4th of July/25 Zerosum Inertia and Metasonix process a flute playing “The Star Spangled Banner”

video upload by Cfpp0

"4th of July/25 Zerosum Inertia TVM23 & Horripilation & Voltage Controlled Annihilation + Metasonix R-57

Happy Independence Day! It’s the 4th of July! And this year we have a flute playing the National Anthem through seven vacuum tubes and a neon gas filled lamp in four modules by two great American companies: Metasonix & Zerosum Inertia. The flute gets boosted by the Zerosum Inertia TVM23 and is sent to the Zerosum Inertia Horripilation and Voltage Controlled Annihilation before passing through the Metasonix R-57 Dual Preamp/VCA."

6/24-27/25 .com Q173 Gate Math + Metasonix D-2000 + ZI 6550-99 + TR-606 + (more in description)

video upload by Cfpp0

"6/24-27/25 Synthesizers.com Q173 Gate Math + Metasonix D-2000 + Zerosum Inertia 6550-99 + Roland TR-606 + STG muSonics Vanilla Envelope + MFB dual ADSR + Intellijel LPG + Birdkids Unicorn Boom + Peavey 1300 + CorSynth C102 VC LFO + Synthetic Sound Labs 1660 + Alesis MIDIVERB II + Ace Tone MP-4 + Oakley Modular ADSR/VCA + MXR 136 dual limiter

Sort of reminds me of 'Goodbye Horses' by Q Lazzarus. The Synthesizers.com Q173 Gate Math has been very underutilized, so it’s been moved, and this was the first time I used it on the Metasonix D-2000. ALM Pamela’s New Workout is driving the Q173, which is triggering the D-2000. The D-2000 mix output runs through the Intellijel Passive LPG, which is controlled by the MFB dual ADSR, which is driven by Pamela’s. A copy of the Intellijel LPG runs through the Peavey 1300 delay, panned left, with gates reverb from the Alesis MIDIVERB II. The bass drum is from the Birdkids Unicorn Boom, triggered by Pamela’s, and limited by the MXR 136. The high pitched 16th note claves that sound like crickets are from the DSP 808, modulated by the MFB dual ADSR. The snare is from the Roland TR-606, processed by the Ace Tone MP-4 spring reverb. The hi hat is also from the TR-606, processed by a reversed reverb from the MIDIVERB II. The synth line is the Synthetic Sound Labs 1660 audio out through two Zerosum Inertia 6550-99 oscillators through the STG muSonics Vanilla Envelope and the Oakley ADSR/VCA, with additional modulation from the CorSynth C102 VC LFO."

6/24/25 (doubled demo) Zerosum Inertia 6550-99 oscillators (gear in description)

video upload by Cfpp0

"6/24/25 (doubled demo) Zerosum Inertia 6550-99 + SSL 1660 + Oakley ADSR/VCA + muSonics Vanilla Envelope + Corsynth C102 VC LFO + Paia 6740

I recorded a couple takes of a short looping sequence from the Synthetic Sound Labs 1660 The Matrix Algorithmic Composer to demonstrate some of the strange sounds you can glean from the Zerosum Inertia 6550-99 Thyratron Oscillator. In this video, two of them are overlaid. The SSL 1660 pitch is at a different setting in the two takes, but the patch is the same. The SSL 1660 audio output is controlling the pitch of two 6550-99 VCOs. The right 6550-99 is running through the STG muSonics Vanilla Envelope (panned center) and the left 6550-99 is running through the Oakley Modular ADSR/VCA (panned left). The right 6550-99 is also receiving an LFO from the Corsynth C102 VC LFO. This was just to hear the 6550-99 VCOs, so no filter or processor was used on either 6550-99 and very little spring reverb from the Paia 6740 was applied (with the 6740 slightly feeding back on itself via the aux send)."

6/14/25 ElectroComp EML 200 + SSL 1520 Segwencer IV + Happy Nerding FM AID

video upload by Cfpp0

"6/14/25 ElectroComp EML 200 + SSL 1520 Segwencer IV + Happy Nerding FM AID

This was a test of the 5U version of Happy Nerding FX AID with the ElectroComp EML 200. It’s processing the master sine wave from the upper EML 200, and modulated by the master triangle from the lower EML 200. The upper EMl 200 ring mod and switch are also being used, with the switch getting pulsed by the lower EML 200 master square wave. The Synthetic Sound Labs 1520 Segwencer IV is also being used, modulated by the lower EML 200 master triangle. The spring reverb is from the EML 200."

6/16/25 Roland (RYK, E-licktronic) System 100m + Peavey 1300 + DeltaLab Effectron II + MIDIVERB II

video upload by Cfpp0

"Haven’t been using the E-licktronic 118a 808 bass drum and snare drum clone lately, so this was a chopping-block patch. We’re going to keep the 118a module in the end, as it’s still the closest thing to a Roland TR-808 around here. This System 100m patch is based around two RYK Modular 185 sequencers. The right 185 is clocked by the left 185’s gate output. The 118a snare is being triggered by that same gate pattern and the snare audio output is running through the DeltaLab Effectron II delay, feedback maxed, panned left. Both 110 VCOs are controlled by two RYK 185 sequencers, and both VCOs pass through the right 110 VCF into the right 110 VCA into the Peavey 1300 delay with plenty of feedback, panned center. The 150 and 140 LFOs are on the 110 filters and modulating the 118a accent in and decay CV. Some reverb (preset 23) from the Alesis MIDIVERB II."

6/14/25 (abhorrent) Roland System 100m + Metasonix R-54 + Zerosum Inertia Horripilation + (…)

video upload by Cfpp0

This is the first post to feature the Zerosum Inertia Horripilation.

"6/14/25 (abhorrent) Roland System 100m + Metasonix R-54 + Zerosum Inertia Horripilation + Peavey 1300 + Alesis MIDIVERB II

Some sludgy Sample & Hold. Pamela’s New Workout clocks the Roland System 100m 150 module’s S&H, which sends its clock out to the 140 envelope and its S&H out to both 110 VCOs, both 110 VCFs. The 140 envelope controls both 110 VCAs. The 150 LFO and the 140 LFO also modulate the VCFs on the two 110 modules. The upper 110 runs through the Zerosum Inertia Horripilation module, which is also modulated by the 150 S&H. The lower 110 runs through the Metasonix R-54, modulated by the 150 S&H signal. The R-54 runs through the Peavey 1300 and is panned center. The Horripilation signal is panned a bit left. Both signals receive some room reverb from the Alesis MIDIVERB II."

6/10/25 ThinkGeek Bliptronic 5000 + Metasonix Penile Amputator + CRS Tube Reverb + MIDIVERB II

video upload by Cfpp0

"6/10/25 ThinkGeek Bliptronic 5000 + Metasonix Penile Amputator + CRS Tube Reverb + Alesis MIDIVERB II

Someone was selling some ThinkGeek Bliptronic 5000 sequencer / synthesizers so we picked one up just to check it out. It sounds like a toy, but the interface is fun. It’s polyphonic, but this was just a first simple test. You can chain them together apparently. It sounded a little better through the Metasonix Penile Amputator into the CRS Tube Reverb for mono spring reverb and then a wash of reverb from the MIDIVERB II."

6/4/25 ElectroComp EML 400/401 + Roland TR-909 + General Radio 1654-A + Alesis MIDIVERB II

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"6/4/25 ElectroComp EML 400/401 + Roland TR-909 + General Radio 1564-A + Alesis MIDIVERB II

The bass pulses are the Roland TR-909 low tom through the General Radio 1564-A, with reversed reverb from the Alesis MIDIVERB II. The TR-909 trigger out is driving the ElectroComp EML 400 sequencer. I recorded two takes of the EML 400 sequencing the 401 (with and with reverb), but ended up stacking them both."

5/31-6/3/25 multitrack test of Roland TR-909 internal clock

video upload by Cfpp0

"5/31-6/3/25 Roland TR-909 + General Radio 1564-A + ElectroComp EML 200 + Ace Tone MP-4 + DeltaLab Effectron II + Peavey DDL-3 + Alesis MIDIVERB II

This video started out as a quick test of a black General Radio 1564-A Sound and Vibration Analyzer, with the 1564-A processing the Roland TR-909 low tom. The 1564-A is kind of crusty, but it works. Then that video prompted a test to see if the Roland TR-909 internal clock is solid. It is very solid; there are about five different takes layered in this video, and they’re all using the 909 internal clock. The kick, clap, rim shot, hats, ride, low tom and high tom are all used, with the low tom getting either all pass processed or 1/3 octave processed. The rim shot also gets processed towards the end. And the high wood block sound is the 1564-A getting pinged by the 909 trigger output (which is set by a rim shot pattern). The clap and the high tom are processed by the Ace Tone MP-4 preamps and spring reverb. The Alesis MIDIVERB II is used heavily for reverbs, including some absurd reversed delays. The Peavey DDL-3 and the DeltaLab Effectron II are used for delays throughout the video. The drones are two ElectroComp EML 200 synthesizers."

5/27/25 (melt drone) Pasco Scientific 9301 + Heathkit ID-4101 + Yamaha EM-100

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5/26/25 Pasco Scientific 9301 dual function generator + Yamaha EM-100

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5/21/25 Hewlett-Packard 3310A & 241A + Landscape Noon + Paia 6740 + Alesis MIDIVERB II

video upload by Cfpp0

"5/21/25 Hewlett-Packard 3310A & 241A + Landscape Noon + Paia 6740 + Alesis MIDIVERB II

We only hear the Landscape Noon passive drum synthesizer, activated by voltages from the Hewlett-Packard function generators and oscillator. The Hewlett-Packard 241A is just providing a certain rasp through channel 8 on the Noon. The left Hewlett-Packard 3310A sync output runs to channel 2, and its high output runs to channel 1, which together create the bass pulse (panned center). The right 3310A high output runs to channel 4 (panned a little left), and the 3310A range switch is played in patterns to create something like a melody. There is a gated reverb from the Alesis MIDIVERB II on both signals, and spring reverb from the Paia 6740 only on the one signal generated by the right 3310A."

5/20/25 Metasonix RK10 & RK7 & RK2 & RK6 + DeltaLab Effectron II + Alesis MIDIVERB II

video upload by Cfpp0

"5/20/25 Metasonix RK10 & RK7 & RK2 & RK6 + MFB AHDSR + Doepfer 183-2 + ALM Pamela’s anew Workout + DeltaLab Effectron II + Alesis MIDIVERB II

The Metasonix RK10 sequencer CV output is modulating the Metasonix RK7 Thyratron VCO and the Metasonix RK6 filter, with no audio input, but with resonance at the threshold of self-oscillation. Both the RK7 and the RK6 run through the Animodule MixMan into the Metasonix RK2 VCA (horsecock). One of the RK2 outputs runs through a 2hp Trim into the DeltaLab Effectron II into the Mackie Onyx 1640 mixer, panned a bit left, with reverb from the Alesis MIDIVERB II. The other RK2 output runs through a 2hp Trim to the Mackie, with the same reverb. The RK10 is clocked by ALM Pamela’s New Workout, boosted by the Doepfer 183-2. Pamela’s is also driving the MFB dual AHDSR, which is controlling the RK2."

5/19/25 (15km throb) Korg SQ-10 + Metasonix S-2000 + DeltaLab Effectron II + Alesis MIDIVERB II (32)

video upload by Cfpp0

"15k breakers bonus bone throb"

5/14/25 MFB 501 + DeltaLab Effectron II + Alesis MIDIVERB II

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5/11/25 Slope generator and sub oscillator sequence (modules listed in description)

video upload by Cfpp0

"5/11/25 (Slope generator and sub oscillator sequence) SSL 1240 + LWSS CGS01 + Synthesizers.com Q123 & Q125 + muSonics Attenuators & Multiples & Wave Folder + Happy Nerding FM AID + Zerosum Inertia The Scorpion Tail + Blue Lantern Mixer + Alesis MIDIVERB II + ElectroComp EML 200

I spliced two takes one after the other. In the first, the 440 Hz tone from the Synthesizers.com Q123 Standards module, gated by the Blue Lantern mixer, is the constant bell-ish sound panned left. Throughout the whole video I am selecting divide or multiply on the Lower West Side Studios CGS01 Sub Oscillator, which varies the sequence. The Synthetic Sound Labs Dual Slope Generator bipolar output to CGS01 input A. CGS01 output A to .com Q123 to muSonics Multiples to Free State FX Macro Digital Oscillator V/OCT input and to Happy Nerding FM Aid CV input and to .com Q125, with Q125 output to muSonics Wave Folder CV input. Macro output to FM Aid carrier input. Macro sine out to muSonics Wave Folder to Multiples to Zerosum Inertia Scorpion Tail audio in and to Blue Lantern Mixer input 4, with spectral wave folder switched on, triggered by SSL 1240 fall gate out. CGS01 output B to CV in on Scorpion Tail. FM Aid saw out to Mackie Onyx 1640, panned right, with reverb from Alesis MIDIVERB II. Blue Lantern mixer VCA output to Mackie, panned left, with MIDIVERB II. Zerosum Inertia output panned center, dry. The drone is four VCOs on two EML 200, with internal spring reverb, modulated by their master sine waves."

5/3-5/25 (2 patterns) Simmons SDS6 & SDS1 + DR-55 clone + DigiTech HM4 + EML 200 + (in description)

video upload by Cfpp0

"5/3-5/25 (2 patterns) Simmons SDS6 & SDS1 ('flange snare') + Doctor 55 clone + DeltaLab Effectron II + TAMA DS200 + ElectroComp EML 200 + Ace Tone MP-4 + DigiTech HM4 Harmony Machine + Alesis MIDIVERB II + MXR 136 Dual Limiter + DBX 119 + Peavey 1300

This Simmons SDS6 was dead, but it’s been serviced by The Simmons Guy. It got converted from 220v to 115v with a rebuilt PSU, a cloned reset circuit on a custom PCB, traces rerouted on the dead expansion PCB with new caps and trimmer, new RAM ICs, new batteries, plus a MIDI in mod and, due to a lot of corrosion, plenty of new traces, caps, resistors, diodes, and so on. I’m still working my way through the SDS6 manual, but it’s already been a real pleasure to have such a giant sequencer. It makes the Doepfer Trigger Matrix seem microscopic. Considerable noise from the SDS6 is audible through the (always noisy) Doctor 55 clone. Not sure why. Anyways, the SDS6 is triggering the DR-55, which runs through the DeltaLab Effectron II, overloading the preamp limiter, fully wet, full feedback. In the first pattern, the Effectron II is set to Flange Lo (16ms). And then Double (64ms) in the second pattern. The SDS6 also triggers the SDS1, with a “flange Snare” EPROM and with the auto run feature on, and it’s panned a bit right with reverb from the Alesis MIDIVERB II. The SDS6 also triggers the TAMA DS200, which runs through the Ace Tone MP-4 for saturation and spring reverb. The DR-55 is also running through the Peavey 1300, which is panned left and has a lot of reverb from the MIDIVERB II. I did an overdub where I ran the whole first pattern through the DigiTech HM4 harmonizer, but the detuned copy sounded better when placed early, before the high pitched original. So if you are wondering why you can’t see those detuned notes on the SDS6 matrix, that’s why. You can see those notes being leveled by the MXR 136 limiter in the cutaway shots. The second pattern has drones from the EML 200 synthesizers: one is constant, panned left, and getting louder the whole time; the other is four VCOs through two VCAs, modulated by two different master sine waves, with the EML internal spring reverbs and reverb from the MIDIVERB II."

5/1/25 (1st SDS6 test) Simmons SDS6 & SDS8 + Peavey 1300 + Alesis MIDIVERB II + Paia 6740

video upload by Cfpp0

"A first test of the Simmons SDS6 after having it extensively serviced by The Simmons Guy. I love it!"

Two great Simmons demos today. See the Simmons label below for more.

4/27-30/25 (16th, 145) Metasonix D-2000 + Roland 100m SPH-323 TR606 + EML 400/401 + (in description)

video upload by Cfpp0

"4/27-30/25 (16ths, 145 bpm) Metasonix D-2000 + RYK 185 + Roland System 100m & SPH-323 & TR-606 + ElectroComp EML 400/401 & EML 200 + DSP 808 + 2hp Comp + Soundforce S-LD + Peavey 1300 + Alesis MIDIVERB II + Paia 6740

The pumping drone that sounds like a harmonium is the ElectroComp EML 200 through a 2hp Comp module, with reversed reverb from the Alesis MIDIVERB II and spring reverb from the Paia 6740. The bass pulse is the Metasonix D-2000, triggered by the MFB SEQ-1. The 16th note synth panned center is the Roland System 100m, sequenced by the RYK 185, through the Roland SPH-323 through the Peavey 1300. The 16th note synth line panned left is the EML 400/401. The percussion is the DSP 808 and the Soundforce S-LD, triggered by MFB SEQ-1 and ALM Pamela’s New Workout, which clocks everything."

4/27/25 Roland System 100m & SPH 323 + Peavey 1300 + Ace Tone MP-4 + Alesis MIDIVERB II

video upload by Cfpp0

"4/27/25 RYK 185 + Roland System 100m & SPH 323 Phase Shifter + Peavey 1300 + Ace Tone MP-4 + Alesis MIDIVERB II

I was going for Burzum low fidelity with the Peavey 1300 overloading and the Ace Tone MP-4 spring reverb feedbacking. Anyways, ALM Pamela’s New Workout clocks the right RYK Modular 185, which gates one of the Roland 140 envelopes and the left RYK 185, which gates the other envelope. Each 185 modulates the pitch of one Roland 110 VCO and VCF, while the VCFs are also modulated by LFOs from the 140 and 150 modules. The 140 envelopes control the two 110 VCAs, which are mixed on a Roland 132 and sent through the Roland SPH-323 Phase Shifter into the Peavey 1300 delay. The Ace Tone MP-4 is patched into itself for feedback as it further distorts the delayed signal and adds spring reverb."