"Io User Manual
1. Introduction
Io is a MIDI retrofit system for the Roland Jupiter 4 synthesizer. It consists of two boards that can be used either parallel or individually.
One of the boards is the Keyboard Assigner Extension and it enables MIDI control over pitch note, pitch bend, cutoff frequency, volume and portamento. It also synchronizes the arpeggio to MIDI clock and has two powerful LFOs on pitch bend and cutoff frequency. LFO settings are storable and recallable.
The other board is a complete replacement of the Jupiter's original patch programmer microprocessor with full MIDI specification and lots of functional enhancements.
"Erica Synths Black Spring Reverb is a different take on spring reverberation units.
It features a DSP chip in the feedback path with 7 different effects, vactrol based compressor
and option to use internal, external or combination of both spring tanks at the same time.
Timeline:
00:02 - Patch #1 - "Handsaw" patch playing without audio input
00:58 - Patch #2 - YOCTO 808 through "Ringmod" patch
02:07 - Patch #3 - "Pitch Shifter" modulated with Octasource (no audio input)
03:40 - Patch #4 - Playing external spring tank
05:20 - Patch #5 - FM Radio played through "Haunted Shifter" patch
06:23 - Patch #6 - Synth line played through "Creeper" patch
07:41 - Patch #7 - Pitch shifter played with envelope generator on audio input
09:01 - Patch #8 - YOCTO 808 played through "Pitch Shifter" patch
10:17 - Patch #9 - Synth pad played through "Creeper" patch
11:05 - Patch #10 - "Springhausen" patch played without audio input
12:17 - Patch #11 - "Pitch Shifter" patch with Black Stereo Delay in the feedback loop (no audio input)"
images via this auction. via Xavier. Note the auction is over. Don't miss the video below.
"Internal Signal Routing The SK-1 has 4 voices and percussion. Each voice is made up from an audio signal and an envelope control signal, which are combined to give the end voice. This module allows you to switch on or off any of the 4 voice audio paths, any of the 4 envelope control signals and the percussion. The patch panel then lets you have for instance, voice 2 under the envelope control for voice 4. You can then patch the percussion audio into the envelope control for one of the voices, which gives sustain effects or patch it into the audio signal and it gates the percussion with the keys, so the percussion sounds only while a certain voice is active. You can even swap the audio and envelope control signals over, which gives a buzzing / click type noise when you press a key.
Audio Filters / Level This module modifies the filters where the envelope control signal and the audio signal are combined to make the end voice. The knob is in 2 stages where it controls the level of the audio signal, but keep turning it and it then affects the filter. The control will take the tone and ‘squash’ it so for instance the bass line in the demo song, rather than a contiuous note turns into a blip, or stacatto effect. Very hard to describe but appears in the video at 2:28 sounds a bit like it is playing backwards. There is a knob for each of the 4 channels, and another knob for patching. The patch knob connects to 2 patch points, the idea is that one side connects to anywhere on the signal routing module, and the other goes off to the main patch panel allowing all the digital signals to be combined with the audio ones. In the video it is applied to the bass line and removed at 2:09 which gave it a ‘metalic’ twang, but that just depends where you plug the patch cables in.
Outputs This module brings all the 4 voices and percussion sounds and a video signal to the outside world. The SK-1 has lots of low pass filters / anti-aliasing filters inside before the final sound reaches the speaker / rear connector jack. The connectors on the top are pure unfiltered audio, which sound much brighter and if you are lucky enough to have a good mixing desk you can add your own EQ / FX to each voice. Likewise Casio have heavily attenuated the bass audio in the accompiamnents but now you just take it at any level you want from channel 3.
Pitch and Video This module gives overall pitch control for the SK-1 and deals with video generation. The pitch control raises the pitch and has it’s own on / off control. The video control is on/off and contrast, plus a patch input. If you patch a signal from the main patch panel, it combines it with the video ouput giving a range of displays. It also alters the sound when patched in, as the data signals are now going through video circuitry it creates glitchy patterns, weird notes etc.
Patch Panel This is the core for all SK-1 circuit bends, a lot of bent SK-1’s have a load of switches attached, the switches all connect to the RAM and ROM inside the keyboard to alter the sound. Here there are no switches, it is up to you to patch a wire across or use the bend sequencer. The patch panel has 25 connection and it mirrors the RAM and ROM address bus and data bus, plus a few other signals. You can link 2 or 3 points out directly, wire them across to the signal routing patch panel or sequence them.
Bend Sequencer This allows you to automate the patch panel. When switched on, each LED lights in turn, and the patch connector below each LED becomes active. If you connect any of these to the patch panel, when the LED lights up it energises the patch panel switching the bend on and off. Depending on how many of the 10 auto bends and where you put them, you can have gentle modulations to the sound ( at the end of the clip there are some block chords with a gentle auto bend applied ), or severe random noise mayhem. Sadly I can only have 10 minutes on youtube and I no where near demonstrated what this is capable of, I just fiddled with it a bit!
Modular Casio SK-1 Circuit Bent by Oceanus
YouTube via xd515. "Here is a Casio SK-1 comprehensively bent into a fully modular synthesizer. Includes bend sequencer, whole control of all internal audio and envelope control routing, video output, each audio channel output, percussion output. Sadly in a 10 minute video you can only show a fraction of what this can do :-("
via this auction "Hagstrom Swede Patch 2000 Guitar/Bass Background The Hagstrom Swede Patch 2000 guitar is the world’s first production synthesizer guitar (guitar/synth hybrid). It was boldly conceived (years ahead of it's time) and manufactured in an innovative collaboration with Ampeg, who provided the on-board circuitry and accompanying pitch/glide pedals. Based on the Hagstrom Swede guitar, a total of 498 right hand models were produced from 1976 to 1979 along with 11 left-handed models being manufactured in 1977. There was also a small run of Hagstrom Swede bass and Hagstrom Jazz bass models that came equipped with the Patch 2000 system. In addition to the standard 1/4" audio jack located on the Hag P2K guitar/bass, you'll also find a 7-pin jack which allows it to interface directly to the Ampeg floor pedals being offered here.
The sonics produced by the Hagstrom Swede/Ampeg Patch 2000 system have been realized by the likes of Jazz/Rock Fusion wizards Allan Holdsworth (Swede), Larry Coryell & Darryl Stuermer (Genesis, Jean-Luc Ponty), Jazz master Herb Ellis and other guitar greats such as Frank Zappa, Bob Welch, John McVie (Fleetwood Mac, P2K bass), Steve Pacelli, Bill Nelson (Be Bop Deluxe) and apparently Carlos Santana - as well as many others.
* Ampeg Patch 2000 Pedals These Ampeg Patch 2000 foot pedals were designed exclusively by Ampeg to work in conjunction with both the Hagstrom Swede Patch 2000 Guitar -or- the Hagstrom Swede Patch 2000 Bass. They allow the P2K guitar to interface (via control voltage) with analog synths such as Roland, Moog, Oberheim, Steiner-Parker, ARP, EMS, etc.. In effect, this gives the Hag guitarist the option of playing his P2K instrument either as a standard Hagstrom Swede guitar (though there's nothing 'standard' about the Hagstrom Swede's outstanding sound) -or- as a synthesizer -or- as a simultaneous real time combination of both - producing a myriad of sonic tones & colors.
See the Hagstrom Swede Patch 2000 Youtube Video Demo - highly recommended!!! [below]
* Pitch & Glide This Ampeg device consists of two pedals built into a single floor unit. The pitch pedal is continuously variable controlled, which allows you to raise the pitch up a full octave over the range of the pedal (heel-to-toe). This allows you to actually change tuning as you play. In this way, the pedal can be used for "bending" effects - much like a synth keyboard player can achieve (i.e. Chick Corea style). The glide pedal controls the response of fret-to-fret changes - governing how much time it takes for the synth to "glide" from one note to the next.
* 5th Harmony Switch The Ampeg pedals also include a '5th Harmony' function, which is activated by a single pushbutton switch located between the two pedals (see photo). This 5th function allows the controlled synth note pitch to become a fifth higher than the actual fretted note (the major dominant) for an additional sonic effect.
* Construction The last thing you'll have to worry about is damaging these pedals due to heavy use or road abuse. This is simply the most ruggedly durable pedal unit you'll ever find! Extremely sturdy construction consisting of a thick (~3/16") all metal outer housing with a stamped sheet metal bottom (~1/16") - tooled upwards (L shaped) in order to also function as the back access panel (see photos). Both Pitch/Glide pedals and the 5th Harmony Switch are also of a heavy metal construct. All-in-all, Ampeg did it right - these pedals were designed to last!"
previously posted back in 2006 YouTube via DeeCee333 — October 16, 2006 — "Steve Pacelli demo's the Hagstrom Patch Guitar system in the Umea Store (original footage from 1977) courtesy of Lennart Johnsson, presented by Hagstrom UK http://www.hagstrom.org.uk"
"The SK-1 has 4 voices and percussion. Each voice is made up from an audio signal and an envelope control signal, which are combined to give the end voice. This module allows you to switch on or off any of the 4 voice audio paths, any of the 4 envelope control signals and the percussion. The patch panel then lets you have for instance, voice 2 under the envelope control for voice 4. You can then patch the percussion audio into the envelope control for one of the voices, which gives sustain effects or patch it into the audio signal and it gates the percussion with the keys, so the percussion sounds only while a certain voice is active. You can even swap the audio and envelope control signals over, which gives a buzzing / click type noise when you press a key.
Audio Filters / Level This module modifies the filters where the envelope control signal and the audio signal are combined to make the end voice. The knob is in 2 stages where it controls the level of the audio signal, but keep turning it and it then affects the filter. The control will take the tone and ‘squash’ it so for instance the bass line in the demo song, rather than a contiuous note turns into a blip, or stacatto effect.
If ou are viewing this post from the front page you will see a more link directly below. Click it before you start to get to the list of videos plus descriptions for each. You can use the controls at the bottom of the player to skip around. You can find Lost Clouds music at https://lostcl0uds.bandcamp.com
Disregarding the 1U row, there are 10 separate modules. This means that there are a total of 120 different three-module combinations possible with my setup. In this video series I intend to explore each and every one of those combinations.
To start it all off: Here’s a drone piece featuring Maths, STO and Rings. I’m using a feedback loop through Rings, which is in «sympathetic strings» mode, over a low drone from the STO. And, of course, Maths provides some complex modulations of the sounds.
In principle, each patch will consist of only the three modules in the given combination. HOWEVER, the 1U row is «fair game». Some combinations may necessitate mixing, attenuation or an input clock signal, and this is why I won’t count the bottom row of utilities as separate modules. I’ll be happy to take requests as to which combinations to try out next."
via this auction "circuit bent by spunky toofers. here are the modifications 1. 11 switches- controls freeze/holds, pitch related effects, bizarre filters, odd synthesis, self composing random melodies, rhythmic drum varations and much more. use alone or in combination. 2. 5 switches located on the far right which cuts out all 4 voices the instrument can play at once and the drum sound kill switch 3. one reset button 4. one vintage pilot glass lens with a bright white led underneath 5. master pitch switch enable indicated in black (with this switch you can activate a extremely stable precision oscillator circuit which replaces the original clock signal for extremely stable pitch control) 6. one overall pitch knob (approximately 3 plus octave pitch range with knob) 7. lfo rate knob (lfo activated by pulling up on this knob. activates a lfo to modulate sounds from subtle to extreme) 8. lfo depth knob 9. lfo indicator light- indicates depth and rate activity. vintage new stock soft glow dialco red LED 10. light theremin switch 11. light theremin photo cell (light sensitive wafer that responds to light, shadow, and movements from hand, body, etc) 12. 2 chrome dome body contacts (super expressive control of pitch via body contact 13. 16 point patch bay to make various connections in the patch bay via rca cables for experimenting new bends 14. 1/8" trs input for expression pedal or spunkytoofers mm1 midi module. 15. master power switch on/off indicated in red 16. intuitive and through interface with as much spacing as possible for all controls 17. manual and bend diagram emailed to winning bidder
finished in white/black paint job with plenty of clear coat to seal
a few things i'd like to address that have been asked previously. regardless of who bent your instrument every bend on an sk-1 will most likely respond differently in different settings.. for example you will get different results in sample mode then in a preset.. and from one preset to another.. i have bent the instrument to be as stable as possible in all modes of the instruments.
the pitch and lfo is fine tuned. if a pitch is allowed to go too high it will glitch and will otherwise interrupt a good sound, loop, or bent function of the instrument. where this glitch occurs is different between sk-1's..the range therfore of the pitch control will sweep approximately up to 3 octaves down and approximately an octave or so above normal pitch of the note.
the right side of the instrument is the functional side of the instrument featuring mixing, reset and power indication... the casio is capable of 4 notes/sounds at a time along with drums.. the switches on this side allow you to mix on the fly or isolate certain sounds. this is especially useful when the instrument is locked in a particular bent function or loop and doesn't respond to key information. this way you can isolate a particular sound in the lock or loop and sample that particular sound or have only that sound running.
the patch bay is setup to be as stable as possible. these are not ins or outs to other devices.. they are meant to be patched within the patchbay only and will allow you to create new bends on your own.. since it's experimental it's not as stable for live use but great for studio work. with a little planning the patch bay can also be used in live use with good stability.. they will offer new bends not available on switches along with variations to bends that are located on the switches. for example if there is a filter on a switch it is most likely you will get a variation of the filter on the patch bay.. a vocoder like sound can shift in harmonics with a little experimentation on the patch bay.
and the sk-1 will function as normal provided that all bends are not activated.. it is highly recommended that you understand how the instrument works and experiment with bends in all modes to make the best and widest use of your instrument. there are plenty of good resources on the web with manuals to download.
outputs to external amplifying, mixing or recording devices via 1/8" on back"
1. 11 switches- controls freeze/holds, pitch related effects, bizarre filters, odd synthesis, self composing random melodies, rhythmic drum varations and much more. use alone or in combination.
2. 5 switches located on the far right which cuts out all 4 voices the instrument can play at once and the drum sound kill switch
3. one reset button
4. one vintage pilot glass lens with a bright blue led underneath
5. master pitch switch enable indicated in black (with this switch you can activate a extremely stable precision oscillator circuit which replaces the original clock signal for extremely stable pitch control)
6. one overall pitch knob (approximately 3 plus octave pitch range with knob)
7. lfo rate knob (lfo activated by pulling up on this knob. activates a lfo to modulate sounds from subtle to extreme)
8. lfo depth knob
9. lfo indicator light- indicates depth and rate activity. vintage new stock soft glow dialco green LED
10. light theremin switch
11. light theremin photo cell (light sensitive wafer that responds to light, shadow, and movements from hand, body, etc)
12. 2 gold dome body contacts (super expressive control of pitch via body contact
13. 16 point patch bay to make various connections in the patch bay via rca cables for experimenting new bends
14. master power switch on/off indicated in red
15. intuitive and through interface with as much spacing as possible for all controls
16. manual and bend diagram emailed to winning bidder
a few things i'd like to address that have been asked previously. regardless of who bent your instrument every bend on an sk-1 will most likely respond differently in different settings.. for example you will get different results in sample mode then in a preset.. and from one preset to another.. i have bent the instrument to be as stable as possible in all modes of the instruments.
the pitch and lfo is fine tuned. if a pitch is allowed to go too high it will glitch and will otherwise interrupt a good sound, loop, or bent function of the instrument. where this glitch occurs is different between sk-1's..the range therfore of the pitch control will sweep approximately up to 3 octaves down and approximately an octave or so above normal pitch of the note.
the right side of the instrument is the functional side of the instrument featuring mixing, reset and power indication... the casio is capable of 4 notes/sounds at a time along with drums.. the switches on this side allow you to mix on the fly or isolate certain sounds. this is especially useful when the instrument is locked in a particular bent function or loop and doesn't respond to key information. this way you can isolate a particular sound in the lock or loop and sample that particular sound or have only that sound running.
the patch bay is setup to be as stable as possible. these are not ins or outs to other devices.. they are meant to be patched within the patchbay only and will allow you to create new bends on your own.. since it's experimental it's not as stable for live use but great for studio work. with a little planning the patch bay can also be used in live use with good stability.. they will offer new bends not available on switches along with variations to bends that are located on the switches. for example if there is a filter on a switch it is most likely you will get a variation of the filter on the patch bay.. a vocoder like sound can shift in harmonics with a little experimentation on the patch bay.
and the sk-1 will function as normal provided that all bends are not activated.. it is highly recommended that you understand how the instrument works and experiment with bends in all modes to make the best and widest use of your instrument. there are plenty of good resources on the web with manuals to download.
outputs to external amplifying, mixing or recording devices via 1/8" on back"
"This mega modified Alesis HR-16 is the first in a short series of HR mods in custom enclosures and loaded with features. The HR-16 is filled with circuit-bent craziness and unique drum/synth sounds. Check out the description of features below. When none of the modifications are engaged this machine functions like a 100% stock hr-16
Custom HR-16 FEATURES:
Circuit-Bending Interface: 20 point patch-bay allow you access to bendable ROM locations. Linking these points with patch cables will generate a wide range off effects, synth tones, new sounds, and unique sound-scapes. The HR-16 is particularly responsive to CB mods and has one of the widest ranges in sound for a circuit-bent drum machine. Patch-bay also has 3 points joined for mulit patching, and the entire patch-bay is backlight with multi-color flashing LEDs. Leds randomly blink and fade into just about every color in the spectrum.
Patchable Rotary Switch: Located on the main patch panel is a 12 position rotary switch with a patch location for base and each of the 12 positions. Patch locations can be routed through this switch then selected at will. Leaving a position blank will serve as off or bypass.
Dual Oscillator: Audio Frequency oscillator and LFO Pitch is controlled by LED fader and output is wired to bending patch bay. When patched to particular locations this will generate tunable overtones and other unique sounds.
CLK/Master Pitch Control: Master pitch controls affects the pitch of all drum sounds but not the tempo of pattern of speed of other functions. Pitch ranges from well above to WAY below normal pitch, at low pitches you can get some really gritty bit-reduction sounds. Pitch is controlled with LED fader and features by-pass switch."
"This mega modified Alesis HR-16 is the first in a short series of HR mods in custom enclosures and loaded with features. The HR-16 is filled with circuit-bent craziness and unique drum/synth sounds. Check out the description of features below. When none of the modifications are engaged this machine functions like a 100% stock hr-16
Custom HR-16 FEATURES:
Circuit-Bending Interface: 20 point patch-bay allow you access to bendable ROM locations. Linking these points with patch cables will generate a wide range off effects, synth tones, new sounds, and unique sound-scapes. The HR-16 is particularly responsive to CB mods and has one of the widest ranges in sound for a circuit-bent drum machine. Patch-bay also has 3 points joined for mulit patching, and the entire patch-bay is backlight with multi-color flashing LEDs. Leds randomly blink and fade into just about every color in the spectrum.
Patchable Rotary Switch: Located on the main patch panel is a 12 position rotary switch with a patch location for base and each of the 12 positions. Patch locations can be routed through this switch then selected at will. Leaving a position blank will serve as off or bypass.
Dual Oscillator: Audio Frequency oscillator and LFO Pitch is controlled by LED fader and output is wired to bending patch bay. When patched to particular locations this will generate tunable overtones and other unique sounds.
CLK/Master Pitch Control: Master pitch controls affects the pitch of all drum sounds but not the tempo of pattern of speed of other functions. Pitch ranges from well above to WAY below normal pitch, at low pitches you can get some really gritty bit-reduction sounds. Pitch is controlled with LED fader and features by-pass switch.
Low-Pass Filter: Unique sounding filter wit controls for cutoff, resonance, overdrive, and output level. 1/4" input and output are located on the back. Also features true-bypass switch. If you take adjantage of the HR multiple outputs you can process one or more drum sounds independently through the filter and not affect other drum voices."
Time for the next update! This will be the last one before we head off to superbooth in the coming weeks.
With this update we’ve covered a variety of requests for the MIDI module as well as simplified the use of the module. This update also comes with 2 presets, new versions of the 8-voice wavetable synth patch demonstrating the changes we made to the MIDI module (see below).
It’s now easier to use fader and knob boxes sending MIDI controller data. Previously the MIDI module would only output controllers 74, 7 and 1. With the new CCA-CCH parameters and outputs it’s possible to use 8 MIDI CCs per MIDI module. The P-page can be used to set the controller numbers.
Note this is the first post to feature ElectroTechnique.
"TSynth is a DIY synth based on the Teensy 3.6 MCU board. It is six voice polyphonic with two oscillators and very comprehensive control and options. Patch saving and recall, three MIDI in options and USB digital audio. It is open source and the PCB and front panel are now available to buy on Tindie. The intention was that the cost of parts to build this synth are around $99 and it should be a serious instrument. There are many features and full details are on https://electrotechnique.cc
All sounds are directly from TSynth with built-in stereo chorus - Youtube tends to muffle the sound, the bass will go very low. I'm hoping that end users will produce better demos and contribute to the code."
Six voice polyphony (last note priority), two oscillators per voice, detunable with +/- 2 octaves range, Sine/ Sample & Hold (like tuned noise)/ Square/ Sawtooth/ Ramp/ PWM/ Var Triangle/ User waveforms and level
Pulse Width/ Var Triangle can be set for each oscillator with PWM by dedicated LFO or from the filter envelope
Pink or white noise level
Dedicated LFO for pitch mod (can be retriggered by note on), Sine/ Triangle/ Sawtooth/ Ramp/ Square/ S&H waveforms
Pitch can be modulated by filter envelope (+/-)
XOR ‘Ring Mod’ (creates lots of harmonics with certain waveforms)
Unison with all twelve oscillators detunable from each other
Polyphonic Glide with variable time
Filter
State variable 12dB filter (SVF) with continuous mix between LP and HP (provides notch filter) and BP
Cutoff freq and resonance
Cutoff can be modulated by dedicated ADSR envelope (+/-), dedicated LFO
LFO has same waveforms as pitch LFO (can be retriggered by note on) and rate can be set to match MIDI clock (tempo) with variable time division (1,3/4,1/2,1/4,1/8…)
Amplifier
Dedicated ADSR envelope
Volume for DAC output
Effect amount and mix - currently for stereo ensemble chorus rate and mix but could be set up to allow choices in programmer
Programmer
160x80 IPS colour display
Encoder with button for data entry, Back button for menu navigation
Save and Recall buttons for storing patches, holding Recall initialises the current patch to match the panel controls. Holding the Save button takes you into a patch deletion page.
The programmer makes the synth very flexible with future possibilities for changing User waveforms, alternative filters, alternative effects with further parameter settings.
Playlist:
1. Patch of The Week: The Sonic XV's Wave Folder - So many tones from just 1 VCO's Triangle wave
'Sonic Arps': The Sonic XV Transistor Diode Ladder Filter has a built-in Wave Folder, and in this video I'm using an arpeggiator in random mode to show the many subtle flavours of sound it can achieve from just a simple triangle wave from a single VCO. I will also pull a huge variety of timbres from a sine wave in a similar fashion. The filter is a re-creation and expansion of the VCF from the Musonics Sonic V (5) synth of the 1970's (predecessor of the Moog Sonic Six), and shares a similar character to that of the EMS Synthi and VCS3, also being early diode filters. Bearing that in mind you might expect it to produce aggressive tones and chaotic feedback, which it can do well enough, but you might not have expected that it can also be very subtle, organic and warm in character, particularly well-suited to melodic arps/patterns and percussive sounds. With the added wave shaping functionality that wasn't present on the original, along with 24dB and 6dB low pass modes, and band pass filtering, this module packs a lot of tone shaping into 14hp.
A PDF file of the patch can be downloaded here: https://kvisit.com/8AE/xfUG
Patch notes: Green dots show approximate pot and switch positions. Where a pot has two dots, this illustrates the range I move them during the video. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions. I'm using the VCA as a mixer so that I can use the outputs from both the BP and 6dB outputs of the Sonic XV. Notice in the video they are set at different volumes at different points depending on the sound - you will need to adjust this too, as different combinations of IN LEVEL, IN MIX, IN WAVE, and filter settings can make a significant difference to volume levels. Modules used from left to right: Vintage Transistor Core VCO, Sonic XV, Contour Generators, Discrete Cascaded VCA.
2. Patch of the Week: 'Schulze School' - Melodic Eurorack performance + 'how-to' guide & patch sheet
This week's patch makes use of the V-Shape wave shaper/wave folder to sculpt the great analogue tone of the MiniMod VCO to create some delicate timbres that reminds us of Klaus Schulze's mesmerising sounds created on his sequencer-driven Moog modular synth systems in the 1970's. It also makes particular use of the Ring SM as a sub oscillator generator, and the rich tones of the Sonic XV diode filter.
Check out the AJH Synth playlists for more 'Patch of The Week' videos, which will be either performances or 'how to' guides detailing a range of sounds, some familiar, some less so, and each containing a patch sheet at the end to show you how to construct it for yourself.
3. Patch of the Week: 'Singing Gemini' - Dual Analogue VCF as a Dual Sine Wave VCO How to & patch sheet
This patch uses each of the 2 analogue filters of the Gemini as a dual VCO, self-oscillating, so that they produce sine waves and can be sequenced melodically using the Korg SQ-1 or any analogue step sequencer. This guide shows you how to make this patch, along with a patch sheet at the end. It is one of the many ways you can use just a couple of Eurorack modules to make music, as modular synthesis can be rewarding even with a minimal gear list.
This patch is from a series of jams featuring an all ALM groovebox style setup with sequencing from the ASQ-1 & Pam, sounds from Squid, Akemie’s Taiko & Tyso Daiko, and mixing via 2 MEGA-TANGs, Jumble Henge & MFX. A faderbank with 16 offsets is patched around the system for performance and macro controls (making use of the assignable CV inputs of Squid, Pam and MFX).
Big thanks to Ed2d (Edd Butterworth @begg_egg) for the patch / performance and Andrew Duff (@allthesixes666) for the video synth visuals.
Patch notes:
A chord and bass line from the Squid Salmple are processed through the built in channel filters with their cutoffs controlled via assignable CV by the faderbank offsets. The bass line is only triggered, with pitch changes occurring via stepping through different cue sets. The v/oct inputs are used to transpose the chord and bass lines together using the ASQ-1’s global transpose function.
The snare and vocal samples are also a single sample using cue sets to step through different sounds each time the channel is triggered. An additional snare from the Tyso Daiko is layered in and processed by gated PL8 reverb from an MFX.
The faderbank sliders control many changes including open hi-hat width, sample pitch, and the snare/vocal rolls. To create the fast rolls, Pam’s new ‘ratchet’ wave is used to trigger the sounds, with the slider controlling the width parameter to let more/less ‘triggers’ through.
"GRAINY CLAMP-IT (Cookin' in the Kitchen with Grainy!)
GRAINY CLAMP-IT is a granular and phase modulated additive oscillator—brand new heavy territory for Studio Electronics... we know; wait till you hear the stunning contrast it creates when paired with our discrete Class-A OSCILLATION module, and the inorganic to downright 1970's combo organy / CS-80-ish tones it can generate. Pure voltage-controlled candy. Be sure to wash off the sticky...
Best to break Granny Clampett's namesake down in stages, and time travel a bit.
First Stage - Additive mixing of 4 harmonics using one of 16 waveforms, and one of 16 combinations of harmonics.
Second Stage - Granular or phase modulated mixing of the signal from the first stage, with a sync option.
Back to the First Stage - Additive section with selection of 16 different combinations of harmonics. The harmonics can be based on a sinewave or on one of 15 other waveforms. There's a separate control for mixing the selected harmonics.
Back to the Second Stage - The second processing stage allows granular processing or phase distortion. Granular processing gives you control over grain length and grain position, and can produce sync, detune, and wave sequencing effects. Phase distortion allows the signal from stage one to "look up" non-linearly, and can produce thick detune sounds and wildly varying pitch/timbre effects.
Exploring Modular Synths Episode 0 - Beginner's Mind - Introduction and First Patch
"This video is for beginners interested in exploring modular synthesis. It explains what a modular synth is, different types of modules, and how to create a first patch. I try to go step by step and use Pressure Points and Brains as a sequencer to run the Dixie ii+ oscillator, Peaks for envelopes, and the Echophon delay."
Exploring Modular Synths - Easy Patch Introduction Video 1
"This video series is an introduction to modular synthesizers, with each video exploring a few modules and showing how to create an easy patch. This first video features the Make Noise Rene, the Intellijel Dixie ii+, the Xaoc Batumi and the Harvestman Polivoks filter. This is on an introductory level so we're just scratching the surface of these wonderful modules!"
Exploring Modular Synths - Easy Patch Introduction Video 2
"The second video in a series exploring modular synthesis a few modules at a time by showing easy patches step-by-step. This patch explores using Make Noise Maths to control a Make Noise Rene sequencer, going to a Wiard Anti-oscillator, further modulated by a Make Noise Pressure Points, and finally into the Mutable Instruments Clouds for some granular effects."
Exploring Modular Synths - Easy Patch Introduction 3 - Batumi and Clouds
"A patch exploring just two modules -- the Xaoc Batumi and Mutable Instruments Clouds. The Batumi is used both as a sound source and to modulate itself and Clouds. Only these two modules are used (the Azimuth is just trimming the output to the monitors to control levels and could be removed from the patch)."
Exploring Modular Synths - Introduction to Patching No. 4
"This is a quick run through of a more complex patch on the modular synthesizer."
Exploring Modular Synths - Patch 5 - Getting Your Synth to Play Along using the 4ms SMR
"This video explores using the 4ms Spectral Multiband Resonator as an evelope/trigger generator based on incoming signal, to turn your modular synth into an accompanyist that can play along with any kind of music. In this case music is played from a Radio Music module. The end result was kind of like a drunk tuba player and a drunk jazz drummer playing along with the music -- more tweaking could no doubt create a better effect!"
Exploring Modular Synths - 6 - Fuller patch with three sequencers and Pressure Points for Chords
"First I explain the patch, which is using Pressure Points for chords, and three sequencers (two Mother 32's and the Rene), plus Dixie ii+, Wiard Anti-oscillators and Braids for sound sources, and Peaks for a bass drum. Then I play the patch a bit."
Exploring Modular Synths 7
"This video explores a patch centered around the 4ms Spectral Multiband Resonator. Explanation is given and then the patch is played."
Exploring Modular Synths 8 - Using the Echophon as an Oscillator
"Almost anything in your modular synth, it seems, can be used as an oscillator or sound source. In this very simple video, the Echophon is used as an oscillator by capturing some inputted audio with the freeze button. It is sped up to audio rate, and then CV comes in via the pitch input to play that frozen audio."
Modular Expedition 22 - Improvised Modular Synthesizer Music
"Live performance on a modular synthesizer. An explanation of the patch is given in the video 'Exploring Modular Synths 9'."
Exploring Modular Synths 9 - Explanation of Patch and Performance of Modular Expeditions 22
"This video explains a somewhat involved patch used in the piece "Modular Expeditions 22" which is available as a separate video without explanation and with better audio quality. If you haven't seen that, you can go watch that first. In this video, after the explanation of the patch, the piece is played through as a shorter version than the other video. This piece is built around a sequence in the Rene that goes out to the Dixie, the Intellijel Shapeshifter, and Braids. Drums from the Ladik Twin Drums module and hi-hats from noise from a Mother 32 accompany. The piece begins and ends with pads from Pressure Points into two Wiard Anti-oscillators and into a 4ms Spectral Multiband Resonator complement the piece, played into Clouds. Echophon is used for some DJ-like wiggling effects at times."
Modular Expedition 23 - Random Orchestral Movements in the Dark
"Live performance on a modular synthesizer. The explanation for this patch can be found in the video 'Exploring Modular Synths 10.' The patch is meant to resemble an experimental sympohony orchestra and is built around a Korg SQ-1 sequencer, Intellijel Shapeshifter and Mutable Instruments Clouds. Thanks for watching!"
Exploring Modular Synths 10 - Clouds and Shapeshifter for Random Orchestral Movements in the Dark
"This patch uses the Korg SQ-1 sequencer, the Intellijel Shapeshifter and Clouds to create the effect of a symphony orchestra playing an experimental piece of music. The Batumi and Dixie ii+ are used for low-frequency oscillation for modulation. A fuller performance of the patch is available as 'Modular Expedition 23.'"
Exploring Modular Synths 11 - Self-patching a Dixie oscillator
"This video tutorial for beginners starts with an exploration of what happens when you start to patch an oscillator back into itself, using the Dixie ii+ as an example. The self-patched Dixie is then sequenced with a Make Noise Rene and Pressure Points going into an Echophon and Mutable Instruments Clouds. Thanks for watching!"
Exploring Modular Synths 12 - Strymon Big Sky
"This video explores a basic patch with the Shapeshifter sequenced by the Rene to show off the Strymon Big Sky and what it can add to a modular synth"
Exploring Modular Synths 13
"A video showing a patch of a groovy synth bass line featuring the Strymon Big Sky reverb pedal."
"Fully refurbished Roland TR-707 drum machine, with a twist! Added pitch controls and a circuit bending patchbay allow for tons of expirimentation and unique sounds. Disengage the modifications to use it as a classic stock 707, or engage the pitch controls and start plugging in the circuit bending patch cables to explore it's awesome new sonic capabilites.
Pitch Controls
10 by-passable pitch controls have been added, which affect individual sounds or groups corresponding with the volume faders. Each pitch adjustment has a by-pass toggle switch, pitch control, and status LED. This modification works by manipulating the clock frequency of the affected sounds playback. In bypass mode the original clock frequency is received and the original 707 sound is produced. When the pitch adjustment is activated the original clock frequency is replaced by the added external and adjustable clock frequency generators. Pitch ranges from way above to WAY WAY below original clock/pitch.
Circuit Bending Patchbay
In addition to pitch controls, the modification includes a 10 point ROM-based bending interface aka circuit-bending patchbay. Linking these points with patch cables accesses a mixed bag of odd effects, filter, modulated, and otherwise unique sounds. These effects are the result of cross-modulated and otherwise scrambled ROM data being converted to audio. When none of the modifications are engaged these machines will function and sound as Roland intended. Modification only affect audio and all other functions remain functional no matter what mode or modifications are engaged.
Fully Refurbished
In addition to the insanely fun modifications, all units are fully refurbished. All Diabolical Devices TR-707's are completely disassembled and cleaned: the panel/button board, all key contacts, switching outputs, and all faders and cleaned and treated. The DC power input is replaced and the circuit board is treated to prevent future failure (common weak spot). All interface jacks (MIDI, audio in/puts, and sync) are resoldered and inspected. This makes for very reliable instruments, complete with repair warranty.
Comes carefully packed with basic instructions to get you started, and a repair warranty. Basically if it should fail in the future, just send it back, the unit will be repaired and returned to you no charge (excludes physical damage, mechanical components, misuse, and other unreasonable situations).
Features
10 External CMOS CLK Generators/Pitch controls with bypass switch and LED indicators
10 point circuit-bending patch bay (3 patch cables included)
Blue LED color change
Fully refurbished unit
Repair warranty"
"Fully refurbished Roland TR-707 drum machine, with a twist! Added pitch controls and a circuit bending patchbay allow for tons of expirimentation and unique sounds. Disengage the modifications to use it as a classic stock 707, or engage the pitch controls and start plugging in the circuit bending patch cables to explore it's awesome new sonic capabilites.
Pitch Controls
10 by-passable pitch controls have been added, which affect individual sounds or groups corresponding with the volume faders. Each pitch adjustment has a by-pass toggle switch, pitch control, and status LED. This modification works by manipulating the clock frequency of the affected sounds playback. In bypass mode the original clock frequency is received and the original 707 sound is produced. When the pitch adjustment is activated the original clock frequency is replaced by the added external and adjustable clock frequency generators. Pitch ranges from way above to WAY WAY below original clock/pitch.
Circuit Bending Patchbay
In addition to pitch controls, the modification includes a 10 point ROM-based bending interface aka circuit-bending patchbay. Linking these points with patch cables accesses a mixed bag of odd effects, filter, modulated, and otherwise unique sounds. These effects are the result of cross-modulated and otherwise scrambled ROM data being converted to audio. When none of the modifications are engaged these machines will function and sound as Roland intended. Modification only affect audio and all other functions remain functional no matter what mode or modifications are engaged.
Fully Refurbished
In addition to the insanely fun modifications, all units are fully refurbished. All Diabolical Devices TR-707's are completely disassembled and cleaned: the panel/button board, all key contacts, switching outputs, and all faders and cleaned and treated. The DC power input is replaced and the circuit board is treated to prevent future failure (common weak spot). All interface jacks (MIDI, audio in/puts, and sync) are resoldered and inspected. This makes for very reliable instruments, complete with repair warranty.
Comes carefully packed with basic instructions to get you started, and a repair warranty. Basically if it should fail in the future, just send it back, the unit will be repaired and returned to you no charge (excludes physical damage, mechanical components, misuse, and other unreasonable situations).
Features
• 10 External CMOS CLK Generators/Pitch controls with bypass switch and LED indicators
• 10 point circuit-bending patch bay (4 patch cables included)
• Blue LED color change
• Fully refurbished unit
• Repair warranty"
"The following is from the Paia website:
'The PAiA 9700 Series takes a decidedly high level, systems approach to Synthesizer Module design. Rather than individual elements such as a single VCO, VCA or Envelope Generator, each PAiA module combines multiple elements and a powerful patch-over hardwired normalling scheme behind a single compact panel. Common synth voices can be realized with few patch cords but elements can also be accessed individually for maximum versatility in creating complex, unique timbres. A lot of synth power gets packed into a small space at a low cost. Even a "small" system of only four modules, such as the P9700S, provides the sound generating power of as many as 15 conventional modules, including: 2 VCOs, 2 VCFs, 2 VCAs, 1 Balanced Modulator, 1 Noise source, 2 AR Envelope Generators, 1 ADSR Envelope Generator, MIDI to CV Converter, Glide Processor, CV Scale/Offset Processor, Power Supply System level design also improves performance and lowers cost. Local voltage regulation and Star grounding on and between modules means a low noise floor and no parasitic modulations or interactions such as oscillator locking.
All modules are scaled for 1Volt/octave Control Voltages with standard 100k ohm input impedance. Nominal signal level is approximately +10dB.
The 9700 modules have heavy duty 1/8" black anodized and screen printed aluminium panels that are 2U high (5-1/4") and provide 1/8" phone jacks for patching.
Midi to CV CV8
This freshly updated MIDI to CV converter from PAiA is an economical and versatile solution for interfacing MIDI to the world of analog synthesis and control. It is an easy to build and use system with eight analog outputs that can be Control Voltages, Gates, Triggers, even variable amplitude pulses for triggering analog drum sets. The CV8 can be configured to provide multiple control voltages for one channel. two channels or four channels (polyphony will obviuosly be dependant on your module configuration and capacity)The newly revised firmware allows Multi assignment of notes by midi channel and a DIN sync mode that can also control of one or two synths while sync is running.
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