432 vs 440Hz concert pitch | Love never dies, but Math never lies.

video upload by Cinematic Laboratory

"I am aware this is a controversial subject, but I've been intrigued by it for a long time. First, I was open for it, then I became doubtful and ended up in 'it makes no difference' camp. It's just a frequency like any other.
Honestly, this was supposed to be a 'fun' video where I'd investigate the subject like a mad scientist would, without jumping to conclusions.

From a numerologic perspective, 432 is a fun number. When you add all digits, you'd end up with 4+3+2 = 9. If you tune A to 432, the next A would be 864. Again, 8+6+4 = 1+8 = 9. If you'd use equal temperament, all notes in your scale would be integer (whole) numbers with no decimals, and the digits of all frequencies would add up to 9. A440 would have eight 'broken' frequencies in the scale. But that's numerology, it doesn't make music any better or worse. A VCO runs perfectly stable on 345.6701 Hz and it will probably drift all over the place when it's analog. Does 432 make any sense from the perspective of the Universe? Quite. The number constantly turns up in time and space. Ofcourse it also returns in the Great Pyramid and the lightspeed constant.

Again, that's just numerology and it has nothing to do with frequency. That's like apples, oranges or cows. Or is it? Frequency is cycles per second. Cycles are circles moving in time and phase is expressed in numbers like 45, 90, 180 and 360. There's that number 9 again. How about time? There are 4320 seconds in 12 hours. So maybe, just maybe, 432 Hz is not like 432 cows. The number 9 is a funny number.

Mr Spock would say 'fascinating' and raise an eyebrow.

I've set my Mordax Data to 432 and 440 Hz on 'wave generator' so I could play both with a sequence. Sure it sounds different, because it's tuned a tiny bit lower (98,18 of 100%). By itself this would have a psychological effect of relief, of closure. When you start A440 and play A432, it's relaxing.
But this also happens when you move a semitone or note down.

I ran my Mordax raw sinewaves through Joranalogue's Collide 4 and used it as a resonating body (with the filter and the quadrature ring mod).
I ran a sequence spanning a wide range of notes, with plenty of reverb to make the notes interact, blur and sustain. Then, suddenly the differences between A440 and A432 wasn't subtle anymore. It was huge.

Better? I think so, but that's personal taste. Healing? Nah. More natural? I think so too. But there's nothing magical about it, it's math. I figured that a frequency doubles for each octave, so the range of A0 to A9 would sound completely different for 432 and 440. In fact, the high notes in 440 end up 256 Hz higher than in 432. It doesn't sound like a big deal, but A3 (220 Hz) is already one octave below A4 (440).

So my 'conclusion' is that A432 sounds much lower over the full range of 88 piano keys and the highs are less high. Pitch quality is different, it sounds different, and interaction with other complex frequencies will be different. Resonance and FM will be different. It's up to you to determine what sounds best. Please share your experience in the comments, and please note I am just having fun. I don't believe in the 440 conspiracy and I don't think it's bad for your health. I believe ALL music can support a healing process, but always listen to your doctor first."

DIY Oscillator using PIC12F1571

video upload by alloutofsync

"I used this weekend to create a square wave oscillator that operates with the PIC12F1571, which is an extremely affordable CPU available for just $0.71 each.

Since it was my first time using PWM, I spent an entire day generating a square wave at the desired frequency. The required settings and their interconnections were so complex to me, so that I had to carefully investigate each one as I went, which was quite challenging.

The next day, I spent working on ensuring that the output sound smoothly followed the CV input. To convert the CV input into a frequency assuming 1V/Oct, exponential calculations are typically used. However, the PIC12F1571 has limited program memory, so I couldn't use a floating-point math library. I had no choice but to approximate the calculation of powers of two using a Taylor series expansion and rely solely on integer arithmetic. Initially, I approximated up to the second-order term, but the accuracy was insufficient at higher frequencies. Eventually, I extended the approximation to the fourth-order term, which gave excellent results.

While testing with the Pico3 sequencer, I noticed that when the RATE was set to the maximum, the output failed to keep up with the changes. Increasing the PIC's clock frequency from 1MHz to 4MHz resolved the issue, and it followed the changes without any problems.

At this point, about 70% of the program memory has already been used, so I'm not sure how much further I can expand. At the very least, I want to implement duty cycle adjustment. If possible, I’d also like to use an additional PWM channel to detune and combine the signals for richer synthesis."

Trace | Interpolating CV and Audio Scanner | by DivKid and Vostok Instruments

video upload by Cinematic Laboratory

"As a 4HP utility module, the Trace isn't that special. It's basically four inputs and one output, with a slider to crossfade between the inputs. But still. If you'd want to do something similar, you would need to patch precise CV to smoothly scan through these inputs with a mixer that supports crossfading. Buchla's Voltage Math (Tiptop 257T) has two crossfaders on board, and you may have a MakeNoise XPAN nearby. I also think it would be possible with a big mixer and a Mutable Tides to slowly fade in/out. The vintage and discontinued MakeNoise RxMx was all about scanned mixing and offered six channels. But I don't think there's anything that can do this in 4 HP. DivKid has a talent to identify the things we're missing in our cases and the Vostok/Divkid Trace is a valuable addition to any patch that involves a VCO with multiple outputs or lots of CV. Highly recommended and lots of fun."

Serge Modular | Episode 01 | Introduction

video upload by Cinematic Laboratory

"I really thought I'd be immune to that modular virus by now. I was wondering what the fuzz is about with Serge Modular. And here we are.

In this series, I am not going to show off my extensive knowledge of Serge systems and patching techniques because I am a blank sheet of paper.

I know nothing. In episode 1, I'll start with celebrating 50 years of Serge with a Paperface 50 reissue walkthrough. The paper-panel kits Serge made for his students back in CalArt 1970's. Then I'll try to translate the sections to contemporary Eurorack Serge modules. I am trying to borrow a Paperface from Random*Source to dive deeper and make this adventure more tangible.

Eventually, this series will cover all Serge modules I own, and hopefully I'll be able to explain how they work, and how to get music out of them.

My knowledge comes from Maths, which was inspired by the Serge DUSG Dual Universal Slope Generator (signal ins), the Buchla 281 quad function generator (trigger ins) and the 257 voltage math (SUM, INV, OR, center attenuators). And while this knowledge is very useful, I had no idea the DUSG would be so different and SO powerful. Even with four years of near full-time patching experience, I still know nothing. Except one thing. Serge represents completely unexplored territory for me. Considering the low amount of Serge videos on YT, I may not be the only one.

Today I extended my case with the DUSG and the RES EQ from someone who sold his entire modular rig. These modules were the last to go. So many people either don't like them, don't know them, or don't know how they work. I am from category 2 and 3. Serge is often considered 'low level', like he's turning his modules inside out, exposing circuitry that's usually hidden behind the panel. He provides total freedom. Let's find out if we can handle that."

data.mod - MaxforLive Device for Ableton Live by Dillon Bastan

video upload by Isotonik Studios

"data.mod is a modulator device that can be mapped to parameters in Ableton Live in order to modulate them. It centers around a grid of math operators. Each modulated parameter (up to 8) has its own modulation source/value and each frame that value changes based on its selected math operator. By changing the operators in a chain of events and the source of their right-hand operand, you can create complex to harmonic oscillations that can be evolving over time or repeating rhythms. Great for glitchy/chaotic, harmonic and rhythmic modulations, it can be quite diverse!

Comes with
The device, user manual, 12 presets

Features:
Modulation grid with various math operators and modes of operation
Ability to freeze and loop modulation history
Gliding
Ability to modulate external parameters in Live with each column in the modulation grid (up to 8)
Many transport syncing options for making clean rhtyhms
Individual randomization and snapshot storage of parameters

AVAILABLE HERE: https://isotonikstudios.com/product/d..."

Technosaurus Cyclodon -- Demo with Korg MS20

Note: Auction links are affiliate links for which the site may be compensated.
video upload by D Math

"Quick video showing this item at work."

via this auction

"Swiss-made 1998 16-step analog sequencer. Compact and powerful! Internal or external clock (including DIN-Sync input). It can do any number of steps between 1 and 16."

CLICK FOR MORE »

How to create a DIY sequencer using Web MIDI and a MIDI controller

video upload by Floyd Steinberg

"Here's how to create a simple 16 step, 8 track, 8 patterns MIDI sequencer using JavaScript and Web MIDI (and some simple math). Table of contents:

00:00 introduction
00:51 midi basics
01:34 binary numbers
03:30 midi commands: note on
04:47 note off command
05:37 web midi
06:29 web workers
07:23 basic idea how to create the sequencer, and math basics
09:05 how to swing
10:19 document object model
12:13 how to use my sequencer
18:13 conclusion

Links:
My sequencer: https://sequencer.floydsteinberg.com (right click and show source for more info)
Main script: https://sequencer.floydsteinberg.com/...
MIDI specification: http://www.gweep.net/~prefect/eng/ref...
Web MIDI API: https://developer.mozilla.org/en-US/d..."

Announcing Bitwig Studio 3.1

Published on Nov 14, 2019 bitwig

"Pitch is a fundamental cornerstone of music, and Bitwig Studio 3.1 is tuned up with new exciting ways to work with pitch and scales. Based on Bitwig Studio's unique way to work with micro-pitch information, our new Note FX device Micro-pitch lets you dynamically retune notes, import existing scales and define your own."

CLICK FOR MORE »

Drawing with Sound (Oscilloscope Music) - Smarter Every Day 224

Published on Aug 31, 2019 Drawing with Sound (Oscilloscope Music) - Smarter Every Day 224

"What I really like about this project is that it taught me to think about the world differently with respect to physical objects. I now sometimes think about the outline of physical objects as if it's a line. The specific area of math that you use for things like this is called 'Parametric Equations'. I had a lot of great conversations about this stuff with Hansi and Jerobeam. I was very impressed by their intelligence, and also very thankful that they took their time to share these special things with me. I know they'd really appreciate it if you'd reach out to their website and purchase OsciStudio as well as some of Jerobeam's music. Even if you don't have an oscilloscope, purchasing the software will obviously help them continue to do what they love doing. Hansi showed me a very interesting thing he's working on involving ray tracing. It was fascinating.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~
SUPPORT THE ARTISTS!

Here's the website you want to go to:
https://oscilloscopemusic.com/

Direct Links:

Download OsciStudio Here so you can draw 3D objects in Blender
https://oscilloscopemusic.com/oscistu...

Download some Oscilloscope Music here:
https://oscilloscopemusic.com/watch.p...

Check out Jerobeam's channel
https://www.youtube.com/user/jerobeam..."

Blocs

Oscilloscope Music - Jerobeam Fenderson


Previous posts featuring Jerobeam Fenderson. Also see: Vector Synthesis: a Media Archaeological Investigation into Sound-Modulated Light

TIPTOP AUDIO - Mix Invert Scale Offset - MISO

Published on Mar 18, 2019 Station 252

Daily Patch #4

MISO chanel 1 - Z4000

MISO channel 2 - z3000 (audio rate and LFO. controlled by the main sequence)

MISO channel A - Math (in cycle mode)

MISO channel B - TT LFO - (attenuverter output also patched into crossfader CV in)

MISO mix output is patched into frequency modulation input on Z2040 LP Filter

Sound source: 2x Z3000 (one is sync'd)
Sequencing: Circadian Rhythms, Z8000, QuantiZer, Trigger Riot, Doepfer Sequential Switch.
Drums: BD808, Tiptop ONE + Tiptop VCA

FX: Z-DSP (Room), Z-DSP (Delay)

Volca Modular Only: Short Song with Six Patches

Published on Feb 18, 2019 Hyper Objeckt

"The Volca Modular is capable of a LOT of different sounds... to help newbies like me learn the ropes, Korg has some patch examples listed on their site. I decided to create a song using only these patches. (links below)

To write this song I started off with a chord progression created by Chord Progression Generator (link below). Then, I used the sequencer on the Volca Modular to record two simple sequences that follow the progression. I also wrote a couple melodies that can be played on the ribbon keys.

This song uses a single synth recorded six times, with a different patch used in each recording. During each recording, I listened to all of the previous recordings while playing. I recorded the percussive patch ("western bongo") first, using the sequencer, to set the tempo. I recorded the most expressive melodic patch ("vibrato") last, to make sure that it fit in with the rest of the song.

CLICK FOR MORE »

Tricks for the Dreadbox Nyx - Synched Oscillators

Published on Mar 17, 2018 ProckGnosis

Playlist:

1. Tricks for the Dreadbox Nyx - Pulse-Width Modulation

"Yeah, it's not so much a trick, as it is a mini-tutorial on how to patch Mod 2 to modulate the pulse-width on oscillator 1. Skip to 03:00 to jump the explanation.

The Dreadbox Nyx can be a bit intimidating and take a little time to figure things out, so I thought I'd throw this out to assist folks with a starting point at least. I would suggest going back to my previous "Dreadbox Nyx Routing Examples" video as well to help get a better understanding of the synth layout as a whole.

The Nyx is still probably my favorite "less-than-a-$1000" mono synth right now (with the Korg ARP Odyssey being a close second). I know I'm a broken record on this, but it bears repeating. This is a uniquely designed and unique sounding synth in the field of "a lot of the same" analog monosynths, and fun as hell to play with once you get your head around it a bit."

2. Tricks for the Dreadbox Nyx - Synched Oscillators

"And here's Nyx "Trick #2" or a mini-tutorial on how to synchronize Osc 2 to Osc 1 and use Mod 2 to enhance the effect. Jump to 01:30 to skip the intro.

For a much more thorough explanation on how synchronizing oscillators works, check out:
"Murmux Semi-Modular - Tidbits and Tips for Creating a Good Synched Oscillator Patch" (https://www.youtube.com/watch?v=yH-bD...)

Though I love a good synched oscillator patch, I would have to say this sounds best towards the end of the video, where I've mixed in the remaining saw wave (Osc 1), and used Mod 1 as a little AD envelope to modulate the filter.

Another point not mentioned in the video is I could have used the Modulator II "LVL" setting to also alter the amount of the Mod 2. It is actually additive to the amount of the "M2" value set by the "Depth" trim knob.

Lastly, this is only an example/tutorial of the most common way to get a standard, synched-oscillator sound (IMO). The Nyx being semi-modular gives you LOTS of other options and ways to produce and screw around with the synched sounds. The Nyx routings could be set to let Mod 2 modulate the HP or LP filter while it's also modulating the Osc 2 pitch."

3. Tricks for the Dreadbox Nyx - Making an ADSR Envelope

"And here's Nyx 'Trick #3' or "some info how to create an ADSR or 4 or 5 stage envelope using MOD 1 and MOD 2." If you like math, but are newer to synths, I would watch "Part 2" at 07:07 first and THEN go back to Part 1 at 02:14.

Part 1 - The Examples (02:14)
Part 2 - The ADSR Academics (07:07)

This is likely my last "Tricks for the Nyx" video for a while. The video is split into 2 parts: part 1 gives a worked through example of setting up a 4 or 5 stage envelope, and part 2 gets a bit more basic (the academic part), explaining how envelopes are usually shaped and how different envelopes can be shaped on the Nyx by adding the smaller MOD 1 and MOD 2 envelopes together.

I'm probably turning off some newbs by showing how the Nyx is a bit more complicated than most normal synths, but for me, that's a large part of what makes it cool. If you're a newb and you bought a Nyx, be patient...it is WORTH the investment of time to learn. Cheers!"

DUAL CIRCADIAN RHYTHMS IV

DUAL CIRCADIAN RHYTHMS IV from Station 252 on Vimeo.

"this is the final version of my big live patch. before going into the patch details I just wanted to say that this patch turned out to be an overkill for live use but ironically was great to play in the studio. Its just way too complex for being playable live, so I'm going to slim it down, patch research will follow in the form of short patch videos, meanwhile...

CLICK FOR MORE »

Induction Conduction

Published on Dec 30, 2017 davidryle

"The Last Drone of 2017. A modular synth piece. The bass drone is a pair of Q106 VCO's with a ramp and a saw wave into the Q150 Transistor Ladder filter. Modulations coming from some Mega Ohm Audio LFO's. The audio is then sent through a Synthetic Sound Labs S1310 Digital Delay which is modulated by another Mega Ohm Audio LFO.
Mutable Instruments Braids (Frees State FX build in 5U) along with the triple saw mode. A synthesizers.com Q960 step sequencer sends the voltages for the slow changing chords. Frequency Modulation is from the Yusynth Quadrature LFO. The mixed signal is then sent through a Z.Vex Instant LoFi Junky pedal and on to a moogah (Synthcube) SEM filter in high pass/notch mode.
A dual walking sequencer line is faded in and out. It is made with a pair of STG Soundlabs Voltage Mini Stores in a 5 against 7 step pattern. They are sent through quantizers on to a pair of Q106 VCO's. One VCO is sent through a Behringer DD400 digital dely module and the other VCO is sent through a Modcan 73B Dual Delay. They are mixed into an Oakley Audio (Krips1) Diode Super Ladder filter in low pass mode.
A fast 24 step sequencer line from another Q960 is playing a Q106 VCO triangle waveform into a Mega Ohm Audio modified Q109 Envelope Generator and on out to a TC Electric D-Two digital delay. They are faded in and out via a Makenoise Maths and Synthetic Sounds Labs Octal VCA.
The final bell sound is a step sequence from a Q119 into a trio of Q106's. Two of the VCO's are used in an FM sync mode with ramp and saw waves, and the third VCO is a triangle waveform. They are sent to the X and Y inputs of the Oakley Ring Modulator (Krisp1). That is sent to a Q107 State Variable Filter in low pass mode. The filter is modulated by the modulator VCO (triangle output) if the two Q106's in FM mode. The signal is voltage panned to stereo with a Q111 Pan/Fade module.
All timings are taken from Cubase midi out to dinsync via Mode Machine converter. The BPM is 80. ALM's Pamela's Workout, Synthesizers.com Q173 Gate Math, STG Soundlabs Time Buffer, Time Divider and Integer Divider modules divide down the timings for all sequencer events. I just performed final mix fade in and fade out. Additional reverbs and delays are from a pair of Lexicon MX200 delays."

NYZ DRNH Limited Cassette Release on Gamma Mine Featuring Hinton Instruments Modular

Dave Burraston aka NYZ/noyzelab has a new release out titled DRNH soon available on cassette and digital download. You'll find some info on the gear used exclusively for MATRIXSYNTH further below, but first, here is some info on the release via noyzelab:

"Launching Gamma Mine's explorations into electronic systems music is 'DRNH', a new release from award winning artist Dave Burraston. “DRNH” continues 2016's releases from the ever-prolific artist, who has released works on labels including .MEDS, Feral Tapes, Computer Club and ALKU, this year alone.

Under his NYZ alias, Burraston studies modulation-based synthesis techniques from his Noyzelab studio, NSW, Australia. As an extension to the activities captured on 'DRN4' (.MEDS, 2016), the systems utilised on “DRNH” have been broadened to include additive synthesis, ring modulation and non-linear waveshaping alongside Burraston's staple frequency modulation synthesis techniques. The following is a declassified listing of equipment used in this research:

Hinton Instruments Music Lab modular prototype
Yamaha SY99 & TG77 with cellular automata generated microtunings
MANIAC/Ulamizer-II cellular automata sequencing
Tiptop Z-DSP & Numberz with custom programs

The result is a collection of recordings which take the listener from sci-fi atmospheres (“NYZ-1_HI-SIN”) to whirring electronics (“NYZ_Z-DSP+NUMBERZ-DRN1”), playful FM studies (“FM80Pcellular”, “FM60Pcellular”) to meditative drones (“CSN2-excerpt1-mono”, “DRNH”). “DRNH” releases on 9th December 2016 on white C90 cassette and digital formats:

A1. NYZ-1_SHPR_mono (01:40)
A2. NYZ-1_HI-SIN (07:17)
A3. NYZ-1_FM20Pcellular (02:04)
A4. NYZ_Z-DSP+NUMBERZ-DRN1 (06:42)
A5. FM80Pcellular (05:08)
A6. CSN2 excerpt1-mono (14:29)
A7. FM60Pcellular (05:42)
B1. DRNH (44:44)"

MATRIXSYNTH - NYZ - DRNH synth info leak

--- NYZ:DRNH INFO LEAK MSG BEGINS ---

Matrixsynth asked NYZ for some extra info on this release, so this extra bonus snippet is provided exclusively!

=>

Thanks for asking for some more info on the NYZ - DRNH release, this tape has been great fun to put together. Finlay Shakespeare (Moog Sound Lab UK engineer/tech & also the guy who runs Future Sound Systems eurorack modular) has done a great mastering job on it for his new Gamma Mine label.

The equipment I listed up on Noyzelab is not everything that was used.. but covers a fair bit of ground. I can give you a few extra bits of info though :

NYZ_Z-DSP+NUMBERZ-DRN1 - Made using the Intellijel/Cylonix Cyclebox-II+Expander going into a Tiptop Z-DSP with some custom programs I've written. A big thanks to Richard D James for giving me my first blank Z-DSP cartridge.. "ere u go, get on with summat" or words to that effect :) In this case it was using various ring modulation schemes. For a great reference I highly recommend Graham Hinton's ModMix application pages which details a range of ringmod/wave shaping algorithms :

applications.htm

moreapplications.htm

CSN2 excerpt1-mono - This is from some Hinton Instruments Music Lab modular sessions in 2013, and the methodology is pretty much the same as discussed in 'NYZ DRN4 Declassified' on Matrixsynth. A type of FM/additive/RM switched synthesis controlled via a cellular automata network (MANIAC cellular automata sequencer). The CSN is referred to in my notes as "Complicated Switching Network" so using complex systems to re-route sounds, a bit like a telephone network, imagine a bunch of ants running around repatching a modular synth and thats probably something like what's happening.. I often set these up and run them for days, take a few recordings here and there, it was nice just to listen sometimes as well, not to take a recording. I end up doing that a lot with these realtime generative/algorithmic systems because (depending on the parameters) they can take a long time to unfold, and sometimes you might just want the bit that happens after a few days, just let the system run till then..

FM60Pcellular - This was all done on a TG77 sequenced by the MANIAC cellular automata sequencer, with the original programming done using the SY99. I like to program on the SY99, but these days the outputs are getting very scratchy, so I transfer stuff over MIDI to the TG77 and do the final setup/mix with that + its got 8 individual outputs so little bit extra mixing scope. The voicing on this is a simple mix of FM/AWM voices, the bassline sound is the AWM voice. There's a great resource on SY99/TG77 programming written by Herbert Janssen, which also includes a section on waveshaping :

CLICK FOR MORE »

The Many Sounds of Analog Synthesis (CB's DIY Modular Synthesizer)

Published on May 5, 2015 Chris Beckstrom

"A collection of patches that demonstrate the variety of sounds my synthesizer can make. All sounds are made by the synth except for a splash of spring reverb.

For more about this project:
http://cb.hopto.org/cbfishes/2015/05/...

Here is each patch from the video:
0:00 Shotgun-shell Light "Theremin"
0:41 Acid bass sequence
1:20 Tuned Noise
1:42 Weird Resistor Ladder Sequencing
2:09 Big Thick Drone
2:31 Playing my Stylophone-style Keyboard
2:51 Playing the keyboard with fingers instead
3:08 Cowbell!
3:29 Laser bass drums
3:45 10 step sequencer as oscillator
4:10 Manual and clocked arpeggios"

Chris Beckstrom's DIY Modular Synth- Improvisation 5/4/2015

Published on May 4, 2015

"Improvising with my DIY modular analog synthesizer. I've been building this synth for a few months now, now it's time to learn to play it! Here's some improvisation/noodling from this morning. The synth was recorded live through an analog mixer (with a touch of spring reverb) into Ableton Live."

Interesting bit via CB's website:

"My approach to building the modules– the various musical Lego bricks– was to use the simplest circuits possible and keep the per-module features low. I wanted each piece to do one thing well; before starting this project I had zero electronics experience, zero understanding of the inner workings of synthesizer hardware, and zero math skills. I reasoned that if I created one thing at a time, eventually I would have enough modules to make some sounds. Keeping the features low helped me keep the circuits simple. If any experienced DIYer looked at my circuits they’d see how laughably simple they are, but in the end it doesn’t matter. All that matters is the sounds that come out!

So far I’ve probably put about $100 into this instrument, most of that expense coming from the electronic components themselves. Aside from the Monotron I panel-mounted, everything was built from raw components following schematics I found on the internet. No kits. I’ve altered most of the circuits to cooperate with the rest of my synth– removed capacitors here, added resistors there– completely by trial and error. I don’t have an oscilloscope, so the main way I test things is by actually using the synth (to hear if the LFOs are working correctly, I have them modulate an oscillator). I think this is a different approach than some electronics enthusiasts who rely mostly on the oscilloscope to show them what is happening. So far it’s mostly worked– aside from the hours spent troubleshooting circuits that didn’t work..."

The Wavetable Synthesizer by Seth Kranzler

The Wavetable Synthesizer from Seth Kranzler on Vimeo.

MATRIXSYNTH reader Seth Kranzler wrote in to share his latest project, The Wavetable Synthesizer. Seth is a student in the ITP program, an experimental New Media graduate program at NYU, and this was his term project. Be sure to see his site for some of his other creations. The following is some info on The Wavetable Synthesizer for the archives. Be sure to see the second video below. I also created a new Seth Kranzler channel as I do for all makers featured on the site.

"The Wavetable Synthesizer utilizes what I have dubbed 'creative synthesis'. Instead of indirectly affecting waveform shape with envelopes, LFO’s, and oscillators, the Wavetable Synthesizer allows the user to directly control the waveform shape using 12 sliders and two knobs. Eight of the sliders control the overall shape of the wave (acting much like 'attractors' on a line), while two knobs control how the points are interpolated (smooth, triangular, or square) and at what resolution (from fine to coarse). The four sliders labelled 'A', 'D', 'S', and 'R' are used for attack, decay, sustain, and release respectively (more information on that here). Users can access saved waveforms with a bank of buttons, and when selected, can watch the controller transform automatically to these settings. The rightmost knob allows for control of the transition speed between presets."

"The software for the Wavetable [see video below] is where all sound synthesis takes place. Due to familiarity and available resources, Processing (Java) was used. The first challenge in creating the software was to create a smooth waveform from only eight distinct points. In order to accomplish this, an interpolation function needed to be utilized. While the math to perform these interpolations is readily accessible, Java also has libraries available to aid in this. The image to the right shows comparisons of the Apache Lagrange (white), spline (green), and linear (red) interpolations. Ultimately, the spline and linear interpolations were used in conjunction with a "square wave" interpolation.

In order to then play the waveform, the minim wavetable function was implemented. The MidiBus library handled all midi communication."


20141110 wavetable demo from Seth Kranzler on Vimeo.

You'll find full details at skranzler.com.

On the future of The Wavetable Synthesizer

"I’d like to continue working on this project and rebuild the software side in MAX/MSP. Ultimately, it would be great to move away from processing as it is not ideal for sound synthesis. Since I would be programming this in MAX, I also plan to make it a Max for live device. It would be great to be able to distribute it for free and give back to the Max for Live community."

Audulus 2.0 Released for Mac and IPad

Audulus 2.0 from Taylor Holliday on Vimeo.
New features in Audulus 2.0. Many thanks to the Audulus beta testers for their thorough testing of this release!

"Audulus 2.0 Released for Mac and IPad:
Math. Timing. Speed.

Audulus 2.0 introduces the Math Expression Node which allows you to enter math expressions, opening up another level of sonic possibilities.

Maybe you'd like to simulate the overtones of a piano? Or build a 3-operator FM synth? Or snap pitches into a chromatic scale? Maybe you'd like to create your own oscillator waveform? Or, possibly a custom wave-shaper? With the new Audulus Math Expression Node, all these and more are now within your reach.

Audulus 2.0 also introduces the Timing Mode, a feature which shows how much CPU time each node is taking. This gives you the information you need to squeeze every bit of performance out of your iPad or Mac.

Both the Math Expression Node and Timing Mode can be unlocked in the new Audulus store.

Lastly, in Audulus 2.0, the Audulus audio engine has been further optimized so your patches will run faster than ever.

Speed. Timing. Math. Audulus 2.0"

iTunes:
Audulus - Wilson Holliday

Mac App Store:
Audulus - Wilson Holliday

iOS Devices on eBay - Daily Tech Deals

WOPR for iPad

"WOPR is a polyphonic, stereo virtual analog synthesizer with totally unique evolving modulation driven by vintage 1970s cellular automata. It's made for iPad 2 or later only. WOPR is a performance instrument, a stand-alone instrument in the same spirit as the Korg Monotron.

It's brilliantly playable: the full-width Wribbon keyboard lets you play pitch-perfect notes every time, then bend them like a guitar god to convey your inner pain to the screaming masses.

It's performance-friendly: you can create customized control panels for comfortable access to parameters. That's much better than contorting your fingers to fit some tiny panel layout.

WOPR is a seriously powerful analog, but what sets it apart is its modulation grid: you paint a pattern of cells into a grid, set the tempo, hit 'run' and let the cellular automata evolve your pattern. You link areas of the grid to any of the synth's parameters and your patches come to life, rhythmically pulsating as the patterns shift with each beat. Constrain parameters to ranges for tight control over rhythmic modulation, or set them free to dynamically breed new patches.

Being a virtual analogue synthesizer, we'd be remiss if we didn't include some allusion to the past. Here it is: the modulation grid is a bona fide 1970s invention called Conway's Game of Life. Look it up, marvel at the infinite variety of patterns, geek out on the math, then put them to work twisting knobs in WOPR.

The core synth engine justifies its powerful modulation. WOPR has:

- 2 pannable oscillators with sine, saw, square and triangle waves. Each oscillator has an incredible range: 32' to 1', with +/- 500 cent detune (a perfect fourth either way). There's also a white noise generator.

- 3 ADSR envelopes, 2 assignable between osc 1 & 2 and the third dedicated to the noise source.

- 2 fruity, resonant 24Db/octave low pass filters, assignable to osc 1 & 2 or to the left and right stereo channels.

- 2 delays, a free-running delay with fine control over low intervals, and a tempo-synced delay running from 32nds to two whole beats. Delays are independent, or can be assigned to feed eachother in any sequence. Howls, rings and reverbs are easy to create; so are good, old-fashioned solid, rhythmic delays.

- 2 octave, full-width Wribbon keyboard: play piano like a guitar, bending individual notes or entire chords. All without losing fixed-key pitch accuracy when you don't want to bend. Best of all the whole width of your iPad 2 is there for performance.

- 6 voice polyphony. If that's not enough (maybe you have tiny fingers), it comes with the best note stealing algorithm on the iPad.

- Modulation matrix: use this to link controls to the Game of Life, or simply use it to define a custom control panel for easy performance.

WOPR is version 1.0.0. It doesn't yet have these features, but they're being worked on:

- Audio copy/paste (it's coming soon.)
- A giant preset library. (More are available for free download within the app.)

WOPR's architecture might change a bit too. It's young and has a lot of growing up to do. Right now Omnivore is experimenting with stereo BPF & LPF filters that you can insert into various places in the signal pipeline. We're looking at ways to drive a wavetable library from the grid, too. Feedback is welcome, so please send your requests to feedback@omnivoresoft.com.

Finally, what does WOPR stand for? Anything you like. Wave Oscillator Piano Replacement? Wickedly Optimized for Phat Response? Who knows. All we can say is that it's the synth David Lightman would choose..."

iTunes:
WOPR - Tim Kemp
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Tablebeast Modified Speak Insane Speak and Read

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