Disclaimer: This is an unofficial add-on to the M user manual, describing some of extra features added from firmware 1.05 up to firmware 1.11. This add-on also covers some complex aspects of the Multi Mode, which remains somewhat unusual.
Author: Vladi Salnikov aka VladiS.
Algorithms of FW version 1.11:
Varysaw: A VA oscillator ranging from SAW through PULSE to TRI.
Wave (red encoder): Mixes from 0 to 31 from SAW to PULSE; 32 is pure PULSE, and 33 to 63 mixesfrom PULSE to TRI.
Meta parameter: Pulse width for PULSE, adjustable from 5% to 95%.
CSAW: A famous Yamaha CS-80 saw oscillator with mutation towards a parabolic oscillator.
Wave : Controls the amplitude of the “step” component of the saw wave.
Meta parameter: Mixes between this saw wave and the parabolic saw wave.
Waveshpr: A SAW to TRI oscillator fed into a mild waveshaper.
Wave : 0 is pure SAW, 1-62 mixes between SAW and TRI, and 63 is pure TRI.
Meta parameter: Depth of the waveshaper.
TriplSaw: A stack of three SAW oscillators; two are detuned slightly higher and lower than the third.
Wave : Controls the amplitude of the “central” SAW oscillator relative to the two “side” SAWs.
Meta parameter: Detuning factor, from 0 to maximum detune.
S/T Fold: A SIN wave folding oscillator that folds the chosen crossmixed wave between SIN and TRI waves.
Wave : 0 is pure SIN, 1-62 mixes between SIN and TRI, and 63 is pure TRI.
Meta parameter: Folding depth.
FM 2 OP: Classic simple two-operator FM synthesis. OP1 (modulator) generates a sine wave that modulates the phase of OP2 (carrier). Both operators generate sinewaves; the algorithm's output is the carrier signal.
Wave: Maps values from 0 to 63 to harmonics ratios of 1 to 8 in stepped increments.
Meta parameter: Amount of phase modulation applied to the carrier.
"The Quad LFO is a versatile and powerful source of modulation waveforms that will extend the modular LFO well beyond simple vibrato.
The Quad LFO has 16 wave types to choose from including various random waves and morphing wave sets which are actually 32 waves with smooth morph transition with the potential for thousands of different shapes. Each of the regular waves employs some form of real-time waveform transformation. For example the Sine wave can smoothly transform into a triangle wave, The stair case wave can change the number of steps on the fly, the Random wave has built in slew for smoothing, The pulse wave has variable width (PWM) etc. Please take a look at the animated gifs to see all the possible wave transforms possible.
Each of the 4 LFOs can function independently with separate control over frequency , amplitude, waveform selection, waveform transform, and CV routing. Each LFO becomes "live" for editing when selected using the 4 way rotary switch. All knob and switch settings are saved in EEPROM for later power up.
There are over 200 possible switch combinations per LFO providing a huge degree of flexibility when using all 4 LFOs. Each LFO has an accompanying GATE and CV input. The Gate is used for RESET and sync functions while the CV input can be routed to any or all of the frequency , amplitude, waveform selection and waveform transform functions for modulation of parameters.
While each LFO can operate independently there are also modes which extend the module in ways that make it truly unique.
QUADRATURE MODE converts the Quad LFO to a single LFO but with quadrature outputs spaced 90 degrees apart. This feature in itself is not radically new but the ability to have quadrature waveforms OTHER than sine shape is. Here we have all the waves available in quadrature including random and morphing waves for advanced quad panning or barberpole type effects.
PHASE LOCK mode in another unique feature of the Quad LFO which synchronizes the phase of all 4 LFOs waveforms but allows the frequency to be a division of the master LFO 1. This is a great way to generate complex drum sequence rhythms using the PATTERN wave.
ROTATE MODE functions like an electronic switch with a gate/clock applied at GATE1 the 4 LFO outputs rotate 1 step to the right wrapping 4 to 1 with each new pulse. Each LFO is independent in its settings only the outputs change order. Great for creating unusual or unpredictable modulation shapes.
The GATE section has a number of unique features for an LFO.
RESET mode does what it says. When a gate pulse is received at the gate input jack the LFO waveform resets to zero like a hard sync function on a VCO.
RSTST or Reset Start mode performs similarly to RESET mode with the added bonus of allowing the user to set the waveform start position using the Reset Knob or CV.
HOLD mode freezes the LFO when the gate input is high.
SYNC/TAP mode uses the gate pulse period to set the frequency of the LFO. This is a great feature for synchronizing the LFO to sequencers etc as an auxiliary event generator and for creating unique CV patterns. The TAP button can also be used instead of the gate jack to manually set the LFO frequency. In sync mode the frequency can also be set to division of the input gate/clock from 1-16 including odd number divisions like 3,5, etc.
Features
4 Independent LFOs
Low and high frequency ranges. Low range is .003Hz-51Hz
High range is 16HZ-1.6kHz and can be used for audio
Real-time CV control of Frequency, Amplitude, Wave Morph and wave selection
Output choice of 0 to +5V, +/-5V and inverted version of both
16 bit 48kHz sample rate means super smooth waves with no quantization stepping
Memory storage of all settings between power cycles
100s of button combinations for massive flexibility
Unique waveforms like cosine random and stair case waves
Smooth wave morphing in TABs 1-3
All waves employ some form of transformation wave shaping
Uses a paltry 40mA of current on the +12 rail and 10mA on the -12V rail
18HP wide shallow depth approx 1"
Firmware by Bruce Duncan"
Published on Nov 22, 2013 heodesalciphron·163 videos
Details below. Follow-up to this post. We have a new maker label and channel: Megaloceros.
Playlist: [just added more to the playlist - new video titles under the --- below.]
diy transmission VCO slow RM duo
Transmission VCO screams
transmission VCO module Bells and klangs
DIY transmission vco acid noise
transmission vco am fm
---
transmission VCO sync fm tzam vactrol
acid transmission sDIY euro VCO double saw qmmg
DIY transmission VCO FM vs AM
transmission VCO ring mod lfo
DIY transmission VCO ring vactrol
DIY tupperware VCO
DIY VCO triangle + AM MOD 2
DIY VCO triange SYNC + AM MOD
DIY VCO triangle + AM MOD 1
diy transmission vco sync lpg
diy euro double vco sync
VCO diy double triangle
ringmod
ZOOM0014
ZOOM0014
Googlish translation (original link to the page in French below):
"Construction of a dual oscillator unit made entirely by hand with simple electronic components, a soldering iron and a screwdriver.
Wikipedia: One of the Earliest musical instruments Utilizing a ring modulator May be the Melochord (1947) built by Harald Bode. It was a two-tone melody keyboard instrument with foot controllers and later added a second keyboard for control stamp, featuring a white-noise generator, controller envelope, forming and ring modulators filters for harmonics. The early Melochord WAS Extensively used by Werner Meyer-Eppler in the early days of the electronic music studio at Bonn University.
this is a double oscillator sawtooth wave as a main, and broken down into triangle sawtooth module. Frequency modulation is possible, but the goal of this module is primarily the ring modulation and amplitude modulation.
it is a dual VCO and a ring modulator, saw core, additionnal wave are: square, triangle and triangle shaped.
The idea for this module came to me after playing a EML 101 and a Moog Sonic Six, the ring modulator particularly interested me. I have several oscillators dedicated to frequency modulation in my modular, but no specifically designed for the amplitude modulation! So I created to find those special sounds. This module is built around simple circuits and archaic modulator, the sounds are raw, pretty close to my memory of the EML and even go much further. This module is focused on a form of amplitude modulation, ring modulation. Amplitude modulation was initially used in teletransmissions (long wave, medium wave, short wave), hence the name of the module. I wanted a module that refers to the buzz and the sound of a generator or power plant, a very electric module.
The idea of this unit WAS inspired by the EML101 and the Moog Sonix Six sound. I have many VCO FM, AM VCO Any goal! The unit is built around a simple circuit, and a very early tour of the ring modulator, the thing called the real ring modulator, All which WAS used in AM radio transmissions. I wanted a VCO that sounds like a generator or an electric factory, an electric module.
Triggered by a built in Piezo, or by external CV. Space on the PCB for mods...and a eurorack version on the way!"
Details:
"A clone of the Boss PC-2 / Amdek PCK-100 for bleeps and bloops galore!
PCLONE2 is a recreation of the (now rare) PC-2 percussion synthesizer which was made by Boss during the 1980s (and also released in DIY kit form under the Amdek brand name as the PCK-100)
The PCLONE2 kit is based on the original schematic (with a couple of changes due to the scarcity of some now obsolete components).
The kit includes all the parts neccessary for the build; printed circuit board, electronic components, wire for internal connections, potentiometers, knobs, switches, sockets, fitting screws etc. It includes a custom designed, laser-cut, case (made from 3mm acrylic sheet with 5mm acrylic side cheeks) and a laser etched acrylic laminate fascia.
Assembly by soldering is required! I would describe this as an intermediate complexity kit for experienced solderers, if you are a novice I would recommend getting some experience on simpler kits before you build this one.
This is a completely analog synthesizer with a single VCO. There is a pitch sweep function, a decay envelope and an LFO with rate, depth and wave shape (triangle/square) control. Unusually for a percussion synth there is no noise source, but you'll soon realise this isn't your typical percussion synth!
Sounds are triggered by an input pulse (5V-9V works fine) or by tapping on a piezo sensor which is mounted behind a pad on the front panel.
There are three unconnected 3.5mm sockets labelled CV1, CV2, CV3. These, together with a prototyping area on the PCB, are to make the box easily mod-able. I will be documenting some simple mods I have already found (including a pitch CV input using a single resistor), and plan to get a growing list of mods together.
The box has the following controls:
TRIG LEVEL - Sets the sensitivity of the trigger input. The voice circuit responds differently depending on the intensity of the trigger pulse (this is especially nice when tapping it with a finger). The TRIG LEVEL knob controls this response.
PITCH - Sets the basic pitch of the oscillator. This works alongside the SWEEP controls.
DECAY - Controls the decay of the volume envelope (so how long the sound takes to fade out after it is triggered) and also controls the sweep time. Sweep, pitch and decay interact in ways that reward experimentation.
"PCLONE2 is my clone of the Boss PC-2 percussion synth. Based on the original schematics but with a tweak to substitute the ultra rare BA662 VCA, PCLONE2 is designed for modding and CV control.
Update:Tindie link should be working now, and the additional details for the archives added below.
"A clone of the Boss PC-2 / Amdek PCK-100 for bleeps and bloops galore!
PCLONE2 is a recreation of the (now rare) PC-2 percussion synthesizer which was made by Boss during the 1980s (and also released in DIY kit form under the Amdek brand name as the PCK-100)
The PCLONE2 kit is based on the original schematic (with a couple of changes due to the scarcity of some now obsolete components).
The kit includes all the parts neccessary for the build; printed circuit board, electronic components, wire for internal connections, potentiometers, knobs, switches, sockets, fitting screws etc. It includes a custom designed, laser-cut, case (made from 3mm acrylic sheet with 5mm acrylic side cheeks) and a laser etched acrylic laminate fascia.
Assembly by soldering is required! I would describe this as an intermediate complexity kit for experienced solderers, if you are a novice I would recommend getting some experience on simpler kits before you build this one.
This is a completely analog synthesizer with a single VCO. There is a pitch sweep function, a decay envelope and an LFO with rate, depth and wave shape (triangle/square) control. Unusually for a percussion synth there is no noise source, but you'll soon realise this isn't your typical percussion synth!
Sounds are triggered by an input pulse (5V-9V works fine) or by tapping on a piezo sensor which is mounted behind a pad on the front panel.
Update: Details are in... Playlist with the first user videos added below.
"Legendary synthesis, radically re-imagined. Organic, inspirational, and mind-blowingly powerful.
KORG’s legendary Wavestation introduced the world to Wave Sequencing, transforming raw samples into sounds that no-one had ever heard before. The flagship OASYS and KRONOS keyboards developed Wave Sequencing even further, expanding on its unique palette of lush, evolving pads and driving rhythms.
Now, KORG is proud to announce the next step in digital synthesis: the wavestate. Featuring the radically re-imagined Wave Sequencing 2.0, the wavestate delivers astonishing, ever-changing sounds with extensive hands-on control.
Far from a nostalgic reissue, the wavestate is designed from the ground up for a new generation of musicians, producers, and composers, taking cues from sources as diverse as modular synths, groove boxes, and algorithmic composition. The compact form-factor, with 37 full-size keys, transports easily and fits neatly into any stage, studio, or desktop setup."
Korg Wavestate User Videos
Playlist:
New Korg Wavestate Vector & Wave Sequencing Synthesizer - Perfect Circuit
Korg Wavestate - All Playing, No Talking! - Kraft Music
Korg Wavestate - Overview with Nick Kwas - Kraft Music
Korg Wavestate - New Keyboard! - sonicstate
KORG WAVESTATE FIRST IMPRESSIONS - BoBeats
Korg WAVESTATE // Review and full tutorial // Wave sequencing and Vector synthesis explained - loopop
Korg Wavestate Wave Sequencing Synthesizer | Reverb Demo
First Look: Korg Wavestate Synthesiser with Wave Sequencing 2.0 - Noisegate
First jam with the Korg Wavestate - Honeysmack
Korg Wavestate - Sound Design Tutorial 1 - True Cuckoo
via this Noisebug auction "With optical circuitry based on the classic amp tremolo circuits of yesteryear, the Ultrem Optical Tremolo takes the tone of those legendary units and adds a variety of new and useful control features that set it apart from any other stompbox on the market.
With the Ultrem several types of tremolo and volume effects are available including oscillator-controlled Tremolo and manually-controlled Volume. Rate of the Tremolo can be controlled via tap tempo, the unit’s front-mounted Speed control, or an optional expression pedal. Dual outputs allow panning of the Tremolo effect between two amps or for use as an amp selector/blender in manual Volume Mode. Depth and Saturation controls allow for precise control of the degree and tonality of the effect as well as for use as a great-sounding Overdrive unit when the oscillator is disengaged.
At the heart of the Ultrem is Guyatone’s proprietary CPU controller which allows for quick selection of the Ultrem’s primary effect function. Six Effect Modes are easily accessible from the unit’s front panel, and each Effect Mode features a Sub-Mode that can be accessed with a quick press of the Control Footswitch. If that wasn’t enough, the last two Modes also feature Bonus Modes that allow for manual selection of the oscillator Waveform via an external expression pedal.
The Six Effect Modes are as follows:
WAVE TAP –Functions as an oscillator-controlled Tremolo with rate determined by tap tempo function of Control Footswitch. MOMENTARY WAVE – Functions as an oscillator-controlled Tremolo when Control Switch is depressed and held – releasing switch disengages the effect. Rate is determined by unit’s Speed control. PEDAL VOLUME/WAVE - Main Mode varies output Volume using the optional Expression pedal or functions as an oscillator-controlled Tremolo in Sub-Mode. If set to Pan On, Ultrem can function as an amp selector/blender in Main Mode. PEDAL DEPTH & WAVE TAP - Allows user to vary the Depth of the effect by using an optional Expression pedal, and also to adjust speed of Wave Tremolo by tapping tempo, instead of using pre-set controls. PEDAL SPEED1/TOUCH – Main Mode varies the speed of the Wave Form oscillation with the optional Expression Pedal over a range of 70-1000 mS. In Sub Mode the unit functions as standard Tremolo. PEDAL SPEED2/TOUCH – Main Mode varies the speed of the Wave Form oscillation with the optional Expression Pedal over a range of 70-4000 mS. In Sub Mode the unit functions as standard Tremolo.
By using these different Effect Modes, the user can achieve a limitless variety of Tremolo and Volume effects that can all be toggled through and tweaked in real time.
The Ultrem’s CPU also offers six selectable waveforms when the unit is used in the oscillator-controlled Effect Modes - a variety of Triangle, Sawtooth, and Square Waves are available for quick selection via the unit’s front panel, allowing the Ultrem to mimic any Tremolo type from the smooth, rolling tone of vintage amps to the tight “helicopter” chop so popular in today’s music. In addition, the oscillator’s rate can be displayed in BPM or Milliseconds allowing for precise syncing to song tempo or external devices.
The Ultrem also features an “auto-start” function that engages the Tremolo effect whenever there is an input signal and disengages when input signal returns to zero. This allows for “quick start” Tremolo that will be perfectly timed with the musical passage. The input sensitivity of this feature can be adjusted via an internal Trim Pot to allow use with a variety of different instruments and input signals.
We could go on and on regarding its features, functions, and sound, but to put it simply the Ultrem is the ultimate Tremolo! Whether you are looking to replace your vintage amps and stompboxes or create an entire new range of effects, the Ultrem is a one-man audio arsenal!
"Organic, inspirational, and mind-blowingly powerful, wave sequencing 2.0 is expanding its lineup to include wavestate SE, wavestate Limited Edition Platinum, and wavestate mkII.
In 2020, the acclaimed wavestate brought the the legendary Wavestation's Wave Sequencing synthesis to the next level. Featuring the radically re-imagined Wave Sequencing 2.0, the wavestate delivers astonishing, ever-changing sounds with extensive hands-on control, taking cues from sources as diverse as modular synths, groove boxes, and algorithmic composition.
The mk2 expands its unique palette of lush, evolving pads and driving rhythms with improved polyphony (96 stereo voices), new and updated sounds, and a refreshed look. It has 4 GB of user space to import samples and its compact form-factor, with 37 full-size keys, transports easily and fits neatly into any stage, studio, or desktop setup.
Made in Japan, the wavestate SE features Korg’s premium 61-note natural-touch keyboard with aftertouch, for the same superb feel as Korg’s high-end workstations. Aftertouch provides fingertip control of the wavestate's unique, evolving sounds.
Factory Performances have been updated for Aftertouch, and new sounds have been added as well.Under the hood, wavestate SE also features an astounding 120 stereo voices of polyphony–almost twice as many as the original wavestate, and also includes 4 GB of space to import your own samples.
The metal body is sleek and strong, ready for gigs and studio alike. The metal knobs have just the right weight for easy tweaking.
wavestate SE is also available in a Limited Edition Platinum finish. And both versions ship in a dedicated hard case, including space for cables and a sustain pedal."
"Korg's legendary Wavestation introduced the world to wave sequencing, and the 37-key wavestate builds on that legacy with a reimagined, compact synth designed from the ground up to satisfy today's demanding musicians and producers.
The mk2 expands its unique palette of lush, evolving pads and driving rhythms with improved polyphony (96 stereo voices), new and updated sounds, and a refreshed look alongside its vector synthesis, modelled filters, and extensive hands-on control. It has 4 GB of user space to import samples and its compact form-factor, with 37 full-size keys, transports easily and fits neatly into any stage, studio, or desktop setup."
"wavestate SE is the powerful evolution of Korg's legendary Wavestation, taking Wave Sequencing to a new level. Designed in Calitornia and built in Japan, wavestate SE includes a premium 61-note keyboard with aftertouch, in an all-metal chassis. Factory Performances have been updated for aftertouch, new sounds have been added, and there are 4 GB of space to import your own samples. Built for a new era of musicians, composers, and producers, wavestate SE features hundreds of dynamic sounds, extensive hands-on control and 120 notes of stereo polyphony to inspire new levels or creativity.
wavestate SE is also available in a Limited Edition Platinum finish. Both versions ship in a dedicated hard case, including space for cables and a sustain pedal."
Wavestate SE & MK2 Review // 20 ideas for making the most of this interesting generative synth
"Wavestate from Korg has become one of the most interesting generative synths
you can buy. In this video I take a look at what's new in wavestate SE and MK2,
and then 20 patch ideas for making the most of this original and innovative
synth."
Organic, inspirational, and mind-blowingly powerful, wave sequencing 2.0 is expanding its lineup to include wavestate SE, wavestate
Limited Edition Platinum, and wavestate mkll. In 2020, the acclaimed wavestate brought the the legendary Wavestation's Wave Sequencing synthesis to the next level. Featuring the radically re-imagined Wave Sequencing 2.0, the wavestate delivers astonishing, ever-changing sounds with extensive hands-on control, taking cues from sources as diverse as modular synths, groove boxes, and algorithmic composition.
The mkll expands its unique palette of lush, evolving pads and driving rhythms with improved polyphony (96 stereo voices), new and updated sounds, and a refreshed look. It has 4 GB of user space to import samples and its compact form-factor, with 37 full-size keys, transports easily and fits neatly into any stage, studio, or desktop setup.
Made in Japan, the wavestate SE features Korg's premium 61-note natural-touch keyboard with aftertouch, for the same superb feel as Korg's high-end workstations. Aftertouch provides fingertip control of the wavestate's unique, evolving sounds.
Factory Performances have been updated for Aftertouch, and new sounds have been added as well. Under the hood, wavestate SE also features an astounding 120 stereo voices of polyphony-almost twice as many as the original wavestate, and also includes 4 GB of space to import your own samples. The metal body is sleek and strong, ready for gigs and studio alike. The metal knobs have just the right weight for easy tweaking.
wavestate SE is also available in a Limited Edition Platinum finish. And both versions ship in a dedicated hard case, including space for cables and a sustain pedal.
"Manufacturer Description:
This legendary and sought-after Buchla synthesizer from the 200 series will be produced again after 40 years. There are some minor changes here and there but in general it´s pretty much the same as the original. No MIDI inside but you get a really well-thought out semi-modular instrument with great sound and lots of possibilities due to well-arranged patch points. The small sequencer and the touch keyboard with integrated arpeggiatior invite to play the instrument directly and to interact with it.
Technical Details
At the first glance the Easel looks confusing because of the too many switches, faders and many sockests without legending but in the end everything makes sense and it's laid out very logically. The colors of sockets mostly match the function blocks of the Easel (purple = keyboard pressure, yellow = pulser, white = random, orange = envelope, blue = sequencer). The black sockets are CV inputs that are located always left of the according parameter. The sockets at the top of the unit have legending and are self-explaining. The position of most banana sockets below the faders has been chosen for the use of shorting bridges instead of patch cords which enhances clarity of your patch.
This is a scan of a product flyer for the the Sequential Circuits Model 600 Sequencer and Complex Wave Generator. It is first image of the unit shared on the internet that I am aware of (click here for a search). It was Sequential Circuits first product. Approximately only four units were made a couple of years prior to the Model 800.
An interesting side note is the aesthetics of the unit. See if you can spot what's missing before you read on. Sequential Circuits (along with Oberheim) started out creating products to work with existing synthesizers at the time. So what's missing? The trademark knobs and section outlines. It wasn't until the Model 700 programmer in 1977 that we begin to see what was to become Sequential Circuits trademark look. Another interesting side note is that the model numbers for Sequential Circuits first three products where not actually sequential, the Model 600 (1974), the Model 800 (1975), and the Model 700 (1977). They broke out of the "Model" line for the name with the Prophet-5 (which was the Model 1000) in 1978, but came back once with the Model 64 Sequencer for the Commodore 64 in 1983. One final thing I thought was kind of neat was that the final bullet point in the brochure called out how the Model 600 made for an excellent teaching aid for electronic music. Indeed.
The following is the description from the scan (note the reference to the unit as a teaching aid):
"MODEL 600 SEQUENCER and COMPLEX WAVE GENERATOR
As A Sequencer -
- Three rows of 16 controls, each row with its own output.
- Built-in sequential control for up to 48 note sequences by turning only one knob.
- Voltage controlled clock can be set internally and/or controlled externally.
Patch one output row back to the VCO input, and the length of each note can be precisely controlled.
- Can sequence slower than one pulse every 30 seconds through and beyond the entire audio range.
- Any one level can be skipped by simply throwing its corresponding switch; hence, any combination of levels can be set.
- Direction switch for forward or backwards direction.
- Handy three-way mixers at the output for easy patch changes.
- LED (light emitting diode) visual display.
- Switch trigger output compatible with Moog synthesizers, including the Mini-Moog.
By flipping one switch, gate and trigger outputs can be obtained for other synthesizers, suck as the ARP 2600.
As A Complex Waveform Generator -
- The quality of the Model 600 makes it possible to be used as a complex waveform generator, with up to 48 segments constructing the composite waveform. Below is an oscilloscope plot of a 48 segment sine wave at 300 hertz, with the lower wave-form the output after being run through a low-pass filter.
- One can easily see the possibility for complete waveform control. With an internal adjustment, the external input can be adjusted to the standard 1 volt/octave; hence, the sequencer can actually be played as an oscillator by any keyboard.
- This capability makes the Model 600 an excellent teaching aid for electronic music, as well as a quality waveform generator for the perfectionist synthesizer performer."
"As a long time Waldorf enthusiast and Waldorf WAVE freak, see my http://unofficial.waldorf-wave.de pages, I made the decision to sell my WAVE +16 (= 32 voice, 61 keys). I just did not played it that often anymore. I still love it, but I can't justice its stay in my flat anymore.
But I still own many, many Waldorf synths. And I made my final thought about selling it after the release of the iPad app NAVE which gives me many WAVE functions and a sound that is fantastic. And for turning knobs there is my Waldorf Q32 and XTk30 at my place. So this is not a "good bye" from Waldorf wavetable synths.
It is one of the even more rarer 32 voice models.
61 keys, and standard blue/gray coloured.
It got the special "speed-up" modification by Waldorf for a bit higher internal clocked CPU.
I think there is no need to tell you about the beauty (optical and soundwise) of this top rank synth.
It is running on the latest available OS 1.902 (post Waldorf version). This OS also allows to do resynthesis based on .WAV files of up to 512 kB size (limit by the WAVEs RAM). Of cause I provide the last original Waldorf WAVE system too. And the factory sound.
It got a USB stick socket where the disk drive used to be. This enables data exchange with every USB equipped PC/Mac, as there is no special formation except for up to 100 different folder names. Ever folder represents one virtual disk.
It comes with a special flightcase and a PDF manual in english and german.
The fan in the back was exchanged with a higher quality one with way less acoustic noise.
I am the original owner of this 1995 built WAVE.
Known problems:
- some parts of the Nextel colour are of the edges. Mainly on the back rim of the panel. This is typical for many WAVEs, even when they never left a studio. A bit of repair paint is included (but not yet used). Its 8 of 10 optical. But the unique and great design is still unmatched by all other synths. You will still feel a bit like having to bow down before switching it off.
- The LCD backlight is not working anymore. Several people on this list repaired this themself. But I am not a skilled synth tech at all.
- One row of pixels in the LCD is most of the times dead. Never searched for the real reason, so it might be just a minor problem like a bent ribbon cable or a cold soldering point.
- One voice got a slightly higher resonance then the others. A spare Curtis filter chip is included. But you may just skip the voice in the voice assignment via the service page for a perfect 31 voice WAVE or just play it anyway, as this is not that noticeable on most sounds anyway. But I better tell all I know here. Even a skilled musician preferred to play a concert with this WAVE and this a bit off voice in favour of using a different WAVE (with 16 voices only) that was available at the same time for this event.
Absolutely ONLY LOCAL PICK UP here at my place near Stuttgart. Of cause you are invited to test and play the instrument before you made your final decision about the sale. I don't have the time to deal with custom form and shipping companies, as the WAVE is just to big and heavy to be shipped from a post office. I know that this reduces the possible numbers of potential buyers, but please accept this. But if you should be willing o arrange everything including a pick up by some third person or a company at my place or my office, it is OK.
I know these 32 voice WAVEs are VERY rare. Not just the typical "rare" as used on eBay auctions for synths sold 100 times more. And there had been only one or two WAVEs with 32 voices on eBay in the last 10 years if I remember it right.
"The new MS-20m and SQ-1 open a whole world of analog experimentation. Connect, sync, and sequence all your gear with the flexible SQ-1 Step Sequencer, and take the famous MS-20 sound to new levels with the FM and sync features of the tabletop MS-20m"
Note the SQ-1 comes included with the MS-20m kit. The MS-20m has a selectable filter switch on the front panel while the original MS-20 kit had to be set internally. There are number of additional improvements outlined directly below. [Details on the SQ-1 just posted here]. Fun little bit of trivia is you can see SN 000001 on the back image below. Often there is no serial number in promo shots. Thought it was kind of neat and adds to the history of whomever this particular unit ends up with. Also note it's lower case "m".
First, the enhancements over the original:
"Carrying on the distinctive synthesis of the MS-20, the MS-20M features additional improvements in both looks and functionality. Extending to detailed aspects of the design, the sound-creating possibilities have been dramatically boosted, making this sound module even more attractive and raising it to an even higher state of completion.
SYNC ON/OFF switch allows oscillator sync
Oscillator sync forcibly synchronizes the phase of VCO1 to the phase of VCO2, producing a powerful sound with complex overtones.
FM ON/OFF switch allows frequency modulation
The VCO1 waveform can be used to frequency-modulate the VCO2 waveform (FM or cross modulation), creating vibrato effects or extreme metallic sounds.
FILTER TYPE switch lets you select two types of filter
The original MS-20 used two different VCF circuits depending on the date of production, and now you can choose either of these with a single switch. The earlier model (REV.1) has an aggressive character with distinctive distortion and self-oscillation, while the later model (REV.2) has minimal noise and a sweet, mellow sound.
PWM IN jack allows pulse width modulation
The PWM provided on the MS-10 of the past is now possible on the MS-20. By cyclically modulating the pulse width of the VCO1 square wave, you can obtain a distinctively fat sound.
EG2 NORMAL OUT jack expands your sound-creating potential
In addition to the previous EG2 REV OUT, we've provided a normal EG2 OUT that varies in the range of 0V--+5V.
TRIG SW button lets you conveniently audition the sound
Even on this keyboardless unit, the trigger switch lets you smoothly audition the sound while you edit the parameters.
Numerous jacks have been added to the MS-20M, letting you connect it with any type of device.
All CV/GATE specifications are supported: Hz/V and V/Oct, S-Trig and V-Trig
From the time when it was originally produced, the CV standard used by the MS-20 was not the commonly used V/Oct standard, but rather the Hz/V standard that provided superior pitch stability. However, like the MS-50 of that time, the MS-20M Kit provides CV IN jacks for both the Hz/V standard and the V/Oct standard.
For the TRIG IN jack that receives gate signals, jacks are provided not only for the S-Trig standard as on the original MS-20, but also for the widely used V-Trig standard. The MS-20M Kit supports any sequencer or controller that's equipped with CV/GATE output.
Three JUNCTION jacks
Three sets of the junction jacks once provided by the MS-50 are also provided. Output signals from the SQ-1 step sequencer or similar device can be converted from a mini-phone plug to a 1/4" phone plug, or those signals can be distributed to multiple destinations for a variety of possibilities.
MIDI IN connector and USB connector
There's a MIDI IN connector that can receive note messages, and a USB-MIDI connector that can transmit and receive note messages. You can perform using a taktile or other MIDI keyboard, or perform sequences that you've recorded on your DAW.
And the general description for the archives:
"The evolution of the MS-20, delivering even more powerful synthesis.
A module that you assemble, with a step sequencer included.
The classic MS-20 analog synthesizer that appeared in 1978 has been reborn as a perfect reproduction of the original circuit, first in 2013 as the mini-sized MS-20 mini, and now in 2014 as the MS-20 Kit that you can assemble yourself.
The MS-20 Mini and the Kit were designed by the engineers who developed the original MS-20. At its introduction, the designers of the MS-20 wanted to create an interesting product quickly; the result was an enormous hit, but the designers felt there were actually a few things left undone. Now, after 37 years, the user-assembled MS-20M Kit has been completed.
"Build a real MS-20 with your own hands
Creating an instrument your own hands is the part of the true enjoyment of an analog synthesizer. The MS-20 Kit lets you obtain a real, full-sized MS-20 by assembling it yourself. It goes without saying that, just like the MS-20 mini released in January 2013, the engineers who developed the original MS-20 have overseen this project - ensuring that its historic sound is reproduced with complete fidelity. In addition, the MS-20 Kit provides the filters from both the early and late versions of this classic instrument and it even allows you to switch between them. Today, 36 years after this historic instrument was first unveiled in 1978, the MS-20 returns to its true origin.
A full-size MS-20 that you can assemble yourself
The MS-20 Kit is a kit that lets you obtain a real MS-20 by assembling the parts according to the directions in the owner's manual. Most of the steps are simply a matter of tightening screws or fitting parts together, so you don't need to know about soldering or electronic circuitry. Beyond any doubt, the analog sound generated by the MS-20 that you yourself completed will sound more valuable than that of any other synthesizer.
Unlike the MS-20 mini, the MS-20 Kit is a full-size unit with a standard-sized keyboard, and the plugs are also full sized 1/4" phone plugs.
Two types of filter are provided: both the early and later versions
The original MS-20 used different VCF circuits depending on the date of production. Units produced in the earlier period used a filter noted for its distinctive distortion and self-oscillation, while the filter used in later units was a low-noise design with a more mellow character. Amazingly, this new MS-20 Kit provides both filters. You can switch between the two by moving a jumper pin on the circuit board according to your taste or needs
Overseen by the engineers of the original MS-20; a complete replication of the original analog circuitry
Just like the MS-20 mini, development of the MS-20 Kit was led by the original engineers themselves, who spared no effort to perfectly replicate the circuitry of the original unit. When it was necessary to substitute a part, the engineers made the decision based on their own ears, ensuring that the exact sound of the original unit has been reproduced. In fact, the sound of the MS-20 kit has a somewhat bright and extreme quality to it because its sound is that of an original MS-20 in mint condition at the time it went on sale, before any of the components aged.
2VCO / 2VCF / 2VCA / 2EG / 1LFO structure
The MS-20 kit reproduces the distinctive synthesis of the MS-20; two oscillators with ring modulation, and envelope generators with hold and delay.
External signal processor (ESP) for processing an external signal
The ESP carries on the experimental spirit of MS-20; it allows you to use the pitch or volume of an external audio source to control the synthesizer. For example, you can input an electric guitar and use the MS-20 kit as a guitar synthesizer, or input a mic and use it as a vocal synthesizer.
Extremely flexible patching system
The patching system provided to the right of the panel lets you create complex sounds by plugging-in cables to change the connections between the various units. The possibilities are limited only by the user's imagination; different combinations of the modulation input/output and trigger, sample and hold, and noise generator can produce an incredible variety of sounds. By patching according to the MS-20 flow chart that’s printed on the panel, even the beginner can start taking advantage of these possibilities right away.
The Doppler is a polyphonic, 2-operator FM synthesizer with a unique approach to sculpting, tweakability, and has 8-note polyphony. It's designed for sonic exploration, where every knob twist reveals a new sound that's uniquely your own.
Ultra-tweakability is at the core of the Doppler. It features a single, powerful algorithm, but the magic happens when you start adjusting its parameters. Even the subtlest tweaks lead to big shifts in the overall sound, making every turn feel like a discovery.
At the heart of the Doppler areThe Doppler is controlled via MIDI through a USB-C port, making it easy to integrate into your setup. Most modern, class-compliant MIDI controllers with USB functionality will plug in and work instantly with no setup required. Plus, the Doppler powers your controller, simplifying your cord management. For older controllers with only DIN connections, a USB-to-DIN converter works wonderfully.
two sine waves that form the foundation of its sound. The modulator wave is quantized and can modulate both the carrier's phase and frequency—or both at once for even more complexity. The carrier wave can even be sent through a feedback loop to modulate itself. Plus, there's a 9-octave pink noise source to modulate the carrier, adding texture and a lo-fi grit.
The modulator sine wave features two rotary switches that control its frequency through a quantized octave and semitone shift. The Octave rotary switch offers a 5 octave range, allowing you to go two octaves above and two octaves below the carrier’s frequency. The Semitone rotary switch gives you a 12-semitone range, from the base note up to 11 semitones above. Both switches click into place and are perfectly quantized in relation to the carrier's frequency.
The Doppler features a standard ADSR envelope, but there are a couple of cool nuances that really enhance its functionality. By default, the ADSR envelope only affects the carrier wave. However, when you flip the Env Mod toggle on, the envelope also influences the amount of frequency modulation applied to the carrier. On top of that, the Mod Trail knob lengthens the attack value, but only on the modulator wave. This gives you the ability to make the modulation swell in, adding an extra layer of depth.
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YouTube Published on May 7, 2012 by messerschmitttwin
"This demo was put together using just the sounds of the E&MM Spectrum Synthesiser, it was controlled by a pc and midi converter and my analogue sequencer."
"The voltage controlled oscillators (VCOs) each have six switched octave ranges and five waveforms. The sub octave output is a pulse wave with a square wave added an octave below, making the sound fuller and richer. The tuning LED detects the beats between the oscillators, and indicates when the pitches are in simple musical intervals, useful for tuning without sounding a note (e.g. on stage). The pulse width of VCO 1 is variable, and VCO 2 has a tune control with a tune fifth range. The VCOs can be used together to provide a vast range of sounds not possible with basic synthesisers having only waveform, shape, VCF cutoff and VCF resonance as the controls affecting basic timbre. This is done by frequency modulation and synchronisation - special features of this design. FM uses the triangle output of VCO 1 to modulate the frequency of VCO 2 up to + /- 100%, giving a whole range of non-harmonic tones for bell, gong and chime sounds etc. Synchronisation gives various waveforms from VCO 2 (see Figure 2) which have particular bands of harmonics emphasised for strong, voice box-like sounds. This is achieved by resetting the output of VCO 2 upon each cycle of VCO 1, so the tones generated are always harmonic. Two modes of sync. are provided: Sync. I is that normally found on rampwave oscillators, the VCO 2 waveform beginning in the same way after each reset; Sync. II is something totally new - the triangle output is set to mid way each time but then carries on in the same direction in the new cycle. VCO 2 locks on to VCO 1 harmonics with the change from one harmonic to the next emphasised by a sharp change in tone. This enables automatic arpeggiation and incredible tone sweeps to be obtained since VCO 2 now is effectively a voltage controlled waveform generator/frequency multiplier. The sync. control attenuates the pulses fed to VCO 2 so that it only resets if the wave form is above a certain threshold, resulting in the oscillators being locked together in musical intervals (3rds, 5ths etc). Simultaneous Sync. I and FM produces harmonic tones with the shape of FM-ed waveforms within each cycle.The ring modulator uses triangle and square VCO waveforms to provide further complex tones. Its output is mixed with the noise signal and fed into a special voltage controlled amplifier (VCA). This can be controlled by the LFO or EG, and gives the signals their own loudness contours. Hence noise 'chiffs' can be added to notes, or ring modulation set to swell in as a note decays.
The VCA output is fed to the voltage controlled filter (VCF) mixed with the VCO outputs. The VCF offers the two most useful responses, low pass and band pass, plus an intermediate response for bright sounds that remain strong in lower harmonics. Cutoff frequency and resonance controls per form their normal functions and a keyboard follow control determines how the cutoff frequency varies over the keyboard range.
After envelope shaping, the signal is fed to the voltage controlled pan circuit which can modulate the location of the sound in the stereo field by the LFO or EG signals. The stereo outputs can also be used for voltage control of the depth of external effects such as reverb, phase, and echo, by routing one signal via the effects unit and one direct to the amplifier. A mono output is also provided, and the VCA can also be used for additional amplitude modulation with the LFO as source (for tremolo and other effects).
The interface jacks allow connection to external devices such as sequencers, additional VCO banks, waveform processors etc. The Spectrum Synthesiser uses the 1V/octave CV standard, and can be interfaced to any other exponential CV synthesiser."
"I made this one with the focus being on the pair of Noise Reap Bermuda's I received today. These are fairly simple triangle-core oscillators with triangle, sine, and pulse wave outputs. What makes them different from other VCO's is that there's a control onboard to route the triangle wave back into the core. It's a simple trick that a lot of oscillators can do already with some self-patching, but it's neat that it's a built-in modulation here with a built-in attenuator. For those that have never tried feeding an oscillator back into itself, this results in distortions in the waveform. It's a trick that a lot of people forget exists, so it's handy to have a dedicated knob for it. The other special feature is the price. These are only $65 each. In my brief experience with them so far, they're fairly stable and track CV very well. I haven't done a side-by-side comparison to my other oscillators yet, but it will be interesting to see how they compete against the more expensive ones. Regardless of how well they compare, I'd say they're worth the phenomenally low price.
So for this composition, the Bermudas handle the bass synth and the lead synth. The Bassier one is ran through the 4075 and the lead goes through the Polivoks filter.
"Peter Blasser's - Ieaskul F. Mobenthey modules are now In-Stock. Couldn't be happier to have Peter's stuff in-stock, he's been pushing the limits of instrument design and the philosophy behind it for years with Ciat-Lonbarde and very much encompasses the ideals of what we find inspiring about synthesis, electronics and the makers who make them. Limited Qty available."
Details on each, captured for the MATRIXSYNTH archives, follow. You'll find a video of them previously posted here.
"Ieaskul F. Mobenthey - Denum
The Denum module is essentially a bounds/bounce oscillator. It has the “triangle core” circuitry used in many
oscillators, but it adds a correlated bounds modulation, according to the concept (see below). Here, bounds and
bounce are each given equal treatment, with separate linear and exponential controls and inputs. In addition,
this module has a fully featured bi-polar VCA with complimentary inputs, to get you quickly going sending
“bb-objets” out the left and right channels.
Denum is an 8HP Eurorack module that runs on +12 and -12 volts. Attach power connector positive to “+” and
negative to “-”. Failure to follow proper power polarity will result in instant destruction of unit.
Looking at the front panel of Denum, note that inputs are marked by copper fill. There are three main sections:
bounce, bounds, and the VCA. Bounce is above bounds to emphasize the numerator/denominator relationship
of the two. Each of the two has exactly the same inputs and knobs. The “basis” knob sets the base rate or
position for bounds. There is a linear control input, marked by a a caret. Linear modulation is an alternative
input for pre-enveloped audio, since it has no attenuverter. However, the exponential control input is tied to an
attenuverter, marked by a characteristic bow-tie. An attenuverter works like this: at noon the modulations are
nulled out, they have no effect; clockwise from there they increase in intensity, with positive input meaning
“more”; to the counter-clockwise direction, modulations increase as well, but with negative input meaning
“more”. This knob is essential to controlling how much, and in which direction, your modulations apply.
Between the bounds and bounce areas, there is a range switch. When in middle position, Denum runs at a
standard audio rate. Pointing downward is a low audio rate, and pointing upwards is a definite CV, lowest rate.
The triangle output speaks the position of the waveform in voltage, and square expresses the frequency in terms of
negative and positive 10 volts. The triangle output is bussed into the left and right audio inputs of the VCA,
at bottom. Either can be swapped out for external audio energies, via the “left, right signal inserts”. The “left,
right VCA inputs” are for controlling the amplitude of the signals, with either a linear or exponential mapping. If the
left input is greater than right, sound goes out the “left out”. If right is greater than left, sound goes out the
“right out”. The voltage amount of difference maps to loudness in these channels. The “linear, expo switch”
chooses linear when cocked up, as marked by a caret, and exponential when cocked down, as marked by a
rounded form. There is an optional mute when the switch is in the middle.
via HGSounds (full description captured for the archives):
"FreeFall is a completely Free version of the powerful Kosmology Sequencing System, which uses 110 Sampled Instruments collected from current Kosmology and Kosmos products to offer a free entry point into the world of Kosmology. Kosmology provides 8 completely separate instances which can be switched in real-time via a specified set of Midi notes. Each instance uses 2 synths with independent Filters, has 7 sequencers with independent clock divides and step amounts as well as 48 assignable parameters. The workflow is enhanced by lots of useful options such as copying, pasting and randomizing and a single instance can be copied to all Instances or to a specific instance. The idea is that you set up the 8 instances and then play them as an instrument as you would with any synthesizer, they are even polyphonic.
Many of you will be familiar with the Access Virus compositions by Marc-Henri from previous RADIOKLOW posts. Marc-Henri bridges the gap between electronic music and other forms of art. His most recent work is a poem in tribute to Pierre Henry accompanied by the Access Virus. The tribute is hosted on La poésie au cœur des arts : le Blogart which translates to "Poetry at the core of arts". Click through and click on the Access Virus image to get to the piece.
via Marc-Henri:
"This site called 'Poetry at the core of arts' is the net the extension of a book of the same title, an anthology of poetry published by the french publisher : Editions Bruno Doucey. The book contains a poem I wrote about electronic music. The site was conceived to developp an exploration for some of the poets and artists of the book. I am one of them for, poetry , music and painting.
You will find the poem I wrote for the book, three pieces of music composed in january 2014, four poems by other authors of the anthology, three improvisations performed in early february 2014, a former composition called De Haute Vallée you have seen in the form a video in late 2012, an interview in french and some photographs taken at my flat when I was interviewed."
The following is Marc-Henri's poem translated into English:
"Orpheus veil"
Fly down into Orpheus ear,
Where roll clockworks
Of the forbidden stars
And voices shreds seeking vision.
Listen at the well of walls
Echoes of illuminated faces
In their bronze palaces.
Pavings, folds of roses,
The naked heels
Playing the freshness game
With embers
And the childhood kisses.
Travelling back to horizon,
In the limestone of nights,
Is now the prophecy of the spices,
With its tissue gifted with red
And the sobbings of an initiation.
Marc-Henri Arfeux - 2013
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Update: the following an English translation of the interview with Marc-Henri Arfeux on "Poetry at the core of arts". It is a fascinating read and reminds me of why I initially got into synths. My first synth was a brand new Oberheim Matrix-6 back in 1986. When I first started exploring the Matrix-6 I had no idea what the parameters did, so I just dived in. For me it was an exploration of sound for the sake of sound and a fascination in creating musical instruments never heard before. The focus was on that exploration rather than the attempt to mimic real world instruments. Much of this spirit is covered in the world of musique concrete and is captured in the interview below. Do not miss the part on the short wave radio. Truly fascinating and an inspiration for sonic exploration.
"The Black DADSR EG and the Black EG 2 are new, full analogue envelope generators each with distinct features that significantly expand modulation palette of the modular synth. The DADSR (Delay-Attack-Decay-Sustain-Release) has voltage control over each stage of the envelope and independent Gate Delay section adds extra functionality to design advanced modulation patterns. The Black EG 2 has optional GATE LENGTH setting, which allows to generate full ADSR envelopes even, if a short trigger is used at the input and in the LOOP mode the module outputs full ADSR envelope instead of AD envelope.
*HASDR EG2 module in the video has a prototype panel and equals DADSR EG
Patches:
00:02 - Patch 1 / Sending trigger to Black EG 2 and adjusting the gate length manually, therefore creating full ADSR envelope. EF is controlling the cutoff of the Multimode VCF which is fed with noise.
00:55 - Patch 2 / Playing notes and sending gates with keyboard, HADSR EG is set into loop mode therefore after the gate is released it starts to loop. Also release is controlled with the pitch cv therefore creating different looping envelope length for each note. HADSR is controlling the Multimode VCF cutoff.
01:36 - Patch 3 / EG 2 in loop mode. Creating full ADSR loop thanks to the built in gate generator, on the second part controlling the gate length with CV. EG is controlling the VCF which is fed with noise cutoff.
02:35 - Patch 4 / EG 2 is modulating the LPG which is filtering Wavetable VCO. EG 2 is triggered with steady clock and modulated with S&H from the Octasource.
03:21 - Patch 5 / Creating percussive sounds with DADSR EG modulating the FM of the VCO 2, and changing the gate delay to add some variety.
04:29 - Patch 6 / EG 2 is controlling Wavetable VCO pitch and DADSR is modulating the WAVE CV, HADSR release is also modulated with LFO therefore changing the envelope length.
05:10 - Patch 7 / By patching the bi-polar out into the release CV you can create logarithmic evevelope form the linear one in the looping mode.
05:50 - Patch 8 / Wavetable VCO wave cv controlled with HADSR which all cv inputs are modulated by the Octasource.
All FX (reverb/delay) in the demo are from Black Hole DSP 2 and upcoming FX module!"
Update: pics and details via Erica Synths:
The Erica Synths Black DADSR (Delay-Attack-Decay-Sustain-Release) is a fully analogue envelope generator that gives you extended control over events in your modular synth. It’s a looping exponential envelope generator that has voltage control over each stage of the envelope. An independent Gate Delay section adds extra functionality to design advanced soundscapes, like delayed modulation effects, wave morphing, etc.
Features Re-triggerable exponential DADSR envelope generator CV control over each stage Gate delay with a manually controlled delay time CV attenuators Looping function Manual gate button
The Erica Synths Envelope Generator 2 is a re-triggerable, looping envelope generator with some unconventional features that are very useful for experimental setups. What sets the Black EG2 apart from other envelope generators is its optional GATE LENGTH setting, which allows for generating full ADSR envelopes even if a short trigger is used at the input. Likewise, in LOOP mode, the module outputs a full ADSR envelope instead of a classical AD envelope. The gate length is both manual and CV controlled, which allows for using this envelope generator in compact modular setups controlled by trigger sequencers only.
Features Full exponential ADSR envelope Retriggering option Internal gate generator with adjustable gate length Manual and voltage-controlled gate length Full ADSR looping mode
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