MAKE NOISE WIARD WOGGLEBUG

via this auction

See the seller's other items for more.

""IS THE WOGGLEBUG MY SYNTHESIZER'S ID MONSTER?"

"SHOULD I BEWARE the WOGGLEBUG?"

YES, and Maybe.
The "WoggleBug" is a random voltage generator, originally designed by Grant Richter of Wiard Synthesizers. The Wogglebug's sole purpose is to overtake the control voltages produceded by your keyboard during performance, and to give voice to your synthesizer's ID. It is your synthesizer's ID MONSTER.

A continuation of the "smooth" and "stepped" fluctuating random voltage sources pioneered by Don Buchla, the core of the circuit is based on the Buchla Model 265 "Source of Uncertainty" module, which many consider to be the most musical of all random voltage generators. Like the 256, the Wogglebug utilizes a vactrol based low frequency smoothing filter, VCO and Sample & Hold to produce Stepped and Smooth (or lagged, slewed) control voltages in the range of 0 to 10 volts. Grant's Wogglebug design expands on this system to include the other-worldly Woggle CVs (stepped voltages with decaying sinusoids at the edges), which must be heard in action to be truly appreciated.

In a moment of considerable noise, Richter decided to tap into the sound sources at the uncertainly beating heart of the Wogglebug, and bring them forth to the instrument's panel. He then figured a clever way to "ring modulate" these sounds, and that output now graces the panel of all Wogglebugs.

Thus, the Wogglebug is a complete system, no external modules are necessary... however, all voltage controlled systems long to be tickled, bitten, plagued and eventually destroyed by the Wogglebug.

Until now, the Wogglebug has only been available as the Wiard Wogglebug #5 for the 300 series or as the Wogglebug #3 DIY project, popularized by the folks at electro-music. The Make Noise Wogglebug is neither #3 nor #5. In the truest spirit of Wiard Synthesizers, the Make Noise Wogglebug is not a clone, but instead it is a tribute to all that Woggles, a continuation of the Wogglebug.

Like the #3, the Make Noise Wogglebug is a single Wogglebug system. However, the Make Noise Wogglebug improves upon the #3 by offering further functionality:

-External IN for the ringmod circuit

-the Ability to directly inject a signal to the heart of the Wogglebug via the Control IN

-the Random Gate Burst function

All of which have never appeared within any Wogglebug. Finally, Make Noise has redesigned the Cluster circuit, and thus it has been renamed as CHAOS BALANCE to reflect it's further purposes. This control now allows for new functionality that has again, never appeared within any Wogglebug to our knowledge.

The photographic aluminum front panel and Printed Circuit Board are fabricated in the USA.
Assembled and tested in the USA.
The module is 14hp and consumes 50mA current."

Exploring the 1st Buchla 100 Modular Synthesizer

video upload by Sarah Belle Reid

"This video is a historical, technical, and musical deep dive into the Buchla 100 Series Modular System at the Mills College Center for Contemporary Music. This instrument was the first voltage controllable modular synthesizer built by Don Buchla—it was delivered to the San Francisco Tape Music Center in the mid-1960s.

In this video we’ll start with a brief historical overview of the Buchla 100 Series Modular System and the San Francisco Tape Music Center. Then, we’ll unpack everything that’s inside the instrument module by module. Finally, I’ll share some of the quirks of this particular instrument, and lots of patch examples to illustrate its unique voice and character.

As I was getting to know this instrument, I tried to keep in mind the circumstances surrounding its development—the people who contributed to it, the time in which it emerged, and the state of electronic music at the time of its invention. These thoughts greatly inspired my approach to working with the instrument and are present throughout this video.

It’s a rare opportunity to be able to work with a historical instrument like this one. I have always been super inspired by Buchla’s work in general, but like many people have had few opportunities to work with his original instruments. Instead, much of my experience has been through newer instruments inspired by his designs. Being able to work closely with this instrument was an incredibly inspiring and clarifying experience that allowed me to gain a deeper understanding of Buchla’s own creative and technical development, as well as the multitude of music, modern modules, and instruments that have been inspired by his work.

Special thank you to Mills College for letting us spend a week in the electronic music studio working with the Buchla 100; to The Buchla Archives and Ryan Gaston for helping to put this video together; and also to all of the amazing folks in my Patreon community for your support in helping to bring educational projects like this one to life!

Learn more / join the waitlist for Learning Sound and Synthesis, my online modular synthesis and sound design class: https://www.soundandsynthesis.com

Join my Patreon community for behind-the-scenes content, unreleased music, and extended tutorials: sarahbellereid

Thank you to:
Mills College Center for Contemporary Music https://www.performingarts.mills.edu
The Buchla Archives https://www.buchlaarchives.com
Ryan Gaston (co-producing + filming) https://gastonsounds.com
Hainbach (tape slicing footage)

TIMESTAMPS:
00:00 Historical Overview: Buchla 100 + the San Francisco Tape Music Center
7:38 Mills Buchla 100 System Overview
14:27 Timbre in the Mills Buchla 100
18:29 Chaos in the Mills Buchla 100
21:52 Voltage Control Quirks
25:00 Sequencing Tactics: Triggered Segments
30:40 Sequencing Tactics: Extended Sequences
32:06 More Patches + Sounds
32:36 Ring Modulated Reverb Patch
34:40 Keyboard Chaos Patch
36:55 Gated Voice Patch
38:29 Wonky Drum Machine Patch
38:57 Triggered Gestures Patch
39:14 Transposed FM Sequence Patch
39:48 Bell Tones Patch
40:27 Touch Controlled Ratchet Patch
41:00 Sequenced Melodic Patch

Sarah Belle Reid is a performer-composer, active in the fields of electroacoustic trumpet performance, intermedia arts, music technology, and improvisation.

www.sarahbellereid.com"



"In the Spring of 2024, Reid spent a week at the Center for Contemporary Music at Mills College, where she worked closely with their original Buchla 100 modular synthesizer system. This specific instrument’s historical significance can’t be overstated. It was the very first voltage controllable modular synthesizer that the now-famous artist, inventor, and electronic musical instrument designer Donald Buchla built in the mid 1960s—indeed, one of the very first modular synthesizers altogether. In its time, this specific system has been used by countless inspiring and influential musicians, such as Pauline Oliveros, Morton Subotnick, Suzanne Ciani, Warner Jepson, and others.

The video begins with a brief historical overview of the Buchla 100 Series Modular System and the San Francisco Tape Music Center. Then, Reid unpacks everything that’s inside the instrument module by module, with sound demos and examples. Finally, she shares some of the unique quirks of the Mills Buchla 100 instrument, and patch examples of how the instrument can be used to create a wide range of music and sounds."

OTO Biscuit 8-bit Effects Makes Its Way to Software

Introducing OTO Biscuit – Softube Published on Jun 19, 2018

"Get it today – https://softu.be/OTO_Biscuit
✮ Vive Le Biscuit
Delicious 8-bit effects and analog filtering make the Biscuit a "magic box" – a must have for DJs, producers, engineers, and composers alike. It has detailed bit-by-bit control, unlike other bitcrushers, and built in digital multi-effects to complement the sweet-as-can-be analog-modeled filter. Once you taste it, you'll find it hard to keep your hands off. ✮"

Initially introduced in hardware in the late 00’s, the French-made OTO Biscuit quickly became a cult classic with DJs and electronic music producers around the world. Gritty bit-crushing, lo-fi multi-effects, a sweet and smooth analog filter, and a quality look and feel, made it a go-to awesome-sound-maker in clubs and studios alike.

Now it’s available in software, bringing those crunchy, dirty, edgy sounds closer to the DAW-based studio or laptop-based performance rig, and making it more intuitive than ever before.

The Biscuit offers incredibly detailed control of these essential sonic possibilities, with eight individually invertable or mutable bits, control of sample rate, waveshaping, delay, even pitch-shifting, and analog filtering (controllable manually or with a built-in step sequencer) to round off sharp edges and make even the harshest digital screech sound alive and organic.

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Circuit Bent Casio Mt-240 with Transparent Front Panel

YouTube via Destroyifyer — April 02, 2010 — "This is a circuit bent Casio Mt-240 which will be up for auction on ebay until April 11th, 2010. You can hear some songs and sounds made with this thing at www.freewebtown.com/destroyifyer on the Mt-240 page."

via this auction
"This is a circuit bent Casio MT-240. The box on the top is made out of oak coated with clear enamel. The front panel is clear plexiglas, the back part is steel. The knobs are all hand-painted hardwood coated with clear enamel. The keyboard is balanced and kept stable by two oak "feet" on the back complete with rubber grips. It has a 64 point patch grid, 16 fully routable pots, and a 16 channel mixer split into 4 groups of 4 by 3 switches. Also, there is a mounted tuning knob on the left. On the right is a reset switch for when using battery power. The machine can also be powered by an adapter, and of course a “manual” reset is required with this option! The 16 pots are of various resistance, the top 8 being 50Ω (very low resistance suitable for quite a few of the connections and fine tuning), the third row is 1 200Ω, 1 400Ω, 1 2kΩ, 1 2.5kΩ, and on the fourth row is three 5k Ω, the last pot being a 100k Ω super fine-tune that you can spin 12 or 13 times… this pot is great for those unruly connections which require higher resistance… there are only a handful of points like that on the patch grid though, so the 5ks and the 100k should suffice. There are 16 switches connecting the 16 pots in sequence, the last switch routing the last to the first to make a loop.

As far as performance, below there is a few little songs I threw together. I will admit, I am not the most patient demonstrationist, the songs are just me “messing around”, but I tried to make a balanced blend of good, bad, and ugly. I may post some more on the sound sample page later on in the auction. There is also a video below, and the audio from the video is available from the sounds link below. If you have skill at navigating around the chaos of this circuit bent keyboard, you will find yourself able to make some very impressive keys, sequence sounds with the drums, and pretty much anything you could hope for out of a circuit bent Mt-240. The patches are also very repeatable for the most part… if you diligently record your patches on paper or whatnot, you can get the same sounds… different voices and even keys conceal different sounds and whatnot, as previously stated they are all repeatable. The more patient you are with this instrument, the better you can work your way around the labyrinth of the patch grid and make some very cool sounds. To ramble on a bit, you can get delay at various decay rates, and also completely separate sounds and delay for the left and right channels, which is illustrated in one of the songs below. Square, sine, ramp and sawtooth LFO mod sounds can be achieved, envelope style pitch bending can be achieved… to summarize, all sorts of cool stuff."

No-longer-accidental Polysynth

YouTube via MusicMiK. follow-up to this post. Be sure to see the second vid below.
"Day #2 of this. Another 4 hours or so. Cleaning up the breadboard with immediately creating new chaos on the clean surface. But now, i can put everything of the voice onto it.
The goal is to have the complete synth, reduced to 1 voice, but the rest as in the 8-voice version, on the breadboard before soldering everything together. This is how development is done most efficiently, in my eyes. It's just a bit complicated to get everything on a breadboard, if the circuits get a bit more complicated.

Anyway - i hope, you like it, the project now has a name - PolyMiK (even if the MonoMiK and the MiK-one still are incomplete :), and i'm looking forward to get good progress in this thing."

PolyMiK breadboard sound demo

"Okay. Added the ring modulator and the OTAs for feedback (resonance) and the VCA.
Things to do - some tricks for offset handling of the multiplexed exponential converter, will give a bunch of trimpots i think.
Need to make sure that i have enough buffer caps for the power, as i have some sync effects i don't want, but all in all, the result is quite okay for less than 12 hours i spent up to now.
More to follow the next weekends.

By the way - in the last video, i forgot the filter capacitors. Thanks to all those stray capacitance of a breadboad, it worked anyway :)"

SERGE MODULAR ANALOG SYNTHESIZER

images via this auction

"Each of the two panels was designed as a complete system or voice in and of itself but combined together there is an exponential increase in sonic power. The other important thing to remember is that with the Serge many of the modules can perform a number of different functions and the concept of "patch programmable" is inherent in the design. Based on how you patch the modules this system could have over 10 oscillators, 10 LFO's, 4 Envelopes, 6 Filters, 2 Sample and Holds, 5 VCA's, all sorts of cv and audio modifiers, mixers, sequencer and a whole lot more. The power is unmatched in any other system and would require a much larger system from other manufacturers to provide this level of functionality.

TOP PANEL:

* 8x2 Sequencer: This is an eight by two manual and clocked sequencer with some unique functions. The main CV outputs are "A" for the first set of 8 knobs in Row A and "B" for the second set of 8 voltage knobs for Row B plus a third output that is the difference of A and B. There is a main Clock Input that can be manually toggled on/of with the toggle switch. The sequencer can be clocked buy any red jack output as well as some of the blue outputs that have sharp positive going signals. The other inputs are for "Hold" which will stop the sequencer at what ever stage it is at when a trigger or gate is input. The Up/Down Input reverses that direction of the sequencer whenever it receives a pulse and the Reset input resets the Sequencer to the first stage when a pulse is applied. Each stage has a manual select button which can be used to select that stage when used as a manual CV programmer and when being clocked the buttons can be used to set the length of the sequence dynamically from between 1 to 8 steps. This allows for some amazing rhythmic patterns and dynamic changes. Really powerful and great for TB-303 type use.

* Active Processor: This module is basically a dynamic voltage controlled mixer and cross fader an can be used with either control voltages or audio signals. A cross fade mod input allows you to dynamically mix and or fade between the signals coming in the two inputs. You can also use this as a VC switch by allying a gate to the input. The bottom section is a cv inverter with the addition of a knob to further bias the output + or -.
* Dual Transient Generator: This module is one of the most powerful in the Serge system and uses the same circuit as the Dual Universal Slope Generator but is only 2" wide. Each side of this module can perform the following functions: Attack Decay Envelope, Attack Sustain, Decay Envelope, Low Frequency Oscillator, Audio Oscillator, Positive/Negative CV Slew, Audio Filter, Envelope Follower. Each side has a modulation input with a knob to determine if the incoming mod signal will modulate in a positive or negative direction. The left side has a black Input Jack the provides for filtering, slewing and envelope following. The right side has a 3 position switch that allows you to define if the incoming modulation signal at the bottom will modulate the Attack Time only, Decay Time Only or both Attack and Decay. You can get voltage controlled wave shape modulation as well....all amazingly cool!Note that the arrows for the switch and the Input jack are backwards on this module only and that is the way it came from the factory. Nothing wrong, you just need to keep that in mind.
* NTO New Timbral Oscillator: The NTO is one of the most powerful oscillators ever and has incredible sonics and versatility...like most Serge Modules. There are simultaneous Sawtooth, Triangle and Sine wave outputs in addition to a Variable Waveform output whose waveform can be CV selected, modulated and controlled. There are (3) control inputs...a 1volt/octave, a mod input with a knob to determined + or - direction and a voltage controlled portamento input. This is a cv input with voltage controlled slewing or glide with the addition of a manual knob to set the basic amount of slewing!! Last but not least is a voltage controlled FM input with an offset knob. There is also a Sync input to allow for syncing to another audio signal. This single oscillator can make truly incredible sounds and can be modulated out the wazoo.

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RIP Mike Brown of Livewire Electronics

Via an Interview with Mike Brown on Vicmod
(Be sure to click through for the full interview):

"Mike tell us a little about yourself.

This is the one I usually dread... (I'm not one for talking about myself much) but how about this: Played in a few bands during the '80s & '90s... if anyone remembers Cafe'Noire, Aura Circuit, or my solo project, Electronium (probably not... haha) Studied electronic music at Cal State University San Bernardino under Dr.Raymond Torre-Santos (now at Hunter College in New York). At the time they did not have an electronic music program, so when I showed up for recitals with my reels of tape music... the jury of music dept. administrators threw me out... haha...2 years later they had a full blown electronic music major program. figures.

I had always wanted a modular synth... but being married with small kids,had no hope of justifying the expense. Then around 1994, I discovered a book in the local library... 'build your own synthesizer' by Thomas Henry. I thought "I can do *this*!" so I set about gathering parts from local surplus stores and schematics from anywhere I could get them... library books mostly... I was on the internet, but this was pre-web days I think... So then I went about starting small fires for the next six years or so... ;) Eventually, the circuits began to actually work... and then I was thoroughly hooked."

And we were too. Thank you for everything Mike, we are going to miss you.

http://www.livewire-synthesizers.com/
https://www.facebook.com/pages/Livewire-Electronics/301279517212 - Livewire
https://www.facebook.com/L1V3W1R3 - Mike Brown


Image of Mike Brown and Gur Milstein of Tiptop Audio at NAMM 2011.

I met Mike at NAMM 2010. I was pretty humbled. He was one of the kindest and most genuine people I have ever met. He just made you feel comfortable and happy to be around. Like a beacon of peace in chaos. A great soul of a man.

For a look at the influence of his work: 510 posts and counting. His work, memory, and legacy will live on forever.

The Ciat Lonbarde Peterlin - Peter Blasser Meets Benjolin

Chaos Patterns with the Ciat-Lonbarde Benjolin / Peterlin Synthesizer

video upload by Duskmos

Note the "Peterlin" made it's first appearance with Hainbach on May 7 here on MATRIXSYNTH. This post features a few examples from others, and additional details and pics below.

Above: "In this Signal Colors Palette video, I'm taking a first look at the Ciat-Lonbarde Benjolin / Peterlin, a tiny wooden synth featuring a nod to synthesis history by putting the focus on sound creation with a circuit design inspired by the 'Rungler' by Rob Hordijk.

Hang out while I coax some cool sounds from this wildly experimental sounding synth!"

Quirky little groove machine: Ciat-Lonbarde Peterlin first impressions

video upload by NoctopolisMusic

"Listen to albums, download tracks and support me at https://noctopolis.bandcamp.com/
I was lucky to get a Ciat-Lonbarde Peterlin (why not Blassolin though?) from the first batch at PatchPoint and these are clips from my first don´t-know-what-I-do-sessions with it. First one: solo. Second one: with Lorre Mill Double Knot 3. Third one: with Moog Subharmonicon."

Ciat Lonbarde Peterlin meets Serge VC Resonant Equalizer

video upload by La Synthèse Humaine

This is the first post to feature the Peterlin.

"first patch ring modulates peterlin xor to vcfq with a sine wave - both controlled by rungler. this is mixed with the peterlin audio output in the vc res eq and its bands get modulated by various peterlin outputs

second and third patches have a bit less and a bit more going on... all gets a little confusing and knotted up

check out my newest album Contraluz here: https://critiqueofeverydaylife.bandca..."

"Dressed in their signature banana jack-laden wooden enclosure, the Peterlin is Ciat-Lonbarde's take on the Benjolin: a tribute to the synthesizer designs of Rob Hordijk. Deceptively simple in appearance, the Peterlin is a highly interconnected instrument containing two oscillators, a resonant lowpass filter, and Peter Blasser's take on the infamous Rungler circuit. Clocked by one oscillator, the Rungler is a shift register feeding upon not only its own output, but also listening to the output of the other oscillator to further influence its data with feedback chaos. As the Rungler's CV output is then fed into the oscillators and filter, a range of hefty drones and chaotic noise is possible. Of course, the Ciat-Lonbarde take on this classic experimental instrument is filled with its own mysteries.

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Eurorack jam featuring Metropolix, Manis Iteritas, Prok Drums, Zen Delay, and electric guitar

video upload by

"A live, semi-improvised modular performance performed entirely on hardware, with one guitar overdub.

This jam started with a simple exploration of the Intellijel Metropolix, a neat sequencer that helps you stumble into inspiration, along with two voices (the Noise Engineering Manis Iteritas and the Acid Rain Chainsaw). My ambitions were no more than "play guitar with eurorack". But as the song found itself, and more and more was added to the table, it became clear I'd have to add guitar after the the fact.

A big highlight here is the Prok Drum modules being sequenced by the Mutable Instruments Grids. Not only is Grids fast and inspiring, but its modulation allows you to add performability (like the snare rolls I add via a touch pad here) and variety (through its chaos and frequency controls). Special thanks to Michael, a good human and also a member of my Patreon community, for allowing me to commission him to build the Prok modules! You're the best, Michael.

And of course, the Erica Synths Zen Delay works its magic again. Here, it runs everywhere from flanger to filter to gonzo delay, and I just love what it adds to a jam.

The patches would take a very long time to explain, but here are the modules:

Voices:
- Noise Engineering Manis Iteritas
- Squarp Rample
- Acid Rain Chainsaw
- Qu-Bit Chord
- Frequency Central Product
- Prok drum modules

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NOT NAMM: miniark.mov

YouTube via snazelle

"here is a very basic video of the 2nd snazzy fx product- the mini ark

(some of you know about last years audio ark)

(you can hear a bit of the actual dry guitar because the camera was so close to my guitar)

anyway, lots and lots of people asked me to make a box based on the audio ark. and this is what i came up with. It was originally designed for guitar, cello, and field recordings.on guitar it sounds much more like a tracking system/harmony pedal. on drums, bowed instruments, field recordings, and noise, it gets very unpredictable and you can always rely on it to create something unique. Right now this is my favorite to play with.


here is the product description

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New Yamaha FS1R iPad Editor For Patch Base

Yamaha FS1R Voice Editing with Patch Base

Published on Feb 7, 2018 Coffeeshopped

via Coffeeshopped, makers of Patch Base:

"Patch Base 2.10 adds an editor for the most complex FM synthesizer I've ever encountered: the Yamaha FS1R. This thing is a beast. First of all, it has 8 operators for FM synthesis! Imagine the possible chaos. And, each operator has both a "Voiced" and "Unvoiced" part. The Voiced part is your tone generator (similar to the DX7), and the Unvoiced part is essentially a noise generator with its own envelopes, frequency controls, and bandpass filter. The Voiced part also supports multiple waveforms (the FS1R calls them "spectral" forms), including a formant generator. Basically, you can make this thing sound like it's talking. It is hands-down the most amazing FM synth I've ever used, and I've only begun to scratch the surface of sound design with it.

And starting today, FS1R owners can go deeper with this synth, too. Like the FS1R itself, this editor was the most complex FM editor I've created so far. The current algorithm (out of 88 possibilities!) is shown in the top left, and also serves as the selector for which operator you want to edit. Each operator shows the output levels of the voiced and unvoiced parts of the operator, which helps give an overview of the structure of the patch. With 8 operators, a lot of patches won't even use all of them!.."

Dune Soundtrack The One Hans Zimmer Cover all analog synthesizers, Moog, ARP-2600, Soma Lyra-8, DFAM

video upload by EthanJamesMusic

"This is a synthwave cover of the soundtrack for The One by Hans Zimmer from the movie Dune. I wanted to see if it was possible to get somewhat close to the spirit of the music using only analog electronic synthesizers with guitar. I am using some Eurorack modular with a Buchla Easel Command and Soma Labs Lyra-8 to create the drone, while the Moog Grandmother is covering the low brass parts, and the ARP-2600 is covering the string (cello and bass) parts. I'm using the Moog DFAM to cover the low drum hits. Finally, I'm using the Sequential Circuits OB-6 to do the end high strings.

I hope you enjoy! This was a fun exercise in sound design and trying to get the spirit of the orchestra into an analog synth orchestra idea."

"If you enjoyed this, please consider supporting my Patreon: https://www.patreon.com/ethanjamesmusic

Patch Notes:

Eurorack modular:
Instruo CS-L: using final outputs of both oscillators to a Make Noise Optomix to filter some of the high frequencies. The symmetry of both oscillators is being randomized by fluctuating voltage from a Frap Tools Sapèl.
Random Source Serge New Timbral Oscillator saw output to Serge Variable Frequency VCF. Low pass output to mixer. Filter frequency is being modulated by a Zlob modular Diode Chaos, while Q gain is being modulated by a Make Noise Wogglebug stepped output.
Make Noise Morphagene has a guitar loop playing D, and I'm using the knobs to make things change. Audio to an After Later Audio Monsoon (Clouds clone).
Make Noise Erbeverb in feedback mode to mixer.
All Eurorack audio to an Eventide H9 pedal doing reverb.

Soma Labs Lya-8 is in full drone mode with Hold turned all the way up. Most oscillators tuned close to a D with some variation. Audio is going to a Make Noise X-Pan modulated by an Intellijel Quadrax.

Buchla 208c Easel Command is providing more pulse-like ambience with random voltage changing the timbre very quickly. Audio to Make Noise X-Pan.

Moog Grandmother normalled patch with very slow attack and decay that is also assigned to the filter.

Moog DFAM using a very long decay with the two oscillators tuned a half step apart. Oscillator 2 has very low volume, so it's mostly contributing the attack sound.

ARP-2600 normalled patch with moderate ADSR modulation of the filter.

Sequential Circuits OB-6 using a polysaw sound being controlled by the Novation Bassstation II."

malekko manther growl exploration

impurfekt

"please support the channel: https://impurfekt.bandcamp.com

the malekko manther growl is a synth voice for eurorack based on their manther desktop synth. it includes a cem3340 vco chip and an ssm2044-based analog filter. it has separate levels and outputs for the square, saw and triangle oscillators. it has two adsr envelopes with outputs and an lfo with multiple destinations and an output. it has a wavefolder with two modes: tri or all. the all mode folds all waveforms and the external input post-filter.

i've had my eye on the manther desktop for some time but knew i wouldn't utilize the built-in sequencing capabilities. upon discovering the manther growl i realized i could replace a number of modules in my existing rack (including my a-105 vcf which is based on the same ssm2044 chip) with room to spare.

after spending a few hours with the manther growl i'm very impressed. it's straightforward and sounds as good as the specifications suggest. the filter has a nasty, vintage character. the oscillators are beefy. the wavefolder is a unique addition that introduces unpredictable sonic variety. all the tools i like in a single oscillator synth are there.

my only critique is that driving the levels doesn't seem to alter the tone. the manther growl sounds as though it's always being driven. that said, it's still capable of subtle sounds. what it excels at though are thick, heavy, nasty, dirty tones. in short, it does what is says on the tin.

filter sweeps at 0:05
bass line at 4:30
saw arp at 6:45
wavefolder chaos at 10:31
triangle arp at 14:43

patch notes:
malekko manther growl thru walrus audio fathom x2 and boss dd-8

disclaimer: module was purchased out of pocket for music production purposes"

Tech, No Enfermo & Filter Spank

Published on Jul 14, 2014 paulstodawall

"This recording was made using one each of the first two Ian Fritz 4U modular synthesizer panels. These panels are 100% Serge-compatible, but make a great little system on their own!

Other than some minimal EQ and level adjustments, this was recorded with no external effects or controllers.

I don't often take good patch notes, but I will try to briefly describe the basic patch idea. I like trying to make groove-based multitimbral tracks using smaller modulars, so that was the idea with this recording.

I am using the ChaQuO as the master clock in this patch. Since there are comparator inputs on the 4x4 and All-In envelope generators and the TGTSH S&H modules, the smooth, wiggly chaos outputs can be used for timing purposes.

The two drum sounds are the Teezer VCOs. Both are fairly simple pretty drum patches. The bass drum is the raw sine output, while the triangle output of the other Teezer is being processed by the Wavolver II waveshaper for the second percussion sound.

The bass line is the DoubleDeka graphic VCO being run through the Teezer VCF.

I may have been using the Chaotica for audio-rate modulation at some point as well.

There is a lot of flexibility using this two panels system!

More information:
http://appliancide.blogspot.com/2014/06/now-available-from-uglysound.html
https://www.facebook.com/uglysoundelectronics
http://home.comcast.net/~ijfritz/"

Filter Spank

AEMIT Presents Innovative Eurorack Modules for the Discerning Synthesist

AEMIT ~ Some Sound Snippets from Aemit modular on Vimeo.
AEMIT - Formant tests with System 7.5

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Strings in Chaos - O Coast, VCV Rack, Eurorack, Felt Instruments

Published on May 31, 2020 Omri Cohen

"If you like what I do and want to support my work, consider joining me on Patreon - https://www.patreon.com/omricohen

You can get the WAV file for this performance on my Patreon page - https://www.patreon.com/posts/37649521

Here are some patch notes
-------------------------
- I have a sequence programmed on the BSP, which is sequencing the O Coast.
- The O Coast is going into VCV Rack through the Chronoblob 2 and Plateau.
- The BSP is also triggering the Basimilus, which is going through the LedRover for extra character when needed.
- There's another copy of the Basimilus going through a HP filter and to the Mimeophon.
- I've recorded a wooden percussion frog into the Arbhar foe some texture.
- I also recorded the new cello instrument from Felt Instruments into Magneto in Sample mode, and this is going through Flame from Vult for distortion.
- I have a recording of the Basimilus on Morphagene, which plays it also in reverse.
- I also recorded the piano from Felt Instruments into Nebulae, which is playing it slower and it goes also through the Disting for reverb.
- I'm using the Microcell in Granular mode, and I recorded myself with a mic into it.

Here's my latest release on Spotify, iTunes, and more - https://distrokid.com/hyperfollow/omr...
Also on Bandcamp - https://omricohencomposer.bandcamp.co..."

Matrixbrute: "Paradigm"

Published on Apr 8, 2020 Kris Lennox

"(Try loud with headphones, or through a good stereo system.)

Matrixbrute, plus a few friends. I dusted off the MB last night as it hadn't been switched on in a while. It still works, which is nice.
Good sound, isn't it :)
For this piece, the MB is in matrix arpeggiator mode.

I wrote the harmonic progression before sitting at the synth, worked on an appropriate arpeggiator sequence at the synth, built the patch, then got on with it. Relatively quick, once the harmony/chord progression was there.

Interesting times, isn't it. The other day I went to the local supermarket with my 'Free Hugs' sign. Didn't quite get the reaction I was hoping for. Maybe I hadn't applied my make-up properly.

In any instance, I'll nip down to the local police station later and see if they want some hugs. Half the time you see them, they look like they could be doing with a cuddle.

More synth soon. Possibly some noise/drone. I'll maybe combine a few toys to create some chaos. And maybe add a melodic part on the Sub 25. But don't hold me to that :)

PS yes, my top has holes on the sleeves. But it is 21 years old. I'd say it is doing well for its age. And given it still works/isn't broken, i'll be keeping it until it no longer works.

All best
Kris"

Podcast 257: Eric Singer

Published on Dec 16, 2018 20Objects

You can find some of Eric Singer's work featured in the archives here. Be sure to see Part 2 in 20Objects interview with Eric Singer below.

"I'm pretty sure you know Eric Singer's work. Some of his most well-known work includes Pat Metheny's 'The Orchestrion Project', but he's been doing robotic musical instruments for a long time. I remember the first time I saw a video of Eric work - it was the reveal for the Guitarbot, and it was jaw-dropping at the time.

Eric was a maker before there was such a thing, and was doing cool robots when robots weren't part of artistic practice. He was learning machining, embedded coding and electronic design when those phrases were more industrial 'work' than creative 'play'. And he ended up paving the way for all of us.

You can check out his current work at his http://www.singerbots.com/ site.

In this interview, we start the discussion with him about his background, some of his work with Pat (and others), and the process of coming up-to-speed on gear he had never considered part of the 'practice'. We ran out of time long before we ran out of topics, but we'll continue the chat next week.

Enjoy!"

Podcast 258: Eric Singer (Part 2)

Published on Dec 23, 2018 20Objects

"In last week's episode, we just scratched the surface of Eric's role in creating the maker's world we now occupy. So I called him back and we immediately did a second interview to fill in some of the gaps: what were the early days like, how did he actually get the stuff built, why the move to Pittsburgh. This continues the fascinating journey of Eric Singer, and helps us to further appreciate the way he helped shape the electronic music future.

I think it is especially important to consider what was happening during the early 2000's, when computer technology was moving forward so rapidly, and the financial marketplace was in post-internet-boom chaos. Eric kept cranking out the work, teaching dozens of people how to manage their art through the process of hardware and software production, and eventually leading to something as overwhelming as the Orchestrion Project.

Again, if you haven't yet checked out Eric's work, you should: http://www.singerbots.com/

Enjoy!"

Wogglebug Stepped Out, Heart In

Wogglebug Stepped Out, Heart In from Peter Speer on Vimeo.

"I feel like most of the Wogglebug videos I've seen lean toward the module in more extreme settings. But dialing things back on the unit can yield some beautiful results!

In this patch (thanks to Tony Make Noise for explaining it to me!!), I'm sending a Triangle Out from the Plan B ELF LFO to the Heart In on the WB, with the Chaos Amount fully CCW.

The Stepped Out from the WB is sent to the HP Cutoff Frequency In on a self-oscillating Frostwave Resonator. This is sent to a Frostwave Blue Ringer, and from there to a 132-3 VCA.

The Clock Out from the WB is sent to the Gate In on an A-140, the output of which is sent to the CV In on the VCA.

Turning the Chaos Amount clockwise "randomizes" the triangle wave by mixing the LFO with the Wogglebug's stepped output voltages. Subtle changes go a long way!

Running the ELF LFO at audio rates into the Heart In produces standard Sample & Hold sounding results from the Stepped Output.

Even in a small system, I'm finding fun new tricks to do with the Wogglebug every day! Get one already, and if you already have one, get a second one!!

theshamblers.blogspot.com"

Zlob Introduces the VC F3DB Fixed Filter Bank Eurorack Module

What is a Fixed Filter Bank? | Chaos + Control with Zlob VC F3DBvideo upload by Sarah Belle Reid

"In this video, we explore the history of fixed filter banks in synthesizers (what they are, how they work), demonstrate some classic fixed filter bank concepts, and then dive into a series of patch examples exploring the Zlob Modular VC F3DB.

Zlob Modular's VC F3DB is a filter bank for Eurorack modular synthesizers. But it's much more than just that as well; while it can produce the clean, dry, nasal tones you might expect from a classic Moog or Buchla filter bank, it is designed to leverage feedback, clipping, and per-band envelope followers, allowing it to act as a chaotic sound source, spectral decoder, and intense distortion.

To access extended audio from this video (aaand there's a lot of it!), check out my Patreon page! You're free to use these sounds as materials for you own music, as well:
www.patreon.com/sarahbellereid

Video Timestamps:
00:00 Intro + Video Overview
01:40 What's A Fixed Filter Bank?
03:36 What's a Filter Bank Good For?
07:42 F3DB Module Overview
09:53 Patch #1: Clipping
11:37 Patch #2: Adding Modulation
16:00 Patch #3: Feedback
19:48 Patch #4: Feedback (But Less Crazy This Time)
22:00 Patch #5: Feedback with Modulation
24:43 Patch #6: Spectral Decoder"
Zlob VC F3DB First Look video upload by Brett Naucke

"A first look at this fantastic new 6-Band Voltage Controlled Filterbank by Zlob Modular. Patch examples including manual filtering, drum processing, voltage controlled filter animation, 'vocoding' and some exploitations using the filterbank as a chaotic audio source. This is a GREAT filterbank capable of some very unique overdrive and distortion functions that set it apart from all other filterbanks in eurorack modular."

https://zlobmodular.com

via Zlob Modular

"VC F3DB stands for Voltage Controlled Fixed Filter Feedback Distortion Bank. The simplest description is it’s a 16hp six band voltage controlled fixed filter bank. But with the additions of so much gain, clipping, feedback, and self-oscillation it becomes a very flexible and unique gestural sound sculpting tool capable of; graphic equalization over 6 octaves, multi-band distortion, spectral processing, crude vocoding, multi-frequency envelope following, self-modulation, and even as an instrument on its own. With no input it can be used as a pseudo chaotic “harmonic” feedback oscillator.

The filter frequencies were specifically chosen to emphasize more ambiguous and dissonant intervals. Although the frequency bands are spread out over many octaves I purposely tried to leave out “3rds” besides a major 10th at the top frequencies to even out all the dissonance below. But the frequencies aren’t exactly equal tempered, so it’s relative. The bands roughly equate to F2, B3, F#5, C6, F7, A8.

The design is based on the Moog 914 filterbank, which it borrows the frequency bands from. But this circuit uses active filters with opamps inspired by YU Synth opposed to passive cells using inductors on the original. The 88hz is a low pass -24db/oct and 7k is a high pass -24db/oct, the rest are -12db/oct band pass filters all with a Q around 4.

The hard and soft clipping circuit on the input is fairly standard which appears in many different iterations of classic guitar pedals. But it has a lot of gain and can even boost line level signals. What makes it a bit unique is the feedback on the clipping circuit which needs to be turned on by the GFB(gain feedback) switch and the amount can be controlled by the Gain FB pot which can add some fuzz/bite to the signal depending on which clipping switch is engaged or at the extremes it will self oscillate from audio rate to LFO sort of clicking range. All the clipping stages in the module are using silicon diodes.

Consult the Signal Flow Chart to the left for a rough visual breakdown of the controls,in/outs,normalizations, and optional settings for the module.

Each band can also be muted by the top toggle switches or clipped(at the VCA) by the top slide switch which makes this design a bit different than other filter banks. As well as the overall feedback section(bottom middle) takes the sum/all bands out through a VCA(controlled by the feedback pot and FB CV) back to the input gain/clip circuit. and you can also tap into this using different sends/bands to the FB In jack to break the normalization. With this extra feedback “resonance” you can get more whistley and howly filter sounds kinda like the Serge res eq, which can also go into self oscillation.

All cv ins are expecting +5v to open the VCAs(they wont respond to negative voltage), once you get closer to +8v or so it can clip the vca regardless of the gain settings or clip switches. Output amplitude in high gain settings will exceed 10vpp and can get up to 20vpp. The envelope followers tend to stay around 0-5v out, but with clip switch active they can go up to 10v.

Since this is a high gain module there can be bleed between the bands in certain configurations and situations. Also in high gain modes with higher frequencies the 2.8k and 7k bands can bleed a little with the VCAs closed.

This is a highly involved DIY all through hole project. It is a long build with 5 different pcbs to solder and assemble.

THIS IS NOT A BEGINNER OR INTERMEDIATE PROJECT."