist:
1. O Z Hall: Zebra Synth
Dive into the enthralling world of synthesizers and witness O Z Hall's outstanding entry, "Zebra Synth", in the Synthesizers.com Composition Contest. Crafted with unparalleled precision and technique, this remarkable composition combines an array of captivating sounds that will take you on a breathtaking sonic journey.
Hall masterfully utilizes three distinctive patches in "Zebra Synth" to create an immersive soundscape. The first patch features a drone made using a Q106A oscillator, which is meticulously processed by a wave folder. Another oscillator, intertwined with linear FM from the wavefolder output, results in a fascinating "clang tone" that is beautifully amplified by a digital reverb.
In the second patch, a sequenced voice is artfully produced by employing two re-paneled Q106 oscillators. One output is channeled into the input of the linear FM, which subsequently provides intriguing timbral variations. The Q119A sequencer's 3rd row masterfully controls a Ratchet effect, adding even further depth to the composition. An expertly-applied digital delay effect enriches the output of this patch.
Lastly, the lead voice is ingeniously designed using the Q169 Dual Oscillator with Pulse Width modulation. O Z Hall skillfully manipulates the 24db/oct low pass filter in real-time to deliver an electrifying performance. The extended digital delay effect ties the entire sonic experience together. O Z Hall's "Zebra Synth" draws its arsenal of modular synthesis tools from the Synthesizers.com catalog, including Q106, Q106A, Q119A, Q171, Q148, Q127, Q169, Q168, Q167, Q114, Q174, and Q175A modules. The creative process has been meticulously executed, showcasing how these modules can be combined to engineer a rich and dynamic sound adventure.
"This is a classic west coast acid breaks track in the vein of old school records like Richard humpty visions’ “The feeling”, Dj Lace’s “The Future”, DJ Czech’s “I’ll bass you”, and the hot box remix of DJ prettyboy’s “Get on up”. It’s dark, moody and heavy. Perfect for a sweaty breaks jam.
It was created with Ableton Live 8, Roland TR 808, Sequential Circuits TOM, Korg DR-55, Xoxbox, Future Retro Revolution, Korg Poly six, Korg Monopoly. It was mixed on a DM4800 using the onboard TC electronics reverb, and a Fuzz factory guitar pedal set up in an effects send/return chain.
The track was originally recorded as a simple filter jam using the TR-808, the Tom, and the Xoxbox. The 808 kick drum was left at ¾ decay for most of the track and slowly closed at the end. Two more runs of the Xoxbox were recorded to create a total of 3 basslines that mix and match based on how each is modulated. There are no mixer moves on the bass lines other than mutes. The 3 volumes and effects send levels change based on filter and envelope settings of each Xoxbox. One bass line is dry, one has bright hall reverb, one has a swung tempo delay. All of them send some signal to the fuzz factory, which is mixed back in on a separate track for a bit of of top end distortion.
The Xoxbox with the TC reverb is the main lead of the track, and was set up with the effects send in pre-fader mode so the reverb setting could be set first and then bring in the dry sound to fill in after. The heavy top end noise near the end is added naturally by the resonance of the xoxbox filter feeding the reverb.
Although the TR-808 is run in sync, The sequential tom sounds are triggered via midi from Ableton. The kick, snare, hats and claps are used. The machine was recorded in mono to one track, and compressed for a bit more bite. The 808 was also recorded in mono to one track but not compressed. The two drum machines are mixed together dry. The tom track was slightly offset back from the 808 so it feels a little sloppy compared to the 808. It also lets the 808 kick drum point take precedence.
The Korg DR-55 has a modification so it can be triggered via midi. It also has a Korg style analog trigger output which was used to trigger the monopoly’s arpeggiator.
The Monopoly has four oscillators that you can trigger to play one after the other with the arpeggiator. It this case it is controlled by two devices. The Korg DR-55 is used to step the arpeggiator forward and the Future retro revolution is sending the note voltages that play the actual melody. Cross modulation is also used & you can clearly hear the resulting effect on the way the notes sound at the end of the track. The Korg Polysix was used for the string line, It was chosen because it sounds great with the monopoly as they share similar filter architectures, gelling the two synths together in the mix.
The vocal sample was recorded on location in Vancouver during a rainstorm using a zoom H2. It was shelved and compressed to bring up the ambient noise and make it sound like a sample taken from a movie. The zoom was chosen over better shotgun mics to help get a “recorded on location” feel. The filter is just the built filter in Ableton. The vocal filtering is not dramatic so the basic filter did the job fine.
The finished product has a true old school sound giving it an authentic vibe that you could imagine Donald Glaude or dj Czech dropping in a set at a classic Vancouver breaks party back in the 90s. Enjoy.
"Here's our latest Patch Notes video using the Quadraturia mode in Ornament & Crime as a set of complex modulation sources in the Eurorack system.
Ornament & Crime is sending output A to the Trigger input on Mutable Instruments Braids, clocking the internal envelope in the Bees in the Trees alt firmware. Output C is routed to the Timbre input, while D is sent to the Color in.
The wave shape is set to something like a sawtooth (around +64), with the spread set to around -40. The LFOs are frequency shifted to -128, creating a natural rhythmic relationship between the waves. Phase modulation is also enabled.
Make Noise Tempi is resetting the O&C LFOs at the Tr1 input, while 2 LFOs from the Triangle and Mayhem outputs of the Malekko Anti-Oscillator are modulating the LFO frequency at CV1 and shape spread into CV3. One channel from Pressure Points is routed to control wave shape as well on CV2.
Braids is in Meta mode, modulated at the FM input via the stepped random out from the Wogglebug. The randomization is being influenced by the CV output from René which also has the QCV routed to control the pitch on Braids.
Tempi is clocking everything, including Brains (and Pressure Points), René and Wogglebug, as well as the Malekko Varigate 4 and the Korg SQ-1.
The SQ-1 is sequencing the pitch and envelope on the Make Noise 0-Coast, which is generating the lead. The Slope section output is routed to the FM input on the Oscillator.
The Hihat is coming from the trusty Roland Scooper noise generator patch, triggered by a cycling Channel 4 on Maths. The off tempo cycle is modulated via the Both input using 4 rows on Pressure Points routed through the Doepfer A-151-2 Sequential Switch, creating a 16 step pattern modulating the rate of the cycling clock. This gives the hihat the offkilter feel.
The Kick is coming from the Noise Engineering Basimilus Iteritas. A pattern from the Varigate is routed to the input on the Malekko Envelator. The two positive output envelopes are routed to trigger the module as well as modulate the pitch to give more punch to the attack.
All routed to the Malekko Mix 4 and out through the Mutable Instruments Warps running the Parasites alt firmware to add some delays.
"I am not new to music, but I am new to modular synthesis. So I am creating one simple patch a day in order to get used to my small system.
I will do approximately 365 patches over the next year. Over that course of time I will likely add modules, change my setup, and explore various rabbit holes.
Two questions arise from these constraints. First, is a small 6U, 84HP system musically sufficient and diverse enough for a worthwhile patch, every day? Second, given that no matter what I intend on recording a patch a day, regardless of the outcome or circumnstance, what is the relationship between quantity and quality?"
"Quanalog Boubou its a combination of 5 voices filter based analog drum synth that cover the basics drum set from Kick, low and hi tom – rimshot, snare and hi hats that can become a base for Eurorack drums setup. Each voice has a lot of necessary control which can reach to a wide range of possibility. On the base every drum engine can become a signal processor with the core made by analog filter so it can process sound of each other and from other modules.
Each sound has been carefully made with specific analog filter structure to be able to create real percussion feel cover from low-end to hi-end frequency. We carefully tweak every single component to make a very classic sound quality with hi-end built with all metal pot, jack and switch to make sure its the last module that break on your setup.
5 voices Eurorack filter based analog drum synthesizer
Each voice has a wide range of sound that can reach to all drums
Pure sine resonance excited analog filter make warm thick and powerful sound that can cover very low-end frequency
Real independence analog noise engine for snare and hats pass thru analog decay vca and bandpass filter with cv control for decay amount and filter resonance point
Cv control for pitch, tune and decay make it more groovy
Hi-end sound quality
Minimal futuristic panel design in black and golden finish, still looks good when you got your grandkids!
Tank built quality – minimal futuristic panel design in black and golden finish with all metal pot, jack and switch. Can tweak it with passionate! Designed with love!
Complete your eurorack drums setup with 5 analog drum sound for just 28hp. Space saving!"
"The Take 5 Poly Chain OS update is free to download! Link two units together for a massive 10-voice polysynth, explore 10 new arpeggiator modes like Spiral and Leapfrog, and experience Whiplash arp timing for dynamic rhythmic transformations. Plus, dive into fresh sound design possibilities with selectable violet noise for shimmering, airy textures. This update is all about bigger chords, deeper creativity, and inspiring new sonic landscapes! It's your Take 5 to the power of 10.
Synth sounds and drums exclusively by Take 5. Music composed by Peter Dyer.
"Elevate your TEO-5 with the new Poly Chain OS update! Link two TEOs together for a lush 10-voice Oberheim experience, explore 10 inspiring arpeggiator modes like Spiral and Leapfrog, and add rhythmic drama with Whiplash arp timing. Plus, expand your sound palette with violet noise for shimmering and airy textures. Step up to bigger chords, deeper creativity, and fresh sonic possibilities!
"First look at the brand new firmware update for the Oberheim TEO-5 & Sequential Take 5. This update adds Polychain, new arp modes, noise options, and more — giving these synths a serious upgrade. In this video I’ll walk through what’s new and demo some of the new sounds in action."
Press releases follow:
Sequential Announces Free OS Update for Take 5 Synthesizer — Adds Poly Chain and More
OS Update introduces 10-voice Poly Chain, new arpeggiator patterns, Whiplash arp timing mode, and violet noise.
San Francisco, CA — November 6, 2025— Sequential today announced a major OS update for its popular Take 5 polyphonic synthesizer, delivering powerful new features that expand its creative capabilities. This update is free for all Take 5 owners and is available now from the Sequential website.
The centerpiece of the update is Poly Chain, which allows two Take 5s to be linked for a fully integrated 10-voice instrument. This means players can perform bigger chords and more complex arrangements without worrying about voice stealing. All front-panel controls are mirrored from one unit to the other for seamless sound tweaking, as if they were a single, expanded synth.
The arpeggiator gets a serious creative boost with 10 new play modes designed to inspire fresh rhythmic and melodic ideas. Modes like Spiral and Leapfrog introduce surprising new musical elements, creating parts that feel alive. These patterns go beyond simple up-and- down motion, using virtual “playheads” to weave intricate note paths, adding new flavor to your compositions.
Another standout feature is Whiplash, a new timing mode that keeps each arpeggiator cycle the same length regardless of how many notes you hold. The result? Notes bunch together or spread apart dynamically, producing rhythmic tension and release that stays in-step with the overall bar-length of your composition.
Finally, the update also adds violet noise, which emphasizes high frequencies while reducing low-end content. This opens up new possibilities for sound design, from smooth and shimmering textures to airy percussive layers.
"Musicians love the sound of Take 5, and we get asked regularly for ways to expand the polyphony," said David Gibbons, CEO of Sequential.
"This new software makes it possible to use it as a massive 10-voice synth — while also adding some fun and creative new capabilities."
The Sequential Take 5 combines classic Prophet-5 tone with a compact, portable design and an intuitive layout that feels great to play. With five voices of polyphony (and now ten with a desktop module companion), authentic analog oscillators, the iconic Prophet-5 filter, and deep modulation options, it’s the perfect gateway to Sequential’s legendary sound.
Oberheim Releases Free OS Update for TEO-5 Synthesizer — Adds Poly Chain and More
OS Update introduces 10-voice Poly Chain, new arpeggiator patterns, Whiplash arp timing mode, and violet noise.
San Francisco, CA — November 6, 2025— Oberheim today announced a free OS update for its acclaimed TEO-5 synthesizer, adding powerful new features that make the instrument even more versatile and inspiring. The update is now available for download from Oberheim's website.
The highlight of the update is Poly Chain, enabling two TEO-5 units to be linked for a fully synchronized 10-voice Oberheim experience. This allows for complex chords and lush textures without compromise, and all panel controls are mirrored across both units for consistent sound and performance.
Additionally, the arpeggiator now includes 10 new play modes that go far beyond traditional patterns. Modes like Spiral and Leapfrog introduce new rhythm and melody, creating parts that twist, turn, and evolve in ways that spark creativity.
Also new is Whiplash, a timing mode that keeps each arpeggiator cycle the same length no matter how many keys you hold. This means the note values shift dynamically, producing rhythmic tension and release that stays in-step with the overall bar-length of your composition.
To round out the update, violet noise joins the sonic palette. With its emphasis on high frequencies and reduced low-end content, violet noise is ideal for creating smooth shimmering textures, airy effects, and unique percussive elements.
"TEO-5 was designed to bring the classic Oberheim sound to more players," said Tom Oberheim. "This update pushes that vision further — adding features that make it even more useful and inspiring."
TEO-5 combines authentic Oberheim tone with modern creative tools. With true analog oscillators, the legendary SEM filter, linear through-zero FM, and a deep modulation matrix, TEO-5 offers a vast sonic palette in a compact, performance-ready design. Take the next step with TEO-5 and download the Poly Chain OS Update today.
Live Event: Make Noise First Look to New Eurorack Module
The XPO or Stereo Prismatic Oscillator is a Voltage Controlled Analog Oscillator designed for generating Sine waves, Triangle waves, Sawtooth and Spike waves, Sub- Octaves, Stereo Timbre Modulations (including Pulse Width Modulation and Wavefolding), Oscillator SYNC, Linear FM and more in the analog domain.
via this auction
DECAY (CLAP): This sounds pretty self explanatory but if you've ever played with one of these things you know it's not quite a true "decay" in the traditional sense. Yes, when at it's lowest setting you get a very tight short sample and the sound will increase with length as you turn it up BUT as get to around the 3 o'clock position the it actually starts to loop a part of the sample in a very strange way. You can hear it in the video link below. It's pretty wild sounding and works as it should.
PITCH (NOISE): Another weird one as this knob isn't so much a pitch control for the noise but a filter for the noise. You can here it in the video. This pot is other that was totally replaced and as you can see the knob is not original but it works exactly as it should.
"An electronic rock track using a custom built electric cigar box bass guitar, a Sequential Circuits Pro 1, Roland TR-606, Korg MS-20, a custom eurorack modular synth & intersound spring reverb. Vocals were recorded using a 1995 groove tubes MD1 tube mic, into a focusrite ISA one preamp with digital out. Recorded into ableton live 8, mixed on a Tascam DM4800 with yamaha HS80 monitors.
Ryan Dahle played the bass string with power, forcing it to hit the non moving coil at times, to great effect. While playing he would also vary the distance of the second coil. During the breakdown he rubs and strikes the moving coil against the string and jumps back into the guitar riff by plucking normally and moving the coil back again.
The mechanical noises in the background of the track were created as a modular sequence that had to be restarted until it started on a part of the pattern that sounded right.
For this sequence, The TR 606, MS 20 module, and Modular are all wired together as one system. The 606 receives dinsync from the DAW via a roland SBX10 sync box. From the 606 the high tom output triggers the clock input of the MFB trigger sequencer in the modular which is making a 32 step pattern triggering a clock divider that controls the envelopes used in the system. One of the clock divider trigger outs controls the a105 filter which filters the output of an A117 noise source. The resonance of the A105 is wide open and modulate by the animated pulse out of the Livewire AFG (VCO). The frequency of the AFG is itself modulated by one of the LFOs on the A143-3 (quad lfo).
This is what creates the low volume noise in the track treated to sound like sample distortion artifacts.
Final Output
via this auction
"Quanalog Boubou its a combination of 5 voices filter based analog drum synth that cover the basics drum set from Kick, low and hi tom – rimshot, snare and hi hats that can become a base for Eurorack drums setup. Each voice has a lot of necessary control which can reach to a wide range of possibility. On the base every drum engine can become a signal processor with the core made by analog filter so it can process sound of each other and from other modules. 
