Interview with Mutable Instrument's Olivier Gillet

The following interview is by Juan Vílchez Gómez for Hispasonic. Juan sent it my way via The MATRIXSYNTH Lounge. You can find a Spanish version on Hispasonic here. The following interview is posted here in English with permission from Juan. MATRIXSYNTH gets a mention! Thank you to Juan and Hispasonic!

"Hispasonic: This time we are talking with Olivier Gillet, the man behind Mutable Instruments and creator of the famous synth Shruthi-1. He reveals exciting information about his next projects and throws light upon synth design.

JuanVilchez is the interviewer.

Hispasonic: Well... Taking into account that the key questions about the Shruthi-1 have been already answered in the forums, or in the comprehensive documentation of your webpage, I propose that you could speak us about the future of Mutable Instruments... as it seems that some exciting new machines are in the making right now.

Mutable: The exciting new projects:

Next project (september/october): the MIDIpal, a small, inexpensive, MIDI processing
unit, running algorithmic transformation on the MIDI notes (arpeggiation, harmonization, delays) along with more traditional filter/splitter/monitoring things. Something you'll want to stick between anything with a keyboard and anything with an audio out in your studio :) This is the first project that will be industrially manufactured - though the first batch will be available as a SMT kit.

A revision of the Shruthi-1 hardware for the next batches of kits - in particular I've spent quite some time cutting the part count on the filter board.

A new Shruthi-1 filter board (MS-20 clone).

A variant of the Shruthi-1 digital board that will replace all the digital oscillators by 12-
bits sample playback from a SD card (and will probably do sampling too). This will add a new dimension to the "Shruthi-system" = 3 "controller boards" (Shruthi, Sidekick, Sampler) x 7 "filter boards".

Something that will replace, in the long run, the Shruthi-1 - and in which I'm trying to address most of the shortcomings and design decisions of the Shruthi-1. This is a more ambitious, risky, project as I'm trying to squeeze in a lot of very new features, and design it in such a way that some parts of the project can be interchanged, with both a SMT version for industrial manufacturing and still a through- hole variant for DIYers. While avoiding reinventing too much and keeping it close to the Shruthi sound. Ready in 6 months? 1 year? I don't know.

Least sexy but most important thing: establishing an actual company -- at the moment what I do is registered as a "side-business" and while it is very simple paperwork-wise, it adds many constraints to what I can and cannot do, and exposes me to many risks in case of bankruptcy.

Hispasonic: I think that it could be interesting not only promoting Mutable Instruments but you as well, as I find that you're a really talented guy and that you've the most valuable opinions and tastes. Just saying... I perceive that you're a shy person (am I wrong?), but maybe it could be interesting to know more about "the creator".

Olivier: I wouldn't see the point of promoting myself - I don't sell myself, I sell synths, and they can "speak" or rather "sound" for themselves!
Many interesting synthesizer businesses are small, quite often run by one single person, who has to wear both an engineering and marketing hat. Personally, I try to keep my engineering hat as much as possible because this is what I am good at, and because I quite like the values that goes with engineering. Chips datasheets don't cheat, at least not on the first page... I see too much people overhyping stuff in my daily job to want to do anything like that when I am working on my synth projects.

Hispasonic: In Hispasonic we are really proud of our community of synth enthusiasts. Here is a little "window" that is going to be seen by a lot of people. Taking a look into your resumé, we know that we can confidently trust you in regard to software and electronic musical instruments. So... what do you want to say to them?

Olivier: If there had something I had to say to the synth public is that they should try to keep a critical eye and ear when looking at synths - there are so many misconceptions (that I used to have too, until recently!) about synths. Things like:
- "UIs with LCD displays / pages [as opposed to 'one knob per function'] suck" Most people having used the Shruthi-1 agree that the interface is very easy to understand. The ESQ-1 looks horrible with only one data entry slider but it's surprisingly very fast to program. While some knob-laden VAs are horrible to use because everything not directly in the front panel might be hidden behind half a dozen of keypresses.
- "8-bits => chiptune sounds!"
Just because something uses 8-bit resolution somewhere in the signal chain doesn't make it sound like a Nintendo. It's not all black and white: The Fairlight had 8-bit converters ; the Dark Energy uses a sound chip that found its way in some 80s arcade machines. And plenty of other weird combinations inbetween.
- "Vintage synths got their good sound from the vintage VCF chips"
I was fooled by this too, and this is why I invested time in getting some of those chips and building filters with them. My conclusion is that those chips were very convenient because they concentrated many useful functions in a small area (and thus made reliable, smaller polysynths possible), but there's nothing magical in them - gain cells and linear/exponential voltage->current converters in one small package. I won't bother with those things from the past in new designs, because the magic is outside of the chip.
- "Stuff designed by amateurs will always be one step behind commercial products"
I hang around a few DIY online communities (for example the SDIY mailing list) and I am amazed by the expertise and knowledge of the people here. And then it struck me that to the most talented electrical engineers it would be a weird career move to actually work full-time on synths, because there are many other fun things to do with their skills. Somehow I think the most difficult thing for a trained EE to go into making synths would not be the challenge of the work, but the challenge of only applying a very small fraction of their knowledge of the field.

Hispasonic: There is a growing community of people that decide to take direct control and create their own synths from the electronic parts (DIY). Any advice for them?

Olivier: A last thing, and this takes the form of a question: "what makes a good synth/DIY project?". To me, three things:

Understanding the difference between a "project" and a "product"
It took 2 to 3 months to design something like the Shruthi from A to Z.
At this stage you'll have something awesome that you can put in a box, use yourself, post a video to Matrixsynth and be very proud of. But then it will take maybe 5 or 6 months to turn it into a "product", to sort unsexy things like documentation, sound banks, testing on a variety of setups, parts sourcing and validation, more field testing, feature requests from beta testers, etc.
I had changing opinions about whether oscillators, filters, modulations, etc. were the most important element to define the "sound of the synth". In the end, my view on that is that what makes a synth good is the presence, or not, of a "vision" or "plot" about how it should sound like, and then the effort made to ensure that every module contributes to this vision and goes in the right direction.
This is why I believe "design by committees" efforts like the Tyrell from Amazona are a bad idea - "just making the majority happy" is not the sort of vision to build something upon. At least not in arts.
When the designer of a synth has never taken the time to actually listen to its creation, it shows!

Hispasonic: Thank you very much Olivier for some of your time - we know that you are really busy these days - and for really getting involved in the topics treated. We do know that you are not very enthusiastic about being interviewed or talking about your products, as you completely trust on their sound as their best marketing campaign. We can’t wait to hear and play with your last creations. They will give us plenty to talk about, for sure."

Useful links:
Mutable Instruments
Shruthi-1 on Youtube
Shruthi-1 audio demos on Soundcloud
Contact the interviewer:
me@juanvilchez.com http://www.juanvilchez.com

Serge Modular - Stereo Mixer

Note: links to listings are affiliate links for which the site may be compensated.

via this auction

"Quadrature Oscillator (QUO)

The QUADRATURE OSCILLATOR (QUO) provides signals and features which make it ideal for controlling the Quad Panner . It generates two sine waves which are always displaced 90 degrees in phase from one another . This phase difference provides exactly the correct relationship for swirling a sound through quadraphonic space in a circular pattern (using the Quad Panner) . Since the Oscillator has a basic range from longer than 20 seconds per cycle to 500cycles per second, many effects can be produced . Swirling a sound at an audio rate produces interesting spatial and modulative effects. Additional features include linear VCA's for each of the outputs. so that spatial swirls can be made to decrease in size, effectively spiralling inward . A HOLD input"freezes" the outputs whenever pulsed high . Thus a swirl can be stopped at a given location, with the sound just "hanging there"until operation is resumed . Switches on the Panel allow disabling the oscillator, a feature which has been found to be useful for live performance .The use of this module is not limited to Quad Panning . The phase separation between the oscillator's outputs provides for many interesting cross-fading effects when they are used to control other Serge modules.

Dual Transient Generator (DTG)

The DUAL TRANSIENT GENERATOR (DTG) provides two independent outputs with voltage controllable rise and fall times. This module is identical to the Dual Universal Slope Generator except that it does not have all of the front panel features. This module is a useful, space-effective unit to be used for many of the same functions as the Dual Universal Slope Generator. Common uses of the Dual Transient Generator are for simple "AR"-type envelope generation, as a dual voltage-controlled low frequency oscillator, or as a voltage-controlled clock (especially suitable for clocking the Touch Keyboard Sequencer or any of the Sequencer Programmers). These functions can be patched with the Dual Universal Slope Generator, but since many of the features are left unused in these patches, the Dual Transient Generator provides the same function while using less front Panel space.

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Oddment ODD-1 Build Update & Demos

video upload by oddment

Demos

video uploads by oddment

Playlist:
1. ODD-1 Overview: Playheads

For a long time now we have tried to live by the words of the great Michael Bolton from the movie Office Space, "why should I change when he's the one who sucks?" But language evolves, and unfortunately, the word “grok” has taken on associations that are problematic. Oddment has evolved too. Starting from one quirky product idea, in 3 years we have grown and are now ready for manufacturing and fulfillment of this product, with ambition to make it the first among many. So with much consternation, we have decided to drop the name groc. When we thought about a new name, we thought that what we have is a little unusual, perhaps a little outside the norm...you might even call it, the ODD-1. This is the first in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off half of the encoders that control the granular synthesis engine - the PLAYHEADS function. Here you can control the level, starting point, tuning (aka pitch adjustment) and playback speed for up to 4 different granular playheads. The auxiliary functions available on the touch screen introduce random variability in different ways.

2. ODD-1 Overview: Grains

This is the second in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the second half of encoders that control the granular synthesis engine - the GRAINS function. Here you can control the size, spacing, left-right placement, and grain window shape. Each control also has a related function, introducing grain size variability, spacing jitter, binaural scatter, and a front-back bias for the window shape. The auxiliary functions available on the touch screen control a bandpass filter that can be randomized per grain and adjust whether grain size is regulated in the source sample or in the output signal, which can have a big impact on sound characteristics.

3. ODD-1 Overview: 03 Envelopes & Time Path

This is the third in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the ENVELOPES function. Here you can control the note amplitude envelope and timing, access 3 envelopes that can be used as modulation sources, and use our unique TIME PATH feature to dynamically adapt the playback speed.

4. ODD-1 Overview 04: Sample

This is the fourth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the SAMPLE function. Here you can choose a sample from the factory library or user-uploaded samples, control the playback mode and the section available for granulation, play and hold notes, set loop points and interact with pitch, tempo and channel information of the sample. We also show the auto pitch and tempo alignment features.

5. ODD-1 Overview 05: LFOs, Macros, Patching

This is the fifth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the LFOs, Macros and how to create modulation connections. There are 4 LFOs, 3 Envelopes, 4 Macros (assignable knobs), 4 Control inputs and MIDI information that can all act as modulation sources. Any parameter on the device is a parameter destination. Unlimited connections are made by holding down a destination parameter and then pressing or twisting a modulation source.

6. ODD-1 Overview 06: Filters, Saturation, Echoes

This is the sixth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the Filters, Saturation and Echoes modules. Two filters and two saturation modules per voice, both with multiple types of processing and modulatable parameters, allow for transformation beyond the granular engine. Two echoes sections with filtering and distortion in the feedback loop and fully modulatable parameters make ODD1 worthwhile just as a modular effects rack!

7. ODD-1 Overview: 07 Layers

This is the seventh in a series of videos to show all of the ODD-1's functions in more detail. In this one we show the dual Layer functionality. Essentially the entire system is duplicated so the ODD-1 is like having a dual modular systems, each with a polyphonic granular engine feeding two filters and two non-linear processors per voice, with 3 envelopes, 1 time path, 4 LFOs, 4 Macros and a independent modulation matrix per layer. In these examples we also remind that granular can easily do subtractive-style synthesis when using a basic waveform as the source sample.

8. ODD-1 Overview 08: Reverb & System

The final video in our eight-part series on the ODD-1's functions focuses on the upper-left row where we have global volume, system-level reverb and can work with banks of patches.

The reverb is a classic matrix-style parametric reverb. Think of it like a whole set of interacting delay units with slowly modulating delay times. Ok now that you have that in mind, that's it, that's what it is. It sounds sweet.

If two layers of modulating, granular goodness with a fantastic reverb on top wasn't enough, how do banks of patches to store every twist and connection sound?

And from their newsletter:

What’s in a name?

For a while now we have tried to live by the words of the great Michael Bolton from the movie Office Space, "why should I change when he's the one who sucks?"

But language evolves, and unfortunately, the word “grok” has taken on associations that are problematic.

Oddment has evolved too. Starting from one quirky product idea, we have grown in three years and are now ready for manufacturing and fulfillment of this product, with ambition to make it the first among many. And with much consternation, we have decided to drop the name groc.

When we thought about a new name, we thought that what we have is a little unusual, perhaps a little outside the norm...you might even call it, the ODD-1.

And we plan to keep that off-beat attitude. We hope that brightly-colored friends, ODD-2 and ODD-3, will be along to join ODD-1 after not too long.

Build Updates

We have a lot of exciting progress to report since the last time I wrote. Hop over to our YouTube channel to check out a build update video and some in-depth functionality demos.

We debugged and fixed several problems with the circuit board including the power-up, line input and output, and noise on the control signal inputs.

We got several bids from contract manufacturers in the U.S. and around the world and selected Soldered, based in the E.U. They came highly recommended, and we think their experience will be a huge asset as we go into production.

We worked with Martyna Alexander to tweak the graphic design of the front and back panel. We are thrilled with the updates, including our new company and product logos.

We have first iterations of our custom firmware, enabling full functionality of the device and full USB connectivity to a host computer.

We have completed first versions of the software that include all audio, MIDI and system functionality we intend to support for the release. After many months of playing and testing we re-organized a few functions to expand both the number of concurrent grain “playheads”, and to support banks of patches intended for convenient switching and management in live performance.

What’s Next?

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Juzisound Total SOLO Sampler for East European Balkan Regions

Another interesting item spotted by swissdoc.

via Juzisound:

"Small and powerful sampler device specialized for playing ethno solo sounds. This device is specially created to use in East European Balkan regions. Also is very useful for musicians from Turkey, Greece, Arab or Middle East regions. If you play that kind of music, this device is best for you!"

Unlimited Sample Memory

Yes - Really unlimited sample memory! This device is created with new technology and new conception! Juzisound Total SOLO Sampler don`t use RAM memory for loading samples. All samples are played in True Real Time DIRECTLY from an SD Card! This new technology allows using extremely massive sample libraries. The size of the sample is limited only by the size of the SD Card in use. For the time being, the sampler accept SD cards with capacity up to 64GB, but there will be no problem in future to add support for newest and biggest SD cards.

Portamento / Oscillator Modes

In this device Juzisound implements many types of specialized Oscillator Modes, specially created for use in Ethno solo music. Many types of Portamento with full set of parameters are supported, including very popular Yamaha DX, Casio CZ, KORG and original and very useful JS and JS2 portamento. This JS and JS2 portamento have special technology for smooth sample to sample transition, and this kind of portamento is not available in any other hardware keyboards. Additionally to portamento modes, the sampler has many special oscillator engines (combination between specially prepared samples and additional software processing), specialized for playing Saxophones, Clarinets, Solo String instruments, Bouzoukis and many more.

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THE OBERHEIM OB-X8 HAS ARRIVED

video upload by Oberheim Official

"For the first time in over 40 years, a legendary analog synth sound returns.

The OB-X8 combines the three different voice architectures of the classic OB-X, OB-Xa, and OB-8 synths into a single incredible instrument. The individual filter types and other unique characteristics of each model have been faithfully reproduced, along with an uncompromising 100% analog signal path, giving you the most authentic and satisfying OB experience possible.

Oberheim is BACK!"

Oberheim OB-X8 INHALT Sound Design Demo No Talking

video upload by INHALTVIDEO

https://inhalt.bigcartel.com

"My history with Oberheim runs deep. Probably the most important synthesizer for me was the Oberheim OB-8. I connected deeply with its melancholic and midnight music sounding tone which matched very well what I was doing with INHALT at the time. But never to be beguiled by softer emotions, the flick of the unison switch instantly took the OB-8 into an aggressive "body" music. It was the perfect writing tool due to the even tone across all octaves and the fact that its intrinsic musicality was unavoidable. Around the time I got the OB-8 I also got a vintage 2 Voice (thanks for restoring that one Chok) and both were heavily used on many records that I made. Those were my MVP's for many years.

When I received the call from my colleagues at Sequential that not only was a new Oberheim in the works, but that it was to be THE Oberheim, I couldn't wait for the beta testing and sound design to start. And when the prepro unit arrived, I knew that the newly reborn and official Oberheim company, in tandem with the team at Sequential, created something incredible. Something so comprehensive, deep, detailed, featured and yet immediate and simple, with no possibility of making a bad sound. Every sound I made sounded exactly as it should, and they ALL embodied that unmistakable Oberheim sound. That magic that is often imitated but never accomplished. Until now.

I'm not going to get into specs, those have been already covered everywhere, but I will say this: as someone that has used all of the "big" Oberheims, and that has made many records in commercial studios with the OB-8 and a vintage 2 Voice, I can definitively say that this Oberheim does all of those sounds and more. Its charisma changes from filter to filter and it seamlessly traverses from X, Xa to 8 with the Page 2 voice offset and vintage knob, but it ALWAYS sounds like the genuine Oberheim that it is. This incredible team, that I've had the pleasure of working with, has created something that might possibly be the ultimate polyphonic analog synthesizer. And I can't wait to use it on the many upcoming projects at Infinite Power Studios.

This is a recording I made of many of the patches I created for Oberheim and the shipping factory library that will come with the synth.

Please note, the OB-X8 in the video is a prototype unit and I recorded this with a beta firmware. As such, while the synth was largely done there were some changes both to the panel and to the OS that are in the final shipping version (obviously). The OB-X8 was recorded straight into Pro Tools HD and no post processing or fx were added. What you're hearing is the raw synth."

The Sound of the Oberheim OB-X8 - Julian "J3PO" Pollack [custom knobs on this one]

video upload by J3PO

"Oberheim has released a new synthesizer--the first in many decades--the OB-X8. It is a faithful recreation of all three of the classic OB-series synthesizers in one: the OB-X, the OB-Xa, and OB-8. It is an incredible synth.

In this video, you will hear a bunch of presets I created for the OB-X8. Some of my sounds will be included factory with the OB-X8 while most of these presets will appear in a presets pack I will release soon (check www.j3po.net for the release of my official sound bank). This particular unit is an early prototype with non-production knobs. The final production units will look slightly different.

It is important to note that the OB-X8, like the original OB's from back in the day, does NOT contain any onboard effects. In this video, I used some external reverbs and delays to give certain presets the ambience and resonance they deserve. Light compression and limiting was applied for the purpose of uploading to YouTube and balancing the sounds."

Update: Oberheim OB-X8 Preset Demos

video upload by james terris

"I'm always reluctant to post something in prototype form. When I had this unit it was sonically pretty close. Obvious at a glance are the knobs and 3D printed bender box levers. The synth itself sounds great and such a dream to play with a nice modern key bed."

And the press release:

Oberheim Returns to Operations and Releases Its First New Synth in 35 Years

San Francisco, CA – May 9, 2022 – In a momentous industry development, Oberheim Electronics, one of the most venerated names in synthesizer design, has announced its return to operation to meet the rising global demand for its instruments.

Today, the company is launching its first new product, the OB-X8: an eight-voice polyphonic analog synth that combines all of the key features of the legendary OB-X, OB-Xa, and OB-8 products from the 1980s – including all the original presets that gave them their signature sounds.

“I wanted to come back strong with a new design that brings together the sounds of the greatest instruments from across the OB range, together with the distinctive sound and styling of those synths,” said Tom Oberheim. “But we took it even further. You can now combine the various OB voice architectures in ways that produce unique and interesting new sounds and capabilities.”

Originally founded by Tom Oberheim in 1969, Oberheim Electronics created ground-breaking products that fueled the electronic music revolution throughout the 1970’s and early 1980’s. After ceasing operations in 1985, these instruments attained near-mythical status, with highly prized vintage models selling for many times their original price on the secondhand market.

Since that time, Tom Oberheim had created a handful of limited-production instruments and co-designs with various partners under other names. But in a recent significant development, he regained control of the Oberheim trademarks and IP, and now, in partnership with Focusrite PLC, has decided to once again introduce new products under the Oberheim brand name for first time in more than 35 years.

“I’ve always had a very optimistic outlook on our industry and the future in general. I felt that one day, when the time was right, Oberheim would return. A big part of this was the fact that so many musicians have contacted me over the years to ask how to get hold of an original Oberheim. So when I finally reacquired the Oberheim name, it was clear that the time was finally here,” said Oberheim.

The catalog of artists associated with the original products is long, and includes innovators like Prince, Van Halen, and Herbie Hancock. For many, it was much more than just an instrument. A handful of A-list artists such as Trent Reznor, creative force behind Nine Inch Nails, and Golden Globe, Academy Award, and Primetime Emmy-winning composer got pre-release previews. “When I was shown the new OB-X8, I was immediately impressed with the forensic level of detail that went into its design and the respect for its lineage,” remarked Trent. I will be making room in my studio for one and I’m excited more people will be able to experience this classic instrument.”

Creating a new company out of thin air was no small feat. “I’m excited to work with my old friend and audio industry innovator Marcus Ryle, along with some other members of the original Oberheim team again,” said Tom. “And thanks to an exclusive partnership with Focusrite group company Sequential LLC, we have the ability to design, manufacture, distribute, and support new instruments on a global scale.”

For Marcus Ryle, one of the inventors behind the ADAT, the QuadraSynth, and Line 6 guitar amps and effects, this represents closure of sorts: “Synths were my first love and the reason I entered this industry. Tom hired me when I was 19, and I feel lucky to have been a part of the Oberheim design team during its glory days. Now, a whole new chapter in the story of analog synthesizer-based music is about to get written.” Dave Smith, founder of Sequential and himself a legendary figure in synth history, also collaborated with Marcus (an Oberheim team member from the 1980s) and Tom to create the new product. “We’ve already developed other interesting design ideas with Tom for follow-up products that will allow us to take Oberheim into the future as a synth brand,” commented Smith. “It’s a very exciting time to be a musician.”

The OB-X8 eight-voice analog synthesizer will be available at the end of June with a US MAP of $4,995.

For more details visit www.oberheim.com.

About Oberheim
Oberheim is the 21st century return of the legendary company that helped fuel the electronic music revolution. Now, just as then, Oberheim is guided by the vision of engineer and inventor, Tom Oberheim. Tom’s genius for innovation introduced the world to the first commercially available poly synth and other groundbreaking electronic instruments that literally changed the sound of music. Today, Oberheim reawakens this legacy by bringing the famed Oberheim sound to a new generation of instruments and artists. The company’s passion remains unchanged by time or technology — to once again provide the world with the finest-sounding analog synthesizers ever made. Oberheim brings its products to market with the help of the Focusrite organization and renowned synth maker, Sequential."

OBERHEIM OB-X8 SPECIFICATIONS

• 8-voice, pure-analog polyphony with saw, square/pulse, triangle, and noise
• Two discrete SEM/OB-X-lineage VCOs per voice deliver classic punchy Oberheim tone
• Discrete SEM-lineage VCFs deliver authentic OB-X-style tone and presence
• Genuine Curtis filters add bold OB-Xa/OB-8 character
• Meticulously modeled envelope responses match each OB model: OB-X, OB-Xa, and OB-8
• The 61-key FATAR velocity- and touch-sensitive keyboard allows unparalleled expression and responsiveness
• Bi-timbral capability allows two presets simultaneously for splits and doubles
• 400-plus factory programs, including the full set of factory sounds for the OB-X, OB-SX, OB-Xa, and OB-8
• Integral, fanless, heatsink-free power supply
• Real walnut end cheeks
• High-resolution OLED display enables patch management and easy access to advanced features
• Classic Oberheim Pitch and Mod levers allow expressive note bending, vibrato, and access to arpeggiator functions

ENHANCEMENTS
• Additional SEM filter modes add high-pass, band-pass, and notch functions to the classic OB-X filter
• Vintage knob allows variable amounts of voice-to-voice variability to emulate the behavior of vintage instruments 
• Velocity sensitivity adds expressiveness to volume and filter 
• Channel Aftertouch adds real-time performance-based modulation
• Enhanced unison allows variable voice stacking from 1-8 voices
• Variable triangle wave cross-modulation
• Over 600 user-programmable preset locations
• Programmable per-program pan allows wider stereo presence
• Variable oscillator and noise levels

INS & OUTS
• Stereo and Mono outputs
• Volume, Sustain, and Filter inputs
• Arpeggiator clock input
• MIDI In, Out, Thru
• USB
• Dimensions:
• Weight: 32.5 lbs
• Dimensions: 40.5” L x 16.67” W x 5.87” H

CLICK FOR MORE »

Klavis-Twin Waves MKII Dual VCO/LFO demo (no talking )

Dziam Bass

"Hi All.
Today I have a small demo with quite an extensive Twin Waves MKII module from Klavis
It is a really interesting Dual Oscillator with many functions, available algorithms, built-in quantizer, dual LFO, Through zero and linear FM ,and many other functions.
Basically at the beginning of the small demo waves, as you can see very quickly you can also get Super SAW.
then you have a few examples in sequence or modulation and for each I also used CalTrans for the perfect trace and for low transposition and the Mixwitch module in this case as a mixer with Quadigy -Quad Programmable Envelope Generator for modulation.
each patch of the 7 available is slightly different to show the versatility of the Twin Waves module.
For me this is Beast in small HP module.🔥🔥🔥
for example, some functions available from the module description."

TWIN WAVES MKII

Voltage-controlled Dual VCO/LFO/random
Two oscillators independently set as VCO, LFO, or random generator
Features in VCO mode:
V/Oct tracking over 10 octaves
Through zero and linear FM
Sub-octave output
Hard & soft synchronization
VCA control and CV algorithms selection
Quantizer with various scales
20 algorithm-based synthesis types among:
Wave shaping
Phase modulation
Phase positioning of multiple waves
Up to 5 stacked oscillators in tunable unison
Self-sync with phantom oscillator
Additive synthesis (7 waves)
Variable bit reduction (bit-crushing)
Ring modulator with its own 2nd oscillator
Noise with LPF, BPF, or resonant filter
Features in LFO mode:
Simultaneous signal and trigger outputs
External wave synchronization
Clock controlled rate with voltage controlled multiplier and divider
CV and knob control of output level
Algorithm based wave engine with a selection of:
Wave shaping
Phase modulation
Random levels and vectors (also Brownian)
Randomly spaced triggers and waves
Display with contextual icons and instant reminder help text
LEDs indicating potentiometer vs. value matching, switch settings and output signals
Automatically saved settings for instant recall at power on
Firmware update by playing an audio file via the front panel
Compact and skiff-friendly module

This MKII evolution brings a redesigned layout, additional knobs for more hands-on fun and semi-modular cross-patching between sections.
All of the original features are present: a top selection of synthesis techniques, each with their key parameter directly at hand, enriched by a full set of complementary features.
More than ever the Twin Waves is versatility at its best.

CouchJam with Minichord and audio.computer Beat Friend

video upload by Many Small Functions

"I ordered my Beat Friend at SuperBooth 2025 and it arrived a couple of weeks ago. This is the first chance I've really had to sit down with it. I love it-- it's inspiring and can be pretty good to chill with.

The Minichord is also delightful for chilling. I need to get more into the patch editor.

Played live while recording on my phone for lofi excitement."

See the labels below for additional posts.

Serge Modular

Click here for shots via this auction.

Details:
"SMOOTH FUNCTION GENERATOR, NOISE SOURCE, DUAL ANALOG SHIFT REGISTER, DUAL UNIVERSAL SLOPE GENERATOR, DUAL PHASER, UNIVERSAL EQUAL POWER AUDIO PROCESSOR, TIMBRAL OSCILLATOR, PRECISION VCO (TWO OF THESE), WAVE MULTIPLIER, VARIABLE Q VCF, DUAL TRANSIENT GENERATOR, DUAL AUDIO MIXER, TOUCH ACTIVATED KEYBOARD SEQUENCER.

Serge gets its name from Serge Tcherepnin (pronounced "Cher - epp - nin"), a multitalented composer and electronic designer born of Russian-Chinese parents and raised in France. Self-taught in electronic design and circuit building, Serge enjoyed doing 'junk electronic' projects early on, making tape compositions using various electronic noisemakers cobbled together out of transistor radios and the like.

After studying music and physics at Harvard and Princeton, he taught music composition at the California Institute of the Arts. This was the early 70's, the heyday of Moog, ARP, and Buchla synthesizers. Calarts had a few Buchla-equipped studios. These were expensive, highly sought-after instruments, kept under lock and key. Getting studio time on one at Calarts meant being either a recognized staff composer or someone who maneuvered themselves into favor. The Buchla, ARP, and Moog synthesizers were interesting in their way, but could be improved upon. They were both expensive and bulky, a system with a decent number of functions could take up a whole wall in a small room. Serge and students Rich Gold and Randy Cohen wondered what they could do about this. After kicking around some ideas, they decided they were going to do their own synthesizer.

The first modules were designed, soldered, and built at Serge's home in what was essentially a kitchen tabletop operation. Before long, the word got out to other professors, students, and musicians about this new synthesizer. They wanted a piece of the action. Serge set up a strange sort of guerrilla manufacturing operation at Calarts on a second-story courtyard balcony. People paid $700 upfront for parts, worked on the 'assembly line' soldering and building modules, and eventually got themselves a six-panel system. Somehow, the Calarts administration either didn't find out or wasn't too bothered by this.

Another interesting player in this drama was composer Morton Subotnik, a professor at Calarts. He had a long association with instrument designer Don Buchla in the early 60's, the two of them collaborating on fundamental aspects of synthesizer design. When Mort spoke, Don listened. Serge caught on to this, and sought to woo Morton away from the Buchlas, but that was difficult. Eventually, Serge did build Mort some custom equipment.

In the 70's Serge collaborated on the design and construction of TONTO, a large polyphonic modular system. TONTO had the ancestry of many early Serge designs, some packaged behind faux-Moog front panels, including the NTO.

Serge eventually quit teaching and began to build synthesizers more seriously, using the first designs as a springboard. The Serge company was started in 1975, in the West Hollywood area, then headed north to San Francisco's Haight Street a few years later. It was always a humble bohemian concern, running more on enthusiasm and the love of making music than money and hardheaded business sense. Business tapered to a trickle in the middle 80's, and Serge, to support his family, started doing various outside electronic consulting projects. In 1992 Serge decided to move back to France. It was at this point that he sold the closely-guarded circuit designs to longtime associate Rex Probe, who then founded Sound Transform Systems. Production record keeping was pretty informal; it's estimated that "hundreds" of Serge systems were produced in the early years.

Today, Serge is again doing musical composition and is involved in helping Russian Jews move to Israel.

As Moog was a powerful East Coast influence that inspired ARP and Polyfusion, Buchla was the West Coast influence on Serge. Several Buchla designs, including the use of touch sensitive nontraditional keyboards, sequencers, random voltage generators, function generators, and matrix mixers found their way into Serge's repertoire. But that's not to say that Serge is merely a Buchla clone. Serge made many unique contributions, including the wave multiplier module, and some ideas were taken to new heights. Serge's oscillator designs have extraordinary accuracy and stability, especially considering their discrete nature. His philosophy of allowing the easy interplay of audio, control, and trigger signals, combined with the use of banana plugs, makes these systems wonderfully flexible.

There's no denying the amazing staying power of the Serge designs. Largely because of the development of convenient microprocessor-based keyboard synths, the 80's were a nasty time for analog synthesizer makers, practically all of them throwing in the towel. Serge's business slowed way down but never completely went out of production. With the recent clamoring for analog gear fueling successful production, Rex Probe and Sound Transform Systems look poised to carry the cream of analog modular music synthesis over the threshold of the 21st century, into their fourth decade of realization.

Sound Transform Systems has done a great job of continuing the analog modular lineage. Most of the traditional Serge modules are there, a few old ones were dropped, a few new ones added. The details are constantly being improved in many visible and invisible ways. They are still laboriously handmade, though the entire build process has been improved. Turnaround time has been improved from several months to 'just a couple'. All the components are top notch. The panel graphics and layout of many of the modules have been redesigned to make them more compact while keeping or improving the functionality. The circuit designs on many modules have been updated."

Serge Modular System

images via this auction and this auction.
Auction 1:
QUANTIZER MODULE
ASR MODULE
ASR MODULE
DUAL TRANSIENT GENERATOR MODULE
RANDOM SOURCE MODULE
SMOOTH STEPPED GENERATOR
CV PRO MODULE
DUAL UNIVERSAL SLOPE GENERATOR
EXTENDED ADSR MODULE
SMOOTH FUNCTION GENERATOR
NOISE SOURCE MODULE
DUAL PROCESSOR MODULE
DUAL PROCESSOR SLOPE GENERATOR
PHASER MODULE
VOLT CONTROLLED STEREO MIXER
NEW TIMBRAL OSCILLATOR MODULE
PRECISION VCO (2 MODULES)
WAVE MULTIPLIER MODULE
VARIABLE QVCF MODULE
DUAL TRANSIENT GENERATOR
DUAL AUDIO MIXER MODULE
TOUCH ACTIVATED KEYBOARD SEQUENCER

Auction 2:
"PREAMP DETECTOR
FREQUENCY SHIFTER
C/M MODULE
WILSON ANALOG DELAY MODULE
MIXER MODULE
VARIABLE SLOPE VCF
RESONANT EQUILIZER MODULE
DUAL PHASER MODULE
DUAL CHANNEL STEREO MIXER MODULE

Serge gets its name from Serge Tcherepnin (pronounced "Cher - epp - nin"), a multitalented composer and electronic designer born of Russian-Chinese parents and raised in France. Self-taught in electronic design and circuit building, Serge enjoyed doing 'junk electronic' projects early on, making tape compositions using various electronic noisemakers cobbled together out of transistor radios and the like.

After studying music and physics at Harvard and Princeton, he taught music composition at the California Institute of the Arts. This was the early 70's, the heyday of Moog, ARP, and Buchla synthesizers. Calarts had a few Buchla-equipped studios. These were expensive, highly sought-after instruments, kept under lock and key. Getting studio time on one at Calarts meant being either a recognized staff composer or someone who maneuvered themselves into favor. The Buchla, ARP, and Moog synthesizers were interesting in their way, but could be improved upon. They were both expensive and bulky, a system with a decent number of functions could take up a whole wall in a small room. Serge and students Rich Gold and Randy Cohen wondered what they could do about this. After kicking around some ideas, they decided they were going to do their own synthesizer.

The first modules were designed, soldered, and built at Serge's home in what was essentially a kitchen tabletop operation. Before long, the word got out to other professors, students, and musicians about this new synthesizer. They wanted a piece of the action. Serge set up a strange sort of guerrilla manufacturing operation at Calarts on a second-story courtyard balcony. People paid $700 upfront for parts, worked on the 'assembly line' soldering and building modules, and eventually got themselves a six-panel system. Somehow, the Calarts administration either didn't find out or wasn't too bothered by this.

Another interesting player in this drama was composer Morton Subotnik, a professor at Calarts. He had a long association with instrument designer Don Buchla in the early 60's, the two of them collaborating on fundamental aspects of synthesizer design. When Mort spoke, Don listened. Serge caught on to this, and sought to woo Morton away from the Buchlas, but that was difficult. Eventually, Serge did build Mort some custom equipment.

In the 70's Serge collaborated on the design and construction of TONTO, a large polyphonic modular system. TONTO had the ancestry of many early Serge designs, some packaged behind faux-Moog front panels, including the NTO.

Serge eventually quit teaching and began to build synthesizers more seriously, using the first designs as a springboard. The Serge company was started in 1975, in the West Hollywood area, then headed north to San Francisco's Haight Street a few years later. It was always a humble bohemian concern, running more on enthusiasm and the love of making music than money and hardheaded business sense. Business tapered to a trickle in the middle 80's, and Serge, to support his family, started doing various outside electronic consulting projects. In 1992 Serge decided to move back to France. It was at this point that he sold the closely-guarded circuit designs to longtime associate Rex Probe, who then founded Sound Transform Systems. Production record keeping was pretty informal; it's estimated that "hundreds" of Serge systems were produced in the early years.

Today, Serge is again doing musical composition and is involved in helping Russian Jews move to Israel.
As Moog was a powerful East Coast influence that inspired ARP and Polyfusion, Buchla was the West Coast influence on Serge. Several Buchla designs, including the use of touch sensitive nontraditional keyboards, sequencers, random voltage generators, function generators, and matrix mixers found their way into Serge's repertoire. But that's not to say that Serge is merely a Buchla clone. Serge made many unique contributions, including the wave multiplier module, and some ideas were taken to new heights. Serge's oscillator designs have extraordinary accuracy and stability, especially considering their discrete nature. His philosophy of allowing the easy interplay of audio, control, and trigger signals, combined with the use of banana plugs, makes these systems wonderfully flexible.

There's no denying the amazing staying power of the Serge designs. Largely because of the development of convenient microprocessor-based keyboard synths, the 80's were a nasty time for analog synthesizer makers, practically all of them throwing in the towel. Serge's business slowed way down but never completely went out of production. With the recent clamoring for analog gear fueling successful production, Rex Probe and Sound Transform Systems look poised to carry the cream of analog modular music synthesis over the threshold of the 21st century, into their fourth decade of realization.

Sound Transform Systems has done a great job of continuing the analog modular lineage. Most of the traditional Serge modules are there, a few old ones were dropped, a few new ones added. The details are constantly being improved in many visible and invisible ways. They are still laboriously handmade, though the entire build process has been improved. Turnaround time has been improved from several months to 'just a couple'. All the components are top notch. The panel graphics and layout of many of the modules have been redesigned to make them more compact while keeping or improving the functionality. The circuit designs on many modules have been updated."

2020 THE SEMI MODULAR BEAT-MACHINE

Published on Mar 13, 2016 DUB-Russell

"2020 is a next generation semi modular beat-machine standalone software for beat making and real-time compositions."

Currently seeking funding on Kickstarter. A beta version is set for a May 2016 release. Some details via the campaign:

"The concept of 2020 is very simple:

1. Generate a million sound/sequence variations from a single, small idea.
2. Make entire beats in just one screen. (without scrolling or switching windows)

The user interface is designed like the console of a spaceship - all functions can be controlled in one simple screen."

Features:

CLICK FOR MORE »

Tangle VSTi - Modular FM plugin for VST/AU

Published on Nov 21, 2016 Computing.Sound

Patch 20112016 A // A Bunch of Waves, Tangle VSTi (Beta)
Patch 20112016 B // Synth Kalimba, Tangle VSTi (Beta)

"Just a little patch I did using the Tangle VSTi by Sound Guru.
http://sound-guru.com/software/tangle/

Needs some further exploration."

"TANGLE

Modular FM plugin for VST/AU

You don't usually see the words 'simple' and 'modular synth' in the same sentence. But that's what Tangle aims to be. Just 12 components, and a canvas to put them on. Hook them up to explore with new combinations and cross-pollinations of FM, AM, subtractive, and comb delay synthesis.

Tangle is in early access beta, and has a reduced price. Beta buyers will receive free updates including all 1.x releases. Contribute to development and influence new feature

Meet the team...

Screenshot of waveform browser.
Components

On the canvas, minature components represent elements in your sound. They show information about the object's settings, and quick controls for important parameters. Selecting one or more objects brings up a detailed panel for each object, which exposes the full controls.

Components are built for simplicity and flexibility. For example, each oscillator has an internal ADSR envelope to reduce clutter on the graph. But if you want, you can turn it off and plug in a multi-stage envelope instead. Another example is a delay component which can be used both in a regular way and as comb filter for Karplus string synthesis.

Oscillator blend between several waveforms, use as audio or LFO
Filter choose from zero-delay, warm 24db, or 12db SVF types.
Noise includes unusual types like crackle, hiss & pink.
Envelope infinite curve and step stages, loops, modulatable times.
Sequencer modulatable 'Cartesian' style inspired by MakeNoise.
Macro knob and XY Pad for control and DAW automation.
Quantise for restricting control signal values
MixPan with several algorithm for unusual mix & pan modulations
Delay in seconds, beats or hertz, with modulatable time & cutoff
Expression capture velocity, aftertouch etc.
Scope view signal from any component on the canvas.

Oscillator

The Tangle's oscillator functions both at audio rates and as an LFO. All the standard waveshapes are here... plus about 5,000 more from Adventure Kid. You can easily add your own to the waveform folder too.

The handy waveform browser loads, displays, scrolls and searches thousands of waves as smooth as butter. Each oscillator can load and blend dynamically between 4 waveforms.

In addition, the oscillator includes optional extras to reduce the number of components on your canvas: a simple ADSR envelope, stereo outputs, and 'slop' controls for unstable frequency and envelope times.

Screenshot of the synthesiser in action.
Polyphony & live patching

The Tangle is programmed in efficient native C++ and most patches can be played polyphonically with little CPU usage. To make things even more fun, there are several polyphonic glide algorithms and temperament selector allowing you to experiment with just intonation and other tunings.

If you want to get lost in some modular-style live patching, hit the 'start' toggle at the top of the screen and The Tangle begins droning a note. Add components and connect them on the fly – it'll be midnight before you know it! When you've added enough connections you'll understand why it's called Tangle...


Graph interactions

Several well-known music applications use the 'boxes and cables' approach. It allows the user a huge amount of freedom and creativity in exploring ideas, in a similar way to hardware modules. But in many cases the interaction in these programs is complex and slow.

The Tangle aims to simplify, streamline and beautify. Many small details add up to a smooth workflow.

Connect multiple objects to a single input. There's little need for mixer objects.
Blend signals by changing each input's strength and range, then adding or multiplying with other signals.
Oscilliscopes everywhere! Easily inspect the signal at different points.
Zoomable components with no loss in quality. Everything is drawn in vectors, so it looks gorgeous on today's high resolution screens.
Helpful tooltips give additional information on almost every control."

AJH Synth Patch of The Week Videos

video uploads by AJH Synth Official

Videos by supoorting member, DreamsOfWires.

Playlist: 1. Patch of The Week: The Sonic XV's Wave Folder - So many tones from just 1 VCO's Triangle wave

'Sonic Arps': The Sonic XV Transistor Diode Ladder Filter has a built-in Wave Folder, and in this video I'm using an arpeggiator in random mode to show the many subtle flavours of sound it can achieve from just a simple triangle wave from a single VCO. I will also pull a huge variety of timbres from a sine wave in a similar fashion.
The filter is a re-creation and expansion of the VCF from the Musonics Sonic V (5) synth of the 1970's (predecessor of the Moog Sonic Six), and shares a similar character to that of the EMS Synthi and VCS3, also being early diode filters. Bearing that in mind you might expect it to produce aggressive tones and chaotic feedback, which it can do well enough, but you might not have expected that it can also be very subtle, organic and warm in character, particularly well-suited to melodic arps/patterns and percussive sounds. With the added wave shaping functionality that wasn't present on the original, along with 24dB and 6dB low pass modes, and band pass filtering, this module packs a lot of tone shaping into 14hp.

Index:
00:00 'Sonic Arps'
00:34 Introduction
01:01 Assembling the patch
01:39 Sounds & Settings
04:33 Patch Sheet

A PDF file of the patch can be downloaded here: https://kvisit.com/8AE/xfUG

Patch notes:
Green dots show approximate pot and switch positions. Where a pot has two dots, this illustrates the range I move them during the video. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions.
I'm using the VCA as a mixer so that I can use the outputs from both the BP and 6dB outputs of the Sonic XV. Notice in the video they are set at different volumes at different points depending on the sound - you will need to adjust this too, as different combinations of IN LEVEL, IN MIX, IN WAVE, and filter settings can make a significant difference to volume levels.
Modules used from left to right: Vintage Transistor Core VCO, Sonic XV, Contour Generators, Discrete Cascaded VCA.

2. Patch of the Week: 'Schulze School' - Melodic Eurorack performance + 'how-to' guide & patch sheet

This week's patch makes use of the V-Shape wave shaper/wave folder to sculpt the great analogue tone of the MiniMod VCO to create some delicate timbres that reminds us of Klaus Schulze's mesmerising sounds created on his sequencer-driven Moog modular synth systems in the 1970's. It also makes particular use of the Ring SM as a sub oscillator generator, and the rich tones of the Sonic XV diode filter.

Check out the AJH Synth playlists for more 'Patch of The Week' videos, which will be either performances or 'how to' guides detailing a range of sounds, some familiar, some less so, and each containing a patch sheet at the end to show you how to construct it for yourself.

3. Patch of the Week: 'Singing Gemini' - Dual Analogue VCF as a Dual Sine Wave VCO How to & patch sheet

This patch uses each of the 2 analogue filters of the Gemini as a dual VCO, self-oscillating, so that they produce sine waves and can be sequenced melodically using the Korg SQ-1 or any analogue step sequencer. This guide shows you how to make this patch, along with a patch sheet at the end. It is one of the many ways you can use just a couple of Eurorack modules to make music, as modular synthesis can be rewarding even with a minimal gear list.

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EMS SYNTHI HI FLI

images here
"1973. (£180) £308
Designer: David Cockerell.
Industrial Design: Martin Holbrook.
A guitar treatment unit built as a console on a stand with two pedal controllers which could be routed as control voltages to any of the slider functions.

Main Controls and Effects (Left to right on control panel)

* Top Boost Slider to provide up to 30db boost at high frequencies. The output from this section goes to the Octave Shift, Sustained Fuzz and Ring Mod sections.
* Octave Shift Slider mixes in a Sub Octave signal.
* Buzz Switch adds high frequency overtones to the sub octave signal.
* Ring Mod Slider mixes in a signal an octave up when single notes are played or "ring modulated" effects on chords.
* Decay Rate Rotary control for the decay time of Ring Mod and Octave Shift signals.
* Sustain Fuzz Slider mixes variable upper harmonics.
* Attack Rate Rotary control varies the rise time of the sustained fuzz signal.
* Pedal Switches Each switch routes either the left or right pedal to voltage control the Slider above it. Each switch also has an inverted setting so that single pedal movements can produce complimentary effects.
* Solo/Strum Switch to alter the Hi-Fli's sensitivity to playing style.
* Bypass Mix Central Slider to blend the effects and original signal.
* Modulation Selector Rotary Switch selects: Slow Modulation range, Fast Modulation range, Rising Mod envelope, Falling Mod envelope, Rising Ramp and Falling Ramp.
* Treatment Selector Rotary switch selects: VIBRATO, PHASING 1, PHASING 2, WAA-WAA (single resonant peak), WAW-WAW (six resonant peaks) and MEOW (two sets of three peaks in opposite directions).
* Modulation Speed Slider to fine control the modulation rate.
* Modulation Ramp Time Slider to set ramp time between 0 and 5 seconds.
* Modulation Depth Slider controlling depth of modulation applied to Phase Filter.
* Frequency Shift Slider to bias the symmetry of modulation.

Mains powered: 100-135 or 200-260 Vac
Input Signal: 10mV (min) to 3V (max), 100kohm impedance.
Output Signal: -20dbm (min) to 0dbm (max).

With silly prices being paid for single fuzz boxes, treble-boosters, Univibes, even $5k for a Way Huge Super Puss delay, etc the opening bid is a steal considering the total functional design of this mammoth. So many possibilities exist for a vast number of unique, one of a kind sounds and textures, it's mind-numbing, but all repeatable. This box is deep and worth the dig. No special pick-ups necessary, no MIDI, just pure old school FAT analog bliss, and tracks exceptionally well.

Honestly, this makes everything else sound like toys, including number two, the $3K plus Ludwig phase II synthesizer(really a distant second IMHO).

The pre-amp design is excellent, and the boost you can get alone just in bypass mode sounds great. The filter section is potent, and will leave you stunned if you haven't heard one before(and if you think you can get close with a Small Stone/Micro Synth/wah pedal phaser and fuzz, think again).

This one features the growl switch which gives you a choice of two and three octave drops, greatly extending the capabilities of the filters. Additionally, with all the parameter options, everything can be mixed, treated, and dialed in, plus activated in real-time with the control pedals, that YOU are the only limitation--truly a mark of WAY forward thinking and design, and this is back in 1972!!

There has been what I believe to have been a factory added, and recommended modification(and I have general factory documentation from EMS to back this up) discretely done at the bottom center of the control panel to disengage the envelope function, giving you access to pre-process the filter section however you see fit.

Also, the top half of the completely ORIGINAL fiberglas enclosure was topically cosmetically fixed and painted to match closely to the bottom, and it was well done--reason being, there were no structural cracks, but a previous, possibly bored, demented and ignorant owner took what looked like from the many scars, a dremel tool to ruin much of the perimeter with mindless surface gashes, etc.

It now looks 1000x times better, really clean and original looking. I tried to show in the side shots, how the top is a bit lighter than the bottom(also due to aging of the pigment). Really, just want to be upfront, as you may not be able to tell from most of the pix.

That aside, when you plug in and start dialing up some sounds, you'll be too busy watching your jaw hit the floor.

Just for a point of reference David Cockerell designed many of great 70's Electro Harmonix classics, including the Talking pedal, Attack Decay, Microsynth, Small Stone, etc.

The Hi Fli has way better versions of those pedals(The Attack/Decay for example, and that is what the envelope function is about, and it can track full chords). You can also do ultra vocal, wicked multi-variations of the $1k plus Colorsound Dipthonizer as well.

The other amazing aspect of this unit is it's clean, unprocessed phasing capabilities, really outstanding on their own, and it also has an amazing vibrato to boot. In this regard, as a stand alone studio processor, it works wonders on vocals, keyboards, drums, especially cymbals-really anything you care to run through it.

Yes, this was used more prominently by Steve Hackett(Genesis), and by Todd Rundgren(Utopia), as well as David Gilmour and Ritchie Blackmore. Here's a cool Youtube link of Genesis from 1976, and you can see the Hi Fli on the side of the stage about 46 seconds in for about 8 seconds: http://www.youtube.com/watch?v=fRerIDAEn8M ,(though I don't think he's using it for the song).

Many of these artists used the Hi Fli for singular features that don't really convey the dramatic and more extreme capabilities of this unit. I will try to post some sound clips before auction end to illustrate this.

Of course everyone in this camp knows about the Hi Fli from Analog man's guide to Vintage effects book. Here's an update from the author Tom Hughes, from Premier Guitar(and notice one Hi Fli has the same mod, not so discretely done): http://digital.premierguitar.com/premierguitar/200811/?pg=142 (click to enlarge pages, click inner arrows to turn the page), good article.

Only around 350-400 of these were ever made, and they are getting very scarce, let alone in this condition and with the original pedals. These will only increase in value(if you can find one) and are worth every penny."

An Interview with Barry Schrader

Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in.  New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process.  If you have anything you'd like to ask Barry, feel free to send it in to matrixsynth@gmail.com.  This is a rare opportunity for us to get insight on a significant bit of synthesizer history, specifically with early Buchla systems, and I'd like to thank Barry for this opportunity. Thank you Barry!

CLICK FOR MORE »

Der Mann mit der Maschine Introduces DROID MASTER18 - Compact Universal CV Processor with MIDI/USB

"The MASTER18 is a very flexible generic CV processor.

You can think of the MASTER18 as a smaller and cheaper version of the DROID MASTER without CV inputs and LEDs, but with an integrated USB and MIDI, six additional gate jacks, two of which are inputs and four are outputs.

Details:

It has 8 CV output jacks with a voltage range from -10 V to +10 V, driven by highly accurate low jitter 16 bit DA converters,
2 gate inputs switching at 0.1 V
4 gate ouputs switching between 0 V and 5 V
2 MIDI interfaces via MIDI standard B (mini jack)
MicroSD card reader and a button for reloading the MicroSD card
USB C to access the SD card from your computer or to send/receive MIDI
MASTER18 comes with two interesting bonus features:

It can be connected to the Sinfonion as a follower of the Harmonic Sync.
It has an integrated tuning device for VCOs (can measure their frequency).
The MASTER18 is a good choice if you intend to just create CVs and don't need to process incoming CVs. It’s perfect for building sequencers and MIDI to CV converters.

MASTER18 can do almost any CV task you can imagine, such as sequencing, melody generation, slew limiting, quantizing, switching, mixing, working on clocks and triggers, creating envelopes and LFO or other fancy voltages, or any combination of these at the same time. While doing this, is very precise both in voltage and in timing.

You can attach several different DROID controller modules, such as the E4, the P2B8, the P10, the B32, the P4B2 or the M4 in order to get direct hands on access to all parameters and values of these patches.

Easily create your desired DROID patch utilizing our simple and easy-to-use editor with built in tutorials - the DROID Forge. It is available for Windows and Mac (both Apple Silicon and Intel).
The file created with the DROID Forge is a simple text file named "droid.ini" and needs to be loaded on the micro SD card that goes into the MASTER18.

Hint: If you'd rather use a simple text editor to alter the "droid.ini" pick one you like and go for it.

The building blocks of a DROID patch are called circuits. Every type of circuit performs some basic task. Just like a Eurorack module each ciruit has inputs and outputs. You can wire these either directly to the eight inputs and/or outputs and even connect them internally. Every parameter can be CV controlled. You can attach up to 16 controllers to your DROID. Controllers have faders, buttons and potentiometers and allow you to map assign to any parameter or function you like. This gives you direct control over your DROID patch and allows you to create you own instrument.

CLICK FOR MORE »

New Elka Synthex 2 Digital Desktop Synth From Mario Maggi in the Works

This one is in via swissdoc and indirectly via Florian Anwander on the AH email list. This is not the new analog Elka Synthex clone from the new Finnish Generalmusic. This is however from the creator of the original Elka Synthex, Mario Maggi, and it is all digital. An interesting side note mentioned below is that Mario Maggi owns the Synthex name. Not sure what impact if any this might have on the upcoming Generalmusic Elka Synthex remake.


An Update: via swissdoc. It appears a filing for the name SYNTHEX was made on April 29, just three days ago. The filing is under category 15 which covers: "Electronic musical instruments; Electronic synthesizers; Electronic musical apparatus and instruments; Electric and electronic musical instruments; Mechanical, electric and electronic musical instruments; Electronic apparatus for synthesising music [musical instrument]."

"Hello to everyone,

my name is Enrico Cosimi, I'm the author of the text on ACM concerning the Synthex 2. I have been in touch, here in Rome/Italy, with Mario from the late Eigthies and, from the mid Nineties, I'm working with Mario on his "version two"; as you can imagine, Mario is a very very very busy kind of genius, who conceived and realized a lot of third party non-musical items (especially for telecommunications and health). I am not allowed to reveal all the data concerning the new Synthex 2 (b.t.w., it will be a digital equipment: would you dare to conceive an analog instrument with 128 LFOs and 64 EGs in the same box?), but - trust me - when it will be done, it will be a GREAT machine.

CLICK FOR MORE »

MOON8 - Pink Floyd's Dark Side of the Moon, Chiptune Style

MOON8 4 of 6 - Money
video upload by Sakanakao

Full album below.

"http://rainwarrior.thenoos.net/music/... [mp3s]

Pink Floyd's Dark Side of the Moon arranged for NES by Brad Smith. Created using Famitracker, sound rendered with NSFplug."

Playlist:

via Retro Thing

Update via cw8cka in the comments: "Pink Floyd’s quintessential 1973 album, Dark Side of the Moon, has been a perpetual presence on record sales charts even since its release. A recent chiptune album, created by software programmer Brad Smith, takes a fresh look at the classic and capitalizes on its huge popularity, while succeeding in bringing something new to the table.

Chiptune, for those not familiar with the genre, is a form of electronic music in which music is created in a way emulating the production of music on early 8-bit video game systems such as the Nintendo NES. Composers are limited to the use of a square sound wave and only three oscillators. Despite these limitations, many chiptune albums have shown, especially Smith’s Moon8.

Smith spent nearly two years working on Moon8 in his spare time using the popular chiptune software, FamiTracker. He originally undertook the project for the amusement of a friend, and presented it at a small party. He then uploaded the work to Youtube, with no video other than a still frame depicting the original Dark Side of the Moon cover re-imagined in an 8-bit art style. Despite the lack of visual interest or marketing, the videos are on their way to viral success. In one short month, most of the Youtube videos already boast over a third of a million views.

Moon8 is a loving recreation of its source material, very rarely deviating from the original. The guitar voices, dynamic shaping, echoing vocal lines, and sliding pitch shifts present in the original songs are all executed with near perfection. Unlike many chiptune works, the album is completely listenable. I had no trouble sitting down for 45 minutes with my headphones on and playing the duration of the album. There were no headaches, and no uncontrollable urges to tear out and eat my own hair. Many chiptune composers could learn a lot from Smith’s style.

The moments in which it seems most impossible for Smith to recreate Pink Floyd’s work are the moments in which his work shines the most. Two of the most popular songs on the original album feature the heavy use of sound effects: Time, and Money. Certain effects in the sound collages that open these tracks are obviously impossible to render on the NES, but Smith reacts brilliantly. A sonically detailed effect of coins jangling together is represented instead by its comically simplified Super Mario equivalent. This nod to the video game background of the chiptune genre is cute and entirely appropriate. The cacophony of acoustic sounds from antique clocks that opens Time would also impossible to recreate on the NES. The listener is instead greeted with an equivalent cacophony of sounds resembling the alarm functions digital watches, cheap digital alarm clocks, and cellphones.

Moon8 is available for free download in a variety of formats on Smith’s website, http://rainwarrior.thenoos.net/music/moon8.html. The mp3 version consists of only two files, one corresponding to each side of the album’s original vinyl release, a move the speaks greatly to Smith’s great respect for the work he has made his own. Moon8 stands as a tremendous tribute to Pink Floyd, rather than the satirical mockery we can easily imagine it as."