Point Blank on Emulating The Classic Roland TB303

The following tutorial covers emulating the Roland TB-303 with Logic's ES1, however the techniques can be applied to other synths. Posted in full here with permission from Point Blank. The embeds below are only linked in the Point Blank post. I opted to embed them. Be sure to check out their site for more pro audio tutorials.

"Hands up who likes analogue synthesisers?! Of course you do; there’s dozen of models out there and the best thing is, they’re all different. That might seem strange at first glance because when you examine them, most models appear to be basically the same.

My Roland SH101 has one oscillator, one filter, one envelope generator and plays only one note at a time. Put that next to my Yamaha CS10, which is nearly exactly the same in terms of sound making facilities, and everyone except a guitarist would tell you they’re different, as different as a grand piano and a Yamaha DX7 (and the SH101 sounds far better in my opinion). And as every synth sounds different, each is unique. Which brings us to a tiny silver box manufactured in 1982. It’s the antique synth that inspired every dance music genre since Acid House:

The Roland TB303 Bassline.

Hardfloor - Acperience 1

YouTube Uploaded by drstrobo on Nov 27, 2006

On paper it looks extremely limited. It has one oscillator, one envelope generator, one filter and a tiny keyboard that’s next to impossible to program. And yet, this synth sounds like no other. It’s weedy, shrill and despite it’s ‘bassline’ tag the thing it does worst is basslines. How ironic! TB303 are very rare and very expensive these days, and quite frankly you’d be better off spending £1200 on a decent set of monitors. To save you some money I’m going to show you how you can make Logic’s ES1 software instrument do a close imitation. And if you don’t have Logic, don’t worry, because these steps will work on just about any softsynth.

The basics

1. Load in the ES1 and set the oscillator to ‘sawtooth’. Set the oscillator mix so you have only the main oscillator, not the the subsoscillator. The TB303 has no suboscillator and only a dial between sawtooth and ‘square’; you can switch the oscillator to square if you prefer.
2. Set the oscillator range to 16’.
3. Make sure the ES1 ‘Voices’ setting is in ‘Legato mode’ and with ‘Glide’ set to around a 1/3 of the way up.

This setting is extremely important; we must not have notes overlapping and creating chords. We need the ability to slide between specific notes too!

4. Set the ADSR to very fast attack (but not instant, just slightly off will suffice). Set sustain to zero. Set the release and decay to two thirds of the way up.
5. Set the amp to ‘Gate R’ and the ‘level via vel’ triangles to one at the top and the other 2/3 up.
6. Set the filter to 12dB (the TB303 actually has an 18dB filter but the ES1’s filter sounds far more realistic at this setting) and the ADSR via vel triangles at zero and 2o’clock. Drive should be at zero, and ‘Key’ at half way.
7. Set ‘Analog’ to 100%
8. Set both modulation faders to zero. There’s no modulation other than ADSR on a TB303!

So, with your synthesiser set up in this way, you should have an approximation of a TB303 coming out of your speakers. That’s only half of the battle: to really get that acid feel you need to play the ES1 like a TB303 too. Which actually means that you mustn’t play it but manually program in a pattern in the style of a Roland sequencer from the early 1980s.

The Pattern

1. Create a one bar region in the arrange area using the pencil mouse tool (esc > No.2)
2. Open that in the piano roll editor and draw in the notes you want to play using the pencil tool. Note that the default length on velocity setting is ideal for us because the note is one 16th note long and the velocity is 80. Remember, no chords!

Here’s where things get really clever. At the moment, you’ll probably have a string of notes, each clearly firing one after the other. The TB303 can do that, but the best patterns use glides, legato and accents to create that classic Acid House feel.

1. Drag the right hand corner of the note that you want to ‘slur’ into the next one to the right so that it overlaps with the next note. This will do two things: it will stop the envelope generator triggering again and it will make the ES1 sweep to the new note’s pitch. Nice!
2. The finishing touch is to add accents. You do this with the velocity mouse tool (esc > No.9). At the moment, all your notes will be at velocity 80. Click-drag up on the note you want to have an accent until the velocity is at, say, 100. That note will not only be louder but it will also be slightly brighter too, just like in the old days.

The finishing touches

Of course, it’s how you adjust the settings on the synth that makes that TB303 ‘performance’. The best ones to play with are the Decay/Release settings on the ADSR, Filter Cutoff, the Filter Resonance and the degree of Filter Modulation (move the fader by clicking between the two triangles). If you want to emulate the changing of the ‘accent’ setting, try moving the top filter triangle up and down. Also, you can adjust the attack setting on the ADSR; moving it up to just under a quarter of the way will give you an accurate ‘filter lag’ sound. The key here is subtlety. The real TB303 connoisseur can also add a touch more resonance on every accented note; this is most easily drawn in with automation.

Clean TB303 sounds went out of fashion in the 80s.

Phuture - Acid Tracks (1987)

YouTube Uploaded by CraazyAcid on Sep 26, 2009


Try these effects to dirty up your fake TB303:

1. Bitcrusher. But don’t use it to down-sample the audio. Instead, just adjust the drive setting. This will give you that classic ‘abused preamp on a cheap mixing desk’ grit.
2. Ensemble. This can help a pattern come alive, and adds a nice movement to the sound.
3. Tape delay. Throwing a dash of this into your mix can give the ES1 pattern an extra bounce and sound great with those shrill filter sweeps.

Enjoy!

To learn how to produce the classic Roland TB303 sound using Ableton Live, check out this tutorial from fellow Point Blank tutor, Danny J Lewis.

Steve Hillier teaches Music Business at our London College and Logic Music Production Online. Keep up to date with all of our news, tutorials and giveaways by subscribing to our Youtube channel, or following us on Facebook and Twitter. Please leave a comment below."

Circuit Bent Sa-21

Published on Jan 29, 2014 randalllundy·18 videos

"Long video of me fooling around with this Casio I bent...currently for sale on eBay"

via this auction

"A little about the SA-21, itself:

100 different sounds to choose from, ranging from traditional to wacky.

5 demo songs

5 drum sounds (hihat, bass, snare, agogo(?), crash)

19 different rhythm accompaniments

13 different super accompaniments


Mods:

"Glitch Randomizer" switch and knob: while playing a note/ drum sound flip this switch to initiate some crazy glitches! The glitch depends on the sound you are using and the placement of the knob. You can change up the glitch by twiddling with this knob. Works best when all the way up. Reset button: Use this button to reset the machine when it freezes up and won't make any sounds. This is common with circuit bending. It basically turns the machine off and on again. Power starve knob: This knob controls how much voltage the circuit is getting. For normal operation, you want this knob all the way up. You can use the starve knob to alter the sounds and get more glitches. There are 2 methods: The first involves turning the knob all the way down so that the circuit is getting no voltage. Then, slowly turn the knob up while playing notes on the keyboard. Stop when you start to hear noises... and then you can also continue to turn the knob up slowly to alter the glitches. The second method starts with the starve knob all the way up to full voltage. Play a demo song then slooowwwwly turn this knob down just a tiny, tiny, tiny bit, and the machine will freak out! Doesn't work every time and may crash the device but simply turn the knob back up, hit the reset button and try again! That's circuit bending for ya. Overall, I like the sounds on this keyboard... And there are a hundred to choose from! I also like the drum sounds! It's fun tapping out a beat on those big buttons! The glitches are awesome, it's like the machine has a mind of it's own... And it's a little psycho :)"

Who becomes silverware first? - 10 minute LFO filter sweep and semi-generative Eurorack jam

video upload by thesrabbit

"This sonic experiment was inspired by the Dreadbox Erebus LFO having a whopping 10-minute long cycle time. Therefore, I thought it might be fun to run that LFO into every single filter I have with a CV input, including big analog polys with a VCF control input on the back intended for expression pedals. The honorary VCFs include: 2x Roland System-500 521, G-Storm Electro SH-2 and SH-5, Dreadbox Erebus, Oberheim OB-X8 (OB-X SEM LP mode), Sequential/Oberheim OB-6, Roland Juno-6.

Interestingly the filters on the big polys don't open all the way. I assume this has something to do with the inputs being calibrated for expression pedals rather than Eurorack CV. According to my oscilloscope, the Erebus LFO range is -5v and +5v. This is pretty typical for Eurorack. I set the cutoff at about 50% for all the filter modules. This seemed to work perfectly. But I was not able to do that with the polys. With the cutoff at 50%, the filters would open up all the way, but they wouldn't close nearly enough. I had to bring the cutoff completely down, and as a result, the filters on the polys wouldn't open up all the way. I did alternate takes where I walked around and tried to smoothly nudge each one up in order to get the filters fully open, but that was a disaster. In retrospect, I could have set up a one-shot MIDI LFO to do this and triggered it once at the right moment, but I already had enough things to worry about.

One of my audio interfaces is dead or dying, and it keeps ruining takes and sometimes crashes Logic. I finally turned it off and went with my lone Focusrite Scarlett 8i6, which has always been solid. But now I had an extra synth without an input and I wanted to have the polys on their own tracks so that I could blend them in with the Eurorack stuff to taste. And there's no possible way I could overdub since the whole point is to have one LFO sweeping all of the filters at the same time. I ended up resorting to an old 1989 JVC cassette deck to record the OB-6. So that shot at the opening of the video is legit. There's such a big wall of sound here that it's impossible to tell if it ended up adding any saturation. It definitely added some hiss and crackles but that's fine in this context. The cassette itself is ancient, cheap consumer grade, 60 minutes per side. I ended up recording over some 90's black metal that had been there since, well, the 90's.

To add to the grit and grime, I intentionally ran the filters from the Eurorack straight into the audio interface, bypassing the typical flow through VCAs. Ok, fine, I totally forgot about the VCAs, but it sounded extra dirty, so I didn't stress out too much. I certainly wasn't going to power everything back on, tune everything up and do another take because of it.

Obviously when the filters are closed or nearly closed for several minutes, there needs to be something to fill that gap. That's where the generative stuff comes in. There's 3 different sample and hold circuits feeding different things, including back into themselves in one case. Some voltage is running through different logic gates in conjunction with other, steady LFOs. Since I'm out of filters, the sound consists of pink noise through a VCA, triggered at random by a very short decay envelope. This runs into a recovery tape delay module, that gives sort of a slapback effect.Then there's a single oscillator, pitch controlled by another S/H circuit run through a quantizer and then running into the spring reverb tank. It's also triggered by the same random voltages triggering the noise hits. Then there's the Mutable Instruments Plaits, making the plinky plonky sounds, again everything triggered at random. It's running into the majestic Calsynth Typhoon.

The last thing to note is that the Erebus LFO also acts like an automated fader to increase and decrease the level of the VCA where all the rhythmic sounds are running through. I simply inverted the signal of the LFO output to do this. As the filters open up, the VCA level diminishes. When the filters fully close, the VCA level increases to maximum.

Last last thing. That knob twisting near the beginning isn't for sci-fi FX, though that's an added bonus. I was simply trying to get the LFO back to its "starting position." I didn't quite succeed. I don't believe the Erebus has any sort of LFO triggering mechanism to help with this. All good though.

FX: Audiothingies DoctorA delay and reverb, Boss DM-101 delay

No post processing other than a 30Hz low cut and slight limiting on the master"

Earthquaker Devices Rainbow Machine Polyphonic Pitch Mesmerizer

Note: Auction links are affiliate links for which the site may be compensated.
Uploaded on Dec 29, 2011 JetCityMusic·389 videos


via this auction

"Welcome to the Rainbow Machine, in all it’s synthetic glory! This one is for experimenters, adventurists and noisemakers. Totally not for purists and/or tone hounds, there are no “natural sounds” that will come from this box. It takes modern DSP and uses it as a tool of future past to create real time pitch shifting using digital oscillators. The sound is much different than most modern day pitch shifting devices. It was imagineered to be wild and out of control and slightly imperfect while still tracking up and down the guitar neck without glitching out. A cold digital beast made to pretend it has feelings. It will do basic polyphonic harmonies from a 4th down through a 3rd up and every atonal pitch in between. You may add in an accompanying octave to the harmony by bringing up the Secondary function control. You can take it way beyond and open up your third eye by bringing in the Magic. The Magic is the heart of the Rainbow Machine. In conjunction with the Tracking control, the Magic creates wild pitch take offs and descend’s, chaos chorusing, shrieks, pixie trails and wealth of other general mayhem inducing noises. The pitch can be controled by an external expression pedal for extra fun! The Rainbow Machine can be used on bass, keys, vocals or anything else you can dream up!

Expression Pedal
We recommend the Moog Expression pedal for the

Controls
Pitch - This controls the pitch of the harmony. All the way counter clockwise is a 4th down, all the way clockwise is a 3rd up. The middle position is unison. The pitch can be controlled by an expression pedal as well.

Exp - This is an expression pedal control jack for the pitch. The Pitch control is defeated when an expression pedal is inserted.

Primary - This controls the volume of the Primary pitch shifted signal. Unity is about 2 o'clock, anything above will boost the signal.

Secondary - This controls the volume of the secondary pitch shifted signal. The Secondary signal is one octave above the Primary from noon up and one octave below from noon back. Unity is about 2 o'clock, anything above will boost the signal.

Tracking - This controls the amount of lag time between the direct dry signal and the shifted wet signal. The pitch shifted signal will track right on the dry signal when this control is all the way clockwise. It will start to lag behind the more it is reduced. This function is especially useful when the "Magic" is engaged.

Magic - This adjusts the "weirdness" of the effect. The end result is a wide variety of wild effects depending on where the other controls are set. The magic control will only work if the magic switch is engaged and the primary and/or secondary are in use. (Technically, it's a regeneration control that creates aliasing between a mix of the primary and secondary functions feeding back against each other).

Tone - All the way clockwise is full signal, reduce to soften the highs.

Measures
4.7" x 3.7" x 1.18"

Power
Any standard 9 volt DC power supply with a negative center 2.1mm barrel. No battery option."

Buchla 250e Easy Sequence Basic Setup.

Published on Jan 27, 2013 genxtargetmarket·49 videos
Left channel audio on this one.

"This video demonstrates how to setup an initial patch that will program the 250e to function as a traditional step sequencer. If you feel lost or that your 250e isn't working correctly, set it up in the following manner:

1) Set all 16 stages to "ADV" Mode. Located near the green and red "Stop" and "Start" Buttons.
2) Set all 16 stages to the same "Time Range". The button just above step 16's outer knob. If the LEDs are off then you are in MIDI clock mode and you MUST send MIDI clock to 225e. You MUST have a 225e in order to translate any MIDI into something that the 200e can use.
3) Set all 16 stages so that the inner ring of smaller blue knobs are pointing in the same direction. It doesn't matter if they are all to the right (like in this video) or all straight up or all to the left. Just set them the same in order to rule out any errors and to make things simple.
4) Make certain that you are in EDIT mode and program at least a few steps so that Pulse 1 fires from time-to-time.
5) Connect the 250e's CV 1 blue output to the black CV input jack on a principal oscillator of your choosing. I'm using a 259e in this video.
6) Turn this oscillator's SMALL blue "CV in" knob all of the way up
7) Turn this oscillator's LARGE blue "Pitch" knob all the way down and to the left.
8) Patch this oscillator's output to a channel on your 292e. This is one of the jacks at the BOTTOM of the 292e panel. The professional studio patchbay standard is Outputs over Inputs and Buchla adhere to this standard.
9) The 250e's Pulse 1 output should go to a channel of your 281e Quad Function Generator. MAKE CERTAIN THAT the 281e channel is in 'triangle' (Attack/Decay) mode. This is the one grey button at the left side of the 281e panel.
10) Set the Attack of the 281e completely to to the left
11) Set the Decay of the 281e to at least .01 or somewhere around 9 o'clock. You may have to play with this setting depending upon how fast you've set the 250e clock. If it is too short (all the way to the left) it is very possible that you won't open the 292e channel and no audio will pass.
12) Patch the BLUE output of this 281e channel to the black input of the 292e channel that you are using in step # 8 of this description.
13) Patch the output of this 292e channel to the input of your 227e, 206e, 207e or monitoring system. The output is either of the 2 audio jacks that correspond to the channel you selected to use in step # 8
14) Set the channel of the 292e to Low Pass Gate (LPG) mode. This is indicated when both green LEDs are 'off' for that channel.

15) Test the signal flow by turning the blue offset knob on the channel that you've selected in step #8. Make sure that you can see signal metering on your 227e, 206e or 207e. If there isn't any, make certain that the input channel on your 227e, 206e or 207e is turned up. If you are using headphones, slowly turn up the level on them once you see signal metering. If you are using speakers and a 227e, you must turn up the Master Volume of A&B outputs or C&D outputs. This depends upon how you've connected the rest of your monitoring chain to the 227e. The 227e's Master Outputs are the larger white knobs above input channel #4's large blue knob.

16) Turn the 292e's blue knob back down. Push the green "Start/Adv" button on the 250e. You should hear your sequence."

Richard Lainhart - Bellingham Electronic Arts Festival Lecture & Performance

Slideshow of Richard Lainhart's lecture at the Bellingham Electronic Arts Festival (BEAF), Friday, May 6, 2:PM PST, 2011 (mentioned in this post). Below is a video of the Buchla and Haken Continuum portion of the lecture followed by a performance of Olivier Messiaen's Oraison written for the ondes Martenot at the 48:00 mark (see this post for the original version and this post for another performance by Richard). You will notice Richard makes references to earlier parts of the lecture. These included his training on the CEMS modular synthesizer system and the ondes Martenot (don't miss this post and this post on the CEMS). See the labels at the bottom of this post for more info on each. I will upload those videos at a later date. They were background to Richard's experience with early modular synthesizers and controllers that eventually lead him to the Buchla and Haken Continuum. It was a great lecture and I hope you enjoy it. Be sure to bookmark this one. I also want to thank Richard Lainhart for doing lectures like these. They are a rare treat.


YouTube Uploaded by matrixsynth on May 19, 2011

The following is a full transcript. BTW, if anyone is interested in transcription services, let me know.

"RICHARD LAINHART: BUCHLA AND HAKEN CONTINUUM LECTURE

Speaker: Richard Lainhart
Lecture Date: May 6, 2011
Lecture Time: 2:00 p.m. PST
Location: Western Washington University
Event: Bellingham Electronic Arts Festival 2011 (BEAF)
Length: Digital AVI recording; 57 minutes 32 seconds

[Beginning of recorded material]

Richard Lainhart: Okay. What I want to do now is actually talk a little bit about the system itself here and about the design of the system and explain what's actually happening here and why it's designed this way, and again, my focus on, on expression. So this is, as I mentioned, this is the Buchla 200E. This is a current electronic music instrument that is still being made now by Buchla. Don Buchla again was a contemporary, or is a contemporary of Bob Moog, and he took a very different path than Moog did. And one of the reasons I think that Moog's instruments became so popular, of course the Mini Moog was like the first real break-out electronic music synthesizer, was that Moog's instruments had keyboards on them. They had black and white keyboards. And you could use them to play, you could use them to play rock and roll with them basically because you could plug them into a really loud amplifier and it could be louder than a guitar. And it could be a bass, you know, it could be louder than a bass and all that sort of stuff. And of course a lot of, you know, a lot of wonderful music was made with that instrument.

CLICK FOR MORE »

MOOG Taurus

Title link takes you to shots pulled via this auction.

Details:
"From a 1980 Moog Flyer
The Moog Taurus Pedal Synthesizer lets you make music with your feet while your hands are busy playing keyboard, guitar, or drums. The Taurus has three programmed voices and a voice that you can program completely In performance you can select a Moog voice or your voice instantly The Taurus is a variable synthesizer that features two audio oscillators to create phasing effects, parallel intervals, and rich percussion sounds. In addition, functions like glide, decay and pedalboard octave may be switched by foot during performance. And its five octave range makes Taurus more than a bass instrument. Add another dimension to your control over sound-add a Moog Taurus 1 pedal synthesizer.

TAURUS FEATURES
Three pre-programmed synthesizer voices: Bass, Tuba, and Taurus
· One fully programmable voice. You create the sound and pre-set it yourself.
· Five octave range-16' 8' 4' 2' and 1'
· Foot sliders for loudness and tone color variation.
· Ultra stable oscillator design: less than one cent (0.06%) short term drift, less than two cents (0.18%)
long term drift.
· Electronic preset selectors. Presets never have to be cancelled.

Introduction
THE MOOG TAURUS IS A FOOT-CONTROLLED PEDAL SYNTHESIZER COMBINING THE FEATURES OF A
SYNTHESIZER-GOOD SOUND AND VERSATILITY-WITH FOOT CONTROLLED SOUND MODIFIERS AND
PRESETS.

THIS VERSATILE MUSICAL INSTRUMENT OFFERS THE CAPABILITY OF PRODUCING TRADITIONAL OR
NEW SOUNDS, INSTANTLY SELECTABLE FROM THE FOOT-CONTROLLED PRESETS. ONE OF THESE
PRESETS IS FULLY PROGRAMMABLE SO THAT THE PLAYER MAY SET UP A "SOUND" AND GET TO IT
INSTANTLY.

TO PROVIDE MAXIMUM PROTECTION, THE UNIT IS ASSEMBLED IN A RUGGED WOOD AND METAL
HOUSING.

Description
The basic functions of the Taurus Synthesizer (see accompanying block diagram) are programmable. That is, values of the various parametersthat are used to control the details of a sound are determined either by the internally fixed values (for the three fixed presets) or set by the player accessible controls (for the VARI ABLE preset). In normal usage, the VARIABLE preset is set up prior to performance using the VARIABLES controls in the control box. During actual performance, the player selects one of the four presets instantly by depressing one of the four PRESETS foot-buttons. These four PRESETS are mutually exclusive, that is, only one preset may be ON at any one time.

The basic tone sources are two voltage controlled oscillators (A and B). Two basic pitch controls are used for fine tuning the instrument. First, the TUNE control is used to set the pitch of both oscillators to the desired reference, such as another instrument being used simul taneously. The BEAT control is used to make fine adjustments in the relative pitch of the two tone oscillators (by modifying the "B" tone source pitch). In addition to these basic tuning controls, the "B" tone osciliator pitch in the VARIABLE preset mode may be varied over a greater than one octave range by adjust ing the OSC B FREQ control. The relative pitches of the two tone sources are internally set for the three fixed presets.

The entire instrument may be shifted either up or down one octave by use of the OCTAVE foot-button. As the OCTAVE foot-button is successively depressed, the instrument tuning changes by one octave; an indicator light shows that the instrument tuning is in high range. For the three fixed presets, the OCTAVE button switches the instrument between the 16' and 8' ranges. When the instrument is in the VARIABLE mode, a manual OCTAVE slide switch in the VARIABLES control box may be used to select three pitch range positions (LO-MED-HI). These three positions correspond to a 16' or 8' range for the LO position, an 8' or 4' range for the MED position, and a 4' or 2' range for the Hl position. The "B" oscillator range extends to 1' with the OSC B FREQ control positioned all the way up.

The instantaneous pitch of the instrument is controlled not onty by the OCTAVE and fine tuning controls, but also by a GLIDE control and GLIDE foot-button. The glide effect is a smooth transition in pitch between successive notes. The GLIDE foot-button operates in a manner similar to the OCTAVE foot-button in that the glide effect can be alternately turned ON and OFF, the ON state indicated by the GLIDE light being ON. The amount of glide effect is determined by the GLIDE slider in the VARIABLES control box. The player may thus set up the amount of desired glide effect using the GLIDE slider and then use the GLIDE foot-button to switch the effect in or out.

The two tone sources are combined in different amounts in the mixer. In the three fixed presets the amounts are internally set, while in the VARIAB LE MODE the relative amounts of the "A" and "B" tone sources appearing in the final output are determined by the B-MIX-A control in the VARIABLES control box.

The output of the mixer is applied to the voltage controlled filter which may be used to provide either dynamic or fixed timbre modification. Whenever a note is depressed, a filter contour signal is generated, successively opening and closing the filter. The amount of opening and closing the filter is determined by the CONTOUR AMOUNT slider. The rate at which the filter is opened is determined by the CONTOUR ATTACK control slider while the rate at which the filter is closed is determined by the CONTOUR DECAY slider. These contour controls determine the characteristics of the dynamic aspect of the filter function. The effect of the filter is determined by the settings of the contour controls and by two other controls (CUT-OFF and EMPHASIS). The cutoff frequency is the filter characteristic which is "moved" by the contour signal. The initial cutoff frequency is determined by the FILTER foot-slider and by internally preset values for the three fixed presets. For the VARIABLE preset, this initial filter cutoff frequency is determined by the FILTER foot-slider and by the CUT-OFF control in the VARIABLES control box. For example, using the VARIABLE preset with the CONTOUR AMOUNT control set all the way down, the tone color may be changed but not dynamically, by either the FILTER foot-slider or the CUT-OFF slider.

The EMPHASIS control varies the amount of peaking of the filter. That is, the intensity of the frequency components of the tone generators which lay near the filter cutoff frequency is emphasized to a degree determined by the EMPHASIS control.

The output signal from the voltage controlled filter is applied to the voltage controlled amplifier (VCA). The VCA serves the function of "turning on and turning off" the sound. This articulation of the signal is caused by the VCA contour generator. The rate at which the sound is "turned on" is called the attack time. This attack time is internally set for the three fixed presets and is set by the ATTACK control in the VARIABLES control box for the VARIABLE preset. The sustained loudness of a preset is called the SUSTAIN LEVEL. The SUSTAIN LEVEL is determined by an internally preset value for the three fixed presets, and by the SUSTAIN LEVEL control for the VARIABLE preset. In addition, the overall loudness is determined by the LOUDNESS foot-slider. The manner in which the sound dies out or decays is determined by two functions. If the DECAY light is ON, the sound dies out at a rate determined by the DECAY control in the VARIABLES control box for the VARIABLE preset. If the DECAY light is OFF, the sound dies out immediately when the note is released (no decay).

The output of the VCA is applied to the OUTPUT LEVEL rotary control on the inset rear panel. The OUTPUT LEVEL control is used to match the signal level of the Taurus to the amplifier. GeneralIy, the OUTPUT LEVEL control will be set so that the maximum desired loudness for any preset is achieved when both the LOUDNESS and the FILTER foot-sliders are in their uppermost positions. When using the TAURUS with a bass amplifier or similar musical instrument amplifier, plug the TAURUS into a high level amplifier input, and set the amplifier volume control one-third to one-half of the way up. Then set the OUTPUT LEVEL control on the Taurus rear panel for the desired volume range.

The Taurus may be operated using either a 115 or 230 volt line voltage.

(From 1978 Norlin Music Taurus Pedal Synthesizer Owners and Service Manual)

Check out these sites!!!
http://reviews.harmony-central.com/reviews/Keyboard+And+MIDI/product/Moog/Taurus/25/1
http://web.archive.org/web/19991002101508/http://umbc7.umbc.edu/~rous/taurus.html
http://www.oldtech.com/synth/MoogTarus12.html
http://www.soundonsound.com/sos/1995_articles/jun95/moogtaurus.html"

HEINA KROON POSITRON 16 - Morphing Analog Concept Polysynth

video by Heinakroon Overlays & Accessories

via HEINA KROON

"Note: this synthesizer concept is a personal design and not associated with Behringer or MUSIC Tribe Global Brands Ltd

POSITRON 16 is an analog polyphonic synthesizer concept that focus on morphing, with continuously variable waveforms, filter modes, arpeggiator patterns and more.

It features plenty of hands-on controls, from the three wheels, the Morpher joystick and a fullwidth ribbon controller to polyphonic aftertouch, macro controls, dual pedal inputs and even a CV antenna socket. This will make sure you are always in control of your sounds and performances even during improvisations, and the intuitive LED-collar encoders with push button function make creative sound programming a breeze.

CLICK FOR MORE »

Dave Smith Was an Ironman Triathlete

In case you missed it in this post, Roger Linn noted Dave Smith was "an avid athelete, cyclist and triathlete. He actually participated in the Hawaii Ironman Triathlon in his younger years..."

@birdkids reminded me of an article on the development of the Prophet VS archived on the WaybackMachine. In it, Chris Meyer mentions Dave was in Hawaii prepping for the tournament during that time. I thought it was interesting and worth sharing. I captured it below.

"Date: Wed, 15 Jan 1997 07:55:41 -0800
From: Xrystal
MIME-Version: 1.0
Subject: Birth of the Prophet VS

I thought the following might be of interest to you. Xrystal
_____________________________________________________________________


The Birth of the Prophet VS

By Chris Meyer, ex-employee of Sequential Circuits

reprinted from the VS WaveWrangler User Guide by permission of Interval Music Systems,
©1991 Interval Music Systems.

It all started somewhere in 1985. We were still working on the Prophet 2000 sampler,
and as resident historian (in other words, I had the most magazines and manuals) another
engineer was asking me to explain how various instruments performed crossfades. I had
finished discussing the Fairlight, and had moved on the PPG - explaining its wavetables,
and the ability for it to scan a group of waves first in one direction and then back again,
While I was scrawling this back and forth motion in my notebook, suddenly a little twinge
went off in the back of my head, and myhand drew the next line arcing down the page.. and the
concept of crossfading beween waves in two dimension, not just one, was born.

CLICK FOR MORE »

Mimetic Sequent generative melodies

Published on Jul 9, 2019 Noise Engineering

"Mimetic Sequent generates a pitch sequence for Cursus Iteritas Percido, slowly modulated by Pons Asinorum."

via Noise Engineering:

"Mimetic Sequent came out a few years ago and it’s the module of ours we think people are most confused about. So today we wander into the weeds with MS and its expander, Mimetic Multium. Good luck! You’ll need it! Just kidding! Not really!

OK, BUT REALLY, WTF IS MIMETIC SEQUENT

It’s a random CV source, a CV recorder, a CV randomizer, a quad random trigger generator (with its expander), and a whole lot of fun.

When I first got my MS and MM, I was confused, dazed, confused, and also confused. There were a lot of switches that all seemed to interact-- but how? There was a big, enticing knob in the middle. And there were buttons. Oh the buttons. What did any of these things do? Let’s talk about the Random knob first, because it’s kind of the point of MS.

CLICK FOR MORE »

David Rogoff on VCOs

David Rogoff sent the following into the Yamaha CS80 list. I asked him if I could put it up and he gave me the OK.

"This touches on a big, somewhat technical, issue of what kind of VCOs the CS80 uses. The VCO III chip is a linear VCO, sometimes called Hz/Volt, as opposed to the more common exponential (Volts/Octave) VCOs (e.g. MiniMoog, Curtis & SSM chips in SCI and Oberheim polys).

Here's a pretty good explanation: link

Here's a (I hope) quick one:
The most basic VCO is a sawtooth one, which can be a capacitor charged by a current. For non-EE types, here's my modified toilet analog (and you though the Metasonix vacuum-tube VCO was weird) : The capacitor is like the water tank of a toilet. The water filling it up is the current. The height of the water is like the voltage across the capacitor. Now, modify the float valve so that when the tank is full it automatically flushes. Then the cycle starts again. If you double the water filling rate ( = double the current), you double the frequency of the flush cycles.

The is a basic, linear VCO (actually Water-CO). It shows a couple of things. First, it's not actually voltage controlled, but current controlled. Ignore that for now. Also, the filling time is adjustable, but the discharge/flushing time is fixed. This is an issue with all sawtooth VCOs and is why many (e.g. Moog) VCOs have a high-frequency-tracking adjustment, which helps cancel this out. Here's the CS80 VCO: link

Ok, so why don't all synths use linear VCOs? As the above link explains, human ears don't hear frequency linearly. A above middle C is 440Hz. An octave about is 880Hz, or double the frequency. The next octave would be 1760Hz: double that. If you graph this, it's an exponential curve. So, the space (in Hertz) between two notes keeps getting bigger as we get to high pitches. If you had a modular synth with linear VCOs (like that old Paia), the top key might output 5 volts. One octave down would be 2.5volts. The next 1.25volts, followed by 0.625v and 0.3125v. This is a pain to generate. Also, as you get to lower notes, smaller voltage inaccuracies start becoming bigger pitch errors to our ears.

To avoid all this, someone (anyone know who? Dr. Bob? Tom Oberheim? Don Buchla?) came up with exponential VCOs. Basically, they're just a linear VCO with a circuit in front of them called (big surprise) an exponential converter. This is just a circuit that takes a linear input (1volt/octave) and outputs the doubling voltage (actually current...) that the VCO wants. Now, everything is simple.

So, why did Yamaha go for the linear? Two reasons, I'd guess. First, adding the exponential converter to each VCO adds more cost to the chips, since there's more circuitry. A bigger issue is temperature stability. As we've been talking about lately, all circuits are affected (i.e. knocked out of tuning) by temperature changes. The exponential converter, for reasons I won't go into, is really sensitive to this. People have been complaining about the tuning stability of the CS80, but it's rock solid compared to any poly-synth with exponential VCOs (P5, OBX, A6, etc). They all need computer-controlled auto-tuning routines to have any chance of staying in tune.

So, what issues/problems/advantages does the CS80 having linear VCOs create?

Good things:
1) modulation - linear vibrato sounds a bit different than v/oct vibrato, probably closer to acoustic vibrato (e.g. violin). Also, as the modulation speed increases, you start getting into F.M. land, which requires linear modulation (you don't want to know the math!). This is why some modular VCOs have linear FM inputs in addition to the normal v/oct controls.

2) sweep to D.C. - my favorite. If you start a pitch bend at the right end of the ribbon and slide all the way to the left, the pitch of the VCOs all go down to 0Hz / D.C. / flat-line. This is because the input to the VCOs goes to 0 volts and the frequency equals the voltage times a constant. With a exponential VCO this is impossible. Going 1 volt less on the control input goes down one octave. Mathematically, you can't get to zero Hz. You'd need to input -infinity volts! Also, many other limitations in the circuit block the VCO from even getting close. Big win for linear VCOs!

Bad things:
1) Keyboard voltages - as I wrote above, the keyboard has to generate exponential voltages. This is a big pain. In a digitally-controlled analog (like the CS80, P5, etc), the keyboard voltage comes from a DAC (digital-analog-converter). 99.99% of DACs are linear. The CS50/60/80 (and others in the family) have bizarre, custom exponential DACs. This makes interfacing the CS80 to other synths and/or MIDI-CV converters a pain.

2) CV mixing. Finally, we get to the original question of adding a pitch-bend input to the CS80. In the volts/octave world, everything is easy: you just add voltages together. Adding voltages is simple to do - just an op-amp and a few resistors. Let's say you had the following voltages come out of a v/oct keyboard: 1v, 2v, 4v. This could represent a low C (c1), C one octave up (c2), and C two octave above that (c4). To make it simple, let's say we have a pitch wheel or pedal add 1 volt to this (2v, 3v, 5v). This would be c2, c3, c5, so we've just transposed the sequence up an octave.

Ok, what happens if we try this with a linear voltage. For the same c1, c2, c4 notes, we might have 1volt, 2volt, 8volt. Adding one volt gives 2volt, 3volt, 9volt. The first note is correctly up an octave, but the next is only up about a 5th and the third note is only transposed up about a semitone. This, obviously, doesn't work. What we need to do, instead, is multiply the voltages. To transpose up an octave, double the voltages. To transpose down an octave, halve them. This is easy for a fixed transpose, but if you want a variable, like a pitch-bend pedal input, you need to multiply voltages. Just like it's much, much easier for people to add and subtract than multiply and divide, so it is for analog (and digital) circuitry.

If you follow the schematics or block diagram of the CS80, you can see that the voltage to the VCOs comes through a long chain of multiplications. The ribbon is actually the initial voltage source for the whole instrument. If the ribbon isn't pressed it outputs some fixed voltage (not sure the actual value - call it 2 volts). If the ribbon is slid up, all the way, from the left to the right, it would output double this voltage, which corresponds to one octave up. If the ribbon is slid the other way, it outputs zero volts, as mentioned above. Next, the voltage is sent through the concentric pitch knobs. Any normal potentiometer is a voltage multiplier, which can multiply the input by anything from zero to one.

This voltage then becomes the reference input to the exponential DAC on the KAS board, which multiplies it by it's exponential resistor network to create the CVs for each of the either voices. These voltages go to the VCO chips on the M-Boards. Are we done - nope - one more CS80 weirdness. In a v/oct synth, the octave/foot switches would just generate a voltage that would be added to the keyboard CV (e.g. MiniMoog). The CS80 VCO, instead, has a special footage input that needs an exponential current for each feet setting. Because this is difficult to do accurately over a wide range, we end up with the wonderful VR4, VR5, and VR6 trimmers to get the feet switching calibrated separately for each of the 16 VCOs. Yuch!

Getting back to the original question (remember Alice? There's a song about Alice...), a pitch bend input would need to control a voltage multiplier. This could be an added circuit, after the ribbon circuit, or could probably be merged with the ribbon voltage. I haven't figured out the details, but it's not rocket science. However, it is a lot more work than it would be on something like a Prophet 5.

Ok, I guess that wasn't quick, but at least I didn't have an graphs or get into transistor curves or Bessell functions.

David"

next! SPACEBASS 3.3 With Mods

via Circuitbenders.co.uk
Click through for demos. Details on the mods captured for the archives:

"This is the 'next! SPACEBASS 3.3' version (the exclaimation mark remains a mystery), which is exceptionally rare. As far as we know, this version was only ever available very briefly in the US and this is the only one we have ever seen in Europe. Most versions found in the US appear to be imported Freebass' or MB33's, so we'd suspect that very few of these models were ever produced.

Our mods add 5 switches, 2 knobs and a jack input round the back to allow a whole extra smorgasbord of sonic mayhem. A veritable 3 course breakfast of orgasmic analogue delight! Something along those lines anyway :) .

THE MODS INCLUDE:

CLICK FOR MORE »

MATRIXSYNTH Review and Overview of the Novation Circuit

Update: Not covered in this review, sample support has been added in the latest Circuit Components update.

The following is my overview and review of the $329 Novation Circuit.

Introduction

CLICK FOR MORE »

Endangered Audio Research AD4096

"Endangered Audio's latest project, the AD4096, is a hand-built analog delay with features that elevate it beyond your garden-variety 3-knob delays. With the flick of a switch, you can choose between true bypass or spillover, allowing you to stop your delays dead (in true bypass) or let them carry over into your next phrase (with spillover). Engaging the infinity switch is like turning the Depth knob all the way up instantaneously. Once you lift your foot off the momentary switch, the depth knob takes over again and the signal is subdued to its original setting. The LED, normally red, turns green when you step on the switch to indicate that you have just engaged infinity.

With the Time knob, you can take your sound from boxy, bathroom-like reverb at 20ms all the way up to a full 300ms of delay. The Depth, Delay, and Echo knobs are all very interactive with one another. Turning up the Delay knob, you'll notice a familiar smooth and creamy analog delay sound. Set the Delay knob relatively low and the Echo knob much higher, you'll find the character has changed to resemble darker, tape-based delays, with harmonic "glitter" or "sparkle" added to the delayed signal. Subtle blending of the Echo and Delay knob gives you a large tonal palette with lots of flexibility - so much that it's like having two delays in one!

Set the Delay and Echo knob up together, and you'll realize that the "Echoed" delay comes back just a fraction of a second later than the first, so that what you're really hearing is a lo-fi "echo" of the delay. The effect is subtle, but totally unique to the AD4096. Also, unlike many delays, both analog and digital, it is very easy to set the AD4096 so that is sounds like it is constantly self-oscillating with feedback without the signal getting carried away and blowing up your amp. This allows you to play lines over a swirling, churning background of delayed signals.

In addition to all of those features, the AD4096 also has an always-on buffered direct out. This allows you to send your dry signal to a seperate pedal chain without any loading.

The AD4096 owes its heritage to the Boss DM-3, though we cannot stress enough that it is NOT a clone! The AD4096 sounds very different and it has expanded tonal possibilities. The Coolaudio chips we use for the BBD and clock are clones of the Panasonic chipsets used in the DM-3 (and, to our ears, sound very "cool" indeed - so much for the N.O.S. voodoo!).

If you've been looking for the most tonally versatile analog delay out there, then you've just found it: the AD4096 by Endangered Audio Research.

The AD4096 features 100% analog circuitry and is hand-built and assembled right here in our shop. We use only through-hole components, and we make an effort to source environmentally-friendly components whenever possible. Our knobs are all high quality custom-made in the USA. We also have all of our boxes powdercoated locally here in Asheville, NC.

Features:
* 20-300ms of analog delay
* Direct out
* Switch for True Bypass or Spillover
* Momentary "Infinity" switch that shoots the Depth to 100% and also turns the normally red LED to green
* Two different delay controls - "Delay" and "Echo" each with their own distinct characteristics
* High quality plate-through-hole circuitboard that is made to last
* Durable Metalphoto control faceplate - will withstand years of abuse
* Large, custom-made knobs that invite tweaking
* Locally powdercoated aluminum enclosure
* Hand-built and assembled in our shop to assure total quality control
* Footprint: 5.3" by 4.3"

Projected Price:
$375
(Available for preorder in 2 weeks)."
http://smashingguitarsasheville.com/products/ad4096-analog-delay

Via Smashing Guitars. Note this is a stompbox. A synth module with expanded control will follow.

Intro to "Spiral" Draft (Vangelis Cover) - Roland System-500, Audiothingies Doctor A, OB-6, Lyra-8

video by thesrabbit

"This started off as an exercise on how to do auto-panning within a Eurorack system, without having any mixer modules with pan controls or CV panning inputs. I thought about what sort of musical piece would be a good way to test out my explorations, and the answer is "Spiral" by Vangelis, of course! The intro is probably my favorite synth piece of all time. The breakdown of the patch used here for the main sequence is as follows, from left to right:

Roland System-500 512 Dual VCO:
One oscillator sawtooth and pulse wave out, range set to 16' (should have done 32'). PWM is applied via an LFO.

Roland System-500 521 Dual VCF:
Oscillator sawtooth and pulse coming into the filter's mixer, level of the pulse wave is 100%, and the level of the sawtooth is about 50%
Cutoff set low to start with, resonance about half-way up. The cutoff inputs are fed from the outputs of an envelope generator and an LFO. Playing with the levels of these inputs in real time along with the resonance knob is critical to capturing the vibe of the original sequence and delivers that pulsating sound.

Roland System-500 505 Dual VCF:
Output of the 521 is going to the input of the first filter in the 505. I'm only using this module for its built-in VCA. The cutoff is open all the way. This does add some extra brightness to the sound, but my other VCA's are all used up in this patch. Once the signal runs through the 505's VCA output, it is effectively a complete single synth voice, ready to be recorded or routed to a mixer, etc.

Buffered Multiple:
The first mult input is the output of an envelope generator from the Dreadbox Ataxia. One of the mult's outputs is routed to one of the 521's cutoff inputs and another one of the mult's outputs is routed to the 505's VCA level input. The second mult input is the output of the 505's VCA. Two outputs of the second mult are routed to the inputs of each VCA in a Doepfer Dual VCA module on the far right. Using a buffered mult means that the outputs have exact copies of the input signal. Having 2 identical copies of the single synth voice is critical to the auto-panning process.

Dreadbox Utopia:
The triangle LFO of the Utopia is routed to both the pulse width input of the 512 oscillator and to one of the cutoff inputs on the 521 VCF. The rate of this LFO is pretty slow. This slow modulation of the pulse width and filter is another critical component to recreating the vibe of the original sound.

Dreadbox Ataxia:
Mod 1 is setup as a standard ADSR envelope. Its output is split and sent to one of the 521's cutoff inputs and the 505's VCA level input. This is already mentioned above in the "Buffered Multiple" section. Attack is 0, the decay is set to around 40% and sustain and release are probably no more than 10%. This envelope is triggered by the gate of incoming notes from the sequencer.
Mod 2 is setup as a fairly slow LFO, with a wave shape that's somewhere between a triangle and a sawtooth. Its output is split into 2 with a passive mult and routed to the "rise" and "fall" inputs of the Make Noise Function module.

Make Noise Function:
This is setup to basically function as a slow triangle-ish LFO with a positive and negative output. The positive output is routed to the CV input of VCA 1 of the Doepfer Dual VCA module, and the negative output is routed to the CV input of VCA 2. Cycle mode is enabled and the "rise" and "fall" parameters are continuously manipulated in real-time via the output of an LFO from the Dreadbox Ataxia. The net effect of this is that audio doesn't simply sweep from left to right at a steady even pace. The panning speed changes in accordance with the signal coming from the Dreadbox Ataxia's LFO. This variable panning speed in conjunction with external stereo delay creates a nice swirling spacey effect.

Doepfer Dual VCA:
Each VCA's input is an exact copy of the output of the 505's VCA (the complete synth voice). The CV input levels on each VCA are maxed out and the gain control is maxed on the second VCA. The positive output of the Make Noise Function is routed to VCA 1's CV input and the negative output is routed to VCA 2's CV input. As the positive output of the Make Noise Function increases (moves up and away from zero), what this does is effectively pull the level of VCA 2's output down (by applying negative voltage) while simultaneously pushing the level of VCA 1's output up. As the positive and negative output from the Make Noise Function approaches 0, the level of VCA 1 drops and the level of VCA 2 increases (as the pullback applied to the maxed out gain level of VCA 2 diminishes). This is the final piece of the auto-panning puzzle. The output of VCA 1 is then connected to an input on a desktop mixer that's panned hard left and the output of VCA 2 is connected to an input on the same mixer that's panned hard right."

M-Audio Venom Review and Interview with Product Manager Taiho Yamada

A quick note: This review is long. You can jump to sections that interest you vs. reading it straight through if you prefer. This review focuses primarily on the synth engine for one single patch on the Venom. The Venom supports Multi mode with up to four multitimbral parts. Not only can you layer sound programs but you can set global parameters for the set. Be sure to see the Multi mode section of "Tips and Tricks via Taiho Yamada" at the end of this post. Taiho is the Lead Project Manager of the Venom and served as my contact during the review. I want to thank Taiho for his help and enthusiastic generosity. He is a true synthesist and the Venom is his baby.

Synth connections: Taiho previously worked at Alesis on the Andromeda A6. The DSP developer of the Venom worked on Radikal Technologies' Spectralis and the Accelerator. People that contributed to the presets via sound design include Richard Devine, Francis Preve, Mark Ovenden (Avid's AIR Instruments, ProTools VIs), Joerg Huettner (Waldorf, Access, Alesis), and of course Taiho Yamada.

*Don't miss the "Q&A with Taiho" section towards the end of the review. Also keep an eye out for "Taiho's Tips and Tricks" throughout the review in grey. You can find the consolidated list below the Q&A section.

CLICK FOR MORE »

Roland TB-303 Devil Fish w/ MIDI in Aluminum Case

via this auction

"Serial #178, Version v.4.0B

In December 2003 I purchased my very first TB-303 via Peter Forrest’s VEMIA auction, it was immaculate and functionality perfect. In the next couple of years I purchased several TB’s, but it was clear that the first was the nicest, and so, in 2005, I sent it off to Robin Whittle to undergo the Devil Fish treatment.

In a stroke of luck, I happened to be lucky enough to acquire one of the revered and totally gorgeous alu cases that Martin Rothlisberger designed in his spare time and sent this to Australia so that Robin could built the Devilfish into it.

The fitment into the case is a very tricky affair, they are carved from solid blocks of aluminium by a computer, and thus super accurate; the problem lies in the TB itself, which hailing from the 80’s is not so accurate! Some of the potentiometer positions can subtly vary, and there are other pitfalls, for example the wires can get pinched in different places. This TB has been fitted to the highest standards possible. There are crazy aspects to it, like 2 by 2 carbon fibre washers, an even larger capacity lithium battery than the one Robin uses as stock for the bank memory back up and the rear of the case attaches via precision machined titanium bolts. It’s a functioning piece of design / art.

Robin strikes me as the classic genius engineer and in implementing the modification, I guess his priority is in making sure everything works, not necessarily whether it looks beautiful. As a result, I have expertly implemented a host of cosmetic amendments myself to make things like the LED’s shine more attractively, the knobs sit at a comfortable height and, perhaps most practically, I have implemented a delightfully simple but important idea that buffers the main PCB board, in the event that the machine ever falls face flat, which due to the design by Roland, does leave the machine quite susceptible to a cracked PCB. Some of the ideas I have shared with Robin (to his interest!), others I have not as yet, but I suspect he and other TB enthusiasts would find them interesting, if not a touch obsessive :-)

As the numerous pedantic personal touches might indicate, I never foresaw parting with this machine, but am contemplating it primarily for two reasons, I have another Devil Fish (non MIDI version) so I wouldn’t miss this one all that much, principally I am interested to acquire something entirely different for my studio, which would entail raising the necessary funds.

CLICK FOR MORE »

Rare Dewanatron Swarmatron FM Modulation Analog Ribbon Synthesizer

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

via this auction

"For your consideration is a very rare Swarmatron 8 Oscillator FM Modulation Analog Ribbon Synthesizer. It is in excellent physical, and 100% operational condition. Please refer to the specs and description below. Payment via paypal to include $ 85.00 shipping in the Continental U.S. within 48 hours of auction end. Overseas or International shipping is set at $ 250.00

This is a synth like no other, eschewing conventional controls, nomenclature and even an ordinary on/off switch. Is it destined to become a cult classic?

CLICK FOR MORE »

Living with schizophrenia - DJ Lace 2013

"A downtempo track made with A Roland Tr-808, Roland JX3P, Roland JP8080, Roland JP8000, Sequential Circuits Drumtraks, Sequential Circuits Multitrak, Kawai SX210, Nord lead 2."


via Lace Dj on The MATRIXSYNTH Lounge. More pics on Flickr here.

"Gear setup for the track 'living with schizophrenia'

The song was inspired by a video depicting what it is like to be schizophrenic. The telephone sample and female voice in the middle are all from the video.

The track represents a person waking up, disoriented but functioning, unable to really grasp what’s going on and hearing all sorts of voice like noises. The phone rings but when answered, there is an incomprehensible voice making instrument like noises coming from the handset. Things get progressively darker and fuller sounding as the middle arrives and everything seems to grind to a halt, While the Xoxbox keeps playing, like reality still going on in the background of someone’s life. A voice then explains this is all a simulation, and to get ready because now it’s about to really get going, then the effect comes back, this time rising to an explosive peak followed by an intense release giving way to lighter yet still tenseful self realisation that everything is going to be ok, this time....

The track started out as a jam with the 808 and the analog solutions reverb. I had the doepfer LFO modulation the reverb and recorded a few passes noodling with it. The big wind down and wind up effect in the middle of the track (including the high pitch whine) is achieved solely with the reverb setting being cranked to the max by the slow sweep of the LFO. In the last part of the song, it the effect of the 808 that is heard overtop the Drumtraks.

That doepfer LFO a-145 is a good deal, this one was $80 used. It can go super slow and you can retrigger it. Very handy as a modulation source for any synth or effect gear in you may own that has some type of analog control input.

CLICK FOR MORE »

Red Roland SH-101 with Mods

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

via this auction

"THE MODS INCLUDE:
VCF FM controls – Essentially VCF FM allows you to modulate the filter cutoff at audio frequencies to create all kinds of clanging cross modulation and bizarre alien splatters and sweeps. This effect works best with the resonance turned up into self oscillation but also produces good effects with lower resonance settings. The VCF FM waveform control allows you to select one of six sources for the FM modulation source. The options are square (PWM still has an effect), sawtooth, sub-1, sub-2, sub-2 pulse and noise. You can also use the external audio input as a source.
The VCF FM amount knob controls how much the filter cutoff is modulated by the source signal and the switch turns the effect on and off. The VCF FM is probably the most dramatic mod of the lot and while it can be somewhat unpredictable you can create sounds ranging from savagely aggressive grinding to unearthly ring modulation drones that wouldn’t sound out of place on the Forbidden Planet soundtrack.
PWM waveform source – Normally with the PWM set to LFO modulation you only have the option of using the triangle waveform as a modulation source. This rotary switch allows you to set the PWM modulation source to other waveforms independently of the main LFO setting. The options are Triangle, Square, Random, Noise, Sub-1 and Sub-2. The Sub waveforms are actually sourced from the VCO. Changing the setting of the sub octave switch will alter the sound with these sources.

VCF CV input – This jack socket on the top left of the case will accept an external voltage to control the filter cutoff. The suggested input is 0-5V but it can probably take a couple more volts if your Midi-CV converter can deliver them.
Audio Input – This is the jack to the right of the VCF CV input. It will accept an external audio input from any source and can be routed through the filter or used as another VCF FM source.

Audio input FM / VCF switch – This switch sets the destination of the audio input. With it set to VCF the audio input is treated as another oscillator and is run through the VCF and VCA in the same way. You will only hear the external audio if you press a key on the keyboard. Set to FM the audio input modulates the filter cutoff in the same way as the VCF FM sources except the external input can run at the same time as another FM source.
Audio Input Level – This knob controls the level of the audio input.

Filter Overdrive – This knob drives the VCO or external audio source into the filter stage causing the VCF to overdrive and distort. (The words Aggressive & Phat come to mind)

LFO rate extension switch – This is the three way switch located under the LFO rate slider. The right hand setting delivers the normal range of LFO speeds. The centre setting allows much slower speeds ranging right down to 25 second sweeps at the lowest setting. The left hand switch position allows outrageously fast LFO speed, well up into audio frequencies peaking at around 550Hz. Some evil effects can be gained by cranking up the filter mod or VCO mod sliders and switching the LFO to its highest speed.

LFO trigger input – This allows you to inject a normal +5v trigger signal to this socket which will restart to LFO waveform from its zero crossing point in a positive direction. The LFO will still run at the speed set by the slider but every time a trigger is received the waveform will restart. This runs independently of the clock and CV / Gate inputs allowing you to run a sequence via CV / Gate or the sequencer clocked externally and sync the start of the LFO sweep to a certain point instead of letting it run randomly. You can also restart the LFO anywhere you want in a sequence for special effects. One bonus feature of this mod is that it will also accept an external audio signal and retrigger the LFO at audio frequencies. Crank up the resonance, turn up the VCF mod slider, play a drum loop into the LFO trigger input and you can create sounds that will quite literally scare the shit out of you.

In addition to the mods offered on the circuitbenders website & listed above this 101 has an additional Seven x 1/8 jack sockets for extra modular connectivity and madness for....
VCF OUT
SQUARE WAVE OUT
SAW WAVE OUT
NOISE OUT
And 3 X SUB SWITCH OUT ( one socket for each sub octave )"

CLICK FOR MORE »