"The SW912 Envelope Follower produces two functions, which can be used separately or in conjunction. The follower circuit signal input presents a control voltage output (DC) proportional to the average amplitude of the AC input signal. The second function, a Schmitt trigger, generates a V-trigger above a threshold voltage (comparator), when a slowly varying or DC voltage is introduced at the control input jack. The normalling of the control output of the follower circuit to the control input of the Schmitt trigger circuit allows both control voltage and trigger to be generated from a single variable source.
MUSICAL APPLICATION
THe SW912 Envelope Follower is an extremely useful module for interfacing external sources with the many functions of the synthesizer, which require both control voltages and triggers to function. Filter or amplitude variations can be achieved by routing the audio signal to both the processing modules and the Envelope Follower. The control voltage of the follower circuit can raise or lower the cutoff frequency of a voltage controlled filter. At the same time, the Envelope Generator can be triggered by the V-trigger output of the follower, causing a VCA to gate the original signal above a certain amplitude. This latter operation can be very useful as a noise gate, closing down an audio signal when the level drops below a nominal setting. One further use involves generating random triggers from the Envelope Follower by utilizing white noise or pink noise as a signal input and carefully setting the threshold level to achieve a speed of trigger selection."
"Great working condition, this filter/processor comes with manual and power cord. Read below to learn about this unusual channel strip.
Features
- fully analogue integrated modular sound-design-machine/channel-strip
- two different 4-pole super-sonic multimode VOLTAGE CONTROLLED FILTERS (VCF's) with 12 characteristics each (lowpass, highpass, bandpass, notch, allpass) and with an extreme tonal range
- completed by an easy controllable superb COMPRESSOR,
a sweet sounding 2-way spectral DISTORTION unit and a final VCA
- all surrounded by a lot of very wide range voltage controlled MODULATORS (high speed VC-LFO, 2x high range VC-AHR (Attack-Hold-Release) - ENVELOPES, super fast RMS-VOLTAGE-FOLLOWER (logarithmic/linear scale), a S&H and a NOISEGATE.
- the very fast high precision AUDIO-TRIGGER is able to derive absolute reliable triggers for gating, synchronizing and controlling other modules like ENV's, LFO, S&H or external stuff - capable to produce perfect in-time rhythmic and synchronous modulations according to your music data input - very sensitive and independend on the input level.
Modules & Features:
-Input Amplifier (0db/+20db)
-Automatic Softknee Compressor (Attack/Release times: 20 ms/125 ms or 40 ms/250 ms)
-2-way spectral Distortion with two change over frequencies (96 Hz/ 1050 Hz)
-quick Signalflow change (parallel/serial/anti-serial mode of VCF1, VCF2, Distortion)
-2 x VCF with 12 filter functions each (6xlowpass, 2xhighpass, 2xbandpass, notch, allpass)
-VCA
-VC (Voltage Controlled)- high speed LFO
-Sample & Hold (S&H)
-true RMS Voltage Follower (linear/logarithmic (db-linear) scale)
-2 x VC-(Voltage Controlled)-Envelope Generators (Attack/Hold/Release or Attack/Release)
-dynamic (level independent) Audiotrigger
-Noisegate
-Bypass
"Buchla is very excited to announce the return of the Buchla & Associates 200 series in the form of the Buchla 200 Classic Reissue series of electronic music instrument modules, the very modules that defined West Coast synthesis.
The first wave of 7 modules are available now at https://buchla.com and through authorized dealers. [see the dealers on the right]
Initial quantities are limited. Get yours now.
Another wave coming very soon..."
"For the first time in over 40 years - Buchla has reissued classic 200 series modules - the very modules that defined West Coast synthesis."
The Modules:
Dual Oscillator Model 258 (two knob choices) - $999.00
The Buchla Classic Reissue of the Dual Oscillator Model 258 is comprised of two independent voltage-controlled oscillators, each continuously tunable from 5 Hz to 20 kHz with two frequency CV inputs, waveshape CV input, and an FM input – each parameter with an offset control.
The top oscillator waveshape can be shifted from sine to saw and the bottom oscillator waveshape can be shifted from sine to square, allowing for a great range of timbre."
The ultimate modular synthesizer. Originally conceived by Dr Robert A. Moog in the mid sixties as a less bulky, more affordable alternative to the famous experimental RCA Mark 2 (which filled several rooms), it became the instrument that made synthesized music popular, especially thanks to Walter Carlos' album "Switched On Bach", a massive hit in 1968. Other artists, like Tangerine Dream, Klaus Schulze and Emerson, Lake & Palmer also explored the possibilities of the Moog in mainstream music and even used it for live performances. But the modular systems were generally too complex and expensive for most musicians, designed as they were for studio composition of electronic music, and Moog went on to produce more performance oriented instruments such as the brilliant Minimoog.
System 1 consists of 2 cabinets.
Cabinet 1
# 2 x 921A Oscillator Driver
# 4 x 921B Oscillator
# 923 Filter/Noise Module - Low Pass, High Pass and White/Pink Noise Source
# 2 x CP3A Mixer Module - 4 inputs with volume pots, 2 Multiples, 2 outputs with master gain pot, 2 Trunks and 2 Multiples, 992 Controls to Oscillators
# 907A Fixed Filter Bank
# 904B Voltage Controlled High Pass Filter
# 904A Voltage Controlled Low Pass Filter
# 3 x 902 Voltage Controlled Amplifier
# 3 x 911 Envelope Generator
Cabinet 2
# 914 Fixed Filter Bank
# 904B Voltage Controlled High Pass Filter
# 904A Voltage Controlled Low Pass Filter
# 992 Control Voltages Module
# 5 x 902 Voltage Controlled Amplifier
# 5 x 911 Envelope Generator
# 911A Dual Trigger Delay
# 993 Trigger and Envelope Voltages Module
# Measurements: 1230 (L) x 240 (D) x 250 (H) mm
"Such a great little compact modular synthesiser that can really surprise with its heavy bass growl. Ive destroyed sound systems at venues performing with this thing.
“Versatile and Robust” as the manual states… You have to hand it to the people at EMS they really knew how to design synths. This one has all the features you need to perform with just this alone and bring the house down, its sliding controls are smooth and intuitive, its internal touch ribbon controller is super fun and you can plug external gear (guitar, voice, drums into the Envelope Follower) to control any or many parameters. The Synthi E was designed for schools and colleges back when education held humanities in high regard, imagine being exposed to modular synthesis as a high school student?!?
A tight little package wrapped in an original Spartanite case which alone is extremely sort after and valuable.
Did I mention that it is battery operated as well? Yes, so you can take it into woods and jam out to nature sounds, set up a mic and your Synthi will play along with the birds. For studio sessions it can be connected to a 12volt DC power source so you can play all night long.
It also comes with and extremely rare 3-octave external keyboard with silky smooth action if you wanted to play it in a more conventional manner. Ive never seen one of these for sale, ever so I doubt there are many out there. Serial # 7137
"The CGS775 Serge VCS (Voltage Controlled Slope) is an extremely versatile module capable of many useful functions.
The VCS is a unity gain voltage follower. The rising and falling slopes are independently and jointly voltage controllable over a wide range. The module provides an incedible amount of possible functions.
Slew time can be set separately for rise or fall and be modulated by a control voltage. Separate inputs for rise and fall modulation and also a common input. The modulation controls are bipolar and can be toggled between linear or non-linear behavior. A trigger on trigger input fires an envelope while a gate holds sustain. After a cycle of the envelope a gate signal is generated at the end-out. The cycle switch connects the end-out with the trigger in so the VCS can loop itself and act as an oscillator which frequency can be controlled via the Exp-CV jack. Manual control of waveform with the rise / fall controls. If an audio signal is fed into the module, the pots act as waveshape or cutoff controls.
Some possible functions:
VC Transient Envelope Generator: A pulse at the trigger input will start the envelope, or a gate input will sustain the level and the envelope will fall when the gate goes low. Rise and fall are independently and jointly voltage controllable, with variable linear and exponential wave shapes.
VC Portamento: Voltage is slewed according to the rise and fall times.
VC LFO: When the cycle switch is thrown, the trigger input is connected internally to the end trigger output, creating a VC clock with variable waveform and independent rise and fall times.
VC Oscillator: While not as wide ranged, or accurate as a dedicated oscillator module, the VCS is still an excellent audio source. The Exp CV input is scaled approximately to the 1v/oct standard. The Output wave can be swept from triangle to saw with linear and non-linear waveforms. End Out also produces a pulse waveform.
VC Non-Linear Audio Processor (Low-Pass Gate): If an audio rate signal is slewed, the module responds like a VCF, and a rough VCA. The signal is low-pass filtered down to silence, similar to a low-pass gate.
Envelope Follower: Positive and negative peak detection envelope follower.
VC Pulse Delay: Trigger input starts the envelope and a trigger will be produced again at the End Out when the envelope completes its cycle.
Sub-Harmonic Generator: If a series of triggers are applied to the VCS faster than the total rise and fall times, the module will divide the incoming signal by a whole number. In the audio range the output will be the sub-harmonic series.
Features
Input
AC Out: AC-coupled output, best for audio rate
Output
Output LED inidicator
End Out: Outputs gate at the end of each cycle
Trigger Input
Cycle switch: When engaged the module acts as an oscillator
Rise time knob
Fall time knob
VC Rise, Fall, and Both inputs
VC Rise and Fall level knobs: Bi-polar knobs which maybe be pulled to switch from linear to non-linear
Exp CV input: Approximately 1V/Octave"
via this auction "The Synthi E is a general purpose electronic music synthesiser especially designed to be used in schools and colleges. It combines low cost with versatility and robustness. It is simple to use and a complete teaching course has been built round it. This allows teachers and students to learn the techniques and background of electronic music and its production. The manual relates synthesised to acoustic sounds and the relationship of the physical properties of sound to music. It also provides many creative exercises for the individual or class. The Synthi E has a full complement of conventional electronic music devices as well as several new ones. These devices may be interconnected using a simple patching system that allows experimentation not possible with usual performance synthesisers. The unit is easily transportable as it is housed in a small briefcase and is battery operated.
MAIN FEATURES INCLUDE: * Input Amplifier with low (Microphone) and high (line) level inputs. * Envelope Follower providing a voltage proportional to the amplitude of the input. * Oscillator 1 with true exponential voltage control of frequency and three simultaneous output waveforms (sine, triangle and voltage controlled pulse) * Oscillator 2 for slow control voltages such as glissando or vibrato. * Filter/Oscillator 3 with v.c. low, high and band pass filter or pure sine wave. * Modulator for envelope shaping or ring modulation. Noise Generator. * Trapezoid Generator for multiple simultaneous trapezoid waveforms. These may be used for envelope shaping (trigger mode) or for low frequency waveforms (free run mode). * Manual-Slide tape Controllers (2) for obtaining control voltages. One slide-tape is stepped and may be used as a keyboard and the other for variable control. One provides a trigger pulse. Both may be temporarily marked or written on. * Inverter to invert control voltages or signals. * Monitor Amplifier and Loudspeaker with two input mixer faders.
GENERAL: Signal level at patch nodes: 3v P-P. Output impedances at patch nodes: 100 ohm average. Input impedances at patch nodes: 25 kohm average. All inputs and outputs are protected against short circuits to each other or to ground. IN PUTS: High level input level: 2.2 v P-P nom. 10v P-P clipping. 180 kohm impedance. Direct inputs: DIN connections 2—Ground 1 inputs Low level input level: 200 mV P-P nom. Overhead: 14 dB 50 kohm impedance. Envelope follower output proportional to input over dynamic range of: 40 dB. V.C.O. — VOLTAGE CONTROLLED OSCILLATOR: Total frequency coverage: 1 Hz to 10KHz. Sine wave distortion: 5% THD (TYP) Triangle symmetry (rise and fall): 3% at 1 KHz. Rectangular wave mark space ratio voltage control range: 0 to 100%. Deviation of voltage control of frequency from ideal exponential law Over musical range 100Hz—2KHz: .8% (B.S.L.) Over audio range 10Hz — 10KHz: 1.7% (B.S.L.) General short term stability. Drift at 1 KHz: 2% per hour. OSCILLATO R (VIBRATO/TREMOLO): Manual control of frequency: 0.01 Hz —15Hz. Manual control of amplitude: 1000:1. V.C.F. — VOLTAGE CONTROLLED FILTER (Band pass, low pass, high pass): Frequency range: 10Hz-10KHz. Distortion (oscillating mode musical range): 2%. Deviation of voltage control of frequency from ideal exponential law over complete range: 2% (B.S.L.) Minimum 'Q': 2. Maximum finite 'Q' over musical range: 30. TRAPEZOID GENERATOR: (All outputs) Minimum transition time: 20 mS. Maximum transition time: 5S. As oscillator — frequency range: 1—25 Hz. NOISE SOURCE: Spectral flatness over musical range: +6 dB.
KEYBOARDS: Slider tape Track and hold droop .02% of fullscale per second. Chromatic keyboard Track and hold droop: .01 % of fullscale per second. Differential step Linearity (ratio of smallest or largest to average): 95 %. INVERTER: Voltage gain—1: + 2%. MIXER: Fader control range: 50 dB min. Tone control (treble lift/cut) Corner frequency: 500 Hz. Max. change at 10KHz: 30 dB. MONITOR: DIN pin connections. 2—ground. 3 monitor output V.C.A. — VOLTAGE CONTROLLED AMPLIFIER: As ring modulator Carrier suppression: 30 dB. Signal suppression: 40 dB. As envelope modulator Off breakthrough:—60 dB. On level distortion: 5 %. MONITOR AMPLIFIER: Power delivered to internal loudspeaker: 500 mw. Output to external amplifier, tape recorder or oscilloscope (two outputs provided). Minimum recommended load: 600 ohms. Output impedance: 50 ohms max. Maximum output voltage into 10K load: 7v P-P. BATTERIES: 12 x Ever Ready U2 (1 .5V). An external mains power supply can be provided. Battery life: Using 2 hour daily sessions and external monitor: 100 hours. DIMENSIONS: 50 x 40 x 10 cm. WEIGHT: 7 kg. DKE KEYBOARD: OPTIONAL A 3-octave keyboard for controlling the Synthi E is available. This unit is a mechanical keyboard which plugs into the Synthi E. It provides the correct pitch voltage and trigger signal for the Trapezoid Generator. A switch on the Synthi E selects internal or external keyboard operation."
"For your consideration is a custom built CMS MC-24 modular discrete analog synthesizer, housed in a solid Honduran red mahogany cabinet.
Brief Description:
The MC-24 comes equipped with 8 ultra-linear discrete VCOs, 2 Phatron filters - 24Db lowpass/highpass, 2 discrete Super-Transistor filters -24Db lowpass, 4 discrete VCAs, a discrete 10 input stereo mixer, a voltage controlled 14 stage phaser, a 10 band fixed / comb filter, V.C. balanced modulator, V.C. harmonic multiplier, a fully decked out sample and hold section, a Gentle Elctric 101 Pitch to Voltage and Envelope follower, a voltage controlled clock, etc.
2 rows of twelve modules are mounted on custom, 36" extruded aluminum rails. These sturdy assemblies are then mounted in a furniture grade, hardwood finished, laminate slant cabinet. The MC-24 features a 3 amp, ultra fast, linear power supply. The MC-24 uses the military grade potentiometers, front panels, knobs and mil-spec components found on all CMS/DiscreteSynthesizers.com instruments.
This is the ultimate in studio synthesizers. This is the ultimate in sound."
You can find details on the individual modules at the bottom of this post.
4x Gate Delay "The 4X Gate Delay serves as a gate generating module. If minimum delay is selected, it can be used as a four-gate multiple.
The gate delay responds to an external gate and generates four gates. Each gate output can be delayed independently.
The "gate in" is sort of mis-labeled. A CV can be utilized, such as a 1V/O keyboard voltage, the Level Adj can be used to determine at what point the gate delay process will begin. You can set it to not generate any gates until a specific key or above has been played. As soon as a key lower than the set level is played, all gates drop. If the input drops before the set delay time is reached, the gate for that channel won't be generated and the delay sequence is reset for the next delay process.
Gate in: Input for an external gate or CV
Level Adj: Sets the level that a CV input will start the delay sequence.On the Mattson Modular, If a gate is used as an input, the gate voltage is higher (+15V) than any preset level and will work automatically without having to re-adjust the level. It also allows for lower level gates (+5V, +10V) from other systems to be converted to a +15V gate.
Gate on LED: Indicates that a gate is present or a CV input has reached the level to initiate the output delay sequence.
Delay: Sets the amount of time that the gate output will be delayed after the delay sequence is initiated.
Red LED: Indicates that the delay time has been reached and the delayed gate output is active on that channel.
Out (1-4): The channel delayed gate outputs."
Amplitude Follower "The Amplitude Follower allows for an external signal, such as a microphone or guitar pickup, to be used as a source for generating control voltages that can be used to control parameters of other modules.
Audio in: Input jack for the external source. Microphone, guitar, etc.
Gain: Control to amplify the external source
Peak LED:Lights when the amplified signal reaches 5VDC. It is not a "clipping" indicator. It can amplify the input signal higher than 5VDC. 5VDC is the level that most envelope generators use and most VCA's respond to. It allows as an indicator that the signal is optimized for the rest of the system.
Preamp out: Output jack for patching the amplified signal to audio inputs.
Gate Threshold Allows you to set the point where the external signal will generate a gate output.
Gate on LED:Provides a visual reference for when the external signal has reached the selected threshold level and has generated a gate voltage.
Gate out: Output jack for the gate signal
Delay:Allows for "smoothing" of the output signals. At the minimum setting, the output voltages follow the loudness of the external signal. The louder you play or sing, the higher the output voltage. The reverse is true. The output voltage will follow the input signal loudness virtually instantaneously. The delay allows for the voltage to drop more slowly than the input signal.
+Output: Output jack for the variable control voltage responding to the loudness of the input signal.
Inv output: An inverted vesion of the +Output CV. If one is going higher, the other is going lower."
"Superbooth 2021 is just around the corner. The Superbooth team around Andreas Schneider managed it with their hygiene and safety measures that the event can happen and personal contacts are possible again. The Superbooth takes place from 15 to 18.09.2021 in Berlin. More information is available at the Superbooth Website. We plan to present these new products and would be happy to welcome you at our booth (presumably B047 in the 'Bungalow-Dorf')."
Left: (A-100PB with a keyboard built into the lid, 37 keys, midi interface with 3.5 mm stereo jack socket)
This is the "small brother" of the monster base A-100PMB. It is very similar to the A-100PMB but has only half the width (2 x 84 HP for installation of modules). The suitcase versions A-100P6 or A-100P9 can be positioned on top of the A-100PB because the width of the A-100PB is a bit more than the width of A-100P6/P9 and the footprint of the A-100PB is adapted to the depth of A-100P6/P9. A-100PB is equipped with one power supply (1200mA) and two bus boards. The bus boards are located in the rear area (even those for the modules that are mounted in the front row). This was necessary to take advantage of the full height of the front area for installation of A-100 modules.
"I've got a Mopho keyboard and it's a great little thing. But one thing puzzles me; when listening to any patch using a pulse wave, I notice the overall sound somewhat dirty sounding. It's not very nice really.
You can hear what mine sounds like here:
http://www.oakleysound.com/Mopho&Pulse.wav
I popped the hood and found that it is caused by the internal CVs to the voice chip that control the pulse wdith having some sort of randomised voltage added to them.
However, it is not only the pulse width control voltages that have this unwanted randomisation. All of the CVs do, but it is most noticeable on the pulse widths. What got me onto the right track was the fact that all the CVs had worse noise when they were set to high values. This points the finger towards a noisy reference voltage to the system's DAC.
The DAC used on the Mopho Keyboard appears to use a 5V reference derived from the +12V supply. Now, the 12V supply gets tainted by noise from the other parts of the electronics of the Mopho - but in particular from the -5V charge pump power supply which generates horrible 80kHz perturbations.
However, the real problem is that the Mopho creates the 5V reference by simply dividing the +12V rail with a pair of resistors (R67 and R71). This divided down signal, complete with a portion of the noise from the +12V rail, gets sent to a voltage follower (U18b) and then sent to the DAC. Oh dear... because this noise now ends up on the CVs. The higher the CV the more noise gets through.
Solution: Filter the +5V reference voltage before it goes to the voltage follower. I did it with a 10uF tantalum cap soldered directly across R71. The reference voltage is now nice and quiet. The Mopho behaves better, not only with respect to the pulse wave, but also seems smoother in general tone too.
The Mopho Keyboard is primarily built from surface mount components using lead free solder. This makes it slightly more awkward to work on than older through hole designs. However, it is quite possible to do a nice job if you take care.
You'll need one 10uF, 16V tantalum capacitor. You can use a decent quality electrolytic if you wish, and in that case, a 10uF, 25V will suffice.
Solder the cap across the resistor R71. With the keyboard to the front of the unit, the positive terminal of the cap should be facing left. That is the negative end should go to the ground plane which is attached to the end of R71 that is nearest to the number 1 of its name.
Don't pull too hard on the cap once it is soldered in place because you might pull off the solder pads of R71.
For the Mopho Desktop:
This seems to be built in much the same way with the DAC reference being taken off the +12V line. I am guessing it too will have the same unwanted noise on the DAC reference. However, the board is different in several other respects and the parts numbering is different.
Now I haven't tried this but from online photographs I can assume that you will need to solder the 10uF cap across R52. This is situated, again above the DAC, near U12. The negative pin of the cap should be soldered towards the front of the unit, ie. the positive pin will be mounted nearest the R52 legending."
1. The Synthesis of Synthesis - "This is the introductory video for the Bob Moog Foundation/macProVideo series "The Foundation of Synthesis." In it, Marc Doty sets the stage for the intent of these videos, which is an integrative instruction which not only describes synthesizer function and operation, but also gives a historical foundation for the functionalities and their implementation."
2. The Synthesis of Synthesis- Sound - "No instruction in synthesis would be complete without some explanation of the physics of sound! This video is one of several videos which outline the physical principles upon which synthesis is based."
3. The Synthesis of Synthesis- The Hammond Novachord - "The progression of devices which led to the modern synthesizer is diverse and interesting. The Foundation of Synthesis covers a number of them which portray a progressive development. One of these synthesizer precursors was the Hammond Novachord, a tube- based keyboard device whose groundbreaking technology is still present in some synthesizers today. More than most, this proto-synthesizer resembled what we came to think of as the modern synthesizer."
4. Foundation of Synthesis- Oscillator Introduction - "The Foundation of Synthesis dives into synthesizer technology with the Oscillator— the origin of sound in synthesis! Marc leads us through the history of this device from its beginning— as a lightbulb!— to its implementation in electronic musical instruments."
5. Oscillators- Pulse Width Modulation - "Pulse Width Modulation is a pleasing aural effect generated by the voltage-controlled adjustment of the width of a square wave. In this Foundation of Synthesis video, Marc demonstrates this function on several classic synthesizers. The video includes an oscilloscope, which shows you exactly what is happening when the width of the square wave output of the oscillator is changed!"
6. Filter- Introduction - "In this part of the 3rd Tutorial of the Foundation of Synthesis, Marc outlines the history of the filter from its origin in the telephone to its application in electronic devices in order to give a firm understanding of how the filter came to be an important part of modern synthesizers. The filter is a function which removes harmonics from a sound. Since harmonics define the timbre of the sound, this is a fast and easy way to create new timbres."
7. Filter- Cutoff Control - "Adjustment of the cutoff point of the filter is such a popular process that it has spawned whole genres of music. In this video, Marc shows the sound and functionality of this particular aspect of the most popular module in the modern synthesizer."
8. Filter-Voyager Serial Resonance - "The Moog Voyager design of Bob Moog includes some unique and useful functionalities. In this video, Marc explores the dual-filter nature of the Moog Voyager by demonstrating some unique ways to apply its filter arrangement."
9. Control Voltage Explanation Part 1 - "For the average musician, control voltage is an abstract concept. Of all the aspects of synthesis, it seems to be the most confusing. In this video, Marc gives a straight-forward and easy-to-understand description of the functionality using concrete examples. With a firm grasp of control voltage, synthesis becomes considerably easier and fun!"
10. Control Voltage Explanation Part 2 - "Here is part two of a video where Marc gives a straight-forward and easy-to-understand description of the process and application of control voltage. With a firm grasp of control voltage, synthesis becomes considerably easier and fun!"
11. The Amp Introduction - "In this video, Marc gives us a basic history of what can be the least-exciting module in the modern synthesizer, but then goes on to show what can be done when this module includes a fair amount of functionality. The Amp is the last step in the synthesis process, and can give you a variety of power over the timbre you create!"
12. The ARP Envelope Follower - "The Envelope Follower is one of the most fun control functions to exist. It takes the amplitude of a given signal and converts it to a voltage. As the amplitude rises, the control voltage rises. This can be used to control any function in the synthesizer which can be controlled via control voltage... which, in an analog synth, is most of them! In this video, Marc gives a demonstration of this under-implemented synthesizer function using the ARP 2600."
13. Designing Timbres- Introduction - "This video introduces the "Designing Timbres" tutorial by explaining exactly what is going to happen within it. It features some of the music and synthesizers used in the rest of the tutorial."
14. Designing Timbres: Major/Minor Chord - "'It doesn't play chords!' -This is the complaint most heard in regard to monophonic analog synthesizers... but wait... if you have three oscillators and some awesome functionality like the Moog Voyager, there is an answer to this complaint. In this video, Marc shows you how you can generate a sort of controllable polyphony using the monophonic Moog Voyager!"
15. Designing Timbres: Duality - "In this video, Marc demonstrates the the functional benefit of a synthesizer like the Yamaha CS-15, which is essentially two different synthesizers stacked together. By altering settings in each division, interesting timbres can be created."
"This module is no longer in production at Modcan HQ, making this a rare opportunity to add some additional functionality to your system.
The Processor Module is made up of 4 separate utility modules; Pre-Amp input, Envelope Follower, Integrator (Lag/Slew), & CV/Signal processor.
Each section functions independently and as an isolated circuit.
FEATURES - - - - - ->
From the manual:
PRE AMP
Pre-Amp Input: Connect outputs from drum machines, samplers, guitars, tape decks etc. to this input. The signal from these sources is often at a lower level than Modcan modules prefer so use this module to boost
Pre-amp Output: Route this to any input that would normally be used to process signals i.e. filters, Ringmod, Phaser, etc.
Ratio Selector: Allows selection between high or low gain boost, which can also be attenuated using the Gain Control Knob .
namm17 kazoosynth Published on Jan 24, 2017 sonicstate
Note the ACO rather than VCO. ACO stands for Audio Controlled Oscillator. Square and Sawtooth waves that play in unison with input frequency provided. Includes a VCA and VCF, all analog.
"Semi-modular, audio controlled analog synthesizer.
Using our proprietary chip the Audio Controlled Oscillator already grants you many benefits, but when you add PWM, VCF, expression pedal input and foot-switches this analog synth turns into a performance craze.
"Bananalogue Serge VCS Synth Module For FracRack or Blacet Style Mounting Rack. Getting hard to find these in FracRack format. Same rack format as Blacet, Paia and several others, but comes with a Blacet style power connector. Could be changed over if needed.
The Serge VCS module released in from bananalogue.com is an extremely versatile control voltage generator and audio source. In the early 1970s, Serge Tcherepnin developed the Positive Slew and Negative Slew modules for the original Serge synthesizer. In time these merged into the classic Dual Universal Slope Generator. The Bananalogue VCS is an adaptation of Serge's original circuit with a few new features.
The VCS is a unity gain voltage follower. The rising and falling slopes are independently and jointly voltage controllable over a wide range.
VC Transient Envelope Generator
A pulse at the trigger input will start the envelope, or a gate input will sustain the level and the envelope will fall when the gate goes low. Rise and fall are independently and jointly voltage controllable, with variable linear and exponential wave shapes.
VC Portamento
Voltage is slewed according to the rise and fall times.
VC LFO
When the cycle switch is thrown, the trigger input is connected internally to the end trigger output, creating a VC clock with variable waveform and independent rise and fall times.
VC Oscillator
While not as wide ranged, or accurate as a dedicated oscillator module, the VCS is still an excellent audio source. The Exp CV input is scaled approximately to the 1v/oct standard. The Output wave can be swept from triangle to saw with linear and non-linear waveforms. End Out also produces a pulse waveform.
VC Non-Linear Audio Processor (Low-Pass Gate)
If an audio rate signal is slewed, the module responds like a VCF, and a rough VCA. The signal is low-pass filtered down to silence, similar to a low-pass gate.
Envelope Follower
Positive and negative peak detection envelope follower.
VC Pulse Delay
Trigger input starts the envelope and a trigger will be produced again at the End Out when the envelope completes its cycle.
Sub-Harmonic Generator
If a series of triggers are applied to the VCS faster than the total rise and fall times, the module will divide the incoming signal by a whole number. In the audio range the output will be the sub-harmonic series."
"After a year of development, testing and prototyping, KOMA Elektronik is proud to present the latest addition to the KOMA family: the KOMA Elektronik Field Kit! On Kickstarter now! The new KOMA Elektronik Field Kit is the perfect tool for everyone who would like to experiment with electroacoustic sound. Use everyday objects, amplify them and use them to make sound, like our heroes John Cage and David Tudor used to do!
The Field Kit is optimized to process signals from microphones, contact microphones, electromagnetic pickups and able to run DC motors and solenoids. On top of that it can receive radio signals and convert signals from switches and sensors into control voltage. The Field Kit boasts 7 separate functional blocks all focussed on receiving or generating all types of signals. They are designed to operate together as a coherent electroacoustic workstation or alternatively together with other pieces of music electronics with the ability to use control voltage signals:
Four Channel Mixer
Envelope Follower
DC Interface
Analog Switch Interface
Analog Sensor Interface
AM/FM/SW Radio
Low Frequency Oscillator
You can easily interface the Field Kit with a Eurorack modular system. At the backside of the PCB you will find a power connector you can use to power the unit from your system. The total panel width is 36HP. You can buy the Field Kit as a finished unit or build one yourself with the DIY Version."
"All audio has been recorded straight from the Field Kit, using a DC Motor, Solenoid Motor, a DC powered fan, Roland TR-8 and Berlin's local radio station Antenne Brandenburg as audio sources."
The new KOMA Elektronik Field Kit is the perfect tool for everyone who would like to experiment with electroacoustic sound. Use everyday objects, amplify them and use them to make sound, like our heroes John Cage and David Tudor used to do!
The Field Kit is optimized to process signals from microphones, contact microphones, electromagnetic pickups and able to run DC motors and solenoids. On top of that it can receive radio signals and convert signals from switches and sensors into control voltage!
We have finished development of the Field Kit, are ready for production and we need your support to make it happen!
[Pictured:] The final Field Kit prototype, ready for production!
It's all about the things you connect to the The Field Kit! To get you started we decided to offer an Expansion Pack with a bunch of different sources that you can use and connect to create your own signature sounds.
"The System 700 from 1976 was the most expensive instrument Roland ever made. A comprehensive, semi-modular monster that was at the cutting edge at the time, the full system cost the equivalent of around £35,000 - £45,000 (around $45,000 - $50,000) and as they made so few of them; they have been known to sell for even more than that on the rare occasions that they emerge on the second hand market.
Huge thanks to the owner of this remarkable instrument for the very generous loan.
We have the main console and two of the “blocks” present but the full system has two further wing cabinets containing six additional VCOs, two further filters, three further VCAs, six further envelopes, another LFO, S/H, mixer and two further multiple jacks. In addition it has a twelve stage, three-channel sequencer that also acts as a switching mixer.
With the three blocks I borrowed I do have all of the modules present with the exception of the gate delay and I can use alternative sequencers in place of the original, so I feel this is a full representation of this marvelous instrument and what it can do.
Here are two new old modules :)
I have been trying to get these in production for quite some time now. Delays in supply chain forced these to the background for too long.
àradh is a new take on a transistor ladder filter and fills the role of fat "East" Coast subtractive filter as well as adding a dedicated low-pass gate (LPG) to the Instruō range.
Plus some other quirks!
tágh is not a V2 but is in fact the OG module that I had in mind for the name a long time ago.
It's a 4HP powerhouse of modulation sources and clock utilities.
Please check out the full Overview videos for both àradh and tágh now :) [below]
In addition I would like to introduce the first production range of Instruō spacer panels.
Available now are 1HP, 2HP, 4HP, 6HP, 8HP, 10HP, 12HP and a very special limited run of 14HP.
The 14HP panel features a glorious picture of my Greyhound Winston wearing his jammies.
https://gal.org.uk/
"GAL is a registered charity in Scotland (SC031027) that rescues and rehomes Greyhounds and Lurchers throughout Scotland. "
A donation of £7.50 will be made to GAL for every panel sold from the limited batch.
Hope to see you all at Superbooth this year!
Cheers
~Jason
By popular demand – an exciting new take on the legendary transistor ladder filter. Introducing the Instruō àradh, the long-awaited successor to the first Instruō low pass filter, tràigh. Expanding on tràigh’s classic functionality, àradh adds a VCA with pre or post-filter routing options, an envelope follower, a comparator gate, a strike input with variable decay time, and a plethora of user-definable voltage-controlled parameter combinations.
Whether you’re looking for voltage-controlled resonance, pre-gain filter saturation, noise gate functionality, dynamics processing, or even an envelope follower, àradh can get the job done – a true sound-shaping powerhouse in only 6 HP.
• Low pass filter and VCA • VCA pre/post-filter routing options • Strike input and button • User-defined CV input • Envelope follower and comparator functionality • Self-oscillating resonance
"This is a module I've wanted to release for years!
The Instruō tágh is a “Swiss Army Knife” modulation source. It features an analogue sample and hold, white noise generator, digital random voltage generator, morphing LFO, and probabilistic trigger generator, all with a unique phase-adaptive tap tempo functionality.
After many iterations of random voltage generation experiments, tágh’s 6 algorithms were meticulously curated to meet the needs of the designer. Once realised, it was quick to see its importance in small and big systems alike. These 6 random algorithms include Classic Stepped Random, Repeatable Stepped Random, Chaos, LFO, Probability-Synced LFO, and Downsampled LFO.
At only 4 HP, tágh is a true modulation workhorse.
• Analogue sample and hold • Analogue white noise generator • Six digital random voltage algorithms • Built-in bias and attenuation controls • Smart tap tempo follower with manual button • Steady and rhythmically-relevant clock generator • Internal or external clock options of analogue sample and hold
00:00:00 Instruōduction 00:01:46 Overview 00:04:56 Clocking 00:06:55 Clocking - Probability 00:07:50 Clocking - Tap Tempo 00:09:54 Clocking - External Tap Tempo 00:13:58 Clocking - Internal Clock 00:17:11 Tempo Follow 00:21:24 Tempo Follow - Adaptive Phase 00:22:50 Tempo Follow - Probability + Phase Sync 00:28:48 Patch Example - Lubadh Sync 00:35:20 Patch Example - Analogue Sample Rate 00:40:25 Patch Example - Random CV pan 00:42:37 Algorithm 1 - Classic stepped random 00:58:31 Algorithm 2 - Repeatable steps 01:09:41 Algorithm 3 - Chaos 01:22:08 Algorithm 4 - LFO 01:33:04 Algorithm 5 - Probability-synced LFO 01:40:50 Algorithm 6 - Downsampled LFO"
