Note: Auction links are affiliate links for which the site may be compensated.
Published on Apr 24, 2018 Reverb
"Moby's contributions to the music world are undeniable, but there's no stopping him. Now he's contributing even more by unloading decades of gear, including the synths, turntables, and microphones you might expect, as well as some more unusual gear such as the bass guitar that he used in a reggae jazz fusion band (true story), and a pair of mariachi sombreros that starred in his music video for 'The Perfect Life.' All proceeds from these sales will benefit the Physician's Committee for Responsible Medicine"
Around 1979, a fourth generation of Serge modules started to appear, complimenting the 1976 modules and replacing some earlier modules. The current Serge panel graphics style also appeared around this time.
The new modules included: Active processor Resonant equalizer 4//6/7/8 step sequencer Divide/n comparator, dual comparator, Schmitt trigger, Wilson Analog Delay, Balanced modulator, Quantizer Frequency shifter, Quadrature oscillator, Dual VCA Envelope follower / preamp and N voice controller.
Also, new electronics were designed for the audio mixer/processor/scaling/buffering modules and the VCA/panners. The "paper face" panel graphics were replaced with metal-ized plastic film.
Throughout this period, systems were available built or as kits - boards supplied pre-built and tested but you wire the panels up yourself. In 1979, Serge offered a standard module configuration - the "System 79". The N voice controller was a polyphonic interface which worked with a modified Casio keyboard. Sadly it appeared around 1982, just before MIDI.
This rare and ultimately unique Serge synth is fully functioning in testing with wear consummate with this synths age. A truly wild and rare piece from Moby's personal collection. The belle of the ball.
All items in Moby's Reverb Store ship fully insured with a signed and embossed Certificate Of Authenticity from Moby."
"Audulus LLC is proud to announce the release of Audulus 3.5 for Mac. This update introduces a new wire highlighting feature and hundreds of new and improved modules.
Audulus 3.5 adds a new wire highlighting feature. When you click on a node or module, all of its output wires remain bright while all others are dimmed. This makes tracing connections much easier. You can highlight groups of nodes and modules as well.
"The Mantic Conceptual FLEX is an amazing and unique effect originally designed and released in a Guitar Pedal format. We recently teamed up with the Mantic team to adapt the pedal into a Eurorack module.
In this video we go through the features and knobset of the Mantic Euro Flex integrated into a modular synthesizer. We run bass lines, Drums, and an entire mix through it by using it as an auxillary send on the WMD Performance Mixer.
Other modules include the WMD Arpitecht,WMD/SSF Spectrum. WMD/SSF MMF, WMD/SSF ADSRVCA. All rhythms are triggered by a WMD protorype trigger sequencer, which is coming soon ;).
"Available soon at dealers worldwide and at WMDevices.com
We recently helped our friends over at Mantic Effects adapt their popular FLEX guitar pedal into the Eurorack modular format.
Initially released in 2014, the Mantic Flex lead the charge in the recent upsurge of PLL (phase locked loop) popularity and continues to set itself apart from other PLL's in that it is an original design and not a Schumann derivative. The Flex Pro is voiced and biased to offer what we found to be the most readily usable range of PLL sounds in a broad musical context, without compromising the users ability to experiment.
Notable users include Nick Reinhardt, Adrian Belew, Jack White, Justin Meldal-Johnson, Simon Francis, Claudio Sanchez, Ikey Owens, and Juan Alderete.
Added features in the Eurorack module include full voltage control, integrated input VCA, a dry/wet mix, VCO Offset control as well as a CV Octave control that interacts with the VCO Offset.
"BIAS EXD Rockaku-kun (means "Mr.Hexagon" in japanese)
made by BIAS (Ishibashi music store) in '80s Japan
very rare Japanese Simmons Clone Analog Drum Synthesizer Module
i'ts very hard to find even in Japan nowadays
very fat and wild analog synth sound!
EXD has 5 sound slots, so you can use 5 different sounds in same time
play with trigger drum pad or trigger signal from drum machine or modular synthesizer
all 5 slot has each own trigger input & audio output for individual mix and effect use
each slot has SENSE, OSC DECAY, NOISE DECAY, SWEEP, PITCH, BARANCE, VOLUME, PAN knobs
EXD has stereo output for internal stereo mix( and also has individual output)
EXD's sound is very fat and wild! I recommends it for EDM,techno,noise,experimental music etc.."
"Buchla Electronic Musical Instruments has been purchased by Buchla U.S.A.
The historic electronic music instrument company has been purchased, is under new management, and is now headquartered in Minneapolis, Minnesota.
Minneapolis, Minnesota January 18, 2018: Announcing the purchase of Buchla Electronic Musical Instruments by Buchla U.S.A. LLC. The iconic electronic musical instrument company founded by Don Buchla as Buchla and Associates in the mid-1960s is now headquartered in Minneapolis, Minnesota and headed by CEO Eric Fox.
The new company will continue to create unique, expressive, and iconic electronic performance instruments and controllers with a focus on the 50+ year history of Don Buchla. Buchla U.S.A.’s lead design and engineering is being performed by Don Buchla's right-hand-man, Joel Davel, who worked with Don for over 20 years. Production of the majority of Buchla modules is being handled by Dave Reilly, who was hand-picked by Don to manufacture Buchla products. Both design and production are located in the San Francisco bay area, as they were in the 1960s.
'With such an amazing legacy I am really excited about telling the story of Don and working closely with Joel and Dave to develop new products in the spirit of Don... and even revisiting/reimagining some of his designs that never actually made it out into the wild!' said Buchla U.S.A. CEO Eric Fox, about this historic purchase. 'I hope to involve as many of the artists and people that inspired Don as possible, moving forward. We owe it to him and the generations of new users to give them a sense of what he was all about.'
Buchla U.S.A. is committed to the continued production of high-quality historic synthesis/performance technology, a focus on and celebration of Don Buchla's legacy, and meeting the needs of Buchla customers.
By listening to the needs of composers at the San Francisco Tape Music Center, Don Buchla created one of the first modular voltage-controlled synthesizers in the mid-1960s as only a gifted designer and engineer could. His innovative and seminal musical instruments have inspired composers and listeners alike for over 50 years."
Moog's Drummer From Another Mother will soon be available to the masses. The DFAM was introduced as a DIY build-only percussion synthesizer at last year's Moogfest. Anyone who visits MATRIXSYNTH should be well familiar with the DFAM from numerous demo videos from the lucky owners. For those who missed out on the original, you will now be able to purchase your own built by Moog. And it's black, compared to the original. The press release follows. Further below you will find additional details and pics.
"January 11, 2018, Asheville, NC -- Today Moog Music introduces the Drummer From Another Mother (DFAM), the first addition to the Mother eco-system of semi-modular analog synthesizers. DFAM is an original electronic instrument for the exploration of new concepts in rhythm and resonance.
Drummer From Another Mother (DFAM) is a highly-interactive, Semi-Modular Analog Percussion Synthesizer and a vibrant deviation from the traditional drum machine--presenting an expressive hands-on approach to percussive pattern creation.
DFAM’s fully analog circuitry behaves much like a living organism, reacting in different ways to input from different individuals. Moog Music enlisted three artists to demonstrate the sounds of the new instrument: DJ Haram, Stud1nt and Umfang--all members of NY’s Discwoman collective. Watch as they explore the new Semi-Modular Analog Percussion Synthesizer from their own personal creative spaces:
DFAM is the first addition to the Mother ecosystem of electronic instruments and each DFAM includes a package of patch cables, inviting interconnectivity via the synthesizer’s 24-point modular patchbay. Create new sounds or bizarre behaviors, synchronize an unlimited number of DFAM and Mother-32 synthesizers together, or fully integrate this analog instrument into a modular Eurorack production environment.
Each DFAM is lovingly designed, assembled, calibrated and tested in Asheville, NC by the employee-owners at Moog Music and has already begun shipping from the Moog Factory to Authorized Moog Music Dealers worldwide.
Starting next week, from Jan 15- Jan 24, Moog will offer free hour-long DFAM workshops facilitated by Alissa DeRubeis and Felisha Ledesma of S1 Synth Library to the west coast subscribers of the Moog Music Newsletter.
Right now, the DFAM synthesizer is part of an interactive interspecies installation at the Cactus Store in Echo Park. Entitled BioRhythmia, the installation uses electromyography sensors to measure the electric energies of a 30 year old cactus. The plant’s energies are converted into analog control voltages (CV), enabling the cactus (a mutant species originally from Bali, but now extinct in the wild) to “play” the synthesizer. Different conditions, different times of day, even different experiences with human passer-bys can affect what the cactus decides to play."
"DFAM is the first addition to the Mother ecosystem of synthesizers and presents an expressive hands-on approach to percussive pattern creation. It requires no patching, and absolutely no experience is needed for human-beings of any age to quickly begin synthesizing new and unique rhythmic compositions.
Activated by an easy-to-use analog sequencer, DFAM’s emotive sound begins with a white noise generator and two wide-range analog oscillators - effortlessly transitioning between rhythmic pulsations, resounding bass and resonant bells in an instant. DFAM’s distinctive voice is then shaped by a classic Moog Ladder filter with two selectable modes: Low Pass mode imparts impact and dimension to each sound it touches, while High Pass mode opens the door to naturally expressive strikes, spikes and clangorous accentuations.
DFAM behaves much like a living organism, reacting in different ways to different individuals. 3 dedicated analog envelopes work dynamically with the sequencer to ensure that tribal toms breathe, industrial impacts evolve, and sonic chaos can be created or subdued at the turn of a knob.
Each DFAM ships with a package of Moog patch cables that unlock access to the 24-point modular patchbay. Use it to create new sounds or bizarre behaviors, synchronize an unlimited number of DFAM and Mother-32 units together, or fully integrate your analog instrument into a modular Eurorack production environment.
Through exploration and experimentation, the vast potential of this expressive analog instrument is realized.
SOUND ENGINE: Analog
ANALOG SEQUENCER: 8-Steps With Pitch and Velocity Per-Step
ENVELOPES: VCO EG w/ Voltage Controlled Decay and Bipolar Amount Control, VCF EG w/ Voltage Controlled Decay and Bipolar Amount Control, VCA EG w/ Voltage Controlled Decay and Selectable Fast/Slow Attack Time
"Radio Frequencies is a free-form experimental electronic music composition using the free control of individual audio oscillators to create modulating and FM tone sources as the basis for wild and free tonal expression not unlike the early electronic music pioneers who used discrete signal generators for the creation of complex sonics. The Eurorack modular synthesizer system was used as the most flexible form to build up complex sounds. The Eurorack modular system afforded the most complete platform for pulse and modulation free expression of frequencies and pulse-sequenced sonic textures. No sequencers or other memory devices were used to create the cascading rising and falling textures. Four Pittsburgh oscillators were used. Oscillator one frequency-modulated oscillator two, then oscillator three frequency-modulated oscillator four. The triangle wave outputs of the oscillators two and four were mixed and fed into a MakeNoise Echophon module for a mild delay effect applied. The output of the Echophon was then patched into an Audio Damage frequency shifter for a mild phasing effect. Five tracks were recorded while manually manipulating all of the four oscillator frequency controls in real-time. The oscillators were 'played' in this manual form for instant free-form electronic interactions. Where certain combinations of sounds clashed, "drop-in" new recordings erased the old, replacing them with something more complementary. The total mix of the composition owes much to the performance of the manipulation of the oscillators in real-time rather than to any carefully structured arrangement. The result is a wild and stimulating cascade of waveform modulations taking the listener into a 1950s science fiction realm. The composition is therefore largely atonal, untempered and loosely non-structured, but conforming to interesting sets of combinations. The visuals attempt to reflect the rapid-fire pace of the audio oscillators by rapid cutting, editing and pattern development. Background logically-constructed visual textile-weave patterns were created emulating the possibilities of the vintage EMS Spectron video synthesizer. Different texture weaves were intercut in real-time to follow the tempo of the music. To this rapidly-edited background of visual textures, various sinusoidal waveforms were superimposed, representing the idea of frequency energy to convey information. Several different kinds of sinusoidal waveshapes were added, pulsating to create complementary strobing to the already strobing background textures. Imagery was used to convey signals, frequency, modulations, and waveforms - even in abstracted form. Towards the end of the composition, the visual pace slows, and a single black modulating circle concludes the rapid-fire editing with a calming role. I call the composition "Radio Frequencies" because I wanted to express the fundamental role radio technology has played from the beginning of the 20th century in all forms of wireless communication. The electromagnetic spectrum is an incredible phenomenon in the Universe and for electronics and communication. It helps to celebrate sometimes technology we may take for granted because it is so commonplace in all our lives."
"Trueno (from the Spanish for thunder) is a 3 oscillator analogue synthesiser in a USB stick. With the same oscillator circuits found in modular monstrosities and its wild, aggressive filter; Trueno does not compromise on sound quality.
Powerful features such as a built in 24 bit ADC, instant preset recall and automation control allow it to integrate easily into your music production process or performance. By swapping the front panel for full PC/Mac control from a VST/AU plugin or standalone application, we can offer Trueno at a price that can’t be touched by anything with comparable features.
Now you can add the raw, powerful analogue sounds you’ve been craving for the same price as a plugin.
We can’t wait to hear what you’re going to do with it!
What does it do?
3 VCOs
Great oscillators are essential in any analogue synthesiser worth its salt. Trueno has three highly stable digitally controlled VCOs with automatic tuning. Recreate all your favourite sounds and make electrifying new ones with saw, pulse, triangle and noise* waveforms, as well as a powerful digital mode.
*osc 3 only
AM, PWM & Filter FM
A wealth of modulation options, unheard of in any analogue synthesiser at this price point. Oscillator AM, PWM as well as filter FM. You can even use digital wavetables as a modulation source.
Note the video above is from March in 2016, so these are not technically new. Reon gear tends to be promoted via Japanese channels. As you can see their website is primarily in Japanese only. They also do a bit of one off and customized gear. Check out the pink one!
BTW, the different spellings and capitalizations I'm using for Driftbox is on purpose. Roland branded it DriftBox with a capital D and B, and Reon interchanges between driftbox, all lowercase, and Driftbox with the capital D. I have also seen it as Drift Box.
That said, not featured here on MATRIXSYNTH before now, are the driftbox SE, J, and W. The following are some details Google translated from Reon.
"This is a 100% modular synthesizer party.
All live sets.
Cables of Love
From subtle minimal and classic Techno, House & Acid, roaring noise and gently massaging subs to laser light shows & live visual projections of sound, Cables Of Love with the Humboldthain bring together a diverse range of local, pan-European and international talent for an extravaganza of ear-pleasing and booty shaking pleasure.
2 Stagess: 1 for Techno / House / Acid Party Dancing, 1 for Experimental, lots of live acts with their various Modular and DIY Synths.
Further additions to the Line Up TBA in due time but for now, here's some of the acts and their bios can be found below:
Laser Bros (AT/CZ)
Laser Bros creates a synesthetic experience of beauty by connecting 2D-laser projections and body shaking electric sound waves generated in real time by an analog modular synthesizer. Changing the visual will modify the audible and vice versa.
Laser Bros is a collaboration of Bernhard Rasinger (a.k.a. BR Laser) and Václav Peloušek (a synthesizer inventor at Bastl Instruments).
"Shaper is now available at just €3.49/$2.99 (instead of €6.99/$5.99). The offer is valid until June 24th.
Shaper is a multi-fx processor that allows you to redefine or totally destroy any kind of source.
Shaper is perfect in any iOS music workflow:
- as stand alone app to process your outboard equipment
- as inter-app audio in Aubiobus or other compatible daw apps as AUM, Modstep, GarageBand, and so on
- moreover, Shaper is also an awesome Audio Unit Extension!!
"In this patch, the Tonestar 2600 Folktek'd and Tonestar 8106 produce a melodic line and bass counterpoint driven by the QuBit Octone and Intellijel Metropolis sequencers, all added together in the QuBit Mixology with a dash of reverb from the Erica Synths Pico DSP. The Tonestar 2600 produces a high repeating melody while the 8106 employs its Roland-style filter to great affect in a slow, thick bassline. Slowly tweaking the drive and filter settings as the sequence plays out forces the sequence in the direction of thick, beefy distortion. The internal LFOs of each Tonestar modulate pitch, filter cutoff, and pulse width to create an animated, lively texture. Great for people looking for the classic Roland or ARP filter sounds in a modern modular synth voice, the Tonestars play just as well with each other as they do within the Eurorack ecosystem as a whole.
The Tonestar 8106 is a full Eurorack synthesizer voice that is inspired by the classic ARP 2600. It contains a filter made by Tim Caswell, the "Jupiter to Juno" -6dB/Oct high-pass filter, coupled with the Roland IR3109 filter chip that was utilized in most of Roland's classic filters. With a fully featured analog VCO, two envelopes, and a modulation LFO, one has everything needed for phat basslines or searing leads.
The Tonestar 2600 Folktek edition is the classic Studio Electronics Tonestar but with a fresh new panel designed by Arias Blaze from Folktek. It is designed to clearly demonstrate the structure and flow of the module, while also providing some psychedelic and wild graphics. It contains all the electrical components utilized in the normal Tonestar 2600, ensuring the same classic tone.
Featuring the ARP 2500 & vintage Moog modular systems.
"After Intersystems dissolution, Mills-Cockell journeyed to Canada’s west coast to work on an album of original synth-based compositions using his multi-suitcase Moog as the primary instrument. Pringle was enlisted to color outside the music’s already adventurous lines, his sinuous, signal-processed saxophone adding another electrifying voice to Syrinx’s signature sound. A sound that hybridized chamber music dynamics with wild, yet tuneful electronic melodicism. With Alan Wells’ understated percussion rolled into the fold, what started as a solo venture for Mills-Cockell became a new kind of collective..."
"SIDRASSI ORGAN: This is one of my favorite 'exotic' synths, and is quite rare. Of the few videos of it on the web, virtually all focus on its 'noise-making' abilities. In this video, however, I attempt to showcase its unique MELODIC and RHYTHMIC capabilities. Enjoy! (It's totally "dry" in the video.)
The Sidrassi Organ has seven pressure-sensitive bars (buttons on front scroll each bar through random tunings). It's fantastic for making wild noisebursts/bleeps (the focus of virtually ALL Sidrassi vids on the web), but it's also highly “playable,” and I think, capable of BEAUTIFUL sound (my mission, with this quasi "TUTORIAL" video). In addition to the tuning buttons on the unit's front, there is a master pitch knob, as well as a master modulation/chaos knob. There are also 42 nodes to touch or weave with wire, making weird/unique tone combinations. It has two outputs: Press a bar, its sound goes left, release it, its sound goes right. An extremely fun/chaotic 'happy accident' synthesizer!
Designed by Peter Blasser (distributed by Ciat-Lonbarde)
PS: I'm using the BRILLO PAD at the end to randomly 'go modular' with the contacts at the top of the unit. I have some alligator clips... but didn't use those in this vid. Apparently people use coins, wires, skin... whatever, to mess with the random "modular" factor... (but the contacts all go to NOBODY KNOWS WHERE, intentionally, for more randomness!) Definitely one of those oddities that sneaks its way into some things... at the very least, in the background, gurgling away.
"Mega rare and powerful modular synth. The magic is creating your own patches and routing that could never be possible before with hardware synths. Roughly 100 of these made it out into the wild. This one is number #87 and has a non-wall wart supply unlike the earlier ones."
"Lorre-Mill Double Knot sending stereo out to two Recovery Cutting Room Floor Delay/Reverbs for extreme stereo sounds.
The most original and versatile release from Recovery Effects to date. Unlike any effect you’ve heard before, it offers mountains of wild modulation, delay, freeze and stutter. Anything from light lo-fi chorus to broken-tape-deck sounds can be achieved with this unique pedal. Melt, then freeze tones in place, or use it as a gritty echo or faux reverb.
The Double Knot is a 100% analog desktop modular synthesizer and sequencer with a large amount of indeterministic and random possibilities. The Double Knot's stereo, dual voice architecture allows it to be used to generate a wide variety of abstract rhythms from the interplay of its two sequencers, and both oscillators can be used to intermodulate at both CV and audio-rate frequencies. A great way to generate minimal and pointillistic grooves.
Sonicpotions LXR
Teenage Engineering OP1
Mutable Instruments Anushri
OTO BIM
Update: some info on what's going on via lazenbleep:
"I'm George Lazenbleep Hacker, artist and musician based in London. I've been on a mission to make the music I want to hear when I'm drunk and I'm edging closer. I've spent a long time hacking and modifying gear just for the sheer hell of it. Now I'm entirely focused on finding the best gear, through whatever means, to make sweet banging music.
Here’s a look at the equipment used in my current live setup; these are random musings about my favourite gear, and their coolest features. Please follow the links for more info.
This is a digital drum synthesiser, available in kit form from a really cool German company. At its heart the LXR is a six voice synthesiser and seven track sequencer. The sound generation is really deep, with four types of drum engine. In theory, these are geared towards kick, toms, snare, clap and cymbals, but in reality the fun is to go much heavier and weirder. You can make some monumentally heavy, sharp kicks with a triangle wave, pitch mod, a transient, drive and sample rate reduction. I like to layer snares and claps together as they both benefit from their own multi-mode filter. There’s also a lot of modulation available both within and inter track, with both control signals and audio available as modulation sources. The main point to make here is that the sound can be both heavy and wild, perfect for electronic music.
A nice modern digital feature is the ability to morph between voice presets with one knob, creating some totally wild in between sounds. The sequencer is both straightforward and deep, with what I consider the essential features for a drum machine; step probability, individual track length (polyrhythms!), two tracks of automation per voice and per step (think Elektrons parameter locks), micro timing (sub steps), voice rolls and shuffle.
The BC third party OS adds user assignable macro knobs, one shot LFO’s, instant pattern switching, per voice pattern switching, and a really cool “segmented” looper. It’s crazy that something so complex is good to use live, but it really is rock solid and a lot of fun on stage.
A synth that famously divides opinions, with many dismissing it as an expensive toy (which it is). The OP1 is also an incredibly deep, left-field machine with unique workflow and sounds. I very much underuse it in my setup; it acts as a midi controller and chord machine, and it's tiny and light, perfect for touring. Ten different synth engines can be used, and they’re all great. One of the major features is simplification, with each engine having up to eight controls and a fun graphical interface.
This ethos is spread throughout the synth and encourages experimentation, you get to unlearn what you think you know and relearn some great eye-ear combinations, via the gorgeous OLED and simple cartoony graphics. There’s a freely assignable LFO per synth, including wacky generators like the radio, mic or gyroscope. It has eight voice effects to choose from, and one master FX slot. The sequencers range from useful to mad, and really encourage experimentation, with drums and synths, they’re all syncable, or not.
Using a four track-style tape as the recorder is both brave and wonderful. There’s a joyful instant vibe to making music, and there’s no undo. Segments of tape can be lifted and dropped into a synth sampler, or sliced in a drum sampler for an instant chop. Talking of the drum sampler, the onboard radio can be recorded and instantly dropped into the sampler, mapping equal segments across the keys. Combine this with a sequencer and it’s very easy to make dance music, which is exactly how dance music should be.
TE are absolute masters of taste, form and function, and i knew i wanted this even before i heard it. It’s impossibly cute, yet sturdy and actually looks exciting, something that’s really important. The screen graphics are really cool, and everything is colour coded to the four encoders, letting you fly before you really know what’s what.
Before Mutable cornered the modular market, but after they nailed PDA music, Olivier made desktop synths as kits. I’ve owned them all, kept my Shruthi, and am now making sweet arp love with the Anushri. An actual analogue monosynth, like an SH-101, but better, and weirder! It actually has a semi-generative digital drum machine built in, but I don’t use that—for me it’s all about the arps!
Arpeggiators are cheesy, and they’re cheating, and they are completely, 100% dance music. A kick and an arp, what else do you need? The sound is glorious, heavy and weird thanks to FM, oscillator sync, the LFO and DCO. It’s also lovely to play a synth designed by someone who plays synths. A great example of this is the knob that sweeps the envelope between a gate and ADSR. Assign the envelope to your filter, start the arp and say goodbye to the next two hours. There’s also another knob called “Acidity” which adds random accents, mutes and slides to your arp; I have a tendency to leave it at ten.
OTO machines made the Biscuit, arguably the greatest ever bitcrusher. The BIM is a 12-bit digital delay, taking its lead from 80s hardware effects units. The sound is interesting and musical, creatively using the lo-fi nature of 12-bit converters to subtly degrade the signal, and pairing it with analogue technology to smooth it out.
That's not why I bought it though. It's a really fun box to play. It has a concept I call “high wangability”, which means you can really go crazy with it from the front panel. It has a really weird sixteen dot display, that once learned, provides just enough info. There's an LFO that can be used wildly or sparingly, and a freeze function that grabs a bit of the delayed signal and repeats it indefinitely. The BIM has character in both sound and form, and is a friendly little chap in my flightcase."
"ONE brings organic sound and super low latency sample playback to the modular. It differs from other sample players in that it handles the digital audio bits as a continuously manipulated electrical flow, a feature inspired by our analog knowhow. This unique core makes ONE truly integral within the Tiptop percussive modular ecosystem thanks to a lightweight and responsive digital circuit with a very analog feel.
ONE brings a world of colors to the modular right out of the package. We have invited some of the best sound designers in the Industry to create professional sound libraries with content tailored to the unique sonic framework of the modular synthesizer and that fully takes advantage of ONE’s unique qualities. To start with, ONE comes with a SD card loaded with a free set of 60 sounds designed by Glitchmachines. More cards are available to purchase separately each containing carefully selected material with up to 256 sound files. Using your own sample libraries or recordings is easy too, just copy 16 or 24bit mono WAV files onto the SD card, pop the card into ONE and go.
ONE offers several modes of operation, with the primary being the super low latency Trigger mode that retrieves audio data off the SD card adding no artificial processing such as click removal, crossfading, eq or gain normalization. In this mode, it’s a highly transparent player up to 24 bit 96kHz with no interpolation of the audio data: what you put in is what you get out. With a delay as low as 0.25ms from the moment the trigger hits, ONE offers harmonically dense, clear and detailed audio with a great rhythmic feel.
ONE handles external CV through a user selectable multifunction jack. Pitch is the main control with two modes available: Free pitch allows for fine tuning of the playback rate, great for adding subtle vibrato or wild tape speed effects; Quantized pitch maps CV to the standard 12 tone system over 3.5 octaves and is ideal for melodic content. CV can also be used to sequence through files off the SD card allowing far more varied sounds from a single source; almost like an entire percussion section behind the slim panel.
Although originally designed to play tightly with our analog drums and envelopes, ONE’s rich sound quality encouraged us to make it work in a variety of other applications that are less demanding of sub millisecond timing response. The extra headroom at the core level allows features such as Gated playback, Looping, and Triggering with fades in and out to accommodate different types of sound sources from drum loops to polysynth chords to noise sources and other yet unimagined uses.
ONE offers another useful dimension since it can play CV signals too. Drop in a card with LFO signals, random CV, slopes and envelopes for a whole set of new control and modulation possibilities.
ONE is as simple to use as it is affordable and plays extremely well with it’s analog cousins - our vision for bringing samples into the modular world.
**********************************
VCTRS: Lets Get Started
Type: One Shot
Character: Mixed material
ONE includes a card called VCTRS featuring 60 carefully chosen sounds from the 5 sound banks developed by Glitchmachines. We have included some of the most compelling material from each bank in order to showcase ONE’s strengths and demonstrate the broad range of sounds available on the PERC, SBSTRT, KERNL, HYBRD and BENT cards which are available separately from Eurorack retailers.
VCTRS and the other Glitchmachines cards include the entire sound set sampled at 48kHz, 64 kHz and 96kHz. The 48k rate allows for easy pitching up of one octave, 64k offers some pitch upward while maintaining much of the fidelity of the 96k source and full 96k offers the purity of the source as well as the lowest latency possible for great performance.
Forthcoming cards from a wide array of sound designers, artists and producers will expand the range to include poly and mono synth tones, field recordings and even CV source material."
"The other day I was experimenting with a sequential switch, using it to cycle through various waveforms coming from a single oscillator. It's a bit like the classic dubstep wobble bass, where the divisions of the wobbling change every bit. Of course since this is a modular synth, things can- and do- get much crazier.
